Sacrificing euphony for experimentalism.

I don't know what happened in the time between when I first heard Shout Wellington Air Force's debut album, Clean Sunset in spring, and was very thrilled with it, and now. I bought the album last week, and I must admit it really disappoints me. It's kinda like Dirty Projectors, but not quite as eccentric. Still too eccentric to be a pleasant listen in the long run. There's a fine line between being eccentric in a systematized way, such as Battles, for example, and losing structure. Clean Sunset loses structure. A few, very few, of the tunes are pretty good, such as 'Cherry Glands' (sorry, can't find it anywhere) and 'Astrid', but very often, the album becomes a cacophonous mess, topped by toe-cringing vocals. I'm gonna see them together with Sleep Party People tomorrow, that's gonna be interesting though.


One could make the case, that if the late 00's was dominated by indie folk, the early '10s could be the era of lo-fi or shoegaze. A few remarkable albums have hit the shelves this past week, each with a very high Pitchfork-score to accompany them. One is How To Dress Well's ethereal debut, Love Remains, and the other is Deerhunter's Halcyon Digest. The latter got a whopping 9.2 review, and might very well be in my next batch of records.


An album that will definitely be in my next batch of records is Treefight For Sunlight's debut album, A Collection of Vibrations for Your Skull. It's available for streaming through this week at Soundvenue. It sounds pretty promising, but it's gonna be very interesting to see, how it fares after the tenth or twentieth listen. In any case, at first glance, it's a very impressive debut!