Everything Is Recorded, Noah Cyrus & Bill Callahan - "Porcupine Tattoo" (3:31)
Everything Is Recorded - "Norm" (feat Bill Callahan) (3:04)
Review: XL boss Richard Russell's Everything Is Recorded returns with 'Porcupine Tattoo', an unexpected yet compelling collaboration with Bill Callahan and Noah Cyrus. The track, released via XL Recordings, came about during sessions at LA's infamous Chateau Marmont hotel, when Russell asked Callahan who he'd most like to write a song for. Callahan's surprising answer: Noah Cyrus. The result is a stripped-down folk tune with subtle gospel undertones, featuring Callahan's deep, pitched-down vocal layered alongside Cyrus' delicate voice. Russell's production, iminimal yet atmospheric, ihighlights the contrast between Callahan's gravelly tone and Cyrus' ethereal presence. Recorded during a rain-soaked week, the track evokes a sense of melancholy and intimacy. On Side-2 'Norm', is a tribute to comedian Norm Macdonald, featuring only Callahan. This release continues Russell's tradition of creating genre-blurring, evocative collaborations.
Review: New Order's 'The Perfect Kiss' stands out as their first single to be simultaneously released on a studio album, appearing on 1985's Low-Life. Recorded at Britannia Row Studios in London, the track merges alternative dance with rock influences, reflecting themes of love and mortality. Bernard Sumner himself has admitted he's unsure of its full meaning, though one of its most recognised lines - "pretending not to see his gun / I said, 'Let's go out and have some fun'"- was inspired by a real-life encounter with a gun-owning host in the United States. Created in a sleep-deprived rush just before an Australian tour, the song has since been reinterpreted by artists like Capsule Giants and Amoeba Crunch and remixed by collectives such as Razormaid. Spin magazine's John Leland praised its evocative melody and intensity, particularly the explosive finale where the band cranks every machine to full power.
Review: New Order's 'Bizarre Love Triangle' stands as a hallmark of synth-pop, encapsulating the band's innovative spirit and leaving an indelible mark on their legacy. Featured on their fourth album, Brotherhood, this track, released in November 1986, is often celebrated by fans despite its initial lukewarm reception on the charts, leaving even the band members puzzled about its initial performance. The creation of 'Bizarre Love Triangle' began when New Order borrowed a Fairlight synthesiser, leading to a distinctive rhythmic bass line crafted by frontman Bernard Sumner. The song evolved into a high-energy electro-pop anthem, with an iconic chorus that captures listeners from the get-go. Despite its modest chart success compared to other hits like 'Blue Monday', the track played a crucial role in establishing the band's international appeal, especially in the American market. It quickly became a live favourite and a staple in New Order's performances, showcasing their knack for reinventing their classics. With remastered and reissued vinyl now available, 'Bizarre Love Triangle' continues to make new fans along the way while holding a special place in the hearts of 80s music lovers still. Its enduring charm is a testament to its brilliance as a pop masterpiece, inviting diverse interpretations and connections.
Review: New Order's 'State of the Nation' returns as a remastered reissue of the original 12" single, originally released in 1986. During this period, the band's confidence was soaring, and this track exemplifies their knack for crafting catchy dance music that resonated with audiences. The remastered version maintains the original tracklisting, including the second side 'Shame of the Nation', which serves as a dub rendition of the title track. This version extends the rhythmic elements, offering a fresh perspective on the song while preserving its infectious energy. State of the Nation not only secured its place as a Top 40 hit in the UK but also featured on the iconic compilation Substance, released the following year. New Order's enduring legacy and ability to blend catchy melodies with danceable beats is captured perfectly with these recent 12" single reissues.
Review: New Order's 'Touched By The Hand Of God', originally released in 1987, returns as a remastered 12" single, retaining its original tracklisting. The main version embodies the quintessential New Order sound of that era, featuring a powerful and uplifting chorus that sticks in your mind. The infectious rhythm and expertly crafted drum programming create a danceable beat that showcases the band's signature blend of post-punk and electronic elements. The track is equally know on the dancefloor as it is for the iconic music video, which humorously depicts the band performing in heavy metal attire, exemplifying their characteristic tongue-in-cheek style. On Side-2 features a dub version that extends the instrumental sections while preserving the vital chorus, maintaining the track's strength and appeal. A reminder of New Order's ability to craft memorable, infectious dance tracks.
Review: Reissued to mark 50 years of Bomp! Records, this 7” revives two sweetmeats from Nikki And The Corvettes, all teased hair, leather jackets and bratty charm. ‘Honey Bop!’ leads with snotty vocals and handclap hooks, wired on girl-group gloss and Ramones-tight riffs. On the flip, ‘Shake It Up’ elevens up the fuzz and attitude, nodding to 60s garage and jukebox sleaze. Originally released by Bomp! - the label who helped connect power pop, punk and psych weirdness under one roof - this single rattles with the same no-rules spirit that defined the imprint’s heyday. The Corvettes never hung about long, but their bubblegum snarl still cuts sharp.
