Jagjaguwar US Vinilo y CD

Review: Indie singer-songwriter and folk experimentalist Bon Iver follows up his 2024 EP 'SABLE', expanding upon the EP's concept with a full-length in 11 tracks. Diving into themes of memory, longing and transformation, the record feels like a deciduous psychic regrowth, processed and refined from an initial uncontrolled burl of raw feeling and expression. Layering experimental sounds and organic textures, it hints at Iver's change in direction kept steady ever since 2016's Jagjaguwar debut 22, A Million. The style was continued and redeveloped on 2019's fourth album, i,i, and now returns in its fullest resplendency, with modern symbolic bricolage of effulgent soundscapes and querulous singing. This is the latest in a string of records that cements Justin Vernon stature as an artist and not a mere musician: increasingly, we hear the work of someone clawing back greater and greater shares of aesthetic control.

Review: When Dinosaur Jr. reunited, more than 20 years after their formation and notorious split, there was concern they might just be rehashing their old hits for nostalgia's sake. However, their 2007 album Beyond decisively dispelled such fears with a powerful Marshall-driven response. Recapturing thepower of their early classicsiDinosaur, You're Living All Over Me, and BugiBeyond reaffirmed their place in rock history, delighting longtime fans and gaining new listeners. Following Beyond came Farm, the original trio's 9th studio album, solidifying that Dinosaur Jr. could still deliver electrifying, timeless rock music. Farm delves into their hallmark elements: soaring, distorted guitars, catchy hooks, and rich melodies. Some tracks evoke the grandeur of 70s guitar epics, while others are perfect for a peaceful retreat with Joni Mitchell and Neil Young. Memorable tracks like the nearly seven-minute 'Plans' offer a delightful rock experience, while 'I Don't Wanna Go There' combines bold guitar leads with straightforward delivery reminiscent of James Gang or Humble Pie. This edition of Farm includes four tracks never before pressed to vinyl: 'Houses', 'Whenever You're Ready' (a cover of The Zombies), 'Creepies' (Instrumental), and 'Show'. Recorded at J Mascis' Bisquiteen studio in Amherst, Massachusetts and produced by Mascis himself, Farm encapsulates the dynamic and unique energy of one of America's premier rock bands.

Review: Lonnie Holley crafts music that is immersive and expansive, rich in both sound and storytelling and that's the case once more on this new long player. If finds Holley craft a symphony of sounds that stitch together effortlessly, each moment feeling like a discovery. The album's opening track, 'Seeds,' sets the tone with its nine-minute journey weaving sparse sounds, chants and Holley's powerful voice to explore themes of survival, pain and the failure of home while 'The Same Stars' (feat Joe Minter & Open Mike Eagle) brings more yearning and lyrical depth. Tonky is an album that invites you to listen closely and reflect deeply.

Review: Tonky is a collection of found sounds and intimate storytelling reflecting his life of survival and invention. The album's title comes from a childhood nickname given to Holley when he lived near a honky tonk. Opening with the nine-minute 'Seeds,' the song builds from a sparse sound into a complex symphony, blending chants, keys, strings and Holley's raw voice. The track explores themes of hard labour, violence and the failure of home and Tonky is an album of abundance that shows Holley's mastery in combining personal narrative with expansive sound, all while featuring contributions from various talented artists.

Review: Mustafa's masterfully crafted new debut album is called Dunya which translates from Arabic to "the world in all its flaws." The Sudanese-Canadian artist digs deep into religious devotion, childhood trauma, gang violence and romantic intimacy in hugely personal ways throughout the record and showcases his superb songwriting ability. His blend of genres from hip-hop to soul and r&b comes with novelistic details, lasting hooks and raw and earnest words. It features appearances from collaborators such as Aaron Dessner, Rosali?a, Clairo and Nicolas Jaar but amongst all that Mustafa's confident, distinctive voice shines bright.

