Review: US art rockers The Mars Volta's latest project reveals an ambitious dual-disc journey, encompassing their sprawling range of experimentation. Early tracks like 'Fin' and 'Reina tormenta' establish a dense atmosphere, full of the band's signature unpredictability, with fluid transitions between moments of stark aggression and delicate, jazz-inflected interludes. The album's progression is marked by tracks such as 'Mictlan' and 'Nefilbata', where intricate rhythms are paired with surreal, often dissonant melodies, evoking the mysticism and chaos of their thematic inspirations. As the second disc kicks off, 'Celaje' and 'Vocifero' provide a cinematic depth, layering intricate percussion with droning, otherworldly synths, shifting the mood into darker territories before 'Mito de los trece cielos' bursts through with frenzied energy. The reprise of 'Cue the Sun' and the closing track, 'Lucro sucio', bring the journey to a close, suggesting a moment of reflection within the album's labyrinthine structure. While the album's tracklist is as labyrinthine as their sound, what stands out is the way The Mars Volta remain resolutely themselvesieffortlessly blending their psychedelic rock heritage with new, complex influences, creating something fresh, while never losing the raw intensity that made their earlier work so iconic. This album feels less like a return and more like a rediscovery of what makes them so vital.
Review: Cardiff noise-rock legends Mclusky make their long-awaited return with the highly anticipated The World Is Still Here & So Are We. Serving as their fourth full-length and first since 2004's The Difference Between Me & You Is That I'm Not On Fire, the album comes following numerous sparse reunion shows and tours since their initial disbandment two decades prior. First revealed through the release of the Unpopular Parts Of A Pig EP during the latter half of 2023, which would mark their first newly recorded output in 19 years, both the title-track as well as 'The Digger You Deep' were said to be the first tastes of their fourth LP, now making good on that promise with a release set for distribution via Ipecac Recordings, the label of musical absurdist Mike Patton (Faith No More, Mr. Bungle). Having worked in the past with the late, great Steve Albini, even opening for Shellac one fateful evening in London's Scala, the iconic noise-merchants seemingly haven't lost an iota of their bite or shitheaded cynicism during their time away, evidenced as such as in the blistering lead single 'Way Of The Exploding Dickhead'.
Review: Welsh noise-rock royalty Mclusky make their decrepit return on their majorly anticipated fourth album The World Is Still Here & So Are We, marking their first full-length in over two decades, following on from 2004's The Difference Between Me & You Is That I'm Not On Fire. While the Cardiff legends have reformed for brief reunion runs in the past, this time they seriously mean it, revealing their first taste of new material in 19 years through their 2023 EP Unpopular Parts Of A Pig, with the title-track and 'The Digger You Deep' both announced to be featured on their (at the time) as-of-yet unannounced comeback record. Arriving courtesy of Ipecac Recordings, the outsider-rock label ran by vocal absurdist Mike Patton (Faith No More, Tomahawk, Mr. Bungle) and working in the past with the late, great Steve Albini, with the band even supporting for Shellac one fateful night in London's Scala, the chaotic noise-merchants haven't lost one tooth of their bite or snarky cynicism during their long respite, made abundantly clear on blistering lead single 'Way Of The Exploding Dickhead'.
B-STOCK: Sleeve damaged but otherwise in excellent condition
The Western Design (4:36)
Sad & Sad & Sad (3:19)
Glasgow (3:23)
Fallen Leaves (3:10)
War Economy (2:55)
Mudcrawlers (3:20)
A Horse Has Escaped (2:34)
Private Defense Contractor (3:56)
Sanctuary (2:46)
Surrender (2:27)
You're Not Singing Anymore (3:09)
Before The Ice Age (3:19)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Beginning life in the late 70s as a Leeds based art collective, The Mekons have gone on to become one of the longest-running, most prolific and sonically diverse acts to be considered part of the first wave of British punk. Spanning numerous decades, projects and literal continents, the sprawling array of visionary contributors return with the succinctly titled Horror; a work written towards the end of 2022 that showcases their expansive yet solely unique approach, drawing on elements of dub, country, harsh noise, rock & roll, electronica, punk, music hall, polka and even waltz. Myriad vocalists lead differing sonic journeys such as the Jon Langford-led 'Mudcrawlers' telling the story of the Irish famine and subsequent refugees traversing to Wales, whereas Rico Bell leads the charge on the harrowing folk-horror climate change breakdown 'Fallen Leaves', with swelling violins painting an aural tapestry akin to Rolling Thunder era Dylan sitting on a dimly lit rolling green hill accompanied by The Pogues. Ranking somewhere between the collective's 23rd to 25th album (depending on which member of the fanbase or artists themselves you ask), Horror marks their first work for Fire Records.
