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Label: Too Pure
A mini EP that continues Three Trapped Tigers’ remarkable foray into experimental keyboard-centric electronica. Rhythmic convention gets a pummelling here – with counter-rhythms so exact they sound accidental. Guitars and laser-beams feature in equal measure on 7 – but it is in 1 that their melodic propensities are best explored. Contrast is key for man-behind-the-moniker Tom Rogerson. Heavily informed by Warp artists, their influences imbue Three Trapped Tigers’ work with a weighty sense of the classical and the avant-garde come home to roost in revolutionary, and most importantly addictively listenable, form. - Hazel Sheffield

Label: This is Fake DIY
Trembling the opening shrieks “Make my parrot talk” in physical desperation, vocalist Adam Taylor launches nonsensical ramblings amongst the shudders of blistering bass. Ripping through Taylor’s trademark moans is the isolated simplicity of the lyrical tale of a silenced bird causing hysteria in rhythmic form. In their comeback single, The Victorian English Gentlemens Club distort twists of harmony, bursting with dirty riffs and the cyclic clawing of the keyboard. With a track to quench thirsty ears TVEGC celebrate ‘Parrot’ available free on their website on July 6th prompting further anticipation for their upcoming second album Love on an Oil Rig. - Gemma Dempster
Label: A&M / Polydor
How any track encompassing a string section can manage to sound tinny is quite a feat. ‘Symphonies’ belies its grandiose title with top heavy high-hat percussion and sparse production that complements Black’s taut nasal vocal as aptly as possible. Meanwhile the strings suggested at in the title are limited to a mono-violin-chord accompaniment, stripped of any natural lustre. It’s a sluggish romp with little appeal for anyone beyond pop-by-numbers, but might just pick up radio play where playlists don’t dare stretch further than the bland. - Hazel Sheffield

Label: RCRD LBL
Girls, a group of men from San Francisco have created in ‘Hellhole Rat Race’ a track so insipid, so vapid, so very beige, that despite lasting a full seven minutes, it can pass by almost totally unnoticed. At best, it could be an Elvis Costello track in the late 80s. In fairness, it does get a bit better about halfway through when things get slightly fuzzy, but it still comes across like a half-arsed attempt at writing ‘Hey Jude’, complete with chorus refrain. Still, it could be a lot worse... - Steve Girlam
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