Review: Already the winner of a Brit Award (Adele was voted the 'Critics Choice' - the most exciting new British artist expected to 'make it big' in 2008),
'19' is Adele's debut album. Citing influences as diverse as Etta James, Jill Scott, Bjork, Dusty Springfield, Billy Bragg, Billie Holiday, Jeff Buckley,
The Cure and Peggy Lee, Adele also recently completed her first solo UK tour, having toured previously with the likes of Jack Penate, Jamie T,
Raul Midon, Amos Lee and Devendra Banhart. '19' contains both her debut track 'Hometown Glory' and her smash single 'Chasing Pavements'.
Blues tinged and melancholic, Adele describes 'Chasing Pavements' as 'It's me being hopeful for a relationship that's very much over. The sort
of relationship you hate when you're in it, but miss when you're not'. A hymn to lost love and regret, 'Chasing Pavements' follows Adele's first
limited edition single 'Hometown Glory', which introduced her to the world to much critical acclaim, with NME calling it 'totally, absolutely beautiful',
Q Magazine calling her 'The voice of next year' and The Sunday Times saying 'A Star Is Born'
Review: Already the winner of a Brit Award (Adele was voted the 'Critics Choice' - the most exciting new British artist expected to 'make it big' in 2008),
'19' is Adele's debut album. Citing influences as diverse as Etta James, Jill Scott, Bjork, Dusty Springfield, Billy Bragg, Billie Holiday, Jeff Buckley,
The Cure and Peggy Lee, Adele also recently completed her first solo UK tour, having toured previously with the likes of Jack Penate, Jamie T,
Raul Midon, Amos Lee and Devendra Banhart. '19' contains both her debut track 'Hometown Glory' and her smash single 'Chasing Pavements'.
Blues tinged and melancholic, Adele describes 'Chasing Pavements' as 'It's me being hopeful for a relationship that's very much over. The sort
of relationship you hate when you're in it, but miss when you're not'. A hymn to lost love and regret, 'Chasing Pavements' follows Adele's first
limited edition single 'Hometown Glory', which introduced her to the world to much critical acclaim, with NME calling it 'totally, absolutely beautiful',
Q Magazine calling her 'The voice of next year' and The Sunday Times saying 'A Star Is Born'
Review: Many critics have been quick to praise Arca's latest album (her fourth in total), highlighting the startling vibrancy and accessibility Barcelona-based Venezuelan's latest work. Where she was once renowned for wilfully challenging experimental sounds, "Kick I" combines her long-standing lo-fi noisenik instincts in ear-catching leftfield pop vocals, fiendishly heavy beats variously influenced by dancehall, reggaeton and Kuduro, sparkling bursts of kaleidoscopic synthesizer sounds, and bass beefier than a herd of highland cattle after a few months on industrial strength steroids. As a result, it's an album that beautifully balances ear-catching attractiveness with serious dancefloor grunt and just the right amount of experimental noise.
Tonight May Have To Last Me All My Life (Edan remix) (3:51)
Frontier Psychiatrist (Mario Caldato Jr 85 Percent remix) (4:02)
Close To You (Sun Araw remix) (6:14)
Since I Left You (Stereolab remix) (4:40)
Flight Tonight (Canyons Travel Agent dub) (5:57)
Radio (Sinkane remix) (8:42)
Since I Left You (Prince Paul remix) (3:45)
Electricity (Harvey Nightclub re-edit) (6:27)
Summer Crane (Black Dice remix) (3:39)
Extra Kings (Deakin remix) (4:44)
Tonight May Have To Last Me All My Life (MF DOOM remix) (2:54)
Tonight May Have To Last Me All My Life (Dragged By Leon Vynehall) (5:24)
A Different Feeling (Carl Craig Paperclip People remix) (10:32)
Thank You Caroline (Avalanches demo Tape) (4:05)
Review: A deluxe reissue now available of the acclaimed 2001 album by Australian hip hop fusion act The Avalanche' Since I Left You featuring the hit single of the same name. This four disc version features several modern reworks of tracks from the LP, with notable appearances from Leon Vynehall and the late MF DOOM on the remix of 'Tonight May Have To Last Me All My Life' and 'A Different Feeling' receiving the Carl Craig Paperclip People remix among many others.
