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Review: Two years on from the release of their debut mini-album, Scar, Lush headed into the studio to record their first full-length proper, the critically acclaimed Spooky. One of the all-time great shoegaze-meets-dream-pop sets, it was notable not only for the immersive nature of the sound and the meditative effect of its hazy, layered guitars and vocals, but also the fact that it was produced by Robin Guthrie of the Cocteau Twins. This reissue, which forms part of a series inaugurated by the band and remastering engineer Kevin Vanberger, offers a neat reminder of the album's timeless qualities, alongside a freshly cleaned and spruced-up sound that allows every single sonic element to shine.
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Review: Lush's reissue series continues via a painstakingly remastered and sonically spruced-up edition of the band's second studio album, 1994's 'Split'. A very different album to its loose, immersive and shoegaze-fuelled predecessor, it saw the band join forces with producer Mike Hedges (celebrated for his work with The Cure and Siouxsie and the Banshees) and opt for a more - in their words - "direct" sound. Of course, it was still Lush, so the layered guitars and vocals remained, albeit amongst a lightly expanded sound palette, more hooky riffs and an early Britpop vibe that delivered a subtle evolution from the band's more wide-eyed, sonically loved-up roots.
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Cat: 4AD 0621CD. Rel: 25 Jan 24
Indie/Alternative
Review: Four years on from the release of sixth studio album As Long As You Are, American synth-pop/alt-rock fusionists Future Islands return with full-length number seven. People Who Aren't There Any More sees them reunite with regular collaborator Steve Wright and mixer Chris Coady, whose production on 2014's Singles - the band's most polished and arguably greatest album - was widely praised. Lyrically focused on being lovestruck and feeling lovelorn - wearily but forcefully delivered by frontman Samuel T Herring - the songs are strong and memorable. Musically, the sound worlds created - think stylish synths, immersive electronic textures, low-slung basslines and indie-rock guitars - match the disillusioned and emotionally fragile words, giving the set a coherent theme and sonic vision..
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Cat: 4AD 0571CD. Rel: 07 Mar 24
Indie/Alternative
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Cat: 4AD 0621CDE. Rel: 08 Feb 24
Indie/Alternative
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Bobby GILLESPIE / VARIOUS
I Still Can't Believe You're Gone (unmixed CD)
Cat: CDCHD 1605. Rel: 25 Oct 23
Folk/Americana
Review: .Following the success of his Sunday Morning, Coming Down compilation, Ace Records has asked Bobby Gillespie to put together a follow-up. This time round, the Primal Scream frontman has decided to showcase tracks he turns to "for solace, comfort and empathy" during the Scottish band's various tours. Offering a mix of country, blues, Americana, psychedelia and soul, the selected songs - including inspired efforts by Willie Nelson, Lee Hazelwood, Al Green, the Chi-Lites, Ry Cooder and Kate & Anna McGringle (whose 'Heart Like a Wheel' is a genuinely tender and heart-aching affair) - more than deliver on the album's conceptual premise, offering equal amounts of emotion and entertainment.
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Bob STANLEY / PETE WIGGS / VARIOUS
Incident At A Free Festival (unmixed CD)
Cat: CDCHD 1619. Rel: 23 Nov 23
Progressive Rock
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Cat: CDTOP 1641. Rel: 23 Feb 24
Folk/Americana
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Review: British soul singer Dee C Lee started her career singing backup for Wham and the Style Council, before embarking on a solo career that included an early release on Mo Wax. By the late 90s, she'd pretty much stepped back from music though - making this new album for Acid Jazz a genuine surprise (it's her first new release for over a quarter of a century). It's rather good, too, with Lee's sublime and emotion-rich vocals soaring above 'heritage soul' style tracks that variously offer nods to bossa-nova ('Don't Forget About Love'), disco/jazz-funk fusion ('Be There In The Morning', with its excellent horns and fluttering flutes), and Motown-style stompers (the uplifting excellence of 'Walk Away').
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Review: .Argentina-based producer-musician Kevin Fingier has delivered a swathe of killer singles for Acid Jazz in recent years, though this is his first attempt at a "proper" album. As the title defiantly states, this is 'Not Strictly Soul', but rather a stylistic melting pot that not only joins the dots between Fingier's favourite sonic styles (think Northern Soul, deep funk, organ-powered Mod workouts, Latin soul and heavy rhythm & blues) but also rattles along at a furious pace. It's naturally nostalgic - Fingier's music has always been rooted in 1960s and '70s musical cultures - but also fresh enough to dispel thoughts of hollow pastiche. There are some killer cuts contained within, too, not least the infectious Latin soul hustle of 'Groovin' In Soho', sweet soul number 'Only For Me (featuring Jo Ann Hamilton)', and the percussion-rich, horn-heavy dancefloor heat of 'El Popcorn'.
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Good Girl (feat Asia Argento)
Losers (feat Anna Prior)
One More Time (feat Delila Paz)
Ghost Rider
Everyone (feat Jehnny Beth)
New Love (feat Best Youth)
Bright Lights, Big City (feat Ray & Sean Riley)
Keep It Burning (feat Sarah Rebecca)
Once I Knew No Pain (feat Calcuta)
Will We Be Alright
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Review: .Keyboardist John Tilbury has been a friend of Terry Riley for decades, and on numerous occasions has performed the Minimalist composer's infamous 'Keyboard Studies' - early cyclical compositions for piano or synthesiser that encourage the performer to improvise and create variations on a theme - in public. He also recorded them for BBC Radio in 1971. The recordings showcased here, first released in 2022 and now finally available again on CD, were recorded in Hamburg, Germany, "at some point between the 1970s and 1995". Rich in natural reverb, slowly shifting melodic motifs and subtle variations, his renditions of the 20-minute-plus 'Keyboard Study #1' and 'Keyboard Study #2' are simply sublime; awe-inspiring translations of two of Riley's most mesmerising early works. Also included is a superbly spacey, synthesiser-powered version of Riley's 1965 composition 'Dorian Reeds'.
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Review: Sheffield-based experimental label Another Timbre is reissuing some of their most sought-after CDs, starting with this collaboration between Berlin-based Japanese composer and reeds player Michiko Ogawa and cellist, composer and noted classical-electronic fusionist Lucy Railton. Designed as an exercise in creating musical magic using just three musical elements - cello, organ and sho (a Japanese reed instrument) - Fragments of Reincarnation is an evocative, atmospheric and at times hypnotic piece that sits somewhere between cutting-edge modern classical, ambient and immersive sound design. The interplay between the cello and sho, gently dancing atop a bed of sustained organ chords, is particularly impressive.
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Review: Camae Ayewa AKA Moor Mother has long talked about wanting to work with an orchestra, applying her verbal Afro-futurism and free-jazz experimentation to the classical domain. She recently did just that, delivering a grandiose live interpretation of her ninth album, The Great Bailout, alongside the London Contemporary Orchestra. It makes perfect sense: while the album itself is not fully orchestrated, it's a conceptual work dissecting the British slave trade, slavery and colonialism. Musically, there are two central focal points: her spoken word vocals and the beautiful singing of Lonnie Haley. These two vital voices weave in and out of sound worlds rooted in dark ambient, lo-fi hip-hop beats, free jazz instrumentation, out-there samples and clandestine aural textures. It's naturally raw, moody and weighty, but more importantly it's also a genuine masterpiece that deserves your attention.
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