Juno Recommends Rock / Indie / Folk / Metal / Punk / 50s / 60s June 2020

Review: You'll probably struggle to find an album that opens with two more contrasting tracks than the fifth long form effort from Mike Hadreas. Re-teaming with GRAMMY-nominated production talent Blake Mills, with the pair inviting a host of guest collaborators to help on this record (Jim Keltner, Pino Palladino to name but two), the record begins with the peaceful, reflective and hymn-like 'Whole Life', a classic slice of rock croonerdom, before the scuzzy guitars of 'Describe' drop in like juggernauts. Elsewhere, you have the proto-pop of 'On The Floor', a track heyday Cyndi Lauper would have been happy to call her own, and the haunting slow dance of 'One More Try', offering yet more shades of grey which, combined, create a complete picture of a man, or indeed men, in the 21st Century. Rebellious, tender, caring, carefree and deeply complex. Definitely one that will keep you exploring long after first pressing play.

Review: Considering it was only last year when Sleaford Mods dropped their prized UK Top 10 LP 'Eton Alive' it's almost jarring they should now unveil a Best Of, of sorts. It's hardly time to reflect when you're one of the most vital acts in contemporary British pop. But then the record stands up on its own merit, too, more than living up to the name by offering an insight into the ties - or rather tracks - that bind together the outfit's seven year career to date. Those familiar with the work of Jason Williamson and Andrew Fearn will not be surprised to learn the contents here are visceral, heartfelt, stubborn, angry, and stood with tongue firmly in cheek. Observations from an island still riddled with inequality and led by donkeys, set to the kind of catchy but raw guitar, sequencer and drum work that can't help but take you for a ride.

Review: Long destined for greatness, if whatever god you do or don't believe in doesn't bestow upon Moses Sumney's household name longevity then it's simply because he refuses to play by the rules of the music system. Experimental in the true sense - he loves to see what can be done with what we are already used to - in a world that's well accustomed to soul-jazz-electronica-R&B hybrids Sumney still stands out as one of the few capable of real magic. Opening on 'Cut Me', not discounting the wonderful tune up intro just before, it's hard to remember more of an effective display of pop perfection and heartfelt songwriting in a leftfield artist since Jamie Lidell delivered 'Multiply'. 'Grae' is a very different beast made for a very different and more complex time, though, embracing a swathe of elements from icy darkwave to acoustic balladry and even opera as it runs its course. Phenomenal.

Review: Where would you be without Mark Lanegan? Where would any of us be without Mark Lanegan? Scratch and don't answer that - responses probably depend on personal experiences. Nevertheless, the man once most commonly known as the guy from Screaming Trees is nothing short of vital - incredible songwriter and top drawer musician, with his second album in under six months more than enough evidence to back those claims. In many ways 'Straight Songs Of Sorrow' is an amalgamation of all the artist has done and been before solo, which is saying something given this is studio LP number 12. Lyrically a testament to some of his darkest hours gone by, elements of early, rawer outings are more than audible, with lashings of the synth stuff that has typified later material acting as a counterbalance. Delicate acoustic and string workouts, shades of DNTEL, twisted organ cries and soul searching, dark, alternative rock moods.

Review: There's certainly plenty to talk about here. British chart-topping and stadium-filling enigmas The 1975 return to prove you really can't predict what the troupe will do next, delivering what would be their most divisive and explorative album if it weren't for the fact they command so much loyalty from fans you could be forgiven for thinking dark forces were at play. 'Notes On A Conditional Form' is easily the furthest we've wandered from the formative years of a band that cut teeth doing teen-punk covers, and it's hard not to notice the subtle theme here. From 'Having No Head', which rides on a sharp house groove, through the garage breaks of 'Yeah I Know', low slung dub of 'Shiny Collarbone' and the shoegaze of 'Streaming', it plays out like a celebration of the breadth and diversity of UK pop culture.

Review: From a cover image wonderfully displaying the proportional difference between humans and the world we call home, to the expansive pedal steel guitar chords that weep their way through the musical destinations here, Raymond Richards encapsulates the vast openness of the US in sound, offering aural interpretations of the beauty and desolation, hope and devastation this wildly rich but painfully unequal country is home to. Track titles are inspired by real pins on the map, although it's unlikely you'll recognise many - we're talking 'Paradise, California' (a swooning, sun-kissed closing overture), 'Astoria, Oregon' (a lilting, vast but quiet slice of ambient) and 'Roslyn, Washington' (which sounds like psychedelic country) rather than more obvious places like Los Angeles, where Richards stomped about with the likes of DJ Lovefingers and Slowdive affiliates Mojave 3 in the late-1990s.

Review: When Charlatans frontman Tim Burgess dropped 'Empathy For The Devil' back in February it burst onto playlists like the scorching sunshine it sounds like. A jaunty, carefree slice of summer pop, complete with proclamations of "What will be will be", it marked the return of a Britpop hero who is one of the era's most talented, likeable and consistent - his work after those heady days has remained highly original and varied. Those looking for more of the same on this, his fourth solo album, will be pleased to know it's hardly lacking in good vibes. 'Sweetheart Mercury' follows the aforementioned single and album opener, and it's equally sublime and bouncy. In fact, anyone looking for something subdued must wait for 'Undertow' and its piano and vocal build, which is still a track of strength rather than vulnerability. Packing a powerful punch while never failing to explore new ideas, it's exquisite, timeless and essential.

