Tag Archives: Noise-pop


MBV (Front)

After a wait of 22 years, without much fanfare, comes the third My Bloody Valentine album. The first three songs – “She Found Now”, “Only Tomorrow” and “Who Sees You” – sound like the band have always been around (which is probably true, legacy-wise) with the noise-drenched indie pop fans have come to know and love. Then we get “If This & Yes” which sounds uncannily like a Beach Boys outtake from the mid-60s (or a High Llamas track – same difference), eschewing guitars for keyboards. From then on, the agenda is to subvert expectations somewhat with sonic explorations of a similar vein (“If I Am” and “A New You”) and foot firmly off the distortion pedals. The final trio of songs (“In Another Way”, “Nothing Is” and “Wonder 2”) get decidedly experimental in terms of guitar textures and rhythmic expression. All of which makes for an intriguing comeback and fairly worth the prolonged wait!

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ADAM FRANKLIN & BOLTS OF MELODY I Could Sleep For A Thousand Years (Second Motion)

A new album by Adam Franklin hardly seems likely to cause a ripple in the modern rock scene. But those in the know would be aware of Franklin’s influential work with shoegaze/noise pop pioneers Swervedriver (which released four albums in the 90s). Those not in the know, will probably continue to believe that bands like Glasvegas, Asobi Seksu, Stars and the like emerged like Athena fully formed from the head of Zeus.

Since Swervedriver’s break-up, Franklin has been involved in several projects (including Toshack Highway and Magnetic Morning) before settling down as a solo artist. I Could Sleep For A Thousand Years is Franklin’s latest offering and if you dug Swervedriver’s exciting blend of trad rock values with the noise pop aesthetic, you will find much to savor here.

The effects pedals have been kept to a minimum with greater emphasis on song structure. Of course, the guitars let rip on Yesterday Has Gone Forever, I’ll Be Yr Mechanic, I Want You Now, Sinking Ships and the seven-minute Take Me To My Leader. However, for the rest of the album, the guitar atmospherics and ambience are utilized to embellish the songs. And there are good ones here e.g. She’s Closer Than I’ve Ever Been, Mary Gunn and Pink Floyd-evoking Lord Help Me Jesus, I’ve Wasted A Soul.

Basically essential for all 90s shoegaze fans.

Official Site | Myspace

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STELLARSCOPE This Is Who We Are (Patetico)

Employing a noise-pop/shoegaze  approach to rock songs, Stellarscope’s alt-rock sound is definitely an acquired taste only. The Philly trio’s adoption of the 90s Brit-rock style is total in nature, down to the faux Brit accents. The overall production values are low, making This Is Who We Are come across as a glorified demo. Thus, whilst the intent of the band is to be applauded, the execution leaves a lot to be desired. Back to the drawing board, boys.

Official site