Review: Since forming in Austin in 2004, American Psych-Rock group The Black Angels have become standard-bearers for modern psych. Over 5 years since the band's fifth album 'Death Song' was released, the group have spent two years working on 'Wilderness of Mirrors', the times providing more than ample fodder for the Black Angels' signature sonic approach. And does it show, packaged in this beautiful gatefold housing limited red and blue coloured discs There are classic blasts of fuzzed-out guitars alongside melancholy experiments in the realms of shoegaze and garage rock. Even amidst these new experimentations, The Black Angels remain true to psych-rock forebears such as Syd Barrett, Roky Erickson, Arthur Lee and the members of the Velvet Underground, all of whom are namechecked on album highlight 'The River.' Another highlight is 'El Jardin' and its sorrowful lyrics and vocal delivery, lyrics discussing a toxic relationship as guitars strum away.
Review: Bringing bruising good time Oi-punk to the new generation, Chubby & The Gang have made quick work over the course of their two exceptional full-lengths. Now, less than a year removed from the life affirming scrappy anthems of 'The Mutt's Nuts', the gang (no pun intended) return with a literal 'Labour Of Love.' The single features three new cuts, all love songs, delivered with the manic, crusty, anthemic beauty one could ever desire from new school hardcore-by-way-of-Oi! punk revivalists.
Review: Cigarettes After Sex front man Greg Gonzalez puts his lovely voice front and centre on this atmospheric dream pop record as he works his way through a series of different fantasies. The record features a number of rather out-datedly objectified women who add sensual sounds but if you can get past that there is some fine candour and shadowy textures on this noir-pop long player. The influxes of the 90s indie pop sound looms large over the record as objects such as anime porn come and go.
Review: With the combination of band name and album title this one's always going to be a bit of a tearjerker, packed with self-reflection and self-loathing. No regrets, though, as Greg Gonzalez muses on sensuality, the loss of those we care about, the loss of self to another and the endless yearning of the human heart. Shades of Lord Huron and a wealth of gloomy shoegazers can be felt, but even though "Cry" represents a next step for Cigarettes After Sex - edging into more minimalistic territories - it's still immediately identifiable as this band, and so won't fail to instantly resonate with avid fans. Packed with an exquisite, opiate balladry at once heartfelt and heartbroken, it's hard to tell whether this is exactly what you need to hear when living through your blue period or precisely what you shouldn't listen to. Either way, it's quiet impact is immense.
Review: With the combination of band name and album title this one's always going to be a bit of a tearjerker, packed with self-reflection and self-loathing. No regrets, though, as Greg Gonzalez muses on sensuality, the loss of those we care about, the loss of self to another and the endless yearning of the human heart. Shades of Lord Huron and a wealth of gloomy shoegazers can be felt, but even though "Cry" represents a next step for Cigarettes After Sex - edging into more minimalistic territories - it's still immediately identifiable as this band, and so won't fail to instantly resonate with avid fans. Packed with an exquisite, opiate balladry at once heartfelt and heartbroken, it's hard to tell whether this is exactly what you need to hear when living through your blue period or precisely what you shouldn't listen to. Either way, it's quiet impact is immense.
Review: With the combination of band name and album title this one's always going to be a bit of a tearjerker, packed with self-reflection and self-loathing. No regrets, though, as Greg Gonzalez muses on sensuality, the loss of those we care about, the loss of self to another and the endless yearning of the human heart. Shades of Lord Huron and a wealth of gloomy shoegazers can be felt, but even though "Cry" represents a next step for Cigarettes After Sex - edging into more minimalistic territories - it's still immediately identifiable as this band, and so won't fail to instantly resonate with avid fans. Packed with an exquisite, opiate balladry at once heartfelt and heartbroken, it's hard to tell whether this is exactly what you need to hear when living through your blue period or precisely what you shouldn't listen to. Either way, it's quiet impact is immense.
