Review: A little slice of rock history for RSD 2025, taken from the encore from US indie faves The Killers' encore at New York's Madison Square Garden on October 1, 2022, when a certain Mr Springsteen joined them to Boss proceedings. We get versions of two of Springsteen's calling cards - 'Badlands' from his Darkness on the Edge of Town album, often cited as a proto-punk classic - and the ubiquitous 'Born To Run', with The Killers' raucous 'Dustland', seemingly heading up and up in intensity without ever quite hitting the ceiling, as the meat in the musical sandwich. The clear parallels between both acts are laid bare, as is the spontaneity and excitement of a true one off moment.
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: 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: London-raised, Berlin-based singer Anika got her start in the industry releasing her debut album on Geoff Barrow of Portishead fame's Invada Records. And she's gone from strength-to-strength since, collaborating with Dave Clarke, Tricky and I Like Trains, to name a few. Now onto her third studio album - and second on the esteemed Sacred Bones label - she's crafted a sound that's steeped in reverb and acts like a voyage through alternate states. Despite having plenty of retro psychedelic appeal, she's ill afraid to bring us more into the present by evoking the neo-psychedelia scene. The tracks 'Walk Away' and 'One Way Ticket' remind us of the greatness of bands like Amber Arcades, Temples and Pinkunoizu. And vocally she's up there with Aldous Harding and Cate Le Bon, but a lot darker, brooding and ominous in her delivery.
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