Bella Union, 2012 [rating:6.5/10] Jack Tatum thought he must've hit a goldmine when his 2010 debut album as Wild Nothing was so rapturously received with little to no preceding fanfare. This North Virginian native, and his album, Gemini, proved to be a beguiling release, a wistful summer-sounding, 80's referencing aside to the music of Tatum's youth. Full
Bella Union, 2012 [rating:8/10] 2012 marks the 15th anniversary of the birth of Bella Union, a record label started by Robin Guthrie and Simon Raymonde of Cocteau Twins that was created, initially, to release their own recordings with no obvious aspiration to challenge the big UK independents of the day, yet somehow wound up acquiring a
Riding the crest of the dream-pop insurgence that brought with it bands like Beach Fossils, Twin Sister and Still Corners, was that of Jack Tatum and Wild Nothing, who' s debut album of 2010, Gemini was an exquisitely crafted record brimming with 80's melodies and accompanying themes of nostalgia and romanticism. It was an album
Bella Union, 2012 [rating:8/10] From the outset, The Walkmen's seventh album Heaven ('seventh heaven' geddit?) does much to reignite interest in a band, who to be completely honest, have regularly under-performed on record (critically, backslaps all round, but commercially, nada) to the point where wives/girlfriends, etc, are sure to have said "when are you going to
Bella Union, 2012 [rating:5/10] Since their self-titled debut in 2006, Portland duo Beach House have become a band synonymous with the 'dream-pop' side of contemporary music, a tag that suitably sums up Beach House's immaculate sound. Their debut and follow-up Devotion were snapshots of a band evolving, both primitive and delicate in instrumentation and style. It
Welcome to the lilting shoegaze world of Swedish duo I Break Horses, "more than just a nostalgic pastiche of an ethereal past".
Baltimore's Beach House first appeared in 2006 with their self-titled debut, a gorgeous collection of dizzying songs built around Victoria Legrand's awash-with-reverb harmonies, church-style organ and Alex Scally's languidly strummed guitar. It was their style and approach, reminiscent of Mazzy Star, Yo La Tengo and This Mortal Coil, that found favour with a like-minded audience. Recently touring Australia and appearing as part of the travelling Laneway Festival, Chris Berkley caught up with Victoria and Alex of Beach House to talk about their gradual rise and amongst other things, how to keep cheese out of the live set.
“You’re one of us, or you’re one of them“. Hamilton Leithauser, fist wrapped tight around the microphone as if he's trying to strangle it, is howling those words. The rest of The Walkmen, heads bowed (as they remain throughout most of the set) play complicit and provide the carnival-esque roar to ram Leithauser’s words home. It’s not so much a question or a suggestion but a statement. For better or for worse, for way back when the band were selling their own white label records at the Middle East in Boston in 2001, I’ve been one of "us".
Makers of mood music for moderns, Baltimore's daydream duo return with their sweet and sombre third album, Teen Dream.
Beach House Cargo, London 2nd December 2008 Roughly a year since their last headline show at the Water Rat in Kings Cross, Baltimore’s Beach House have doubled their output and returned to London on the tail end of a European tour, promoting Devotion, their second album released earlier in the year. Having played support on recent tours by Cat
Bella Union, 2008 [9/10] Baltimore's Beach House first appeared in 2006 with their self-titled debut, a gorgeous collection of dizzying songs built around Victoria Legrand's awash-with-reverb harmonies, church-style organ and Alex Scally's languidly strummed guitar. It was their style and approach, reminiscent of Mazzy Star, Yo La Tengo and This Mortal Coil, that found favour
