Review: Bristol duo The Allergies team up with award-winning Afrofuturist K.O.G. aka Kweku Of Ghana for a collaboration that's as explosive as it is catchy. 'Koliko' is a potent blend of late 60s African rhythms and upfront hip-hop swagger, with K.O.G's vocals adding a raw energy and shamanistic intensity. His lyrics, delivered in both English and his native tongue, explore themes of identity and cultural appropriation, adding a layer of social commentary to the infectious groove, while on the flip, 'God Walked Down' takes a different approach, its soulful melodies and uplifting harmonies showcasing The Allergies' versatility and their ability to craft music that moves both the body and the soul.
Review: One of Armenian-born, London-based Blade's seminal cuts from the early 90s UK rap scene, capturing the gritty realism of the time. 'Dark & Sinister', featuring MC Mell'o', delivers a powerful, hard-hitting vibe akin to LL Cool J's commanding presence, with an instrumental version on the flip side allows the track's intense atmosphere and production to shine. Often seen as the grandfather of UK rap, Blade plays off a gritty persona with a wicked sense of humour, and this release still resonates today.
Review: Matasuna Records, based in Berlin, kick off their 2025 with a ladling of fresh soul soma food, this time by Barca's finest one-girl band The Blaxound (Marta Roman), in collaboration with singer John Vermont. Building on irreverent, vintage 60s pop from Spain, whose sound is categorically fiendish to replicate, the two artists have nonetheless managed a close hewing here. 'No Es Por Ti' showcases Vermont's throaty singing, lyrically playing out the eternally relatable breakup trope of "it's not you, it's me." Then 'Qu Ms Te Da?' follows with an affectingly syncopal rhythm, with a tightened snare played only on the 4, heightening the erotic tensity of the scene, driven by shuffling hats alone, whilst the artists' respective cools are kept.
Review: In characteristically fast and loose fashion, the June 2024 split release between Burial and Kode9 finally hears a 12" version only the following November, which also compounds the London label's habit of timing new Burial releases with misty year-end Brumaires. 'Phoneglow' and 'Eyes Go Blank' are complementary cracklestep and aggro jungle-juke numbers; both get at the wistful chills and phantom pocket vibrations endemic to the modern urban lifestyle, these being sensations that mask much deeper, dare-not-go-there collective emotions. Burial's A-sider is as tender as ever, typically stilted between neurotic beat-switches and fizzing breakdowns. But this time, the more beat-driven moments dart between haunted, charity shop haul Christmas compilation garage vibes, and hollowly hallowed, filtered Eurorave, continuing Burial's recent penchant for sweetness below the sonic silt. Kode9's is a much tankier yet tricksier tune, traversing glossolalic masc vocals, warring tuned Reeses, and gamey ringtone clatters.
Review: Diagonal Records gives itself over Australian rising star Jonus Eric who is sure to have a big year if this is anything to go by. His new EP follows on from a fine recent outing on Gerd Janson's Running Back and once again it finds him serving up six tracks of sample-rich, psychedelic house music with a loveably rase aesthetic. it; shard not to hear the sounds of Theo Parrish echoing through the mechanical house sounds of opener 'Darkwhirl' then the funk-driven 'Crimewave' cuts more loose, the gnarly 'Shapeshift' contorts body and mind and 'Polarity' is a 90s IDM-infused finale. What a trip!
Everything Is Recorded, Noah Cyrus & Bill Callahan - "Porcupine Tattoo" (3:31)
Everything Is Recorded - "Norm" (feat Bill Callahan) (3:04)
Review: Richard Russell's Everything Is Recorded returns with 'Porcupine Tattoo', an unexpected yet compelling collaboration between Bill Callahan and Noah Cyrus. The track, released via XL Recordings, came about during sessions at LA's Chateau Marmont, when Russell asked Callahan who he'd most like to write a song for. Callahan's surprising answer: Noah Cyrus. The result is a stripped-down folk tune with subtle gospel undertones, featuring Callahan's deep, pitched-down vocal layered alongside Cyrus' delicate voice. Russell's productioniminimal yet atmosphericihighlights the contrast between Callahan's gravelly tone and Cyrus' ethereal presence. Recorded during a rain-soaked week, the track evokes a sense of melancholy and intimacy. On Side-2 'Norm', is a tribute to comedian Norm Macdonald, featuring only Callahan. This release continues Russell's tradition of creating genre-blurring, evocative collaborations.
