Pryor Stroud: Touched with cinematic grandeur and lush instrumentation, “pH” is an ambient prog-rock dreamscape that is empty of words but replete with images—subliminal 8mm fantasy-projections, semi-conscious mind wanderings—that flash by in sweeps of intersecting synth nodes. Parc En Ciel, the moniker for Glasgow-based Mathieu Thomas, works in strange amalgams of highly disparate genres, including post-rock, throwback new wave, and contemporary electronica, but he still manages to engineer a coherent and discernibly well-studied sound all his own. In the end, “pH” sounds like Random Access Memories-era Daft Punk got their hands on the synthesizers and sidelined sonic material of Bowie’s Low period and, after some heavy substance use, laid down a real-time representation of their brainstorming process. [8/10]
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As we mentioned back in March with the premiere of “Fire Makes”, Brooklyn indie rock band the Loom is releasing the sophomore album, Here in the Deadlights, on April 22nd via Crossbill/Stereocilia. It was a long hard road getting to this point for the band as frontman John Fanning went through an emotional storm in his personal life that had him examining everything, including his music, as he rebuilt his life. While that process was painful and difficult, it afforded Fanning the opportunity of a rebirth, something he channeled into the Loom’s new music. The Loom has always been interested in repetition and grooves, things that are the primary concern of electronic music and it’s interesting how Fanning and the Loom are able to borrow dance music aesthetic elements and make them seem completely organic to indie rock. Here in the Deadlights is the first of two records that the band has ready to release as they have found so much creative inspiration drawing from the drama inherent in every day life.
At a time when little shocks or surprises comes Rïcïnn and the track “Uma” from the forthcoming LP Lïan. There could be no better track to introduce the world to this artist’s astonishingly beautiful album, a record destined to become one of 2016’s best. As a child Rïcïnn created her own language, believing that her musical utterances possessed healing properties. Perhaps it does. Standing on the outside of this nomenclature one can only feel the power of Rïcïnn’s expression and it is never less than deeply moving.
North Carolina is close to Atlanta geographically, but not musically as its hip-hop shares far more in common with New York rap. Charlotte’s Rapper Shane is heavily influenced by ‘90s hip-hop, including Wu-Tang Clan, Jay Z and Nas. “Started” may as well be Rapper Shane’s manifesto as it feels like a statement of purpose, as he announces that “it ain’t over now / I’m just getting started”. In a way he is just getting started as Rapper Shane. given that he previously worked under the moniker Stranger Day. Shane‘s got a super confident flow bristling with energy and passion, rather like Nas. Meanwhile, the song’s groovy slow jam beats just kill with incredible production from Ducko McFli.
Pryor Stroud: Tim Hecker’s dark-electro “Black Phase” purports to be part of a sequence, but it refuses to reveal what the rest of this sequence consists of: what is the phase that follows this “black phase”? Was there a preceding white phase that, due to some transformative event, darkened to its current color? The track doesn’t provide any answers, but through snatches of feedback and ethereal choral chants, it suggests a reality that teases transience—this will be over soon, don’t worry—while remaining stubbornly and ominously constant. [8/10]
// Channel Surfing
"Another stand-alone episode, but there's still plenty to discuss in the Supernatural world.READ the article