Review: Actress is one of those names that invokes equal parts notoriety and hero worship. Like so much of the music he is associated with, the producer and DJ, studio experimenter and synth explorer doesn't have a reputation for being the easiest artist to predict. A creator who seems determined to push boundaries, even if that sometimes means abrasive and uninviting to the uninitiated, or anyone who would have preferred to hear something less abstract, if not altogether safer. Grey Interiors is a case in point. Dropping on the always-incredible Norwegian outlet Smalltown Supersound only emphasises the fact this is going to be an exercise in boldly going... Pressed onto a single-sided white 12" reinforces the notion that this occupies a place very much unto itself. The drones, distant sound of stardust falling, and whirs of tech that make up this spacey drone experience confirming we've boarded the shuttle and are now exiting Earth's atmosphere.
Review: 'Dreamtime Trance' is a cult gem for those who like to dig deep, and Alston Koch is exactly that person. She is a Sri Lankan-born Australian musician and the mastermind behind the Kookaburra Connection project, a collaboration with Aboriginal musicians, and this track blends indigenous themes with a unique, game-changing beat and infectious groove. It's a pure dancefloor revelation and this reissue includes a new extended version with a longer intro buildup that adds depth to the track. On the B-side, the heartfelt ballad 'Midnight Lady' offers a contrasting mood that is perfect for after-hours relaxation with PiNa Coladas. Remastered and re-issued with the original artwork, this EP is a must.
Review: This is a limited edition pink vinyl aversion of a new one from Analog Mutants aka MC Phill Most Chill, DJ and producer Snafu, and DJ Grazzhopper. Tittyshaker is a lively follow-up to last year's Confidence 45. True to its playful title, the track delivers an 80s-inspired beat reminiscent of hip-hop's fun side, when sampling kids' TV tunes was common. With a Sesame Street-like charm, Phill's cheeky request to "shake their titties" comes off as lighthearted rather than problematic. In a musical landscape shaped by boundary-pushing artists like Megan Thee Stallion and Ice Spice, Tittyshaker channels that same bold energy.
Review: Both of these funk gems are taken from a cult compilation Trans Groove Express, which explored the sounds of Express Records and was assembled by MURO. Fourth Wave now serve them up on a superb 7", starting with Maki Asakawa. 'Hohi Hitotsu' is a delightfully gentle and subtle dub with funky guitars adding movement while the sultry vocal soars. Yasuhiro Abe's 'Night Fish' is a brighter and more retro 80s soul and boogie sound with glowing chords and snappy hits. The Japanese language vocal is emotive enough to mean plenty without understanding the meaning of the words.
Review: This third volume of instrumentals continues the faultless Isle of Jura label's deep dive into dub versions and beyond. Side one takes in references from UK street soul and reggae and features two late-'80s tracks by Howard Hill with machine-led rhythms, rudeboy reggae skank and soulful pads. Protek's 'I Love to Dance With You' is a proto-house gem featured in a Jura Soundsystem mix and here it gets a loving re-edit by The Nightlark. Side B includes an instrumental-driven track with spacey FX from The Cool Notes' and Ilija Rudman's 'Dub 4 Love' which is a knowing nod to acid house's golden era.
Guru Pope - "Reggae Soldier" (Saxaphone mix) (3:15)
Aba Ariginal - "East Meets West" (Hornix mix) (3:15)
East Meets West (dub mix 1) (3:14)
East Meets West (dub mix 2) (3:18)
Review: A powerful collaboration between Jennifer Barrett, Guru Pope and Aba Ariginal released on a striking red 12". The original track blends smooth reggae rhythms with heartfelt lyrics that celebrate strength, resilience and the spirit of the reggae soldier. Each artist brings their unique flavour to the release and that leads to a harmonious fusion of voices and styles. Add in its infectious groove and uplifting message, and 'Reggae Soldier' is a standout tune that begs to be played loud.
Review: Acclaimed Japanese artist Cornelius is back with a new three-song EP, Bad Advice/Mind Train, featuring a collaboration with Arto Lindsay. The EP's first single, 'Mind Train,' is an epic nine-minute track inspired by Yoko Ono which blends ethereal space-pop with minimalist structures and bursts of exhilarating chaos. Cornelius describes 'Mind Train' as a symbol of spiritual and inner exploration that is designed to prompt self-reflection. The accompanying video, created by renowned visual stylist Keita Onishi, enhances this journey with stunning retro-futuristic graphics that allow you to explore your own interpretations.
