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Latest reviews

Little RockerBackatcha
Popsicles by Little Rocker, originally released in 1983 and now reissued in 2024, offers a delightful glimpse into the funk and disco sounds of its era. The A-side, 'Little Rocker' ,captivates with its spacey, sexy vibe, drawing listeners into its groove with infectious rhythms and irresistible melodies. The track exudes a sense of coolness and confidence, making it a standout piece for funk and disco enthusiasts. On the B-side, 'These Are The Good Times' continues the infectious energy with its upbeat tempo and funky instrumentation. It's a feelgood anthem that celebrates life and joy, inviting listeners to let loose and dance along to its infectious rhythm.
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MahalNinja Tune
Melbourne-based trio Glass Beams share their debut record Mahal, the highly anticipated album to follow 2021's incipient 'Mirage' EP. Fronted by founding member Rajan Silva, the Glass Beams project revolves around the central theme of fatherly childhood memories, bestowed unto Silva by way of a cultural inheritance reflective of both Melbourne and India. After Silva attended the legendary Royal Albert Hall concert by George Harrison in collaboration with Ravi Shankar, he was away; nothing was the same, as a cascade of South Asian psychedelia and desert funk spewed forth; added to which, Mahal is the most recent piece of invaluable flotsam.
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Glad To See You GoSire
The opening track from the second Ramones album, Leave Home, gets an outing on 7", despite never being a single at the time. It sounds every bit as fresh as when it originally emerged in January 1977, the New Yorkers' love of 50s bubblegum combining with trademark brutal punk riotousness on a song that manages to namecheck Charles Manson and turn the traditional love song on its head. Dirty, speedy punk pop thrills aplenty.
Rna Organism - RNAO Meets POPO (reissue)
RNAO Meets POPO (reissue)Mesh-Key US
R.N.A. Organism's 1980 release, R.N.A.O Meets P.O.P.O, reissued and remastered by Stephan Mathieu, is a captivating delve into Kansai's experimental scene. Comprised of enigmatic figures 0123, Zero, and Chance (aka Tatsuo Kohki), the album presents a sonic collage blending metallic beatbox loops, robotic vocals, and glockenspiel motifs. Producer Kaoru Sato (of EP-4 fame) helped sculpt their dub-infused, distorted rhythms and bizarre effects. While initially deemed too avant-garde, the album offers a more direct insight into their visionary sound. The opener, 'Weimar 22,' sets the tone with blown-out drum machines and ethereal vocals, hinting at influences ranging from electro-pop to spannered dub and tape manipulations. Tracks like 'After' and 'Nativity' showcase their experimental abilities, layering environmental sounds and off-kilter melodies over chuggy beats. R.N.A.O Meets P.O.P.O is a fusion of low-budget experimentation and tempered instrumentalism, offering a glimpse into the enigmatic world of Kansai's late 70s scene. Its timeless appeal resonates with listeners, echoing throughout the decades with its prophetic Japanese twist.
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Guitar Forms (Acoustic Sounds Series)Verve
Kenny Burrell's Guitar Forms stands as a cornerstone of the jazz guitar genre, offering a masterful display of various styles, from the engaging Latin combo performance of 'Moon and Sand' with the Gil Evans Orchestra to the bluesy tones of 'Downstairs' and 'Terrace Theme'. Other highlights include the luxurious treatment of Harold Arlen's 'Last Night When We Were Young.' Burrell's thoughtful and concise solos, along with his switch to acoustic classical guitar on tracks like 'Prelude #2' and 'Loie,' further demonstrating his musical talent. Mastered by Ryan K. Smith at Sterling Sound from the original analogue tapes and pressed onto 180-gram LPs at Quality Record Pressings, this audiophile reissue offers a definitive listening experience. Supervised by Chad Kassem, CEO of Acoustic Sounds, the album is packaged in high-quality gatefold sleeves with tip-on jackets by Stoughton Printing Co. With its rich repertoire and impeccable production, Guitar Forms is a easy purchase for any jazz enthusiast's collection, representing the timeless artistry of Kenny Burrell and his abilities in the jazz guitar genre.
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Friday The 13th Part VII: The New Blood (Soundtrack) (reissue)Waxwork US
While legendary composer and jazz soloist Harry Manfredini has handled the scores to the vast majority of entries into the Friday the 13th horror franchise, it would be the ironically titled Part VII: The New Blood that would see producer Fred Mollin brought in to provide unique cues to counterweight Manfredini's compositions. With only Mollin returning to score the following eighth instalment, this score provides the only torch passing intersection between the two uniquely brilliant composers, while this pressing lands on "psychokinetik splatter", echoing the film's plot of a young telekinetic girl going to war with the hockeymasked Jason (for those not up on their Camp Crystal Lake lore).
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Camembert Electrique (remastered)Charly
Gong's second and perhaps most beloved effort 'Camembert Electrique' resurfaces on Charly Records. Recorded at the grandiose Strawberry Studios in the scenic northern French countryside, the album's 11 tracks pulse, contract and twist in a lairy bacchanal of folk, psychedelic sludge, progressive rock tropes and deadpan pop hooks. From the opening tape jingle 'Radio Gnome' to the jangly, propulsive closing prog quest 'Tropical Fish: Selene', Gong balance moments of extreme campness with quiet, emotional introspection, as on the portmanteau 'Mister Long Shanks/O Mother/I Am Your Fantasy', where driving proto-punk riffage segues into operatic proto-Black Midi ditty segues into breathtakingly suspended lap steel ambience.
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Konerytmi - Disko Varasto A
Disko Varasto AUnusual Systems
Four electroclash/Italo dancefloor bangers recovered from the vaults of electro producer 'Konerytmi' under his alias 'The Klash'. Mixing contempoary sounds with samples and motifs reminiscent of the TV docs, newscasts and movie soundtracks of the 1980s, 'Disko Varasto A' is a boxy, arpy cascader of blipping synths plucks, flatulent basses, and gated snares, best represented by the airtight, hermetic melodic wave machine of a track that is '1982'.

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