Review: This official reissue of Bela Lugosi's Dead: The Bela Session comes on black and red splattered vinyl this time around and includes previously unreleased tracks that have been mastered from the original demo tapes of their first ever recording session together. The post-punk outfit's debut single was released initially in 1979. Bela Lugosi's Dead is not only their first single, but also often gets mentioned as the first goth record. It has since been covered by Nine Inch Nails, Massive Attack and Nouvelle Vague. The rest of the tunes from the demo session remain hugely innovative, reflecting their post-punk and dark-glam style with dub reggae influences that would further evolve in their output that followed and explain why the band went on to such cult status.
Review: Beach House gets in on this year's Record Store Day hype with The Become EP, which is a collection of five songs from the Once Twice Melody sessions. Say the band, "We didn't think they fit in the world of OTM, but later realized they all fit in a little world of their own.' As such they are presented here with their own scuzzy and spacious sound and special capturing of live playing spirit. The tunes are outliers for where the band is generally headed right now but still offer plenty of fans old and new to enjoy.
Step By Step (feat Panda Bear - bonus Beat) (4:07)
Review: Alan Braxe is one of the cornerstones of the famous French touch house sound. He's crafted plenty of seminal tunes and now is back once again with Falcon for this new and lush deep house 12" on Smugglers Way. It bears all the hallmarks you would expect of the pair: big loopy loops, filtered chords and house drums that get you grooving. 'Love Me' is the one old heads will appreciate the most thanks to its old school ways, while fresh disco influences colour 'Creative Source.' 'Elevation' is more blissed out and Balearic and 'Step By Step' is downtempo lushness.
Review: Seven Psalms finds Australia's most imperious musical misfit Nick Cave leaving his Bad Seeds at home and teaming up with frequent collaborator Warren Ellis for a limited 10". The spoken word pieces on this record are the result of a daily song writing practice over a week during lockdown - Cave himself describes them as "small, sacred songs," set to appropriately subtle musical accompaniment. Recorded during the sessions for Cave and Ellis' 2021 album Carnage, it's a rich work in its own right that offers a different perspective on Cave's considerable gifts as a soothsayer.
We Are The Beautiful (Spooky Extravaganja dub mix) (8:27)
Frost (4:00)
Age (3:38)
Review: In all honesty, moving straight from the rousing, slightly grinding wall of sound with which 'We Are The Beautiful' signs off, into the lunging bass of a stomping Spooky dub edit of the same track, is both unexpected and a bit jarring. The noisy end of shoegaze-leaning indie into pared back prog-hued tech house from one of the all-time masters, anyone? But then that's kind of the point we want to celebrate.
Chapterhouse may only just be getting the reappraisal they deserve now, over a decade after their last and rather brief reunion tour (with She's A Vision also hitting our shelves early-2023), but their influence on heads and artists alike was significant. Debut album Whirlpool, for example, remains for many a high point of the entire shoegaze movement. Here are three more tracks to prove that point, and one belting - if sonically isolated - remix.
Review: Acclaimed Japanese artist Cornelius is back with a new three-song EP, Bad Advice/Mind Train, featuring a collaboration with Arto Lindsay. The EP's first single, 'Mind Train,' is an epic nine-minute track inspired by Yoko Ono which blends ethereal space-pop with minimalist structures and bursts of exhilarating chaos. Cornelius describes 'Mind Train' as a symbol of spiritual and inner exploration that is designed to prompt self-reflection. The accompanying video, created by renowned visual stylist Keita Onishi, enhances this journey with stunning retro-futuristic graphics that allow you to explore your own interpretations.
Review: The debut album from Amsterdam-based muso Donald 'Donny' Madjid (a member of The Mauskovic Dance Band) came after an unusual break in his often hectic touring cycle, largely thanks to the pandemic. Keeping himself sane with a plethora of vintage synths as well as a 60s era drum-machine, the resulting experiments gave way to 2021's retro-fitted disco meets new wave opus Pure Donzin. Now that tour-life has resumed and his schedule chock-a-block yet again, it's taken three years for another dose of pure Donny with the release of his follow up Zonder Pardon EP. Authentic swathes of machine-percussion, thick synth-lines and Madjid's own disarming croon (sung almost exclusively in his native tongue) channel the sonic iconography of Talking Heads or Roxy Music, yet transported by way of an Italo-Disco rave to the funkiest spots of inner-city Holland.
