THE JESUS & MARY CHAIN 黑胶唱片和CD

Review: The Jesus & Mary Chain - Peel Sessions 84/86 offers a riveting glimpse into the evolution of the iconic noise pop band across four recording sessions for John Peel's BBC show. These sessions capture the band at various stages of their early sonic development, showcasing their signature blend of classic pop, noise, punk, psychedelia and garage rock. Each track serves as a testament to the band's innovative and influential sound, presenting a raw and unfiltered expression of their musical vision. With its combination of infectious melodies and gritty noise textures, this collection stands as a perfect document of The Jesus & Mary Chain's essential contribution to the alternative music landscape of the 1980s.

Review: When Jesus & Mary Chain reunited in 2007 there were tons of questions about what this would mean for their music, music in general, and the planet. Well, OK, maybe more their music. The notorious 1998 on-stage implosion between brothers William and Jim Reid was a culmination of tension between the siblings that afforded the band their inimitable conflict of sound, but also seemed to call definite time. It would be another decade before they attempted to work together again, with a show at Coachella, then another ten years passed while they figured out where from there. In the end, Damage & Joy was the answer, 2017's album, co-produced by Youth in a bid to bring in a potential mediator should things go sour. They didn't, and the record was well received - somewhere between old JAMC and a new era. Now we have Glasgow Eyes, an extension of that. Rather than born of conflict, tracks feel united in a common goal, synths rising to the fore above guitars, combative tones receding in favour of comfortable juxtapositions and contrasts.

Review: 40 years after the band's formation, The Jesus & Mary Chain have delivered their eighth studio album, their first full length release of new material for seven years. Admirably, the Reid brothers have refused to rest on their laurels and offer-up something undeniably nostalgic - catnip for long term fans if you will - but instead have fused elements of their familiar sound and style with plenty of fresh ideas. There are audible nods to Suicide, Kraftwerk and the improvisational practices of jazz, but also tons of fuzz, feedback and aural chaos. It's an invigorating mixture that's best exemplified by 'Jamcod', where the pair's red-raw guitars, low-slung bass and acid-fried vocals rise above a skittish electro beat, the slipped shoegaze-goes-dreampop flex of 'Chemical Animal', and the pleasingly spiky and punchy 'Girl 71'.