Review: This wonderful album delivers a tight, vibing collection of traditional old-time Appalachian music. Featuring Liam Grant on guitar, Grayson McGuire on fiddle and Devon Flaherty on banjo and guitar, this debut recording brims with raw, authentic talent. It was recorded straight to cassette with no overdubs and despite the carefree atmosphere, the trio expertly channels the spirit of old-time music. Tracks like 'Dry and Dusty' and 'Taner's Farm' reflect their playful yet poignant approach by blending upbeat melodies with deeper themes of rural life and hard times. This one is a real charmer.
Review: Peter Gabriel's third self-titled album, often referred to as Melt, marks a significant artistic leap for the musician. Released in 1980, this groundbreaking record is notable for its innovative integration of electronic effects and the revolutionary gated drum sound developed with Phil Collins and engineer Hugh Padgham. The album's cover art, a melting portrait of Gabriel by Hipgnosis, adds to its striking visual identity. Co-produced by Gabriel and Steve Lillywhite, Melt showcases a unique blend of influences, notably African rhythms and experimental soundscapes. Opening with the eerie 'Intruder', the album establishes a dark and unsettling atmosphere that persists throughout. Tracks like 'No Self Control' and 'I Don't Remember' feature dynamic arrangements, with the latter providing one of the album's most memorable hooks. The politically charged 'Biko' serves as a poignant anthem for anti-apartheid activism, encapsulating Gabriel's deep engagement with global issues. Not only did the album achieve commercial success, topping charts in the UK, but it also solidified Gabriel's identity as a solo artist, paving the way for future explorations in music technology. This reissue on 180-gram vinyl brings the album's rich textures and intricate sound design back to life, allowing listeners to experience its emotional depth and musical innovation anew. Melt remains a powerful example to Gabriel's vision and a landmark in progressive music.
Review: Reconnecting through their shared musical heritages, Rhiannon Giddens and Justin Robinson present What Did the Blackbird Say To The Crow, a mesmerising collection of fiddle and banjo tunes tied to North Carolina's many oral and digital traditions. After their late mentor Joe Thompson bequeathed them a trove of recordings to work with, the already esteemed, torch-bearing duo breathe new life into 18 handpicked rethinks and honorific originals, some sung, others purely instrumental. Recorded outdoors at sites meaningful to Thompson and Baker, their sessions were joined by the rare, overlapping calls of two cicada broods, unheard together since 1803. Giddens calls it "music made for your community's enjoyment and for dancing."
Review: Spanning the years 1978-82, this seven-disc set captures the history of the band put together by Ian Gillan after he departed hard rock giants Deep Purple, the 94-strong tracklisting features remastered versions of all studio their albums alongside a rich selection of B-sides, outtakes and rarities. Key highlights include the debut album, sometimes known as The Japanese Album as it wasn't initially released in the UK, the more intense Mr Universe, the initally fan only Glory Road and the chart-climbing Future Shock Double Trouble is that most novel of formats, a half studio, half live double album, while Magic, captures the group's last creative burst before disbanding. Housed in 7" packaging with a detailed 32-page booklet, the collection also includes an insightful new interview with the often outspoken frontman.
Review: This collection plunges into Godley & Creme's eccentric post-10cc years, a whirlwind of boundary-pushing pop and inventive production. Tracks like 'An Englishman in New York' burst with surreal humour and layered arrangements, showcasing their knack for storytelling through off-kilter melodies. Meanwhile, 'Snack Attack' plays with genre, blending funk-laden grooves and absurdist charm. These songs aren't just quirky diversions-they're windows into the duo's fearless approach to dismantling pop conventions. Packed with vocal harmonies, synth experiments, and a sprinkle of the absurd, this box set is a reminder of how Godley & Creme rewrote the rules for art-pop.
A Lot Like Lucifer (Celia Said Long Time Loser) (6:10)
The Space Queens (Silky Is Sad) (7:22)
Who Are Your Friends (5:47)
Get Together (With Yourself) (5:09)
You Can Find Him (5:19)
Review: Lotti Golden's debut is a fearless dive into the chaotic, electric world of late-60s New York, where countercultural misfits and street prophets populate her genre-warping narratives. Opener 'Motor-Cycle Michael' sets the pace with its freewheeling energy, while 'Gonna Fay's' drifts into bluesy psychedelia. The sprawling 'A Lot Like Lucifer (Celia Said Long Time Loser)' shifts between swaggering rock and theatrical storytelling, mirroring the unpredictability of its characters. 'Who Are Your Friends' leans into funk-driven introspection, while 'Get Together (With Yourself)' and 'You Can Find Him' push her vision further, blending soul and gospel-inflected harmonies. Golden's distinctive approach, combining raw honesty with a complex musical palette, firmly establishes her as an artist who reshapes the boundaries of pop and rock. Born and raised in Brooklyn, Golden was drawn to music from an early age, nurtured by her parents' passion for art and culture. At just 16, she caught the attention of Bob Crewe's Saturday Music, signing as a staff writer. But Golden's vision reached beyond writing for othersishe was determined to tell her own story. With vivid lyrics that captured her experiences in New York City, her debut album chronicles youthful defiance, introspection and transformation.
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