Post-rock is dead! Post-rock is dying! Post-rock never happened! You’ve probably heard all three of these things (OK, probably not the last one) over the past few years. In a way, those are accurate statements but only if you have a very narrow definition of what post-rock is.
The Load-In My July, as you may have already seen from my review, is always dominated by Tech Fest. For the last six consecutive summers, I've enjoyed a highly concentrated weekend of general merriment, sub dr... Read More...
Every year, it seems like Summer is more impossible. Are we growing old? Is it actually hotter? Is it both? Who knows (it’s probably the former). But the sad fact remains that patterns of routine that have helped us cope in the past, a cold glass of water here, a welcome shady corner there, are becoming more and more diminished, the returns just less effective at getting us home. It’s truly a death by a thousand cuts or, rather, death by a thousand drops (of sweat).
If you read my entry on this month's Editors' Picks (publishing in a few days), you'll see that I talk about growth there. Without spoiling my pick for this month (hint: it's not too far stylistically from Plini), let me repeat, briefly, my ideas from there: one of the greatest thing in the world is seeing an artist grow. Watching someone dig deep into why they make music and take ideas that were just hinted at in their early works as foundations for something greater is one of the main reasons why I spend so much time with music journalism. There really aren't too many examples which better drive this point home than Plini; from bedroom project, through nu-prog sensation and all the way to an artist which constantly (and I mean constantly, take a look at his tour dates) tours the world, Plini has grown before our eyes into one of the most impressive and intriguing musicians around.
Fellow denizens of the Metalosphere (shut up, it's a thing now), rejoice! For, at long last, the Australian voice of one Plini has returned to grace our ears. In the sea of mediocrity that nu-prog has quickly become (and, perhaps, always was for the most part), Plini's voice has been an essential reason to even bother with the genre. From the first of his EPs and down to the genius of his previous release, Handmade Cities, Plini's approach to nu-prog has been more interesting and accomplished than almost all of his peers. So, when the man announced his upcoming EP, Sunhead, I was thrilled. The first single from it (released as a standalone to begin with but later included in the album itself) was good but I knew that more was coming. And, lo and behold, we now have that "more" in the form of "Kind".