Review: 'Mordechai is another blissed-out record from Texan party-chill-psyche trio Khruangbin. It's also among the outfit's most defined and driven, a smooth, sticky hot funk odyssey made for hazy afternoon soirees. Leader Laura Lee is, as ever, unfathomably siren-like on vocals, her bass grooves aiding the process of seduction no end. Even at the most upbeat and anthemic, 'Time (You and I)', it's hard not to feel woozy and intoxicated by the pared-back breaks and guitar lick combination. Dance floor ammo for sure, as is Pelota. Overall, though, it's an album best savoured slowly, allowing you to fully appreciate every lackadaisical moment of opiate goodness, with tracks such as 'Father Bird, Mother Bird', 'One To Remember' and 'Shida' summoning stunning sticky, heavy, deep atmospheres.
Review: Dublin's Fontaines D.C. have been itching for their debut album to arrive on Partisan Records for seven singles now (all of which released in the past 18 months). Full of semi-ironic lyrics delivered like a drunk Mike Skinner replacing Archy Marshall (King Krule), each track on the album delivers a jangley, dimly light, beer swindling vibe, though not all songs are for bar fights and moshing. Flashes of Bloc Party to Morrissey subtly streak across the album (see "Television Screens") while there's some sombre punk, funk ballads in "Roy's Tune" to be heard too. The album overall is electric, highly danceable, cooler than a denim jacket, and a quality first missive.
Review: There's certainly plenty to talk about here. British chart-topping and stadium-filling enigmas The 1975 return to prove you really can't predict what the troupe will do next, delivering what would be their most divisive and explorative album if it weren't for the fact they command so much loyalty from fans you could be forgiven for thinking dark forces were at play. 'Notes On A Conditional Form' is easily the furthest we've wandered from the formative years of a band that cut teeth doing teen-punk covers, and it's hard not to notice the subtle theme here. From 'Having No Head', which rides on a sharp house groove, through the garage breaks of 'Yeah I Know', low slung dub of 'Shiny Collarbone' and the shoegaze of 'Streaming', it plays out like a celebration of the breadth and diversity of UK pop culture.
Review: Variety is the spice of life, as they say, and Oh Wonder have clearly attempted to distill that idea into their latest long form. So hard to pin down, the work here straddles many genres, all of which are accessible in their own way. Yet it never fully commits; universal adoration is clearly the goal.
For dedicated fans "No One Else Can Wear Your Crown" may be jarring. The record sees Josephine Vander Gucht and Anthony West, et al, explore avenues that aren't always the obvious matches for their sweet pop lullabies. There's more than a smattering of EDM throughout, see those power drops and all that synth discordance. "Nothing But You", arguably the finest here, sees contemporary R&B and shiny hip hop flows come to the fore. Of course there's plenty of Oh Wonder-ness too, "Happy" being one example, but this will be remembered as their most daring and different to date.
Review: You'll probably struggle to find an album that opens with two more contrasting tracks than the fifth long form effort from Mike Hadreas. Re-teaming with GRAMMY-nominated production talent Blake Mills, with the pair inviting a host of guest collaborators to help on this record (Jim Keltner, Pino Palladino to name but two), the record begins with the peaceful, reflective and hymn-like 'Whole Life', a classic slice of rock croonerdom, before the scuzzy guitars of 'Describe' drop in like juggernauts. Elsewhere, you have the proto-pop of 'On The Floor', a track heyday Cyndi Lauper would have been happy to call her own, and the haunting slow dance of 'One More Try', offering yet more shades of grey which, combined, create a complete picture of a man, or indeed men, in the 21st Century. Rebellious, tender, caring, carefree and deeply complex. Definitely one that will keep you exploring long after first pressing play.
Review: If you've ever even heard of US alternative indie rockers The Dream Syndicate then chances are you've read the kind of reviews these guys garner. Few critics have penned anything like a criticism, lauding the troupe for originality and also inherent talent, and this latest LP will do little to threaten that prestige. It's a real epic, with most tracks well over the seven-minute mark, and some running far beyond twenty. The songwriting again reveals Steve Wynn to be one of our most precious living artists, and stylistically it feels as though the band have finally found a middle ground where varied influences aren't just allowed to co-exist, they actually create something innovative and - dare it be said - new. Melding prog, European avant-garde, blues and electronic jazz, it's not that you can't find anything that sounds like this, but you'll definitely struggle.
Review: Donny Benet is many things to many people - but everyone agrees you want him at the party, where he's likely to be the last one standing. Glossy, over-produced 80s pastiche disco pop is always going to be divisive, but despite the overbearing commercial feel here the Australian curio is one of the most honest and real artists out there. Real enough to include a karaoke DVD with his first album. The balding and mustachioed synth master is on fine excellent here, although the context is different to previous outings. Made in hotel room isolation at a time when a world tour was postponed due to a global pandemic, it encapsulates the need for optimism and fun at a time when nobody really knows where the planet, or modern society, will be in 12 months. Indulgent, open and smooth beats to take the blues away.
