New music
Lisa-Marie Ferla
The rich, knock-off church organ drone that opens Ivy Tripp disorientates from the off, while at the same time telling you all you need to know. It may have been the simplicity and directness of Katie Crutchfield’s lyrical and composition style that drew me into the world of Waxahatchee – Crutchfield’s solo project, a homage to the creek of the same name near her Alabama hometown – but that world itself was never simple. The phrase “ivy tripp”, Crutchfield has said in interviews, sums up a certain late-20s directionlessness, which probably already has its own word in German – but it’s that Read more ...
Thomas H. Green
Record Store Day – 18 April – has been whipping up discord among independent labels. Notably, Sonic Cathedral are boycotting it, instead releasing 365 copies of an EP by Spectres and Lorelle Meets The Obsolete, one a day, over the next year. The problem, these voices of protest say, is that that while Record Store Day used to be a fun-fuelled opportunity to focus on especially curated releases by smaller operations, ones who cared about music, now it’s simply a chance for the majors to rake in bucks off the back of “a Mumford & Sons 7” or an overpriced Noel Gallagher 12”. Worse, the Read more ...
Matthew Wright
They’ve yet to release an album, but the London-based, alt-rock four-piece Wolf Alice have already been called everything from shoegrunge to Brit-country, via indie-dance and riot-grrrl. Last night they gave another compelling display of musical shape-shifting, which demonstrated why they’re known for seeming not to know what they are. On the evidence of yesterday’s short set, headlining at the end of a three-act gig, their diverse approach is part of a playful, self-aware ambivalence that serves a genuinely questing musical adventure, with a touch of mystery marketing thrown in for Read more ...
Barney Harsent
There are certain things that you approach a Brian Wilson album expecting. Melody and harmony of course, but also a certain kind of approach: a fearlessness to experiment. When he finally completed the famously unfinished Smile in 2004, it was a landmark moment (though not, if we’re honest, as satisfying as the old demo versions). Then, while 2008’s That Lucky Old Sun was never going to be Pet Sounds, there was, at least, enough that was engaging about a man revisiting the sounds of his youth to be glad that he’d made it.Sadly, the same can’t be said of No Pier Pressure, a largely Read more ...
Kieron Tyler
Very often, the greatest impact comes without shouting. Subtlety can have a power lingering longer than the two-minute thrill of a yell. So it is with Bridges, the eighth album by Eivør. In the past, the Faroese singer-songwriter has collaborated with Canada’s Bill Bourne, the Danish Radio Big Band and Ireland’s Donal Lunny, and taken turns into country and jazz. Bridges builds on her last album though, 2012’s Room, as further evidence that she is now more focused than ever.Bridges is an all English-language album. It opens with the elegiac “Remember Me”: the song asks “Will I leave a Read more ...
Thomas H. Green
Morton Valence popped up six years ago and have released nothing but beautifully realised, lyrical, melancholic indie-Americana ever since. That's four albums of it, including this one. Strictly speaking, much of their oeuvre isn’t “indie-Americana” either, as it takes in everything from synth-pop to this album’s whispered disco-funk episode, “The Hawkline Discotheque” – yet there’s always a kernel of country & western desolation at the heart of it. Marinated in perfectly pitched 3.00 am bar-stool pathos, the band is built around the London partnership of songwriter-vocalist Robert Read more ...
Russ Coffey
It’s been just over a year since Future Islands’ Samuel T Herring famously gyrated, and chest-thumped his way through the band's latest single on American TV. The show was Letterman and the singer looked like a stevedore undergoing primal scream therapy. Within days the footage had gone viral. People have been talking about it ever since. Not least in the bar before last night’s show – how could he, they asked, possibly keep that up for an hour and a half?Heaven knows where he gets his energy from but Herring never missed a beat. This was his show. Dressed all in black, Read more ...
Kieron Tyler
Rude Boy is a rotten film. Nonetheless it exerts an inexorable draw as it includes live footage of The Clash which is amongst the best of any rock group on stage. The performance of “Safe European Home”, caught on camera in July 1978, is white hot. That is, the performance as seen. The audio track was subsequently modified in a recording studio.Rude Boy is not a documentary. It is a confabulation which didn’t represent The Clash as they saw themselves – which was a crafted persona anyway. The band did not want it released, and even had badges emblazoned "I don’t want Rude Boy Clash film" made Read more ...
Guy Oddy
Flesh Throne Press is the sixth album from heavy doom-rock duo Pombagira. Guitarist and singer Pete and drummer Carolyn Hamilton-Giles’s massive sound is characterised by portentous riffing soaked in reverb, vocals that could easily be mistaken for prime time Ozzy Osbourne, and sluggish but powerful drumming, all basted in early '70s production values. While Flesh Throne Press could, at a stretch, be described as meditative, it’s certainly not unobtrusive background music and needs to be played very loudly indeed.The obvious touchstones for Flesh Throne Press are the sound of classic Black Read more ...
Lisa-Marie Ferla
Let’s get one thing straight: Sufjan Stevens’ Carrie & Lowell is not a folk album. Folk, in this case, is a word used as a comfort blanket in an attempt to summarise the Michigan songwriter’s return to simple, acoustic music after the apocalyptic electronica of 2010’s The Age of Adz or the epic, high-concept Illinois. But folk music is a communal thing, predicated on culture and oral tradition. Carrie & Lowell – a sparse, beautiful and gut-wrenching album inspired by the writer’s difficult childhood and coming to terms with the death of his mother – is none of these things.For an Read more ...
Kieron Tyler
The Specials: Specials, More Specials; The Special AKA: In the StudioAfter hearing the three albums credited to The Specials during their formative period with 2 Tone Records it becomes hard to think of them as a single band. Their clanky sounding, Elvis Costello-produced eponymous debut album, issued in October 1979, just about holds together overall, but its successors now sound as though nothing united the different directions they were firing off in. More Specials (October 1980) sits up-tempo cheerlessness alongside a warping of easy listening. In The Studio (June 1984) comes across Read more ...
Thomas H. Green
How many UK Number One albums have there been since the millennium that emanate truly vicious, caustic energy? How many have a furiousness which sets them completely apart? Royal Blood gave it a good whirl last year and Plan B’s Ill Manors in 2012 had dark, abject drive, but nothing has gone anywhere this monstrous assault of an album. Let’s go further. While Metallica are due kudos, and ignoring The Prodigy’s own output, you’d have to go back to Nirvana’s In Utero in 1993 before you hit a Number One album that’s a sonic match for the raw punk relentlessness of The Day Is My Enemy.Of course, Read more ...