Wildbirds & Peacedrums are a minimalist folk duo hailing from Sweden. The pair specialise in a brand of experimental folk that frankly won’t be for everyone, but is worth a listen nonetheless.
References to oceans, loneliness, and the innocence of childhood will either delight or sicken listeners whilst Mariam Wallentin's sparse, accapella vocals are, for the majority of tracks, anchored by brushed drums and hand claps - laying in wait until the right moment to break free.
Magical moments such as the furious crashing drum beats on ‘Doubt/Hope’ which are accompanied Wallentin’s deep husky voice, and ‘The Window’s’ seeming tribute to southern soul anthems are few and far between, intersected by ambient, stark tracks that leave you feeling cold and under-whelmed.
Nevertheless, ‘Heartcore’ is a smoky, smouldering album, as Andreas Werliin’s mercurial drumming, propels this experimental yet strangely beguiling racket into uncharted musical territory.
Showing posts with label album reviews. Show all posts
Showing posts with label album reviews. Show all posts
Sunday, 16 March 2008
Strawberry Whiplsh- Who's In Your Dream?
Hazy, dreamlike vocals are backed by a wall of static guitars in this up-lifiting and joyous release from Glasgow’s Strawberry Whiplash. Sandra, Laz, Paul and Duncun all pay fitting tribute to 80s shoe gazer bands such as Jesus And Mary Chain and indie pop acts like St Etienne- with gorgeously fuzzy results.
It’s an EP which is easy to love with its hand claps, synths and simple harmonies all forming winding round echoing, reverberating guitars in these hip shaking gems, whilst the simple, almost childlike ‘My Day Today’ is pure pop perfection. Lovely stuff!
It’s an EP which is easy to love with its hand claps, synths and simple harmonies all forming winding round echoing, reverberating guitars in these hip shaking gems, whilst the simple, almost childlike ‘My Day Today’ is pure pop perfection. Lovely stuff!
O! The Joy- Zen Mode
Gather round all you fans of Mars Volta and Battles for here is a band you can’t help but fall in love with. Sacremento’s, O! The Joy are spawned from the ashes of Mister Metaphor- the former project of OTJ’s drummer, Jusitin Goings, and with its intricate drumbeats, frantic guitar riffs and anguished vocals ‘Zen Mode’ is defiantly a record which is not for the feint hearted.
However, don’t let this put you off. Although the band’s debut may need several listens to get into, once you have been drawn into its spell, it’s hard to break free. The urgency experienced in tracks such as ‘Under The Radar’ and ‘There Is No Such Thing As Organised Crime’ with their sharp and precise squeals of the guitar and staccato drumming mark a stark contrast to the more laid back ‘22345’ and ‘The Man And The Secrets’ where haunting melodies are under-laid with cymbal crashes and the whip-snap of snares.
The end result is sensational. Atmospheric, raw and bursting with energy ‘Zen Mode’ explodes onto your senses and with its rich, experimental compositions, and yelping vocals from lead singer, Kurt Travis, it is an album that brings together math, post and progressive rock into one colourful and entirely new sensation.
However, don’t let this put you off. Although the band’s debut may need several listens to get into, once you have been drawn into its spell, it’s hard to break free. The urgency experienced in tracks such as ‘Under The Radar’ and ‘There Is No Such Thing As Organised Crime’ with their sharp and precise squeals of the guitar and staccato drumming mark a stark contrast to the more laid back ‘22345’ and ‘The Man And The Secrets’ where haunting melodies are under-laid with cymbal crashes and the whip-snap of snares.
The end result is sensational. Atmospheric, raw and bursting with energy ‘Zen Mode’ explodes onto your senses and with its rich, experimental compositions, and yelping vocals from lead singer, Kurt Travis, it is an album that brings together math, post and progressive rock into one colourful and entirely new sensation.
Adam Green- Sixes And Sevens
Former Moldy Peaches member, Adam Green is renowned for the patchiness of his work and subjecting yourself to his latest album, ‘Sixes And Seven’s’ in one listen is no easy task. Lacking a unifying theme or style, the only constant is the baritone crooner act that Green has been developing since parting ways with Kimya Dawson.
Green leaps from style to style, as lead single ‘Morning After Midnight’ pays homage to Al Green before ‘Getting Led’ breaks out a dash of Leonard Cohen doing straight-up gospel.
