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: 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: 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: 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: 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.
Review: They say that where there is repetition, there is unfinished business; that where there is a broken record, there is a will for that breakage to be attended to. So too does the eponymous alias of Jake Alias, The Brkn Record, know this. The Architecture Of Oppression Part 2 is Ferguson's next album for the righteous future jazz project; an earnest admixture of spoken word and slam poetry set against ambient jazzscapes and cinematic post-noir shades. Showcasing the manifold talents of wordsmiths the likes of Toyin Agbetu and Ugochi Nwaogwugwu, both of whom ponder the nature of freedom as it exists in its best articulated form today - the continued articulation of freedom being the driving force of history - The Architecture Of Oppression Part 2 deploys a righteous infrasound to deconstruct the edifices that impinge on this freedom, brick by brick.
Review: Spell Blanket - Collected Demos 2006-2009 by Broadcast offers a rare glimpse into the creative process of Trish Keenan and James Cargill during the post-Tender Buttons period. This compilation features songs and sketches drawn from Keenan's extensive archive of four-track tapes and MiniDiscs, laying the groundwork for what would have been Broadcast's fifth album. The recordings showcase the duo's experimental approach to music-making, with Trish and James exploring new sonic territories and refining their distinctive sound. The photography used in the artwork is captured by Trish and James themselves, adding a personal touch to the collection. Designed by Broadcast's long-time collaborator Julian House, the artwork complements the nostalgic yet forward-thinking nature of the music.
Please Call To Book (Le'ts Write A song Project) (4:41)
Review: As the title suggests, Broadcast have collected all their demo recordings made between 2000 and 2006 and compiled them onto a single 14-track record. But that's not the main piece of news: sadly, this one marks the end of releasing from the band, tying the bow on an game-changing career to say the least. Many of these tender tidbits were worked into finished productions appearing on Haha Sound, Tender Buttons and The Future Crayon; it's an impressive flex to be able to flaunt your one-offs and pack them onto a single recorded finale. What's more, the connotations aroused by form - demos - as well as the sonic content of these gems plays nicely up to Broadcast's now well-established aesthetic, which is one for the ages, to be sure. The album also includes two songs discovered by James after bandmate Trish's passing: 'Come Back To Me' and 'Please Call To Book' which was her response to Broadcast's 2006 'Let's Write A Song' project, where fans were asked to submit lyrics on a postcard which would then be worked into a finished song.
Review: RECOMMENDED
You always feel like you've pushed through the other side of the mirror when it comes to CAN. A mysterious, groove-laden, funk-infused yet utterly lucid place where guitar hooks seem to come out of the walls, rhythmic hypnosis draws listeners ever-deeper into a place that, while perhaps not entirely theirs, is one which they helped build in the outer limits of late-1960s surrealist rock.
Laying the foundations for early progressive and krautrock with an avant-garde approach to songwriting, by the time this Stuttgart gig took place they had almost a decade of work to go at, and yet as the tracklist suggests the band always had improvisation at their core in a live setting. Concerts that would transport crowds far beyond the venue, into thick layers of melody, hooks and strange effects, every single recording of every show is a genuine moment in history never to be repeated again.
Review: Only Hinting, the full-length debut record by Detroit duo Clinic Stars, both refines and redefines their pitch-perfect fusion of downer-pop balladry and featherweight shoegaze. Recorded and produced at the band's home studio, the album was created across 2022 and 2023, patiently layering FX and spatial depths to give each song a swirling, subconscious undertow. Between its burring washes of electric guitar crunch, its subtle electronic backbones, and its more quiescent moments of acoustic stripped-backness, we wouldn't have guessed that this one was a debut at all.
Review: The Moon and the Melodies, a remarkable collaboration between Cocteau Twins and ambient pioneer Harold Budd, remains a standout achievement in both artists' repertoires. First released in 1986, this enchanting album is now receiving a well-deserved vinyl reissue, meticulously remastered by Robin Guthrie from the original tapes. This album is a stunning fusion of the Cocteau Twins' signature dreamlike atmospheres with Budd's elegant, improvisational piano, resulting in a listening experience that is both expansive and deeply personal. The blending of Elizabeth Fraser's ethereal vocals, seamlessly intertwined with Guthrie's luminous guitar work and Raymonde's resonant bass, creates a sound that is both distinct and evocative. The album effortlessly balances vocal tracks with instrumentals, each adding to its rich and diverse sonic palette. This reissue offers a chance to rediscover a defining moment in the evolution of dream pop and ambient music. The Moon and the Melodies continues to stun audiences. This CD edition is the perfect vehicle to an ethereal beauty of the highest order.
Review: The Moon and the Melodies, a collaboration between Cocteau Twins and ambient pioneer Harold Budd, stands as a unique gem in both artists' discographies. Originally released in 1986, this ethereal album is now being reissued on vinyl, remastered from the original tapes by Robin Guthrie. Unlike anything else the Cocteau Twins ever produced, this record blends their dreamlike soundscapes with Budd's serene, improvisational piano work. The result is an atmospheric journey, at once intimate and expansive. Tracks like 'Sea, Swallow Me' shine with Elizabeth Fraser's otherworldly vocals, intertwined with Guthrie's shimmering guitar and Raymonde's grounding bass, creating a sound that feels both familiar and entirely unique. Instrumentals like 'Memory Gongs' and 'The Ghost Has No Home' highlight Budd's delicate piano, enhanced by the band's signature ambient textures. The album is a study in contrasts, vocal tracks sit alongside instrumentals, each contributing to a cohesive yet diverse listening experience. For fans, this reissue is a chance to revisit a pivotal moment in the evolution of dream pop and ambient music. The album's enduring appeal is evident in its continued influence in social media. The Moon and the Melodies remains a shining light that can happen when artists from different realms come together to create something truly timeless.
