Review: Having played a slew of inimitable and unforgettable television comedy characters over the past decade or so, from Toast of London's Stephen Toast to Douglas Reynholm in The IT Crowd, Dixon Bainbridge in The Mighty Boosh and Todd Rivers in Garth Marenghi's Darkplace, you could be forgiven for expecting Matt Berry to use songwriting and music as another form of hilarious release. That's definitely not the case. There's plenty of release on I Gotta Limit, but this is anything other than satire. The first new music to come from Berry's 2025 album, Heard Noises, the two tracks here are pure joy, authentic and genuinely impressive on a technical level. Exchanging lines in a duet with Kitty Liv for the titular number, the vibe is part Northern Soul, part psych rock, and pretty much all completely captivating.
Review: Blundetto unveils a captivating folk single here that features the ethereal voice of French singer Juliette Magnevasoa. 'La Playa' is an acoustic-rich cover of Marie Laforet's 1970 classic and this rendition has a new vocal whose unique timbre adds depth and all-new charm. Together, the artists create a delicate harmony of softness and melancholy and blend soothing tones that evoke timeless beauty. Already heralded as a classic gem, this subtly evolved new version of 'La Playa' offers a serene and heartfelt sound for intimate moments.
B-STOCK: Record is slightly warped, otherwise in excellent condition
The Tinker & The Crab
Wear Your Love Like Heaven
Review: ***B-STOCK: Record is slightly warped, otherwise in excellent condition***
A pair of classic Donovan tracks get pressed up to this new 7" from The state51 Conspiracy. They are taken originally from his seminal double album A Gift From a Flower to a Garden and come in a beautifully printed new sleeve with golden details and limited to just 500 copies. Both are mixed in mono and first is the delicate falsetto of 'The Tinker and the Crab' with is Americana overtones and light flute motifs next to the acoustic guitar strumming and 'Wear Your Love Like Heaven' is another lushly layered folk rock sound.
Everything Is Recorded, Noah Cyrus & Bill Callahan - "Porcupine Tattoo" (3:31)
Everything Is Recorded - "Norm" (feat Bill Callahan) (3:04)
Review: XL boss Richard Russell's Everything Is Recorded returns with 'Porcupine Tattoo', an unexpected yet compelling collaboration with Bill Callahan and Noah Cyrus. The track, released via XL Recordings, came about during sessions at LA's infamous Chateau Marmont hotel, when Russell asked Callahan who he'd most like to write a song for. Callahan's surprising answer: Noah Cyrus. The result is a stripped-down folk tune with subtle gospel undertones, featuring Callahan's deep, pitched-down vocal layered alongside Cyrus' delicate voice. Russell's production, iminimal yet atmospheric, ihighlights the contrast between Callahan's gravelly tone and Cyrus' ethereal presence. Recorded during a rain-soaked week, the track evokes a sense of melancholy and intimacy. On Side-2 'Norm', is a tribute to comedian Norm Macdonald, featuring only Callahan. This release continues Russell's tradition of creating genre-blurring, evocative collaborations.
Review: Omena once again calls on the superb sounds of Golden Retriever for this adventurous new EP that very much takes you away from the here and now and deposits you somewhere warmer. 'Part Lake' opens up with the joys of a spring day - acoustic strings rippling out as sun beams down. 'Andro Dunos' slows to a crawl and has a more star-gazing feel while 'Digambara' is a gentle rhythm that casts you out to sea. Two variations of 'Modulations' allows you to get lost in some lush synth tapestries and 'Kizuna Encounter' then ends with another lovely sonic day dream that empties your mind.
Los Chicos Tristes (feat Jensine Benitez - El Michels Affair remix) (2:41)
Review: Ahead of their new album Sonido Cosmico, Hermanos Gutierrez return with a smouldering single which shows off their affinity for wistful guitar soliloquies on a short n' sweet 7". The brothers' sound is rooted in 1950s Latin American rock n roll, all quivering tremolo and languid reverb as a casing for their mesmerising melodies. 'Low Sun' captures that melancholic moment as the day shortens in evocative fashion, making this a record primed for sentimental moments aplenty whether you're playing the record for yourself or an audience of kindred chillers who appreciate Balearic vibes hailing from the Southern Hemisphere.