Review: Drab Majesty was first set up by Andrew Clinco in the beating heart of the US music industry, Los Angeles. It's here, in a metropolis defined by both glitz, glamour and plastic, and wild experimentation and unconventional thinking, that the artist once best known as drummer in Marriages adopted a new androgynous persona, Deb Demure, and then drafted Mona D (Alex Nocolaou) as keyboardist and vocalist. That was 2016. Now here we are today, a few albums deep and faced with their latest offering. An Object in Motion takes bold strides in many directions, from the beautiful, natural ambient of 'Cape Perpetua' to goth-shoegaze worthy of Gary Numan himself, 'Vanity', the EP moves away from typical readings of genres like dark wave and takes us on a journey to a place defined by synthesised ethereality.
Review: Ed Black, aka "edbl," is an increasingly prominent hip-hop and R&B artist and composer who has emerged from South London's indie music scene alongside luminaries like Jorja Smith and Jamie Isaac. His sound, a blend of lo-fi soul and hip-hop akin to Jordan Rakei and Tom Misch, garnered attention when Spotify UK featured him on their New Music Friday cover. Additionally, Music Business Worldwide Magazine nominated him as one of The Hottest Independent Artists In The World and now he backs up that potential with 'The Way Things Were,' featuring the mellifluous vocals of Isaac Waddington.
So Many Ways (Cherrystones Electric So Far I edit) (5:20)
So Many Ways (Cherrystones Slow Many Ways rework) (6:36)
Review: This marks a first ever reissue of this cult-status punk-funk, no wave electro post-punk fusion 45 from 1979. It's by post-Wayne County Electric Chairs and has been produced by David Cunningam and now expanded to 12". The first tune 'So Many Ways' has Val Haller on lead vocals and sounded at the time very different from anything else the band had done. A hypnotic, sure charged groove that still sounds years ahead of its time. 'J'attends Les Marines' is a rework of 'Waiting For The Marines' from the Things Your Mother album but with some added dub and experimental flourishes. Two versions of 'So Many Ways' then close out this fine curio.
Review: A veritable time capsule of a bygone era that now seems enviably innocent - fallout of Thatcherite politics, economic crises, and wars in the Middle East aside. Perhaps not too dissimilar from today, then, irrespective of your personal feelings towards Happy Mondays the baggy Mancunian swagger-ers did contribute one of the most distinctive voices to the Madchester and indie-acid crossover era, and one that oozed an air of disassociation from mainstream politics of the day. Adding to the sense of this being a period piece, Balearic Beats comprises four remixes of Ryder et al's original work, three of which from one of the leading figures in the dominant narrative about house music arriving in the UK - Paul Oakenfold. The tracks are low-slung, hypnotic, and have an atmosphere that's as thick as the air on a Mediterranean evening.
Review: This is a special Record Store Day 2024 release that rights a wrong for hardcore Madness vinyl heads.
With the exception of 'Baggy Trousers,' 'Embarrassment' stood as the sole Madness single from the 80s not to receive a 12" release. This year's annual waxy celebrations however present a special opportunity to own it on vinyl as the classic Motown-inspired hit gets the coveted treatment as part of this six-track EP. Also included is the original 7" mix alongside a previously unreleased instrumental version meticulously crafted by Clive Langer, which offers fans a fresh perspective on this iconic Madness track.
Review: Master Peace reaches new heights on this thrilling five-track 12". He grew up listening to bands like Bloc Party, Arctic Monkeys and The Streets, and combines that with contemporary inspirations to cook up a mix of resonant songwriting and anthemic pop hooks. 'Veronica' from this EP is already a radio hit and 'Groundhog Day' easily slips into the fine UK tradition for belting indie. Nothing here is frilly or excessive, the lyrics are tight and the grooves drive with the wide-eyed 'Kaleidoscope' being a standout amongst these powerful and bold new tunes.
