Review: Many critics have been quick to praise Arca's latest album (her fourth in total), highlighting the startling vibrancy and accessibility Barcelona-based Venezuelan's latest work. Where she was once renowned for wilfully challenging experimental sounds, "Kick I" combines her long-standing lo-fi noisenik instincts in ear-catching leftfield pop vocals, fiendishly heavy beats variously influenced by dancehall, reggaeton and Kuduro, sparkling bursts of kaleidoscopic synthesizer sounds, and bass beefier than a herd of highland cattle after a few months on industrial strength steroids. As a result, it's an album that beautifully balances ear-catching attractiveness with serious dancefloor grunt and just the right amount of experimental noise.
Tonight May Have To Last Me All My Life (Edan remix) (3:51)
Frontier Psychiatrist (Mario Caldato Jr 85 Percent remix) (4:02)
Close To You (Sun Araw remix) (6:14)
Since I Left You (Stereolab remix) (4:40)
Flight Tonight (Canyons Travel Agent dub) (5:57)
Radio (Sinkane remix) (8:42)
Since I Left You (Prince Paul remix) (3:45)
Electricity (Harvey Nightclub re-edit) (6:27)
Summer Crane (Black Dice remix) (3:39)
Extra Kings (Deakin remix) (4:44)
Tonight May Have To Last Me All My Life (MF DOOM remix) (2:54)
Tonight May Have To Last Me All My Life (Dragged By Leon Vynehall) (5:24)
A Different Feeling (Carl Craig Paperclip People remix) (10:32)
Thank You Caroline (Avalanches demo Tape) (4:05)
Review: A deluxe reissue now available of the acclaimed 2001 album by Australian hip hop fusion act The Avalanche' Since I Left You featuring the hit single of the same name. This four disc version features several modern reworks of tracks from the LP, with notable appearances from Leon Vynehall and the late MF DOOM on the remix of 'Tonight May Have To Last Me All My Life' and 'A Different Feeling' receiving the Carl Craig Paperclip People remix among many others.
Review: When they delivered their stupendously sample-heavy debut album, Since I Left You, back in 2000, The Avalanches were tipped for big things. For some reason, they failed to capitalize, all but fading from view. That album remains a much-loved listen for many people so there has been an expected degree of anticipation regarding this follow-up, Wildflower. Happily, it's something of a resounding success, with the Melbourne trio serving up another whirlwind trip through sample-heavy, hip-hop era psychedelia. At 21 tracks deep, and with more changes of direction than your average three-week cycle race, it's something of a beast. It is, though, well worth the effort, as repeat listens simply uncovers more layers of hazy, glassy-eyed goodness (be it bluesy trip-hop, slipped disco, dreamy acid-pop, folksy beat-scapes or baked hypno-rock).
Beside April (feat Karriem Riggins & Arthur Verocai) (7:02)
Love Proceeding (feat Arthur Verocai) (7:11)
Open Channels (5:52)
Timid, Intimidating (7:08)
Beside April (feat Arthur Verocai - reprise) (3:42)
Talk Meaning (feat Arthur Verocai, Terrace Martin & Brandee Younger) (8:17)
Review: Canadian trio Badbadnotgood have made us wait for Talk Memory, their fifth album. Arriving a decade after their first full-length, and some five years since the release of their acclaimed fourth LP, it's a much more expansive and cinematic affair than its predecessors - both in scope (it includes more nods towards post-rock and jazz-rock, for example) and sound (a number of tracks feature string arrangements by Brazilian arranger Arthur Verocai). It's a dazzling affair all told, with the band's choice of improvisational composition techniques and an impressive guest list (Laraaju, Karriem Roggins, Terrace Martin and Brandee Younder all appear) resulting in a string of epic, life-affirming compositions. Picking highlights is tough, but we'd suggest checking slow-burn, constantly building epic 'Signal to the Noise' and the buzzing, psychedelic jazz-rock of 'Beside April'.
