‘Mercy Of The Crane Folk’ is the beautifully accomplished second album from Athens GA’s Immaterial Possession. A theatrical soundscape littered with subconscious flashbacks, retro keyboard flurries, wandering Morricone-esque guitar and dreamy Sumac-like harmonies.
‘Mercy Of The Crane Folk’ is the beautifully accomplished second album from Athens GA’s Immaterial Possession. A theatrical soundscape littered with subconscious flashbacks, retro keyboard flurries, wandering Morricone-esque guitar and dreamy Sumac-like harmonies.
A heady collision of Raincoats-esque indie and ESG-paced rhythms fed through a kaleidoscopic pagan folk filter. The follow up to their critically acclaimed 2018 debut 'Yes I Jan', this release is a wordy slice of state-of-the-art social commentary wrapped in a perfectly-balanced soundscape that veers from funky minimalism to baroque dream pop
Housed in a beautifully austere post-ironic de-constructed sleeve; ‘Flicker’ is a modern reflection on these difficult times. World crises notwithstanding, they return reborn, re-arranged and revitalised after assimilating dub reggae, the motorik spirals of Can, the modal meander of Philip Glass and The Cure’s dreamier pop sounds; plus the twice removed symphonic ambience of Spiritualized and Talking Heads under heavy manners from Brian Eno
With music curated by the fashion world’s leading sound director Michel Gaubert, the show’s enigmatic setting was a stunning backdrop for Faten’s expressive and cinematic work. The three pieces used, 'Trenchcoat', 'Florin Court' and 'Fin Aout, Debut Septembre', all taken from Faten’s fifth album, 'Afterpoem', provided the perfect accompaniment to the visually enchanting event
Recognised as a purveyor of dreamier pop with folky leanings, this new album is a departure; a unique marriage of traditional stylings and very modern melodies; a breath-taking soundtrack which underpins her gorgeous vocal.
Filled with personal tales of offspring and grandparents, the lovelorn and the lost, it’s the essence of re-imagined folk music, from the traditional intro and outro that act as bookends.
'End of Everything' is the intrepid seventh album from Mega Bog, a nightmarish experimental pop ensemble led by Erin Elizabeth Birgy. In 2020, Birgy was surrounded by seemingly endless turmoil: mass death, a burning planet, and a personal reckoning when past traumas met fresh ones. Living in Los Angeles, against the backdrop of brilliantly horrifying forest fires, she questioned what perspective to use moving forward in such dumbfounded awe. Deciding to seize something tangible, she produced a record that spoke of surrender, of mourning, and support in the face of tumultuous self-reflection.
‘Mercy Of The Crane Folk’ is the beautifully accomplished second album from Athens GA’s Immaterial Possession. A theatrical soundscape littered with subconscious flashbacks, retro keyboard flurries, wandering Morricone-esque guitar and dreamy Sumac-like harmonies.
Bas Jan announce limited edition red vinyl reissue of the agit pop four-piece’s second album, 'Baby U Know'. Newly revisited, and out today, it includes an unreleased RAGGS ‘Profile Picture’ remix from prolific post-punk guitarist, Rachel Aggs. This new remix brings a heady dance-floor touch to their up-beat off-kilter track.