Regular readers of psyreviews (by “regular” I mean either that bowels are in OK working order, and/or that the nightly 3am bladdertrot is as predictable as that the morning catch-up on the news will further enscone the flap-handed hell-in-a-handcartiness trajectory of the world-in-general) may recall that the present writer never really “got” Infected Mushroom.
I always found they were more about style than substance. More about plateing and presentation than nutrition. More about foreplay than post-coital weeks of abject self-loathing.
And yet, I would recognise their strengths. They can make sound move around a multi-dimensional soundscape better than most. They change basslines …
We have come full fucking circle, ladies and gentlemen.
In a world when “the scene” (is that still a thing?) seems hell bent on slower, moodier beats and an endless trough of post-minimal lets-just-all-fucking-stand-still-shall-we shitgressive, it is not without acknowledgement of irony that this very digital outlet finds itself kneeling at the sandals of Riktam, Bansi and someone called Chikki, bathing in the glory of someone having some fucking tranceballs again.
The formulaic nonsense that 1200 Mics used to churn out is now vintage formulaic nonsense. I would genuinely recommend re-listening to 2005′s Live In Brazil for a schooling in how solid punk-production …
Kickstarter-funded, Bandcamp pay-what-you-want sold, and from an artist that seems to have an effortless resonance with his audience over the social medias: you couldn’t outline a more 21st century album if you tried. Fairchildren is Ott’s fourth proper album, building on 2011′s “god was that really four years ago” Mir and taking that delicious, danceable dub to a confident and loving new level.
The drifty opening of the album A Gentle Place By Birth Is You eases into 16mm Summer Day with its bassline that has a tremendously warming effect on the cockles. Ott’s production is more polished, more organic and, …
Many years ago (okay, in about 2006) the present reviewer had reached a certain brief echelon of fame within the scene and found himself connected on MSN Messenger (remember that?) to none other than Simon Posford, of whom you have probably heard.
In a chat whose MSN log I desperately wish I still had, Posford asked me whether Hallucinogen’s Twisted would have got ten out of ten if psyreviews had been around to review it. My response, with which I was and remain incredibly chuffed, was that it would indeed have probably scored ten out of ten; but if it had, …
“It’s been a long time in the making.” “Why did they wait so long?” “Whyfor the terribly long silence?”
Yes, reviews around here have been thin and slow (the opposite of thick and fast) lately and perhaps this is the reason. The whole world was waiting for Avi and Lior to dust out their old kit, connect it to their new kit, and create something with such lovely, delightful abandon as this.
It doesn’t move things forward, but then that’s not the point. There are slices of newness, particularly the slices of post-Tiesto high-end thrustings the sort of which one expects with …
So, here we are then. Benji Vaughan ditches Prometheus and de-orbits Younger Brother for a solo album which, apparently, represents what he really wanted to release and to sound like all along.
It’s an album with a lot of different styles, which is both a blessing and a curse. Even Tundra will challenge you; I should know because it’s been several weeks of listening that’s led to this review (including, it should probably be said, chaseup emails that have almost been on a par with Analog Pussy in 2003, which ended badly. I mean hilariously.)
Ursa Major gets things under way, and …
Museums of Consciousness is Shpongle’s fifth album, which by my reckoning makes theirs the longest trilogy in the history of music. It’s also one of the most hyped releases in the last couple of years; true, the promo machine is far from what it used to be but it seemed, for a few weeks at least, as though everyone was talking about Shpongle again.
All of which makes it more and more unfortunate that Museums is such a disappointment. The main beef is how disjointed it is; the tracks neither segue into one another, nor reflect a consistent vibe. If someone …
It is, ladies and gentlemen, ten years since Ott released Blumenkraft, the album that carved a firmly independent niche for a firmly individual style of music. We’d never heard anything like it: at the time, Psyreviews said that Blumenkraft “came along and made a whole new genre of music, all for itself” with a style that sounded like “a happy accident of circumstances and herbs that just seems to hang together like a spaghetti sculpture.” Frothy.
Fast forward to the present, and we’ve got a situation where mild-mannered Ott self-releases music, maintains a strong and dedicated following on social networks, and spends …
Well lorks a lummy, as one might say, because it appears as though Tip are back again, or are they, with a new album, or is it, featuring a selection of “cherry picked sound nuggets from some of Raj’s best friends blended together seamlessly” (i.e., Lucas and Protools are behind the mix, and Raja himself probably isn’t).
Already we’re beset by is-it-or-isn’t-it, and the album hasn’t even started yet. Luckily, the opening strains of Wolfgang’s Tea Party from Sybarite has a bassline that channels a ridiculous amount of Massive Attack’s Safe From Harm, rendering it largely missable and frustration (although I …
I’ve been super-enjoying this, especially over the six weeks or so I’ve been sat on it while the label patiently waited for me to get my act together and review it. The second album from Hedonix sees the Sydney duo settle into a sound that’s wholly their own, and a space that they and only they occupy.
This is in contrast to their 2009 album, Order Out Of Chaos, an impressive debut albeit one which invited comparison to other artists around at the time: post-Sensient, it was difficult to think of any natively Australian act in purely objective terms.
All this changes …