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: Scuzzy, sludgy, creeping, muscular and delicate-enough to feel there could be a break in its bones at any moment. King Krule returns with a third album that once again tears skin open to reveal the heartfelt emotions within its lo-fi, muttered, pseudo-rock tones. Referencing Sleaford Mods on heavy opiates wouldn't be too far from the mark at times, although we're not here to simply use touchstones - Archy Marshall deserves better than that. Despite almost everything on "Man Alive!" being so quiet, it packs an incredible level of noise. Subtle licks, strange details and a deceptive depth would be one way to describe the whole package. Grunge tones ("Supermarche"), lo-fi blues pop (""Don't Let The Dragon) Draag On") are just some of the nuances it's possible to pick upon, making for a wholly original work that captivates, relaxes and uneases in equal measure.
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: As someone whose melancholy melodic flair and poetic skills have helped to shape a fair chunk of twenty-first century indie-pop, Jamre Mercer might have been forgiven for resting on his laurels at this stage, but the good news is that this fifth album marks a fruitful evolution for this wordy and ornate stylings whilst still offering the solace of old. The self-produced songs here are replete with sunny pop tuneage, new wavey vigour and electronic ornamentation, and the wordplay sharp. Older and wiser twenty year into the band's life, Mercer may be world-weary, yet his skills remain evergreen.
Review: Following the runaway success of their Mercury Music Prize nominated 2014 debut album, Jungle moved to Los Angeles to record the follow-up. It didn't work out for a variety of musical and personal reasons, so they headed back to London and recorded "For Ever" instead. While some of the lyrics reflect on their musical and personal issues during that time, the resultant songs are as soulful, polished and jaunty as you'd expect. Check, for example, the sun-kissed disco-pop of "Heavy California", the sumptuous lo-fi soul shuffle of "Cherry", the head-nodding grooves and lyrical melancholy of "Happy Man" and the grandiose, bittersweet brilliance of "House In LA".
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: The immaculately suave and stylish duo Hurts, formed of synthesist Adam Anderson & vocalist Theo Hutchcraft are back with their fourth full-length 'Desire'. The album is packed with huge, stadium-filling anthems, as we've come to expect from them. However, the more curious moments come from track such as the stripped back ballad 'Chaperone', or the heavily Prince-inspired 'Boyfriend', or the infectious neo-soul of 'Spotlights'. Matching the duo, this production is equally slick, and this fourth missive is as impressive, heady and irresistible as any of their previous.
Review: A decade in the making, and then some, Jack Penate's third album is finally ready, with a little help from Paul Epworth, former Spankrock member and jazz percussionist Alex Epton, and Inflo. The canvas painted is both broad and coherent, taking in influences such as disco, folk and classic pop, which may sound disparate but, in this form at least, feels like a bizarrely natural combination. Testament to the artist, tracks like "Murder" - with their bumbling dancefloor rhythm and power synth line - sit comfortably between "Cipralex"'s delicate plucked acoustic guitars, falsetto lyrical delivery and rumbling low end; and the epic piano arpeggiations of heartstring-pulling instrumental "Gemini", with its samples of Penate's grandfather, Mervyn Peake, as read by his uncle Fabian. Elsewhere, "Round and Round" could be labelled lo-fi broken rave balladry, while "Swept To The Sky" closes out on a powerful and uplifting declaration of love.
Review: It's nearly three years since we last heard from !!!, owners of the strangest name in dance music (it is, of course, pronounced !!!). In that time, the now veteran band's members have pursued a variety of intriguing solo projects, with Justin Van Der Volgen making his mark as a DJ and producer of seriously good disco edits. The brilliantly named Thr!!!er (see what they did etc.) is undeniably looser and groovier than previous efforts, with their trademark low-slung, punk-funk bass being used to good effect on tracks that range from LCD Soundsystem-ish house-influenced anthems ("Slyd") and Prince-influenced disco (the delightfully summery "One Girl/One Boy"), to West Coast stoner funk-rock ("Californiyeah") and Rick James style hustlin' disco-funk ("Except Death").
Review: Five years on from their last full-length excursion, Darkstar return with "Civic Jams", a socio-politically charged set that Warp says was influenced by two decidedly disparate musical inspirations: the opaque, slowly shfiting sonic density pf shoegaze, and 30 years of the British bass music continuum. In practice, that means a striking fusion of tactile vocals, drowsy electronics, wall-of-sound chords and crunchy, off-kilter rhythms that tip a wink to hip-hop, grime, dubstep, breakbeat and more, while never sounding specifically like any of them. It's not a club-focused set, but it an undeniably impactful one, primarily because its inherent bittersweet beauty and weary melancholia seems in tune with these unusual, claustrophobic times.
Review: The duo of Luke Steele and Nick Littlemore first struck pop gold in 2008 with an extravagant sound that took sweet-tooth pop hooks and burnished them in a particularly '80s style radiance. 'Two Vines', partially recorded in Hawaii, sees the twosome building on their trademark kaleidoscopic flourishes, grabbing the assistance of luminaries and kindred spirits like Lindsey Buckingham and Wendy Melvolin to capture a sun-kissed and seductive sound as rich in melody and melancholy as it is in texture and production sheen. Reclaiming the pop landscape with artistic sleight-of-hand, 'Two Vines' is proof that this duo's pop smarts as as colourful as Steele's outlandish wardrobe.
… Read more
$10.03 SAVE 12% in stock$8.83
Artikel 1 bis 50 von 500 auf Seite 1 von 10 anzeigen