Search Results for: label/Review

May

1st: Plastic Mermaids, The Lexington [REVIEW] 2nd: Devendra Banhart, Barbican Centre [REVIEW] 5th: Gruff Rhys: American Interior, Soho Theatre [REVIEW] 6th: Tennis, Oslo [REVIEW] 7th: Elephant, Bethnal Green Working Men’s Club [REVIEW] 8th–10th: The Great Escape feat. Future Islands, Little Dragon, Klaxons, Arthur Beatrice & East India Youth, Brighton [REVIEW] 12th: Courtney Love, O2 Shepherd’s Bush Empire [REVIEW] 14th: Yann Tie…So on & so forth…

Review: Caribou, Our Love.

For these past four years or so, Dan Snaith has had to put up with the unenviable task of having to live and breathe in the slipstream of Swim – Caribou’s widely revered, and indeed wonderful breakthrough release of 2010. Of course, the London-dwelling Canadian has never been one to rest on his laurels, and has toured incessantly, reconfigured the similarly celebrated Caribou Vibration Ensemble and inaugurated his very own label, Jiaolong, since…So on & so forth…

Review: Merchandise, After The End.

From the very moment that Floridian (then-)three-piece Merchandise first began to make waves on this side of the pond, it became apparent that we were dealing with a good band. However, with After The End – their first full-length effort to have been released in cahoots with seminal UK indie label, 4AD – it would appear we’re contending with what is an incontrovertibly very good, if not a great one. ‘The project’ may be ‘equal parts punk misanth…So on & so forth…

Review: M. Ward, Islington Assembly Hall.

Famed for his collaborating with maudlin American sweetheart, Zooey Deschanel but fawned over in these rather more low-key quarters, it’s little surprise that M. Ward had little trouble selling out north London’s Islington Assembly Hall. And, on a resplendent, if sweltering evening, the likes of Fuel For Fire and Chinese Translation sustain the adulation that the Californian songsmith commands these days. Barmen and women scuttle, flustered, bet…So on & so forth…

Review: Zammuto, Anchor.

‘Alternative.’ It’s a funny, if not farcical way to refer to music – suggestive of both abnormality and peripherality, to who or what is it the ostensible ‘alternative’, and above all, why is it so? I would imagine that nigh on, if not every artist who we feature on a quotidian basis can be considered ‘alternative’ in some way, although that doesn’t necessarily make each and every one some kind of subversive vanguardist, does it? They’re merely…So on & so forth…

Review: Blonde Redhead, Barragán.

I’ve always been strangely taken by the apparent reality that, as identical twins age, they tend not only to grow up, but also apart in terms of facial appearance, familial solidarity and so on. And despite comprising Simone and Amedeo Pace – two brothers who both share a DOB and look extraordinarily similar to this day, as well as the chameleonic Kazu Makino, it’s similarly intriguing to see that never have Blonde Redhead ever condescended to r…So on & so forth…

Review: FKA twigs, LP1

The critical circle jerk surrounding LP1 – the overtly lauded début from London’s ostensibly strange mechanoid, FKA twigs – really has been quite something. Music writers are, of course, notorious for their unabashed imagination, but even they themselves must be pleasantly surprised by their handiwork this time around. Their tokens of gratitude – words like ‘masterpiece’ and all his cheerful literary friends – have been lavished wildly upon this…So on & so forth…

Review: Field Day 2014.

Needless to say, it’s no longer entirely necessary to pilgrimage – lukewarming crate of cider cradled in arms; sweat dribbling your back, as it malodorously fills the ravine made by your ailing spine; impossibly enormous rucksack attached to your back – to what can, at times, feel the ends of the Earth in order to access, and perhaps even enjoy the so-called ‘festival experience’. And Field Day, now in its eighth year, is just about the most con…So on & so forth…

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

MOTHXR, or M O T H X R to stylise literatim, are the artists formerly known as MOTHER. Or indeed M O T H E R – the Brooklyn ensemble that first emerged with the slinky, quite brilliant Easy, although remained anonymous for some while. And while the whole anonymity thing is, typically, an aesthetic choice, in this instance you sense that Penn Badgley – perhaps best known for playing the role of Dan Humphrey in Gossip Girl – deployed the device in…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…