J Blue - "I Can't Keep Crying Sometimes" (part 1) (3:25)
Original Gravity Allstars - "I Can't Keep Crying Sometimes" (part 2) (4:02)
Review: London imprint Original Gravity keeps the 7" heat coming with a two-part reimagining of the blues standard 'I Can't Keep From Crying Sometimes'. J Blue takes the A-side, laying down a smoky, melancholic vocal over a stripped-back hip-hop groove, bringing 60s soul pathos into sharp modern focus. It's the kind of cut that creeps up on you-restrained, ghostly, all mood. On the flip, the Original Gravity Allstars stretch things out dub-style with a Pt. 2 version, turning the track inside out into something moodier, heavier, and bass-led. Another strong entry in the label's ongoing campaign to bridge vintage sonics and contemporary pulse-perfect for deep selectors and collectors alike.
Review: To their credit and our benefit as fans, Oasis are smartly leaning into the spiking demand for the atmospheric and nostalgic formnat that is the 7" single and celebrate the 30th anniversary of 'Some Might Say' in doing so. It's a seminal single - their first UK number one and a track you can envision being a great set opener at their upcoming reunion shows. This version is remastered so it'll leap out of your speakers like never before. A guaranteed scorcher for any knees-up you're planning with your mates.
Review: New Zealand dance-pop trio Obscure Desire are among the finest to come out of the first wave of the Auckland club scene in the 80s, which centered around the venue named A Certain Bar. Auckland's answer to the Hacienda. They used the inspiration from that scene to craft this EP of effervescent pop, new wave and funk. The group were vehemently DIY and disbanded shortly after the release so the original pressing sells for hundreds because of its scarcity. This reissue comes after a surge in popularity over the past decade making this hotly-anticipated short but exceptional collection properly accessible for the first time.
Review: Few conversations or analyses surrounding doom metal can begin without mentioning the integral Sleep and their genre-defining opus Dopesmoker. That same analytical discussion cannot be rounded up without OM coming into the fray, as the duo of bassist Al Cisneros and drummer Chris Haikus originally worked together as Sleep's rhythm section. The hypnotic 'Gebel Barkal' single would serve as the final recording from the pair following the 2007 full-length Pilgrimage, before 2009's God Is Good would welcome the arrival of current drummer Emil Amos and signal the group's continued expansion into an eventual three-piece.
Review: A bold exploration of genre-blurring sounds with the eclectic influences and innovative approach of the London-based quartet. Comprised of c-se, Linus Barry, Nico Rocco, and Teigan Hastings, oreglo infuse their music with heavy rock riffs, drill-inspired percussion, breezy reggae vibes and more, creating a melting pot of diverse sounds that reflects their upbringing in London. The latest track from the EP, 'Peck,' is a sprawling seven-minute odyssey that captures the feeling of being pecked on the cheek by a crush, juxtaposing cool exterior with exploding inner emotions. Throughout the EP they explore themes of alienation, identity, and love, reflecting on their journey from adolescence to adulthood in the vibrant city of London. Featuring previously released singles like 'Levels' and "]'J.A.C.K.,' as well as four new tracks including 'Comet' featuring Bel Cobain, 'Not Real People' is a sonic tapestry that highlights oreglo's growth and diverse musical interests. Despite being together for just over a year, oreglo has already made waves in the music scene, winning the 2023 Lambeth Sounds Emerging Artists x Cross The Tracks competition and performing at prestigious events like the Steam Down-curated World Island event. With their debut EP, oreglo solidifies their status as one of London's most exciting emerging acts, offering a fresh and dynamic sound that defies categorization.
Review: It's hard to fault the work of the Original Gravity crew and when the tasteful London label's All Stars assemble it's even more important to take note. It is they who kick off 2025 with a classic funky break that is topped with spoken word samples from an MC at a big fight event (though it's not Michael Buffer, the man behind these famous words, because he has a strict copyright on them). The beats are as fiery as a heavyweight showdown with plenty of punchy horn stabs. On the flip, 'Rumble In The Jungle' is a similar sound that makes just as much impact.
Review: If Original Gravity serves as one of the foremost outposts for heavy funk jams in the modern era, you know their All-Starts outfit are equipped with the tools to make a record really pop. All the ingredients are there on ‘Ain’t Nothing But A Groovy Party Baby’, as overdriven organ duels with a formidable brass section and rolling drums for a peak-time party pleaser cut from a classic cloth, with an early 70s soul sound to match. On the flip, ‘Organised Drum Sax’ locks into a deeper groove from the JBs school of funk - pure feel good licks and sassy brass to help you get your strut on.
