‘A Dream Outside’. The title of Gengahr’s debut album kind of says it all. This is a band whose sights are set firmly on making the sunshine; drenching this summer’s festival audiences in their shimmering, immersive soundscapes. Opening cut ‘Dizzy Ghosts’ sets the tone nicely – all fuzzy guitars, snappy
On her previous two albums, Beth Orton gave the distinct impression that she had fully abandoned the chill-out room tinges of her early work and reinvented herself, very convincingly no less, as a straight-up, no-nonsense proper folk musician. It came as a surprise, then, when it was announced earlier this
From touring with electronic american duo Odesza to wing-manning his pals by being a mutual like on tinder, KAASI is taking deep house by storm. With a a twitter bio ‘Less is More’ you can already sense his music will be simple yet well executed. Deep house needs a constant
Messrs. Pseudo and Nym would imagine that Heaven – the gay club – has seen some special nights. Given how instrumental (pun fully intended) the gay scene has been to the development of house and its subsequent splinter groups, it is no surprise that the arches have hosted a who’s
Still riding the eve of adoration it garnered back in 2013, it has probably come as no surprise to Ofei that this rendition of his debut track has already been so well received. East London singer, songwriter and producer, Ofei, joins Youngr in the studio to perform a live version
Trip-hop. A peculiar pastime involving rabbits and tiny snares. Also a fusion of acid, hip-hop and ambient. Both, thought Messrs. Pseudo and Nym, were forever confined to a dustier and less RSPCA-friendly corner of their library. Yet Ludovico Schilling, the eponymous and textually indecisive SCHiLLiNG, and his new LP Last
Back in circa 1524 or whenever the hell it was, the leather-jacketed rock critic Lester Bangs wrote that Lou Reed’s Metal Machine Music was the perfect medicine for worst kind of hangover because “when you first arise you’re probably so fucked (i.e. still drunk) that is doesn’t even really hurt
Joel Sarakula’s The Imposter is a brilliantly hewed album overflowingwith 1970s soul influences and streams of 1960s psychedelia. Originally from Sydney, Australia, Sarakula is now based in London. The retrograde album is a revival of everything wonderful about the ‘70s music scene and with a resurgence of psychedelic rock right
What’s your favourite double-album? Physical Graffiti? The White Album? Something by Mike Oldfield? Fair enough. Now what’s your favourite double-album specifically from the noise music genre? Merzbow’s Frog? Skullflower’s Strange Keys To Untune Gods’ Firmament? The New Form Of The Organic Machine by the gimp-masked Finnish electro-deafener Grunt? It’s hard
Its promotional material states proudly that Dumb Flesh is “A comment on the flaws of the human form in its current evolutionary state. The frailty of the human body naturally became a resonant and inescapable part of the album’s gestation” – which is the kind of thing you might read
