No Handshake Blues won’t be to everyone’s taste but if you are looking for a gloriously miserable start to 2017 then you need look no further. Grab yourself a whiskey, some stale cheese from the cupboard and a mirror, listen and ponder your existence.
Endless Floods play a minimal, tectonic brand of doom that borders on drone-like ambience, seeped in melancholy, grief and anguish. With ‘II’ they push at the edges of what doom can do – and set a high bar for the genre in 2017.
Electro-math, progressive jazz and the glitches of computer sabotage, courtesy of members from Three Trapped Tigers, Troyka and Squarepusher.
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
Get Better predominantly tells a story of a man who puts colossal pressure on himself to achieve all of his dreams.
This is an exceptional collection of photographs showing the highs and the lows, the dry and the wet, the pre, post and during gig emotions experienced by that strange and eclectic thing, the festival crowd.
‘Electric’ is electronica with a dark wave sheen, while ‘Zombie Birds’, a single released earlier this year, is a fine offering of post rock. It shows that this band isn’t a one trick pony, and they could easily go in a bunch of different directions stylistically and succeed.
‘Takitum Tootem!’ either shows an exciting new direction for The Ruins of Beverast, or it aptly explores a theme with two songs before it presents black metal of a new innovative form on their next album.
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.
With a keen delivery, calculated application, and (I’m assuming) careful consideration of what they want to the world to hear, OSA has heightened my idea of where the boundaries of instrumental music can be.
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…”
MonkeyTrial make spacey, ambient electronica with guitars interwoven into their sound… a far cry from ambient music’s more experimental offerings, instead offering rhythm and harmony as key components of a dynamic sound.
Colossal Squid is how one percussionist made an album of mostly drumming into something beautiful and fucked up, just like its namesake.
Greaves and cohort took the gold, their detractors very much got bronze. This album is as much about those people as it is a bold statement of how great the band is now all that shit is over.
The members of Vircolac make music for its own sake, and a mainstream audience of Vircolac fans is still quite hard to imagine bearing fruit, but should black/death metal reach into the stratosphere with no turning back, expect Vircolac to be at the forefront of it all.