Review: It's not hard to understand why people so often ignore album release blurb. Sales-y, hyperbolic, and on more than the odd occasion rather poorly written, it's hardly required reading in order to get the most out of the record. That is unless it's Big Thief's 'Two Hands', a collection of music that genuinely makes more sense when you know the back story. For one thing this long form offering is arriving just months after its predecessor, which is always either the sign of a band that don't need big ideas to facilitate rapid-fire output, or a band that have so many big ideas they literally can't stop the momentum. This is a case of the latter. Timescale aside, "Two Hands" genuinely feels as though it was born in the Badlands, epic songs that invoke endless vistas across barren settings in a way that makes you feel as small as you actually are in a global context. Like cosying up in a log cabin away from the chilly endless dark of a desert night.
Review: There's plenty of anticipation around Big Thief's third record U.F.O.F., and we can say with confidence that it delivers on every front. A solid expansion of their last record, Capacity, U.F.O.F. for the most part goes deeper into diverse sonic territories that's emotionally raw and rich, calling to mind Elliott Smith, Joni Mitchell and various other accomplished singer songwriters especially in songs like "Contact" and "Cattails". Elsewhere, "Strange" and "Orange" provide a backing that seems more upbeat on the surface, yet the varied vocal technique of Adrianne Lenker, ranging from a whisper to a vulnerable bellow keeps us firmly captivated. The album really shines through when it reaches for slightly louder soundscapes, best heard on "Terminal Paradise" and "Jenni" (with the latter reminding us of "Washer" by Slint). All in all, U.F.O.F. will be a record that entrances you with its subtle yet haunting charm.
Review: "The album that put Bon Iver on the map is back, this time on limited white vinyl stretched across two LPs. This originally minimal, heartbreaking 9-tracker - that dealt with the shock of Vernon's best friend Heath Ledger's death, among other events - is now rounded off with 5 alternate recordings, 3 of which are stripped-down live takes on the album tracks 'Wash', 'Beth/Rest' and 'Hinnom, TX'. The remaining two come from elsewhere; 'I Can't Make You Love Me' and 'Babys', like the others, were recorded at AIR Studios by Justin Vernon and his bandmate Sean Carey, on grand pianos and vocals only.
Review: Kim Deal didn't waste any time in making The Breeders a vital force of their own rather than a mere Pixies side-project. By the time their second album Last Splash landed in 1993, they had struck gold with a sharply focused strain of noisy indie rock that was equal parts daring and fun. 'Cannonball' was the universally-adored hit which landed The Breeders in the wider consciousness, but there's so much more to the album than that summery blast of guitar squall. Just fast-forward to 'S.O.S.' and you'll hear a strikingly familiar lick of distorted wail which became a bedrock for a certain UK rave group's biggest hit. This 30th anniversary edition spreads the album out on double vinyl with a bonus red 12" featuring a previously unreleased version of 'Divine Hammer' sung by J Mascis.
Review: The Moon and the Melodies, a collaboration between Cocteau Twins and ambient pioneer Harold Budd, stands as a unique gem in both artists' discographies. Originally released in 1986, this ethereal album is now being reissued on vinyl, remastered from the original tapes by Robin Guthrie. Unlike anything else the Cocteau Twins ever produced, this record blends their dreamlike soundscapes with Budd's serene, improvisational piano work. The result is an atmospheric journey, at once intimate and expansive. Tracks like 'Sea, Swallow Me' shine with Elizabeth Fraser's otherworldly vocals, intertwined with Guthrie's shimmering guitar and Raymonde's grounding bass, creating a sound that feels both familiar and entirely unique. Instrumentals like 'Memory Gongs' and 'The Ghost Has No Home' highlight Budd's delicate piano, enhanced by the band's signature ambient textures. The album is a study in contrasts, vocal tracks sit alongside instrumentals, each contributing to a cohesive yet diverse listening experience. For fans, this reissue is a chance to revisit a pivotal moment in the evolution of dream pop and ambient music. The album's enduring appeal is evident in its continued influence in social media. The Moon and the Melodies remains a shining light that can happen when artists from different realms come together to create something truly timeless.
Review: Daughter's third full-length and first in seven years is one of those hotly anticipated albums that doesn't disappoint on arrival. It's fronted once more by Elena Tonra, a singer, songwriter, and guitarist who asks what it means to be separated from loved ones and from yourself across 12 new tracks. The musical palette is broadened in those tunes, no doubt in part because members of the band have moved countries and cities, to make for a mix of love and longing with plenty of warm soul throughout. There are intense moments like 'Wish I Could Cross The Sea' and modern love stories like 'Future Lover' both providing real standouts. A great return.
