Review: Xiu Xiu's latest release, 13" Frank Beltrame Italian Stiletto with Bison Horn Grips, is a striking exploration of sonic chaos and emotional depth, reflecting the band's continual evolution and fearless creativity. The album, which marks a departure from previous aesthetic boundaries, showcases the unique talents of Angela Seo and Jamie Stewart. Recorded with the renowned John Congleton, known for his work with Chelsea Wolfe and Swans, this LP delivers a raw, visceral experience that challenges. The record's nine tracks feature their commitment to pushing musical limits. The name itself evokes a sense of edgy rebellion, mirroring the album's content which embraces randomness and disruption. From the unsettling ambiance of 'Veneficium' to the potent intensity of 'Common Loon,' each song confronts the listener with its own distinctive narrative and sound. This album is an audacious mix of industrial churn and psychedelic textures, wrapped in a framework of democratic, experimental ethos. Xiu Xiu's recent relocation to Berlin has infused the music with an urgency and defiant spirit, underscoring their desire to stay ahead of disaster. In 13" Frank Beltrame Italian Stiletto with Bison Horn Grips, Xiu Xiu offers a profound and unsettling journey, a vivid reminder of their enduring relevance and creative audacity.
Love When It Comes Down To It (feat Z-Man & Moniquea)
Dena City Council (feat Blkwest, Pasadena Sean Fka S-Dee, & Gr8 Dane)
Kinda Faded
Under The Sun (Enois Scroggins feat XL Middleton & Dynamite D)
Another Summer
I'm Just Sayin (Blkwest feat XL Middleton)
Shotgun (feat Rev & Bo-Rocc Of The Doveshack)
Too Grown 4 That (The Touch Funk feat XL Middleton & Espe)
Why Don't They Get It (feat Pasadena Sean Fka S-Dee)
Review: A compilation of tracks from past albums, collaborations and formerly unreleased cuts by XL Middleton, G-funk-master extraordinaire from LA. Compiled specifically for XL's recent Japan tour, this release comprises the bulk of remaining copies, which, we can vouch, flew largely off the shelves, and fast. The sole focus on G-funk, albeit in his own signature style, has proven so far effective for XL; his production style tends towards the unmistakably steezy and squeezy, and it also borders on West Coast crunk and DJ Mustard-esque ratchet at points. XL entertains wonky 808s and smooth 2-stepped blears, effectively conveying the mood of "layered back", best enshrined in the happily system-conscious track 'Unemployment'.
Like We Used To Do (feat I, Ced & Moniquea) (4:33)
Review: If you think you know a cooler cat and more brilliant boogie producer than XL Middleton right now then you're lying. His Tap Water very much set that reparation in motion when it arrived back in 2016 right when modern funk was making a comeback thank to Dam Funk et al. It's a hard to find original that still stands up and now it has been followed up by a second volume of brilliantly squelch analogue funk, dazzling boogie baselines, lush sci-fi chords and retro future fills, vocals and hooks.
Review: Sacred Bones is one of the top indie labels around releasing some of the best variety of great music also. This time they are on the reissue mission to highlight a band that is lesser known outside Germany. Hamburg's X Mal Deutschland. The all-female band were formed in 1980 and released four albums and a handful of singles throughout the 80's. Most notably known for being on the iconic 4AD label some time and even opening for Cocteau Twins in the UK on dates. This compilations collects their first two singles and two key tracks that were featured on compilations only. Eight tracks in total that show their early sound. From experimental sounding pieces to all out Goth Rock, in just the two years this CD covers, you can hear the evolution of the band harnassing their power.
Review: X Mal Deutschland formed in Hamburg 1980 into the post punk era. Most well known for being signed to 4AD records but are slowly being discovered and enjoyed by more fans in recent years. One of the top indie labels in recent years, Sacred Bones is an ideal home to house this early compilation of their work. This package takes all three tracks from their first two singles Schwarze Welt and Incubus Succubus plus adds two other compilation only tracks in 'Allein' and 'Kalbermarsch'. The music is raw and powerful; blending a German punk sound while sprinkling in some avante-garde electronics and atmosphere. You can hear the evolution and growth in the band in just the two years this release covers. Growing from a raw band experimenting with sound and structure to a powerful goth rock band. This version is presented on beautiful purple vinyl. If you are big fan of Minimal Wave discoveries then you will be happy to add this great sounding vinyl to your collection. Thank you Sacred Bones!