The raucous, ‘Morning After Midnight’ is a brass-tinged stomper with female backing choir flows perfectly onto the utterly charming ‘Twee Twee Dee’ where Green’s crooner like vocals come out in full force.
Typically Green continues his show of wit and humour lyrically, "Hepatitis caught me off my guard" he sings on Broadcast Beach, another two and a half minute jingle that simply bobs along bringing nothing to the record as a whole.
However, don’t be entirely put off. Although ‘Sixes And Sevens’ might be a drawn-out mess, break it down into bite sized chunks and you suddenly have rich pickings for the perfect mix-tape. lovely stuff!
Green leaps from style to style, as lead single ‘Morning After Midnight’ pays homage to Al Green before ‘Getting Led’ breaks out a dash of Leonard Cohen doing straight-up gospel.
The raucous, ‘Morning After Midnight’ is a brass-tinged stomper with female backing choir flows perfectly onto the utterly charming ‘Twee Twee Dee’ where Green’s crooner like vocals come out in full force.
Typically Green continues his show of wit and humour lyrically, "Hepatitis caught me off my guard" he sings on Broadcast Beach, another two and a half minute jingle that simply bobs along bringing nothing to the record as a whole.
However, don’t be entirely put off. Although ‘Sixes And Sevens’ might be a drawn-out mess, break it down into bite sized chunks and you suddenly have rich pickings for the perfect mix-tape. lovely stuff!
Tuesday, 18 December 2007
Grizzly Bear- Friend EP 10/10/07
The new Grizzly Bear EP is one of those magical gems that come along every so often to brighten up an otherwise unremarkable day. ‘Friend EP’ is a series of covers and remixes (in the loosest sense of the word) of the group’s first two albums. The record features the likes of CSS and Band Of Horses and will firmly ensure that you will never hear the band in the same way ever again.
From the theatrical choral dramatics of opening track ‘Alligator’ to the final whistful strains of ‘Deep Blue Sea’ it is an album that will weave you into its delicate tangle of familiar and new. The collaborations are the culmination of three years of touring with other bands and hours of painstaking reworking of old material. The well-known three part harmonies and lazy, shimmering guitars are combined crashing symbols, heavy bass and in the case of ‘Plans’ plucked banjos.
It is a wonderful album, a must for fans of The Bear and a wonderful introduction for first time listeners. The covering bands have done the group justice, building on, rather than destroying the original material and adding their own trademark quirks and ticks to produce something unique and utterly special.
From the theatrical choral dramatics of opening track ‘Alligator’ to the final whistful strains of ‘Deep Blue Sea’ it is an album that will weave you into its delicate tangle of familiar and new. The collaborations are the culmination of three years of touring with other bands and hours of painstaking reworking of old material. The well-known three part harmonies and lazy, shimmering guitars are combined crashing symbols, heavy bass and in the case of ‘Plans’ plucked banjos.
It is a wonderful album, a must for fans of The Bear and a wonderful introduction for first time listeners. The covering bands have done the group justice, building on, rather than destroying the original material and adding their own trademark quirks and ticks to produce something unique and utterly special.
Monday, 10 December 2007
Someone called me a sad whore for one of my reviews. What the fuck?!
Whats the point in being so maliciously rude and insulting to someone who you've never met. Fair enough, you can disagree with what I think- I'll be the first one to admit that I am hardly ever right about things- let alone be so arrogant as to think that my opinion is the be all and end all on a certain point.
But to be so outraged to the point of calling me a whore. Jeez. That's sinking to a new level of petty insults that I never thought previously possible. Especially this review of an album:
The world at large is increasingly unimportant to Anthony Reynolds. Or at least, that’s what he claims. Who cares about Big Brother or The Office when you can name-drop authors into song lyrics and get drunk in the pub. It's experiences like that which make live worth living and albums worth recording. Right? Well apparently so.
So Reynolds sings about going to the pub and the peculiar quality of pub lighting; two typically British experiences (obviously) and Vashti Bunyan and Dot Allison are persuaded to join in, addding honeyed vocals to a couple of tracks. After all, what sits better with brooding piano solos and deep expressive vocals than pretty women, breathy harmonies and a veneer of almost trendiness.
