New music
Liz Thomson
One of the many dispiriting things about the nine years that span Trumpino’s 2017 inaugural and today is how very few musicians have had the courage to put their heads over the parapet. Certainly not Bob Dylan, perish the thought. Joan Baez has, of course, though she is neither touring nor recording. Steve Earle too, and Jesse Welles, the thirtysomething troubadour whose dusty work boots are planted firmly on the Woody Guthrie road, and Bruce Springsteen, a consistent champion of blue-collar righteousness. And there’s a good deal of that blue-collar righteousness in the work of Lucinda Read more ...
Kieron Tyler
Following the 2010 release of The Fallen By Watch Bird, Jane Weaver has gone on to issue a further four conventional albums – there are also remix sets, reconfigurations, collaborations and soundtracks. A new album is planned for 2026.Before the release of The Fallen By Watch Bird, Weaver had issued two albums, a mini album and was a member of Kill Laura and Misty Dixon. She first appeared on record in 1992.
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Looking for markers within all this is evidently a challenge. Which releases are the most significant, the ones marking step- Read more ...
Thomas H. Green
Last time we heard from Blackburn heavy rockers Sky Valley Mistress, they were a four-piece who'd recorded their 2020 debut album in the Mohave Desert (strong hints at their musical motivation lie in their name, drawn from Welcome to Sky Valley, an album by Kyuss, Josh Homme’s pre-Queens of the Stone Age outfit). They return as a duo, with the album Luna Mausoleum, laid down in Leeds. While it retains the riffological poundage of their origins, it’s an invigorating leap forward in terms of sonic invention and songcraft.Now consisting of singer Kayley “Hell Kitten” Davies and guitarist Max Read more ...
Joe Muggs
It’s no coincidence that synth heavy 1980s AOR is one of the first genres to generate significant online hits. Not just because its structures are formulaic – every genre is to one degree or another – but because its textures are so slick, even down to the multitracked vocals, that sounding synthetic is a feature not a bug. One has to wonder if this means that it is a threat to some of the biggest stars: after all, in the post-Taylor Swift world, that tidily arranged soft rock vibe is very much the chassis of so much. Indeed, when I first put this album on, flicking through opening tracks “ Read more ...
Jonathan Geddes
A new look and new vibe for Grant-Lee Phillips at this pared-back performance, part of the Celtic Connections festival that takes over Glasgow for a couple of weeks every January and February. The fresh vibe was due to this being Phillips first tour entirely seated, as he put it, sitting down and armed only with an acoustic guitar, while the 62-year-old is now more hirsute, having grown a beard.There was little else beyond simple performance here, for Cottiers' converted church setting does not exactly lend itself to any onstage gimmicks. If the plastic chairs of the auditorium gave it all Read more ...
Ibi Keita
I’ve grown apart from trap as a genre over the years, which is exactly why DON’T BE DUMB caught me off guard in the best way. This album feels like the kind that rewards time and attention, one you keep coming back to and notice something new with each listen.After such a long wait, A$AP Rocky could have easily played it safe, but instead he delivers a project that feels expressive, confident and, most importantly, fun. It sounds like an artist who trusts his instincts completely rather than chasing expectations.What stood out to me immediately was the production. The album pulls from so many Read more ...
Kieron Tyler
The opening track – “Ālibek’agnimi” (“አልበቃኝም” in its original title) – is a cool, close-to six-minute soul instrumental on which the organ suggests an at-least passing familiarity with Booker T. Jones. The tempo is slow, the moodiness enhanced by a smoky, wandering saxophone.Next, the similarly lengthy “Ānichī keto gidi yeleshimi” (“አንቺ ከቶ ግድ የለሺም”). Slightly less leisurely, its clipped guitar follows a reggae pattern. Again, despite a section of keyboard vamping and stabbing brass, the saxophone is what stands out. Wandering up and down the scale it then settles, fusing Read more ...
Sebastian Scotney
I have enjoyed Scenes From Above (Blue Note) more than any other album from Julian Lage since Modern Lore (Mack Avenue, 2018). There are many reasons for that, but the simplest is that it reunites the jazz guitarist with the drummer on the earlier album, the magnificently empathetic Kenny Wolleson.Wolleson has written of the importance of the drummer bringing her/his sense of structure and placement to music, and the way he consistently helps to shape its flow is ever-present, whether he is contributing to an irresistibly strong groove, as on “Talking Drum”, making a pulse-less texture Read more ...
Thomas H. Green
Thrash metal’s “big four”, the ones who originally set the genre rolling, are, famously, Metallica, Slayer, Megadeth and Anthrax. These are American bands. In Europe, another band has a decent claim. They are Germany’s Kreator, whose early work, particularly 1986’s Pleasure to Kill, boasts venomous attack the equal of any peer. Decades later, their 16th studio album sees them offer similar velocity, if with more melodic finesse.For Kreator, wider appreciation was a long time coming. Their global breakthrough came with 2005’s Enemy of God (their 11th album!), and they’ve since Read more ...
Thomas H. Green
The term “post-punk” is much overused to describe music, not least by we music writers. It usually covers anything with punk’s outsider attitude but boasting an arty, tricky musical ambition beyond 1977’s spit’n’roar. Not all music described thus sounds as if it might have bothered the indie charts between 1978 and 1984, but Dry Cleaning do. Their third album’s bubbling combination of musical scratchiness and impassively delivered spoken word is pure post-punk. It’s also an intriguing and likeable listen.The rhythm throughout is a groovy plod, guitars wilfully relishing atonal skronk, coming Read more ...
Kieron Tyler
There’s a slight “Sympathy For the Devil” tone to the opening seconds of “Pendulum Swing”, the first track on the US country adjacent stylist and former Grammy nominee Courtney Marie Andrews’ ninth studio album – the descending piano figure, the circling percussion. As the song opens out, it develops into a dark-light exercise in contrasts, along the lines of the more muted moments of Fleetwood Mac’s Rumours. Ambiance set, the ensuing nine tracks evince a similar restraint, where a low-key vibe is punctuated by flashes of gospel-esque drama. A lot of Valentine, Andrews' first album on Read more ...
Guy Oddy
In recent years, Sleaford Mods have moved on somewhat from sounding like an insistent and angry drunk yelling over a cheap Casio keyboard. Fortunately, not too much, though.Andrew Fearn and Jason Williamson’s potty-mouthed, minimalist punk-funk is still one of the sharper musical commentaries of the UK’s seeming demise and their style fits the subject matter like a glove. Angry, harsh and taking absolutely no prisoners. Sleaford Mods are the perfect soundtrack to a country that over-estimates its worth, while blithely strutting towards the edge of a steep cliff. As John Peel used to say about Read more ...