Having recalibrated themselves somewhat with 2021’s towering epic Burials, Cambridge’s Fuzzy Lights return belatedly with the logical extension that is Fen Creatures. With Rachel Watkins retaining sole lead vocal and lyric-writing duties, alongside her role on violin, Xavier Watkins (guitar), Chris Rogers (guitar), Daniel Carney (bass) and Mark Blay (drums) continue to turn up both the turbulence and atmospherics, the folk-psych-rock melding appears even weightier and wider in its reach.
Adrian
97 posts
There is undoubtedly no productivity crisis in the broad spheres of nouveau shoegaze and DIY electronica, with complementary manoeuvres and convergence playing out between them to boot. This is certainly apparent in sifting through another review pile on the verge of toppling over, replete with a lot of familiar suspects from some reliable sources.
Clocking in at a mere thirty-six minutes, Love Chant certainly doesn’t overstay its welcome, which means inviting it back for repeat airings is not hard to do. Although it won’t catapult Dando back to crossover celebrity status -- which is arguably a good thing -- Love Chant is a commendable regeneration for The Lemonheads, one that hopefully won’t take quite so long to spawn a sequel.
After conducting another targeted rummage through the BBC’s archival strongrooms, Precious Recordings takes us back through some of the life and times of Glasgow’s The Primevals -- in John Peel, Andy Kershaw and Janice Long-commissioned session configurations.
Whilst arguably having missed a few opportunities, Touch is nevertheless a roundly decent latter-day Tortoise record that reassures us that the internal alchemical artistry – even if not as effervescent as it once was – retains a distinctive potency. Hopefully, we won’t have to wait for another best part of a decade to find out if there is more left in the shared sonic tank.
Venturing once more into the overflowing world of wires, elemental sounds and wordlessly channelled conceptualism brings us to three more new things from electronic explorers from across the globe.
At this point in the lifespan of Sloan, a new studio album is not really about reaching out to new audiences. It’s much more about sustaining creative consistency and keeping the Canadian power-pop institution’s adherents attached.
“Hey hey, my my, indie-pop can never die,” as Neil Young didn’t quite sing. From the boom years during the 1980s and into the 1990s, through a lower-profile but still fecund 2000s to 2010s and into the ongoing revival of the 2020s, the combination of independent-mindedness and a deep-seated love of melody, has sustained a cross-generational thread. The following three releases – one archival and two brand new – convincingly confirm this somewhat comforting sense of continuity and survivalism, whilst also capturing the internal diversity of it all.
...deeply omnivorous plundering from whatever sources serve the band’s collectivist broken mirror reflections upon the world. A modus operandi that is also visually illustrated by a none-more-fitting front cover image.
...this is a collection that casts a spell across any continental boundaries through its stunningly intimate yet deceptively intricate arrangements and desolate but dreamlike atmospherics.
Evocative, enigmatic and enthralling throughout, for a collection that took years to mature on Glen Johnson’s home studio hard drives this is far more than just a digital cupboard clearance exercise, which should certainly be recognised as one of his finest curatorial creations to date.
For all the anarchic trappings that proceed Australia’s profanity-framed Tropical Fuck Storm, there is clearly a lot more craft and imagination at play when the enterprise is examined up-close, as this first full-length release for a new home at Fire Records attests. As the quartet’s fourth LP-sized outing in all, Fairyland Codex bares the hallmarks of finding a creative sweet spot, between swampy sleaziness and more imaginative intricacies.
The Past Is A Garden I Never Fed, the first release for Fire Records from Donaldson’s addiction-primed enterprise, which rounds-up a choice compendium of previously digital-only non-album cuts, inside signature ‘same-but-different’ packaging.
Precious Recordings is clearly in it for an Olympic marathon, albeit with a few sprints along the way. Hence, following on rapidly from a still-fresh trio of seven-inch singles from newbies and returnees, comes two ten-inch outings, bringing fresh sounds from veteran players and a near-forgotten aural slice of the past, respectively.
...two epics-within-themselves .. a pair of expansive CD / digital-only outings from reliable combinations of creators and curators, from the scene that never sleeps.
Acting as the latest ambassadorial outing from the Bedroom Suck community and following on from 2018’s enigmatic eponymous LP under the somewhat off-putting Cyanide Thornton moniker, Birding Out captivates as an idiosyncratic creative deposition from its own little corner of the world.
Entering a realm where the laws of latter-day rock and pop physics don’t really apply, this second self-billed long-player for the label -- from the artist formerly known as Ziggy Heroe -- trades in the suave and sophisticated side-alleys that largely became forgotten about since The Beatles, The Rolling Stones and their peers rewrote the rules of engagement in the latter-half of the 1960s
Once more on to the fertile fields of the DIY electronica scene we go, cutting a path to search for the most interesting of musical crops that grow and regenerate at exponential rates…