Review: If you're already aware of intergalactic soul messenger Kadhja's skill, prowess and allure then you'll already have this one ordered. If not, welcome to a new universe of folk. Delivered with a strong sense of late 60s psychedelia and a delicate firmness similar to that of Joni Mitchell or Kate Wolf, there's a stark nakedness between the elements creating an honest, timeless and traditional experience that is exquisitely balanced. This is her largest body of work to date and has been kept under tight wraps with only a handful of tracks revealed in the run up. We won't spoil the surprise - press play and meet the talent the world needs (but probably doesn't deserve) right now.
Review: Here's something to set the pulse racing for all those who love Al Green's distinctive brand of soul: a deluxe box set containing re-mastered, replica versions of "45s" released by the singer on Hi Records between 1969 and '78. It's a wonderfully packaged and produced item, with no less than 26 seven-inch singles being joined by a 56-page hardback book and an ultra-limited Hi Records 45 adaptor. The music is, of course, superb, with the singles containing many of Green's most potent, celebrated and well-known works alongside largely forgotten B-sides and lesser-celebrated bonus cuts.
Review: Earlier this year, Indianan dream-pop group Hoops' confident debut album 'Routines' established the band amongst the stronger acts in the genre, comparable to Mac DeMarco, Mild High Club, Homeshake, Soft Hair and more. This compilation of demos and home-recordings is equally as strong, in all their retro and nostalgic haze, made even hazier by the sound of the tapes they were recorded on. For a collection of demos, it's overall wholeness is pretty impressive, and should be essential listening for any fans of dreamy, 80's-inspired VHS indie.
Review: In The Birthday Party, These Immortal Souls and Crime And The City Solution, Rowland S. Howard set out his stall as not only a rock 'n' roll renaissance man but one of the most startlingly inventive and fiery guitarists of a generation, developing the innovation of players like Ron Asheton and Tom Verlaine in his own jagged and idiosyncratic manner. "Pop Crimes", sadly, marks something of an epitaph for Howard, yet it also stands alone as a dusky, laconic and affecting collection of Lynchian serenades and torch songs. A fine testimony to a unique talent.