Review: Mr Bongo serves up the new collaboration here from Mandaworld (bereft known as Amanda Hicks) and partner Matthew Tavares, who is Matty of the much loved jazz outfit BADBADNOTGOOD. The pair have a magical musical synergy that really shines through here as they interweave and uplift one another. 'Warm You' is a real classic that fits in the canon of timeless ballads. It is a dreamy pop song doused in oodles of reverberating guitars and mellow shoegaze vibes that evokes a world of nostalgic feelings. 'Spoonfeed' is just as warm and lush but a little more subdued.
Review: This Record Store Day 2019 exclusive finds Mumford and Sons at work in the famous Electric Lady Studios in New York. It was there that they decided to serve up four carefully reimagined versions of tracks from their acclaimed Delta album. Each one shows a different, incredibly tender side. 'Woman' is first with its gentle piano keys and closely mic-ed vocals soothing the soul, while 'Guiding Light' has more upbeat but still lo-fi guitar riffs and 'Wild Heart' is another showcase of the beautifully raw and emotive vocals of lead singer Marcus Oliver Johnston Mumford. 'If I Say' is a rousing, heart swelling closer.
Review: Mumford & Sons drop a surprise single release alongside Pharrell Williams, 'Good People', delivering on a long-awaited promise to hop in the studio together after years of knowing each other. Finally falling back on their immediate instincts, 'Good People' hears the band and the solo wunderkind sing of tiredness and revelation, making adept use of a dry, driving, sportsmanlike instrumental palette (think hand claps, stomps, gospel harmonies). Though cryptic in theme, the mood on this one-off is one of triumph and impending miracle works to come.
Review: First released on streaming platforms last summer, Wilco's 'Hot Sun Cool Shroud' EP was uniformly praised by critics. Much more than a stop gap between albums (it arrived roughly 12 months after the outfit's lauded 13th studio full-length, Cousin), the six-track set bristles with inventiveness while flitting between styles and tempos. So, opener 'Hot Sun', a sticky slab of Americana-tinged jangly indie brilliance, is followed by the reverb and solo-laden alt-rock squall of 'Livid' and the gentle, string-laden swoon of 'Ice Cream'. And so it continues, with the fuzzy positivity and weary vocals of 'Annihilation' being joined by the pleasant, impossible-to-pigeonhole experimentalism of 'Inside The Bell Bones' and the twinkling, heartfelt melancholia of 'Say You Love Me'.
Review: 2024 ushers in a brand new Barry Adamson album, Cut To Black, marking an exciting new shift in direction for the utterly singular Nick Cave associate and experimental blues-pop musician. Cut To Black, led by the swaggeringly roomy 'Demon Lover' (perhaps nodding to the great corporate espionage film of the same name, in due keeping with Adamson's love for spy thriller soundtracks, and his incorporation of their sound into his music), the record embraces his trademark genre-hopping proclivity, spanning pop, soul, jazz, hip-hop and gospel. A totally unique LP for the present era, Adamson's latest oeuvre topup is a must-have for fans of all things Cinematic Soul, Nick Cave & The Bad Seeds, Post Punk, Massive Attack, Unloved and more.
Review: Grief can be intensely painful, overwhelming and hard to process, but also provide inspiration for those who make creative expression their life. For Pakistani-born, Brooklyn-based artist Arooj Afhab, the death of her beloved brother provided the inspiration for what some reviewers have called her greatest work yet: beautiful, poignant and soul-aching 2021 set Vulture Prince, which here returns to stores via a deluxe edition that boasts an extra track (the stunning 'Udhero Na'). Deeply emotional, the set pushes her weighty, emotionally inspiring vocals to the fore, with Afthab swapping experimental electronics and leftfield beats for a mixture of acoustic guitars, heavenly string arrangements (harp, violin, uptight bass) and traditional Pakistani instruments. The results are rarely less than stunning.
