Review: Bristol-based band DAMEFRISOR is composed of vocalist Kazhi Jahfar, guitarists Garin Curtis and Jamie Brown, plus synths and keys from Sam Nobbs and Megan Jenkins on bass. They formed back in 2019 and craft wide open soundscapes imbued with industrial post-rock and electronic twists. Nyle Dowd's drums power each tune and there is always drama to be found in the pulsating beats. Passionate and empowered vocals touch on notions of loneliness and "the reality of feeling invisible in the modern world" while always offering moments of real dancefloor clout.
Review: Following 'New Rose' as only the second ever single released by The Damned, 'Neat Neat Neat' has gone on to become, not only one of the band's biggest hits, but a timeless punk anthem used in everything from series like The Boys and The Simpsons, to the epic heist/chase sequence in Edgar Wright's Baby Driver, to even being covered by vastly differing acts from Elvis Costello to My Chemical Romance. This vibrantly coloured 7" captures a handful of cuts from a 1994 live performance in Mulhouse, France, boasting the aforementioned single on the A-side with a curious selection of covers on the flip, ranging from Johnny Cash's 'I Walk The Line' to 'You've Lost That Lovin' Feelin' from The Righteous Brothers and even a rendition of 60s mod originals The Craig's 'I Must Be Mad' lobbed in for good measure.
Review: 'Neat Neat Neat' might have only been the second single released by The Damned, but its timeless longevity as an essential punk staple has seen it appear in episodes of The Simpsons and The Boys while Edgar Wright would give the track yet another lease on life by using it to score the intense opening chase sequence in 2017's Baby Driver. That's before even mentioning the vastly differing artists it has influenced with everyone from My Chemical Romance to Elvis Costello taking a stab. Pressed to artwork complimenting purple wax, this 7" offers a slice of cuts captured during a set in Mulhouse, France in 1994, with the classic single on the A-side, while the flip boasts a dynamic yet bizarre bevvy of covers, from the likes of iconic pop duo The Righteous Brothers ('You've Lost That Lovin' Feelin') to 60's mods The Craig ('I Must Be Mad') to Johnny Cash's 'I Walk The Line'.
Review: Not to be confused with our own homegrown horror-punk legends, this preceding The Damned were a short-lived Dutch glam rock studio-only project, who's one release of note is this long out of print Morning Bird 7", accompanied by the proto-disco groove of B-side 'Theta'. Available on wax for the first time in 50 years, this slept on neon-tinted holy grail of glam originally came courtesy of iconic producer Miki Dallon (The Sorrows, Boys Blue, Shakane, New York Dolls) for his Young Blood International label in 1974.
Review: It's been a few years since the rebrand of Super Furry Animals was announced. Doyens of the 1990s indie rock circus renowned for their consistently alternative and innovative contributions to a scene that was at constant risk of running out of ideas, while die hard fans and anyone who was actually there at the time will expound for days on the timeless merits of fare like Fuzzy Logic, Radiator and Guerrilla, a few decades on re-emerging as Das Koolies and rebooting does make perfect sense. First unveiled in 2019, the project is now Huw 'Bunf' Bunford, Cian Ciaran, Dafydd Ieuan and Guto Pryce's baby, Gruff Rhys still left to his own groundbreaking devices. While that may imply a weakening of the team sheet, Das Koolies proves how much talent ran through the SFA lineup. This EP is a case in point, blending synth wave, post punk, and dark pop in the title track alone, it's a veritable box of delights to unpack.
Take Me For A Little While(limited coloured vinyl 7" (indie exclusive) (comes in different coloured vinyl, we cannot guarantee which colour you will receive))
Review: After leaving his native California for Chicago, Rudy De Anda dimmed down his beachy, psych-rock roots and dipped into some unknown waters, yielding enchanting results. His latest album, which was recorded in Austin, Texas, is romantically familiar and novelly soulful Latin pop that's a pure joy to behold. The b-side here - '83' - is a key number from that album. It has a subtle, cool groove perfect for sparking up a fat cigar and putting your feet up for the day. Given that De Anda is on such top form in this chapter of his life, it's no surprise he's done justice and then some to with his cover of Royal Jester's version of 'Take Me For A Little While'. The two tracks fit seamlessly together and beg repeat listens.
