You Started Laughing (When I Held You In My Arms) (4:41)
Soapbox Opera (4:56)
Asylum (6:50)
Downstream (3:29)
Give A Little Bit (4:22)
Dreamer (3:39)
Rudy (6:14)
Take The Long Way Home (4:53)
Another Man's Woman (7:57)
Fool's Overture (8:09)
Two Of Us (4:07)
Crime Of The Century (6:31)
Review: Going on to become the biggest selling record in America in 1979, Supertramp's sixth album Breakfast In America is perhaps the quintessential historic example of a British album destined to "break the USA". As if forecasted in advance, 1979 heard the band take capital advantage of the bilateral "special relationship" formed between the two nations since the War, a principle which was of course thereafter reflected in the rock industry. After Led Zep but long before Sting, Supertramp would here spawn the likes of 'The Logical Song', 'Goodbye Stranger', and 'Take The Long Way Home', all of which were smash hits in the US but comparatively denervated back home, where they would only scrape the top ten in the Charts. Despite such an imbalance in successes, this show from the Pavillon de Paris captures the band back in Europe that year, both filmed and recorded in December 1979.
Review: A nine-piece instrumental combo hailing from San Diego, California, The Sure Fire Soul Ensemble deliver a heady brew of jazz, funk and global rhythms on their latest offering. Recorded in their homebase of Lemon Grove, the album sees them expanding their sonic palette, drawing on library music, spiritual jazz and exotica. Tracks like 'Makin' Moves' and 'The Grifter' showcase the band's signature funk-driven energy, their tight grooves and soaring horns recalling the classic sounds of Earth, Wind & Fire and Tower of Power. But there's a more introspective side on display too, with tracks like 'Mother Earth' and 'Freddie' evoking the spirits of Freddie Hubbard and Phil Ranelin, their introspective melodies and atmospheric textures adding a layer of depth and complexity. 'Corporatocracy' is a standout, its extended tabla solo and modal funk groove demonstrating the band's willingness to experiment with unconventional sounds and structures. This adventurous spirit is a hallmark of The Sure Fire Soul Ensemble, a band consistently pushing the boundaries of their sound while remaining firmly rooted in the traditions of jazz and funk.
Review: The Sure Fire Soul Ensemble, a soul and funk nonnet from San Diego, have long blessed the Colemine modern funk sceptre with crumbled parfaits of funk topped with crumbly analog psychedelia and Afrobeat. With their new album, they ravage fresher sonic territories. Recorded between 2021 and 2024 in Lemon Grove, California, Gemini centres on their already-laid breakbeat-heavy funk-soul-jazz foundation, heard in tracks like 'Makin' Moves' and 'The Grifter', but they also draw influence from library music, spiritually-inclined jazz and exotica adjacents. Personifying the astrological Gemini - curiosity, versatility - 'Corporatocracy' stands out as special, welding an extended tabla solo to a wordless critique of the world's most egregious mega-firms.
Review: The Surfrajettes, a Toronto-based all-female surf rock quartet, serve up a nostalgic yet fresh take on instrumental surf music with their album Easy as Pie. Blending psychedelic rock with reverb-soaked guitar tones, their sound recalls the classic surf era while bringing a modern flair. Guitarists Nicole Damoff and Shermy Freeman skillfully lead the charge, delivering twangy riffs and soaring melodies, backed by Sarah Butler's groovy bass lines and Anna Liebel's tight drumming. Known for their striking stage presenceicomplete with sky-high beehives and go-go bootsithe band's sound has captured attention far and wide. Fans of classic surf, modern instrumental rock and soundtrack music are all comfortable styles their music fits into.
