Articles by Si Forster
First-time listening proves to be quite a surprise, although it becomes quickly evident that although there’s a lot that is different here, it all fits within their greater framework
Following on from their stately Fain album, Wolf People have taken the step of messing with their own formula a bit. Seemingly investing the profits from their preceding record’s sales on lots and lots of pedals, Ruins is a very deliciously mucky-sounding record throughout.
Peer a bit deeper beyond the mellotron and Summer of Love vocals, and you’ll find plenty of assorted snippets of Screaming Trees memories. Not whole things, but sketches here and there where it’s easy to think “this sounds like it should be on…”
Tommigun put a recognisable stamp right across ‘Wooden Son’ by making sure that they’re never in a rush to get from one end of a song to the other, each track is definitely and deliberately punctuated to let everything drip into your subconscious as it builds from minimalist beginnings to impassioned, cacophonous beasts.
Existing fans will rightly lap this up, anyone else who fancies a bit of an “in” to the happysad world of Lou Barlow will easily find plenty to absorb and fascinate in these five tracks.
Moby well and truly has a voice here, and in These Systems Are Failing he uses it to its impassioned fullest, bolstered in no small fashion with the addition of the D.H. Lawrence-inspired Void Pacific Choir, a title apt in both its geographical and psychological inferences, although peaceful is anything but the result here. By Si Forster
This isn’t a sad experience though; having memories gently wheedled out in this manner may well seem a bit strange but it’s a welcome and rather beautiful process that will no doubt become harder to bear and to listen to as this series continues over the next three years. By Si Forster
It’s certainly out there enough to say that not everyone will love it, but anyone willing to head out to wherever this album is taking place to join it, there’ll be friends aplenty waiting. By Si Forster
Twin Peaks is loved. It’s not fondly-remembered nor occasionally looked-back upon, it is loved. Central to the show’s appeal came from the music of Angelo Badalamenti, presented here for the first time in way too long and, like the rest of the show, something just as fondly regarded. By Si Forster
The story of a strange rollercoaster section of a life is so obviously told with a self-deprecating grin throughout, because for all its ups and downs, Porcelain is a very funny book. By Si Forster
The greatest thing I can say about this is that where most double LP sets can bring about a sense of “…another one?” just when you think it might be over, here it’s a case of “…another one!” as something else completely unexpected comes along. That small difference in punctuation makes a world of difference between a record being merely challenging and being completely engrossing, and this falls firmly and strangely into the latter category. By Si Forster
Eluvium’s False Readings On is glacial, just not in the way that you’d expect. It’s you that is doing the moving once the music sets you off, and then that’s it – once you’re set off, you will be unable to stop. By Si forster
The quantity and breadth of it all may seem a little daunting and heady on first listen, but it’s not long before it all becomes familiar and friendly, as well as something rather sweet indeed. By Si Forster
His Edwardian Dark Heart still remains at the centre of Furnaces (and becomes more apparent once the first playthrough’s revelations have been taken in), but it’s beating ever so slightly harder and angrier this time round. This is something special. By Si Forster
To mark it’s re-issue on vinyl for the first time in 20 years, Si Forster looks back at Faith No More’s seminal debut album.
This record will almost certainly find a whole new audience while having the added bonus of having their existing crowd happily following them, a rare and joyous thing to do when stepping up. By Si Forster
This is undoubtedly a genuinely really good, exciting record where its greatest and most plentiful pleasures are found in its origins, but if In Letter Form aren’t careful, it could prove to be a bit of a millstone. – By Si Forster
Listening to Zero Moment makes me nostalgic for everything I watched with such glee as a kid, and its retrofitted, powerchord bombast makes it sound as though both artists involved were doing this with huge grins on their faces. It’s perfect music for action sequences, snappy title screens and oh so many montages. By Si Forster
It’s getting harder to pick individual bright (or otherwise) spots in a very oversubscribed and limited genre, as this is what killed a lot of it off in the mid-80s in the first place. Oscillotron seems to have carved something different enough to stand out from its genre peers enough to warrant more than just a second glance. By Si Forster
This was a special performance, and when contemporaries are playing much bigger places on the same night (for a lot more money, too), it’s a joy for those present to be part of our own little secret until the rest of the world finally notices what a talent has been right under their noses all along. By Si Forster
As he continues to define and redefine himself over the course of his entire career, and you can point to almost any release in his career as part of Hüsker Dü, Sugar or anything with his own name (or otherwise) on it and say “That. That one.” Patch the Sky continues this trend as Bob puts his heart and soul into every single song as he always has done, and in doing so has created yet another essential record. By Si Forster