It was almost one year ago since I saw the Italian band Aedi live for the first time. Quite a scary coincidence, as the date of my post is dated back 9th February 2012. Anyway, I had the chance to sit at their table, and have a proper talk with the band, which soon became a really unconventional and rib-tickling chat. After a couple of pints, they jumped on stage, delivering one of the most captivating live shows I have ever seen. One year ago Aedi introduced the upcoming (at the time) unnamed album, Ha Ta Ka Pa (out on the 11th Feb.), to a quite baffled audience. Those familiar with the dreamy ethereal atmospheres of the début Aedi Meet Heidi can forget that when they pop this new CD into the stereo

The liveliness of the release is perceived from the very first song, as vocalist Celeste anticipated one year ago: “Now the situation is different, we have thicker skin, there was an evolution that made our sound more choral and visceral, instinctive.” Among the general intricacy of tunes, the distorted fuzz and the spirited drum-beat create a very distinctive first impression (Animale), reiterated right afterwards by the song Idea (= Aedi), in which tribal percussions blend in with electric riffing and an unexpected piano interlude. Celeste’s vocals are more spirited than ever, going from tribal-esque to subtly occult, for instance on Rabbit on the Road, one of my all time favourites – if it sounds quite weird, just imagine seeing it played onstage. One of the most memorable experiences ever. The sound is more experimental, almost psychedelic, playing with cabaret a là Dresden Dolls (Fohn) and ethereal Nordic pop influences, which happily shifts into the shamanic atmosphere a là Tori amos (Yaca, Tomasz). The choral is another aspect to be highlighted in the album, alongside with subtle heavier pattern, especially in the percussions: “…a new drummer joined the team. His sound is harder, and this changed our music as well. After that we could not make childish music anymore; we were p*ssed off, so the album itself is p*ssed off. So, somehow, this album speaks with five different voices.

As the album proceeds, we perceive the sound stripping, culminating in the climax of the astonishing The Sound of Death, Celeste’s vocals are heartbreaking at the final choral closer. Despite the intricacy of Ha Ta Ka Pa, I did try to do my best to quickly lead you through this mystical path, made of a rare musical prism. Now, just follow my example and order your copy via Gustaff Records (if I got through the Polish-written website, I am sure you can), wait for it to arrive at your door, and enjoy. You are welcome.

Cover Album
Ha Ta Ka Pa
Similar Artist: Me and My Drummer, King of the Opera, Tori Amos

01. Animale
02. Idea
03. Rabbit on the road
04. Fohn
05. Nero
06. Tomasz
07. Yaca
08. Prayer of the wind
09. The sound of death
Beware, the view of the following video is advised against people who are taking themselves too seriously. 



My dear reader, as you may know, I am a mess with genres (my iTunes includes a “Mexican Pirate Porn Rock” release, just saying). However, I am one of those emotional listeners, who gets easily into the spiral of over-categorization. To me, bands are not just incapsulated in one simple word. Oh no, that would be so much easier, for both of us (you as the reader, and me the writer). All of this, to introduce you to a rather tricky band to place: a dreamy ”ambient-y” instrumental rock piece, called mountaintops.
This four-piece from Mexico is composed of Francisco Cabrera, Daniel Pazarán, Juan Gómez and Joshimar Vergara. The self-titled EP, available for free on the Bandcamp page, is a nice blend of hazy guitars and floaty Maybeshewill-esque electro-beats, seen in for instance From the Deepest of the Darkest of Night, on the Horizon, Bright Light Enters Sight Tight (the titles are also quite Maybeshewill-esque in length). Despite being slightly lo-fi in production, the attention to delays and echos creates quite a cohesive flow, adding a fuzzy touch to the post-rock reverb-y formula. More ambient-like are tracks like It’s a Promise, Emarosa and Andy, Belle, Marbles, Molly, Olaf, Rover, Snoopy and Spike – remember what I just said about title-lengths? The soft-colouring reminds me of amycanbe’s dreamy folk, which conveys an ethereal and mystic aura. However, experimental bass-driven lines (Antlers) and playful notes (Au Troisième Jour de Chaque Mois d’Avril) are dropped along the way, suggesting some twists in the plot which don’t really happen, except for some interludes.
As part of the post-rock aficionados, I really do appreciate the so-called “variations on a theme”. Most of the times, I prefer to place some of it in the “ambient” section of my mind-catalogue, however, I feel like people tends to see it as a negative acceptation aspect, related to “background-like”. Mountaintops. dreamy, minimal touch makes this EP an easy-listen release, enhanced with post-rocky riffs and instrumental virtuosity. And I cannot see anything negative in that.

Cover Album
Similar Artist: Amycanbe, Killington Fall


The Pheromoans – Bar Rock EP

The Pheromoans

Bar Rock EP

(Monofonus Press)



We can say The Pheromoans are everything that is unusual and unconventional in music. Their sound is going to be appreciated mostly by avant-garde elitist listeners, mostly because the lack of cohesion and correlation between instruments is something can be enjoyed just for a certain amount of time. The DIY approach is here commemorated in a mini album called ‘Bar Rock’ (300 12” vinyl available for the hardcore collectors). Continue reading

A Genuine Freakshow – Oftentimes

A Genuine Freakshow


(Peartree Records)



A Genuine Freakshow is nothing more than a big metaphorical family, who love playing music and know how to play around with it. Timothy Sutcliffe (Vocals, Guitar), Jack Bryant (Drums), Simon Evans (Guitar), Marianne Casey Canning (Violin), John Dunstan (Trumpet), John Szmidt (Bass) and Melanie Dickson (Cello) hail from Reading, formed in 2008. The seven-piece shaped its own sound on the most cheerful pop, some experimental math rock and an impressive palette of sounds, created by strings, a trumpet and the classic guitar-bass-drums trio.  Continue reading

Cats and Cats and Cats – Motherwhale

Cats and cats and cats


(Function Records)

3.5 / 5


After listening to ‘Motherwhale’, I found my own analogy for these 13 tracks. Listening to Cats and Cats and Cats new album is a journey through something between a carousel, a fun-fair and a circus, whose story is told through echoes, voices, and lots of instruments. ‘Motherwhale’ uses the same formula we’ve known since the EP ‘Victorialand’. Sing-songs, a cappella intermissions, post rock, baroque and indie pop just blended with a playful and surreal atmosphere.

Continue reading