The Wire

You could (quite reasonably) object that this is a re-enactment of a duo that never really existed. Yet, with the help of two slinky compadres - Eric Random on keys and guitar, Oliver Harrap on beats - the old tunes sound as sinister and infectious as ever. [Jun 2026, p.54]

While the trio bring together pop literacy and experimentation on an equal footing like, say, Broadcast or even Cornershop, there's not the sense of mystery or storytelling of those groups. [Jul 2026, p.46]

It's the first time that singing has appeared on a Horse Lords recording. But while shape note singing requires no electricity, Saylor and Guo's voices have been so liberally dipped in AutoTune that the words are indistinguishable. [Jul 2026, p.49]

Whatever its message, Inferno is heavy, unsettling and as compelling as anything they've made before. [Jul 2026, p.52]

The group, now a trio with the addition of bassist/banjoist Michael DeVito, have never blended their various interests so seamlessly and effectively. [Jul 2026, p.54]

An album built from emotion and defiance. [Jul 2026, p.52]

Seefeel respond to our hyperdigitised zeitgeist with music evocative of a time when technology could still inspire wonder and electronic music was made by hand - when a loop was a fragile ouroboros of materiality. Basking in this vibe in our particular historical juncture feels deeply, affirmingly human. [Jul 2026, p.58]

For this fourth full length, brothers Jean and Rémi Fossat and Canek Flores tighten their sprawling jams, contracting the space rock crescendos of 2024's Ilion into potent shorter songs. [Jul 2026, p.61]

The tracks are up to the usual high standards of MOM creatively and in execution. [Jul 2026, p.63]

For all its internal violence, its vandalised sounds, structures and conventions, Lavender Networks has a kind of utopian charge - even if that utopia might be personal to Marcloid. [Jul 2026, p.63]