Review: A pair of Cure singles, one a classic from the 80s and the other more of a deep cut from the 1996 album Wild Mood Swings, caught here in the live arena on turned into two sides of a rather nifty 7" picture disc. 'The Walk' is one of the Crawley crew's most electronic moments, a Japanese-slanted retort to New Order's huge 'Blue Monday' single a more cynical observer might be moved to admit. It's immediately nevertheless one to transport you back to the lazer-peppered, smoke machine-swathed dancefloors of the era, with its concluding line "I remember everything" seeming particularly apt in hindsight. 'Mint Car', while less well known than many other Cure 45s, was nevertheless one of Robert Smiths' favourites. He, apparently, couldn't fathom out why it only charted in the low 30s when 'Friday I'm In Love' smashed the top ten. Perhaps the outbreak of utter cheeriness - "I really don't think it gets any better than this/vanilla smile and a gorgeous strawberry kiss" - was disconcerting considering the band's pretty much unrivalled reputation as the popes of mope, but its charms are undeniable and definitely due a restrospective reappraisal.
Review: Longtime Matador records signee and frontman with Leesburg, Virginia's Car Seat Headrest outfit, Will Toldedo is fortunate to have spent the bulk of his adult life releasing records and is a true artist and craftsman. The lead single 'The Catastrophe' is a massive sounding indie number that nods to the adrenaline of noughties indie and the intensity of prog and punk. 'CCF (I'm Gonna Stay With You)' shows a more experimental side with the bonkers first part giving way to heartland rock that Bruce Springsteen would be proud to call his own. This is - remarkably - the 13th studio album by this band, which make it close to an album a year since their formation. The wind is truly in their sails here and the chances of their prolific output slowing anytime soon are thankfully very slim.
Review: Car Seat Headrest's approach to releasing records evokes a bygone era in the late 60s and 70s when it was really common to bash out an album every few months. Despite having only formed in 2010, the Virginia, US indie sorts now have 13 studio albums to their name. The band's singer and songwriter Will Toledo is prolific in releasing solo recordings on top of that, so hats off to them, really. It's not filler either. With the opening number 'CCF (I'm Gonna Stay With You)', they have one of the most anthemic rock tracks of the year so far (it takes a while to warm up but the pay off is huge) it's the sound of a group more confident in their ability than ever. Elsewhere, 'Reality' sees them shift gears into more of a ballad, but with so many twists and turns. That you don't quite know what's coming next is a welcome respite from formulaic rock and pop. Not everyone can pull it off but Toldeo and co. have earned the right to tear up the rulebook because they are operating on another level.
Review: Chapman's magnetic voice and stark storytelling create an atmosphere both intimate and politically charged on this, her 1988 self-titled debut, made famous by hit single 'Fast Car', but ultimately a far deeper affair. Songs like 'Talkin' Bout a Revolution' channel the protest spirit of folk legends like Woody Guthrie, delivering an anthem for those marginalised by economic inequality. Her blend of folk, blues and rock feels timeless, with lyrics that still moves listeners today. The haunting 'Behind the Wall', can move one to tears for its raw portrayal of domestic violence and the systemic failure of the police to intervene. Chapman's trembling contralto gives life to the repeated line 'Last night I heard the screaming', transforming it into a powerful condemnation of indifference. In contrast, 'If Not Now...' is a personal perspective, urging listeners to live and love in the present with its delicate acoustic arrangement. Chapman's storytelling is a triumph of nuance, balancing bleakness with hope. Decades later, Tracy Chapman remains a powerhouse in songwriting, deserving renewed attention. It is not just an album of its time but a work of enduring relevance, offering a poignant reminder that music can still be a catalyst for change.
Review: Who can argue with them for wanting to repress this beauty? It's quite simply one of the best pop albums of all time. Tracy Chapman's voice is inimitable and she is, frankly, a genius. The timeless yet nostalgic 'Fast Car' is the unmistakable standout here - be teleported back to late-80s Britain (when it was a ubiquitous presence in public spaces) but know that if an emerging artist wrote that today it would still be a number one. Strictly speaking this is a 37th anniversary reissue - but who's counting? The label, with Chapman herself involved, have gone to meticulous steps to ensure it's an audiophile delight: Heavyweight vinyl and sourced from the analog master. The trusty Bernie Grundman, who is one of the best mastering engineers in the world, was the honoured hire in bringing this work of art back to life.
Review: It's no wonder there's a nu-gaze movement bubbling up at the moment and showing no sign of dying down - the quality of the godfathers of the genre is just staggering. And you can count Chapterhouse as a key component of the transcendental and viscerally thrilling first wave of shoegaze. This collection features four songs that the Reading-based band recorded in January 1989 - including one that has never been released before. The track in question, 'See That Girl', is as good as any of the more direct songs that bands in their scene released in the 90s. It's their equivalent of Ride's 'Vapour Trail' and strong enough in and of itself to warrant getting the whole EP.
Review: Chase Atlantic's fourth album offers a more mature sound than previous LPs while exploring themes of loneliness, depression and fear. The title reflects the paradox of being in an ideal place yet feeling miserable and the music showcases the band's evolution into a fusion of pop, rock and r&b in their signature genre-defying style. The lead single quickly gained popularity by amassing millions of streams and views and follow-up 'Doubt It' continues the trend with addictive melodies and fresh sounds. Although Chase Atlantic pushes boundaries here, their original fans will still remain happy with the signature energy of this album.
Review: Primarily known for his sprawling LA-based psych/garage/punk/all of the above work as Osees aka Thee Oh Sees aka Oh Sees, John Dwyer links up with experienced percussionist Dave Barbarossa (Fine Young Cannibals, Adam & The Ants) for the retro bratty glam-punk experience of the year - Chime Oblivion. Their self-titled debut is packed full of squelchy synths, jagged minimalist guitar lines and high-pitched eccentric vocals, paying clear homage to classic acts such as The Slits and Bow Wow Wow. Chock full of bite-sized bangers including 'Neighbourhood Dog' and 'Kiss Her Or Be Her', both of which scoff at the notion of a three-minute track, this is retrofitted throwback dance-punk in the stylised era before it even had such a moniker.
Review: 'Girl Like You' hitmaker and former Orange Juice frontman Edwyn Collins has written some absolute corkers in his time and against all the odds - he's been through the wars with his health - is on life-affirming form still. This is his tenth solo album and, like his previous album Badbea, it was recorded in the beautiful Clashnarrow Studios in the Highland village of Helmsdale. The setting clearly a productive space as there's tunes on here that sit right up there with Collins' best work. 'The Heart Is A Foolish Little Thing' is a masterpiece so good it will likely either inspire budding songwriters or make them give up because they know that's the level to get to and it feels untouchable. 'Strange Old World' is another standout, with a bit of a darkly atmospheric Tarantino vibe. And ' The Mountains Are My Home' delves into more traditional folk and feels incredibly heartfelt, like we're being welcomed into Collins' home for tea.
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