Rub could be Peaches’ most adventurous, audacious musical statement yet.
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David Gilmour has just announced the release of Rattle That Lock, the new solo album from the former Pink Floyd frontman.
Being as an Ocean’s self-titled, ten-track LP is available thanks to Double Cross Records and is another triumph in their reasonably brief three-year lifetime.
Holed up in a log cabin in Tennessee, Alexander, who formed Oh Mercy in high school, says he wrote his music in voluntary isolation.
A feast for the ears, Why Make Sense? displays an abundance of creativity in the production mix. But there’s also striking restraint here, with enough space that the listener never gets overloaded. What separates Hot Chip from many other electronica acts is that they do, indeed, sound like a band.
Her latest offering, Platform, cements Herndon’s reputation as a unique musician with a singular voice.
Including artwork by Mast and Stroud, the album also features pedal steel guitar and the sound of a tiny 1940’s guitar amp found in a thrift store in Guadalajara.
Using electronic and falsetto tones, Johns is barely recognisable, but this complete musical change could earn him an entirely new legion of fans.
What makes the second record stand up so well is that, rather than succumbing to the temptation of rehashing the same sound, the band has pushed themselves into new musical areas. And as a consequence of taking this risk, there’s a raw edginess on the new album not present on the debut.
Vaudeville is more of an event than a record; from beginning to end, it provides dramaturgical moments and plot-driven songs.
Upside Adelaide 