For anyone who's still not quite sure, though, this is your way in: amongst the chips and wires and beats and bleeps is one of the most human records you'll hear this year.
Laments are this band’s priority. There is a lot of Nick Cave at times (Misery and the title track owe a lot to Murder Ballads), but if handled well, that is always a good thing.
A tremendous LP, hypnotic, subtle, brooding. I suppose you could categorise the band’s music as some form of metal, but I’m not sure that this would be wholly appropriate.
You get the feeling that there are three great, unrelated, unfinished projects or ideas here, all waiting for a moment of clarity... like a meeting of three people at a party who have nothing to say to each other.
But with a synth you have COMPLETE control. You can control if you want to de-tune it (which I do a lot) or you can get the perfect pitch you're searching for straight away. I just find synths more exciting to be honest!
At first glance it might seem odd for a Brighton duo to be appearing on Sheffield’s finest label. But Katsen deal in the sort of now vintage electropop that has long been appreciated in South Yorkshire.
The Fiery Furnaces are back with their addiction to fitting as many riffs into one song as is humanly possible.
It’s pretty much the first time we’ve heard Stephen McRobbie sing for twelve years.
Of course, as well recording improvisational albums O’Rourke has also turned his hand to pretty much every other genre too – drone, folky finger-picking and lap-top electronica. He’s even written pop albums.
This could be one of those droney, emotionless dance records that murder all competition through their very monochrome determination.
All in all a top night, made all the sweeter when Incendiary found themselves ranting on with nary a care in the world about Can and Mozart to an increasingly frenzied Oldseed…
A rockin’ and brooding release, that’s for sure and one well worth picking up if you’re feeling moody.
Visually the ‘Sound - who are a Scandinavian collective boasting a considerable number of floating, interchangeable members - fitted the space-rock blueprint like a glove.
That’s what was really noticeable with working with Andy Weatherall, the sense of space he brought to the recordings, as well as the level of detail over particular musical ideas or passages.
Even when they sound like indie rock they sound like indie rock in a parallel universe where the rules are subtly, but significantly, different.
Songs about scenes, whether celebratory or critical, are a bit too closed to really hit home with those of us for whom a trip out is a rarity.
This is a mildly psychedelic record, and tracks like Playas and Time Aparts reminds this reviewer of the hazy sonic stew AR Kane could cook up.
Are we still supposed to like No Age, or have they had their allotted 5 minutes?
The accent is on passionate: the chords and samples on Lazarus Phenomenon create a veritable Garden of Delights for Buck’s romantic whimsy to run riot in.
I thought it a strange LP then; and I do now.