Review: Al-Qasar deliver their unique debut album for WeWantSounds, exothermically reacting psych rock, pop and regional Sahel sounds. The five-piece band dropped their debut album Who Are We? for Glitterbeat in 2022, marking a potent Arabic and Middle Eastern psych rock inflection, where elements such as North African trance music were helped along their way in the form of continual reintroductions to Western ears. Characterised as "Arabian fuzz" by the band, their sound now hears a metempsychotic rebirth: this album was again recorded in both Europe and Africa, and, unlike their debut's Western collaborators (Lee Ranaldo of Sonic Youth, Jello Biafra of Dead Kennedys), focuses on bustling rhythms lent by North African musicians such as Alsarah, Check Tidiane Seck and Sami Galbi.
Review: Sam Amidon's new album is a mesmerising exploration of folk traditions, reimagined with contemporary textures and adventurous instrumentation. Collaborating with saxophonist/producer Sam Gendel and percussionist Philippe Melanson, Amidon breathes new life into ten collected songs, from the Appalachian ballad 'Golden Willow Tree' to a radically transformed version of Lou Reed's 'Big Sky'. Recorded as a trio in Gendel's Los Angeles home, the album intertwines acoustic folk with avant-garde electronic flourishes, creating a soundscape that's both timeless and groundbreaking. Standout tracks include the lead single 'I'm On My Journey Home', where Amidon's rediscovery of a loose swing in early 20th-century recordings inspires a lush, layered rendition that sets the tone for the album. The trio's rendition of Ornette Coleman's 'Friends And Neighbors' bursts with joyful communality, while 'Old Churchyard', reimagined as 'Three Five', pairs electronic layers with rhythms to evoke a redemptive atmosphere. With influences ranging from Arthur Russell to shape-note singing, this album exemplifies Amidon's quest to recontextualise folk music, offering an inventive and heartfelt homage to its enduring resonance.
Review: Anthrax unleash their ferocious energy on this 2016 album, their first with lead guitarist Jon Donais. The iconic thrash metal outfitifeaturing Joey Belladonna, Scott Ian, Frank Bello and Charlie Benanteidelivers a potent blend of untamed aggression and melodic hooks. Recorded with longtime producer Jay Ruston, the 11 tracks offer a powerful and socially conscious take on heavy metal, tackling themes of religious fanaticism and personal responsibility. Singles like 'Evil Twin' and 'Breathing Lightning' showcase the band's signature sound: a relentless barrage of riffs, thunderous drums and Belladonna's soaring vocals.
Review: Following the success of Matt Berry's 2021 release, The Blue Elephant, and last year's collaboration with KPM, his eighth studio album, Heard Noises, arrives via Acid Jazz. This album comes in a stunning label-exclusive gatefold edition on a classy sky blue vinyl. The lead single, 'I Gotta Limit', shows Matt's lyrical exchange with Kitty Liv, reflecting a man yearning for another chance with a woman who is losing patience. The song, influenced by Sly Stone, packs a wealth of musical ideas into its three-minute duration, blending Northern Soul with psychedelic elements. In contrast to the eclectic sounds of The Blue Elephant, Heard Noises embraces a looser, Californian psychedelic vibe, infusing the album with space pop influences and haunting melodies. Displaying Matt's remarkable musicianship, he plays nearly every instrument, from guitars to synths, joined by longtime collaborator Craig Blundell and an array of talented guests. This album encapsulates the diverse musical journey that has defined Matt Berry's career as a musician, alongside his roles as comedic actor.