Review: It's hard to imagine the esteemed Jagjaguwar label without Angel Olsen. The American singer-songwriter feels like a central figure. She epitomises the absolute quality that they put out year-in, year-out. Her long-standing partnership with them has led to her landing a new imprint named somethingscosmic. Here she's given free reign to release when and how she wants, with help from Jagjaguwar. An absolute dream for her no doubt. This, the second release on somethingscosmic, it's billed as a compilation reimagined as a dialogue; the A-side features artists chosen by Olsen, with each artist choosing their own song for the collection. Side B is a collection of songs from the same artists, but chosen by Olsen and recorded by her. Of the artists on there, Poppy Jean Crawford's 'Glamorous' is dark post-punk with a Kills-esque vocal... it feels like what the definition of rock n' roll should be. Meanwhile, Coffin Prick's 'Blood' (Yep, you read that right... what a band name!) is a great example of reckless psychedelic fuzz. And Sarah Grace White has a stunning, magnetic voice and the music is pared back to let it shine at the forefront of the mix. Olsen clearly has A&R clout and magical release ideas - long may her new venture thrive.

Review: New Zealand-turned-Portland neo psych sorts Unknown Mortal Orchestra have made a name for themselves with vocal-based records. But they occasionally turn their hand to purely instrumental music and come up trumps. IC-02 Bogota follows their only previous instrumental album, 2018's IC-01 Hanoi. The rhythm of the album brings you to the chaotic hustle and bustle of the Colombian capital, which is where the album was recorded. It's music that appears born out of collaboration; the single 'Earth 1' is an 11-minute jam that has a lot in common with jazz in terms of knowing the moment when to make way for an extended solo. This is a superb detour and a series that we can only hope UMO keep going.

Review: Celebrating its then tenth anniversary, Are We There by Sharon Van Etten, now available on a unique black, grey and silver split-coloured vinyl, marks a poignant turning point in her discography. Released in 2014, the album's cover art, depicting a woman peering out of a moving vehicle, sets the tone for an exploration of emotional wreckage and healing. Tracks like 'Your Love Is Killing Me' and 'Our Love' deliver some of Van Etten's most indelible and violent lyrics, reflecting a raw, visceral grappling with heartbreak and self-discovery. Amid the pain, 'Tarifa' offers a brief respite with sun-soaked amnesia, while 'Every Time The Sun Comes Up' ends the album on a note of self-deprecating humor, signaling growth and resilience. Van Etten's journey from the ethereal sound of Because I Was In Love to the brutally honest storytelling in Are We There showcases her evolution as an artist unafraid to confront her darkest moments. This reissue reminds and resonates deeply with those navigating the tumultuous waters of love and loss.

Review: Few songwriters have the ability to pen a melody that welcomingly sticks in your head for years after you hear it only once but Sharon Van Etten has that. It's especially prominent on the Brooklyn-based singer-songwriter's track from her fourth album, originally released in 2014, 'Every Time The Sun Comes Up'. Fast forward ten years past two more acclaimed solo albums and Van Etten has reached a new phase where she's been writing more collaboratively with her band, hence why The Attachment Theory are named on the record. "For the first time in my life I asked the band if we could just jam. Words that have never come out of my mouthiever! But I loved all the sounds we were getting. I was curiousiwhat would happen?" she says in a press release. And the result of that different approach is staggering. The first single 'Afterlife' shoots like a dagger to the heart and the gloom pop melds swagger and sadness into an atmospheric triumph. This record is likely going to be in many best of 2025 album lists.

Review: Sharon Van Etten is in her most collaborative phase yet. Having made a name for herself as a solo artist on the ever-reliable Jagjaguwar label, we're now seeing the band put front right and centre: The Attachment Theory are named on the record. "For the first time in my life I asked the band if we could just jam. Words that have never come out of my mouth - ever! But I loved all the sounds we were getting. I was curious what would happen?" says the 'Every Time The Sun Comes Up' hitmaker in a press release. The first single 'Afterlife' shoots like a dagger to the heart. It's electro-tinged gloom pop with swagger - an atmospheric triumph. Ultimately, the gushing response from fans bodes well for the record and Van Etten hammers home her reputation for being among the very best in the business at delivering sad bangers. There's a good chance this album will grace many albums of the year lists.

Review: The mesmerising 'Seventeen' and 'Every Time the Sun Comes Up' hitmaker Sharon Van Etten is back. This time with her band so in-tow that they are now named on the album. Welcome the Attachment Theory. This is Van Etten's most collaborative work to-date and the sonics have a more Kraftwerk-ish feel with welcome use of atmospheric keyboard work in there to go alongside her melancholic indie-pop core. The single 'After Life' has a melody that sticks right in your head and feels as moving as anything this merchant of the most raw emotions has ever conjured. If it be known what this singer has for breakfast let us know. She's operating on a whole other level. Expect album of the year nominations for this one.