When Saint Sinner – aka Hannah Cottrell – crops up, things start to get interesting. Her delicate, drifting vocals aren’t an overbearing presence amidst the heady swirls of Tycho’s instrumentals...
Their self-penned description of ‘Surf Doom’ seems spot on; a tangled mess of reverb and distortion,
always smart enough to make sure they follow their own blissed-out, technicolor identity. It makes for a head-onistic experience.
Lyrically, Beware of the Dogs bears Donnelly’s particular, wry demeanour as she astutely balances sharp wit alongside stark vulnerability, purveyed via her soaring vocals.
And this intensity pervades throughout, as across the eight tracks, Woods explores fluctuating experiences of selfhood and becoming expressed with unbridled ferocity.
...could three of the most accomplished new singer-songwriters on the planet really be collaborating?
It may seem challenging at first but delving deeper into its meaning you find a sincerity that no attempt at an ironic title could throw off
Forming a tapestry of ambient hymnal pieces harking to a destructive crescendo
It’s become clear to me by now that Xiu Xiu’s Jamie Stewart can do pretty much anything he wants with sound.
Seattle’s Tacocat are a band that can’t help but have fun; Lost Time is gloriously unique from start to finish
First and foremost, this is an album with its roots deep in the hip-hop culture of sampling.
When it peaks, though, it’s clear to see why there’s so much buzz surrounding the artist...Because let’s be honest, she’s royalty-tier now.
I urge you to merely behold the cover of Vibration Animal Sex Music to revel in its bizarre barrage of snakes and apples – the love supreme of biblical partners in crime.
City Sun Eater In The River Of Light reaffirms the band hasn’t run out of steam yet, instead emphasising and improving on their best elements
New West Records - February 26th Aside from the introspective confessionals of the early Seventies West Coast folkies, has any musical generation sounded so glum?...
Each one is beautifully imagined and superbly executed, as if Holden was leading a kosmische caravan through uncharted territories of long-form funk and jazz.
Following on from 2015's Death Magic, Vol. 4 still packs a fair punch, but once more redraws the lines of what to expect from this atypical heavy band in 2019.
It's demanding music, but it sounds like they needed to make it.
The Chicago producer's latest is perfected not just in the odd combinations of skittering snare fills, bleeps and pulsating ambient washes – but in the way he’s mixed it, with each element cleverly balanced and holistically intertwined
The band’s name has changed; their status as untouchable standard-bearers of modern post-punk excellence has not.
This seismic anniversary prompted veteran music-maker Brian Eno to revisit his flawless Apollo soundtrack and create an album’s worth of new material. He needn’t have bothered – Apollo was already regarded as an ambient masterpiece.