Review: It might be getting cold and dark and wet here in the UK but music will always be able to transport us to warmer, sunnier, happier climes. And so it is with this new 7", which includes a booklet, from Discodelic. It's a two tracker from Cizana and La Nueva Generation that is flame hot and bristling with energy - Cizana's 'She Sold Her Soul' kicks off with its joyous flutes, hand drums and percussive Latin grooves then La Nueva Generacion slow things down and up the brass with their carnivalesque Afro-funk workout 'Uhru Sasa'.
Review: "The world's greatest two person rock 'n' roll ensemble, the next big thing - out now!" You can hear the delicious wit and parody in the copy sitting on The Courettes website, a band that have managed to do the unthinkable, swerving all trends to come up with music that simultaneously sounds self-aware in its retro nostalgia, yet incredibly fresh. Hailing from Denmark and Brazil - another curveball in many ways, California, which welcomes the additional vocals of La La Brookes, is a case in point. Jangly yet snarling garage rock, seductive art pop aimed at the charts, beach guitar stuff that supplants realism and experimentation for the doe-eyed dreaminess of, err, beach guitar stuff. Original as ever, it's more evidence that these guys may well be on the money with that description of themselves.
Review: Sometimes it's just too difficult to contain our excitement; we're quaking in our boots at news of Khruangbin's next release, with the Texan three-piece this time lending their alt-indie-funk mastery to vocal frontage by Leon Bridges. The humorously titled lead single 'B-side' is emblematic of their stated aim here - to redefine "how people perceive Texas music i that beautiful marriage of country and r'n'b i and really paying homage to that." The sonic result? Bubbling bass and wahhy riffs, over a ghostly and misty relaxers' beat. Its hook digs into our thighs deeper than a Sheriff's steel spurs, and fittingly, it's music video is themed after a 19th Century western town.
Review: Delve beyond cumbia's usual bounds and explore psychedelic dimensions in modern tropical music courtesy of this, La Banda Chuska's debut single on Names You Can Trust. It offers a window into this evolving sonic landscape, blending as it does rip-roaring guitar riffs with contemporary flair. Picture the B-52s navigating a twisted Pacific-Peruvian time warp, bongos in hand, and this will give you a good idea of what to expect. This vibrant adventure encapsulates La Banda Chuska's colourful fusion of sounds and will have you surfing through a wave of tropical vibes in no time.
Review: Grand Rapids, Michigan post-hardcore collective La Dispute have become legends within the scene due to their popularising of the resurgent 90s screamo sound along with peers in Touche Amore and Pianos Become The Teeth. Known for their subtle fusion of post-rock malaise and crescendo building with the frenetic chaos of emotive hardcore, all unified under the hypnotic spoken-word/caustic shrieks of frontman and highly poetic lyricist Jordan Dreyer, 2006 saw the release of their much-lauded debut EP 'Vancouver', two years prior to their first album Somewhere At The Bottom Of The River Between Vega & Altair. Clocking in at over a half-hour whilst comprising of eight tracks, many fans often consider the work more of a mini-LP and with that, this 12" cloudy blue reissue will stand spine-to-spine with any of their subsequent full-lengths, both figuratively and literally.
Review: The Cuban boleros of the 1950s and Nuyorican street soul of the 1960s always embodied a timeless Caribbean romanticism in the midst of New York City's urban landscape. La Triunfadora's debut album captures this sense of revival with experimental, psychedelic arrangements that revitalise classic tunes with fresh interpretations. Their debut 7-inch on Names You Can Trust honours Cuban bolero maestro Cesar Portillo De La Luz with lush orchestration and vocals by Candace Camacho and Benjamin R. Julia. The B-side reimagines Ralfi Pagan's 1969 Latin soul gem 'Hijo De Mama' by blending analogue warmth with a modern twist.
