Wide Waters are an ambient/new wave/classical band from New York. The band is made up of Justin Krass (Piano), Sam Stauff (Guitar), Phil Anthony (Bass) and John Venezia (Drums). They started their journey together as a band in 2018, having also played …

To think that this album was recorded live and completely improvised is quite an accomplishment and a testament to both Raphael and Shahriyar’s musicianship.

Music that lingers on far after you’ve finished listening, that truly indulges in pure unbridled existentialism.

Idles are not just a band, nor are they just a movement. . . This night showcased their extraordinary gift: the ability to bring people together, to listen to a simple message, and to think about it, all while enjoying themselves.

It’s perhaps akin to watching a monument burn down to the ground in the pitch black of night in a majesty of flames stretching upwards, the power of something being destroyed in a somehow beautiful way.

Good looking people, great hair, and wonderful, catchy music – Leprous, in that respect, epitomise the “Three Greats” of Scandinavia. . . However, like many groups, they are evolving as much as they are maturing.

The Contortionist and Palm Reader gave Birmingham the perfect night of progressive metal, and hardcore

Middle aged men coming up to me after a show and sharing their own stories about their difficult relationships with their dads, about feeling invisible, about never giving up. I discovered it was a common experience that I had gone through. Talking about stuff like that at a gig rather than at some men’s group was incredibly rewarding.

Forget Me Knot isn’t a mere Alice’s stumble down the rabbit hole; more being dragged and swallowed alive by a living breathing organism.

it still has the capacity to amaze and astound in its wonderfully beautiful syncopated and complex simplicity.

An incredibly rich tapestry of detail, one that transcends the typical formalities of ambient music in the hope of creating a much richer landscape

It is music that has the power to soothe and lull the listener in thick wavy soundscapes that wrap around you in a warming gentle glow

This may be seen as a wonderful return to form, and simultaneously, an advancement of their new style.

Electronic layers seem switch from support to sabotage of the music, the processed clarinet creates something hauntingly beautiful that is expressed in whole album.

Sometimes you get a band that not only nail down their influences perfectly, but even go as far to create a work of art that feels familiar to those influences, whilst having an incredible edge that greatly sets it apart and allows it to stand on its own merit.

EP releases of this nature are always a delight when they achieve exactly what they need to, which more often than not is serving as an introduction to the band in question.

Psych rock giants Oh Sees release Orc marking their nineteenth studio album and seventh name change over twenty years of zany creativity. Orc comes with fresh band mates, heavier influences and further experimentation into their off the wall take on the garage scene.

Together PANGEA prove they are capable of reaching outside of the endless party and producing an equally enjoyable rock and roll record that leaves a longer impression on the listener.

A feeling of being pulled deep into the dark abyss of the ocean, slowly sinking as all light gradually disappears until there’s nothing.

Similar to the majestic intricate astronomical clock situated in the heart of Prague, Červen’s music, although appearing on the surface tempestuous and chaotic, more closely resembles the clock’s meticulous interwoven cogs and dials.

Everything pulses and ebbs into the scene, feeling oddly stark and cold and wonderfully futuristic.