The sweet orchestration of the track; the masterful blending of strings and acoustic guitars is reminiscent of singer-songwriters like Boo Hewerdine, erstwhile of The Bible. The percussion elements are a very welcome addition, too – adding a little drive to proceedings – but the major feeling here is one of reflection and contemplation. Dive in and have a soak.
Chris Porter
This slice of exuberant, unashamedly pop-tastic insanity comes courtesy of a clutch of 80s synth sounds and a very clever arrangement that somehow boots the retro-ness of its experience into a throughly enjoyable romp for right now!
A lot of reviewing is predicated upon making comparisons between the subject and other acts that the readership might know, but with The Lost Millions, this is more of a challenge than usual, and that’s a real feather in their cap.
A hypnotic, pulsing, rolling piano motif welcomes in the listener and then the rubber hits the road and we’re off! It’s a clever, classy and contemporary sound, with pristinely-captured vocals (as precise as you like) treated lovingly with compression, reverb and delay.
These days, it’s incredibly refreshing to hear a different kind of arrangement in the single format. And like a clockwork ballerina winding down to a stop, Malicious Monotony proves it is anything but. Well, it may be malicious, but it’s chock-full of imagination and interesting and brave choices.
A relentless sub-bass rumbles and drives right through the heart of this song, insistently underpinning the satisfying chord changes that refuse to be ignored. It’s clearly been loved, this arrangement, with smart drum programming that uses the full stereo spread and there’s buzz and warmth and bubbly synths at the edges, too. The song feels like it’s breathing; like the whole thing is an intellectual exercise in side-chaining. But with heart.
Growing from solo vocal and reverb-heavy guitar strums that leak cool everywhere, into a stereo spread and mix of wet and dry sounds that are superbly managed, No Worries delivers on every level, has broad appeal and I believe should do incredibly well.
Whereas some works can be hard to review, this wonderful collection wears its influences on its sleeve and is all the better for it. Unashamedly complex arrangements with no flab, terrific performances all round… what’s not to love?
This smart piece of acoustic rock from Bruno Brocchi wears its heart very much on its sleeve, doing all the things that a smart piece should. Bruno’s vocals are tense and emotional, panging with regret and feel like they are properly attached to a love-lost story that should resonate with many listeners.
What sets the song apart from being viewed as an exercise in retro charm is the interesting choice of the samples and the snapping rhythm track. The choral sounds could have been curated for WOMAD by Peter Gabriel, and the fact that they don’t fit the chord progression super-snugly is a dissonant and spooky delight.
This bluesy, soulful cut delivers a message with all the passion you’d expect from the daughter of Grammy-nominated George and Gwen McCrae. Time to give God’s Way a try?
Each time the chorus comes around, its simple, insistent melody drills into your memory, floating above a Björk-like set of rhythmic patterns that seemingly arrive out of nowhere. This is a classy and intricate slice of pop that we should all get our ears around.