Dark, Gothick and magnificent. If you like this sort of dark folk/drone release, it’s indispensible.
a great big fucking skip load of potential
Leave us alone. We’ll just wallow here in the rain, with our hair flopping in front of our eyes as our stripey woollen jumpers get ever heavier, absorbing all the moisture and the die in our saggy arsed jeans begins to run and tie-dye our underpants.
I’d recommend you have a Campari & Soda and stick this on at your next fondue party, swingers.
Drawing on a host of recognisable influences, Something Ain’t Wrong nevertheless does what all truly great records do; it synthesizes all the sum of its parts into a meaningful, coherent and attractive body of work...
It might be looking firmly at 1967, but it’s still great.
Ah, Dutch pop at its finest; fun, slightly over-reaching itself, frayed at the edges but with bags of charm in tow.
There’s always the feeling of the open road inherent in their music, maybe it’s that endlessly thumping rhythm section…
I also like the quiet tip-tap drumming; its metronomic and ever so slightly trippy, like the Floyd with Barrett, it's job is to keep time and stop things getting too gushy or splurgy. That's not to say it doesn't splurge out; So Much For is classic 90-91 guitar pop, Lush style.
The album does feel a little overlong with a few of the tracks outliving their welcome. For the most part it is, however, fun for the fan of off-kilter pop.
With Frenzy of the Absolute there’s a ritualistic grandeur inherent in the music that is totally at odds with that live experience.
Another cracking release from Holland’s finest purveyors of intelligent noise.
Be warned, this isn’t a release that will instantly grab you; its self effacing nature means that the listener needs time and patience, but it’s definitely worth it.
The people of Helbaard and Sub71 are doing a great job for this area. More and more good bands are visiting from all over the globe so that's very inspirational...
I know now and again I’m given to the odd hyperbolic statement, but really the Julie Mittens are psychic Rock Heroes of the first water.
The sounds contained on (=AOK) span the decades. There's fifties twang, and sixties garage, seventies rock, eighties thrash and so on – but the sound is never derivative.
I'm not over keen on singer-songwriter efforts, (there are so bloody many of them after all) so - and hopefully I don't sound like a portentious nobber here - this review should give an indication of how strong it is as a release.
I'd better say straight from the off that this recording is very German.
In many ways they are straight-forward reflections on love and loss and all that other human relationship stuff. Get Your Ass over Here doesn't exactly need the Rosetta Stone to decipher it.
...this is a High Church lament; sounding for all the world as if Syd Barrett has broken in through the vestry and is messing about with his local church organ and a Casio.