GARY STEEL has found just the album for those who like it dark: dark, hi-def electronica, that is.
This album is all instrumental, there are no solos, but 40 different instruments are plucked, bowed, blown or concussed. GARY STEEL is quietly charmed.
Icelandic music queen releases her ninth album, Utopia.
It’s deeply unfashionable, it’s not even on a label, and it involves guitar solos. And GARY STEEL quite likes it.
On the momentous occasion of the release of Aldous Harding’s second album, Party, Gary Steel digs up a revealing interview from his heaving archives.
GARY STEEL is seduced by a seductive and gently adventurous album. By a drummer, no less.
Finally, a record to creep out the 49-year-old child in Peter Kearns.
Peter Kearns is wowed by a record that (wait for it!) has something to say. What a change from the me-me-me generation.
It’s not so much Róisín Murphy’s singing or songwriting that distinguishes her latest, writes Gary Steel, but the sophisticated noir-electronica backing.
Gary Steel reckons there’s loads of wit and irony to chuckle at, and heaps of imagination on the smart collaboration between Sparks and Franz Ferdinand.
A nearly new regular column in which freaky Peter Kearns casts a spell on a bunch of new album releases! You’ll wake up screaming!
In this series, Unknown Pleasures, Gary Steel makes his case for worthy but under-recognised albums and artists. Gert-Jan Prins is reasonably well-known in the experimental underground, but there’s something about his “noise” music that makes it more engaging than his stylistic contemporaries.