• Algiers – There Is No Year

    January 30, 2020 - By 

    One thing that you can’t fault Algiers on is the fact that they know how to start all guns blazing. The title track and album opener for their latest LP, There Is No Year, grabs you by the lobes in the first few seconds and does not let go. It’s pulsating and bumping and filled will an anxious, impassioned cry over a world that is too far gone to save. Franklin James Fisher’s vocals oscillate between a soulful croon and desperate warble over a rip-roaring death march. Your blood begins bumping, things begin to coalesce and the feeling that your…

  • Duster – Duster

    January 25, 2020 - By 

    It somehow seems fitting that San Jose slowcore outfit, Duster, would come back from the dead to release an album on the penultimate day of the decade. Nearly 20 years since their last LP, it’s a move that reflects the same elusive and distant feeling their music evokes. Like Duster’s two previous albums, Stratosphere and Contemporary Movement, the tonal theme of outer space is heavily present and with the opening track ‘Copernicus Crater’, that theme is picked right back up. Setting out the cosmic manifesto early on with a driving  bassline and a gloom laden guitar that really makes you feel like you exploring an other worldly geographical feature. Tracks like ‘Hoya…

  • God Alone. – God Alone

    January 20, 2020 - By 

    Genre is a tricky thing. While useful for an audience looking for a labelled path to expand their listening, the idea of slapping a label on your music chafes most artists. This can be especially true for metal acts; given its highly specific sub-genres,  it is hard to not be boxed into one or the other. Cork band God Alone. are aware of this, and on their self-titled second EP they demonstrate their grasp on a variety of different styles to avoid any easy categorisation. Opener ‘Feeling on Tic’ is, by a large margin, the heaviest song on the EP.…

  • Field Music – Making A New World

    January 18, 2020 - By 

    One of the under-discussed merits of living in the post-streaming age is that musicians are limited only by their ambition. It used to be that if your label hated your record you either had to bite your tongue and make it more commercial or try to wrangle out of your contract and sell it somewhere else. But now that those Goliaths are largely gone and anyone can host their music for next to nothing, the sky’s the limit. This is an idea which prog-poppers Field Music have embraced wholeheartedly on their seventh album, Making A New World. This LP is…

  • Maija Sofia – Bath Time

    January 5, 2020 - By 

      The best albums are like books. Each song should act like a chapter, with a clear purpose at the core, laying foundations to the narrative flow. This may sound simplistic, but it’s an achievement only a handful of artists can lay claim to. Maija Sofia is one of them. The Galway-born singer-songwriter began writing her long awaited debut Bath Time while living in London, before recording it upon resettling in Ireland. By writing over extended chapters of her life, Sofia never had any intention to produce a concept album, but found herself with a collection of nine tracks informed by her…

  • Mount Palomar – The Perils Of Youth

    November 11, 2019 - By 

    For those with a finger on the pulse of Ireland’s eminently reputable electronic music scene, Neil Kerr’s Mount Palomar alias and output – though in its semi-infancy – should be fairly familiar by now. With a burgeoning homegrown fanbase and increasingly frequent overseas appearances in the likes of Panorama Bar, Kerr’s development as an authentic purveyor of the analog has been a refreshing expedition to observe. While his debut offering Black Knight’s Tango saw the Falls Road native looking up and gazing into the endless cosmos beyond the nocturnal orange haze of inner city Belfast’s streetlamp sky, The Perils of…

  • Kim Gordon – No Home Record

    November 5, 2019 - By 

    “The way the word ‘empowered’ is used makes feminism more digestible … I wanted to make work that was maybe less digestible.” This was Kim Gordon in conversation with Sinéad Gleeson at Dublin’s Light House Cinema this past July, having launched an exhibition of her visual art at the IMMA entitled She bites her tender mind. Its title is derived from one of Sappho’s fragments, connecting the project to the ancient poet’s evocations of feminine beauty and desire – while also nodding to the broken-down language that has consistently graced Gordon’s own work, in both her coolly minimalist lyrics and the shredded phrases…

  • Battles – Juice B Crypts

    October 30, 2019 - By 

      To paraphrase Oscar Wilde, to lose one band member may be regarded as a misfortune; to lose two looks like carelessness. When Tyondai Braxton left Battles in 2010, fans were worried. Although the quartet had started out as an instrumental unit, Braxton’s distinctive pitch-shifted vocals had become the focal point of their acclaimed debut album Mirrored, and with his departure, expectations for the follow up plummeted. They needn’t have worried, as with the help of a few guest vocalists (including none other than Gary Numan), the band’s second album Gloss Drop was more than a match for its predecessor.…

  • Elbow – Giants of All Sizes

    October 24, 2019 - By 

    Bleary-eyed and broken, Britain is bumbling from one disaster to the next. Social and demographic fractions, impending irreparable gulfs, rogue leaders contorting the political landscape, unthinkable shapes… Dead ends. Anxiety levels are at tipping point. Right on cue, an Elbow record – the audio equivalent of popping the kettle on, right? Wait for it all to blow over. Buoyancy. Optimism. Warm northern accents. Community. 40 minutes of escapism from the shitshow going on outside. Sink in. Press play. There’s a crunching bassline. Stomping drums. Despair. Hang on. “And I don’t know Jesus anymore”. Uh-oh. Pause. Check for scratches. No scratches.…

  • Big Thief – Two Hands

    October 21, 2019 - By 

    Two hands is the second album from Big Thief this year, following the sublime U.F.O.F. back in May. Despite such a brief interval between both albums, these “twins” reside in polar geographies; the former fixating on voyeuristic distance and disconnection, while the latter roots itself in a close and uncomplicated familial structure. There’s a desire for domesticity in Two Hands, which manifests in multiple ways, but is accentuated in the way the album was recorded almost entirely live, save a few overdubs. Bringing this raw, marked sound together with multi-faceted lyrics to explore internal uncertainties and societal grievances, Big Thief harness intimate…