Review: Kelly Finnigan's latest album, A Lover Was Born, is a soulful journey rooted in the rich traditions of Midwest labels like King and Curtom. Finnigan, known as the frontman of The Monophonics, infuses this record with the raw passion and heartfelt grit that have become his signature. Across eleven tracks, he blends influences from deep soul, Northern Soul, and hip-hop, creating a sound both timeless and contemporary. From the dramatic piano echoes of Isaac Hayes on 'Be Your Own Shelter' to the stomping rhythms of 'Get a Hold of Yourself,' Finnigan shows his versatility. Tracks like 'Walk Away from Me' and 'Love (Your Pain Goes Deep)' capture his deep soul strength, while 'His Love Ain't Real' and 'Cold World' bring a harder edge with Boom Bap beats. The album's tender moments, such as 'All That's Left' and 'Count Me Out,' reveal the emotional depth that has defined his work. Collaborating with seasoned musicians and drawing from a wide range of influences, Finnigan crafts a record that feels both a tribute to and a reinvention of classic soul.
Review: Kelly Finnigan's A Lover Was Born channels the raw energy and emotion of classic Midwest soul, evoking the spirit of labels like King and Curtom with a contemporary twist. The Monophonics frontman offers a collection of tracks that blend gritty passion with heartfelt elegance, transforming deep emotions into something virtuous and timeless. Following his 2019 solo debut The Tales People Tell, Finnigan's new album marks the culmination of years of creative growth, punctuated by a string of projects, including Monophonics releases and collaborative work with other artists. Recorded across California, Ohio, and Staten Island, A Lover Was Born sees Finnigan partnering with longtime friends and collaborators like Max and Joe Ramey, Jimmy James, and Sergio Rios, to craft its rich sound. The album is a variety of influences, with tracks like 'Get a Hold of Yourself' and 'Chosen Few' featuring Northern Soul's stomping energy, while slower, soulful cuts like 'Let Me Count the Reasons' and 'Count Me Out' showcase Finnigan's tender side. His voice, echoing the rawness of Otis Redding and David Ruffin, brings depth to every song, seamlessly blending soul's past with a fresh, modern sensibility.
Review: "Nature's first green is gold. Her hardest hue to hold. Her early leaf's a flower; But only so an hour. Then leaf subsides to leaf. So Eden sank to grief, So Dawn goes down to day. Nothing gold can stay." Robert Frost's 1923 poem about the noble art of letting go and accepting that life is about ebb and flow, impermanence, comings and going formed the jumping off point for Swedish duo First Aid Kit's third LP. And it certainly catalysed some big thinking for the folk-leaning pair. Released in 2014, Stay Gold was their most ambitious and grand work at the time, both instrumentally and thematically. Dealing directly with their life experiences, making themselves more vulnerable than ever is commendable, while the movements, melodies, and musical ideas move us almost beyond the band's folk roots, into stadium-sized leagues.
Review: The Flaming Lips commemorate the 25th anniversary of their classic album The Soft Bulletin with a limited-edition 2LP. This special edition features eye-catching Zoetrope designs by Drew Tetz and Wayne Coyne, along with new sleeve artwork and an insert with text by Coyne. Originally released in 1999, The Soft Bulletin marked a pivotal moment in the band's career, transitioning from alt-rock obscurity to festival headliners. The album includes standout tracks such as 'Race for the Prize,' 'Waitin' for a Superman,' and 'Feeling Yourself Disintegrate.' The new 25th Anniversary Vinyl is a visually and sonically enhanced experience, showcasing the Flaming Lips' evolution and enduring impact on the music scene.
Review: Florence and the Machine's chart-topping Mercury Prize-nominated debut album Lungs turned the London group led by Florence Welch into global superstars. Just months prior to its release in summer 2009 they were still on ones to watch tours playing first on behind the likes of White Lies and Friendly Fires. But that was all to change with their Island Records release Lungs. The album produced by a slew of cool producers, including James Ford and Paul Epworth, gave the world 'Kiss With A Fist', 'Dog Days Are Over' and - the biggest of all - 'You've Got The Love'. It will have been a huge investment for the label, but it's paid off and then some, going six-times-platinum in the U.K. Given it's shaped the life of the band, it's a record that they are keen on revisiting and the latest feature on it is this symphony version. This new release is the group's triumphant performance of the album in full at the Royal Albert Hall with the BBC Orchestra conducted by Grammy-winning Jules Buckley. This is bucket list stuff for any musician and indicative of the fact that Florence is one of the most enduring artists to have formed in the U.K. this century.
Review: New York indie-folk four-piece' Florist's second album is a hypnotic, psychedelic album that is the musical equivalent of an out of body experience. Single 'Have Heaven' is so elegant that you imagine singer Emily Sprague as someone who is deeply in tune with nature and the cosmos, careful as not tread too heavily incase she disturbs the flowers. It's timeless but also quite unusual in terms of the mix because although there's aspects of folk classics like Joni Mitchell, some of the flourish with pedals and effects brings to mind more modern influences, like Superorganism. But it's more a peppering of that side so as to not overwhelm. Another single from the album, 'This Was A Gift' is pure beauty that makes the hairs stand up on the back of your neck. Some singers are just born for the role of troubadour and Sprague is one of them. Long may Florist keep capturing songs this magical.
Review: Straight out of Mile High City, this garage / indie rock group from Denver were around during the heady days of the Seattle scene and the grunge scene when it was all kicking off and ought to have been one of the biggest bands in the world. They were the first non-Seattle band to sign to Sub Pop, a label who adored them for their thunderous riffs and explosive live shows. Before signing to Sub Pop, they released this album - their debut studio LP, which is a succinct blast to listen to full of raw MC5-esque energy. It's not changing the wheel - or even trying to - but there's something hugely fun in being ill concerned with the idea of originality and just competing with the greatest rock n' roll bands of all time and coming out sounding on par.
Review: Flunk's third album, 'Personal Stereo,' released in 2007, has never been available on vinyl before now. It continued their signature blend of Anja's ethereal vocals, Ulf's electronica, and Jo's intricate guitar work while maintaining their trademark uplifting melancholy. The album explores darker themes compared to its predecessors, For Sleepyheads Only (2002) and Morning Star (2004) and revisits their debut's eclectic approach, sampling from decades of popular music as evidenced in tracks like 'Personal Stereo' and 'Change My Ways.' Cult favourite Daniel Johnston features on 'Haldi' adding a unique touch to an album recorded entirely in Oslo apartments. In all, this is a perfect example of Flunk's distinctive "budget pop" style.
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