Review: ** REPRESS ALERT ** This timeless classic by American singer-songwriter Shuggie Otis is an instantly recognisable masterpiece of soul. 1971's "Strawberry Letter 23" from his album "Freedom Flight" has endured and become a rare groove touchstone. Flecked with elements of psych and breakbeat, it is prescient, and stuffed with neat tics and tricks. Turn to the flip for an added bonus - "Ice Cold Daydream" is a funk bomb full of bouncing organs and squelching wah wah guitars with Shuggie's trademark vocal tones laid over the top.
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: Should you be able to find original copies of the two dusty-fingered classics featured on this "45", your bank balance was be significantly smaller. Of course, just because something is rare and expensive doesn't make it good, but Jimmy Thomas's 1969 cut 'Springtime' is genuinely brilliant. Released when funk-rock was arguably at its height, it sees the legendary soul man belting out Alan de Roches' lyrics over a Hammond-heavy fusion of soul, funk and Hendrix-style heavy rock. This time round, it comes backed with a relatively hard to find - on vinyl, at least- chunk of reggae/soul/rhythm & blues from iconic Jamaican singer Owen Grey. It's superb, of course, but we still prefer the incendiary A-side.
Review: Fresh from the release of two tip-top twelves on Handy Records and Wolf Music, Malik Kassim brings his trademark Retromigration sound to the freshly minted LYAM label. Typically warm, woozy, bass-heavy and with plenty of intricate musical details - think Ron Trent, with a dash of the Burrell Brothers and the Detroit deep house swing of Andres - all four cuts are superb examples of the Dutch producer's approach to dancefloor dynamics. Highlights include the laidback, club-ready bump of 'Heat it Up', where undulating acid lines and synth-sax catch the ear; the shuffling, broken house sparkle of 'You Want That' (a genuinely sumptuous late-night delight smothered in spacey synth solos); and the mid-tempo, jazz-funk style title track, where loose-limbed live instrumentation and emotive solos come to the fore.
Coleridge-Taylor Perkinson: Louisiana Blues Strut: A Cakwalk (2:26)
Charles Ives: Violin Sonata No 4 Children's Day At The Camp Meeting I Allegro (1:55)
Charles Ives: Violin Sonata No 4 Children's Day At The Camp Meeting II Largo - Allegro (Con Slugarocko) (5:21)
Charles Ives: Violin Sonata No 4 Children's Day At The Camp Meeting III Allegro (1:41)
Aaron Copland: Hoe-down (2:55)
William Kroll: Banjo & Fiddle (2:56)
Eddie South: Black & Gypsy (2:48)
John Adams: Road Movies: I Relaxed Groove (4:56)
John Adams: Road Movies: II Meditative (5:23)
John Adams: Road Movies III 40% Swing (5:08)
Manuel Ponce: Estrellita (Arranged By Jascha Hifetz) (2:41)
Howdy Forrester: Wild Fiddler's Rag (2:07)
Leonard Bernsein: Somewhere From West Side Story Suite (Arranged By Raimundo Penaforte) (1:31)
Review: Violinist Augustin Hadelich's American Road Trip is an attempt to explore the musical landscape of his adoptive homeland with pianist Orion Weiss. The duo performs works by American composers spanning the 19th to 21st centuries and in doing so blends diverse influences such as European Romanticism, revivalist hymns, blues, jazz, and bluegrass. The album features pieces by Aaron Copland, Leonard Bernstein, Charles Ives, John Adams, Amy Beach, Coleridge-Taylor Perkinson and others, all of whom highlight the rich tapestry of American music. Hadelich, who moved to the U.S. at 19 and became a citizen in 2014, combines American passion with European nuance in his acclaimed performances.
Review: The latest addition to Night Dreamer's series, Direct To Disk Sessions, sees Turkish downtempo specialist, Islandman, iconic percussionist and Don Cherry collaborator, Okay Temiz and contemporary saz player Muhlis Berbero?lu joining forces for the very first time. Recorded in just one take, the session captures a one-off melding of the trio's distinct styles. Islandman's signature balearic sound gives new force to Temiz's fiery percussion, reframing Berbero?lu's Anadolu folk influences into a distinctly dance-ready sound. Stand out track 'Fidayda' eases us into the trio's expertly improvised soundworld with an alluring, oscillating saz riff. When Temiz's percussion enters the mix, it arrives with a controlled unpredictability capable of leaving listeners in a trance. While Islandman's production subtly centres the piece, mapping out a pathway from which the organic instrumentation can unfurl. Future-folktronica at its very best
Review: O Terno's evolution from 60s-inspired rock to their latest album shows a bold departure from mainstream expectations. While their earlier work hinted at potential commercial success akin to Los Hermanos, the band chose a path less traveled, embracing subversive melodies and instrumentation. Their latest offering is a perfect example to this artistic evolution. seamlessly blends intimate arrangements with a full-band approach, resulting in a captivating sonic experience. Tracks like 'O Bilhete' exude a raw, close-up intimacy, while 'E no Final' delivers cinematic grandeur. Lyrically, the album navigates diverse themes, from sociopolitical commentary to introspective musings. A standout collaboration with Devendra Banhart and Shintaro Sakamoto on 'Volta E Meia' adds depth, exploring themes of romance and self-discovery. Overall, is a beautifully crafted record that defies genre conventions, cementing O Terno's status as innovative trailblazers in the Brazilian music scene.
