Review: If you've caught either Khruangbin or Leon Bridges live before, or indeed listened to anything by either band or producer-singer-songwriter, you'll know where this 20-minute EP is heading. The sleeve art, which gives more than a nod to the 1960s hippy movement, also offers a major clue.
Tripped out, smoked out, lackadaisical, bliss-infused overtures, honied and syrupy, easing you in so far that you don't quite realise how hard it is to crawl back out of the sugar-coated opiate haze. A collection of heady, hallucinogenic work for 21st Century high plains drifters, it's jazzy, psychy, lush soulful fare you'll be wanting to hear again and again, capturing the heat and slow pace of America's southern states with heartfelt songwriting from genuine masters. The result is something very special indeed.
Review: British indie rock apostolic supper-eaters The Last Dinner Party present a new 7" to celebrate the release of their second ever single, 'Sinner'. The song makes thorough use of staccato, operatic vocal theatrics (courtesy of lead vocalists Abigail Morris and Lizzie Mayland) while thereafter breaking into an otherwise gritty post-punk joie-de-vivre. This limited-edition white vinyl release hears the studio version of 'Sinner' on the A come backed by an energetic live take of the same song on the B; the latter was performed in Melkweg, Amsterdam only recently, and marks a gothically stark contrast to the record version.
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: Norwegian outfit Les Imprimes have already found their feet with their earliest outings on Big Crown. As they continue to build towards their new album Reverie they drop another single from it here in the form of 'Falling Away' backed with 'Still Here'. Both cuts are beautiful and display fine musicianship, the sort of soul that melts your heart and breezy grooves that bring calm to your mind and body. Vocals enrich each cut and on this evidence, the upcoming album is going to be special indeed.
Review: Building on the triumph of Les Imprimes' inaugural album, Reverie, Big Crown Records presents two standout tracks from the album pressed onto this 7". For the A-side, Morten provides an edit and infuses the mix with an extra dose of depth reminiscent of Larry Levan's style. The result is striking and hits harder, igniting the dancefloor with its infectious rhythm while delivering a resonant message about the consequences of investing too much in the wrong relationships: On the B-side, 'You' bursts forth with a captivating crescendo, setting the stage for a sublime sweet soul melody. This beautiful declaration of love and reassurance is equally enchanting both musically and lyrically. Morten Martens' talent for arrangement shines through on both of these lovely tunes.
Review: When Marie Davidson announced last year that she would be, "retiring from club music", many wondered what she'd do next. Renegade Breakdown, her first album recorded with a full band (L'Oeil Nu), answers that question. It sees the Canadian artist and her new collaborators deliver suitably arresting, personal and ear-catching songs built on mixing and matching a surprisingly wide variety of musical inspirations, from Blondie, classic disco and mutilated heavy metal guitars, to Kraftwerk, Billie Holiday, Fleetwood Mac and Daft Punk. It's a big shift for the previously highly experimental artist, but thanks to her skill as both a a producer and performer, one that works magnificently well.
Review: There has been plenty said about debutants L'Epee since their single "Dreams" turned heads back in spring. Combining the talents of Anton Newcombe (The Brian Jonestown Massacre), French artist Emmanuelle Seigner, and polished-to-a-sheen pop outfit The Liminanas, it's one of the most refreshing (and French) things you're likely to hear all year. That's more of a reference to the cinematic feeling that defines the album, owing much to the femme fatale vocal delivery, rather than the language each line is sung in. At once evoking the smoky cool of Serge Gainsbourg and the opiate moods of The Velvet Underground, "Diabolique" feels born in a time when psychedelic experimentation and chart topping music weren't mutually exclusive. At once sophisticated and hedonistic, it's a sexy, sensual and overwhelmingly seductive effort everyone should turn themselves on to.
Review: L'Imperatrice's upcoming album Pulsar promises to be a vibrant fusion of funk, disco, pop, and house music, enriched with influences from French house and Italo-disco. The Parisian group show their versatility by incorporating elements of hip-hop, kosmische, and pop into their sonic palette, featuring guest vocalists such as Maggie Rogers, Erick the Architect, and Fabiana Martone, Pulsar promises to deliver a dynamic listening experience. With their infectious energy and innovative sound, L'Imperatrice continues to fascinate audiences, making Pulsar an eagerly anticipated addition to their discography.
Review: On Good Together, Lake Street Dive embraces a renewed sense of purpose and focus on unity amidst social divisions. Described as "joyful rebellion", the album blends energetic, danceable sounds with a defiant, principled message that makes a long-lasting impression. "There's so much pain and division but living in anger isn't sustainable," drummer Mike Calabrese explains adding, "Joy is a powerful way to sustain yourself, and we wanted to remind people of that." The album he has made with his bandmates was produced by Grammy-winner Mike Elizondo and is the first time they collaborated on songwriting from the start. In turn, this expanded their creative range and has brought a new depth to their sound.
