Das letzte Album des australischen Singer/Songwriters liegt bereits vier Jahre zurück. Jedoch kommt Scott Matthew nicht etwa mit neuer eigen...
Scott Matthew - A Small Conduit Of Great Affairs
Jazziges Sound-Experiment, Klang-Kakophonie oder einfach nur fast vier Minuten vergeudete Lebenszeit? Glücklicherweise ist nicht alles auf „...
Memorials - Memorial Waterslides
Tracks like "Name Me" and "I Have Been Alive" are majestic and mighty, positioning Susman's tender vocals against waves of thundering drums, honking saxes, and horror movie organs; the title track is a doomy mix of avant-garde soundtrack noises and overdriven noise rock that is downright scary; and "Book Stall" creeps along slickly like Broadcast, only with an oozing dread and a sinking feeling that the tape the song was recorded on is slowly disintegrating. Even the tracks that have a little more positive energy driving them forward -- like the album-opening "Acceptable Experience," which has a nice Stereolab feel -- have darkness lurking just behind the curtains. On that song, it's made manifest by the ripping guitar solos; on others, it's the looped found sounds ("Lamplighter"), out-of-nowhere steampunk breakbeats ("Cut It Like a Diamond"), or glitchy shards of sax and vocals ("False Landing"). It's clear that the pair have immense skills as crafters of ambience and setters of mood; they are also wizard-level good at weaving kaleidoscopic strands of influences together into a brilliant, fascinating fabric. The result is the kind of record that's almost impossible to stop listening to once one begins. It flows together so perfectly, and the mood is so tense and unbroken, that it feels wrong to be diverted in any way.
Vor drei Jahren stürmte die damals 26-jährige Orla Gartland mit ihrem Debütalbum „ Woman On The Internet “ Dank 7,833 Punkten bis auf Platz...
Orla Gartland - Everybody Needs A Hero
Elsewhere there’s Counting Crows-laced alt-rock (‘Simple’), late noughties British indie (‘Late To The Party’), Kasabian and Royal Blood-adjacent rock (‘Three Words Away’), and lovely lilting indie à la Clairo or Beabadoobee (‘Who Am I?’). The often high-octane landscape Gartland creates means more subdued cuts like the waltzing ‘Mine’ or the title track struggle to cut through, but the switch-up works for ‘The Hit’, a lush earworm of dancing acoustic guitars and gorgeous vocal melodies.‘Everybody Needs A Hero’ lives in grey areas, not shying away from the messiness of life. The floor-shaking ‘Sound Of Letting Go’, all feral riffs and ethereal choruses of layered vocals, distils this idea. Ultimately, it concludes, you can’t control everything, the musician unveiling: “I can’t change you, can’t change me/Can’t change anything/So I guess I gotta let it go.” From where we’re standing, it doesn’t sound like Gartland needs to change a thing.(NME)
Im Video zu „Fight The Real Terror“ sieht man Shara Nova in der (sehr empfehlenswerten) Biografie „Rememberings“ von Sinéad O’Connor blätter...
My Brightest Diamond - Fight The Real Terror
Eine windschiefe Gitarrenspur, eine sich aufbäumende Stimme, fast purer Krach. Weitergeführt in "Rocket in my pocket", auch hier durchzogen von einer dreckigen Gitarrenspur, gleichzeitig jedoch hart groovend. Von den elektronischen Experimenten des Vorgängers weit entfernt, bislang versprüht "Fight the real terror" eher einen Post-Punk-Ansatz, der auch deswegen erhalten blieb, weil es jene Demos quasi unverändert auf den Longplayer schafften.Der Post-Punk wird jedoch schnell ersetzt. "Even warriors" verweist auf träumerische Folk-Klänge im Sound, gibt sich ansonsten ganz dem Schönklang ihrer Stimme hin und ist ein Vorbote für Späteres. "Imaginary lover" schlägt erstmal doch den Bogen zum elektronischen Vorgänger, bleibt dabei jedoch zu sanften Beats in melancholischen Gefilden. (…)Ein letztes, sehr großes Highlight ist dabei "I saw a glimpse" welches nahezu ohne Instrumentierung auskommt und mit einer wundervollen Melodieführung sehr eindringlich an die Person erinnert, die dafür verantwortlich ist, was hier an den Tagen, die auf den 26. Juli 2023 folgten, entstanden ist.
Vor zwei Jahren veröffentlichten Susanne Freytag und Claudia Brücken ihr Album „ The Heart Is Strange “ unter dem Namen xPropaganda, da die ...
