Niklas Pivic

The album cover describes the music quite well.

I've got a few fave songs on the album:

- God Gets You Back
- Fanzine Made Of Flesh
- If You Find This World Bad, You Should See The Others

Somehow, I've always linked Mogwai together with Explosions In The Sky, but that's really unfair. Mogwai songs are more predictable in structure, even though they do form differently from song to song; I mean, they're not predictable in a bad way, it's just how harmonies tend to flow in the same way.

The bare electric-guitar plucking that can start a track and then grow with reverb and a second guitar. Then, add synths. Add vocodered-out song. Drums. Distortion. Let the song… More

This is one of the best Swedish rap albums in the past decade.

The last track made me feel as though I were listening to GIRL TALK on speed.

Very nice neo-classical piano-led album. I really dig the inclusions of everyday items—coins jangling, walking sounds—and the composition of songs just...gel.

As though Teenage Fanclub had a baby with Alvvays, My Bloody Valentine, and Johnny Marr, this is a melodic and still down-low guitar-based rock album. Lovely to hear. Will re-listen.

Very nice mix that again proves that Garnier evolves as the years go by. This mix shows maturity, breadth, and fun. I've discovered quite a few artists and tracks due to Garnier.

I (probably erroneously) remember The Legendary Pink Dots as some kind of watered-down and less interesting version of Current 93. I'm glad to say my memory is damaged or, if it's right, the band is more interesting than ever!

Some of these songs are really lovely, for example, 'Darkest Knight', which is dreamy.

Altogether, the album just swept me into the band's own world. The production and sound of the album is really nice. Enveloping, nice, mature.

This is a nice and bubbly electronic album but unlike Minus's debut, Acts of Rebellion, this album isn't as fun, melodic, nor innovative. Instead of revolution, I feel consternation setting in. Minus is still a strong artist and I can't wait to hear her next album!

One of the strongest Swedish rock albums in recent years; good melodies, sound, song, but where they fall a bit flat are the tired lyrics and, ultimately, into the trap where some rock bands want to sound like their idols a bit too much (Oasis/The Beatles), something which doesn't lead to innovation.

Hyperpop meets screamo and a lo-fi acoustic guitar! Plus melodies back and forth. And some noise.

Surprisingly good! I feel that Saint Etienne have taken a few exciting steps forward. This is certainly not the work of a band that just rest on their laurels. Cracknell's voice is still lovely, but the atmospherics are pushing the envelope in comparison with what they did in the 1990s.

It feels like the cover of this collection says more about the album than is intended: the cover is likely AI generated.

I've always liked Röyksopp, and there are times during this album where they shimmer and produce stuff that's lovely, but this feels a bit phoned-in.

The spoken segments feel à la The Orb's ventures in 'Little Fluffy Clouds' and some of the songs just feel like watered-down versions of the originals, which are found in earlier releases.

Röyksopp can do just about anything in electronic dance music, so this feels like a bad interim-album move. Fingers crossed that they jump back soon.

Absolutely fantastic. A long compilation album of bird sounds and brilliant artists who've often collaborated with other artists to make songs. People like ANOHNI, Philip Glass, Bibio, Sarah Davachi, and Money Mark are just brilliant. There are a lot of readings in the tracks as well, all bird-based.

This is a fairly interesting soundtrack; it's not your garden variety boring plucky-strings-and-Downton-Abbey stuff, but more interesting, Pierre Boulez-type of shit. One can tell that Chalmin has collaborated a lot with Thom York on a lot of orchestral stuff on Yorke's solo albums.

An angry, hostile, and Irish album. The anger comes from a very good place and the music carries the message further than if only the anger or the music had been OK; they're both good. This is punk and hardcore, shouting with the listener at problems that mainly bear on Ireland.

I'm glad to see The Chisel, Benefits, and A Place to Bury Strangers being featured on this album. Very nice.

I really enjoy this old-school black-metal album! Nice melodies, dissonant chords, nearly a home-made feeling to it... While I enjoy the screams, the barytone vocal is like having AI write your wedding vows: it just shouldn't have happened, but fortunately, there's very little of that after the first two songs. Try this!

Another growing and visceral soundtrack from EITS, topped off with a brilliant cover of Woody Guthrie's song 'My Land' at the end. Works well as background music at work, even though I surmise it would be nice to consciously listen to.

