Dmyra - Imagine Away (2011)

Clinical Archives

8.8

/Art-folk, Electronic, Dark pop, Singer-songwiter, Experimentalism, Noise pop/

Comment: Undoubtedly Robert Demes II is being one of the most profilic artists on Clinical Archives to date. A musician coming from the USA while now residing in Costa Rica is approved by mixing up folk/indie folk with refined electronics. His recent issue of 15 tracks (plus a bulk of bonus tracks) is an intricate mix of restrainted folk, brooding electronic, noisy developments, soothing near-ambient notches and crafty experimentalism. Even some jazz-based numbers in-between all of that can be detected for. All in all, he seems to be enstranged from his initial indietronic approach.

Motorama - One Moment

Starmetis - Distance (2011)

Starmetis

8.5

/Post-punk, Electro-rock, Shoegaze, Crossover, New Wave, Synth rock, Experimental indie, Dub/

Comment: First time I met this Cēsis-based combo just one week ago at the Schilling festival in Kilingi Nõmme, Estonia where the quartet (consisting of two men and two gals being armed with a guitar, bass, synth, and electr(on)ic drums) were playing a catchy set of post-punk, shoegaze, electro-rock and a little of dub. It sounded like a solid blend of rigid, murky bass lines (Joy Division), warbling joyous synth passages (Zodiac) and bubblegum rhythms, and infiltrated atmosphericness (The Chameleons). By listening to their first proper album, however, I can see myself discovering for more elements on it. On the 9-track set can be detected for more traces of dub (rock), more electronic effects and even some post-rock structures. Altogether, their debut is promising and it is possible to see them very soon at the Positivus festival in Latvia (alongside with Beach House, James, Hurts, Royksöpp, Tunng, Editors, Kreatiivmootor (the members of this totally crazy dada-disco-industrial-punk-etc come from the circuits of the Estonian academical philosophy), Yoav, Mimicry, Ewert & The Dragons and many others).

For Solacing Grief - op. 1 (2011)

No-Source
Lastfm

8.4

/Slowcore, Art-pop, Experimental indie, Instrumental, Minimal, Post-rock/

Comment: In fact, Steven Deacid`s 5-pieced work can be classified as an instance of fingerpicked art-pop or acoustic post-rock or minimal slowcore or even a sort of a result, coming from the academical circuits, respectively. Arguably built only on two guitars (and including the ambience surrounding it) Deacon`s glass bead game needs more than just a pair of listening times from the very starting point to its closure to get up to the very synergy of the issue, i.e get influenced by those arpeggios and richly coloured tone textures.

Mathemagic - II (2011)

Bandcamp
Mediafire
Lastfm

9.4

/Indie pop, Art-pop, Experimental indie, Glo-fi, Dream pop, Post-rock/

Comment: Evan, Karen, and Dylan is a trio from Guelph, Ontario (the hometown for Memoryhouse either) who have been active since the spring of 2010 and having issued two 2 EPs and one split before their first proper long player. However, these new 11 tracks have a persuasive drift alongside an idiosyncratic long line between indie pop and glo-fi music, on the other side, at times it can be considered the acoustic version (with vocals) of such recherche post-rock bands as The Dylan Group or Mice Parade. Savory guitar strums with fine-grained synth chords (without any kind of blissful, chillwave-esque synth progressions) constitute a solid background for all those murmuring vocals by the female and male side co-operatively laced effortlessly with each other subsequently evoking a beatific sense getting above the usual standards in indie music. All in all, I got a sequent favorite band from Guelph (by the way, Mathemagic`s Evan (Euteneier) used to be not the same person with Evan from Memoryhouse).

Clinker - A Poison Tree

Sinead O'Connick Jr. - Live In My Bedroom (2011)

Recycling Records
Lastfm

8.4

/Mash-up, Plunderphonics, Sound collage, Cut and paste, Avant-garde, Non music, Freeformfreakout/

Comment: This is as frenzied and wild as the mash-up/bastard pop/plunderphonics could be ever. There are 8 tracks, every of them can be classified as a single universe on its own (those relatively long running tracks used to contain bulks of incalculable cut-ups and relentless turnarounds and numerous shifts regarding the structure and mood) making up a connection between lettrist/situationist dètournement conceptions, ravecore, DIY culture, breakcore, speedcore, digicore, glitchcore, noise, pitchcore and (of course) samplecore. Indeed, besides being throughout all the course in extremely skidding-skipping position the whole shows up itself like a vast reference or quotation on its own.