Propaganda - Propaganda
Propagandas Grundidee, Kraftwerk und Wagner zu fusionieren, wurde mittlerweile enorm erweitert: Mertens schichtet gut abgehangene Sounds aus Klassik und Krautrock, Ambient und New Wave übereinander, mischt Orchester-Instrumente mit aufgepumpten Beats und flottiert zwischen Minimalismus und maximaler Opulenz. Es tönt düster und erhaben. Die unterschiedlichen Elemente verschmelzen zu einer klaren, fließenden Soundstruktur, deren Melodien schnell in den Gehörgängen kleben bleiben.Sein Partner ist weniger verschmust. Eher ein klinisch kalter Diagnostiker privater und politischer Prozesse. Dörpers Großstadtpoesie kündet von Gesellschaftskritik („Tipping Point“), Nabelschau („Distant“) oder Sex und Sünde („Purveyor Of Pleasure“). Das obligatorische Gitarrensolo stammt nicht von David Gilmour, sondern vom wohl besten heimischen Saitenvirtuosen Marcus Wienstroer. Wie überhaupt alles an dieser Platte „Made in Düsseldorf“ ist: Artwork, Videos, Fotos (im Nordpark), Mastering (Kai Blankenberg) etc.Gastsängerin Thunder Bae verpasst den betagten Herren eine gehörige Frischzellenkur. Sie ist mit einer so wandelbaren wie ausdrucksvollen Stimme gesegnet. (…)
Werfen wir einen Blick zurück auf die Diskografie des mittlerweile 62-jährigen Paul Heaton : Mit The Housemartins und The Beautiful South ha...
Paul Heaton - The Mighty Several
Not that The Mighty Several doesn’t have its autobiographical moments. It’s just more interested in casting an eye over the awfulness (Stop The Boats bigots) and excellence (unsung care workers, attentive friends) of the British public. Or the magic of enduring love, but its fragility when it’s pigheadedly squandered. Or the ruinous effects of alcohol on families, but also the glory of a good pub (Walk On/Slow Down being Heaton’s spin on Orwell’s Moon Under Water). It’s all laced with dark humour, notably on Couldn’t Get Dead (a song about hapless failed attempts at suicide). That dance between light and shade is assisted by an Ian Broudie production which juxtaposes the jaunty with the jaundiced. All human life isn’t here – not quite – but the life that’s here is wonderfully human.
In full pub-philosopher mode throughout, Heaton delivers a good-natured rant on the closing track, “Walk On, Slow Down”. Backed by burbling electronica, he advises the listener to skip boozers playing Britpop. His preference, he continues, is for a watering hole with “Pointless on TV” and where the “barman’s half asleep”. It’s a wonderful image to end a record that sounds like a collection of postcards from a world we all recognise but seldom encounter in modern pop.(i news)
Das Scheitern seiner Band musste Sam Griffith erst einmal verarbeiten, denn das Quartett The Howl & The Hum, das mitten in der Pandemie ...
The Howl & The Hum - Same Mistake Twice
In ‘Same Mistake Twice’, The Howl And The Hum have crafted an album of remarkable depth and sincerity. Griffiths' lyrics are profoundly personal and insightful, creating a collection of songs that resonate with honesty and integrity. This is an album that dares to be vulnerable, that isn’t afraid to confront the messiness of human experience. It's a triumphant and moving work, one that leaves a lasting impression and cements The Howl And The Hum as being one of the most intriguing and distinctive bands in the current UK music scene.
Die erste Vorladung (XVIII) Personalien: Die aus Belarus stammende Band Molchat Doma besteht aus Egor Shkutko (Gesang), Roman Komogortsev (...
Molchat Doma - Belaya Polosa
Their brand of ’80s pastiche offers one kind of safety in an otherwise dangerous world. My Bulgarian mother always tells me that we Eastern Europeans, or maybe just people with anxiety disorders are destined to suffer. While contemporary political and personal unrest continues to invade the lives of Molchat Doma’s members and those of many other people their music remains firmly rooted in the past. Even if it’s not entirely innovative, it offers a sense of security, and that can be its own reward.
Belaya Polosa wears its many influences on its sleeve, and we are better off for it. For the baby bats who may have picked up on the dark, minimalism of their earlier work, this is a great exposure to the myriad vibes and sounds of synth-forward goth pop. For us old heads, it is a welcoming buffet of all of the delicious things that made us fall in love with the shadows in the first place, both a love letter to the spirit of goth and a brave step forward for Molchat Doma. This band does not deserve to be a simple meme, stuck in the revolving door of banality, and they prove that their prowess extends beyond flash-in-the-pan internet culture. Yeah, not everyone loves goth, new wave, or synth pop, but for those of us that do, Belaya Polosa is sweet, sweet candy for the ears.
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