Review: Bjork and Rosalia team up for the limited marble vinyl edition 12" double-sider, 'Oral', now coming packed with a stunning remix by Olof Dreijer from The Knife. The record is described by its releasers OLI as not just a single release but a "call to arms", with 100% of the profits being funnelled directly to AEGIS, the Icelandic charity dedicated to eradicating intensive fish farming in the country. 'Oral' itself is now a staple of the latest incarnation of Bjork's ever-mutant career, consummating her and Rosalia's recent rapport; a sabre-wielding, purblind aesthetic - befitting also of another of Bjork's collaborative contemporaries, Arca - fits seamlessly with the elegiac reggaeton of the song. Dreijer's remix is rabid and wonky by comparison, its draggy, morphemic rhythms belying Bjork and Rosalia's equally wetted vocals, producing a wacky litany of faunal electronics and whizzing FX.
Review: Acclaimed Japanese artist Cornelius is back with a new three-song EP, Bad Advice/Mind Train, featuring a collaboration with Arto Lindsay. The EP's first single, 'Mind Train,' is an epic nine-minute track inspired by Yoko Ono which blends ethereal space-pop with minimalist structures and bursts of exhilarating chaos. Cornelius describes 'Mind Train' as a symbol of spiritual and inner exploration that is designed to prompt self-reflection. The accompanying video, created by renowned visual stylist Keita Onishi, enhances this journey with stunning retro-futuristic graphics that allow you to explore your own interpretations.
Review: "The final episode of this soap-opera of a band will be released in the form of a 7 inch on 24.01.2025." If this is your first encounter with De Nooit Moede, then welcome to the wake of the best group you sadly only cottoned onto when they were posting about their final release on Instagram. The Brussels seven piece's swan song certainly fits the bill for funeral soundtrack, with RIP's garage-punk-wave washing through your mind with equal parts melancholy and swagger. Four tracks run from the staccato-step of 'Doopsel', which opens the scoring and sets the mood perfectly, through the more melodic 'Sluiswachter', blissfully downtrodden 'Fake Niet', and motoring 'Alledaagse Nachten'. Each is as infectiously groovy as the next, and cooler than pretty much everything else you will have been listening to this week/month/year. More Flemish attitude, please.
Review: Enjoy The Silence, Depeche Mode's standout single from Violator, marked a significant moment in the band's career, becoming their most successful UK single since 'Master & Servant' in 1984. 'Enjoy The Silence' captured both critical and public acclaim, peaking at number six in the UK charts and achieving top spots in Denmark and Spain, as well as reaching number eight in the US. The 12" version is beloved by fans with the myriad of great remixes the song provided. This new yellow vinyl version helps meet the demand of an always desirable dance record. The single's success earned Depeche Mode their first Brit Award for Best Single of 1990. This newfound positivity extended to the subsequent reception of Violator, solidifying 'Enjoy The Silence' as an iconic track in Depeche Mode's discography. The song continues to be celebrated for its brooding, tender qualities, and its ability to resonate with audiences globally as well as the iconic video.
Review: Few tracks capture the icy allure of early 80s electronic experimentation quite like this underground classic. Originally released in 1981, this Swiss post-punk/coldwave classic has transcended its era, becoming a cult favorite across underground scenes and DJ sets of various genres. Now reissued on limited blue vinyl, its influence remains undeniable. 'Eisbaer' is a track that bridges stark, minimalist electronics with the raw energy of post-punk. The hypnotic bassline and cold, robotic drum programming lay a foundation for jagged guitar stabs and eerie synth flourishes, creating an urgent, mechanical pulse. The disaffected, almost mantra-like vocalsideclaring "Ich mochte ein Eisbar sein" ("I want to be a polar bear")iheighten its existential detachment. Echoes of Throbbing Gristle's industrial edge and Cabaret Voltaire's abstract electronics blend seamlessly with the emerging synth-pop movement, helping to push new wave into more danceable, electronic territory. Side B's 'Film 2' takes a more abrasive approach, a pounding, near-industrial instrumental that pulses with motorik intensity. 'Ich Lieb Sie' is more restrained but equally unsettling, its sparse arrangement and ghostly atmosphere reinforcing Grauzone's unique ability to evoke emotion through minimalism. Timeless and still chillingly modern, this reissue ensures that Eisbar and its B-sides continue to inspire. A crucial document of coldwave's evolution, reaffirming why this track remains a DJ favourite decades later.
Review: The legendary James Taylor Quartet will soon return with a much anticipated new full length but before that they offer a glimpse not what to expect from it with new single 'Hung Up On You.' Taylor himself has explained that 'Hung Up On You' was left over from a writing session from his other band The Prisoners and that it was "interesting to see how my JTQ guys, usually funk players, took to this approach." It channels the gritty punk and new wave essence of Medway to deliver a fast-paced rock'n'roll anthem that passionately rants about an enduring, unreciprocated love.
