Just wait for twilight to set in, walk into an open field, bring your media player and headphones. Now simply put on Singularity and look up to the sky. Continue reading
When I was a toddler I often wondered what it would be like to be inside our washing machine. The spinning cycle was pretty hypnotizing to watch, so at the time I thought being inside a drum with all that warm soapy clothing would be a gentle experience. Of course my parents never allowed me to give it a try and I forgot all about it. Until I heard Anna Meredith that is.
When it comes to about everything January is just a very yawnful month. The weather is grey, people’s gazes are tiresome and, most importantly of course, the number of new album releases is at an all time low. For God’s sake, the sooner January is behind us the better. In the past few weeks I feared nothing relevant would be brought out. Luckily I was wrong. The Canadian post-punkers Viet Cong decided the beginning of the year was an excellent time to release their first studio album and since I was trapped in the wrong venue during last years Le Guess Who festival a review of this album seems a good idea to start our year with.
If you leave out the May Day editions, tonight its the eighth time Le Guess Who? will kick off in Utrecht (NL) again. The festival always offers a mixture of unknown and renowned indie acts during the last weeks of November and this year there is no exception on that. Personally, I’m always looking forward to Le Guess Who? because it brings a bunch of interesting artists to my doorstep. Luckily the festival organizers can’t complain about the attention from the Dutch media they’re getting these days and Sounds from the Darkside can’t be left behind on that, so during the coming days we will keep you posted about the festival’s proceedings.
Here’s some good news: Eblis Álvarez and his gamely fellows are back! Not that we’ve haven’t heard from Bogotá’s finest for a while though… Only a few months ago Meridian Brothers reintroduced themselves with the compilation album Devoción which was a follow up to their most recent work Desesperanza (2012). Salvadora Robot is the latest addition to their lively and dense catalogue and saw the light of day earlier this month. And yes, just for a tease, a whole new carnivalesque hallucination awaits us. Continue reading
Please bear with me for a moment: this review is about a young Canadian jazz trio that calls itself BadBadNotGood, which is written as BADBADNOTGOOD and abbreviated as BBNG. Seems simple right? Alas, it isn’t, especially when learning that BADBADNOTGOOD also is known under the confusing names of GoodGoodNotBad and The Odd Trio. Solely judging on the many band names one could say they’re struggling to find a comfort zone within the unruly landscape of the contemporary jazz scene. Or are they just here for the fun of it? Earlier this month BBNG dropped their third studio album since they started out in 2011 and remarkably carries the convenient name… III. Continue reading
Twice I forgot about Mogwai’s existence. I first got acquainted with the band after picking them up during a BBC Peel Session. At the time Come on Die Young (1999) and Rock Action (2001) were not to miss albums. Yet shortly after that, they disappeared from my radar for unknown reasons but reappeared a decade later with Hardcore will never die, but you will (2011). Luckily I was still there to enjoy the instrumental contents of ‘Hardcore’ that in the end never nested on my playlists. Again I had no good reason for this to happen, but it did somehow. Musically Mogwai always was worthwhile to listen to. So a few weeks ago the grey, black and pink cover of their new release, Rave Tapes, caught my eye and made me, shamefully, think about Mogwai again. Let’s say three time’s a charm, all right.