Review: Alabaster DePlume's latest album is a meditation on self-worth and healing, drawing from his poetry book Looking for My Value: Prologue to a Blade, he crafts 11 tracks that feel deeply personal yet universal. His saxophone, sometimes fluid, sometimes jagged, acts as both voice and emphasis on the likes of opener 'Oh My Actual Days' swells with sax and Macie Stewart's ghostly strings, a slow march toward reckoning. 'Thank You My Pain' turns its mantra-like refrain into a rhythmic meditation on discomfort. 'Invincibility' lifts into choral release, a breath after holding under water. The instrumental 'Prayer for My Sovereign Dignity' is an anthem for self-possession, while 'Form a V' channels the discipline of jiu-jitsu, inviting confrontation. Unlike his past, more improvisation-led works, this is tightly composed, arranged and produced by DePlume himself - and the result is direct, unflinching and deeply felt.
Review: Japanese folk singer-songwriter Ichiko Aoaba has built up quite a catalogue of albums and singles since making her debut 15 years ago, subtly expanding on her sparse acoustic sound via the use of effects, strings and other instrumentation associated with the British folk revival of the 1960s. On Luminescent Creatures, her first studio album for five years, she continues this quiet expansion of her trademark style, underpinning her gorgeously sweet and emotive, intricately arranged lead vocals with a mix of acoustic guitar, strings, piano, field recordings and traditional Japanese instruments. The results are breathtakingly beautiful and deliciously dreamy, with highlights including 'Flag', the inspired 'Luciferine' and the haunting swell of 'SONAR'.
Review: The latest offering from serial collaborator and cross-genre tastemaker Stephen O'Malley's Ideologic Organ imprint is a tender filigree bureau of acid folk sketches from Tokyo's Ai Aiso. Across seven tracks, she patiently meanders through broken and phased chord progressions, her simultaneously pure and wavering vocal lines forming elegant arcs over sparse beds of instrumentation and washes of room tone. Some tracks are bookended by applause, and it is this ostensibly 'indoorsy' atmosphere which lends the mini LP a great deal of charm; the delicate atmospherics seem to issue from an intimate and isolated space. Indeed, Bandcamp user Everyvillianislemons317 describes it as "The perfect album for a lonely night in the city." We're more than inclined to agree.
Review: Minimal Wave is proud to present The Sound of Indifference, a rare cassette released in 1981 by Aural Indifference. Aural Indifference was a post-punk studio collective from Sydney, Australia. The two principal members were Brian Spencer Hall (the M Squared in house producer) and Kevin Purdy. The cassette album, The Sound of Indifference, was released in 1981, featuring tracks such as "Theme", "Park, and "Man Am I Progressive". Their sound ranges from minimal synth, to post-punk to quirky guitar-driven electronic folk music, some of it resembling John Maus. "Theme" appeared as the closing track on The Minimal Wave Tapes: Volume Two compilation and "Park" appeared on The Bedroom Tapes compilation. Here for the first time, we are offering a reissue of the original cassette, remastered from the master tapes and complete with original artwork, limited to 300 copies.
Review: Ghost Box present the CD edition of their latest record by freakish scene-dazzlers Beautify Junkyards, Nova. Despite the record's immediate imagism bringing together news clipping collage, and connotations of scrapheaps and salvaging indicated by the band's name, the sound of the record is anything but adjacent to these themes. The six-piece psychedelia/acid folk band command a wide foundry of instruments, smoothening any rough edge into a shared, sonically doughy dream, beautifying a well-sifted haul of believably, formerly scrapped instruments into a pristine assemblage. Though it builds on motifs heard in 60s and 70s film soundtracks, echoing spaghetti Westerns and early sci-fi, the record's best moments are its seemingly impossible electronica syntheses, such as the unassailed critical mass of trickling drum machine, spring reverb, tonal murmur and near-atonal noise reached on 'Raridade De Contrastes'.
Review: Hadsel, Zach Condon AKA Beirut's first album in four years, is named in honour of the place in which much of it was recorded, a remote Norwegian island that the neo-folk artist stayed in back in 2019. The tranquillity of his surroundings, as well as access to limited instruments (a lo-fi drum machine, a church organ, a basic synthesiser and his trusty acoustic guitar, is reflected in the beauty and slow-burn nature of the music on show, which naturally pushes Condon's distinctive, emotionally charged vocals to the fore and tends towards the atmospheric and musically opaque. The results are genuinely beguiling, with our picks of a very strong bunch including 'The Tern', where Condon's voice sails above sustained organ chords, a tribal-tinged rhythm track, and life-affirming vocal harmonies, and the brass-enhanced warmth of 'So Many Plans'.
