The Mexican (Mister Mushi Special edit - vocal) (5:20)
The Mexican (Mister Mushi Special edit - instrumental) (5:16)
Review: When British prog rock band Babe Ruth recorded 'The Mexican' - a low-slung funk-rock workout that came complete with weighty bass and killer drum breaks - they could have had no idea of the impact it would have during the block party phase of hip-hop's evolution (or, for that matter, that Jellybean Benitez would record a Latin hip-hop cover in the early 80s). It's the track's significance within hip-hop that inspired these revisions from break-digger Mister Mushi. Both of the producer's 'Special Edit' versions - vocal on the A-side, instrumental on the flip - make the most of the track's prototype hip-hop breaks, restless bassline and Latin-tinged fuck-rock guitar licks. They're basically the breaker-friendly revisions the dancers want and need.
Glorious Liberation Of The People's Technocratic Republic Of Vinnland By The Combined Forces Of The United Territories Of Europa (1:07)
Wolf Moon (Including Zoanthropic Paranoia) (6:37)
Haunted (10:08)
Track 15 (0:10)
Review: Originally released in 1996, October Rust would serve as the fourth full-length from gothic metal legends Type O Negative, as well as the highly anticipated follow up to their 1993 career-height Bloody Kisses. Known for its markedly less gloomy doom metal approach when compared to prior and subsequent projects, the album has grown a devout cult following due to the extensive number of unabashed ballads and compositionally accessible goth rock bangers (reliably shrouded in their own sonic malaise). Boasting the hit single 'My Girlfriend's Girlfriend' as well as their much-adored cover of Neil Young's 'Cinnamon Girl', many could consider October Rust to be the most accessible entry point to those intimidated by the prowess, hair or jawline of the incomparable visionary Peter Steele. Now almost 30 years young, this long overdue reissue comes spread across a limited green & black marbled vinyl 2xLP pressing.
Review: The Smile's new album Cutouts on XL Recordings features several tracks already debuted by the band of Thom Yorke, Jonny Greenwood, and Tom Skinner on their UK tour in March. Produced by Sam Petts-Davies, the ten track album was recorded in Oxford and Abbey Road Studios alongside their previous album, Wall of Eyes and features some lush string arrangements by the London Contemporary Orchestra and cover art by Stanley Donwood and Yorke. Wall of Eyes back in January reached number three on the UK charts and received critical acclaim from Pitchfork, Spin, and others with this new one likely to follow suit.
Review: Originally released in 2011, this solo album from Fleetwood Mac singer Nicks offers a deeply personal touch, blending her classic sound with new inspirations. Produced by Dave Stewart, the album carries a mix of heartfelt ballads and upbeat tracks that highlight Nicks' unique storytelling. 'Secret Love', originally penned during Rumours, is a gem that recalls her Fleetwood Mac glory days. 'Moonlight (A Vampire's Dream)' captures Nicks' signature whimsy, and 'For What It's Worth' showcases her lyrical intimacy. Nicks' inimitable voice and poetic lyrics remain the album's heart. Fans will appreciate this reissue, a celebration of her enduring legacy and her unmistakable presence in the music world.
Review: In the pantheon of prog rock landmarks, none come bigger than The Dark Side Of The Moon. Pink Floyd's magnum opus struck the perfect balance between grandiose vision and universal appeal, carrying relatable themes alongside innovative production and providing the fuel for any psychedelically-minded listener to trip out on a precision crafted trip. As the album celebrates its 50th birthday, this stellar recording of a full live performance of Dark Side... from Wembley in 1974 is seeing its first pressing on vinyl. It's faithful to the album in Floyd's exacting way, but it's also a revelation to hear such a wide scope of sound recreated on stage, not least the likes of 'On The Run'. A fascinating insight into the legacy of a towering, seminal work in the history of modern music.
