Zameen (feat Marc Anthony Thompson C/O Chocolate Genuis Encorporated) (4:09)
Raat Ki Rani (6:11)
Saaqi (feat Vjay Iyer) (6:11)
Bolo Na (feat Moor Mother & Joel Ross) (6:05)
Last Night (feat Cautious Clay, Kaki King & Maeve Gilchrist - reprise) (4:50)
Review: Arooj Aftab's Night Reign is a stunning trip into the depths of the night, where inspiration thrives. Departing from themes of loss in her previous work, Aftab crafts an album rich with renewal and romance. Collaborations with artists like Cautious Clay and Moor Mother add layers to the lush soundscape, creating a cinematic experience. Each track, from the haunting 'Autumn Leaves' to the soulful 'Bolo Na,' weaves together to form a narrative of surrender and transformation. Aftab's voice, accompanied by intricate instrumentation, guides listeners through the darkness, offering moments of introspection and possibility. Night Train is a chance to throw yourself into the beauty and mystery of deep music, emerging renewed and transformed.
Zameen (feat Marc Anthony Thompson C/O Chocolate Genuis Encorporated) (4:09)
Raat Ki Rani (6:11)
Saaqi (feat Vjay Iyer) (6:11)
Bolo Na (feat Moor Mother & Joel Ross) (6:05)
Last Night (feat Cautious Clay, Kaki King & Maeve Gilchrist - reprise) (4:50)
Review: Arooj Aftab's Night Reign is a stunning trip into the depths of the night, where inspiration thrives. Departing from themes of loss in her previous work, Aftab crafts an album rich with renewal and romance. Collaborations with artists like Cautious Clay and Moor Mother add layers to the lush soundscape, creating a cinematic experience. Each track, from the haunting 'Autumn Leaves' to the soulful 'Bolo Na,' weaves together to form a narrative of surrender and transformation. Aftab's voice, accompanied by intricate instrumentation, guides listeners through the darkness, offering moments of introspection and possibility. Night Train is a chance to throw yourself into the beauty and mystery of deep music, emerging renewed and transformed.
Review: Al-Qasar deliver their unique debut album for WeWantSounds, exothermically reacting psych rock, pop and regional Sahel sounds. The five-piece band dropped their debut album Who Are We? for Glitterbeat in 2022, marking a potent Arabic and Middle Eastern psych rock inflection, where elements such as North African trance music were helped along their way in the form of continual reintroductions to Western ears. Characterised as "Arabian fuzz" by the band, their sound now hears a metempsychotic rebirth: this album was again recorded in both Europe and Africa, and, unlike their debut's Western collaborators (Lee Ranaldo of Sonic Youth, Jello Biafra of Dead Kennedys), focuses on bustling rhythms lent by North African musicians such as Alsarah, Check Tidiane Seck and Sami Galbi.
Review: Soft Machine and Gong founder Christopher David "Daevid" Allen came of age under the influence of the Beat Generation writers while working in a Melbourne bookstore around 1960. The Australian psychedelic visionary then travelled to Paris, where he stayed at the infamous Beat Hotel, before heading to England, where his musical career really began. The point being, he was incredibly committed to exploring art forms like jazz and performance poetry. And a then-nascent field of synthesised sounds. Ten years after his death, Now Is The Happiest Time of Your Life gets a timely repress to confirm it remains his Magnus Opus. A brave and incredibly unusual collection of tripped-out folk storytelling, curious garage guitar stuff, strangely naive and innocent weird pop, and progressive rock. One to keep diving into and still find new bits to love.
Review: Alvarius B's latest offering is a testament to the power of simplicity. The raw charm of his lo-fi, stripped-back arrangements allows his distinctive vocals to shine, lending a striking intimacy to every track. The album veers from covers of The Kinks to a hauntingly personal take on The Rolling Stones, but it's the original material that stands out. It's a rare thingiboth timeless and completely of its own time, drawing from folk, rock and an unshakeable sense of personal longing. It's unlikely anyone else could pull it off quite so well.
Review: This long-awaited live album captures the band's performance from August 3, 1975, at the Hollywood Bowl, backed by a symphony conducted by the legendary George Martin. Remastered and restored, this 2-LP set, available for the first time on fruit punch vinyl, includes classic hits like 'Sister Golden Hair', 'A Horse With No Name', and 'Ventura Highway.' Previously an exclusive Record Store Day release, this album offers a unique glimpse into America’s peak era, featuring the original trio—Dewey Bunnell, Gerry Beckley, and Dan Peek. The performance was part of a successful tour promoting their fifth album, Hearts, which included their number one single, 'Sister Golden Hair'. Dewey Bunnell reflects on the significance of the show, praising the collaboration with Martin and the band's high energy during the performance. Gerry Beckley and Bunnell both express excitement about the release, marking it as a significant addition to their legacy.
