Review: When you use words like "prickly", "abrasive" and "uncompromising" it's rarely flattering. Consider Kim Gordon's exceptional powerhouse long form one of the exceptions. As far removed from music for the masses as you could hope for, it takes a particular talent to deliver work like "No Record Home". Labels such as punk certainly apply, but it's less about mouths gushing spittle amid the deafening screams of guitars and raucous vocals, and more about overall attitude. No change there for this co-founder of the mighty Sonic Youth then. Loud and intelligent, forthright and yet heartfelt and tender in its own unforgiving way, it's as far removed from wall of sound discordance as it is anything you could describe as remotely over-explored. Marrying the bloody-lipped electro of Peaches and body blow lows of EBM with gritty rock 'n' roll chords, those looking for originality that oozes repeatability should consider their hunt over, for now at least.
Review: It's not hard to understand why people so often ignore album release blurb. Sales-y, hyperbolic, and on more than the odd occasion rather poorly written, it's hardly required reading in order to get the most out of the record. That is unless it's Big Thief's 'Two Hands', a collection of music that genuinely makes more sense when you know the back story. For one thing this long form offering is arriving just months after its predecessor, which is always either the sign of a band that don't need big ideas to facilitate rapid-fire output, or a band that have so many big ideas they literally can't stop the momentum. This is a case of the latter. Timescale aside, "Two Hands" genuinely feels as though it was born in the Badlands, epic songs that invoke endless vistas across barren settings in a way that makes you feel as small as you actually are in a global context. Like cosying up in a log cabin away from the chilly endless dark of a desert night.
Review: Liam Gallagher is many things to many people, and one thing to everyone - authentic. It seems unthinkable we could question the indie roller's motives, or expect anything other than the "meat and veg rock" he described his own work as during a 2018 interview with The Guardian. "Why Me? Why Not" sees him take that mantra to new heights. As an album it's as accomplished and polished as anything this pied piper of the raw and unpolished has gifted us in the years after *that band*, making for an immediately engaging collection of anthems-in-the-making that will have crowds eating out of the palm of his hand as if they'd never seen his hand before, or tasted any of the food he's been feeding them for years now. And therein lies the reason it remains impossible to criticise this undeniably upfront British songwriter. Enough said.