Birmingham, UK-based The Shalfonts have much to say because given
that 25-notch issue otherwise it could be a merciless failure. These
compositions are exquisite and witty drawing comparisons with
ensembles of the C86 movement/jangle pop and on the other side there
are up hints at the jazz influenced Chicago post-rock scene,
especially to the like of Sea And The Cake. Indeed, a listener can
perceive some kind of sophisticated easiness in The Shalfonts' music.
With regard to the just written words The Shalfonts do create a
coherent sonic bound between the USA, and Great Britain. Yet
eventually I shall have to admit the US influence is even stronger
and more remarkable. Strumming guitars are wrapped up by
miscellaneous sonic effects and electronic sounds. Imagine it is a
sort of jangle pop (or post-jangle pop) being influenced by an
exquisite sort of jazz rock. It burrows its way through minimal
changes and by adding a rewarding amount of new elements to the mix.
I recommend listening to it because it is immensely more worth
hearing rather than following some NHL team while these teams are as
changeable as the brothels by its members. Do you think you are following
Montrèal Canadiens, for instance? What sort of phenomenon do you follow exactly if
the next season at least a third of the team is renewed? Is it worth
to waste your time on nonsense? It is a crooked self-deception. The
nowadays world is seriously fucked up. Only music does still have
something worthy to say. The Shalfonts has also something worthy to
Comment: as the title suggests the 8-track
album is about ambient music and guitars. But not only though. Nick
Nightingale, an American musician who explores electronics and synths
as well. Indeed, more or less extended and lively or restrainedly
running atmospheric landscapes are balanced with pure electronic
uinversums, vibrant drones somewhere nearby the zero and bold bass
synth-based templates here and there. But usually one chord is
followed by another in a slow tempo. That`s a very OK issue. His music can be compared with another US-based mastermind Drew Miller aka Brother Saturn.
Louise Mitchels` 6-notch part is an intense blend of artsy punk,
dadaist attitude and Balkan/gypsy
brass folk punk. But also surf music allusions are up there to
provide a more puzzled soundscape. The France-based artist has
managed to set a fast pace through the noodling on hirsute guitars,
woodwinds, and drums where one can partake in repetitive patterns,
improvised progressions and
something else between the approaches.
Sex Drugs &
Rebetiko`s 3-track is
a different story because it is more subdued and restrained due to
slowly progressing drones in
the vein of folk music. Furthermore, it seems to me that some phrases are sung in Greek and beside that distinct
characteristic there are up obvious patterns from Greek ethnic music.
The interesting split is a part of the
Les Diks Qui Sautent (ldqs 068).