Review: At the start of 2024, BADBADNOTGOOD channeled their renewed creative energy into the Mid Spiral series. Fresh off a string of international tour dates and collaborations with artists like Daniel Caesar, Charlotte Day Wilson, and Turnstile, the Canadian trio - Al Sow, Chester Hansen, and Leland Whitty - returned to the studio with a vibrant sense of purpose. Joined by touring member Felix Fox-Pappas and key Toronto jazz musicians Kaelin Murphy, Juan Carlos Medrano, and LA's Tyler Lott, they embarked on an intensive recording session at Valentine Studios in Los Angeles. The result is the Mid Spiral series, initially released digitally in three parts - Chaos, Order, and Growth - and now available as a double LP and CD. These suites mark a return to their instrumental jazz roots while seamlessly blending elements of hip-hop, neo-soul, psychedelic and funk.
Review: Named after their infamous Brixton club night, Basement Jaxx's second album Rooty saw them continue to push the boundaries of pop and club music. The album mixes classic house with generous lashings of punk, funk, R&B, jazz, hip hop, 2-step and pop song-craft in a mad genre crash that works like a charm. It features the massive tracks 'Where's Your Head At', 'Romeo' and 'Do Your Thing'.
Review: Released on XL Recordings in 2004 and nominated for the year's Mercury Music Prize, Kush Kash was the third studio album from dance music pioneers Basement Jaxx. The album has its space in history having been the winner of the first ever GRAMMY award for Best Dance/Electronic Album. It is packed with great collaborators such as the one and only punk icon Siouxsie Sioux, king of London grime aka Dizzee Rascal on the superb 'Lucky Star', as well as more mellow vocals from Meshell and the lung-busting performance of rock 'n' soul diva Lisa Kekaula from the LA band The Bellrays on 'Good Luck.'
Review: XL have been steadily building up momentum with CASISDEAD over the past few years, while the cult rapper had been leaving a breadcrumb trail of music to an ever-growing fanbase for some time before. Now, the wait is over as he finally unveils his debut album, and Famous Last Words is delivered with a sense of ceremony which more than matches the anticipation. When your guests include Neil Tennant, Connie Constance and Desire, you know you're pulling out all the stops. The album runs like cinematic narrative guided by CAS' distinctive flows, backed by a sleek synth-pop production style fuelled by collaborators including Kyle Dixon and Johnny Jewel.
Review: Charlotte Day Wilson's new album on XL Recordings comes in various formats and this is a gatefold vinyl version with a fold out poster. It marks a significant progression in the musical journey of the Canadian talent following her meticulously crafted debut in 2021. Cyan Blue reflects a subtle yet profound evolution of her distinctive sound and songwriting prowess. Spanning 13 captivating tracks, Wilson delves into themes of relationships, self-discovery, and existential ponderings as she melds r&b, folk, and soul elements but allows her singular voice to once again take centre stage. A timeless record that resonates with depth and authenticity, Wilson's sophomore effort promises to leave a lasting impression.
Review: Young Canadian producer, vocalist and multi-instrumentalist Charlotte Day Wilson steps out with her long awaited new album for XL Recordings in May - and she does not disappoint. The album comes three years after she broke through with her diligently crafted debut in 2021 and shows another subtle evolution of her signature sound and songwriting skills. The record features 13 mesmeric tracks that find her musing on relationships, understanding herself and her place in the world and plenty more. Musically she fuses elements of r&b, folk and soul with her singular voice at the heart of what is a timeless record.
Ready 4 War (feat Sharky Major, Armour & Stormin) (4:40)
Street Fighter (instrumental) (2:42)
Go (instrumental) (4:28)
Ho (instrumental) (4:06)
String Ho (instrumental) (2:44)
Ting Ting (instrumental) (2:06)
Wheel (instrumental) (3:51)
Review: Grime might now be one of the biggest sounds in the UK music scene, but it arguably might never have been without the much earlier work of scene forefather Dizzee Rascal. The Londoner broke through just after the turn of the millennium and onto the international stage with his in-your-face bars, mashed-up dance sounds and big samples. Quite possibly his best work is Boy In Da Corner, the stunning Mercury Prize winning long player on XL that is now 20 years young. It gets a special reissue for the occasion with all the big ones like 'Fix Up, Look Sharp' present and correct, as well as a load of fine instrumentals.
