Review: Under a full moon to commemorate Portland's official holiday on their first Dead Moon Night, Mike Lastra recorded Michael Hurley play 'Jane' live at Portland City Hall in 2017. He performed, rather wittily, this cover of Portland Oregon Dead Moon's 1991 release to the most well attended non protest event in the history of the hall. Hurley, American "outsider folk" singer-songwriter, guitarist, banjo and fiddle player, and part of the Greenwich Village folk music scene of the 1960s and 70s is not only known for his iconoclastic songs, but also his cartoons and paintings, here illustrating the single's cover. The B Side 'Go My Way' features an unreleased Range Rats track from 1986 recorded at home by Fred Cole, Toody Cole and Rolly (their Roland drum machine), covered paradoxically by Portland's own Dead Moon in 2004, giving a comforting circularity to this limited 7" on Mississippi US, a label that prides itself in supporting artists and their families when crafting ethical and respectful releases of previously overlooked music. So, if you're into the Appalatian folk troubadour tradition with an undertone of irony that has a bluesy edge, you'll love this.
Seahawks - "No More Raindrops" (Steel Pan dub) (2:16)
Review: This 7-inch single, plucked from the 'Seaside Chillout Breeze' compilation, offers a taste of summery bliss. Side A features TAMTAM's delightful cover of Mad Professor's dub masterpiece 'Sweet Cherry'. The Tokyo-based band infuses the track with their signature colourful grooves, adding steel pans for an extra touch of seaside charm. Flip the record over for Seahawks' 'No More Raindrops (Steel Pan Dub)', a slice of Balearic bliss that evokes a carefree summer vibe. Together, these two tracks capture the essence of the compilation, offering a perfect soundtrack for seaside relaxation.
Review: Tetine duo Bruno Verner & Eliete Mejorado met at the underground art punk scene of Sao Paulo. Turning their head to electronic music, their DIY roots shine through with transgressive lyrics and their leftfield take on electro pop. They're like a precursor to Confidence Man. This 12" EP features four dance punk numbers taken from their 2010 album From A Forest Near You. 'Yr Daugther Lies' is cosmic, experimental new wave with an irresistible bassline running through it. Still on the A-side, 'Tropical Punk' blends funk and Sonic Youth-esque guitar textures with spoken word that's full of galvanising ire. Lastly, 'O Espaco' is a Portuguese language number equally full of party vibes. Tetine are built for those moments when you need an injection of pace, so if you notice the mood slipping at a party then slip this on and it will turn things around for the better.
Review: Iconic post-punk visionaries THE THE have been a much missed presence on the British alternative scene. Despite touring with relative regularity, their new album in 2024 was their first in a quarter of a century. Formed in 1979 by singer-songwriter Matt Johnson, they have had a revolving door policy with regards to the line-up - and included Johnny Marr for a spell - but Johnson remains the sole constant member and mind behind the name. This 7" release comes after the band have been touring their latest album Ensoulement and worked out which tracks deserve a featured release. "We found that these two songs were amongst the most popular. 'Where Do We Go When We Die?' was written for my late father Eddie Johnson (author of Tales From The Two Puddings) whilst 'Risin' Above The Need' is a philosophical muse upon addiction and materialism and the power of the human spirit to overcome obstacles," says Johnson in a press release. Proving that deciding on which release to print after road testing is definitely the right way to go about business, this 7" is an irresistible, soulful treat that will make up for its brevity through begging to be played on repeat.
Review: The latest offering from The The, 'Linoleum Smooth To The Stockinged Foot,' emerges as a deeply personal and haunting track, showcasing Matt Johnson's evocative songwriting amidst a backdrop of surrealism and introspection. Penned during Johnson's recovery from a critical surgery, the lyrics resonate with introspective depth, capturing a hallucinogenic journey heightened by discordant horns and fiddle arrangements. This release stands out for its collaborative spirit, featuring guest musicians like Sonya Cullingford on fiddle, Terry Edwards on horns and Gillian Glover on backing vocals, all contributing to the song's atmospheric complexity. The single cover, features artwork by Johnson's late brother Andrew (Andy Dog), adds a poignant layer to an already compelling release.
