City Slang 黑胶唱片和CD

Review: Jose Gonzalez is one of the most acclaimed global musicians of the last few years, despite having such a quiet and intimate sound. Now comes his much anticipated fourth album which is another testament to his ability to draw you in and hypnotise you with his unique rhythmic style. Hugely pastoral and organic throughout, this record packs in plenty of mesmeric guitar paying and on some songs drum machine grooves. As always there is the odd reinterpretation of other artists' work and plenty of vital originals that come infused with elements of music from all over the world.

Review: Few could argue with Liverpool's claims as a city in possessions of one of Europe's most enduring musical legacies, but sometimes this can work against a town once the smoke clears and hysteria subsides. Suffice to say, many of Merseyside's biggest and best loved names have either long since hung up their instruments or faded into heritage territory, but every once in a while you're reminded how fertile the place is right now.

King Hannah have been a long time coming. Founding members Hannah Merrick and Craig Whittle long dreamt of forming a proper band, both having musical stories to tell long before opting to work together. We're very glad they did, with the results this dark, brooding, sexy, sophisticated, gritty interpretation of rock. Hypnotic, groovy, delicate in all the right places but with enough bite to take your head clean off without a second thought. As this double package containing debut EP and album proves.

Review: Times change, things get worse, outlooks seem bleaker, and the storm grows more severe. It's times like these you really need a ballast, something to hold on to and call upon for reassurance. Since inception, Lambchop have tried to be that force for good in a world hellbent on marching to madness. And The Bible is the group's finest hour for several years, although on the face of things it's not necessarily very different from immediate predecessors.

Lead singer Kurt Wagner has frequently quipped that his band don't really fit the country genre label, but again we're struggling to think of where else to place this. Country and Western it certainly isn't, but the totems are definitely down that route. That strong, iconic, patient and thought-provoking yet scarred voice, songs dealing with both the festival and comedown of life itself. This is slow, piercingly poignant stuff, from the heartbroken piano quiet of 'So There', to gospel-infused jazz on 'Police Dog Blues'.