Bomb The Bass - "Empire" (feat Benjamin Zephaniah & Sinead O'Connor) (5:48)
I Want Your (Hands On Me) (4:35)
The Edge - "Heroine (Theme From Captive)" (feat Sinead O'Connor) (4:28)
Don't Cry For Me Argentina (5:36)
You Made Me The Thief Of Your Heart (6:12)
Just Like U Said It Would B (4:36)
This Is A Rebel Song (3:04)
Review: She might be more well known these days for her open letters to Miley Ray Cyrus or public struggles with mental health, but this So Far The Best of reminds us just why Sinead O'Connor is so famous in the first place. It brings together the very best tunes from her four albums and was originally released in 1997, so of course, includes her ubiquitous and global smash Number 1 'Nothing Compares 2 U' is included, as are earlier singles 'Troy' and 'Mandinka', all of which showcase her fearless style and a rich array of emotions. 'Heroine' and 'Just Like U Said It Would B' are included for the first time having in the past only been available on the US version.
Review: The world was stunned by Sinead O'Connor's untimely death, but in such periods it's only right to cast our minds back over her huge body of work and be reminded of her talent. It's no surprise to see her seminal early albums getting reissued and 1993's Universal Mother is right up there with her most cherished works. In typical O'Connor style the album opens up with a quote from prominent feminist Germaine Greer, but the album was in fact a relatively grounded, direct affair with plenty of accessible grooves from the rolling 'Fire On Babylon' to the spiritually charged 'Thank You For Hearing Me', reportedly written about her relationship with Peter Gabriel.
Review: In the many-sided legacy Sinead O'Connor left in her wake, there were many surprises and anomalies which benefit from a fresh appraisal since her tragic passing. Her 1992 album Am I Not Your Girl? had a mixed reception on its release, as she paused on her contemporary dance-tinged pop production to indulge in big band and torch song covers. Similarly to Bjork tackling 'It's Oh So Quiet', it was a divisive move in a career full of them, but in the fullness of time these sincere pieces are but another vehicle for O'Connor's incredible voice, proving she was as versatile as she was forthright. A one of a kind talent, never to be repeated.
Review: Chicago duo The O'My's return with Trust The Stars, their latest album on HiyaSelf Recordings, the label launched by Nightmares On Wax. Blending soul, hip-hop, alt-r&b and jazz, Nick Hennessey and Maceo Vidal-Haymes craft a richly textured sound shaped by collaborations with artists like Jamila Woods, Konny Kon, and Pink Siifu. This album reflects themes of love, loss and self-discovery, showcasing the duo's evolved sound and their unique position within Chicago's vibrant music scene.
Review: Tara Jane O'Neil's latest album, The Cool Cloud of Okayness, is a poignant reflection on transformation amidst adversity. Recorded in the aftermath of the devastating Thomas Fire, the album embodies resilience and renewal. O'Neil's ethereal vocals and spectral guitar work are complemented by a talented ensemble, including drummer Sheridan Riley and multi-instrumentalist Walt McClements. Together, they craft a sonic landscape that blurs boundaries between genres, challenging easy categorization. The album's themes of grief and hope are palpable, underscored by deft production and rock-solid bass lines. Each track feels like a journey, offering both solace and introspection. The Cool Cloud of Okayness is a powerful album of music used to heal and inspire, reminding listeners that even in the darkest moments, there is light and possibility.
Review: Daniel O Sullivan, known as a producer for the likes of Tim Burgess and for his astounding art pop band Grumbling Fur, makes his first foray into classically informed chamber music. With some sort of superhuman genius mind, the unassuming Mancunian wrote these arrangements for a 14-piece ensemble and nailed it. 'Golden Verses' is stately, pastoral, yet menacing. Another highlight, 'Painting Rose' is some of the most psychedelic classical music you'll ever hear. So, if you're looking for chamber music that spans eras, genres and takes you on a transcendent journey, then look no further.
Review: Kobe-based trio o'summer vacation returns with their second full-length of industrial noise fusions in the form of Electronic Eye. After several trips to Berlin and Munich, they've found a home with the Alien Transistor label and now drop plenty of guitarless noise punk with production by Shinji Masuko. It makes for an unmatched, hard-hitting barrage that leaves listeners breathless right from the opener, '(Shuku - A)' with its sizzling hi-hats and a unique lullaby from vocalist Ami. Tracks like 'Luna' and 'Anti-Christ Super Star' shift the album from mosh-inducing chaos to 30-second noise punk anthems, all of which embody the band's anti-racist, anti-war sentiments.
