Review: Alzo's 1973 hit single 'Lover Man' is heard reissued by the amorous hommes over at Elznavour. Hailed by the label as two romantic bangers - selectly chosen from the American soft rock musician's second LP Takin' So Long - Elznavour are keen to highlight the songs' equally tragic pull, for Alzo sadly passed away in 2004. Echoing the muted hey-heys of Sixto Rodriguez on the A, before launching into a cinematic psyche-soul number predictive of much modern pop music , 'Come On, Come On', on the B, this is a premium slice of well-cured rock music on 7", recalling the music of an unforgettable musician.
Review: This EP is the first collaborative work by Andrea Belfi and Jules Reidy. Berlin-based and hailing from Italy and Australia respectively, the duo blends compositional precision with improvisational freedom. During a residency at Berlin's Callie's-a 19th-century factory turned arts space-they and engineer Marco Anulli crafted four expansive tracks in which Belfi's masterful drumming interlaces with Reidy's shimmering guitars and electronic textures. The opener layers just-intoned guitar figures over delicate brushwork and climaxes with a synthetic surge and tracks like 'Oben' and 'Alto' explore shifting grooves, propulsive rhythms and dynamic soundscapes.
Review: Acclaimed Japanese artist Cornelius is back with a new three-song EP, Bad Advice/Mind Train, featuring a collaboration with Arto Lindsay. The EP's first single, 'Mind Train,' is an epic nine-minute track inspired by Yoko Ono which blends ethereal space-pop with minimalist structures and bursts of exhilarating chaos. Cornelius describes 'Mind Train' as a symbol of spiritual and inner exploration that is designed to prompt self-reflection. The accompanying video, created by renowned visual stylist Keita Onishi, enhances this journey with stunning retro-futuristic graphics that allow you to explore your own interpretations.
Review: David Michael Tibet's exploration of the arcane mysteries through Current 93 are an intriguing subculture all of their own, sat somewhere to the side of Coil and the other mystics of the post-industrial scene. In Menstrual Night was released in 1986 as two long form pieces that layer up voices into a mesmerising swirl. The cast of collaborators on the project include such luminaries as Steven Stapleton, Keiko Yoshida, Rose McDowall, Boyd Rice and the late John Balance. Now House Of Mythology have created a faithfully recreated picture disc vinyl edition, sure to be quickly gathered up by the faithful followers of this fascinating corner of electronic music.
Review: On Aurelia, shoegaze duo Deary show their evolution since their 2023 debut, embracing a more collaborative approach that results in a richer, more cohesive sound. The EP's six tracks, including singles like 'The Moth' and 'Selene', reveal a newfound maturity in both production and songwriting. With Slowdive's Simon Scott lending his drumming talents and mastering expertise, the record blends influences from classic styled shoegaze bands mixing with the duo's distinct dream-pop sensibilities. Tracks like 'The Drift' bristle with urgency, while 'Dream Of Me' dips into trip-hop, evoking Portishead. Lyrically, Aurelia explores themes of transformation, reflecting the band's personal and artistic growth, making it a striking follow-up to their debut.
Review: Newly signed to Ninja Tune, Ebbb debuts with a five-track EP that shows great intent. Emerging from the same London avant-garde live scene that birthed black midi and Black Country New Road, the band has quickly developed a unique sound in just a year. Their music blends pulsing rhythms, immersive electronic production, sparkling melodies, layered vocal harmonies, and beats that range from ambient to industrial. Described by the band themself as "Brian Wilson meets Death Grips," the EP is experimental and unpredictable yet deeply considered and precise with an idiosyncratic hybrid of sounds that showcases Ebbb's innovative and tightly crafted music.
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.
Review: The DFA debut of longstanding member Jayson Green also signals the revival of the classic DFA twelve-inch format, so you might playfully suggest it stands for Dying Formats Always. Jay has lent his vocals to various bands such as Panthers, Violent Bullshit, Cheeseburger, and the renowned hardcore group Orchid, always showcasing his wit and humor without veering into cynicism. Assuming a bandleader role, he presents a classic A-side here with the low slung funk of 'Local Jerk,' which was recorded during a lively party. It has tight disco drums, resounding claps and a groove-inducing bassline with big horns. On the B-side, 'I Need Love' unfolds as a darkly humorous nightlife satire.