Review: Cigarettes After Sex's X's presents a stunning trip through raw, emotive storytelling set to entrancing pop melodies. Centered on a four-year relationship, the album delves deep into the complexities of love and loss, offering poignant and sometimes provocative vignettes. Greg Gonzalez's songwriting captures the essence of romantic emotions, creating a cinematic experience for listeners. Departing from their earlier influences, the band embraces a 70s/80s slow dance vibe, infusing their music with a disco-era melancholy that feels both nostalgic and contemporary. With its lush, dreamy soundscapes and introspective lyrics, X's will be another well received album from their catalogue. The cassette version adds a nostalgic touch to this already exciting listening experience.
Review: Cigarettes After Sex returns with their third album, X's, via Partisan Records, marking a departure from their previous influences and embracing pop touchstones of the 70s and 80s. Bandleader Greg Gonzalez delves into the intricacies of a four-year relationship, delivering raw and imagistic vignettes set to slowburn pop melodies. With brutal intensity, Gonzalez purges his emotions, centering the album on this singular romantic arc, infusing their music with dark yet burgeoning melodies. While retaining classic pop song structures, Cigarettes After Sex subtly evolves their sound, creating an atmosphere reminiscent of disco ball-refracted tears on the dance floor. X's presents a mesmerizing and emotionally resonant journey through the complexities of love and loss, the band's continued growth and maturity is on full display.
Review: Monochrome dream pop band Cigarettes After Sex release their third studio album X's, following up the pre-release 'Tejano Blue'. As romantic and wistful as ever, the album is an avowed haunt-jaunt through a series of 'slow-dance pop ballads' - no change there - albeit this time concerning the brutal reckoning with relationship breakdown and loss, personally borne by lead musician Greg Gonzalez during the recording of their prior self-titled album. Also a lover letter to Gonzalez' hometown of El Paso, Texas, the album draws on themes of the music scene and atmosphere of the city, in dialogue with a subsequent move to New York and the culture shock that followed.
Review: Cigarettes After Sex's X's is the dreamy indie pop band's third album, following 2019's Cry, and hears a wistful array of new songs drawing on the same palette as ever, but with nonetheless a newfound personal bent drawing on the breakdown of a relationship and a move between cities undergone by lead singer Greg Gonzales. With every influence from Texan blues and Tejano music - the likes of Selena, Los Angeles Azules and La Mafia - to esteemd dream poppers Cocteau Twins, this is a fresh new fusion from the hypnagogic hopeless-romantics, sure to sate existing fans and draw in new ones alike.
Review: Washed-out gothic dream-popstars Cigarettes After Sex deliver their latest album, X's, building on the now prolific body of work that has so far propelled the band's lead brain Greg Gonzalez to fame. Whereas prior projects under the CAS ambit have revolved around only isolated vignettes of a hazy and monochrome - but decidedly sexual - nature, X's is the band's first record concerning a single relationship: the pain of losing an LTR, in stark contrast the string of sonic flings that came before. Led by the careful straddling of romantic fantasy and grimmer, nicotine-stained realities on 'Dark Vacay', such is the overarching mood; of sex amounting to a futile attempt to overcome the end of loving communication, and cigarettes plugging the hole that arises from this.
Review: Everyone's favourite dream pop slow-jammers Cigarettes After Sex return with two new singles on a single 12" record. On the heads, we've got 'Bubblegum', a kinky but mournful head-plodder, which concerns the object of their affections taking on a Russian-roulette-ish approach to sex and relationships. The tail-side's 'Stop Waiting', meanwhile, is ever-more hypnotic, and clearly intends to be the hidden gem of the two. You'll hear a slightly brighter and more optimistic song than the A-side, but it's still deeply morunful, with Greg Gonzalez singing of the faded memories of cut ties, sunscreen and summer dresses.
Review: The last ten years have seen no shortage of bands with their delay pedals set to stun intent on capturing an aura of dreamlike radiance. Yet Texas 'pop-noir' troupe Cigarettes After Sex are no ordinary shoegazers, for a variety of reasons - frontman Greg Gonzalez' androgynous and dulcet tones may be part of the appeal, yet moreover it's the quality of the songwriting here, which never falls prey to the style-over-substance traps of their peers. Indeed, this debut is more than enough to justify the considerable hype around this outfit, being a collection of ditties as sultry as they are atmopsheric.
