Upset The Rhythm Waiting there patiently for over thirty years, Normil Hawaiians‘ third album Return Of The Ranters finally got the airing it deserved in late 2015, thanks to Upset The Rhythm. An act that kick started a re-issue campaign to get all their recordings back into print, finally re-addressing the group’s bad luck story with a vengeance.
Album review
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Upset The Rhythm Upset The Rhythm really seems to be cornering the market in literate if slightly eccentric indie pop these days. It takes me back to the halcyon days of C86 in the way that each new band that releases something on the label is bringing their own skewed vision of what passes for post-punk or indie guitar (for want of a better term). Carnage Hall from […]
Cherry Red / MVD Audio / New Ralph Too When we last left our heroes in the early 1980s, they had just staggered bloodied but unbowed from the triumphant disaster that was The Mole Show, an interlinked series of albums and associated live tours that detailed the epic and deranged saga of the conflict between two opposing peoples, the Moles and the Chubbs. It would therefore make sense, would it not, to […]
Blue Tapes Stuart Chalmers has created a lot of interesting soundscapes with minimal means. Live he’s a walkman wizard, dealing out an aesthetically beautiful seance of strange and slippery shapes, tangling up dialogue with wah-scarred short-wave.
Slowcraft / KrysaliSound James Murray set up Slowcraft Records back in 2011 to enable him to release his drifting passages of ambience, as well as highlighting other artists with a similar approach. His latest, Embrace Storms, numbered and limited to 150 copies and released in association with KrysaliSound, is a further variation on the theme of distance and dissolution.
Thrill Jockey Ryley Walker has been leading any interested parties a merry dance since his career started in earnest with 2015’s Primrose Green. I was talking to somebody who had taken a friend to see him this year at The Fleece in Bristol, expecting the pretty psych-folk of that album and ending up with the post-jazz extrusions of The Dave Matthews Band, which flies in the face of […]
Figureight After 2017’s EP Recôncavo was re-issued on Phantom Limb, people have obviously been awaiting a full-length album from Louisville-based JR Bohannon and here it is, a rare release on Shazad Ismaily‘s Figureight label. The rich musical history of Louisville in Kentucky, from Appalachian finger-picking to the post-rock vibes of the likes of Slint, are all filtered through in the DNA of JR’s music to create a hybrid that […]
(self-released) A re-visit to one of my favourite Legendary Pink Dots albums, Asylum Relaspe re-shapes the patients’ mood, and propels its themes with new perspectives. Some tracks are obvious nods to Asylum’s original content, but others are more slippery with context, wiggling out of the woodwork, adding to the fun as Patrick Q Wright’s musical nous excites the eleven tracks therein, his fevered violin playing and voice spinning […]
Rocmusic It is great news that the first three R.O.C albums are finally back in print. It has been many years since the listening public received the unexpected assault on the senses that was the first, self-titled album. That juxtaposition of Karen Sheridan‘s angelic, dreamy vocals with Fred Browning‘s more bitter, vitriolic vocal attack, all couched in a series of dramatically diverse musical backdrops that all three band […]
Glacial Movements Algida Bellezza is Alessandro Tedeschi‘s seventh album for Glacial Movements and it is another release that fits perfectly into their oeuvre. Over five mistily submerged tracks, a bleak, monochrome landscape is evoked through the slow moving actions of Netherworld‘s electronic drones and mysterious unseen sounds that lurk in the flailing snow storms that envelope the fractured pieces on offer here.
Discus Considering how long and varied the careers of Alex Maguire, Martin Pyne and Mark Hewins have been, this is the first time that the three have played together, and Discus is the perfect home for their meeting of musical minds as MPH. The CVs of the three members include an incredible variety of musical styles that seems to have culminated in a freedom that is quintessentially pastoral, […]
Mute Bristol in 1979 saw the emergence of one of the most beloved and influential bands of the punk era. Reformed again in recent years after a prolonged period of dormancy, decades after their serial appearances on the front covers of a number of influential music papers such as Melody Maker, NME and Sounds, they continue to draw in devoted audiences still in thrall to the energy and […]
Bureau B Kreidler have been going for twenty-five years now and are on their twelfth or thirteenth album, let alone all the other projects that the various members have. It is an impressive record, and even more so that each Kreidler album brings something a little different to the table. For the follow up to 2017’s European Song, they have pieced together and album of two halves; the […]
Editions Mego Back in the late nineties, in an attempt to distract myself from the drilling sounds whilst waiting to be seen by the dentist, I flicked though this lad mag (I forget the name of it). Amongst the usual antics I spot this review for The Elbow Is Taboo, worlds removed from the normal chart-friendly preferences of the publication,
Young God / Mute Michael Gira has never shied away from the bareness of the bulb’s inspection – his narrative always gnaws at the fragmented prism of the self, right from the sweaty simplicity of their beginnings to the sophisticated diatribes of the later years, even including the physical force of Swans‘ recent rebirth.
ADAADAT The continent-straddling meeting of musical minds that is Elephant House has reconvened after a couple of years’ rest to produce this ode to pan-cultural dream states that is Chollima.
Music On Vinyl / Seventh Claude Vorilhon was a racing car driver. He was a typical French man of the 1970s. Long hair, cigarettes, fast cars; he probably watched Un Homme Et Une Femme in the cinema. All of this changed for him abruptly at the end of 1973 when he had an alien visitation from an entity that called itself Jehovah. Those of you who are looking […]
Trace It still amazes me after twenty years or so how Mark Beazley can still make the bass guitar sound so different and vital across his various releases as Rothko. It feels like a personal crusade, a one-man (sometimes with help — Johny Brown, Michael Donnelly) to keep that cavernous echoing dream sound alive in the hearts of the listening public; and Rothko albums never fail to overwhelm, […]