Review: Cocteau Twins' musical mastermind Robin Guthrie has produced some terrific solo records over the course of his career, frequently delivering material that joins the dots between ambient, ethereal soundscapes, shoegaze and the more immersive end of the soundtrack spectrum. 'Astoria' is the latest volume in the Scottish multi-instrumentalist and producer's ongoing EP series (its predecessor, 'Mountain', dropped in September). It's another typically gorgeous and enveloping affair in which effects-laden guitar motifs, gaseous ambient chords, gentle rhythms, ghostly aural textures and slowly shifting melodies combine to create instrumental sound worlds of rare beauty (if not sonic clarity - Guthrie's use of reverb and delay is liberal, which adds to its atmospheric nature but adds extra layers of attractively wide-eyed haziness).
Review: Heartworms are brand new outfit releasing under Speedy Wunderground - one of the few contemporary imprints giving fresh faces a fighting chance. Their debut EP 'A Comforting Notion' embeds the dystopian vision of one Jojo Orme into our minds - the frontwoman is a grandiose performer, giving tired tropes of delicate female bandleaders a run for its money through means like gritty post-punk and dark synth instrumentation, and a macabre sense of humour. The band's name references a heart-defecting parasite that is commonly found in dogs and is spread through mosquito bites - but don't worry, this EP will make your heart feel nothing but joy (permitting, at least, that you're a fan of bleak music!)
Review: A collaborative new single by sampletronic master Kieran Hebden (aka. Four Tet) and guitarist and composer William Tyler, two acclaimed musicians and both longstanding friends. Part of a recent spewing-forth of Hebden-adjacent material to hit the shelves after the artist's oft-reported-upon "agent of chaos" phase, these two tracks, pressed to a furtive 12", provide a neat counterpoint to that assessment. Rather than a pair of riddim bangers, the record flaunts Hebden's signature electronic textures and Tyler's guitar into a hypnotic, nominally dark soundwhirl, reminiscent of the earliest days of Text, but with a unique edge - a sonic corner never quite scoured before by either artist.
Review: Sometimes it's just too difficult to contain our excitement; we're quaking in our boots at news of Khruangbin's next release, with the Texan three-piece this time lending their alt-indie-funk mastery to vocal frontage by Leon Bridges. The humorously titled lead single 'B-side' is emblematic of their stated aim here - to redefine "how people perceive Texas music i that beautiful marriage of country and r'n'b i and really paying homage to that." The sonic result? Bubbling bass and wahhy riffs, over a ghostly and misty relaxers' beat. Its hook digs into our thighs deeper than a Sheriff's steel spurs, and fittingly, it's music video is themed after a 19th Century western town.
Review: Two years on from their last outing, Tara Clerkin Trio return to World Of Echo for a new EP of distinctive leftfield meanderings somewhere between downtempo, folk, jazz and classic balladry. The Bristol band have been hotly tipped over the past couple of years as they've toured relentlessly and generally moved according to their own logic, and they remain wonderfully unique and hard to pigeon-hole. 'Marble Walls' is a gorgeous slice of sentimental balladry shot through with synth bass, while 'The Turning Ground' finds their delicate guitar lines soaring over buoyant breakbeat and dub siren splashes which call to mind the indie-rave-folk crossover charms of Ultramarine's Every Man And Woman Is A Star.
Review: Something in the Eastern European house and dance music proclivity has always struck us as enduringly authentic, perhaps due to its interest in folk music fusions; the label Sad Fun have surely played a key part in doling out this impression. Now they offer their latest addition to the fantasy with a label-described "true Estonian lowkey gem" in the form of duo Ajukaja & Edith Karlson, aka. Vana, whose combined efforts frankly, dustily and ironically toy with the pop music cliches native to their homeland. A-and-B-siders 'Vimme Ratsu' and 'Kuu Maa' are said to rework an '80s Estonian coastal folk-pop favourite and perform a "pseudo-reggae" pastiche respectively. Both have that effortless murmured charm on the vocals, recalling a nostalgic time of European make-do, A10-mic-from-the-junk-store, bottle episodic, rickety recorded goodness.
Review: Brooklyn-based Pakistani vocalist Aroof Aftab presents her third studio album, and a record that has the power to transport listeners pretty much anywhere. While steeped in traditions stereotypically associated with her homeland, ears more attuned will quickly pick up on just how divergent this is. Whether you'd consider it a classical album is down to how you gauge that genre term, we'd say it has grown broad enough over the past century to definitely include this, but ultimately even that seems reductive.
