Review: What Do We Do Now is the fifth solo studio LP recorded by J Mascis since 1996. This is obviously not a very aggressive release schedule, but when you figure in the live albums, guest spots and records done with his various other bands (primarily Dinosaur Jr. but also The Fog, Heavy Blanket, Witch, Sweet Apple, and so on), then, to paraphrase Lou Reed, "J's week beats your year." What Do We Do Now began to come together during the waning days of the Pandemic. Utilizing his own Bisquiteen Studio, J started working on writing a series of tunes on acoustic with a different dynamic than the stuff he creates for Dino. The finest set of solo tunes J has yet penned, this is a playful and soft compendium of indie songs revelling in disbelief, uncertainty and community.
Review: Mudhoney's 'Plastic Eternity' hears a dejectedly fitting 'Loser Edition' fly into our faces, once more hammering home the band's fervent commitment to battling climate change through grunge. The irony of this statement is immense - the band say it themselves; 'the world is filling up with (grunge), humanity remains addicted to pollution despite the planet getting hotter by the minute'. But that's the entire point. This band has been around for over 30 years and their distinctive West Coast grunge sound might be new to some, but we're sure newcomers will be sold on it - it's got raucous clangers, anti-fash love songs, and even dog-friendly protest tunes all in the mix.
Review: Fearsome garage rock / grunge punk foursome Mudhoney, active since the late 1980s, juxtapose their latest record Plastic Eternity - which laments the plight of humanity - with a complementary reissue of their breakout debut record, which documents the relatively carefree mode that defined them from their early days onwards. The indie quad squad - made up of vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters - are best known for their crusted sludge-punk sound, and this reissue is a working reminder of this fact, one that landed them squarely in deathless annals of grunge history; many of the tracks on Mudhoney, especially the Blue Cheer cover 'Magnolia Caboose Babyshit', are considered pioneering of the later mainstream sound. The record is sickeningly fast, shreddy and road-hardened, but a closer listen, especially to the mixes thereon, hears it also house an early stirring of the purply/neon sonic haze that would also go on to define the indie pop music emergent shortly after that time.
Review: Alan Sparhawk's White Roses, My God offers a deeply personal exploration of grief and creativity. The album reflects the impact of the passing of Sparhawk's wife, Mimi Parker, from cancer in 2022. Known for his role in Low, Sparhawk's latest work showcases his willingness to dive into new sonic landscapes. Each track is crafted solely by Sparhawk, who used a range of new tools and techniques to build this intimate record. The album's experimental nature echoes influences from artists like Childish Gambino and 100 Gecs, with hints of Neil Young's Trans in its approach. On tracks like 'Feel Something,' Sparhawk employs a vocoder to challenge conventional emotional expression, creating a raw and engaging sound. Despite its innovative edges, White Roses, My God maintains a connection to Sparhawk's previous work while pushing boundaries. This record invites listeners into a new chapter of his musical journey, blending heartfelt lyrics with experimental beats.
Review: Stella Chronopoulou began writing her fifth album in 2019 during a ferry ride to Anafi. Seeking solace after personal turmoil, she composed a melody that evolved into a rootsy, atmospheric track. While much of her career was in English, this album marks her first songs in Greek, including 'Omorfo Mou' which was written on the boat, and a cover of Greek New Wave's 'Ta Vimata.' The album was recorded with collaborators like Rafael Cohen and is a 27-minute meditation on love, desire and time with gentle rhythms and warm instrumentation. It represents ?tella's sound by capturing both nostalgia and confident self-assurance.
Review: Supersuckers' The Smoke Of Hell is the kind of raw, unfiltered chaos that still feels untouchable decades later. Their only truly great album? Maybeibut what a record to hang your hat on. Released on Sub Pop, it's packed with scorching wah-wah pedal solos and breakneck, feelgood rock energy. 'Coat Tail Rider' kicks things off, a neck-tingling blast of slamming, wah-drenched riffs that set the tone for this wildly underrated gem. Fast, furious, and full of slick licks, it's a short, relentless masterpiece that's criminally overlooked.