Review: The Clean are one of the most important indie bands to ever come out of New Zealand. Their EP 'Boodle Boodle Boodle' (1981), recorded on a four-track, had an instant lo-fi appeal and became the Flying Nun label's first major success. They were shaped by the likes of Syd Barrett, Velvet Underground and The Stooges and have gone on to influence the likes of Pavement and Yo La Tengo. The band were on hiatus for the majority of the 80s, but came back to release three albums in the 90s and two in the 00s. This is their second album and the first time this title has been in print on vinyl since its initial release. With more budget to record than when they were cutting their teeth in the early 80s, it's a higher fi record and of their post-reunion releases, this is the closest in feel to their early material. 'Linger Longer' is a haunting piano-led cut full of poignance and psychedelic feel. 'Secret Place' shines a spotlight on The Clean's iconic stripped back drum style and 'Something I Need' has a Lou Reed and Mick Jagger feel to the vocals as folk-y acoustic instrumentation prevails beautifully underneath. A staggering band.
Review: Released on Impulse! Records in 1966, this collection by John Lee Hooker offers a mix of both new compositions and reworkings of tunes that Hooker had previously recorded. Including a cover of Barrett Strong's 1959 Motown hit 'Money (That's What I Want)' - following in the musical footsteps of The Beatles, who recorded it three years earlier - this vindictively titled record is a fitting fusion of grievous Delta and raw blues; filled with schadenfreude and passion; transience and regret; vitality and poise; it's some of the best John Lee Hooker material you're likely to come across in this decade.
Review: Iggy Pop's performance at the 2023 Montreux Jazz Festival is a thrilling showcase of both his legendary past and revitalised present. Marking his third appearance at the prestigious event, Iggy delivers a fiery set with a seven-piece band, reinvigorating Stooges classics like 'I Wanna Be Your Dog' and 'T.V. Eye', while captivating the crowd with solo anthems such as 'Lust for Life' and 'The Passenger'. The show also features new material from his recent album Every Loser, including 'Modern Day Ripoff' and 'Frenzy', proving his ongoing relevance in the rock scene. Recorded with pristine multi-track audio and complemented by stunning 4K visuals, the concert blends the raw energy of vintage Iggy with the vitality of his current creative resurgence. This live recording captures a moment of remarkable musical power, reaffirming Iggy Pop as one of the most dynamic and enduring figures in rock music.
If You Find This World Bad, You Should See Some Of The Others (7:22)
18 Volcanoes (6:18)
Hammer Room (5:05)
Lion Rumpus (3:33)
Fact Boy (6:44)
Review: Marking the Glasgow post-rockers' 11th release, this record comes alive through the skilled hands of producer John Congleton, renowned for his work with acts like Sigur Ros. Kicking off with 'God Gets You Back,' the track throws you into a chaotic soundscape that feels like Daft Punk being pursued by My Bloody Valentine. Meanwhile, 'Fanzine Made Of Flesh' and 'Lion Rumpus' play with contrasts, merging whimsy and heft. The Bad Fire encapsulates Mogwai's talent for weaving beauty into sonic intensity, ensuring their unique voice resonates as powerfully as ever.
If You Find This World Bad, You Should See Some Of The Others (7:22)
18 Volcanoes (6:18)
Hammer Room (5:05)
Lion Rumpus (3:33)
Fact Boy (6:44)
God Gets You Back (5:28)
Hi Chaos (4:33)
What Kind Of Mix Is This? (3:02)
Pale Vegan Hip Pain (6:03)
If You Find This World Bad, You Should See Some Of The Others (7:56)
18 Volcanoes (5:05)
Hammer Room (2:58)
Lion Rumpus (3:56)
God Gets You Back (CD)
Hi Chaos
What Kind Of Mix Is This?
Fanzine Made Of Flesh
Pale Vegan Hip Pain
If You Find This World Bad, You Should See Some Of The Others
18 Volcanoes
Hammer Room
Lion Rumpus
Fact Boy
Review: Mogwai's latest work drifts between turbulent intensity and serene expansiveness, striking a balance between their signature wall of sound and moments of fragile beauty. The opening track, with its deep, resonant bass and atmospheric electronics, sets the tone for what feels like an album of catharsisireflecting their emotional weight. 'God Gets You Back' brings a lighter, more melodic pulse before transitioning into the dense, layered textures that Mogwai excels at. There's a sense of nostalgia woven throughout, yet it's clear the band is pushing their sound forward, exploring new avenues within their established sonic landscape.