Review: Gipsy Power Band - what a name that is, by the way - debuts with aplomb here and mixes up a fiery sonic stew of flamenco rumba, rock and funk that captures the essence of a unique time in Spanish music. Formed in Madrid in 2022, the band originally paid tribute to "cine quinqui," a Spanish exploitation film genre, by performing tracks from its iconic soundtracks and other hidden gems from the mid-70s to early 80s. Drawing inspiration from artists like Los Chichos and Las Grecas, they lit up Madrid's stages with their vintage repertoire. Now, they've evolved to create original music and it comes in the form of these two songs.
Review: Fresh off the back of X-Ray Ted's debut album Moving On comes this instrumental/scratch tool version of 'Get Loose', one of the record's best-loved non single tracks. Prior to the full album's making and eventual completion, The Bristol-based DJ and producer had spent years honing his craft and refining his signature sound, which drew heavily on soul, funk, hip-hop and breaks; all of which were styles heavily indebted to the street battle breaks culture found in 90s New York and other major cities. 'Get Loose', the seventh track on the record, features British rappers Dr. Syntax and Elemental and is a fiery exploration of what it means to loosen oneself; the track features here in full original form, alongside its locked groove and acapella versions, the former of which samples an oldskool comedy set characteristic of the kinds of sources battle DJs would sift theirs from.
Review: In June, Actress delivered an RA mix that was nothing short of surprisingientirely new, unheard material from Darren S. Cunningham himself. Asked if it was an album, he called it "a collage -Braque," leaving interpretation open. This CD edition captures the essence of Actress's sound: fluid, shape-shifting, and unconcerned with traditional definitions. Whether a mixtape or sonic collage, it's unmistakably Actress, offering listeners a raw, evolving soundscape that resists labels and challenges boundaries, making it an essential piece for fans of his ever-innovative style.
Review: Al-Qasar deliver their unique debut album for WeWantSounds, exothermically reacting psych rock, pop and regional Sahel sounds. The five-piece band dropped their debut album Who Are We? for Glitterbeat in 2022, marking a potent Arabic and Middle Eastern psych rock inflection, where elements such as North African trance music were helped along their way in the form of continual reintroductions to Western ears. Characterised as "Arabian fuzz" by the band, their sound now hears a metempsychotic rebirth: this album was again recorded in both Europe and Africa, and, unlike their debut's Western collaborators (Lee Ranaldo of Sonic Youth, Jello Biafra of Dead Kennedys), focuses on bustling rhythms lent by North African musicians such as Alsarah, Check Tidiane Seck and Sami Galbi.
Review: Sam Amidon's new album is a mesmerising exploration of folk traditions, reimagined with contemporary textures and adventurous instrumentation. Collaborating with saxophonist/producer Sam Gendel and percussionist Philippe Melanson, Amidon breathes new life into ten collected songs, from the Appalachian ballad 'Golden Willow Tree' to a radically transformed version of Lou Reed's 'Big Sky'. Recorded as a trio in Gendel's Los Angeles home, the album intertwines acoustic folk with avant-garde electronic flourishes, creating a soundscape that's both timeless and groundbreaking. Standout tracks include the lead single 'I'm On My Journey Home', where Amidon's rediscovery of a loose swing in early 20th-century recordings inspires a lush, layered rendition that sets the tone for the album. The trio's rendition of Ornette Coleman's 'Friends And Neighbors' bursts with joyful communality, while 'Old Churchyard', reimagined as 'Three Five', pairs electronic layers with rhythms to evoke a redemptive atmosphere. With influences ranging from Arthur Russell to shape-note singing, this album exemplifies Amidon's quest to recontextualise folk music, offering an inventive and heartfelt homage to its enduring resonance.
