Boreal Hymn – Tundra
The Deathtrip – Demon Solar Totem
Canyon of the Skull – Sins of the Past
The Spielbergs – Running all the Way Home
Boreal Hymn – Tundra
post metal / folk metal
Every once in a while a new side of a regular genre is opened and forces people to open their notions of and vocabulary for said genre. With Boreal Hymn from Vancouver, British Columbia, Canada it’s quite the same. They offer an quite unique blend of medieval sounds, chants and post-metal songwriting with regular gurgling singing and guttural screaming. This EP is their debut and the four “pagan revelries” as the duo calls them show some pretty interesting ideas of composing a sound somewhere between Junius, Agalloch on the one side and Heilung, Wardruna on the other side. The soundscapes remind one of a bodhran, acoustic guitars, medieval horns and – on the other hand – some droney, ambient parts. The prominent members Colby Hink (known from Wormwitch) and Bronson Lee Norton (The Seer) have embarked one a new sound and although one naturally must remark upon the (momentary) inadequacies of the songwriting as their ideas and skills still need some refinement but one should remember this is still a demo and remember to follow this band on one of their social media outlets or the usual streaming services – they might be up to something refreshingly new.
The Deathtrip – Demon Solar Totem
Bands like Agalloch or The Ruins of Beverast have shown how shamanistic (and in part nihilistic) ritualistic Black Metal can be, a band like Heilung stresses the ritual-aspect of the music much more than their black metal roots. And now there is a band who started more than ten years ago, The Deathtrip, who are back with only their second real full-length, Demon Solar Totem released via Profound Lore and Svart Records. A band that definitely knows how to purvey a cold atmosphere while playing with shaman chants and small bells and lots of passages that remind one more of a pagan mass that puts a spell on its audience. The production is raw to say the least, sometimes this whirlwind of an album doesn’t give away whether the sounds are real soundscapes or mere very dirty feedback. This “super-group” with members of Grave Pleasures, Dodheimsgard and My Dying Bride tries to encapsulate the essence of raw ritualistic metal aiming for an effect of fear of affection. Either you hate it or you leave it – true for most black metal bands, The Deathtrip being one of the better ones albeit not of the same level as the genre forerunners mentioned above.
Canyon of the Skull – Sins of the Past
Two songs, one hour. No, we are not talking about a radio edit of Bell Witch’s “Mirror Reaper” but about a new release by Chicago-based three-piece Canyon of the Skull consisting of guitarist Erik Ogershok (who even moved to the US a few years ago in order to follow his dreams with the band), bass player Todd Haug (Powermad, 1349) and drummer Mike Miczek (The Atlas Moth). Ogershok is the mastermind behind it all and he wanted to purvey an image of a ritual performed by the Natives of Northern America, as he named the two tracks “The Ghost Dance” and “The Sun Dance”, the first one alluding to the ritual that should connect the living and the dead in order for the ghosts to wake up and fight the white colonialists. Clearly a sign of frustration and despair. The songs show remarkable songwriting skills as the band’s kind of black metal is really refreshing and is able to make the listener feel connected to the spiritual world due to its meditative character. An album for everybody interested in some form of instrumental music channeling stoner rock, doom and black metal. Put the record on, dive in and drop out.
The Spielbergs – Running all the Way Home
indie / rock
The Get Up Kids, The Goo Goo Dolls, The Spielbergs. Who? The Spielbergs! A three-piece power pop band from Oslo is on its way to become the new sensation in bubblegum punk. Of course, we have heard songs like the title track or “Fake A Reaction” or “Daisy! It’s the New Me” quite often. There is hardly something new in a genre whose heydays are twenty years past. However, there will always be an audience for this kind of music as there will always be new generations of youth who need their own (loser) anthems. The title track is one of those songs to which you can already see late teens and early twens dancing and singing along to, shouting out such anthemic slogans like “I don’t wanna be worthless / Just let me go back to start” or also “I was more than good to go / I wish you finally gave in” (from “Oh No”). Interestingly, there is as much Placebo in here as there are the Replacements, just as much uptempo as there is distortion. And who knows – maybe the Spielbergs are the ignition for a revival of a music genre that can never perish but that is always forgotten by the elders!
Clavicvla – Sepulchral Blessings
A gray cover shower the mouldy hands of a seemingly dead person – no one could live with hands a mixture of burnt to ashes and blown up by frostbite – hanging down in front of an old garment (with one bloody stain on the left arm) as if worn by a mummy from the 17th or 18th century. This cover
gets the listener into the right mood for what will follow in the next 37 minutes.
