Review: BC, NR are now onto their third album. The Ninja Tune-signees gained attention for not posing as if they're in a band, but looking like an ordinary group of students, or twentysomethings house-sharing. Their bold look, where they're smiling in the press pics, as opposed to donning a moody pout, has thankfully been backed up with some terrific music. Their debut, For The First Time, earned them favourable comparisons to post-rock trailblazers Slint and their second album Ants From Up There is the Gen-z equivalent of Arcade Fire's Funeral, thanks to its grandiose anthemics. Famously, singer and lyricist Isaac Wood left the band on the even of the release of their second album, which sparked outcry and paranoia from their ever-growing army of fans about what that might mean for their future. But the band have kept at it and the remaining six members have chosen to share frontperson duties, thus relieving the added pressure that comes with being a designated frontperson. This third album - and first post Isaac Wood - is proving to be a striking new chapter, with the lead single, 'Besties', an immediately likeable way of introducing it to the world. Georgia Ellery, also of Jockstrap, takes lead vocals here and offers an unforgettable off-kilter indie pop cut reminiscent of Aldous Harding. Zutons-y sax stabs scattered in make for a beautiful touch and leave us feeling that this is the album that's going to send BC, NR onto a stratospheric level, where they're spoken about in the same breath as Radiohead as one of Britain's finest bands.
Review: James Ford is one of the most important unsung heroes of contemporary pop and rock. As a studio producer, he's helped craft and hone incredible work from Fontaines DC, Arctic Monkeys, Depeche Mode, Blur and more. As an artist in his own right, he's perhaps more incredible. So, his impact on the latest and long-awaited new addition to Black Country New Road's catalogue should not be underestimated. Nor should the result of splitting the songwriting and vocal duties between members Tyler Hyde, Georgia Ellery and May Kershaw. "It's definitely very different" said one of the trio about how this compares to preceding long form outings. We'd say it's definitely very different to most music you'll hear this week. It's folk, soft rock, experimental garage something, and none of the above, with tracks that almost seem at odds with themselves, chopping and changing, evolving and progressing, until you hear them as a whole.
Review: After 2015, Bon Iver began to fuse ambient glitch with folk, a style which now reaches a head on his latest LP. It expands on 2024's taster EP 'SABLE' in the form of an 11-track sonic parable: waxing introspective on difficult themes such as memory and identity, 'THINGS BEHIND THINGS BEHIND THINGS' and 'S P E Y S I D E' indulge typographic play and fragmental lyrics, the latter especially paradigm-shifting in lyrical perspective. 'Awards Season', also, deals in the problematics of recognition, peeking behind and thus part-dissolving the veil of success in public life. With signature passion yet quarrelsomeness, Justin Vernon has crafted yet another glistening, glitching folk odyssey for us to enjoy.
Review: Indie singer-songwriter and folk experimentalist Bon Iver follows up his 2024 EP 'SABLE', expanding upon the EP's concept with a full-length in 11 tracks. Diving into themes of memory, longing and transformation, the record feels like a deciduous psychic regrowth, processed and refined from an initial uncontrolled burl of raw feeling and expression. Layering experimental sounds and organic textures, it hints at Iver's change in direction kept steady ever since 2016's Jagjaguwar debut 22, A Million. The style was continued and redeveloped on 2019's fourth album, i,i, and now returns in its fullest resplendency, with modern symbolic bricolage of effulgent soundscapes and querulous singing. This is the latest in a string of records that cements Justin Vernon stature as an artist and not a mere musician: increasingly, we hear the work of someone clawing back greater and greater shares of aesthetic control.
Die Magellanische Pyramide Mit Violettem Auge (1:44)
Die Geschandete Venus (6:32)
Das Wilde Flammchen (1:38)
Das Glatte Nackte Wickelkind (2:37)
Der Kleinere Mit Gefleckten Linien Umgebene Papillonsflugel (4:38)
Die Grune Scharfe Seehundshaut (2:30)
Das Lange Blassgrune Und Feingestreifte Elephantenzahnchen (5:18)
Der Schlangenbund (4:17)
Die See-Orgel (0:46)
Review: An experimental dark folk group from Wurzburg, Germany, Brannten Schnure's 2017 release gets a well-deserved reissue, retaining its distinctive experimental dark folk essence. The duo, Christian Schoppik and Katie Rich, crafts immersive soundscapes where traditional instruments, eerie vocals, and looped, crackling recordings converge. Tracks like 'Das Jungfrauliche Ohr' and 'Die Milchlinse' set the tone, blending atonal elements with haunting, dreamlike atmospheres. 'Die Geschandete Venus' takes a darker, more melancholic turn, with its slow, creeping build. On the B-side, tracks such as 'Der Kleinere Mit Gefleckten Linien Umgebene Papillonsflugel' offer intricate compositions that evoke a surreal, almost cinematic quality. With influences from Nico and Novy Svet, their music pours out and creates a world that's both unsettling and strangely beautiful.