Review: Every once in a while, you get a band emerge from the vibrant London music scene that you notice aren't like all the other bands. You sense they have something a bit special. BC, NR are like that - they offer something so rich musically that it appears immune to any potential threat that could come from changing trends. This third studio album of theirs comes under what looked like difficult circumstances from the outside. Their lead singer and songwriter Isaac Wood left the band shortly before the release of their second album. But they've withstood the pressure incredibly and are on top form here. There's more emphasis than ever on sharing the role of frontperson so the album is like a smorgasbord where you sample different voices and songwriting styles that exist within the group. Lead single 'Besties' is violinist Georgia Ellery's. It thrives off of its dynamism with explosive Phil Spector-esque wall of sound moments set in alongside elegant indie folk. A truly massive chapter awaits.
Review: It has been some five-plus years since the last full Bon Iver album but the wait has been well worth it. This one follows the introspective SABLE, a sparse, vulnerable EP born from isolation and inner turmoil. Where that was shadow, this is light-a lush, radiant celebration of love, connection and emotional rebirth. Written at April Base in Wisconsin with collaborators like Jim-E Stack and Danielle Haim, the album leans into clarity and intimacy and gets rid of the signature dense abstraction for more honest and heartfelt pop. The vocals are delivered with openness and purpose as they explore desire, hope and devotion. While still acknowledging lingering shadows, this full-length is a story of growth that isn't about fairytale endings, but about the lessons love teaches.
Review: Muireann Bradley is a startling new talent in country and bluegrass from County Donegal in Ireland. I Kept These Old Blues absolutely calls back to a golden age of Americana, but Bradley’s Irish lilt comes through and entwines with her faithful Southern twang to make for an endlessly charming end result. Her playing is pitch-perfect, stripped to the bone finger-picking all the better to savour the songs and the way they’re sung. This is the cassette edition of the 2023 album, which is an ideal format to enjoy these charmingly olde worlde yarns sung the way they ought to be.
Review: If any album comes close to the beauty of Crosby, Stills & Nash in 2025 it's this. It's difficult to imagine anyone else nailing melodic, acoustic guitar-oriented music that treads in gospel, blues and pastoral psychedelia better than this supergroup. Could Bernard Butler be on his way to another Mercury Prize nomination with this? They've got a strong case for it. The band itself is something a little different and formed by popular demand. Norman Blake (Teenage Fanclub) Bernard Butler (Suede) and James Grant (Love and Money) originally got together for one occasion, at Saint Luke's in Glasgow in 2022 for Celtic Connections, but the power of them together was so great they've been talked into putting an album out. They've gone about it in quite a pragmatic way, with each member labelling which songs theirs, as opposed to all trying to write the same song at the same time. Makes sense really.
Review: Since breaking through 11 years ago, Portland, Oregon combo The Delines have crafted an attractive trademark 'country soul' sound that combines the lilting, desert drive heartache of Americana - an effect heightened by the southern drawl of singer Amy Boone - with Stax-style hazy horns, elongated Hammond organ chords, and warming grooves. It's a sound that can be as easily applied to downtempo numbers as more upbeat ones, with the widespread use of strings and less fashionable brass and woodwind instruments (flugelhorn anyone?). The band's latest full-length excursion may well be their most hard hitting, heart breaking and poignant set yet, with a polished take on their distinctive style only emphasising the quality of their musicality and Boone's expressive lead vocals.
