Review: A new four-track EP reflecting ever-expanded horizons for the band, 'Bloodline' is the latest output from loose-limbed, soul-stirring funk band Gabriels. Quickly finding fans in the likes of Elton John, Celeste, Paul Weller, Benji B, and Gilles Peterson, Gabriels should soon find plenty more on a record that could soundtrack a David Lynch epic; such is its drama, its suspenseful, late-night orchestral ruminations. Capped by frontman Lusk's voice - a weapon that swoops through the octaves breathlessly - Gabriels have that rare ability to make you re-evaluate music, and what it can do, in a heartbeat. Whilst Lusk provides the wow factor with that ridiculous larynx, Gabriels are very much a close-knit trio. Producer, keyboardist (and full-time video director) Ryan Hope hails from Sunderland but calls LA home. Fellow producer-composer and violinist Ari Balouzian, a man with endless musical projects on the go at any one time, gives Gabriels' songs a real 'feel' to them. Sultry, soulful mood music certainly isn't the band's modus operandi, but this new experimental EP should paint an altogether more rounded idea of where Gabriels are at today.
Love & Hate In A Different Time (alternate version) (2:47)
Review: Impossibly powerful and soul fuelled sounds from Gabriels,who have headlined a fine list of all the major musi events, not least Glastonbury with a stirring performance that took them to all new levels. 'Love & Hate In a Different Time' is their most hard hitting tune but still comes with plenty of sweetness and sits at the centre of this 12" of the same name with an alternate version also included next to dusty and lo-fi soul gut wrenchers like 'The Blind' and the intimate vocals, swooning strings and finger clicks of 'In Loving Memory.'
Review: Few tracks capture the icy allure of early 80s electronic experimentation quite like this underground classic. Originally released in 1981, this Swiss post-punk/coldwave classic has transcended its era, becoming a cult favorite across underground scenes and DJ sets of various genres. Now reissued on limited blue vinyl, its influence remains undeniable. 'Eisbaer' is a track that bridges stark, minimalist electronics with the raw energy of post-punk. The hypnotic bassline and cold, robotic drum programming lay a foundation for jagged guitar stabs and eerie synth flourishes, creating an urgent, mechanical pulse. The disaffected, almost mantra-like vocalsideclaring "Ich mochte ein Eisbar sein" ("I want to be a polar bear")iheighten its existential detachment. Echoes of Throbbing Gristle's industrial edge and Cabaret Voltaire's abstract electronics blend seamlessly with the emerging synth-pop movement, helping to push new wave into more danceable, electronic territory. Side B's 'Film 2' takes a more abrasive approach, a pounding, near-industrial instrumental that pulses with motorik intensity. 'Ich Lieb Sie' is more restrained but equally unsettling, its sparse arrangement and ghostly atmosphere reinforcing Grauzone's unique ability to evoke emotion through minimalism. Timeless and still chillingly modern, this reissue ensures that Eisbar and its B-sides continue to inspire. A crucial document of coldwave's evolution, reaffirming why this track remains a DJ favourite decades later.
Review: After Beady Eye split in 2014, Liam Gallagher appeared conflicted about whether he would pursue a solo career, resolving in 2016 that this year's album was set in stone. Fans of previous work will undoubtedly be contented with solo debut 'As You Were', with it channelling the British pop influence, singalong riffs and the classic anthemic writing that Oasis were famed for. As expected from a Gallagher brother, the album is drenched in hubris, but Liam lets his guard down with surprising and rare moments of what seems to be vulnerability. Aside from the cocky rock and roll swagger, it's these moments that give 'As You Were' a little more depth than people were perhaps expecting.
Review: Angelica Garcia's Gemelo is a bold exploration of grief and self-discovery, encapsulated in a vibrant tapestry of hybrid-pop sounds. The album delves into the complexities of grief, from its inherent loneliness to its eventual liberation, while also deconstructing universal themes like religion, heritage, and womanhood. As a reflection of modern America's cultural landscape, Gemelo marks Garcia's first album predominantly sung in Spanish, challenging traditional notions of what constitutes an American record. Produced by Carlos Arevalo of Chicano Batman, the album is meticulously sequenced, guiding listeners through a journey from delicate introspection to visceral intensity. Born in East LA with Mexican and Salvadoran roots, Garcia embodies the evolving fusion of Hispanic influences in contemporary America. 'Color De Dolor,' the lead has lush textures and a kaleidoscopic quality and offers a captivating glimpse into the artist's multifaceted world. Following her acclaimed 2020 release Cha Cha Palace, which garnered attention for its innovative sound, Gemelo solidifies Garcia's place as a rising star in the music scene with captivating melodies and thought-provoking themes.
Review: Swedish multi-instrumentalist Kristoffer Gildenlow is a veteran of the nation's progressive hard rock and metal scene. His track record charts formative years with bands such as Pain Of Salvation, Neal Morse and Kayak, but more recent years have heard him move into increasingly solo, daimonic and personally-expressive directions. Empty is his latest masterpiece; a haunting album of loss, heartbreak, existentialism and grief, centring on the concept of walking wounded, whether in the abstract or concrete. Spoken word segments and softer downturns provide ample contrast, without which the albums more gushing moments, such as 'Down We Go', would not hit as hard.
Review: Good Cop Bad Cop's sophomore release, crafted by frontman Joe Carnall and producer Gold Teeth, marks a departure from traditional indie rock. Recorded closer to home, the album embraces synth and hip-hop influences, pushing boundaries while retaining elements of nostalgia. The decision to leave guitars largely untouched results in a sound that feels both timeless and contemporary. Carnall's forward-thinking approach shines through, showcasing his willingness to evolve creatively. While rooted in the present, traces of the band's indie rock origins linger, creating a dynamic listening experience that bridges past and future. The album has innovative soundscapes that journey through Carnall's sonic evolution, offering a refreshing take on modern music.
Review: This is Guided By Voices' 41st(!) album. And you rightfully may ask how do you go about keeping a band together for that long? GBV thankfully have a solution to that and it involves leader Robert Pollard being the sole constant member. Nevertheless, this album features the longest-lasting lineup of GBV ever (Robert Pollard, Doug Gillard, Kevin March, Mark Shue and Bobby Bare Jr) and they're on invigorating form, guided by some righteous principals. "I wanted to get a little more sonic diversity for this album," says Pollard, "So I asked each member of the band to record all the instruments for one song and I did three songs myself. For the rest of the songs, we used a lot of different approaches to the recording of both the instruments and the vocals." Pollard adds, "I wanted to create, hopefully, an experience, kind of a wild ride, where the listener would want to hear it multiple times in order to grasp all the sections and fields of sound to discover something new with each listen." Anthemic, timeless and completely worthy of repeat listens, this tireless indie rock group have audibly hit their brief.
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