Review: Described in the accompanying press release as "the halfway point between Bollywood and Balearic", Rupa Biswas' 1982 debut "Disco Jazz" has long been a favourite of dusty-fingered diggers with a healthy bank balance and a penchant for the quirky. All four tracks are cheery, charming and superior to many "Bollywood disco" records produced in the same period. The sunny disco-boogie of "Moja Bhari Moja" is followed on side A by the delightfully eccentric, bass-powered AOR-disco/funk-rock fusion of "East West Shuffle" and the effortlessly Balearic cheeriness of "Aaj Shanibar". Best of all, though, is the exotic and intoxicating flipside cut "Ayee Morshume Be-Reham Duniya" which expertly joins the dots between cosmic rock and Balearic disco grooves for 16 spellbinding minutes.
Review: After years spent offering up impressive blends of ambient, drone, electronica and experimental drum and bass as ASC, James Clements has decided to commit more time to Comit (sorry), an alternative project which first surfaced via a debut single in 2016. Here the San Diego-based Brit delivers a first full-length excursion under the alias. There's plenty to soothe and seduce on the eight tracks stretched across two slabs of wax, from the undulating, occasionally skittish beats and sweeping chord sequences of opener "Behind Dulled Eyes" and the icy, doom-laden electronic melancholy of "Reverie", to the early Black Dog Productions flex of "Clouded Over" and the dubbed-out, slow motion bliss of "Soft Focus".
Last I Heard (...He Was Circling The Drain) (5:10)
Dawn Chorus (5:34)
I Am A Very Rude Person (3:52)
Not The News (3:57)
The Axe (6:58)
Impossible Knots (4:19)
(Ladies & Gentlemen, Thank You For Coming) (4:57)
Review: It's taken a while, but finally Thom Yorke's impressive third solo album, "ANIMA", is available on wax (and in a fetching shade of orange, too). A future classic that continues the legacy he started with XL Recordings back in 2006 (with his solo debut The Eraser), ANIMA is well worth picking up, as Yorke and co-producer Nigel Godrich offer up evocative, off-kilter songs built around the twin attractions of the Radiohead man's distinctive vocals and skewed backing tracks rich in layered electronic noise, body-bending sub-bass, discordant synthesizer parts and intriguingly jaunty drum loops. Highlights are plentiful throughout, from the creepy, lo-fi ambient swirl of "Last I Heard (...He Was Circling the Drain)" and "Dawn Chorus" (a blissfully dewy-eyed early morning soundscape), to the low-slung, post-trip-hop hum of "I Am A Very Rude Person" and the fizzing, jazz-fired thrust of "Impossible Knots". Melancholic, yes. Deep and self-effacing, of course. Nihilistic, not really. Percussive futurist sub-pop is back.
Review: With track titles such as "Death Up Close", "Something On Your Mind" and "Shuffling Stoned", it's not going to surprise anyone to learn that Shannon Lay's beautiful long form is a reflective, introverted and tender accomplishment. A place where acoustic guitars regularly lull us into dream-like states of consciousness, the fact you also get a truly stunning voice packing opiate qualities adds to the feeling of escaping into a fantasy. It's not all buttercups and rainbows, mind. And nor should it be. This, after all, is Lay, the guitarist from scuzz-loving LA garage punk quartet Feels, not to mention a solo artist whose last release arrived via a label someone set up especially for her. Those looking for grit will find themselves coming up short, as efforts like "November" prove, this one's vulnerable, thoughtful, heartfelt and comes with more than a wistful longing.
Review: By the time you reach the muffled, eccentric opening bars of "Tenderness", just past halfway on "Anak Ko", Jay Som's remit is clear. The Los Angeles singer-songwriter has left her shoes, or rather shoegaze, behind. This time she's walking barefoot through a lo-fi musical tapestry, baring soles and heartbreak while musing on the importance of self-value. Highlights are plentiful throughout, from the head-noddingly agreeable "Nighttime Drive" to the jerking, grunge-y "Peace Out", it's equal parts gorgeous and effortlessly- not to mention breathily- cool, sexy and surprising. Perhaps what's most reassuring, though, is that there's every chance this could all come across as affected and a little too self-aware. Nothing could be further from the truth from what we can hear- an honest work representing the next step in the evolution of a truly exciting American indie talent.