If You Find This World Bad, You Should See Some Of The Others
18 Volcanoes
Hammer Room
Lion Rumpus
Fact Boy
God Gets You Back (CD2: demos)
Hi Chaos
What Kind Of Mix Is This?
Pale Vegan Hip Pain
If You Find This World Bad, You Should See Some Of The Others
18 Volcanoes
Hammer Room
Lion Rumpus
Review: Glasgow's seminal post-rockers enter new sonic terrain with their 11th album. Blessed for the first time in Mogwai history to have the fine pair of ears that is producer John Congleton in the studio, their single 'Fanzine Made Of Flesh', says the band's Stuart Braithwaite, is a "cross between ABBA, Swervedriver and Kraftwerk." It's certainly a long way from 'Mogwai Fear Satan' but that dense haze and ability to deftly layer sound that they do so well is audibly well intact. Elsewhere, 'Lion Rumpus' must have seen the band break a few snare skins. It's a phenomenally powerful performance with a sombre melody rooted in old folk music perhaps. The album's title, The Bad Fire, comes from a working class Glaswegian term for the word hell and according to a press release the album was born out of adversity so it's a fitting title. Sonically, however, it's a nuanced ride and there's a sense of resolve here offsetting the tension and melancholy and it feels truly heartfelt.
If You Find This World Bad, You Should See Some Of The Others (7:22)
18 Volcanoes (6:18)
Hammer Room (5:05)
Lion Rumpus (3:33)
Fact Boy (6:44)
Review: Perhaps we shouldn't be surprised the latest from Glasgow post-rock pioneers Mogwai adds a new ferocity. It was, after all, forged at a time of personal loss and family trauma for several members. The opener, 'God Gets You Back', weaves hypnotic vintage synths with Autotuned vocals, building into a thrilling crescendo that sets the tone for the album's expansive soundscapes. 'Hi Chaos' begins with a folk-like delicacy, evolving into a storm of ebowed drones, thunderous drums and towering riffs, offset by swirling sci-fi synths. The interplay between restraint and eruption continues on 'Pale Vegan Hip Pain', where cavernous guitar notes bloom into intricate melodies, offering a moody respite before the intensity of tracks like 'If You Find This World Bad You Should See Some Of The Others', which brims with ominous tones and a symphony of layered guitar noise. Tracks like 'Hammer Room' bubble with intricate synth lines woven into soaring melodies, while '18 Volcanos' evokes shoegaze grandeur with its vibrant oscillations. Each piece thrives on emotional resonance, eschewing words for pure instrumental storytelling - very much the Mogwai way, in other words, just sharper and more vicious than ever.
Review: Originally released in 1990, Extinction would serve as the sole full-length from New York crust punk pioneers Nausea. While not the first band of misfits to amplify the angst and visceral aggression of hardcore, they are often cited with being integral to the genre's expansion and incorporation of equally heinous sonics from the realms of doom and sludge metal as well as d-beat, with their Discharge influence worn proudly on their tattered sleeves. Equally inspired by the anarcho-punk messaging of Crass, their lyrics urgently represented their views on feminism, anti-racism, anti-war and class conflict, while their apocalyptic world view rivalled that of their peers in Amebix. Delivered with an unmatched vitriol indicative of the time in which they were penned and further bolstered by the now iconically chaotic push-pull of dual vocalists Al Long and Amy Miret, it's bizarre to track the career of drummer Roy Mayorga who would go on to become a mainstay in mainstream metal fulfilling tenure with the likes of Soulfly, Stone Sour, and presently Ministry. Following Svart Records' recent 12" reissue/compilation of the Cybergod and Lie Cycle EPs, the label brings this nihilistic classic home to wax after two decades of absence.
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