Review: Already the winner of a Brit Award (Adele was voted the 'Critics Choice' - the most exciting new British artist expected to 'make it big' in 2008),
'19' is Adele's debut album. Citing influences as diverse as Etta James, Jill Scott, Bjork, Dusty Springfield, Billy Bragg, Billie Holiday, Jeff Buckley,
The Cure and Peggy Lee, Adele also recently completed her first solo UK tour, having toured previously with the likes of Jack Penate, Jamie T,
Raul Midon, Amos Lee and Devendra Banhart. '19' contains both her debut track 'Hometown Glory' and her smash single 'Chasing Pavements'.
Blues tinged and melancholic, Adele describes 'Chasing Pavements' as 'It's me being hopeful for a relationship that's very much over. The sort
of relationship you hate when you're in it, but miss when you're not'. A hymn to lost love and regret, 'Chasing Pavements' follows Adele's first
limited edition single 'Hometown Glory', which introduced her to the world to much critical acclaim, with NME calling it 'totally, absolutely beautiful',
Q Magazine calling her 'The voice of next year' and The Sunday Times saying 'A Star Is Born'
Review: If you're new to Arca then it's time to catch up. The Venezuelan instrumentalist, rapper, composer, singer, producer and DJ is nothing short of a tour de force, and has been blowing crowds away with a blend of experimental dance and electronic music since emerging in 2011. Packing beauty, attitude, and wild ideas into a seamless blend of noises, in live format you can expect sets to run the gamut from Neo-gabber to sleazy Latin trap, and we really do recommend experiencing that.
Kick II is the second instalment in a four-album odyssey that defines exactly what we're talking about, albeit stopping short of the breakneck beats she can unleash on stage. Nevertheless, the combination of avant-garde, reggaeton, pop, cumbia, smoky downbeat, and deconstructed club music is powerful and impossible to ignore. Not that anyone would ever want to.
Review: Many critics have been quick to praise Arca's latest album (her fourth in total), highlighting the startling vibrancy and accessibility Barcelona-based Venezuelan's latest work. Where she was once renowned for wilfully challenging experimental sounds, "Kick I" combines her long-standing lo-fi noisenik instincts in ear-catching leftfield pop vocals, fiendishly heavy beats variously influenced by dancehall, reggaeton and Kuduro, sparkling bursts of kaleidoscopic synthesizer sounds, and bass beefier than a herd of highland cattle after a few months on industrial strength steroids. As a result, it's an album that beautifully balances ear-catching attractiveness with serious dancefloor grunt and just the right amount of experimental noise.
Review: When they delivered their stupendously sample-heavy debut album, Since I Left You, back in 2000, The Avalanches were tipped for big things. For some reason, they failed to capitalize, all but fading from view. That album remains a much-loved listen for many people so there has been an expected degree of anticipation regarding this follow-up, Wildflower. Happily, it's something of a resounding success, with the Melbourne trio serving up another whirlwind trip through sample-heavy, hip-hop era psychedelia. At 21 tracks deep, and with more changes of direction than your average three-week cycle race, it's something of a beast. It is, though, well worth the effort, as repeat listens simply uncovers more layers of hazy, glassy-eyed goodness (be it bluesy trip-hop, slipped disco, dreamy acid-pop, folksy beat-scapes or baked hypno-rock).
Review: When they delivered their stupendously sample-heavy debut album, Since I Left You, back in 2000, The Avalanches were tipped for big things. For some reason, they failed to capitalize, all but fading from view. That album remains a much-loved listen for many people so there has been an expected degree of anticipation regarding this follow-up, Wildflower. Happily, it's something of a resounding success, with the Melbourne trio serving up another whirlwind trip through sample-heavy, hip-hop era psychedelia. At 21 tracks deep, and with more changes of direction than your average three-week cycle race, it's something of a beast. It is, though, well worth the effort, as repeat listens simply uncovers more layers of hazy, glassy-eyed goodness (be it bluesy trip-hop, slipped disco, dreamy acid-pop, folksy beat-scapes or baked hypno-rock).
Review: At the start of 2024, BADBADNOTGOOD channeled their renewed creative energy into the Mid Spiral series. Fresh off a string of international tour dates and collaborations with artists like Daniel Caesar, Charlotte Day Wilson, and Turnstile, the Canadian trio - Al Sow, Chester Hansen, and Leland Whitty - returned to the studio with a vibrant sense of purpose. Joined by touring member Felix Fox-Pappas and key Toronto jazz musicians Kaelin Murphy, Juan Carlos Medrano, and LA's Tyler Lott, they embarked on an intensive recording session at Valentine Studios in Los Angeles. The result is the Mid Spiral series, initially released digitally in three parts - Chaos, Order, and Growth - and now available as a double LP and CD. These suites mark a return to their instrumental jazz roots while seamlessly blending elements of hip-hop, neo-soul, psychedelic and funk.