Review: Louis Johnstone is known for his mischievous and anti-art approach and here he teams up with Trilogy Tapes for Dracula Completo, an unhinged, chaotic release that defies conventional music. Operating under multiple aliases including Wanda Group and A Large Sheet of Muscle, Johnstone's work blends concrete electronics, warped samples and dark, often distorted spoken-word pieces. Dracula Completo embodies his subversive style and is a mix of absurdity, mutant poetry and rebellious energy. Though Johnstone's work challenges norms and provokes, it remains surprisingly accessible and engaging.
Review: This is a deluxe reissue of a real pop classic from back in 1997. ABC is a group that traces its origins back to Vice Versa, a Sheffield band formed in 1977 by Stephen Singleton and Mark White. They released the Music 4 EP after founding Neutron Records and Martin Fry, creator of the fanzine Modern Drugs, interviewed Vice Versa before later joining as synth player. By 1980, the band transformed into ABC, with Fry assuming lead vocals. The lineup included Fry, Glenn Gregory of Heaven 17, and Keith Lowndes. Though their debut album received acclaim from critics, it didn't achieve widespread commercial success. Despite this, ABC's fusion of pop and electronic elements laid the groundwork for their future iconic sound.
Review: Raw post-punk trio Abdomen trade in the heavier end of the genre unafraid to douse distortion and fuzz onto everything and create music so exciting it would be hard not to want to throw yourself into a circle put for, 'Damage Tool' is a breathtaking way to get things started and 'Numbers' makes Fontaines DC sound like Boyzone. They are capable of slowing down - 'Dazed' has been slowed into a hypnotic Spacemen 3-esque psych/shoegaze jam. The band are relative newcomers and not widely known... yet. But this is going to be one of those albums you'll be kicking yourself for not having a first pressing of. Abdomen is only going to get bigger and it will give the Tapetown studio in Aarhus, Denmark - where they recorded this - more bragging rights for being among the coolest alternative music spaces in Europe.
Review: Don't be confused by that title - this live album is a recording of their Monsters of Rock appearance from 1991, a bill on which even legends like Metallica and Motley Crue found themselves playing supporting roles to the Australian gods. That said, despite this being very much the domain of singer number two, Mr Brian Johnson, there are many, many moments from the Bon Scott songbook here, from album title tracks 'Dirty Deeds Done Dirt Cheap', 'High Voltage' and 'Let Me Rock' alongside later triumphs like 'Hells Bells' and 'Heatseeeker'. The only thing that might seem odd by its omission is 'Highway To Hell' - the clue is NOT in the name, it seems - but across four sides of vinyl, there's still plenty of AC/DC at in truly electrifying mood here.
Review: With four albums dropping throughout the first half the 1980s, the second iteration of AC/DC with Brian Johnson on vocals was definitely on a roll. This recording of the band in action on the West Coast of the US mixes classics from their Back In Black classic like 'You Shook Me All Night Long' and 'Hell's Bells' - with older favourites. There are fan faves galore here but also a few tracks which make the cut less often, such as 'Shot Down In Flames' from the Highway To Hell album, 'She's Got Balls', 'Shoot To Thrill' and more. That alone sets it above the average live broadcast album from the band, elevating it into the realms of the essential for hardcore devotees.
Review: A slice of Australian rock champs AC/DC in action in 1978 in their classic Bon Scott-led line up, on tour in the US in support of their penultimate album before Scott's death in 1980, the often underrated Powerage. Along with staple live favourites that have remained in the band's set for yonks - see 'Rocker', 'Bad Boy Boogie', 'Problem Child' and 'The Jack' - there are rare outings for the groovy but more subdued, bluesy 'Gone' Shootin' and, the final encore here, 'Dog Eat Dog' from 76's massive Let There Be Rock album. You can almost hear the collectors' salivating.
Review: Frampton Comes Alive? Jeff Mills Live At The Liquid Room? Pah! There is only contender in the park when it comes to the best live album of all time and that's AC/DC's 1978 classic, recorded at the Glasgow Apollo and featuring their original vocalist Bon Scott. From the deft riffing of opener 'Riff Raff' - recently covered by men of the moment Black Midi - to the 12 bar frenzy of traditional closer 'Rocker' via big hitting groovers like 'Bad Boy Boogie' and 'Problem Child' and audience participation-fests like 'The Jack' and 'Whole Lotta Rosie', this is dripping in crowd atmospherics, improvised solos and big walls of riffs. Just about as great an advert for live music as ever existed.
