I found this year to be populated with tiny moments of perfection.
Joe Hisaishi’s masterful soundtrack ably conveys both the beauty and darkness in Hayao Miyazaki’s anime masterpiece.
By the middle of the CD, I was beginning to really look forward to hearing someone from this stable of artists take on something downtempo and textured.
This is a must-hear record if you want a truly different type of pop.
He describes his music as a a little bit of folk, a bit of blues, and a lot of pop and rock.
One of the few movies in recent memory where I was forced to look at the concepts and ideas behind the dialog and images.
I am here to say that Sigur Rós lives up to everything you’ve ever read or heard about them.
What keeps Molasses from sounding like a tired rendition of old folk numbers is the alien sense of dread and foreboding just below the surface.
Maybe they are “OK Computer” leftovers, but on the first play, it felt like a brand new album.
A few of the tracks are comparable to older Sonic Youth.
Blue Wonder Power Milk is comparable to Hooverphonic’s past accomplishment, though not nearly as dark.
Each track blends into the other, providing constant music for dancing.
There were several times throughout the film where you’ll either shake your head in disbelief at how awful it is, or you’ll just find yourself wondering how Belt can be that cool.
Imagine something akin to DJ Shadow… if he’d spent more time listening to Seefeel instead of Grandmaster Flash.
Though hundreds of miles from the ocean, Los Straitjackets echo the feel of rushing waves hovering over your head in their impressive debut.
A sense of refuge allows for a recording as sparse, mysterious, and intimate as this one.
It might be just what you need at 10:30 on a Sunday night.
The Elevator Division’s music is rife with atmosphere, but it’s tempered by the edge the band brings to their songwriting.
It’s a rocket into the future while it also makes you realize why you loved music in the past.