In Which The Lines Are Drawn/The Larder Is Emptied/The Air Resounds To Akina Glass/While Two Of The Pipes Remain Silent (17:45)
And Thereafter A Minor Prang Occurs At 5-22-9/Cool Air Yields To The Last Strings/And The Fifth Floor Awaits Silence/As Inundation Draws The Curtains (16:45)
Review: An'archives introduce the debut from Tete de Chou, the quietly adventurous trio of Mark Anderson (Greymouth, Suishou No Fune), Kurumi Kido, and Arlo Wynks. Emerging organically from informal sessions and shared yakitori nights, their music developed in intimate settings; home shows in tatami rooms, improvised studio jams, long-distance collaborations. Sessions between Japan and New Zealand carried over the album's dialectic of place and movement, described by Anderson as "almost a travel diary." Dulcimer, ichigenkin, glockenspiel, reeds, and homemade electronics interlace like a five-ply plait, causing an unfixed yet deeply affecting effect.
Review: In 1970, soul icon Carla Thomas recorded a full album at Memphis' American Sound Studio for Stax Records. While two tracks were released as a single, the complete project was shelved and remained unreleased until it surfaced in a 2013 compilation. Now, 55 years later, the long-lost album finally sees its vinyl debut. Featuring songs penned by songwriting legends such as James Taylor, The Bee Gees and the duo Goffin and King, this record offers a long-overdue spotlight on a hidden gem from one of Stax's most beloved voices and captures a soulful moment in time that nearly slipped through the cracks.
You Don't Miss A Good Thing (Until It's Gone) (2:22)
Some Things You Never Get Used To (2:46)
Anyone Who Knows What Love Is (Will Understand) (2:54)
It's Starting To Get To Me Now (2:23)
Times Have Changed (2:26)
He's My Guy (2:38)
Baby Don't Look Down (2:33)
What Are You Trying To Do (2:12)
Wait, Wait, Wait (2:35)
Review: Irma Thomas, born Irma Lee in New Orleans, is routinely hailed the Soul Queen of the city. Once billed among Aretha Franklin and Etta James, Thomas eventually found her own recognition as an originary light repping New Orleans, less an international, commercial success story. Beginning her career in 1959, she was one of many voices who sung for a watershed moment r&b and soul, as labels like Minit and Imperial helped solidify the genre's identification with Louisiana, with its designs on the Southern soul genre at large. In 1966, Thomas released her second solo album, now reissued here through MOV. Including the iconic song 'Anyone Who Knows What Love Is (Will Understand)', which was co-written by Randy Newman and country star Jeannie Seely, the track became a hit, finding a toehold on the Billboard Hot 100. Beyond its commercial success, the ballad has garnered widespread recognition, notably appearing in several episodes of the hit series Black Mirror. But it's the record as a whole that really stirs our guts, obviating Thomas' early-career openness to romance and excess: "oh-oh, take a look at this girl, I'm the girl that wants you..." goes the title track...
Review: Also known as "Portland's Pillar Of Soul", Ural Thomas is a widely esteemed Portland based r&b singer-songwriter and musician, active since the 1950s. Still going strong over almost three-quarter century's worth of performing and releasing, Thomas' breathtaking oeuvre comes to a recent head on this latest LP+7" via Cairo, 'Nat Ural'. Eschewing his latest incarnation with backing The Pain (making up Ural Thomas and the Pain), which was formed after a long hiatus, we return to Thomas' solo sensibility here. A new LP backed up by a sneaky extra 7", Thomas' distinctive, homely brand of strutting vocal soul is once more put on display here.
Review: Alternative rock pioneers Throwing Muses are one of the earliest allies of Pixies, touring together as some of 4AD's few American bands. They were outperformed by Pixies commercially, but that's not what Throwing Muses are about: they continue to be much loved and continue to provide us with earnest, deeply artful songs. This new album, out on the brilliant Fire Records, was largely written by the band's Kristin Hersch on Moonlight Beach in Encinitas, California - hence the title. The songs were then taken to Steve Rizzo's Stable Sound Studio in Portsmouth, Rhode Island, where beautiful cello parts from Pete Harvey were fused in with acoustic guitars. Hersh might call Harvey the star of the show, but the haunting melodies of her voice, particularly on 'Summer of Love', are achingly beautiful. Throwing Muses remain a beacon of light.