Review: English band XTC served up White Music, their debut album, in 1978 having already impressed three months earlier with their debut EP. The album had modest chart success, making number 38 i the charts, and spaced the infamous single 'Statue of Liberty' which the BBC promptly banned on account of the line 'In my fantasy I sail beneath your skirt. It sure seems tame by modern standards but it helped gain the band more notoriety for their hyperactive post-punk sounds. While one reviewer at the time said the album was "aimed at bored Yes fans" it was a fine and hard to define debut that set the band in good stead.
Review: The legacy of XTC simultaneously reveals the inner workings and inflexibility of the music industry and how easy it is to be incredibly talented and forward-thinking yet still languish in relative obscurity. Of course most musos are pretty familiar with these New Wavers, but at least some of that knowledge has been garnered retrospectively, through revisiting and reappraising.
'Oranges & Lemons', first released in 1989, is the band at their smash hit-potential best, and also on the cusp of their eventual decline. It's as fresh as any that came before - far more than just New Wave happening here (synth pop, DIY indie), and nobody was looking to reign anything in, allowing the sprawling contents to span two whole discs unabridged. Another piece of compelling evidence to say that XTC's main problems were the fact managers and labels didn't really get what they were aiming for, musically, rather than their notorious avoidance of tours.
Review: A whole series of XTC classics are being reissued right now and the latest is Mummer. It has been freshly cut at Loud Mastering and pressed up onto an eye waveringly good 200g vinyl. It was the sixth record from the British rock outfit and was released in 1983. It was the last record to feature the drumming of Terry Chambers and though it didn't have much album chart success it did spawn singles 'Great Fire', 'Wonderland' and 'Love on a Farmboy's Wages', which managed to hit No. 50 on the UK singles chart.
Review: XTC's cult 1984 album 'The Big Express' was essentially just that - a 'big expression' of brash indie noise, tempered by the shadow of the industrial old Wiltshire town in which the band grew up, Swindon. In true post-punk fashion, the band combined the electronic Linndrum with guitar, bass and vocals. But the 'Express', in their words, wasn't just self-expression; electronic rock, to XTC, also reflected the quite literal concept of the 'railway express', reflecting Swindon's reputation as one of the core towns behind the UK's railway system. A remarkable album, and a slice of history at that.
Review: XTC's 1986 album Skylarking, under the production of Todd Rundgren, is a remarkable example of chamber-pop that traverses a single day through its evocative tracks. The recording process was marked by friction, with Rundgren's dominant style clashing with Andy Partridge's precise vision. Nonetheless, Rundgren's choice to structure the album to reflect the progression of a dayifrom the morning's 'Summer's Cauldron' to the evening's 'Dying' and 'Sacrificial Bonfire'iprovided a unifying narrative arc. With amazing material like 'Dear God', this made for a winning combination in laying out the album as a whole. Songs like 'Grass' and 'The Meeting Place' highlight the band's flair for pastoral storytelling, while "Earn Enough for Us" poignantly explores themes of love and financial struggle. Despite the behind-the-scenes turmoil, the album's lush arrangements and insightful lyrics present a whimsical, profound perspective on the natural world, establishing Skylarking as a standout work in XTC's catalog. Now, reissued by Steven Wilson, this version is perhaps the most ideal one to have.