Review: Gbefabi was recorded on a hot night in a gospel music studio in Accra's New Town district. Ghanaian trombonist Elikplim Kofi and American guitarist Nathaniel Braddock, who first met in 2017, reunited and were joined by percussionists Nii Addotey Brown and Daniel Tettey Black for these sessions which blend traditional and avant-garde sounds while merging folkloric instruments with free improvisation. The music is influenced by Ghana's diverse modern soundscapes so feels both local and cosmopolitan. The musicians' diverse backgrounds bring a rare, spiritual energy to this most standout record.
Review: In celebration of 50 years in the performing arts, Idris Ackamoor presents Artistic Being for Record Store Day 2025-a powerful blend of jazz, spoken word and activism. Featuring the voices of acclaimed actor Danny Glover and stage legend Rhodessa Jones, this record captures highlights from the Underground Jazz Cabaret, which was performed during Black History Month 2024 at The Lab in San Francisco. Co-produced by Ackamoor's Cultural Odyssey, the release fuses poetic storytelling with evocative musical textures while reflecting on social justice, identity and resilience. Artistic Being is a profound statement from a visionary artist.
Review: When keyboardist Thomas Jonsson, guitarist and bassist oMar Gudjonsson, saxophonist oSkar Gudjonsson and drummer Magnus Trygvason Eliassen take the stage, they channel the raw resilience of Northern Europe's islanders who have endured long, icy winters for centuries. Their energy transcends genres and has proven to captivate jazz enthusiasts, rock fans and ravers alike. This primal, non-verbal expression predates language yet remains deeply contemporary by blending cosmic vastness with free imagination and profound mysticism. Their music is a convergence of timeless human impulses and fresh creativity. It's challenging but hugely rewarding.
Review: Viva La Revolution indeed. The Adicts tore out of England's east coast, and specifically Ipswich, and immediately made an impact. Asked to change their name by Sire Records in a bid to appease the charts and TV bookers - although, oddly, one of the options was apparently The Fun Adicts, which raises more quandaries - Rockers In Orbit captures their huge sound in all its glory. Recorded live at Alabama Halle, Munich, Germany, depending on which way you're listening first impressions invoke breakneck punk, motoring metal, and even the romance and commanding power of The Cure at their loudest and most dominating. Ultimately, though, these guys just sound like The Adicts. A questionable reference point we can only assure you is meant as a total complement. Not a band people will forget in a hurry.
Review: Adja Fassa's debut album is a genre-colliding triumph of alternative r&b, neo-soul and jazz co-produced by Adam Scrimshire. Across 11 tracks, Adja dissects capitalism's influence on intimacy with sharp wit, layered symbolism and soulful grooves whether she's reimagining jazz standards or delivering dystopian vignettes of modern labor. Throughout these tracks her storytelling is bold, critical and playfully mystical. From the rebellious 'Sucking on my Emphatitties' to the haunting title track, this is protest music wrapped in velvet tones. Visually complemented by four self-designed tarot cards, the album is a rich conceptual tapestry for fans of greats like D'Angelo.
Review: We've encountered a few Woodstock '94 live albums in recent months. 30 years on, and the festival remains one of the most ill-conceived, poorly executed and abhorrently capitalist failures the live music scene has ever witnessed. When you cram 350,000 into a site aimed at half that, don't think about infrastructure, overcharge on everything and then stand idly by as a revolution begins to unfold, only responding when things become a life or death situation, how do you expect to be remembered? At least people actually played the event, though, unlike the likes of Fyre, which never even managed to get started. And the lineup for 1994's cash-in on the legendary New York State gathering was decent in many ways, Aerosmith stepping up at the height of their commercial fame to deliver a typically spectacular show of mainstream rock & roll with blues roots. Here's the recording.
