Review: Twenty years ago it sounded like an oddly poignant evocation of pre-millennial tension. Two decades later it stands as an eerily prescient glimpe into the technological alienation and dislocation of of a new era. Yet more importantly, OK Computer is no more or less than a sparkling, dramatic and moving collection of songs that haven't lost any of their impact in the interim. The sound of a band stubbornly refusing to follow up the stadium-strafing stylings of its predecessor The Bends - and instead bursting headlong into experimentation and wild creativity -is portrayed in still more vivid colours by the alarmingly strong collection of out-takes and B-sides collected herein, Yet there's no getting away from the chill and spark that marked out OK Computer from everything surrounding it in the post-Britpop malaise, and continues to do so in the pre-Brexit counterpart.
Review: "In Rainbows", Radiohead's seventh album, finally gets a physical release! It's one thing downloading this landmark album, but to actually hold this is something special. Not only do you get increased sound quality, but you also get the amazing artwork from Stanley Donwood. This album includes "Nude", a live favourite for many years that was originally written during the "OK Computer" sessions. More minimal that their "Kid A" period, "In Rainbows" does something that very few albums have done - its sound is distinct from previous Radiohead albums, but is still clearly Radiohead. Hail to the kings, they are back on top form. Get this album while you can.
Review: Some four years after Swims brought the work of Dan Snaith to the attention of a whole new audience, the London-based Canadian artist returns with a sixth Caribou album entitled Our Love. Staunch followers of Caribou will know that Snaith tends to adopt different sonic approaches with every long player (compare the psychedelia of Up In Flames with the more spaced out Andorra) but this latest album feels like a natural development of the club influenced sounds of Swims. City Slang call it Snaith's most soulful set yet, and that's certainly helped by the presence of compatriot Jessy Lanza, and like all Caribou albums there is something new that appeals with every listen.
Arctic Monkeys - "Leave Before The Lights Come On"
The Newell Octet - "Baby I'm Yours"
Review: A brand new studio recording of the now live smash "Leave Before The Lights Come On" shows Alex Turner and gang further honing their songwriting craft with a track which could well turn out to be one of their finest.
Review: The latest dusted down archival dig from Emotional Rescue is by Politrio, a short-lived new wave / post punk band from Italy who released one album in the mid 80s. The focus of this release is their cover of Talking Heads' "Psycho Killer," which originally appeared on the Amnesty International P.E.A.C.E Benefit Compilation in 1987. It's a wild take full of rampant guitar wailing and limber slap bass that teeters towards the 80s funk rock of Faith No More et al, and that's no bad thing at all. On the B side of this 7" Double Wave gets busy in the edit, offering up a stripped back version for the spinners.
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: It took a full year to craft the latest from Real Estate, a year that was spent in upstate New York, at Marcata Recording. Hardly irrelevant background information, from the moment you press play the finesse of "The Main Thing" is immediately clear. This is a highly polished record on which every nuance and note has been deeply considered. Opening on the wonderfully poised and smooth "Friday", which boasts an intro that almost feels like the dawn of a new day, gentle guitars slowly growing and emerging into a dreamy, woozy delight, there's more than a hint of the 1960s to chords and lyricism. Perhaps conversely, shades of disco can be heard in "Paper Cup", a track that features Sylvan Esso as guests - strings invoking halcyon days of hedonism before things settle into a rolling, easy to love track. Similar nods to electronic ends are found in the beat of "Silent World", while "Procession" is a hazy summer afternoon spent lounging.
Review: Six years ago, an iconic and emotional concert at Madison Square Gardens marked the end of LCD Soundsystem. The accompanying documentary 'Shut Up and Play The Hits' delved into frontman James Murphy's reasons for the decision, with self-examination, a need for change and a fear of old age playing a part. Fast forward to 2017, and the surprise release of three singles accompanying the announcement of a comeback album triggers anticipation and a sigh of relief from fans everywhere. 'American Dream' meets expectations and at times surpasses them, with the familiar driving disco rhythms, strutting funk basslines and heartfelt morning-after-the-night-before ballads feeling like a well-needed catch up with an old friend. The current musical, social and political climates provide Murphy with platforms for his self-effacing and acerbic witticisms. This strong return to form was needed now perhaps more than ever, but simultaneously feels like they never left in the first place.