Review: Beginning life in the late 70s as a Leeds based art collective, The Mekons have gone on to become one of the longest-running, most prolific and sonically diverse acts to be considered part of the first wave of British punk. Spanning numerous decades, projects and literal continents, the sprawling array of visionary contributors return with the succinctly titled Horror; a work written towards the end of 2022 that showcases their expansive yet solely unique approach, drawing on elements of dub, country, harsh noise, rock & roll, electronica, punk, music hall, polka and even waltz. Myriad vocalists lead differing sonic journeys such as the Jon Langford-led 'Mudcrawlers' telling the story of the Irish famine and subsequent refugees traversing to Wales, whereas Rico Bell leads the charge on the harrowing folk-horror climate change breakdown 'Fallen Leaves', with swelling violins painting an aural tapestry akin to Rolling Thunder era Dylan sitting on a dimly lit rolling green hill accompanied by The Pogues. Ranking somewhere between the collective's 23rd to 25th album (depending on which member of the fanbase or artists themselves you ask), Horror marks their first work for Fire Records.
Review: French-British singer-songwriter and performance artist Lucy Sissy Miller opens Pre Country with noises that don't feel remotely close to country - more Imogen Heap than Patsy Cline. But as the record finds its gear, reference are changed through a moody and mysterious veil of latter-day Patti Smith and the oeuvre of Laurie Anderson. A meditation on Americana which recognises its folk roots but isn't afraid to embrace the high tech of today, either. Pieced together using journal notes, poems, voice memos, found and collected, manipulated and obscured sounds, it's a reflective and quiet, tender kind of place to find yourself - a record that asks for patience and rewards you with increasing immersion. "It'a an album about memories and how we stitch up these moments, making them movie-like to make sense of these experiences," says Miller. We'll leave it at that.
Review: ML Buch's new album pushes her experimental pop into new realms and ably builds on the expansive guitar work and catchy melodies introduced in her 2017 debut EP, 'Fleshy'. Her distinctive sound combines synthetic MIDI textures with heartfelt songwriting and ethereal vocals that evoke the fluidity of intimacy in a digital world. Through tender tracks like 'I'm A Girl You Can Hold IRL' and 'Can't Get Over You With You,' the artist takes listeners beneath the skin and explores a visceral, surreal world. Panoramic visuals captured via a pill camera mirror this exploration in a blend of technology and human emotion this is truly unique.
Review: Brooklyn-based Model/Actriz, a four-piece rock band formed in 2016, return with an electrifying new chapter in their career. Frontman Cole Haden, guitarist Jack Wetmore, bassist Aaron Shapiro, and drummer Ruben Radlauer have forged a sound that merges post-punk aggression with noise rock's raw energy. Their latest release is a visceral, direct exploration of both the visceral chaos of their live shows and the darker, more introspective side of their sound. After their debut album Dogsbody earned critical acclaim in 2023, they've recalibrated their approach, opting for a more stripped-down and immediate experience. Tracks like 'Cinderella' and 'Acid Rain' charge forward with the kind of club-ready energy that makes their performances unforgettable, while 'Doves' and 'Audience' offer hauntingly introspective moments. Model/Actriz's commitment to blending queer themes with explosive music continues, pushing boundaries in both their lyrics and sound.
If You Find This World Bad, You Should See Some Of The Others (7:22)
18 Volcanoes (6:18)
Hammer Room (5:05)
Lion Rumpus (3:33)
Fact Boy (6:44)
Review: Perhaps we shouldn't be surprised the latest from Glasgow post-rock pioneers Mogwai adds a new ferocity. It was, after all, forged at a time of personal loss and family trauma for several members. The opener, 'God Gets You Back', weaves hypnotic vintage synths with Autotuned vocals, building into a thrilling crescendo that sets the tone for the album's expansive soundscapes. 'Hi Chaos' begins with a folk-like delicacy, evolving into a storm of ebowed drones, thunderous drums and towering riffs, offset by swirling sci-fi synths. The interplay between restraint and eruption continues on 'Pale Vegan Hip Pain', where cavernous guitar notes bloom into intricate melodies, offering a moody respite before the intensity of tracks like 'If You Find This World Bad You Should See Some Of The Others', which brims with ominous tones and a symphony of layered guitar noise. Tracks like 'Hammer Room' bubble with intricate synth lines woven into soaring melodies, while '18 Volcanos' evokes shoegaze grandeur with its vibrant oscillations. Each piece thrives on emotional resonance, eschewing words for pure instrumental storytelling - very much the Mogwai way, in other words, just sharper and more vicious than ever.
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