Review: Originally released in 1999 and now celebrating its 25th anniversary, Black Sails In The Sunset was the fourth full-length from California hardcore-turned-horror punk heroes AFI, and is often cited as the pivotal project that signalled their sonic, career and identity shift for the decades ahead. Their first album with guitarist Jade Puget, the material marked a notable distancing from the frenetic energy of 1997's Shut Your Mouth & Open Your Eyes, and began their long love affair with gothic romanticism, Lovecraftian lyricism and a newfound horror aesthetic. Perceived by the band and fans alike for being the work that would form the basis of their future sound, while also exuding the first glimpses of vocalist Davey Havok's prowess as a melodious songwriter, there's no more important project in the AFI canon, especially when following onto the career heights of the All Hallow's EP and The Art Of Drowning LP, which likely wouldn't have materialised if not for the creative fearlessness of Black Sails.
Looking For The Perfect Beat (original 12" version) (7:04)
Renegades Of Funk (remix) (6:45)
Frantic Situation (Frantic mix) (3:49)
Who You Funkin' With? (Fetat Melle Mel) (6:21)
Go-Go Pop (feat Trouble Funk) (5:59)
They Made A Mistake (Performed By MC GLOBE & Pow Wow) (5:27)
Review: Afrika Bambatta & Soulsonic Force's Planet Rock is a legendary album in its own right and now Tommy Boy reissues it in limited edition style. Afrika Bambaataa was a pioneering rap force before most people had even heard the word. Raised in the South Bronx, he became a pioneering DJ, rapper and songwriter who put on large block parties that rocked his local neighbourhood. It was alongside Soulsonic Force in 1982 on this record that he cemented his place in the history books as one of the most revered and innovative artists of his time. The album has been a go-to for generations of artists ever since and remains a long-time favourite amongst breakdancers for its body-popping electro beats.
Review: This is an essential drop for dub lovers this Record Store Day. 'Dubbing At King Tubby's Vol. 1 comes on nice red vinyl and has been fully remastered as well as being resequenced for this release. It is packed with 22 jams that made it one of the bestselling compilations of the 1990s. It showcases the already well-revered talents of King Tubby, Prince Jammy, Scientist, Phillip Smart, and Pat Kelly, all of whom work their magic at the mixing desk on a series of iconic dubs. Each one is rooted in the works of Bunny Lee and they all bring the drum and bass to the fore and show why the studio has such an impact on Jamaican music history.
Review: Formed in 1982, New York City hardcore pioneers Agnostic Front left a defining impact on the burgeoning scene with their unmatched ferocity and sonic abrasion as well as their intimidating attitude and skinhead aesthetic, which would lead to them incorrectly being perceived by some as racists or neo-Nazis. Coming up in the rundown streets of Lower East Side Manhattan, surrounded by urban decay in an area battling severe poverty, drugs, and violence, they channelled their anger into a new breed of punk that would serve as both a rallying cry for the less fortunate as well as an urgent, abrasive form of catharsis. This blistering compilation contains recordings dating back to the very beginning of their career, featuring demos of tracks that would eventually appear on their 1983 debut United Blood 7", while also offering other recordings from this period originally left unissued at the time; some of these would later be included on the 1995 Raw & Unleased CD, though several of these cuts have never been made available on wax until now. The band would later be featured as part of Showtime's The Godfathers of Hardcore documentary from 2017, while frontman Roger Miret's autobiography provides a deeply insightful yet frightening firsthand account of an already clearly tumultuous yet integral time in punk history.
Review: Agustin Pereyra Lucena's 1980 album La Rana was recorded in Oslo and is a wonderful exhibition of his exceptional guitar interpretations of compositions by Ivan Lins, Antonio Carlos Jobim and his friend Baden Powell, all alongside his own original works including the 15-minute masterpiece 'Encuentro De Sombras.' Featuring bassist Guillermo Reuter, flautist Ruben Izarrualde and drummer Finn Sletten, La Rana blends South American rhythms with Norwegian landscapes and reflects Agustin's warmth, humility, and joyful connection to music and life and the title track is a standout that offers a unique rendition of Joao Donato's 'A Ra' from his 1973 album Quem E Quem.
Review: Vaughn Benjamin is the voice of Midnite and Akae Beka and was a prolific reggae vocalist, poet, teacher and scholar known for his photographic memory and creativity. He released over 70 albums in 25 years while always discussing broad, detailed topics with unmatched precision. Living Testament is his final album, recorded shortly before his death in November 2019. In October 2019, Vaughn recorded the 11 tracks at Ras Biblical's Trinity Farm studio in Grass Valley, California, over two days alongside 11 musicians including Tuff Lion and Manuel "Go A Chant" Guerra. The result is sure to endure through the ages as a fine example of roots reggae storytelling.