Review: Here it is: the long awaited second album from Mercury award winning, waif-like London trio The xx. The band have enjoyed a huge amount of success since their eponymous debut album dropped in 2009, and Coexist sees them subtly tweak their sound rather than wholly reinvent it, with their booming drums traded in for something less grandiose. There are some stunning moments on the LP (opener "Angels", "Reunion" and "Swept Away" all linger long in the memory) that will ensure it swats any "difficult second album" talk to one side; this is the sound of a band comfortable in their own skin. Caps doffed to Young Turks who present the LP on sumptuous heavyweight vinyl with included CD and booklet.
Review: 32 years on from the release of their debut album Speak and Spell, Basildon's finest drop their 14th full length. While there are echoes of their eyeliner-wearing, synth-bothering futurist past (see the glitchy "My Little Universe" and early New Order-ish "Broken", where Dave Gahan sings about 'dreaming of the future'), for the most part Delta Machine finds them in grinchy synth-rock mode, presumably shaking their fists at passing youngsters like a gang of grumpy old men. Thankfully, they're still capable of great things - "Soothe My Soul" has echoes of "Personal Jesus" - and there's enough to suggest there's some life in the old dogs yet.
Review: It's hard not to see this offering from hallucinogenic and highly visual psych-rockers The Flaming Lips as a "here's what you could have won" release. And that's "here's what you could have won had you been able to attend this performance of one of our most treasured albums in one of the world's most aesthetically astounding venues". FOMO abounds, Red Rocks Amphitheatre is a proper bucket list muso haunt, setting gigs halfway up a Colorado mountain. Throw in live orchestra, the Colorado Symphony, and you've got yourself a truly life-affirming evening. Even on record, there's a tangible difference between the sonics here and the original, still it's an incredibly beautiful and grand album. Perhaps most pronounced during the heart-rendering string sweep of opener "Race For The Prize" (expect shivers), tracks such as "A Spoonful Weighs A Ton" and, of course, "Waitin' For A Superman" feel as though they have finally found their home.
Review: Icelandic music producer Bjork, who requires absolutely no introduction given her massive contribution to electronic pop music over the last twenty years, finally returns with her new album Vulnicura on One Little Indian Records. Although the LP represents her breakup with Matthew Barney, there are vivid rays of light nested among the more dreary-eyed vocals and melodies. As per usual with her work, there is a distinctive personal touch to her songs. This is most vividly characterised by the droning style of her singing, a sort of juxtaposition when combined to the music below it. Expect an intricate blend of sci-fi electronics, break-ridden power beats and of course, plenty of hard ambience. Bjork's ninth studio album is another winner. This deluxe edition comes with a download code!
Review: With impressive collaborations ranging from Tyler The Creator to Vessels and a string of precursory singles under their belt, Norwegian/New Zealand duo Anna Of The North release their debut album. As the title suggests, 'Lovers' is an open and rich set of pop songs exploring romance and heartbreak. The combination of Brady Daniell-Smith's warm and layered pop production and Anna Lotterud's soothing vocals produces a satisfying take on the modern love song format.
Review: For their sixth full length album 'Violence', melancholic Birmingham alt-rockers Editors have adopted a grander synth-pop sound to frame their typically dark songwriting in. This change in direction comes from collaborating with the album's producer Leo Abraham and composer Blank Mass, who helped the band hone their electronic craft. The songwriting pairs grandiose stadium riffs with assertive synth-work; 'Hallelujah (So Low)' goes straight for the jugular with fat synth leads and lo-fi drums, and the chorus of lead single 'Magazine' balances sections of punchy electronic swagger with singalong melodic euphoria. On 'No Sound But The Wind', there's a glimpse of an earlier Editors sound, more atmospheric and spacious than the tracks that surround it - unsurprising as it's a song the band first debuted back at Glastonbury 2008 and have been re-working since. Following 2015's somewhat confused 'In Dream', Editors sound reinvigorated and confident in the direction 'Violence' is taking them in.
