Review: 'Loose Fit' isn't always the first song name that springs to mind when thinking about the Happy Mondays, but the immediately identifiable opiate guitar riff is up there with the band's most memorable and infectious. A highlight of the group's third album, Pills 'n' Thrills and Bellyaches, the track was already dancefloor ready before this pack of re-dos arrived on the scene. We're glad it did, though. Greg Wilson and Che Wilson open the scoring, keeping things thoroughly Manchester and acid-tinged, it's a trip through the blue lights and sweat of a warehouse at 2AM. The Grid's EOE Edit and subsequent Remix take the tempo down and the atmosphere deeper, almost druggier if that could humanly be possible given the wider context here. Topped off with a post-club overture in the form of the epic downbeat Perfecto version, and you might want to stick it in the shopping cart now.
Review: A 12" split meeting of the minds between two equally iconic alt rock punk-lifers, this EP brings together Gainesville, Florida's Hot Water Music and New York City's Quicksand (brainchild of Gorilla Biscuits hardcore hero and Rival Schools emo-grunge auteur Walter Schreifels), covering each other's classic tracks with renditions of 'Fazer' from the Quicksand 1993 debut LP Slip and 'Free Radio Gainesville' off of Hot Water Music's 1999 third full-length No Division. Filling out the tracklist are the unreleased 'Supercollider' which marks the first new cut of Quicksand material since 2021's Distant Populations, and the b-side 'Undertow', originally recorded during sessions from Hot Water Music's latest 2024 LP Vows. With simple cover art featuring Hot Water Music's Chuck Ragan on one side, and Quicksand's Alan Cage on the other, it perfectly summarises this playful, mutual celebration of one another's work, some new, some old, all great.
Review: Trent Reznor and Atticus Ross of Nine Inch Nails have been called into help with the production, as well as some film score composers, on the fourth album by Halsey. The American singer-songwriter and general artistic polymath deals in powerful, emotive pop with driving guitar riffs and big walls of scuzzy sound. They are always evolving and innovating within that framework and this record comes on the heels of their US Billboard No.1 LP 'Manic'. Away from music, Halsey recently introduced a multi-dimensional makeup line for made for everyone and uses her voice to speak up for disenfranchised youth, women's rights, mental health and the LGBTQ community.
Review: Here comes a special Japanese edition of Harvey Sutherland's superb Boy album. Since debuting in 2013, Mike Katz has released a lot of music under this alias, always flitting between interconnected styles (electronic disco, deep house, jazz-funk, nu-boogie, revivalist New Jersey garage and Italo-disco) without ever laying down an album of all-new music. Boy, then, is a significant milestone in the Melbourne producer's career and offers an exploration of what he calls "neurotic funk" - a boundary-blurring fusion of jammed-out analogue electronics and live instrumentation that draws on a multitude of musical styles without neatly sitting in any one pigeonhole.
Review: 2000's Stories From The City, Stories From The Sea is a lauded set that many critics still cite as one of the singer-songwriter's greatest works. Famously, most of the songs focus on love and relationships and were written while Harvey was living in New York City at the tail end of the '90s. It remains a fine album that has stood the test of time well, with highlights including soaring opener 'Big Exit', jangling sing-along 'A Place Called Home', the sparse and haunting 'Beautiful Feeling' and full-throttle, grunge-inspired rocker 'Kamikaze'.
