Where Are You Coming From (Jane Weaver rework) (4:05)
Out From Under (Emperor Machine extended rework) (8:49)
We All Need (Jezebell Ghost Train mix) (5:47)
Review: Perhaps one of the most important bands to come out of Manchester ever. Up there with Joy Division, their funky post-punk is the very essence of that genre and possibly why a lot of bands like to call themselves post-punk. They're just wishing they sound as good as A Certain Ratio. For this latest release, the follow-up to their album It All Comes Down To This, they've reworked songs from said album - sensationally - and released a Christmas single. 'Now And Laughter' is described as an ode to "the unsung heroes that are on hand when the pressures of the festivities can become too much to bear." It's awash with sumptuous echoing guitar, a somber lead vocal which makes you want to raise your lighter and gently sway. There's a hint of David Bowie in there and the lyrics appear genuinely emotional and appreciative. This is a song of blissful poignance that can help remind us of what really matters in life as it captures a sense of vulnerability and awe in the magic of the moment.
Review: Celebrate the 25th anniversary of AFI's All Hallow's E.P. with this limited-edition release on "Spectral Pink" vinyl. This cult-classic EP, originally released in 1999, is reimagined with alternative fluorescent cover art and includes a 10" x 20" black light die-cut coffin poster, evoking the eerie charm of the original Nitro Records promo. The EP, clocking in at a fitting 13 minutes, features AFI's standout tracks: a formidable cover of The Misfits' 'Halloween', the iconic 'The Boy Who Destroyed the World', the infectious 'Totalimmortal', and the fan favorite 'Fall Children'. This limited 10-inch pressing offers a nostalgic nod to the band's punk roots while showing their early foray into melodic and atmospheric sounds. AFI, formed in 1991, evolved from a hardcore act into melodic pioneers with their 1999 album Black Sails in the Sunset and subsequent releases. The All Hallow's E.P. remains a sought-after gem in their discography. With this reissue, fans can relive the magic of AFI's early days, now with a hauntingly collectible twist.
Review: Acclaimed Japanese artist Cornelius is back with a new three-song EP, Bad Advice/Mind Train, featuring a collaboration with Arto Lindsay. The EP's first single, 'Mind Train,' is an epic nine-minute track inspired by Yoko Ono which blends ethereal space-pop with minimalist structures and bursts of exhilarating chaos. Cornelius describes 'Mind Train' as a symbol of spiritual and inner exploration that is designed to prompt self-reflection. The accompanying video, created by renowned visual stylist Keita Onishi, enhances this journey with stunning retro-futuristic graphics that allow you to explore your own interpretations.
Review: Out of stoner rock miasma traipse David Eugene Edwards (Wovenhand, 16 Horsepower) and Al Cisneros (OM, Sleep) with two new sludge-offs, 'Pillar Of Fire' and 'Capernaum'. With leeward, mountainous horror vacui depicted on the front cover - and a 10" press signifying that the musicians intend for this to be a maestro's statement, not too invested in the magnanimity of a full LP and yet still knowing full well that you'll lap up the sense of terse completion such a record promises - these tracks are estivate delights, both their meditative experimental-bass workings evoking barren, anxious wanderlust.
Review: A Certain Ratio's core trio of drummer Donald Johnson, bassist/vocalist Jez Kerr, and multi-instrumentalist Martin Moscrop make ACR Loco a perfectly fluid and funk album. In fact, on this, their first album in more than ten years, the Manchester post-punk outfit are as funky as they have ever been. Their tried and tested sound gets nicely updated with modern beat driven sounds and plenty of redefines to today's political strife in the lyrics. There are plenty of smooth and cool synth led grooves like 'Get A Grip' and messages of unity on 'Family' that we can all relate to.
Review: Originally released in 1982, A Flock Of Seagulls' eponymous debut album heard them burst on to the new wave scene with advanced songwriting and catchy guitar laps and lyrics. With Phil Spector hailing the album as 'phenomenal', perhaps for somewhat conforming to his wally production technique, the band ended up being venerated near-timelessly for their quasi-electronic synth tunes like 'I Ran' (clock the use of early electronic drum pads in its breakdown). This is new wave at one its best pop-centric peaks.
Review: Firstly, a note about the radical record label Last Night From Glasgow that this album is released through. They not only have a tasteful roster with the likes of TeenCanteen and The Anchoress among its other releases, they are non-profit and ethically driven. It's a reaction to some of the stuff they despise about the music business so well worth digging into what they do. This release, A Girl Called Eddy's debut album, produced by Richard Hawley, is a terrific addition to their catalogue. Blending jazz rock, folk and 60s Baroque pop, it's a majestic work of art, loaded with highs. 'Tears All Over Town' is atmospherically charged, with American singer Erin Moray proving her understated power. 'People Used To Dream' is similarly captivating. It feels intimate and tender, yet leans into her maximalist tendencies and her Baroque pop side truly shines. This is gorgeous stuff.
Review: Synthesiser is the third release from New York post-punk legends A Place To Bury Strangers on their own label, Dedstrange. After spending the early part of their existence releasing on labels such as Mute and Dead Oceans, seeing them settle into the saddle on their own label and thrive is encouraging to see. Afterall, it suits frontman Oliver Ackermann as he's had an indelible impact on the New York DIY scene after more than 20 years doing top level stuff. He's been steering indie record labels, running DIY spaces, and has his own pedal manufacturing company. Part of the joy of Synthesizer is that it's a feast for the ears thanks to the galactic trip it feels you're on with the custom effect-laden instrumentation and vocals. The avant-gade and experimental noise that they embrace comes from a collaborative and spontaneous approach to writing. Unlike the band's previous album, where Ackermann wrote everything on there, this is Ackermann with John and Sandra Fedowitz fully in-tow and it's about as far from a Pro Tools plug-in operation as you can imagine. This is a hand-wired masterpiece with some explosive and, at times, elegiac moods to immerse in. This is the music you wish New Order were making.
Review: A Place to Bury Strangers' seventh album, Synthesizer, is a celebration of spontaneous and natural sounds and features a new lineup with John and Sandra Fedowitz. Frontman Oliver Ackermann describes the album as chaotic yet human, pushing the limits of gear to create an "epic sound journey." Tracks like 'Fear of Transformation' deliver a snarling gothic techno-punk experience, while 'Have You Ever Been in Love' offers hypnotic, tribal rhythms. Recorded in their Queens studio, Synthesizer is one of the band's most live-sounding records, capturing the raw energy of their performances. The lead single, 'Disgust,' epitomises this with its open strings and high-pitched guitar cry. Ackermann's playful approach and dedication to the DIY ethos shine throughout, echoing the collaborative spirit of his Death By Audio venue. In Synthesizer, A Place to Bury Strangers melds extreme noise with catchy hooks, creating a record that is both wild and beautiful inside the experimental rock genre.
Review: Raw post-punk trio Abdomen trade in the heavier end of the genre unafraid to douse distortion and fuzz onto everything and create music so exciting it would be hard not to want to throw yourself into a circle put for, 'Damage Tool' is a breathtaking way to get things started and 'Numbers' makes Fontaines DC sound like Boyzone. They are capable of slowing down - 'Dazed' has been slowed into a hypnotic Spacemen 3-esque psych/shoegaze jam. The band are relative newcomers and not widely known... yet. But this is going to be one of those albums you'll be kicking yourself for not having a first pressing of. Abdomen is only going to get bigger and it will give the Tapetown studio in Aarhus, Denmark - where they recorded this - more bragging rights for being among the coolest alternative music spaces in Europe.
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