TLROE’s loudmouth irony dwarfs its heartfelt instrumentals to make both feel inane.
A chic rom-com with the lyrical posture of Morrissey and the humour of Father John Misty.
This is a pitch-perfect, diaphragm-clearing exhale of love.
Jackson’s deep presence through the unevenly built tracklist mirrors the process of living through love and loss.
This latest project with a small orchestra underlines Aoba’s plunging emotions while slowing her fall into them.
Weyes Blood began life as a DIY, acoustic venture, where Natalie Mering’s voice fluttered above a sound collage of tape recorders, saws, bells, and whistles. This is Natalie’s fifth album performing under the moniker. The opener could be on a spacier version of Bowie’s Station to Station: it’s not just that well-produced, it’s that sweeping. […]
Elliott Smith packed more melody into a double-tracked whisper than would be expected in a Glee cover of Mariah Carey. He can also say ‘fuck’ with more power than any outlandish, testosterone-steaming ‘rockstar’. Either/Or is like the shadow of a pop hit—Brian Wilson might have written it if he spent the 1960s leaning musically into […]
ana moura – casa guilhermina
‘Janela Escancarada’ is a gorgeous opener. It captures and bottles the dreamlike state of mind Ana Moura has slipped into. Despite her melancholia, Moura is careful not to detach. Her music anchors itself to the port of tradition while embracing new world musical goods: the vocal “yee-hees” above an accordion on ‘Andorinhas’ are indelible. In […]
It’s tempting to draw on some familiar names to help convey this record, but I’ll resist. That might validate the fact that Parallelograms went practically unheard until its 2003 reissue. It is a unique album, from a unique composer. The wistfulness is in tune with a woodland Aesop fable, but Perhacs’ folk isn’t a sun-glazed frolic […]