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Reviews of records by Doors In The Labyrinth and Diego

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Doors In The Labyrinth
The Sound of Her Wings

The brooding synths and through-gritted-teeth vocals of Doors in the Labyrinth draw on a variety of influences: the angst of Nine Inch Nails, the futuristic sci-fi journeys of Vangelis, occasionally even the distorted Broadway-isms of The Wall-era Pink Floyd. Josh Loughrey, the man behind Doors in the Labyrinth is, like Trent Reznor, a talented producer and arranger of sounds, but his bizarre creations may seem incomprehensible to others. Where Reznor looked to industrial greats like Throbbing Gristle for inspiration, it seems Loughrey looks to ambient and new-age music. But this record, which came out in April, sounds little like Brian Eno: It’s more likely to bring to mind a goth teenager applying makeup in his room and glowering into the mirror. But, seriously, that's part of its charm. — Andrew Woehrel 


On this record, frontman Diego Byrnes, who has been making music since his very early teens, goes seriously big, with wall-to-wall funk instrumentation and ambitious vocal and melodic nods to Michael Jackson. On some songs (like “Love” and the Bruno Mars-esque “The Best”), it all meshes perfectly: the groovy staccato of the horns, the climbing vocals, the wail of the guitar. Elsewhere, these elements are present but feel a little strained. The production often doesn’t feel roomy enough to accommodate the size of sound Diego is striving for — I imagine this is a band to check out live. In any case, it’s impossible not to appreciate the grandness of the project, even when it doesn’t quite stick the landing. — Margaret Welsh




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