11/30/2014
Kaleidonauts – Tigermouse (2008)
/Folk indie, New Weird
America, Indie folk, Psychedelic folk, Americana, Alt-folk/
Comment: The project is a transatlantic collaboration project between
Smally (The Wheelies) and Jon of the Atom (Dead Canaries) who recruited lots of
other musicians to fulfil their aesthetical ambitions and artsy reflections. Tigermouse is their sophomore issue
which was produced at pinnacle of the New Weird America movement at the end of
the 00s. This 13-track issue is amusingly jaunty and energetic filled with
psychedelic keyboard whiffs, sheeny glockenspiel chords and catchy guitar
strumming and exaggerated singing pads or on the other side providing more
majestic insights into their intimate world. However, listen to I`ll Be Your Pavement, and 4000 Mile Dream, and Blood Music, and Oh No, and The Somewhere Song
these are truly great pop songs, full of life and getting you an additional
boost. The album is related to such fabulous free folk and experimental
rock/indie platforms as Quixodelic, Daydream Generation, and deceased CLLCT.
Plusplus – Psycho (2014)
/Indie folk,
Epic, Americana, Art rock, Baroque pop/
Comment: I can remember for the British
musician Adam Randmall`s previous issues like Evils (2011, La bèl), and Game
Over (2012, La bèl) which used to be principally folk-tinged music, though,
being accentuated with diverse influences from here and there. The recent album
starts off with majestic, Americana-loaded glides and volatile insights into a
beautiful alternative world thereby a little reminding of Mercury Rev`s epic
moments. The whole is absolutely instrumental, though, voice would be a decent addition
to accentuate such kind of baroque/chamber music. In a word, the result is
solid and pleasant worth to be enjoyed and dive into memories.
Morgue Of Saints – Sleep/Death (2013)
/Doom metal, Post-metal,
Avant-metal, Funeral metal, Neoclassical/
Comment: Morgue Of Saints is an one-man project
from Montrèal, Quebec, Canada whose three track debut album is loaded with
heavy particles, punching energetic vectors and destructive riffs. The starting
composition is delicately drenched with funeral vapour and neoclassical
impulses, the other ones are stylistically more doom-laden and used to grind
against the listener`s ears and soul with repetitive patterns of gravel-filled
drones and ironic mud-eating. Furthermore, the artist`s music is almost
tectonic in its slowness as if depicting the creation of the Earth many
billions years ago. It is almost horrendous in a picturesque manner.
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