Hopefully after being exposed to more challenging music her room will soon be festooned with pictures of that vision in corduroy J Willigoose Esq rather than a prepubescent, gas mask wearing fringe with a predilection for attacking photographers.
This is the music the ancients who put up stones at Callanish were listening to, but it was all just in their heads at the time.
It's actually the sort of single that could be a springboard for something more powerful, and more gripping.
This lot are somehow scarier, the sort of half-man-half-pig thing that all bar one of the bassists have going on in with pink adult babygros is the stuff of nightmares
The Marriage of True Minds is not, I think, their best album but it is several leagues higher than...well, I would say opposition, but I'm not sure that there is anyone quite like Matmos
It just felt like the right thing and the right time to do it, even though it was a bit rushed.
As ever with Plant Duw, melodies are strong and often take the lead role in dictating the track’s direction; and there are opalescent moments throughout...
In fact their gift for simple and effective melody is nigh on ridiculous; why music like this isn’t clogging up radio is a mystery until you consider their music’s essential DNA which is a bit weird, a bit unsettling.
A great release, not for the faint hearted for sure, but plenty to enjoy if you love your free rock.
...watching Attila the Stockbroker and Patrik Fitzgerald allowed another chance to cross the Styx and step back to more open, more spirited times....
A few years ago a lad I knew stopped a bus outside a house on Kings Road, only it wasn't anything to do with pop music. It was his own house. And he was the bus driver.
It’s a powerful and organic brand of post rock that knows one pace. In fact, Visions of The Hereafter actually shows its immense strength through restraint.
The raw numbness, the machinelike quality at the core of this music should not be underestimated. It’s almost abrasive in its nothingness.
Because it’s a real growler this one, the opening track Believer instigates a headlong charge into bozo territory – where the rest of the album happily gambols about like a herd of bullocks let into a new spring pasture.
The changes of speed are, in a way, symptomatic of the fact that the music just can’t sit still; and this restlessness is in everything, the lyrics, the way the sound switches from track to track, the way vocals are presented…
Other tracks follow this loose, dubby pattern. Moondog rouses itself to shake some action in a variety of half-arsed styles, but only after it’s had a pizza and a little snooze.
White Mountain turned out to be a quiet revelation. It is an unprepossessing listen, it certainly doesn’t look to impress: but because of that it’s also very tactile and subtle music; and beautifully weighted to boot.
Now, normally I run a mile from too much comfy feel good music, but Phosphorescent is something different. For one, Matthew Houck can play the “feelings” card better than most.
It’s a small thing I know but there’s something incredibly satisfying about stacking all my CDs up and looking at the spines, seeing the precision design… they all look so cool.
Whatever else Alexander Hacke might have done in producing the record, stopping the band and saying “No, I think that’s a bit much” doesn’t appear to have been part of it. And as is pretty much always the case, that’s all to the good.