Review: Dirty Three's first full-length since 2012 is a strong trip through six cinematic movements.Love Changes Everything is a windswept trek through arid deserts and moonlit forests, a contemplation of love that blends melancholy jazz, ambient folk, and tender post-rock. The trio, comprising Warren Ellis, Mick Turner and Jim White, has a knack for producing instrumental music that defies categorization. White's drumming is as textural and unfastened as ever, Turner's riffs hum with punk ferocity and raw Americana, while Ellis's strings, piano, and synths provide a widescreen theatricality. The album opens with Turner's disfigured twangs and Ellis's soaring strings, gradually building to a militaristic thump. Tracks like 'II' and 'III' offer slow-motion piano melodies and spectral strings, creating visuals of spectral faces and oily vapors. Love Changes Everything unfolds like a film, with moments of fiery discordance and serene contemplation. Ellis's fiddle on 'V' and the tempestuous conclusion on 'VI' exemplify their dynamic range. This album is a sublime addition to their catalogue because of their matured, exploratory sound.
No More Rehearsals (feat Roses Gabor, Jah Wobble, Jack Jack Penate & Yazz Ahmed) (3:13)
You Were Smiling (feat Samantha Morton) (3:41)
Norm (feat Bill Callahan) (3:01)
Swamp Dream #3 (feat Clari Freeman-Taylor) (4:18)
The Meadows (feat Roses Gabor, Kamasi Washington & Ricky Washington) (4:50)
Goodbye (Hell Of A Ride) (feat Nourished By Time) (3:33)
Review: Since turning his hand to music production midway through the last decade, XL Recordings owner Richard Russell has delivered a couple of predictably hard to pigeonhole, guest-packed albums as Everything is Recorded. Russell, of course, has an admirably bulging contacts book and as deep a knowledge of British music - be it hip-hop, grime, rave, jazz, experimental electronica or otherwise - as anyone. The depth of both is naturally evident on third album Temporary, with Russell and a dizzying list of guests delivering atmospheric, sample-rich fusions of head-nodding, hip-hop leaning grooves, field recordings-heavy sample collages, woozy dream pop, sub-heavy nods to UK bass, slow-motion neo-folk, blunted trip-hop, contemporary UK jazz, hazy Americana and much more besides. That it works as a coherent and sonically adventurous album is testament to Russell's increasing skill as a producer and standalone musical artist.
Review: Something of a Liverpool legend, Michael Head's musical story stretches right back to the punk era. Since then he's had spells in The Dance Party, Shack, the Pale Fountains and Egypt For Now. For the last five years, he's fronted The Red Elastic Band, offering up a handful of studio albums and a couple of excellent live sets. Loophole arrives just before the release of his autobiography and largely features reflective, wistful and thoughtful songs spiced up by expansive arrangements, sinewy strings and - more occasionally - heady horns. The plentiful highlights include the cheery jauntiness of 'Ciao Ciao Bambino', the lilting, slow-motion headiness of 'Shirl's Ghost', the semi-acoustic, Latin-tinged loveliness of 'Connemara', and the bluesy late 60s Beatles flex of 'The Human Race'.
Review: Since parting company with alt country/Southern rock combo Drive By Truckers in 2007, singer/songwriter Jason Isbell has built a successful career as a solo artist. While he initially explored a punky and bluesy sound, by 2015 he'd pivoted to a softer sound inspired by folk and Americana. Ten years on, following a period spent touring extensively, Isbell is finally ready to drop another solo album. Wonderfully stripped-back but no less evocative or lyrically rich than his earlier work, Foxes In The Snow comprises 11 songs in which Isbell accompanies himself on acoustic guitar. There's no hiding place with such a sparse sound, but Isbell genuinely nails it. In fact, it could be his strongest and most startling solo album to date.
Review: The latest album from Michael Kiwanuka continues his exploration of soul, folk and jazz, with production from Danger Mouse and Inflo. Following the path set by his previous work, the album offers a familiar yet comforting sound, blending rich soul vibes with subtle jazz influences. The opening track, 'Floating Parade', sets the tone with its dreamy, nostalgic atmosphere, while 'Lowdown' - a two-part track - channels 70s Afro-rock with a laid-back vibe. Kiwanuka's introspective lyrics reflect themes of self-reflection and gratitude, with tracks like 'One and Only' and 'Stay By My Side' offering heartfelt messages to his family. Musically minimalist, the album emphasises warmth and simplicity, as seen in 'Live For Your Love', where Kiwanuka expresses regret and appreciation for his wife's patience. The album's standout moments draw from 70s soul and afro-rock influences, bringing a fresh twist to Kiwanuka's signature sound. Overall, this album provides a comforting, soulful experience, showcasing Kiwanuka's growth both musically and personally, offering listeners an intimate and reassuring journey through his life and musical evolution.