Some Days I Drink My Coffee By The Grave Of William Blake (4:07)
Frozen Clouds (3:32)
Review: THE THE's eagerly awaited Ensoulment marks their first studio album since 2000's NakedSelf. This 12-track collection traverses sharp social commentary and personal introspection, something the band has always excelled at through the years. To celebrate the release, a strictly limited 7" vinyl single will feature 'Some Days I Drink My Coffee By The Grave Of William Blake,' a standout track from the album. The single also includes an exclusive B-side, a previously unreleased track, making it great for collectors wanting a unique piece of their discography. With Ensoulment, THE THE delivers a potent mix of incisive lyrics and introspective musings, reinforcing their legacy with a fresh yet timeless edge. While, like most of mainstream media missing this amazing band as usual, true tastemakers know the legendary career Matt Johnson has had. His impact is immeasurable.
Review: This release sees David A Tobin exploring the multifaceted nature of love, delivering a soulful house cut that's both uplifting and introspective. 'Fallin' In Love' is a journey through the complex emotions of romance, with warm chords and a driving bassline creating an irresistible groove. Tobin's emotive vocals capture the vulnerability and excitement of falling head over heels, while the track's soulful melodies and uplifting energy create a sense of hopeful optimism. The B-side, 'Turnin' Me On', takes a slightly different approach, with a more playful and seductive vibe. The track's infectious groove and seductive vocals are sure to get bodies moving, while its soulful undertones maintain the overall sense of heartfelt emotion. Together, these two tracks showcase Tobin's versatility as a producer and vocalist, delivering a well-rounded listening experience that will appeal to house heads and soulful music lovers alike.
Review: Sedsoul welcome back one of their mainstays, David A Tobin, with a fresh new tune, emblematic of a soul supremo reared in the gospel tradition. Tobin's nominal credits stretch as far back as the early 1990s, when he operated as a house music vocalist working under the stage name Phoenix, but his more recent efforts under his own name have seen him steer in a determined soul direction, post-2010. 'Fallin' In Love' is an amorous cascade and an homage to sea-changes, with the titular "falling in love" coming backed by refrained urges to "turn your life around".
Review: A fusion of sounds that come together to create this inimitable whole, Toyland marched out of the Australian rock & roll underground carrying totems by the pole-load. Post-punk, New Wave, pop, dub, Afro, ska - elements of multiple styles and genres are more than audible throughout, with Nicholas Hope, Analisa and Michael Hope doing their best to distill an entire era into a single four-tracker. Created amid a cultural explosion in Adelaide during the 1980s, although the city isn't the first on people's lips when thinking about the incredible music that came out during that decade, here's proof a celebration of eclecticism and a desire to rethink the rules of popular music was happening in those heady days, just as much as anywhere else in the Western world at that time.
Review: "I'd prefer it to be called just a country album," said TORRES of her collaboration with Baker, nearly a decade in the making, "but I'm proud to have made a 'queer country' album." TORRES had the initial idea to turn to the genre, inviting Baker to collaborate not only because of her shared southern roots but also because she'd also had a similarly religious upbringing that ultimately saw sexual orientation judged and condemned. The result is some deeply autobiographic songwriting on tracks like 'Tuesday', about a traditional family's rage at discovering their daughter was gay, the lilting 'Sylvia' and 'Sugar In The Tank', with pedal steel meeting acoustic guitar strum and very intimate sounding vocals. Bound to cause controversy in certain areas of the US, but it's got the quality and distinctive flavour to stand its ground.