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: More than merely an awaybreak for its members Alex Turner and Miles Kane, The Last Shadow Puppets proved themselves on their debut 'Age Of The Understatement' to be masters of a distinctly '60s-styled world of glamour and arresting artifice, their clever wordplay and swooning harmonies combining with ornate arrangements to create a sound as redolent of black-and-white kitchen sink dramas as the trials and tribulations of the twenty-first century everyday. This long-awaited sequel, meanwhile - reuniting them with string arranger Owen Pallett - displays that whereas their careers may have moved in markedly different directions in the interim, their wry and wordily ditties when united display an enviable chemistry and magnetic charm.
Review: Six years ago, an iconic and emotional concert at Madison Square Gardens marked the end of LCD Soundsystem. The accompanying documentary 'Shut Up and Play The Hits' delved into frontman James Murphy's reasons for the decision, with self-examination, a need for change and a fear of old age playing a part. Fast forward to 2017, and the surprise release of three singles accompanying the announcement of a comeback album triggers anticipation and a sigh of relief from fans everywhere. 'American Dream' meets expectations and at times surpasses them, with the familiar driving disco rhythms, strutting funk basslines and heartfelt morning-after-the-night-before ballads feeling like a well-needed catch up with an old friend. The current musical, social and political climates provide Murphy with platforms for his self-effacing and acerbic witticisms. This strong return to form was needed now perhaps more than ever, but simultaneously feels like they never left in the first place.
Review: The original Bridgit Mendler soundtrack to the citrine teen drama movie of the same name sees a full version on vinyl LP this spring. Notable not only for its inclusion in the contemporary musical film, but also for its chart-topping success, the ten songs that make up the many acts of this high-school drama were destined to charm the pubescent masses, coinciding with the film's overarching theme of the school's students transcending use of after-school detention to musical effect, in order to overcome their personal struggles. Imagine Glee meets The Breakfast Club; a cabal of songwriters including Ali Dee, Maria Christensen, Bryan Todd and Jeannie Lurie lay down an array of sure-to-be hits for Mendler to perform on behalf of the cast here.
Review: Evand Dando and co broke through to the mainstream with the sublime, sunny songwriting of 1992's It's A Shame About Ray, then managed to sustain their time at the top the following year with the Slade-referencing Come On Feel The Lemonheads. It's an altogether bigger and superfically impressive prospect, with guests like Rick James and Belinda Carlisle making the contributors' list and a production job from The Robb Brothers which elevates it beyond the slacker rock tag they'd had until the is point. It also spawned their biggest ever single - 'Into Your Arms' - and a host of other chart successes, including the excellent anthem 'Big Gay Heart', which saw them neatly distancing themselves from the jock rock category that other contemporaries like Nirvana quickly found themeslves slipping into.
Review: Next up on AD93 is the debut collab between singer-songwriter Marlene Ribeiro (of drone-psychedelic band GNOD) and electronic producer Shackleton, together masquerading as Light Space Modulator. A ghost-tropical ramble through what can only be described as a deterritorial comedown forest, The Rising Wave amounts to a floral, melty eight-tracker, easing up on concept in favour of a loop-breaking, mangrovey musical mood. The improv psycho-echoes of GNOD are heard in full force here - with lead shocker 'These Things' provides an especially depth-swelling burier bass down below - but Shackleton's long-honed dubstep abstractions serve to focus the mix, keeping things as beatmatchable as they need be open-ended.
Review: A stunning collection that blends The LimiNanas' signature French psychedelia with dynamic guest collaborations. The opening track, 'Spirale,' sets the tone with its hypnotic groove, pulling you into the album's atmospheric world. The duo enlists Bobby Gillespie for 'Prisoner of Beauty,' adding a layer of ethereal intensity. 'Shout,' featuring Rover, brings a punchier energy, while 'Degenerate Star,' featuring Jon Spencer and Pascal Comelade, introduces a gritty, garage rock edge. This album is a testament to the duo's ability to seamlessly incorporate diverse influences, with each track offering a fresh perspective while staying true to their unique sound.
Review: The 'Papercuts' Singles Collection 2000-2023 by American rock legends Linkin Park offers a comprehensive journey through the band's evolution over two decades. This anthology captures the essence of their genre-defining sound, showcasing their iconic hits alongside lesser-known gems. From the raw intensity of early tracks like 'One Step Closer' to the introspective depth of later releases such as 'Numb,' each song reflects the band's growth and artistic maturity. With powerful vocals, dynamic instrumentals, and poignant lyrics, LINKIN PARK's music continues to resonate with fans worldwide.