Review: Cymande are cult favourites amongst funk and soul lovers. The band members were all part of the Afro-Caribbean diaspora community in London who arrived in the UK from the West Indies in the 60s and blended sounds in captivating, heart-aching new ways across several standout albums. One of them is the Second Time Round from 1973. It was their sophomore effort and was produced entirely by John Schroeder. It's a well-rounded listen as a whole but also includes standout singles like 'Fug' which anyone who has played a Tony Hawk skateboarding game might well recognise.
Review: This is a lovely reissue on pink vinyl of Cymande's Promised Heights album, which is a famously warm blend of funk, soul, and reggae that showcases the band's distinctive sound and social consciousness. Released in 1974, this record continued their tradition of infectious grooves and thought-provoking lyrics. The uplifting rhythms of 'Brothers on the Slide' still resonate to this day while the laid-back vibes of 'Changes,' remain timeless. Each track has intricate instrumentation and soulful vocals that make this one so well-loved by new generations of record diggers and soul fans, all while delivering a powerful message of unity and hope.
Review: To any funk digger worth their salt, Cymande have been a staple since their 70s heyday, but the Brit funk cult legends are enjoying a renewed presence since their triumphant return with reunion shows which cemented their legacy after decades being overlooked. Their story tracks back to this seminal album, a scintillating fusion which could only have occurred in Britain in the 70s as communities and cultures joined together to create one harmonious groove the likes of which had never been heard before. The whole album feels like a run of hits, from the celestial swirl of 'Dove' to the life-affirming horn blasts of 'Bra'. If you don't already have this track in your bloodstream, now's the time to catch up.
Review: By the time Double Cup landed in 2013, footwork had already well and truly infiltrated global dance music culture, with DJ Rashad held high as one of the true visionaries of the Chicago-born sound. Still, Double Cup seemed to break through and take the genre even further out, turning more people onto footwork's hugely innovative potential and fuelling its interpolation with other scenes in the UK and elsewhere. With Rashad's tragic passing in 2014, it also serves as a swan song of sorts, loaded with the weight of a genius gone before his time. If you don't already have this one etched in your memory banks, now is the time to play catch up.
God Gave Me Feet For Dancing (feat Yazmin Lacey) (4:11)
Ajala (0:42)
The Traveller (4:48)
N29 (3:56)
No One's Watching Me (feat Olivia Dean) (4:57)
Hear My Cry (3:31)
Shaking Body (3:14)
Expensive (6:10)
Streets Is Calling (feat Manifest & Moonchild Sanelly) (3:08)
Why I Smile (5:20)
Have Patience (2:35)
Everybody (4:01)
Review: One year on from making history as the first ever jazz band to be awarded the Mercury Prize, Ezra Collective are continuing to pump out their sensational, unique blend of jazz, roots, afrobeat and calypso. 'Dance No One's Watching' is the highly anticipated follow-up to the aforementioned award-winning 'Where I'm Meant to Be'. Set to release in September, the two singles 'God Gave Me Feet For Dancing' and 'Ajala' set the bar high. The prior is a jazzy, drum-led groove backing the buttery smooth Yazmin Lacey, a name to watch in the soul scene (famously she was scouted after being persuaded to sing on a drunken night out.) The track is a sunny interpolation of Cy Grant's 'Feeling Good' (though let's face it, Nina Simone truly made that record) with a quintessential British soul sound that brings to mind the stylings of Greentea Peng, early Jorja Smith work etc. To boil it down to 'easy listening' would feel reductive but, my God, it's easy on the ears for sure. Single number two, 'Ajala' is quite a stark contrast. Incorporating the hectic feeling of bebop classics, it's a blaring and fast-paced brass session with some great high-tempo percussive afrobeat. Taking its name from the Yoruba slang for fidgety, derived from the Nigerian journalist who one day decided to travel the world on a moped, the track does just that: it begs you to get up and move. If these two tracks are anything to go by, the world is set for a future award winner this Autumn.