Immersion & Thor Harris - "Just Close Your Eyes" (3:08)
Immersion & Thor Harris - "Rotations" (4:03)
Immersion & Thor Harris - "The House Of Thor" (2:35)
Immersion & Thor Harris - "In Snow" (4:16)
Immersion & Thor Harris - "At The Wizard's House" (5:39)
Immersion & Cubzoa - "I'm Barely Here" (5:14)
Immersion & Cubzoa - "In The Universe" (3:32)
Immersion & Cubzoa - "Other Ways" (5:14)
Immersion & Cubzoa - "Not About Me" (6:35)
Immersion & Cubzoa - "Neptune" (7:20)
Review: Immersion is the epitome of collaboration. Comprising Colin Newman, of legendary UK post punk outfit Wire, and his life partner Malka Spigel, the two first came together in 1985, former producing the latter's band, and have since fallen in love and combined creative forces countless times. Growing out of their Immersion project, a series of pop up gigs took place at the Rosehill, Brighton, with a cast of influential and cutting edge musicians getting involved. Songs were written and rehearsed before each show, and an album, Nanocluster Vol.1, soon materialised. Now we have the follow up. Disc one is centred on Thor Harris, percussion doyen of Swans, while the second half refocuses our attention on Cubzoa, AKA Jack Wolter of Penelope Isles, with Matt Schulz (Holy Fuck) also involved. The result is a psyche-tinged ride through swaggering indie, dream pop, chill, and surreal rock, nodding to names from Beta Band to King of Woolworths and beyond.
Review: Zak Starkey - The Who's drummer and, as it happens, Ringo Starr's kid - joined ex-Kula Shaker bassist Alonza Bevan and The Smiths legend Johnny Marr for what was a kind of British indie supergroup of sorts, for a brief moment of glory. Boomslang remains the first and only album released by JM and the Healers, landing in 2003 to a rather mixed bag of reviews. Some lauded its musicality, others criticised the frontman's lack of bravery in refusing to move out of comfort zones. Listening back 21 years later, we're not sure what people were looking for and, to be honest, that kind of summarises the post-millennial era. We'd spent a lot and did a lot in the previous century, and it took some time to refocus on the blank page of the next 100 years. For us, Boomslang is a well balanced trip through a variety of very UK guitar sounds, from loose, druggy, vocally-effected bits to bewitchingly quiet folk-tinged stuff and rowdier, fight night scores. To clarify - that's all good.
Review: Thom Yorke and Mark Pritchard revive the collaboration first aired on the latter's 2016 album Unde The Sun, this time across a full album reportedly four years in the (top secret) making. It's a compelling synthesis of Yorke's atmospheric melancholy and Pritchard's textured production. It expores a range of moods, from the uneasy tension of 'A Fake In A Faker's World' to the hypnotic rhythms of 'Back In The Game', while the eerie, spectral qualities of 'This Conversation Is Missing Your Voice' reveal the pair's ability to intertwine experimental soundscapes with a visceral emotional pull. Standout moments include 'Gangsters,' where Pritchard's intricately layered beats mesh with Yorke's haunting vocal delivery, and 'Wandering Genie,' which closes the journey with a strange sense of release. The music takes unexpected turns, not just as a statement of collaboration, but as a reflection of two artists playing with the unknown, pulling their sonic worlds into unexplored spaces. Each track is a feather in the cap of their combined ingenuity, with Yorke's vocal vulnerability and Pritchard's production wizardry in full synergy.
Review: Since Radiohead went on hiatus a few years back, Thom Yorke has thrown himself into all sorts of solo and collaborative projects. His latest sees him join forces with Sydney-based British electronic music stalwart Mark Pritchard for an album that expands on their previous collaboration (the superb 'Beautiful People' from Pritchard's 2018 album Under The Sun). It's a breathtakingly brilliant concoction all told, with the pair conjuring ethereal, oddball and immersive songs in which Yorke's distinctive vocals - sometimes delivered as you'd expect, other times layered-up, mutilated or utilised as textures - rise above backing tracks made with unusual synths and drum machines, and variously indebted to ambient, IDM, ghostly electronica, lo-fi beat-scapes and the gripping intensity of horror soundtracks. A modern electronic classic in the making.
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