Review: The fantastic James Taylor Quartet delivers a punk-infused track with a powerhouse chorus here that channels the energy of Taylor's time with The Prisoners when supporting The Ramones during their 1986 UK tour. Of that time he has said The Ramones were "incredible-watching their three-hour sets every night at 21 had a huge impact on me. It took until I was 60 to find a way to act on that inspiration." Though The James Taylor Quartet has always had a punky rock 'n' roll vibe in their live shows, this feels fresh and like a new discovery, despite the influence always being present on some level.
Neverender (feat Tame Impala - extended remix) (6:42)
Neverender (feat Tame Impala - Rampa remix) (6:27)
Neverender (feat Tame Impala - Kaytranada remix) (4:41)
Review: A momentous move from neon-soaked electro outfit Justice hears them team up with the like-minded thrower-backers Tame Impala for a "why didn't anyone think of this before?" EP, 'Neverender'. Released hot off the plate of a recent Alexandra Palace show, the just duo are heard to tip the lady's scales towards miscarriage, following their last LP Hyperdrama with a single tort of regret. Kevin Parker's unmistakable countertenor floats above the track's nightridden house mix like a beamer trailing its driver's emotions in its exhaust fumes: "Because I remember / The hardest of times I / don't forget / Neverender." An ode to "can't unsee", it also comes backed by remixes by Kaytranada and Rampa.
Review: The latest awakening from DFA Records hears James Murphy and company lift but a single little finger, precipitating an avalanche of anticipation, as this is their first material in three years. First premiering on NTS to clamorous acclaim, the band's first release since 2022 comes with minimal promo text, and packs bubbling synths with grinding drums, creating a familiar yet refined sound. Echoing the band's early style, it now comes on an exclusive 12" inverted by the 'Extended Trash Can Dub', which brings found, street-larked spring-sound, and vision-questing whispers, to a stomping indie romp, a potentiality promised but not entirely delivered by the original track.
Review: DFA presents a special 12" release from New York's no wave pioneers, Liquid Liquid, paying tribute to the band's profound influence on the label. This double A-side features revitalized versions of their iconic tracks. The first side offers a dynamic rendition of 'Bellhead,' recorded by James Murphy and Tim Goldsworthy in 2004. It's an intense percussive journey, overflowing with marimba, drums, and an array of bells, transforming the original's laid-back groove into a vibrant, energetic workout. On the flip side, we have an unreleased version of 'Optimo,' re-recorded by Liquid Liquid in 2008 and then remixed by Glasgow's Optimo (Espacio), the duo named in homage to the track.
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: Portishead's limited edition 10" vinyl release showcases live renditions of 'Sour Times' and 'Roads', capturing the band's signature trip-hop essence. Recorded in 1998 at The Warfield in San Francisco and Norway's Quart Festival, the tracks highlight Beth Gibbons' haunting vocals and the group's atmospheric instrumentation. The minimalist red sleeve with debossed cover adds a tactile dimension, making it a must-have for collectors and fans seeking a tangible connection to Portishead's live artistry.
Review: Q Lazzarus was always going to be a good fit for the cult synth and cold wave crew, Dark Entries, and so it proves here with this overdue debut. Diane Luckey was born in 1960 in New Jersey and created her iconic moniker while living in NYC's East Village. Her breakout moment came after meeting director Jonathan Demme during a 1986 snowstorm; he was captivated by her demo playing in her taxi. Their encounter led to the unforgettable inclusion of 'Goodbye Horses' in Silence of the Lambs. Despite its cult status, Luckey and collaborator William Garvey remained largely overlooked but surely that will change now as they offer up five unreleased tracks that have been newly mixed from original master tapes.
Review: Sexbeat are the latest gem you're about to fall in love with from the lost generation of punk, Now Wave and Neo-Goth. We only wish there was more information we could share about them, other than the fact they hit hard and manage to straddle the lines between raw and nasty and strangely romantic and melodic. It's rousing stuff that wants us to sing along while getting spat in the face because the front row is so close to the stage and the vocals are delivered with such resolute aggression. On this self-titled A-sider, they launch from the starting blocks with all the energy and atmosphere of an era that's sadly now confined to history, rolling bassline and driving drums immediately gunning for your attention, nodding to the likes of Surf Nazis Must Die and Aufrichtiges Zappa.
