(((O))) Category: Reviews
As a debut release, this album will take some beating within the doom genre this year and with it, Geomancer have set themselves out as an exciting prospect.
Another high quality album of warm and passionate electro soul from Joan Wasser,
Post-rock with a lot of sounds you might have heard before, but well played and executed.
With the invigorated, exploratory Pulse/Quartet, Steve Reich’s position among the greatest composers of our time becomes ever more unassailable.
The cinematic scope and ambitious breadth of Rare Form’s music makes listening to this album a very visceral experience. A dark ambient soundtrack to the untold horror story in your head.
Overall, It’s a good, well-written album with some really strong tracks. It’s like a comfortable place, where everything is cozy and familiar.
This is the jazz album that you play for your friends who are really into Om, and this is the metal album that you play for your friends who are really into Bill Evans.
From the badlands of Larne comes a very fine debut album from Haunch, featuring members of Dutch Schultz and Therapy.
Underpinning vast swathes of ‘Genocidal Majesty’ is a theme of anxious suffering. A trembling can be felt within the shifts between notes. Despite its apparent aggressive exterior, there is a fragility being protected at the heart of it all. Whilst De Jong is employing the supposed best form of defence, this sentiment cannot help but seep through. From the wide-eyed anguish of sonic gales to the transposing despair of processed electronics, a narrative of hurt blossoms.
Salad Boys exemplify what the new New Zealand sound is like, and it is all for the good.
This is an album that covers a vast spectrum of heavy music and salutes it with pride.
There’s no denying Ty Segall is a prodigy but his new 10th full length album Freedom’s Goblin cements his place as the father of modern psych rock. The Californian mastermind lets his wide range of influences bleed through into his music allowing a multi-coloured stream of punk, rock, psych, folk and funk to shine through showing huge freedom in style and utilising the double album format to its full experimental capacity. The result is a project passionately funny, expansive, violent and concise all at the same time.
A superbly realised album of intelligent, well written, modern rock music that is full of texture and complexity while expertly critiquing social injustice in the UK.
I cannot recommend this record highly enough and I would rate it up there with the most acclaimed prog-death albums.
Worldly, jazz-inflected electronica that makes for an album of two halves.
‘Rei’ is a refreshing take on post-metal and bursts with originality, atmosphere and aggression.
Songs very much in the vein of Tom Waites and David Lynch. ‘Little Bites’ from the album ‘All that Heaven allows’ is a beautifully twisted piece of spacious music that slow creeps into overlaid guitar loops and mutant country blues that suggests the beginning of a horror B-movie.
This record is the sound of daily misery being exorcised through the comforting obliteration of loud music and drinking bags of cans with your mates.
Most importantly these three tracks leave the listener hungry for more songs. The fire definitely still exists in At The Drive In and it’s good to have them back.
Searching for their sound OVUM mix strings to some of their tracks with mixed results. When sticking to their post-rock roots however their sound really soars. Overall, a solid addition to OVUM’s catalogue.
After two years of absence, Field Music are back with yet another great slab of pop psychedelia.