Review: Luke Combs, a prominent figure in contemporary country music, steps away from the mainstream fray with his latest release, Fathers & Sons. Amidst the competitive landscape dominated by lengthy albums from stadium-fillers, Combs takes a refreshing turn. This 12-song acoustic concept album dives deep into the timeless theme of paternal bonds. Fathers & Sons stands as Combs' most authentic and lyrically compelling work to date, embracing a traditional country sound that resonates with heartfelt sincerity. Co-written by a talented team including Lori McKenna, Jessi Alexander, Rob Snyder, and Erik Dylan, the album strikes a delicate balance between sentimentality and raw emotional depth. Each track, enriched by contributions from musicians like Sam Bush, Bryan Sutton and Charlie Worsham, creates a contemplative atmosphere akin to a serene Sunday morning. While some moments may veer into sentimentality, the album overall delivers a poignant exploration of fatherhood's various facetsifrom joyful homecomings to poignant reflections on loss and separation. Combs' ability to capture profound human connections through his music while offering a compelling narrative that transcends the typical country music formula is both refreshing and needed.
Vertigogo (LP1: The Missing Ingredient - Opening Theme) (2:18)
Junglero (0:08)
Four Rooms Swing (1:54)
Bewitched (0:01)
Tea & Eva In The Elevator (2:05)
Invocation (0:56)
Breakfast At Denny's (2:14)
Strange Brew (2:06)
Coven Of Witches (2:19)
The Earthly Diana (1:33)
Eva Seduces Ted (2:00)
Hallway Ted (The Wrong Man) (1:36)
Headshake Rhumba (0:42)
Skippen, Pukin, Sigfried (1:49)
Angela (1:04)
Punch Drunk (2:12)
Male Bonding (0:53)
Mariachi (LP2: The Misbehavers) (0:25)
Antes De Medianoche (2:40)
Sentimental Journey (2:15)
Kids Watch TV (0:22)
Champagne & Needles (1:59)
Bullseye (2:05)
Harlem Nocturne (0:59)
The Millionaire's Holiday (4:40)
Ted-O-Vater (The Man From Hollywood) (0:38)
Vertigogo (Closing Credits) (5:28)
D In The Hallway (0:22)
Torchy (0:16)
Review: Four Rooms reflects a very fun time in Hollywood, or at least the annals of American cinema. Co-directed by Allison Anders, Alexandre Rockwell, Robert Rodriguez and Quentin Tarantino, the story of the fictional Los Angeles-set Hotel Mon Signor, and the strange, demanding, off-putting, and straight up intimidating guests that stay there on New Year's Eve - just as Tim Roth starts his first shift on the job as bellhop - is full of energy and a carefree, playful attitude. It's the kind of movie which, if it were made today, would no doubt be rushed straight to the bottom of the New Releases section on whatever streaming service you've given in to because it would feel cheap rather than charismatic. But in 1994, catching a quintet of fresh filmmakers on the rise, at a time when positivity reigned and the silver screen still had an ounce of class, means the whole thing worked well. As for the soundtrack, we veer between Americana and a reworking of the theme from 1960s US TV series Bewitched, weird, meditative vocal drone and lounge music.
Review: RECOMMENDED
Definitely one for the collectors and historians, there's so much to talk about in terms of Rampton's significance you'll have to excuse sparse references to the actual music. Sorry not sorry and all that. First dropped in 1980, this was not only the first release on the cult and highly sought-after Come Organisation label, it was also one of the first pages in the story of William Bennet.
Leaving Essential Logic behind, the Come project stands as a stylistic bridge between the post punk that came before and the electronics that would follow with Whitehouse, and more latterly Cut Hands. It's weird, it's distorted, even today it's fresh and yet wholly retro. This is the sound of experimentation gone right, guitars, synthesisers and ideas colliding in a coherent mess.
Apparition Du Visage De Bela Lugosi Sur Une Tranche De Salami (3:11)
Musique Hypertrophique Des Remontoirs (2:51)
El Mal Ja Esta Fet (3:16)
Final Del Districte V (3:02)
Sea Yu L'ether Arigato (3:17)
Nothing But U (11:30)
Cimetiere De La Photographie (3:37)
L'orgie Parisienne (5:02)
Review: Pascal Comelade's Le Non-Sens Du Rythmefinds the French artists play almost all of the many instruments it features. He has been active since the 1970s, crafting ever evolving and ways moving rhythms from a mix of toy instruments, French chanson, folklore and underground sounds. The sometime painter has worked with the likes of PJ Harvey, Robert Wyatt and The Liminanas ever since goring up as a child of the frenzied rock sounds of there 60s. Here he fuses the Rickenbaker e.bass, Indian harmonium, keyboards and a tin can into something utterly unique and strangely compelling.