Review: It's Gizzard, baby, but not as you've perhaps heard them before. Unless you caught them on stage at one of the shows these live recordings were captured at (namely London, Manchester, Madrid, Utrecht, Milan, Barcelona and Brussels). It's impossible to truly reflect the ferocity and fun of the mighty King in the flesh, but the combination of 'Evil Star''s brooding doom guitars and 'The River''s smooth jazz funk do enough to convey the breadth and scope of what the band are about. The decision to combine multiple concert takes into one (almost) coherent whole makes more sense when you know this LP accompanies a movie of the same name. These are snapshots of life on the road from stage eye view, complete with breakneck heavy metal, stomach-smashing drum solos, and the anthemic pop of 'Let Me Mend The Past'. Concluding with the epic, 20-minute juggernaut of emotion that is 'Brief History of Planet Earth', it's in the exclusive club of live records you need to own.

Review: Where would you be without Mark Lanegan? Where would any of us be without Mark Lanegan? Scratch and don't answer that - responses probably depend on personal experiences. Nevertheless, the man once most commonly known as the guy from Screaming Trees is nothing short of vital - incredible songwriter and top drawer musician, with his second album in under six months more than enough evidence to back those claims. In many ways 'Straight Songs Of Sorrow' is an amalgamation of all the artist has done and been before solo, which is saying something given this is studio LP number 12. Lyrically a testament to some of his darkest hours gone by, elements of early, rawer outings are more than audible, with lashings of the synth stuff that has typified later material acting as a counterbalance. Delicate acoustic and string workouts, shades of DNTEL, twisted organ cries and soul searching, dark, alternative rock moods.

Review: Although Sex Swing have emerged from London's ever-fertile independent scene, their roots are pretty global. And speak volumes about what to expect from the band. Members have also been involved with Dead Neanderthals, a free jazz project, Seattle's masterful drone metal dons Earth, and a band called Dethscalator. Among other endeavours. As you might assume, then, their combined take on dark electronic rock comes stacked with unnerving doom and a feeling of foreboding menace. Cacophonies abound, the aural turmoil of 'Skimmington Ride''s climactic finale showcase just how loud and disorientating things can get, without forsaking musicality within those walls of keys and chords. A contrast to 'Garden Of Eden', which keeps itself on a direct and frantic course bound for the album's conclusion - think sweat, spilt beer and blood on the dancefloor. Packing plenty to satisfy fans of everyone from Liars and Idles, its uncompromising and unforgiving stuff.

Review: Considering it was only last year when Sleaford Mods dropped their prized UK Top 10 LP 'Eton Alive' it's almost jarring they should now unveil a Best Of, of sorts. It's hardly time to reflect when you're one of the most vital acts in contemporary British pop. But then the record stands up on its own merit, too, more than living up to the name by offering an insight into the ties - or rather tracks - that bind together the outfit's seven year career to date. Those familiar with the work of Jason Williamson and Andrew Fearn will not be surprised to learn the contents here are visceral, heartfelt, stubborn, angry, and stood with tongue firmly in cheek. Observations from an island still riddled with inequality and led by donkeys, set to the kind of catchy but raw guitar, sequencer and drum work that can't help but take you for a ride.

Review: If you've ever even heard of US alternative indie rockers The Dream Syndicate then chances are you've read the kind of reviews these guys garner. Few critics have penned anything like a criticism, lauding the troupe for originality and also inherent talent, and this latest LP will do little to threaten that prestige. It's a real epic, with most tracks well over the seven-minute mark, and some running far beyond twenty. The songwriting again reveals Steve Wynn to be one of our most precious living artists, and stylistically it feels as though the band have finally found a middle ground where varied influences aren't just allowed to co-exist, they actually create something innovative and - dare it be said - new. Melding prog, European avant-garde, blues and electronic jazz, it's not that you can't find anything that sounds like this, but you'll definitely struggle.

Review: Considering it was only last year when Sleaford Mods dropped their prized UK Top 10 LP 'Eton Alive' it's almost jarring they should now unveil a Best Of, of sorts. It's hardly time to reflect when you're one of the most vital acts in contemporary British pop. But then the record stands up on its own merit, too, more than living up to the name by offering an insight into the ties - or rather tracks - that bind together the outfit's seven year career to date. Those familiar with the work of Jason Williamson and Andrew Fearn will not be surprised to learn the contents here are visceral, heartfelt, stubborn, angry, and stood with tongue firmly in cheek. Observations from an island still riddled with inequality and led by donkeys, set to the kind of catchy but raw guitar, sequencer and drum work that can't help but take you for a ride.

Review: Long destined for greatness, if whatever god you do or don't believe in doesn't bestow upon Moses Sumney's household name longevity then it's simply because he refuses to play by the rules of the music system. Experimental in the true sense - he loves to see what can be done with what we are already used to - in a world that's well accustomed to soul-jazz-electronica-R&B hybrids Sumney still stands out as one of the few capable of real magic. Opening on 'Cut Me', not discounting the wonderful tune up intro just before, it's hard to remember more of an effective display of pop perfection and heartfelt songwriting in a leftfield artist since Jamie Lidell delivered 'Multiply'. 'Grae' is a very different beast made for a very different and more complex time, though, embracing a swathe of elements from icy darkwave to acoustic balladry and even opera as it runs its course. Phenomenal.

Review: It's hard to separate Blake Mills the legacy from Blake Mills 'this is what you're listening to right now' whenever you encounter the man in question. This is his fourth solo album since deciding to move out from the shadows back in 2010, but it's the product of lessons and techniques learned from decades of working and producing for big names - Fiona Apple, Alabama Shakes, Perfume Genius, to name but a handful. Over the years he has garnered an exceptional reputation for adding understated but incredibly effective layers of musicality, hence the praise from guitar greats like Eric Clapton. In practice, what that sounds like on this record is a hushed and delicate masterpiece showcasing an accomplished songwriter and instrumental hero at his best. Slick and sophisticated, direct but apparently destined to wander through soft but rich string and piano tapestries.