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Review: Mildlife's reputation has soared since the release of their last studio album, 2020's Automatic, with the Melbourne trio's every musical move now being watched with bated breath by a global fanbase. Chorus is built on a concept of sorts - "a coming together of disparate elements" and "cosmic compatibility and chemistry" according to the band - but as ever it's the quality of the music on offer that really hits home hard. Warm and optimistic, with nods to West Coast jazz-rock as well as space rock, kosmiche, blue-eyed soul and jazz-funk, it sounds more nuanced, sonically detailed and wide-eyed than their previous work. Highlights include, but are in no way limited to, the yacht rock-leaning 'Yourself', the cosmic disco-influenced wonder of 'Musica', and epic recent single 'Return to Centraus'.
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Review: While originating in Virginia before they would become staples of the Washington D.C. scene, Scream are another classic Dischord Records alumni, who after reforming in 2009 for a run of shows, dropped their 2011 Complete Control Sessions EP, featuring a live performance recorded at the iconic Studio 606 of Nirvana/Foo Fighters hero Dave Grohl. Highly reinvigorated, the band would then embark on an EU tour, but the lack of new a new full-length in the three long decades since the release of Fumble, had rumour and anticipation rife amongst the avid fanbase. With recording sessions taking place at Inner Ear Studio by Don Zientara and Ian Mackaye (Minor Threat, Fugazi) before it shut down in 2021, D.C Special delivers the long-awaited sixth full-length from one of the definitive OG hardcore acts and should offer both lifelong fans and newcomers to the scene either a nostalgic return to form, or a hardcore homework lesson of vital importance.
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Review: Danielle Nicole shares her debut album on Forty Below: The Love You Bleed. From its earliest recording sessions, Nicole knew this one would be different; for the first time, the whole twelve-track repertoire is about falling in love, not the fallout of it. Produced by Tony Braunagel (Taj Mahal, Eric Burdon, Robert Cray) and mixed by John Porter (B.B. King, Buddy Guy, Bryan Ferry), The Love You Bleed is an album-length sentimental ballad; full of love, loss, will, determination, and every residual ingredient of love. But that's not to say the album doesn't get sour with it; while lead single 'Make Love' is about consciously pushing past pain - choosing love, family, and community in life's difficult moments - 'How Did We Get To Goodbye' hits the listener quicker with its raw and twinging lyrics, documenting a soured love that bears no hero or villain, and asking how one might reach such a place of disrepair without even knowing it.
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Review: Given how prolific he was earlier in his career, the relative silence of Dizzee Rascal of late has been surprising to say the least - though nobody would begrudge him a break from the music industry treadmill. By the sounds of Don't Take It Personal, officially his eighth album, the four-year break has done him good. He's in prime lyrical form through, skipping between mutations of the grime blueprint he helped draw up and the kind of dancefloor-focused fare that he's periodically served up since the success of 'Bonkers' all those years ago. It's a smart move, meaning that hook-ups with fellow grime stars JME, D Double E, P Road and BackRoad Gee sit side by side with UK garage and bassline-leaning club workouts such as 'How Did I Get So Calm', 'Sugar & Spice' and 'What You Know About That'.
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