True to the nature of self-titled albums, Ringo Deathstarr condenses everything special about the shoegaze purveyors into one complete package, but it also feels like a self-conscious look back at where they’ve come since. It may not bear the visceral punch of their earlier material, but it feels more esoteric, more open to other influences.
Welcome to the first annual Post-Trash "Year In Review" a look back at the year that was and all of our favorite music that was released during it. We've only been a website for about four months, but it's been a great start and luckily, we've been listening to music all year long. Let this be your guide (it's bookmark-able) to not only reconnect with your personal favorites but more importantly to discover something new.
Buzzsaw guitars mingle with electronic and organic drum beats and heavy bass, all amidst a downpour of boy/girl harmonies that bring to mind a more ethereal version of Velocity Girl’s Sarah Shannon and Archie Moore. There’s a perfect marriage of punk grit with their pillowy sounds, and just when you think they’ve gone full Enya (really it’s more Lilys or Lush on mellow opener “Dream Again”), they reach back into the buzz-bin and pull out metallic riffage (heard on the Sabbathy-y second track “Heavy Metal Suicide”) or full-on guitar heroics (like on the swaying, Pumpkins-like “Guilt”).