Review: A limited edition (300 only) coloured vinyl collection of tracks from early Oasis days rendered in acoustic, unplugged style, culled from a variety of sources - the Simon Mayo Show, Gary Crowle and Mark Lamarr's GLR shows, the Orpheum Theatre, Boston, a Creation Records Birthday Party at London's Royal Albert Hall and the BBC Radio1 Live Lounge. From 'Wonderwall' to 'Live Forever', the songs are the most cherished and celebrated among the Mancunians' canon. They're no less strong as a result of these stripped down arrangements, though, and this compilation sheds a new light on an already much loved period in indie rock history.
Review: Another case of second time around, this time for the final Creation Records release from Oasis, a collection of B-sides that returns in freshly remastered form. While not all bands could get away with this kind of exercise, the Mancunian Britpop heroes released enough memorable bonus cuts to make it a worthwhile and entertaining exercise. For proof, check the densely layered, riff-driven yelp of 'Acquiesce', the wistful 'Talk Tonight' and 'Half The World Away', the brass band-sporting Beatles-in-1966 shuffle of 'Going Nowhere', the sing-along fun of 'Stay Young', and the band's triumphant, six-and-a-half minute live cover of 'I Am The Walrus' - arguably their best "flipside" of all.
I Am The Walrus (live Glasgow Cathouse June '94) (6:16)
Listen Up (6:21)
Rockin' Chair (4:25)
Half The World Away (4:17)
(It's Good) To Be Free (4:21)
Stay Young (5:00)
Headshrinker (4:44)
The Masterplan (5:16)
Review: Oasis's Noel Gallagher has said many times before that he considers the title track from the band's The Masterplan album as one of the best he has ever written. Despite that, it isn't one of their most famous, nor is the album one of the band's most widely loved. But listening back to this reissue that is maybe something that needs reconsidering. It does have a few well-loved classics such as 'Half The World Away,' which was made famous by a certain TV show, plus a live cover of The Beatles' 'I Am The Walrus' and the popular 'Acquiesce'. On its 25th anniversary, it has been newly remastered for the occasion.
Review: 'The Masterplan' is an extraordinary collection of B-sides originally featured on singles from Oasis' era-defining first three albums, Definitely Maybe, (What's The Story) Morning Glory?, and Be Here Now. Far from being inferior to the singles they backed, many of the fourteen tracks that feature on The Masterplan have become as cherished as the band's biggest singles from that seminal period. The album includes tracks 'Acquiesce', 'Half The World Away', 'Talk Tonight', an iconic live cover of The Beatles' 'I Am The Walrus', and the epic title track. Noel has often described 'The Masterplan' as one of the best songs he has ever written. Now remastered and reissued via Big Brother.
Rock 'n' Roll Star (LP3 - Monnow Valley version) (6:13)
Shakermaker (Monnow Valley version) (4:48)
Live Forever (Monnow Valley version) (4:52)
Up In The Sky (Monnow Valley version) (4:55)
Columbia (Monnow Valley version) (4:50)
Bring It On Down (Monnow Valley version) (3:59)
Cigarettes & Alcohol (Monnow Valley version) (4:28)
Digsy's Dinner (Monnow Valley version) (2:39)
Rock 'n' Roll Star (LP4 - Sawmills outtake) (6:31)
Up In The Sky (Sawmills outtake) (4:24)
Columbia (Sawmills outtake) (7:10)
Bring It On Down (Sawmills outtake) (4:18)
Cigarettes & Alcohol (Sawmills outtake) (5:07)
Digsy's Dinner (Sawmills outtake) (3:04)
Slide Away (Sawmills outtake) (6:03)
Sad Song (demo) (4:33)
Review: An album that requires little to no introduction, Definitely Maybe was and still is the fastest-ever selling debut in the UK on release, while it's legacy and influence continues to be felt and reappear in sonic corners across the globe. Celebrating its 30th anniversary this year with a deluxe 4xLP reissue, this version comes complete with the album's 2014 remaster, boasting some of their most timeless anthems such as 'Shakermaker', 'Live Forever' and 'Supersonic', as well as the never-before-released and previously discarded original recording sessions from Monnow Valley along with outtakes from Sawmills Studios in Cornwall. While the recording process for Oasis' seminal debut have become the stuff of mired Britpop lore, now fans can finally set their own ears to the controversial, incongruent Dave Batchelor takes, and assess the damage - or delight - for themselves.
