Sunday, May 19, 2019

[Teaser of the day] Wood Spider - Elysian Vows



  • Balkan folk
  • Gypsy folk
  • Folk punk
  • World music
  • Ethnic punk

Artist: Wood Spider
Release: Decadence
Label: Self-released/Bandcamp
Year: 2014

[Teaser of the day] Kilowatts - Ravioli Rave

Kahvi Collective


  • Deep techno
  • Electronic music
  • Breaks
  • Tech-electro
  • Breakbeat

Artist: Kilowatts
Release: Pasta EP
Year: 2005


Saturday, May 18, 2019

[Teaser of the day] St Cheatersburg - Space Rider



  • Indie dance
  • Art pop
  • Psych-pop/rock
  • Alternative dance
  • Indie pop/rock
  • Alternative pop/rock

Label: Self-released/Bandcamp
Year: 2014

[Teaser of the day] Moses Luster - The Past Is No Place For A Man



  • Singer-songwriter
  • Alternative rock
  • Art rock
  • Noir rock
  • Americana

Artist: Moses Luster
Label: Self-released/Bandcamp
Year: 2017

Beelzebub Jones – A Good Day To Be A Bad Guy (2019)




  • Gothic Americana
  • Singer-songwriter 
  • Art blues
  • Noir rock
  • Art rock 
  • Cinematic
  • Alternative rock

Comment: by following titles of this 13-notch outing (Working For The Devil, Sinners Last Request, Revenge Is My Only Friend, Nicotine, Liquor & Blasphemy, Never Take Me Alive) one can admit the dark, adeptly stylised nature of the songwriter who is obviously influenced by such artsy juggernauts as Tom Waits, Nick Cave, and Johnny Cash whose aesthetics used to hark back to the blues music/delta blues at a more or less extent. On the other side, all these reclusive somber themes are appropriately backed up by sublime orchestrations, reverberant and sustained string chords and accentuated stretched singing manner with rich timbre as if providing an impressive depiction of the apocalypse. In fact, there is no difference either regarding personally or in general. One of the tags of the album is "cinematic" based on Spaghetti Western-alike/Morricone-esque exalted threads. I do not know is it the sign of the recent time and age but it fits in very appropriately to this ill-omened age with a little perspective to survive and evolve in an organic way and be in concordance with the universe. We can freely depict ourselves as a little cottage in Outer Space while being burdened with responsibility to tide it up and manage it rationally (we are subconsciously even more burdened by the alleged first sin and the fall of man). For still able to preserve our human-alike face rather than devolving to a fucked-up transgressive diabolical being (unfortunately I am a bloody dick by the way). However, one must not reclaim him/herself as a prophet to foresee hard times to come very soon when supposedly anyone must do very crucial decisions on the base of conflicting moral incantations and survival intentions. It may be happening like our beloved Johnny Cash sang at Wanderer /I went out walking/Through streets paved with gold/Lifted some stones/Saw the skin and bones/Of a city without a soul/. Partly because of that, it is a befitting listening leg and partly because of being somehow ennobling and purgative despite the doom-laden lyrics. The marvellous, schmaltz-free outing is a part of the discography of Death Roots Syndicate, and a part of the roster of Speak Up Recordings. By kindred souls, additionally to the abovementioned ones and artists from within the imprint, it is recommended the listening of Moses Luster.

Friday, May 17, 2019

[Teaser of the day] The Marquis - The North



  • Synthwave
  • Alternative rock
  • Electronic
  • Art rock
  • Industrial rock
  • Cold wave

Artist: The Marquis
Release: the MARQUIS 
Year: 2017

[Teaser of the day] Emily Plays - Baghdad Lover



  • Indie pop/rock
  • Alternative pop/rock
  • Ork-pop

Artist: Emily Plays
Year: 2011

KUNI – Effgenic (2019)




  • Progressive house 
  • New Age 
  • Electronic music 
  • Ethnotronica 
  • Psybient 
  • Downtempo 
  • Chilltronica 
  • Tech-house

