Review: The legendary Dead Can Dance return with their first studio album in six years! Coming from a school of Australian music pioneers that include Severed Heads and Essendon Airport among their class, this latest missive sees the duo maintain their psychedelic, exotic and mystic sound, with hints of witchcraft and ritualisms eternally abound. The album pays homage to Dionysus, Greek God of wine, fertility and religious ecstasy, and naturally the album oozes these qualities itself. Across the LP Brendan Perry plys his hand to a mass of instruments heard as otherworldly to the west, with a specific set stemming from the Balkans with an ensemble use of zournas, gadulkas and gaidas. Meanwhile Lisa Gerrad's exquisite voice remains as haunting as it ever was, be up front in the mix or lurking amongst the album's lush atmospheres. The Dead Can Still Dance.
Review: Despite a number of significant personnel changes since the release of their previous album (the departure of founder member Chris Walla being the biggest), Death Cab For Cutie still seems to be in rude health. Now two decades into their ongoing career, the American band is still capable of producing glistening indie-pop brilliance, heart-aching torch songs and anthem-like festival sing-alongs. There's plenty of goodness to be found, then, on ninth studio album Thank You For Today, a set bristling with classic Death Cab For Cutie moments - not least the tactile bliss of "When We Drive", boisterous "Gold Rush" and chiming "You Moved Away".
Review: The preaching sirens of Deerhunter return, long has everyone been waiting, since the band's Fading Frontier LP of 2015. The group have moved on from the pinky-pop nostalgia they've described as their last album, and moved into and towards a darker and more intensifying feel. The Atlanta group's eighth full-length in total finds itself tripping out on klaviers and chant-like numbers as heard in "Element" and the rickety jingle of album opener "Death In Midsummer". While there's some crooked-eye positivity to be found in the James Dean referencing "Plains", the masterwork of the band's ambient and cinematic scope remains as strong as ever, and alongside Bradford Cox's undeniable haunt, vocal contributions and extra (subtle) hints of subversive nihilism come from Cate Le Bon and White Fence's Tim Presley.
Review: Psychedelic serenades worthy of our attention can be tricky to track down in the here and now, yet it takes little time to work out that the work of Morgan Delt, a bedroom auteur with as much warped songcraft to offer as excursions into the wilderness. 'Phase Zero' maps out an interstellar constellation between the '60s world of The Byrds, the '70s bedlam of Jean-Pierre Massiera and the contemporary slant of recent Flaming Lips, yet at all times it boasts a widescreen sweep and wide-eyed wonderment to match its sonic playfulness and melodic sleight-of-hand, resulting in a gem for the third-eye and both ears alike.
Review: A follow up to 2017's This Old Dog, everyone's favourite slacker-rock singer songwriter is back with Here Comes The Cowboy. Mixed at DeMarco's Jizz Jazz Studios in Los Angeles, the Canadian musician delivers a swooning and laidback take on folk western blues built on acoustic guitars and the odd sombre horn. The album opens with an unmistakeable vocal drawl, before we're met with DeMarco's trademark slow-tempo groove complete with eerie synths as the album progresses. While it contains many signature traits of a Mac DeMarco record, we're loving the new 1970s and blues rock influences best heard on "Choo Choo" and the second half of closer "Baby Bye Bye". It's easy to imagine DeMarco strumming these numbers in his rocking chair on a porch during sundown in the deep west, all sung while chewing on a single straw of wheat. All in all, Here Comes The Cowboy feels like a solid evolution for the cult hero.
Review: Running through their third record, there's a feeling that Django Django have wildly eclectic tastes, and with infectious and nervous excitement want to create music that patches it all together, dodging pigeonholes and subverting their listener's expectations in the process. Stark changes in direction happen from track to track, and often within the songs themselves: take for example the tone set with powerhouse synth-pop opener 'Marble Skies', which is immediately turned on its head with second track 'Surface To Air', a brash and addictive dancehall jam, by the fourth track 'Tic Tac Toe' they're fully immersed in euphoric indie-psych. These changes in gear happen throughout the album, and it's to the band's credit that the individual songs and the album as a whole, bind together so well. This risk-taking is what makes Marble Skies a highly accomplished and ambitious album, but perhaps more importantly, their most fun album so far.
