While their last release Weightless felt more like an experiment—a study of new-found techniques, styles, and electronic elements—Joy Of Motion is a successful synthesis of what was learned, expressing a matured musical unity.
There are raw, heavy moments on Crosses almost reminiscent of Deftones, but the real meat of the music lies in the straightforward pop songs.
Let Them Eat Cock is an easy record to recommend for those who like cheeky, solid hardcore punk, but it’s clear that Fight Music could care less if anyone likes what they do anyway.
They were executed with a classy and traditional style, mashing realistic perception with some subtle abstract touches here and there.
I can only assume the beauty that was being witnessed in that exact moment left the artist in silence, with no need to explain it.
It leads in the record with plenty of evocative potential, making use of sleepy keyboards and crisp, sparse guitars that almost sound like latter-day Earth submerged deep underwater.
Recent inductees into the Sub Pop family, the synth-pop duo of Marcus Pepperell and John Hamson, Jr. are breaking new ground in this refreshingly original album.
At its best moments, Sorin’s New Heights is as poised as a dancer and as forceful as a car-crash.
From the first notes he sings over the popping bassline in Dynamite Parasite, former Slow Car Crash alumnus Omarr Awake delivers a retro funk reminiscent of the laid-back sass of Stevie Wonder’s Innervisions.
I think The Brothers Comatose are the
reincarnated soul of an old hillbilly from
Arkansas that was born inside a brokendown
The aroma is sweet with a bit of roastiness that provides a good outline of the beer’s flavor. On the tongue there’s more of the same—malty sweetness and roast notes delivered via moderate carbonation.