jackliquorice

On Kuma Cove, Luke Wyland overlays loops of live improvisations, in different tempos, as a representation of his own stutter. As he says, “the musicality of my disfluency is revealed in its frictions, elongations, and foreshortenings.” What we get is a collection of songs with often slightly-disconcerting tones and drones, sometimes metallic, sometimes rumbling, sometimes soaring, with soothing motifs of melody in the foreground and unpredictable, staccato plucked strings or piano, giving Wyland his voice. There's structure and development to the songs, creating a narrative of contrasting emotions locked in tension, battling for ascendency. This is exactly what Tim Hecker does and Kuma Cove offers that intensity, albeit with less abrasive sounds. It's amazing to get lost in this music.… More

A friend of mine is fond of saying, "music is infinite" when talking about the sheer amount of stuff that is released each week. Whilst not true in the literal sense, it's pretty much certain that nobody can keep up with everything, and, if you think about it, a corollary is that an artist you should like might completely pass you by for years. Which brings me to HVL. How the hell did I not know about this guy until the other week?

HVL is Gigi Jikia from Tbilisi, Georgia, who has been releasing music for over 10 years and has nine albums to his name. The 14 tracks here sound a bit like Skee Mask, with elements of Boards… More

Robert Smith has said that he loathed Three Imaginary Boys, even whilst the band were recording the album, and thought of Seventeen Seconds as the first Cure album. The period between the debut and Seventeen Seconds is when he took control of the group from their manager, Chris Parry, who had both produced the debut (instructing them to record everything they’d written) and came up with the idea for the sleeve. There was plenty of change going on during this time. Unknown Pleasures came out a month after Three imaginary Boys. Smith was listening to Bowie’s Low. The band toured with Siouxsie and the Banshees in late ’79 and Smith ended up on guitar for them. Post-punk was… More