Review: When they delivered their stupendously sample-heavy debut album, Since I Left You, back in 2000, The Avalanches were tipped for big things. For some reason, they failed to capitalize, all but fading from view. That album remains a much-loved listen for many people so there has been an expected degree of anticipation regarding this follow-up, Wildflower. Happily, it's something of a resounding success, with the Melbourne trio serving up another whirlwind trip through sample-heavy, hip-hop era psychedelia. At 21 tracks deep, and with more changes of direction than your average three-week cycle race, it's something of a beast. It is, though, well worth the effort, as repeat listens simply uncovers more layers of hazy, glassy-eyed goodness (be it bluesy trip-hop, slipped disco, dreamy acid-pop, folksy beat-scapes or baked hypno-rock).
Beside April (feat Karriem Riggins & Arthur Verocai) (7:02)
Love Proceeding (feat Arthur Verocai) (7:11)
Open Channels (5:52)
Timid, Intimidating (7:08)
Beside April (feat Arthur Verocai - reprise) (3:42)
Talk Meaning (feat Arthur Verocai, Terrace Martin & Brandee Younger) (8:17)
Review: Canadian trio Badbadnotgood have made us wait for Talk Memory, their fifth album. Arriving a decade after their first full-length, and some five years since the release of their acclaimed fourth LP, it's a much more expansive and cinematic affair than its predecessors - both in scope (it includes more nods towards post-rock and jazz-rock, for example) and sound (a number of tracks feature string arrangements by Brazilian arranger Arthur Verocai). It's a dazzling affair all told, with the band's choice of improvisational composition techniques and an impressive guest list (Laraaju, Karriem Roggins, Terrace Martin and Brandee Younder all appear) resulting in a string of epic, life-affirming compositions. Picking highlights is tough, but we'd suggest checking slow-burn, constantly building epic 'Signal to the Noise' and the buzzing, psychedelic jazz-rock of 'Beside April'.
Review: At the start of 2024, BADBADNOTGOOD channeled their renewed creative energy into the Mid Spiral series. Fresh off a string of international tour dates and collaborations with artists like Daniel Caesar, Charlotte Day Wilson, and Turnstile, the Canadian trio - Al Sow, Chester Hansen, and Leland Whitty - returned to the studio with a vibrant sense of purpose. Joined by touring member Felix Fox-Pappas and key Toronto jazz musicians Kaelin Murphy, Juan Carlos Medrano, and LA's Tyler Lott, they embarked on an intensive recording session at Valentine Studios in Los Angeles. The result is the Mid Spiral series, initially released digitally in three parts - Chaos, Order, and Growth - and now available as a double LP and CD. These suites mark a return to their instrumental jazz roots while seamlessly blending elements of hip-hop, neo-soul, psychedelic and funk.
Review: Named after their infamous Brixton club night, Basement Jaxx's second album Rooty saw them continue to push the boundaries of pop and club music. The album mixes classic house with generous lashings of punk, funk, R&B, jazz, hip hop, 2-step and pop song-craft in a mad genre crash that works like a charm. It features the massive tracks 'Where's Your Head At', 'Romeo' and 'Do Your Thing'.
Review: Released on XL Recordings in 2004 and nominated for the year's Mercury Music Prize, Kush Kash was the third studio album from dance music pioneers Basement Jaxx. The album has its space in history having been the winner of the first ever GRAMMY award for Best Dance/Electronic Album. It is packed with great collaborators such as the one and only punk icon Siouxsie Sioux, king of London grime aka Dizzee Rascal on the superb 'Lucky Star', as well as more mellow vocals from Meshell and the lung-busting performance of rock 'n' soul diva Lisa Kekaula from the LA band The Bellrays on 'Good Luck.'
Review: Blawan is not only the most notable electronic producer to have ever come out of Barnsley (as far as we know, anyway_ but is also one of techno's most relentless innovators. He's done it all from heft, swinging bass to the most caustic and experimental techno. For this one on XL he aims at the club once more. 'Fires' is our pick - an unrelenting, tightly stacked rhythm with alluring vocal hooks swirling up top and weird synth sounds adding even more unusualness.
Review: XL have been steadily building up momentum with CASISDEAD over the past few years, while the cult rapper had been leaving a breadcrumb trail of music to an ever-growing fanbase for some time before. Now, the wait is over as he finally unveils his debut album, and Famous Last Words is delivered with a sense of ceremony which more than matches the anticipation. When your guests include Neil Tennant, Connie Constance and Desire, you know you're pulling out all the stops. The album runs like cinematic narrative guided by CAS' distinctive flows, backed by a sleek synth-pop production style fuelled by collaborators including Kyle Dixon and Johnny Jewel.
