Review: If you had an asset as potent and praised as 'Blue Monday', you'd want to see where else you could take it, wouldn't you? After New Order released their singles collection Substance 1987, they served up 'Blue Monday 88' with some subtle refinements overseen by none other than Quincy Jones. It's just the right approach, adding some spice to the rhythm section but keeping the brilliance of the song intact. Meanwhile 'Beach Buggy' on the flip sees Michael Johnson going in on the instrumental flip side version for those who need maximum club reaction. Both tracks absolutely shine thanks to a tidy remastering treatment, so if you don't already own it, now's the chance to put that right.
Review: The Nut Jumpers is a collaboration that brings together Helen Shadow, Ricky Lee Brawn (of The Stargazers and The Big 6), and 'Mr. Dynamite' aka Jake Calypso, and it finds them blend their talents into a diverse yet authentic rock'n'roll experience. With Helen's stellar guitar, Ricky Lee's dynamic drums, and Jake's vocals, harmonica, and bass, their sound spans rockabilly, rock'n'roll, blues boppers, and sixties vibes with effortless cool. They fuse these influences seamlessly, occasionally evoking guitar riffs reminiscent of Link Wray in a way that means The Nut Jumpers deliver a rich musical tapestry that resonates with classic authenticity and a contemporary edge.
Review: Back in 2011, Nicolas Jaar joined forces with fellow Clown & Sunset contributor Dave Harrington for the Darkside EP, an impressive trio of untitled tracks that pitted the formers scratchy, near-paranoid production style against the latter's penchant for lo-fi indie-rock inspired fuzziness. Here, the duo dusts down the Darkside alias once more for a first collaborative album. Predictably, it's an impressive set, offering a collection of downtempo tracks that shuffle between crackly, out-there atmospherics ("Sitra", reminiscent of much of Jaar's Space is Only Noise album), echo-laden alt-rock experimentalism ("Heart") and heart-aching fragility (the James Blake-ish "Greek Light").
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: 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: 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: Seven albums in, The National have solidified their songwriting with confident nuance, and 'Sleep Well Beast' is another milestone on this consistent band's upward curve. Standout ballad 'Carin at the Liquor Store' waltzes and wanders through melancholic nostalgia and glimmers of hope, exemplifying the sound and storytelling that The National are so renowned and respected for. Small cracks in the concrete gloom appear with the more energetic and optimistic tracks, allowing just enough light in for this masterfully executed album to encourage repeat listens, which will in turn, and as always, provide ample rewards.
Your Mind Is Not Your Friend (feat Phoebe Bridgers) (4:20)
Send For Me (4:11)
Review: The First Two Pages of Frankenstein is an impressive ninth studio album from The National. It's an 11 song collection that marks something of a new chapter in the band's ever evolving discography as it is steeped in evocative melodies and dense, absorbing lyrical narratives. The American indie legends sound as creatively free as ever on this record and that is sure to both keep ling time fans onside as well as win new admirers. The album was produced in update New York and features some top level guests in Taylor Swift, Phoebe Bridgers and Sufjan Stevens.
Your Mind Is Not Your Friend (feat Phoebe Bridgers) (4:20)
Send For Me (4:11)
Review: American indie rock band the National rach their ninth studio album with First Two Pages of Frankenstein. It makes the start of a new chapter for the hugely popular outfit as they anchor their sounds in evocative melodies and lyrical narratives that are complex and enthralling throughout. The band produced the record at Long Pond Studios in New York with some high-level guests including Taylor Swift, Phoebe Bridgers and Sufjan Stevens. It comes after busy touring years, two back-to-back albums and a period of creative block but suggests that was very much gotten over as it brings plenty of invention and originality.
Review: Laugh Track is The National's most freewheeling, all-hands-on-deck album in years. If Frankenstein represented a rebuilding of trust between group members after 20+ years together, the vibrant, exploratory Laugh Track is both the product of that faith and a new statement of intent. Revelling in the license to radically upend its creative process, The National honed most of this material in live performances on tour this year and captured those invigorated versions in impromptu sessions at producer Tucker Martine's Portland studio, Flora Recording & Playback. The nearly eight-minute album closer 'Smoke Detector' was recorded in June during a Vancouver soundcheck, completing a body of work bristling with spontaneity and vintage rock energy that makes a perfect complement to the songs found on its more introspective predecessor.
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