Conelrad Suspended Vulnerable Purity in the Grandaddy-Esque Polyphonia of ‘party’s over’

It is only a matter of time before the prestige of Conelrad’s sound becomes industry-recognised. The solo independent musician from Co Durham deals in the kind of leftfield indietronica that coils around the heartstrings in such a visceral way it reminds you what the true vulnerability of intimacy feels like. The release juxtaposes crunchy electronic bedroom-rock textures into introspective sound design, with harmonised vocoders smudging the boundary between voice and synth until everything feels half-human, half-machine, and fully transportive. There’s melody all through it, but none of it comes cheap. So, if the scuzzy drones of retro analogue synth lines have a tendency to lull you into a state of catharsis, party’s over may just leave you catatonic as you’re suspended within the bliss of the Grandaddy-esque polyphonia. The transcendent feat of leftfield indietronica wears its 80s influences on its sleeve while pulling from electronica-leaning experimental 90s textures and pushing those retro aesthetics somewhere fresher, somewhere dreamier, somewhere touched by cinematic scintillation. Conelrad’s composition and performance skills are resolutely on display in the euphonic production, carrying the release with the authority of Mogwai and Sigur Ros. The seminal release strips the weight right off your soul and leaves you drifting in […]

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