Elements of poetry, ambient trance, jazz, minimalism, and new age, it's a spiritual and musical experience based around themes of discovery, loss, memory, and intimate connections with the Earth. Sonically, that translates as something that's at once sublime and yet also surprising, combining a multitude of influences from aeons of songwriting to create something that could not have existed in any previous era.
Zameen (feat Marc Anthony Thompson C/O Chocolate Genuis Encorporated) (4:09)
Raat Ki Rani (6:11)
Saaqi (feat Vjay Iyer) (6:11)
Bolo Na (feat Moor Mother & Joel Ross) (6:05)
Last Night (feat Cautious Clay, Kaki King & Maeve Gilchrist - reprise) (4:50)
Review: Arooj Aftab's Night Reign is a stunning trip into the depths of the night, where inspiration thrives. Departing from themes of loss in her previous work, Aftab crafts an album rich with renewal and romance. Collaborations with artists like Cautious Clay and Moor Mother add layers to the lush soundscape, creating a cinematic experience. Each track, from the haunting 'Autumn Leaves' to the soulful 'Bolo Na,' weaves together to form a narrative of surrender and transformation. Aftab's voice, accompanied by intricate instrumentation, guides listeners through the darkness, offering moments of introspection and possibility. Night Train is a chance to throw yourself into the beauty and mystery of deep music, emerging renewed and transformed.
Last Night Reprise (feat Cautious Clay, Kaki King & Maeve Gilchrist - reprise)
Raat Ki Rani
Whiskey
Zameen (feat Chocolate Genius)
Review: Arooj Aftab's Night Reign is a stunning trip into the depths of the night, where inspiration thrives. Departing from themes of loss in her previous work, Aftab crafts an album rich with renewal and romance. Collaborations with artists like Cautious Clay and Moor Mother add layers to the lush soundscape, creating a cinematic experience. Each track, from the haunting 'Autumn Leaves' to the soulful 'Bolo Na,' weaves together to form a narrative of surrender and transformation. Aftab's voice, accompanied by intricate instrumentation, guides listeners through the darkness, offering moments of introspection and possibility. Night Train is a chance to throw yourself into the beauty and mystery of deep music, emerging renewed and transformed.
Review: Altin Gun has a famously recognisable sound and it is once again laid bare heart for all to enjoy. This new album is a triumphant return for the much-loved sextet from Amsterdam and one that is high on energy levels throughout. Though familiar in that way, this Ask album finds the band ditching some of their synth-drenched former sounds and 80s and 90s pop leanings to return to their 70s Anatolian funk of their roots. It almost sounds like a live album such is the hustle and bustle of the music with the results sounding all the more warm and welcoming.
Review: Despite producing one of the most influential rock records of the 20th century, American Football's legacy has not been a traditional one. Originally, 'American Football' was meant to be a one-and-done situation, with only a couple of shows played; The band members were all college students and summer was fast approaching. The album was released and the members parted ways shortly thereafter - little would they have guessed that it would go on to define an entire genre for years to come, finding its audience over time. It's not hard to see why, especially with the viral opening track 'Never Meant', which has found fame online repeatedly throughout the years. 'American Football' is melancholic, somewhat tender at points, and undoubtedly contains a certain mystique to it that completely swept the emo crowd by storm. After 14 years, when the band reunited, they had a legion of adoring fans all of a sudden - it's stories like these that prove that true talent will always triumph. Whether it's today, tomorrow or in a decade, good music will always rise to the top. Boasting as a definitive version, Polyvinyl resurfaced the original audio tapes and recruited the OG engineer - Jonathan Pines - for a top-notch remaster. The anniversary package also includes a 24-page booklet with liner notes from frontman Mike Kinsella, an embossed outer jacket and high-quality cardstock inner sleeves.
Review: Mayra Andrade's live album, recorded at Union Chapel, features the warmth and eclecticism of her music in an intimate setting. Known for blending Cape Verdean Creole, English, and Portuguese in her songs, she pulls from a variety of cultural influences to craft a sound that's truly global. Her live collaboration with guitarist Djodje Almeida, 'reEncanto,' takes listeners on a journey through her discographyifrom Navega (2006) to Manga (2019).Andrade's music dances between traditional Cape Verdean rhythms and contemporary beats, with touches of reggae, African soul and pop influences, making every performance feel both rooted and adventurous. Her voice, full of depth and color, effortlessly shifts between romantic ballads and playful, rhythmic tunes. A nomadic spirit is evident in her music as she reflects her life's experiences and travels. On stage, Andrade is stunning, and the energy she brings in this live recording transports listeners straight to Cape Verde's sun-drenched shores. For those unfamiliar with her work, this album is an ideal introduction to the vibrant, evolving world she's built through her music, full of passion and heartfelt storytelling.