Review: Taking its name from the band's two favourite guitar effects pedals - the Univox Super-Fuzz and the Electro-Harmonix Big Muff, both credited with producing a 'dirty sound' - it's safe to say Mudhoney came up with one of the finest double entendre titles with their 1988 debut EP. Arriving through the seminal Sub Pop, the record would fail to grab the attention of the masses, or the nascent grunge underground bubbling beneath the streets of their native Seattle at the time, but now we know just how wrong people can be. Skip forward to today, and Mudhoney's first spawn is recognised as one of the seminal outings in the early Pacific Northwestern alternative guitar scene that would go on to dominate the world, albeit for a relatively brief time. Praised for being "sexy, smart, humorous and hard", hearing the tracks today affords an opportunity to draw direct lines between the heavy rock that came before, and what was being born.
Review: Ozean's eponymous EP, originally recorded in 1993 but now receiving its first vinyl release, is a testament to the band's splendid blend of shimmering, ethereal shoegaze. From the moment 'Scenic' envelops listeners with its swirling distortion and awesome melodies, it's clear that Ozean's music is something special. The dreamy soundscapes of 'Fall' and 'Porcelain' further immerse the listener, transporting them to a world of otherworldly beauty and introspection. Inspired by influences like Slowdive, Cocteau Twins and Lush, Ozean's music captures the essence of the British shoegaze scene while adding their own unique twist. Lisa Baer's otherworldly vocals, influenced by Astrud Gilberto and The Jesus And Mary Chain, perfectly complement the band's atmospheric sound. Despite their brief existence and only two live shows, Ozean's impact is felt profoundly in this remastered EP. Recorded on a Fostex Model 80 1/4" 8-Track reel-to-reel tape recorder, the original cassette recordings have been meticulously remastered for this vinyl release, thanks to Tim Green of Louder Studios. Each track is a timeless snapshot of late adolescent wonder and experimentation, preserving Ozean's legacy for generations to come.
Review: Q Lazzarus was always going to be a good fit for the cult synth and cold wave crew, Dark Entries, and so it proves here with this overdue debut. Diane Luckey was born in 1960 in New Jersey and created her iconic moniker while living in NYC's East Village. Her breakout moment came after meeting director Jonathan Demme during a 1986 snowstorm; he was captivated by her demo playing in her taxi. Their encounter led to the unforgettable inclusion of 'Goodbye Horses' in Silence of the Lambs. Despite its cult status, Luckey and collaborator William Garvey remained largely overlooked but surely that will change now as they offer up five unreleased tracks that have been newly mixed from original master tapes.
Review: If only we knew then what we do now. Few times does the phrase feel more appropriate than when discussing R.E.M.'s debut EP - you didn't buy it in 1982, and now original pressings are likely to fetch a sum. Still, we can't all be winners, although any astute ears should have quickly picked up on the potential of these then-unknowns.
Following first single Radio Free Europe, Chronic Town, which comprises five tracks of ever-so-slightly-weird, jangling, up-tempo alternative indie rock 'n' roll packing post punk sentiments, set the stage for the band's most glorious days that ensued. Landing in 1982 on I.R.S. Records, the troupe would stay with the label for some of their most critically acclaimed landmark albums, and for many it's this era and sound that best explain the greatness of a crew known for reinvention and listlessness.
Review: Searows is the moniker of Alec Duckart, a Portland-based indie folk star who is signed to Matt Maltese's label Last Recordings On Earth. Searows is influenced by the likes of Sufjan Stevens, Bon Iver and Iron & Wine and his falsetto has a similar power and timbre to that of his formative influences. Opening track 'Martingale' is beautifully stripped down and pulls you as a listener close to his soul. Meanwhile, on 'To Be Seen' Searows comes across like he's lamenting the death of something and it is a proper tear-jerker. Contrastingly, 'Toothache' is brighter with percussion and delay-laden electric guitar showing his talent for rich, lush arrangements. Matt Maltese has struck gold here by signing Searows. Plus, they're well-suited as they each appear to enjoy delving into post-apocalyptic work. Searows' previous release (on the Last Recordings On Earth label) is called End Of The World and before starting this label, Maltese released his hit single as a solo artist: 'As The World Caves In'. They suit it all so well.
