Review: OGRE & Dallas Campbell – All Hallows’ II

Retrowave duo OGRE and Dallas Campbell demonstrate a preternatural approach to synth-music on their latest fictitious score. All Hallows’ II is a conceptual soundtrack to a fictional horror film, akin to the style of an 80s-horror film. Despite collaborating thousands of miles from each other (OGRE is based in southwest England, whereas Dallas Campbell lives…

Review: Ramson Badbonez – Mic Day The 13th

Ramson Badbonez is back for 2019, with twelve brand new tracks which instantly hit you with a certain confidence which transcends the vibe of Bandbonez’ 2018 concept release, yet continues to reference from the perception of the previously titular alter-ego, Jason Bonez. With a haunting one-minute intro which sounds as if it has been made…

EP Review: paris_monster – Lamplight

By turns reflective and hectic, speckled with digital elements but full of human fragility, Lamplight is an exploratory exultation which coruscates with groove.   The underscore that unites the paris with the monster in the band’s name nods to the deep groove that runs directly through the album. Digital monster-riffs and uncapitalised Parisian sentiments loom…

Album Review: Sevdaliza – The Calling

A year after her 2017 release Ison, Iranian-Dutch queenly music-crafter Sevdaliza has bounced back with The Calling, an auditory quest of vocal elegance, avant-garde aesthetic, and wonder. The musician elucidates the central theme by explaining her attraction to the specific processes and moods of song-creation, emphasising that she prefers the natural progressions of musical styles…

Album Review: Amen Dunes -Freedom

A patiently-crafted album, the fourth full-length release from Amen Dunes, the musical project overseen by Damon McMahon, bruns warm, strutting grooves and vocal dexterity. McMahon has honed a markedly more direct sound since his previous releases, channeling the sensitive boisterousness more often associated with British bands of the nineties – The Verve are one of…

Single Review: Iceage – Catch It

Featured on the Copenhagen band’s fourth record, “Catch It” supplies a narrative on dependency – but, unlike most drug-centred stories, it does so from the perspective of a provider. Lead singer Elias Rønnenfelt excels as a vocalist in her impeccable delivery of harrowing verses over an ensemble of open-chord strums and marching percussion, likened to…

Single Review: AURORA – Queendom

2018 has seen Norwegian singer-songwriter AURORA blast back onto the music scene with single “Queendom” this year, the first track to be released from the exciting and evocative album Infections of a Different Kind. Signifying a thematic breakaway from her previous albums – all of which predominantly examined emotions and relationships – the artist uses…

Album Review: Bad Sounds – Get Better

Bad Sounds’ debut album has been long awaited. Having released their first EP, PHRESSSH, back in early 2017 – featuring single releases “Wages” and “Avalanche” – and yet another – Mixtape One – later on that same year, it soon became evident that the brothers from Bath were hardly short of promising material.   With…

Review: Dire Wolves – Paradisaical Minds

Although the primary sounds of this album stem from rock and jazz, the music doesn’t grate your ears or become tiresome; instead it invites you to buckle up on a journey through astral jazz, space and time. These pieces do not adhere to the orthodox time restrictions of a three minute and thirty second long…

EP Review: Reighnbeau – Slight

The latest EP from the long-running Albuquerque music project Reighnbeau – consisting solely of Colleen Johnson (Flying Circles, Silver Shadows) and Madeline Johnston (Midwife, Sister Grotto) – is a shimmering collaboration. It is not just that, though – it is an ambiguous and intriguing mosaic of dream pop and electro-folk, which simultaneously skirts the edges…