Review: Yoo Doo Right's third album delivers a great blend of post-rock epics and emotionally charged sonic explorations. Opening with a droning guitar barrage, the album unfolds through mantra-like repetitions, abyssal tones and carefree saturation that all serve to cement their status as Montreal post-rock royalty. Inspired by themes of patience, art commodification, AI and unconditional love, this LP draws influence from Wes Montgomery, Rachmaninoff, Neurosis and Russian Circles and was written during a snowstorm retreat in early 2023 which meant the trio aimed for cinematic, experiential significance.
Review: The EP Lagos Paris London by Yannis & The Yaw, featuring the late Tony Allen, is a testament to the powerful creative synergy between two musical luminaries. Initially envisioned as a nostalgic Afrobeat project, the collaboration took on a life of its own, weaving together elements of rock, funk, jazz, and dub in a dynamic fusion. Recorded over a series of sessions in a Paris studio, the music emerged organically from jams and loops, guided by the intuitive telepathy between Yannis Philippakis and Tony Allen. Joined by Allen's regular collaborators, the result is a collection of near-complete songs imbued with high-spirited, loose-grooved exuberance. Despite facing challenges such as scheduling issues and Covid restrictions, Yannis felt a deep obligation to complete the project in honor of Allen's memory and his desire to share the music with the world. Lagos Paris London serves as both a celebration of their friendship and a timeless testament to the enduring influence of Tony Allen's rhythmic talent.
Review: Released in the wake of Tony Allen's death, Lagos Paris London is the latest full-length record by Foals' Yannis Philippakis in collaboration with the late great drumming legend. The Yannis And the Yaw project finally emerges after years of fan-teasers revealing Philippakis to have been working with the acclaimed Fela Kuti bandmate and Afrobeat pioneer in the studio; after Allen's death in 2023, the likes of 'Walk Through Fire' and 'Lagos Paris London' effortlessly blend the sounds of Afrobeat and post-punk, bridging the spirits of each while unexpectedly swerving from the duo's initial impulse to produce a nostalgic record.
Review: Nilufer Yanya's third album, delves deep into introspective and existential themes, with its near title track and current single 'Method Actor' seeing Yanya exploring the parallels between method acting and musical performance, both of which involve channeling intense, life-defining memories to evoke genuine emotion. Collaborating closely with Wilma Archer, Yanya crafted My Method Actor in a cocoon of creativity, writing and recording in secluded sessions across London, Wales and Eastbourne, with results rich with comforting strings, skittering beats and soulful melodies. The album poses profound questions about identity and purpose, reflecting Yanya's journey through a transitional period in her life and career. Songs like 'Method Actor' and the earlier single 'Like I Say (I Runaway)' showcase Yanya's ability to weave contrasting textures and emotional depth into her music. Her lyrics, simultaneously specific and surreal, offer a glimpse into her process of self-discovery and problem-solving through songwriting. My Method Actor envelops listeners in a cinematic atmosphere, inviting them into Yanya's evolving world and offering a poignant exploration of the human experience.
Review: Originally released in 1982, Upstairs At Eric's marked the arrival of a duo as timeless as they were era defining, capable of capturing the very essence of an emerging, tech-driven music scene while also writing tracks that still sound incredible today. Many of which have been repurposed, sampled and remixed to the ends of the Earth and we're still not bored. Produced by the two band members, Alison Moyet and Vince Clarke, alongside Daniel Miller, boss of Mute Records, the legendary British label that first carried this, we shouldn't need to namedrop tracks here - Upstairs At Eric's is, frankly, the landmark synth-pop record. Just in case, though, think 'Don't Go', 'Goodbye 70s', and 'Only You'. And that's before we get into the lesser radio-played gems.
Review: Yeule (Nat Cmiel) is something of a sonic scrapyard varmint, scouring the lost wastes for augmentable audio parts perhaps useable in their madcap experiments. An avant-garde spin doctor of ash-faced, death-ray-desert-bomb glitch-pop, they've kept their place at the knife-edge of innovation, blending genres and non-genres at the violent vanguard where sounds remain in constant, slipped flux. In the lineage of Machine Girl, ecolagbohrsac2021 or Hakushi Hasegawa, 2022's Glitch Princess laid nutritious ground for Cmiel's now evermore fractious work, Evangelic Girl Is A Gun, which hears the somewhat alter-egoic Yeule now delve into the complexity of a fragmented identity, embracing the duality of light and shadow while echoing surreal animes, such as Serial Experiments Lain and Angel Egg. The LP reimagines Yeule as a haunting figure, exploring ego deaths and transformations in partnership with visual artist Vasso Vu.
Review: Non-binary performance artist Nat Cmiel from Singapore, often also known as yeule, continues to push the boundaries of glitch-pop and alt-electronica with their latest release. After solidifying their reputation as a trailblazer with their sophomore album Glitch Princess and its follow-up softscars, Cmiel takes a more daring, raw approach here. It's a cathartic exploration of self-destruction, trapped identities and the dark undercurrents of post-modernity, where Cmiel's ethereal vocals intertwine with dissonant beats, creating a paradox of beauty and tension.The sprawling atmospherics of 'Tequila Coma' and '1967' unfurl into a liquid haze, giving way to the razor-edged urgency of 'VV' and 'Dudu', which channel a palpable, jittery rhythm that commands attention. Collaborating with the likes of A.G. Cook and Mura Masa, the album navigates between haunting introspection and electrifying energy. It's a striking nod to Cmiel's ability to balance vulnerability and sonic experimentation, presenting a portrait of the artist struggling with the very image they've built.
