April 30, 2011
This is a record drenched in the seventies, literally dripping with honeyed, soulful, in-your-face, grinning disco lurve. I mean, look at the cover. Quinn Luke is a man who lives his creative convictions (or knows exactly how to give his audience the impression that he does). These songs are full of that wonderful fusion of the sexual and the spiritual that defined the best of the disco era.
The difference between the electro-industrial and powernoize genres can sometimes be no more than the degree of distortion involved. Much of this album’s beats and song structures could have sat quite happily on Matt Fanales previous Caustic release ...And You Will Know Me By The Trail Of Vomit…
Naplew Productions, 2010, DD album, 29m 8s, £name your price (all proceeds donated to the charity Women’s Aid) http://m-s-b.bandcamp.com/album/orange-peel-and-paper I’ve been lucky enough a few times recently to find myself reviewing music that’s motivated by a creative generosity. This is not to say that it involves any expectation of gratitude, but simply that it is […]
This bold, confidently gestural and slightly glitchy visual design seems to represent in a very appropriate way the sounds it promotes: even the title perfectly evokes the assembly of phrases that the album contains, and with it’s echo of ‘truisms’, its creative intentions, if I read them right.
April 23, 2011
self released, 2010, DD tracks, free http://www.facebook.com/echorainofficial http://www.liveunsigned.com/Echo_Rain/ Echo Rain picked two tracks to send me, although there are several more on their Facebook page: one of the two reviewed here, ‘Hold On’, has a download button. The first thing I’ll say is that this is beautifully recorded and mixed, with some really juicy instrumental […]
April 23, 2011
Sometimes possessed of the dramatic bombast of its prog roots, and drawing its stylistic features from all over, this music mainly takes the textural approach characteristic of post-rock. It most resembles the traditional sounds of progressive rock on ‘Oceans Away’, the third movement of this three part composition, particularly in the lead keyboard parts.