Review: Charlotte Day Wilson's new album on XL Recordings comes in various formats and this is a gatefold vinyl version with a fold out poster. It marks a significant progression in the musical journey of the Canadian talent following her meticulously crafted debut in 2021. Cyan Blue reflects a subtle yet profound evolution of her distinctive sound and songwriting prowess. Spanning 13 captivating tracks, Wilson delves into themes of relationships, self-discovery, and existential ponderings as she melds r&b, folk, and soul elements but allows her singular voice to once again take centre stage. A timeless record that resonates with depth and authenticity, Wilson's sophomore effort promises to leave a lasting impression.
Review: Young Canadian producer, vocalist and multi-instrumentalist Charlotte Day Wilson steps out with her long awaited new album for XL Recordings in May - and she does not disappoint. The album comes three years after she broke through with her diligently crafted debut in 2021 and shows another subtle evolution of her signature sound and songwriting skills. The record features 13 mesmeric tracks that find her musing on relationships, understanding herself and her place in the world and plenty more. Musically she fuses elements of r&b, folk and soul with her singular voice at the heart of what is a timeless record.
Ready 4 War (feat Sharky Major, Armour & Stormin) (4:40)
Street Fighter (instrumental) (2:42)
Go (instrumental) (4:28)
Ho (instrumental) (4:06)
String Ho (instrumental) (2:44)
Ting Ting (instrumental) (2:06)
Wheel (instrumental) (3:51)
Review: Grime might now be one of the biggest sounds in the UK music scene, but it arguably might never have been without the much earlier work of scene forefather Dizzee Rascal. The Londoner broke through just after the turn of the millennium and onto the international stage with his in-your-face bars, mashed-up dance sounds and big samples. Quite possibly his best work is Boy In Da Corner, the stunning Mercury Prize winning long player on XL that is now 20 years young. It gets a special reissue for the occasion with all the big ones like 'Fix Up, Look Sharp' present and correct, as well as a load of fine instrumentals.
Review: The debut studio album by American rock band Electric Six came as a demented party record, building on the high production value, yet still enjoyable musical approach of mainstream pop and industrial rock in the late '90s and early noughties. The Detroit band had been going since 1996 but only struck the starry heights of fame in 2001, when 'Danger! High Voltage' established their bluesy, raunchily delicious dance-funk sound. The star cut on the record, and ensuing hilarities such as 'Naked Pictures (Of Your Mother)', 'I'm The Bomb' and 'Gay Bar', proved just the right dosage of tension and irreverence.
Review: XL Recordings founder Richard Russell has been rather busy of late. First came the publication of his memoir, "Liberation Through Hearing", and now this: the follow-up to his 2017 debut album as Everything Is Recorded. Like its predecessor, "Friday Forever" was produced and mixed by Russell but also contains contributions from a wide range of artists including Ghostface KIllah, Penny Rimbaud, A.K. Paul, James Massiah, Infinite Coles, Irish singer-songwriters Maria Somerville and Kean Kavanagh, and a host of new-breed British MCs. There's a concept behind it - the sound-tracking of a night out and the weekend that follows - with the music brilliantly joining the dots between hip-hop, neo-classical, soul, proto house, reggae, jazz and much, much more. That it not only holds together but also makes perfect sense is testament to Russell's growing skill as a producer.
No More Rehearsals (feat Roses Gabor, Jah Wobble, Jack Jack Penate & Yazz Ahmed) (3:13)
You Were Smiling (feat Samantha Morton) (3:41)
Norm (feat Bill Callahan) (3:01)
Swamp Dream #3 (feat Clari Freeman-Taylor) (4:18)
The Meadows (feat Roses Gabor, Kamasi Washington & Ricky Washington) (4:50)
Goodbye (Hell Of A Ride) (feat Nourished By Time) (3:33)
Review: Since turning his hand to music production midway through the last decade, XL Recordings owner Richard Russell has delivered a couple of predictably hard to pigeonhole, guest-packed albums as Everything is Recorded. Russell, of course, has an admirably bulging contacts book and as deep a knowledge of British music - be it hip-hop, grime, rave, jazz, experimental electronica or otherwise - as anyone. The depth of both is naturally evident on third album Temporary, with Russell and a dizzying list of guests delivering atmospheric, sample-rich fusions of head-nodding, hip-hop leaning grooves, field recordings-heavy sample collages, woozy dream pop, sub-heavy nods to UK bass, slow-motion neo-folk, blunted trip-hop, contemporary UK jazz, hazy Americana and much more besides. That it works as a coherent and sonically adventurous album is testament to Russell's increasing skill as a producer and standalone musical artist.
