Articles by Dan Salter
The work of a band at the peak of their powers, We Love You is bright and brilliant.
We’re watching a performance by a piece of sculpture that might not be either of those things. It fills and animates the space but it’s possible to move your attention across it and appreciate it in different ways depending on which speaker you’re stood next to.
How does he do it? We should be making plans to save Robert Pollard’s brain for science, if it’s not already preserved by what made Milwaukee famous.
The sure and familiar footsteps of the piano guide us down echoing hallways of filtered field recordings and radio noise.
Seven Horses For Seven Kings brings a new set of widescreen, richly-layered sonic abstractions from Black To Comm that travel on darker, angrier roads than previous.
The result of Chalmers getting out and communing with the forest spirits is an evocative set of multi layered and textured pieces.
About midway into ‘Back In The Room’ they fully take flight, a massive, shaking whirl of sound that surrounds and lifts you rather than simply flattens you with volume.
A meditation on the intangible essence of Christmas spirit that also gives us the chance to sing smilingly along with a chorus of “We don’t need wise men and virgins”.
Disappointment guaranteed. Tonight sees a cherished illusion shattered as the widely held belief that a Blizzard gig could be improved by power failure turns out to be another myth.
A set of beautiful, carefully structured, instrumental pieces. Not quite ambient, neo classical or electronica, it blends all three into low key patterns of comforting sound.
‘Fight’ is a cracker, a masterfully building storm that grows from quiet guitar and whispered vocals to a bout of screaming fisticuffs.
Joyous noise punk recklessness. You should get this record, it’s a total belter.
This is an extraordinary record, a project of remarkable scope, ambition and deep humanity that makes everything else seem a bit small and inward looking. Their mission is blessed.
SAVAK embrace the idea of rock ‘n’ roll as wide ranging tradition to which they’re happy to belong, even if it may have run its course. As they see it there are still good times and good tunes to be had. It’s a winning blend of classicism and iconoclasm.
It’s a further refinement of the approaches on last year’s Some People Really Know How To Live and Total Shit! with improved results. Definitely more shine than shit.
The council’s gonna fucking regret ever tangling with us because we’ve got a lot of people backing the campaign and they’ve got such bad publicity in the last week I think they’re already regretting it.
They sound fantastic, loud and sharp, there’s a natural sense of rightness in the way the songs unfold that makes them seem simpler than they really are.
Full of songs that mirror lived experience, that carry emotional truths with a dash of sharp wit, wrapped in pleasing melodies – that’s still one of the best things pop can do.
Arriving handily just in time for Hallowe’en Faces is like a slasher movie binge, a ride through the haunted house soundtracked by some tense, wary noise rock.
Pleasant indie strums float a clipped RP voice hymning the Titanic’s impressive scale. There’s a sweet descending chord pattern and a processed chorus of voices that seem to carry the ship forwards. It sounds exactly like a Public Service Broadcasting record and the template they’ve been using so far is now looking a little worse for wear.
You Won’t Get What You Want is an intense and breathless ride through dark and unfamiliar neighbourhoods. Honestly, if you liked their last album and you wanted a new one then, despite protestations, this pretty much gives you what you want.