Articles by Jared Dix
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.
Snatches of world beating tunes bleeding through the squalls of noise and weirdness.
Driving drums, twisting, squalling electronics and saxophone skronk. It’s hypnotic and uplifting, wave after wave of glorious churning sound.
Pro Rock is a full strength jolt of gleefully dumb fun, a clattering headrush of fluorescent nonsense, superhuman drum battery and ridiculous table top electronic wizardry, hardcore party music.
Two lengthy ambient drones from two giants of the genre working together for the first time
Hecker is an extraordinary artist able to mould and sculpt sound in remarkable ways. Konoyo sees him again balance a wide range of emotions and textures into a beautiful, mysterious whole.
As the leaves turn and the temperature falls this record is as comforting as pulling on a jacket you’ve not worn since spring and as pleasing as finding £10 folded up in the pocket.
Faces Of Earth swerves any expectation of draining dirge and dances about cackling to itself, spitting fortified wine into the fire.