Review: Newly signed to Ninja Tune, Ebbb debuts with a five-track EP that shows great intent. Emerging from the same London avant-garde live scene that birthed black midi and Black Country New Road, the band has quickly developed a unique sound in just a year. Their music blends pulsing rhythms, immersive electronic production, sparkling melodies, layered vocal harmonies, and beats that range from ambient to industrial. Described by the band themself as "Brian Wilson meets Death Grips," the EP is experimental and unpredictable yet deeply considered and precise with an idiosyncratic hybrid of sounds that showcases Ebbb's innovative and tightly crafted music.
Review: Eyes of the Amaryllis is a collective that announced its arrival with a debut self-titled album back in 2021 on cassette tape. A year later they landed on Horn of Plenty with a second album which came on vinyl, and now they offer up a first 45rpm in the form of 'Lunchtime On Earth' on Swedish label I Dischi Del Barone. All four tracks are decidedly short and to the point and sit somewhere between post-rock and experimental with elements of lo-fi, folk and world & country. It's the title track that stands out with its doleful guitars, plenty of echo and drifting, wordless vocal sounds making for a beautifully melancholic vibe.
Review: There's a juxtaposition of gravel and soaring, almost-gliding quality to the epic guitar work that welcomes you into Eden Gardens. It's as though the refrains and chords are so expansive they envelop everything from ground level to stratosphere. The work of Papir and Cause Sui members Martin Rude and Jakob Skott, the result is both technically impressive and spiritually beneficial. Post-rock that makes you feel genuinely freer than before pressing play.
As grand as it sounds, there's also something very real happening here. For some, this kind of stuff may come across overblown and inflated, but then there's no pomp and pageantry present. And by that we mean the parts that exist are well balanced and you can understand why they are there without necessarily knowing. Everything feels right, and in the correct place, which is probably the best recommendation we can give.
Review: Edena Gardens makes another bold statement with their second studio album. The talented trio has not only written this new album but also a new live album that unveils the very DNA of their collective. The move with style and grace from stoned and cosmic folk inflected vibes to the more intense 12-minute centre piece 'Veil.' There is a real analogue warmth to much of this material as well s plenty of free-jazz radicalism with the likes of final tune 'Crescent Helix' which eventually becomes a fiery alt rock roller. All in all, Nicklas Sorensen glistering guitar, Martin Rude's Baritone guitar and drummer Jakob Skott have cooked up real magic here.
Review: Efterklang's seventh studio album, Things We Have In Common, closes a musical chapter that began with Altid Sammen and continued through Windflowers. Embracing a simpler, more inclusive approach, the album reflects a gentler harmonic tension and straightforward tonal language. While Altid Sammen explored human community and Windflowers delved into nature, Things We Have In Common centers on collective spirituality and belonging. The album reunites the core trioiMads Brauer, Casper Clausen, and Rasmus Stolbergiwith former member Rune Molgaard, whose spiritual journey has profoundly shaped the album. Molgaard co-wrote seven of the nine tracks, infusing the record with his unique perspective. Featuring contributions from international artists like Zach Condon, Tatu Ronkko, Hector Tosta, and Mabe Fratti, and notable collaborations with Francesco Donadello and the South Denmark Girls' Choir, the album marks Efterklang's 20th anniversary with a rich, evolving soundscape that reflects two decades of artistic growth and reconnection. Come and enjoy one of the most underrated bands of the millennium.
Review: Einsturzende Neubauten's description by label Potomoak - as a band that constantly evolves - is accurate enough. Over forty years on from their debut album Kollaps in 1981, Rampen appears as the latest and most unruly incarnation of their sound yet. Here, Blixa Bargeld, N. U. Unruh, Alexander Hacke, Jochen Arbeit, Rudolph Moser and Felix Gebhard present their least predictable and conventional sides: APM is described as alien pop music; the songs therein have been specially crafted not only for our universe but for every adjacent parallel universe to ours, with every slight multiversal variation in humanity's collective tastes held firmly in mind. The album fully lives up to its billing as anti-pop as alien pop, its challenging twists and turns fully sating the difficult whims of society's outcasts and cosmic punks.
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