Review: The reissue of David Coverdale's early solo albums, now appearing under the Whitesnake band name, is a thrilling celebration of his legacy, especially with the recent passing of the iconic singer. Originally released after a few years after Deep Purple's split in 1976, Northwinds mark a pivotal moment in Coverdale's career, featuring future Whitesnake guitarist Micky Moody and production by Deep Purple's Roger Glover. His second solo album showcases a young Coverdale discovering his sound, with tracks like 'Keep on Giving Me Love' and 'Breakdown' hinting at the hard rock brilliance that would define Whitesnake. Moody's guitar work and Coverdale's evolving songwriting shine throughout, particularly on 'Queen of Hearts' and 'Only My Soul,' which offer glimpses of the band's future direction. This album captures the raw, bluesy energy that laid the foundation for one of rock's greatest bands. With improved production and the historical significance of these tracks, this release is not just a nostalgic trip but a vital piece of rock history. Embrace the chance to experience the early roots of Whitesnake and the undeniable talent of David Coverdale in his formative years.
Review: Straop yourself in and prepare for a cosmic trip on psyched out cosmic polyrhythms with kosmische overtones at the hands of newcomer Glass Beams. This debut on Research Record is a stunning one from the enigmatic producer but will have you googling t find out as much as you can while you get lost in the sliding bass and transcendent synthwork. It's tinged with a certain retro charm and 70s prog magic but also feels decidedly new and fresh. Masterful.
Review: Public Service Broadcasting's fifth studio album, The Last Flight, four years on from their 2021 concept album, Bright Magic, taking inspiration from the life and final voyage of pioneering aviator Amelia Earhart. Frontman J. Willgoose Esq. explained the choice of Earhart's story, noting a desire to highlight a female-focused narrative amid an archive dominated by male figures. He was initially drawn to Earhart's final flight but became increasingly fascinated by her extraordinary achievements and dignified philosophy. The album's first single, 'Electra,' shows what to expect - a pulsating, funk-inspired track capturing the vibrancy and excitement of Earhart's Lockheed Model 10-E Electra aircraft. With interlocking percussive melodies and driving electronics, 'Electra' embodies the same determination and force as Earhart's daring spirit. The Last Flight promises a rich, life-affirming exploration of adventure, speed, and freedom, featuring guest appearances by Carl Broemel (My Morning Jacket) on pedal steel and Berlin voices Andreya Casablanca and EERA, both of whom contributed to Bright Magic.
Review: Coldplay's tenth studio album, Moon Music, produced by Max Martin, follows their 2021 effort, Music of the Spheres, which saw great success. Chris Martin has been teasing this release for 18 months, heightening anticipation among fans and, led by the first single, 'feelslikeimfallinginlove', it won't disappoint their huge international fanbse. In line with Coldplay's commitment to sustainability, the physical release of Moon Music includes innovative packaging too and this individually numbered limited first edition is an Indie Exclusive Red rPET Eco Vinyl Edition.
Review: Godspeed You! Black Emperor are back for their newest and most eagerly awaited album, No Title As Of 13 February 2024 28,340 Dead. This upcoming record, their first since 2021's G_d's Pee At State's End!, comprises six tracks that promise to uphold the band's renowned style of merging ambient textures with explosive crescendos. The album's title, steeped in the bleak realities of a world fraught with turmoil and disintegration, is echoed in the music itself. The compositions integrate field recordings, sparse instrumentation, and solemn hymns, embodying their anti-war and anti-capitalist ethos. Known for their dramatic contrasts and expansive, multi-part pieces, Godspeed You! Black Emperor continue to blend influences from post-punk, progressive rock, and avant-garde. No Title As Of 13 February 2024 28,340 Dead promises to deliver a compelling and introspective listening experience, staying true to the band's politically charged and dystopian themes.