What's Life (Idjut Boys Seven Slackers remix) (7:08)
Review: The Innovative Leisure label is here with more of that irresistible hand-stamped white label goodness. This one comes from the super cool LA duo De Lux (who have a new album out this month) as remixed by Dan Tyler and Conrad McDonnell aka Idjut Boys. They bring plenty of their signature and spacious cosmic dub sounds to 'What Life', layering in the echo and spring reverb in fine style. The dub mix is on a constant upward trajectory that never resolves and so will have the floor in raptures with cowbells and big splashy drums. The original is also included as is their Seven Slackers remix.
Review: "The final episode of this soap-opera of a band will be released in the form of a 7 inch on 24.01.2025." If this is your first encounter with De Nooit Moede, then welcome to the wake of the best group you sadly only cottoned onto when they were posting about their final release on Instagram. The Brussels seven piece's swan song certainly fits the bill for funeral soundtrack, with RIP's garage-punk-wave washing through your mind with equal parts melancholy and swagger. Four tracks run from the staccato-step of 'Doopsel', which opens the scoring and sets the mood perfectly, through the more melodic 'Sluiswachter', blissfully downtrodden 'Fake Niet', and motoring 'Alledaagse Nachten'. Each is as infectiously groovy as the next, and cooler than pretty much everything else you will have been listening to this week/month/year. More Flemish attitude, please.
Review: On Aurelia, shoegaze duo Deary show their evolution since their 2023 debut, embracing a more collaborative approach that results in a richer, more cohesive sound. The EP's six tracks, including singles like 'The Moth' and 'Selene', reveal a newfound maturity in both production and songwriting. With Slowdive's Simon Scott lending his drumming talents and mastering expertise, the record blends influences from classic styled shoegaze bands mixing with the duo's distinct dream-pop sensibilities. Tracks like 'The Drift' bristle with urgency, while 'Dream Of Me' dips into trip-hop, evoking Portishead. Lyrically, Aurelia explores themes of transformation, reflecting the band's personal and artistic growth, making it a striking follow-up to their debut.
Review: Enjoy The Silence, Depeche Mode's standout single from Violator, marked a significant moment in the band's career, becoming their most successful UK single since 'Master & Servant' in 1984. 'Enjoy The Silence' captured both critical and public acclaim, peaking at number six in the UK charts and achieving top spots in Denmark and Spain, as well as reaching number eight in the US. The 12" version is beloved by fans with the myriad of great remixes the song provided. This new yellow vinyl version helps meet the demand of an always desirable dance record. The single's success earned Depeche Mode their first Brit Award for Best Single of 1990. This newfound positivity extended to the subsequent reception of Violator, solidifying 'Enjoy The Silence' as an iconic track in Depeche Mode's discography. The song continues to be celebrated for its brooding, tender qualities, and its ability to resonate with audiences globally as well as the iconic video.
Before We Drown (Chris Avantgarde extended remix) (5:43)
Before We Drown (AC Wet remix) (3:59)
People Are Good (Indira Paganotto Psy remix) (9:29)
People Are Good (AC Fool remix) (6:45)
Review: The fifth edition of Depeche Mode's Memento Mori white label remixes series hears four new remixes added to the post-hoc vinyl selection, offered to the world after the release of the synthpop pioneers' most recent eponymous album. Beginning with the demure atmospherics of Chris Avantgarde's 'Before We Drown', then into two propulsive, audio-brut experimental downtempo versions by AC, but not before a brilliant pystrance B1 by Indira Paganotto, which makes for a squarely sagacious sendoff.
Review: Depeche Mode's 'Wagging Tongue' was first released in 2023 as the star number from the indelible synthpop band's comeback album and swansong, Memento Mori. Something of downtempo musical elegy, the original track is a crisp exercise in melancholy uplift, colliding the band's usual synthetic arpeggiations with grass-is-greener lyrical themes. Now, however, comes a new ten-track remix bundle, of which select remixes have been chosen for a set of limited releases on wax. Most of the artists enlisted for the job have done a stellar job, amping up the tempo to a neatly electrified 130-ish-bpm, while indulging the zeitgeist's penchant for well-rounded but beefy sonics. On this one, none other than Daniel Avery sticks out with a futureological cosmic electro take, while Hawtin Gaiser opts for knocking big-room techno, and Henning Baer cools things down with a cityscape-soaring 808 remix.