Review: Grammy-nominated Laura Marling is back with Patterns in Repeat, her new album and eighth full-length overall. Fifteen years into her celebrated career, the Mercury and Brit Award winner explores new themes inspired by the birth of her daughter in 2023. This album reflects her experiences of motherhood and delves into the generational beliefs and behaviours that are passed down through the generations of families. Through deeply personal lyrics and introspective storytelling, Patterns in Repeat captures Marling's reflections on legacy and personal growth while also showing a subtly evolved sound as one of this generation's most respected songwriters.
Review: The music of Joni Mitchell will never go out of fashion and so it is that much of it is in the middle of a big reissue run. Joni's voice and songwriting has rarely ever been topped by anyone in any genre, let alone the folk and Americana worlds she is best known in. Song To A Seagull is one of many long player testaments to that and was a remarkable debut in 1968 which soon marked her out in a class of one. The album is known for having been mixing poorly the first time around so has been sharpened up for this reissue meaning both sides of the record - labeled 'I Came to the City' and 'Out of the City and Down to the Seaside' - sound superb.
Review: Restless Road's debut album on Sony, Last Rodeo, is a pretty impressive one that features already much loved hit singles such as the title track, fan favourite 'Bar Friends' plus 'I Don't Wanna Be That Guy,' 'Sundown Somewhere' and 'Growing Old With You.' Brand new cut 'Most Nights' is a collaboration with Erin Kinsey is also a standout on an album that was co-written by all three artists and has been a long time coming for fans. It shows fresh songwriting craft and well-honed playing skills as well as plenty of their signature harmonies.
Review: Since returning in 2015 following a two-decade long hiatus, post-punk experimentalists The Revolutionary Army of the Infant Jesus has offered up a trio of admired albums. Even so, The Dream We Carry is still the multi-media-loving Liverpool collective's first new full-length for four years. It's an inspired set all told, with the band shrouding their beautiful neo-folk and ethereal compositions in simmering strings, dusty sound design, oodles of effects, and all manner of samples and field recordings. It's quietly picturesque and exquisitely crafted, providing a mixture of musical melancholy and hopeful positivity. It comes highly recommended.
Changing Forest (CD1: Sketches For World Of Echo - Recorded live At El June 25, 1984)
Let's Go Swimming
They & Their Friends
Keeping Up
Make 1,2
I Take This Time
Losing My Taste For The Nightlife
I Can't Hide You
The Boy With A Smile On His Face
Sunlit Water
That's The Very Reason (CD2: Open vocal Phrases, Where songs Come In & Out - Recorded live At El December 20, 1985)
Tower Of Meaning/Rabbit's Ear/Home Away From Home
Happy Ending
All-Boy All-Girl/Tiger Stripes/You Can't Hold Me Down
Introductions
Hiding Your Present From You/School Bell
Too Early To Tell
Review: These archival recordings of two extraordinary live performances takes you back to when New York City was a bohemian magnet, with low rent and spaces where artists could thrive. Recorded in Downtown in December 1985 and June 1984, the late, great Arthur Russell is captured performing at an intimate loft space known as Experimental Intermedia Foundation, which was run by Phil Niblock. Since the recordings are unedited, it does a really great job of simulating the experience and so if you close your eyes, it's easy to imagine Russell in the room right there in front of you. Of the numbers played, Russell's gifted avant-garde approach to cello is brilliantly done on 'Too Early To Tell'. And the spine-tingling, raw and deeply emotional 'That's The Very Reason' is arthouse folk at its finest. It epitomises the raw, spell-binding talent that Russell had to captivate a room. Hats off to those who have immortalized these very special shows.
Review: Stornoway achieved plenty if great success during their first run including a pair of Top 20 albums and plenty of hardcore fan adoration. In 2016 however they called it a day following their best album to date, 'Bonnie' and a large goodbye tour. Fans didn't stop listening though and their version of 'The Only Way Is Up' got them plenty more attention as it was steamed over two million times and heard on plenty of adverts. After time spent arhat the band reconnected over their love of music and began writing this new record in a makeshift studio on a remote coastal hilltop. It's their first in eight years and a big success according to fans.
