One disc of frayed and extreme high-BPM blackened doom combined with unsettling, complex post-rock. One disc of exquisite instrumental music for an non-existent art house film. A heavy record, perhaps the heaviest they have ever produced. For multiple meanings of that word.
An urgent, visionary record which lays down a marker for how daring pop can sound in 2014. Ten discombobulatingly anthemic songs laced with an exuberant lyrical and sonic wit as well as flashes of darkness – moments of disquieting melancholy built on hazy recollection of times past.
Blue Duck’s first full length release – a heady combination of hazy party jams, experimental rap and warm glitching hip-hop. Woozy synthesizers, harp and cut and paste combine with surrealist rhymes, sharp sampling and a fierce energy. Stunning stuff from a unique voice in the UK hip-hop scene.
37 minutes of postmodern pop perfection. England Without Rain bursts with vitality, oozing with surreal mirages and sultry pleasures, yearning for the release of a storm. Joy, sadness and frustration embodied in shimmering guzheng, exuberant synths, thumping Kompakt beats and Fleetwood Mac guitar duels.
Formed partly through collaboration across our roster, Little Measurements is a collection of brief encounters, which hinge on the slightest details and gestures: a written note, a fleeting facial expression, a movement of eyelashes. Intimate, evocative and beautiful, this is a moving work, full of echoes, spaces and haunted memory – as sad as it is hopeful.
The second record from Les Étoiles, To Leave A Mark’s detailed, beautiful songs pay tribute to his home town of Bridgnorth, its beauties and tragedies, it as a container of memory, people, times, love and loss. Carefully produced by Tim Wright, it is a sparse, subtle and gorgeous piece of music.
The companion piece to last year’s critically acclaimed Go Lucky, IDKWIAIDKWID brings tracks recorded over the same time, remixes and fresh material. Bursting with sonic inventiveness, lyrical cleverness and possessing a still beating pop heart, this is a release to treasured as summer fades.
Talk Less, Say More once again effortlessly connects the abstract with the concrete in this album of glinting futuristic glitched hip-hop. Raps about quantum mechanics, suicidal mathematicians, Zeno’s paradoxes as well as home towns and girls being, you know, sometimes quite difficult to understand. Wonderfully skewed, weird and utterly unique, something like Timbaland meets the Copenhagen Interpretation with Kool Keith on vocals.
An intensely personal record that falls into love’s sunlit glories as well as the strange chasms opened when it departs. A celebration and an elegy, this is the height of the best traditions of experimental pop: cyclic guitars, minimal techno throb, snapping drums over impressionist cello and joyous poundshop electro.
“Good things, when short, are twice as good” said Baltasar Gracian. A twenty-four track, two disc tumble through more genres than you can shake a big stick at. Each avant miniature never dips over two minutes, but always dips into a big bubbling pot of inventive electronic imagination.
Syd Barrett does indie pop: songs about animals and their sports days, the sun with his hat on and wanting to be a car. Not to forget ruminations on turbulent personal relationships, melancholia and mortality.
As one FBI agent might have it: That’s a damn fine cup of experimental oddness. Labyrinthine minimalism, mind-bending apocalyptic space rock, Lynchian jazz, musique concrete, Wickerman folk and the darkness from the hearts of beasts and machines.
Strap explore the edges, the limits and the outlines in a record that is by turns dreamy noise, deconstructed post-rock, slow-burning kraut, sublime improv pop, frenzied prog and galloping white noise psych.