A shoe gazing delight from this Austin trio. Whilst the entire album is filled with big reverb filled guitars, the overall effect is very subtle and measured. Modern day bands of the genre like Wooden Shjips, The Horrors along with the perennial influencing Jesus and Mary Chain even The Doors spring to mind when listening to this fine record. 

The album was apparently recorded live without overdubs. At the front are Nate Grace’s addictive atmospheric vocals. In interviews he describes his influences as, Townes Van Zandt, Leonard Cohen, Lou Reed & JAMC. 

Heavy Air, kicks off the album with a touch of surf guitar, playing Explosions in the Sky as Nate’s ethereal vocals rise above. ‘Dream Over’ next and we get into shoe gazing territory although the song fades too soon. 

The album powers along with great guitar, through the mists of a sonic film of sound. There are no dips during the slow burn of this album which twists and turns keep your attention alive. 

By the time instrumental ’Surface’ comes along the album is in its stride and sinks into your consciousness. There is also bendy surf guitar on the interlude ‘Pleasure’ to the last song ‘Half Here’ which rounds off a fine album to be played at volume! 

8/10

Pete

 


Heavy Air

Dream Over

Twisted Mirror

Easy  

Voices

Surface

Stuck Livin

Dry Ice

Pleasure

Half Here


UK dates are expected in November. the red streaked vinyl version and CD are out now on the Acéphale.label.

North Sea Radio Orchestra’s ‘I a Moon’ could best be described as, an indie orchestral choral album. It really has significant charm and is reminiscent of Joanna Newsome, Juliana Barwick and The Leisure Society in style of music. 

North Sea Radio Orchestra is actually an ever expanding or reducing ensemble led by Craig and Sharron Fortnam. Two previous albums which used poetry by the likes of Chaucer, Hardy and Tennyson came before ‘I a Moon’ but, this time around, it’s original lyrics with delightfully sweet musical interludes throughout.

 

‘Morpheus Miracle Worker’ the album opener, is a lush string accompanied song with added ethereal layered, (Bjork esqe) vocals from Sharon.

 

The tile track next up has simple instrumentation, which compliments the vocals superbly. A ‘Prog’ style Mellotron (?) is much in evidence.

 

The album has many musical interludes Guitar Miniature #3 does ‘what it says on the tin’.

Heavy Weather is a seven minute duet with heart rending strings and there are again (unintentional?) prog influences that spring to mind, Yes, Gabriel era Genesis and Caravan perhaps.

 

The Earth Beneath Our Feet’ has a PJ Harvey feel and again with strings to melt your heart. The album concludes by alternating between vocal and instrumental tracks.

 

It is a lovely album and would drift pleasantly into the ears of many people

 

8/10

Pete 

A beautiful album with gentle melodies, ethereal electronics and harmonies. Hushed rasping vocals, acoustic, crystal clear and distorted guitars, brass, piano oh, and church bells. 

The band’s website shows that Epic45 are a home recording project/collective based around the ideas and inspiration of Ben Holton and Rob Glover.” Well if music of this quality is the product of a home recordings then, think what they can do in a fully functioning studio!

 

Lo-fi and shoegazing are I suppose the genres to give you a starting point but, the album expands many musical boundaries at will. The band has been around since the late nineties. The first album proper ‘Reckless Engineers’ was released in 2002 on Canadian label Where Are My Records and regular releases through shifting band members have been released since.

 

Described as Seattle's ‘Best Kept Secret’, there is nothing new about My Goodness, but, then why the heck does the music sound so alive and refreshing? You can recall the White Stripes, or anything Jack White that is, The Black Keys, Blood Red Shoes and the list goes on when listening to the ‘My Goodness’ record.

This is powerful and invigorating blues based rock with the Seattle grunge element chucked in. Seventies influences can be heard alongside the thundering bass lines throughout the album which actually, seem to blow a hole through the airwaves with the crashing drums keeping the songs somehow on course, in a blues rock way.

On the rather wonderful hometown label Sarathan Records, My Goodness is made up of guitarist Joel Schneider and Drummer Ethan Jacobsen. I am generally of the opinion that trios are louder than a four piece perhaps, that now needs to be reduced to a duo!

