The enigmatic artist’s work is the soundtrack to Brussel’s underground.
Wave after wave of beautifully crunchy, hypnotic drone is what makes JOHN 3:16’s new release (a reissue from 2011, apparently), a 30-minute affair, so appealing. The guitar playing is so heavily textured that you feel like a sonic blanket has wrapped you up, making you forget, albeit temporarily, the vagaries of the world. Drone music tends to be hazy, but this release would have been a stunner during the psychedelic 1970s as much as it is today.
This is a stunning mini-album. Many compliments to Philippe Gerber, JOHN 3:16’s leader and guitarist, for pointing me to this reissue.
Though it’s listed as post-rock on their Bandcamp page, Akute would probably fit rather well in the indie and shoegazer music genres as well.
I’m quite new to the work of Russian pop singer Pelageya. From Novosibirsk, Siberia, this songbird comes from a classical music background, having once been invited by legendary Russian cellist Mstislav Rostropovich to perform in France along with other luminaries, including Ravi Shankar and B. B. King.
Though I find the live version wonderfully sparse, I’m including the studio version for the sake of comparison below:
I suppose some would call this The Swans’ ‘Joy Division’ phase. The album, The Burning World, showed a marked change in direction from a band who had previously sounded like the equivalent of a drunken brontosaurus stumbling into his cave after a healthy drinking binge (and yes, that’s a good thing). Since they reformed, their sound continues to adapt and grow. They are as vital a band now as they were in the beginning.