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Don't know whether "space folk" has been coined as a genre yet. It must have. But, if it hasn't been it, should have been coined, be it for the purposes of this album only. It's dreamy, fluid and contemporary, but somehow it's "folksy" as well, because songs are structured over acoustic guitar and pretty basic melodies. Acoustic is played weirdly and too sharply recorded, sounds too metalic. Vocals are a bit hidden in the background, which leaves you indifferent, because the melodies are too skinny and shallow anyway. But what is attractive is contrast between acoustic guitar and fine distorted electric guitar soloing which, together with fine use of analogue synths, adds bit of a character to this otherwise flat and not quite charming album.

An instrumental album. Basis of all songs is a busy acoustic guitar, finger-picking style. At times, perhaps too often, album goes too light and too "easy-listening", TV-intermezzo muzak. But then it surprises you with a fine, wiser touch, i.e. Fripp-like electric passage. Albeit, more often, it doesn't! Further downside are the women's singing voices, present at most of the numbers, which are unnecessary, and bring some triviality to an instrumental album. LP has Stand outs are "The way door Close" which has a good beat, much missed at this LP, complex "How I became water" and the  accomplished and exciting #7, which has traces of a nice melody in it.

Ford once was singing old-timey music with the Be Good Tanyas and then made a shift towards soul. A tasteful choice of warm southern country-soul of classic variety. Hence, the LP was recorded with authentic, seasoned session musicians, with Hammond a king, occasional Telecaster, deep purposeful bass pumping the rhythm, soft horns. This all serves as a very solid basis and all very promising. But still, the promise not quite fulfilled. There are some fine songs here, especially "Three Golden Trees", but, in general, you have a sense that the melodies are way too monotonous and similar, too laid back,  and you struggle to recognise real dedication. And, perhaps the biggest downside is Ford's pronunciation. It is irritating, sounds even artificial. With the Tanyas, her singing was all clear and audible, while here it sounds as if she's using some other language and not English. Still, a folk chanteuse gone classic soul - overall, it is an attractive, nice sounding, li...

What tricked me into checking up this LP was the definition of Kevin Parker’s music as “Bee Gees on mushrooms”.  From what I can hear, the “mushrooms part” is less psychedelic, but more in a fluid, arty electronica run through the tasteful and attractive studio treatment. You dive into the layers of keyboards as into some multi-coloured sea. It is a danceable and rhythmic album, but somehow, melody and colour seem to overweigh the pulse, so it ends up far from “dance” or “disco” idiom. If there is a downside, it is a bit annoying to listen an album almost entirely sung in falsetto, but then, it’s the “Bee Gees part”, I guess. Also on the vocals - that vulgar use of AutoPlay on song #3 is hard to forgive. Overall impression is positive, it’s refreshing to listen to the synthesisers, for a change! The excellent and heavy “It might be time” stands out.

What is it with the Australian bands and their names? Here comes another young Aussie band with an impossible name, but with a very fresh, cheerful and exciting debut. It brings us fine guitar rock, but one that has neither a trace of any virtuosity, nor any instrumentalist skills showing off. Quite the opposite. The Blackouts manage, in an unobtrusive way, to serve their musical ideas and deliver their compositions which are abound in clever musical ideas and solutions. The common denominator of  the songs: a simple, honest and straightforward guitar rock, but with no riffing, rather more in the direction of singer-songwriters' folk-rock. Therefore, at first, they remind me of Buffalo Springfield - with three guitars (plus bass-guitar), they share the same instrumental setup. And then, another, even stronger, association occurs.  Namely, with their melodic guitars juxtaposed with monotonous and seemingly absent vocals, and pulsating, almost mechanical rhythm of the drums, ...

Makes you fall for heavy metal (again). Then makes you realise that you've never actually been cured from the spell. Such is this album's energy, Motorhead-drive, MC5-esque raw power, "In rock"-era Purple pompousness, song refrains often sound classic-rock. These boys do rock. Reinventing heavy metal for the "Instagram" kids. And what's best: they are not even a heavy metal band! They're just pretending, acting. But what an uber-convincing act! Of course, it helps that, despite an inexcusable  name, Gizzards are fine intelligent and fine instrumentalists, their skilful musicianship shows in every song, and does the best, perhaps, in the A2 "Mars for the Rich" which is just sublime.

Sturgill is supposed to be a country artist. But what we hear here is him playing with synths, hard rock, samples, heavy riffs, wide palette of wild studio gadgetry... and all that it in some kind of apocalyptic story linked with Japanese animation film. OK, country, but from another planet!

Beautiful, melodic, poetic album with superb keyboard playing and warmly coloured vocals. Convincing and mature like some chansonnier,  yet modern. Not shying away from politics and discussing sexuality and prejudices, be it through fine metaphors or indie-like directness and edge. LP is so consistent in quality, with beautiful "Caramel" and "When Dreams go to die" being my favourites. Is he a new Rufus?

Dream pop, or experimental pop, I guess that's the genre - but it's definitely an extraordinary album. Ambient, with drones all around, and dozens of channels whirling with weird sounds... but what stands out are the melodies and the vocal lines which are almost Beatles-like, very melody-friendly, with proper and sweet backing vocals and all... especially the song #3 and 4. Overall, I had a rather rare feeling of dealing with an LP that pushes the boundaries - something I last time felt over the albums such as "OK computer", or "Loveless". Deserved a Mojo album of the Year 2009.