Anyone that manages to weave a mystery around them are bound to win some fascination from appreciators and press alike. Whether or not there's any substance behind their mystery is another story altogether. Uton unveils floating events and sounds in the same way a magician unleashes doves from a hat or a sleeve, but without the awe or sense of wonder. Mystery Revolution amounts to a bunch of floating stuff and very little more.
Give us an hour, we'll give you music to remember. This week we bring you an episode with brand new music from Softcult, Jim Rafferty, karen vogt, Ex-Easter Island Head, Jon Collin, James Devane, Garth Erasmus, Gary Wilson, and K. Freund, plus some music from the archives from Goldblum, Rachel Goswell, Roy Montgomery. Rubber ducks and a live duck photo from Matthew in the UK. Get involved: subscribe, review, rate, share with your friends, send images!
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This isn't the first extra-curricular activity from Low's main singer/songwriter to surface, however, those who are looking for something like "Sleep Song," or Hospital Children or Black Eyed Snakes type recordings are in for a surprise. The title of Solo Guitar should be a hint, as this recording is more for the fans of the uneasy listening of Loren Mazzacane Connors or Keiji Haino on a calm day.
Christian McShane and Aaron Molina make music from instruments that they don’t know how to use (this is a deliberate move, not a criticism of their playing technique!). On this fourth album by the duo, they are joined by a few guests to jam out a few improvisations. The music they create ranges varies in quality but there are some choice nuggets dotted throughout the disc.
On the surface, Follow the Train’s full-length debut has it all. The production is sumptuous, and the skilled musicians frequently create gorgeous, yearning passages. Even the cover is vaguely arty and aesthetically pleasing. Scratching a little deeper, however, I found ordinary lyrics, sometimes painfully so, and little else that generates much excitement.
Waterline spends some time brooding upon the shattered landscape of New Orleans, as should anyone with a heart. When the waters of the flood receded, a dirty brown/black/beige line remained on buildings everywhere. The disturbing unease of Potpie's avant-expressionism perfectly compliments this physical manifestation of the community's psychological scar.
If I could capture a band as a sex symbol, I get the impression that Tapes 'n Tapes would be Johnny Depp and Jessica Alba: nearly everyone wants to sleep with one of the two or both. Like with most sudden sensations, however, there's more sugar coating here than real substance.
When I read the album title and saw the inner sleeve (men playing flutes and acoustic guitars around a fire with a naked woman in the background), I was expecting something psychedelic about fairies but when I listened to the music I realised I was way off. Wolves in the Throne Room are black metal with a few twists and surprises thrown in.
Neil Michael Hagerty has certainly paid his dues, from his early days with Pussy Galore to his years with Royal Trux, and if he doesn't always enjoy the reputation he deserves, it's certainly not for lack of trying.
The Norwegian group’s second album is a dark and powerful collection of sinister soundscapes. Combinations of unearthly drones, organic sounds and traditional instrumentation are used to make a potent and captivating album.