Review: Chapman's magnetic voice and stark storytelling create an atmosphere both intimate and politically charged on this, her 1988 self-titled debut, made famous by hit single 'Fast Car', but ultimately a far deeper affair. Songs like 'Talkin' Bout a Revolution' channel the protest spirit of folk legends like Woody Guthrie, delivering an anthem for those marginalised by economic inequality. Her blend of folk, blues and rock feels timeless, with lyrics that still moves listeners today. The haunting 'Behind the Wall', can move one to tears for its raw portrayal of domestic violence and the systemic failure of the police to intervene. Chapman's trembling contralto gives life to the repeated line 'Last night I heard the screaming', transforming it into a powerful condemnation of indifference. In contrast, 'If Not Now...' is a personal perspective, urging listeners to live and love in the present with its delicate acoustic arrangement. Chapman's storytelling is a triumph of nuance, balancing bleakness with hope. Decades later, Tracy Chapman remains a powerhouse in songwriting, deserving renewed attention. It is not just an album of its time but a work of enduring relevance, offering a poignant reminder that music can still be a catalyst for change.
Review: New York indie-folk four-piece' Florist's second album is a hypnotic, psychedelic album that is the musical equivalent of an out of body experience. Single 'Have Heaven' is so elegant that you imagine singer Emily Sprague as someone who is deeply in tune with nature and the cosmos, careful as not tread too heavily incase she disturbs the flowers. It's timeless but also quite unusual in terms of the mix because although there's aspects of folk classics like Joni Mitchell, some of the flourish with pedals and effects brings to mind more modern influences, like Superorganism. But it's more a peppering of that side so as to not overwhelm. Another single from the album, 'This Was A Gift' is pure beauty that makes the hairs stand up on the back of your neck. Some singers are just born for the role of troubadour and Sprague is one of them. Long may Florist keep capturing songs this magical.
Review: Michael Grigoni and Pan•American's latest collaboration is a series of contemplative reflections on the isolation, fractures and uncertainties that define today's world. The album delves into the emotional landscape shaped by political divisions, personal solitude, and the lingering aftereffects of the pandemic. Through its fusion of folk, country, bluegrass, and blues elements, paired with a modern, ambient atmosphere, the sound is both rooted in tradition and forward-looking. Tracks like 'Sun Morning Sun' and 'Silver Streams' carry a sense of quiet introspection, while 'Black River Song' and 'Mirage/Afternoon' showcase the duo's ability to merge organic instrumentation with spacious, textured soundscapes. The album's exploration of personal and collective experience creates a reflective space, asking listeners to pause and engage with the complexities of modern life. A musical journey that speaks to the heart of the American experience, offering an emotional response to an uncertain future.
Review: Two British pop legends unite for Who Believes in Angels?, a new record spot-checking our faith in divinity. Having connected through a mutual admiration and shared love of music, Elton initially became a fan of Carlile through her effusions of folk, rock and country, which matched the former's megastar's sometimes pained, moving songwriting. Their friendship deepened over the years, with Carlile performing at Elton's annual AIDS Foundation events and joining him on stage for special collaborations. Now blending Elton-led and Brandi-led tracks, the album contains lyrics from longtime collaborator Bernie Taupin alongside Carlile's own contributions, with production by Andrew Watt. This marks Elton's 33rd studio album and Brandi's eighth.
Review: The music of this unique quartet explores the roots of African music while embracing its newest possibilities. Featuring Malian singer Rokia Traore and griot Mamah Diabate, alongside Stefano Pilia (Afterhours, Massimo Volume), their collaboration merges with Gambian griot Jabel Kanuteh, a kora virtuoso, and percussionist Marco Zanotti. The fusion of Malian and Gambian rhythms with Italian influences creates a fresh new sound that blends the ancient and the modern. The music weaves jazz, rock and folk with a number of experimental digressions but never at the expense of an underlying groove and high-fidelity sense of musicianship that connects diverse cultural identities.
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