Review: XL Recordings founder Richard Russell has been rather busy of late. First came the publication of his memoir, "Liberation Through Hearing", and now this: the follow-up to his 2017 debut album as Everything Is Recorded. Like its predecessor, "Friday Forever" was produced and mixed by Russell but also contains contributions from a wide range of artists including Ghostface KIllah, Penny Rimbaud, A.K. Paul, James Massiah, Infinite Coles, Irish singer-songwriters Maria Somerville and Kean Kavanagh, and a host of new-breed British MCs. There's a concept behind it - the sound-tracking of a night out and the weekend that follows - with the music brilliantly joining the dots between hip-hop, neo-classical, soul, proto house, reggae, jazz and much, much more. That it not only holds together but also makes perfect sense is testament to Russell's growing skill as a producer.
No More Rehearsals (feat Roses Gabor, Jah Wobble, Jack Jack Penate & Yazz Ahmed) (3:14)
You Were Smiling (feat Samantha Morton) (3:51)
Norm (feat Bill Callahan) (1:26)
Swamp Dream #3 (feat Clari Freeman-Taylor) (5:57)
The Meadows (feat Roses Gabor, Kamasi Washington & Ricky Washington) (4:50)
Goodbye (Hell Of A Ride) (feat Nourished By Time) (3:32)
Review: The latest release from Everything Is Recorded delivers a striking collection that blends electronic, soul and folk influences with remarkable depth. The opening track sets a reflective tone, paired with lush instrumentation and haunting vocals. Collaborations like the one with Sampha, Laura Grove and Alabaster DePlume bring emotional weight, while tracks like 'Never Felt Better' with Florence Welch and Sampha elevate the energy. 'Porcupine Tattoo' offers a beautifully subdued moment, and other collaborations continue to weave unique soundscapes. The release is a testament to XL boss Richard Russell's ability to bring diverse voices together, crafting a deeply introspective yet dynamic listening experience.
Review: Fontaines D.C.'s fourth album, Romance, marks the band's first collaboration with producer James Ford and represents their most adventurous and inventive work to date. Following the success of their acclaimed 2022 album Skinty Fia, which topped the UK and Irish charts and earned them International Group of the Year at the 2023 Brit Awards, Romance is set to push their sound further. The explosive lead single 'Starburster' was inspired by lead singer Grian Chatten's panic attack so features intense breath patterns and shifting dynamics. Elsewhere the band's evolution is there for all to hear with with influences from grunge, electronica, and hip-hop reflecting their ongoing growth and experimentation.
I Believe In Love Again (feat Lenny Kravitz) (2:53)
All That (feat Vilano Antillano) (3:53)
(It Goes Like) Nanana (3:49)
Lobster Telephone (5:21)
Seoulsi Peggygou (2:34)
I Go (5:33)
Purple Horizon (3:42)
1+1=11 (5:30)
Review: Peggy Gou's rise from fashion school student to underground DJ to world-renowned dance music star has been swift and remarkable. In that time she's played every major club and festival in the world, had some huge crossover hits and started her own label while also releasing on the likes of Ninja Tune. Now she steps up to XL with a highly anticipated debut album featuring epic previous singles such as 2023's chart-topping global hit '(It Goes Like) Nanana' and 'I Believe in Love Again', her wild Lenny Kravitz collaboration, as well as plenty of new tunes that span house, disco and more.
Review: Ibeyi are French Afro-Cuban twin sisters Lisa-Kainde and Naomi Diaz. Their latest album Spell 31 is their boldest offering yet; an antidote to apathy in a divided world, featuring vocal harmonies that take in gospel and electronic neo soul influences, further refined by XL Recordings boss Richard Russell's brilliant production throughout. Collaborators include Pa Salieu on 'Made Of Gold', singer Jorja Smith on 'Lavender & Red Roses', and rapper BERWYN on 'Rise Above'.
Review: Pop duo Josh Lloyd-Watson & Tom McFarland, or simply J & T as they are known, realise their second album for pioneering independent label, XL. Since the pair's debut self-titled release back in 2013 the group has expanded to something around seven members and following a slew of singles and EPs (inclusive of a Soulwax remix) the band are now bursting with fresh life and colour. Take "Heavy, California" for example, a sing-a-long pop number that's bright and cheery enough to make you want to skip through the streets with a dandelion in your hair regardless of the season. "Cherry", the other track thrown around online, sees Jungle live up to their Neo Soul genre tag, and with 11 more tracks to explore, maybe they'll even find hit that second Mercury Prize nomination.