In Mind (Tom Middleton & Mark Pitchard aka Global Communication Reload remix - The 147 take) (13:55)
Review: Legendary Reading shoegaze band Slowdive had s short but powerful run from 1989 until 1995 (during their first spell) and that included the 5EP. In the same year, it was remixed to perfection by Bandulu and Reload and now it gets reissued on limited hand numbered vinyl. First up, Bandulu stretch the original's heavy minor chords and fatten the track out into a dubby masterclass and then the Reload version from Tom Middleton & Mark Pritchard (better known as Global Communication) is even more impressive. It's a supremely blissed out cut with a slow motion rhythm and futuristic sense of soul cut on 45 rpm but just as suited to 33rpm playback.
Review: Washington DC-based label People's Potential Unlimited is one of those that seems to have an endless supply of magical sounds that all very much fit with its MO and are all pretty unique. Often times that is down to the smart digging of the owners who unearth plenty of treasures for reissuing but this time out it is a new record from a contemporary outfit, TAMTAM. The four piece band formed in Tokyo and started making reggae and dub before moving on to jazz, soul, new age and psych-pop. They bring subtle euphoria to what they do as well as catchy grooves and nostalgic melodies as exemplified here on this mature new work that will be lapped up by fans of Khruangbin.
Review: Tokyo-based post/math-rock noodlers Toe have a habit of cleansing the palette of each subsequent full-length they release with a follow up EP. Just like 2005's debut album The Book About My Idle Plot On A Vague Anxiety was followed up with 2006's New Sentimentality EP, the group would return three years on from their stellar 2009 sophomore effort For Long Tomorrow with 2012's The Future Is Now. From the twinkling emo-inflected shoegazing noodles of 'Run For Word' to the more acoustic-driven psych-jazz of 'Ordinary Days', the four cuts purposefully meander and fuse differing elements from the band's arsenal whilst somehow increasing the dense technicality to absurd, near impenetrable levels.
Review: A fusion of sounds that come together to create this inimitable whole, Toyland marched out of the Australian rock & roll underground carrying totems by the pole-load. Post-punk, New Wave, pop, dub, Afro, ska - elements of multiple styles and genres are more than audible throughout, with Nicholas Hope, Analisa and Michael Hope doing their best to distill an entire era into a single four-tracker. Created amid a cultural explosion in Adelaide during the 1980s, although the city isn't the first on people's lips when thinking about the incredible music that came out during that decade, here's proof a celebration of eclecticism and a desire to rethink the rules of popular music was happening in those heady days, just as much as anywhere else in the Western world at that time.
Review: The accomplished London musician and producer Wu-Lu serves up a new EP on Warp that is actually more like an album here. It is 30 minutes of well rounded sound files with narrative that takes and more nuanced, personal approach than his breakthrough, anti-gentrification anthem 'South' and much loved LP, LOGGERHEAD. The big energy of those is replaced here by a series of diary entries that all take inspiration from growing up in Brixton. These of death and loss feature as do the general struggles of life while poet and artist Rohan Ayinde and award-winning author Caleb Femi also guest.
Review: Yoo Doo Right's third album delivers a great blend of post-rock epics and emotionally charged sonic explorations. Opening with a droning guitar barrage, the album unfolds through mantra-like repetitions, abyssal tones and carefree saturation that all serve to cement their status as Montreal post-rock royalty. Inspired by themes of patience, art commodification, AI and unconditional love, this LP draws influence from Wes Montgomery, Rachmaninoff, Neurosis and Russian Circles and was written during a snowstorm retreat in early 2023 which meant the trio aimed for cinematic, experiential significance.
Review: The 1975 made plenty of fans happy when they announced a series of 10th anniversary reissues and merchandise on the back of some top main stage performances at the likes of Leeds and Reading. Now art-stars with a global fan base, it is a full decade since their breakout self titled debut, a record full of their signature choruses, magical melodies and soaring grooves that draw on electro-grooves and alt-rock energy, all with plenty of dreamy moments in between to ensure the whole thing plays out like a real story telling album. As it should be. The album debuted at number one on the charts and remains a firm favourite today.