Review: With the latest release of 2024's triumphant Les Chants de l'Aurore, label Nuclear Blast have opted to reissue the 2019 predecessor project from French post-black metal/blackgaze pioneers Alcest. Spiritual Instinct initially marked only the second time the band's live bassist Indria Saray had performed on record following on from his in-studio inclusion on 2016's Kodama, while musically, the material is noted for continuing to restore some of the previously eschewed metallic malevolence absent from their previous efforts. This restoration reembraces cataclysmic blastbeats and despair-laden vocal shrieks yet reliably subdued, compressed and drowned under swathes of shoegaze haze and bombastic yet lilting crescendos. In short, no one makes black metal sound as pretty as the French.
Review: All Seeing Dolls make the best case for cross-pollination we've had in a while. Their sound is psychedelic tinged, garage-y leaning rock with plenty of breathy bits and opportunities to look at the sky in hope or despair, invoking the shoegaze 'thing'. In other moments, they sound like they've been hiding away in the back room of a 1960s acid party, while there are also times when vocals soar to such harmonious heights you could be forgiven for using made up terms like 'choral indie'. The sum of all those parts is a genuinely powerful and unique record that moves and insists, ebbs and flows throughout a real odyssey of a listen. But the ingredients also warrant a mention. The legendary Dot Allison is here, hence the beauty and subtle power of the vocals. The Brian Jonestown Massacre's Anton Newcombe is also present and correct, as are a piano, ukulele, guitar and auto-harp.
Review: Soft Machine and Gong founder Christopher David "Daevid" Allen came of age under the influence of the Beat Generation writers while working in a Melbourne bookstore around 1960. The Australian psychedelic visionary then travelled to Paris, where he stayed at the infamous Beat Hotel, before heading to England, where his musical career really began. The point being, he was incredibly committed to exploring art forms like jazz and performance poetry. And a then-nascent field of synthesised sounds. Ten years after his death, Now Is The Happiest Time of Your Life gets a timely repress to confirm it remains his Magnus Opus. A brave and incredibly unusual collection of tripped-out folk storytelling, curious garage guitar stuff, strangely naive and innocent weird pop, and progressive rock. One to keep diving into and still find new bits to love.
Review: Alphataurus may not mean that much to a lot of people, but for anyone aware of the Milanese progressive rock titans, the fact they have a new record out will capture the imagination. After all, the outfit have been making a big impact with every album they've put out since - and including - the staggeringly ambitious self-titled 1973 debut. However, it's been a decade since we last had anything from them. Enter 2084: Viaggio Nel Nulla, then, a collection of music that marks a real turning point for Alphataurus, with the lengthy (to put it mildly) recording process ending with the departure of founding guitarist Guido Wassermann. Whether die hard fans will think what's here is worth the pain of that decision to leave is anyone's guess, but this collection is unarguably dystopian, futuristic, exploratory, cosmic and, almost conversely, accessible and catchy.
Review: Ones to watch in 2025, according to BBC Introducing, double-MOBO Award nominated sisters Nyrobi and Chaya, AKA ALT BLK ERA claim to be "redefining music" with their fusion of rock, house, drum & bass, rap and pop. They're certainly making enough noise to start a mini revolution, with the months preceding Rave Immortal seeing them blow up at events like Glastonbury, Download, and the Reading-Leeds weekenders. Sonically there's not much more to add - this is a rabid, in-your-face, high tempo amalgamation of sound that calls to mind the likes of NERVO, Pendulum, Enter Shikari, and to a lesser extent Prodigy. All convention-defying names, the fact ALT BLK ERA are also big advocates of disability rights and inclusivity within the music industry also paints them, sadly, as necessary outsiders.
Review: Originally released in September 1981, Scottish band Altered Images' debut album featured the classic hit single 'Happy Birthday' which reached number two in the charts and was produced by Martin Rushent, who is maybe best known for his work with Human League, Stranglers and Buzzcocks. The rest of the album was produced by Steven Severin of Siouxsie and The Banshees and achieved a Silver Disc having sold over 60,000 copies. This half-speed master edition is presented in its original sleeve, pressed on 180-gram heavyweight black vinyl with an obi strip, and housed in a poly-lined inner sleeve so is a luxurious edition for fans old and new of what remains a classic album of the era when post-punk was morphing into jangly indie.