Review: Sam Amidon's new album is a mesmerising exploration of folk traditions, reimagined with contemporary textures and adventurous instrumentation. Collaborating with saxophonist/producer Sam Gendel and percussionist Philippe Melanson, Amidon breathes new life into ten collected songs, from the Appalachian ballad 'Golden Willow Tree' to a radically transformed version of Lou Reed's 'Big Sky'. Recorded as a trio in Gendel's Los Angeles home, the album intertwines acoustic folk with avant-garde electronic flourishes, creating a soundscape that's both timeless and groundbreaking. Standout tracks include the lead single 'I'm On My Journey Home', where Amidon's rediscovery of a loose swing in early 20th-century recordings inspires a lush, layered rendition that sets the tone for the album. The trio's rendition of Ornette Coleman's 'Friends And Neighbors' bursts with joyful communality, while 'Old Churchyard', reimagined as 'Three Five', pairs electronic layers with rhythms to evoke a redemptive atmosphere. With influences ranging from Arthur Russell to shape-note singing, this album exemplifies Amidon's quest to recontextualise folk music, offering an inventive and heartfelt homage to its enduring resonance.
Review: Mayra Andrade's live album, recorded at Union Chapel, features the warmth and eclecticism of her music in an intimate setting. Known for blending Cape Verdean Creole, English, and Portuguese in her songs, she pulls from a variety of cultural influences to craft a sound that's truly global. Her live collaboration with guitarist Djodje Almeida, 'reEncanto,' takes listeners on a journey through her discographyifrom Navega (2006) to Manga (2019).Andrade's music dances between traditional Cape Verdean rhythms and contemporary beats, with touches of reggae, African soul and pop influences, making every performance feel both rooted and adventurous. Her voice, full of depth and color, effortlessly shifts between romantic ballads and playful, rhythmic tunes. A nomadic spirit is evident in her music as she reflects her life's experiences and travels. On stage, Andrade is stunning, and the energy she brings in this live recording transports listeners straight to Cape Verde's sun-drenched shores. For those unfamiliar with her work, this album is an ideal introduction to the vibrant, evolving world she's built through her music, full of passion and heartfelt storytelling.
Review: The duo of Angus & Julia Stone share their sixth full-length album, Cape Forestier. A strikingly poignant and textured set of new recordings, the new LP immediately draws listeners into the simple and endearing vision of Angus and Julia Stone's world; this is a cloaked, atmopsheric Aussie folk album that flaunts the couple's talents in utmost equal measure. Cape Forestier is also a self-described exercise in recognising "how humans choose to treat each other, love each other, and make promises to build something beautiful together." By that, they mean marriage: Cape Forestier's ear for sentiment knows few bounds, with stripped-back, bridal-gowned romances like 'The Wedding Song' commanding an adept ear for candid space and finger-plucking nostalgisms.
Review: Japanese singer-songwriter, composer and multi-instrumentalist Ichiko Aoba is a merchant of the most soothing emotions. Whack this on and you'll be reaching for your incense burner, dimming the lights and switching off your phone as you bask in its elegance. The lead single 'Luciferine' has a lackadaisical flow, with graceful piano and strings underpinning Aoba's pure voice, which introduces the album's central theme of bioluminescence to striking effect. Whilst some musicians wing it through "feel" Ichiko is classically trained and her hard work has paid off - she's had a few great earners along the way, collaborating with Nintendo on the Zelda soundtrack - and had the honour of working with Ryuichi Sakamoto. This new album of hers goes a long way in pushing her brand of Japanese folk-pop towards legendary status - you can envision this being one that will be reissued in 40 years' time.
Review: Willow Avalon fashions after her Georgia upbringing a sharp, incisive debut LP. The splash debut artist’s lyrical lexicon is a fierce one, and that’s not to mention her rich backing instrumental palette of classic country and Americana. From whip-smart lines in ‘Homewrecker’ and ‘Yodelayheewho’ to moments of regret in ‘The Actor’ and ‘Baby Blue’, her storytelling never slips into cliché; “she gets at least as much of her musical talent from her mom's side,” says her father Jim White, as her Southern roots and filial retrospections permeate each song.
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