Review: Tomorrow's Here Today celebrates 35 years of Lightning Seeds with a stellar compilation showcasing the band's mastery of modern pop songwriting. Led by Ian Broudie, the album kicks off with their iconic debut single 'Pure' and continues to deliver hit after hit across 20 tracks. From classics like 'The Life Of Riley' , All I Want' and 'Change' to fan favorites such as 'Lucky You' and 'Sugar Coated Iceberg,' Lightning Seeds' knack for crafting catchy melodies and feel-good songs shines through. With over eight million albums sold, their music has undoubtedly provided a soundtrack for an entire generation. The compilation is a testament to Lightning Seeds' enduring popularity and their ability to resonate with listeners through their infectious tunes and relatable lyrics. Tomorrow's Here Today is a must-have for fans old and new, encapsulating the band's impressive career and leaving a lasting impression as a true greatest hits collection.
Review: For the first time, David Sylvian's 29-track career retrospective, Everything & Nothing, comes to vinyl format. Spanning the incipience of Sylvian's craft with key cuts from his Japan and Rain Tree Crow days, through to his solo years with Virgin Records, this is a right summative beauty. We're surprised by its oversight on the part of record companies until now, with the album having initially only made it to a short CD and Minidisc run. Sylvian's sonic and lyrical Romanticism shines as brightly as ever here, with the pith at the wilful core of the record cogent in the pre-chorus line of 'The Scent Of Magnolia': "none of the history books describe what I've seen." Here we're also met with new remixes of 'Ghosts' and 'Bamboo Houses', as well as new session versions of tracks from the standout albums Secrets Of The Beehive and Dead Bees On A Cake.
Review: As part of Vegyn's more recent movements away from abstract, snappy electronica and into more dream pop and indie-intoned directions, the producer personally known as Joe Thornalley now debuts a new project, Headache, in collaboration with an elusive collaborator, Francis Hornsby Clark. Like the indeterminacy of the Double Virgo release also put out on PLZ last year, The Head Hurts but the Heart Knows the Truth is stylistically myriad. A surreal project, it arrests the subconscious with neurotic monologues from an unnamed AI narrator - a true sense of alienation seeming to waft from their lonesome, but characteristically British-accented dialogue - all of which are laid to indie-electronic beats in the reminiscent style of Saint Etienne or Boards Of Canada. An ultimately sad and limit-experiential album, which seems to constantly scream at the listener, "wake up!"
Review: "In Rainbows", Radiohead's seventh album, finally gets a physical release! It's one thing downloading this landmark album, but to actually hold this is something special. Not only do you get increased sound quality, but you also get the amazing artwork from Stanley Donwood. This album includes "Nude", a live favourite for many years that was originally written during the "OK Computer" sessions. More minimal that their "Kid A" period, "In Rainbows" does something that very few albums have done - its sound is distinct from previous Radiohead albums, but is still clearly Radiohead. Hail to the kings, they are back on top form.
Review: Twenty years ago it sounded like an oddly poignant evocation of pre-millennial tension. Two decades later it stands as an eerily prescient glimpe into the technological alienation and dislocation of of a new era. Yet more importantly, OK Computer is no more or less than a sparkling, dramatic and moving collection of songs that haven't lost any of their impact in the interim. The sound of a band stubbornly refusing to follow up the stadium-strafing stylings of its predecessor The Bends - and instead bursting headlong into experimentation and wild creativity -is portrayed in still more vivid colours by the alarmingly strong collection of out-takes and B-sides collected herein, Yet there's no getting away from the chill and spark that marked out OK Computer from everything surrounding it in the post-Britpop malaise, and continues to do so in the pre-Brexit counterpart.
Review: Stone Temple Pilots' No. 4 marked a return to the harder-edged sound of their earlier albums Core and Purple, while moving away from the power-pop experimentation of Tiny Music. Opening with the stomping 'Down', the album delivers a relentless mix of rockers like 'No Way Out', 'Church on Tuesday', and 'MC5', balanced by moodier tracks like 'Sour Girl' and 'Atlanta.' The latter, with Scott Weiland's haunting, Morrison-esque vocal performance, stands out as one of his most affecting moments. Weiland's struggles with addiction add a dark depth to the album's lyrics, particularly on tracks like 'No Way Out', reflecting his personal battles. Despite the band's difficultiesimost notably Weiland's jail stint for a probation violationiNo. 4 showcases the intense synergy between Weiland and the DeLeo brothers, producing some of their most versatile work. Though often unfairly dismissed as a post-grunge act, STP created a sound uniquely their own, with the crushing chords of Dean and Robert DeLeo, Eric Kretz's drumming, and Weiland's powerful vocals. No. 4 is a testament to the band's resilience, standing as their last truly seminal release before Weiland's eventual decline. Highly recommended for fans of 90s alternative rock.
