Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Brooklyn-based Pakistani vocalist Aroof Aftab presents her third studio album, and a record that has the power to transport listeners pretty much anywhere. While steeped in traditions stereotypically associated with her homeland, ears more attuned will quickly pick up on just how divergent this is. Whether you'd consider it a classical album is down to how you gauge that genre term, we'd say it has grown broad enough over the past century to definitely include this, but ultimately even that seems reductive.
Elements of poetry, ambient trance, jazz, minimalism, and new age, it's a spiritual and musical experience based around themes of discovery, loss, memory, and intimate connections with the Earth. Sonically, that translates as something that's at once sublime and yet also surprising, combining a multitude of influences from aeons of songwriting to create something that could not have existed in any previous era.
Review: Appalachian style old-time banjo and guitar player Nora Brown joins with award winning fiddler Stephanie Coleman (of Uncle Earl) to present their new EP, 'Lady Of The Lake', featuring two tight-harmony songs and two instrumental duets. Brought together by Brooklyn's tight-knit old-time music community, Brown and Coleman share a rich musical partnership; Nora is a singer and banjo player, while Stephanie is an award-winning old-time fiddler. 'Lady Of The Lake' is the first time Nora and Stephanie have recorded together since Nora's 2019 debut album Cinnamon Tree; the EP comes in four short movements, beginning with an instrumental congregative ballad in the title track, while moving into the steady movements of 'Gone So Long', on which Brown and Coleman duet and harmonise with ease, and into 'Copper Kettle', a more ruminative meditation on the North-Eastern domestic; jugs filling, whiskey-crafting, pales sloshing and lying supine by junipers.
Review: Palto Flats and Putojefe Records present the first ever reissue of a truly mysterious record from the experimental extreme of folk, drone and experimental dulcimer. Dorothy Carter only released a small handful of records, but Waillee Waillee has since attained a mythical status amongst those in the know. It's not hard to understand why from just one listen, as the lilting bed of zither and dulcimer forms a dense blanket of harmonious drone upon which Carter's voice soars with a choral serenity. It's stirring and spiritual, calling to mind the powerful effect of Laraaji's music but tipping more towards a folk tonality which makes the music entirely unique.
Review: Since the release of Deja Vu in 1970, the music scene had evolved, but audiences still craved the harmony-driven idealism that catapulted Crosby, Stills & Nash to fame. CSN, the band's third album, reached number two on the charts, just behind Fleetwood Mac's Rumours. The album shows a mature lyrical depth and intricate compositions. Graham Nash's 'Just a Song Before I Go' became a hit single, epitomising his knack for radio-friendly acoustic tunes. Stephen Stills' 'See the Changes' and 'Dark Star' stand tall among his best, while David Crosby's contributions - 'Shadow Captain,' 'Anything at All,' and the poignant 'In My Dreams' - highlight his unique voice. Nash's multi-part epic 'Cathedral,' inspired by an acid trip in Winchester Cathedral, became a live staple. CSN is the last album where the trio's harmonies shine without additional voices, making it a timeless gem, blending country, pop, and rock seamlessly. Despite not reaching the innovative peaks of their first two albums, CSN remains a beloved album in their vault.
Review: It's not just in the album title that Newcastle bard Richard Dawson is ahead of his time. His dark sense of humour and sweaty barroom gig sonics break through the noise, identifying, tackling but not seeking to solve the problems currently facing British society. What could be more post-modern than that? The UK right now is a fractured and somewhat broken island struggling to come to terms with its own place in the modern world. It's also filled with people struggling to come to terms with this reality. Focusing on portraits of those lost souls, it's poignant, cutting and lyrically hard-hitting. A bold and mammoth concept for an album, the instrumentation is even bigger, easing up on the blues and folk of his formative years to allow more room for pop to break through. The result is proof that in times of desperation a nation can at least rely on its artists to offer some hope that all is not completely lost.
Review: Jake Xerxes Fussell's story is fascinating. Born in Columbus, Georgia, his father, Fred C. Fussell, was a folklorist, curator and photographer, a man whose life was dedicated to documenting life, as seen through the lens of human experience. We can't think of many other ways you'd grow up with the keen observational skills of Fussell Jr, who was already studying and playing with older musicians by the time he turned teenager, including blues doyen Precious Bryant. Between then and now he's put out four studio albums, released vernacular Southern Music with sonic historian George Mitchell and another folklorist, the award-winning Art Rosenbaum. Now, here we are, LP five, and it's another quiet and softly spoken hit in our opinion. Featuring appearances from Robin Holcomb, Joan Shelley, and Blake Mills, it's a captivating, rich, tender, honeyed and reflective folk delight.
Review: It's 1999 and Haruomi Hosono and pal Makoto Kubota - the latter arguably best known for their part in Les Rallies Denudes - decide to take on a daring project for the era. The Japanese artists opt to put out an album inspired by one of the world's foremost musical cities, New Orleans, which on paper couldn't be much further removed from the soundtrack of their homeland at that time.
