Review: Side-1 kicks off with a raw and funky garage band jam that perfectly captures the spirit of 1967. With its dynamic energy, the track blends elements of jazz, rock, funk and blues, creating an exciting, soul-infused experience. The rhythm section drives the track with relentless energy, while the soulful melodies and infectious groove make it a standout piece. The mix of surf rock and mod influences gives it a timeless, gritty edge that resonates with both vintage and modern listeners. Side-2 takes a more experimental turn with a unique jam laden with saxophone and rich instrumental textures. The track's experimental nature is underscored by its unconventional structure, utilizing the harpsichord to create a distinctive, jazzy vibe. The saxophone adds a layer of depth, intertwining with the rhythm to produce a mood that's both introspective and lively. This track offers a refreshing, avant-garde twist that contrasts beautifully with the raw energy of the opening side.
Review: Wand returns with Vertigo, an album marked by its multichromatic complexity and innovative restructuring. Transitioning from a quintet to a quartet, Wand's new formation builds on their previous altars of experimental sound. The album is a mix of sentiment, tension, theatricality, and raw, improvised pieces reshaped into cohesive tracks. Recorded in their studio, the process was intuitive and ego-less, capturing the spontaneity of their performances. The result is a dynamic blend of folk-like simplicity with synthesisers and lush backdrops, creating a unique auditory experience. Vertigo offers a swaying, associative journey, with granular details embedded in the jams. Wand funnels energy and space, merging infinity with atmospheric reverb, delivering an album that stands your hair on end with every verse and chorus. This is Wand at their most explorative, committing to an ever-evolving sound that pushes boundaries while maintaining a forward momentum.
Review: Drone music has a unique quality that really pulls you in. Whether it's the haunting vocals of Pandit Pran Nath or the heavy tones of Sunn O))), it shifts your focus to a deep flow. Water Damage's debut LP Repeater perfectly embodies this. With their motto "Maximal Repetition Minimal Deviation," this Austin septet offers thick layers of sound that are mesmerising, mixing two drummers and two bass players for a powerful effect that keeps evolving. This album invites you to settle in and lose yourself in its depths, so relax and enjoy the ride.
Review: With their sixth album in seven years, German jazz quartet Web Web return with a fresh touch: Plexus Plexus is more psychedelic and at times far "Krautier" than before, representing a speedy departure from their previous Web Max release. Special guest JJ Whitefield (The Poets Of Rhythm, Karl Hector & The Malcouns, Syrup) weaves a remarkable guitar thread throughout, gluing its sound together through solo intermissions, riffs and vamps. In his style, we hear everything from The Poets of Rhythm and Syrup to the more psychedelic vibes of Karl Hector & The Malcouns, injecting the record with the zoomed-out energy of 70s jazz-Kraut bands. Departing from their last record, Web Web have truly a back-to-basics approach through spontaneity, riffing on the back of an intense three-day recording sesh in Munich.
Review: Bait's Motel is the third ever album by what is probably Finland's only longstanding successful ska and rockabilly band, Whistle Bait. Reissued on LP after its initial CD run in 2001, the record's issuance marked the rough twenty-year point of their career, and now this one marks the fortieth. Eschewing the long spate of bonus tracks present on the CD edition, this LP edition boasts a less cumbersome 14 tracks, featuring cover versions of timeless originals by the likes of the Loved Ones, as well as choice originals such as 'Another Lazy Summer' and 'Sue's Gonna Be Mad'.
Review: Entering White Hills' Brooklyn studio reveals their intense passion for music and art. Vinyl crates line the space, and guitars are scattered about as synthesisers and cables cover a purple satin bed and gouache paintings and subversive memorabilia adorn the walls. This creative hub also serves as the headquarters for their label and was the birthplace of their latest album, Beyond This Fiction. For nearly two decades, White Hills has dazzled with their blend of neo-psychedelia, art rock, and post-punk. Their cult status was cemented by their role in Jim Jarmusch's Only Lovers Left Alive and their new album, recorded with Martin Bisi, delves into Joseph Campbell's concept of "riding between opposites," blending shoegaze and ambient sounds with a stronger focus on vocals. Tracks like 'Throw It Up In The Air' and 'Killing Crimson' highlight their evolving sound, and make this a great addition to the band's discography.
Review: Jack White's sixth solo album, No Name, arrives as a delightful surprise, offering a raw and invigorating return to his roots. Released with minimal fanfare and initially devoid of track titles, this album shows off White's playful and enigmatic nature. Fans of all stripes will find something to love here: diehard collectors get a rare gem for their collections, while those simply drawn to White's music can dive into 13 new tracks, now officially titled and available on vinyl. Produced at Third Man Records Studios in Nashville, No Name strips away the grandiosity of White's recent experiments, embracing a raw, unpolished sound that harks back to his White Stripes days. The album's blues-infused rock, with its razor-sharp riffs and primal drumming, feels more alive and immediate than his recent work. Songs like 'Bless Yourself' channel the heavy, bruising power of early Shellac and Led Zeppelin, while 'Terminal Archenemy Endling' blends heavy rock with spiritual uplift. White's lyrics are sharp and biting, delivering both humor and intensity. Tracks like 'Archbishop Harold Holmes' and 'What's the Rumpus?' showcase his ability to balance the sublime and the ridiculous, with catchy hooks and incisive commentary. Leaner and more focused than he's been in years, No Name is a thrilling reminder of White's genius and overall, an enjoyable rock album to listen to.
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