Review: Several years before Uzi Kinrot, we were lucky enough to attend a cultural exchange, of sorts, between Lithuania's burgeoning electronic scene and Israel's fertile alternative music community. The results were staggering, and in addition to presenting the Balkan state as an epicentre of leftfield dance, it also made a strong case for the Middle East as a hotbed for the kind of music makers destined to score some Quentin Tarantino or David Lynch movie. Back up to date, and Les Dynamites, whose reputation has long reached beyond their Jerusalem hometown, have returned to emphasise the latter point. Uzi Kinrot is a groove-packed double-A side that feels alive with energy, perhaps thanks to the single-take recording process. It's twangy, psychedelic, nostalgic and yet utterly timeless stuff that yearns to be heard on a beach while you hide from the heat of afternoon sun.
Review: Norwegian outfit Les Imprimes have already found their feet with their earliest outings on Big Crown. As they continue to build towards their new album Reverie they drop another single from it here in the form of 'Falling Away' backed with 'Still Here'. Both cuts are beautiful and display fine musicianship, the sort of soul that melts your heart and breezy grooves that bring calm to your mind and body. Vocals enrich each cut and on this evidence, the upcoming album is going to be special indeed.
Review: Building on the triumph of Les Imprimes' inaugural album, Reverie, Big Crown Records presents two standout tracks from the album pressed onto this 7". For the A-side, Morten provides an edit and infuses the mix with an extra dose of depth reminiscent of Larry Levan's style. The result is striking and hits harder, igniting the dancefloor with its infectious rhythm while delivering a resonant message about the consequences of investing too much in the wrong relationships: On the B-side, 'You' bursts forth with a captivating crescendo, setting the stage for a sublime sweet soul melody. This beautiful declaration of love and reassurance is equally enchanting both musically and lyrically. Morten Martens' talent for arrangement shines through on both of these lovely tunes.
Review: Some six years (give or take a few months) on from the release of their superb debut album Psychedelic Disco Cumbia, self-styled 'NYC tropical supergroup' Locobeach are back! This time round, they've treated us to a genuine rarity: a rarely spotted double seven-inch EP. All four tracks have, apparently, been extensively road-tested in their live sets and become, in their words, "fan favourites". They begin in stellar fashion via a head-nodding, cumbia-powered cover of Cure classic 'Close To You' (it's genuinely great - one of the best covers we've heard for a while), before imagining a suitably tropical spy chase on the urgent and percussion-rich 'Idea Desesperada'. On 45 number two you'll find the cheeky cumbia-soul-meets-yacht-rock cheekiness of 'Isabella' and the surf-flecked, high-octane tropical fun of 'U.S Marshall'.
Review: In 1961, producer David Rick discovered Vito and The Salutations, a Brooklyn harmony group of Italian, Irish and Jewish teenagers. Their energetic doo-wop take on 'Unchained Melody' became a hit until the British Invasion shifted the music scene. 'Hey There' remained unreleased until Rick's 1981 double album which compiled their singles and rare collector cuts after years of misrepresentation and a court battle with a copycat group. In 2020, Monster Mike unearthed The Long Island Sound's unreleased 1969 demo of 'Hey There' which was recorded before the band dissolved. Now, Oracion Records drops this forgotten gem on 45.
Review: Decca has seemingly listened to the cries of collectors and diggers everywhere by serving this reissue of two sought-after 7-inch singles from the 1960s Mod era, including their original B-sides intact. This is one of them, 'Tax Man' by Loose Ends, the British Beat quintet formed in 1963 in Bexleyheath in Kent and fronted by Alan Marshall. The band toured alongside acts like The Paramounts (later Procol Harum) and The Birds and this, their second and final single, was released in August 1966 to coincide with The Beatles' original. Featuring an added organ for extra dancefloor appeal, this is a timeless delight that still gets any floor going.
Review: Discos Mas kicks off their New Year with a vibrant Los Disco Duro version of the iconic 'Cumbia de Sal'. this top take blends the famous Moog cover with the original 60s version for some super fresh results. Featuring vocoder vocals, brilliantly resonant synths and funky drums, this unique cut enhances the classic cumbia beat with all-new energy. The release also includes a double A-side with a cover of 'Mexico' by the wonderful Mexican Institute of Sound. Camilo Lara's original composition is reimagined with signature Los Disco Duro elements such as vocoder vocals, synths and cumbia percussion, all of which add up to a refreshing mix of modern and traditional rhythms, nostalgia and innovation.