Dry (demo - LP1 - B Sides demos & Rarities - Record 1) (3:38)
Man-size (demo) (3:24)
Missed (demo) (4:01)
Highway '61 Revisited (demo) (3:14)
Me-jane (demo) (2:57)
Daddy (demo) (3:09)
Lying In The Sun (LP2 - B Sides demos & Rarities - Record 2) (4:26)
Somebody's Down, Somebody's Name (3:40)
Darling Be There (3:48)
Maniac (4:02)
One Time Too Many (2:57)
Harder (2:07)
Naked Cousin (3:54)
Losing Ground (3:14)
Who Will Love Me Now (5:17)
Why D'ya Go To Cleveland (3:14)
Instrumental #1 (LP3 - B Sides demos & Rarities - Record 3) (1:11)
The Northwood (1:57)
The Bay (3:08)
Sweeter Than Anything (3:12)
Instrumental #3 (1:07)
The Faster I Breathe The Further I Go (4 track version) (3:58)
Nina In Ecstasy 2 (2:15)
Rebecca (3:01)
Instrumental #2 (1:48)
This Wicked Tongue (3:44)
Memphis (3:48)
30 (4:08)
66 Promises (LP4 - B Sides demos & Rarities - Record 4) (3:45)
As Close As This (2:37)
My Own Private Revolution (3:54)
Kick It To The Ground (4 track version) (3:14)
The Falling (3:51)
The Phone Song (4:06)
Bows & Arrows (3:38)
Angel (3:52)
Stone (3:39)
97° (LP5 - B Sides demos & Rarities - Record 5) (2:46)
Dance (2:57)
Cat On The Wall (demo) (2:43)
You Come Through (demo) (2:47)
Uh Huh Her (demo) (2:57)
Evol (demo) (3:51)
Wait (2:15)
Heaven (3:14)
Liverpool Tide (2:42)
The Big Guns Called Me Back Again (2:44)
The Nightingale (4:13)
Shaker Aamer (2:48)
Guilty (demo - LP6 - B Sides demos & Rarities - Record 6) (4:36)
I'll Be Waiting (demo) (3:15)
Homo Sappy Blues (demo) (2:17)
The Age Of The Dollar (demo) (3:09)
The Camp (4:28)
An Acre Of Land (6:00)
The Crowded Cell (3:09)
The Sandman (demo) (2:02)
The Moth (demo) (3:25)
Red Right Hand (2:51)
Review: We've been treated to reissues of everything else from PJ Harvey's spectacular catalogue, so it's only right we get a chance to savour the deeper cuts that shape out the persona of the high priestess of alternative rock. Gathering together an exhaustive 59 B sides, demos and previously unreleased tracks, this six-LP box set takes us into the heart of Polly Jean's writing process, showing the raw power in the songwriting when it's just her voice and an overdriven guitar, and showing us the broader possibilities of songs which didn't make the cut for the studio albums. This is a true treasure of music getting the authoritative release she deserves.
Review: It has been said before that Polly Jean Harvey's 1998 album, Is This Desire, marked a watershed moment in her career. A veritable coming of age record that failed to match the commercial heights of To Bring You My Love, but was actually a far more complete and personal thing. Less angry than preceding efforts, it painted a more balanced and accurate portrait of an artist whose formative years were pockmarked with media analysis and criticism of her visible powerful attributes - sexuality and fury.
Coupled with the fact that Harvey has never been one to pander to scenes in the hope of top ten chart success, and you can only imagine how happy she was with the finished product. And all this is before we start banging on about the musicality, from title track's subtle, hushed baritone blues to the garage rock-out of 'A Perfect Day Elise'.
Review: Polly Jean Harvey broke into the common conscious with her unique and individual approach to alternative rock, and she's managed to maintain that aural autonomy throughout a storied career that has simultaneously found favour in the musical mainstream and refused to stray far from the leftfield. A difficult balance to strike, this, her eighth solo studio album, is indicative of that point. There's nothing here not to enjoy, but there's very little here you could predict.
Not least given where it sits in her back catalogue. Production began as the seminal but decidedly hushed White Chalk was released, and this record couldn't be more different from the preceding LP. Doing away with introspect, for the most part anyway, and refocusing attention away from pianos, it's a rousing indie collection that further cements the artist as one of Britain's national treasures.
Review: PJ Harvey's ongoing vinyl reissue series has finally arrived at 2007's White Chalk, an album that at the time was thought of as something of a curveball from the West Country singer-songwriter. Unlike its predecessors, which were celebrated for their raw, fuzzy, stripped-back alt-rock sound, White Chalk emerged after Harvey decided to write an album of "piano songs" - despite having no experience playing the instrument herself. With Flood and John Parish handling production duties, the set's tracks were generally lighter and breezier sonically, with a little more polish and much more restricted use of electric guitar. Harvey's lyrics are as distinctive as ever, though, offering a clear contrast to the pastoral and oddly traditional feel of the music.
Review: It's album number three from Maya Hawke, daughter of Hollywood veteran Ethan, herself both an actress, a singer, musician and songwriter. Signed to New York indie Mom + Pop Music, which has offered a home to artists such as Alicia Keys, Tom Morello, Porter Robinson, and Tycho, among others, the pedigree of the imprint speaks volumes about Hawke's prowess in the studio. Landing late-May 2024, Chaos Angel sees the woman up top reunite with regular collaborators Christian Lee Hutson, Benjamin Lazar Davis and Will Graefe, names some will be familiar with from preceding LP, Moss. A warm, swoon-y trip into soft pop-rock, lyrically it's as sweet as it is reflective and heartfelt, while musically things range from twee folk-leaning chart stuff through to rawer garage guitar stylings.
