Review: Superior Viaduct and W.25TH present Diamond Jubilee by Cindy Lee, now available in a deluxe 3xLP format with a collectible poster. Lauded across the board and shortlisted for the 2024 Polaris Music Prize, Diamond Jubilee showcases Patrick Flegel's unique blend of haunting melodies and raw emotion. Crafted over years in studios from Toronto to Montreal, this album delivers timeless reflections on love and longing, backed by sticky hooks and immersive soundscapes that cement Cindy Lee's reputation as a standout in experimental pop.
Review: A second joining of forces from two celebrated Chicago acts, blending deep, organic rhythms with a minimalistic electronic pulse. With the novel but logical addition of Jason Stein on bass clarinet, the collaboration stretches even further, pulling together the spiritual fluidity of Natural Information Society and the electronic minimalism of Bitchin Bajas. The first single, 'Clock no Clock,' is a deep dive into hypnotic rhythms, with guimbri grooves intertwining seamlessly with electronic bursts, flutes and organs. The other three tracks are equally compelling, the music unfolding like a living organism, constantly shifting but always grounded. Expansive, intricately woven sonic delights.
Review: William Tyler stands as one of the most influential solo American guitarists of this century. Having played with Silver Jews and Lambchop, he's carved out a singular space for himself, with albums weaving country roots and classical influences with postmodern experimentation; he melds field recordings and static drifts for a sense of imminent boundlessness, recoverable just over the hill. Drawing on inspirations from Chet Atkins to Gavin Bryars, from electroacoustic abstraction to hypnotic boogie, Time Indefinite - his first solo album in five years - hears Tyler reimmerse himself in said sound, reflecting on the hiss, distortion, and rawness of a turbulent era. With eerie loops and luminous melodies, Time Indefinite is an essential soundtrack for fostering resilience.
Review: Dynamite Cuts lives up to its name once more by unearthing a deep funk treasure here, and they do the right thing and serve it up for the first time ever on its own 7". Sound Investment's 'Funky Skunk' is a raw and rhythm-heavy rarity previously confined to album-only status. It's bursting with tight grooves, gritty breaks and irresistible energy and is a dream for DJs, collectors and crate-diggers. On the B-side, 'Dirty Man' keeps the heat alive by delivering more deep-fried funk goodness. Both cuts showcase the band's raw musicianship and groove-driven spirit. Authentic funk vibes don't come much better than this.
Review: Turkish artist Peki Momes wowed listeners last autumn with her debut 45, 'Goc Mevsimi', and she now returns with yet another double-sider single promising such captivations of the cochlea once more. Here she brings a fresh spin on the classic Marcos Valle tune 'Estrelar' with 'Yildiz'; retaining the original's vibrant energy, her new Turkish-langauge rendition dreams of the stars, sun, and moon. 'Bahar', on the flip, offers a psychic disco anthem at the moon's noon, with its distinctive chorused, peak-vibrato high Rhodes helping transmute a theme of political strife into a tranquil midnight fandango.
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: Spanish Ethio-jazzers Pyramid Blue return with their latest 45 rpm rotunda on Discos Martos. Another one signalling the best of this rather recherche band's evolving sonics, they here team up with with Habiba Chaouf, a talented Arab singer deeply rooted in Spain's flamenco scene. Habiba's mesmerising vocals bring a rich layer to the A-side, where identifiably Arab melodies intertwine seamlessly with deep Afro-funk rhythms. 'Amal' means "hope" in Arabic, suggesting themes of longing, uncertainty, and soul-search. The B-side's 'La Esperanza', meanwhile, adds a touch of 70s film soundtrack bombast, combined with a whispered mid-record rap.
Review: Genre-defying trio Little Barrie & Malcolm Catto - their bassist Lewis Wharton is the third one, if you're wondering - have created an album brimming with explosive energy and diverse influences fusing rock 'n roll, deep funk, jazz, and fuzzy atmospherics. Barrie Cadogan (guitar/vocals) has played with everyone from The The to Primal Scream, but this LP moves well away from indie templates, employing a freeform approach, experimenting with tempos, volumes and textures. Tracks like 'Spektator' and 'Sick 8' showcase their ability to build subtle momentum and then let it slip back, allowing space for intricate instrumentation and lots of vivid expression.
Review: Los Jaivas' Alturas de Macchu Picchu arrives newly remastered and reissued by state51 on heavyweight wax, and it remains a landmark of South American music. Its blurring of psychedelic rock, Andean folk and Pablo Neruda's poetic power makes the album, which was recorded in exile during Chile's Pinochet era, an evocation of both the spirit and struggle of Latin America. Tracks like 'La Poderosa Muerte' and 'Sube a Nacer Conmigo Hermano' swirl with emotion and complexity to deliver a cinematic spiritual experience. Inspired by Incan ruins and resistance, Alturas is more than music-it's a cultural beacon that invites you into a timeless soundscape.
