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Latest reviews

After an extended, pandemic-related break, Brawther has decided to re-activate his highly regarded Negentropy label via a second EP on the imprint from former L.B Produce artist Ron Obvious. He begins in trademark style via EP highlight 'Builded Mind', a tech-tinged blend of skipping, UK garage style drums, jaunty sub bass, spacey electronics and deliciously tactile deep house motifs. He continues to fix loose-limbed and weighty garage grooves to deep and intergalactic house sounds on side two opener 'Nearly Forever', before pushing dub style bass to the fore on hypnotic late-night deep house number 'Foreground'.
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The seventh album from South London-based producer and experimental maverick Darren Cunningham and it's a beauty. The last time we heard from him, in 2018, he was collaborating with the London Contemporary Orchestra and improvising a score for a Stockhausen opera and he's taken an element of that work with him and married it to disorientating, otherworldly electronics. 'Karma & Desire' has a real feel of escapism, almost to the extent of feeling like an out of body experience, as dislocated and disembodied melodies float around in the ether. There are the first proper vocal collaborations he's undertaken here, but the two tracks are no pop bangers, songstress Zsela's efforts sounding more like some beguiling abstract poetry. Travelling further and further, creatively, from the normal environs of dancefloor culture, he's not lost any of his spellbinding musicality or sonic storytelling skills.
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Delightfully distorted, heavy footed and prone to putting the pedal down, SUUNS drop a new coloured vinyl EP that's just as vivid on the ears - next level, call it what you like stuff that gives about as much of a shit about genre lines as you do. What counts is it sounds exceptionally good, and rather unique, which is saying something for our era, albeit typical for the band in question. From the white noise textures of 'Look' to the punk rage and menacing voice over of 'Trouble Every Day' it's a wise idea to buckle up from the get go. Whether it's the strange post punk-cum-acid disco of 'Pray', 'Breathe''s gypsy punk stylings or the frozen, twisted harmonies of 'Death', there's more happening in six tracks here than you could normally reasonably expect from ten.
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Good Sad Happy Bad - Shades
LP
$19.93
Presenting the fifth album from Mica Levi and his Shapes cohorts, now renamed (rebranded?) as Good Bad Happy Sad. Their experience is evident in its quality, but there's also an innocence at play here that often comes with debut records, positioning this release as the start of a new era for the outfit. If anything, the band seem so keen to get the fresh music out they are happy with imperfections - and all should be forgiven when a tape captures the pure energy and vibrance driving this album, which often sounds like the crew are still toying stylistically. 'Believe It''s arty sax hooks and loose guitar riffs contrast its tight and very basic melody. The title number does more than flirt with surf rock, while 'Honey' brings in grungier, scuzzier tones. A particularly flavoursome recipe.
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When is a bonafide heavy metal classic not a bonafide heavy metal classic? How about when the recording is of such poor quality many find it unlistenable, so very few heard the album. Such is the case with The Raging Wrath..., the 1986 debut LP from cult guitar experimenters Mr. Bungle, which is now getting a re-release to mark a reactivation of the outfit after 20 years of dormancy. Returning to those early, raw tapes, the record remains pretty much untouched save for one significant difference - here the work is polished and primed for even the most discerning 21st Century ears, thanks to original members Mike Patton, Trey Spruance and Trevor Dunn, alongside ex-Slayer drummer Dave Lombardo and Anthrax's Scott Ian. If polished is really the right word. It's loud, chaotic, and impossible to predict, it's blood, sweat and tears spilled from the bowels of thrash before thrash was really a subgenre.
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There's a lot going on here, and a lot of pure goodness at that. Fans of the Soul Jazz imprint rarely shut up about the label's output quality, and this latest LP from Trees Speak - their second to date - is a case in point. A record that sounds as though it was raised on some of the finest outsider music from the 1960s, 70s and 80s, the whole thing is saturated in pop references but doesn't come across forced or lazy. You don't have to listen hard to hear the kind of proto-electro and Krautrock that came from the likes of Can, Popul Vuh and Neu!, John Carpenter's movie scores or traits of the No Wave movement that took subterranean New York by storm a few decades ago. Stylistically, the result is a sonic place that has as much attitude as it does edge, equal parts grit and groove, funk and rock, soul and sleaze.
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Mark 'E' Everett has rarely sounded so elegantly weather-beaten, self-assured and poignant as he does on this 15th album under his melancholic moniker, Eels. Like a poetic, almost-childlike retelling of one adult's abusive relationship with life itself, everything here is musically perfect and almost playful, while the fables and tales are anything but kid-friendly. Then again, we probably don't need to point that out with track titles like 'Are You Fucking Your Ex', a tragi-comedy as reliant on lilting guitars as it is the wordsmith's sharp pen. Similarly brokenhearted, but far more sombre, 'Of Unsent Letters' takes us into fireside folk-blues territory, while the late night romantic blues rock scuzz of 'Baby Let's Make It Real' sets things up perfectly for closer 'Waking Up', an intimate and reflective tome that comes with subtle prangs of optimism, despite the teary six string scales.
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There are bands that can just about get away with releasing archive compilations, and there are bands like Mastodon, who almost need to. The heavy metal-ists rose to underground popularity at the turn of the millennium, and by all accounts have never really emerged from those depths. Their output has been prolific and consistent, but never really anything close to commercial. The result being a ton of tracks many people have missed. Medium Rarities goes some way to righting that wrong. 16 live recordings, overlooked studio work, covers and instrumentals that paint a vivid picture of just how expansive and varied their back catalogue is. From 'Fallen Torches', this year's riff-heavy single and this album's only original track, through innovative curveball takes on 'A Spoonful Weighs A Ton' and 'A Commotion' (originally by The Flaming Lips and Feist, respectively), onto the deranged lunacy of 'Atlanta', a collaboration with Butthole Surfers' Gibby Haynes, it bellows in all the right places.
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