Switzerland-based Irish producer Mano le Tough has also been busy under COVID restrictions, producing a measured double set, LP) the Moment Pampathat combines bleepy, shiny slow-rolling electronica with an infusion of tuneful melancholia. The new three-tracker is an atmospheric doom-tinted head-nodder. Pete Aveson the other hand, majors in witty, slightly funky indie singer-songwriting. His seventh album and first in five years, Sweet Are the Uses on Genepool Records, has a vibe of life lived but is also groovy, poetic, and a little jazzy.
Prolific Bristol producer Andy Compton combines his talents, once again, for a second album as Blue Dream with Los Angelenos Irantzu Pujadas and Brad Kent: Trip to LA Tangential Music is an exquisitely produced selection of squelchy downtempo dancey grooves, somewhere between trip hop and cocktail bar house, but fitting neither tag.
One for the smokers who like to jig about a bit. Leprous are a Norwegian prog metal band. If they can grab attention it could be massive.
Jazz in its most unhinged sense. Comes in photo inner sleeve. Paranoid London have a good no-nonsense techno vibe about them. French producer Bellaire also keeps things jolly, if less heavy, with mini-album Date at the Disco AOC Records which, on transparent vinyl, delivers a light breakbeaty, home listening-friendly funk that sometimes bleeds into outright jazziness.
It rushes about all over the place, from orchestral-sounding interludes to swirling indie-pop euphoria to psychedelic dreampop, and is an unexpectedly varied treat. Also swirling and somewhat psychedelic is the second album by multi-instrumentalist Christopher Bono and sound avant-garde-ist Gareth Jones as Nous Alpha. Stylistically game and uninhibited, her latest album is a stab at pop which is admirable in intent, her voice floating on gentle electro-pop backing, but eventually rendered staid by trip hoppy drum tracks which are intrusive rather than elevating.
It leaves behind his previous stylings in a brilliantly mastered as ever with Ninja Tune and well-crafted hunk of house-tronica that veers between the dancefloor and spacier home listening, not in the ambient sense but in the way the production breathes.
Another double from an electronic producer covering similar ish territory is the re-released Viewpoints album from Justice on Hydrogen Dukebox. The Pro-Teensfrom Melbourne, approach alt-tronica somewhat differently with their sampledelic, soundtracky I Flip My Life Every Time I Fly on Mr Bongo, which sounds like a bunch of people having a lounge-touched laugh over breakbeats and is just the sort of thing this writer might have listened to after a few spliffs circa Never give up on any band.
They often have something left in the tank. Portico Quartet used to be good live too. I expect they still are. View previous newsletters. Skip to main content. Search form Search. We welcome any and all vinyl for review. Please hit thomash. More vinyl reviews on theartsdesk. Explore topics New music Reviews British Museum alternative ambient blues club music electronica electropop heavy metal hip hop indie jazz pop music punk rock singles vinyl. More information about text formats.
Leave this field blank. Lifeforms is another textural expedition that opens clear water between itself and the idea of DeLonge as a three-chord thrasher. If you hit read more you can see all the releases we have in our calendar for the week.
Hit the comments to access our forums and talk about what came out today, what albums you picked up, and to make mention of anything we may have missed. To us, this is an end of summer type song. The seasons are changing and so are you. But there aren't really any weak tracks although the new wave pop of the closing track 'In Bluer Skies' dips close, but is saved by its giant, catchy feedback riff and the album, when listened to with concentration on a good pair of headphones, offers a level of atmospheric audio immersion of a very rare quality, LP) one that grants 'Porcupine' the status of a stone cold classic.
Although in retrospect, the Tourists are seen almost entirely as the band Dave Stewart and Annie Lennox were in before they formed Eurythmics, the group was in fact more of a showcase for singer, guitarist, and primary songwriter Peet Coombes, who had first worked with Stewart in the folk rock band Longdancer, which was on Elton John's Rocket Records label.
They moved to London, where they met Stewart's girlfriend Lennox, who had dropped out of a course at the Royal Academy of Music to pursue her ambitions in pop music, on vocals and occasional keyboards.
The new trio dubbed themselves Catch and released one single, "Black Blood," on the Logo label in Adding bassist Eddie Chin and drummer Jim Toomey, the group re-christened themselves the Tourists and released their first album, The Tourists, in The Tourists were a typical British post-punk power-pop group by the evidence of their debut album.
Chiming guitars, quickstep martial beats sometimes borrowing from Bo Diddley or the Ronettesand the odd rude or belligerent remark "Nothing means nothing to me," snarled in the first single, "Blind Among the Flowers" placed them in the era of punk hangover when suddenly everybody wanted to sound like the Who, circa Songwriter and co-lead singer Peet Coombes had a pinched nasal tenor that fit the slightly sour sentiments of songs like "Another English Day" and "Don't Get Left Behind," but, already, the Tourists' secret weapon was Annie Lennox, who tended to overpower Coombes on their duets and helped make the overtly pop "The Loneliest Man in the World" the group's first Top 40 hit.
