Review: There's no rock frontman quite like Greg Dulli, and even in middle age his melancholy and morally ambiguous loverman persona appears to be maturing like the proverbial fine wine. Moreover, the blend of soulful heart-on-sleeve balldeering and gritty rock-outs finds new vistas and moments of intensity on 'In Spades' - lurking somewhere between the testosterone bluster of Springsteen and the slinky grooves of Motown, yet with the addition of noisy electronic grooves, as on the opener 'Birdland,' only bolstering their arsenal. It's a treat to have this louche rogue back.
Review: Amen Dunes' Death Jokes represents a departure from Damon McMahon's previous work, as he delves into electronic music while critiquing American culture's glorification of violence and coercion. Inspired by his experiences and the societal shifts of recent years, McMahon embraces new artistic avenues, incorporating piano and electronic elements into his music. The album's genesis traces back to McMahon's decision to become a beginner again, immersing himself in piano and electronic music. This newfound experimentation, coupled with a thematic shift towards critiquing societal norms, gives rise to an album that feels both raw and prophetic. Songs like 'Round the World' and 'I Don't Mind' seem to anticipate the pandemic's effects, offering haunting reflections on the world's uncertainties. McMahon's collaborations with musicians like Sam Wilkes, Christoffer Berg, and Kwake Bass add depth to the album's sonic landscape. Death Jokes is a collage of samples, incorporating voices, music, and sounds from various sources, including YouTube and historical recordings. Through these diverse elements, McMahon constructs a narrative that examines America's culture of violence and individualism. Yet amidst the darkness, there are glimpses of hope and forgiveness. Tracks like 'Mary Anne' and 'Purple Land' explore themes of innocence, forgiveness, and the passage of time. The album culminates in gospel-infused songs that mourn societal divisions while yearning for spiritual connection. In its entirety, Death Jokes serves as an essay on the complexities of life and society, offering both critique and introspection. Through his music, McMahon challenges listeners to confront uncomfortable truths while holding onto hope for a better future.
Review: The Bug Club's third LP, On The Intricate Inner Workings Of The System, released via Sub Pop, continues the band's prolific streak. Hailing from the hit factory of Caldicot, South Wales, The Bug Club has unleashed ten singles, two albums, two EPs and more since 2021, all while performing 200+ gigs annually. This album delivers their signature garage rock with a blend of Modern Lovers and Nuggets influences. Tracks like 'War Movies' and 'Quality Pints' showcase fast-paced punk energy with humorous, surreal takes on everyday life. 'War Movies' features a distorted chug and a solo by Sam Willmett that would make any aspiring guitarist reconsider their ambitions. Melody remains central, as seen in the meta 'Pop Single,' echoing Ray Davies's self-awareness. The hilariously titled 'Lonsdale Slipons' and 'We Don't Care About That' continue their tradition of playful commentary. The lo-fi 'Better Than Good' highlights their knack for combining Violent Femmes basslines with Sterling Morrison-inspired solos. Their inventive releases, such as Launching Moondream One and Pure Particles, have cemented their reputation for fun, irreverent music. Despite lineup changes, their creativity and unique approach have continued to thrive.
Review: Straight out of Mile High City, this garage / indie rock group from Denver were around during the heady days of the Seattle scene and the grunge scene when it was all kicking off and ought to have been one of the biggest bands in the world. They were the first non-Seattle band to sign to Sub Pop, a label who adored them for their thunderous riffs and explosive live shows. Before signing to Sub Pop, they released this album - their debut studio LP, which is a succinct blast to listen to full of raw MC5-esque energy. It's not changing the wheel - or even trying to - but there's something hugely fun in being ill concerned with the idea of originality and just competing with the greatest rock n' roll bands of all time and coming out sounding on par.