Kaitlyn Aurelia Smith & Joe Goddard - "Neptunes" (8:28)
Joe Goddard - "Rapid Fire" (feat Laima) (6:33)
Kaitlyn Aurelia Smith - "Around You" (3:02)
Kaitlyn Aurelia Smith - "Around You" (Joe Goddard remix) (3:35)
Joe Goddard - "Rapid Fire" (Kaitlyn Aurelia Smith remix) (3:55)
Review: Kaitlyn Aurelia Smith and Joe Goddard, two luminaries of electronic music, have united to create Neptunes, a celestial collaboration that defies genre boundaries. This EP is a sonic journey through a vast, ethereal soundscape, where intricate synth work, pulsating rhythms, and haunting melodies converge to create a truly immersive experience. The title track, 'Neptunes', is a mesmerizing exploration of the namesake planet. Smith's modular wizardry conjures up a cosmic soundscape, while Goddard's rhythmic prowess provides a driving force. The result is a track that is both hypnotic and invigorating. Throughout the EP, Smith and Goddard showcase their individual talents while seamlessly blending them into a cohesive whole. Smith's ability to extract haunting melodies from her modular synthesisers is matched only by Goddard's knack for crafting infectious grooves. Together, they create a sonic tapestry that is as beautiful as it is complex. A testament to the power of collaboration and a record that rewards repeated listens, revealing new layers of depth and complexity with each play.
Review: Volksmusik's Underground is a captivating release on Unusual Systems, featuring five dance tracks that fuse various darker subgenres into a compelling electro house hybrid. The album explores dark wave, EBM, and electro techno, creating a unique sonic experience. Side-1 opens with 'Underground,' an uptempo track with a darker Italo house feel that captures an 80s futuristic vibe. Following is 'The Force,' a dynamic piece with engaging lyrics that blend a Nu-Romantic vibe reminiscent of Visage. Side-2 begins with 'Glowing In The Dark,' maintaining the album's dark and atmospheric tone. 'Snake Island' shifts towards a darker rock sound, verging on Goth rock, adding variety to the album's texture. Closing the release is 'We Danced,' which infuses an EBM edge, rounding out the collection with its energetic and intense rhythm. Underground stands out for its innovative blend of genres, making it a great release for fans of dark, electro-infused dance music.
Review: The accomplished London musician and producer Wu-Lu serves up a new EP on Warp that is actually more like an album here. It is 30 minutes of well rounded sound files with narrative that takes and more nuanced, personal approach than his breakthrough, anti-gentrification anthem 'South' and much loved LP, LOGGERHEAD. The big energy of those is replaced here by a series of diary entries that all take inspiration from growing up in Brixton. These of death and loss feature as do the general struggles of life while poet and artist Rohan Ayinde and award-winning author Caleb Femi also guest.
Review: Second time around for eccentric Sheffield trio The All Seeing I's sole full-length excursion, 1999's Pickled Eggs & Sherbert, which here lands on vinyl for the first time.The album, a celebration of Steel City creativity featuring cameos from Cocker, Tony Christie, Babybird and the Human League's Phil Oakey, is best remembered for hit singles 'The Beat Goes On', 'Walk Like a Panther' - lyrics reportedly penned by Jarvis Cocker - and 'The First Man in Space', but there are plenty more highlights amongst the unique blends of fractured dancehall rhythms, redlined electronica, oddball easy listening references, experimental d&b rhythms and genuine leftfield pop nous. For proof, check out blissful acapella number 'No Return' (where Lisa Millett plays a starring role), the breathless, bass-heavy house of 'Sweet Music', the weighty madness of 'I Walk' and the exotica-goes-big beat flex of 'Happy Birthday Nicola'.
Review: Ana Frango Eletrico's first ever reissue, Little Electric Chicken Heart, follows up 2023's most recent record Me Chama De Gato Que Eu Sou Sua. Surfacing after Mr. Bongo were met with a string of requests to reissue the album not long after its original release in 2019, we're once more compelled to consider the album's merits and what makes the enjoyment of it tick. More of an establishment of style and talent than an exploration of a concept, the album is noted for its fusion of chamber pop, rock and samba, across a vintage palette that defies any overarching categorisation.
Review: Omar Apollo's latest promises a deeply personal journey through the aftermath of a tumultuous love affair - the album's title, inspired by the Spanish phrase "lo que sera, sera," reflects Apollo's tongue-in-cheek acceptance of life's twists and turns. With executive production by Teo Halm, God Said No features collaborations with musician Mustafa and actor Pedro Pascal. Recorded at Abbey Road Studios in London and fine-tuned across studios in Los Angeles, New York and Miami, the album showcases Apollo's soulful vocals and introspective lyrics. The prelude single, 'Spite,' and the newly released 'Dispose of Me,' accompanied by a live performance video featuring a 14-piece ensemble, offer a glimpse into Apollo's emotionally charged storytelling. This album is shaping up to be a poignant and intimate exploration of heartbreak and resilience in the face of life's uncertainties.
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