Review: The forthcoming collaboration between anaiis and Grupo Cosmo presents a captivating fusion of contemporary soul and Brazilian musical traditions. The album features tracks like 'Toda Cor' and 'Voyage,' which blend anaiis's soulful vocals with Grupo Cosmo's rich instrumentation, creating a sound that is both innovative and deeply rooted in cultural heritage. This milky vinyl LP offers listeners a unique auditory experience, highlighting the seamless integration of diverse musical styles.
Review: Anthrax unleash their ferocious energy on this 2016 album, their first with lead guitarist Jon Donais. The iconic thrash metal outfitifeaturing Joey Belladonna, Scott Ian, Frank Bello and Charlie Benanteidelivers a potent blend of untamed aggression and melodic hooks. Recorded with longtime producer Jay Ruston, the 11 tracks offer a powerful and socially conscious take on heavy metal, tackling themes of religious fanaticism and personal responsibility. Singles like 'Evil Twin' and 'Breathing Lightning' showcase the band's signature sound: a relentless barrage of riffs, thunderous drums and Belladonna's soaring vocals.
Review: Following the success of Matt Berry's 2021 release, The Blue Elephant, and last year's collaboration with KPM, his eighth studio album, Heard Noises, arrives via Acid Jazz. This album comes in a stunning label-exclusive gatefold edition on a classy sky blue vinyl. The lead single, 'I Gotta Limit', shows Matt's lyrical exchange with Kitty Liv, reflecting a man yearning for another chance with a woman who is losing patience. The song, influenced by Sly Stone, packs a wealth of musical ideas into its three-minute duration, blending Northern Soul with psychedelic elements. In contrast to the eclectic sounds of The Blue Elephant, Heard Noises embraces a looser, Californian psychedelic vibe, infusing the album with space pop influences and haunting melodies. Displaying Matt's remarkable musicianship, he plays nearly every instrument, from guitars to synths, joined by longtime collaborator Craig Blundell and an array of talented guests. This album encapsulates the diverse musical journey that has defined Matt Berry's career as a musician, alongside his roles as comedic actor.
Review: Don Blackman's self-titled debut, released in 1982, is a jazz-funk masterpiece that has long been overlooked despite its significance in the genre. While it may not feature the familiar production of P-Funk luminaries like George Clinton, its essence resonates deeply within the Venn diagram of funk, soul and jazz-fusion, placing Blackman at the center of a unique musical nexus. Produced by Dave Grusin and Larry Rosen for GRP Records, the album stands alongside other funk classics like Fuzzy Haskins's A Whole Nother Thang and Bernie Worrell's Blacktronic Science. Tracks like 'Hearts Desire', with its captivating slap bass groove and 'Holding You, Loving You', showcasing romantic lyrics and harmonies, exemplify Blackman's artistry. His blend of aggressive jazz-funk is not only infectious but also reveals a distinctive sound that deserves recognition. This reissue of Blackman's album serves as a timely reminder of its place among the top funk records.
Review: Following her 2022 effort Good Morning Gorgeous, Gratitude reflects Blige's current state of grace and resilience while retracing the musical motifs that defined her 1990s heyday. Kicking off with 'Breathin', featuring Fabolous, the track melds nostalgia with fresh energy, sampling classics like Notorious B.I.G.'s 'Kick in the Door'. Blige's powerhouse vocals shine, though the production occasionally feels mismatched. Tracks like 'Need You More' featuring Jadakiss and 'Beautiful People' deliver rich grooves, revisiting her roots while embracing contemporary sounds. Highlights include the anthemic 'You Ain't the Only One' and the genre-defying 'Never Give Up on Me', which seamlessly blends funk, disco and soul. Ballads like 'Here I Am' and the empowering 'Superpowers' reaffirm Blige's vocal prowess and emotional depth. Collaborations with Fat Joe and A$AP Ferg on closing tracks 'God's Child' and 'I Got Plans' bring the album full circle with a nostalgic yet dynamic finish. Gratitude only serves to reinforce Blige's legacy, her vocals stronger than ever and her storytelling as compelling as it is heartfelt.