Review: "This LP is a compilation of songs from five different digital-only demo collections I released on Bandcamp between 2021 and 2023. I relied on the ears and judgment of my old friend Dom at Feral Child to curate this comp, allowing him to choose his favorites from over 60 songs," James Toth says of Demon Stations. "While I might have chosen an entirely different batch of tunes, I was happy to defer to Dom, as I've never had much perspective when it comes to assessing my own material." With every track recorded at home, many on the same day they were written, and mostly first takes used, there's an audible quality to this collection of archive material that's every bit as honest as the artist's own explanation as to how the final package came about. An atmosphere entirely befitting the open-hearted folk and Americana dominating the release.
Micheal Gregory Jackson - "Unspoken Magic" (Solo - bonus track)
Luke Una - "Spoken Word Manifesto" (bonus Spoken Word track)
Review: Curated by none other than the distinguished DJ and cultural curator Luke Una. Known for his eclectic tastes and deep connections in the music world, Luke brings his expertise to Everything Above The Sky (Astral Travelling with Luke Una), a collection designed to evoke late-night, introspective soundscapes.
This compilation reflects Luke's ongoing quest to find music that transcends the everyday, making astral travel through sound a tangible experience. Drawing from his vast knowledge and numerous conversations with record shop owners, tastemakers, and music enthusiasts, Luke has meticulously selected tracks that offer a subtle, soulful journey. The music flows gently, never overwhelming, instead inviting listeners into a space where simple, heartfelt melodies can lead to profound reflection and escape. Everything Above The Sky is a snapshot into Luke Una's ability to craft soundscapes that resonate deeply, offering an immersive listening experience that transports beyond the mundane.
The Stone Poneys - "Different Drum" (feat Linda Ronstadt)
Nora Guthrie - "Emily's Illness"
The Association - "Barefoot Gentleman"
JK & Co - "Land Of Sensations And Delights"
HP Lovecraft - "Blue Jack Of Diamonds"
Bonnie Dobson - "Time"
The Blades Of Grass - "Satin Slipper"
Chris & Peter Allen - "My Silent Symphony"
The Monkees - "Mr Webster"
Eternity's Children - "Again Again"
Russ Giguere - "My Plan"
Nico - "Fairest Of The Seasons"
Tom Northcott - "Other Times"
The Neon Philharmonic - "You Lied"
The Fun & Games - "Close To Carmel"
Nora Guthrie - "Home Before Dark"
The Common People - "I Have Been Alone"
Steve Martin - "Two By Two (I'm Losing You)"
Rosebud - "Lorelei"
Review: A new collection that documents a micro-niche of American baroque pop with a fresh new compilation. Diversifying the selection from, but still including, the most obvious figureheads in the style - Nico, Linda Rondstadt, even The Monkees - to also focus on the fulgurant but less visible sparks in the sound, such as Appaloosa and Eternity's Children, this is a record whose focus is on both greater and lesser objects of renown. The chamber orchestral instrumentation of the sound is made palpable; quaternary strings, harpsichords, woodwinds and autoharps abound, gelling neatly with the hip connotations of the genre's late 60s efflorescence.
Review: Platform 23 reunites once more with Vox Man Records to dig deep into their archives and shine a new light on. In the past they have done some mega well loved Alternative Funk compilations which got the label off to a fine start and now they dig into an array of cult cassette releases to bring us treasure from Audiologie N-4 - The Independant Psychedelic Trip and Audiologie 5 et 6 - Ethniques Urbaines. This is music from the avant-garde and post punk scenes that draws on wave, spoken word, dark dub and industrial for its eerie yet alluring charms, all with a real edge. Ethnic, idiosyncratic and psyched out, this is another great overview.