Review: Live at Halifax Piece Hall marks Richard Hawley's debut in concert with his complete band as the famous Sheffield singer-songwriter made the short trip from his native south Yorkshire to Halifax in the west of the great county. It was recorded amidst the enchanting ambiance of a crisp autumn evening in September 2021 and showcases a blend of Hawley's timeless classics and tracks from his latest album Further, all enhanced by the accompaniment of a four-piece string ensemble. Set against the stunning backdrop of the beautiful Piece Hall, this record captures Hawley at the pinnacle of his performance prowess. Available in both audio and visual formats, this is a trifold heavyweight orange vinyl version.
Review: Gemma Hayes is a Mercury Prize-nominated singer-songwriter and this is her long-awaited sixth album, Blind Faith. Throughout the record, Hayes explores themes of longing, empowerment, freedom, and repression in this deeply personal work and really encourages listeners to reflect on her message and immerse themselves in its abstract lyrical nature. All of that fine word smithery is accompanied by tender guitar picking, haunting synths and swooning cello. This is Hayes's first album in a decade and is a remarkable one that shows plenty of subtle evolution in her style while also remaining relevant to older fans.
Review: Michael Head debuted his Red Elastic Band back in 2017 with the Adios SeNor Pussycat album on Violette Records, following in the wake of his earlier success with bands like Shack. The Liverpudlian singer-songwriter is back with a new long player called Dear Scott, which finds him and his stretchy backing band on stellar form as they run through the likes of lead single 'Newby Street'. It's breezy, jangly indie with acoustic guitar upfront and all the sentimental compositional chops you could wish for - an album to hold close to your heart and songs to carry through your life.
Review: Something of a Liverpool legend, Michael Head's musical story stretches right back to the punk era. Since then he's had spells in The Dance Party, Shack, the Pale Fountains and Egypt For Now. For the last five years, he's fronted The Red Elastic Band, offering up a handful of studio albums and a couple of excellent live sets. Loophole arrives just before the release of his autobiography and largely features reflective, wistful and thoughtful songs spiced up by expansive arrangements, sinewy strings and - more occasionally - heady horns. The plentiful highlights include the cheery jauntiness of 'Ciao Ciao Bambino', the lilting, slow-motion headiness of 'Shirl's Ghost', the semi-acoustic, Latin-tinged loveliness of 'Connemara', and the bluesy late 60s Beatles flex of 'The Human Race'.
Review: South London's potent indie auteur Heartworms unveils her highly anticipated debut album here on Speedy Wunderground. It has been produced by longtime collaborator Dan Carey and fuses the driving, motorik energy of Depeche Mode with PJ Harvey's sharp lyrical prowess, and is finished off with the offbeat rhythms of dance-punk favourites LCD Soundsystem. The result is a dark, intense sonic assault that is unmistakably Heartworms in the way it blends gothic post-punk with unashamed emotion and relentless momentum. It once again proves why Heartworms is one of the most exciting new voices in alternative music.
Review: Following on from 2023's acclaimed debut full-length All Gas No Brakes, Bristolian noise-punks Heavy Lungs return with the definition of an antithetical sophomore LP with Caviar. Clocking in at under 30 minutes (significantly less than their initial outing) and recorded live in dingy church rehearsal spaces to capture the unhinged intensity of their live performances, this is the sound of a band vehemently disinterested with mainstream appeal, exposure or playing the game by any terms apart from their own. While vocalist Danny Nedelko would be the named subject of one of the biggest singles from fellow Bristol natives Idles' 2018 breakout second album Joy As An Act Of Resistance, where his peers have expanded their sound and embraced myriads of melody, Heavy Lungs are poignantly going the opposite route, full speed towards oblivion with only chaos and anarchy on their collective minds.