Review: A Certain Ratio's core trio of drummer Donald Johnson, bassist/vocalist Jez Kerr, and multi-instrumentalist Martin Moscrop make ACR Loco a perfectly fluid and funk album. In fact, on this, their first album in more than ten years, the Manchester post-punk outfit are as funky as they have ever been. Their tried and tested sound gets nicely updated with modern beat driven sounds and plenty of redefines to today's political strife in the lyrics. There are plenty of smooth and cool synth led grooves like 'Get A Grip' and messages of unity on 'Family' that we can all relate to.
Review: Raw post-punk trio Abdomen trade in the heavier end of the genre unafraid to douse distortion and fuzz onto everything and create music so exciting it would be hard not to want to throw yourself into a circle put for, 'Damage Tool' is a breathtaking way to get things started and 'Numbers' makes Fontaines DC sound like Boyzone. They are capable of slowing down - 'Dazed' has been slowed into a hypnotic Spacemen 3-esque psych/shoegaze jam. The band are relative newcomers and not widely known... yet. But this is going to be one of those albums you'll be kicking yourself for not having a first pressing of. Abdomen is only going to get bigger and it will give the Tapetown studio in Aarhus, Denmark - where they recorded this - more bragging rights for being among the coolest alternative music spaces in Europe.
Review: Adelaida's fifth studio album Retrovisor arrives here on lovely high-quality 140g black vinyl which also comes with an insert with lyrics as part of the hand-numbered and limited edition 'The Noisy Series' on Spinda Records. It is a full throttle 13 track rock workout with dense and gauzy guitars layered up into impenetrable walls as the vocal wails fight your attention. It is a raw fusion of indie, grunge and shoegaze all the way from Santiago that will remind of classic bands from the late 90s.
Don't Wanna Fight (live From Capitol Studio A) (3:54)
Future People (live From Capitol Studio A) (3:25)
Dunes (live From Capitol Studio A) (3:27)
Over My Head (live From Capitol Studio A) (4:00)
Review: RECOMMENDED
It was two in two for Alabama Shakes when they first unveiled this bonafide swamp rock masterpiece. Released in 2015, Sound & Color took the blueprint laid out with Boys & Girls and then kicked up into fifth gear. It's soul. It's blues. It's sweat-soaked funk. Most importantly, though, it's the kind of record that keeps giving the more you listen, sounding equally at home in the 1950s as it does the 2010s.
It's hard to really put into words the level of husky, pained, heart-on-sleeve musicality at the core of this record. Brittany Howard's voice might never again sound as utterly distraught and reflective, pained and somehow filled with hope for a brighter day. Individual readings aside, this is among the finest blues records to land this century, and ranks up there with some of the greats of the 20th, so don't sleep on this edition complete with closing tracks recorded live at the legendary Capitol Studios.
Review: The Alarm lead singer and songwriter Mike Peters set up The Twenty First Century Recording Company in Prestatyn, North Wales in 1994 as a way of allowing his band to express themeless freely away from the conventional restrains of other labels. It remains the band's primary home and is where they land now with a remarkable 20th album. It comes after a time of illness and more than 40 years of writing big and anthemic rock tunes but still finds him serving up more of the same with plenty of epic riffs and singalong choruses. Get ready to be punching the air non-stop with this one.
Review: For people of a certain age, their teenage years were defined by the edgy grunge, alt and punk rock sounds of bands like Alice in Chains. Three decades later their seminal sophomore effort, Dirt sounds as good as it ever did and gets an anniversary reissue to mark the occasion. It comes with plenty of powerful drums and big-ass basslines as well as yelping vocals and fuzzy textures that take in a range of emotions and even bigger riffs. This issue features a special insert and comes across four sides of vinyl so it's nice and loud, just as intended.
Review: Arguably one of the most integral tentpoles of the grunge movement, Alice In Chains' seminal sophomore effort, Dirt, changed the game upon its release in 1992. Featuring some of the band's most classic cuts such as, 'Them Bones', 'Down In A Hole', 'Rooster', and, 'Junkhead', to name but a few; the incomparable dynamic of Wayne Staley's iconic vocals and cryptic, yet brutally honest lyricism combined with guitarist Jerry Cantrell's mammoth riffs and delicate nuance, still resides high in the echelons of alternative rock three decades on. For lifers and newcomers alike, this 30-year anniversary edition serves as an ideal opportunity to revisit a genuine classic, far murkier and riddled with antagonistic depths than any of its would-be peers.
