Somewhere between the realms of indie pop, progressive, and space rock dwell a group called Lazer Kitty. The Seattle group, who claim to make soundtracks for the cosmos, call their sound ‘acid improg’, and while it may be an oddball heading, it’s a fitting one for the trio’s mixture of spaced-out soundscapes and power rock.
Laika is an exhausting EP. Skeletal, void of meat, it strips Wil Wagner down to his cracked bones, and it’ll do the same to anyone who listens to it.
The new-era post-hardcore (or ‘wave’) scene, built upon the foundations that La Dispute et al built, has been a key jot on the timeline of modern music. Taking traditional hardcore punk elements and entwining them with melodic song structures, often with impressive technical finesse, the core of these bands has always been the release of emotional energy.
Whether you think The National are boring self-pitiers or not, you can’t deny how consistent they’ve been. With a career that now spans fourteen years and six albums, their reputation precedes them, and heading towards the release of Trouble Will Find Me fans have naturally formed high expectations.
After the universal critical acclaim that was bestowed upon Midnight Organ Fight for its achingly honest lyrical display and delicate musicianship, the Selkirk group somewhat stumbled with their follow up, The Winter of Mixed Drinks. Production felt too grandiose for the message, and the message seemed less sincere than before; the struggles of having a larger (and more expectant) fanbase had evidently taken their toll on song-writing mastermind Scott Hutchison.
The opening track of Wolf’s Law begins with 45 seconds of beautiful, swelling strings that are both pretty and haunting. In this time, I started to think that, perhaps, The Joy Formidable had produced a cinematic, intricate, well-constructed album that would propel them to superstardom.
It’s true, …and silence anchored our feet in granite isn’t a brand new release. It’s some months ago that Dresden-based Continents. unleashed it, but since I was only introduced to it recently and it happens to be an EP of tremendous emotional weight, I’ve decided to write about it anyway.
Ah, Amenra, Belgium’s best export since the saxophone. For those that don’t know, they play an extremely unforgiving, crushing, bleak, riff-heavy, doom inspired form of post-metal, and they play it really, really well.
As the title might suggest, The Lovers is a wholly intimate record, but these lovers aren’t entwined underneath bed sheets or fused by a warm embrace. They have been driven apart, drained of their colour and resigned to the shadows.
It’s not long into Machinist!’s Black List EP that you start to feel a warm nostalgia wash over you, like when you’re shopping for food supplies and find a box of cereal you thought they’d stopped selling, or when you glimpse a dusty Street Fighter II Turbo cab in a cinema.