Review: Searows is the moniker of Alec Duckart, a Portland-based indie folk star who is signed to Matt Maltese's label Last Recordings On Earth. Searows is influenced by the likes of Sufjan Stevens, Bon Iver and Iron & Wine and his falsetto has a similar power and timbre to that of his formative influences. Opening track 'Martingale' is beautifully stripped down and pulls you as a listener close to his soul. Meanwhile, on 'To Be Seen' Searows comes across like he's lamenting the death of something and it is a proper tear-jerker. Contrastingly, 'Toothache' is brighter with percussion and delay-laden electric guitar showing his talent for rich, lush arrangements. Matt Maltese has struck gold here by signing Searows. Plus, they're well-suited as they each appear to enjoy delving into post-apocalyptic work. Searows' previous release (on the Last Recordings On Earth label) is called End Of The World and before starting this label, Maltese released his hit single as a solo artist: 'As The World Caves In'. They suit it all so well.
Review: Anyone who has followed Emotional Rescue knows it has always does a fine job of documenting pock punk and UK punk dub's early years, in this case showcasing the previously unheralded work of Skinbat Scramble, who emerged from the mundanity of the Home Counties to converge on London during the early 80s. Core members Mark Eason and Fergus Crockford were simultaneously inspired by the speedy punk thills of the Roxy Club and the Two Tone scene of ska and reggae which ran alongside it, as well as counter cultural heroes of the generation before like Gong and Velvet Underground. They got to work distilliing slow tempos, experimental sounds, dub and much more into leftfield rhythms, and while the likes of 'Basement Voltaire' - all echoing electronics, high frequency blips and merciless drum machines - or the Clash-in-dub workout 'North By Northwest' are rooted very much in the Cold War/Thatcher years, their individuality and experimental vibe mean they've endured remarkably well. Scramble to get yourself a copy.
Review: The Smile's latest remix compendium is a striking one, with two eminent producers reimagining tracks from the British rock band/Radiohead offshoot's latest and third album, CUTOUTS. This remix-set takes the core of the band's genre-blend sound, from art rock to experimental electronica, and contorts it into yet another division of volatile allotropes, this time welcoming light show IDM extravaganzist James Holden and East Kent musician Robert Stillman. Both versions are full displays of productive talent, humanisti, but still cognitively vector-mapped out in digi-space ahead of time, mirroring the abstracted, rather listless and amoral lyrics heard in the title track ("And your force means nothing...")
Review: This is the first Suede release with a co-writing credit for guitarist Richard Oakes, who succeeded Bernard Butler. Oakes is on the b-side 'Together', while the a-side - the best track on Suede's iconic second album Dog Man Star - is credited to the legendary plankspanker Butler. 'New Generation' is a beautiful blend of Manic Street Preachers-esque rock with Bowie and T-Rex-esque glam - it's a perfect pop song. Singer Brett Anderson is at his hooky and melodic best here. Meanwhile, 'Together' takes a more Stone Roses-y blues rock direction and it's tougher with more bile, but still majestic thanks to the lush wall of sound that Suede do so well, whilst retaining their hard rock DNA.
Review: Relatively recently reformed 'Camden lurch' icons Swervedriver release their first new music in more than five years. Two tracks were recorded with Ride's Mark Gardner, at his OX4 Sound studio in Oxfordshire. The other two were recorded - quite surprisingly - by Rick Beato, who we all know is usually interviewing great guitar players. Well, he clearly has ability himself and is a massive fan of the band so is well suited. The format of this release is what's quite surprising and refreshing. We often see bands releasing EPs when they first start out and Swervedriver haven't put out one since the early 90s when they were on Alan McGee's Creation Records and riding the shoegaze boom that had begun with the likes of My Bloody Valentine and Dinosaur Jr. It's a thoroughly welcome return to the shelves from one of Britain's most treasured bands.
Review: A remastering and reissue of the Jack Frost recordings, a collaboration between two acclaimed Australian songwriters: Grand McLennan from The Go-Betweens and Steve Kilbey, the lead singer and bassist in The Church. The Church are well-known for their hit 'Under The Milky Way', which made the Donnie Darko soundtrack. Included in this set is their two studio albums: The Snow Job (1995) has never been on vinyl before and the self-titled debut (1991) has been out of print for more than 20 years. There's also bonus material tucked in. This release comes as The Go-Betweens have been enjoying a renaissance recently, thanks to a successful reissue campaign, and The Church have been touring. Despite this being a side project, there's no sense it's an afterthought as the pair clearly thrived in each other's company and wrote melodic, wistful and affecting songs of the highest order. Noel Gallagher would likely have been proud to write the reverb-y love song 'Thought I Was Over You' and 'Every Hour God Sends' is up there with Echo & The Bunnymen's best stuff. Meanwhile, 'Ramble' has a stark arpeggio-laden beauty to it, building from its sparse beginning into something more textured and darkly atmospheric. There's an embarrassment of riches to delve into here and it cements the pair's reputation for being among Australia's greatest ever songwriters.
