• Tacocat – Lost Time

    March 30, 2016 - By 

    On first impression, Tacocat is a very unfortunate group. With their vaguely cutesy palindromic name and a clear sense of irreverence, they appear to be disciples of the worst kind of “lol, random” sensibility; the sort of Youtube videos and Tumblr posts that make you want to peel your skin off. On their most recent LP, Lost Time, the haphazard references to X-Files and REM don’t really do much to quell these concerns and, on initial examination, there is a sense that all they are is a flashy bit of fluff. While there is definite merit to that primary reading,…

  • Sheer Mag – III

    March 28, 2016 - By 

    Sheer Mag are essentially the Jackson Lo-Five; that’s not meant as a term of derision, rather one of the endearment. They’ve taken the best parts of the Jackson Five, which would be Michael’s vocal melodies, wrapped it up with early 1970s classic rock and punk music and filtered it through early 1990s lo-fi recording a la Pavement or Beat Happening. While there’s no denying that it is a great deal of fun, the group’s previous singles are a testament to that fact, with their most recent 7 Inch release, III, it’s becoming apparent that are signs of strain in their…

  • Underworld – Barbara, Barbara, We Face a Shining Future

    March 21, 2016 - By 

    “Barbara, Barbara, we face a shining future”; these were some of the final words spoken by Underworld frontman Karl Hyde’s father to his anguished wife on his deathbed. It’s a simple, yet beautiful phrase brimming with melancholic hope. Underworld’s decision use this as the title of their ninth studio LP, their first in sixth years, makes a great deal of sense as it not only works as a tribute to Hyde’s father but also as the rosetta stone to understanding the whole disc. Every song on the record has this genuine sense of foreboding and menace, manifested in the form…

  • Dead Stars – Bright Colors

    March 14, 2016 - By 

    A four note, staccato bass opening can’t help but throw you head first into Pixies territory. That niche was so intricately carved that even gesturing towards its opens up the floodgates to a whole host of connotations and comparisons that the majority of bands who do so buckle under. But Dead Stars opt to do so on the inaugural track of their second LP, Bright Colors, and you can see why. It’s a fitting place to begin, the group’s sound is entirely indebted to Frank Black as well as Evan Dando, Rivers Cuomo and Fountains of Wayne. There are shifting…

  • Emmy The Great – Second Love

    March 9, 2016 - By 

    Second Love, the new LP by Emmy The Great and her first in five years, is secure enough to know exactly what it wants to be. The title, which by design immediately evokes her 2009 debut First Love, implies this continuation and growth that runs deep at the core of the album. Musically, ETG begins moving away from the acoustic folk styling which characterised her earlier releases in exchange for a more minimalist electronica. While the record as a whole is a very mixed bag, what shines throughout are the lyrics, which still retain the incisive power of her debut…

  • Big Ups – Before A Million Universes

    March 11, 2016 - By 

    Of all the notions one can fling at post-hardcore, the much maligned and misattributed genre, it does have one undeniable strength: tension. The key songs in the genre’s oeuvre are not built around a typical rock structure of verse-chorus-verse, but rather on a more fluid, almost progressive structure that emphasizes the disquiet over all else. It’s best envisioned like a constantly tightening torture rack, constantly ratcheting the tension, keeping the listener in this state of unease and the brink of real discomfort before discharging in the most cathartic manner possible. It’s one of punk’s hydra heads taken to its logical…

  • Santigold – 99¢

    March 7, 2016 - By 

    Lousy Smarch weather! We’ve got Baltic temperatures, snow and whole host of other Winter wonderland treats that we were supposed to piss off back in February that have opted remain, ratcheting up the March misery. It’s cold and overcast and what we need is some good straightforward fun; fortunately, Philadelphia’s Santigold has kindly provided her new album, 99¢, to help get us through this tough time. The album offers up twelve slices of delightful poppy, reggae-tinged electro-pop songs that help to blast away remnants of the winter blues and, except a handful of cuts which should have been culled, the…

  • The Gloaming – 2

    March 3, 2016 - By 

    We’re fast approaching the centenary of the one of the most significant events of contemporary Irish history, but we all know that with all the ceremony and pomp comes memorials for a handful of inflated personalities and footnotes for the rest. What if we dropped the politicism and the commemoration of a failed rebellion and instead focused on one of the key tenets behind the act: culture. So many of the key figures were artists, writers and poets, striving to tell the tales of the land in their native tongue and yet we’ve opted to sideline that part of the…

  • Wolfmother – Victorious

    February 22, 2016 - By 

    Does anyone remember how Wolfmother was tipped to be the “saviour of rock n roll” about ten years ago? How they were supposed to recapture the debauchery and majesty of the halcyon days of Tony Iommi, Jimmy Page and Angus Young and take rock music back from chic indie kids. While their self-titled debut was an enjoyable romp with real barnstormers on display, by the time their follow-up rolled around the band had all but lost their momentum and stardom. You can point to a few reasons for this: loss of two-thirds of the band in between the first and…

  • Choir of Young Believers – Grasque

    February 19, 2016 - By 

    There is a deep chill at the heart of the new Choir of Young Believers record, Grasque. Falling into that same niche as John Grant or Shearwater, the group has opted to set aside their more orchestra and folkier affectations in exchange for a more detached, electronic sound. Every human element, bar the vocals, is toned down to the point of non-existence. Strings are swapped out for synths or modulated and warped into something mechanical. When the emotion finally arrives in the form of Jannis Noya Makrigiannis’s voice it’s muted and confined yet yearning like less falsetto Jonsí.  Atmospherically, it seems…