The whole electronic shoegaze revival is set to boot off yet again in a few weeks thanks to the re-appearance of a certain Mr. Schnauss, a man who played a crucial part in the resurgence of the whole genre a number of years back. Italian band Port-Royal are an act who fuse shimmering, noisy shoegazw guitars with electronic beats and synths, but unlike many of their contemporaries (who are moving further and further away from incorporating electronic elements), Port-Royal have with 'Afraid to Dance' brought the electronics right up to the fore. The construction of the album is similar to their debut 'Flares', the songs are soft and well-paced with a huge attention to melody, but this time the beats are mixed up top, glitching themselves in centre stage and often leaving the melodies trailing up the rear. In fact it's this percussive base that separates the album from its predecessor, although the most successful tracks on the album are surprisingly the least beat laden, when the band allow themselves to take things more slowly and concentrate on texture. Nonetheless, followers of Schnauss, M83, Herrmann & Kleine et al should check this out without delay.
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The whole electronic shoegaze revival is set to boot off yet again in a few weeks thanks to the re-appearance of a certain Mr. Schnauss, a man who played a crucial part in the resurgence of the whole genre a number of years back. Italian band Port-Royal are an act who fuse shimmering, noisy shoegazw guitars with electronic beats and synths, but unlike many of their contemporaries (who are moving further and further away from incorporating electronic elements), Port-Royal have with 'Afraid to Dance' brought the electronics right up to the fore. The construction of the album is similar to their debut 'Flares', the songs are soft and well-paced with a huge attention to melody, but this time the beats are mixed up top, glitching themselves in centre stage and often leaving the melodies trailing up the rear. In fact it's this percussive base that separates the album from its predecessor, although the most successful tracks on the album are surprisingly the least beat laden, when the band allow themselves to take things more slowly and concentrate on texture. Nonetheless, followers of Schnauss, M83, Herrmann & Kleine et al should check this out without delay.
The whole electronic shoegaze revival is set to boot off yet again in a few weeks thanks to the re-appearance of a certain Mr. Schnauss, a man who played a crucial part in the resurgence of the whole genre a number of years back. Italian band Port-Royal are an act who fuse shimmering, noisy shoegazw guitars with electronic beats and synths, but unlike many of their contemporaries (who are moving further and further away from incorporating electronic elements), Port-Royal have with 'Afraid to Dance' brought the electronics right up to the fore. The construction of the album is similar to their debut 'Flares', the songs are soft and well-paced with a huge attention to melody, but this time the beats are mixed up top, glitching themselves in centre stage and often leaving the melodies trailing up the rear. In fact it's this percussive base that separates the album from its predecessor, although the most successful tracks on the album are surprisingly the least beat laden, when the band allow themselves to take things more slowly and concentrate on texture. Nonetheless, followers of Schnauss, M83, Herrmann & Kleine et al should check this out without delay.
The whole electronic shoegaze revival is set to boot off yet again in a few weeks thanks to the re-appearance of a certain Mr. Schnauss, a man who played a crucial part in the resurgence of the whole genre a number of years back. Italian band Port-Royal are an act who fuse shimmering, noisy shoegazw guitars with electronic beats and synths, but unlike many of their contemporaries (who are moving further and further away from incorporating electronic elements), Port-Royal have with 'Afraid to Dance' brought the electronics right up to the fore. The construction of the album is similar to their debut 'Flares', the songs are soft and well-paced with a huge attention to melody, but this time the beats are mixed up top, glitching themselves in centre stage and often leaving the melodies trailing up the rear. In fact it's this percussive base that separates the album from its predecessor, although the most successful tracks on the album are surprisingly the least beat laden, when the band allow themselves to take things more slowly and concentrate on texture. Nonetheless, followers of Schnauss, M83, Herrmann & Kleine et al should check this out without delay.