REVIEW: Gadget and the Cloud – “October 31st”


Cork, Ireland’s Kelly Doherty makes some pretty great music under the name Gadget and the Cloud. October 31st is a hell of an EP, and is definitely worth checking out. It is a great instrumental electronic/ambient type sound. Strong influences from post-rock and electronic indie.

Things fluctuate between delicate and ambient and noisy and jarring. Everything has it’s own flavor. “Grove,” clocking in at just under three minutes, sets the tone perfectly. It is very chill, and almost droney. It transitions perfectly into “Flake,” which has a larger sound to it. It’s more cinematic, I suppose.

“Trace” serves as an interesting transition. It has a similar energy to the aforementioned songs, but has a darker sound to it overall. It works to ease into the darker sounding “October 30th” and “October 31st.” The former is very quiet, with a static sound throughout. It has an almost foreboding sound to it. “October 31st” kicks that up even higher.

Gadget and the Cloud is a very interesting project overall. There are bits and pieces of stuff like Boards Of Canada, Ricky Eat Acid, and Coma Cinema. Doherty never leans too heavily on any particular influence, and has a definite voice of her own. I can’t wait to hear more

Gadget and the Cloud (Soundcloud)

PS: This is on Bandcamp, but more recent songs are already up on Soundcloud.

REVIEW: Pretend – “Tapestry’d Life”


Pretend are making a lot of noise with this record. People overwhelmingly love it. I saw a lot of people were calling it the album of the year on the day it came out. I don’t know how to really approach it though. Pretend is a hell of a band. They’re technically proficient, they’re really down to experiment with sound, but maybe not the band for me. Maybe I’m missing something. I don’t know.

Tapestry’d Life is a good, if inaccessible, record. It’s full of mathy instrumentation and constantly shifting time signatures. There are points where it can get a little unnerving and almost uncomfortable to listen to. This is only made more noticeable by the fact that eight of the nine songs clock in at over seven minutes each. Four of which are pushing 10 minutes, plus or minus. It’s a bit like listening to Slint or US Maple, but the songs just keep on pushing. Which is fine, y’know. It’s good, but definitely not for everyone.

Pretend have heaps of talent, and they know how to keep listeners on their toes. Things can get a bit disjointed, but an underlying pop sensibility keeps it a bit reigned in. You hear it all over the place, but especially when the guitar gets delicate kind of twinkly. It’s a post-rock record that doesn’t lean so heavily on being “cinematic” or huge in scope. But songs like “Blessings” and “Physical Flight” still sound huge in their own way. The music ebbs and flows, the production is right on the money, and everything just sounds good.

Does it live up to the hype though? I don’t know. Probably not. Not for me anyway. There’s a gang of people who love this record, and I totally get it. It’s well made, it’s engaging, and Pretend are definitely on top of their game. I just don’t know what kind of replay value this is going to have for me. Maybe I’m just sleeping on it like a dummy. Who knows? It’s a interesting listen either way.

Topshelf Records
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Happy 20th Birthday To Deep Elm!


Deep Elm records is celebrating their 20th anniversary. I wanted to take some time to talk about it. I’m 30 years old, so Deep Elm was already making moves when I was a kid. To put this all into context, I was 10 years old when they started, and 12 years old when the first Emo Diaries came out. Deep Elm has been a label for as long as I can remember. It is also a label that has been hugely important to me.

Brandtson’s Trying To Figure Each Other Out was probably the first Deep Elm record I ever heard. Admittedly, it was already a few years old by the time I heard it. My first exposure to the label was via one of those free samplers you got at shows. I got my hands on a copy of Sound Spirit Fury Fire (Deep Elm Sampler Vol. 3) at a show, and was introduced to a whole bunch of bands that I still listen to now. Camber, Pop Unknown. Brandtson, Benton Falls, and Planes Mistaken For Stars were all represented. They are also bands that get regular spins over a decade later. It was, and this is going to sound cheesy, a life changing compilation. It was my first major step into independent music. It was a lifeline to a vital scene that has been hugely important to me.

I use this phrase a lot, but authenticity matters. It does now, and it did back in 2001/2002. I was, by all accounts, a giant poseur back then. I listened to punk rock, but I didn’t really understand it. I may or may not have owned a Good Charlotte cd. I wanted desperately to fit in with the cool kids in bands that went to my high school. I never did, I was a fat kid with a mohawk and a Rancid t-shirt. I went to local emo and punk shows, but didn’t get it. I hadn’t really figured out how to use my bullshit detector. Deep Elm provided a path for me to walk down.

The records they put out were, and are, the definition of authentic. Genre didn’t matter, it was all about heart. It still is. I remember listening to Desert City Soundtrack for the first time. I remember the feeling I got when I first listened to Latterman on the way home from Tower Records. I remember the first time I heard Camber’s “Improbable Upside.”

