(Alexandra Pollard), Tales of witchy curses (“On Graveyard Hill”) and spirit reincarnation (“Daniel Boone”) feel like they’ve been dug up from ancient folklore, and capture classic-Pixies menace and ghoulish spirit. Over the album’s 12 tracks, ghostly organs and minor-key guitar-picked sequences help to conjure this dark, Gothic vibe. 12 check-ins.
(Alexandra Pollard), The album is packed with personal confessions for the fans – “Arianators” – to pick over. The most likely cause is that something on your server is hogging resources. Before Judges Petrella, Lintner and Parker. If you threaten someone you have to say, ‘If you do this, this is gonna happen.’”, It’s not uncommon for an artist to be influenced by the place they grew up in. This is a new side of Deerhunter that gives the listener much to contemplate. With Noel Pagan.
(Roisin O'Connor), The record frequently switches in tone: Banks can be both formidable and vulnerable, accusatory or filled with regret. (Roisin O'Connor), Nesbitt is back with her second LP, switching to a brand of soul and R&B-fused pop that feels bang on time, and suits her far better. He then added about Noel’s 19-year-old daughter: “I probably shouldn’t have brought Anaïs into it, and I apologise.
(Alexandra Pollard), Assisted by veteran producer John Congleton (St Vincent, John Grant), he channels the spirit of David Bowie and Iggy Pop. “Adult Film” features a gorgeous piano riff; the Pete Rock-produced “The Art of It” has a delicious funk vibe; “It Never Ends” comes full circle via a bright piano loop.
Cambridge University Engineer Rebuilds Enigma Code-Breaking Machine. And where better to dream than from the comfort of your own digs? At her best, Sigrid throws out precision-tooled high notes like icicle javelins into vast, blue Scandi-produced skies. You can hear his paranoia in the stuttering techno opener “Traffic”, which channels the heady grooves and pulses of electronic artist Floating Points (who, with his neuroscience background, seems like an entirely fitting reference point). Want to bookmark your favourite articles and stories to read or reference later? “Fringe Runner” is so sleek and funksome it could be a New Romantic “White Lines (Don’t Don’t Do It)”; “Kim’s Sunsets” is a piece of refined cosmic reggae resembling a blissed-out “Bankrobber”.
Tracks are at once astute and deeply personal in how they capture vignettes of everyday life and spin them into important lessons. On “Reach Out”, Tucker begs, her voice a little sleeker than Brownstein’s but no less commanding, “Reach out and see me, I’m losing my head.” Quietly discordant piano ballad “Broken” pays tribute to Christine Blasey Ford, the woman who accused supreme court judge Brett Kavanaugh of sexual assault: “Me, me too, my body cried out when she spoke those lines.” The Center Won’t Hold is a reference, it seems, to the 1920 WB Yeats poem “Second Coming”: “Things fall apart, the centre cannot hold.” If this is Sleater-Kinney falling apart, then what a beautiful collapse it is.