Review: Yo La Tengo release their understated, lonesome score to Kelly Reichardt's modern film classic 'Old Joy' (2006), a film dealing in lifestyle differences, drifting and reconciled friendship and the passage of time among other themes, Yo La Tengo's reflective soundtrack spans just six tracks and echoes Van Morrison in its full and embellished use of repetition, pockmarked by a slid-guitar, major-third-happy melancholia. Recorded in a single afternoon at Yo La Tengo's studio in Hoboken, this is a drifting, improvisatory journey, born out of years-long friendship between the band and the film's director.
Review: If there's anything Yo La Tengo have in spades, it's a superb music taste. This collection of outtakes and demos guides you through the inspired moments of creativity that they share. 'Cast A Shadow' covers K Records head honcho's group Beat Happening brilliantly. 'Speeding Motorcycle' goes one further - it has the actual Daniel Johnston featuring on it as well as being a cover. The latter came from his fifth self-released cassette tape, Yip/Jump Music. There's also a Ramones, Wire and John Cale cover. We think you get our point - astounding references. Of their own material, 'Sunsquashed' - a 26-minute jam that emphasizes their experimental and improvisational nature is a must. Free from the shackles of producing an album in the traditional sense, what you end up with is a fantastic and imaginative collection, which hammers home just how brilliant Yo La Tengo are for indie rock.
Review: Louisville post-hardcore/noise rock trio Young Widows release their first album in 11 years. This follow-up to 2014's Easy Pain has them land on such mesmerising pummeling form that all is forgiven and forgotten for the long wait for a new album. This dark, heavy, and powerful affair has an industrial, motorik intensity to it on single 'Call Bullshit' and the lyrics don't hold back: "I'm gonna call your bullshit/When it's close to me/I'm gonna call your bullshit/Even when it leaves." Elsewhere, 'The Holy Net' nails it in terms of the bleakest atmosphere you can imagine whilst subtly layering in a haunting vocal hook that stays with you long after you've pressed stop.
Review: Neil Young's return to this 1977-recorded "lost" collection of songs feels like a snapshot of an artist in transition, navigating between the raw edges of his 70s output and the more polished direction he would take in the years to come. Recorded between Florida's Triad Studios and Malibu's Indigo, the tracks resonate with a kind of unforced authenticity that's increasingly rare in modern music. You'll know some of these tunes - the majority did turn up in other LP tracklistings eventually - but re-pieced together it's clear there's a quiet confidence here, as if Young, unburdened by the pressures of commercial expectation, was simply allowing the music to flow out. Opening with the delicate 'Sail Away,' Young sets a tone that's both intimate and expansive, a rare combination that permeates the entire set. 'Lost In Space' follows, its understated melancholy giving way to moments of real tenderness, as though Young was channeling something deeply personal without ever letting it feel too heavy. The rolling 'Captain Kennedy' showcases his gift for storytelling, while 'Goin' Back' and 'Human Highway' bring with them echoes of past greatness, weaving themes of reflection and longing with his signature mix of folk and country. By the time 'Pocahontas' rolls around, it's clear that the collection, though rough around the edges, forms a cohesive whole, a snapshot of Young's restless creativity and unflinching approach to songwriting.
Review: Neil Young's Weld is a raw, electrifying live album showcasing his signature collaboration with Crazy Horse. Recorded during the 1991 tour, the triple vinyl set features sixteen tracks filled with gritty intensity. Opening with 'Hey Hey, My My (Into the Black)', a rock anthem, the album shifts into fierce renditions of songs like 'Blowin' in the Wind' and 'Love to Burn'. Performances of classics such as 'Cortez the Killer' and 'Powderfinger', with extended jams adding fresh layers to the originals. The thunderous 'Like a Hurricane' stretches over 13 minutes, bringing the full force of the band's energy. Weld highlights the enduring chemistry between Young and Crazy Horse, whose synergy elevates the powerful, guitar-heavy sound. While it may lack acoustic diversity, its relentless rock-and-roll edge is a great glimpse of Young's grunge-influenced rock side.
Review: Neil Young's Ragged Glory is a masterful return to form, blending raw power with a grungy edge that solidified his status as the "Godfather of Grunge." Released in 1990, this album with Crazy Horse is one of his most distortion-heavy works, offering a gritty, jam-packed sound that contrasts sharply with his earlier folk and country rock roots. Songs like 'F*!#kin' Up' and 'Over and Over' showcase Neil's ability to lock into extended grooves, delivering music that's both intense and heartfelt. One of rhe album's standout tracks, 'Mansion on the Hill,' carries a nostalgic weight, while 'Country Home' evokes warmth and memories of simpler times. The instrumentation is where Ragged Glory truly shines. Each track, is loaded with powerful guitar solos and heavy riffs. Neil's collaboration with Crazy Horse is unfiltered, spontaneous, and fiercely alive. With the closing track 'Mother Earth (Natural Anthem)' closing the album out in style, Ragged Glory remains a triumph. Its a raw, unapologetic album that shows Neil Young at his grungiest best.
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