Review: Gracie Abrams's The Secret of Us gets served up as a special edition here and it marks her most expansive album yet. This ambitious project shows her growth as both a songwriter and vocalist and adds in already assured fan favourites like 'That's So True' and 'I Love You, I'm Sorry (Live From Vevo).' The record finds Abrams collaborating once again with Aaron Dessner and she also worked with her best friend Audrey Hobert on several tracks. Together they reflect the urgency of recounting a meaningful night to a close friend with live experiences over the past year shaping its narrative and sound. A nuanced pop album with plenty to explore.
Review: In June, Actress delivered an RA mix that was nothing short of surprisingientirely new, unheard material from Darren S. Cunningham himself. Asked if it was an album, he called it "a collage -Braque," leaving interpretation open. This CD edition captures the essence of Actress's sound: fluid, shape-shifting, and unconcerned with traditional definitions. Whether a mixtape or sonic collage, it's unmistakably Actress, offering listeners a raw, evolving soundscape that resists labels and challenges boundaries, making it an essential piece for fans of his ever-innovative style.
Review: After nearly two decades of anticipation, Ryan Adams has finally unveiled a long-awaited, cult-classic album on CD. Initially shelved due to his battles with addiction, the album captures the raw, unfiltered emotion that defined his tumultuous period. With tracks like 'Catherine', previously only performed live, and unreleased material now officially available, it's a revelatory listen for fans who have long speculated about its contents. The album's haunting, fragmented qualityireflecting Adams' state during its creationiadds a compelling layer of authenticity. While some of the raw vocal takes are intentionally rough, the end result is an evocative and beautiful snapshot of a chaotic creative period. This release not only satisfies years of fan demand but also reclaims a pivotal moment in Adams' career, offering a glimpse into his darkest and most vulnerable creative space.
Review: Jazzman has excavated another jazz "holy grail" here - one of the few albums ever recorded by San Francisco-based pianist (and local hero) Al Tanner. It was initially released back in 1967 by the obscure, but arguably significant, Touche label, and while popular within Californian jazz circles, garnered little exposure or sales elsewhere. It remains a fantastic album, with Tanner being joined by drummer William 'Smiley' Winters, bassist Edgar Williams, saxophonist Roy Henderson, and flautist/trumpeter George Alexander to attractively dance through a range of pleasingly breezy, musically detailed modal workouts. It's a genuinely impressive album all told, so praise must be given to Jazzman for unearthing and reissuing it.
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