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"A Sandwich Short is even more rough, exhausting, episodic than its predecessor, sacrificing cohesion in isolated episodes." "Music that is senseless and smeared with very few sonic and melodic ideas, reveling in simple and tedious vignettes."
"A Sandwich Short is even more rough, exhausting, episodic than its predecessor, sacrificing cohesion in isolated episodes."
"Music that is senseless and smeared with very few sonic and melodic ideas, reveling in simple and tedious vignettes."
The Wardrobe's 'A Sandwich Short' fails to improve on its debut with a rough, episodic, and exhausting collection of tracks. The album lacks cohesion and development, relying on scattered sound vignettes that feel unfinished. While some melodic moments recall previous works, the overall effect is disjointed and unsatisfying. The project seems stuck in a lazy interpretation of avant-garde, resulting in an album that neither engages nor leaves a lasting impression. Explore The Wardrobe's 'A Sandwich Short' and decide if avant-garde ambient challenges are worth your time.
"The Smell of Paddling Pool" is perhaps the only truly atmospheric track on the album. Usually Wakeford’s projects have a false start before fully realizing their potential.
"The Smell of Paddling Pool" is perhaps the only truly atmospheric track on the album.
Usually Wakeford’s projects have a false start before fully realizing their potential.
Cups in Cupboard by The Wardrobe is a collaborative album featuring Tony Wakeford and Andrew Liles, merging neo-folk and avant-garde sounds. The album mixes rough acoustic guitar arpeggios with experimental electronics. Some tracks evoke the mood of earlier projects, while others feel less developed. Despite flaws, the album hints at growth in future works. Overall, it offers a raw, exploratory listening experience. Listen to The Wardrobe’s Cups in Cupboard for a unique blend of neo-folk and avant-garde experimentation.
Wormwood (2003) is a completely different album: it fits right from the start into the tradition of "apocalyptic" singer-songwriter work. Wakeford’s maturation as a singer-songwriter is realized both in his not-so-clumsy vocal interpretations and in his more complex approach to composition.
Wormwood (2003) is a completely different album: it fits right from the start into the tradition of "apocalyptic" singer-songwriter work.
Wakeford’s maturation as a singer-songwriter is realized both in his not-so-clumsy vocal interpretations and in his more complex approach to composition.
Wormwood, the 2003 collaboration between Tony Wakeford and Matt Howden, marks a clear evolution from their earlier instrumental work. This concept album focuses on apocalyptic themes, showcasing Wakeford’s matured songwriting paired with Howden’s intricate violin arrangements. Despite some compositional shortcomings, the album delivers strong, evocative tracks and compelling arrangements. It's a worthwhile listen for fans of ambient and apocalyptic folk music. Explore Wormwood now and experience a unique apocalyptic soundscape blending haunting violin with evocative songwriting.
One could never imagine music more anti-traditional than this, which does nothing but extol Tradition. The excessive concentration of musical tensions nonetheless allows room for a fair variety of tone.
One could never imagine music more anti-traditional than this, which does nothing but extol Tradition.
The excessive concentration of musical tensions nonetheless allows room for a fair variety of tone.
Howden-Wakeford's Three Nine is an experimental album distancing itself from traditional folk. It combines electronic patterns and violin with a conceptual focus on runes, resulting in a dense, avant-garde soundscape. The album requires attentive listening due to its complex and repetitive structures. While not essential listening, it offers intriguing sonic textures. Dive into the unique fusion of rune symbolism and avant-garde sound in Howden-Wakeford’s Three Nine—listen now to experience its distinctive textures.
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