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.
Review: If you're new to Arca then it's time to catch up. The Venezuelan instrumentalist, rapper, composer, singer, producer and DJ is nothing short of a tour de force, and has been blowing crowds away with a blend of experimental dance and electronic music since emerging in 2011. Packing beauty, attitude, and wild ideas into a seamless blend of noises, in live format you can expect sets to run the gamut from Neo-gabber to sleazy Latin trap, and we really do recommend experiencing that.
Kick II is the second instalment in a four-album odyssey that defines exactly what we're talking about, albeit stopping short of the breakneck beats she can unleash on stage. Nevertheless, the combination of avant-garde, reggaeton, pop, cumbia, smoky downbeat, and deconstructed club music is powerful and impossible to ignore. Not that anyone would ever want to.
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).
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: Once again, XL Recordings resupply our vitals with Basement Jaxx's life-giving audio elixir 'Remedy', their joyous debut album from 1999. Renowned for its sensuous themes, international palette of influences and, of course, its basis in bangerized house music, tracks like 'Red Alert' and 'Jump n' Shout' paved the way for much big beat, electro and pop house to come.
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: 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.
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.
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.
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: Pop duo Josh Lloyd-Watson & Tom McFarland, or simply J & T as they are known, realise their second album for pioneering independent label, XL. Since the pair's debut self-titled release back in 2013 the group has expanded to something around seven members and following a slew of singles and EPs (inclusive of a Soulwax remix) the band are now bursting with fresh life and colour. Take "Heavy, California" for example, a sing-a-long pop number that's bright and cheery enough to make you want to skip through the streets with a dandelion in your hair regardless of the season. "Cherry", the other track thrown around online, sees Jungle live up to their Neo Soul genre tag, and with 11 more tracks to explore, maybe they'll even find hit that second Mercury Prize nomination.
Bus Ride (feat Karriem Riggins & River Tiber) (2:13)
Got It Good (feat Craig David) (3:48)
Together (feat Aluna George & GoldLink) (3:18)
Drive Me Crazy (feat Vic Mensa) (4:38)
Weight Off (feat BadBadNotGood) (2:36)
One Too Many (feat Phonte) (3:39)
Despite The Weather (2:02)
Glowed Up (feat Anderson Paak) (4:59)
Breakdance Lesson N.1. (4:29)
You're The One (feat Syd The Kid) (3:52)
Vivid Dreams (feat River Tiber) (4:39)
Lite Spots (3:49)
Leave Me Alone (feat Shay Lia) (4:38)
Bullets (feat Little Dragon) (4:59)
Track Uno
Bus Ride (feat Karriem Riggins & River Tiber)
Got It Good (feat Craig David)
Together (feat Aluna George & GoldLink)
Drive Me Crazy (feat Vic Mensa)
Weight Off (feat BadBadNotGood)
One Too Many (feat Phonte)
Despite The Weather
Glowed Up (feat Anderson Paak)
Breakdance Lesson N.1.
You're The One (feat Syd The Kid)
Vivid Dreams (feat River Tiber)
Lite Spots
Leave Me Alone (feat Shay Lia)
Bullets (feat Little Dragon)
Review: Since debuting on Bromance in 2013, Kaytranada has become one of the leading lights on the future R&B scene. Given his track record, it's understandable that there's plenty of hype surrounding 99.9%, his long await debut album. The 15-track sees him showcasing the depth and variety of his beat making, production and compositional skills. Thus, the string-drenched jazziness of "Bus Ride" is followed by the off-kilter R&B pop of "Got It Good", and the Onra-ish synth-hop soul of "One Too Many" sits side by side with the double bass, Rhodes and Latin-influenced beats of "Despite The Weather". It's pretty expansive, clocking in at 15 tracks deep, but the quality never dips throughout. Recommended.
I Thot There Was One Wound In This House, There's Two (2:11)
Way Eye (1:22)
Rectifiya (2:25)
Hvnli (2:42)
Hvnli (reprise) (3:28)
Do Yourself A Favor (2:27)
A Mile A Way (1:56)
I Want My Things! (2:12)
Change The Story (interlude) (2:43)
Every Nigga Is A Star (2:33)
I! Gits! Weary! (1:55)
Negus Poem 1 & 2 (2:26)
Forreal??? (3:53)
FWU (3:01)
Nu World Burdens (3:21)
Keep It Real (3:03)
Review: XL Recordings presents the long-awaited repress of keiyaA's 2020 album Forever, Ya Girl. The singer-songwriter, producer and multi-instrumentalist was raised in Chicago's South Side; now based in New York, her jazz training, R&B sensibilities, and hip-hop inheritability are all deployed to full effect, crafting an experimental soul sound inundated with powerfully sultry voice and dense lyricism. Aiming to to foreground the standpoint and intellect of the black woman in the late-stage capitalist landscape, Forever, Ya Girl brings a sawn-off, digital neo-soul inflection to themes of struggle and grace, all while deploying many a quirky interjection and voice-modded sample between the beats.