Review: Oasis' seminal Definitely Maybe is surely right up there with one of the greatest ever debut albums. It came in 1994 and soon catapulted the swaggering Manchester British band to stardom. Now 30 years old, it gets a special anniversary reissue on several formats including this one on double CD. Revered for its raw energy and catchy melodies, the record blends rock and Britpop influences and boats plenty of anthemic tracks like 'Live Forever' and 'Supersonic' that showcased Noel Gallagher's songwriting and brother Liam's distinctive snarly vocals. The album's success, marked by its confident attitude and raw, powerful sound, played a pivotal role in the Britpop movement of the 90s and remains a celebrated work.
B-STOCK: Sleeve damaged but otherwise in excellent condition
D'You Know What I Mean?
My Big Mouth
Magic Pie
Stand By Me
I Hope, I Think, I Know
The Girl In The Dirty Shirt
Fade In Out
Don't Go Away
Be Here Now
All Around The World
It's Gettin' Better (Man!!)
All Around The World (reprise)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Top up your Oasis CD collection with this new rerelease of 'Be Here Now', the band's third and "most colossal" sounding LP, in the words of one Noel Gallagher. Being one of the few major rock albums in history for which its PR persons actually feared overexposure, and sought to control its release, gag orders were signed by journalists to quell its premature hype. Far from the heyday of 'Wonderwall' or 'Definitely Maybe', the album went triple platinum, owing to lead single 'Do You Know What I Mean?', and the band's relentless, cocaine-fuelled pursuit of commercial success at the time.
Review: An album that led to a lot of scrutiny at the time of release in February 2000, not least because of Creation's attempt to make sure it only landed in the inbox of already-proven supporters of the band. But in hindsight their fourth long player has aged beautifully and sounds utterly inspired. The looping Zeppelin-esque riff on 'Fuckin In The Bushes' is pure genius and provides the foundation for the track that's one of the greatest album intros of all time, as well as making Guy Ritchie's Snatch that bit better. Meanwhile, 'Go Let It Out' is a great sing-along and would be a very welcome addition to their comeback gigs in summer 2025. As per usual, Noel takes up most songwriting duties, but there is a cut here written by Liam: 'Little James' is the first song Liam is credited for in Oasis. It's a Lennon-esque beauty delivered with the raw emotion that makes him one of the best rock n' roll singers to have ever walked the earth. Elsewhere, 'Gas Panic' shows off the band's more experimental approach: they were more embracing of sounds outside of that orthodox baseline of guitar/bass/drums than ever before.
Quarteto Em City - "Aleluia" (with Tamba Trio) (3:30)
Lena Platonos - "Bloody Shadows From A Distance" (3:05)
Ray Davies - "I Go To Sleep" (2:44)
Alfred Schnittke - "Piano Quintet, V" (3:21)
Agnes Obel - "Stretch Your Eyes" (Ambient acappella) (6:01)
The Bulgarian State Radio & Television Female Choir - "Pilentze Pee (Pilentze Sings)" (2:22)
Agnes Obel - "Glemmer D" (2:03)
Agnes Obel - "Bee Dance" (2:34)
Sibylle Baier - "The End" (2:29)
Michelle Gurevich - "Party Girl" (4:28)
CAN - "Oscura Primavera" (3:19)
David Lang - "I Lie" (5:08)
Nina Simone - "Images" (live In New York 1964) (2:50)
Agnes Obel - "Poem About Death" (3:05)
Review: The latest missive in the evocative and open-minded Late Night Tales series comes from Agnes Obel, a Danish singer/songwriter whose fragile, pastoral songs seemingly join the dots between traditional folk music, neo-classical and early music. Fittingly, Obel's selections, while more diverse than many may have expected - see the soulful reggae throb of Nora Dean, the creepy jazz of Yello's "Great Mission" and the whispered synth-pop shuffle of Lena Platanos - are every bit as atmospheric and ethereal as her own work. It helps that she's included several of her own compositions, alongside inspired cuts that touch on Berlin School ambient, hazy easy listening, neo-classical, psychedelia, lo-fi art rock and, of course, folk.
Review: The name 'Ocean Colour Scene' is an amalgamation of the eponymous band's three favourite words. This direct-democratic approach to band-naming should be an example to us all. But what of their music? 'Yesterday Today 1992-1997' compiles the West Midlands band's most eminent songs, which largely fall in the category of Britpop and indie. While commercial success for the group was limited (indeed bands like Oasis, Blur and The Verve were monopolizing the market), that says absolutely nothing about the quality of the music on this retrospective. Quite the contrary, actually; with selections spanning over ten studio albums, songs like 'Sway', 'Talk On' and 'Blue Deep Ocean' sound equally nostalgic and optimistic for a better musical future than now.
