‘Mauerkipp’ is a clipping of the noun, “Mauer“, and the verb, “kippen“, which kind of translates to “tipping over a wall”. It is about the process of deconstructing or even destroying what you are as an artist in order to create something new.
TUTV: Vlimmer‘s first new music of 2024 is a fascinating piece of electro Goth-punk. Mauerkipp speeds like a runaway train, dangerously and threateningly, as if a crash
is unavoidable.
Twitchy vocals roll over ongoing sinister synth streams causing a spine-chilling
experience that feels both intimidating and never-ending while Krautrock dynamics augment the menacing atmosphere. As I said, fascinating stuff.
Pitchfork says: “The Radiohead offshoot’s second album burrows deeper into their strangely enchanting appeal. ‘Wall of Eyes’ gives center stage to jazz, kosmische, prog—aesthetic signposts and satellite genres usually kept in the more established band’s wings. The Smile, though stranger and wilder, more comfortably fit in the omnivorous art-rock tradition.”
Full review here. Score: 8.5/10.
TUTV: With less pressure than that’s on that mega band called Radiohead, the pair
of Yorke and Greenwood seem to feel more at ease to do what they want to do without
any expectations whatsoever. Wall Of Eyes sounds less complex than the last Radiohead albums, but still echoes that band’s work here and there (Teleharmonic / Friend Of A Friend / I Quit). And Yorke‘s familair falsetto voice is omnipresent.
Then again, capricious tracks like Road The Room and Under Our Pillows resonate more direct and less polished then a lot of the multi-layered Radiohead symphonies as we know them. All that said, it really doesn’t matter if there are comparisons or not. What matters is that this record features (only) 8 paramount songs, 8 first-rate quality tunes, 8 mesmeric compositions.
Singles/Clips: Walls Of Eyes / Bending Hectic / Friend Of A Friend
Artist: SLEAP-E Who: Italian singer-songwriter
from Bologna
New album: 8106
Her 2nd one, out 22 March
Pre-order details here
Info: ‘8106’ captures the spirit of play; the child-like instinct to pursue what you love without compromise – and here it is, that particular magic that rarely survives adulthood, remarkably intact. Each of its eleven songs is sharp, vibrant shards which, when you step back, build a mosaic of Asia Martina Morabito’s world: the growing pains of your early twenties, remaining faithful to your dreams despite the hostility of adulthood, places of escape both real and imagined – and the pulse of Bologna, her home and north star.
Sleap-e: “It means, ‘Please, God, let me be happy. It was a prayer
to myself to keep going, continue to be happy and have fun.”
TUTV: Expect razzle-dazzle electricity, adrenalized by jangly guitars and Sleap-e’s
casual vocals/whistling. 70 seconds of frolicsome fun and devil-may-care jollification. Catchy as hell with an impact on your head and feet movements. What you hear is what you get. Don’t worry be happy. Get up, stand up, and fight for your right to feel alive.
Liverpool‘s power pop indie band THE ZUTONS formed in 2001, recorded/released
3 albums, and scored their biggest hit with 2006 single Valerie (more than 52 million streams on Spotify).
They called it a day in 2009, but returned (with a changed line-up) in 2018 to celebrate
the 20th birthday of their debut LP ‘Who Killed… The Zutons? with a series of concerts.
Three years later they went on tour road with Chic legend Nile Rodgers.
They’re now back again with new music. They recorded their 4th full length,
called THE BIG DECIDER, with Rodgers and Ian Brodie. They’ll share it with
the world on 26 April.
First single CREEPING ON THE DANCEFLOOR is The Zutons as we knew them from their good old days. Funky/punky, brisk and zestful. Freak Le Chic à la The Zutons. Party time!
British veteran pop-rockers ELBOW have canned their 10th LP.
It’s named Audio Vertigo and sees the day of light on 22 March.
More info here.
Guy Garvey (frontman): “‘Audio Vertigo’ was built from gnarly, seedy grooves
created by us playing together in garagey rooms and is both more direct and
sonically varied by purpose than its predecessor.”
The artwork is a photo montage by Robert Lockart, featuring prostitutes, standing in
a red-light area from Rouen in France, chosen because of its relevance to the album
title.
Becker and Fagan about the artwork: “That album possessed the most hideous
album cover of the seventies, bar none, except perhaps Can’t Buy a Thrill.”
