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Sometimes the ambient and downtempo genres can slip under the radar. Outside of headliners such as Brian Eno and Boards of Canada, most artists quietly release a project; only truly appreciated when the listener has a mundane activity to do. MMOTHS, the stage name for Irish producer Jack Colleran, demands your attention (Hell, he even made it easier to search for his music, adding the ‘M’ in front, similar to the ‘V’ in CHVRCHES). His debut album, Luneworks, uses similar techniques to that of Tim Hecker and Jon Hopkins, warping atmospheric melodies with incoherent vocals. His previous EP’s (EP1 and Diaries) had a slight pop flavour to it, with each of the projects containing multiple features. They still contained an obvious atmospheric aesthetic, but not to the extent that this new project features. Continue reading “Luneworks ALBUM REVIEW”

Either That Or The Moon ALBUM REVIEW

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Rock is dead. You’ve heard it. I’ve heard it. Does any genre ever really die? It appears as though any genre, no matter how much it is lacking in experimentation and progression at the current moment, always seems to have its fair share of revivalists, enthusiasts, and masters. So, in that sense, the argument could be made that rock will never die. Continue reading “Either That Or The Moon ALBUM REVIEW”


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You’re lost in the ambience of it all. Out of breath, dirty, transfixed by the beauty of nature that seems unflinching to the happenings around it. Gazing at your reflection in the water stream, there’s a moment of ambivalence as the sounds of the insects surround you, encapsulating the world beneath the sun as it falls lower and lower. Nightfall is near. Your adrenaline surges with the looming violence in the background approaching, completely unwavering, its sound growing louder and more intimate. The Zaroffian nightmare is far from over, and even though you haven’t fully regained your composure, you know it’s time to run again. The hunt is on. The memories that preceded this are lost under the weight of their newly earned insignificance. And the only thing that bears importance to you is that newfound thirst for life, a feeling spurred by the near-guarantee of your forthcoming death. Continue reading “DAZE ALBUM REVIEW”

PJ Harvey – “The Community of Hope” TRACK REVIEW

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If in 2016, PJ Harvey and her immense body of work have somehow passed by your ears undetected, that’s okay. Unlike most modern indie-folk legends, Harvey does not rewrite the same niche record over and over to appease her audience, but rather she continuously puts out fresh, challenging material that has its own appeal and sound. So, with each album, Harvey presents a new audience of listeners with her haunting delivery and unique deposition. Although the tone might be far from the emotional breadth of her mainstream debut “To Bring You My Love”, PJ Harvey makes no exceptions to her standard of artistry with her new song “The Community of Hope”. This is the second single off Harvey’s upcoming ninth (!) studio album The Hope Demolition Project. Nothing about “Community of Hope” plays like an artist twenty years into her career, as its punk- level succinctness and fierce lyrics hit with such urgency, one might think it was an artist’s debut. The way in which all the layers on “The Community of Hope” play off each other, from the post-grunge distortion on Harvey’s guitar to the bouncy piano track and pocket drum beat, showcases Harvey’s biting, deliberate style just as well as her socially-conscious lyrics. Continue reading “PJ Harvey – “The Community of Hope” TRACK REVIEW”


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ANOHNI, formerly known as Antony Hegarty, has always been an artist that resisted theatrics, if not violently fought against them. Every performance is rooted in genuine pathos. And this integrity has avoided exhaustion in Hegarty’s ability to transcend personal drama to become an agent for the victims of the world. And on the introduction to her first album in six years, ANOHNI sets the stage for an album of sorrow on a global scale. Continue reading “ANOHNI – “Drone Bomb Me” TRACK REVIEW”