Review: Ballads provide comfort and can elevate us when filled with genuine emotion and lead us into romance or reverie if we allow them. This second orchestral collaboration between renowned Swiss trumpeter Franco Ambrosetti and Grammy-winning arranger Alan Broadbent achieves this beautifully. The album's title reflects Franco's heartfelt approach on flugelhorn. Supported by an all-star lineup including pianist Broadbent, guitarist John Scofield, bassist Scott Colley, drummer Peter Erskine, and a 29-piece orchestra arranged and conducted by Broadbent, Ambrosetti masterfully tugs at heartstrings with a selection of four original compositions and four carefully chosen covers.
Review: Tori Amos is celebrating the tenth anniversary of her critically acclaimed album Unrepentant Geraldines with this special Deluxe Edition. It is a newly remastered version which includes three exclusive tracks, namely 'White Telephone To God,' 'Forest Of Glass,' and the newly released 'Dixie.' Unrepentant Geraldines marked Amos' return to her pop and rock roots after several classical albums. Recorded at Martian Engineering Studios, the self-produced album features a stripped-back acoustic sound that highlights Amos's vocals and piano with chamber-pop arrangements. The lyrics, inspired by visual art, explore fairy-tale themes and introspection and the album reached number 7 in the US, making Amos's eighth top ten album there.
Everything Moves In Slow Motion When I Think Of You (2:27)
Riptides (2:39)
The Ghost Who Never Moves (4:02)
Modern Monuments (3:34)
Soulmate From The Archive (2:09)
OK Corral (2:15)
Review: Lela Amparo's debut album for Past Inside The Present is a smooth fusion of ambient guitar, IDM, trip-hop rhythms, orchestral arrangements and poetic vocals that draw from her American Southwest roots, international travels, and life in Gothenburg, Sweden. Amparo crafts a raw, worldly sound from these inspirations and mixes cinematic grandeur with tender grace, gorgeous melodies and head-nodding drum programming. Highlights include 'Space Us Out' with its emotional beat and piano loop, and 'You Say You Love' which combines harp and choral voices. 'Rose & Honey' reflects on isolation in Tokyo, while 'Wrong Thing' offers a Burial-style rhythm. Keep Your Soul Young is all about finding home within yourself.
Review: Yemenite music in Israel is a uniquely Middle-Eastern style born from the immigration of Yemenite Jews to Israel. Initially religious and ceremonial, the music featured separate male and female songs accompanied by drumming on olive oil tin cans. Aharon Amram, born in Sana'a, Yemen, immigrated to Israel as a child and became a central figure in this genre. From the 1960s onward, he released numerous records on Sounds of Yemen in which he blended traditional religious songs with his own secular compositions, Western electric instruments and modern arrangements. This double LP showcases Amram's diverse catalogue and undying influence on contemporary Mizrahi.
Review: In a time where the gruff-throated anti-Tory messaging of Idles, the reflective post-drugged out swagger of Viagra Boys and the pub-feed championing of The Chats remind us that punk can still be a vital voice of the people, both big and small, Amyl & The Sniffers have all but quietly been amassing the type of hype and buzz to go toe-to-toe with the lot. Capitalising on the momentum of 2021's exceptional Comfort To Me with last year's 7" "fuck you" to old, gatekeeping curmudgeons on 'U Should Not Be Doing That', the band return to producer Nick Launay (Nick Cave & The Bad Seeds, Yeah Yeah Yeahs) for their severely anticipated third LP Cartton Darkness. Recorded at the Foo Fighters' 606 Studios in Los Angeles, the one and only real-life Amyl (Ms. Amy Taylor) succinctly describes the message as - "driving headfirst into the unknown, into this looming sketch of the future that feels terrible but doesn't even exist yet. A childlike darkness. I don't want to meet the devil half-way and mourn what we have right now. The future is cartoon, the prescription is dark, but it's novelty. It's just a joke. It's fun."