Review: Brian Auger's fusion of jazz, funk, and rock in this 1973 release feels as bold today as it must have sounded then, with his expressive Hammond organ weaving effortlessly through complex arrangements that balance technical mastery with emotional depth. The interplay between soulful grooves and intricate rhythms gives the music a timeless quality, particularly in standout tracks where vocal lines and instrumental passages collide in unexpectedly powerful ways. The reissue brings renewed clarity to a release that remains a touchstone for anyone exploring the boundary-pushing potential of jazz fusion.
Review: Cascada's Evacuate The Dancefloor, now on limited edition purple vinyl, is a burst of high-energy dancefloor anthems and heartfelt ballads. Side 1 opens with the unforgettable title track, a global hit with infectious hooks and pulsing beats, followed by the anthemic 'Hold On' and the emotional 'Everytime I Hear Your Name.' The energy keeps climbing with 'Ready or Not' and the club-driven 'Fever.' Flip to Side 2 for the sultry 'Breathless,' the electrifying 'Dangerous,' and the introspective closer 'Draw The Line' in a delicate Yanou Candlelight mix, rounding out this essential dance-pop collection.
Review: The Clean are one of the most important indie bands to ever come out of New Zealand. Their EP 'Boodle Boodle Boodle' (1981), recorded on a four-track, had an instant lo-fi appeal and became the Flying Nun label's first major success. They were shaped by the likes of Syd Barrett, Velvet Underground and The Stooges and have gone on to influence the likes of Pavement and Yo La Tengo. The band were on hiatus for the majority of the 80s, but came back to release three albums in the 90s and two in the 00s. This is their second album and the first time this title has been in print on vinyl since its initial release. With more budget to record than when they were cutting their teeth in the early 80s, it's a higher fi record and of their post-reunion releases, this is the closest in feel to their early material. 'Linger Longer' is a haunting piano-led cut full of poignance and psychedelic feel. 'Secret Place' shines a spotlight on The Clean's iconic stripped back drum style and 'Something I Need' has a Lou Reed and Mick Jagger feel to the vocals as folk-y acoustic instrumentation prevails beautifully underneath. A staggering band.
Review: The hotly anticipated new FKA Twigs album brings a muted, grizzled office sexuality to an already mercurial and glossy pop vanguard, contrasting to 2022's relatively tangy mixtape Caprisongs. Here also released on cassette, Twigs proves herself unafraid of multi-format and even vintage format releasing, despite the highly digital aesthetic. With over half the record already made public - title track 'Eusexua' brings a ratchet dance beat to a mood of authoritarian future rhapsody, and the body-confident hyper-garage tune 'Perfect Stranger' brings a similarly future-purist mood of drabness in gloss - diehard fans are the ones most likely to anticipate this exclusive tape edition.
Review: FKA twigs delivers Eusexua, her latest and hotly anticipated new album, and the latest to follow 2022's Caprisongs. A strong and determined directional shift away from Caprisongs' cutesy sensibility (we see it as no surprise that her last album was released under Atlantis, while Eusexua comes via home slices on her home turf, Young), Eusexua hears the artist formerly known as twigs take up a futuristic grey, suited, officiated and incorporated style, informed by a roundabout notion of "eusexua", her own coinage: "a feeling of momentary transcendence often evoked by art, music, sex, and unity." Themes of disconnected embodiment run rampant throughout the album, showing no signs of ambivalence where others might flinch in the face of greyness or techno-uniformity. Twigs' vision reclaims abundant but still currently dubious themes of hard work, grist and prosthesis, and as ever resounds in palates of glistening, glossy mecha-r&b, inheriting Bjorkish chameleonics and contrasting said spikiness with no less impassioned tales of her enjoying the underground techno scene in Prague, among other sources of inspiration.
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