Review: If you missed The Comet is Coming's brilliant debut album, Channel The Spirits, first time around, help is at hand. Happily, the Leaf label has decided to reissue the Mercury Music Prize nominated album, expanding it to two discs via the addition of 2015's similarly sublime Prophecy EP and a trio of previously unheard wig-outs. The genius of the London combo's music lies in their unique and eccentric approach to musical fusion. While their roots lie in fusing spiritual jazz and freaky psychedelic rock, keen listeners will hear a myriad of other influences and inspirations seeping into their distinctive instrumental compositions, from spiraling electronica, Afrobeat and skewed funk, to ambient, dub, drum and bass, Roots Manuva and low-slung industrial funk.
Review: It's not clear as to what a 'Hyper-Dimensional Expansion Beam' is, but we do have a clear idea of what it sounds like in the abstract. The trio made up of nu-Afrofuturists King Shabaka, Danalogue and Betamax warn us not to look up on this latest LP masterwork, owing to the group's cosmic chops for fusing dancehall, jazz and psychdance musical elements. Perfect for the coming storm, this is a cinematic jazzdance you can't miss.
Review: Common reserves some of the most well-preserved clout as a rapper operating in the much-maligned realm of 'conscious rap' - a genre name as problematic as 'IDM' for its insinuation that rap is somehow usually unconscious or zombie-like. That said, 'One Day It'll Make Sense', first released in 1997, is among Common's most critically acclaimed LPs, thanks to its entertaining of concepts most rappers rarely dared to entertain back then. A mixture of party tunes in boom-bap colours and emotive, ruminative dirges, 'GOD (Gaining One's Definition)' is our favourite, summing up Common's stand-up values: "a rich man is one with knowledge, happiness and his health."
Review: Common's Resurrection celebrates its 30th anniversary with a special edition re-release that reminds us, as if we needed reminding, of how good the Chicago rapper's groundbreaking 1994 album really was. Known for its introspective lyrics and socially conscious themes, the record solidified Common as a key figure in the golden age of hip-hop and blends jazzy beats, soulful samples and of course his powerful storytelling. It touches on topics like identity, love and struggle and tracks like 'I Used to Love H.E.R.' became iconic anthems that influenced future generations of artists. As a poet and rapper in the hip-hop landscape, there are few finer than Common.
Review: Common and Pete Rock are two towering behemoths in the hip-hop world. Rock is best known for his instinctive and distinctive beat making style and for plenty of seminal tunes which showcase that, while Common is the next level lyricist, rapper and iconic freestyler who paints vivid pictures with his words. The Auditorium Vol 1 is a remarkable coming together of the two which arrives on limited edition coloured vinyl across four sides of wax. The groundbreaking collab blends all their considerable skills into a record that draws on the golden era but also shows a new future for the genre. It's richly layered and hugely rewarding, as you would expect.
Review: Loma Vista proudly present the latest full-length album by Common, one of the so-called 'conscious' hip-hop scene's earliest progenitor. Here, the rapper teams up with fellow wordsmith and DJ Pete Rock - whom the former refers to as "one of The Greatest Creators Hip Hop and Music has ever seen" (capitalisations not going unnoticed) - for a 15-track meditation on the proverbial theatre: the setting in which the fantastical drama of hip-hop takes place. Never having worked together before, Common and Rock roll out an uncommon compendium, fulfilling in particular Common's dream of working with an antecedent great. Mid-album scratch-fests like 'All Kind Of Ideas' evoke golden-days hip-hop nostalgia through their easy, boppy grooves and images of hustling and "cooking up", while 'Wise Up' and 'Dreamin'' move more textural and vinyl-crackly with things, musing equally on the requisites of leg-breaking performance. A glisteningly soulful album, invoking the glabrous power of street dreams.
Review: The Auditorium, Vol. 1 is a monumental collaboration between hip-hop luminary Common and legendary producer Pete Rock. Common, known for his versatile talent and numerous accolades, joins forces with Pete Rock, whose influential production has shaped hits for iconic artists. The album blends nostalgia with new creative breakthroughs. With intricate compositions and deep themes, The Auditorium, Vol. 1 promises an intellectually engaging listen. The lead single, 'Dreamin,' shows their seamless blend of old-school charm and modern production finesse. Common's soulful delivery adds a depth to the track, highlighting his musicality and unique style. With this album, Common and Pete Rock have created a timeless piece of art that resonates with the younger and older fans of hip-hop.
Review: Terapia Records is a Milan-born record label created by Luca Ferrara and Michele Fallabrino aka Complementary Minds. Here they present the very first release in its catalogue, a stunning LP titled Butch Haynes introduces Complementary Minds Vol. 1. Featuring a wide selection of moods and grooves throughout its whopping amount of tracks, some of the highlights include: the late night boogie-down vibe of 'Flower Diva" the late night deepness of 'Q Orchestra' (The Lost Tape mix) with its Moodymann influenced vibe, through to the knackered and off-kilter business of 'Myers Boogie Man' and the dreamy classic house emotion of 'Contact 911' with its early Chicago vibe featuring celestial Larry Heard-like synth sounds.
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