Review: More than just a school concert, 1975's Rocking Grass was a sensation. On one fine estival day, The College Andre-Grasset auditorium overflowed, leaving hundreds spellbound. Registering its impact, Jean-Yves Quesnel and colleagues immortalised the show into a recording, transforming Rocking Grass into Phono Grass.Sessions at College Edouard-Montpetit's studio captured the energy of a shifting musical landscape in Quebec; and pianist Benoit Sarrazin, unknowingly recorded mid-performance, later became a professional musician. The album's original songs, 'Le Roi Muffe' and 'Bright Moments', embodied the era's creative freedom, with the latter later sampled by DJs and featured on Canadian Racer. Originally pressed on a 500-copy run, 1001 est Cremazie become a prized collectible; now it's much more readily available.
Review: This vibrant 1969 release captures the raw energy of Latin soul and funk, a perfect snapshot of Spanish Harlem's musical melting pot. With tight grooves and infectious percussion, the ensemble delivers tracks that feel alive with cultural and rhythmic vitality. Each arrangement draws from the boogaloo era's creativity, blending soulful melodies with sharp, danceable rhythms. This reissue offers a chance to experience a key moment in New York's Latin music history with its unmistakable blend of genres.
Review: Dr. Dre's The Chronic gave rise to such heavy-hitters as 'Nuthin' But A 'G' Thang' and 'Let Me Ride', but what about its many "reimaginings" over the years? With The Ghronic, released in 2023, West Coast rappers 38 Spesh and Conway The Machine can't be said to have laid down their own version more so than they did treat the Dre touchstone as a starting point, dropping a nine-track array of similar G-funk whistling lowrider bumps, readapted for the contemporary New Yorker, and yet with fresh lyrical themes and subject matters. Reissued two years later on green vinyl, after an initially white-sleeved run, the productions are ever clean and the flows lackadaisical. Features from Lloyd Banks, Che Noir, Benny The Butcher and Elcamino cement the bluffing rep of a brag-heavy machine duopoly.
Review: Released 35 years ago, The Cactus Album marked a significant moment in hip-hop, presenting a unique blend of styles from its members, Pete Nice and MC Serch. Unlike their contemporaries, the duo expressed their identity authentically, sidestepping exaggerated stereotypes often associated with white rappers. Their chemistry is palpable in tracks like 'Steppin' To The A.M' and 'Words Of Wisdom', where intricate samples and sharp lyricism shine through. The album's standout, 'The Gas Face', shows their ability to tackle complex social issues, addressing racism in a way rarely seen among white emcees at the time. Tracks such as 'Brooklyn Queens' and 'Monte Hall' illustrate their knack for catchy yet thoughtful content, while DJ Richie Rich's contributions on the turntables enhance the album's overall sound. Despite the group's eventual split due to personal differences, their influence remains significant. The lasting legacy of The Cactus Album lies in its authentic representation of hip-hop culture, paving the way for future artists like Eminem. Even amid interpersonal strife, the duo's collaboration produced a timeless work that resonates even today.
Review: Just like Ronseal does exactly what it says on the tin, The Original 4 Skins serves up a compilation of every known studio recording from the original line up of homegrown oi! punk legends The 4 Skins. Boasting a whopping 19 tracks including an alternative version of 'A.C.A.B.' originally intended to be included on the Oi! The Album compilation, as well contributions to other quintessential Oi! collections Strength Thru Oi! and Carry On Oi!, this gatefold pressing is limited to 1000 copies and arrives complete with lyrics, press clippings from the era plus previously unpublished photos of the band. An essential grab for any Doc Marten sporting skinhead with more Fred Perrys in their closet than your mother has handbags.
Review: Collecting together most of their 7" releases onto this, their first album, 45Trio's keyboardist Swing-O/45, bassist Sunapanng and drummer Masahiko Kubo provide fans with not only their sold-out singles on the same label but new tracks too. So, enjoy their version of Patrice Rushen's 'Remind Me' that pares back the original, sweetening further this already sweet composition by marrying Fender Rhodes with vocoder, or relish Irvine Weldon's 'I Love You', as the sensitive keyboard again takes centre stage. Get lost in Loose Ends' 'A Little Spice' which is fairly true to the original but more synthesised with a jazzy hip hop break and the jerky more downbeat version of Gary Davis' 2006 track 'Gee Dee' reflecting the trio's love of paying homage but creating a different and slower groove. On Bloom Music, a label under the Japanese Flower Records 'Soul Review' soulfully reviews Trio 45s work to date, a must for fans disappointed not to have got in quick enough when tracks were first available on 7" and also for those newly initiated. You're all in for a treat.
