Atlanta producer Chris Hunt previously applied his compositional skills to the work of Cloudeater, but following the break-up of that outfit, Hunt has struck out on his own in developing the Tomb project. Juxtaposing wide cinematic flourishes with elements of jaggy noise that almost create a heavy metal effect, his new music is throughly visceral in some of the same ways as Rabit’s recent music on Communion.
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Jedd: Beaudoin: Helloooo. Where did this come from? Love it. It’s got that (forgive me) Kate Bush/Peter Gabriel thing happening for it while also having its own character. Coming back to this one again and again. [9/10]
Stephen Wyatt: PUP’s anonymity will be short lived. They write anthems and odes the perils of puberty and the abyss of adulthood, and “DVP” is no different. Holding onto hardcore music’s finer elements—frenetic guitar work, drums peaking at the end of an amphetamine rush, and the admixture of screaming diatribes (“I need to grow up!”) and surfer melodies—PUP primes themselves for a future that would benefit for a revival in hardcore music. [8/10]
Piano music, even considering the neoclassical movement that sprouted (briefly) during the beginning of the last decade, is still regarded as a formalist type of art. It’s rare to see artists in the mainstream and even in the blogosphere break through the model. When such event takes place, we end up getting Max Richter‘s deeply rooted Romanticism or Nils Frahm‘s more agitated experiments.
Stephen Wyatt: Flume knows very well how Vince Staples can make a track turnt. The 24-year-old enfant terrible sharpens his production fangs on “Smoke and Retribution”, providing sweetness in Kucka’s deliberately quiet delivery to Staples’ untainted saltiness. As Staples’ verses drift in between Flume’s airy opus, the song’s brevity fails to underscore his purpose. Moreover, Kucka’s underutilization on “Smoke and Retribution” triggers the thought that this track was, in fact, rushed and unfinished. [5/10]