No sunshine can permeate through the stark, distorted canvas that Clavicvla – mastermind Ittiel has concocted for the follow-up to last year’s “Sermons”, only to show that the starkness of horror scores for the most evil movies, the most gruesome images, the most horrible slow-motions need some kind of eruption: a shriek, a shrill noise wandering from left to right, a slow verbal chant to exemplify the fear to be induced.
Sepulchral Blessing” is not a bad album per se, not that is not true, in the realm of Black Ambient
this band has definitely a strong footing and will even gather more followers with this album. It is
bleak, it got a lot of atmosphere, knows how to incorporate small disturbances into the sub-bass
horror bleakness without ruining the Hadean flow. However, those of us who do not regularly watch old horror movies turning off the sound and for those who cannot envision a dark spawn of John Carpenter and Bohren und der Club of Gore lying in the grave dug up by Mamiffer and A-Sun Amissa this will not do. A class of its own – for its own scene – in its own world. Enter if you may.
Ateiggaer – Us D’r Höll Chunnt Nume Zyt
Swiss German is already a hell to understand for anybody who is not from the Northern part of
Switzerland, but turning it into the lingua franca for a black metal record seems even more absurd.
However, one thing becomes very clear when listening to Ateiggaer’s debut EP, to be released in
mid-November: These two guys (working under the monikers Fauth Temenkeel and Fauth Lantav)
make no sacrifices, they take no hostages, they are in it for themselves and for nobody else.
Associated with the up and coming Helvetic Underground Committee from Zurich, they are able to play a furious version of black metal that has long been associated with the second wave of black metal, stemming from Norway. They infuse their fundamental rage and well-shouted visions with short passages of intricate laid-back drum fills, guitar motifs and near-Gregorian chants that connect very well with the mysticism they are here to convey, just listen to “De Dämon us Levania” (the demon from Levania) – everything blends in nicely.
The world as we see it is not theirs, they talk about spheres and gods from another realm, always
able to surprise us with minuscule differences to the usual sound. Not even a year into their
existence, Ateiggaer already got a release by popular German black metal label Eisenton – no
surprise when listening to this EP which is hopefully not their last.
Process Black - Countdown Failure
When announcing this release of one of his numerous projects on iconic label Deathwish Inc.,
guitar player Aaron D.C. Edge said that this was a dream come true. Naturally, most any hardcore band dreams of releasing a record through Jacob Bannon’s label for several reasons – worldwide acclaim, lots of fans and, of course, the respect of the scene. However, the members of the band have already earned that respect over decades of contributing with so many bands (amongst them
Deadguy, Kiss It Goodbye or Lumbar), so that this should not be a major goal.
Nevertheless, one goal was surely to release a standout single which they did. The noisy, low-tuned shredding by Aaron, Brock Lowry’s tight drumming or Tim Singer’s brilliant vocals (his name speaks for itself, evidently) all give the listener a shiver-evoking experience. The opener “Lies > Truth” already shows all the strengths of the band and additionally marks a deeply sarcastic lyricist.
“I don’t want truth… just lie to me” - sometimes people want to be lied to because (maybe) the
truth is too hard to bear, right? Well, truth be told, you will have to try hard to find a better noisehardcore debut single this year. The dream has come true for these experienced musicians.
Burden Limbs – There is no Escape
"miserable bastard music" / alternative / indie
Burden Limbs debut EP can hit you straight in the face when you least expect it as it displays a rougher version of the kind of dark pop that Kayo Dot presented on their latest record. The darkness is not only shown musically in a synth-driven melodrama like the self-titled track “Burden Limbs” but even more in their lyrics which are pretty straight-forward: “I'm so tired of suffering these reminders of a world I can't abide / Why else would I carve out my hatred and dissatisfaction?” The little red-glowing dots on the dark horizons are not leading the way to new-found hope but rather to blood raining in slo-mo from the skies. Not a lot of songs demand repeat as urgently as this one.
Burden Limbs can also knock you out in ways that do not sound like a doom-version of The Cooper Temple Clause but much more immediate with songs that introduce themselves into your longtimememory by means of simply intriguing lyrics by Chad Murray but also through the combination of synths, drones and gently-interwoven electronica giving you the chance to discover a lot of details and something new each time you sit down to really listen. And listen you should – these Londonboys might be up to something. They provide a great soundtrack to an overdose of medicine you don’t want to take but that you just can’t stop yourself from.