Ghosts Again (Chris Liebing vs Luke Slater remix) (8:02)
Review: First featured on Depeche Mode's critically acclaimed, James Ford-produced 2023 album Memento Mori, 'Ghosts Again' returns in remixed form. Liverpool-based melodic techno maestro Massano (real name Sam Rose) steps up first, delivering a raw, heavy and mind-mangling take that sits somewhere between darkened new wave, moody techno, and early noughties electroclash sounds. It's a fine remix all told that showcases the best of the Basildon band's original synths and vocals, while dragging the track kicking and screaming towards the dancefloor. Techno veterans Chris Liebing and Luke Slater take over on side two, predictably delivering a fearlessly fast, weight and intoxicating take that's as stomping as they come and twice as dirty.
Batman (Gary The Tall v Exotic Gardens Reversion) (4:11)
Review: Emotional Rescue takes another trip into the twisted world of post-punk dubs, electronics and oddities here at the hands of DJ, collector and radio host Gary The Tall. The original comes from German duo and new wave innovators Die Radierer whose pop-reggae jam 'Batman' is irresistibly catchy with its low-slung beats and lazy, sun-kissed melodies. It appeared on 1983's In Hollywood and was recorded at their home studio on a Tascam 4-track cassette recorder. Gary The Tall's remix finds him teaming up with Aaron Coyles under his new alias of Exotic Gardens and the results are loopy and dubbed out to perfection.
Review: DIIV formed back in 2011 and made big impressions within the blog world and then the real world after debut single 'Sometime' picked up plenty of attention. It was follow up with two further singles as well as a cover of a Kurt Cobain tune 'Bambi Slaughter' and to mark the 10 year anniversary all of their debut album all of these 7"s re pulled together on vinyl and serve as a great reminder of where the band has come from. They scream DIY and are very indicated of the Brooklyn scene out of which they were born with songs that muse on love in all its many different ways.
Review: Not since Wet Leg has a duo appeared on the UK indie scene with such hype. Disgusting Sisters have had a dream start playing Reading and Leeds, Left of the Dial, Pitchfork Paris and The Great Escape First 50 before even releasing their debut single. 'Killing It' comes out via The Speedy Wunderground 7" single series. The series has been a launch pad for the likes of Black Country, New Road, Squid and Black Midi, who have all gone on to great things. We can expect nothing less for Anglo-French sibling duo Disgusting Sisters - they will be a much bigger band within a few months of this single being released. And this irreverent, funny single will become a collector's item.
Review: Continuing the label's special 7"s releases that capture the nascent 80s post punk, dub, funk and pop - as examined on releases by The Jellies, Woo, Phantom Band, 4AM and more - here a discovery of unheard demos from Dislocation Dance's Midnight Shift album.
As part of the eighties Manchester scene, the band's pop and jazz sensibilities have continued to garner attention, offering a rightful place in the city's rich music history.
With the closure of Richard Boon's New Hormones label in 1982, they came to the attention of Geoff Travis' Rough Trade. Creating a home studio in the basement of an old rambling farmhouse in Withington, Ian Runacres (guitar, vocals), with lyricist Paul Emmerson (bass), set to work creating demos to garner a deal.
Inspired by the funk-disco of Dr Buzzards Original Savannah Band debut album, Here Comes Love was written using Roland TR-606 drum machine, guitars, bass and (cheap) keyboard, its magical and lo-fi charmed quality melts hearts.
On Mr Zak, the fun Runacres had is evident. Written as an "indie" song, but with Aztec Camera and Burt Bacharrach on his mind, with Andy Diagram (trumpet) and Kathryn Way (vocals), hides a structure matching the album version, but which in its rudimentary instrumentation and production is unique and outshines the later version, to encase a specific period and innocence, of time.
Review: The debut album from Amsterdam-based muso Donald 'Donny' Madjid (a member of The Mauskovic Dance Band) came after an unusual break in his often hectic touring cycle, largely thanks to the pandemic. Keeping himself sane with a plethora of vintage synths as well as a 60s era drum-machine, the resulting experiments gave way to 2021's retro-fitted disco meets new wave opus Pure Donzin. Now that tour-life has resumed and his schedule chock-a-block yet again, it's taken three years for another dose of pure Donny with the release of his follow up Zonder Pardon EP. Authentic swathes of machine-percussion, thick synth-lines and Madjid's own disarming croon (sung almost exclusively in his native tongue) channel the sonic iconography of Talking Heads or Roxy Music, yet transported by way of an Italo-Disco rave to the funkiest spots of inner-city Holland.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.