Bus Ride (feat Karriem Riggins & River Tiber) (2:13)
Got It Good (feat Craig David) (3:48)
Together (feat Aluna George & GoldLink) (3:18)
Drive Me Crazy (feat Vic Mensa) (4:38)
Weight Off (feat BadBadNotGood) (2:36)
One Too Many (feat Phonte) (3:39)
Despite The Weather (2:02)
Glowed Up (feat Anderson Paak) (4:59)
Breakdance Lesson N.1. (4:29)
You're The One (feat Syd The Kid) (3:52)
Vivid Dreams (feat River Tiber) (4:39)
Lite Spots (3:49)
Leave Me Alone (feat Shay Lia) (4:38)
Bullets (feat Little Dragon) (4:59)
Track Uno
Bus Ride (feat Karriem Riggins & River Tiber)
Got It Good (feat Craig David)
Together (feat Aluna George & GoldLink)
Drive Me Crazy (feat Vic Mensa)
Weight Off (feat BadBadNotGood)
One Too Many (feat Phonte)
Despite The Weather
Glowed Up (feat Anderson Paak)
Breakdance Lesson N.1.
You're The One (feat Syd The Kid)
Vivid Dreams (feat River Tiber)
Lite Spots
Leave Me Alone (feat Shay Lia)
Bullets (feat Little Dragon)
Review: Since debuting on Bromance in 2013, Kaytranada has become one of the leading lights on the future R&B scene. Given his track record, it's understandable that there's plenty of hype surrounding 99.9%, his long await debut album. The 15-track sees him showcasing the depth and variety of his beat making, production and compositional skills. Thus, the string-drenched jazziness of "Bus Ride" is followed by the off-kilter R&B pop of "Got It Good", and the Onra-ish synth-hop soul of "One Too Many" sits side by side with the double bass, Rhodes and Latin-influenced beats of "Despite The Weather". It's pretty expansive, clocking in at 15 tracks deep, but the quality never dips throughout. Recommended.
I Thot There Was One Wound In This House, There's Two (2:11)
Way Eye (1:22)
Rectifiya (2:25)
Hvnli (2:42)
Hvnli (reprise) (3:28)
Do Yourself A Favor (2:27)
A Mile A Way (1:56)
I Want My Things! (2:12)
Change The Story (interlude) (2:43)
Every Nigga Is A Star (2:33)
I! Gits! Weary! (1:55)
Negus Poem 1 & 2 (2:26)
Forreal??? (3:53)
FWU (3:01)
Nu World Burdens (3:21)
Keep It Real (3:03)
Review: XL Recordings presents the long-awaited repress of keiyaA's 2020 album Forever, Ya Girl. The singer-songwriter, producer and multi-instrumentalist was raised in Chicago's South Side; now based in New York, her jazz training, R&B sensibilities, and hip-hop inheritability are all deployed to full effect, crafting an experimental soul sound inundated with powerfully sultry voice and dense lyricism. Aiming to to foreground the standpoint and intellect of the black woman in the late-stage capitalist landscape, Forever, Ya Girl brings a sawn-off, digital neo-soul inflection to themes of struggle and grace, all while deploying many a quirky interjection and voice-modded sample between the beats.
Review: Scuzzy, sludgy, creeping, muscular and delicate-enough to feel there could be a break in its bones at any moment. King Krule returns with a third album that once again tears skin open to reveal the heartfelt emotions within its lo-fi, muttered, pseudo-rock tones. Referencing Sleaford Mods on heavy opiates wouldn't be too far from the mark at times, although we're not here to simply use touchstones - Archy Marshall deserves better than that. Despite almost everything on "Man Alive!" being so quiet, it packs an incredible level of noise. Subtle licks, strange details and a deceptive depth would be one way to describe the whole package. Grunge tones ("Supermarche"), lo-fi blues pop (""Don't Let The Dragon) Draag On") are just some of the nuances it's possible to pick upon, making for a wholly original work that captivates, relaxes and uneases in equal measure.