It’s nice to be able to pack instant sunshine to play when you most need it or just, for the sheer fun and ‘chill-ability’ that’s available from Sargasso Trio’s, new album, Get To Grips.

 

A summer record and full of life for sure, the album was recorded not in Athens, Georgia where one might assume it hails from but, in the depths of Norfolk. UK (where there are beaches for sure).

 

The album has a depth in styles, pop, reggae, electro, Caribbean rhythms and roots yet, this mix creates a seemingly simple yet effective body swaying sound. Listen carefully and you will be surprised what you can hear.

 

I was aware of the Middle East from their excellent six song ep I picked up last year ‘The Recordings of The Middle East’ so their full length debut has been eagerly awaited. ‘I want that you are always happy” does not disappoint either; indeed, I would have to say it is a stunning full length debut.    

An Australian six piece collective from Queensland, the album was recorded in DentonTexas and with that in mind, there are some Midlake comparisons here sound wise. Rather than gush about the album on the first few listens, I thought that I would give it some time and see a month down the road if, I remained ‘ blown away’. It seems I do.  

‘Black Death 1349’ is an ethereal start, a story of London 1349 sung with reverence. ‘My Grandma was Pearl Hall’ has sombre piano and a Tom Waits rasping vocal. ‘As I go to See Janey’  has an acoustic guitar which brings a lighter note musically if not lyrically, even at this stage you find yourself sucked into the substance of the album.   

It’s a pleasure to discover a band just by chance and with a great record. Satisfaction even, when you can say to your mates, great record by the Ladybug Transistor and they say “who?, never heard of them” and that would have been me less than 24 hours ago. Now I am even a bit smug, if sixteen years too late. 

Thanks to the record store listening post (Rough Trade Records East) I was able to spend some time being captivated by this lovely record during my lunch break. It came as a bit of shock to learn that this band have been around for sixteen years and ‘Clutching Stems’ is their seventh album! 

Formed in 1995 in (where else?) Brooklyn, the band seems to have had a stable (Gary Olson) yet at times, shifting personnel, they also suffered the tragic death of a band member. The band is recorded as being part of the Elephant Six Collective, who can count the likes of Jeff Mangum, Apples In Stereo and The Essex Green amongst their ranks. In 2006 the band contributed to the recording of Kevin Ayers' album ‘The Unfairground’ which Gary Olson also produced.  

I’ve been trying to write a review of this album for a while, but it’s such a freaked-out behemoth it’s hard to know where to start. It’s also a record that’s going to polarize opinion and is likely to lead to much discussion at Rock Club Towers, like the Swans album did last year. For a start, it’s difficult to categorize into a single genre – if there was such a thing as space-garage-pyscho-prog-rebel-rock then this would fit perfectly into its pigeonhole. 

‘The Condition of Nothing’ starts the album with a full on blast of noise – a great rocking sound, brilliant guitar solo, some squelchy keyboard effects and some great dual vocals. Pretty much all you could need from a 6 minute opening track. The track ends abruptly when ‘Movement Starts’, which is a 2 and a half minute interlude of choppy, clanking guitar sounds, ending with a keyboard noise that is clearly achieved when you press the button marked ‘throbbing’. 

Next up is ‘No Other Way’ – at 10 minutes 39 seconds long, this is still only the third longest track on the album. It’s a medium paced instrumental track that starts off with a bass riff and gradually builds and builds. Guitars are layered on, followed by keyboards to create a woozy atmosphere that slowly hypnotizes you before fading away. 

From Portland Oregon and now on the Brooklyn based Partisan label, (after a long spell on Yep Roc) Dolorean have produced yet another quality record. ‘The Unfazed’ is their fourth record, coming four years after their last ‘You Can’t Win’ and comes across as a real musician’s recording. The song writing is sublime and musicianship flawless.   

 

This is a band however that you have to seek out .First off; don’t get them confused with Spanish dance-pop outfit Delorean. (this statement seems to appear in every article about the band, like a Government  health warning, sorry). 

 

Secondly their albums do not seem to be in every record store, so you have to search them out, (my copy was downloaded from emusic) which is all part of the fun. A little effort brings a massive reward remember.

 

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