I’ve had a few people approach me after HREÐA’s material (and rightly so, they’re ace), so here are the releases I have. I think this is all they have for now, hopefully there’s plenty more to come. They sound like a more twiddley, mathy, heavier Explosions in the Sky – great stuff.

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Summer is my favourite time of the year and a lot of brilliant releases tend to fall in my general direction around this time. These are the sounds I’ll be guaranteed to jam throughout the season -

Tobacco – Maniac Meat

Last year Black Moth Super Rainbow were my primary summer jam, this year it’s Tobacco (BMSR frontman) taking the title with what is probably my favourite BMSR-related release to date.

Ceephax Acid Crew – United Acid Emirates

I just want to play UAE all day and play it LOUD. It’s so much fun it just defines the season for me. I’ve slept on Ceephax for way too long – dude is brilliant!

Bibio – Discography

If I had to pick a band or artist who’s sound came closest to the feeling of summer, it’d be Bibio. Check this post to see what I’m talking about.

Hope everybody enjoys their summer and I’ll be getting some posts up soon! :)

Saying that, this isn’t a screamo record. It fits better in the post-hardcore category, with hints of metal, punk/hardcore and, as mentioned, screamo, peaking through – but it is very reminiscent of the aforementioned bands and I think this record would appeal to fans of the genre. I remember reading about this band among others being labeled the “new-wave” of screamo. I don’t know if I’d call it that but it is very, very good.

No beating around the bush, the real appeal of this band is down to vocals of Jordan Dreyer, who’s vocal style is heavily remnant of mewithoutYou vocalist Aaron Weiss. Spoken word > screamed vocals are a well-used concept in the album and fit the instrumentals (which are, in there own right, brilliant, if undershadowed by Dreyer) wonderfully. The writing ability equals and even at times surpasses the vocal talent – there is no forced rhyme or awkward phrases – every word, every line, is carefully picked and aims for the emotions. Still a young band, these guys are one to keep an eye on.

Also, it’s my bday today ^_______^b – make me happy and recommend me wicked super awesome cool music!

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But, for me, it wasn’t Peter who introduced me to the wonderful music of the Broderick’s – instead it was his sister and her debut release, From The Ground.

From The Ground is a record of haunting beauty and great depth. I’m picking up bits after many repeated listens that really make me stop and listen every time –  for example, one of my personal highlights, the multi-layered vocals of “The Colors” or one of the many expansive, swelling string sections. Heather’s singing voice is a rare gift and her songwriting ability is incredible, turning what could have been simply another great release into one of the year’s highlights and a record that I feel will stay with me for a long time.

Pick up the limited vinyl if you get the chance – lovely artwork, an infinite violin loop and an added bonus track.

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Nocando’s lyrical style is obviously influenced by his battling prowess, filtering his social commentary through whit and humour, always unpredictable and always brilliant. Those put on production duties are equally as ace – Nosaj Thing, Nobody, Thavius Beck, Maestroe and Daedelus are among the selected few chosen to compliment Nocan’s vocal delivery.

Strongly recommended for anybody into their hip hop.

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Only Mountain takes (no pun intended) influence from los angeles’ lop-sided beat stylings and contorts it further to make it his own. It’s an easy contender for beat beat-based album of the year, very highly recommended.

Not my link, thanks to the original uploader.

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The album runs for nearly 53 minutes, which can feel like an awful long haul to get through for music like this, making it being a bit of a struggle to get through and if it weren’t for review purposes I’m not sure if I’d be able to do it in one sitting again.

That isn’t to say it’s bad by any means – just best consumed in smaller portions (for example the first 4 tracks are my favourites, even to the point of being some of my top tunes of the year but once track 5 comes in it kills the flow a little and I could easily lose interest, but say I start with 5 and work my way from there it’d go down easier and would be overall more enjoyable).

I’m enjoying this much more than anything previous by the duo – it feels alot more atmospheric and features some really beautiful soundscapes. Check it out.

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Vignetting The Compost’s primary appeal lies in Bibio’s ability to make his electronics sound completely organic. His recordings sound devoid of computers, instead relying on tape recorders and other lo-fi recording equipment, creating an authentic sense of nostalgia like nobody else does with a blend of (primary instrument) acoustic guitar, field recordings, distorted flutes and static overlay.

Just check the (very awesome) video below for a perfect visual representation for his music. Really beautiful stuff.

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Heavy, fast and absolutely relentless. Drum & Bass BPM and a killer dubstep bassline. Perfect for the floor. Check it!

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Matasson has a new release (The Wild Hunt) due for release April 13th, but I’ve decided to post 2008s Shallow Grave because it’s got such a perfect feel for the lovely weather we seem to be breaking into at the moment.

Most reviews immediately point out Bob Dylan as a comparison (but saying that, whenever there is a new folk musician on the scene when don’t those comparisons come out?) – but, while there are obvious similarities (with a man as prolific in the history of the genre such as Dylan of course there would be) The Tallest Man On Earth shouldn’t be lazily tagged as “Dylan 2.0″ because he holds his own in the scene, delivering an optimistic and urgent vocal performance and highly skilled, finger picked guitar and banjo opposing the usual raspy drawls and predictable chord progressions of most higher profile folk musicians.

The production featured on Shallow Grave is very honestly recorded, raw and live, blemishes and all, allowing Matasson’s skills to be shown at their fullest without the use of any production trickery. It is a very honest and heartfelt performance and you can tell he puts his all into his music.

This record has been the reason for the great mood I’ve been in lately, very uplifting wonderful folk music.

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