I remember the first time I got an email from them. Not a form email or whatever, but an actual email. It was maybe a year or two into me doing this blog. I was just some dude who was running a blog on, at the time, Blogger. To get any level of acknowledgment from Deep Elm was huge. It motivated me to give a shit. I’m definitely still just a low level blogger at best. I’m not breaking bands, I’m not a taste maker. I talk about bands I like. I review records that I think are good. Even then, I was still important enough to get in contact with. That means a lot.

I hope Deep Elm is around for another 20 years. There is a shitty kid like me just discovering independent music, and this label has a hell of a lot to show them.

Deep Elm Records

PS: Deep Elm has their entire discography as Name Your Price. Go get a bunch of stuff.

PPS: That stream of Sound Spirit Fury Fire is missing some songs that appeared on the CD. Bummer.

REVIEW: Parachute For Gordo – “Ten Metres Per Second Per Second”

pfgParachute For Gordo did a lot of things on Ten Metres Per Second Per Second that a lot of other bands of their ilk probably wouldn’t. Recorded live over just three hours, it is a record that has a very strong sense of urgency and power behind it. This is a band that, much like their labelmates in twothirtytwo, have carved out an interesting niche for themselves.

Parachutes For Gordo are, in the end, an art band. They also have a knack for making disjointed songwriting work. They primarily exist in the middle ground of post-punk and indie rock. They are a band that shifts everything within their songs. Tempos, styles, overall structure. Things can go anywhere at anytime. Ten Metres Per Second Per Second is a record built on experimentation.

This experimentation shows strongly on songs like “I Offered You A Small Dog In The Kitchen“ and “The Labrasaga – Part I: Labrador Deciever, Part II: LabraDoodlebug.” The former is one of the most straight forward songs on the record. It has an excellent rise/fall/rise dynamic to it. The latter is a song that, clocking in at around 16 minutes, shows exactly where this band succeeds. It is a song that is standard indie fare for the first half of it. At almost seven minutes in, goddamn, it gets heavy. It goes from a clean guitar that is kind of noodling about to a distorted riffing that is raw power. It then cycles back around.

While the loud/quiet/loud dynamic isn’t anything new, especially in indie and post-punk, Parachute for Gordo make it work. Ten Metres Per Second Per Second in energetic, raucous, and raw. It definitely stands out.

Parachute For Gordo
Rose Coloured Records
Buy It

REVIEW: Grammer – “Awesome Knifes”

grammerThe best thing about music is that there are always new bands. There are always some young cats coming up to give a shot in the arm to anyone who cares to listen. Grammer, spelling error aside,  has a great opportunity to be one of those bands. Though we’re still in the front half of the year, this is one of my favorite self released things thus far.

Awesome Knifes is exactly the kind of debut record that a band needs. It has high energy and vibrancy. Taking cues from classic Midwestern emo, a little bit of post-rock, and some punk drive, it is a solid EP that tells a great story from front to back. Starting with “Astronaww, Man” and going straight through to “Cigarette Regimen,” it tells a contained story of youthful innocence working down to jaded adult ennui. It progresses in a logical way lyrically, and so does it musically. It opens with a delicate, Midwest sound that gets more aggressive as the record continues. It gets into the more punk side of bands like Dads by the time “Quit (Your Job)” and “Friends In The Hotel Industry” hit. It’s 100% my jam, man. This is a band with heaps of promise.

Without resorting to hyperbole that I may later regret, I think this might be one of the strongest debuts I’ve heard in a minute. Get the right label and promotion behind them, and this band could be huge. The potential upside of this band is almost unlimited. It’ll be smart to get in on the ground floor.


REVIEW: Miserable – “Halloween Dream”

miserableThe first thing I noticed about Halloween Dream is how much beauty and soul there is on the record. While Kristina Esfandari is constantly getting the ex-Whirr tag, her solo material is strong enough to kill that talking point. As a solo artist, as Miserable, she’s made one of the most engaging records I’ve heard in quite some time.

Halloween Dream is record that shows how “atmospheric” doesn’t always mean “light.” Esfandari’s ethereal vocals weave beautifully in and out of reverb heavy, distorted music. When playing this type of music, it’s easy to use the production as a crutch. The denseness can cover up songwriting deficiencies, the reverb, delays, and distortion can make boring music sound less boring. That’s why it’s great when you hear it done right.

It’s easy to get lost in the music. It’s easy to put a record like this on, and just let it take over. One of my favorite parts of the record is how, even without actively listening to the lyrics, you can tell exactly what is going on. Esfandari projects so much with just her vocal delivery. You can hear the emotion, desire, and regret in these songs.

I feel bad calling this just an “insert whatever genre” record. To call it just one thing or another feels too narrow. It can be ambient and melodic in one part, then fucking heavy and dense in another. If I had to call it something, I’m not sure what i’d say. Metallic shoegaze with post-rock flair? Sure, why the fuck not? It’s beautiful.

Miserable (Facebook)
The Native Sound
Buy It