Review: Talk about appropriate names. There's something about Helen Island that sounds as though it has been cast adrift, washed up, and left to establish its own thing. The Parisian enigma's work feels ghostly, haunted by a past that has vanished into the ocean mist. Whether they'll ever be reunited is the real question, but mystery is the joy here. Whether it's at the uptempo, synth pop hued 'Hot Zone Regular Day', or the weird and wonderful psyche-electronica-field style 'Forever Starts Today', breathy samples on 'Indivisibl' or the innocent contemporary classical-cum-ambient plucked strings and keys of 'Restless Lovers' and 'Gore Lore', the whole thing is a strange and beguiling ride through the outer reaches of popular music.
Review: Hips & Makers takes us back to a great time for independent guitar music. The debut album from Kirstin Hersh is deceptively quiet and unarguably powerful, predominantly made up of acoustic numbers that really speak to how strong the rock-folk crossover was at this point. Adding the inimitable voice of REM's Michael Stipe to the opening track, 'Your Ghost', only accentuates this. A million miles from 'twee', while things here are often set at a volume that encourages reflection, in other moments they explode into an earthen celebration of passion and energy. Almost carnal. 'A Loon' and its campfire yelps and whoops, 'Close Your Eyes' with its rousing chorus invoking resilience and resistance. Even the sparseness of 'The Letter' makes a huge impact.
Review: Danish electronic pop act Hess Is More's CaeKE marks a return to pop's borderlands after detours into orchestral and experimental sounds. Minimalist and mellow, the new album eschews sprawling ensembles for a DIY space of piano, drum machines, and vintage synths all of which frame Hess' wandering voice with eccentric poetry. Balancing maturity with childlike curiosity tracks like 'I Love My Life... Again and Again' exhibit a subversive lightheartedness amid mellow existentialism. The album is a reflection on fatherhood and life's changes since the early 00s that finds Hess embracing a new melody-one that harmonises seriousness with carefreeness, introspection with outward expression.
Review: Former Soup Dragons man Hifi Sean (real name Sean Dickson) seems to have found a musical soulmate in David McAlmont. The pair have already impressed via a pair of well-regarded albums and here drop a third collaborative full-length - barely six months after its predecessor, Daylight, appeared in stores. Designed as a kind of flip side to that set - a loosely conceptual musical night drive from dusk 'til dawn - Twilight cannily combines slow, soft-touch grooves, dreamy textures, bubbly electronics, strobe-lit synths and McAlmont's honeyed vocals to great effect. The plentiful highlights include Blessed Madonna collaboration 'The Comedown', the tactile bliss of 'Goodbye Drama Queen', the huggable wooziness of 'High With You' and the heartfelt sweep of 'Star'.
Review: Six months after dropping their second collaborative full-length excursion, Daylight, HiFi Sean and David McAlmont deliver the yang to that set's ying - the loosely conceptual dusk-til-dawn night drive that is Twilight. More synth-heavy and strobe-lit than its predecessor, the album sees the effortlessly soulful McAlmont add his honeyed vocals to backing tracks rich in soft-touch grooves, dreamy textures, bubbly electronics and strobe-lit melodic motifs. This limited, deluxe edition is the one to grab if you can; aside from being pressed to colourful purple vinyl, it also comes bundled with a single-track seven-inch flexi-disc (containing a fine alternate dub mix of 'Driftaway') and an autographed art print.
Review: First dropped in 2007, The Black & White Album was well-received at the time, and for good reason. Yes, in many ways it's The Hives doing what they do best - high energy, adrenaline garage rock music you can't help but feel driven by. From another perspective, though, there's much experimentation going on, which becomes more apparent the more you dive into things. 'Puppet On A String', for example, uses nothing but a handclap and piano, stark minimalism compared to the stereotype of the band in question. Another, 'A Stroll Through Hive Manor Corridors', is this weird, atmospheric 1960s organ refrain that brings more than an air of sepia and surrealism to proceedings. Meanwhile, 'Well All Right!' and 'T.H.E.H.I.V.E.S.' introduce The Neptunes on production and the full cheerleading squad from the University of Mississippi.
Come On! (LP2: A Midsummer Hives Dream - live In New York 2012) (4:13)
Take Back The Toys (1:51)
1000 Answers (2:20)
Main Offender (1:39)
Walk Idiot Walk (2:13)
No Pun Intended (2:31)
Wait A Minute (3:06)
Won't Be Long (3:48)
Hate To Say I Told You So (4:59)
Go Right Ahead (3:10)
Die, All Right! (2:47)
Tick Tick Boom (2:59)
Patrolling Days (6:21)
Review: The Hives remain, for many, absolute kings of contemporary rock and roll. For this year's Record Store Day they try and remind us of all that with a reissue of their super Lex Hives album. The record first came back in 2012 and now it has been fully remastered and includes some extra bonus cuts including 'High School Shuffle' and 'Insane'. These sit alongside much loved standouts from the original album like 'Come On!". On top of all that, this special version also comes with a live album A Midsummer Hives Dream, which is a recording of the band playing at New York's Terminal 5. It was a red-hot show that found them in top form and now arrives on vinyl for the first time.
