Experimental/Avant-Garde
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In all due honesty, the rapping leaves much to be desired around living. The insane production however is an electrifying triumph. (3.6/5)
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Kristin Hayter’s liturgical knowledge is put at the front with her neoclassical grimace, birthing an unforgettable work of potency. (4.5/5)
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The reputable slowcore couple continues their electronic divergence with cautious optimism, proving their flexibility in the process. (3.8/5)
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After trying to listen to this 2 times, I would much rather go deaf than to go through it once again. Blank & boring is what it is. Matter of fact, you’d wish for it to be like its title in the first place. (1/5)
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However many press it gets from its following, the noisy, psychedelic record from Spirit of the Beehive just doesn’t do for me. A difficult, yet colourful cacophony of noises & diverse production from almost all directions, but its direction almost falls flat into trying to impress more than the basic goal being to entertain. (2.2/5)
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At its best, it feels like the new wave of the future – the band’s debut album mixes in glitchy, pastiche-like bricolage of hyperpop with the melody & catchiness of pop-punk to make the most infectious experimental hit out there. A serious potential for cult classic in a few years’ time. (4.2/5)
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30 Years have passed since the release of Spiderland by Slint – one of the most important records for pioneering Post-Rock, for its unique melancholy takes & for its instrumental prowess thanks in part to its guitar rhythms & drumming. In 1990, a group of young adults from Louisville, Kentucky have made a post-hardcore album…
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Between the chaotic bellows of jazz, post-punk and even klezmer influences, singer-guitarist Isaac Wood’s baritone singing and despairing narrative lyrics, the seven-piece band’s debut is a borderline-instant knockout in Britain’s third post-punk wave. (4.8/5)
GutterPutter 