Review: Numero Group have embarked on a reissues bundle of slowcore pioneer band Codeine's first and last albums, as well as an intermediary EP. 'Frigid Stars' is the former, and made for a remarkable debut album, epitomizing the late-80s-to-early-90s sound that still continues to influence trailblazers in the genre to this day, from Deathcrash to Bardo Pond. Codeine laid it bare before its name was coined: proto-slowcore is heavy, but not aggressive; quiet, but not silent; its vocals are hushed but present, perhaps reflecting the mood of doom that had set upon the local music scene in New York, where the band originate from. Thematically, the LP deals with angsty themes from loss to despair, with choice cuts like 'When I See The Sun' lumbering through ultra-reverb, gothic melodic lulls and guitarry plods to the death.
Review: South London rapper Confucius MC returns to Native Rebel Recordings for a new project alongside producer and multi-instrumentalist Bastien Keb. Dedicated to the "lost travellers" of the world, this is an album of pop-filterless texture and raw admission, filled to the brim with political messaging and wisdom in the face of oppressive social machinery. Toeing lines of fairytale realism and soul-feeder contrition, Keb and Confucius muse on dilemmas of eternal life, striving, perseverance and recompense, crafting a near drumless hip-hop album for veteran ears.
In Light Of That Learnt Later (Purelink remix) (7:04)
In The Dust And The Haze (4:44)
Review: The fables around this one are strong. To say the least. Corker & Conboy's album, In Leith of that Learnt Later was apparently recorded in a converted carpark in Battersea. Melding together cinematic post-rock, adult lullabies, dub-by folk, and new age, it's a marvel of escapist listening that transports you far from the brutality of the concrete London it was born into, out to some field in England or other, and then onwards to plains we are yet to become familiar with. On this two-tracker that sense of adventure remains very much in tact. Purelink steps up with a remix that could be the soundtrack to your next sensory depravation tank prep or cacao ceremony. All earthy bubbles and light, loose, tribalistic percussion. On the flip, find one of the originals from the LP - the lackadaisical guitar motifs of 'On The Dust and The Haze'.
Review: First released in 2018, The Light Is Leaving Us All is one of Current 93's (David Tibet's) most up-to-date explorations in sound, and is noted by the artist himself as one of his most recent favourites. An expansive collaborative cluster of entities, some human and others perhaps not, assisted Tibet in the making of this morbid neofolk opus, which, when not indulging droning guitarscapes and dulcimer twinkles, humours a spoken word and found sound palette, constructing a conniving persona that perhaps farcically laments the loss of suburban niceties (clues in the track titles like 'The Birds Are Sweetly Singing', 'The Policeman Is Dead', 'The Postman Is Singing', 'The Milkmaid Sings' and 'A Thousand Witches' portray a macabre picture of the dead underside of sleepy hometown life). When Tibet sings, he brings a knowingly resigned tone to the record, sounding almost genderless in his evocation of experience and loss of domestic innocence.
Review: Holger Czukay's late career works for Claremont 56 are celebrated in a new compilation, showcasing the former Can bassist's unique musical legacy. Released between 2009 and 2012, these tracks highlight his inventive and freewheeling approach to composition and recording. Claremont 56 founder Paul Murphy, inspired by Czukay's legendary 2009 Roundhouse performance, curated this collection with a deep appreciation for the artist's creativity. Key tracks include 'Ode To Perfume' and 'Photosong,' both reimagined from the Roundhouse gig. 'A Perfect World (Remix)' features former Can bandmates Jaki Leibezeit and Michael Karoli, while 'Fragrance' offers picturesque Balearic Kraut-dub. The bright 'Let's Get Cool' revisits Czukay's 1979 classic, and 'My Persian Love (Remix)' revives an early solo recording. The compilation also features two potent tracks with Czukay's wife, Ursa Major: the ambient 'In Space' and the mind-mangling 'Music To Be Murdered By.' This collection is a fitting tribute to Czukay's endlessly inventive career, highlighting his unparalleled contributions to experimental music.
Review: Carrying the torch for bittersweet post-punk introspection like few others of her generation, Carla dal Forno has always captivated through the strength of her songwriting. That she also successfully channels the sound of the DIY 1980s is a bonus. On her third album, dal Forno has settled in rural Australia and the album reflects a drastic shift in her circumstances since being in the cut and thrust of Berlin and London. There's space for more open, light-touch songs to match the brooding, low-register tracks she made her name on. But in essence, dal Forno remains true to her muse, meaning returning fans will be more than satisfied with the latest step on for one of the finest singer-songwriters in contemporary post-punk.
Review: Dead Sound is collaborative project featuring Marco Sterk (aka Young Marco) and Berlin-based pop-auteur John Moods, two artists with existing links to the Music From Memory label, Sterk being part of the trio Gaussian Curve and Moods released the 2022 album Hidden Gem with The Zenmenn. The eight tracks here are delicate and atmosphere-laden, drawing on everything from reverb-soaked, harmonic folk - 'Eye In Disguise' - to the Geiger counter rhythm and low-in-the-mix mutters of 'Force of Nature', like an understated Throbbing Gristle if such a thing could be imagined. If you enjoyed Trentemoller's recent reinvention of shoegaze, Scandi synthpop and post-punk on Dreamweaver, then this will be well up your street.
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