This is an older review of mine, presented here for archival purposes. The writing is undoubtedly different to the present, and the review style may differ between publications. Enjoy, if that’s the right word.
I’d like to apologise in advance for this review. I am sure that no matter how much I plunge through the dictionary, and no matter how hard I try, I won’t be able to find words succinct enough to communicate to you exactly how awful, how dog-humpingly insipid American Girl is. (more…)
This is an older review of mine, presented here for archival purposes. The writing is undoubtedly different to the present, and the review style may differ between publications. Enjoy, if that’s the right word. Again, it’s a long ‘un. A decade ago I obviously wasn’t into precision.
Until now, most people who’ve been aware of Mark Lanegan’s solo career have been die-hard fans. His solo work – a brace of pared-back albums that provide distinctly uneasy listening – is more noted for its barely-restrained menace, rather than the volume-heavy terror of the singer’s turns with Screaming Trees or Queens Of The Stone Age. His work over albums like Field Songs and The Winding Sheet contained a starker, (more…)
This is an older review of mine, presented here for archival purposes. The writing is undoubtedly different to the present, and the review style may differ between publications. Enjoy, if that’s the right word.
Additional note: Jesus, is this a long review. There’s some video throughout to ensure you don’t die before reaching the end.
Since forming in 2000, Mikelangelo And The Black Sea Gentlemen have been gathering accolades for their superlative, part fairy-tale, part cabaret, part cautionary huckstering live performance. Playing a number of festivals worldwide – including the Edinburgh Fringe Festival – they’ve honed their approach and reeled in punters with an ear for the more curiously strait-laced (in a completely Victorian, bodices-and-waistcoats kind of way) side of the gypsy-folk spectrum. (more…)
Yeah nah. 