Frankie Cosmos & Good Morning - "Take A Picture" (2:58)
Kate Bollinger - "What Can I Give You" (2:24)
Pearl & The Oysters - "Think Of Rain" (2:10)
Bedouine & Sylvie - "Can You Tell" (2:17)
Empress Of - "Someone I Know" (2:04)
Barrie - "Love" (2:52)
Margo Price - "California Shake" (3:38)
Review: Like Someone I Know features reinterpretations of Margo Guryan's timeless songs by a diverse lineup of artists, including TOPS, Clairo, Empress Of, and Margo Price. Guryan, a talented singer-songwriter and pianist, released her only album, Take a Picture, in 1968, which, despite initial obscurity, has become a cornerstone of the sunshine-pop genre. Her compositions reflect a sophisticated understanding of love and uncertainty, showcasing a delicate yet powerful songwriting style. Guryan's artistry gained renewed recognition in recent years, particularly after her haunting track 'Why Do I Cry' went viral on TikTok shortly before her passing in 2021. This tribute album celebrates her influence, allowing modern musicians to explore her work while maintaining the essence of her original sound. Tracks like McDoom's atmospheric take on 'Thoughts' and Frankie Cosmos' playful rendition of 'Take a Picture' highlight Guryan's remarkable craftsmanship and emotional depth. By donating a portion of proceeds to affordable reproductive health services, this compilation not only honours Guryan's legacy but also reaffirms the lasting impact of her music, proving that her work continues to resonate across generations.
Review: Light Verse is the seventh studio album by the American singer and songwriter Iron & Wine. The album was announced on February seventh 2024, simultaneously with the release of the lead single 'You Never Know' which showcases Sam Ervin Beam's great songwriting and arrangement skill, with his blend of folk and pop music has been compared to greats like Simon & Garfunkel, Nick Drake and Neil Young. Sam has been loyal to the Sub Pop label since first being signed there over 20 years ago. This (Loser Edition) comes on transparent yellow vinyl and will hit stores in late April.
Review: Kyle Thomas is the name of the singer-songwriter who records and performs as King Tuff. During the pandemic lockdowns he had something of a realisation about who he was and what he wanted to be and then "set out to write a love letter to those cherished moments of inspiration and to the small town that formed him," namely Brattleboro, Vermont. This is that love letter and it is an album of musical magic with uplifting and spiritual joy found in every hook and verse. There are gorgeous orchestral tones, tender moments of violin and cello and plenty of thoughtful sax lines on a gem of a record.
Review: La Luz's News of the Universe emerges as a stunning example to resilience and creativity amidst adversity. Born from guitarist Shana Cleveland's battle with breast cancer, the album traverses themes of life, death, and transformation with haunting beauty. The band's sonic palette, led by Cleveland's ethereal vocals and anchored by urgent rhythms, paints a vivid portrait of chaos and ecstasy. Produced entirely by women, the album embodies a fierce femininity, embracing vulnerability and triumph in equal measure. With lush chamber pop melodies and searing guitar solos, News of the Universe shows La Luz's pioneering spirit and unwavering commitment to artistic authenticity. It's a record that boldly defies expectations, delivering a sonic journey that is both devastating and euphoric - a true triumph in the face of adversity.
Review: In January 2023, amidst Dorset's snow-laden silence, Emily Cross found herself in an unlikely setting: a former coffin-maker's workshop serving as her end-of-life doula workspace. Here, Loma sought rebirth after disbanding post-Don't Shy Away. International separation during the pandemic stalled their creative process until Cross suggested a regroup in the UK. Using minimal gear and a padded coffin as a vocal booth, they transformed whitewashed rooms into a studio, even using a nearby chapel's ruin as a reverb chamber. The resulting album, How Will I Live Without A Body?, resonates with English countryside hues and Laurie Anderson-inspired AI poetry, reflecting on partnership, loss, and the transformative journey of reconnecting.
Review: Summer is drawing to a close, so what better time to avail ourselves of the eleventh record by these masters of melancholia. Low's back catalogue has proven them to be a band possessed of a consistency to match their emotional heft, and Ones & Sixes is no exception quality-wise - the band dispenses indelible and satisfyingly chilly ditties which balance out exquisite harmonies, fetching songcraft and understated charm, whilst also offering curveballs redolent of a band whose less-is-more aesthetic doesn't preclude an experimental slant - the electronic textures around the album's edge and the surprisingly poppy 'What Part Of Me' being cases in point.
Review: Minnesota couple Low have been around the block, lets say roughly 25 times, and it's been the Seattle-based Sub Pop label that's really become home to their music after several drops for the ambient-laced Kranky. I mean, hey, some have even called their music 'dinner party epochal'. Static and noise and other more experimental techniques in production provide a livid colour to this album, take in "Dancing in Blood" for example, with its industrial and subdued goth influences, or the pumping white noise and distortion of album opener "Quorum". Further down the tracklist is "Fly", a naturally melancholic number but far from depressive, with this track in particular hitting a sweet spot in the same way Massive Attack's "Teardrop" does. Very cool LP.
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