Review: It's album number nine from The Hold Steady, who, as it happens, marked 20 years as a band with this release (or at least the anniversary roughly coincided with the LP landing in stores). During that time, these masters of rough and tumble, near-barroom rock for and by the people, have climbed the ladder of musical fame, enjoyed time in a well-deserved limelight, and then returned to the underground from whence they came.
Understanding that journey is important. Achieving heights of mainstream success a decade or so ago, it's not that the half-spoken word vocal delivery of frontman Craig Finn has waned in impact or emotional resonance. Nor has the timeless, brass and piano hued rock & roll instrumentation gone stale. Instead, their relentless consistency means we almost take the quality of every song and record for granted, leaving die hard fans to carry the torch. Perhaps now is the time to correct that.
Review: Julia Holter's sixth album Something in the Room She Moves might just be the Los Angeles songwriter's best work. In the past she has often explored memory and dreamlike futures but on this new outing she is very much more in the moment throughout. She explains herself hat "There's a corporeal focus, inspired by the complexity and transformability of our bodies." Musically the album mixes fretless electric bass pitches with her unique vocal melodies. The recognisable sounds of the Yamaha CS-60 interweave with more organic wind instruments and add up to a fluid, watery sound that flows smooth and carries you along with it amongst the gorgeous harmonies.
Racecar Driver (feat Kirby, Hether & Girl Named Golden) (3:57)
So Get Up! (feat Minova & Michael Rault) (3:21)
Wishing Well (feat Girl Named Golden) (3:39)
Hide It Behind The Light I'm Shining Through (feat Girl Named Golden) (2:57)
Start Select (feat Hether) (3:03)
Forever & Ever & Ever & Ever (feat Hether) (3:30)
Goldie (feat Dave Guy) (4:07)
Review: Homer Steinweiss, is a veteran drummer who is credited for bringing "retro soul" back to the mainstream with artists like Amy Winehouse and Sharon Jones, is stepping into the spotlight with Ensatina, his debut solo album. After the emotional turbulence of 2020, which included the breakup of his band Holy Hive and the end of a long-term relationship, Homer sought help and poured his journey into music. The album's first track, 'Now That It's Over' is a powerful reflection on resilience, with haunting vocals by Hether. Across the rest of the album, Homer blends soul, melancholy and inspiration and shows he is a wonderful solo artist with a sound all of his own.
Review: The Window Is The Dream finds Jana Horn go ever deeper into her own personal inner space than ever before. It is a work that builds on her well-received debut Optimism and makes her well worth of the one-to-watch tag she received when it dropped. This one saw Horn go to upstate New York to record with "electro-primitivism of the Silver Apples, austere rhythm kings This Heat and The Raincoats' time-bending Odyshape" in mind and distill them into her own forms. Her transfixing voice is at the centre of each tune with skeletal rhythms and melodies making for a bewildering listen.
Review: Horsegirl is a threesome from Chicago who, after much fanfare early in their career, finally get round to serve us up a long player on Matador Records. This band of best friends is made up of Penelope Lowenstein on guitar and vocals, Nora Cheng also on guitar and vocals, and Gigi Reece on the sticks. They do everything together from swapping vocal duties to writing the songs, mixing up the instruments they play and designing the visual art. The lyrics are open ended and impressionistic and the sounds range from joyous to enthusiastic.
Review: A warm welcome back to perennial genre-benders Hot Chip, who return to stores after three long years with their eighth album, some 21 years after making their debut. Freakout/Release is no dramatic change in direction, but instead a further distillation of what has always made the band so appealing - a trademark fusion of synth-pop, loved-up house sounds, lilting and sometimes melancholic lead vocals, loose-limbed organic drums, nods to Prince and an ability to craft killer hooks. There are highlights aplenty, from the gravelly live hip-hop funk of 'The Evil That Men Do' (where rapper Cadence Weapon delivers a star turn) and the subtly post-punk influenced, saucer-eyed brilliance of 'Hard To Be Funky' (featuring Lou Hayter), to the classic Hot Chip sing-along flex of 'Time' and the krautrock-tinged 'Out of My Depth'.