Beside April (feat Karriem Riggins & Arthur Verocai) (7:02)
Love Proceeding (feat Arthur Verocai) (7:11)
Open Channels (5:52)
Timid, Intimidating (7:08)
Beside April (feat Arthur Verocai - reprise) (3:42)
Talk Meaning (feat Arthur Verocai, Terrace Martin & Brandee Younger) (8:17)
Review: Canadian trio Badbadnotgood have made us wait for Talk Memory, their fifth album. Arriving a decade after their first full-length, and some five years since the release of their acclaimed fourth LP, it's a much more expansive and cinematic affair than its predecessors - both in scope (it includes more nods towards post-rock and jazz-rock, for example) and sound (a number of tracks feature string arrangements by Brazilian arranger Arthur Verocai). It's a dazzling affair all told, with the band's choice of improvisational composition techniques and an impressive guest list (Laraaju, Karriem Roggins, Terrace Martin and Brandee Younder all appear) resulting in a string of epic, life-affirming compositions. Picking highlights is tough, but we'd suggest checking slow-burn, constantly building epic 'Signal to the Noise' and the buzzing, psychedelic jazz-rock of 'Beside April'.
Review: Once again, XL Recordings resupply our vitals with Basement Jaxx's life-giving audio elixir 'Remedy', their joyous debut album from 1999. Renowned for its sensuous themes, international palette of influences and, of course, its basis in bangerized house music, tracks like 'Red Alert' and 'Jump n' Shout' paved the way for much big beat, electro and pop house to come.
Review: Named after their infamous Brixton club night, Basement Jaxx's second album Rooty saw them continue to push the boundaries of pop and club music. The album mixes classic house with generous lashings of punk, funk, R&B, jazz, hip hop, 2-step and pop song-craft in a mad genre crash that works like a charm. It features the massive tracks 'Where's Your Head At', 'Romeo' and 'Do Your Thing'.
Review: Released on XL Recordings in 2004 and nominated for the year's Mercury Music Prize, Kush Kash was the third studio album from dance music pioneers Basement Jaxx. The album has its space in history having been the winner of the first ever GRAMMY award for Best Dance/Electronic Album. It is packed with great collaborators such as the one and only punk icon Siouxsie Sioux, king of London grime aka Dizzee Rascal on the superb 'Lucky Star', as well as more mellow vocals from Meshell and the lung-busting performance of rock 'n' soul diva Lisa Kekaula from the LA band The Bellrays on 'Good Luck.'
B-STOCK: Sleeve damaged but otherwise in excellent condition
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Once again, XL Recordings resupply our vitals with Basement Jaxx's life-giving audio elixir 'Remedy', their joyous debut album from 1999. Renowned for its sensuous themes, international palette of influences and, of course, its basis in bangerized house music, tracks like 'Red Alert' and 'Jump n' Shout' paved the way for much big beat, electro and pop house to come.
Review: XL have been steadily building up momentum with CASISDEAD over the past few years, while the cult rapper had been leaving a breadcrumb trail of music to an ever-growing fanbase for some time before. Now, the wait is over as he finally unveils his debut album, and Famous Last Words is delivered with a sense of ceremony which more than matches the anticipation. When your guests include Neil Tennant, Connie Constance and Desire, you know you're pulling out all the stops. The album runs like cinematic narrative guided by CAS' distinctive flows, backed by a sleek synth-pop production style fuelled by collaborators including Kyle Dixon and Johnny Jewel.
Review: Charlotte Day Wilson's new album on XL Recordings comes in various formats and this is a gatefold vinyl version with a fold out poster. It marks a significant progression in the musical journey of the Canadian talent following her meticulously crafted debut in 2021. Cyan Blue reflects a subtle yet profound evolution of her distinctive sound and songwriting prowess. Spanning 13 captivating tracks, Wilson delves into themes of relationships, self-discovery, and existential ponderings as she melds r&b, folk, and soul elements but allows her singular voice to once again take centre stage. A timeless record that resonates with depth and authenticity, Wilson's sophomore effort promises to leave a lasting impression.
Review: Young Canadian producer, vocalist and multi-instrumentalist Charlotte Day Wilson steps out with her long awaited new album for XL Recordings in May - and she does not disappoint. The album comes three years after she broke through with her diligently crafted debut in 2021 and shows another subtle evolution of her signature sound and songwriting skills. The record features 13 mesmeric tracks that find her musing on relationships, understanding herself and her place in the world and plenty more. Musically she fuses elements of r&b, folk and soul with her singular voice at the heart of what is a timeless record.
Ready 4 War (feat Sharky Major, Armour & Stormin) (4:40)
Street Fighter (instrumental) (2:42)
Go (instrumental) (4:28)
Ho (instrumental) (4:06)
String Ho (instrumental) (2:44)
Ting Ting (instrumental) (2:06)
Wheel (instrumental) (3:51)
Review: Grime might now be one of the biggest sounds in the UK music scene, but it arguably might never have been without the much earlier work of scene forefather Dizzee Rascal. The Londoner broke through just after the turn of the millennium and onto the international stage with his in-your-face bars, mashed-up dance sounds and big samples. Quite possibly his best work is Boy In Da Corner, the stunning Mercury Prize winning long player on XL that is now 20 years young. It gets a special reissue for the occasion with all the big ones like 'Fix Up, Look Sharp' present and correct, as well as a load of fine instrumentals.