Review: Bolivian psyche-surf rock, anyone? Welcome to the world of Los Laser, a beguiling yet immediately infectious outfit. Vuelven! first hit in the 1970s, at which point most of our fact-checked knowledge about this release comes to a sudden stop. And all the better for it. Rather than getting bogged down in brief biopics, then, let's just say this is definitely one for the guitar-loving diggers, who won't find it many other places. Sonically speaking there's plenty of reference points to what was happening across South America musically at the time. While steeped in conservative traditions (often due to the enforced religion through colonialism situation), the decades after World War II were fertile ground for anti-establishment youth movements across the world, and this continent was no different. So, while the exotic lyrics and jangling six strings don't scream "smash the system" today, you'd better believe this was well against the grain back in 1971.
Review: Discodelic and Groovie Records unveil a pair of rare 1970s Panamanian gems here with forgotten tracks from The Meditators, and Los Misticos. Originally recorded for radio and left in storage, these Latin psych funk bombs capture the underground spirit of Panama's vibrant music scene from more than 50 years ago. Licensed through Tamayo Records, these songs have been beautifully mastered and now the long-lost recordings, which barely made it to vinyl the first time around, become available for all who are keen to drop the heat and learn about Panama's hidden musical treasures at the same time.
Review: Los Syn were formed in 1966 in Chile by four young Americans whose parents were stationed in the South American country. All attended Santiago's Nido de Aguilas school and decided to form a band to perform at a school dance. Following their debut, they entered and won a battle of the bands contest, securing a record deal prize. Their sole legacy remains this single, released by Philips in Chile in a very limited run. Finding an original copy is nearly impossible. It's a treasure showcasing the talent and brilliance of four teenagers who, for just over a year, were enchanted with genuine garage music infused with tenderness and finesse. This small miracle returns to life through a limited and numbered edition of 500 copies, including a booklet recounting the band's story by member Gary Pilgram.
Review: Freddie Love was a blind singer from Baton Rouge in the United States. He recorded two incredible 45s for Eddie Shuler's ANLA label and his debut release featured the dynamic two-sided track 'Crazy Girl'. It is a heart-swelling soul sound with slow but funk drums and bass riffs under a brilliantly expressive vocal heavily influenced by James Brown. On the B-side is Part 2 which has more guitar action laced in. This has long been a sought-after record and it is now receiving its first-ever vinyl reissue which will bring renewed attention to Love's powerful sound.
Review: The Lovely Eggs are teasing their new album Eggsistentialism which arrives on Egg Records at the end of April with this lovely 7" release, 'Nothing/Everything'. It is the third time they have worked with Grammy Award-winning producer Dave Fridmann and is another masterful mystic and psychedelic sound that shows a new sound f the band. Ban member Holly has said the singles reprint the yin and yang of life in that they capture "hope and despair, patience and frustration, birth and death, the mundane and the extraordinary." It's a great direction that has got us even more ready for the album later in the month.
Review: We're excited by this fresh repress from the fine folks at PVine because it brings back to life an iconic cut from the widely beloved Hawaiian AOR album Lui. This classic gentle sound is also known for its stunning artwork and has long been a fav of collectors and diggers. Alongside 'Oh, Oh (I Think I'm Fallin' In Love)' on the A-side, you can find 'My Lover' on the flip and it is another showcase of the smooth, mellow grooves that appeal to free soul and AOR enthusiasts. These two timeless and once 'contemporary Hawaiian' songs from the 70s feature plenty of local musicians and have subtle influence from the US West Coast sound.
Review: The original 12" of 'I Follow Rivers' remixes was served up back in 2012 and was an instant hit. It now gets a reissue that proves it has aged perfectly well in the last decade. The original is a swelling and deep soul-drenched groove with broken beats and scattered percussion. The soaring vocals are designed for maximum impact. The Lost Sessions mix then pairs hits back to the tender piano chords and allows the aching vocal room to shine and The Magician remix brings a hands in the air festival vibe.
