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„Compared to his previous work, the album has very structurized pieces, but they lose nothing of their elusive magic“ Messer vocalist Hendrik Otremba told us, and hits the nail on the head. Not only has Damon McMahon – together with his bandmates Jordi Wheeler and Parker Kindred, as well as many guests like Efrim Menuck, Colin Stetson and Elias Bender Rønnenfelt – succeeded in making 'Love' their best Album so far, but a beautifully surreal, psychedelic masterpiece with timeless qualities.
Waiting for the debut album of the Goodtime Boys felt like an eternity. And as it turns out it was worth waiting: 'Rain' not only keeps the promises a number of EPs made since 2011, but elevates tehir qualities onto the next level. With outstanding songs like ‘Wallflower‘, ‘Life Moves‘, ‘Cloudbursts‘ or ‘Downpour‘ and songwriting that succeeds in expressing aggressiveness without losing a keen sense for grand melodies, with a spacious sound that sets itself apart from the genres sameyness, and lyrics that crawl beneath the skin. Hardcore can be so beautiful.
With their single 'Promised Land', Polkov clinged to the upper regions of the domestic indie charts. But one thing needs to be said at this point: every other song from the captivating summer dream of a debut album by the band from Graz could have taken that spot, with their style-savvy country-homages and grandiose folk-pop-tweaks. Now, before the next singles from Polkov cuddle themselves through airplay, Laurenz Jandl tells us which records apart from 'Polkov' should not be missed in 2014.
2014 couldn’t have started better for KMPFSPRT: „Jugend Mutiert“ easily lived up to the high expectations euphoric concert reviews and the „Das ist doch kein Name für ‚ne Band“ EP were suggesting. Close to eleven months later, the albums punkr rock hits lost nothing of their pressure and vigor. It doesn’t surprise, thatt 2015 seems to be off to an equally good start: the split single with Boysetsfire is ready to go, looks amazing, and serves a good cause. For the time being, guitar player David gives off some recommendations for 2014.
The reason why the year 2014 in Wolfgang Möstls personal music history only secondarily marks the year Killed by 9V Batteries were brought to an end invokes comparisons to the Beatles, hides itself very Sgt. Pepper-like behind a concept of nerdy homages, and celebrates a varied party of twelve Lo-Fi gems starting with its artwork: Mile Me Deaf probably have never been better than on their wonderfully easygoing collection of catchy tunes 'Holography'. One year after he helped bringing Sex Jams noiserock to the next level, Wolfgang Möstl continues to make no mistakes on his several playgrounds. And we’re still allowed to miss Killed by 9V Batteries.
After the two consecutive successes '‘Im Schwindel‘‘ and 'Die Unsichtbaren‘, 2014 had to be endured without a new album by Messer, but fortunately not without other releases: while Record Store Day ’14 showed the groups changeableness with 'TCM Tones‘, last months 'Ein Film ist zuende, nur ein Film‘ succeeded with its balancing act between art piece and driving rock improvisation. Either way: no Heavy Pop Advent calender without being kicked off by Messer!
The Tidal Sleep haben ihre Aufgaben zwar vor allem bei zeitgenössischen US-Hardcore gemacht, mit 'Vorstellungskraft' aber dennoch vieles davon bereits vorweggenommen, was auch 'Keep You' erst Monate später in ähnlichem Maße erreichen sollte - ohne dabei aber derart radikal mit der eigenen Vergangenheit brechen zu müssen. Auf ihrem zweiten Album rundet das Mannheim/Karlsruhe/Leipzig/
![Dry the River [22.11.2014: Generalmusikdirektion, Graz]](https://i0.wp.com/www.heavypop.at/wp-content/uploads/2014/11/Dry-the-River-Live-3-e1416818780334.jpg?resize=205%2C205&ssl=1 "Dry the River [22.11.2014: Generalmusikdirektion, Graz]")
Kreisky mussten ihr Gastspiel an diesem Abend im Bang Bang Club krankheitsbedingt absagen. Und auch Dry the River-Sänger Peter Liddle schleppt sich verkühlt auf die Bühne. Was sich in einer marginal verkürzten Setlist, aber kaum eingeschränkten Performance der himmelstürmenden englischen Indie-Folkrocker niederschlägt.
Pianos Become The Teeth-Frontmann Kyle Durfey geißelte sich bereits über zwei verzweifelt-wütende Hardcore-Alben mit der Trauerarbeit um seinen erst erkrankten, dann verstorbenen Vater. Knappe drei Jahre nach dem Versprechen 'I'll Get By' lässt es sich nun allerdings schwer feststellen, ob er tatsächlich seinen Frieden mit den Gegebenheiten geschlossen hat, oder an dem Verlust innerlich zerbrochen ist.
Die erste Pink Floyd-Veröffentlichung seit 20 Jahren ist kein derartiger Griff ins Klo, wie dass das Gros der geißelnden Kritiken nahelegt, aber als selbstzitierende Resteverwertung nicht zuletzt im Kontext der musikhostorischen Bedeutung dieser Band doch vor allem: unnötig.
