There’s a dark undercurrent slithering underneath, even in the brightest flares, like a constant reminder that Simian is saving their biggest fold for a different attitude, but I’d like to think that this is who they are. Sinister House, Techno With Fangs – a smug confidence you would punch if the grooves could let you move.
Dracula is a record that seems to come from a band who hasn’t written any songs yet, just a criss-cross mesh of brown-note tones and (wait for it) a fuzzy vocal channel. It’s not fun, profound, danceable, thinkable, likeable, or even all that hateable – this is empty-release-window music.
It’s incredibly low-stakes music, but Foxes! link some delicate, digestible, and occasionally catchy indie-pop morsels into a half-hour of fulfilled complacency. Whether that’s enough is up to the eye of the beholder.
Christopher Laufman’s Wise Blood makes music out of other people’s songs, but there’s never a moment you doubt his sincerity. The samples he’s grabbing are usually big and pulpy: choir incantations, floor-filling drums, swelling keyboards – they aren’t ironic. It sounds like he’s trying to build a suitable backdrop for his incredible emotions.
Apparently conceived in the midst of trying personal relationships, in an environment of dank European hotel rooms and soul-snapping depression, Parallax stands out as a tribute to mixed feelings, isolation, and feeling perennially displaced – even more so than, you know, other Atlas Sound records.
Regardless of what conclusion you might reach, it’s pretty easy to applaud Forest Fire for their provocative chops; if they set out to turn heads and force a thoughtful examination, they’ve done it.
The quartet of Big Troubles had the means to compose 10 refreshingly distinct tunes that unite such potentially expensive elements as bells, strings, and a studio-quality sheen rendering reductive modifiers like “bedroom,” “garage,” or “basement” mute.
Keith Morris is still very much a villain, but his antagonism fits the entire spirit of OFF!, writes Luke Winkie.
There are a lot of gentle oscillations, sunset-euphoria, and zinging, pleasure-center synths, but not a whole lot of meat. The running time is generally made of empty, cleansed moments with just enough propulsion to be called a song.
Headbangers in Ecstasy revels in looseness. Babbling, fluorescent guitars, rollicking drums, and gently obfuscated vocals – all tied together in a thin mist of reverb. It’s all delirious and twitchy, but starkly short on hooks.
Always bewildering, Girls are unashamedly borrowers of past inspiration while somehow remaining idiosyncratic. ‘Father, Son, Holy Ghost’ was written to be a contender for classic status – and they may just have managed that.
For all of his annoying qualities, seeing Jimmy Tamborello be great tends to erase a lot of those mixed feelings. I think we all just wish we had more records to make the time in between those moments more valuable.
- Daft Punk sponsor a Formula 1 racing car
- Channel 4 commission two new music shows
- NPR film entire James Blake gig in HD
- Ryan Hemsworth releases ‘Still Awake’ EP for free download
- Primavera Sound 2013 stream live performances via Youtube
- Boards of Canada to premiere new music on BBC Radio 1 tonight
- The Flaming Lips to play live on BBC Radio 6 Music tonight
- Angel Haze and Iggy Azalea stream cover of Watch The Throne track ‘Otis’
- Brolin and East India Youth to play free London show next week
- Matthew Dear plots only London date of 2013