Review: To say Philippe Doray and his Asociaux Associes finished the 1970s with creative fervour would be an understatement. First we had 1976's Ramasse-Miettes Nucleaires, then two years after that there was the equally potent Nouveaux Modes Industriels. Both were heralded as ahead of their time, at the time, bringing together strange, otherworldly pop, spacey prog, prototypes of Krautrock and impassioned poetry. Le Composant Compositeur followed, and in their own words marked the beginning of a new era in the 'Antisocial Associates' project (to use the English translation). It's a marvellous addition to the collection, too, a series of sharp, edgy, mutant pop tracks, weirdo brass experimentation, compressed electro, dubby ideas, and twisted, acid-spiked fairground themes.
Review: Mercy is a collaborative work between the late great Lee "Scratch" Perry (during his post-Black Ark Studios era), Peter Harris and Fritz Catlin, the drummer from the industrial funk dub act 23 Skidoo. What they cook up is unashamedly experimental outsider works that collide mad mixing desk trickery, Perry's trademark vocal mutterings and plenty of occult sound designs. Melodies are smeared and smudged, rhythms are drunk and off balance and moods range from balmy to bonkers, often within the same damn track. A maverick collage, for sure.
Review: There has been plenty said about debutants L'Epee since their single "Dreams" turned heads back in spring. Combining the talents of Anton Newcombe (The Brian Jonestown Massacre), French artist Emmanuelle Seigner, and polished-to-a-sheen pop outfit The Liminanas, it's one of the most refreshing (and French) things you're likely to hear all year. That's more of a reference to the cinematic feeling that defines the album, owing much to the femme fatale vocal delivery, rather than the language each line is sung in. At once evoking the smoky cool of Serge Gainsbourg and the opiate moods of The Velvet Underground, "Diabolique" feels born in a time when psychedelic experimentation and chart topping music weren't mutually exclusive. At once sophisticated and hedonistic, it's a sexy, sensual and overwhelmingly seductive effort everyone should turn themselves on to.
El Paso Del Gigante/La Dana De Los Mirlos/Cumbia Sampuesana (4:17)
Lucia (4:27)
Angel’s Point (3:17)
San Fernando Rose (3:21)
Juana La Cubana (3:52)
Llorar (3:41)
Ooo Baby (4:00)
Cascabel (4:07)
Review: LA Lom's March 2024 show at Chicago's Thalia Hall debuts on vinyl for Record Store Day 2025 a year or so after the band's defining live moment. Just months after packing the Empty Bottle, the band returned to an even larger crowd, which served as proof of their ever-growing Chicago fanbase. Determined to keep the raw energy of their LA roots alive, they built a bright red round stage in the centre of the hall and were surrounded by fans dancing and singing from every side. The night was captured on film and tape by longtime collaborator Jacob Butler and now, the much talked about performance featuring original tracks, classic cumbia covers and a Smokey Robinson ballad finally makes its way to wax.
Review: L.A. Witch is back with a marked evolution in their sound that pulls in aspects of garage rock and post-punk while exploring existential themes of love, devotion and subservience. Recorded in Paris, the trio of Sade Sanchez, Irita Pai and Ellie English push their craft to new realms with icy instrumentation and introspective lyrics. Tracks like 'Icicle' channel early goth vibes while '777' delves into fatalistic passion. The album also, we're told, explores the symbolic connection between women and dogs with themes of sacrifice and loyalty. All this makes it rather menacing yet oddly romantic, so DOGGOD revitalises the band's trademark sound while taking them into darker territories with haunting overtones.
Elliot's Song (with Dominic Fike, Zendaya & Labrinth) (2:29)
I Don't Know If I'm A Good Person (0:29)
Love Is Complicated (The Angels Sing) (3:20)
Fun At The Alley (2:25)
Sidekicks Are Smarter (3:26)
Pros & Cons (2:22)
At Least I'm Loved (0:32)
Rue's I'm Tired (1:40)
Review: GRAMMY-nominated and Emmy Award-winning multihyphenate Labrinth builds on the success of scoring the first season of Euphoria with another high octane score for the second series. The HBO series was a huge hit and that's in part because of the music. Labrinth himself has said this one is more than just soundtrack music and he's right. It is a visceral listening experience in its own right and one with 22 well crafted tracks including the fan favourite version of 'I'm Tired.' Whether or not you have seen this series, this album is well worth hearing.
