Stepping Across (Temporal Transgression mix) (7:49)
Review: "Everything is being transformed and yet nothing changes" sings Andrew Burnett on the aptly-titled 'Everything Is Moving.' It's been a fair while since we last heard from Paisley-Glasgow's jangly-indie-poppers Close Lobsters, and by all accounts their triumphant and unarguably catchy return pretty much sums up where we're at in February 2025. So much seems to be changing. And yet, when all is said and done, most of us are still going to be left in the same vulnerable position we started out in. But let's not get too bogged down in geopolitics. Better to focus on the four tracks that make up this resurgent EP. Opening on the title song, Stepping Across sets its stall out somewhere close to The Lighting Seeds, and double down on that position throughout. It's uptempo, summer-sounding stuff that doesn't shy away from exploring reflective themes. Oh, and probably worth noting the excellent, tougher and drummier 'Stepping Across (Temporal Transgression Mix)' that closes the package - arguably superior to the original.
Review: Following on from last year's critically acclaimed debut LP This Is Crime Wave, Codefendants return with a brand new 10" single complete with two utter bangers. The culmination of an effort by Get Dead vocalist Sam King, who by offering tattoos and selling flash art with his graffiti crew in order to raise funds to help rapper Ceschi Ramos with his incarceration; later when the pair would meet, they bonded over a bottle of whiskey and their shared passion for the Venn Diagram intersections of the realms of punk and hip-hop. With the addition of punk legend and NOFX main-man Fat Mike, an incomparable trio was born. Flagging their genre as "Crime Wave" (hence the album title), the tripod of MC's and punks deliver a dizzying concoction of new wave, hip-hop, flamenco, hardcore and sunshine pop, while the titular 'Living Las Vegas' from this new 10" features west coast rap legend 2Mex.
Review: Experience two of Joy Division's iconic post-punk tracks like never before with exclusive 7" vinyl from Numero Group. Codeine's 1994 rendition of 'Atmosphere' captures the essence of solitude with a melancholic yet melodic twist that marked the iconic Manchester band's poignant farewell. Meanwhile, Bedhead from Dallas offers a fresh perspective on 'Disorder' and transforms it into vibrant indie rock. Encased in a sleek black and silver sleeve adorned with embossed braille lettering, these twin readings pay homage to Joy Division's enduring legacy while inviting listeners to explore new interpretations of their timeless classics.
Simon Williams (Fierce Panda Records) - "The Story Of Brothers & Sisters" (5:45)
Review: Today marks a significant milestone as Coldplay's iconic Brothers & Sisters EP celebrates its 25th anniversary with a special edition release. Originally launched via Fierce Panda Records, the EP was pivotal in shaping the band's early sound and building their devoted fanbase. Released as a gatefold double BioVinyl 7", this commemorative edition includes the classic tracks 'Brothers & Sisters' and 'Easy To Please', alongside the addition of 'Only Superstition'. Recorded for a modest L450, the EP made its mark, climbing to number 92 on the charts. As an intriguing bonus, the anniversary release features a new track, 'The Story of Brothers & Sisters', offering a spoken word insight into Coldplay's formative years. Lifted from Simon Williams' audiobook 'Pandamonium! How Not To Run A Record Label', this excerpt vividly recounts the band's early days at iconic venues like Camden Falcon and Kentish Town Bull & Gate, where they caught the attention of Radio One's Evening Session and garnered their first NME reviews. Celebrating both Coldplay's journey and Fierce Panda's 30th anniversary, this release encapsulates a pivotal moment in music history.
Review: Pressed for the first time on 7" vinyl, two killer rock club tracks from the legendary Colloseum, track 1 and 2 from their sophomore 1969 album 'Valentyne Suite' - 'Elegy' and 'The Kettle'.
The powerful and up-tempo 'Elegy' is a funky love song, with steaming guitars and heavy groove, an absolute home run of a funky club banger. On the flip is the 'The Kettle', featuring a heavy rock groove that the attentive ear will recognise as sampled by Fatboy Slim for 'Ya Mama'.
Review: Comet Gain, a British indie pop band formed in 1992, have been crafting their distinctive sound for over three decades. Led by singer-songwriter and guitarist David Christian (aka David Feck/Charlie Damage) and Phil Sutton, their music draws from post-punk and Northern Soul influences. Starting with homemade cassette demos, Comet Gain's releases have spanned labels like Wiiija Records, Fortuna Pop! and Tapete Records. Despite numerous lineup changes, David Christian has remained the constant force behind the band. Early gigs saw them supporting acts like Stereolab, Television Personalities, Bikini Kill and Heavenly, and they also recorded several Peel Sessions, touting a musical style ranging from soul-influenced indie pop to early-80s alternative pop and punk. This 7" record features two tracks recorded in the Spring/Summer of 1996. Side A's 'Only Happy When I'm Sad' and Side B's 'Dreams Of A Working Girl,' appearing on vinyl for the first time, originally debuted on the NME C96 compilation CD.
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: A pair of Cure singles, one a classic from the 80s and the other more of a deep cut from the 1996 album Wild Mood Swings, caught here in the live arena on turned into two sides of a rather nifty 7" picture disc. 'The Walk' is one of the Crawley crew's most electronic moments, a Japanese-slanted retort to New Order's huge 'Blue Monday' single a more cynical observer might be moved to admit. It's immediately nevertheless one to transport you back to the lazer-peppered, smoke machine-swathed dancefloors of the era, with its concluding line "I remember everything" seeming particularly apt in hindsight. 'Mint Car', while less well known than many other Cure 45s, was nevertheless one of Robert Smiths' favourites. He, apparently, couldn't fathom out why it only charted in the low 30s when 'Friday I'm In Love' smashed the top ten. Perhaps the outbreak of utter cheeriness - "I really don't think it gets any better than this/vanilla smile and a gorgeous strawberry kiss" - was disconcerting considering the band's pretty much unrivalled reputation as the popes of mope, but its charms are undeniable and definitely due a restrospective reappraisal.
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