Review: Being a 'supergroup' - as Boygenius trio Julien Baker, Phoebe Bridgers and Lucy Dacus are commonly described - has its pitfalls, one of which is finding time to record and promote your music. It was for this reason that it took the threesome almost five years to record their debut album, The Record, which was released to critical acclaim (the NME called it an 'instant indie classic') earlier this year. The fact that 'The Rest', an EP of unheard songs (literally - no previews were available online prior to release), has followed so quickly suggests that it was recorded at the same time. Either way, it was produced by the band alongside a team of six producers) and delivers more memorable songs in their now familiar American indie-rock style. A treat for fans, all told.
Review: Described by their label, Dais, as "a stirring new chapter" in their musical story, 'An object of Motion' has its roots in a coastal break main man Deb Demure made back in 2021. It was material recorded there, largely using a vintage, bowl-shaped 12-string guitar, that formed the basis of the four-track mini-album. These recordings were then expanded on with help from collaborators Rachel Goswell (Slowdive), Justin Meldal-Johnsen and Ben Greenberg. It's a decidedly psychedelic set all told, with Demure and company blurring the boundaries between neo-folk, psychedelia, the Cure, shoegaze and the sort of saucer-eyed, turn-of-the-90s bagginess associated with the Stone Roses. Most impressive of all, though, is 'Yield To Force', an undeniably cosmic, layered and effects-laden instrumental that ebbs and flows over 15 magical minutes.
Review: First released on streaming platforms last summer, Wilco's 'Hot Sun Cool Shroud' EP was uniformly praised by critics. Much more than a stop gap between albums (it arrived roughly 12 months after the outfit's lauded 13th studio full-length, Cousin), the six-track set bristles with inventiveness while flitting between styles and tempos. So, opener 'Hot Sun', a sticky slab of Americana-tinged jangly indie brilliance, is followed by the reverb and solo-laden alt-rock squall of 'Livid' and the gentle, string-laden swoon of 'Ice Cream'. And so it continues, with the fuzzy positivity and weary vocals of 'Annihilation' being joined by the pleasant, impossible-to-pigeonhole experimentalism of 'Inside The Bell Bones' and the twinkling, heartfelt melancholia of 'Say You Love Me'.
Review: After Robert Grey's 1990 exit, Wire morphed into WIR, a project designed to wrap up their Mute Records contract with a stripped-down, sequencer-led approach. Graham Lewis took lead vocals while the band reworked their own back catalogue. A chance to reflect on what had been, as opposed to what was yet to be, WIR's lifespan was brief, with only a handful of shows and two conceptual events dubbed I Saw You In Clapham (April 1992) and Vienna (February 1993) rolled into the ensuing campaign. On the Vienna trip, they recorded a sprawling 25-minute session for Austria's ORF, curated by Peter Rehberg of MEGO fame, released by Touch in 1996. This 2025 remaster adds a fresh take on their darkest pop moment, 'So & Slow', reimagined in a live-inspired arrangement with a nod to Taylor Swift's re-recording style.
Review: The 1975's last two albums were, by their standards, quite experimental, with the band taking the opportunity that fame and success afforded has afforded them to try their hand at all manner of styles - many of them a bit more overtly dancefloor-centric than diehard fans were expected. There's no such widescreen vision on 'Being Funny in A Foreign Language'; instead, they've gone back to basics and turned in a set of strong, addictive, singalong songs that sounds like radio anthems in the making. For proof, check the glossy AOR synth-pop cheeriness of 'Happiness', the fragile, eyes-closed Americana of 'Part of the Band', the indie power-pop bounce of 'I'm In Love With You' and the sparse, slo-mo, lo-fi fuzz of 'All I Need To Hear'.
