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"The Wardrobe" is yet another side project of Tony Wakeford, Mr. Sol Invictus, this time accompanied by Andrew Liles, a cult figure of the British post-industrial avant-garde, multi-instrumentalist, and composer from Steven Stapleton’s entourage (Nurse With Wound) and thus a privileged interlocutor with the "neo-folk" scene (the ties between Stapleton, Wakeford, and David Tibet date back to the dawn of their existence, when they shared an EP and a triple album, which for Sol was none other than Lex Talionis); therefore, it is no surprise of this seemingly ill-matched duo, especially since since 1992 Wakeford has harbored rather pronounced avant-garde ambitions (let us remember the collaborative album with Stapleton, Return of the Selfish Shellfish). Discover the review
"The Wardrobe" is yet another side project of Tony Wakeford, Mr. Sol Invictus, this time accompanied by Andrew Liles, a cult figure of the British post-industrial avant-garde, multi-instrumentalist, and composer from Steven Stapleton’s entourage (Nurse With Wound) and thus a privileged interlocutor with the "neo-folk" scene (the ties between Stapleton, Wakeford, and David Tibet date back to the dawn of their existence, when they shared an EP and a triple album, which for Sol was none other than Lex Talionis); therefore, it is no surprise of this seemingly ill-matched duo, especially since since 1992 Wakeford has harbored rather pronounced avant-garde ambitions (let us remember the collaborative album with Stapleton, Return of the Selfish Shellfish).
It is now evident how this hope has been shattered on all fronts: "A Sandwich Short" is even more rough, exhausting, episodic than its predecessor, sacrificing its considerable cohesion in a series of isolated episodes that never seem to develop a concrete or conclusive musical discourse, but limit themselves to an allusive self-referentiality and fade away without leaving a precise impression on the listener. Discover the review
It is now evident how this hope has been shattered on all fronts: "A Sandwich Short" is even more rough, exhausting, episodic than its predecessor, sacrificing its considerable cohesion in a series of isolated episodes that never seem to develop a concrete or conclusive musical discourse, but limit themselves to an allusive self-referentiality and fade away without leaving a precise impression on the listener.
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