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As with any era of music, it’s inevitably only a matter of time before the next generation pays homage by reinterpreting its defining sounds for a new audience. We’ve seen a surfeit of ’80s influenced electro-pop in recent years but increasingly, the sonic trends of the 1990s are re-emerging.

La Sportiva Helios Review
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Reviews - Follow Clash: Read this next. Reviews / ClashMusic / 16 10 2020. Open Mike Eagle - Anime, Trauma, And Divorce.
Haelos Has a Great Story About Sampling James Brown Dom Goldsmith also discusses humans’ relationship with technology and the damages of climate change.

New British experimental rock threesome Haelos' debut album, Full Circle, is loaded with synths and heavily influenced by '90s trip-hop group Portishead.Their EP, Earth Not Above, was released in.

Britpop may have gained the most headlines and the heftiest record sales, but there’s a strong argument that trip-hop, that peculiarly Bristolian genre of reggae, dub and soul influenced slow burning ‘dance’ music that first announced itself with Massive Attack Soundtoys 5 mac crack. ’s classic Blue Lines album in 1991, is the UK’s most enduring musical legacy of the decade. It’s evident that East London trio HÆLOS think so, as their debut album could have been transported in a time capsule from the West Country of 20 odd years ago, via a brief detour to the contemporary South London of The xx and Burial.

The three members of HÆLOS decided to collaborate after working together on separate projects; Arthur Delaney and Dom Goldsmith were already developing material under the HÆLOS moniker, while Lotti Benardout had been writing with Goldsmith who was producing an EP for her at the time. The darkly soulful 2014 single Dust was the first finished work to come from the trio’s newly formed union; over the course of the next few months, the rest of Full Circle’s tracks came together.

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What’s striking about this debut record is its confidence and immediately vivid mood. Opening vignette Intro/Spectrum is dripping in cinematic tension and crepuscular ambience, with a dramatic War Of The Worlds style voice over leading in to first track proper Pray. At this point, Benardout’s multi-tracked, breathy vocals take centre stage, backed by propulsive beats that recall the uplifting, house-influenced dance music of the early 1990s.

It’s only with the arrival of the title track that the trip-hop and The xx influences take centre stage, with the late night atmospheric and alternating male/female vocals particularly reminiscent of the latter. It’s followed shortly by Oracle, a five minute plus quiet epic which is perhaps Full Circle’s highlight. A succession of intricately crafted, stark, echoing rhythms, featuring Benardout’s most assured vocal performance, it is a near-perfect distillation of the post-club comedown vibe. Not far behind is closing track Pale, a searing, oppressive opus that would fit seamlessly onto Massive Attack’s underrated 100^th Window album. One of HÆLOS’s real strengths is the depth of textures they use in their music and on Pale, the use of coruscating electric guitar and stabs of organ alongside Benardout’s clubby vocals creates a sense of real energy and menace.

On the downside, the Londoners do struggle a little to maintain the quality control over an entire album, and some of the songs here do sound rather similar; pedestrian, over-long and lacking memorable hooks. But that’s probably to be expected for a band still at an early stage of their development. Full Circle is a promising start for a trio of artists who already possess a clear vision of the type of music they want to create. The chances are they will only improve with time to grow their songcraft and ideas further.

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Last week, HÆLOS, an uptempo electronic band from the U.K., took to Brighton Music Hall to dish out some atmospheric grooves to a captivated audience. Prior to the show, I wasn’t really aware of who these folks were, but I was told I’d dig their sound (an understatement). In the two days leading up to the show, I took myself on a crash-course through their discography on Spotify to get an idea of what I’d be hearing.

With an EP, a full-length album (2016’s Full Circle), and a handful of singles under their belt, HÆLOS (yes, it’s pronounced like an angel’s headgear) has recently been hard at work recording and touring in support of their upcoming album Any Random Kindness. So far, they’ve released four singles that will appear on the full-length: “Buried in the Sand,” “Kyoto,” “Boy / Girl,” and “End of the World Party.” After going through these singles, I knew I’d be in for a treat at Brighton Music Hall.

Local synthpop balladeers Photocomfort led the charge to open the night. Fronted by Justine Bowe, their sound was a perfect preface to HÆLOS: hauntingly melodic, tender-yet-ferocious in delivery, skillfully played and performed. In the midst of all their synth-driven orchestration came the highlight of their set. As Bowe introduced it before sitting down at a keyboard, “This is the part of the set where we become a piano country band.” The promise was fulfilled: the band played two beautiful, emotive tracks. The deep red curtains that hang behind the stage at BMH only made it feel a little like seeing a band play the Roadhouse at the end of a Twin Peaks episode. If you have the chance to see Photocomfort around Boston soon, it’s highly recommended that you do so!

After that, HÆLOS took the stage, and plenty of folks had made the Tuesday night trip to Allston to see what they could do. For those unfamiliar (like I was), the British four-piece feels a little like a cross between compatriots the xx and Foals. They lay down infectious, groovy drum breaks with funky bass lines to provide a table over which female and male vocals mix and cross over each other. They played all the new singles I mentioned above, plus a generous portion of their earlier work, including “Dust,” the first song and single the band wrote and released.

Maybe it was because I had just listened to almost everything this band had available on Spotify, but I could have sworn I had heard this track somewhere before. Despite the internal agony this wondering caused, the pulsing synth lines, dreamy vocals, and overall catchiness of HÆLOS kept my head firmly attached to my dancing feet.

The only downside of this show – because HÆLOS only have a few releases under their belt as of now – was that it clocked in at about an hour. Plenty of attendees (myself included) will be happy once this band has a few cert

Haelos Review