A lovely continuation of Blanck Mass's soundtrack for the first series of 'The Rig', a TV programme. I like songs like 'Reunited' and 'Lights Out'; ambient pieces that remind me of BM's work on the soundtrack for 'Ted K' and also his wondrous album 'In Ferneaux'.

This is a great and scary soundtrack. It's amazing to finally hear it; this version is the real first release of the soundtrack of a film that's half a century old. The soundtrack is more fresh, alive, and experimental than a lot of soundtracks that are released today!

People might scoff at this 2h36m collection of Aphex Twin tracks, but his b-sides are better than a lot of people's a-sides.

This is no different.

From a Guardian review:

'Several tracks contain odd bits of Aphexian lore. The very jolly, extremely flanged hyperpop of T13 Quadraverbia N+3, is named for a cherished 1989 effects unit, and takes us back in spirit to James’s early days as a “bedroom bore” working in Lannerlog, his Heath Robinson-esque homebrew studio in his parents’ house in Lanner, when he was still only dreaming of changing the face of modern electronic music. And the regal drum’n’bass Spiral Staircase (AFX Remix) is the result of him secretly entering a magazine competition… More

Why hasn't anybody told me about this band before? You're all bastards.

;) <3

What a brilliant little spaced out album this is. Expect bells, country-ish out-there guitar, taped bits of spoken word from another galaxy, kids garbles...

Imagine William Burroughs hanging out with Sly Stone on ketamine. This is everything Primal Scream wanted to be on Give Out But Don't Give Up, sans beats and any kind of sellable rhythms. Expect very few vocals. This is some experimental good shit. Feels more country than country, in a way.

This is an unexpectedly good soundtrack. Don't get me wrong, I really dig Colin Stetson's music, but I think he's been a bit hit-and-miss in soundtracks before. This album is, in my opinion, pretty good throughout.

Any composer who uses plucky violin strings without sounding like a farcical reality-show-cum-Hannah-Barbera series is a winner in my eyes.

The flutes and horns reminded me a bit of Michael Nyman's work; I need to listen to McQueen right now.

What an interesting album; started all 1990s-type distorted-guitar rock, then turned Slowdive toward the end.

With songs like 'Sex Beat' and 'She's Like Heroin to Me', what could possibly go wrong? What derelict rock. The only band that could match The Cramps in my book, although they go together in very different ways.

My money says Nick Cave would have loved to have sounded like this when he was in The Birthday Party. My money also says Blixa Bargeld probably didn't give a fuck about this band and I could be dead wrong.

Also: this album cover=5/5.

My favourite soundtrack by Blanck Mass (so far) is Ted K. This album is better in some ways and just different in others.

This album breathes differently than Ted K. It's often calmer and mixes minor and major key-themes throughout the album. Not surprisingly, perhaps because Gazza had more ups and downs in his life than Ted Kaczynski, also known as Unabomber.

Blanck Mass is one of the great so-far underappreciated electronic-music artists of our time. This is proof of how very, very good he can be.

I knew nothing of Klara Lewis before starting to listen to this album.

After a couple of songs, I wondered what the hell I'd gotten myself into.

The first part was nearly pop-ish; the end was something like Primal Scream mixed by Kevin Shields: noise, mayhem, oblivion, destruction, fast winds through broken metal sheets.

This is a very pleasant surprise!

It's hard to review this album. Gould worked and reworked Bach during most of his life. When he first hit the scene, he played Bach differently on recordings and live, differently than most other pianists, definitely with more verve than most others, due to his wondrous technical skills but also without any fucking care about being subservient to God, meaning Bach.

This is a collection that both serves as a plain painting of Gould's brilliance as a piano player but mainly in showing how differently he played materials that are largely considered to be above its players; when hearing Gould play, I think its evident he's on par with Bach. Sure, Gould interprets what another person gas composed, but damn… More

The last piece, the nearly-one-hour-long spoken-word piece felt like a thing of its time... From the 'hip' studio technician down to the British-English ultra-posh man who constantly spoke down to the female interviewer... Wow.

I'm surprised by this album. I'm not a Pavement fan, but I am a fan of Silver Jews and Purple Mountains, if that counts.

I really like Stephen Malkmus's vocals. The production is nice. The songs seem to have been the main objectives on this album: all people involved for the best of the individual tracks, more than 'let's just make music because we like each other'.

I can't remember a single melody of a single song on this album, but I've listened to it twice over two weeks. I rarely revisit new albums but I will relisten to this album. Mmm-good.