Review: The Stooges' self-titled debut album, released in 1969 and produced by John Cale, is a raw, intense precursor to punk rock. Tracks like '1969' and 'I Wanna Be Your Dog' are renowned for their gritty, rebellious energy, embodying the stripped-down, visceral essence that would later define punk. While much of the album is driven by simple chord progressions and relentless intensity, longer tracks like the experimental 'We Will Fall' showcase the band's willingness to push boundaries, blending psychedelic rock with elements of drone and even Indian music. Despite being labeled as punk, the album leans toward psychedelic punk or heavy drone rock, with extended jams and impressive solos that keep things fresh just before they risk becoming monotonous. Ultimately, The Stooges stands as a powerful, pioneering album, praised for its raw conviction and groundbreaking sound, making it essential for fans of protopunk, garage rock, or anyone curious about the roots of punk music.
Review: Cutouts continues the three strong supergroup's exploration of diverse sonic landscapes, the new ten-track project reaffirming The Smile's commitment to pushing musical boundaries. The trioicomprised of Radiohead's Thom Yorke and Jonny Greenwood alongside drummer Tom Skinnericrafted Cutouts in Oxford and Abbey Road Studios, with production by Sam Petts-Davies. Preceded by the singles 'Foreign Spies' and 'Zero Sum,' the album promises a blend of styles, from jazz and Krautrock to progressive rock, all while maintaining a raw, experimental edge distinct from their work with Radiohead. The Smile have already captivated audiences with these tracks during their recent UK and European tours and as with their previous releases, Cutouts merges complex musical influences into a cohesive and intriguing sonic experience.
Review: To mark the 40th anniversary of Talk Talk's landmark album It's My Life, this special edition reissue is cut at half-speed by Matt Colton at Metropolis Studios, with oversight from Talk Talk drummer Lee Harris and Charlie Hollis, son of the late Mark Hollis. Originally released in February 1984, It's My Life followed the band's debut with a more refined sound and greater international success. Tracks like 'Such a Shame' and the title track became staples, achieving top ten hits across Europe and entering the US Top 40. The reissue has been meticulously crafted, utilising an extensively modified Neumann VMS-80 lathe with an upgraded SX74 cutterhead, improved magnetics and a new pitch control system. Enhanced filtering and correction circuitry designed by James Kedwards ensure that this anniversary edition delivers unprecedented depth and clarity. Fans of the band and audiophiles alike will appreciate this expertly produced celebration of Talk Talk's influential second album.
Review: The Smile's Cutouts marks another step in the band's exploration of diverse sonic landscapes. Following their earlier 2024 album Wall of Eyes, this project further underscores the trio's commitment to musical experimentation. Thom Yorke, Jonny Greenwood of Radiohead and drummer Tom Skinner crafted Cutouts at Oxford and Abbey Road Studios, with Sam Petts-Davies producing. They offer a look into the album's eclectic mix of styles, blending elements of jazz, Krautrock and progressive rock,a blend of influences delivered with a raw, adventurous energy that distinguishes The Smile from their Radiohead roots. Cutouts is expected to unify these varied influences into a compelling sonic experience.
Review: Machine Head is the 1972 sixth LP from Deep Purple, best known for its pandora's box-style unleashing of one of the best-recalled rock riffs in the world: 'Smoke On The Water'. Now Warner and Rhino honour the album's boisterous legacy with a comprehensive reissued version, with new mixes and previously unreleased live recordings all in tow. The new indie exclusive mainly recalls such intensive wildouts such as 'Never Before', 'Lazy' and 'Highway Star', all of which betray the tightest of tight early heavy metal playing, as the genre transpired gracefully outwards from the groundwater spring of rock & roll in the early-to-mid 70s; in fact, the band and album were considered somewhat responsible for the development for the heavy metal genre as a whole; no wonder Machine Head was their most successful album.