God Gave Me Feet For Dancing (feat Yazmin Lacey) (4:11)
Ajala (0:42)
The Traveller (4:48)
N29 (3:56)
No One's Watching Me (feat Olivia Dean) (4:57)
Hear My Cry (3:31)
Shaking Body (3:14)
Expensive (6:10)
Streets Is Calling (feat M.anifest & Moonchild Sanelly) (3:08)
Why I Smile (5:20)
Have Patience (2:35)
Everybody (4:01)
Review: Dance, No One's Watching is a vibrant tribute to the joyous act of dancing and a night out from the anticipation of evening to the early morning hours. Written during Ezra Collective's whirlwind 2023 world tour, which saw them become the first jazz act to win the Mercury Prize, the album reflects the global dancefloors they experienced, from London to Chicago, Lagos to Sydney. Dance and rhythm unite us all, a spirit celebrated in these tracks. Recorded at Abbey Road studios, the sessions transformed into a live celebration with friends and family, adding a communal warmth to the music. The album features collaborations with Olivia Dean, M.anifest, Moonchild Sanelly, and Yazmin Lacey, who sings on the lead single 'God Gave Me Feet for Dancing.' This new album follows their acclaimed Where I'm Meant to Be, and continues to showcase Ezra Collective's innovative contributions to contemporary British music.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Intro (1:08)
The Herald (3:46)
Palm Wine (5:14)
God Gave Me Feet For Dancing (feat Yazmin Lacey) (4:11)
Ajala (0:42)
The Traveller (4:48)
N29 (3:56)
No One's Watching Me (feat Olivia Dean) (4:57)
Hear My Cry (3:31)
Shaking Body (3:14)
Expensive (6:10)
Streets Is Calling (feat Manifest & Moonchild Sanelly) (3:08)
Why I Smile (5:20)
Have Patience (2:35)
Everybody (4:01)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Dance, No One's Watching is a joyous celebration of the unifying power of dance. Written during Ezra Collective's world tour in 2023, which also saw them become the first jazz act to win the Mercury Prize, this album is full of vibrant energy, a complete sonic journey through a night out in the city, this album succeeds from the opening anticipation to the dawn's quiet conclusion. Recorded at Abbey Road Studios amidst a live communal celebration, Dance, No One's Watching resonates with love, music, and the infectious spirit of dancing. The band's dynamic compositions and rhythmic power are showcased in every track, making it a powerful addition to contemporary British music. The Deluxe 2 LP set on black vinyl, housed in a gatefold jacket with exclusive artwork and a fold-out poster, makes this limited edition the copy to have. Ezra Collective's are innovative with a unifying musical vision.
God Gave Me Feet For Dancing (feat Yazmin Lacey) (4:11)
Ajala (0:42)
The Traveller (4:48)
N29 (3:56)
No One's Watching Me (feat Olivia Dean) (4:57)
Hear My Cry (3:31)
Shaking Body (3:14)
Expensive (6:10)
Streets Is Calling (feat Manifest & Moonchild Sanelly) (3:08)
Why I Smile (5:20)
Have Patience (2:35)
Everybody (4:01)
Review: Dance, No One's Watching is a joyous celebration of the unifying power of dance. Written during Ezra Collective's world tour in 2023, which also saw them become the first jazz act to win the Mercury Prize, this album is full of vibrant energy, a complete sonic journey through a night out in the city, this album succeeds from the opening anticipation to the dawn's quiet conclusion. Recorded at Abbey Road Studios amidst a live communal celebration, Dance, No One's Watching resonates with love, music, and the infectious spirit of dancing. The band's dynamic compositions and rhythmic power are showcased in every track, making it a powerful addition to contemporary British music. The Deluxe 2 LP set on black vinyl, housed in a gatefold jacket with exclusive artwork and a fold-out poster, makes this limited edition the copy to have. Ezra Collective's are innovative with a unifying musical vision.
