Today’s one-hit wonder.
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Category: Record
Listen, mate, life has surface noise.
Perfume: Cosmic Explorer (2016).
Hear some pop trash you haven’t heard played to death!
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Reviews: Dboy, Distant Stars, Cherry Heaven (2017, 2018).
Doing it yourself with trashy rock’n’roll, minimal synth and shoegazy indie.
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Reviews: Fires, Second Still (2017), Duran Duran (1979).
Industrialised synthwave, goth and a pop demo from the mists of time.
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Proto Idiot: Leisure Opportunity (2017).
A bright and delirious combination of garage punk, psychedelic rock, and addictive joy.
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Reviews: Phase Fatale, Christian Fitness (2017).
Industrial and 2017 punk.
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Links: Frank Zappa ad jingles, runout grooves, AACS keys leaked, old Severed Heads.
And headphones up your nose.
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Reviews: The Glass Eyes, Elektrostaub, Stolen Apple (2016, 2017).
Two indie rock, one industrial bleep.
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Paragon Collapse: The Dawning (2017).
Atmospheric progressive doom metal from Romania.
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Grendel: Age of the Disposable Body (2017).
Classic power balladry with synths instead of guitars. The air-punching choruses remain. Every side an A-side.
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Reviews: The Big Sun (2016), Autumn (2017), Snog (1992, 2017).
Suppose I’d better cut the pile down a bit again.
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Hans Zimmer, Benajmin Wallfisch: Blade Runner 2049 Soundtrack (2017).
The soundtrack is deserving of a short review in its own right, not the least for its own curious development.
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Reviews: Boy Harsher, Vittorio Di Mango, David Carretta (2016, 2017).
From the grey area between techno and industrial.
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Reviews: Zürich ’81, In The Nursery (2017).
Two marvellous bands you need to pay attention to.
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Lindy Vision: Jute (2017).
More blatantly an electronified Interpol than the previous, better recorded and a delight that fully measured up to my anticipations.
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Reviews: Nosound, Porn, Stellarscope (2016, 2017).
Prog, metal and shoegaze from the inbox.
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King Snake Roost: Things That Play Themselves (1988). Vale Charlie Tolnay.
Charlie Tolnay died a few days ago. Here’s a career rundown and a long bit from a 1990 Party Fears about my very favourite record of his. The correct hideous racket from freaks.
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Reviews: Elektrostaub, The Frozen Autumn, Nervenbeisser (2017).
From the review pile, some forthcoming releases from Echozone.
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Links: MP3, the Pirate Bay mines you, album download code design.
And Spray, compressed and convenient.
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Reviews: Little Love and The Friendly Vibes, Alvvays (2017).
A couple of indie pop guitar pieces.
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Reviews: Magana, Orchestral Manoeuvres In The Dark, Nina (2016, 2017).
Some indie pop and synthpop, and yes the new OMD album’s a good one.
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Karlheinz Stockhausen as synthesizer music for ten year old children.
At age ten I’d heard synthesizers were cool, so found some Karlheinz Stockhausen to start me off. I, ah, didn’t quite know what to make of it.
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Reviews: Gaddafi Gals, It’s The Lipstick On Your Teeth, Ankathie Koi (2017).
In which I trip over Seayou from Vienna, a good label I hadn’t heard of before.
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Reviews: Marsy, HYTS, Dreams Are Like Water (2017).
Time to go out looking for interesting new things.
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Hante: Between Hope & Danger (2017).
The icy ocean at night, calling you to the sea.
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Seeming: Sol (2017).
A song-oriented post-industrial album from three years’ close obsession.
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Links: Bandcamp Friday deal, Post-Punk.com, Soundcloud as dot-com disaster.
Some news that’s actually timely and urgent!
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Reviews: Desert M, Loewenhertz, Elektrostaub (2016, 2017).
Instead of books, let’s talk about industrial, in ambient prog and synthpop flavours.
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Jeph Jacques, Questionable Content and Deathmøle.
Jeph Jacques, author of Questionable Content, has a fictional instrumental metal band. And they’re really good.
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Severed Heads: Donut (2017). A single you can play as a CD or on a turntable.
Why? Tom Ellard, pretty much.
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