Browsing All posts tagged under »post punk«

Various Artists – Album Roundup

September 4, 2013


We’ve all seen some pretty rough justice in the wake of global capitalism’s recent crises, but Greece has suffered worse than any other part of the developed world. The Figures Of Enormous Grey And The Patterns Of Fraud appears to be a response to these circumstances, although it’s too complex an album to be pinned down quite so glibly. Choral voices are layered with a complex variety of rock textures, ranging from post-rock atmospherics, through mathy convolutions to heavy prog riffing. It’s the big epic sweep of things that tends to predominate, rather than the individual voice or the…

Diane Marie Kloba – It Is All An Illusion (avant-pop)

July 10, 2013


Diane Marie Kloba’s music, on this and the four albums that have preceded it over the past decade, is made out of recognisable stuff, and works in a recognisable way. Imagine a house: it’s made of bricks, timber, roof tiles, glass, all the usual stuff; it’s structurally sound and weatherproof; it has features, like doors, windows, gables and all the rest of it, that look like those features usually do. But imagine that they all meet at crazy angles; that the doors are upside-down, or leaning on their sides; that the conventional notion of visual proportion, that makes almost every domestic dwelling …

Various Artists – Singles and EPs

May 8, 2013


Positive vibes abound on this perfectly formed EP produced by the estimable Rich Huxley, whose main gig Hope And Social sits in exactly the same affective territory; clear-sighted optimism is the order of the day, and because the songs are notably lacking in trite sentiment or spurious closure the effect is genuinely uplifting. The musical engine that drives the feeling is a light but deep acoustic groove, which swings hard with an upbeat lift on even the most laid-back of the tunes. The band is locked in so tightly that it’s hard to credit how relaxed they sound, and the dynamics are shaded and weighted with real sensitivity; the mix strikes a perfect balance between separation and integration, or more to the point, it has a shedload of both, so although

Buke And Gase – General Dome (indie rock)

January 21, 2013


Buke And Gase armour themselves in symbols; the inquisitive listener’s eye, probing the album’s packaging for keys to the music’s meanings may find some affective affinities between its appearance and the sound (that’s a matter for their own aesthetic conscience), but its gaze will be reflected, denied admission by the obviously meaningful but unyielding glyphs that adorn it. The duo have announced that clues to assist in the decoding of their bespoke graphical alphabet will be meted out on their website once the record is on general release, but in fact everything you need to crack the code is right there on the cover (I have to thank my daughter for spotting the album title, from which everything else fell into place) …

Caution Horses – City Lights (pop-rock)

June 11, 2012


The songs on City Lights are tightly orchestrated in guitar driven arrangements of a sort that might be attract the irritating descriptor ‘soft rock’, but sound more to me like a species of post-punk, à la Joe Jackson. A prominent, mid-rangy bass weaves sinewy counter-melodies through a weft of cleanly recorded and crisply played drums, while bright and rhythmically precise (acoustic and electric) guitar fills out the harmony; a variety of other elements are added to this basic structure, such as analogue synth and multi-tracked trumpet in ‘Sound of America’, a guitar and scat unison solo in ‘Letting Go’, electric piano and flute in ‘So What?’ or organ in ‘Start A War’. On paper that sounds like a recipe for an elaborate mess, but …

Various Artists – Album Roundup

May 17, 2012


Serious pop music: I love it. Of course most pop music has been made with a serious attention to getting the sound right, such as it is, but then there’s the stuff that applies the language and sensibility of pop to its chosen themes in a manner that looks way beyond the superficial concerns of the mainstream. Obviously the ‘popular music’ label has ended up including tons of stuff, such as extreme metal and progressive rock, that have pretty much nothing to do with pop, but while DIN Martin’s filigreed post-punk is hardly in the pop mainstream (and is certainly a lot more gloomy than anything that charts these days), but there’s still something distinctly pop about this.