One of England’s most tormented singers returns yet again after leaving us with a heart-breaking myocardial infarction in 2013. I mean this in a figurative way of course because in real life Matt Elliott is healthy as a horse. How else could The Calm Before be his seventeenth (!) album to date. Now let’s hear what this veteran of agony brings us this time, shall we? Continue reading →
Remember when you were totally pissed off when I didn’t review Deerhunter’s marvellous Monomania in 2013? Well, It’s looks like history is going to repeat itself because I am not reviewing the band’s latest release, Fading Frontier, either. Yes, again it’s a great indie rocker but there is more music around that deserves some attention right? Nadine Shah sophomore album, for example. So take a good look at the femme fatale artwork, count to ten or whatever and read on. Continue reading →
Basically, I believe the singer-songwriter scene is overcrowded at the moment. Arguably, the ‘genre’ has always been pretty full because of its vague definition. However today it’s almost like anyone who’s has the hipster look and possesses a guitar is eager to make this stereotype their own. That’s reason enough to not take the scene too seriously, yet every so often the mediocrity is broken by someone new who appeals to my need of just listening to simple and small songs. Continue reading →
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.
In ‘96 I was first confronted with the tormented voice of Bill Callahan, who was at that time still known as Smog. Indeed The Doctor Came at Dawn (1996) was a very nice lo-fi album, yet it wasn’t memorable either. What was memorable to me was Smog’s ’second single, ´Cold Blooded Old Times´ that came with the album Knock Knock (1999). Cold Blooded Old Times caused a vicarious sort of heartache to take over one’s mood. This was strengthened when the song appeared on soundtrack of High Fidelity (2000) that is all about heartaches, from a male’s perspective that is. Continue reading →