Review: On Good Together, Lake Street Dive embraces a renewed sense of purpose and focus on unity amidst social divisions. Described as "joyful rebellion", the album blends energetic, danceable sounds with a defiant, principled message that makes a long-lasting impression. "There's so much pain and division but living in anger isn't sustainable," drummer Mike Calabrese explains adding, "Joy is a powerful way to sustain yourself, and we wanted to remind people of that." The album he has made with his bandmates was produced by Grammy-winner Mike Elizondo and is the first time they collaborated on songwriting from the start. In turn, this expanded their creative range and has brought a new depth to their sound.
Review: Huge bass lines, a lot of shouting and swearing about the injustices that surround the world we live in today, crashing drums and a harsh guitar all make up the ferocious sound of Punk Rock 2025 and specifically this debut Lambrini Girls album. Phoebe Lunny's lyrics are delivered with venom and clarity that the listener may not want to eventually sing along to but will surely digest and be influenced by as the social ills that seem to be nudging us on a daily basis are still not subsiding. While the world are getting to grips with the rise of bands such as Amyl & The Sniffers this UK take on society's failings are similar to the subject matter one or two Punk Rock bands have been screaming about since the late 1970's. Sexual harassment within the workplace, police brutality and the misconduct that has surrounded the police force recently, same sex relationships, gentrification, gay rights, trans rights...these subjects are all covered here with hints of sarcasm, wit, anger and conviction (vodka and cider too maybe?). One or two light hearted moments mean it's not too difficult a listen despite some of the serious subject matter and all delivered in a way not heard since Bikini Kill or X Ray Spex. A speedy, 30 minute album that'll be listened to again and again for many years to come.
Review:
If you're a lover of Brazilian psychedelic folk, you will already be well familiar with this utter masterpiece from Brazilian actor and musician Guilherme Lamounier. He recorded three such records in the 1970s, and this, the second of them, is widely regarded as the best. It has long been a real rarity and holy grail amongst diggers after being created with composer Tiberio Gaspar and recorded at Radio Gazeta Studios in Sao Paulo. Element sou US hippie culture as well as love song stylings, angular funk and piano ballads all feature with plenty of great musicianship and rousing lyrics. Truly escapist stuff.
Review: Anita Lane sadly passed away in 2021 after a 20th anniversary edition of her Sex O'Clock album had already been scheduled for release. It has never been on vinyl before but made Anita one of the most admired talents to have come from Melbourne's post-rock scene. The record was produced by Mick Harvey and features co-writes with various Bad Seeds as well as taking in some unique new interpretations of other songwriter's tracks including Gil Scott-Heron's iconic 'Home is Where the Hatred Is'. The rest of the tracks feature her delicate vocal delivery style, real lyrical wit and a subtly steamy guitars that all ooze sophistication.
Review: A Beautiful Blur is the fifth studio album from LANY but it is their first without founding member and keyboardist Les Priest, who left the band in 2022. This new era was announced a year ago and was ushered in with four singles including 'Congrats,' 'Love At First Fight', 'Alonica' and 'XXL' which all built anticipation for the album. They are included here with all new tracks that show how the band has evolved with its new lineup but also managed to stay true to the roots of their signature sound.
Review: Denise LaSalle's remarkable debut album first landed on Westbound Records in 1971, and soon launched her onto the global stage and established her as a powerhouse in soulful blues. Now, more than 50 years later, the album is reissued with remastering by Dave Gardner. Fusing her Chicago blues roots with soulful, modern arrangements, the record produced major hits highlighting her impeccable songwriting and commanding voice. An enduring classic of the genre, this album continues to woo audiences and is poised to attract a new generation of blues and soul enthusiasts as well as reaffirming LaSalle's legacy as one of the greats.
