“Ice Water” is a study of growth; an exhibit of layering that transforms isolated, electronically tinted guitar notes into one of effervescence and clarity. The wobbly and askew synths swirl around the comparatively lazy hip-hop drumbeat, a drawn-out introduction to a “Porcelain”-inspired approach to plunderphonic sampling. The gorgeously airy instrumental track is topped off by Jake Lazovick’s grating and laughably forlorn vocals, a gaudy bauble of juxtaposition if there ever was one. Continue reading “Sitcom – “Ice Water” TRACK REVIEW”
Arca has always been piercingly straightforward when it comes to producing his intense blend of glitch and hip-hop inspired electronica. But with the release of “Sick” with Shayne Oliver from Hood By Air, there’s a sobering emotion in how up front the duo exhibits tenderness. The opening synths rise like the prayers to nightmarish nights. But they soon crystalize around the shrieking accusations of Oliver, spewing “you’re so sick” with brooding wickedness. But “Sick” offers up a delightfully odd sentiment as the track unfurls. Brimming with carnal melodies, the lustful vocals begin to reveal sexual desires with aggressive tinges. And as the organic production spirals and repeats, it essentially dissipates, accumulating into a hollow if not intense two minutes. If “Sick” is a glimpse into the toxic and sensual world these two have been hiding in, then let’s pray that their rumored collection of “forty to fifty songs” are just as exhilarative.
– T. Pennington
You’ve got to hand it to Jack Tatum here: Life of Pause, his third album under the Wild Nothing moniker, sounds confident. Where previous albums drenched themselves in the oh-so-trendy reverb and songwriting that smacked a bit of New Order, this album takes these roots and elevates them to new levels with only subtle tinkering. It should only make sense then that with this updated sound comes some of the best songs Wild Nothing has put out yet. Continue reading “Life of Pause ALBUM REVIEW”
To describe Sioux Falls’ double-album debut is to describe every offshoot of rock music since 1990. There’s the pounding rhythmic cohesion between the fuzzy-yet-clean instruments, the jam sessions that play out and overtake the last three minutes of songs that could have very reasonably ended long ago, the softly coy delivery of lines that gleam an aura of slight embarrassment, the harsh vocalizations and noisiness of all things post-hardcore, the always-referential and meta approach to lyrics, and the desire to thrive in a genre by encapsulating all it’s ever brought while still offering something new. It can be a difficult task to retain a sense of familiarity while still finding new ground and maintaining a contemporary status. And really, Sioux Falls could very easily have shot themselves in the foot by saturating themselves so deeply in alt-rock aesthetics. But it’s this completely unadulterated approach that makes Rot Forever feel so exceptionally unique. Continue reading “Rot Forever ALBUM REVIEW”
School of Seven Bell’s fourth and likely final album is one that will forever be defined by its context. In this case, however, it’s justifiable. Following former bandmate Benjamin Curtis’ death in 2013, the project took an indefinite hiatus before returning to release what newly lone member Alejandra Dehaza describes as a “love letter from start to finish”, consisting of songs written with Curtis during the summer of 2012. SVIIB doesn’t really haunt on this narrative, though. Rather, the arrangements straddle the line between a proper send-off and a complete disregard for the context entirely, making an otherwise sweet sentiment into one of muddied confusion. Continue reading “SVIIB ALBUM REVIEW”