The Algorithm – ‘Brute Force’ [Review]

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The Algorithm’s new album.

Try saying that ten times really quickly.

When it comes to creating the heaviest electronica imaginable while maintaining that all-important accessibility, Rémi Gallego is the undisputed Read more…

Posted on 07 March 2016

Hayden Calnin – ‘Cut Love Pt.1’ [Review]

With so much hectic intensity permeating TMMP of late, it’s time to bring things back down for a bit.

Hayden Calnin has been billed as Australia’s answer to Bon Iver – and the comparison certainly fits. Fans of Cinematic Orchestra will also find themselves immediately at Read more…

Posted on 04 March 2016

Danimal Cannon – ‘Lunaria’ [Review]

And now for something completely different.

Completely different.

Danimal Cannon’s Lunaria is a mostly instrumental industrial-prog album, composed on a 1989 Nintendo Game Boy and loosely based around a conceptual story inspired by the Giant Impact Hypothesis.

Whether you’re new to the chiptune world or a die-hard veteran, you’re unlikely to have heard something this relentlessly left of centre before.

Acclimatising to Lunaria’s claustrophobic, digitised-to-the-nth-degree universe is challenging, to say the least. But once you get past the initial sense of sonic culture shock, its true nature as Read more…

Posted on 16 February 2016

The Black Queen – ‘Fever Daydream’ [Review]

Feel. Soul. Depth.

These words are ubiquitous in the music world. They pop up in press releases for everything from reality-shattering mathcore to surgically dehumanised bubblegum pap. They’re used to imply authenticity, whether or not it’s actually present in the music.

And what the hell is authenticity, anyway? If you define something inauthentic as “fake,” then that implies deception and dishonesty. Flip that over, and authenticity is really about honesty.

True honesty in art takes you somewhere beyond feel, soul, and Read more…

Posted on 29 January 2016

Submotion Orchestra – ‘Colour Theory’ [Review]

A comfort zone is a beautiful place, but nothing ever grows there.

Over the course of three stellar albums (2011’s Finest Hour; 2012’s Fragments; 2014’s Alium), Submotion Orchestra’s signature sound has been explored in detail and depth. A peerlessly idiosyncratic mix of bass-heavy dub, soul, classical and jazz influences, it’s never been less than spellbinding, immersive, and classy. Since day one, the Submotion Orchestra sound has won over an ever-increasing mass of critics, fans, and tastemakers.

On paper, it would have been very easy for Submotion Orchestra to play it safe on Colour Theory. The normal thing for established bands to do is Read more…

Posted on 21 January 2016

Skunk Anansie – ‘Anarchytecture’ (Album Review)

After the recent loss of David Bowie, the rock world needs all the unique and exciting oddness it can get. With Anarchytecture – their third album since reforming in 2009 – Skunk Anansie continue to contribute exactly that.

Although rock is the dominant flavour present on Anarchytecture, there are plenty of extra spices floating in the mix. Skin’s vocal is, as always, unmistakable – and curious listeners can expect a healthy helping of dub vibes and electronic elements alongside the big riff monsters and vulnerable ballads that tick Read more…

Posted on 16 January 2016