Review: Balear-y-eyed city pop from contemporary singer and pop musician Xiaolin, continuing her cover version releases on Bless You with another knife-edge crossing into dream pop. Having already covered 'Plastic Love' by Mariya Takeuchi and Prudence Liew's 'Afterwards', Xiaolin's is now revered as a deft rerubber of golden classics. Now comes 'Half A Dream', a version of Tina Liu's 1897 lead single, hailing from the urbane City Girl album. South Korean producer Mogwaa may back up the B-side with a remix, but for us, it's the doozy pads and laggard sample-pack hits on the A1 that make this one; the whole track sounds like one long hypnopompic awakening, as we blearily embrace the day, breathing in the downtown air.
Review: Following on from 2020's exceptional return to form Alphabetland, which saw the first full-length from Los Angeles punk pioneers X in 27 years (35 years with the OG line up), the incomparable four-piece of Exene Cervenka, Billy Zoom, John Doe and DJ Bonebrake finally get to go out on their own terms with the self-proclaimed swan song LP Smoke & Fiction. Between line up changes, differing visions, commercial flops and radio-baiting sonic shifts, the band's tumultuous 90's era would cause many a hiatus and add further blemishes to their early iconic catalogue, ultimately leading to an unsatisfactory conclusion to their life's work that they've managed to reclaim in a manner not many seasoned veterans ever get the chance. Ten bangers infused with their quintessential rockabilly-punk charm and elevated by Cervenka's still ludicrously intense cadence, with a coinciding farewell tour to come, this is the finale for X the band and we dear listeners have always deserved.
Review: Say the words 'pre-teen pop' to most people and they'll make for the hills faster than you can say "be afraid, be very afraid". In the case of X-Cetera, though, the presumption of garbage is inaccurate, albeit the underlying feeling of something being off i perhaps even unsettling i remains. Self-recorded in a very different time and a very different world, on the cusp of a new millennium and all its promises (lol), Jessica Hall, Ayden Mayeri, and sisters Janet and Mary Washburn give a wonderful example of how talented kids can be on Summer 2000. It's also a strange and weirdly i accidentally i trippy ride from beginning to end. Marrying elements of trip hop, r&b, indie, sugarcane pop and acoustic, the sickly sweet and naturally childish lyrics and delivery leave a macabre air lingering. Like the nursery rhyme in a horror movie, sort of. Once filed under chart hopeful, now avant garde.
Review: The sophomore and final studio album from punk icons X-Ray Spex. The highly sought-after album received a very limited CD-only release in 1995 on Receiver Records, and has been officially unavailable for the past 27 years. The album reunited the iconic X-Ray Spex vocalist Poly Styrene with original saxophonist Lora Logic and bassist Paul Dean, as well as guitar from Kula Shaker frontman Crispian Mills (as Red Spectre). Conscious Consumer was an upgrade of the classic debut with a same punk rock urgency and themes of consumerism, but with a poppier edge and a more considered wisdom gleamed from the ups and downs of life from the perspective of an older, wiser, Krishna devotee. This reissue includes the original and expanded artwork, as well as previously unpublished lyrics and original sleeve notes from Poly.
Get Loose (feat Dr Syntax & Professor Elemental) (2:29)
Watch Me Walk (feat Carys Abigail) (3:14)
Gimme Soul (3:15)
Bap Bap (2:39)
Love Inside (3:10)
Talkin' (2:33)
Review: X-Ray Ted's debut album, Moving On, is a tremendous journey through the realms of Funk, Soul, Hip Hop, and Breaks. With meticulous attention to detail and a keen ear for hidden musical treasures, X-Ray Ted delivers a collection that seamlessly blends vintage sounds with modern flair. From the infectious guitar riffs to the irresistible beats, each track on the album exudes an infectious energy that is guaranteed to get listeners moving on the dancefloor. What truly sets Moving On apart is the stellar lineup of collaborators, including hip-hop luminaries like Afrika Baby Bam and Fullee Love, as well as the soulful vocals of Carys Abigail. Together, they create a musical tapestry that effortlessly bridges the gap between retro vibes and contemporary beats, offering listeners a timeless experience that celebrates the rich history of music while embracing the future.
Review: Xeno & Oaklander's Via Negativa marks their eighth venture into the realm of retro-futuristic synth-pop, blending meticulous electronic craftsmanship with emotional depth. Recorded in their modernist Connecticut home, which doubles as a two-story synthesiser lab, this album balances visionary ambition with technical precision. The duo, Liz Wendelbo and Sean McBride, translated embryonic piano sketches into intricate modular systems, layering harmonics, tuned percussion, and spectral devices that create rhythmic textures. Yet, despite its complexity, the music resonates on a human level. The title track opens the album with shimmering synths and a sleek vocal interplay, setting a cinematic tone for what's to come. Each track plays with mood and persona, capturing the band's fascination with theatricality and drama. It's a collection of widescreen anthems that feel both timeless and firmly rooted in the cybernetic present.
Review: The third full-length from one of the UK's "big four" thrash metal acts, Xentrix, was quite the controversial project upon its initial release in 1992. Leaning into a more progressive metal influence saw the band abandon some of their metallic potency in search of more texture and artistry. They've since gone on to refer to the work as the biggest mistake of their career, while it also led to the departure of vocalist/guitarist, Chris Astley, until his 2006 return after the band reformed. Like most albums steeped in artistic self-deprecation and early fan backlash, 'Kin', has gone on to find its audience, with expectation and anticipation now removed from the conversation, the group's attempt to strive for material beyond their integral make up is as refreshing as it is forward thinking for an early nineties thrash record.
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.
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: 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 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: 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.
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.
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