Review: A chance to catch the 1989 iteration of Black Sabbath in action in Japan on their Headless Cross, in support of their 14th fourteenth studio album (of the same name), the second with Tony Martin on vocals. This nine track selection from the show is fairly evenly spread across their already almost two decade long career, with that album's title track nestling alongside older triumphs such as 'Iron Man', 'Paranoid' and 'Black Sabbath' and Ronnie James Dio-period faves like 'Mob Rules' and 'Heaven & Hell'. The recent addition of the legendary Cozy Powell on drums just makes it an even tastier prospect.
Review: Godspeed You! Black Emperor are set to release their highly anticipated new album, No Title As Of 13 February 2024 28,340 Dead. This marks the Canadian post-rock ensemble's first studio effort since 2021's G_d's Pee At State's End!. The album features six tracks that promise to continue the band's tradition of blending ambient soundscapes with intense, chaotic crescendos. Accompanying the announcement is the track 'Grey Rubble - Green Shoots,' which exemplifies the band's unique approach. The album's title reflects the grim reality of a world marked by conflict and decay, a sentiment which resonates through music which combines field recordings, minimal instrumentation and stark hymns, reflecting their anti-war, anti-capitalist stance. Godspeed You! Black Emperor's music, known for its contrasts and epic, multi-movement compositions, continues to merge influences from post-punk, progressive rock, and the avant-garde. No Title As Of 13 February 2024 28,340 Dead is poised to offer a powerful, thought-provoking experience that stays true to their politically charged, dystopian vision.
Review: Haze, an Exeter band that in 1981 endlessly toured the South West of England and released the album "SILVERTOPS REFLECTS HAZE" upon which many contemporary tracks were given the Haze treatment from Barry Manilow's 'I Can't Smile Without You' to Johnny Cash's 'Ghost Riders in the Sky'. In the mix Azymuth's Latin funk anthem 'Jazz Carnival' and Space's legendary electronic 'Magic Fly' surfaced, the latter two of which make up this exceptional 7" release by Panorama records, this relatively new label that celebrates idiosyncratic rarities. Haze seem to like breaking down the original and making space between the beats and yet on this A side an already pumping track pumps faster with an extra electronic edge on the Moog-ish organ, whilst paradoxically Haze's lead guitarist takes on Jose Roberto Bertrami's originally syncopated keys in a more regulated way - not a bad thing if not a jazz dancer but someone who just loves to dance! Intelligently, Panorama have coupled this with Haze's percussion heavy version of 'Magic Fly' on the B side, that even if it remains more so electronic, even poppy, it nicely compliments the Brazilian homage of side A. If you love a rare version, 7" 45s and early 80s jazz funk with a synthesised edge you'll love this.
Review: Goat's latest eponymous album continues their enigmatic journey through the realms of mysticism and musical exploration. The Ouroboros, symbolising eternal cycles of death and rebirth, perfectly encapsulates the band's ever-evolving sound. Building on their previous worksilike the introspective Medicine and the haunting soundtrack to The Gallows Poleithis release dives deep into rhythmically charged, ritualistic grooves with a blend of infectious funk and transcendent psychedelia. Tracks like 'One More Death' and 'Goatbrain' set the tone with their hedonistic funk and aggressive guitar fuzz, resonating with long-time fans. Meanwhile, 'Fools Journey' offers a meditative experience with its free jazz influences and shamanic textures, reminiscent of their side project Djinn. 'Frisco Beaver' revisits the party vibes of 2012's World Music, while 'Zombie' and 'Ouroboros' merge hip hop elements with celebratory chants and energetic breakbeats. As Brad Dourif's character from Wiseblood wisely notes, the journey is about finding escape and renewal. With this album, Goat delivers an exhilarating experience, reinforcing their status as pioneers in the psychedelic and ritualistic music landscape. This pressing on vinyl offers a fitting tribute to their dynamic legacy.
