Search Results for: label/Magical Music Roundabout

Review: M O T H X R, Boston Music Room.

…r again – albeit in a live environment. Of course, Badgley is not the first actor to quietly embark upon a queer music career, with Ryan Gosling and Zach Shields garnering a not insubstantial amount of acclaim for their quirky works as Dead Man’s Bones. But live shows, in that particular instance, came at something of a premium and as becomes quite apparent quite instantly, tonight isn’t necessarily all about the music, man. This is thus less M O…So on & so forth…

Review: Field Day 2014.

…m the instant standout from last year’s The Inheritors into an ineffably brilliant, mantric jam. Live electronic music at its very best, both exigent and indeed excellent as Moore before it, this – or so it would seem – is what The Acid are reaching for. Similarly insistent, if not incessant, is the Hi-NRG dabke of Syria’s Omar Souleyman. Having produced his most recent collection and Ribbon Music début, Wenu Wenu, Kieran Hebden dutifully watche…So on & so forth…

Interview: Let’s Grow, Gulp.

…ve been born this side of border has some special gene that gives them [a predilection for] a particular kind of music.” But cognisant of his beginnings, he recognises that he is something of “a product of a scene I grew up in, which is the ’Furries, and Gorky’s, and music with a psychedelic pop leaning to it.” He continues to tell of how Leven first wound up in Cardiff partly due to her enduring penchant for the ’Zygotic Mynci, as well as the ’F…So on & so forth…

Review: Wireless Festival 2014.

…stined never to outgrow the dross that’s now known as his stock-in-trade… “I definitely wanted to become a musician” said Italo disco godfather, Giorgio Moroder of Giorgio by Moroder. “Not only play music, but compose music” he continued, although this afternoon, not only does he solely perform the former, but he totally desecrates his own legacy in a little under an hour as well. Post-Angel Haze, the Pepsi Max Stage empties considerably, c…So on & so forth…

Joining the Dots: “Beware the Jabberwock, my son!” Jabberwocky Fallout.

…point that, in spite of the ire (justifiably) thrown the way of ATP this past weekend, its employees are devout music fans and aficionados who work harder than many, for less than most, in order to host what have by and large been not only memorable, but frequently magical shows in their fifteen-year history. I can of course understand, and completely empathise with those who were left out of pocket when refunds were anything but forthcoming, an…So on & so forth…

Interview: Babblin, Celebration.

…OK.’ I wasn’t gonna turn down the opportunity to work with these guys, ’cause they’ve changed my opinion on the music business, and the people who do it, completely. They are just such genuine sweethearts, and music lovers, that I’m just happy to be friends with these people, y’know? It’s cool; it’s totally different.” Reverting to the record itself, rather than the label, Razor’s Edge – the first track, and indeed the most recently conceived –…So on & so forth…

Interview: Hangin’ On, Sean Nicholas Savage.

…trying to do a throwback…” Of that there is no denying, and nor can his self-diagnosed identification as a musical pariah in kind be cogently refuted: “I’m sort of an outsider right now – I’m not really pop music today.” He continues, conversely recalling the “indie influence” of Summer 5000, likening old albums to photographs taken at a similar time. “You’re always gonna look back and be like, ‘Oh my God – look what I’m wearing!’ But it’s…So on & so forth…

Interview: This Is My Hand, My Brightest Diamond.

Bearing the burden that is “a little cold, in the heat” of a London July, Shara Worden – pseudonym My Brightest Diamond – sits nursing a warm beverage at the window of Vagabond, Stroud Green Road. The incessant stream of cars outside, largely blurred into one homogeneous, metallic clump as each is refracted through moistened air, seems a world away from the oneiric realms in which Worden’s music resides. Indeed, her every body of work feels not…So on & so forth…

Review: Zammuto, Anchor.

…e Books; at times, it doesn’t only approach perfection, but flirts with facets of conventional pop, or ‘popular’ music, too. Examples of this are plentiful: from the coquettish Hegemony, that loosely recalls expressive bebop re-viewed through a Dirty Projector, to opener Good Graces – a proto-lullaby that proves faintly redolent of those more fragile Nine Inch Nails instances – although parallels with label exec-bonking, Billboard-frotting phenom…So on & so forth…

Review: Phantogram, Voices.

Emerging players amid the indietronica zeitgeist, Phantogram and their self-proclaimed ‘street-beat’ stylings couldn’t be any more ‘in’ right now. They look the part, appearing like a bohemian’s answer to Beauty and the (beardy) Beast, and they sound it, too. With its alchemical blend of crystalline vocals, head-bobbing beats and J Dilla-evoking samples, Voices is an unquestionably trendy album. But it’s also dull. So very dull…So on & so forth…