Here Comes (John Peel Session - First Broadcast March 20 1993)
Always
Crazy Town
57 Waltz
Copacetic
Review: Velocity Girl's UltraCopacetic offers a revelatory reimagining of their 1993 debut Copacetic. Originally recorded with Bob Weston, the album's initial release left the band dissatisfied, feeling it lacked the lushness and clarity they envisioned. Fast forward to 2023, and the band has revisited the project with a fresh remix by Archie Moore, enhancing the album's original pop and shoegaze elements. The new mixes bring Sarah Shannon's soaring vocals, chiming guitars, and powerful rhythms into sharper focus, creating a cohesive and vibrant soundscape that aligns with the band's original 1992 vision. UltraCopacetic not only revises the original album but also includes expanded material from the era, such as tracks from various singles and a complete 1993 John Peel session. This reissue captures the energy and ambition Velocity Girl aimed for, offering fans a definitive version of their early work.
Review: Washed Out's fifth album, Notes from a Quiet Life, marks a bold departure for Ernest Greene, the creative force behind the project. With an immersive blend of funk, soul, hip-hop, beats and breaks, this album transcends genres, offering a captivating journey through lush, sun-baked electronic pop. Greene's move back to the countryside has deeply influenced his artistic vision, evident in the album's introspective tone and organic soundscapes. Named after the pastoral poem Endymion, his former horse farm, the album reflects Greene's embrace of the wonders of reality and his desire for artistic exploration. Notes from a Quiet Life shows Greene's evolution as an artist, with self-production emphasising his distinct creative voice. Collaborations with visionary artists like Paul Trillo demonstrate Greene's commitment to pushing boundaries and incorporating new technologies. Drawing inspiration from sculpture icons like Donald Judd and Cy Twombly, Greene's album embodies a purity of vision rarely seen in modern music. Each track explores his dedication to craft and his determination. Notes from a Quiet Life is a masterful work that solidifies Washed Out's position as a pioneer in chillwave and electronic music.
Review: Suki Waterhouse's double-LP, Memoir of a Sparklemuffin, showcases her evolution as a versatile artist. Released by Sub Pop, the album captures her journey through a kaleidoscope of styles, from folky Americana to nineties alternative and indie pop. Waterhouse's emotive vocals and evocative storytelling paint vivid pictures of longing, fearlessness, and elation. Recorded during the last months of her pregnancy, Waterhouse transformed her living room into a home studio, collaborating with top musicians. Executive producer Eli Hirsch, alongside Jonathan Rado, Brad Cook, Greg Gonzalez, Rick Nowels, and Natalie Findlay and Jules Apollinaire of Ttrruuces, contributed to the album's rich sound. The album's 18 tracks revolve around the Sparklemuffin spider, symbolising metamorphosis. Singles like 'OMG,' 'Faded,' and 'My Fun' drew listeners in, while tracks like 'Supersad' and 'To Get You' explore themes of resilience and love. 'Blackout Drunk' and 'Gateway Drug' showcase Waterhouse's ability to blend catchy melodies with deep emotion. 'Model, Actress, Whatever' reflects her multifaceted identity.
Review: Like a slightly in-tune Nico from her collab with The Velvet Underground, Natalie Mering's vocals have a unique quality to them that shouldn't go unheard. There's an undeniable country music beauty to the notes and instrumentation in both tracks "A Lot's Gonna Change" and "Andromeda", with Mering hitting those high notes more like Father John Misty and Roy Orbison than Dolly Parton. It's here that it becomes obvious why she is such a trusted collaborator with Ariel Pink. Her album as Weyes Blood, "Titanic Rising", dips and dives through a sequence of emotions that from the halfway point soars like a bird in "Everyday" and the Enya-like "Movies" before making its own crescendo down again on "Picture Me Better" and "Nearer to Thee", closing the album with nostalgia-inducing tales.
Review: Natalie Mering's Weyes Blood project is 12 years deep now, and she follows up on 2019's Titanic Rising with this, her fourth studio album. Her sound evolves in kind over this time from the DIY roots of her appearances on Not Not Fun et al, and now she strikes the figure of an eternal songstress joining the dots from classic 70s composition and production through to the aching, head-fogged reflection of the modern condition. Lead single 'It's Not Just Me, It's Everybody' nails the mood of malaise, but the beauty of her songwriting leads and saves us from slipping into despair. Why not commit to the concept and cop this, the limited Loser Edition of And In The Darkness, Hearts Aglow.
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