Review: All Seeing Dolls make the best case for cross-pollination we've had in a while. Their sound is psychedelic tinged, garage-y leaning rock with plenty of breathy bits and opportunities to look at the sky in hope or despair, invoking the shoegaze 'thing'. In other moments, they sound like they've been hiding away in the back room of a 1960s acid party, while there are also times when vocals soar to such harmonious heights you could be forgiven for using made up terms like 'choral indie'. The sum of all those parts is a genuinely powerful and unique record that moves and insists, ebbs and flows throughout a real odyssey of a listen. But the ingredients also warrant a mention. The legendary Dot Allison is here, hence the beauty and subtle power of the vocals. The Brian Jonestown Massacre's Anton Newcombe is also present and correct, as are a piano, ukulele, guitar and auto-harp.
Review: Ones to watch in 2025, according to BBC Introducing, double-MOBO Award nominated sisters Nyrobi and Chaya, AKA ALT BLK ERA claim to be "redefining music" with their fusion of rock, house, drum & bass, rap and pop. They're certainly making enough noise to start a mini revolution, with the months preceding Rave Immortal seeing them blow up at events like Glastonbury, Download, and the Reading-Leeds weekenders. Sonically there's not much more to add - this is a rabid, in-your-face, high tempo amalgamation of sound that calls to mind the likes of NERVO, Pendulum, Enter Shikari, and to a lesser extent Prodigy. All convention-defying names, the fact ALT BLK ERA are also big advocates of disability rights and inclusivity within the music industry also paints them, sadly, as necessary outsiders.
Review: Originally released in September 1981, Scottish band Altered Images' debut album featured the classic hit single 'Happy Birthday' which reached number two in the charts and was produced by Martin Rushent, who is maybe best known for his work with Human League, Stranglers and Buzzcocks. The rest of the album was produced by Steven Severin of Siouxsie and The Banshees and achieved a Silver Disc having sold over 60,000 copies. This half-speed master edition is presented in its original sleeve, pressed on 180-gram heavyweight black vinyl with an obi strip, and housed in a poly-lined inner sleeve so is a luxurious edition for fans old and new of what remains a classic album of the era when post-punk was morphing into jangly indie.
Review: Toronto's Alvvays return for a much anticipated third album five years after their breakthrough record, Antisocialite. As the story goes for so many bands, the last few years have thrown a number of curveballs their way, but they stepped into the studio with Shawn Everett in October 2021 and laid down their new tracks in immediate, urgent fashion. You can hear Everett's touch all over the production, bringing vibrant textures and subtle details into their sound, but at the heart this remains a vehicle for shimmering, electrically-charged songwriting. On Blue Rev Alvvays stake their claim in the premier league of modern day indie rock, and on the strength of these fourteen songs, who are we to argue?
Review: Tori Amos is celebrating the tenth anniversary of her critically acclaimed album Unrepentant Geraldines with this special Deluxe Edition. It is a newly remastered version which includes three exclusive tracks, namely 'White Telephone To God,' 'Forest Of Glass,' and the newly released 'Dixie.' Unrepentant Geraldines marked Amos' return to her pop and rock roots after several classical albums. Recorded at Martian Engineering Studios, the self-produced album features a stripped-back acoustic sound that highlights Amos's vocals and piano with chamber-pop arrangements. The lyrics, inspired by visual art, explore fairy-tale themes and introspection and the album reached number 7 in the US, making Amos's eighth top ten album there.
Review: In a time where the gruff-throated anti-Tory messaging of Idles, the reflective post-drugged out swagger of Viagra Boys and the pub-feed championing of The Chats remind us that punk can still be a vital voice of the people, both big and small, Amyl & The Sniffers have all but quietly been amassing the type of hype and buzz to go toe-to-toe with the lot. Capitalising on the momentum of 2021's exceptional Comfort To Me with last year's 7" "fuck you" to old, gatekeeping curmudgeons on 'U Should Not Be Doing That', the band return to producer Nick Launay (Nick Cave & The Bad Seeds, Yeah Yeah Yeahs) for their severely anticipated third LP Cartton Darkness. Recorded at the Foo Fighters' 606 Studios in Los Angeles, the one and only real-life Amyl (Ms. Amy Taylor) succinctly describes the message as - "driving headfirst into the unknown, into this looming sketch of the future that feels terrible but doesn't even exist yet. A childlike darkness. I don't want to meet the devil half-way and mourn what we have right now. The future is cartoon, the prescription is dark, but it's novelty. It's just a joke. It's fun."