Kurokuma / Under – Kurokunder Split 7”
doom / sludge / noise rock / metal
Split releases – an interesting thing as most of us can name a few from the tip of our head, right? Isis and Aereogramme, Melt Banana and Fantomas, Battery and Ignite, The Ocean and Burst. Sometimes however, those with the unknown bands get you the most. Mid-November, Astral Noize will bring us one of the latter category, releasing a 7” by Kurokuma and Under. The combination is really striking, because both songs at first glance seem totally unrelated only sharing a certain weirdness.
Kurokuma starts off with a cover song (well, that is not unusual for a split release) – reworking a theme song for a 20 year old Sega game classic called “Ecco the Dolphin: The Tides of Time” - fortunately, this is not a close cover but a free interpretation as they turn the whirling theme into a pretty clever doom track with a lot of atmosphere and a striking hihat use so that the listener asks himself afterwards if this might not have been the better theme for Ecco’s second adventure.
Then Under are up next with “Abysal Gigantism” and they definitely have some sense of humor, because their track starts with some field recordings from the seaside so that you hear that kind of stuff you would expect from our dolphin. Then they turn the song into an eight minute epic somewhere between Crowhurst and Dillinger Escape Plan making clever use of vocoder, swirling guitars and waving drums all being held together by a strong rhythm section.
In the end, this 7” leaves one impressed by the chutzpah of combining those two bands and the
clever way both complement each other turning this split into a more than welcome stray from the
path of regular splits.
Witch Trail – The Sun Has Left The Hill
black metal / noise rock / post metal
Sometimes, certain boundaries should not be crossed. For example combining Motown Soul and
Classic Hardcore – that just doesn’t work. Nevertheless, some unexpected combinations might
work, just remember Zeal and Ardor combining gospel and black metal. Witch Trail do something similar – they create their own unique blend of post-metal taking a lot from Sonic Youth and Thurston Moore’s solo work and combining it with pure post-metal. And once again, Belgium (more specifically Ghent) proves to be a brilliant soil for unique combinations as the trio is really able to provide a fresh start to a genre as trodden as post-metal.
They take the classic noise-licks and use them to replace the regular post-metal riffs. This way they also implement the pop-appeal of good noise-rock into their songs. How they start “Lucid” with a noisy take on a nearly surf-twang guitar riff and then build the shrieking vocals around it, always leaving those easy and pumping noise-rock elements at the core of the song and right in the middle of our ears – impressive! Sometimes you must think of the Beach Boys (“Stupor”), but sharing the record with Stiff Little Fingers and Discharge (“Sinking”); suddenly Kim Gordon and SY show up on your mental stage (“Silent Running”) - but interestingly all of the songs are not sung by any of those but by a guy like Fenriz. These 29 minutes full of twists and turns, of clean-distorted noisy-ness and of blastbeats, of infernal shrieks and a unique soundscape really captures any open ear.
Syrinx - There Is Distance Between Us
drone / ambient
Mule Skinner – Airstrike
death metal / grindcore
Stone Wired – Habitual Discomfort
death industrial / dark ambient
I Am Waiting For You Last Summer - Together
post rock / ambient / electronic
Brad Couture - Strung - Vol. I
ambient / classical
Comatose Vigil A.K. - Evangelium Nihil
Dxvxdxd Sxlf - Of Wolves & Men
gothic rock / alternative / metal
Shelther - When Comes The Flee
drone / ambient / folk
Temple Music - Εποχές Vol. II
Hey Life - Masquerade
alternative rock / funk rock
Rosalyn - Single Mother
indie / dreampop
I Hate Models - Spreading Plague
industrial / electronic
Serge (2 & 3 by Patsker)
indie rock/ experimental rock
ok seas is an album released by an eponymous indie rock British musical act, from Portsmouth, in early October. Only forty-three minutes long, the record has twelve relatively brief tracks: sad synth, huh, chime guitar, organ bells, short #15, clap drum, tremolo robot, player piano, yamaha sigh, sure sure, big spiel and bow arp. With simple, but charming songs – despite some limitations – ok seas is a decent album, fluid and somewhat melancholic in tone, majorly influenced by the poignantly affluent commonalities of slow and sentimental indie rock.
