Articles by Jared Dix
The front and centre wonk and distortion counter balance his remarkable knack for melodies so immediate you feel like you already know them.
Modern electronic approaches are applied to folk themes with a curiously effective lightness of touch. Particular textures and obscured meaning creating a sense of suspended time.
A collection of all six sessions Echo and the Bunnymen recorded for Peel at the BBC during their initial golden run. A fascinating pile of sketchbooks and rough drafts for the greatest band to ever come out of Liverpool.
four tracks of clammy emotional drama set to a wounded panoramic roar
As dense and intense as it can get there remains an unfailing ear for a stirring, stadium sized melody, something pumping the blood in the midst of the busy machine sound.
Tucker’s voice is so sweetly charming that the content seems secondary, washing over you in a bubbling stream of vowel sounds, somehow both emotional and affectless, open and arcane, devotional yet ordinary it makes his dense abstracted drone into approachable pop.
Drawing on abstracted photographs of weather and achieving a similar suspended state. Colourless and indirect, natural and gently mesmerizing. Everything seems to unfold with the same essential rightness as the wind moving the clouds.
strong and distant enough from the movie to work as a stand alone album of elegant piano, fluid electronica and understated post rock moods, it succeeds by finding the film’s emotional heart.
In the first of a two-part series, Jared Dix finds a circle of musical life in his overview of Birmingham’s burgeoning Supersonic Festival.
Nottingham’s premier punk rock self help group get darker on their brilliant third album Health & Social Care.
A decisive step forwards in pursuing their goal of an organic electronic minimalism of the spheres. I is a successful experiment in taking their hands off the wheel, I wonder where it leads.
Remastered and reissued in celebration of the 50th Anniversary of the moon landing this is a classic album by an acknowledged modern master. If you don’t already have a copy then now seems as good a time as any to fix that and make your life a little bit better by having it around to turn to.
Immense. A thick, layered, roar, the grindingly bleak sound of well fed disgust and smothering disenchantment.
“We are most of the way towards having enough songs written for the next new album. It seems like bands normally start to release compilations, greatest hits collections, and live albums when they can’t come up with good new material anymore. We didn’t want people to see this Peel Sessions record and think, “I guess they’re done. Now they’ll put out some compilations and wrap things up”
LP is not just better than you would expect, it’s properly smiling, involuntary butt shaking, “hey, who IS this?” great. Never afraid to be stupid, trashy or wrong surely their time has come again.
Louder Than Death roughly channel outsider devotion to The Stooges, Ramones and early Damned into a raging, spitting, blitzkrieg bop of cheap thrills and bad vibes in mercifully disrespectful style.
A mix of retro shapes and noise pop moves that suggests we might be dealing with a little more imagination and ambition than your standard issue garage punk delinquents.
For the most part Years To Burn is a treat, the best thing anyone involved has done for a few years. Often it’s so hushed and intimate it’s as if they’re playing in the front room and don’t want to wake anyone sleeping upstairs.
Pelican at their best are one of those bands whose music is so evocative of driving through the landscape, of scenery and emotion fusing in the mind.
The tunes tumble past at a pace, all short, sharp and shiny. There’s a few broken hearts and hurt feelings in there but Ex Hex aren’t really about the introspection, they’re about escape and the healing power of rock ‘n’ roll.
They’ve not gone completely sewing circle on you don’t worry, Cut & Stitch is more human and more vulnerable, more varied and more interesting but it is still raging feminist post hardcore.