>>>> Beak>

"You don't like our music cuz it ain't up on the radio," Beak>'s Geoff Barrow sings on >>> with something approaching pride. This contrarian attitude defines the band's third album: Barrow and company could have easily made another album of sinister motorik-driven instrumentals like >>, but this time, they blow up their music. Since Beak> haven't released a full-length in six years and now include Moon Gangs' Will Young among their ranks, some evolution was inevitable. Even so, >>> reveals some drastic changes. The lock grooves that powered Beak>'s first two albums are almost entirely absent, freeing them to double down on their distinctively murky, eerie moods and express them in new ways.

"You don't like our music cuz it ain't up on the radio," Beak>'s Geoff Barrow sings on >>> with something approaching pride. This contrarian attitude defines the band's third album: Barrow and company could have easily made another album of sinister motorik-driven instrumentals like >>, but this time, they blow up their music. Since Beak> haven't released a full-length in six years and now include Moon Gangs' Will Young among their ranks, some evolution was inevitable. Even so, >>> reveals some drastic changes. The lock grooves that powered Beak>'s first two albums are almost entirely absent, freeing them to double down on their distinctively murky, eerie moods and express them in new ways.

Bristol based BEAK> were formed in January 2009 by Billy Fuller (bass), Matt Williams (keyboards) and Geoff Barrow (drums) - also known as a member of Portishead. During a twelve-day session they recorded music for an eponymous album based on strict guidelines as for the writing and recording process of their work. The songs are reminiscent of German bands like Neu, Harmonia, Can and Kraftwerk and was recorded live in one room with no overdubs or repair, only using edits to create arrangements. All tracks were written over a twelve-day session in Bristol, England.
While retaining the eerie, claustrophobic atmosphere of its predecessor, the second LP from BEAK> boasts a brisker, more purposeful sequence. In 2016 BEAK> scored the soundtrack for the film Couple in a Hole.

This is the fourth Beak> studio album, imaginatively titled >>>>. At its core we always wanted it to be head music, listened to as an album, not as individual songs. This is why we are releasing this album with no upfront singles or promo tracks.

This is the fourth Beak> studio album, imaginatively titled >>>>. At its core we always wanted it to be head music, listened to as an album, not as individual songs. This is why we are releasing this album with no upfront singles or promo tracks.

The menacing minimal krautrock trio, led by Portishead’s Geoff Barrow, likes to keep their aesthetic parameters pretty narrow. If you’ve been following along with them thus far, you probably have a good guess about the name of the third album. It’s called >>> (following 2012’s excellent >>, naturally), and it’s out September 21 via Invada Records/Temporary Residence.

Mojo magazine is celebrating the re-release of Pink Floyd's catalog with its own series of Floyd albums covered in their entirety by contemporary artists. First comes Return to the Dark Side of the Moon, the classic 1973 Floyd album re-imagined here by bands like Gallops, the Oscillation, Our Broken Garden and the Pineapple Thief. The album is available on CD, packaged together with Wish You Were Here Again, a remake of 1975's Wish You Were Here featuring new versions of select tunes from the album by various contemporary acts (Beak>, The Orb).

"The Fall of Math" is a solid debut album from this UK band. 65daysofstatic is another side of Post-Rock. The machine syncopated drums, owing more to drum'n'bass and industrial than to Math-Rock, and the electronic textures, a brood Radiohead and Nine Inch Nails symbiosis, created both a impetuous background atmosphere where the band's dynamic Post-Rock inter-crusade of guitars, bass and piano moved along. The result is creative and intriguing, flowing with memorable instrumental passages and some solemn atmospheres, whilst the band preferring to move their music from contrast to contrast, between very balanced nuances, than using the genre's more traditional haunting crescendos. Plus, the music achieves to recreate emotionally their foreseen vision of a ideological catastrophe, elicited in the album's first track, being elegantly majestic or disturbing at incisive moments.

On his CD Lasting Impression, Brooks' devotion to jazz, blues, and Indian music comes across loud and clear. With "Taj Express," the CD's opening cut, Brooks blows warm and resonating tones over a backdrop of stinging syncopation. Brooks and his all-star band play with ease in the song's odd-metered choruses and post-bop inspired heads. As with the rest of the songs on the album, Brooks and friends make the complicated passages of "Taj Express" fly by without the slightest hint of strain.