Review: The cover of this new one from Tomi Chair is a whole lot darker, more menacing and moodier than the music within. 'Waiting For The Typhoon To Pass' is in fact a beautifully plaintive sound with a slow, calming rhythm. Gentle chords are draped over the top and no one is in an hurry to go anywhere as curious synth keys come and go like passing memories. On the flip, 'Dream Universe' is a more propulsive sound with metallic drums cascading over raw hits and distant winds howling with a hint of danger.
Review: A long-overdue revival of an underground German gem from 1984, Jurgen Grah and Markus Kammann crafted a sound that fused early new beat, synth-pop and electro with a sharp sense of groove. Collage's 'Mit Den Puppen Tanzen' resurfaces as making it a hidden treasure for fans of forward-thinking dance music. The title track is a sleek blend of disco and electro, layering pulsating synths over a club-ready rhythm that still feels ahead of its time. 'Schwarze Nacht' twists post-disco elements into something funkier, reinterpreting familiar grooves with fresh energy. 'Harter Film' leans further into an edgy new wave sound, its electro beat driving a tense yet undeniably danceable atmosphere. Balancing underground cool with accessible hooks, this is a record that effortlessly bridged electronic experimentation and dancefloor appeal. A vital listen for those who appreciate the history of an exciting time between post-disco, house music and the 80s new wave sound.
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.
Tomoko Kina - "Tie Island" (No Man's Island mix) (5:08)
Review: Japan's Fourth Wave Record Factory sure does know how to serve up brilliantly beguiling sounds that ate you well out of your here and now. Next up is this, 'Dondon Bushi' 7" by Shoukichi Kina, Champloo and Tomoko Kina that explores a mix of Okinawan traditional sounds and modern grooves. The Mbira dance mix of the A-side jam is a bubbly rhythm with worldly percussion and soulful melodies that echo folk majesty and are topped with a wonderful weird vocal from Shoukichi Kina. On the flip, there is a more lazy and downtempo style dub rhythm, 'Tie Island' (No Man's Island mix) which is another worldly trip.
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: 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: Journeys through melodic electronica by blending new material with club-ready reworks like the Radio 2-supported (!!) 'Love Love Love - Here I Come.' True to Chicane's aesthetic, the album is rich in atmosphere, optimism and nostalgia and is great for both relaxation and dancefloor workouts. The 2025 vinyl release for Record Store Day marks the first time these mixes and extended versions have appeared in physical format. With a global tour, club shows, and a Royal Albert Hall orchestral concert on the horizon, Trampolines kicks off another great chapter for Chicane.
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: The third LP in the Chypho series from Jahbulon Records, Episodes in Oceanography, features striking cover art that helps make it another collector's gem. Chypho hails from Huntsville, Alabama and the music here does what it says not he tine - profiles an underwater world in painterly and immersive ambient tones. There are plenty of microscopic details that drift by, shimmering sun rays that piece the surface and implied rhythms that sway to and fro like the shifting sands of the ocean floor. It's a real soother for the soul but a great bit of nourishment for the mind.
Review: Chypho is on a roll with this super trio of albums on Jahbulon Records. The second album in the Episodes in Oceanography series, is another must-cop for ambient lovers and it is enhanced by striking cover art and great mastering. Hailing from Huntsville, Alabama, Chypho's music vividly explores an underwater world through immersive ambient tones and this edition captures subtle, microscopic details in deft melodies, with bright keys breaking the surface and supple rhythms swaying like ocean currents. It's a soothing journey for the soul, offering both relaxation and nourishment for the mind, and is a tranquil, yet thought-provoking place to get lost. Very nice indeed.
Review: Balearic scene stalwarts Chris Coco and DJ Rocca are old pals, with the pair first working together five years ago on an EP released by Faze Action's FAR imprint. Cocorocca, though, is their first collaborative full-length - a set that cannily combines Coco's love of fluid pianos, tactile downtempo grooves and sun-soaked ambient textures with DJ Rocca's passion for dubby basslines, moon-lit low-tempo nu-disco, starry Balearic synth-pop and the trippy and psychedelic ethos of Italy's 1980s Afro-cosmic scene. As a result, there's plenty of subtle variety on show - compare, for example, the dubbed-out slow acid oddness of '303/808' with the sunset-ready dancefloor colour of 'Sunshine Love' and the slap bass wielding dub disco madness of 'Night Dubbin' - as well as plenty club-ready material.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.