at least she doesn't warble.
a real breath of fresh air
Southern Comfort and lemonade.
a power pop wolf wrapped up in folk musicians’ clothing
you'll be ready to paint the town red after listening to this.
as Scottish as Malt Whisky and just as enjoyable.
impossible to decipher in a single sitting.
Now, I don’t often wonder what Editors fans think. Why should I, outside of a vague bafflement as to why they think Editors are actually any good…
De Boer stands and delivers his lyrics in a slightly hunched, pained pose; looking for all the world as if someone’s thrown cold water over him
And there you had it, a great band, seemingly at the beginning of something new.
It’s wilfully perverse, and delights in tempo and tonal changes without a second thought.
singer Gwendolyn gives off a scarily assured air, akin to a Victorian governess scolding her charges.
I wonder, excepting the changes in Roky’s voice, if this track is as close a representation of the fabled Elevator’s sound from 65 -66 that we’re ever going to get on record?
Mi Ami can, it seems, confidently occupy their own emotional and intellectual space without any hang ups.
Contact, Love, Want, Hate reminds me a lot of the sonic experiments Coldcut did back in the early 90s.
It’s a great record for putting on if you’re feeling dreamy
Its equal parts weird and bloody obvious: like looking through a fisheye lens.
There are other moments where a grander, more mainstream sound is evoked.
Quite why I keep thinking of Oliver Postgate is anyone’s guess.
I have to say that I was completely taken aback at how good the Rose Eleanor Dougall track is.