Review: The reissued and remastered CD of XTC's Skylarking, now with added bonus material including a 5.1 mix, revisits the band's dynamic collaboration with producer Todd Rundgren. Released in 1986, the album showed the band's transformation into a studio-only group after frontman Andy Partridge's decision to stop touring. The album featured the band's breakthrough hit 'Dear God' that helped catapult them to one of the leaders of alternative music . This remastered edition enhances the intricate, lush arrangements of tracks like 'Summer's Cauldron' and 'Season Cycle,' highlighting the album's day-in-the-life concept conceived by Rundgren. Rundgren's influence is evident in the album's seamless transitions and cohesive narrative, despite the behind-the-scenes tension with Partridge. The producer's knack for innovative arrangements and Partridge's introspective lyrics blend into a compelling collection of songs. Colin Moulding's pastoral contributions, such as 'Grass' and 'The Meeting Place,' add depth and charm to the album. The added 5.1 mix and bonus material bring a fresh perspective to this classic, allowing fans to experience Skylarking in a new light. From the upbeat 'Earn Enough for Us' to the reflective 'Dying' and 'Sacrificial Bonfire,' the album remains an important piece in XTC's creative growth and Rundgren's visionary production.
Beres Hammond & Sugar Minott & Tony Rebel - "Where Is The Love" (3:59)
Charlie Chaplin & Josey Wales - "Swing Low" (4:05)
Luciano & Sizzla - "Jah Line" (4:29)
Luciano - "Chant Out" (3:57)
Sizzla - "No White God" (4:10)
Mikey General - "Sinners" (4:32)
Cocoa Tea & Tony Rebel - "Grow Your Locks" (3:54)
Luciano & Mutabaruka - "Psalms 24" (4:17)
Capleton - "Stand Tall" (4:12)
Luciano & Marcia Griffiths - "Hold On Natty" (3:59)
Prince Malachi & Turbulance - "We Praise Jah" (4:50)
Review: Phillip "Fatis" Burrell was a visionary producer who discovered and nurtured many of Jamaica's top reggae artists, including Luciano, Sizzla, and Capleton. A devout Rastafarian, Fatis demanded integrity from his artists and held them to high standards. He founded the Xterminator label, known for its tough yet soulful music and worked with legendary musicians like Sly & Robbie. Fatis formed a strong partnership and friendship with many reggae greats and collaborated on albums that shaped reggae's international presence. His sudden death at 59 left a deep void, but his legacy lives on through his music and his children, no least with this great compilation.
Review: Arriving five years after the London trio's last album 'Co-Exist', this third effort shows a band ready to make a bold step on from the sound that haunted radio and TV links alike around the start of this decade. And in what could be said to be a move from innocence to experience, they're doing so with hitherto unrevealed confidence and chutzpah..'I See You' expands on their trademark intimate melancholia with considerable finesse, yet longtime fans shouldn't worry too much about them losing their gloomy charm in the process - more so this is a band brandishing an expanded palette where once they were content to paint their room black.
Review: Arriving five years after the London trio's last album 'Co-Exist', this third effort shows a band ready to make a bold step on from the sound that haunted radio and TV links alike around the start of this decade. And in what could be said to be a move from innocence to experience, they're doing so with hitherto unrevealed confidence and chutzpah..'I See You' expands on their trademark intimate melancholia with considerable finesse, yet longtime fans shouldn't worry too much about them losing their gloomy charm in the process - more so this is a band brandishing an expanded palette where once they were content to paint their room black.
Review: Ten years on, and Coexist has lost none of its charm. The anticipation around The xx's sophomore effort was high following their widely acclaimed debut, and the band were assured enough to not just play it safe with a repeat performance but instead evolve their sound in new directions. There was space for lighter, pop-informed moments to match the more sombre approach they became best known for, and standout moments like 'Angels', 'Reunion' and 'Swept Away' have since become classics in the band's canon. This commemorative pressing comes on clear vinyl - an understated celebration of an essential album in the indie-pop sphere.
Review: Here it is: the long awaited second album from Mercury award winning, waif-like London trio The xx. The band have enjoyed a huge amount of success since their eponymous debut album dropped in 2009, and Coexist sees them subtly tweak their sound rather than wholly reinvent it, with their booming drums traded in for something less grandiose. There are some stunning moments on the LP (opener "Angels", "Reunion" and "Swept Away" all linger long in the memory) that will ensure it swats any "difficult second album" talk to one side; this is the sound of a band comfortable in their own skin. Caps doffed to Young Turks who present the LP on sumptuous heavyweight vinyl with included CD and booklet.
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