Review: It's been some three years since the release of Dive, the most recent full length from Scott Hansen's decidedly Balearic Tycho project. Here he returns to regular home Ghostly International with Awake, his fourth full-length. It sees him in fine form, delivering a sun-bright set that melds blissful guitars and shoegaze textures with hazy electronics, warm grooves and orange-hued atmospherics. Hansen is a master at creating unashamedly positive, evocative music, and Awake is full of these kind of smile-inducing moments. Aside from being impeccably well made, it is also pleasingly cheery. If you've yet to succumb to his charms, Awake is a great place to start.
Review: Australian singer hailing from the Blue Mountains of New South Wales, Julia Jacklin, resurfaces with a third album following Don't Let The Kids Win (2016) and Eastwick / Cold Caller (2017). Opening with arguably the album's most afflicting number, "Body", Jacklin's voice almost inhibits an Edith Piaf-like quality, somewhat shaky but resolute. It's far from a forlorn listen though, and while "Pressure To Party" may lament such things as fun, it adds an upbeat rhythm to the album's more down beat numbers, be they "Don't Know How To Keep Loving You", to the lowly piano and voice solo of "When The Family Flies In". Touching on the hallmarks of a true romantic, Jacklin's music is melancholic as ever, but with her vocals only adding to the warm embrace of the instrumentation, "Crushing" should melt a few hearts yet.
Review: The undisputed leaders of the early gothic scene, and a seminal band that contributed to the rise of British post-punk, The Cure recorded their debut album, "Three Imaginary Boys", at London's Morgan Studios and released it on May 8, 1979. After touring for almost all of 1977, the band changed their name to The Cure and rearranged their line-up with the sacking of Porl Thompson, giving birth to an unusual power trio. This line-up lasted only for their first album, making it unique in its essentially minimal sound.
Review: Shoegaze and krautrock project from Guadalajara, Mexico, Lorelle Meets The Obsolete, delivers the collaboration's first album since 2016. De Facto presents a fourth studio LP overall which sees them land again on the UK-based Sonic Cathedral Recordings. As you can imagine the album tempts its listener through a lo-fi world of haze and distortion but also sweetness with a touch of grunge. Highlights include end of the world epics like "Accion - Vaciar" to the icy waves of noise in "El Derrumbe", matched furthermore, yet brighter, in the 10-minute closer, "La Maga".
Review: As Radiohead tour the world and then regroup to record their new album, Thom Yorke releases his own record, 'The Eraser' on XL Recordings. A collection of nine new songs, the record was written and played by Thom and was produced by Nigel Godrich. Variously hailed as "The Best Band In The World" (Q Magazine), "Rock's Best Live Band" (Rolling Stone) and the band were placed at number 1 of Spin Magazine's 40 most influential artists, Radiohead has arguably become the most acclaimed and adventurous force in modern music. Over six studio albums the group have proved that it is possible to make massive creative leaps whilst continuing to grow in worldwide stature. Their records set new benchmarks for others to aim towards, whilst their live shows reach levels of intensity and exploration that few can match.
Review: Since their early heyday of mammoth pop hits, electronic-indie duo MGMT seemed to sound gradually more and more conflicted, unsure whether to continue producing stadium-scale hooks or follow their eccentricities. It seems, with their fourth full-length 'Little Dark Age', that they've opted for the latter - sounding all the more confident and cohesive for it. 'Little Dark Age' sees the pair channeling their synthetic poppy psychedelia into their darkest, most serious and interesting songwriting yet. Anybody who panned 2013's self-titled album or 2010's 'Congratulations' should be pleasantly surprised by this return to form and new-found resolve. 'Little Dark Age' is a far cry from MGMT's definitive debut, but it's to the band's credit that exploring the more weird and wonderful corners of their pop-sensibilities has worked so well.
Review: Boarding House Reach is the third solo album from Jack White, a man who really should need no introduction by now. Where 2014's 'Lazaretto' was a cohesive and indulgent gothic collage of country, soul, Americana and rock, 'Boarding House Reach' sees White ambitiously add layers of hip-hop, experimental and electronic influences. Twists and turns come thick and fast, from the fuzzy organ soul of 'Why Walk A Dog?', the poetic preacherman monologue of 'Abulia and Akrasia', the jittery and crunchy hip-hop 'Ice Station Zebra' to the stunningly laid-bare folk and wrought piano chords of closing track 'Humoresque'. This breadth of sounds makes the album compelling and unpredictable from start to finish, and a fascinating addition to Jack White's juggernaut of a discography.