Violence In Our Minds (Cassette single version) (3:03)
Held Hostage (Cassette single version) (3:03)
Soul Boys (Cassette single version) (2:50)
Eight Pounds A Week (From Oi! Chartbusters 6) (2:33)
Stormtroopers In Sta-Press (demo) (4:18)
Resort Boot Boys (demo) (1:48)
Working Class Kids (2:52)
King Of The Jungle (Carry On Oi! version) (4:03)
Horror Show (From Oi! Oi! That’s Yer Lot) (2:43)
Wicked Woman (United Skins version) (2:06)
Oi! Oi! Skinhead (LP Out-take) (3:21)
Review: Forming in 1980 in Herne Bay, Kent and named after the famous East London skinhead shop, The Last Resort were one of the pioneering and most highly regarded Oi! punk acts to ever stomp heads. This rarities compilation features choice cuts recorded between 1981 and 1984 including tracks from their seminal Violence In Our Minds cassette single with original vocalist Graham Saxby (who now fronts The Warriors), demo versions of material that would appear on their 1982 full-length A Way Of Life, as well as their contributions to the national chart compilations Strength Thru Oi!, Carry On Oi!, and Oi! Oi! That's Yer Lot. A major influence on the burgeoning hardcore and punk scenes, so much so that the most recent iteration of the band, still fronted by vocalist Roi Pearce (who switched from bass to mic duties following Saxby's departure), features Rancid guitarist Lars Frederiksen. A genuine Oi!-thentic blueprint from the OG pissed off visionaries.
Review: After their first two albums topped the UK album charts, the Wigan rock band are now onto their third album and first on Liverpool label Modern Sky. Taking things back to where it all began, they went into the album with their former college mentor John Kettle, who recorded their first official single 'Crying Out', which was released in 2019. Putting their trust in someone close to them and not being tempted by a big-name producer has paid dividends as they sound more themselves. Album opener 'Leave No Stone Unturned' is very Coral-esque with its wall of sound harmonies and 'Stellar Cast' is a viscerally enthralling number, conveying a sense of chaos. If there's a lyrical theme that stands out, it's a subtle anti-war message and it will take a lot of beating for a song in 2025 with pacifist themes to topple 'Reflections Of Lessons Left' - it's a corker.
Review: Six years ago, an iconic and emotional concert at Madison Square Gardens marked the end of LCD Soundsystem. The accompanying documentary 'Shut Up and Play The Hits' delved into frontman James Murphy's reasons for the decision, with self-examination, a need for change and a fear of old age playing a part. Fast forward to 2017, and the surprise release of three singles accompanying the announcement of a comeback album triggers anticipation and a sigh of relief from fans everywhere. 'American Dream' meets expectations and at times surpasses them, with the familiar driving disco rhythms, strutting funk basslines and heartfelt morning-after-the-night-before ballads feeling like a well-needed catch up with an old friend. The current musical, social and political climates provide Murphy with platforms for his self-effacing and acerbic witticisms. This strong return to form was needed now perhaps more than ever, but simultaneously feels like they never left in the first place.
Review: Surely your first thoughts seeing this album drop are what a shame it is that LCD Soundsystem no longer crank out the tunes. Happily, we shall always have their fine body of work to revert to in times of need and few albums could quench your thirst for punk-funk-infused indie-disco bangers than this live effort from 2010's Berlin Festival. It has a number of the cult US band's classics included such as a fine rendition of 'Daft Punk Is Playing In My House', the seminal 'Get Innocuous!' and one of our favourites, 'All My Friends'. A wonderful way to revisit the glory years of one of the best bands of the last 20 years.
Review: Le Couleur consistently sidesteps complacency with each new album presenting a fresh musical experiment without ever losing its familiar foundation. With Comme dans un penthouse, the band takes its biggest leap into musical exploration yet as they revisit elements of 'Voyage Love' while delving deeper into disco infused with new wave nuances. The result is a cooler, more distant vibe compared to their previous work. The album crafts a narrative universe around Barbara, introduced in 'POP,' as she seeks excess, pleasure, and happiness amidst frenetic rhythms. From the Krautrock-inspired 'Autobahn' to futuristic tracks reminiscent of Das Mortal, Le Couleur deftly balances innovation with familiarity here on another sublime-sounding album.
