Citing Pixies as a reference is dangerous. Yes we recall their scratchy prowess over throwaway stripped surf and […]
“Monsters’ is equal parts subculture cool, passive violence and vintage geek chik.”
“There’s something beautifully crafted, familiar and winsome in the cool debut single from Peplo…”
“Through the measured collisions and the swirling of noise, we can pick out the pieces of splintered electro, prick at the crisp flecks of abstract percussion, or wade through its ultra HD widescreen violence….”
Imagine a home printed scuffed up cassette-tape gets pressed into your clam sweaty hands, you’re told ‘right here’s […]
“Do I admire the tenacity or balk at the ego of an EP entitled ‘Please Sign Us To Your Label’? Given that Indigo might just get what they ask for, I’m tempted to go with first option…”
They live in a haze of accidentally anthemic self-made and self-assured angst, where webs and threads of Bona Drag and Juju clean-jangled guitars (from Morrissey and Banshees respectively) weave like a network of nerves up and through.
Harsh isolation, dystopian dreamscapes, semi-connected catharsis caught up in electronic precision.
That’s the evolving sound of Blancmange 2.0; collections of stripped down half hooks, building in escalating elaborations, repeated in sheets of thin ice and cool water. This is Neil Arthur from 2016’s Unfurnished Rooms, through to 2017’s Fader and Near Future, through this year’s Blancmange album Wonderlust.