Comment: KUNI (not to be confused with a Japanese hard rock guitarist) provides a variety of house, New Age, reverberations of ethnic music, psy-related vibes and something else more (which is stylistically enough crossed and littered to be not allowed to describe it more precisely) on Digital Diamonds imprint. Loosely it can be tagged progressive house though the impact must be pointed to the word "loosely". Benefiting the artist the soundscape of this 13-notch issue is vertically as deep as horizontally by providing bottomless ominous frequencies and sophisticated and mostly serene upper layers. At times such sort of ideals do fail because an artist's desired ambition to create simultaneously positively magniloquent and suggestive impulses do not magnify each other but interacting with one another by gnawing a possible synergistic set. It catches the listener's attention from the beginning to the very end. In the context of the issue the word "progressive" does mean technical in conjunction with the moody nature of the album. Kicking drums, slightly warped harmonies, profound echoes and poignant effects set up a fine party in a listener's head.

The Womb – An Introduction to The Womb (2017)




  • Indie pop 
  • Singer-songwriter 
  • Art pop 
  • DIY 
  • Alternative pop 
  • Funk rock

Comment: Alan Driscoll with her female friends are pushing forward another storytelling of The Womb. He has been active already for a couple of decades with a numerous of albums, compilations, and EPs all having been issued on his own imprint Danielle Records. Business as usual, this set of 15 compositions is discretely voluptuous and obsessive, it is all about huge egos and the so-called sperm wars and instrumentally it is accompanied by chalking guitars, programmed rhythms and electronic odds and ends. It is about the rise of self-awareness and self-indulgence and dominance through sex and relationships. Of course, this (partly) confessional set is incomparably much better than reading the bloody Co...an and more convincing than visiting annoying portals which dissect relationships because the aforementioned institutions in fact say nothing particular about you because they trying to say about everything. In fact, all this relationship stuff constitutes a quite adverse yet partly naturally, partly artificially determined horizon for a single human being. I guess the beasts are naturally more arranged because of following the call of nature and being not decayed and get obsessed otherwise than just dealing with survival (the most important thing is that they are smarter because of knowing of how to do it in the optimal way). And that's the very problem of the mentioned horizon by changing a human being into a foolish monkey. After all, does it really make him or her happier as a bunch of bones, vessels, muscles triggered by some chemical-physical processes? Rather it is called a state of affection. The very touch of this miscellany can only be found out from minutiae like funky rhythms, exhausted appearances in singing manner, exalting propulsions in guitar playing, more profoundly, by exploring gentle feedbacks and chopped chords and extended arrangements over here at times. Furthermore, it is an intelligently dynamic (inter)play between the main course and "exceptions" within it. A spastic and a bit interrupted sax development can be met at Sex Club. Suggestive melody progressions lead the listener at The Stories We Tell Ourselves About Ourselves, and at Don't Remind Me.

Thursday, May 2, 2019

Tracing Arcs – Waste Not, Want Not – Wasteland Remixes (2016)




  • Electronic music 
  • Remixes 
  • Alternative dance 
  • Breaks 
  • Art pop 
  • Ambient pop 
  • Space pop 
  • Chilltronica 
  • Easy listening

Comment: Tracing Arcs is a British duo consisting of Fran Kapelle (vocal/lyrics), and Paul H. Addie (synths/guitar/programming) who have been active since the 90s and released music on such imprints as iD.EOLOGY, Mixedmode, Dusted Wax Kingdom, 23 Seconds. It is interesting that their albums would be accompanied by remix outings and their excellent Wasteland (2014, 23 Seconds) is not the exception in the case. Wasteland is a sublime mix of Fran Kapelle's seductive singing and love theme-ridden incantations and differing styles ranging from velvety downtempo, slowly flickering nu jazz and cinematic trip-hop beats to more propulsive big beat and synth-rock impulses. Let's call it a decent example of art pop. However, Waste Not, Want Not provides a difference due to stylistically more stable format. It may musically be less immersive and more volatile thereby there can be drawn parallels upon the like of Saint Etienne, another British charming combo. It is more straightforward due to be more cadence oriented. On the other side, some modes and paces are slowed down and magnified to provide some monumental seconds and profound minutes for a music lover's sake. Sultry rhythms, spaced-out flanges and ennobling progressions as motives are there inseparably around. In a nutshell, the result of nine tracks is thoroughly enchanting.
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