Eden With The Invisible Session (with The Invisible Session - TIS version) (4:02)
Etna (with The Invisible Session) (4:05)
Call (with The Invisible Session) (4:13)
Eden (3:57)
Noir (2:50)
Review: ANAN is a project by DJs Roberto Agosta and Massimo Napoli and it takes its name from their surnames, repeated twice. Their new album is inspired by jazz, 70s psychedelia, Afrobeat, cumbia and soul and was recorded in a space in Catania, Sicily, where they melded those inspirations into a versatile and innovative sound. The session musicians manage to really lay down some deep melodies to give the album a live session feel. Tracks like 'Eden' and 'Naif' combine cinematic jazz with African influences, while 'Eros' blends Ethiopian and Indian cultures. 'Mind' offers a hypnotic cumbia and 'Etna' evokes spiritual psychedelia. The album includes also collaborations with The Invisible Session which take things to even higher spiritual planes.
Review: You have a genuine piece of musical history here. The Anchors may not be remembered by many, but made a significant impact on everyone who does. Black Soul is the third and - to all musicologist knowledge - last record put out by this pioneering South African funk-soul outfit. Straight out of the Johannesburg township of Alexandria at the height of Apartheid, they became known for exceptional musicianship and reinterpreting the classic Memphis, USA sound for their own oppressed community. Part three of that legacy takes things much, much further, though. So, we can definitely still hear those Mid South sounds that represent the very essence of soul, but here the aesthetic becomes something altogether different, Afro and specific to time and place. Homage paid to the genre founders, but drawing on personal circumstances to own things for themselves.
Review: Kentucky born musical absurdist and voice actor Beth Andersen weaved her way in and out of mainstream circles throughout the entirety of her career, with some of her biggest claims to fame being the use of her 'Dance Dance Dance' single on the Scarface soundtrack as well as her voice acting credits which include appearances in The Swan Princess, Babes In Toyland, and Tarzan. Unbeknownst to many, however, was her artistic double life where she was simultaneously known as a creative academic and scholar whilst dabbling in the niche underground art-punk scenes of the 70s, where with the help of (at the time) future Sonic Youth/Dinosaur Jr producer Wharton Tiers as well as member of the new wave band Theoretical Girls, she was able to carve out one bemusing piece of wax that perplexed familiars on all sides of her spectrums with its self-described fusion of a myriad of unlikely anti-genres such as "yoga punk", "ramble rap", "combustion pop" and "form room funk"... all of which were officially neatly bracketed under the curious Text-Sound movement where Beth garnered utmost respect as a key practitioner. Long out of print, never thought to find its way to wax again, these percussive, rhythmic avant-punk poems and spoken word ditties are even more bizarre in practice than theory.
Review: The mighty Dez Andres has hooked up with Parisian digger Victor Kiswell for a sublime new double album on Spot Lite that finds a perfect sweet spot between both men's sound. It stems from a party that explores Arabic grooves from Northern Africa and the Middle East and pairs that with low slung deep house beats and hip-hop inspired joints. It's woozy and warm, packed with killer melodies and hooky riffs and is right up there with some of Dez's best work. Highlights include the likes of 'Grand Meze In Gemmayze' with its dusty beats and 'Bounce The Casbah' with Middle Eastern guitars that ring out with great soul.
(I Want To Be) Whatever It Takes To Please You (5:52)
Overdose Of Love (2:26)
The Love I Need (2:38)
Didn't I Fool You? (2:49)
You Made A Believer Out Of Me (2:39)
Good 'N Plenty (2:55)
You Ole Boo Boo You (2:54)
Just Lovin' You (2:50)
My Love Is Comin' Down (2:35)
Hound Dog (3:26)
Review: Black Ruby was the superb sophomore long player from the wondrous soul singer Ruby Andrews. It first appeared on the Zodiac label in 1972 and didn't give rise to any big hits but that didn't stop it from becoming a favourite with those who know. This reissue saves you the financial damage of copping an original and sounds superb from the opening lushness of '(I Want To Be) Whatever It Takes To Please You' to the lung-busting vocal expression of 'You Made A Believer Out Of Me' via heart aching blue-eyed sounds of 'My Love Is Comin' Down'.
Review: But wonderful new record puts most artists who use the word hybrid to shame -it's beyond hybrid, even post-hybrid. If that sounds confusing just tune in and prepare to be dazzled. You'll find these tracks beautifully crafted and seamlessly blending dub with skilful jazz influences. For those drawn to melodies, musique concrete, or dub's experimental edges, this record is a perfect fit. It was born from a remix tribute to Jackie Mittoo and has grown into an exploration of themes with improvisation, precision, and intimate details. Androo proves to be an unpredictable musical force and combines free jazz and contemporary music influences to deliver a liberating, genre-defying experience that challenges conventions.