Review: The brainchild of Olli-Pekka Laine (Amorphis, Barren Earth, Mannhai), Beyond The Aeons marks the debut full-length from psych-death-prog entity Octoploid. Rounding out the line-up with several long-time collaborators including vocalist Mikko Kotamaki (Swallow The Sun) and keyboardist Kim Rantala (formerly of Amorphis), the collective live up to their namesake by pulling from several eras of rock simultaneously with a sonic bedrock built upon 70s prog and psychedelia, 90s death and black metal, as well as the myriad Venn Diagram-like intersections where these styles have crossed paths over the decades. Equal parts King Crimson, Pink Floyd and Opeth, on their debut statement Octoploid deliver a fuzzy, bombastic ode to all things heaving, hypnotising, hefty and hallucinogenic.
Review: It's fair to say that "Ur Fun", the first album in years recorded by of Montreal frontman Kevin Barnes on his own, is less an album-proper and more a collection of very, very strong singles. Each vying for attention against some intimidating competition elsewhere on the track list, it's important to make clear that while all are individuals, the LP doesn't feel disjointed or cluttered. It's just a whole lot of, fun. "You've Had A Good Time" seems to summon the spirit of the Pet Shop Boys circa 1989. "Deliberate Self Harm Ha Ha" might remind some of Kasabian, and '"Gypsy That Remains" is a dreamy, deep-but-direct synth workout wearing heart firmly on sleeve. Sonically diverse, it's impossible to deny that to pull off something like this you really need a master songwriter and instrumental crafts-person.
Review: Legendary Southern California punk band The Offspring celebrate the 20th anniversary of their Platinum-selling sixth album Conspiracy of One by reissuing it on vinyl. Delivered on a heavyweight slab with a fancy gatefold cover, the reissued version features the bonus track 'Huck It', which was the title track of The Offspring's 2000 VHS/DVD Huck It, and anthemic song that has often been heard behind various skateboard stunts. Produced by Brendan O'Brien who also work with greats like Pearl Jam and Bruce Springsteen, the record packed din plenty of singles such as 'Want You Bad,' 'Million Miles Away,' and the biggest of them all, 'Original Prankster.'
Review: The 11th full-length from California pop-punk royalty The Offspring comes three years on from 2021's Let The Bad Times Roll, and shall serve as their first project to feature bassist Todd Morse as an official member as well as multi-instrumentalist Jonah Nimoy and drummer Brandon Pertzborn (who has previously toured with Black Flag, Marilyn Manson and Suicidal Tendencies), while drumming duties were split with the legendary Josh Freese (Nine Inch Nails, A Perfect Circle). 10 tracks, spread out just over a half hour, Supercharged looks set to live up to its title following the band's road break and creative pandemic-enforced respite, with a succinct in-anthem-out mantra.
Review: This French artist, who has captivated audiences with her collaborations alongside Mura Masa, Pomme and Flavien Berger, returns with a deeply personal album that explores the complexities of self-discovery and the search for meaning in a world obsessed with self-improvement. The album's title track, 'choke enough', is a poignant reflection on the need for connection and the pursuit of intense emotions. Oklou's warm, beautiful productions, a signature of her sound, conjure a liminal space where the boundaries between introspection and euphoria blur with delicate synthesiser arpeggios and found sound samples. 'family and friends', the album's first single, delves into the search for answers and the desire to escape from intangible memories. Oklou's lyrics, delivered with a vulnerable yet defiant honesty, capture the anxieties and uncertainties of a generation navigating a world where virtual and physical identities are inextricably intertwined. After gaining international acclaim with her collaborations and her critically acclaimed mixtape 'galore', Oklou's debut album marks a turning point in her artistic evolution, a bold yet introspective work that challenges listeners to confront their own anxieties and desires.
Review: Oklou is a French musician and is known to her parents as Marylou Mayniel. She dropped her debut album back in February and on it collaborates with artists such as Bladee and underscores, while some expert studio contributions from producers like the revered A.G. Cook, plus Danny L Harle and Casey MQ. Choke Enough blends Y2K influences with medieval melodies to reflect Oklou's evolution from her 2020 mixtape, Galore. This new long player offers up a deep dive into her meticulous approach to electronic, modern, 'hyper' pop while incorporating classical rigour. Standout tracks like the title track and 'Endless' are great reflections of her unique artistic vision while balancing formal complexity with subdued emotional impact.
Review: Osamu Okuno's first album Osamu Okuno, which was independently produced by Himico Record in 1972 in a limited edition of 100 copies, is now available on LP for the first time in 52 years, cut from 6mm open tapes owned by Mr. Okuno himself. Capturing the impact of alternative rock in Kyoto in the early 70s, Osamu Okuno was quickly hailed as a modern classic in the veins of psychedelic folk and rock music, though it nonetheless did not lead to any further career developments for Okuno until much later in 1980. Infused throughout with tape hiss and bare recordings, this is an honest and reflective album, received best in the form of a single listen-through; the highlight for us has to be the penultimate ballad 'B?3????', whose arresting four chords and quivering playing and delivery, are gripping.
