May 19th, 2016 / Comments Off on New track from Mons Vi – American C.R.E.A.M. / by Mog/
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Mons Vi came together in late 2015 after Matthew Hershoff, 24, met Matthew Leichenger, 20, and Enzo De Palma, 20, in NYC. Hershoff has been playing classical piano since he was 5 years old and picked up a guitar when he started writing songs around 18. Leichenger and De Palma also started playing music at a young age, and both grew to be passionate about jazz. Hershoff is the songwriter of the group and takes an observational tone while drawing inspiration from world events and personal struggles. His last project was an album titled “AIRA” dedicated to his late best friend and guitarist in his last band, Anthony Sequera, who died in 2012 at the age of 18. Some of Mons Vi’s musical influences include Radiohead, My Bloody Valentine, and the Velvet Underground.
May 19th, 2016 / Comments Off on New song from Bodywash – All I Wanna Do / by Mog/
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Bodywash is a Montreal-based quartet, and this is their cover of The Beach Boys’ classic track “All I Wanna Do”.
It’s a tribute to the amazing mood and pop harmonies captured by Brian Wilson in this track, which sometimes goes overlooked compared to the group’s more recognizable gems. It’s off the Beach Boys’ similarly overlooked 1970 album Sunflower, with the track being a hypnotic dream driven by melodic vocal doot-doot’s, a tranquil guitar twang, and a devastatingly beautiful chord progression.
May 18th, 2016 / Comments Off on New track from Katmaz – Nautical Things / by Mog/
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Katmaz is an Indie Rock project from Matthew Kaz, an American songwriter, producer, and multi-instrumentalist who approaches music from the visual sense first, which often results in an emotional and cinematic sound. Kaz is originally from Buffalo, New York and began classical training at age 6. Katmaz started as a project that involved songs that did not fit the greater picture, but evolved into it’s own thing. Kaz is the former lead singer of the Cleveland-based indie-rock band Debussi and currently lives in Brooklyn, New York.
May 18th, 2016 / Comments Off on Review for Playback Dreams by Kid Ikarus / by Mog/
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For the last five years, Kid Ikarus has been painstakingly experimenting and modifying their sound into a vastly different beast than their previous self-titled album release. Now, the Switzerland-based band is back with ‘Playback Dreams,’ an eccentric instrumental record with seven songs of surprising variety. Let’s dig right into all
seven and explore the album’s nuances to determine if it’s worth spending time with. The opening of ‘Playback Dreams’ is ‘Master Blaster,’ a song that explodes at the two minute mark with a cacophony of incredulous sound. It’s a ballsy introduction, a statement of intensity and intent. That intent, I think, is to challenge the listener with constantly evolving instrumental landscapes. This record isn’t necessarily easily consumed – it’s pretty clear that Kid Ikarus wants the listener to sit down and absorb their creation.
‘Master Blaster’ is occupied by a driving electric guitar and some haunting synthesizers, setting a fascinating precedent for the album. Despite its instrumental brevity, the track feels compellingly deep. Essentially, the band does a lot with a little – an effective statement is made without over-emphasizing itself. In a way, this makes the album’s introduction feel more authentic. Some instrumental records devolve into ostentatious obscurity. ‘Master Blaster’ alludes to otherwise in this case.
As expected, ‘Endless Fun,’ the following track, begins the layering process. Now, the percussion doesn’t sound like an acoustic kit, but rather, a drum machine. The synthesizers are more pressing, too, and push themselves to the forefront with an unsettling sense of urgency. ‘Endless Fun’ has a mysterious feel to it, something that works in its favor for the first five minutes or so.
As you turn the corner on ‘Endless Fun’ around the five minute mark, the track begins to blend into oblivion. A strong instrumental jaunt ends up feeling more like the soundtrack to the Nintendo 64’s ‘Goldeneye’ game, which probably could have been remedied by condensing the track a tad. It’s not a massive indiscretion, though, and the snappier ‘The Lizzzard Of Ozzz’ picks up the slack afterward.
‘The Lizzzard of Ozzz’ is doused in a lot of sonic variety, from its waves of white noise to its sharp synthesizers. It does what ‘Endless Fun’ probably should have done: establishes its uniqueness and then exits before that notion becomes worn out. ‘Soft Power,’ the next tune, does this even better, bringing back the electric guitar for one of the more fascinatingly dynamic implementations on the album.
