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Alben
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Live Through The Past Darkly (Soundtrack) (CD + DVD)
Cat: LAB 51007CD. Rel: 07 Mar 24
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Weatherall's Weekender (Audrey Is A Little Partial Mix (bonus track - Audrey Is A Little partial mix)
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Cat: ATD 028CD. Rel: 04 Apr 24
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Cat: 505419 7893995. Rel: 29 Feb 24
Review: For indie heads of a certain vintage, this album - a first full-length collaboration between Oasis lead singer Liam Gallagher and former Stone Roses guitar-slinger John Squire - is one of the most hotly anticipated of the year. It was recorded in Los Angeles over a three-week period last year, with former Foo Fighters and Gorillaz studio don Greg Kurstin handling production. As you'd expect, the album is undeniably nostalgic, with Squire's variously funky, raw and bluesy guitar licks and Beatles-esque backing tracks providing a fitting vehicle for Gallagher's distinctive lead vocals. For proof, check recent singles 'From Mars To Liverpool' - where Squires' solos towards the end seemingly soar above reverb-laden backing vocals that accurately pay tribute to the Fab Four - and the more psychedelic Roses-meets-Oasis flex of 'Just Another Rainbow'. There are no surprises, but fans will love it.
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Review: French dream pop breakthrough Halo Maud follows up her debut record Je Suis Une Ile (I Am An Island) with her second ever LP, Celebrate, which lives up to its name in fantastic fashion. Evidently less introspective than her last, the sonic palette throughout this dozen sunbursts suggests Maud has found her inner John Donne; indeed, opener 'Terres Infinies' is a massive crasher of a three-pronged shoegaze, synthwave and art pop sensibility, and both sonically and titularly suggests a new, deterritorial antithesis to the first album's sense of introspection. Organic, well-rounded instrumentation hears Maud traverse infinite terrains of bright tambourines and detuned synths thereafter.
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Review: Julia Holter has subtly shifted focus on new album (her sixth in total) Something In The Room She Moves, moving away from exploring memory and dream-like states to instead focus on (in her words) "the complexity and transformability of our bodies". To create this rather distinctive (and rather good sound world), she added her own ethereal vocals to self-created backing tracks rich in electric fretless bass, warming wind and reed instruments, and distinctive synth sounds plucked from a Yamaha CS060. The results are predictably immersive and soul-enriching, with highlights including stunning opener 'Sun Girl', the percussively inventive 'Spinning', and the pastoral, dreamy 'Evening Mood'.
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Review: 40 years after the band's formation, The Jesus & Mary Chain have delivered their eighth studio album, their first full length release of new material for seven years. Admirably, the Reid brothers have refused to rest on their laurels and offer-up something undeniably nostalgic - catnip for long term fans if you will - but instead have fused elements of their familiar sound and style with plenty of fresh ideas. There are audible nods to Suicide, Kraftwerk and the improvisational practices of jazz, but also tons of fuzz, feedback and aural chaos. It's an invigorating mixture that's best exemplified by 'Jamcod', where the pair's red-raw guitars, low-slung bass and acid-fried vocals rise above a skittish electro beat, the slipped shoegaze-goes-dreampop flex of 'Chemical Animal', and the pleasingly spiky and punchy 'Girl 71'.
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Review: The eagerly awaited album A La Sala marks the return of Texas-based trio Khruangbin, seamlessly blending Thai funk, psychedelic rock, and world music influences. Laura Lee's groovy basslines, Mark Speer's intricate guitar melodies, and Donald "DJ" Johnson's precise drumming define each mesmerizing groove. Tracks like 'Farolim De Felgueiras' and 'A Love International' exude a relaxed vibe, perfect for lazy summer days, while 'Juegos Y Nubes' infuses Latin rhythms with a psychedelic twist. A La Sala takes listeners on a captivating journey through diverse musical landscapes, showcasing Khruangbin's adeptness at genre fusion and their talent for crafting sonic euphoria.
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Review: Texas-based trio Khruangbin returns with their highly anticipated album, A La Sala, blending Thai funk, psychedelic rock and world music influences. Laura Lee's funky basslines, Mark Speer's intricate guitar work, and Donald "DJ" Johnson's precise drumming define each hypnotic groove. Tracks like 'Farolim De Felgueiras' and 'A Love International' emit a laid-back aura, ideal for lazy summer days, while 'Juegos Y Nubes' adds Latin rhythms with a psychedelic twist. 'A La Sala' offers a rich journey through diverse musical landscapes, solidifying Khruangbin's mastery of genre fusion and their ability to create sonic euphoria.
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Cat: MIND 877. Rel: 22 Mar 24
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Review: It's been seven years since the tragic passing of Chester Bennington and the abrupt end of nu-metal legends Linkin Park, while their legacy remains praised and intact by avid fans. Papercuts offers up a career-spanning greatest hits collection, yet rather than sequencing each bundle of tracks chronologically in terms of specific album release, the cuts are mixed with the design of flowing as naturally as possible, with the anthemic 'Faint' from 2003's Meteora rubbing shoulders with their iconic Jay-Z Collision Course collab 'Numb/Encore'. Elsewhere, 'One Step Closer'; the breakout single from 2000's genre-defining debut LP Hybrid Theory is followed directly by 'New Divide', which served as the lead single from the Transformers: Revenge Of The Fallen soundtrack. From their rap-metal beginnings to their signature style of nu/alt-metal to the their calmer accessible later era, this compilation delivers a succinct yet sprawling distillation of Linkin Park's most vital contributions to the several dynamic scenes they helped to elevate.
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Cat: 196588 65452. Rel: 26 Apr 24
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Review: Mansun's The Dead Flowers Reject, originally conceived as an insurance policy against label rejection of their experimental album Six, emerges as a hidden gem in the band's discography. Recorded concurrently with Six, this album offers a slightly less eccentric selection of songs, showcasing a more conventional sequencing approach. Frontman Paul Draper describes it as possibly his favorite Mansun album, capturing the band's live essence. Fans will relish the opportunity to experience this essential piece of Mansun's legacy in its full glory. Mansun's influence on the late 90s British music scene is undeniable, and The Dead Flowers Reject adds another layer to their iconic status. With its newfound availability on vinyl, this album solidifies its place as a crucial component of Mansun's innovative journey.
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