Review: Stones Throw has tapped up the brilliant psychedelic jazz group Apifera for a second album to follow on from the greatness of their debut. That once came back in 2021 in the form of Overstand, which was a widescreen and cultural mix of all manner of weird and wonderful sounds. Now, Keep Teh Outside Open builds on that and finds keyboardist Yuval Havkin and Nitai Hershkovits, drummer Amir Bresler and bassist Yonatan Albalak all colliding Israeli folk, Afrobeat, post-rock and jazz into richly colourful and absorbing sound worlds full of lush broken beat grooves.
Review: Apta dives deep, crafting a sonic odyssey that mirrors the ebb and flow of a psychedelic experience. Gone are the predictable structures of verse-chorus, replaced by a free-flowing exploration of texture and timbre. Modular synthesis intertwines with analogue warmth, guitars shimmer and distort and even vocals make a surprising appearance, adding an ethereal layer to the immersive soundscape. 'Shiver' and 'Awash' stand out with their post-rock leanings, showcasing Apta's ability to blend ambient textures with twirly melodies. But, the journey takes unexpected detours with moments of gritty percussion and analogue distortion mirroring the emotional turbulence of a psychedelic plunge. This is a sonic tapestry woven from diverse influences, touching on post-rock, pop ambient and kosmische, yet ultimately forging its own unique path. It's an album that demands your attention, revealing new details and hidden depths with each listen. Prepare to be surprised, intrigued and ultimately swept away by Apta's most ambitious and rewarding work to date.
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: "A document created in the shadow of incredible darkness. One from which the creator hadn't planned on escaping and still doesn't. Hence the title of the album. It is the result of an illness that I've battled my whole life. It isn't something that the world has done to me. It's the world I live in, and it's no one's fault."
So says Brian Christinzio, AKA BC Camplight, of his sixth album. As ever, it's a musical masterpiece packing dense layers of instrumental experimentation and theses-worthy lyrical poignance. An artist who has never played by the musical rules, fans of strong juxtapositions will again be in there element, with a tracklist that spans grunge-y garage rock, twisted barroom journeyman stuff, theatrical guitar pop, and plenty more. But the sounds themselves are only one half the genius. When it comes to arrangements, things are as playful as they are innovative, keeping listeners guessing as to how structures will pan out.
Review: Spectral musical favourites Ghost Box return with the beautiful third album by Beautify Junkyards. Extending the idea that junkyards aren't already beautiful in their own scrappy sort of way, Nova is an exquisite selection of junk-larked tropicalia "finds", visually (album-cover-ally) building on the news cut-up assemblages of Dada and committing them to the beatific atmospheric siblings that are trip hop, psychedelia and what we'd trepidatiously deign to call cosmic lounge. With special guests Paul Weller, Dorothy Moskowitz (of United States of America) and Jesse Chandler (of Pneumatic Tubes & Midlake), this is a thoroughly far-flung metal detecting foray indeed, but it's not the inclusion of the canonic names of 60s psychedelic rock that makes this one special, more than it is its bright, refined, verging on impeccable recordings; despite much guitar echo and analogue anaphora, nothing gets lost in mire, despite this being a nominal junkyard. Best of among the shiny things has to be 'Sonora', the star prize in this magpie's nest. These acid folk have well and truly done it again.
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: Huw Marc Bennett takes direct inspiration from the music of Wales on his new album 'Days Like Now'. It leans heavily on acoustic for and melody as a result of being written during the pandemic on a stripped down setup of just bass and acoustic guitars. As such it has a quiet vibe, an intimacy, a late night and low-lit feel throughout that makes it all there alluring and personal. The drums that feature are lo-fi and fuzzy round the edges, the bring a happy energy to the tunes without dominating and Welsh language fans will be glad to see all the titles are native, too.
Review: Black Country, New Road marks a new chapter as a six piece with this new album of previously unreleased music. It was recorded by therm at the Bush Hall venue in London, a legendary place where they played six special shows at the end of last year. This follows a busy and sold out run of shows and the success of 'Ants From Up There' as Lewis Evans, May Kershaw, Georgia Ellery, Luke Mark, Tyler Hyde and Charlie Wayne find some of their highest nights. Critical and fan praise followed them everywhere last year and that will only continue with this, we sense.
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