‘Soft Power’ a unique point in the record, actually. The synthesizers of ‘Endless Fun’ and ‘The Lizzzard Of Ozzz’ meet the acoustic drum kit and fuzzy electric guitar of ‘Master Blaster.’ In some ways, this meeting of forces concretes ‘Soft Power’ as one of the best songs on the entirety of ‘Playback Dreams.’ It’s a powerhouse performance that perfectly accumulates its predecessors into a cohesive product.
‘Easter Eggs’ follows ‘Soft Power,’ though I’d argue it’s not really a fully functional song. It feels more like an interlude to connect ‘Soft Power’ to ‘Sweet Secrets,’ the track that then follows it. It’s a two minute excursion through distorted noise and drowned out synths. Basically, it sounds like two minutes of Lou Reed’s infamous ‘Metal Machine Music’ set to very light synthesizers.
‘Sweet Secrets’ is one hell of a long track, clocking in at nearly nine minutes. Surprisingly, however, it serves its function far better than the previous long track, ‘Endless Fun.’ The track evolves into several different movements through its run, harnessing the full cabinet of resources that Kid Ikarus boasts earlier on the record. The same, however, cannot necessarily be said for the finale: ‘Blaster Master.’
‘Blaster Master’ is an interesting listen; it just doesn’t stack up to any of its six counterparts. (Perhaps excluding ‘Easter Eggs,’ since again, it feels more like an interlude.) Its first five minutes are a crunchy, distorted journey through a creative notion very similar to the opening of the album. This, for the most part, is a good listen. Around the 5:30 mark, though, the track subsides into eerie, atmospheric monotony that doesn’t find its way toward any meaningful conclusion.
‘Playback Dreams’ is a superb album. It has its flaws – I think ‘Endless Fun’ is far too long and ‘Blaster Master’ fails to find footing in its second half, not nearly justifying its incredibly long runtime. The rest of the album, however, shines poignantly as a wonderful excursion through experimental instrumental musings. It is very much worth checking out for any fan of alternative, experimental, or electronic rock.
For the last five years, Kid Ikarus has been painstakingly experimenting and modifying their sound into a vastly different beast than their previous self-titled album release. Now, the Switzerland-based band is back with ‘Playback Dreams,’ an eccentric instrumental record with seven songs of surprising variety.Let’s dig right into all seven and explore the album’s nuances to determine if it’s worth spending time with. The opening of ‘Playback Dreams’ is ‘Master Blaster,’ a song that explodes at the two minute mark with a cacophony of incredulous sound. It’s a ballsy introduction, a statement of intensity and intent. That intent, I think, is to challenge the listener with constantly evolving instrumental landscapes. This record isn’t necessarily easily consumed – it’s pretty clear that Kid Ikarus wants the listener to sit down and absorb their creation.
the post-rock independent outfit, Your Protected, released their second studio endeavor, ‘Kings of Summer.’ The six- track EP is the long-awaited follow-up to their self-titled 2011 release. They describe themselves as “audible chocolate,” and hope to “invade your earholes.” Is it a good invasion? Does ‘Kings of Summer’ make a compelling argument for Your Protected’s work? Let’s find out.
‘Kings of Summer’ is a really heavy effort in every sense of the word. It rocks hard, explores a lot of experimental territory, and definitely embodies its self-described ‘post rock’ nature. The album is entirely instrumental, too, which poses as many challenges as it does present opportunities.
UAE Records is a small independent label managed by Christer Lunder and Christian Saint-Viteux. We focus mainly on ambient, drone, electronic and experimental music. Our main goal is to work closely with our artists and together try to fulfill the potential in the music and the artistic work.
Wolves and Horses is a one man act, in the customs of a lot of singular outfit, doesn't sound like one. Amassing on drone elements and keys in an almost similar approach to “Ous Mal”, “Darren Harper” and “AUN”, Wolves and Horses tend to shape and form its sound around the idea of INFINITY. The result pertain an elevated measure between the kingdom of modern-ambient and contemporary ambience composition. It's the kind of record where all elements blend flawlessly with no defects and you instantly realize the fundamentals parts without having to set the listen on repeat play.