Review: Born on the 17th of May 1988 and dying in October 1992, Old Funeral were one of the very first Norwegian extreme metal acts on record, before the second wave black metal wave would sweep through Scandinavia. Featuring members of later pioneering acts such as Abbath and Demonaz of Immortal, as well as Varg Vikernes (who would go on to become the one-man band Burzum and murderer of Mayhem's Euronymous), the Our Condolences collection collates every known recording the group ever made, showcasing the earlier chaotic maelstrom of blackened death-thrash experimentation retrospectively required before black metal as we know it today could arise. In traditionalist fashion, these recordings have been in no way remixed, remastered or touched up, this is straight from the original tapes cold, raw harshness in the exact same form it was delivered to unsuspecting listeners decades prior.
Review: Crafted over years, Rebirth encapsulates Old Gods Of Asgard's decades-spanning creativity as eminent collaborators with the video game industry. Over the years, the Old Gods have woven a tapestry of sound in conjunction with such indie titles as Alan Wake and Control, which now takes full retroactive form in this Greatest Hits record. A barrage of rock 'n' roll anthems that could grind rocks to dust and pulverize hotel rooms, the band's thunderous drumbeats and scorching guitar riffs ignite a fire within, while the vocals soar to celestial heights, invoking an undeniable euphoria. A numinous experience if we've ever heard one, this new Insomniac edition is a testament to the indomitable Odinist spirit of the Old Gods.
Review: If you felt Angel Olsen's 'All Mirrors' album would benefit from a stripped down, pared back interpretation this is your lucky day. Far from some rushed attempt to release anything into the music industry's COVID-19 infested waters, the intimate, often hushed and delicate versions here are actually the original recordings of the tracks, which were then elevated to the scale we heard on that LP of last year.
The plan was always to release these as a counterpoint to the bigger sounding takes, and there will be few reasonably minded people who won't delight in that decision. It's as if we've watched her sepia-hued show-stopping performance in the main ballroom and then retired for intimate drinks in the dressing room. A staggering sibling to what was already one of our favourite records from recent years.
Review: St Louis' indie icon Angel Olsen has always hinted at her country leanings in her music, but on her sixth album she goes more wholeheartedly into the tradition of Americana. At the same time, the album's themes centre around Olsen's journey of discovery as she came out as queer in her mid-thirties, and this gets explored wholeheartedly in the video for the title track with its testing of gender norms. Co-produced with Jonathan Wilson and featuring Drew Erickson and Emily Elhaj on keys and bass respectively, it's a stunning step on for Olsen as she explores the roots of her sound and her world as it stands now.
Review: Recorded at Vox Studios, Los Angeles, Angel Olsen's third album is a game of two halves, a city of contrasts, and a juxtaposition of emotions, realised through music. Structurally, it plays out with a pair of distinct sides, with the A serving to represent upbeat positivity, the kind of tracks you want playing as you cruise through town on a blue sky-thinking day. Flip it to find things are much more sedate, reflective, and thoughtful, albeit definitely far from sombre.
That certainly helps pack variety into the release. My Woman followed on from Burn Your Fire for No Witness and Half Way Home, both of which had been resolutely lo-fi indie. By comparison, this was her attempt to break free of those delicate, self-created shackles and deliver something fuller, louder, and much poppier. She achieved just that, and if you're not already familiar we recommend listening to the stunning results.
Poppy Jean Crawford - "Glamorous" (Compiled By Angel Olsen) (4:43)
Coffin Prick - "Blood" (4:36)
Sarah Grace White - "Ride" (4:08)
Maxim Ludwig - "Make Believe You Love Me" (3:53)
Camp Saint Helene - "Wonder Now" (4:36)
The Takeover (Poppy Jean Crawford Cover - Performed By Angel Olsen) (3:48)
Swimming (Coffin Prick Cover) (2:38)
Sinkhole (Sarah Grace White Cover) (4:03)
Born Too Blue (Maxim Ludwig Cover) (5:11)
Farfisa Song (Camp Saint Helene Cover) (3:58)
Review: It's hard to imagine the esteemed Jagjaguwar label without Angel Olsen. The American singer-songwriter feels like a central figure. She epitomises the absolute quality that they put out year-in, year-out. Her long-standing partnership with them has led to her landing a new imprint named somethingscosmic. Here she's given free reign to release when and how she wants, with help from Jagjaguwar. An absolute dream for her no doubt. This, the second release on somethingscosmic, it's billed as a compilation reimagined as a dialogue; the A-side features artists chosen by Olsen, with each artist choosing their own song for the collection. Side B is a collection of songs from the same artists, but chosen by Olsen and recorded by her. Of the artists on there, Poppy Jean Crawford's 'Glamorous' is dark post-punk with a Kills-esque vocal... it feels like what the definition of rock n' roll should be. Meanwhile, Coffin Prick's 'Blood' (Yep, you read that right... what a band name!) is a great example of reckless psychedelic fuzz. And Sarah Grace White has a stunning, magnetic voice and the music is pared back to let it shine at the forefront of the mix. Olsen clearly has A&R clout and magical release ideas - long may her new venture thrive.