No More Rehearsals (feat Roses Gabor, Jah Wobble, Jack Jack Penate & Yazz Ahmed) (3:14)
You Were Smiling (feat Samantha Morton) (3:51)
Norm (feat Bill Callahan) (1:26)
Swamp Dream #3 (feat Clari Freeman-Taylor) (5:57)
The Meadows (feat Roses Gabor, Kamasi Washington & Ricky Washington) (4:50)
Goodbye (Hell Of A Ride) (feat Nourished By Time) (3:32)
Review: The latest release from Everything Is Recorded delivers a striking collection that blends electronic, soul and folk influences with remarkable depth. The opening track sets a reflective tone, paired with lush instrumentation and haunting vocals. Collaborations like the one with Sampha, Laura Grove and Alabaster DePlume bring emotional weight, while tracks like 'Never Felt Better' with Florence Welch and Sampha elevate the energy. 'Porcupine Tattoo' offers a beautifully subdued moment, and other collaborations continue to weave unique soundscapes. The release is a testament to XL boss Richard Russell's ability to bring diverse voices together, crafting a deeply introspective yet dynamic listening experience.
Review: Incoming! Clipz is subtly dropping his debut album but in true Hugh Pescod style, he's not settling for usual convention. His debut album as Clipz is a remix LP as he deconstructs Richard Russell's collaborative concept album Friday Forever and rebuilds it into a diesel powered, borderline cantankerous jungle album. These are three of the many highlights; the Dope Dragon style brukage of 'Walk Alone', the deeper piano-licked roll-out 'A Dream I Never Had' and the dubby, Bass Bin style bubbler 'The Night'. And this is just the tip of the version iceberg. Serious Saturday Specials fever.
Everything Is Recorded, Noah Cyrus & Bill Callahan - "Porcupine Tattoo" (3:31)
Everything Is Recorded - "Norm" (feat Bill Callahan) (3:04)
Review: XL boss Richard Russell's Everything Is Recorded returns with 'Porcupine Tattoo', an unexpected yet compelling collaboration with Bill Callahan and Noah Cyrus. The track, released via XL Recordings, came about during sessions at LA's infamous Chateau Marmont hotel, when Russell asked Callahan who he'd most like to write a song for. Callahan's surprising answer: Noah Cyrus. The result is a stripped-down folk tune with subtle gospel undertones, featuring Callahan's deep, pitched-down vocal layered alongside Cyrus' delicate voice. Russell's production, iminimal yet atmospheric, ihighlights the contrast between Callahan's gravelly tone and Cyrus' ethereal presence. Recorded during a rain-soaked week, the track evokes a sense of melancholy and intimacy. On Side-2 'Norm', is a tribute to comedian Norm Macdonald, featuring only Callahan. This release continues Russell's tradition of creating genre-blurring, evocative collaborations.
Review: Fontaines D.C's Romance is their most ambitious and inventive album yet. The band's fourth studio effort marks their debut collaboration with producer James Ford and follows the success of 2022's Skinty Fia, which topped the UK and Irish charts. The lead single, 'Starburster,' showcases a dramatic shift in the band's sound. Inspired by frontman Grian Chatten's panic attack at St Pancras station, the track blends feral breaths, a propulsive beat, and shifting lyrical tones that transition from raw intensity to almost-psalmic introspection. Accompanied by a cinematic video from Aube Perrie, 'Starburster' highlights the album's cathartic and visceral edge. Romance reflects the band's evolution from their early punk roots to explore grungier breaks, dystopian electronica, and dreamy shoegaze textures. The album's title symbolises the band's journey from Irish-centric themes to broader existential explorations, influenced by diverse genres and experiences. With deeper, more spiritual undertones and a sonic palette that includes elements of hip-hop and heavy metal, Romance promises to challenge and expand the band's musical identity. Fontaines D.C. will support the album with a world tour, including appearances at major festivals like Glastonbury and Reading & Leeds.
Review: It's all good sticking it on YouTube, but what you really want is a 7". It's so satisfying having the best songs on a disc of their own. Irish band Fontaines D.C. continue their unstoppable rise with the James Ford-produced 'It's Amazing To Be Young' and it's a song that shows them continuing to explore alternative avenues to the post-punk sound that made them famous. This is more R.E.M than IDLES. The b-side, meanwhile, is unreleased and written by guitarist Conor Curley. A future collectible no doubt.
