Melbourne's Gregor croons at an inverted crucifix on 'Satanic Lullabies', an album of evil bedroom pop that's far more light-hearted than it seems.
Seeking to draw parallels between heaven and hell, pop eccentric Gregor pirouettes across the genre spectrum here, scraping soft rock, electro-pop, ambient, deranged prog, jazz and psych with his curled nails. It's dark, in the way that the most provincial lounge can be, and that almost makes it even more transgressive. Gregor's voice is lovingly fragile, and he dips it around such wonky backdrops - 'Lamplight' is a low-light synth ballad, while 'Royal Blues' sounds like Phil Collins through a broken megaphone, and 'Flaming Clouds' is a psychedelic slither into industrial noise - that you're almost with him, depending on your tolerance for pitchiness.
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Melbourne's Gregor croons at an inverted crucifix on 'Satanic Lullabies', an album of evil bedroom pop that's far more light-hearted than it seems.
Seeking to draw parallels between heaven and hell, pop eccentric Gregor pirouettes across the genre spectrum here, scraping soft rock, electro-pop, ambient, deranged prog, jazz and psych with his curled nails. It's dark, in the way that the most provincial lounge can be, and that almost makes it even more transgressive. Gregor's voice is lovingly fragile, and he dips it around such wonky backdrops - 'Lamplight' is a low-light synth ballad, while 'Royal Blues' sounds like Phil Collins through a broken megaphone, and 'Flaming Clouds' is a psychedelic slither into industrial noise - that you're almost with him, depending on your tolerance for pitchiness.
Melbourne's Gregor croons at an inverted crucifix on 'Satanic Lullabies', an album of evil bedroom pop that's far more light-hearted than it seems.
Seeking to draw parallels between heaven and hell, pop eccentric Gregor pirouettes across the genre spectrum here, scraping soft rock, electro-pop, ambient, deranged prog, jazz and psych with his curled nails. It's dark, in the way that the most provincial lounge can be, and that almost makes it even more transgressive. Gregor's voice is lovingly fragile, and he dips it around such wonky backdrops - 'Lamplight' is a low-light synth ballad, while 'Royal Blues' sounds like Phil Collins through a broken megaphone, and 'Flaming Clouds' is a psychedelic slither into industrial noise - that you're almost with him, depending on your tolerance for pitchiness.
Melbourne's Gregor croons at an inverted crucifix on 'Satanic Lullabies', an album of evil bedroom pop that's far more light-hearted than it seems.
Seeking to draw parallels between heaven and hell, pop eccentric Gregor pirouettes across the genre spectrum here, scraping soft rock, electro-pop, ambient, deranged prog, jazz and psych with his curled nails. It's dark, in the way that the most provincial lounge can be, and that almost makes it even more transgressive. Gregor's voice is lovingly fragile, and he dips it around such wonky backdrops - 'Lamplight' is a low-light synth ballad, while 'Royal Blues' sounds like Phil Collins through a broken megaphone, and 'Flaming Clouds' is a psychedelic slither into industrial noise - that you're almost with him, depending on your tolerance for pitchiness.
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Melbourne's Gregor croons at an inverted crucifix on 'Satanic Lullabies', an album of evil bedroom pop that's far more light-hearted than it seems.
Seeking to draw parallels between heaven and hell, pop eccentric Gregor pirouettes across the genre spectrum here, scraping soft rock, electro-pop, ambient, deranged prog, jazz and psych with his curled nails. It's dark, in the way that the most provincial lounge can be, and that almost makes it even more transgressive. Gregor's voice is lovingly fragile, and he dips it around such wonky backdrops - 'Lamplight' is a low-light synth ballad, while 'Royal Blues' sounds like Phil Collins through a broken megaphone, and 'Flaming Clouds' is a psychedelic slither into industrial noise - that you're almost with him, depending on your tolerance for pitchiness.