Review: The fact that you have bands that also got their first break through Rough Trade, like Howler, Palma Violets and The Strokes, borrowing somewhat from The Feelies' playbook is testament to their stylish handling of handmade rock n' roll. Their first two records, released in the 80s, are largely considered classics, but this album released in 1991 is as strong as anything in their back catalogue. It's also a terrific parting gift to fans as they ended up taking a 17-year break after it, reforming in 2008 to play a gig with Sonic Youth and together ever since. This album is immaculately recorded yet true to their live sound, as they set up in the studio in much the same way that they set up on stage. It's a driving, propulsive yet inventive affair offering up as much for the cranium as it does the hips. The band are commonly compared to Velvet Underground and 'Find A Way' has a touch of the VU classic 'Heroin' about it. 'Decide', however, feels more Stones-y, while 'Real Cool Time' does justice and then some to The Stooges' original. That they bring to mind other great rock bands is testament to the fact they are in that league and not mere pastiche.
Review: New York indie-folk four-piece' Florist's second album is a hypnotic, psychedelic album that is the musical equivalent of an out of body experience. Single 'Have Heaven' is so elegant that you imagine singer Emily Sprague as someone who is deeply in tune with nature and the cosmos, careful as not tread too heavily incase she disturbs the flowers. It's timeless but also quite unusual in terms of the mix because although there's aspects of folk classics like Joni Mitchell, some of the flourish with pedals and effects brings to mind more modern influences, like Superorganism. But it's more a peppering of that side so as to not overwhelm. Another single from the album, 'This Was A Gift' is pure beauty that makes the hairs stand up on the back of your neck. Some singers are just born for the role of troubadour and Sprague is one of them. Long may Florist keep capturing songs this magical.
Review: InFine has always been an enigmatic label. It started life when co-founder Alexandre Cazac attended a Francesco Tristano concert in Paris, during which the legendary pianist covered Derrick May's Detroit techno track 'Strings Of Life', compelling the attendee to team up with Yannick Matray and Agoria to create a platform for electronic-classical noodling. And, even if the latter French electronic tour de force has since left the team, the imprint has continued to push these kinds of boundaries since. Francois & the Atlas Mountains have some big shoes to fill with their debut for the label, then. And they do this with aplomb, albeit the kind of aplomb that's softly spoken, and sounds like you're gazing out across an endless view which is at once unknown and comforting. Electronic folk, chill-disco, whispered downtempo synth pop and patient plugged-in symphonies.
Review: Let's face it, The Futureheads are at their very best when utilising choir-style vocal arrangements. This was arguably first made clear when they dared to drop that incredible cover of 'Hounds of Love' - treading where very, very few people have braved, into the world of enigmatic wonder-artist Kate Bush, and coming out with something that stood up on its own as a wonderfully unique cover. If you agree, this one's for you. Online blurbs will tell you Rant is a diversion from the usual Futureheads stuff. And yeah, maybe it is to some extent - this is an a cappella album after all. No guitars. No drums. No instruments other than the band's own voices. It also uses traditional folk as the main source material, with some pop and dance thrown in. Nevertheless, if you can't immediately identify this as the Sunderland group, and hook into the clear rhythmic signatures that would identify this as them, even without the voices, you've not been listening hard enough. A triumph of auteur theory in music.
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