Third Eye Foundation - The Dark: Review

It may be a surprise to some to see Bristolian Matt Elliott operating under his Third Eye Foundation moniker once again. It has, after all, been ten long years since he last threw on this guise. That’s ten years in which his former label Domino has transformed from a licensee of abrasive American indie-rock into a chart bothering mega-stable of talent; ten years in which Elliott has ducked away from the pulverizing drill'n'bass exhortations of yore and instead poured all the light in his music into his folksy singer-songwriter material; and ten years in which his unnerving ability to match spleen and sorrow and turn it into a palatable (and disjointedly danceable) whole have been subtly exhumed and worked into genres such as dubstep and the spurious witch house movement.

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Brian Eno - Small Craft on a Milk Sea: Review

In Michael Bracewell’s excellent book on Roxy Music’s point of commencement, Re-Make Re-Model, Brian Eno defines successful pop as 'the creation of a new, imaginary world, which beckons the listener to join it.' Eno has spent a decent part of the past couple of decades furiously back-pedaling from that conceit, via his wretchedly earthy work in the production chair for Dido, Coldplay, Andrea Corr and countless other artists who revel in the mundane instead of shifting listeners away from it. Thankfully, he’s gotten back into the business of creating imaginary worlds on Small Craft on a Milk Sea, Eno’s first album for Warp, which was born out of sporadic collaborations between guitarist Leo Abrahams and electronic composer Jon Hopkins.

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