I Don't Love Anyone (But You're Not Just Anyone) (V2)
A Spy In The House Of Love (demo vocals)
I Don't Love Anyone (But You're Not Just Anyone)
The Whole World Is Our Playground
She Is Far
Review: Unlikely as it sounds, and long though we've been waiting to say this, it may finally be that Pete Doherty has got his act together. Despite its title making one suspicious of a collection of half-formed demos, in fact this collection of appropriately dreamy yet surprisingly steely ditties might be the most well-rounded effort the old waster has created since the debut of his first band proper. Dealing with addiction, political tension and celebrity with charm and quip-handy insight, whilst nurturing arrangements that unite the garage-band rawness of the '60s with lusher pastures, it's a record to have his doubters thinking again.
Review: Infamous Libertines and Babyshambles frontman Peter Doherty returns with his latest project, Peter Doherty and the Puta Madres, formed by members of Doherty's touring band from his 2016 "Eudaimonia" tour. He brings with him, of note, Jack Jones - also a member of Trampolene - who shares vocal duties and guitar collaboration with Doherty on the album. Expect a ragged, not entirely inharmonious, array of spangled guitars, boot-skootin' fiddles, broken down jazz and deconstructed mega blues. A good one for those smokey nights of Laphroaig when lamenting the ups & downs of one's life and times, all spent in an irreverent tone of UK punk and blues, or as the band call it: an intimate portrait of love, loss, being lost, happiness, tragedy, addiction and the power of the human soul to transcend its darker levels
Review: Kickin' about in the construction sites of Perth's suburban neighbourhoods for some years now the Australian singer-songwriter Stella Donnelly's lands a debut album on Secretly Canadian, spelling her first full length record following her Thrush Metal EP from 2017. Beware Of The Dogs presents 13 fully fledged tracks with Donnelly's shoegazing vocals accented even more by her idiosyncratic Australian demeanour; Moody, bluesy, cutesy and cool, Donnelly's lyricism, while lamenting shitty tattoos, infidelity and patronising a-social behaviour, buffers a zone between tongue-in-cheek pop music, melancholic folk, to other subdued country and guitar styles. Beware of the bite.
Review: First of all don't forget it was the label Epitaph that we have to thank for the likes of Millencolin, The Offspring and Bad Religion - among others. Its sub-label Anti- has been home to Jonathan Pierce's music as The Drums since 2017 following a long history with Moshi Moshi Records. Poppy, synth punk and electronica with the slightest of tropicana and charming vocals to boot, Pierce almost justifies in a single swoop what is still good about the indie pop sound that exploded during the 2000s. Vocals sit up front throughout the album and while guitars are sometimes left out there's no denying the dreamy finger picking that adds to the bliss of "I Wanna Go Back", and the acoustic ballad that is "Nervous". The album's title track harks back to a funky, soft edged pop sound not too dissimilar to classic Cut Copy, and don't go past our album highlight: "626 Bedford Avenue".
Review: The Durutti Column is Vini Reilly and Bruce Mitchell. In a career spanning the past four decades, and over 25 albums, they have written and performed as one of Manchester's most influential and prolific acts from their beginnings as Factory Records first signing to their fifth and latest album release on Kooky. "Sporadic Three" is the third in a series of special collections some 16 years since the original "Sporadic Recordings". As highlighted over his long and illustrious career, Vini Reilly is a prolific songwriter. Ideas and tracks just fly from Vini, and he's currently in the form of his life. Unfortunately, most of these tracks, or initial versions of songs, never make it to final release. The basic idea then behind The Sporadic Recordings series is to release material that never makes it onto studio albums. This collection follows the same premise and contains new and exclusive tracks, outtakes, versions, and home demos. Reilly's off cuts contain more ideas than most of us have over the course of a lifetime. A key interest for Durutti Column fans lies around the listener being able to hear a re-work, adaptation or different instrumentation used by Reilly as he regularly re-visits music from the past. The music of The Durutti Column has been commissioned for films such as "Jerry Maguire" and "Requiem Again", in addition to various works for television.
… Read more
Artikel 1 bis 50 von 54 auf Seite 1 von 2 anzeigen