Review: Ezra Collective has described their hotly anticipated second album, 'Where I'm Meant To Be', as "a thumping celebration of life". As with their previous work, it's rooted in the band's love of on-stage improvisation - call-and-response instrument solos abound throughout - and peppered with contributions from guest vocalists including Sampa The Great, Emeli Sande and Nao. Musically, it's undoubtedly joyous, blurring the boundaries between contemporary UK jazz, afrobeat, hip-hop, dub, Latin rhythms and soft-touch electronics. The plentiful highlights include steppers-powered dub-jazz workout 'Ego Killah', sparkling opener 'Life Goes On' and the Afro-Cuban brilliance of 'Victory Dance'.
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: I Inside the Old Year Dying is PJ Harvey's tenth studio long player but a first in some seven years. The last, The Hope Six Demolition Project, was a UK number one on the album charts and this one was again recorded with long-time creative collaborators John Parish and Flood. It is a vast sonic universe that is located "in a space between life's opposites, and between recent history and the ancient past." There is plenty of biblical imagery, Shakespearean references and lots of profound songwriting, as you would expect.
Review: Honesty's debut album, U R HERE, is a thrilling exploration of contemporary electronic music that defies easy categorisation. Formed by core members George Mitchell, Matt Peel, Josh Lewis, and Imi Holmes, the Leeds-based collective embodies the spirit of true collaboration, merging influences from UK bass, garage, shoegaze, and ambient styles into a seamless tapestry of sound. The first single 'Measure Me' alongside the evocative 'No Right 2 Love', delve into a dreamscape of lost connections and emotional turmoil, encouraging personal interpretation of its themes. As the band describes, creating this album felt like passing the aux cable at an afterparty, with each member contributing their unique influences while remaining unbound by genre constraints. U R HERE is a reflection of a world in flux, delivering an exhilarating and introspective take on club music that resonates deeply with the psychological landscape of modern life. With its vibrant soundscapes and fluid arrangements, this debut promises an exciting journey into self-acceptance and creative freedom. Available on gatefold clear vinyl with an indie-exclusive spot-varnished sleeve, U R HERE marks Honesty as a fresh force in the music scene, and their artistic evolution is just beginning.
Review: Despite being at the centre of one of rock's tensest social media dramas in recent history - having been called out by Fat White Family for being too middle-class for their own image - Idles are back on top, thanks to their new album 'Crawler'. Taking a chance on their own criticisms, this album is more introspective than 'Ultra Mono', revealing the band's various wrestlings with addiction and desperation. In true post-punk fashion, it's an emotive sophomore development from lead brain Joe Talbot, spanning plod-rap grungers ('Car Crash') and dark disco-rock ('When The Lights Go On'), all giving off his signature brand of hopeful nihilism, with the ultimate message that 'the show must go on'.
Review: It's barely been 12 months since the release of Bristol five piece Idles' debut full length, and the band's swift follow up effort is a righteous affair, doing away with any stigma attached to difficult second albums. The heavy post-punkers take another step forward in having the world realise their full potential straight off the bat with album opener "Colossos" that epicly, post apocalypticly, rattles and hums in swathes of drone and rock menace. Cue a quick change up in direction and we're met with what sounds like a lairy Kasabian smashing up the pub. Beer, sweat and tears. Let's 'ave it.
Review: It's barely been 12 months since the release of Bristol five piece Idles' debut full length, and the band's swift follow up effort is a righteous affair, doing away with any stigma attached to difficult second albums. The heavy post-punkers take another step forward in having the world realise their full potential straight off the bat with album opener "Colossos" that epicly, post apocalypticly, rattles and hums in swathes of drone and rock menace. Cue a quick change up in direction and we're met with what sounds like a lairy Kasabian smashing up the pub. Beer, sweat and tears. Let's 'ave it.
Review: If the greatest bands evolve over the course of their career, IDLES are clearly on the right track. While the Bristol-band rose to prominence via a raw, noisy and aggressive sound that sat somewhere between post-punk and alt-rock, Tangk - their fifth album and first for three years - represents a genuine (and deliberate) tearing up of their previous trademark sound. Inspired specifically by a desire to "make people dance and make people feel", it feels like a successful attempt to move into the punk-funk/rock-rave territory previously defined by LCD Soundsystem. It's fitting then that James Murphy and company feature on standout (and recent single) 'Dancer'. The nods to the glory years of DFA Records continue throughout, with further highlights including the moody, low-slung brilliance of 'Grace' and the righteous heaviness of 'Gift Horse'.
