Articles by Jared Dix
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.
Their noise rock psych soup has a lighter, brighter feel… Celebratory and infectious, chaotic and driven.
Life Cinema is a hectic, urban, record. Full of clipped repetition and blank phrases. It has the claustrophobia of cities, the perverse loneliness in crowds.
Smart, melodic, indie pop/punk about the trials of love and friendship.
Rainford is more focused than he tends to be nowadays and features great work from Sherwood. It’s a strong late career album.
Walking a fine line between competence and under rehearsed spontaneity they shimmy and rumble with bright eyed, scrub cheeked enthusiasm. Like the famous five as beatniks, deciding to put down their Gauloises and take up the fight against evil rather than being transfixed by it.
Music which hovers at the edge of your awareness, gently improving the atmosphere like the smell of baking or coffee brewing in the kitchen. Its shifts in sound are like light moving across a room, its hinted stories like blurred old photographs.
Mirrors is a woozy dreamscape of colours and textures buoyed along on slow burn, head nodding beats.
A multi-textured tapestry of treated guitar, laptop static and meditative drones combined and recombined to stunning effect.
Bob Log III is what you might call a consummate showman . . . He makes toast, hands out balloons for us to inflate and then stamp, and fills a large inflatable duck with Bucks Fizz before passing it among the crowd.
This album sees them grow more confidently into their own skin, kicking any thoughts of second album jitters to the kerb and stomping on their head.
Oh, it’s so shiny. Sleek and gleaming like an airstream trailer in the afternoon sun, intoxicatingly elegant. It has a kind of perfect, crunchy, early 80’s power-pop-punk sound, everything up front but with space and light around it, hard and bright and clear like crystal.
The sounds they have collected are mostly as blank as plastic fragments washed up by the tide, yet they carefully collage them into colourful and revealing tableau.
Hits you with a combustible mix of emotion, abjection and simmering violence.
Oozing Wound look around in dismay at the general levels of human stupidity, shake their heads and point and laugh the bitter laughter of the disappointed. Vitriol for all!
Environment is a cold and empty warehouse, a ghost of industry. A space evoked through the tiniest of sonic details, an intangible presence.
Proper taste the lasers, brain melt, acid wonk to put a manic grin on your happy idiot face. Damn, but it feels a long time since I heard any techno that was actually exciting, you know?