Review: Fontaines D.C.'s fourth album, Romance, marks the band's first collaboration with producer James Ford and represents their most adventurous and inventive work to date. Following the success of their acclaimed 2022 album Skinty Fia, which topped the UK and Irish charts and earned them International Group of the Year at the 2023 Brit Awards, Romance is set to push their sound further. The explosive lead single 'Starburster' was inspired by lead singer Grian Chatten's panic attack so features intense breath patterns and shifting dynamics. Elsewhere the band's evolution is there for all to hear with with influences from grunge, electronica, and hip-hop reflecting their ongoing growth and experimentation.
Review: St Albans-three piece Ed McFarlane, Edd Gibson and Jack Savidge made quite the splash with their self-titled Friendly Fires debut album. It arrived 15 years ago and will be remembered for singles such as 'Jump In the Pool' and 'Paris' which very much defined the era. The band was nominated for both a Brit Award and The Mercury Prize and had huge commercial and critical success. This anniversary reissue comes on silver vinyl and is a great reminder of not only this band's quality but also the energetic indie-dance fusions that were proliferating at the time.
Review: To mark the 15th birthday of Friendly Fires' breakthrough song, 'Paris' - a nu-rave-era chunk of sing-along indie dance hedonism - XL has decided to offer up a gold vinyl 12" reissue featuring the two most celebrated remixes of the track. Belgian nu-Balearic and nu-disco outfit Aeroplane's much-loved revision - a big club anthem at the time - sits on side A, offering a near perfect blend of loved-up vocals, jaunty synth stabs, kaleidoscopic chords, disco inspired synth-strings and rolling beats. It remains one of the best nu-disco/synth-pop crossover tracks of the last two decades. Over on the flip, there's a chance to admire Kompakt regular Justus Kohncke's tactile, dreamy and similarly colourful revision - a ten-minute blend of deep synth-pop and deep house that's just as good as Aeroplane's better-known mix.
I Believe In Love Again (feat Lenny Kravitz) (2:53)
All That (feat Vilano Antillano) (3:53)
(It Goes Like) Nanana (3:49)
Lobster Telephone (5:21)
Seoulsi Peggygou (2:34)
I Go (5:33)
Purple Horizon (3:42)
1+1=11 (5:30)
Review: Peggy Gou's rise from fashion school student to underground DJ to world-renowned dance music star has been swift and remarkable. In that time she's played every major club and festival in the world, had some huge crossover hits and started her own label while also releasing on the likes of Ninja Tune. Now she steps up to XL with a highly anticipated debut album featuring epic previous singles such as 2023's chart-topping global hit '(It Goes Like) Nanana' and 'I Believe in Love Again', her wild Lenny Kravitz collaboration, as well as plenty of new tunes that span house, disco and more.
Review: It's been a long time coming, but there's a genuine buzz about Peggy Gou's long-anticipated debut album, I Hear You. It delivers an accessible, entertaining and well-executed journey in which Gou's rarely discussed pop instincts are balanced out by music that nods to current club trends and nostalgia for the 1990s and earlier acid house era. So while opener 'Your Art' is weird, trippy, psychedelic and chugging and '1=1=11' is a Balearic neo-trance workout of the sort Salt Tank used to knock out in their sleep, 'Back To One' sounds like a lost '90s NYC dance-pop anthem, '(It Goes Like) Nananana' is an insanely infectious and piano-heavy slab of rave nostalgia, and 'I Believe In Love Again' (with Lenny Kravitz) sounds like a long-lost, hip-hop tempo Red Zone remix by David Morales.
Review: Peggy Gou has long since broken out of niche dance music circles out on to the wider world thanks to her pro and well crafted DJ sets and earned ties with plenty of high-end fashion brands. Including this, she does have some fine music making credentials as her hit single '(It Goes Like) Nanana' shows - its an inescapably catchy house cut with an iconic hook that is easy to sing along to. It now arrives, having first come via her own label, on XL which will only make it reach even higher levels of ubiquity. All hail the Gou!
Review: Hong-Kong-born, Bristol-based Gyrofield aka Kiana Li is as diverse as they are prolific. They have proven that with a great NTS series and a great line of DIY electronic productions that explore glitch, dubstep, drum & bass and ambient techno. 'These Heavens' is a 12" on XL that builds on that early work across some fittingly refreshing and experimental sounds that go right for the heart of the dancefloor. 'Vega' is an electric opener, 'Occam's Razor' fizzes with dystopian energy and 'Lagrange' is a soulful, melody-laced stepper while 'Cold Cases' shuts down with a cacophony of percussive noise and busted synth lines.
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