Review: Whole Lotta Live is an essential album for fans of the great British rock outing Led Zeppelin. It was recorded back in 1969 when they performed a magnificent live show for the BBC right in the midst of some of their most successful times. This one comes via Yellow Vin on yellow vinyl and features their biggest hit 'Whole Lotta Love' - which is cleverly punned on in the title - and further fan favourites like 'What Is & What Should Never Be', 'How Many More Times' and the great 'I Can't Quit You Baby' also make the cut.
Review: Led Zeppelin's self-titled debut album was dropped in the US while the legendary band was on tour there in 1969. It went on to reach the Top 10 on the Billboard chart while the band toured the country four times in that same year. Their second album Led Zeppelin II dropped in October and now some of the live recordings from those times make it on to a second volume of this series. This one was recorded at the famous Fillmore West in San Francisco on 11th January and features plenty of epic solos, big drums and tunes like 'How Many More Times' and 'I Can't Quit You Baby'.
Review: In 1972, for the first time since 1969, Led Zeppelin didn't release an album. Following the success of Led Zeppelin IV in November 1971, the band spent most of 1972 touring and next album Houses of the Holy did not arrive until March 1973. In February, they toured Australia, followed by a North American tour in June. On June 9th, they delivered one of their standout performances at the Charlotte Coliseum in North Carolina and the set featured tracks from their latest album and fan favourites like the iconic 'Stairway to Heaven.' Now, for the first time, this show is available on vinyl and this is part two of the vital collection.
Review: In 1972, for the first time since 1969, Led Zeppelin didn't release an album. After the success of Led Zeppelin IV in November 1971 they spent most of 1972 touring with Houses of the Holy not arriving until March 1973. February saw the band in Australia, followed by a June North American tour. On June 9, they played Charlotte, North Carolina, at the Coliseum and served up one of their best performances of the tour. The set included tracks from their latest album and fan favourites like the epic 'Stairway to Heaven.' Previously unreleased on vinyl, this new edition finally captures the entire show on wax.
Review: Minhwi Lee has come a long way in the past decade and a half, give or take. Debuting as a member of the indie band Mukimukimanmansu, when she went under the name Mansu, by 2016 she was putting out solo albums (Borrowed Tongue) and a year later picked up Best Folk Album at the Korean Music Awards. Hometown to Come was the difficult second, that all-pressure-on follow up to a trophy-bagging record that can either make or break an artist. Suffice to say, 12 months or so on from its original release, and the record remains a triumph. A tender, nostalgia-hued, slow travel adventure through jazz balladry and quiet, hushed journey-woman fare that asks questions about community, individuality, haunted pasts, uncertain presents, and hopeful futures. In the end, the main word that springs to mind is: timeless.
Review: New Zealand collective Leisure collides many different musical worlds on their genre-blurring sophomore album, genre-blurring. Soul, r&b, rock and pop all get taken in and worked into a lush sound defined by its experimental energy. There are several standout tracks like 'Money' and 'Feeling Free' that showcase their signature sun-soaked vocals and smooth grooves. Elsewhere, Twister brings a bold, modern take on funk, which has won over both fans and critics with 'On My Mind' a prime example of their boundless creativity and knack for warm textures and adventurous spirit. As such, it's a record that cements the group's place as contemporary innovators.
Review: Evand Dando and co broke through to the mainstream with the sublime, sunny songwriting of 1992's It's A Shame About Ray, then managed to sustain their time at the top the following year with the Slade-referencing Come On Feel The Lemonheads. It's an altogether bigger and superfically impressive prospect, with guests like Rick James and Belinda Carlisle making the contributors' list and a production job from The Robb Brothers which elevates it beyond the slacker rock tag they'd had until the is point. It also spawned their biggest ever single - 'Into Your Arms' - and a host of other chart successes, including the excellent anthem 'Big Gay Heart', which saw them neatly distancing themselves from the jock rock category that other contemporaries like Nirvana quickly found themeslves slipping into.