While definitely not fabulous nor original, the work certainly has decent qualities. Departing from a conventional layout – with some passages clearly looking as fragments arranged to compose a mosaic of dissonant cadences –, the virtual elasticity of the harmonies is a common resource constantly inserted over its intuitive latent sequences, agglutinated in the downward periphery of its sensitive sonorous contingencies, worn out by some restrictions. It’s also easy to perceive a concentrated, tough soft melodic structure, and a very cohesive sonorous identity, that is delicately tied together to propitiate a sensible artistic unity to the work. With a musical technique that is gracefully efficient, the dilated harmonies fulfil its colorful dispositions with sincere and profoundly melancholic exasperations, as the melodies walk away throughout the axis of its linear platform exposing the solitary sensibility of its ordinary fugacious splendor.
Definitely, the album is more strictly valuable by the stability of its precise technique, than anything related to its creative elements, that are drastically more limited and predictable, resenting itself to a composite layout of sameness. Nevertheless, ok seas is a listenable album, good, decent, emotional, that will not aggregate too much on your personal musical universe, but has some qualities that extracts in the calmness of its musical atmosphere a discreet level of beauty, that has produced a handful of songs, good enough to please enthusiasts of soft indie rock.
A modest album with good melodies, ok seas – as a band – needs to become more versatile and audacious. They have demonstrated some good qualities on this album, but they have to learn how to expel monotony, and efficiently, to surprise their audience with more pungent and unpredictable tunes. They already proved with this record that they are good doing calmer and flavored sentimental cantilenas, but an entire album of emotional soft songs can be too tedious to hold it out for forty-five minutes. Definitely, they have to aggregate other elements into their music, as they have talent and potential to convert their work into a more dynamic and versatile art.
alternative rock / indie rock / experimental
Death Spells is an album released in mid-September, by American alternative/indie rock group Holy Fawn. One hour long, the record has ten tracks: Dark Stone, Arrows, Drag Me Into The Woods, Yawning, Seer, Two Waves, Take Me With You, Vespertine, Same Blood and Sleep Tongue. A formidable album with a very dense and melancholic tone, Death Spells is a musical study on deliberative melodious introspection, with no clear boundaries between genres, flirting sometimes – very discreetly though – with genres like metalcore, atmospheric black metal and indie rock, albeit their general musical compass is mostly engraved on an alternative rock sphere, radically indebted to post rock. Without any fear to experiment, the band delivers a secure, but volatile sound, that virtually exposes a very mature style. With an audacious, but sensible level of originality, that is deeply intertwined in their inherent musical abilities, Holy Fawn consecrates a very lucid and serious work on Death Spells, departing mostly from slow harmonies, that elaborates in the epicenter of its majestic beauty a solid grace between sorrowful serenades of philosophic serenity and aggressive thunderous downfalls of mordacious agony.
With latent, soundscapes that appeals to very sentimental harmonious propensities, the sound of the group is generally elegant and profound, though they mostly abuse on slow rhythmical devices. Nevertheless, it is possible to feel a very surreal, but dormant fury discreetly positioned at the core of each song, which vehemently adds to the genuine folklore they gracefully elaborate in the vast expansive diagram of their music.
In Death Spells, beauty is everywhere, and strikes with such a peaceful and serene charisma, that is impossible not to feel enchanted by the lucid, delicate and captivating musical tonalities they perfectly expose. Creativity here is transposed as the most excellent device for authentic artistry, and evaluates in an ever aggrandizing sonorous panorama the possibilities exposed by its ostensibly virtuous, but despondent harmonies. Even their hardest passages – some of them remembering metalcore act We Came As Romans – seems to disclosure a deep sense of tranquility, although also delivers, paradoxically, a disturbed hemisphere of afflictive, deceptive and lucid sense of reality.
Although the album is somewhat very long, their general musical anatomy remains cohesive, and their creative greatness is free of any sentimentality and generic passages. Holly Fawn easily flows between genres, in a fluid ocean of sonorous synergy, delivering a very appreciative and peculiar sound, that becomes quite characteristic, as one can hear the album entirely as only one long track, without any disruptive feeling of impatience or monotony. Emerging as the marvelous result of an energetic and meticulous musical confluence, Death Spells has ardently evolved from the sophisticated standards the group established themselves to follow.
