Review: The Canadian sonic soothsayers here deal out their shortest, and most immediate record since their 1997's debut, yet for all its 40-minute brevity, there's no shortage of the kind of monolithic intensity that the band have become renowned for. As orchestral and elegiac as it triumphantly amp-abusing, "Asunder..." is a masterclass in windswept atmospherics, powerful dynamics and apocalyptic grandeur, building to a climax with enough emotional heft to shake any listener's world on its axis. Existing more than ever outside of genre and comparison, Godspeed continue to inhabit an awe-inspiring sonic landscape that is theirs and theirs alone.
Review: The Canadian post-rock instrumentalists return with a demand for revolution, soundtracked by just shy of 45 minutes of orchestral aggression. As with all of their work, GY!BE convey their ideas articulately through evocative wordless music. The opener, 'Undoing a Luciferian Towers' sets a tone for the album with a monolithic and militaristic march. Passages of feedback open out into anthemic expanse on the three parts of 'Bosses Hang'. 'Fam/Famine' balances between harmonic assonance and dissonance, ramping up the tension before the final triptych 'Anthem Of The State' takes a more optimistic tone, with the movement away from noise providing some glimmers of light in the abyss. 'Luciferian Towers' is an impeccable and polished record, and possibly Godspeed You! Black Emperor's finest to date.
Review: Undoubtedly one of the most unique and profounds records heard in recent memory, this third full-length album from the Montreal-Beirut, audio-visual duo, Jerusalem In My Heart, is an awe-inspired display of voice, electronics, buzuq instrumentation and Maqam shifts. The album collides Arabian musicology with contemporary extremes of experimental electronic production, and the sounds and socio, geo-political discourse it navigates, fathoms depths so deep it's impossible not to feel affected by its sentiment. With the 19 minute-long "Wa Ta'atalat Loughat Al Kalam" defining the release like a street call to pray, the fretted bumps and dancey grunge of "Bein Ithnein" to the guttural oral chants of "Thahab, Mish Roujou', Thahab", places Daqa'iq Tudaiq in a world of its own. Must Listen.