Review: Jules Buckley can do absolutely no wrong in our eyes. The conductor responsible for leading the globally revered Heritage Orchestra has made a name for himself experimenting with the limits and limitless potential of classical music, taking influences from the world of dance and club tunes to open up orchestral performances to new demographics and generations.
He also has the honour of heading up the BBC Symphony Orchestra at select performances, another of the world's finest ensembles. This is just one recording from one of those shows, but clearly proves there's genius at work. The same could be said for Paul Weller, the iconic UK guitarist and singer who here invites said players to rethink tracks from his back catalogue for a staggering 75-minute set that elevates the rocker's oeuvre to greater heights than ever before.
Review: Singing siblings from Millbrae, California, a suburb of swinging San Francisco, the Flower sisters - their actual surname - released one full length album, Genesis, in 1969, at the tail end of a decade that had transformed youth culture and society as a whole. The sound could not have been more apt, a combination of floaty surrealism, delicate pop, and floral grooves (whatever that means). Aside from a couple of other appearances - background vocals on two Cal Tjader albums, and Wendy's work on Jane Weaver's Fallen By The Watchbird LP - they vanished into the ether from which they came, only celebrated by artists who have looked to recreate and represent their work, most notably Super Furry Animals with 'By The Sea'. Diving into the quiet, calm, soothing and emotionally nourishing originals here is proof of why those who remember are still in love with what they heard.
Review: Bait's Motel is the third ever album by what is probably Finland's only longstanding successful ska and rockabilly band, Whistle Bait. Reissued on LP after its initial CD run in 2001, the record's issuance marked the rough twenty-year point of their career, and now this one marks the fortieth. Eschewing the long spate of bonus tracks present on the CD edition, this LP edition boasts a less cumbersome 14 tracks, featuring cover versions of timeless originals by the likes of the Loved Ones, as well as choice originals such as 'Another Lazy Summer' and 'Sue's Gonna Be Mad'.
Review: Entering White Hills' Brooklyn studio reveals their intense passion for music and art. Vinyl crates line the space, and guitars are scattered about as synthesisers and cables cover a purple satin bed and gouache paintings and subversive memorabilia adorn the walls. This creative hub also serves as the headquarters for their label and was the birthplace of their latest album, Beyond This Fiction. For nearly two decades, White Hills has dazzled with their blend of neo-psychedelia, art rock, and post-punk. Their cult status was cemented by their role in Jim Jarmusch's Only Lovers Left Alive and their new album, recorded with Martin Bisi, delves into Joseph Campbell's concept of "riding between opposites," blending shoegaze and ambient sounds with a stronger focus on vocals. Tracks like 'Throw It Up In The Air' and 'Killing Crimson' highlight their evolving sound, and make this a great addition to the band's discography.
Review: Proper Music embark on a proper reissue of White Noise's 1969 debut and power-electronics-populariser, An Electric Storm. A bastion of cult musique concrete albumry born of the triadic genii of David Vorhaus, Brian Hodgson, and Delia Derbyshire, An Electric Storm was a watershed album at the time. And given certain conservative proclivities of the music releasing landscape today, it very well still could be. Going into what would surely become a longstanding collaborative project, this LP established the trio's patented approach to recording - 'storm techniques' - which aimed to proffer to the listener sounds which, the band wagered, would've never been heard before. A natural stipule of the BBC Radiophonic Workshop, the album is the sonic quintessence of the word 'tinkering' - the group combined all manner of tape loops, vocals, live percussion and weirdo-phonics - yet also works in motifs of the then popular modes of psychedelia and chamber pop; these songs are otherwise unsettlingly embedded in licentious, doomy texturescapes, comprising various groans, gulps, moans and bangs.
Review: RECOMMENDED
Let's face it, White Blood Cells is the moment when The White Stripes really broke the mould. It's a continuation of Jack and Meg's garage rock aesthetic as fine-tuned over two previous albums, and wholeheartedly a straight up rock 'n' roll album. But the elements are so perfectly primed it's impossible not to rank this as one of the greatest long form outings of this century, so far. And we're not alone - Rolling Stone even reckons it's among the best LPs of all time. Pity the fool who disagrees.
From the racing 'Fell in Love With A Girl', to the beguiling mystery of 'The Union Forever', 'I Think I Smell A Rat''s meld of mariachi riffs and mosh stomp and the emotional piano closer 'This Protector', to the innocent acoustic joy of 'We're Going To Be Friends', this is a masterclass of songwriting and arrangement, tracks that evolve, perplex, surprise, and - most importantly - entertain.