Review: Having celebrated his 50th birthday late last year, Ryan Adams has naturally been in an introspective mood. It makes sense, then, that the long-serving rock/country fusionist should offer up an album made up entirely of covers of songs by other artists that have in some way inspired him over the years. Generally gentle, with string-laden, largely acoustic arrangements, Changes features some genuinely brilliant interpretations - as well as some surprise ones. For proof, check his piano-and-strings wander through 'Panic' by the Smiths, a wonderfully heartfelt rendition of 'Don't You (Forget About Me)' by Simple Minds, a country-folk take on the Rolling Stones 'Sympathy For The Devil' and a lilting, poignant Prince cover ('When Doves Cry', which comes complete with extended harmonica solos and some genuinely lilting strings).
Review: After nearly two decades of anticipation, Ryan Adams has finally unveiled a long-awaited, cult-classic album on CD. Initially shelved due to his battles with addiction, the album captures the raw, unfiltered emotion that defined his tumultuous period. With tracks like 'Catherine', previously only performed live, and unreleased material now officially available, it's a revelatory listen for fans who have long speculated about its contents. The album's haunting, fragmented qualityireflecting Adams' state during its creationiadds a compelling layer of authenticity. While some of the raw vocal takes are intentionally rough, the end result is an evocative and beautiful snapshot of a chaotic creative period. This release not only satisfies years of fan demand but also reclaims a pivotal moment in Adams' career, offering a glimpse into his darkest and most vulnerable creative space.
Review: 2024 ushers in a brand new Barry Adamson album, Cut To Black, marking an exciting new shift in direction for the utterly singular Nick Cave associate and experimental blues-pop musician. Cut To Black, led by the swaggeringly roomy 'Demon Lover' (perhaps nodding to the great corporate espionage film of the same name, in due keeping with Adamson's love for spy thriller soundtracks, and his incorporation of their sound into his music), the record embraces his trademark genre-hopping proclivity, spanning pop, soul, jazz, hip-hop and gospel. A totally unique LP for the present era, Adamson's latest oeuvre topup is a must-have for fans of all things Cinematic Soul, Nick Cave & The Bad Seeds, Post Punk, Massive Attack, Unloved and more.
J'ai Dormi Sous L'eau (BBC live Session - bonus track)
Sexy Boy (BBC live Session - bonus track)
Kelly Watch The Stars (BBC live Session - bonus track)
Kelly Watch The Stars (extended - bonus track)
Remember (Davis Whitaker version - bonus track)
Review: When Air's Moon Safari first landed on terra firma in 1997, it was a revelation that flipped the French touch boom on its head. Swapping discoid thrust for sensual lounge, Nicolas Jean Godin and Jean-Benoit Dunckel kept a certain sophisticated nostalgia in their sound which tracked with their compatriots, but they absolutely weaved their own spell with it. The hits caught on for good reason, from the dirty grind of 'Sexy Boy' to the swooning romanticism of 'All I Need' featuring Beth Hirsch on vocals, but the moments in between merely added to the spectacle, lodging Air in the hearts and minds of a whole generation. This special anniversary edition adds a second disc of B-sides, remixes and session tracks, plus a Blu-ray disc featuring the iconic videos and a documentary from the Moon Safari era.
Review: Alabaster DePlume's latest album is a meditation on self-worth and healing, drawing from his poetry book Looking for My Value: Prologue to a Blade, he crafts 11 tracks that feel deeply personal yet universal. His saxophone, sometimes fluid, sometimes jagged, acts as both voice and emphasis on the likes of opener 'Oh My Actual Days' swells with sax and Macie Stewart's ghostly strings, a slow march toward reckoning. 'Thank You My Pain' turns its mantra-like refrain into a rhythmic meditation on discomfort. 'Invincibility' lifts into choral release, a breath after holding under water. The instrumental 'Prayer for My Sovereign Dignity' is an anthem for self-possession, while 'Form a V' channels the discipline of jiu-jitsu, inviting confrontation. Unlike his past, more improvisation-led works, this is tightly composed, arranged and produced by DePlume himself - and the result is direct, unflinching and deeply felt.
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