The world definitely needs more warding-off-evil’ songs, I’d say, the balance always seems to be frustrated stacked in the negatives’ favour after all; so I’m cranking the volume up on this one, and letting it do its worst.
Album review
2424 posts
The awkwardness is intriguing but is in no way alienating, you just need to listen again to fully understand how it pieces together and the stripped down post-jazz stylings of the album closer are just the icing on the cake, all judicious placing, a distant wail and momentum you can sink into.
Words that ignite on a slow see-sawing sorrow and symphonic scorch, atmospherically crash-landing into the pulsating syncopation of "À Notre Nuit", its keytoned circles and percussive stutter filling up the canvas in saffron-soaked strokes and feathering accents.
They weren't quite part of that adult indie (ish) stuff that proliferated in Glasgow at the time - Delgadoes, Arab Strap, Mogwai. Probably by dint of being very fanzine, not too srs. They got compared to Pavement or Sonic Youth a lot and never really sounded like either. Probably closer to Swell Maps.
Dwelling upon what humanity has done to this planet, Echoesfromtheholocene’s narrative is a reflective one, disillusioned with the incessant greed that continues to mess up all our futures.
There is structureless flickering with the voice as old and arid as forgotten wheat, shimmering in a heat haze, the vibrato hinting at something while the guitars howl like guiding beasts desperation ever present.
A cracking bit of headphone ambience this from Cindytalk – a very austere rhythm-less space, Subterminal's minimally milled contours full of tiny expressive shifts, subtle changes of bleak brilliance that daisy chain this album's brooding foursome.
The butterflying flute work here is beautiful, sonics a new serene, resplendent in soft clanking glass and bell-like dings, its simmering satellites dimensionally expanding...
O SingAtMe Seaming To likes to collaborate and lend her unique and otherworldly voice to various projects, including Graham Massey‘s Toolshed and Paddy Steer‘s Homelife from back in the 2000s. Coming up to recent times, Dust Gatherers is her second solo album and follows on ten years from the first. Clearly, this has been a question of waiting for stars to align and the gathering of sympathetic friends […]
Mute Like Phew‘s first album, this collaborative jewel was recorded in Conny Plank‘s legendary studio in Cologne. For the occasion, Chrislo Haas of Deutsch-Amerikanische Freundschaft fame gathered a few like minds to soundscape the surrounds. Alexander Hacke (Einstürzende Neubauten) on guitar, Thomas Stern (Crime And The City Solution) on bass and Can‘s drummer Jaki Liebezeit, who was no stranger to collaborating with Phew, having worked on her solo […]
Upset The Rhythm This is frantic, fibrous, a Kat Bjelland-like vocal blender. All hot potato vowel action, roller-coasting a gnarly pickle of a backing. A Meredith Monk cave painting of multi-erupting misrule, spitting feathers and glutinous jelly tangling up and clawing on old school Arto Lindsay-like fret lunacy and buck-a-roo grunts. The bush fire insanity of those guitars fills me with so much joy — that thrown- stapling […]
Discus Family Band‘s latest (and self-titled) release, their third since forming in 2015, finds them further exploring their interactions as a quartet and how personal ideas form, and then coalesce when presented to a democracy fully at ease with one another and anxious to express the diversity that jazz welcomes currently. Over the seven pieces presented here, the players take the basic idea delivered by one member and […]
GOD Laibach have been on a winning form since 2017’s Also Sprach Zarathustra, that oozing dark matter and gravelly gravitas of yore gloriously reconfigured, later thrown around on the sonically saturated Wir Sind Das Volk. Now this latest offering, Sketches Of The Red Districts, sees them returning to the conflict-ridden knot of a country that was Yugoslavia, taking from it two points of reference (both from the band’s […]
Discus The three members of Shiver like nothing better than to collaborate separately and are involved in numerous projects. The trio itself has been quiet recently recording wise, but the chance to hook up with Yorkshire-based pianist Matthew Bourne at his house was too good an opportunity to turn down after the hysteria of lockdown, and the quartet used forty-eight hours to lay down , the first of […]
Efpi The Beats & Pieces Big Band has been together in one form or another since 2008 and is doing its best to breathe new life into classic big band jazz. The dancefloor filler of its time, moved the head and the heart, and was filled with a sweeping sense of life and joy. Ben Cottrell‘s collective bring that sense of wonder and momentum smoothly into the twenty-first […]
Universal In the depths of a bleak January such as this, one might very well find oneself tramping across sodden fields, beneath sullen grey skies, breath forming clouds in the cold and clods of mud clinging to your boots, crows wheeling and calling overhead and a line of skeletal trees marking a boundary in the distance. Looking up at the dark, bruised sky, you might imagine that music […]
Magma / NEWS Belgian four-piece Tukan come at their interpretation of kinetic rock music as if some of them have spent a proportion of their time lost in the intense sweep of post-rave dance music. The drifting synths and Balearic keyboard motifs welded to live drums and bass make for an organic, muscular journey. There is a sense of that dance euphoria spread across most of the seven […]
Naïve LA-based Bryan Senti has already placed his debut album Manu online, a post-classical string trio treatise that places minimal Western leanings within a fresh narrative which borrows from the indigenous sounds of his Latin American roots. Finally it is receiving a vinyl release and well deserving of this honour it is, from the of the cover image to the lush black RTI pressing.