A moodiness connects the metal with the acoustic. From sad, soft artists to sadder, softer artists. Not a lot has changed, I still pull away in both directions. Picture a skinny, floppy-fringed Aker sitting on a school bus through a nondescript post-industrial British city listening to an awkward mix of Mastodon, Elliott Smith, Deftones, The Smashing Pumpkins, Enslaved, Neil Young, Opeth, Funeral for a Friend and Nick Drake. My perception of Sparklehorse’s third album It’s a Wonderful Life has beautifully warped since my first listen some ten years ago.
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