Review: Breton artist Yann Tiersen's new album is divided into two distinct parts, each with its own identity. Rathlin from a Distance features eight introspective piano pieces named after locations Tiersen visited during his 2023 sailing tour, such as the Fastnet Lighthouse and the Faroe Islands. The music evokes introspection and tranquillity throughout and creates a meditative atmosphere that makes a lasting and cathartic impact. In contrast, The Liquid Hour is an expansive blend of electronic and psychedelic rhythms born from Tiersen's reflections on political and social change during his time at sea. The section's haunting melodies and Emilie Quinquis' vocals make a great counter to part one.
Review: Mille Plateaux and Raster hero Andreas Tilliander meets Fire! Orchestra's Goran Kajfes somewhere deep - and we mean DEEP - in the jazz cosmos. The farthest reaches of a universe far, far away, but one that still seems to understand how joyful vast can sound when pierced by the haunting yet strangely alluring sound of brass. But simply defining this as jazz misses a point, then throws us well beyond the pale. In Cmin would be nothing without the electronic tricks and gadgetry that first made us feel as though we'd space-walked off the edge of the known galaxy, out past the Milky Way's stardust. Echoes, tape delays, things that add mood and timbre without necessarily shouting their presence. There's magic at work here. And, contrary to the 21st Century's obsession with under-the-hood, not knowing the how is the reason why you want this.
Review: Finnish jazz standout Timo Lassy returns with Live in Helsinki, a smashing new live album on We Jazz Records that again spotlights his dynamic trio. It comprises Lassy on tenor sax, Ville Herrala on double bass and Jaska Lukkarinen on drums and was recorded at G Livelab in 2023. The album breathes fresh life into tracks from Lassy's celebrated catalogue and mixes up raw, immediate cuts that are full of energy. The trio's chemistry is clear to hear and is driven by deep friendship and real musical trust. Compared to studio work, this live set captures a freer, edgier side of the group but it is still heartfelt, hard-swinging jazz that proves why Lassy packs hometown shows with ease.
Review: Shopping-as-hallucination was the idea behind Omega Mart, an immersive exhibition created by Meow Wolf in the capital of capitalistic pomp and OTT living, Las Vegas. A comment and scathing critique of a world that has convinced us of autonomy and individual agency but in feels more militant in its demand for consumption than the 1980s and 1990s ever were. Which is saying A LOT. One of the true auteurs of electronic music, Amon Tobin, was drafted for the score. A Living Room is an excerpt from that vast, blissful yet dystopian soundtrack. Calling on influences such as Jean Michel-Jarre, Vangelis and Brian Eno, this is an homage to synthetics in every possible way - its very beautiful and captivating existence reliant on the kind of inhuman instruments that are part and parcel of a society that no longer understands what is and isn't natural.
Review: More of a refinement than a total reinvention TOKiMONSTA's latest sees her subtly shifting her sound while retaining its essential character. While collaborations are present, they serve to highlight rather overshadow, her distinctive production style. This is a curated journey, moving fluidly between moments of quiet introspection and bursts of dancefloor energy. 'On Sum', the much-anticipated link-up with Anderson.Paak and Rae Khalil, is a clear standout. The established chemistry between TOKiMONSTA and.Paak is undeniable, their styles meshing seamlessly. Khalil's smooth vocals provide a captivating entry point, giving way to.Paak's effortless flow. It's a lesson in modern r&b, where soulful vocals meet TOKiMONSTA's signature rhythms and shimmering synths. This double LP isn't confined to 'On Sum', however. It explores a wider landscape. 'Corazon / Death By Disco Pt. 2' is pure kinetic energy, a samba-infused track built for sweaty dancefloors. But the album also makes space for quieter moments, with tracks like 'Eternal' and 'Reverie' offering a chance to breathe. It's here, in these more contemplative moments, that the intricacies of TOKiMONSTA's production truly come to the fore. This release is a statement, showcasingTOKiMONSTA's continued artistic growth, her ability to weave diverse influences into a cohesive and compelling whole. From the high-octane energy of 'Corazon/Death By Disco Pt. 2' to the understated beauty of 'On Sum', this is a journey worth taking.
Review: Bonafide and veteran Japanese house legend Satoshi Tommie is back with a second taste of his upcoming new album Magic Hour alongside a selection of fine remixes. First is an FDF Reshape of 'N01' which is dee, atmospheric and mid tempo techno, while the album's title cut then becomes a swamp, deep, menacing rework from Andrey Pushkarev. And FDF Rewire Fix of 'Phase Space' makes it into a deft, loopy, stuttering workout for the mind and the Sato Alternate Cut of 'Fast Track' is in fact a slow track steeped in dub dynamics.
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