Review: The debut studio album by American rock band Electric Six came as a demented party record, building on the high production value, yet still enjoyable musical approach of mainstream pop and industrial rock in the late '90s and early noughties. The Detroit band had been going since 1996 but only struck the starry heights of fame in 2001, when 'Danger! High Voltage' established their bluesy, raunchily delicious dance-funk sound. The star cut on the record, and ensuing hilarities such as 'Naked Pictures (Of Your Mother)', 'I'm The Bomb' and 'Gay Bar', proved just the right dosage of tension and irreverence.
Review: XL Recordings founder Richard Russell has been rather busy of late. First came the publication of his memoir, "Liberation Through Hearing", and now this: the follow-up to his 2017 debut album as Everything Is Recorded. Like its predecessor, "Friday Forever" was produced and mixed by Russell but also contains contributions from a wide range of artists including Ghostface KIllah, Penny Rimbaud, A.K. Paul, James Massiah, Infinite Coles, Irish singer-songwriters Maria Somerville and Kean Kavanagh, and a host of new-breed British MCs. There's a concept behind it - the sound-tracking of a night out and the weekend that follows - with the music brilliantly joining the dots between hip-hop, neo-classical, soul, proto house, reggae, jazz and much, much more. That it not only holds together but also makes perfect sense is testament to Russell's growing skill as a producer.
No More Rehearsals (feat Roses Gabor, Jah Wobble, Jack Jack Penate & Yazz Ahmed) (3:14)
You Were Smiling (feat Samantha Morton) (3:51)
Norm (feat Bill Callahan) (1:26)
Swamp Dream #3 (feat Clari Freeman-Taylor) (5:57)
The Meadows (feat Roses Gabor, Kamasi Washington & Ricky Washington) (4:50)
Goodbye (Hell Of A Ride) (feat Nourished By Time) (3:32)
Review: The latest release from Everything Is Recorded delivers a striking collection that blends electronic, soul and folk influences with remarkable depth. The opening track sets a reflective tone, paired with lush instrumentation and haunting vocals. Collaborations like the one with Sampha, Laura Grove and Alabaster DePlume bring emotional weight, while tracks like 'Never Felt Better' with Florence Welch and Sampha elevate the energy. 'Porcupine Tattoo' offers a beautifully subdued moment, and other collaborations continue to weave unique soundscapes. The release is a testament to XL boss Richard Russell's ability to bring diverse voices together, crafting a deeply introspective yet dynamic listening experience.
Review: Fontaines D.C. return with their latest album Romance, their debut on XL Recordings. Recorded shortly after their tour supporting Arctic Monkeys, it seizes on the momentum of 2022's Skinty Fia; Romance marks a colder and starker shift away from their prior work, exuding a chillingly charismatic energy out of the exothermic reactions of booming rock production, free-associative rap-singing and apocalyptic themes. Led by the track 'Starburster', the album's locus of inspiration, which came to be after the band's frontman Grian Chatten suffered a panic attack at London's St. Pancras Station, we find ourselves morbidly over the moon for this grim album-length rumination on the now.
Review: Fontaines D.C.'s fourth album, Romance, marks the band's first collaboration with producer James Ford and represents their most adventurous and inventive work to date. Following the success of their acclaimed 2022 album Skinty Fia, which topped the UK and Irish charts and earned them International Group of the Year at the 2023 Brit Awards, Romance is set to push their sound further. The explosive lead single 'Starburster' was inspired by lead singer Grian Chatten's panic attack so features intense breath patterns and shifting dynamics. Elsewhere the band's evolution is there for all to hear with with influences from grunge, electronica, and hip-hop reflecting their ongoing growth and experimentation.
Review: Fontaines D.C.'s debut on album on XL Recordings, Romance, marks both a continuation of and a tonal shift away from the sound of 2022's Skinty Fia, easing into their alt-dance-rock frenetics but also amping up a certain apocalyptic central theme. Indeed, the band mention that, going into the recording sessions for the album, they were left wondering what there 'was left at all to be romantic about', testifying an ability to channel the overarching miasma of a grim now into nonetheless fun-loving music. But Romance isn't just an embrace of hedonism while the world burns; it's more of an explosion of adrenaline, in a world where such libidinal energies might otherwise end up misplaced.
Review: St Albans-three piece Ed McFarlane, Edd Gibson and Jack Savidge made quite the splash with their self-titled Friendly Fires debut album. It arrived 15 years ago and will be remembered for singles such as 'Jump In the Pool' and 'Paris' which very much defined the era. The band was nominated for both a Brit Award and The Mercury Prize and had huge commercial and critical success. This anniversary reissue comes on silver vinyl and is a great reminder of not only this band's quality but also the energetic indie-dance fusions that were proliferating at the time.
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