Review: This is the second album by Balmorhea for the prestigious classical label Deutsche Grammophon, following their acclaimed 2020 release The Wind. The Austin, Texas duo - composed of Rob Lowe and Michael A. Muller - create cinematic and atmospheric music in a world entirely of its own; a shifting blend of gothic classical, folk, ambient, and post-rock, which rarely feature vocals, and instead thrive on the haunted immersions of the compositions alone. Their new LP Pendant World is a collaborative effort that features contributions from several guest artists and contemporary stars: cellist Clarice Jensen, violinist Hilary Hahn, pianist Nils Frahm, singer-songwriter Jose Gonzalez, and electronic producer Rival Consoles. A stunning mesh of sounds, we're not sure where electronic ends and acoustic begins, owing to the album's intended theme of connection, transformation, and evolution.
Review: Something of a cult record amongst those that know, this Bardo Pond album now gets a fully deserving remaster job for 2023. It brings the recording into sharp focus which means you can delve deep into its hallucinogenic charms, as initially recorded in Philadelphia back in 1993. The rather unique band's influences were said to be Black Sabbath, free jazz and no wave but you can also hear shades of early Dinosaur Jr, My Bloody Valentine and Spacemen 3 too. The band was a quartet when this was recorded and cooked up some dense garage and psyche-rock sounds with plenty of wax noise and explosive energy.
Review: Melt Away, the forthcoming double LP compilation, offers rare tracks and outtakes from Bardo Pond's peak creative period in the late 90s. A gem from this collection, 'The Trail', initially featured on the 1997 compilation What's Up Matador, encapsulates the essence of fleeting momentsiits six-minute journey is ethereal and immersive, urging listeners to linger. Bardo Pond, the American psychedelic rock ensemble formed in 1991, continues to captivate with their immersive soundscapes. Their music blends elements of space rock, acid rock, and shoegazing, often drawing comparisons to Pink Floyd, Spacemen 3 and My Bloody Valentine. Their work is characterised by droning guitars, heavy distortion and enveloping feedback and rooting in ecstatic jazz and avant-garde influences, creating a dreamlike experience that transcends conventional understanding. If that sounds like your thing, dive in.
Review: Matador has released the long awaited reissue of Bardo Pond's iconic 1999 album Set and Setting, remastered and pressed on striking purple vinyl. Known for their expansive and immersive sound, Bardo Pond's Set and Setting remains a standout in their discography, featuring the epic eleven-minute opener 'Walking Stick Man' and the intense single 'This Time (So Fucked)'. This album captures the band at a peak moment, blending heavy psychedelia with sprawling sonic landscapes. Set and Setting might not be Bardo Pond's heaviest record, but it's certainly among their fuzziest. With the fuzz dialed up to eleven, the album teeters on the edge of sonic overload, creating a swirling, sludgy atmosphere that's a dream for those who love their rock dense and gritty. Bardo Pond's music can be challenging to categorise, with their discography swinging from focused psych-rock to sprawling, loose jams. In the 90s, they didn't capture the mainstream attention of bands like Sonic Youth or Mudhoney, but they carved out a unique niche, blending shoegaze, desert rock and Krautrock influences into a potent, heady mix. Set and Setting, though perhaps not the easiest entry point into their catalog, encapsulates the band's distinct approach. While it might lack traditional hooks or radio-friendly tracks, it's rich in the droning, psychedelic explorations that define their work. For those who crave unfiltered, immersive jams, Set and Setting stands as a prime example of Bardo Pond's enduring appeal.
Review: Beings' debut album There Is a Garden, features the collaborative prowess of Steve Gunn, Shahzad Ismaily, Zoh Amba, and Jim White. With a fusion of spiritually resonant sounds, each track blooms with distinct environmental and evocative qualities. The quartet's fusion of talents, evident in their first two tracks 'Flowers That Talk' and 'Happy to Be,' shows a spiritually resonant and environmentally evocative sound. Formed after a transformative performance at Germany's Monheim Triennale, the band found a unique synergy, each member contributing distinct qualities to their collective sound. With its tracklist spanning from 'Small Vows' to 'Morning Sea,' the album hints at a diverse sonic landscape ripe for exploration. Beings mark their arrival as a dynamic force in the music scene.
Review: Ghost Box founder Jim Jupp returns with a new album from his flagship project, Belbury Poly, and this time around he's doing things a bit differently. Compared to the usual winsome minimal synth soliloquies, he's recruited a full band to round out his sound on The Path. As a result, this isn't like any other Belbury Poly record to date, even if past collaborator Christopher Budd returns on bass and guitar. Elsewhere, Midlake's Jesse Chandler lends some flute, clarinet and key tones, Max Saidi holds down the drums and Justin Hopper offers his narration to the record. Striking on a slinky, library-meets-lounge style without losing that hauntological charm, it's a bold new direction for Belbury Poly.
Review: Belong's latest offering, Realistic IX, presents a mesmerizing journey through acid-washed landscapes of sound. Michael Jones and Turk Dietrich craft an heavily processed sonic experience, where bleached guitars, hypnotic drums, and buried vocals coalesce to create shifting gradients of haze and hypnosis. Melodies ebb and flow, sometimes surfacing before submerging into feedback-laden currents. Despite a 13-year hiatus since their last Kranky release, Common Era, Belong's synergy remains undiminished. Their commitment to motorik drone and liminal emotion evolves on Realistic IX, offering a tactile and unreal exploration of sound. Tracks like 'Souvenir' showcase distant vocals shrouded in dissonance, while 'Image of Love' introduces drum machine work and reverberated melodic changes. Overall, Realistic IX is a shimmering comeback for Belong, capturing the band's enigmatic allure and pushing their sonic boundaries with finesse.
Review: BIG BRAVE's music epitomises what has been called 'massive minimalism,' with layers of textural distortion and feedback accentuating its weight and frayed edges. Their artistry blends traditional folk techniques with a modern deconstruction of guitar music, all of which is evident in the new album A Chaos Of Flowers, which is a follow-up to their fierce 2023 album Nature Morte. Lyrically, the songs delve into vulnerability, isolation, and co-existence in nature and guitarist and vocalist Robin Wattie drew inspiration from poetry by female-presenting artists, exploring alienation's impact on the psyche. This record is a testament to the band's ability to evoke intense emotions through minimalist yet powerful arrangements.
Review: Bill Orcutt's Music for Four Guitars album emerges as his most mature and exhilarating LP to date and exudes undeniable Apollonian beauty. Praised by underground aficionados and featured on NPR, the Bill Orcutt Guitar Quartet - comprising Wendy Eisenberg, Ava Mendoza, and Shane Parish - embodies technical prowess and improvisational brilliance. Recorded live at Le Guess Who? festival during their inaugural European tour, Four Guitars Live captures the quartet's seamless fusion of faithful renditions and expansive improvisations. From Mendoza's captivating lines to Parish's ethereal solos, the album transcends boundaries, showcasing soulful polytonal improv accessible to all. Orcutt's visionary compositions, enriched by collective virtuosity, redefine contemporary guitar music, captivating audiences with classic intervals and layered intricacies.
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