Articles by Jared Dix
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.
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.