Review: Australian folk-indie-pop set Angus & Julia Stone, appropriately led by brother and sister Angus and Julia Stone, have been making waves Down Under for almost 20 years now. One listen to their output is enough to convince you they're a cut well above the rest, and the panel charged with deciding on the ARIA Awards obviously agree. They've now won lots, and received nominations for countless more.
Life Is Strange certainly reflects their oeuvre quite accurately. Somewhere between contemporary country, blissful indie and romantic, soft and sweet artsy indie, the project itself also reflects their forward-thinking attitude, with this one of a growing number of video game scores that are actually albums in themselves, rather than the kind of straight up soundtracks we're mostly used to.
Review: Animal Collective return with album number eight, their first for Domino. "Strawberry Jam" was recorded by Scott Colburn in Tucson, Arizona. It's an amazing record, which should finally mark some sort of crossover for them. It bears all of their unique and charming hallmarks but with vocals and melody much more to the foreground.
Review: Pink Elephant is Arcade Fire's first album since 2022's We, and it serves as a compact and cathartic return that is defined by its sense of reflection and emotional recalibration. It has been co-produced by Daniel Lanois and leans into intimate textures and moving drums with standout tracks like 'Year of the Snake' and 'Ride or Die', evoking both earnest self-examination and communal uplift. Elsewhere, there is the hypnotic 'Circle of Trust' and haunting title track, which showcase the band's ability to mix grandeur with vulnerability and means that this is a work that again cements Arcade Fire's reputation as one of indie's finest.
Review: One of Britain's best-loved and most accomplished pop-rock bands are back with another highly anticipated album. The Car is epic on every level with its adventurously designed tunes, lots of grand orchestration and plenty of easy-to-enjoy and enigmatic songs of love but also doubt. The Sheffield outfit's seventh long player was written by frontman Turner at his home in LA and mixes indie and psychedelic rock, baroque, glam and orchestral rock with production largely taken care of by frequent collaborator James Ford of Simian Mobile Disco fame. The title is a nod to the fact that - guess what - there are many references to cars throughout the lyrics.
Review: A lot can change in two years or so. Not least if 2021 saw you release one of the most celebrated records of the current decade, tackling the mental health crisis head on in the midst of a global pandemic. An album that despaired and threw its hands up, declaring that we, collectively, are not alright and something needs to change, all via staggeringly poetic prose, at times bordering on spoken word. Returning from that triumphant episode, Arlo Parks follows up with The Soft Machine, an LP that lands after most of the dust from that global emergency has settled, and she's relocated to sunny Los Angeles to live with partner and alternative rapper, Ashnikko. To say the result is something that sounds warmer, more appreciative of what you've got rather than focussed on what isn't would be an understatement, but the exquisite songwriting and willingness to speak honestly about major issues remains.
Hjalmar Larusson & Jonbjorn Gislason - "Jomsvikingarimur - Yta Eigi Feldi Ror." (1:15)
Julianna Barwick - "Forever" (5:30)
Koreless - "Last Remnants" (4:22)
Odesza - "How Did I Get Here" (instrumental) (2:00)
Anois - "A Noise" (4:10)
Samaris - "Gooa Tungl" (4:08)
Olafur Arnalds - "RGB" (4:36)
Rival Consoles - "Pre" (5:14)
Jai Paul - "Jasmine" (demo) (4:11)
Four Tet - "Lion" (Jamie Xx remix) (6:52)
James Blake - "Our Love Comes Back" (3:39)
Spooky Black - "Pull" (4:13)
Colin Stetson & Sarah Neufeld - "And Still They Move" (2:55)
Olafur Arnalds - "Say My Name" (feat Arnor Dan) (5:38)
Kiasmos - "Orgoned" (5:57)
Olafur Arnalds - "Kinesthesia" (1:44)
Hjaltalin - "Ethereal" (6:32)
David Tennant - "Undone" (3:51)
Review: Icelandic classical, experimental and soundtrack composer Olafur Arnalds steps away from the loops and Broadchurch OSTs to conjure yet another sublime LNT saga. Carefully balancing between contemporary odysseys ("Jomsvikingarimur"), dense futuristic electronic weaves ("Last Remnants"), fuzzy 22nd century pop ("A Noise") sludgy cosmic funk ("Jasmine") and introspective soul ("Our Love Comes Back"), Olafur blows wave after woozy wave of soft sonic conjurations in a way that's broad, detailed and cleverly considered. Good night.
