Review: Providing continual evolution to the greater aspects of how original folk music can be heard, sung and played, Andrew Bird's run of album's since Echolocations (2015) sees his character and sound venture in a world hallowed only by the likes of Father John Misty; that echolich ability to notate the sweet spots in notes with pangs of nostalgia. Alongside strings of country refrain and minimalism, folk guitars and dandy whislisture, there's a code to be cracked within the thematic of the album, putting paid to suggestion that Andrew Bird's latest work might actually be his best.
Review: Some super cool sound design to open Jenny Lewis' fourth album for Warner, and it's enough to send the heads of Radiohead fans spinning. This all happens in the first few seconds of the LP's opening, before bursting into a song-soaked ballad of lessons learned, folky stomp boxes and whiskey-laced songwriting. "Red Bull & Hennessey" for example, socially plays with jingle of a wild west cantina, with strokes of Shania Twain and Dire Straits instrumentation mixed with the slightest of pop Madonna and LeAnn Rimes. It's quite a combo to listen to all fixed up in a faded acid wash. There's dubby tropes and funk to be heard in "Little White Dove" too, while solo pianos washed in reverb offer the album a touch of folk classical as well. Our favourite: "Dogwood" is also the one to catch on that tip too.
Review: House Music With Love turn once again to Swedish duo Swim for a record soaked in a particularly soothing bath of Balearic goodness. Original track "Be There" is certainly laced with an air of Scandinavian cool, not least thanks to Erika Rosen's dreamy vocals, but there's a solid boogie undercarriage carrying the music along. Halllo Halo step up with a remix that makes a playful, intricate broken beat refrain out of the backing track while maintaining the vocals. Ghost Immanuel meanwhile whips up a spacious dub that stays close to the original, albeit in instrumental form.
Why Do I Lose My Mind When I Have Something To Say? (3:37)
Incidental Boogie (1:30)
Pearly Gates (4:01)
Review: Through her 'U.S. Girls' project, Toronto-based Meg Remy has released a consistently high quality run of albums that explore issues of femininity with a shaded and angular avant-pop sound. New record 'In A Poem Unlimited' sees Remy continue to explore identity politics, but in a comparatively warmer and more free sound as she collaborates with improvisational group The Cosmic Range. Structurally, the album enjoys an unpredictability of form that sprawls across skulking grunge, found sounds, crunching horn-sections and synth-driven industrial disco. Highlight track 'Incidental Boogie' exemplifies this binding of elements; the contrast of stomping, distorted with Remy's breathy and swaggering vocals is an intoxicating one. The breadth of Remy's palette makes this album an exhilarating listen, and - both as a vocalist and writer - Remy shines as an arresting and formidable talent.