Review: The husband-and-wife team of Alaina Moore and Patrick Riley made their name with fuzzed-out surf-pop of a particularly slack and sunny variety. This fourth record sees them mellowing into something still more summery and beatific, inspired by a sailing trip around the Sea Of Cortez and touched by a very '70s-inspired and soulful stripe of deliriously poppy songcraft. Somewhere between the soft rock of Fleetwood Mac and the lilt of the era's disco hits, the beguiling likes of 'My Emotions Are Blinding' and 'Ladies Don't Play Guitar' have just as much in the way of lyrical wisdom to offer as musical sophistication, offering edges and introspective depth to a carefree and seductive sound.
Review: Following the precursing release of a Memphis Industries 7" last year by You Tell Me, Peter Brewis (Field Music) and Admiral Fallow member Sarah Hayes finally present their debut self-titled record of their new collaboration. Said to be an album taking on themes of 'expectations and people's individual ways of navigating' them, this record presents a bold, folky and big band trundle through rolling pasture of horns, strings and powerful pop rock and disco dance! Both artists distinct styles come together here like a birthday party going off and the pair's vocal interplay stands out tremendously among a huge assortment of highly, well-produced instrumentation that makes you feel like your somewhere between 1969 and 1992. Where were you?
Review: The preaching sirens of Deerhunter return, long has everyone been waiting, since the band's Fading Frontier LP of 2015. The group have moved on from the pinky-pop nostalgia they've described as their last album, and moved into and towards a darker and more intensifying feel. The Atlanta group's eighth full-length in total finds itself tripping out on klaviers and chant-like numbers as heard in "Element" and the rickety jingle of album opener "Death In Midsummer". While there's some crooked-eye positivity to be found in the James Dean referencing "Plains", the masterwork of the band's ambient and cinematic scope remains as strong as ever, and alongside Bradford Cox's undeniable haunt, vocal contributions and extra (subtle) hints of subversive nihilism come from Cate Le Bon and White Fence's Tim Presley.
Review: Since their widely lauded 2015 debut 'A Dream Outside', London based four-piece Gengahr have devoted a significant amount of time touring and working on 'Where Wildness Grows' a follow-up that stridently meets expectations. Their music builds on UK indie of the early-mid noughties, with doses of a contemporary psych-pop aesthetic. The songwriting here is ambitious and broad, tracks going from breezy sun-flecked pop, to Maccabees-esque epics, to reverberating soundscapes, to stark angular guitars over almost funk grooves. It's clear just how much time and care the band have put into the record, with every song showcasing their intricate writing, layering and structures. 'Where Wildness Grows' is a lush and urgent sophomore record, and a giant leap forward for the band.
Review: The weight of expectation has been lifted. Having turned heads in the right places with breakout track "More Is Less", Dublin's The Murder Capital fulfil the promise of being Ireland's next great guitar hope by delivering a staggering debut album that's powerful yet subtle, uplifting and outward looking yet dark and introverted. No walking contradiction, it's an accomplished and entirely human record. It also sounds as tight as you could ask for. Produced by none other than Flood, whose credits are good enough to drop any jaw (PJ Harvey, Foals, New Order), for evidence just stop to consider the top end hooks and percussive detail on single "Green & Blue", invoking Liars in pared-back post punk mode. Or the tense, unnerving introduction to opener "For Everything". By the time you hit "Don't Cling To Life", arguably the most emotionally charged and reflective here, hopes of walking away unmoved are done for.
Review: It's been just over a decade since Rozi Plain debuted with her laid back, summery and melancholic, singer-songwriting sound. "What A Boost" finds a release through North London label Memphis Industries and this fifth studio LP sees the artist go bass heavy on tracks like album opener "Inner Circle", with the slightest of electronic music production ethics making themselves known throughout the LP. Across the record, programmed kick drums are subtle and vocal loops creative, while syncopated jazz beats, sub-sonic grooves and skittering, brushy snares make for a unique take on solo vocalist, folk-inspired, new age sounds. Far from a record that feels as though it was recorded in a bedroom, Rozi Plain's lo-fi sonic only adds to the calming, melancholic malaise of her soulful style.