Review: Cititrax proudly presents the debut LP from Another Body Found here, which is the latest moniker of A// who is well known for his pioneering work as Le Syndicat Electronique. Emerging from the French underground with a dark electro, industrial, minimal synth and wave style, he has a stark and visceral take on raw energy and haunting atmospheres. There are plenty of mechanical, hypnotic beats here with heft bass and hints of dystopian fears. The title track reimagines Bronski Beat's 'Smalltown Boy' and strips it to its emotional core, 'Lost In The Northern Lights' has a cold, urgent sound and 'Murderous Earth' is brilliantly unsettling and melancholic.
Review: This renowned hip-hop producer (and also half of Atmosphere) is a founding member of Rhymesayers Entertainment. His decades-spanning career includes work with MF DOOM, Brother Ali, Murs and more after he was raised in a military family with a deep love for records. Ant's eclectic influences shine in Collection of Sounds, a four-volume instrumental series that his instalment three here and has been carefully curated from his vast archive. It mixes up intimate, haunting tracks with expansive, venue-filling beats. Some compositions invite vocalists yet remain deeply personal and overall, rather than reinventing things, Ant reconfigures his past while staying true to his artistic roots.
Review: Legendary producer Ant, who you will most likely know for his work with Atmosphere, showcases his talent once more here with Collection of Sounds: Vol. 4. This release highlights his years of dedication to his craft and is a great mix of fresh ideas with his signature style. While previous volumes explored hip-hop, funk and reggae, Vol. 4 introduces rock-inspired elements such as wailing guitars, though it still maintains a firm foundation in hip-hop. Tracks like 'Hearing In Dark Colors' and 'Created With a Heavy Brush' display his mastery of diverse styles while 'Day After 2010' offers an unexpected vibe that helps confirm Ant's status in the scene.
Review: Originally released in 2003, We've Come For You All would serve as the much-lauded ninth full-length from one of the Big 4 of thrash metal, New York City's Anthrax. The first work from the band to feature Rob Caggiano on lead guitar while being their final effort with vocalist John Bush following his tenure throughout the 90s on Sound Of White Noise (1993), Stomp 442 (1995) and Volume 8: The Threat Is Real (1998), the material came after a brief self-imposed hiatus that saw the band reroute their course with a unique amalgam of groove-oriented, alternative hard rock injected into their frenetic signature thrash formula. Adored by fans as a welcome return to form, the album also boasted some varied pedigree with regards to guest features, including Roger Daltrey of The Who lending his vocals to 'Taking The Music Back', while Anthony Martini of New Jersey hardcore heroes E-Town Concrete would appear on 'Refuse To Be Denied', yet it's the inclusion of the late, great Pantera axeman Dimebag Darrell (only one year before his tragic and untimely passing) on 'Cadillac Rock Box' and 'Strap It On' that have both become metal legacy pieces in their own right.
Review: Hailing from Toronto, Canada, The Anti-Queens are an all-woman riot grrrl pop-punk mob brimming and buzzing with influences from the likes of The Distillers and The Blackhearts, yet with the feral grunge bite of L7. Returning a half-decade on from their 2019 self-titled debut full-length, Disenchanted doubles down like a confident sophomore follow up should, maximising the buzzsaw riffs, snarling vocals and severely pissed off earworm hooks while furthering their sonic mashup of all things fuzzy, grungy, poppy and punky (no, the last three probably aren't real worlds but they are in The Anti-Queens dictionary).
Review: Freestyle Records reissues The Apples Kings a full decade and a half after its first release. This version has been fully remastered and re-cut for an even more dynamic sound to remind why the landmark album was so special. It was a first for the band who crafted it with specific collaborators in mind and worked with funk legend Fred Wesley and Israeli world music icon Shlomo Bar In fusing elements of The JB's funky foundations, soul, dub, and Middle Eastern influences, they cooked up a genre-defying mix filtered through The Apples' unique decks-horns-bass-drums lineup. These unmistakable, floor-shaking grooves are just as potent today as they were in 2010.
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