Review: If there were still justice in the digital age, and artists really got what was owed to them exposure-wise, Alex Cameron would be a safe bet for leftfield pop sensation. A multi-faceted songwriter, his previous two albums took us through a horror show of horrible characters and their innermost thoughts, twin roads that have somehow veered onto another course altogether for "Miami Memory". Here a much friendlier face is donned. Nevertheless, opener "Stepdad" makes intentions clear, with uptempo keyboard lines invoking the emotional qualities of mid-80s Prince. "Far From Born Again" tells the story of a "her" who's making bad choices, and the potential fallout of that, set to a Bruce Springsteen-sounding chorus, the likes of which can be found again on "Divorce". Not holding back, but instead holding a light up to a different side of his personality, it's Cameron's most positive to date and his best.
Review: Secretsundaze return with a second volume of their new mixtape series. After the success of the Joe Claussell tape they turn to Carista for another introspective mix aimed at a relaxed home-listening session.
In May 2018, Carista performed one of her first international gigs at Secretsundaze in London and went on to play 2 other shows for them that year. A year later, she has become a mainstay on the European club & festival circuit, playing to an ever growing, passionate and loyal fanbase week in week out, already playing shows that most DJs would only dream of, including closing a stage at Lowlands festival to an audience of 10000. No wonder a recent Mixmag article crowned her as "A DJ star in the making".
Her residencies on NTS and Red Light Radio showcase her love of house, boogie, broken beat, disco, funk and beyond. Her DJ gigs can also see her explore further into house and techno but this mixtape showcases a different, softer side of Carista blending ambient soundscapes, jazz, dub and soul as well as some poignant words from Nina Simone.
This is Carista's debut physical format release so don't sleep!
Review: Infamous Libertines and Babyshambles frontman Peter Doherty returns with his latest project, Peter Doherty and the Puta Madres, formed by members of Doherty's touring band from his 2016 "Eudaimonia" tour. He brings with him, of note, Jack Jones - also a member of Trampolene - who shares vocal duties and guitar collaboration with Doherty on the record. Expect a ragged, not entirely inharmonious, array of spangled guitars, boot-skootin' fiddles, broken down jazz and deconstructed mega blues. A good one for those smokey nights of Laphroaig when lamenting the ups & downs of one's life and times, all spent in an irreverent tone of UK punk and blues, or as the band call it: an intimate portrait of love, loss, being lost, happiness, tragedy, addiction and the power of the human soul to transcend its darker levels
Review: When bands hit album four, two things can happen - or three. Some suffer from a crisis of creativity, opting to regurgitate or, worse still, stagnate. Others opt for reinvention, with as many getting it right as going well off-piste, alienating faithful fans in the process. The lucky ones, meanwhile, hit the nail on the head with their most accomplished and complete work to date. Consider Frankie Cosmos among the lucky ones, then, not that luck had much to do with it. Recorded in their New York hometown, everything about the record feels comfortable in that there's nothing forced, and yet it engages and grabs from the off. Lilting, lo-fi rock 'n' roll odes to love, life and the genre itself, anyone who's ever wondered what Cate Le Bon might sound like having a pancake breakfast with The Orielles should grab a seat at this table.