Edward Hollcraft - "South Bound Amtrak 716 Arrives In Martinez" (1:23)
JJ Cale - "Cherry" (3:06)
Bonnie Dobson - "Milk & Honey" (3:20)
HP Lovecraft - "Spin Spin Spin" (3:15)
The Rationals - "Glowin'" (4:16)
Linda Perhacs - "Hey, Who Really Cares" (2:30)
The B-52's - "Deep Sleep" (3:30)
Nine Circles - "Twinkling Stars" (4:11)
The Asphodells - "Another Lonely City" (4:30)
Tangerine Dream - "Love On A Real Train" (3:46)
Chris & Cosey - "Dancing Ghosts" (9:44)
Johnny Harris - "Fragments Of Fear" (4:02)
Bill Frisell - "1968" (4:34)
Bob Lind - "City Scenes" (3:29)
Tony Joe White - "Rainy Night In Georgia" (3:35)
Menahan Street Band - "There's A New Day Coming" (2:26)
The Byrds - "Goin' Back" (3:26)
Earth, Wind & Fire - "Drum Song" (5:10)
Leon Russell - "Out In The Woods" (3:27)
Review: Night Train: Transcontinental Landscapes 1968-2019 offers a lifetime of a music on this magical collection chosen from the familiar and surreal, guided by an eclectic selection of tracks curated by the compiler of Music For The Stars. From the laid-back grooves of JJ Cale's 'Cherry' to the haunting beauty of Linda Perhacs' 'Hey, Who Really Cares,' each song paints a vivid picture of the changing fields and coastline outside your window. This assortment showcases the power of compilations to expand one's musical taste, with artists like The B-52's, Chris & Cosey and Tangerine Dream offering their own unique contributions to the sonic tapestry. With tracks ranging from introspective to euphoric, The Night Train celebrates the beauty created by artists and musicians alike, inviting listeners on a transcendent journey through space, sound and emotion.
Review: The Cuckoo Storm might never have been, were it not for a social media post Adrian Crowley wrote on a wintry late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson's previous album Death Had Quicker Wings Than Love (co-written with David A Jaycock), Crowley wanted to mark the moment, and so pressed 'send' into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding 'yes.' Cuckoo Storm followed; a deeply compelling album and serendipitous collaboration comprising eleven beautifully crafted songs, sung by two matching voices that are a powerful match. Waterson's brilliantly distinctive voice is underpinned by Crowley's rich baritone, and together it's an intoxicating mix.
Review: Gillian Welch and David Rawlings' Woodland is their first album of original material together, blending the warmth of folk and the richness of country. After years apart from recording new songs, the duo reaffirms their connection, centering the album on their intertwined voices and delicate guitar interplay. Themes of love, loss, division and reconciliation are explored with tender care, weaving personal narratives with broader societal undercurrents. The album's sonic landscape expands beyond their usual acoustic guitar base. Tracks like 'What We Had' feature strings that complement Rawlings' high, Neil Young-like vocals, while pedal steel and slide guitar add emotional texture to songs such as 'The Day Mississippi Died' and 'North Country'. The arrangements are understated yet rich, enhancing the mood without overwhelming the subtle beauty of their storytelling. Lyrically, the duo draws from classic folk traditions, nodding to influences like Guy Clark and Bob Dylan, while addressing contemporary issues with timeless resonance. Songs such as 'Hashtag' blend humor with reflections on modern life, while 'Empty Trainload of Sky' and 'Lawman' evoke vivid imagery of life's fragility and the persistence of hope. Welch and Rawlings' ability to craft intimate, poignant songs that feel timeless, rooted in tradition yet alive to the present. It's an album that rewards close listening, as each layer reveals deeper emotional truths.
Review: On Before And After, Young chooses favourites from his playbook like a trip into his music history and performs them mostly alone on a solo acoustic journey. Each of the songs blend into each other and morph with mesmerizing clarity into a continuous flow of music creating a 48-minute pure and intimate listening experience. The 13-track album spans Neil's career, from Neil's early Buffalo Springfield contribution, "Burned" (1966) to the recent "Don't Forget Love"(2021) and includes the previously unreleased song "If You Got Love".
As Neil put it on his NYA site:
Songs from my life, recently recorded, create a music montage with no beginnings or endings. The feeling is captured, not in pieces, but as a whole piece. Only for listening.
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