Of the two Sugar LPs, the first is the unequivocal go-to listen. What began as a selection of 30 possible tracks was winnowed down during the production process to a lean ten-title CD — all killer, no filler — that showcases a well-rehearsed and simpatico ensemble burning at its very brightest. Sure, there are points where the songs get locked into repetitious cycles, where sections feel like they are alternating ad infinitum.
For such a short-lived band, Sugar never wasted a moment on record. That line of thought only ends in hypotheticals, though. Black Rebel Motorcycle Club made an impressive debut intaking both America and England by surprise while alternative metal ruled the charts. More gutsy, more aggressive, and more dynamic than B. They're fearless and this release is all swagger, emotive, and cool. There's more character to songs themselves and BRMC appears a touch more confident.
From the acoustic ballad "And I'm Aching" to the post-punk fire of "U. For only a second album, they've got the maturity that most young bands lack on a creative level. Such tenacity will carry them a long way. Here, for posterity, is concrete proof of that epithet. Though the stately pace of the songs becomes monotonous at times, Perry's first solo effort is a mature work worthy of his reputation. It's literally just the two of them, recorded at a home studio in Australia. Bourke's work in Eden -- which had often been tagged with a Dead Can Dance wannabe brush -- actually meant that he knew more than most where Gerrard was coming from with her all-encompassing vision of music from different locales and times.
Compared to the often overwhelming feeling of The Mirror Pool, Duality is no less mysterious and captivating, but still maintains a more intimate, close atmosphere. The echoing depths that characterize Gerrard's work again appear, as much a tribute to excellent production as it is an artistic choice, and there are wondrous parts with haunting string arrangements, but there are no huge, heavenly orchestras or the like dominating this time out. As always, Gerrard's voice is simply breath taking, the vaunted and well-earned reputation for her singing ranges completely intact.
Perhaps most surprising is when she sings in clear, straightforward English on "The Human Game," compared to her usual glossolalia when singing her own lyrics; in context, it's a fascinating switch. Bourke's own contributions -- it's not immediately clear if those include vocals, given Gerrard's own abilities in both high and low registers -- mesh excellently with her instrumental work and, since no specific credit appears instrument for instrument, everything works as a true partnership.
Hey there fellow travellers. Just a brief moment of your time while I sit back and take a couple days off from posting daily. I have been surprised at the volume of traffic Depeche Mode have generated in the last month, and how it has resulted in a number of "take-down" notices for both Black Celebration and Violator. There are so many rips of DM's albums that I have to wonder why In other news I want to let you know that daily posting will slowly become a thing of the past, but despair ye not, multiple posts on the same day might make an interesting alternative.
Also, it's sometimes worth checking out the comments for additional links too interesting alternatives to the headline post. This will become more apparent as time moves along.
Singles are making a comeback along with some interesting Various Artists compilations. Now I've said enough as I don't want to keep you from your surfing t'web, and searching for that next awesome download, from that band you've never heard of, but you like the review by this or that blogger, and hey if you don't like it Peace Out Somewhere between Electro and Metal, Last Rites create a modern sound; a hypnotic, cold and heavy groove which works all the way through this second studio album.
It is also marked by the heavy support of industrial, rhythmic guitars Rageing Tideand the voice of Alexander Wright, whose thick, grand vocals are reminiscent of Johan Edlund of Tiamat The Many Forms, Body in Decline. Of all the Fields of the Nephilim side projects and bands, Last Rights are musically the 'least obvious'; and The Many Forms proves to be a thoroughly enjoyable listen, and although some may think it lacks that 'in your face' attack, I personally enjoyed the more subdued nature of the music.
The Many Forms has plenty of deliciously subtle and dark undertones and an impressive bass line which growls at the listener throughout and so fans of Goth self-raising flower rock will LP) at home instantly. Comprising of Jasmine Golestaneh and Eddie Cooper, have carved out their own niche within dark indie, electronica and synth-pop circles.
Their sound is about exploring tonal and emotional tension as much as it is about actual tracks or singular moments. Adrenalizing yet hypnotic landscapes layer mechanical and sensual impulses, as crystalline vocals weave fever dreams of yearning and alienation. Golestaneh's vocals switch from low and smoky to exploding rock ballad mode at the change of a verse.
She sounds like a person having a ball experimenting with analogue synths and sometimes, as on the title track, she hits a seam of sweet catchy songwriting. This is no bad thing; welcoming bedroom pop with thoughtful lyrics rather than aiming for Charli XCX territory. Worth taking a dip. Comes of vinyl whose colour is somewhere between a crocodile and combat gear.