Review: Early arrivals don cardboard masks of 5 Seconds of Summer, blown up to thrice their usual size. It's as close as many will get to the Aussie lads tonight, with dry ice and a low stage obscuring them from view. This visual absence, coupled with the venue's steamy atmosphere, creates a pop-punk rave vibe - fitting for 5SOS's pivot to arena-ready anthems on their debut. The set spans their evolution from YouTube covers to teen idols. Wildcard moments like the psychedelic 'Voodoo Doll' and acoustic 'Amnesia' punctuate the night, but new material dominates. Opener 'She Looks So Perfect' sets the tone, channelling Blink-182 for a new generation. 5SOS amplify their pop sensibilities: 'Don't Stop' drives a simple riff to emotional heights, while 'Good Girls' repurposes 80s power ballad synths into tear-stained pop-punk.Despite radio-friendly polish, 5SOS's shift to mainstream pop feels genuine. Their vocals transform them into heartthrob crooners on 'Kiss Me Kiss Me'. This pop pivot suits their songcraft, with melancholy no less affecting when paired with power chords and arms-aloft choruses.their yearning songcraft perfectly, the melancholy heart of 5 Seconds of Summer no less affecting when tethered to power chord orthodoxy and following the shortest laser-guided path to the arms-aloft chorus.
Review: The 5 Seconds of Summer (10th Anniversary Edition) is a nostalgic celebration of the band's pop-rock origins, the infectious melodies and energetic rock vibes that marked their rise to fame. Featuring classic hits like 'She Looks So Perfect' and 'Amnesia', the latter showcasing their versatility with its stripped-down acoustic sound, while deeper cuts like 'Voodoo Doll' and 'End Up Here' remind listeners of the band's growth over the years. 'Kiss Me, Kiss Me' stands out with its infectious energy and the live arrangements add an extra layer of excitement to the song's performances. This anniversary edition not only revisits the chart-topping hits but also reminds listeners of the enduring quality of the entire album. This album became the soundtrack of countless lives, particularly during the mid-2010s and this picture disc is a great added touch to the package for fans.
Review: Matt Stockham Brown steps into the spotlight with 6161, his self-titled debut on Bristol's Severn Songs. Brown is already known for his drumming prowess and has earned real acclaim for winning a Montreux Jazz Festival award, as well as recording with Run Logan Run and getting great reviews for his work with Daniel Inzani. His resume includes collaborations with Massive Attack, Gregory Porter and This Is The Kit but with 6161, Brown showcases his vision beyond percussion. He heads into jazz, experimental textures and dynamic groove making in a way that marks a bold step forward without losing sight of his signature sound.
Review: 7FO's Ryu no Nukegara (meaning "dragon's husk") is a warm, inviting trip through ambient, dub and chill-out soundscapes. The Osaka-based producer blends sparse electronic percussion with dub-style synth bass and pentatonic melodies, while also using steel pan tones that bring an Okinawan or Southeast Asian touch. Fans of Haruomi Hosono and Equiknoxx will find much to love in this record's trans-oceanic textures with sparkling dub processing and thoughtful mixing throughout. A magical record that embodies strength, fluidity and meditative depth.
Review: Originally formed in 1976 and often described as "one of the longest-lived groups of the punk era", London's own 999 are punk rock royalty who have the type of loyal fanbase that were either there to see their classic debut single 'I'm Alive' land them a deal with United Artists around the same time as their peers in Buzzcocks, or astute historians who've studied all of their past accomplishments (and unfair inconsideration) in retrospect. Whichever side of the number you land on, both generational fanbases often intersect at the release of the criminally underrated Death In Soho. Originally released in 2007, almost a full decade on from 1997's Takeover, while it'd be another 13 years until the 2020 follow up Bish! Bash! Bosh!, this latter day output showcases the seasoned veterans playing for themselves and for keeps, combining aged bitterness with classic punk rock sensibilities but with an admittedly warmer sense of production value. Don't let the age-old attitude that legacy punk bands don't deliver late-stage LPs worth of value fool you, Death In Soho is one of 999's best. Yes, we said it.