Review: Jack White has firmly established himself as many things-rock renaissance man and paragon of analogue recording amongst them, but strangest of all in the evolution of this mercurial figure is the way he's consistently challenged himself, and essentially only made wayward and compromising records as his twisted path has continued. Case in point is Lazaretto; perhaps his most eclectic and eccentric work to date, yet also his most focused, personal and euphoric in tone. A glorious trawl through a plethora of styles and moods and replacing the riff-worship of The White Stripes with enough freakish ideas to fill five albums this is proof positive that Jack White's muse is at its most potent when at its wildest.
Review: Jack White's sixth solo album, No Name, arrives as a delightful surprise, offering a raw and invigorating return to his roots. Released with minimal fanfare and initially devoid of track titles, this album shows off White's playful and enigmatic nature. Fans of all stripes will find something to love here: diehard collectors get a rare gem for their collections, while those simply drawn to White's music can dive into 13 new tracks, now officially titled and available on vinyl. Produced at Third Man Records Studios in Nashville, No Name strips away the grandiosity of White's recent experiments, embracing a raw, unpolished sound that harks back to his White Stripes days. The album's blues-infused rock, with its razor-sharp riffs and primal drumming, feels more alive and immediate than his recent work. Songs like 'Bless Yourself' channel the heavy, bruising power of early Shellac and Led Zeppelin, while 'Terminal Archenemy Endling' blends heavy rock with spiritual uplift. White's lyrics are sharp and biting, delivering both humor and intensity. Tracks like 'Archbishop Harold Holmes' and 'What's the Rumpus?' showcase his ability to balance the sublime and the ridiculous, with catchy hooks and incisive commentary. Leaner and more focused than he's been in years, No Name is a thrilling reminder of White's genius and overall, an enjoyable rock album to listen to.
Review: David Coverdale's Into the Light marked their return after a three-year hiatus, and his first true solo album since 1978's Northwind. Released in 2000 and now titled a Whitesnake release, the album is Coverdale stepping away at the time and to rediscover himself musically. Collaborating with a talented lineup of musicians, including Earl Slick and Doug Bossi, Into the Light ventures beyond the original Whitesnake sound, incorporating blues, acoustic melodies and Zeppelin-esque elements. The album opens with the instrumental 'Into the Light', signaling a fresh start, followed by the blues-heavy 'River Song', a nod to Coverdale's Deep Purple roots. Tracks like 'She Give Me' echo his collaboration with Jimmy Page, though they sometimes fall short of a satisfying climax. The album's melodies and guitar work stand out, offering a mix of mindless fun and occasional gems that fans of Coverdale's career will appreciate.
Review: The reissue of David Coverdale's 1977 debut solo album, now presented under the Whitesnake band name, is an exciting opportunity to revisit the roots of one of rock's most iconic voices. Originally released following Deep Purple's split, this album, produced by ex-Deep Purple bassist Roger Glover, is a key piece of the Whitesnake legacy, showcasing the early formation of the band's sound. With the recent passing of David Coverdale, this reissue is a fitting tribute, highlighting the journey of a singer who would go on to define the sound of an era. The album features future Whitesnake guitarist Micky Moody, whose collaboration with Coverdale on tracks like 'Blindman' and the title track 'Whitesnake' hints at the powerful direction the band would later take. From the r&b-infused rocker 'Lady' to the soulful 'Peace Lovin' Man', this album is an excellent first solo effort by the artist. This reissue is a celebration of David Coverdale's enduring legacy and the foundation of a band that would go on to rock the world.
Review: The reissue of David Coverdale's early solo albums, now appearing under the Whitesnake band name, is a thrilling celebration of his legacy, especially with the recent passing of the iconic singer. Originally released after a few years after Deep Purple's split in 1976, Northwinds mark a pivotal moment in Coverdale's career, featuring future Whitesnake guitarist Micky Moody and production by Deep Purple's Roger Glover. His second solo album showcases a young Coverdale discovering his sound, with tracks like 'Keep on Giving Me Love' and 'Breakdown' hinting at the hard rock brilliance that would define Whitesnake. Moody's guitar work and Coverdale's evolving songwriting shine throughout, particularly on 'Queen of Hearts' and 'Only My Soul,' which offer glimpses of the band's future direction. This album captures the raw, bluesy energy that laid the foundation for one of rock's greatest bands. With improved production and the historical significance of these tracks, this release is not just a nostalgic trip but a vital piece of rock history. Embrace the chance to experience the early roots of Whitesnake and the undeniable talent of David Coverdale in his formative years.
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