Although a whole new plateau of self-indulgence is achieved through this way on Reynolds debut album, the record does have some lovely moments. Opening track ‘I Know You Know’ is a smooth and soulful song featuring Reynolds' deep, rich voice purring over violins and Dot Allison singing like she was born for no other reason. It is all downhill, and the euphoria experienced in ‘Leaving Song’ is more to do with it being the last track than the easy-listening rock song it claims to be.
Anthony Reynolds- British Ballads
www.new-noise.net
Whats the point in being so maliciously rude and insulting to someone who you've never met. Fair enough, you can disagree with what I think- I'll be the first one to admit that I am hardly ever right about things- let alone be so arrogant as to think that my opinion is the be all and end all on a certain point.
But to be so outraged to the point of calling me a whore. Jeez. That's sinking to a new level of petty insults that I never thought previously possible. Especially this review of an album:
The world at large is increasingly unimportant to Anthony Reynolds. Or at least, that’s what he claims. Who cares about Big Brother or The Office when you can name-drop authors into song lyrics and get drunk in the pub. It's experiences like that which make live worth living and albums worth recording. Right? Well apparently so.
So Reynolds sings about going to the pub and the peculiar quality of pub lighting; two typically British experiences (obviously) and Vashti Bunyan and Dot Allison are persuaded to join in, addding honeyed vocals to a couple of tracks. After all, what sits better with brooding piano solos and deep expressive vocals than pretty women, breathy harmonies and a veneer of almost trendiness.
Although a whole new plateau of self-indulgence is achieved through this way on Reynolds debut album, the record does have some lovely moments. Opening track ‘I Know You Know’ is a smooth and soulful song featuring Reynolds' deep, rich voice purring over violins and Dot Allison singing like she was born for no other reason. It is all downhill, and the euphoria experienced in ‘Leaving Song’ is more to do with it being the last track than the easy-listening rock song it claims to be.
Anthony Reynolds- British Ballads
www.new-noise.net
Thursday, 6 December 2007
sixorgansofadmittance
Ben Chasny’s latest release, ‘Shelter From The Ash’ is one which he has, reputedly, always wanted to create। It features well-picked folk and some surprisingly restrained noise for balance, and in doing so produces, arguably, his most focussed album to date. Opening track “Alone With The Alone” appears to have simply followed on from ‘The Sun Awakens’ with Tim Green of the The Fucking Champs squeezing in extra guitar chords in the gaps between Chasny’s madly plucking fingers, – the drone in the background serving as the sonic glue, holding the song together.
If you haven’t yet stumbled across this awe-inspiring band then start taking notes. Six Organs will rock your world. There is no question about this, no room for discussion. Live, Chasny (former member of Comets On Fire and Badgerlore) and, well who ever he can persuade to perform with him will conjure up a wall of sound before your very eyes. Layer upon layer of noise, reverb and intricate melodies build before your eyes, threatening to engulf you in their midst and then, at the last minute, ebb slowly away.
‘Shelter From The Ash’ is no exception to this. It is an album packed with slow-burning, horizon-seeking journey’s from the freeform improvisation of ‘Coming To Get You’, to the mellow acoustic strains of ‘Strangled Road’ featuring Elisa Ambrogio’s (The Magik Marker’s) honey-soaked vocals; a fluid combination of electric and acoustic signature Six Organs of Admittance styles.
Minimalist, dreamlike passages of sound sit next to squealing guitars, seemingly plucked straight out of a Western whilst subjects from love to the end of the world are covered in a gruff, straight talking masculine manner, accompanied by distant howls and blurry harmonies. Clearly a lot of love and effort has been put into this album, and it is this that is more endearing than anything else.
If you haven’t yet stumbled across this awe-inspiring band then start taking notes. Six Organs will rock your world. There is no question about this, no room for discussion. Live, Chasny (former member of Comets On Fire and Badgerlore) and, well who ever he can persuade to perform with him will conjure up a wall of sound before your very eyes. Layer upon layer of noise, reverb and intricate melodies build before your eyes, threatening to engulf you in their midst and then, at the last minute, ebb slowly away.