Review: Widely considered to be "one of the longest-lived groups of the punk era", homegrown Londonites 999 first formed in 1976, before instantly garnering a devout following by way of persistent performances and nonstop gigging. Signing to United Artists (along with their peers in Buzzcocks) thanks to the instantaneous power of their debut single 'I'm Alive', the next two years would see the release of their seminal 1977 self-titled debut full-length along with the excellent Separates LP in 1978, before landing at the iconic Old Waldorf (long since closed down and now a refurbished comedy club) for this fateful night turned newly unearthed live album. Emergency At The Old Waldorf 1979 grants a time travelling, voyeuristic earful of the punk heroes in their snarling prime, ripping through a collection of their most highly revered stompers such as 'Hit Me', 'Homicide', and obviously, 'Emergency', while the pressing arrives complete with previously unseen tour photos plus retrospective liner notes from frontman Nick Cash.
Review: Firstly, a note about the radical record label Last Night From Glasgow that this album is released through. They not only have a tasteful roster with the likes of TeenCanteen and The Anchoress among its other releases, they are non-profit and ethically driven. It's a reaction to some of the stuff they despise about the music business so well worth digging into what they do. This release, A Girl Called Eddy's debut album, produced by Richard Hawley, is a terrific addition to their catalogue. Blending jazz rock, folk and 60s Baroque pop, it's a majestic work of art, loaded with highs. 'Tears All Over Town' is atmospherically charged, with American singer Erin Moray proving her understated power. 'People Used To Dream' is similarly captivating. It feels intimate and tender, yet leans into her maximalist tendencies and her Baroque pop side truly shines. This is gorgeous stuff.
Review: Louis Johnstone is known for his mischievous and anti-art approach and here he teams up with Trilogy Tapes for Dracula Completo, an unhinged, chaotic release that defies conventional music. Operating under multiple aliases including Wanda Group and A Large Sheet of Muscle, Johnstone's work blends concrete electronics, warped samples and dark, often distorted spoken-word pieces. Dracula Completo embodies his subversive style and is a mix of absurdity, mutant poetry and rebellious energy. Though Johnstone's work challenges norms and provokes, it remains surprisingly accessible and engaging.
Review: This two-disc compilation serves as both a tribute and a comprehensive dive into the legacy of one of hip-hop's most influential groups. A Tribe Called Quest were instrumental at the start of the 90s for helping the hip-hop genre move into more conscious lyrics that thanks to the members, took storytelling to a new level. Creating some of the most catchy tracks in hip-hop history, the group continue to grow in respect as one of the best acts in the genre of all time. With a mix of career-defining hits, rare B-sides and fresh remixes, this package is a rich exploration of their artistry. Tracks like 'Can I Kick It?', 'Electric Relaxation' and 'Scenario' stand as monuments to their enduring impact, racking up millions of streams and inspiring new generations of listeners. Previously unreleased gems 'Mr. Incognito' and 'The Night He Got Caught' feel right at home alongside anthems like 'Award Tour' and 'Bonita Applebum', highlighting the group's versatility and storytelling prowess. The inclusion of remixes, such as 'Lyrics To Go (Tumblin Dice Remix)' and 'Oh My God (Remix)', adds layers of freshness to timeless classics. The attention to detail in this collection is remarkable. Tracks like 'Jazz (We've Got)' and 'Check The Rhyme' sound revitalised, with crisp production showing their intricate melodies and sharp lyricism. From the playful narrative of 'I Left My Wallet in El Segundo' to the bold swagger of 'Buggin' Out,' every track contributes to the story of a group widely considered to be one rap's all time greats.
Review: The hip-hop legends' fourth album, released in 1996, marked a pivotal shift in their musical journey. The production, led by The Ummahia collective including Q-Tip and the late J Dillaiintroduced a more minimalist and darker tone compared to their earlier, jazz-infused works. Tracks like '1nce Again' and 'Stressed Out' exemplify this evolution, blending introspective lyrics with innovative beats. The reissue offers a renewed appreciation for the group's willingness to experiment and evolve, highlighting a significant chapter in their discography.
Review: A2L were active between 1988 and 1990 and released two albums and several EPs on labels like 1st Bass, Big One and Force Inc. Their sound blended British psychedelic house with elements of new beat, industrial, EBM and early acid house and in doing so captured the raw energy of the UK rave scene. Notably different from typical acid house acts of the time, A2L's music took in machine funk, samplers and turntable techniques to create trippy, infectious grooves. This collection compiles rare underground gems from them from 1989 and features standout tracks like 'Even Though It's Make Believe' and 'Come On.' It's a great look back to the experimental spirit of the late 80s.
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