Review: The American musician and guitarist newest album is a collection of compositions that balance melancholia with quiet defiance. From the disorienting, tape-warped opening moments to the album's delicate final waltz, Tyler crafts an introspective instrumental landscape where the past and present converge. 'Cabin Six' starts with a hazy, found-sound texture, its distant hum of static giving way to Tyler's contemplative guitar. It's a track that feels suspended in time, evoking the isolation of its recording process. 'Concern', in contrast, unfurls a luminous melody atop warm strings, the steel guitar lifting the piece into a realm of understated grandeur. It's among Tyler's most affecting compositions, a quiet affirmation amid uncertainty. On 'Star of Hope', the album's spiritual centerpiece, an AM radio-sourced hymn weaves into Tyler's delicate loops, creating a ghostly, celestial resonance. The interplay between organic and electronic texturesitape hiss, processed echoesigrounds the track in a space both intimate and otherworldly. 'Electric Lake' shimmers with ecstatic drone, its weightless progression nodding to La Monte Young, while 'Howling' sways between ambient pastoralism and an undercurrent of discord, its background noise a restless specter. The album closes with 'Held', a sigh of relief wrapped in a gentle acoustic waltz. The ever-present tape warble lingers, a reminder of unease, but Tyler leans into beauty. Time Indefinite is a triumph of instrumental storytellingione of quiet reckoning, but also persistence, offering solace in its hypnotic, evocative swells.
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.
Review: Cindy Lee's Diamond Jubilee invites listeners to experience an exquisite journey through sound and emotion. Hailed as a major contender for the 2024 Polaris Music Prize, this album offers a fascinating tapestry of ethereal melodies and haunting reflections. Crafted over countless hours in studios stretching from Toronto to Montreal, Patrick Flegel channels a unique blend of nostalgia and longing. With infectious hooks wrapped around evocative arrangements, Diamond Jubilee is a striking embodiment of innovation in experimental pop, solidifying Cindy Lee's position as an important figure in contemporary music.
Review: Santana's Abraxas stands as the definitive Latin rock masterpiece, capturing the band's vibrant and groundbreaking sound at its creative zenith. Released in 1970, this album showcases Santana's blend of psychedelic rock and Afro-Latin rhythms, a combination that moved audiences and earned Abraxas a lasting place in music history. The album features nine tracks that brilliantly highlight the talents of the band, particularly the 'Holy Latin Rock Trinity': Carlos Santana's emotive guitar work, Gregg Rolie's powerful Hammond organ, and the dynamic percussion of Jose "Chepito" Areas and Michael Carabello. Standout tracks include the chart-topping 'Black Magic Woman/Gypsy Queen,' the dance-inducing 'Oye Como Va,' and the soulful 'Samba Pa Ti,' each a testament to the band's skill in blending diverse musical elements. The Mobile Fidelity reissue, sourced from the original analogue master tapes, brings exceptional clarity and depth to this classic, making it an audiophiles and Santana fans ideal version to get.
Review: Mahal by Glass Beams melds a diverse array of influences into a unique and enchanting soundscape. The Melbourne-based trio, shrouded in mystery with their mask-wearing anonymity, lets their music speak volumes. Built around founding member Ranjan Silva, their sound draws from the rich heritage of Ravi Shankar, Bollywood, Electric Light Orchestra, and traditional blues.Inspired by repeated viewings of 'The Concert For George', Silva's vision for Glass Beams seems to echo the fusion George Harrison envisioned when introducing classical Indian music to Western pop. The EP opens with 'Horizon,' setting a serene tone before leading into the title track 'Mahal,' an instrumental piece that envelops the listener in its mystical charm. 'Orb' follows with a riveting bass riff, while 'Snake Oil' delves deeper into Indian classical territory, showcasing evocative vocals. The EP concludes with 'Black Sand,' a dramatic and beautiful track featuring interwoven vocals and guitar. As their second EP, following Mirage, Mahal solidifies Glass Beams' distinct place in music, defying categorisation and quietly demanding attention with its almost otherworldly quality.
Review: Andy Bell is a blessed man: he had none other than Neu!'s Michael Rother supply guitar parts to the opening cut 'I'm In Love' (a cover of The Passions' post-punk classic). Moreover, One Love's Dot Allison is guest vocalist and supplies ethereal tones to the breathtaking song. It opens the gate beautifully for the heady collection of entirely new material that follows. It's an album that navigates Stone Roses grooves and Arthur Russell style experimental textures and works just as well for close listening as it does moodily-lit dancefloors. The Ride guitarist is on the form of his life here and you could do far worse than letting this wash all over you.