Review: This is a 7" gem that comes on random coloured vinyl and is a great new chance to own a classic bit of reggae form the 90s. The legendary four tacker was first dropped back in '94 by this cult German Ska band and it has plenty of attitude that encourages you to stay rude yourself. 'Stay Rude - Stay Rebel' kicks off with big horns and uptempo drums, 'Tour De France' keeps the pressure on and 'Love Song' strips things back a little more with a more laid-back and swaggering sound. 'Girl (Tango)' has a more playful and funky edge with some sumptuous sax leads.
Review: If any album comes close to the beauty of Crosby, Stills & Nash in 2025 it's this. It's difficult to imagine anyone else nailing melodic, acoustic guitar-oriented music that treads in gospel, blues and pastoral psychedelia better than this supergroup. Could Bernard Butler be on his way to another Mercury Prize nomination with this? They've got a strong case for it. The band itself is something a little different and formed by popular demand. Norman Blake (Teenage Fanclub) Bernard Butler (Suede) and James Grant (Love and Money) originally got together for one occasion, at Saint Luke's in Glasgow in 2022 for Celtic Connections, but the power of them together was so great they've been talked into putting an album out. They've gone about it in quite a pragmatic way, with each member labelling which songs theirs, as opposed to all trying to write the same song at the same time. Makes sense really.
Review: German post-punks Die Haut collaborated with Nick Cave when he was towards the end of his time in the Birthday Party. Together they made a vastly stylish album of darkly atmospheric music that you can dance to and it's now being reissued, which will hopefully bring about renewed appreciation because it's up there with the very best alternative records. Everyone has Unknown Pleasures, but why don't they have this? It's absolute fire. 'Stow-A-Way' sounds like a band having the time of their life in the most reckless way possible, which will ultimately encourage more people to pick up a guitar. Meanwhile, 'The Victory' is like a cooler version of Talking Heads and ought to have you digging out a sleeveless denim jacket in no time.
Review: Germany's Die Haut are like the forefathers of a sound that's now sometimes referred to as Crank Wave - this rough n' ready rehearsal room, or dimly-lit basement sound with noisy guitars and goth singing. What's clear, though, despite more than 40 having passed by since this was first released (1983), few capture that murky, jagged aesthetic better than Die Haut. And if you were to have someone mumble-sing over your noise then who better than Nick Cave? Nick Cave was at the end of his time in Birthday Party at this time he briefly joined them, so, as a young man, his pipes are relatively higher than the bellowing baritone we know him to be today. In terms of kindred spirits, you can imagine Lias Saoudi of Fat White Family being firmly into this. This is a top-tier reissue.
Review: .Halifax in Nova Scotia on the East Coast of Canada punches above its weight for DIY underground rock and indie. Despite being dwarfed in size compared with the dazzling heights of Montreal or Toronto, the culture is strong, partly thanks to a big student population, so it has become a favourable place for bands to reside. And the likes of Wintersleep, Walrus and Nap Eyes are truly important etchings in the fabric of the place.
Nap Eyes' strength is in delivering hip, analogue-sounding indie-rock records steeped in poetry, philosophy, surrealism and improvisation. Highlights include 'Demons', an adaptation of a phantasmagorical poem of the most important figures in Russian literature, Alexander Pushkin; and an adaptation of the visionary poem by W.B. Yeats - 'I See Phantoms of Hatred and of the Heart's Fullness and of the Coming Emptiness.'
Of the improvisational qualities here, the instrumental wig-outs on album closer 'Isolation' is a hoot. It feels as visceral as any passage of guitar music you'll hear this year. You'd be forgiven for thinking you're listening to Lee Ranaldo of Sonic Youth, which is no bad thing. Meanwhile, vocally there's parallels to Lou Reed that suit them well. But for all the routine comparisons, that's tempting to make, it does feels as if they're an idiosyncratic act in their own right; underground icons who deserve all the recognition that they can get.
Review: Rome is a 21-track live album that captures The National's performance in the Italian capital on June 3, 2024, with a tracklisting that spans the band's 20-plus-year career. Rome highlights fresh renditions of recent tracks such as 'Eucalyptus' and 'Tropic Morning News', revealing The National's distinct ability to reshape their music in concert, giving new life to old favorites while showcasing hidden gems like 'Runaway' and 'Murder Me Rachael'. The National are renowned for their emotional intensity and layered songwriting and frontman Matt Berninger's deep, brooding vocals, combined with the intricate musicianship of brothers Aaron and Bryce Dessner and the rhythmic backbone provided by Scott and Bryan Devendorf, have earned the band critical acclaim and a devoted fan base. Not to be excluded, the live album has beloved songs like 'Bloodbuzz Ohio', 'I Need My Girl' and Fake Empire' as well. Their live performances are celebrated for their raw energy, with the band's songs taking on heightened emotional and sonic dimensions in a concert setting. Rome preserves this intensity, capturing the fiery atmosphere of the performance and offering fans a definitive live document of the band's evolution over two decades. The album immortalises The National's ability to craft both intimate and expansive moments on stage.
