Simultaneously hard to believe, and entirely unsurprising, Bristol punk band Idles’ much-anticipated third album Ultra Mono is an aimless, complacent, and lazy disc of rehashed instrumentation and unforgivable, laughable lyrics that does nothing to further their trajectory as artists, and comes close to undermining the spiky brilliance of their previous two records, the punchy Brutalism and the close-to-perfect Joy As An Act Of Resistance.Continue reading “Ultra Mono Review: Idles should fold up their Change.org petitions and go home.”
Feelings, eh. Feelings, they’re- they’re good, yes? Feelings are good and it’s good to have them, yes, fellas? Feelings are the co-ordinates we lay atop the empty and imposing landscape of the world we live in, the divining rod of human endeavour, the core of how and what we experience in these short years we’re lucky enough to have in this tiny blue orb spinning atop an endless cosmos, indifferent to our whims and yet endlessly sustaining them.
Feelings, they’re- yes- good, no? Yes?
Girl Band’s new single, Shoulderblades, is one of the best songs of the year so far, a pummelling and ascendant noise-rock dirge with an uncertain structure that draws repeated listens like water from a tap. This piece is not about the song. It is, however, about the music video. Music videos have long been an underrated artform, and whilst some are simply vehicles for the song, some, such as Pulp’s This Is Hardcore (dir. Doug Nichol), and Grace Jone’s Corporate Cannibal (dir. Nick Hooker), operate distinctly as works of significance in her own right.