‘Shelter From The Ash’ is no exception to this. It is an album packed with slow-burning, horizon-seeking journey’s from the freeform improvisation of ‘Coming To Get You’, to the mellow acoustic strains of ‘Strangled Road’ featuring Elisa Ambrogio’s (The Magik Marker’s) honey-soaked vocals; a fluid combination of electric and acoustic signature Six Organs of Admittance styles.
Minimalist, dreamlike passages of sound sit next to squealing guitars, seemingly plucked straight out of a Western whilst subjects from love to the end of the world are covered in a gruff, straight talking masculine manner, accompanied by distant howls and blurry harmonies. Clearly a lot of love and effort has been put into this album, and it is this that is more endearing than anything else.
Wednesday, 5 December 2007
Anthony Reynolds- British Ballads
The world at large is increasingly unimportant to Anthony Reynolds. Or at least, that’s what he claims. Who cares about Big Brother or The Office when you can name-drop authors into song lyrics and get drunk in the pub. Its experiences like that which make live worth living and albums worth recording. Right?
Well apparently so.
So Reynolds sings about going to the pub and the peculiar quality of pub lighting- two typically British experiences (obviously) and Vashti Bunyan and Dot Allison are persuaded to join in and add honeyed vocals to a couple of tracks. After all, what sits better with brooding piano solos and deep expressive vocals than pretty women, breathy harmonies and a veneer of almost trendiness.
Although a whole new plateau of self-indulgence is achieved through this way on Reynolds debut album, the record does have some lovely moments. Opening track ‘I Know You Know’ is a smooth and soulful song featuring Reynolds deep, rich voice purring over soaring violins and Dot Allison singing like she was born for no other reason. It is all downhill, and the euphoria experienced in ‘Leaving Song’ is more to do with it being the last track than the easy listening rock song it claims to be.
Well apparently so.
So Reynolds sings about going to the pub and the peculiar quality of pub lighting- two typically British experiences (obviously) and Vashti Bunyan and Dot Allison are persuaded to join in and add honeyed vocals to a couple of tracks. After all, what sits better with brooding piano solos and deep expressive vocals than pretty women, breathy harmonies and a veneer of almost trendiness.
Although a whole new plateau of self-indulgence is achieved through this way on Reynolds debut album, the record does have some lovely moments. Opening track ‘I Know You Know’ is a smooth and soulful song featuring Reynolds deep, rich voice purring over soaring violins and Dot Allison singing like she was born for no other reason. It is all downhill, and the euphoria experienced in ‘Leaving Song’ is more to do with it being the last track than the easy listening rock song it claims to be.
Micheal Dracula
Welcome to the electrifying world of Michael Dracula where sinister, one-fingered horror-show keyboards worm their way into your head to sit alongside a deep rumbling bass and dancing beat. Stiff-fingered piano riffs and minimalist drums; this is music that kicks out, doubles back and repeats itself once more.
The Glasgow based four piece are signed to the legendary ZE Records, the label that captured the no wave and punk-funk scene of 1970s in New York but it’s hard to see why. Old, yet new, punk, but then quite the opposite, Michael Dracula defies classifications appealing instead to a primal yearning for rockabilly guitar riffs.
A tinny echo of an old-fashioned saloon piano marches hand in hand with rough sounding production, adding to the debut album -In The Red- scruffy charm. The iridescent title track slouches through blues rock, whilst ‘Two Wrongs’ ventures further a field, into spooky, atmospheric textures and all the while Emily MacLaren’s voice, sexy and breathy sores above the dirty rock grooves luring you into a sense of security before grabbing you by the throat leaving you unable to breathe in its heady feminine haze.
The Glasgow based four piece are signed to the legendary ZE Records, the label that captured the no wave and punk-funk scene of 1970s in New York but it’s hard to see why. Old, yet new, punk, but then quite the opposite, Michael Dracula defies classifications appealing instead to a primal yearning for rockabilly guitar riffs.
A tinny echo of an old-fashioned saloon piano marches hand in hand with rough sounding production, adding to the debut album -In The Red- scruffy charm. The iridescent title track slouches through blues rock, whilst ‘Two Wrongs’ ventures further a field, into spooky, atmospheric textures and all the while Emily MacLaren’s voice, sexy and breathy sores above the dirty rock grooves luring you into a sense of security before grabbing you by the throat leaving you unable to breathe in its heady feminine haze.
Subscribe to:
Posts (Atom)