Review: The 11th full-length from California pop-punk royalty The Offspring comes three years on from 2021's Let The Bad Times Roll, and shall serve as their first project to feature bassist Todd Morse as an official member as well as multi-instrumentalist Jonah Nimoy and drummer Brandon Pertzborn (who has previously toured with Black Flag, Marilyn Manson and Suicidal Tendencies), while drumming duties were split with the legendary Josh Freese (Nine Inch Nails, A Perfect Circle). 10 tracks, spread out just over a half hour, Supercharged looks set to live up to its title following the band's road break and creative pandemic-enforced respite, with a succinct in-anthem-out mantra.
Review: Moon Music is the anticipated new album from the mega popular band Coldplay, seeing them reuniting with renowned producer Max Martin, who also worked on their 2021 hit album Music of the Spheres. The album's lead single, 'Feelslikeimfallinginlove,' will be the lead single and has fans buzzing with excitement. The cover of Moon Music has been revealed, adding to the anticipation. Following the success of their BTS collaboration 'My Universe,' which became Coldplay's first No. 1 hit since 'Viva La Vida' and earned them a Grammy nomination, expectations are high. The Moon Music EcoRecord LP is a limited edition release, featuring a printed inner sleeve, an outer sleeve, and an expanded 28-page booklet filled with lyrics, imagery and credits.
Review: After three groundbreaking albums with black midi, including 2023's Hellfire, Geordie Greep has carved out time to release his debut solo project, The New Sound. This album showcases an eclectic and vibrant approach to alternative pop, granting Greep the freedom to pursue creative impulses without restraint. He reflects on this liberation, stating that without a band to answer to, he could fully explore his artistic vision. The recording process involved over thirty session musicians across Sao Paulo and London, blending diverse influences. Greep notes the spontaneity of working with local talent in Brazil, where tracks were recorded in a matter of days. Musically, The New Sound delves into themes of urban life and human experiences, juxtaposing light-hearted melodies with darker narratives. Songs like 'Holy Holy' merge indie pop with lush Latin arrangements, while 'Motorbike' features bassist Seth 'Shank' Evans in a poignant lament. Greep's ambition is evident throughout the eleven tracks, aiming to engage listeners with intricate lyrics and unexpected turns. He hints at future live performances, aiming to capture the album's dynamic spirit in various settings.
Review: The last ten years have seen no shortage of bands with their delay pedals set to stun intent on capturing an aura of dreamlike radiance. Yet Texas 'pop-noir' troupe Cigarettes After Sex are no ordinary shoegazers, for a variety of reasons - frontman Greg Gonzalez' androgynous and dulcet tones may be part of the appeal, yet moreover it's the quality of the songwriting here, which never falls prey to the style-over-substance traps of their peers. Indeed, this debut is more than enough to justify the considerable hype around this outfit, being a collection of ditties as sultry as they are atmopsheric.
Review: The Necks' 20th studio album, Bleed, is an unbroken 42-minute composition that delves into the rich, unsettling beauty of stillness. Known for their minimalist jazz, the Australian trio takes their distinctive approach even further here, turning silence and decay into instruments as potent as any piano or drum. Each second feels like a meditation on space, where nothing is rushed, and every shift matters. It's a single composition, yet it feels like an endless expanse of possibilities, each sound lingering in the air before dissolving into the next. Pressed on Indie Exclusive Green Vinyl, Bleed is another masterclass from The Necks, a group that has never been content to rest on past achievements. They stretch the limits of jazz in a way that few other artists could, inviting the listener into a world where stillness isn't an absence but a presence. The sounds feel tactile, almost organic, as if they were born from the earth itself, then slowly decayed. Each listen offers something different, some new texture or note that was missed before, making Bleed a record that grows with you, becoming more complex and rewarding with time. It's minimalist, yes, but not in the cold, distant senseithis is music that pulls you in, demands your attention, and rewards it with an almost spiritual sense of calm.