Review: Ah, a real gem of the NYC No Wave era is the focus of Dark Entries attentions here as the stunning Holland Tunnel Dive by ImpLOG is given a more than timely reissue. For the uninitiated out there, ImpLOG were formed by The Contortions band members Don Christensen and Jody Harris under the name ImpLOG, after the former left the iconic No Wave act in 1979, and released just the two records together. The story goes that Christensen's recorded experiments with found sounds, and an array of instruments such as a Univox drum machine and Casio keyboards impressed Lust/Unlust Records founder Charles Ball sufficiently enough to issue two tracks from the submitted demo tape as the Holland Tunnel Dive 12? in 1980. It's remained a highly prized record ever since and this lovingly recreated edition from Dark Entries is a must!
Review: The Dark Entries label continue their impressive run of form with another killer reissue LP, this time by The Prefects member Joe Crow. Compulsion was Crow's first solo work from the early '80s and has been a digger's favourite for a long time, its itchy drum machine beats and disjointed guitar riffs being utterly singular at the time of the album's initial release. "Compulsion" itself is a mid-tempo beat jam containing Crow's own dreary vocals and beautiful synthesized keys. "Absent Friends" is slower, full of languish and life at the same time, while on the B-side, "Each To His Own" is the winner thanks to its punky aesthetic surrounded by that early 80's electronic oddity. A masterclass piece of music and an essential collector's item.
Review: Josh Cheon's retrovert powerhouse Dark Entries reissues Lunapark's 1982 debut album Gefangene Vogel ('Prisoner Birds') originally on Stuttgart imprint Intakt Records. Lunapark were German trio of Burkhard Ballein, Klaus "Schlips" Gebauer and Reinhard "Zoppen" Benisch. Underrated heroes of the Neue Deutsche Welle scene, they allegedly recorded the tracks "using a simple set up of guitar, bass, drums, drum-computer, and Korg MS-10 & MS-20 synthesizers". The monotone German vocals epitomize the Zeitgeist of the Cold War. We particularly enjoyed the cosmic punk funk on the title track, the ode to popular Bayern menswear "Lederhosen" (featuring vocals that sound like Nena and some Giorgio Moroder style arpeggios) and any track dedicated to a legend such as "John Lennon" can't all be bad even in its stylish deadpan delivery.
Review: We love Talking Drums. At the core, they are simply our type of band. An album, a few EPs, and then disappear before the scene kicks off and becomes commercialized. Boxes all well and truly ticked. The early 80s were a period of change what with punk music evolving into post-punk, and while the nu-romantic fashion that came to prominence in the mid 80s was a national movement, it was bands like Talking Drums which initiated it. Thanks to the ever-reliable Dark Entries, we now get to enjoy their best single, Courage, in all its glory - and it sounds like it's been pressed up properly, too! All you need to know at this point, if you haven't come across this already, is that it's one of the best disco-not-disco singles you'll ever cop...and we don't have a favourite tune...they're all equally raw, drum-heavy, house-envisioning, and utterly addictive. Hotly tipped!
Review: How in the name of all that's understandable can you follow up a Mercury Prize-nominated album that looked at the state of the world and answered all our concerns and questions about that in one fell swoop? How about by offering a heavier, louder second chapter, picking up where the last left off and yet emphasising different focal points? That seems to be the idea with "Everything Not Saved Will Be Lost - Part 2". It's Foals at their rockiest and most raucous, with the likes of (aptly-titled) "Black Bull" distorting the vocals and raising the grit on those guitars to 11. Things start off far more sparse, with "Red Desert"'s desolate synth keys invoking some dystopian wasteland. Perhaps the next destination for our civilisation. Whatever you think, from there we call at head-nodding, funk-driven rhythms, tear-inducing piano solos ("Ikaria" is pure beauty) and a finale of epic, soaring, hypnotic art-pop.