Dizorder - Moon Phases
alternative / metal / metalcore
Greyhawk - Ride Out
heavy metal / power metal
Gramma Vedetta - Proof of Concept
hard rock / stoner rock / alternative rock / grunge
Godless - Swarm
thrash / death metal
O n s e t - Unstructured Dissemination
Ssanahtes - Ssanahtes
doom / sludge / post hardcore
Frenzy Frenzy - Just Another
Charles In The Kitchen & Them Stones - Stones In The Kitchen
pop rock / alternative rock
Banker’s Hill is an album released by American indie rock duo El Ten Eleven, from Southern California, composed by musicians Tim Fogarty and Kristian Dunn. With an interesting style, exceptionally charming, flamboyant and captivating, the duo really knows how to create a beautiful, graceful and poetic work of art, that can be masterly colossal and consistent, but – at the same time – exceedingly simple, rustic and devoid of pretentious ambitions. Amazingly energetic, with abundantly effective and elegant harmonies, Banker’s Hill is a fascinating record, that subtlety elevates in the collision of its own atmosphere of sensible qualities the ascending components of its formidable layers of creativity.
Forty three minutes long, the record has nine tracks: Three And A Half High And Rising, Phenomenal Problems, You Are Enough, We Don’t Have A Sail But We Have A Rudder, Gyroscopic Precession, Banker’s Hill, Listening to Cloud, Reverie and
This Morning With Her, Having Coffee. With an exceptional level of beauty, Banker’s Hill displays an abundant, pure and intriguing level of sophisticated graciousness, throughout an ever patient, but meticulous universe of fantastic harmonies, that are ostensibly simple at the core of its anatomy, although they do present a sensible and endurable level of artistic profoundness, that enables you to deeply submerge into their allegorical world of preciously sonorous dissertation of laboriously existential expansion.
Despite the fact that – at least in certain passages – they pass through more conventional musical boundaries, that could mistake them as a more ordinary indie rock act, their sound consciously travel to common ground boundaries to subvert them in very subtle, but genuinely creative ordeals, that surpass in an extraordinary level their own irreplaceable musical intentions. With a sound that appears to be almost visual at certain melodic scenarios, the splendid virtuosities that emerge from El Ten Eleven’s music is explicitly surreal, and the soft mordacity that comes out of its nucleus of vibrating sensibilities certainly can be highlighted as one of its most peculiar qualities.
With a music that emerges as the perfect soundtrack for a melancholy afternoon in the suburb, Banker’s Hill is an everlasting elegy for a life with glorious serenity and reflexive tranquility. As a weaker point to be described, their sound exhibits some uniform tendencies in certain passages, giving space to monotony. Nevertheless, this is not enough to provoke any damage to their music – nor to this album in particular –, that reveals itself a formidable and increasingly pleasant work to be enthusiastically appreciated. Certainly, a very different, more original and creative style upon which indie rock is reinvented, Banker’s Hill is an amazing album, that deserves to be extensively recognized and celebrated.
post rock / math rock / indie
Sometimes post rock is slow, mentally burdensome and heavy, which is not a bad thing. It helps cleanse the soul and brighten the day. Yet, sometimes post rock comes to you with a smile on its face and invites you to a trip to the sunlit beach. This album by tide/edit belongs to the latter category.
The band hails from Manila. They formed in 2011, back then as a duo trying to enjoy themselves with instrumental music, inspired by acts like Mouse On The Keys, Earthmover and TTNG. In those days the band had no intention of playing live or recording a heap of albums, but things changed.
Gradually the band evolved into a quartet. A first EP was recorded, followed by two albums; 'All My Friends' is number three. It contains twelve tracks, each of them coming with a dash of sunlight and a blissful smile. The music of tide/edit is clean, gentle and sweet, void of heavily distorted guitars or eternally lingering post rock passages. I can hear elements from post rock, but just as much from math rock and jangling indie pop. Opener 'Pelagic' immediately showcases what this quartet stands for: hip shaking instrumental pop rock, mid tempo rhythms and playful guitars. Hell, in 'Twelve' I can even hear elements from Joy Division, but on a good, non-depressive day.