Review: Scuzzy, sludgy, creeping, muscular and delicate-enough to feel there could be a break in its bones at any moment. King Krule returns with a third album that once again tears skin open to reveal the heartfelt emotions within its lo-fi, muttered, pseudo-rock tones. Referencing Sleaford Mods on heavy opiates wouldn't be too far from the mark at times, although we're not here to simply use touchstones - Archy Marshall deserves better than that. Despite almost everything on "Man Alive!" being so quiet, it packs an incredible level of noise. Subtle licks, strange details and a deceptive depth would be one way to describe the whole package. Grunge tones ("Supermarche"), lo-fi blues pop (""Don't Let The Dragon) Draag On") are just some of the nuances it's possible to pick upon, making for a wholly original work that captivates, relaxes and uneases in equal measure.
Review: In the four years since his debut album as King Krule, south Londoner Archy Marshall has been busy as solo artist, collaborator, rapper and producer. He now returns with 'The OOZ', an expansive record that's densely packed with disparate musical influence, dark and personal storytelling, and Marshall's distinctive sneering charisma, all framed in his usual backdrop of seedy urban vaudeville. It's an incredibly layered album that offers the listener a guided tour through this disturbing and decayed landscape of atmospheric smoky jazz, grunge and ambient. Even at nineteen tracks with a runtime of just over an hour, The OOZ is something of an epic that never feels overdrawn, by dint of its richly illustrative, engulfing and transportive nature.
Review: There are few signs of 'difficult second album syndrome' to be found on "Through Water", Lapsley's confident and assured follow-up to her critically acclaimed 2016 debut "Long Way Home". This time round the former teenage prodigy has written and produced pretty much everything on the album, delivering a suite of songs that effortlessly blur the boundaries between glacial electronica, off-kilter synth-pop, R&B and folktronica. There are some moments of real beauty scattered throughout - see the rather fine "Leeds Liverpool Canal" for starters - while the way her distinctive vocals are matched by inventive and enjoyable musical arrangements is mighty impressive. Sure, there's nothing as rush inducing as club hit "Operator", but what's here is every bit as alluring.
Review: It was when Makaya McCraven linked up with International Anthem around 2015 he became an artist transcending the jazz scene's tangle of singers and players. Since then he's evolved his craft from album to album, project to project, reaching this undeniable achievement of a record that places him at the forefront of modern jazz. Nearly seven years in the making, In These Times is the product of McCraven's striving to create a personal stamp, leaning in on his own rhythmic language of time-signature trickery and unusual arrangements, steering large-scale orchestral ensembles and elevating his craft in every way he can. For all the considered science behind the sound, it lands as an incredible natural experience full of cascading drums, ascendant flutes, lilting strings and a whole cornucopia of talented musicians playing to a striking creative vision.
Review: It was when Makaya McCraven linked up with International Anthem around 2015 he became an artist transcending the jazz scene's tangle of singers and players. Since then he's evolved his craft from album to album, project to project, reaching this undeniable achievement of a record that places him at the forefront of modern jazz. Nearly seven years in the making, In These Times is the product of McCraven's striving to create a personal stamp, leaning in on his own rhythmic language of time-signature trickery and unusual arrangements, steering large-scale orchestral ensembles and elevating his craft in every way he can. For all the considered science behind the sound, it lands as an incredible natural experience full of cascading drums, ascendant flutes, lilting strings and a whole cornucopia of talented musicians playing to a striking creative vision. This limited edition of the album comes pressed on white vinyl to compliment the stark design of the sleeve - one for the collectors.
Review: Daffodils & Dirt, the debut album by Samantha Morton and Richard Russell, is a brooding and poetic exploration of Morton's troubled past and raw emotional experiences. With Russell's production prowess, the duo creates an unsettling yet captivating musical landscape that delves into themes of resilience and vulnerability. Morton's haunting vocals, coupled with Russell's sparse yet evocative soundscapes, transport listeners into the depths of her teenage years, where she grappled with homelessness and instability. The album's collaborations with artists like Jack Penate, Laura Groves, and Ali Campbell add unexpected layers of depth and beauty to the already compelling narrative. The album is a mesmerising blend of haunting melodies and raw emotion, inviting listeners to journey alongside Morton as she navigates the complexities of her past.
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