I think this is going to be one of those LPs that start to nag away at you over time.
It all sounds like the soundtrack for a mashed up hop in a school. Very, very predictable but really, really enjoyable.
Mourn see slackness as something to be eradicated; cut OUT. Even the song called Squirrel (about squirrels I presume) sounds like a band of teenage Visigoths having a booze up.
Quite possibly the most inconsequential review I've had to write on this magazine. You really don't need me to say that you'll dig it if you dig their other records.
Good stuff, and a definite kick on. Still; I do wonder what the Orb or The Barmy Army would have done with this material.
Pop and rock is a game and it is entertainment. But it's so great to hear a band that aren't afraid of being themselves.
Inside Life has got a devotional side to it; one that's not too far away from Popol Vuh's mid 70s output.
Le Seul Elément has packed Meradiam full of expansive, Gothic washes of sound which alternate between rumbling and ramped up, proto-electro and a private kind of Heavy Metal chamber music.
If ever there was a demonstration of how the same can suddenly sound different, it's From Safer Place, the debut LP by Fawn Spots.
It's something I've heard a million times before but still, I have been playing this record on repeat for a day or two.
A superb set of open-handed songs that with massive choruses and classic alt-rock arrangements that wouldn't be out of place on a Traffic LP like John Barleycorn.
Apparently a lot of the songs were conjured up the New Synagogue in Gdansk and an abandoned marine machinery plant.
The feeling that Cummi Flu gives off is that of Doerell as a maniacal curator of a museum that's stuffed to the seams with strange and arcane objets trouvés.
But regardless of expectations or otherwise, it's a great, warm pop record, chock full of good licks and hooks and the funny squidgy little beats that keep you nodding along.
There are some BIG songs on here; right from the off, and by the midpoint you can feel pretty puffed and in need of a biscuit.
This is sassy German metropolitan pop; confident, fresh and cheeky. And it fits VERY well within this particular canon.
Do you need boneheaded stomps replete with deadpan vocals droning on about modern living, and overlaid by soft, pearly grey washes and grinding, grizzly slabs of synth?
It's almost the perfect alternative pop record; with enough to satisfy urban existentialists and garden centre visitors alike.
Now and again things do disappear down a wormhole, but overall this LP's a damned good, funny, and all-giving listen; and best is saved till last.
Will the lumbering, frayed Golem that is this take on alternative guitar rock stay upright longer than the odd month or two?