• John Grant – Love Is Magic

    October 14, 2018 - By 

    Upon first listen to an album that flits between seemingly whimsical matters of broccoli and cheese sauce to diet gum and hot Brazilian boys, one would be forgiven for merely scratching its surface. It’s only on the second and third (and fourth and fifth) listen to Love Is Magic, John Grant’s fourth studio album as a solo artist, that true appreciation can be found. After the sheer wackiness loses its immediacy, the authenticity of Grant’s latest body of work becomes more apparent and the world is given a whole new way of experiencing the American musician. It’s his most electronic…

  • Saint Sister – Shape of Silence

    October 12, 2018 - By 

    It’s hard to believe that we’re only now hearing Saint Sister’s debut album given how quickly the duo have grown since their 2014 debut single, both at home and abroad. Shape of Silence is a cohesive and carefully put together album, and awe inspiring as a debut release. Drenched in traditional celtic and folk influence, but with a hint of electronic indie-pop, Saint Sister have etched out a niche in today’s Irish music, and they’re an act that we should treasure. Many of the tracks here are previous releases, including the song that first brought attention to the pair, ‘Madrid’,…

  • Phosphorescent – C’est La Vie

    October 10, 2018 - By 

    Matthew Houck’s brand of roaming, questing country rock veers firmly into The War on Drugs’ crossover territory with Phosphorescent’s seventh record. Stark, bruised hymns of desolation such as ‘Wolves’ from Pride, or teary travelogues like ‘Mermaid Parade’ found on Here’s To Taking It Easy are not in supply here. After the short instrumental ‘Black Moon/Silver Waves,’ the opening lines of ‘C’est La Vie No. 2’ say as much: “I wrote all night/Like the fire of my words could burn a hole up to heaven/I don’t write all night burning holes up to heaven no more.” Unsurprisingly, the all-conquering ‘Song for Zula’…

  • Sea Pinks – Rockpool Blue

    October 9, 2018 - By 

    With the difficulty of making a proper living from music these days, it’s not uncommon to see the release schedules of bands on the more DIY end of the spectrum slow right down as they’re increasingly forced to balance music with work commitments and other general life admin. And yet, with the release of their seventh album a mere eight years on from their debut, Belfast’s Sea Pinks may surely by now have overtaken even Dublin’s No Monster Club for the title of Ireland’s most prolific band, and while one could be forgiven for assuming a case of quantity over…

  • Sleaford Mods – Sleaford Mods EP

    October 8, 2018 - By 

    When it comes to Sleaford Mods, there are two very distinct types of people in the world. Those of us who find ourselves instinctively drawn to the visceral fury and elusive musicality of the band’s butt ugly beats and those who struggle to separate the band’s sound from that of a Dragon Soup fuelled brawl out the back of an east Midlands lock-in. The duo’s excellent new EP is unlikely to challenge either camp’s perception… But this seething carnival of misplaced rage, artful profanity and darkly comic tales of divey bars and twitter feuds combines to create a vibrant rebuttal…

  • Exploded View – Obey

    October 3, 2018 - By 

    Exploded View are a band on a steady ascent. Formed a few years ago in Mexico City by Welsh-born, Berlin-based Anika in order to perform songs from her 2010 solo covers album on a tour of the country, the new group’s natural chemistry lead to 2016’s eponymous debut, an album of stellar original material influenced by “Can, dub and political revolution” on the ever reliable Sacred Bones label.  Coming seemingly from  out of nowhere, the album flew a little under the radar at first, but last year’s EP Summer Came Early, with its unusually catchy, breezy title track – albeit…

  • Wild Nothing – Indigo

    October 2, 2018 - By 

    It’s difficult to listen to a Wild Nothing record and not think of Gemini, Jack Tatum’s 2010 debut. Not simply for nostalgia-induced reasoning, though the record’s dreamy ambience may lead one in that direction. Rather, Tatum himself won’t let us forget Gemini. While there’s nothing wrong with self reference and a narrative of progression throughout an artist’s lifetime, Indigo and the previous two Wild Nothing releases – Nocturne and Life of Pause – are overshadowed by that charming debut and Tatum does himself no favours in trying, quite half heartedly, to move on. When Gemini was released to the world,…

  • Max Cooper – One Hundred Billion Sparks

    October 1, 2018 - By 

      There are few artists who occupy the middle ground between music, science, art and technology quite like Max Cooper. The Belfast-born producer’s repertoire often portrays complex scientific theory through the medium of sonically beautiful shapeshifting electronica. Shaped by his studies in computational biology and genetics, One Hundred Billion Sparks is his first full length album since Emergence in 2016, and documents Cooper’s search for artistry amongst the mechanisms, emotions and constructs which yield identity and experience. Crudely put, individuals are distinguished from one another by their differing combinations of one hundred billion neurons, each of them capable of creating…

  • Low – Double Negative

    September 29, 2018 - By 

    In a world that loves labels, being unclassifiable can be a heavy cross to bear… Long lumbered with reductive and largely meaningless tags like “Slowcore” (or worse still “Sadcore”), Low’s elegant sound has all too frequently been banished to the realms of what Jack Black’s character in High Fidelity might have dubbed “Old, sad bastard music”.   Such curt dismissal though, does a great disservice to Low’s intricate and deceptively chameleonic songs which, over the course of 15 albums, have run the gamut from chilly post-rock and spectral folk to buoyant indie pop, throwing in the odd The Smiths cover…

  • Christine and the Queens – Chris

    September 29, 2018 - By 

    Taking control over identity and self expression is a trait we saw so vividly when Héloïse Letissier initially broke onto the scene in 2016 as Christine and the Queens. Her androgynous fashion, tell-all lyrics and gusto along with her seamless flitting between singing in French and English made her the divergent pop star of the year. Where she boldly claimed ‘I’m a man now’ on Chaleur Humaine’s ‘iT’, the French performer continues to tackle gender binaries on her second album by taking on the identity of ‘Chris’. It’s an obvious forward step away from her debut with more funk and…