Helloween Helloween Nuclear Blast : German metallers Helloween have a long and varied history going all the way back to The album Helloween is a marvellously OTT thing; pummelling drums and triumphant, sheeny, polished guitars stand behind choral harmonized power metal vocals on a set that runs over six sides of vinyl, one of which features a hologram of a pumpkin that floats above the plastic when a torch is shined on it.
Her default caustic guitar rock, which had been emphatically to the fore in raw form on her previous album, Uh Huh Herwas replaced by a set of spooked, even gothic, piano-led pieces, the result of Harvey embracing that instrument despite no formal training.
These pared back, minor LP) meditations are an acquired taste compared to what came before; they have a sense of the uncanny about them. This aspect is drawn out further with the Demos. This dude was raised super-deep in the hill country blues, his father a rated blues drummer and his grandfather bluesman RL Burnside.
Rather than amping up the rock radio crossover factor like, say, Samantha Fish or Larkin Poe, Burnside keeps his sound relatively stripped back and the repetitive riffs simple.
Deep South Americana nerds will be happy to hear it was recorded in Memphis and features guitarist Luther Dickinson. Released init marked the moment when the DJ Food project, by then in the hands of DJ-producers Strictly Kev and PC, moved on from simply providing DJ tools, to creating an album of varied, witty head music, occasionally for the dancefloor too, burnished with a playful beatnik sensibility and genre-eclectic sample palette rather than contemporaneous trip hop predictability.
Psychedelically spacy here, bouncy and jazzy there, percussively opulent elsewhere, it arrives on four sides of vinyl, two in mottled orange and two in marbled off-white that looks like curds'n'whey.
Various Jesus Christ Superstar Geffen : The original album returns on double in Welcome Now - Various - And Suddenly Its Evening (Vinyl format, half-speed mastered at Abbey Road and sounding punchy. When he and lyricist Tim Rice put the album Jesus Christ Superstar together they had couple of musicals under their belt but one was unheard The Likes of Us and the other had been performed but created no waves until much later Joseph and the Amazing Technicolor Dreamcoat.
They then put LP) this double album, before any musical or film. If Joseph vaguely cashed in on psychedelia, Superstar was attuned to the coming of the concept album. Listening now, one can hear it as a sort of Vegas take on those hippy times. Parallel Action Parallel Action C7nema : Producer Jude Greenaway has been around the block a few times, as is attested by his Yellow Machines label, the output of which often harks back to the s rave era where he began. Parallel Action is his latest incarnation and offers a gothic take on trip hop, lightly industrial and techno in places, also with Martina Topley-Bird-ish moments and, as showcased by the grimey vocal of Charlie Boy Manson, an infusion of in more contemporary styles.
Crisply produced, it brings to mind mental images of shadowy figures slow-dancing in a desolate and ill-attended urban warehouse party at 4. Comes on art-photo gatefold double in art-photo inner sleeves. A stately work over two sides of vinyl in info gatefold, it pushes at the boundaries of what Garrett usually does in an enjoyable manner.
US punk poppers Goo Goo Dolls fire out a collection of, well, rarities from - Thus, on one side of vinyl, in abstract art gatefold, we have a selection of squally soundscapes, white noise, and tones with glitchery going on, the general tone somewhere between threatening and doomed. Even with that in mind, her sixth solo album was a comeback success. Disc one is the original album. The Hong Kong outfit are now a duo and their sound has changed drastically. To these ears they dominate too much and the new alt-pop direction, while not by any means disastrous, is somewhat of a disappointment after the promise of the unique free-flying-yet-approachable jazz-percussive originality of their debut.
It consists of his first original material in six years alongside other extant cuts.
Little Boy Soldiers - The Jam - Setting Sons (CD, Album), Playback - Alliance Ethnik - Best Of (CD), Comfortably Numb - Govt Mule - Dark Side Of The Mule (CD, Album, Album), Silver River Turning - Jethro Tull - Living In The (Slightly More Recent) Past (CD), Policy Of Truth - Depeche Mode - Strange Too (VHS), Okres - Patridiotyzm (CD, Album), The Lord Is My Shepherd - Whitney Houston - The Preachers Wife (Original Soundtrack Album) (CD, Albu, Intro - Various - КАСТАломы - Высшая Лига (CD), Termite Man - Demented Are Go Present... The Demon Teds* - The Day The Earth Spat Blood (Vinyl, LP), Intro (The Ride Of The Valkyries) - Aerosmith - Flying Rocks Again (CDr), Les Lauriers Sont Coupés - Gérard Torikian - Musiques Pour Limage, Etc... (CD)