Review: Billed as a "love album", the fifth full-length from IDLES offers an entirely fresh batch of soulful buzzsaw anthems, aiming to take a further look inward following on from the apolitical, primarily introspective musings that permeated 2021's criminally underrated Crawler. Working with renowned hip-hop producer Kenny Beats yet again, who shares co-production credits with Nigel Godrich (Radiohead, Travis, REM) and the band's very own guitar wizard Mark Bowen, the collective have distilled the vital aspects of their sonic makeup, whilst eschewing any rethreads of topical malaise they've previously exorcised to its maximum potential. One spin of the grooving dance-punk lead single 'Dancer', complete with backing vocals from James Murphy and Nancy Whang of LCD Soundsystem, should be enough to illustrate the power of positivity brimming from these sessions, with frontman Joe Talbot's simple succinct summary of the record going as such - "Love is the fing".
Review: Following on from 2021's exceptional, introspective fourth full-length Crawler, everyone's favourite pissed off Bristolians make their much hyped return on their fifth LP Tangks. Billed as their "love album", the project re-enlists the skills of hip-hop producer Kenny Beats (who's maintained a creative foothold within the band since 2020's raw and seething Ultra Mono), yet expands the production credits to share the desk with Nigel Godrich (Radiohead, REM) as well as guitarist Mark Bowen, marking the first time the crossdressing/well suited/three quarters-naked axeman has taken a behind the boards role. Distilling their most aggressive and accessible indulgences into one sonic wave of gratitude, IDLES appear re-focused and honed in to a task they've undertaken with sincere, shit-eating grins, and if you don't believe us, give the disco-punk banger 'Dancer' a seemingly harmless spin. Boasting nostalgic backing vocals from James Murphy and Nancy Whang of LCD Soundsystem, who tiptoe around the throated swagger of frontman extraordinaire Joe Talbot, the collective mantra of "Love is the fing" becomes ever so clear. Get on board, give Tangks, get hype.
Review: Despite being at the centre of one of rock's tensest social media dramas in recent history - having been called out by Fat White Family for being too middle-class for their own image - Idles are back on top, thanks to their new album 'Crawler'. Taking a chance on their own criticisms, this album is more introspective than 'Ultra Mono', revealing the band's various wrestlings with addiction and desperation. In true post-punk fashion, it's an emotive sophomore development from lead brain Joe Talbot, spanning plod-rap grungers ('Car Crash') and dark disco-rock ('When The Lights Go On'), all giving off his signature brand of hopeful nihilism, with the ultimate message that 'the show must go on'.
Review: Nigerian Afrobeat composer, bandleader, and multi-instrumentalist Fela Kuti has a vast catalogue that dates back over half a century. Roforofo Fight is one of the many standouts and it was recorded in Lagos in 1972 on the Jofabro label with the legendary Tony Allen on drums as well as Christopher Uwaifor on tenor, Lekan Animashaun on baritone and many other key players alongside the main man. The lyrics convey Fela's frustration at intolerant and violent behaviour as told through the story of a street fight.
Review: Fela Kuti lives on! This is the 10th Anniversary reissue of the classic tribute album Red Hot & Fela, pressed on opaque banana yellow and opaque red vinyl, with proceeds benefiting the Red Hot organization. Since his death in 1997 from complications related to AIDS, Fela Kuti has grown from a West African household name and musician's musician in Europe and the Americas, to a worldwide musical icon. This album hears thirteen collaborative supergroups - made up of stars including Childish Gambino, Kronos Quartet, Spoek Mathambo, Sinkane, Tune-Yards and Baloji & L'orchestre De La Katuba - pay tribute to the Nigerian musician and activist, taking after him in style and cover. Successful, they translate the Afrobeatific sound of Kuti, Africa 70 and Egypt 80 towards an electrified present and future.
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