Gaoule Mizik - "A Ka Titine" (Kay Suzuki Gwoka dub) (7:38)
Broki - "Es Que Lo Es" (Kay Suzuki remix) (6:32)
Blackbush Orchestra - "Sortez Les Filles" (Kay Suzuki remix) (6:25)
Sunlightsquare - "Oyelo" (Kay Suzuki By The Sea mix) (6:35)
Review: A rare new V/A record from the diggers deific over at Time Capsule - Kay Suzuki and company - whose focus on reissues has thus far formed a dense but not unbraveable thicket of drummy disco, city pop, reggae and international rerubs. Formed out of the East London party scene centring on Brilliant Corners and Beauty & The Beat, this four-track haul of Choice Remixes is a surely credible little curation. Suzuki lends four flips to the record - first of Gaoule Mizik's 'A Ka Titine' from 2022, which reappears with expository force, providing a banging re-bake of the Guadeloupean gwoka original. The theme continues on a version of Broki's 'Es Que Lo Es', which veers Latin minimalia, before slowing to a chuggy pace on 'Sortez Les Filles', before a final, synthy piano duet leaves the proceedings on a piquant hurrah, 'Oyelo'.
Review: Taylor Swift's latest offering presents an eclectic mix of deeply personal storytelling and sonic experimentation. Opening with 'Fortnight' featuring Post Malone, the track sets a tone that merges soft melodies with a hint of contemporary edge. The album moves seamlessly between intimate moments, like 'My Boy Only Breaks His Favorite Toys,' and more expansive anthems such as 'Florida!!!' featuring Florence & The Machine. The acoustic versions of some tracks, like 'Down Bad' and 'But Daddy I Love Him,' strip back the production, allowing Swift's vulnerability to shine. This release reveals a further evolution of her sound, weaving together emotive lyrics and bold musical choices.
Review: Taylor Swift's latest double album delivers an expansive collection of 35 tracks, showcasing her signature storytelling and emotional depth while exploring fresh sonic territory. Featuring collaborations with Post Malone and Florence & The Machine, the album blends introspective ballads with vibrant anthems that highlight Swift's versatility. The record sets a reflective tone, delving into themes of loss, anger and resilience. Tracks like 'So Long London' provide a poignant narrative closure, paralleling earlier songs from her discography while embracing the bittersweetness of moving forward. 'I Can Do It With A Broken Heart' captures the juxtaposition of public strength and private vulnerability with upbeat production reminiscent of Midnights. Collaborations shine throughout; 'Fortnight' finds Swift and Post Malone harmonising beautifully over a wistful melody, while the lively 'Florida!!!' bursts with summer energy, enhanced by Florence Welch's dynamic vocals. The stripped-down 'I Look In People's Windows' emerges as a standout, pairing raw lyricism with delicate guitar work to convey profound grief and longing. The project is a testament to Swift's ability to blend personal reflection with universal themes. With its balance of experimentation and emotional candor, it marks a bold chapter in her ever-evolving career.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
Fortnight (feat Post Malone) (3:49)
The Tortured Poets Department (4:51)
My Boy Only Breaks His Favorite Toys (3:24)
Down Bad (4:18)
So Long, London (4:21)
But Daddy I Love Him (5:35)
Fresh Out The Slammer (3:30)
Florida!!! (feat Florence + The Machine) (3:35)
Guilty As Sin? (4:13)
Who's Afraid Of Little Old Me? (5:27)
I Can Fix Him (No Really I Can) (2:36)
loml (4:35)
I Can Do It With A Broken Heart (3:32)
The Smallest Man Who Ever Lived (3:58)
The Alchemy (3:21)
Clara Bow (3:29)
The Black Dog
Imgonnagetyouback
The Albatross
Chloe Or Sam Or Sophia Or Marcus
How Did It End?
So High School
I Hate It Here
thanK you alMee
I Look In People's Windows
The Prophecy
Cassandra
Peter
The Bolter
Robin
The Manuscript
Fortnight (feat Post Malone - acoustic)
Down Bad (acoustic version)
But Daddy I Love Him (acoustic version)
Guilty As Sin ? (acoustic version)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
Taylor Swift's latest offering presents an eclectic mix of deeply personal storytelling and sonic experimentation. Opening with 'Fortnight' featuring Post Malone, the track sets a tone that merges soft melodies with a hint of contemporary edge. The album moves seamlessly between intimate moments, like 'My Boy Only Breaks His Favorite Toys,' and more expansive anthems such as 'Florida!!!' featuring Florence & The Machine. The acoustic versions of some tracks, like 'Down Bad' and 'But Daddy I Love Him,' strip back the production, allowing Swift's vulnerability to shine. This release reveals a further evolution of her sound, weaving together emotive lyrics and bold musical choices.
