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YOU ARE READING ARTICLES BY

Craig Clemens

June 15, 2018
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Brand New Music

Melody’s Echo Chamber | Bon Voyage
It’s been nearly six years since we’ve been charmed with Melody Prochet’s hazy psych-pop. After an accident caused broken vertebrae and brain hemorrhaging it’s understandable that the long awaited follow up to 2012’s self-titled affair took longer than expected. Thematically the tune remains the same – Prochet’s sweet, breathy delivery extenuated with extended psychedelic freak-outs and a globalized instrumentation. But as she glides effortlessly through this amalgamation of rich and varied influences, she takes the listener on this journey of challenging and, at times surreal, tension and beauty. There’s ambition, strength and strangness in the places she goes on this effort. Here’s hoping she remains in good health!

Rolling Blackouts Coastal Fever | Hope Downs
There’s not a single bad song on this record. Ringing guitars and infectious hooks combine throughout to create something that is as close to a perfect guitar record as is possible. An amazingly satifying record that demands repeated listens, Rolling Blackouts have created something different, but not too alien that it is unrecognizable or necessarily over anybody’s head. Delightfully and beautifully executed, if you’re looking for a soundtrack for BBQs and beach day trips, you need not look any further.

SOPHIE | OIL OF EVERY PEARL’S UN-INSIDES
As musical production and software dives head-first into the space age, producers and musicians alike seem content at times to rely on nostalgia and a safe emotional range. What SOPHIE has done here is visit her own extremes of sadness and pleasure, a kaleidoscopic tour of her own artistic vision, purer than anything she’s done before.

Leon Vynehall | Nothing Is Still
Taking a huge step forwards in terms of his own musicality and instrumentation, Nothing Is Still is an excellent demonstration of what Vynehall is capaible of when he ranges outside of his bubble of club music. The influences of Philip Glass and Steve Reich would be an admittedly lazy thing to point out, but it’s too evident not to. The record itself is clearly designed to be listened to multiple times while considering, each time, the differences in depth and feeling.

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