When you do something that is almost undefinable, how do you satisfy an intense demand for it? This is the situation Boards of Canada face on their new album, and it’s a testament to the cohesive creative vision the band have displayed over their career that they not only manage to meet the expectations, but in some cases exceed them. But for those who’ve been waiting for Tomorrow’s Harvest, there’s going to be a few surprises in store. Regardless of how you came to the band – long-term fan, or just swept up in the hype – Tomorrow’s Harvest…
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Queens of the Stone Age are easily one of the most reliable bands of the last 20 years. There is not a dud in their entire back catalogue and even the weaker entries would still appear on most people’s top 20 of the year. So it’s no surprise that their latest effort …Like Clockwork keeps up with this trend. It’s a monolithically heavy album that will kick you in the teeth and then gently cushion your fall to the ground. The first sounds of the record are of breaking bottles, warning the listener that shit is about to get fucked. We’re…
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A packed Black Box awaits the arrival of Lau, the atmosphere imbued with excitement and a sort of jovial expectancy. The band’s growing faithful are very much out in force tonight, as fervent applause greets them and the lights fade. Before long they burst into some stern, accordion laden folk. Approving glances go left and right from the guitarist at his band mates as they work their way through a pulsating opening number. The band have a good rapport with the crowd, sharing carefree quips in-between songs which are met with plenty of ironic claps and hearty giggles – particularly…
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Is Quadrophenia the greatest Who album? It’s a simple question asked of a complex album, one fans have debated and will continue to do so for many a year. It’s not the most successful, nor one who’s songs turn up in Best Of… collections, but it’s certainly the last really great Who record, and the one that typifies them as an ideal more so than anything they’ve done. Pete Townshend has always been the greatest curator of The Who’s past, and with Quadrophenia he created, shaped and immortalised the Who myth once and for all. For all its flaws, it’s…
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Self-proclaimed ‘sludge metallers’ Kylesa hail from Savannah, Georgia- the very same state that has given us Mastodon, Baroness and Black Tusk. While perhaps not making as many headlines as the aforementioned bands, Kylesa have stood toe-to-toe with each of them with past releases and are pushing away from the pack with their sixth album Ultraviolet. The band’s career path has seen them slowly rise from the murky swamps of Georgia, twisting and turning gradually with every release. Kylesa’s early albums saw the band wear its punk heart on its sleeve – albeit a sleeve still dripping with the filth of…
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“Love me, it’s a sin, can you see me caving in?” Don’t go into Majical Cloudz’ Impersonator expecting an easy ride. In fact, try not to go into it expecting anything at all – because what the Montreal duo have created here is something so difficult to pigeon-hole, something which is that much more rewarding if it’s approached with an open mind. There are no fireworks, no applause – with Impersonator, vocalist and lyricist Devon Welsh is bringing us into his personal expanse. He describes his creative process as more focussed on “stillness rather than movement.” It’s a rare example…
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It’s a curious truth that there is no justice. For proof of this incontrovertible fact, consider the cases of Daft Punk and Tieranniesaur. When the none-more-fashionable French duo recently released their ‘Get Lucky’ single, they were hailed as the saviours of disco music. Yet mere months before that, Dublin’s own left-field funksters had unleashed ‘DIYSCO’, a track in a not-dissimilar musical vein that was every bit as good, yet – lacking as it did some heavyweight guests and an irresistible marketing campaign – was inevitably met with a fraction of the acclaim. See? No bloody justice at all. Nonetheless, like…
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Laurel Halo originally emerged as a late starter in the much maligned chillwave explosion that took place a few years ago, although she could only be marginally associated with most of those acts. For better or worse, chillwave introduced a love of texture and ambience to pop music, allowing people to play about with concepts of time and temperature. Much of chillwave’s output captured a hazy, warm sound, redolent of infinite summer days on the beach, the kind of days most of us never had. On her latest release, Laurel Halo gives us something else. ‘Throw’ is all chilly, Balearic…
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Over the course of the past decade, Matthew Cooper has established himself as one of the finest contemporary ambient musicians, with each new Eluvium release showcasing his mastery of a different aspect of the broadly-defined genre. What we have with this glorious new double album is a distillation of every style he has explored to date into one fantastically ambitious opus; essentially, both the perfect primer for those unfamiliar with his work and a kind of ultimate Eluvium package for the converted. The first disc opens with Cooper at his most accessible. ‘Don’t Get Any Closer’ commences on a simple,…
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It’s been a long trek for The Dead Presidents, having been a power trio in their early years, suffering from lazy comparisons to Thin Lizzy due to frontman (and former bassist) Matthew Wilson’s charismatic – to say the least – onstage demeanour. Having released very little other than an early brass section-free version of the band’s signature tune ‘She’s Falling In Love Again’ prior to this EP, the Dead Presidents spread almost solely on word-of-mouth press throughout the local circuit, with the launch of this very EP packing more people into QUBSU’s Radar than any in recent memory. One of…