Review: Elena Tonra, Igor Haefeli and Remi Aguilella return as Daughter, the cherished three-piece who very much embody the contemporary sound of 4AD. Stereo Mind Game is their first album in four years (not counting video game soundtrack Music From Before The Storm, and it finds them grappling with love over long distances - a sentiment many can relate to in these post-pandemic years. There's space for introspection and joy, all delivered with the wide-reaching sound and inherent delicacy which has made Daughter so well loved by so many.
Review: Erika De Casier has been on the Juno radar for a while. She is a Danish artist who has lent her voice to some killer dance cuts, but when in solo mode she is a new school neo-soul queen. Her vocal style is quiet and subtle, vulnerable and honest, and the music that is produced around it only heightens that sense of late night intrigue. This second album is one of tender sound and confessional songs, with closely mic'd whispers and softly spoken words defying most tracks. It's deep, richly rewarding and another fine accomplishment from this contemporary star.
Review: While many of today's biggest and most well-known r&b stars have got in-your-face bars and brash, confrontational personalities, Erika De Casier is a throwback to the quiet bedroom aesthetics of Aaliyah. Her tender, intimate vocal delivers convey power through their emotion as she muses on break ups, inner strength and general life woes. The beats are soft and moonlit with captivating melodies throughout. The Danish star is very much a cult favourite in the underground but this album might well help her break through to the next level.
Review: Kim Deal's debut album Nobody Loves You More is a masterful culmination of years of musical exploration and collaboration, though it's not her first venture under her own name. In 2013, she self-released a five-part, ten-song 7" vinyl series, with several of those tracks reappearing here, notably 'Are You Mine?' and 'Wish I Was,' both of which date back to 2011. These early compositions were crafted shortly after Deal wrapped up the Pixies' 'Lost Cities Tour' and made the move to Los Angeles. Over the ensuing years, the album gradually took shape, with contributions from a roster of long-time collaborators and new faces alike, including Breeders members past and present, Jack Lawrence, and Savages' Fay Milton and Ayse Hassan. The final touches were recorded with Steve Albini in 2022, solidifying the album's place as a celebration of Deal's profound impact on the alternative music scene. Musically, the album traverses a broad spectrum, from the infectious energy of 'Coast' and 'Crystal Breath' to the introspective depth of 'Disobedience' and 'A Good Time Pushed.' The result is an album that highlights Deal's undeniable talent as a pivotal figure in the indie rock world.
Review: Kim Deal's debut album Nobody Loves You More is a long-awaited, sonically adventurous showcase of her iconic artistry. Though technically not her first solo releaseishe dropped a ten-song 7" vinyl series in 2013ithis album fully embraces her singular voice after decades with the Pixies and The Breeders. Tracked over years with collaborators old and new, including Breeders alumni and friends like Jack Lawrence and Fay Milton, it culminates in sessions helmed by Steve Albini. The first single, 'Coast', is playful and nostalgic, blending a Blondie-esque groove with memories of a Massachusetts vacation, setting the tone for the album's sharp turns. The title track, however, opens with lush strings and bossa-nova rhythms, revealing a more vulnerable side of Deal, while 'Crystal Breath' reintroduces the raw grit of her early work, yet with fresh, experimental touches like sub-aquatic synths and break-y drums. Tracks like 'Are You Mine?' and 'Summertime' evoke 1950s chamber pop, offering tender, heart-melting moments, while 'Disobedience' and 'Big Ben Beat' nod to Deal's indie rock roots. A standout interlude, 'Bats in the Afternoon Sky', is a serene dreamlike breather, affirming her timelessness. With this album, Deal reflects on her career and inner world with humor and grace, blending her past with a fresh, evolving sound. It's the ultimate solo statement from an artist who's always been ahead of her time.
Review: Brandon Cox's future-guitar crusaders made a landmark release with this 2008 album Microcastle which re-invented indie-guitar pop through a prism of psychedelic invention and Radiohead-esque avant-magic, creating a powerful elixir that chimed with the here and now just as it was satisfying long-term lovers of sultry shoegaze and effects-pedal euphoria. Moreover, the savant axe man was prolific enough to quickly come up with the Weird Era Cont follow-up after Microcastle prematurely leaked, creating a seductive cocktail of effects-pedal squall, songwriting classicism and ambient fever-dreams that haunts the consciousness. Taken as one, this is a potent document by an almost unnaturally talented modern iconoclast.
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