Review: In the four years since his debut album as King Krule, south Londoner Archy Marshall has been busy as solo artist, collaborator, rapper and producer. He now returns with 'The OOZ', an expansive record that's densely packed with disparate musical influence, dark and personal storytelling, and Marshall's distinctive sneering charisma, all framed in his usual backdrop of seedy urban vaudeville. It's an incredibly layered album that offers the listener a guided tour through this disturbing and decayed landscape of atmospheric smoky jazz, grunge and ambient. Even at nineteen tracks with a runtime of just over an hour, The OOZ is something of an epic that never feels overdrawn, by dint of its richly illustrative, engulfing and transportive nature.
Review: It's hard to believe Archy Marshall, the 'real' name behind King Krule, is only 28. Not only does his back catalogue smack of wisdom and experience, a goldmine of resonant and reflective twisted punk jazz, dark wave, pop and trip hop, it often feels as though he's always been here, inviting us to share in disillusionment, anger, melancholy and honest reflections on being human. Since arriving into the musical conscious as a very young looking teenager, initially using the pseudonym Zoo Kid, there has always been this startling juxtaposition between fresh faced adolescent we see and the wizened master of observation we hear. Things have waned in terms of intensity, with Space Heavy a fine example - fragile and vulnerable in so many moments - yet the overwhelming power has actually increased.
Review: There are few signs of 'difficult second album syndrome' to be found on "Through Water", Lapsley's confident and assured follow-up to her critically acclaimed 2016 debut "Long Way Home". This time round the former teenage prodigy has written and produced pretty much everything on the album, delivering a suite of songs that effortlessly blur the boundaries between glacial electronica, off-kilter synth-pop, R&B and folktronica. There are some moments of real beauty scattered throughout - see the rather fine "Leeds Liverpool Canal" for starters - while the way her distinctive vocals are matched by inventive and enjoyable musical arrangements is mighty impressive. Sure, there's nothing as rush inducing as club hit "Operator", but what's here is every bit as alluring.
Review: It was when Makaya McCraven linked up with International Anthem around 2015 he became an artist transcending the jazz scene's tangle of singers and players. Since then he's evolved his craft from album to album, project to project, reaching this undeniable achievement of a record that places him at the forefront of modern jazz. Nearly seven years in the making, In These Times is the product of McCraven's striving to create a personal stamp, leaning in on his own rhythmic language of time-signature trickery and unusual arrangements, steering large-scale orchestral ensembles and elevating his craft in every way he can. For all the considered science behind the sound, it lands as an incredible natural experience full of cascading drums, ascendant flutes, lilting strings and a whole cornucopia of talented musicians playing to a striking creative vision.
Review: Daffodils & Dirt, the debut album by Samantha Morton and Richard Russell, is a brooding and poetic exploration of Morton's troubled past and raw emotional experiences. With Russell's production prowess, the duo creates an unsettling yet captivating musical landscape that delves into themes of resilience and vulnerability. Morton's haunting vocals, coupled with Russell's sparse yet evocative soundscapes, transport listeners into the depths of her teenage years, where she grappled with homelessness and instability. The album's collaborations with artists like Jack Penate, Laura Groves, and Ali Campbell add unexpected layers of depth and beauty to the already compelling narrative. The album is a mesmerising blend of haunting melodies and raw emotion, inviting listeners to journey alongside Morton as she navigates the complexities of her past.
Review: Nourished by Time's latest work blends lo-fi r&b, freestyle, and bedroom pop with a confident ease that feels fresh and alive. The album, created in a Baltimore basement, is a snapshot of raw creativity, with a sound that's deeply personal yet accessible. Tracks like 'In the Quiet' and 'Tides' experiment with layers of rhythm and texture, pulling you into a world that feels uniquely his. It's an album that doesn't play by any rulesistriking a balance between introspection and broad appeal, while challenging what we expect from contemporary music.
Review: It may have taken a while - his massive debut single 'Hyph Mngo' was released 12 years ago - but Joy Orbison has finally got round to recording his debut album. It's a highly personal affair, peppered with speech snippets from various family members (including his mum, dad, sister, cousins and famous uncle, Ray Keith). It's a narrative device that works well, providing a unifying thread throughout a woozy, musically eclectic concoction that sees the now veteran UK producer give his distinct spin on ambient, slow house, two-step garage, deep house, post-dubstep beats, dubbed-out soundscapes, British bass music, experimental electronica, cutting-edge deep D&B and much more besides. It's perhaps not the all-out assault on the dancefloor some may have expected, but it is a genuinely brilliant and entertaining album.
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