There is something so humbling and dignifying knowing the sheer strength of a music community. If that’s within your favourite bands niche network or a simple sharing of content from within the same genre, music has ultimately- and will moving forward – brought us together closer to family, friends and future friends to come at your future gigs and concert attendance.
Heed these words I thought were so prolific today:
“Music is love in search of a word.”
Happy Tuesday, everyone. May your week be a happy and healthy one. I will see you over the stretch of this week and the corresponding weekend with samples of music album reviews for your absorbing pleasure.
Dynamic duo find their happy place – but falls flat within an empty attempt compared to their past work.
Much like its album name, Scaled and Icy, has flairs of happy-go-lucky fleeting moments, but ultimately feels like a hollow skeleton of their former selves.
Known for their compelling thought-provoking moments on mental health with lyrical ingenuity and complex albums like Blurryface, Scaled and Icy is not even in the same Vessel as their former counterparts.
Awash of hollow prude-pop with Good Day and Saturday, it is somewhat a disappointing return to music from Tyler and Josh. Almost as if they were pressured to release a studio album this year from their label, it is an unimaginative colourful mess, and quite a shame. The only moments to talk about would either be the singles prior to the album, Choker, Shy Away and possibly, Mulberry Street.
I managed to grab a full play-through of the album on my way back from work on the train, and it certainly made the trip a far more disappointing commute.
For me, it is just worthy of an honory mention simply for their legacy, but it is an absent contender within their integral identity.
I’ll be heading back to 2013’s Vessel. Hmu if you agree. If so, see you there.
Despite the portrayal with their inquisitive name, Everything Everything don’t like to repeat the same thing twice.
Making music with purpose is music worth listening. Beautifully poetic and provocative, the indie-rock dwellers have been creating unique and out of the ordinary music since 2010. Ever since I picked up Man Alive, I knew I was dealing with a band that rightly slotted into their own genre of sorts.
Big-tune brilliance that tease and taunt you with their odd compositions and structure,Man Alive is a brilliant album that I still enjoy to this day. The shrill beauty of the vocal range to the exquisite use of electronic samples to the frantic indie-familiarity of the plectrum on electronic guitars – all four components all shape up to an extraordinary band.
Shortly after their debut, Arc landed in 2013. Still emphatic with their experimental sounds enough to throw you in the lurch, Arc had a more laid-back approach, certainly taking appreciative notes from their smooth counterparts of Alt-J’s An Awesome Wave that came out a year prior.
Their name really started to shine above the rest when they released Get To Heaven in 2015.
Warm, funkadelic and beautifully written, it featured Distant Past, Get To Heaven and Regretthat ultimately catapulted the band to the next level of warranting a bigger fan base than they already had. They kept up with their momentum with A Fever Dream in 2017.
In an otherwise opposing force to Get To Heaven, drawing inspiration from Yorke’s Radiohead, the album still managed to bag a top 10 in the charts. Their most literate work yet, RE-ANIMATOR was released last year. In what may call a new creative chapter for the band – after signing with their own label AWAL – it trawls on electronic masterminds of the ’80s, with Arch Enemy, Planets and Violent Sun, becoming the stellar stand-outs.
Every album venture is a new proposal, a new journey and a new angle to writing music … worth every listen.
In a dramatic twist of every event listening to a new music artist or venturing into a wormhole of an unknown indie playlist, I always sit, listen and come to the conclusion: “hey, this band sounds like Pixies.” In fact, now that I mention it, they all do.
That’s because I wouldn’t doubt that every one of these indie rock bands who are either settling into their music – or are yet to find out their sound – have their influence pinned directly into the heart of Pixies.
Culturally emphatic and era-defining in more ways than music, Pixiesredefined the imagery of alternative rock and decorated into a reformed sense of a Pixie trick of underground garage. Cold and heartless where necessary but oddly satisfying on some cherry-pickers, Pixies‘ collection since their debut in ’87 has been consistently reinventing the alternative wheel with their inventiveness and their vivid colours, especially with ’89s, Doolittle, an album that is formally known to perhaps everyone who ventured into the oddity of alternative music and underground garage music.
The lengthy numbers of Debaser, Hey, Wave of Mutilation and of course, Here Comes Your Man makes it the go-to soundtrack for the ravished ’90s.
Even their most recent album release a year ago in 2020, Beneath the Eyrie just shows that they’ve still got it. The perfect four-set combo of squealing guitars, broiled vocals and brutal drum-lines is aesthetically available here too, with Beneath the Eyrie. It’s almost like they’ve been writing music for over 40 years. Oh wait, they have.
Shake Your Money Maker: Southern Rock and Blues-Rock Fashions into a RE-BRANDING
One particular release that you may have missed this year was the sixth release from Black Pistol Fire. Raucous with their fusion of southern rock, blues and garage punk, Look Alive is a stand-out album that is emphatic in its style aswell as its music production. Fused between the boisterous concoctions of The Black Keys, Cleopatrick and the quirky expertise of Queens of the Stone Age, comes a rock-child that joins the list of ever-growing duo rockers.
Accustomed with the stigma of charcoal black already in a rock deluge, Black Pistol Fire have a certain class and persona when it comes to their tastefulness of blues-rock, which goes farther than merely immersing in the black décor. The album comes out swinging with self-titled, Look Alive and Pick Your Poison, with both indulgent songs swinging a depth into the work of Cage The Elephant and among others. Rampant throughout, the album boasts and brags with such a large pair of cajones, as we’re dazzled through the bright funky lights of of Never Enough and spat out the other side with Level.
The album is not just an aggressive boaster though, it has passive – often contemplating – slow-burners like Hope in Hell and Always On My Mind that wouldn’t be a shock to see such songs escape the song-writing booths of Pixies.
A glorious reprise for a fusion of classics – southern rock, blues and dripped in garage punk – Look Alive is a fanatic favourite to swoon and enjoy within your own time, and will no doubt become a classic in it’s own time.