Review: Mr Bongo look back to the damn fine Latin funk and rock-infused soul sounds of Coke's 197 self-titled opus for their next well-chosen reissue project here. It is their only album, sadly, but is a brilliant mix of Miami Latin-funk, psychedelic garage rock and gritty soul sung mainly in English. It blends bright funk drumming, flavourful organs and zesty horn with Paul Garcia (guitar), Ariel Hernandez (bass), Ruben Perez (drums), Jose Rubio (keys) and Peter Fernandez (vocals) all produced by Mato. The record was popular in Miami but faded due to limited promotion and a Coca-Cola trademark dispute but was later rediscovered by collectors, with standout tracks like 'Na Na,' 'Got to Touch Your Face' and 'Te Amo Mas' all became staples of Latin sets.
Review: Discos Mas kicks off their New Year with a vibrant Los Disco Duro version of the iconic 'Cumbia de Sal'. this top take blends the famous Moog cover with the original 60s version for some super fresh results. Featuring vocoder vocals, brilliantly resonant synths and funky drums, this unique cut enhances the classic cumbia beat with all-new energy. The release also includes a double A-side with a cover of 'Mexico' by the wonderful Mexican Institute of Sound. Camilo Lara's original composition is reimagined with signature Los Disco Duro elements such as vocoder vocals, synths and cumbia percussion, all of which add up to a refreshing mix of modern and traditional rhythms, nostalgia and innovation.
Review: British outfit Little Barrie - guitarist Barrie Cadogan and bassist Lewis Wharton - team up with Malcolm Catto, known for his experimental edge as producer and drummer with Heliocentrics, on this raw-edged collaboration. Cadogan and Wharton, whose distinctive sound helped define the opening notes of Vince Gilligan's own-right spinoff Better Call Saul, bring their tightly wound energy into Catto's sonically unpredictable world. What emerges is a tense, scorched blend of overdriven guitar stabs, thicketed percussion, and eerie atmospheres that play like a weather report from a collapsing city. Catto's rhythmic instincts create a fractured foundation where Little Barrie's gritty melodies can unravel or coil without warning. Far from polished or predictable, the record thrives on friction and volatility, capturing three musicians testing the limits of structure and sound.
Review: The latest addition to Echo Edits keeps the funk coming courtesy of Break Character who delivers two powerful tracks that are indicative of his unique approach, names to enhance each edit with extra layers of FX and beats. 'Cosmic Freaks' takes a 60s go-go rock groove and infuses it with Moog and Space Echo effects while paying homage to the psychedelic club sounds of Pierre Henry and JJ Perrey. 'Cherie Boca' then transports you in an instant to the funky samba rhythms of 70s Brazil with an extended edit and added beats to guide dancers from the favela to the beach. Two distinct styles, perfect for different vibes.
Review: Linda Perhacs' debut is a unique, psychedelic folk masterpiece that remained largely undiscovered upon its initial release in 1970. Its eventual reissue in 1998 allowed the album to gain the recognition it deserved. The music is a haunting mix of folk and experimental psychedelia, with Perhacs' intricate, multi-tracked vocals and cosmic arrangements creating a sound both intimate and otherworldly. Songs like 'Chimacum Rain' explore nature and sensuality, while the title track layers geometric lyrics and lush soundscapes to evoke a mystical, transcendent experience. While some moments, like 'Porcelain Baked-Over Cast-Iron Wedding', introduce some experimentalism, the album's strength lies in its more straightforward, emotionally charged tracks such as 'Paper Mountain Man', The work stands as a singular example to Perhacs' visionary talents, capturing the psychedelic experience in a way few artists could. Her ability to blend experimental techniques with folk sensibilities places her alongside the greats of the era, offering a deeply personal, unforgettable journey into sound that remains a timeless gem.
Review: Since their early heyday of mammoth pop hits, electronic-indie duo MGMT seemed to sound gradually more and more conflicted, unsure whether to continue producing stadium-scale hooks or follow their eccentricities. It seems, with their fourth full-length 'Little Dark Age', that they've opted for the latter - sounding all the more confident and cohesive for it. 'Little Dark Age' sees the pair channeling their synthetic poppy psychedelia into their darkest, most serious and interesting songwriting yet. Anybody who panned 2013's self-titled album or 2010's 'Congratulations' should be pleasantly surprised by this return to form and new-found resolve. 'Little Dark Age' is a far cry from MGMT's definitive debut, but it's to the band's credit that exploring the more weird and wonderful corners of their pop-sensibilities has worked so well.