Review: For many, Richard Ashcroft has one of the best voices of his generation. He is a rock mainstay who managed to pair equal amounts of grit and gravitas in a way that seems timeless. His solo work These People is a record that bears plenty of the hallmarks of his work with The Verve and this reissue comes on limited clear and blue marbled wax in a gatefold sleeve. It is powerful and potent on many fronts, from the lyrics to the vocals themselves, all of which stand it apart from the contemporary rock landscape which can all too often be insipid and forgettable.
C'mon People (We're Making It Now) (feat Liam Gallagher) (4:55)
Weeping Willow (4:05)
Lucky Man (4:38)
This Thing Called Life (5:23)
Space & Time (5:01)
Velvet Morning (5:03)
Break The Night With Colour (4:31)
One Day (4:33)
The Drugs Don't Work (5:37)
Review: It's been three whole years since we last encountered a new album from the man like Richard Ashcroft. The guy who once told us how the drugs no longer worked, only to then explain how lucky he was. In many ways, Acoustic Hymns Vol.1 is an extension of all that, a record that has come along at a time when he's clearly ready to reflect on the heady days of the Britpop and UK indie explosion detonated in the 1990s.
Whether you'd call this album a covers collection or original, new work is definitely down to opinion. Ashcroft has opted to turn his hand back to tracks released with his seminal band The Verve, and a few of his own solo bits, only reimagined and reappropriated. The latter word is the most accurate, though. Here genuinely new life is breathed back into the likes of 'Bittersweet Symphony', which, considering the scale of that particular hit, is no mean feat.
Review: LA threesome ASHRR aka lead vocalist Steven Davis and producer-musician-vocalists Josh Charles and Ethan Allen are back with a brilliant new album for Ralph Lawson's superb 20/20 Vision Recordings that finds them working by the old mantra of 'art for art's sake'. This effortlessly eclectic record collides electronic soul, post-punk, space disco and indie-dance and is rich in melancholic melody, hazy, late-summer moods and late-night dancing. The vocals bring an indie edge to jangling delights like 'Please Don't Stop The Rain' while 'What's Been Turning You On' is a laidback and languid groove for lazy sessions.
Review: Japanese psychedelic pop singer-songwriter Ai Aso hails from Tokyo and has an almost impossibly wispy thin folky style to her singing that makes her utterly unique. She has been active since 2000 and has worked both solo as well as with the likes of White Heaven members You Ishihara and Michio Kurihara. Her solo album arrived back in 2014 and now a decade on gets a vinyl press via Ideologic Organ. It is beautifully delicate and whimsical, with lullaby-like guitar melodies and her own vaporous vocals drifting gently with a real sense of innocence in the sparse tracks. Lo-fi and intimate, this is a quiet gem.
Review: Described as "the bastard child of a Ramones/Strokes one night stand", London's Bad Nerves take the early 60s rock n' roll power pop that birthed the later punk scenes and bend them into an ouroboros of tail-eating, hook-laden punk rock swagger. Following on from their 2020 self-titled debut full-length, their aptly titled sophomore effort ("that was never meant to exist") Still Nervous arrived in 2024 armed to the teeth with fuzzier riffs, bigger hooks, more breakneck pace and an endorsement from Green Day's Billie Joe Armstrong. Boasting cuts such as the mega anthem 'You've Got The Nerve', this is as to-the-point, unpretentious and garage-punk as it gets.
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