Review: Newly, radically reimagined remixes created from John Lennon's classic song, Mind Games. These nine Meditation Mixes craft their own space while maintaining firm and authentic roots in John Lennon's original recording. Each have been radically altered, slowed down and extended, ranging from five to ten to over 33 minutes, allowing the soundtrack to wash over the listener and provide a relaxing deep listening experience. Four tracks are presented as binaural versions which each focus on different types of brain waves: Beta, Delta, Gamma and Theta. Named 'Mind', 'Space', 'Spirit' and 'Love', these exploit the response of the ear to left and right frequencies, which constructively combine to produce a new frequency, which in turn, as they say, activates beneficial brain patterns. Produced by Sean Lennon, these contemporary Lennon versions aim to positively impact the contemporary anxiety-racked listener, whose appetite for deep listening has only understandably increased in recent years.
Slap That Bass/Get Happy/What The World Needs Is Love (3:08)
For Once In My Life (2:51)
If My Friends Could Ses Me Now (3:05)
Folie A Deux (1:38)
Bewitched (2:58)
That's Entertainment (1:41)
When You're Smiling (The Whole Smiles With You) (1:42)
To Love Somebody (1:52)
(They Long To Be) Close To You (2:38)
The Joker (3:10)
Gonna Build A Mountain (3:43)
I've Got The World On A String (2:03)
If You Go Away (3:08)
Gonna Build A Mountain (reprise) (1:44)
That's Life (2:57)
True Love Will Find You In The End (2:03)
Review: The upcoming soundtrack for Joker: Folie a Deux has film and music fans on the edge of their seats, with its highly anticipated fusion of drama and musicality. Produced by Joaquin Phoenix, Lady Gaga, and an impressive team including Jason Ruder and Todd Phillips, the album promises to be a vivid and bold departure from traditional film scores. Hildur Gudnadottir, who composed the haunting score for the first Joker film, returns, but this time her music is interwoven with 15 cover songs, transforming the film into a jukebox musical. Drawing from Hollywood's Golden Age, the soundtrack teases the inclusion of songs like Fred Astaire and Judy Garland's 'Easter Parade' and 'Cheek to Cheek,' with the trailer already showcasing Gaga and Phoenix performing 'Get Happy.' These classic tunes are expected to be reinterpreted in ways that are both 'logical and surprising,' according to Gudnadottir herself. The mix of Phoenix and Gaga's vocal performances with the score's dark undertones promises an audacious contrast, offering a new lens through which the psychological descent of both Joker and Harley Quinn can be experienced. Coming on red vinyl, this release is set to blend nostalgia with intensity, making it a defining musical moment for the film.
Review: It's been a full five years since Nick Cave & The Bad Seeds released an original full-length LP. Their last was Ghosteen, the final of three albums to complete the triptych that also included Push The Sky Away (2013) and Skeleton Tree (2016). This makes Wild God something of a special one, marking the first time Cave and company have struck out on an isolable creative limb in over a decade. Unlike the heartfelt grief-stricken groundswells of the previous three albums, Wild God is an avowed 'deeply and joyously infectious' album that marks a return to Cave's reputable, searching, soul-stirring songwriting form; full of the same idiosyncrasies that formed the greatness of latter-day albums like Dig, Lazarus, Dig, albeit with a crazed edge that has perhaps never been heard before.
Review: Australian combo Tama Impala has always been hard to pin down, with their two studio albums to date displaying a keen desire to capture a trippy, psychedelic vibe, whilst refusing to settle on one easy-to-categorize sound. Currents, their fourth album, continues this trend, toning down some of the psychedelic rock elements in favour of nods to blue-eyed soul, woozy dream-pop, cheery summery pop (see the radio hit in waiting "The Less I Know The Better"), and even the head-nodding rhythms of hip hop (which, incidentally, prove the perfect backing for the morphine pop wooziness of "Past Life"). It's a blend that re-casts the band as baked, inter-dimensional travellers with a neat line in enveloping, sun-kissed downtempo pop.
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