Review: While influencing a massive array of modern emo, pop-punk and indie-rock outfits, Hot Water Music have made it abundantly clear that they don't feel the need to go home just yet.
Their latest, sad times lamenting opus, 'Feel The Void', sees the group recording for the first time with latest addition Chris Cresswell (The Flatliners), who stepped into the band initially for live settings upon Chris Wollard taking a sabbatical for mental health reasons.
Now, for the first time since 2004's 'The New What Next', the band have opted to work with producer Brian McTiernan, arguably responsible for the three best albums to come from HWM during their 'glory days'.
Beyond a return to form, everything from the anthemic 'Hearts Stay Full' to the muted crawl of 'Ride High', screams of a seasoned group of artists with so much more to say. While often replicated, 'Feel The Void' outsads, outfeels and outriffs any would be imitators, and only further cements a status that really was in no need of maintenance.
Review: I Will Always Love You: The Best Of Whitney Houston should be in everyone's collection. The American R&B great reached heights that few artists ever have or ever will. Her tragic demise means that her legacy is persevered while she was still at the top, and this posthumous greatest hits album - originally released in November 2012, but only now landing on wax - includes tracks from across her whole career. There are remastered versions of 'Greatest Love Of All,' 'I Wanna Dance With Somebody' and 'I have Nothing' as well as a previously unreleased song 'Never Give Up.' It's one that you will keep on coming back to time and time again.
Didn't We Almost Have It All/A House Is Not A Home/Where Do Broken Hearts Go (6:44)
All The Man That I Need (6:46)
My Name Is Not Susan (4:21)
I'm Your Baby Tonight (4:24)
Greatest Love Of All (9:41)
Review: Whitney Houston was known as The Voice for good reason. Even now, decade on from her most famous material, no one has matched the range, power and emotion of the American songstress. She could not only do it in the studio, but also live on stage as this recording from a show at Madison Square Garden ably shows. It's got the most love anthems like 'I Wanna Dance With Somebody' and 'How Will I Know' as well as a fine medley in the form of 'Didn't We Almost Have It All/A House Is Not A Home/Where Do Broken Hearts Go'. Crowd noises are also included for extra authentic energy and edge when listening back.
Review: .The critical jury has certainly been out on Ben Howard's latest slice of soft electronic pop-dance-indie business, some slapping an Album of the Week label on it, others referring to it as "a little dull". Beauty is, of course, in the eye of the beholder, or in this case the ear, and from where we're sitting Is It? certainly is a thing of exceptional beauty. Only boring people get bored, blah blah blah.
Indeed, if there was a major criticism here it would be the most 21st Century, mind-ruined-by-tidal-waves-of-wireless-information criticism imaginable. Howard clearly expects us to listen and listen good, with such delicate tracks easily at risk of slipping into the background. Turn it up, then, and feel the full, subtle power of what's here - 1980s hued sophisticated lushness, lo-fi downtempo curveballs, postmodern art pop. Ace.
Review: To mark their 40th anniversary, Hugo Largo is releasing a comprehensive collection that takes in their entire studio output, namely the albums Drum from 1988 and Mettle from 1989, as well as a full album of previously unreleased and live recordings titled Hugo Largo Unreleased and Live 1984-1991. These albums, which have long been out of print, are now being reissued with special essays from R.E.M.'s Michael Stipe, who produced Drum, as well as contributions from Brian Eno and band member Tim Sommer. This complete collection celebrates the band's influential experimental sound and shows why they had such a lasting impact on the alternative scene.
Review: Southern California-based composer and improviser David Rosenboom is a figure who can't quite be aligned to one particular school, his work slipping intriguingly through the cracks. A collaboration with vocalist Jacqueline Humbert, Daytime Viewing is an extraordinary narrative poem set over a song cycle consisting of six pieces. Quietly released privately in 1983, Unseen Worlds has brought this seminal work back into view along with a full remastering. Exploring ideas of absurdist theatricality, TV soap operas, commercialism, and family, Humbert's voice and Rosenboom's production merge to create a landscape that is at once lush yet also dystopian. An entirely unique release that invites endless study.
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