Alright, this came out last month but I didn't want to let it go under the radar. Riding Pânico's latest endeavour is pleasantly contemplative, but also packs a secret punch to it, draping you in dreamy, curious atmospheres only to slowly hit you with a gut-felt heaviness indicative of their sludge/stoner roots...
Spanish post/math rock stalwarts Jardín de la Croix valiantly return to the spotlight with Circadia, their first release since their 2013 EP 187 Steps To Cross The Universe. Their full length follow up is exquisitely produced and brings an array of new tricks to their familiar melodic sound.
Shortly before defying both power cuts and the elements in order to deliver one of the sets of the weekend at ArcTanGent, we caught up with Boston post-rock titans Caspian to talk about what fuels their fire musically. Initially apprehensive to put all six of their names to one album, we eventually found the common ground upon which House Caspian is built.
It feels like it’s been an age since we’ve heard from tfvsjs though it’s only been three years since the release of their first fantastic album ‘equal unequals to equal’ (kudos to the band for finally getting on that Bandcamp train, took a while!) that brought them a fair bit of attention in our global niche despite the minimal amount of information about them available online.
Someone in a state of fugue, they've typically wound up in a place or situation from whence they have no recollection of how they arrived. They are suffering an amnesia from identity. Thus, it may strike you as ironic that keyboardist Annis Saniee of the math rock band Fugue has wound up a completely new two-piece project.
he great challenge for any instrumental band is to communicate the themes of their work to listeners with a paucity of words, usually confined to song titles, album names, or intermittent vocals. When it comes to math rock, the clean toned and frenetically tapped guitar often reigns supreme in many fan circles. But it begs the question: what is the breadth of its musical language; how much can it really communicate before it alls sound the same? Math rock is predominantly a guitar-lead genre, but what will happen when the products of its tools become saturated and all too familiar?