Providence (US Television Broadcast 28th April 1991)
Jack Frost Blues (CD2: Snow Job)
Aviatrix
Running From The Body
Shakedown
You Don't Know
Weightless & Wild
Pony Express
Cousin/Angel
Little Song
Empire
Angela Carter
Haze
Dry Dock
On Persuasion (bonus track)
Bad For You (bonus track)
Providence (CD3: live & radio Performances)
Didn't Know Where I Was
Civil War Lament
Ramble
The Wrong Road
Bye Bye Pride
Thought That I Was Over You
Every Hour God Sends
Number Eleven
Everything Takes Forever
Thought That I Was Over You
Didn't Know Where I Was
Providence
Civil War Lament
Review: Any aspiring rocker worth their salt in Australia is likely familiar with Steve Kilbey from his work being the lead singer of 'Under The Milky Way' hitmakers The Church. Here he combines with The Go-Between' Grant McLennan to make the great supergroup Jack Frost. The collection includes a remastering and reissue of their two studio albums: The Snow Job (1995) and the self-titled debut (1991) - plus bonus material. It's stacked with classics, but 'Birdowner', which evokes Morrison Hotel-era Jim Morrion, is a huge standout. As is Civil War Lament', but for different reasons: this goes into acoustic psych-folk territory, leaning towards some Pink Floyd styles. Elsewhere, 'Trapeze Boy' conveys memories of listening to Comet Gain, who may well have been influenced by the underrated, masterful Jack Frost.
Review: Legendary British outfit Saint Etienne returned with their 12th studio album late last year, and now it lands on vinyl via Heavenly Recordings. A much-awaited follow-up to 2021's I've Been Trying To Tell You, this ambient collection offers a gentle, immersive experience designed to ease the noise of daily life. It was produced with Augustin Bousfield and blends songs, spoken word and rain-soaked textures into a seamless dreamscape, all recorded between Saltaire in the north and Hove down on the south coast. It captures the fragile space between waking and sleep with highlights like 'Half Light' and 'Preflyte'. As such, The Night is best experienced on headphones and is ideal for late hours, reflection and introspection.
Every Day's A Holiday, Every Night's A Party (2:49)
Brisbane (Security City) (4:20)
Church Of Indifference (5:05)
Crazy Googenheimer Blues (2:29)
Everything's Fine (2:37)
The Prisoner (4:44)
Security (2:18)
This Time (3:15)
Take This Heart Of Mine (2:28)
The Chameleon (5:06)
Save Me (3:22)
Review: This reissue from The Saints brings their 1978 album back to vinyl with all the raw energy and punk spirit that defined the band's early years. 'Swing For The Crime' opens the album with its driving rhythm and chaotic energy, while 'All Times Through Paradise' showcases their ability to blend melody with dissonance. Tracks like 'Crazy Googenheimer Blues' and 'The Prisoner' demonstrate the band's eclectic style, merging rock, punk and blues, offering listeners a chance to experience one of punk rock's most influential albums in all its analog glory.
Review: Australia isn't the first location to pop into your mind when the word punk is mentioned, but Brisbane trio The Saints were actually the first band outside the US to release a record in the genre, beating luminaries like The Damned and Sex Pistols to the title. Eternally Yours was their second album and brings a raw, unapologetic energy to vinyl with its blend of punk rock, garage and power pop. Kicking off with the iconic 'Know Your Product,' the album hits hard, capturing the essence of the band's bold, infectious live sound, with tracks like 'This Perfect Day' and 'Private Affair' lacing catchy melodies with a defiant attitude. A forceful energy and sharp sound in full force.
Review: Reading-based folktronica and dreampop band Saloon were John Peel favourites during their five-and-a-half-year run at the turn of the century. They frequently appeared in his Festive 50 countdown with their languid lo-fi sound often being compared to what Belle and Sebastian might sound like in space. This new release compiles their two Peel Sessions from 2001 and 2003 and makes them available for the first time on wax. The album includes their celebrated track 'Girls Are The New Boys,' which topped Peel's Festive 50 in 2002.
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