Review: It's not that fans of King Gizzard never expected this from the band's 15th long form outing, but rather anyone who stumbled upon the alliterated outfit on their last offering - "Fishing For Fishes" - is likely to be dumbstruck. Forget the life-affirming blues hues of that record. "Infest The Rats' Nest" sees the band at their heaviest - they are barely audible here beneath the din and cacophony of thrash metal. Exploring Earth's fate in the age of environmental degradation and pollution through "Superbug"'s slow chug and low, bellowed chorus, the driving riffs of "Mars For The Rich", the intensity of "Perihelion" and the screeching chords of "Venusian 2", the album's 9 tracks are as legit as anything this sub-genre has thrown at us since inception in the 1980s. More astute fans will have heard nuances of this on 2017's LP, "Murder of the Universe" and various manic musical explosions in Gizzard's back catalogue. "Infest The Rats' Nest" is a constant barrage of unrelenting energy from start to finish, and quite possibly their strongest album yet.
Review: In the forty-two years since the release of Ege Bamyasi, no-one has done as much to blend the spheres of experimental rock music and the avant-garde than Can, whilst also maintaining a hip-shaking primal pulse and delivering a radiant wash of kaleidoscopic sound that defies classification. Ege Bamyasi still stands as one of their crowning achievements, and one whose spooky reverberations have made their presence felt throughout a mighty chunk of the rock and dance music of the decades that have followed. An otherworldly masterclass for the ages.
Chen Jie & The Golden Melody Band - "Spring Wind Kisses My Face" (3:20)
Alina Rahman & The Bateks - "Hilangkan Berganti" (3:06)
Wong Shiau Chuen & Brothers Hawk - "Wo I Nee" (2:28)
Nam Hong - "Track 11" (2:43)
Lotus Liew - "Let's Dance" (2:09)
The Crescendos - "Silver Threads & Golden Needles" (2:23)
Siti Zaiton & The Firebyrds - "Kesalahanku" (2:24)
Review: Bite-sized, and of an incalculable carat value, we're served a plate of Singaporean ear foods, with releasing label Akenaton homing in on the music scene of the 60s and 70s. Coinciding with the British invasion of ye-ye pop and beat music, which the Southeast Asian nation ate up with glee, we hear many singer-porean ladies backed by both duos and ensembles here, following up a scrumptious first edition. So recline, and let the fuzzy guitar tones and trebly songs of Li Li Wong, Lena Lim, Fung Po Po and Nancy Sit help you weather the worst of personal storms.
To See One Eagle Fly (original version 1978) (5:09)
To See One Eagle Fly (Mudds extended mix) (7:27)
Review: Well, what a way to inaugurate your label! The newly crowned Spacetalk comes through resolutely correct with this reissue of 1978's "To See One Eagle Fly" by Morrison Kincannon, a psyched-out funk bomb with a glorious blue-eyed soul twist, and a mystical sort of vibe that can proudly sit up there with the likes of Stills, Nash and Young - i.e. proggy but still groovy. There's an extended remix from Mudds, and the man goes for a kind of dub version approach; a new and different tactic to deploy over a rock tune, but effective nonetheless.
Review: The fourth LP outing from the Nottingham band sees revelling in 60s psychedelia and folk sounds, checking in somewhere between the whimsical glories of The Left Banke, the powering grooves of The Doors and the beguiling melodicism of Nick Drake. It's a nostalgic sound but it's not lacking in dynamics, especially when driven along by the glittering, sparkling drums of founding member Adam Carr, which often feel like the lead instrument as the vocals of Leonore Wheatley and the guitar, bass and keyboards mesh into a hazy supporting act.
Review: A classic album by Mark Fry, an English singer-songwriter, and an obscurity-lover's choice folk artist. Now over 50 years on from its first release in 1972, the album already held sway among its fans back then for its surreally up-close-and-personal, yet muffled, quality. But now more than ever, the passage of time lends further effect to Fry's approach to song, and could be construed as a coming-of-age piece, considering he was only 19 years old at the time of its recording. Through all its crud and layering, we can still make out the voice of a sweet soul, though the mystery of the titular Alice is still wrapped up in much illusion and allusion, with nods to the Lewis Carroll-created character cropping up throughout.
Review: Temporal Drift drop the never-before-heard master tapes from Japanese cult legends Les Rallizes Denudes' legendary second comeback gig in 1993, after an unexpected slew of CD albums dropped in 1991. The band hadn't performed since the 80s, and came back for blood. Eyewitness accounts of the gig said that the abrasive squall of Takashi Mizutani and Katsuhiko Ishii's guitars that night had concertgoers pacing for the lobby to seek respite from the sonic furnace. After 30 years in storage, the multi-tracked recordings from the performance fell into the hands of former band member Makoto Kubota, who lovingly remastered them to give listeners a sense of the transcendental roar which The Rallizes unleashed that night. Highlights include the braindead rockabilly shuffle of 'Eternally now', and the steady, diesel-powered chug of 'Darkness Returns 2', which, like all other tracks on the album, is eventually pierced by the screeching peal of Mizutani's telecaster, which eats the whole mix up in true Rallizes style. A much mythologised live performance by a much mythologised band. Essential!
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