Review: Laugh Track is The National's most freewheeling, all-hands-on-deck album in years. If Frankenstein represented a rebuilding of trust between group members after 20+ years together, the vibrant, exploratory Laugh Track is both the product of that faith and a new statement of intent. Revelling in the license to radically upend its creative process, The National honed most of this material in live performances on tour this year and captured those invigorated versions in impromptu sessions at producer Tucker Martine's Portland studio, Flora Recording & Playback. The nearly eight-minute album closer 'Smoke Detector' was recorded in June during a Vancouver soundcheck, completing a body of work bristling with spontaneity and vintage rock energy that makes a perfect complement to the songs found on its more introspective predecessor.
Review: One of many names in the pantheons of Tokyo's electronic music triumphs, despite their acclaim, reverence among boffins, and the sprinkling of high profile UK remixers that helped spread their output further (copies of reworkings by The Black Dog, Autechre and Global Communication fetch a fair song on the resale market) most will never have heard about Nav Katze. Their loss, and one we'd like to put right if possible.
Formed in 1984 as a trio - Naoko Iimura (guitar), Miwako Yamaguchi (vocals and bass), and Shino Furutachi (drums) - the band would put out two well received record on SWITCH before migrating to the far more prominent label Victor Music Industries for 1991's Kanki, at which point three became two with Furutachi stepping down. This package showcases not only why their original material was so sought after, with trance notes, IDM and ambient and pop meeting in beautiful soundscapes - but also what can happen when new parties get involved, with remixes from Aphex Twin, Sun Electric and Disjecta included.
Review: A fantastic new pressing of a band who were an important part of the grebo scene in the late 80s and early 90s. Having earned a loyal fanbase with God Fodder, which is their electronically-tinged grunge and pop-punk leaning debut album, this follow-up showed them buck the trend of the difficult second album and deliver the goods. The chart-bothering single 'Not Sleeping Around' is a banger with Stone Roses-y wah guitars, an infectious vocal melody and urgent, hard-hitting rock structure. The same year this was originally released they headlined the NME stage at Glastonbury and cemented their reputation as one of the best live bands in Britain of that time.
Review: Some Furtive Years - A Ned's Anthology is an excellent collection from the 90s Britpop band Ned's Atomic Dustbin, known for their edgy blend of punk and funk-influenced pop songs that impressed the UK fans and beyond from 1991 to 1995. This compilation, assembled with the band's input in 2007, includes 16 of their most beloved tracks, such as 'Grey Cell Green,' 'Kill Your Television,' 'Until You Find Out,' 'Not Sleeping Around,' and 'Cut Up.' Furtive Years effectively highlights the best of Ned's Atomic Dustbin, showcasing the band's high-energy, post-"Madchester" alternative rock sound and proving just how underrated they were. For the first time, Some Furtive Years - A Ned's Anthology is available on vinyl as a limited edition release. This 2LP set is pressed on yellow-colored 180-gram audiophile vinyl with an etched D-side and includes an insert.
All I Ask Of Myself Is That I Hold Together (4:27)
Floote (5:34)
Premonition (3:46)
Talk Me Down (1:59)
Borehole (1:15)
Your Only Joke (3:52)
Stuck (4:00)
To Be Right (4:00)
I Want It Over (4:00)
Traffic (4:00)
Song Eleven Could Take Forever (1:19)
Review: Ned's Atomic Dustbin's final studio album, Brainbloodvolume, marks a departure from the Stourbridge earlier pop roots, embracing a diverse array of styles and experimental approaches. Released initially in the U.S. in March 1995 before reaching the U.K. in July that year, the album received a mixed reception due to the overwhelming Brit-pop wave at the time. However, it stands out as an ambitious and energetic release, showing the band's evolution with ultramodern production, electronic elements and adventurous sampling.
Review: This troupe, fronted by the honeyed tones of vocalist and former child actor Jessie Rutherford, have their set their stall out with a sound that could scarcely sound more like their homeland of California - expansive, carefree and slick as always. 'Wiped Out' takes their R&B-tinged indie-pop sound, to a beachside destination where the sun-kissed retro-pop of Phoenix melds with both quasi-surf ambience and the midnight R&B of Frank Ocean to result in an atmosphere for daydreaming and nightlife alike. 'Wiped Out' may win no awards for earthiness or grit, yet these winter months seem an ideal time for such easygoing escapism.
Review: Futreu cult classic alert: Wilurarrakutu is the captivating debut album from Papunya-based young Aboriginal Australian artist Keanu Nelson in which he blends intimate storytelling with minimalist, DIY electronic soundscapes. Sung in both Papunya Luritja and English, the eight tracks draw from Nelson's personal notebooks and feature Casio keyboards, drum machines, and subtle synths all with a made--on-the-kitchen-table vine. Created in collaboration with Sydney producer Yuta Matsumura, who Nelson met during a chance visit, the album reflects influences from Papunya's gospel traditions and reggae beats shared in the remote community. Nelson's lyrics touch on family, heritage, and culture, balancing joy and melancholy meaning that Wilurarrakutu offers a tender sonic reflection of home and identity.
Review: Keanu Nelson is a young Aboriginal Australian artist from the remote community of Papunya, northwest of Alice Springs. He paints in the Western Desert movement style and, on this album, sings poems from his notebook over minimalist Casio beats programmed by Yuta Matsumura. His debut album, which came on the Altered States label, now gets re-issued on a larger scale. Inspired by local gospel and reggae beats, Keanu's songs explore family, home, and loss and he sings in a blend of both Papunya Luritja and English. The result is a haunting, original sound that is part Francis Bebey, part Suicide, and one that feels both familiar and groundbreaking.
Review: Nena's second album, released in 1984 and now reissued on striking red vinyl, was a shift from the assertive sound of their debut, presenting a more romantic and introspective approach. The album cover, featuring a shadowy band photo against a black backdrop and a simple question mark as its title, hints at its deeper emotional themes. While the opening track 'Rette Mich' carries forward the energy of their first album, the overall mood embraces love and longing, with Nena's voice revealing a touching vulnerability. The music leans toward 70s Baroque rock, combined with the catchy simplicity of 80s pop, as all band members contribute to the songwriting, ensuring a rich tapestry of melodic sophistication. The title track, initially released as a mellow single, captures the emotional complexity of desire and resonated deeply with fans, further solidifying Nena's status in the German pop scene. Following the unexpected success of '99 Luftballons', which became a worldwide hit, this album helped elevate Nena and her band beyond the constraints of the Neue Deutsche Welle movement, marking them as a unique force in pop music history. Its timeless appeal ensures that Nena remains a classic in German music.
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.