Malaria! - "Your Turn To Run (I Will Be Your Only One)"
Ausserhalb - "Zeitzelle"
Die Haut - "Der Karibische Western"
Aus Lauter Liebe - "Pingelig"
Mania D - "Track 4"
ExKurs - "Fakten"
Christiane F - "Wunderbar" (JD Twitch edit)
Sprung Aus Den Wolken - "Dub & Die"
P1/E - "Up And Above/Up & Above Dub"
Franz Erlmeier & Fritz Kostler - "Offnen Sie Mal Ihre Tasche"
Populare Mechanik - "Scharfer Schnitt (No 1)"
Andreas Dorau - "Fred Vom Jupiter"
Weltklang - "Veb Heimat"
Stefan Bloser - "Voyager One"
Matthias Schuster - "An Rah Robeel"
Review: When it comes to compilation making there's probably no two safer names in the art than Strut Records and Optimo's JD Twitch (and maybe the one Trevor Jackson too). This time around though, surprise surprise, Twitch collides a choice selection of oddball rarities and mythical classics from Germany's original post-punk and DIY scene, and in the process gives the behemoth Vinyl-on-demand label a dashing run for its money. There's a staggering amount of music to be discovered here that will send your mind running down one of Berlin's dank strasses or a Dresden ditch, but after hearing tracks like "Your Turn To Run" by Malaria! or Twitch's own edit of Christiane F "Wunderbar" you may be left wondering why you've been listening to Talking Heads and "Eisbear" this whole time.
Ian Dury & The Seven Seas Players - "Spasticus Autisticus" (version) (6:57)
Material - "Over & Over" (long version) (5:38)
Was (Not Was) - "Wheel Me Out" (7:12)
Dinosaur - "Kiss Me Again" (6:53)
Don Cherry - "I Walk" (3:14)
Common Sense - "Voices Inside My Head" (6:29)
Nicky Siano - "Move" (5:45)
Indian Ocean - "School Bell/Treehouse" (10:13)
Review: Second time around for Joey Negro and Sean P's peerless collection of post-punk era New York club cuts, a compilation that proved hugely influential when it was first released way back in 2000. The track listing strangely omits one track present on the original release (the full 16-minute version of Steve Miller Band's "Macho City"), but otherwise it's a faithful reproduction. Highlights come thick and fast throughout, from the eccentric electrofunk of Yoko Ono's "Walking On Thin Ice" and P-funk influenced strut of Material's "Over And Over", to the skittish jazz-goes-dub disco bustle of Don Cherry's "I Walk" and the low-slung percussive voodoo of Nicky Siano's "Move". The undisputed master of NYC leftfield disco, Arthur Russell, is represented via cuts from Loose Joints, Dinosaur and Indian Ocean.
Why Do I Lose My Mind When I Have Something To Say? (3:37)
Incidental Boogie (1:30)
Pearly Gates (4:01)
Review: Through her 'U.S. Girls' project, Toronto-based Meg Remy has released a consistently high quality run of albums that explore issues of femininity with a shaded and angular avant-pop sound. New record 'In A Poem Unlimited' sees Remy continue to explore identity politics, but in a comparatively warmer and more free sound as she collaborates with improvisational group The Cosmic Range. Structurally, the album enjoys an unpredictability of form that sprawls across skulking grunge, found sounds, crunching horn-sections and synth-driven industrial disco. Highlight track 'Incidental Boogie' exemplifies this binding of elements; the contrast of stomping, distorted with Remy's breathy and swaggering vocals is an intoxicating one. The breadth of Remy's palette makes this album an exhilarating listen, and - both as a vocalist and writer - Remy shines as an arresting and formidable talent.
Review: Julia Holter herself describes this new album as "the cacophony of the mind in a melting world," and it provides the American singer, songwriter with her first studio album since 2015's Have You In My Wilderness. Aviary is an intrigue to say the least and it's hard not to feel as if a horror-thematic runs throughout its 11 tracks, with moments of temporary insanity and distress intertwining with hair-raising spots a ghostly allure, and it's as if any lightness in the album has had to pass its way through a thicket of darkness first. There's much dissonance to be heard here too but in a pleasantly unsettling way akin to listening to an orchestra tune itself, and with all the deep and meaningful aspects behind Holter's inspirations, it's a hell of a ride.