Review: US indie pioneers The National formed back in 1999 and they have cleverly managed to skip the trap of becoming a legacy band. They are aging like a fine wine with old songs sounding better than ever live and new songs holding up brilliantly next to the staggering quality of their early tunes. Part of their evergreen appeal, with increasingly youthful audiences gathering at their concerts despite their sad dad rock tag, is thanks to guitarist Aaron Dessner's a-list collaborations as a producer - including with Taylor Swift. This double vinyl LP set, recorded at the National's June 3 concert at Auditorium Parco della Musica Ennio Morrico in Rome, conveys just how well aligned they are to the zeitgeist, thanks to the mix including the crowd's overwhelmingly emotional response. As for the setlist, it is a celebration of their past, present and future and solid throughout, but standouts include: 'Fake Empire', a spine-tingling knock out that will floor you. And 'Bloodbuzz Ohio', a baroque pop take on post-punk, with the flair of Sufjan Stevens and the darkness of Joy Division. Legendary stuff.
Review: The National's Rome, is a 21-track live album capturing the band's June 3, 2024 performance at the stunning Auditorium Parco della Musica Ennio Morricone in - you guessed it - the Italian capital. Mixed by Peter Katis, the album spans over two decades of The National's career, featuring iconic tracks like 'Bloodbuzz Ohio', 'I Need My Girl' and 'Fake Empire', alongside newer material such as 'Eucalyptus' and 'Tropic Morning News'. The National, formed in 1999, are an American rock band known for their emotional depth and intricate songwriting. With Matt Berninger's baritone vocals and the instrumental prowess of brothers Aaron and Bryce Dessner, alongside Scott and Bryan Devendorf, the band has built a reputation for powerful live performances and critically acclaimed albums. Known for their introspective lyrics and rich, textured sound, The National continues to evolve after two decades. This live recording showcases the band's ability to transform their songs in the concert setting, offering refreshed renditions and hidden gems like 'Runaway' and 'Murder Me Rachael'. Known for their intense live shows, Rome immortalises the emotional and fiery energy The National brings to the stage.
Review: A fantastic new pressing of a band who were an important part of the grebo scene in the late 80s and early 90s. Having earned a loyal fanbase with God Fodder, which is their electronically-tinged grunge and pop-punk leaning debut album, this follow-up showed them buck the trend of the difficult second album and deliver the goods. The chart-bothering single 'Not Sleeping Around' is a banger with Stone Roses-y wah guitars, an infectious vocal melody and urgent, hard-hitting rock structure. The same year this was originally released they headlined the NME stage at Glastonbury and cemented their reputation as one of the best live bands in Britain of that time.
Review: Some Furtive Years - A Ned's Anthology is an excellent collection from the 90s Britpop band Ned's Atomic Dustbin, known for their edgy blend of punk and funk-influenced pop songs that impressed the UK fans and beyond from 1991 to 1995. This compilation, assembled with the band's input in 2007, includes 16 of their most beloved tracks, such as 'Grey Cell Green,' 'Kill Your Television,' 'Until You Find Out,' 'Not Sleeping Around,' and 'Cut Up.' Furtive Years effectively highlights the best of Ned's Atomic Dustbin, showcasing the band's high-energy, post-"Madchester" alternative rock sound and proving just how underrated they were. For the first time, Some Furtive Years - A Ned's Anthology is available on vinyl as a limited edition release. This 2LP set is pressed on yellow-colored 180-gram audiophile vinyl with an etched D-side and includes an insert.
All I Ask Of Myself Is That I Hold Together (4:27)
Floote (5:34)
Premonition (3:46)
Talk Me Down (1:59)
Borehole (1:15)
Your Only Joke (3:52)
Stuck (4:00)
To Be Right (4:00)
I Want It Over (4:00)
Traffic (4:00)
Song Eleven Could Take Forever (1:19)
Review: Ned's Atomic Dustbin's final studio album, Brainbloodvolume, marks a departure from the Stourbridge earlier pop roots, embracing a diverse array of styles and experimental approaches. Released initially in the U.S. in March 1995 before reaching the U.K. in July that year, the album received a mixed reception due to the overwhelming Brit-pop wave at the time. However, it stands out as an ambitious and energetic release, showing the band's evolution with ultramodern production, electronic elements and adventurous sampling.
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