TTT cop a pair of sylvan downbeat beauties from Conrad Standish and Sam Karmel’s CS + Kreme
One of the most distinctive acts to emerge from the southern hemisphere in recent memory, CS + Kreme’s first self-tiled 12” marked them as ones to keep an ear on, and each subsequent rendering has only made us love their immaculate blend of ambient-pop and shoegaze even more.
Safe to say we’re feeling this one too. Where previous outings have been partly defined by Standish’s plaintive vocals, they contrarily don’t appear until the closing strokes on this one, as they roll out 9 minutes of horizontally-inclined vibes in ‘Eyes On Ceiling’ with its sonorous 808s and shallow plasmic dubbing recalling a long soak in the bath that’s starting to lose its heat, before ‘Husk’ emerges into balmier air streaked with filigree electronics, shimmering pads and a pleading sax that paves the way to a very Mark Hollis-esque denouement.
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TTT cop a pair of sylvan downbeat beauties from Conrad Standish and Sam Karmel’s CS + Kreme
One of the most distinctive acts to emerge from the southern hemisphere in recent memory, CS + Kreme’s first self-tiled 12” marked them as ones to keep an ear on, and each subsequent rendering has only made us love their immaculate blend of ambient-pop and shoegaze even more.
Safe to say we’re feeling this one too. Where previous outings have been partly defined by Standish’s plaintive vocals, they contrarily don’t appear until the closing strokes on this one, as they roll out 9 minutes of horizontally-inclined vibes in ‘Eyes On Ceiling’ with its sonorous 808s and shallow plasmic dubbing recalling a long soak in the bath that’s starting to lose its heat, before ‘Husk’ emerges into balmier air streaked with filigree electronics, shimmering pads and a pleading sax that paves the way to a very Mark Hollis-esque denouement.
TTT cop a pair of sylvan downbeat beauties from Conrad Standish and Sam Karmel’s CS + Kreme
One of the most distinctive acts to emerge from the southern hemisphere in recent memory, CS + Kreme’s first self-tiled 12” marked them as ones to keep an ear on, and each subsequent rendering has only made us love their immaculate blend of ambient-pop and shoegaze even more.
Safe to say we’re feeling this one too. Where previous outings have been partly defined by Standish’s plaintive vocals, they contrarily don’t appear until the closing strokes on this one, as they roll out 9 minutes of horizontally-inclined vibes in ‘Eyes On Ceiling’ with its sonorous 808s and shallow plasmic dubbing recalling a long soak in the bath that’s starting to lose its heat, before ‘Husk’ emerges into balmier air streaked with filigree electronics, shimmering pads and a pleading sax that paves the way to a very Mark Hollis-esque denouement.
TTT cop a pair of sylvan downbeat beauties from Conrad Standish and Sam Karmel’s CS + Kreme
One of the most distinctive acts to emerge from the southern hemisphere in recent memory, CS + Kreme’s first self-tiled 12” marked them as ones to keep an ear on, and each subsequent rendering has only made us love their immaculate blend of ambient-pop and shoegaze even more.
Safe to say we’re feeling this one too. Where previous outings have been partly defined by Standish’s plaintive vocals, they contrarily don’t appear until the closing strokes on this one, as they roll out 9 minutes of horizontally-inclined vibes in ‘Eyes On Ceiling’ with its sonorous 808s and shallow plasmic dubbing recalling a long soak in the bath that’s starting to lose its heat, before ‘Husk’ emerges into balmier air streaked with filigree electronics, shimmering pads and a pleading sax that paves the way to a very Mark Hollis-esque denouement.
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TTT cop a pair of sylvan downbeat beauties from Conrad Standish and Sam Karmel’s CS + Kreme
One of the most distinctive acts to emerge from the southern hemisphere in recent memory, CS + Kreme’s first self-tiled 12” marked them as ones to keep an ear on, and each subsequent rendering has only made us love their immaculate blend of ambient-pop and shoegaze even more.
Safe to say we’re feeling this one too. Where previous outings have been partly defined by Standish’s plaintive vocals, they contrarily don’t appear until the closing strokes on this one, as they roll out 9 minutes of horizontally-inclined vibes in ‘Eyes On Ceiling’ with its sonorous 808s and shallow plasmic dubbing recalling a long soak in the bath that’s starting to lose its heat, before ‘Husk’ emerges into balmier air streaked with filigree electronics, shimmering pads and a pleading sax that paves the way to a very Mark Hollis-esque denouement.