Review: Swedish dub funk electropoppers Little Dragon - Yukimi Nagano, Erik Bodin, Fredrik Wallin and Hakan Wirenstrand - present their latest LP Slugs Of Love here via their longstanding patrons Ninja Tune. Following up their 2020 album New Me, Same Us, which had a long time to gestate, the new album comes at a well-timed moment, charting a thematic undercurrent of finding love in unexpected places - just the message we need for 2023. Eccentric and kooky synthiness bolsters their minimal-kitsch, r&b-inflected post-punk sound, best evidenced by the songs 'Stay' (featuring JID) or 'Gold'.
Review: Little Dragon - the pioneering Swedish four-piece fronted by enigmatic vocalist Yukimi Nagano, with multi-instrumentalists Hakan Wirenstarnd and Fredrik Wallin on keyboards and bass respectively, and Erik Bodin on drums and percussion - return with their sixth studio album, New Me, Same Us. After an impressive period of renown lasting almost two decades, this new record sounds like a moment of respite and a return to basics. "This album has been the most collaborative for us yet." they explain, "which might sound weird considering we've been making music together for all these years, but we worked hard at being honest, finding the courage to let go of our egos and be pieces of something bigger." This entailed total self-production in a long-term home studio built in Gothenburg, Sweden, as well as an impressively stripped-back sound, towing lullabies such as 'Where You Belong' and 'New Fiction', which both reassure and rouse at the same time.
Flume - "Let Me Know" (feat London Grammar) (3:21)
Lose Your Head (Camelphat remix) (3:32)
Strong (High Contrast remix) (3:12)
Help Me Lose My Mind (with Disclosure) (4:05)
Hell To The Liars (Kolsch remix) (12:37)
Wasting My Young Years (Henrik Schwarz remix) (8:32)
Oh Woman Oh Man (MK remix) (5:34)
Sights (Dennis Ferrer remix) (7:06)
Hey Now (Bonobo remix) (5:48)
Baby It's You (Joris Voorn extended remix) (3:18)
Review: This new long player from Ministry of Sound is their contribution to Record Store Day 2024 and it takes the form of a bunch of mixes of London Grammar's various different tunes. Global house outfit Camelphat feature a couple of times with some nicely emotive and upbeat sounds, 'Strong' gets a jump up drum & bass rework from High Contrast, Henrick Schwarz brings his emo house touch to 'Wasting My Young Years', MK adds some dance-pop sheen to 'Oh Woman Oh Man' and Dennis Ferrer remixes 'Sights' into a tense tech cut with snappy drums.
Review: Some Lorde fans were a little irritated by 'Solar Power', the lead single from her comeback album of the same name, primarily because it sounded far more influenced by cheery '90s indie-pop and summery blue-eyed soul than her moodier early work. She's carried that over into album, which arrives as a boxed high-res download with tons of additional content (poster, postcards, booklet and so on). The singer-songwriter's first set in for years is full of gently warming fare, from the opaque, dewy-eyed folk of 'Stoned in the Nail Station', to the early 2000s R&B-pop-goes-summer soul flex of recent single 'Mood Ring'. There's no glum moodiness here, just gently positive music to raise your mood in these most testing of times.
Review: Summer is drawing to a close, so what better time to avail ourselves of the eleventh record by these masters of melancholia. Low's back catalogue has proven them to be a band possessed of a consistency to match their emotional heft, and Ones & Sixes is no exception quality-wise - the band dispenses indelible and satisfyingly chilly ditties which balance out exquisite harmonies, fetching songcraft and understated charm, whilst also offering curveballs redolent of a band whose less-is-more aesthetic doesn't preclude an experimental slant - the electronic textures around the album's edge and the surprisingly poppy 'What Part Of Me' being cases in point.
Review: Minnesota couple Low have been around the block, lets say roughly 25 times, and it's been the Seattle-based Sub Pop label that's really become home to their music after several drops for the ambient-laced Kranky. I mean, hey, some have even called their music 'dinner party epochal'. Static and noise and other more experimental techniques in production provide a livid colour to this album, take in "Dancing in Blood" for example, with its industrial and subdued goth influences, or the pumping white noise and distortion of album opener "Quorum". Further down the tracklist is "Fly", a naturally melancholic number but far from depressive, with this track in particular hitting a sweet spot in the same way Massive Attack's "Teardrop" does. Very cool LP.
Review: Hong Kong five-piece Lucid Express aim for something between dream pop, shoegaze, washed out, and electronic downtempo, producing a glitzy and emotional sound produced with the utmost quality. Their first-time album 'Floret' is a 500-copy exclusive, and while it marks the band's first commercial LP, is still packed with something of a DIY spirit. Just like the band's expression of intent - 'lucidity' being something that sounds bright and radiant - tracks like 'Venture' and 'Lime' are packed with muted emotions and uncontrollably ecstatic arpeggiations.
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