- 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
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.
What an astounding album. Styles range from lo-fi noise à la Broadcast to metal-meets-Lana del Rey to experimental distant-sounding noise to lovely guitar-based scaled-down rock. This is truly inspirational and too short an album, even though it clocks in at nearly 90 minutes of length. Wow.
'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
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.
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 lovely and weird mix between oddness and pop. It's composed and constructed a bit like a...Tetris game. ProTools-ed out, but in a good way.
The album starts out like something by Alessandro Cortini: slow-building, electronic, analogue, and then, in the second track, going into pop.
That kind of set me up for the album.
OK, I've heard it once, but I have to hear it again. This is a lovely album that can sate an unruly soul. I dig the orchestral bits, by the way. Feels like this duo like to collaborate with others and are really playful. I dig this.
This is an unsettling, spooky, fun, and disturbing album. Feels a bit as though Swans, David Lynch's writing, old-school horror films, and Einstürzende Neubauten had a kid together, as directed by Dario Argento and Lucio Fulci.