Dig deeper, though, and while the Mississippi blues feels resolutely Deep South, an experience at odds with the Far East, Japan's incredibly fertile music scene back then actually shared more in common with Louisiana's aural calling cards than you might think. A hotbed of ideas, an understanding of what funk and soul mean, mastery of jazz's loose structures. Exceptional stuff, finally on re-issue
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Chris Isaak's Heart Shaped World initially faced commercial struggle upon its release in 1989, despite critical acclaim. However, fate intervened when filmmaker David Lynch featured two tracks from the album in his film Wild At Heart, igniting interest in Isaak's music. 'Wicked Game,' originally an album cut, became a surprise hit after Atlanta's WAPW FM music director added it to rotation, propelling Isaak to newfound fame. The album's success led to a resurgence in popularity, with Heart Shaped World reaching its highest chart position nearly two years after its release and achieving platinum status. Isaak's introspective songwriting, exemplified by the haunting 'Wicked Game,' resonated deeply with audiences, showcasing his ability to evoke emotion with sparse instrumentation and soulful vocals. Beyond its commercial triumph, Heart Shaped World remains a testament to Isaak's artistic integrity and resilience. Despite facing industry skepticism early in his career, the album's success allowed Isaak to maintain his unique musical identity and secure a lasting place in the pop landscape.
Review: Ray LaMontagne, the revered award-winning troubadour, embarks on a new musical journey with his 2024 studio album, Long Way Home. Known for his introspective songwriting and soulful voice, LaMontagne continues to carve out a distinctive niche in contemporary music. Despite his retreat from the limelight to the tranquil hills of Western Massachusetts, his influence resonates deeply. Long Way Home marks his ninth studio effort, showcasing LaMontagne's knack for crafting poignant melodies that reflect on life's journeyifrom youthful innocence to the trials of adulthood. Produced alongside Seth Kauffman (known for his work with Floating Action and Angel Olsen), the album melds folk-rock nostalgia with a contemporary Americana flair. Recorded in LaMontagne's home studio over a few weeks, the album features collaborations with both longstanding and new partners, including ethereal backing vocals from The Secret Sisters. With its nine evocative tracks, Long Way Home is a shinning beacon to LaMontagne's enduring artistry and his ability of storytelling in a modern context.
Review: The Lion's Share broadcast from San Anselmo, CA was recorded by KPFA FM Berkeley and is a prized gem among Van Morrison collectors. This live recording captures both early and late shows from February 15, 1973, during a winter storm that limited its reach to the San Francisco Bay area. Featuring songs from his recent album St. Dominic's Preview and upcoming Hard Nose the Highway, as well as tracks from Moondance, His Band & The Street Choir, and Tupelo Honey, Morrison also included covers like Fred Neil's 'Everybody's Talking' and Hank Williams' 'Hey Good Lookin'.' A great document from this rare 1973 concert.
Review: Chie Sawa was indeed just 23 when she released her sole, soulful full-length city pop come soft rock record: 23 - Twenty-Three Years Old. Now the LP returns to the fore due to the reissuing efforts of one DJ Yoshizawa, whose preoccupation with music in this milieu has also extended to the likes of Junko Hirotan and Kyoko Omiya & Orange as of late. One of many rare and obscure Japanese groove records to have been featured in Yoshizawa's record guidebook Wamono A To Z - which documented many of Japan's least-spotted 'wamono disco' records, i.e. disco and funk LPs that coincided with the nascent 70s concept of wamono, which in art parlance essentially refers to the fusion of Japanese traditions with Western elements: be they ceramic, sartorial or musical. Sawa's debut here is as beguiling as it is sweet, centring on a mellow 60s/70s chic with a swinging pop rock style.
Review: "My drive home from my teaching job is all uphill," says Jeffrey Silverstein; "you kind of crest over this ridge to get to where you want to go. Every moment that happens to me, I just have this sense of ease once I get to the top." With that in mind, the easy-going vibes that pervade the artist's new EP, named after his home neighbourhood in Northeast Portland, makes perfect sense. A warm embrace of contemporary Americana, these are the songs that invite you in from the summer downpour for aged bourbon and memory lane trips. Picking up where things left off on 2023's full-length outing, Western Sky Music, Silverstein continues with something of a sonic reinvention. No longer the lone wolf he once sounded like, full-band acoustics ring out across imagined deserts and badlands, wildernesses that offer vistas which go on for miles. And miles.
Review: The resurgence of interest in vinyl has brought with it plenty of spotlight for niche acts like Tinariwen. The Mali-based desert blues specialists are now frequently found on the playlist of eclectic Das and NTS radio hosts, and so they should be. This new album is actually an old one - Kel Tinariwen is an early cassette tape recorded in the 90s that has not been released before. It hones in on the political issues of the time and is a raw sound compared to how Tinariwen went on to sound, but still has all the hypnotic guitar lines and call-and-response vocals that make it distinctly them. Add in raw drum machine rhythms and keyboard melodies and you have an alluring and Arab-tinged take on synth-pop that really gets you where it hurts.
Review: Tiny Habits' debut album, All For Something" is an album full of soulful harmonies and poignant storytelling. The trio, composed of Maya Rae, Cinya Khan and Judah Mayowa, showcases their talent for crafting evocative melodies and heartfelt lyrics that resonate deeply. The album's tracks, both collective and individual compositions, explore themes of sensitivity, insecurity, love and friendship, offering a rich tapestry of emotions and experiences. The standout track, 'Wishes,' shows the band's ability to convey their innermost vulnerabilities with honesty and grace. Each member contributes a verse that touches on personal struggles, from family dynamics to anxiety, creating a relatable and cathartic listening experience. Produced by Tony Berg and Will Maclellan, the album's musical backdrop is lush and layered, providing the perfect canvas for the trio's angelic harmonies. Overall, All For Something is a remarkable debut from Tiny Habits. Their talent for storytelling and their ability to connect with listeners is on a profound level. With this album, Tiny Habits is poised for even greater success in the future, we have no doubt.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.