Review: Metronomy mark their signing to Ninja Tune with a new single that comes not long after their Posse EP Volume 1, a collection of tunes all made in collaboration with up-and-coming artists like Biig Piig, Spill Tab, Sorry, Brian Nasty and Folly Group. This one is another collaboration, this time with Pam Amsterdam. 'Nice Town' deals with the lead singer's own battles such as "internal versus the external or, intangible versus the tangible." It is a delightfully snappy dance-pop ditty with great and tight synth sequences, old-school rap vocals and nice broken early electro beats. Metronomy and Alain Ogue add their own remixes to a great label debut.
Review: Mumford & Sons drop a surprise single release alongside Pharrell Williams, 'Good People', delivering on a long-awaited promise to hop in the studio together after years of knowing each other. Finally falling back on their immediate instincts, 'Good People' hears the band and the solo wunderkind sing of tiredness and revelation, making adept use of a dry, driving, sportsmanlike instrumental palette (think hand claps, stomps, gospel harmonies). Though cryptic in theme, the mood on this one-off is one of triumph and impending miracle works to come.
Review: This a unique release that features a song that was released by two different bands during within the same year. The song 'Meshkalina' was by a psychedelic and prog band from Peru called Traffic Sound and then, soon after, by Latin duo Paco Zambrano and Reynaldo Murrieta under the name Paco Zambrano Y Su Combo. The latter version is more traditional and Latin while the Traffic Sound version is more psychedelic garage rock band-like. Two formidable and very different versions featured on limited splattered 7" vinyl.
Review: Fresh from dropping another essential seven-inch with his regular Sound Combo band, Misha Paniflov has joined forces with fellow multi-instrumentalist Shawn Lee for a string of collaborative singles. This "45" sports two genuinely impressive cuts, each full to bursting with quality live instrumentation. It opens with 'Sigmund Jahn Bossa', a superb fusion of late 1960s library jazz (think Roy Budd's score for Get Carter and you're in the right ballpark), bustling bossa-nova and spiralling psych-funk. Over on the flip the pair continue to deliver lounge, influenced, tongue-in-cheek thrills via the cheap, Sideman drum machine rhythms, tumbling guitars, elongated Hammond organ chords and hazy backing vocals of 'Aquaria'.
Review: Paula Parfitt and Jeannie Dee deliver soulful magic on this split single. Paula Parfitt, who signed with Milton Samuels' Beacon label in 1969, made her debut with the single 'I'm Gonna Give You Back Your Ring.' Though initially overlooked, on Side-2, 'Love Is Wonderful' became a Northern Soul classic, lighting up dance floors for over five decades. After a brief stint recording for Beacon's UpFront label and later in Italy, Paula settled into Mediterranean life. Jeannie Dee, from Brixton, London, joined Beacon Records in 1968 as part of the duo Jon (aka Terry) and Jeannie. Known for soulful covers, Jeannie's solo rendition of the Supremes' hit 'Come See About Me,' produced by Donnie Elber, showcases her powerful voice. Often mistaken for her American namesake, Jeannie brought a unique British twist to classic soul, making her mark on the scene, and this release is respectful to both artists' enduring influence.
Review: Ohio-based instrumental organ trio Parlor Greens, known for their blend of soul, funk and blues, return with a new 7" that follows their acclaimed debut from 2024. Side-1 features 'Driptorch', which is driven by crunchy drums from Tim Carman, funky guitar riffs by Jimmy James and Adam Scone's expressive Hammond organ. The track delivers a high-energy, groove-filled adventure. On Side-2 ,'200 Dollar Blues', introduces a fresh, mid-tempo instrumental. This blues shuffle highlights James' searing Stratocaster solos, complemented perfectly by Scone's soulful organ work. Their interplay exudes a raw, electrifying energy, while Carman's steady, dynamic drumming grounds the track, making this one for fans of deep soul and blues.
Review: Pearl Jam's latest is an up-tempo rocker with a catchy melody and introspective lyrics about the search for meaning in a dark and uncertain world. Full of imagery of darkness and light, the song builds to a powerful crescendo at the end. The B-side of the single features an instrumental version of the song, is just as powerful as the original, and it gives fans a chance to appreciate the song's intricate musical arrangements. A reminder that Pearl Jam are still one of the most vital and relevant bands in rock music today.
Review: What's important is to spread confusion, not eliminate it: Estonian production master Misha Panfilov knows this as much, running a carefully-curated imagecraft cartel, in which his many aliases confound and bemuse us into believing his many works are the doing of someone else. Case in point: At first glance, we were well-duped into believing Penza Penza were some kind of exotic psych supergroup lost to time, but a deeper investigation as to the origin of the alias indeed reveals the singular force of Panfilov to be the artist behind these tracks. It's no wonder the A-sider is called 'Deep Dive', affirming our propensity for curious, almost forensic suspicion as to its true origins. A serene groove of just-intoned riffs and sizzlingly offbeat hits, this one's certainly a solid accompaniment for your next mescaline dabbling. Meanwhile, we're happy to award the B-sider with "banger of the year so far" - 'My Friend Ash' is an ecstatic mover, as deceivingly retro as it is beguiling, with stabbing counterpoints and wild toppers, as suitable for the club as it is would've been for some kind of 70s hoedown.
Review: DJ Slow, JA-Jazz, and Jame Spectrum may not be household names across the world, but those who follow Pepe Deluxe seem willing to follow them to the ends of multiple sonic spectrums, and then push through into the Other Side together. The trio, better known as Finnish electronic music obscuros Pepe Deluxe, have been making beats and other pieces since around 1996, first garnering a name for themselves with an infectious combination of hip hop, breakbeat, downtempo and big beat.By 2007, when they released their third album, Spare Time Machine, the remit had changed, slightly, and was less interested in sampling, more concerned with revitalising old school music genres like psyche, baroque pop and surf rock. Freedom Flag brings us up to date, circa 2024, and it seems there's enough room for both approaches, with this two-tracker rooted in everything from trip hop to brass-topped indie.
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