Review: It may only be January, but we already have a firm contender for time warp classic of 2017 here - this self-titled debut from Once & Future Band, somewhat contrary to their very name, is a veritable smorgasbord of sugary '70s prog-pop, indeed the kind of thing that Jeff Lynne continues to have fever dreams about to this very day. The harmonies here may bring to mind The Beach Boys, yet this meticulously constructed yet never precious album triumphs through its ability to conjure up an expansive and wonder-filled era of sonic grandstanding without ever sounding like tired retro pastiche. It's almost enough to have one wondering how that Jimmy Carter presidency will work out.
Review: Wilkes-Barre, Pennsylvania based melodic hardcore outfit One Step Closer have been left holding the keys to a burdensome legacy. Hailing from the same small town in middle America as emo-hardcore legends Title Fight, there's a lingering sense all eyes in the scene have been slyly pointed at the group since the release of their exceptional debut album This Place You Know in 2021, which they would follow up with last year's surprise Songs For The Willow EP. Where that small batch of tracks indicated a similar creative path to the aforementioned Title Fight with its newfound embracing of melodious shoegazing and melancholic composition, their highly anticipated sophomore LP All You Embrace appears set to marry both the raw and subdued, vicious and vulnerable qualities of their poignant angst-riddled emo-tinged grungecore into one unified cohesion of sincere, gritty, genuine alternative rock.
Review: Album number 17 for Oneida began life as basic song structures in the home of frontman Bobby Matador, in Boston, USA. Demos were then sent to New York, where members Kid Millions, Hanoi Jane, Shahin Motia, and Barry London could get to work on them. "We were working out the songs in New York without Bobby. We would start out riding the riffs, and then Shahin and Jane would add wild, out-of-tune licks," said Millions. "It seemed so perfect." The result certainly sounds close to perfection. The true reflection of a band who call gritty underground punk and psyche venues home, alongside high cultural instutitons like ICA London, Guggenheim, MassMOCA and Knoxville Museum of Art. On record, that sounds like huge walls of sound and blood-on-dance floor juggernauts, soaring discordance and hypnotic hooks, frenetic hard rock and noises between the lot.
Review: The Only Ones' third album, Baby's Got A Gun, marked a departure from their previous self-produced work, as they collaborated with renowned producer Colin Thurston. Known for his work with artists like David Bowie and Iggy Pop, Thurston brought a new perspective to the band's sound. The album features guest appearances by Pauline Murray of Penetration, adding depth to tracks like 'Fools' and 'Me And My Shadow.' Fools stands out as the band's only cover song, originally by Johnny Duncan. Released in 1980, Baby's Got A Gun showcased The Only Ones' evolution while maintaining their distinctive style. Despite the album's critical acclaim, the band disbanded two years later, marking the end of an era for their unique blend of rock music.
Review: The reissue of The Only Ones' sophomore album, Even Serpents Shine, is a treat for fans and collectors alike. Following their acclaimed self-titled debut, it boasts a mix of heavy, brooding tracks and gorgeously crafted pop gems such as 'Flaming Torch,' 'Out There In The Night,' and 'Someone Who Cares,' all examples of their talented roster and direction. The reissue, limited to 1000 individually numbered copies, is a must-have for enthusiasts of punk rock, power pop, and psychedelia alike, as Even Serpents Shine continues to shine brightly in the musical landscape.
Review: Originally founded in 1982, Bristol thrash metal legends Onslaught are considered to be one of the UK's so-called "big four" along with Xentrix, Sabbat and Acid Reign, while their sophomore effort The Force from 1986 is often regarded as a worldwide, stone cold thrash classic. Originally inspired by frenetic hardcore punk acts such as The Exploited and Discharge, the band would eventually adopt a hardcore-shaped speed metal assault that would be perfected following the arrival of vocalist Sy Keeler, allowing Paul Mahoney who provided vocals on their 1985 debut Power From Hell to switch to bass duties. Keeler would depart following issues with the label regarding his performance on the band's follow up third record In Search Of Sanity, released in 1989, yet he would make a triumphant return with the rest of the members for the dawn of their new era on 2007's Killing Spree.
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