Childhood’s End, by the Croydon, UK producer Kissinger, is the first of a two-part space opera, soundtracking the loss of innocence for a planet, a society, and an individual. It shares its title with a famous sci-fi novel by Arthur C. Clarke, where...
The genre formerly known as post-rock has had a long, convoluted, and troubled history. It was originally used in print by the rock critic Simon Reynolds to describe bands like Talk Talk and Bark Psychosis, who were bringing in elements of less...
A lot has been made of the importance of narrative to any kind of instrumental, or wordless, music. This may hold doubly true for electronic music, which speaks in its own vocabulary and operates in its own paradigm, with its own taboos every full...
“Every memory is just a loop. Returning again to places I once was, before, things are never as I remember them. Every home is also a burning house. Loop… and if one could draw this loop differently, then what? Different lengths? Four different...
Every record is an island. An artist’s statements shouldn’t always be judged on trends, the label they’re on, or what other people are doing. Perhaps they shouldn’t even be judged against that artist’s own work...
It’s all too easy to fall back on the, “We’ve seen it all/done it all,” perspective of modern ennui. While on one hand, we are seeing more and more subdivisions and chimerical stitching together of genres, the bedroom...
Ruins, as a word, can mean two things: as a noun, it is a decrepit run-down structure, no longer inhabited. Ruins, as a verb, is to degrade something, to bring about its demise, to fall into ruin. This ambiguity of meaning reveals a hidden face in...
The harp, as an instrument, seems to inherently conjure medieval, Celtic, or angelic imagery. When it is joined by swirling synthesizers and bilious clouds of delayed guitars, the brain is left with all manner of interesting juxtapositions, like a...