Put Coffee In The Glass/Sare, The Night, You Go? (2:14)
Do Not Bow (5:06)
I Adore These Eyes (3:35)
Waster Years (3:56)
Laylim Ley (3:07)
Review: This Kurdish/Syrian singer and bouzouki player began his music career in 1980 while studying nursing. After earning his degree in 1983, he moved to Raqqa, Syria, and formed The Al-Rabie Band, with whom he performed Kurdish, Arabic, Turkish and Western songs. In 2011, the Syrian war forced his family to flee after his son was killed by ISIS so he resettled in Ireland, where he used music to connect with the local community, performing at various events and collaborating with Irish artists. His album I Am Kurdish blends Middle Eastern and North African music and he says is a way of spreading joy, love and happiness.
Review: Manafon by David Sylvain of Japan fame is an underrated gem. The electroacoustic improvisation, complete lack of drums, coupled with Sylvain's voice right at the front of the mix, makes for an ambient, freeform and highly experimental sound. The art-pop sonics that saw him gain success in the 70s and 80s is left firmly in the past and he's doing exactly the music he wants hear - not what's expected of him commercially. Now, on vinyl for the first time, comes remixes by classical contemporary genius Dai Fujikura - he wrote the string parts - of six songs from said album. There's also new songs, heavily influenced by Fujikura and an 18-minute piece ('When We Return You Won't Recognise Us') culled from a much longer sound installation that Fukikura and Sylvain created together for the 2008-09 Biennial of Canaries in Gran Canaria. How music this sublime hasn't been on vinyl from the start is beyond us. Thankfully, that's now rectified.
The Heart Knows Better (Sweet Billy Pilgrim remix) (4:18)
A Fire In The Forest (Readymade FC remix) (6:07)
The Good Son (Yoshihiro Hanno remix) (4:33)
Late Night Shopping (Burnt Friedman remix) (2:52)
How Little We Need To Be Happy (Tatsuhiko Asano remix) (4:35)
The Only Daughter (Jan Bang & Erik Honore remix) (8:05)
Blemish (Akira Rabelais remix) (7:31)
Review: You can go one of two ways as an artist when you've had pop success early in life: you keep the wheel because the wheel isn't broken. Or you change the wheel and reinvent yourself and make music that's true to yourself and not guided by commercial expectation. David Sylvain has done the latter with aplomb. At the time of making this album, which is the companion album to Blemish (2003) and now on vinyl for the first time, he was free from the shackles of a major label and diving headfirst into improvisation. You can't even faintly hear echoes of the band that made his name - new wave icons Japan. For these remixes Sylvian worked with the likes of Ryoji Ikeda, Burnt Friedman, and Readymade FC, although some songs were re-recorded rather than remixed. 'Late Night Shopping', remixed by Friedman, is a great entry point to this work, with dark beats and eerie noises, making for an atmospheric triumph. This is an album that pushes music as an artform forward. Long may Sylvain continue.
Review: Antony Szmierek's debut album, Service Station at the End of the Universe, is an electrifying fusion of spoken word, indie pop and dancefloor energy. Following his rise from Manchester's spoken word scene, Szmierek gained widespread recognition in 2023 with hits like 'The Hitchhiker's Guide to the Fallacy', which earned him Artist of the Year honors from BBC 6 Music. This debut album cements his unique voice, blending sharp, insightful lyricism with infectious beats. The album is a journey through Szmierek's distinct style, where he deftly combines poignant moments with irresistibly catchy, upbeat tracks. Songs like 'The Great Pyramid of Stockport' explore the absurdity of modern life, showing him disoplaying both humor and melancholy. Szmierek's sharp observationsidrawn from the grit of British lifeiare woven seamlessly into the music, creating a sound that's as danceable as it is reflective. Szmierek proves himself an artist who balances introspection with celebration.
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