Review: Following the long awaited return of Gang Gang Dance, New York glam rock brothers, Brian D'Addario and Michael D'Addario, aka The Lemon Twigs, quietly but surely make their way on to legendary label 4AD once more. It's been two years since their Do Hollywood LP and the pair - with the help of their parents (really) - deliver 15 tracks that according to the band tell a "heartbreaking coming of age story of Shane, a pure of heart chimpanzee raised as a human boy as he comes to terms with the obstacles of life." Satire, irony, haircuts, glam rock. Yes, it's a musical...what, you didn't know?
Review: Don't worry, BBC fans, the title here should definitely be considered as a reference to everything other than this album. Sweeping as that is, the outfit have spent six years considering their future, going on "indefinite hiatus" following 2014's astonishing "So Long, See You Tomorrow", and offering excellent solo bits, only to return with work that's both fresh and reassuringly familiar. By now you're probably familiar with "Eat, Sleep, Wake (Nothing But You)", which forsakes the soft-edges of that preceding, sample-heavy record in favour of something more in keeping with earlier, more "live sounding" fare. There's plenty more here along those lines, not least "I Can Hardly Speak" and the title number itself. Efforts like "Let You Go" rely on glitchy electronics for impact, instrumentation that sounds cast in vivid moonlight abounds on "People People", while "Get Up" is a sultry, sax-filled anthem. This is indeed how you stage a comeback.
Way The World Is (CD1: The Comforts Of Madness - 30th Anniversary Remaster)
You Tear The World In Two
Sea Of Sound
True Coming Dream
A Deep Sleep For Steven
Language Of Flowers
Fell From The Sun
Sight Of You
Sight Of You (CD2: unreleased Sessions 1988-1989 - original Woodhouse Studio version)
Way The World Is (Woodhouse Studio LP demos)
Language Of Flowers
You Tear The World In Two
Fell From The Sun
A Deep Sleep For Steven
Sea Of Sound
True Coming Dream
She Rides The Waves (John Peel Session)
You Tear The World In Two
Way The World Is
Review: Britain is on the very cusp of the post-Thatcher era, mistakes not necessarily learnt from the past 11 years, but certainly evidence mounting for the failure of individualism and the importance of communities. Change is needed, and change is what the next decade would bring. Some of which began with this album, unveiled in 1989, now regarded among the best shoegaze outings of all time. The label doesn't sit that well with us, though. There's just too much else happening with Pale Saints' pacy, expansive and utterly compelling debut. Post punk accents, eruptions into (and introductions based on) pure noise, and surrealist dream pop. Presented here in a new collector's edition, featuring recordings from the band's seminal John Peel session and demos, we couldn't think of a band so deserving of being discovered by a new generation, and re-celebrated by those who were there at the time.
Review: Eight albums in and Elbow still know how to keep us interested. This time round it's a record that seems caught in perpetual motion, refusing to stay still even for a minute off its proggyness, with this the LP most removed from their standard modus of hyper-emotive, string-capped anthemia. Not that the contents aren't huge and destined to fill main rooms and outdoor arenas. A refreshing break for a band that, while unarguably talented and accomplished craftsmen, may - in the eyes of some at least - have at times been guilty of opting for the safety of familiarity rather than braving the great unknowns of sound. If anything, then, "Giants Of All Sizes" is the final pour that cements their place in the pantheons of British music. Exquisite, innovative and highly original stuff.
Review: Ryan Kattner fronts a Man Man album for the first time in seven years, and there's a lot going on. Within the first two tracks alone, 'Dreamers' and 'Cloud Nein', we've had a sultry evening's jazz warm up and a rollocking, boozy, piano rock stomper of the early-Cold War Kids variety. Off we go. 'Goat' is a curious epic that has more than a shade of gypsy funeral punk to it, long brass notes somewhere between exoticism and blues, chorus rooted in folk song. Eyes grow more like saucers when 'Unsweet Meat' unfurls its seductive and increasingly frantic groove, erupting into stepping rhythm and closing chant. Elsewhere, 'Inner Iggy' is a jangling rock 'n' roll classic, and 'Swan' is a broken and honest but sweet piano solo. The point being, you won't hear much like this again for a while.
Review: "Drums And Guns" possesses the unique, subtle beauty and power we've come to expect from Low, but the record is also profoundly exciting in ways that it's easy to forget music can be. While these songs feature new elements (looped vocals, drum machines, etc.) and are thoroughly, radiantly contemporary, they remain undeniably Low.
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