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Latest reviews

"Slacking Off" came from a Nassauvians session that found the band coming back together in the studio for the first time after a little break, but totally unprepared. Despite this, they struck real aloha gold, with Hawaiian soul, gently lilting funk and Balearic guitars all making it as summery as you could wish for. Flipside "The Time Is Now" is a previously unreleased AOR island recording with Nassauvians man Tommy Goodwin on guitar and pal Don Lepage on harmonica, and will make you nostalgic for a time and a place never known.
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Not all types of techno suits the album format, though that's not an accusation you could level at Derek Carr's particular brand of melodic, sci-fi-fired retro-futurism. "Pursuit Part 1" (a second volume will drop shortly) proves this point, delivering a suite of mostly club-ready cuts that can easily be listened to from start to finish in the comfort of your own home. It's full to bursting with warm, melodious, bass-heavy tackle, much of which combines his usual starry synths and deep space electronics with grooves which are far more influenced by dub techno than much of Carr's output. Highlights include the two-part "Not Tonight", the TB-303 powered "Acid Bath", and the glistening ambient/IDM lusciousness of "Nightfall".
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Ozzy Osbourne - Ordinary Man
CD
$10.37
Eating bats, drinking his own pee (while teaching the Motley Crue what's meant by eccentric British debauchery), and, err, co-starring in a reality TV show. Life has been a colourful one for Ozzy Osbourne, and we've not touched upon Black Sabbath. Impossible not to love, in spite of all the Satan summoning (albeit tongue in cheek), it would have been an awkward moment if this return wasn't exceptionally good. Of course it won't be for everyone. Those who aren't fond of dirty metal guts and dark, macabre riffs might want to look elsewhere for their kicks - it's not just "Goodbye" and "Today Is The End" respectively offering those. It's a record filled with plenty of foreboding menace, and we'd expect nothing less. Even so, there's still time for razor wit to shine ("Eat Me") and borderline madness to prevail (the extra-terrestrial themed "Scary Little Green Men"), making for a journey into the mind of a rock genius.
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San Francisco electronic pop outfit Cold Beat make their debut on the ever-impressive DFA, one of the finest imprints in all of synth-dom. And what a triumph it is, polished and sharp and infinitely daring, making for more proof of what fans will have already known based on previous outings, including records on the rightly revered 1980s-inspired Dark Entries label. Think Eurythmics, Depeche Mode and Ladyhawke and you'll be edging toward the right ball park. There are moments of depression and stark moods, for example on "Paper", guitars juxtaposed with keyboards to create the wonderfully contrasting "Prism", and pedal-to-metal pace pushing "Gloves" forward to a destination that's some sort of future read through the past. Don't think that suggests pastiche, though - this is a record very much born from fresh ideas and a desire to explore pastures new.
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Caribou - Suddenly
CD
$10.10
It's quite shocking it's been six years since the last Caribou album, 2014's knockout "Our Love". Dan Snaith has never felt the need to rush his music out, and there was an interim Daphni album in 2017 to be fair to the guy, but here we are with a new set that sees Snaith returning to a little of the delicate songwriting and winsome electronica he forged his reputation on in the early days. There's a lot going on in here, from smooth as silk yacht rock-isms to deliriously modernist cut ups and more than a few wild pitch shifts to keep listeners on their toes. It's playful and heartfelt, and rarely lingers in one place for too long while still retaining a sense of calm. It may be not at all what you expected from Caribou's return, but we'd wager it's even better than you hoped.
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Alabaster Deplume - To Cy & Lee: Instrumentals Vol 1
CD
$11.43
Angus Fairbairn may split his time between London and Manchester, but his music as Alabaster dePlume speaks to a kind of old-world romanticism that takes him out of time and place. Affiliated with Total Refreshment Centre, this mightily talented artist unfurls the kind of strikingly fresh twist on jazz we've come to expect from the London-based studios. His saxophone flutters in a most unusual of ways, while around it the mood and mode varies from Americana wooze to African spiritual and on to Middle Eastern mysticism. This is music of the Earth undoubtedly, but it celebrates the ability of distinct cultures to transcend the trappings of terra firma through song.
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Reggae, soul, hip hop and more get chewed up and spat out on underground New Yorker AFU-RA's new album. Urban Chemistry also draws on plenty of collaborators including Sizzla, Jah Mason, Keny Arkana and Lord Kossity, meaning flows go from striking and militant to more blissed out. There are plenty of conscious deliveries, as well as futuristic dancehall cuts, all fit into a visual universe inspired by martial arts. After the success of his first four albums, which have sold almost a million copies, this is a fine return to form for this eclectic producer.
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Jagged textures, ghostly tones and frenetic notes are omnipresent on "Filterealism", a highly experimental 9-track odyssey of warbling, jittering, metallic sounds that's quite possibly going to be like nothing you've heard before. Or at least that's the case on "Aluminium Dub", where tribalism meets futurism, or "Kosmaj", which could be read as an exercise in spatial awareness - a series of echoed synth stabs and whirring sounds where gaps say as much as the keys. Elsewhere things are less mind-bending, although only slightly. "All This Is Not A Dream", for example, might be an experiment designed to see what happens when freeform jazz meets feint touches of jungle percussion. "Continental Outcome" chugs without dropping a real beat, "Photon Garden" treads close to a prototype of electro while remaining staunchly eccentric.
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