When I close my eyes and focus on the places where I could see and hear this kind of music, I'm immediately transported to the always amazing Dunk festival. It's somewhere in the afternoon when hundreds of visitors gather around the forest stage to see these guys live. Shortly after they have kicked off, people are dancing in the woods, shaking their behinds and waving their arms. Undoubtedly this would be a massively entertaining experience. I'm damn sure that all in attendance will snap their fingers to the infectious tune 'Snappy' or float through time and space on 'To The Zoo'. But Dunk is still far away now so I suggest you check out this sweet and playful album. Perhaps let it guide you through the dark days of winter. Whatever you do, this will get you smiling again.
indie / alternative rock
Once upon a time, many summer festivals were small and filled with joy. Back then, pretty much every town had its own rock festival, sometimes with a few big names, sometimes with a local pop rock cover band trying to get some attention from the audience.
Quite often, those festivals featured sweet indie rock bands. They weren't big names but they did make people dance and smile. There was nothing complex, nothing unique and nothing overwhelming about those bands but still they easily managed to get the audience shake their behinds.
I like to compare American trio Dentist to some of those bands, playing on a Saturday afternoon on a sunlit meadow. Like them, the music that Dentist delivers is straightforward. The songs are short. The atmosphere is friendly. Fronted by Emily Bornemann, Dentist simply delivers pure joy, inspired by everything between indie pop, punk, alternative rock, shoegaze, surf rock and jangle pop. Opening with the uplifting 'Upset Words', this album is a nice collection of summery rock tunes, not too complex, not too clean either. Just rock 'n roll.
Of course, being a female fronted band clearly drives Dentist towards the "sweet" and somewhat innocent side of the rock spectrum. It will probably not be a surprise that bands like Belly or The Breeders come to mind. Another big influence must have been The Pixies. I recognize those gritty guitar lines and those intense outbursts here and there, especially on rockers like 'Tight Spot' or 'Remind Me'.
So, if you're nostalgic to those brilliant nineties, this album is your chance to relive the whole thing. Even the gloomy, grungy side is represented in the sad ballad 'All Is Well (In Hell'). I guess this is one of those albums to show to people who say "they don't make good rock music anymore". Dentist proves that sweet, simple pop rock is far from dead and I couldn't be happier about that. So check it out, you'll end up smiling from ear to ear...
The Netherlands might be one of the most underrated countries as far as music is concerned. I often talk about their bands with other people and they just lift their shoulders. Yet, bands like Golden Earring, The Gathering, Shocking Blue, Pestilence and Junkie XL have certainly put their mark on their respective genres. Besides, let's not to forget Eddie Van Halen, who is still regarded as one of the greatest guitarists of all time. There is a massive amount of talent in The Netherlands, with many artists exploring the boundaries of genres, finding unique ways to express themselves and paying tribute to the wonderful world that music really is.
Mummy's A Tree resides in Nijmegen. The band was formed back in 1996 by Stefan van den Berg in order to cope with his mother's early passing. Inspired not only by this tragedy but also by the 'Jesus Christ Superstar' musical and Beatles albums, van den Berg started composing his own songs. On his first concert he tells people that his guitar is made from a graveyard tree. More concerts and three albums followed. 'Strange Darling', 'Loft Music for Millions yet Unaware' and 'Cadmium' each came with a different line-up and a different musical vision. Now, 'Goodbye Stratosphere' has been released. For this album, Stefan invited Martin Luiten (guitars), Rick Weren (bass) and Imre Elzer (drums).
The album opens with 'A Little Lightness' which immediately showcases the emotional yet experimental nature of the music. In a way, the music follows a path similar to artists like The Beatles, David Bowie and Pink Floyd but van den Berg is not afraid to deviate from that path and get lost in the woods. 'Oak Tree Yard' is a quite strange but mostly fascinating song, borrowing from psychedelic rock and Americana. It has a very narrative nature, a gloomy overtone but still something playful. The gritty but immersive ballad 'Heaven Is A Game' is one of my favorite tracks here. Here, hints of grunge rock seem to appear, coated in an emotional singer-songwriter jacket. There must be at least on Buckley album in van den Berg's collection.
Now, there are some big names in this review and I have to say that Mummy's A Tree didn't borrow their easy-listening capacities. Most of the songs have an experimental nature, which needs more than one quick listen to be fully appreciated. That obviously doesn't mean that you can't enjoy the excellent guitar work in '1000 Years', not at all. It just means that this album needs to be explored, needs to grow on the listener. It will demand your full attention. But if you are a sucker for deeply emotional music, songs like 'I'm Going Down' and 'Pyjamas & Snow Boots' are definite must-hears. This is all excellent indie rock, laced with old school psychedelic pop, recommended for everybody who like his music a tiny bit different.