Review: Leroy Se Meurt make a bold statement here with their new long player on the Mannequin label. It finds the Parisian pair keeping the foundational sounds of EBM, post-punk and electro at the core but also explores around the edges in fantastic fashion. The mood here is heavy and abrasive rock textures permeate the tracks next to electric synths and over worked samplers. The tracks feature lyrics sung in Turkish and French and are hard hitting affairs with floor facing, repetitive loop madness next to double-tempo cuts with chaotic guitars amongst much more.
Review: Formed in 1967 at Kyoto's Doshisha University, Les Rallizes Denudes were pioneering in the same way as The Velvet Underground, but their music remained a cult concern through a lack of official releases and a spread of bootlegged recordings. Fronted by enigmatic singer Takashi Mizutani, they presented an untamed noise-rock approach before the genre existed, fusing furious blasts of intensity, psychedelia and free jazz with melodic, folk informed passages. On this reissue, we're taken back to their time playing at shortlived but seminal rock club OZ, which captures this incendiary, little known group as their musical might was growing.
Grown Men Don't Fall In The River, Just Like That (3:02)
Mr Your On Fire Mr (2:27)
Loose Nuts On The Veladrome (2:19)
The Garden Was Crowded & Outside (2:39)
Tumbling Walls Buried Me In The Debris (with ESG) (4:05)
Nothing Is Ever Lost Or Can Be Lost My Science Friend (1:31)
We Live NE Of Compton (1:33)
Why Midnight Walked But Didn't Ring Her Bell (2:56)
This Dust Makes That Mud (0:51)
Review: Liars kicked up a fuss when they launched into earshot around 2001, make no mistake. The New York noise-rockers are absolutely of their time and place, channelling no-wave sonic mischief but also displaying a keen ear for a deadly disco groove, albeit sounding more unhinged on their debut than anything you might have heard on DFA at the time. 20-plus years on, They Threw Us In A Trench And Stuck A Monument On Top is a classic - just try listening to the spiky funk of 'Mr Your On Fire Mr' and not feeling the urge to throw things around the room and shake every limb at your disposal.
Review: One of the most compelling avant garde groups to emerge from the UK in years, Lice's second album shows them thrillingly darting between minimalism, rock, techno and more. It's tense, paranoiac, dramatic affair throughout and sounds thoroughly artful without a hint of pastiche. Curiously, this is a concept album expressed through three movements. The first traces a child's socialisation and their later awareness of the process and its limitations. The second is about them reevaluating fundamental concepts including money, time, nationhood and language. The third is about them embracing these new ideas and the increased sense of agency they receive. It's advanced creativity for a band merely on their second album and shows immense promise for them to follow in the footsteps of experimental greats such as Frank Zappa and Captain Beefheart whilst maintaining a sense of British rock.
Review: Wearing 1980s synth pop influences on their sleeve, and sounding exactly like they belong on the mighty DFA, Brooklyn's Light Asylum were rightly praised at the time they put out their debut - and, to this date - only studio album, circa 2012. Critics noted that, at a time when dance-punk crossover was everywhere, driven by LCD Soundsystem and many of the acts frontman James Murphy signed to DFA, the New Yorkers manage to differentiate themselves from the pack in several ways.
Taking a hint of Depeche Mode (well, maybe a bit more), a pinch of Nine Inch Nails, and parts of Throbbing Gristle, Gary Numan, and other pioneers, Light Asylum managed to introduce some much-needed light and spatiality into the often claustrophobically dark and oppressive industrial synth world. In doing so, they offer a sound that's somehow both universally accessible and niche, which is never an easy line to tread.
Review: Considering the most she's ever been guilty of is writing soft but super emotional folk-leaning indie rock, Fenne Lily has proven remarkably divisive over the past half decade or so. 2018's debut, On Hold, seemed to split critics down the middle, some lauding praise on the release while others wrote it off as sad girl songs lacking the ingredients to truly stand out.
In reality, all negative thoughts were really the result of one thing - the incredible hype that was surrounding the Bristol songwriter ahead of that first LP. Five years on, and with more records behind her, it's safe to say the haters lost and she definitely won: Big Picture is a confident and committed testament to the fact that she is incredibly talented, packing real impact behind those whispered words and, for the most part, gently plucked six strings.
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