mon 13/01/2025

New Music Reviews

Reissue CDs Weekly: Blancmange

Kieron Tyler

The Some Bizzare Album was released in January 1981. Compiled by DJ Stevo, it featured twelve unsigned acts he felt represented a fresh way of approaching pop – one enabled by the availability of synthesisers and rhythm machines. Stevo was playing the new music at the nights he hosted, putting the bands on and compiling the electronic chart for the weekly music paper Sounds.

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Reissue CDs Weekly: Noise Reduction System

Kieron Tyler

Last year, the arrival of Close to the Noise Floor compelled theartsdesk’s Reissue CDs Weekly to conclude that it was “hugely important and utterly delightful”. A four-CD set, it was a thrilling, first-time overview of the UK’s early indie-synth mavericks from Blancmange to Throbbing Gristle and Muslimgauze to Sea of Wires. Now, it has spawned a follow-up.

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theartsdesk on Vinyl 31: Psychic TV, Kendrick Lamar, Brian Eno, Stan Getz and more

Thomas H Green

August is often a quiet month on the release front but theartsdesk on Vinyl came across a host of music deserving of attention. Now that even Sony, one of the biggest record companies in the world, are starting to press their own vinyl again, it’s safe to say records aren’t disappearing quite yet. On the contrary, the range of material is staggering in its breadth.

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Reissue CDs Weekly: Fairport Convention

Kieron Tyler

According to Pete Frame’s book Rock Family Trees, Fairport Convention had 15 different line-ups between 1968 and 1978, the period covered by the new box set Come All Ye – The First 10 Years. Fairport Convention #7, extant from November 1971 to February 1972, featured no one from the first three iterations of the band, which had taken them up to June 1969. Evidently, the actuality of Fairport Convention is fluid.

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Goat/Moonlandingz, Brixton O2 Academy review - a feast of modern psychedelic rock

Javi Fedrick

Representing the best of the current psych revival’s many faces, the scuzziness of The Moonlandingz and overwhelming groove of Goat all seem initially out of place amongst the mock-Greek décor of the O2 Academy Brixton. With an audience that doesn’t stop bopping through both the bands and stellar DJ sets in between, however, the night feels far more transcendental than awkward.

There is a...

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Camp Bestival 2017 review - family festival drenched but exuberant

Thomas H Green

Camp Bestival 2017 was defined by the weather and how everyone reacted to it. DJ-impresario Rob Da Bank’s family festival, which reached its tenth edition this year, took place, as ever, on the Lulworth Estate in Dorset. However, where the previous nine have cast the grassland surrounding the rebuilt 17th Century castle in balmy, blissful sunshine, the tenth most certainly did not.

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WOMAD 2017, Charlton Park review 2 - utopian globalist festival dances through the rain

Peter Culshaw

Arriving on Thursday for the opening act Orchestra Baobab’s instantly recognisable mellifluous tones spreading out from the main stage over the Wiltshire countryside, it was clear that a high standard had been set for the rest of WOMAD.

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Kendal Calling, Lowther Deer Park review - a mini-Glastonbury of the border lands

graeme Thomson

Kendal Calling is a lovely festival. Charmingly misnamed – it’s set 30 miles from Kendal in Lowther Deer Park, a couple of miles from Penrith, in the northern Lakes – it takes place over four days in spectacularly beautiful Cumbrian countryside.

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Indigo Girls, Islington Assembly Hall review - exhilarating and generous

Liz Thomson

For an act that hasn't visited the UK since 2009, the Indigo Girls might have been surprised at the audience's familiarity with their work. It’s now a given that artists have to tour to sell records, but judging by the vigour with which the audience in Islington joined in with the songs, sometimes in an informal call-and-response, the UK must provide a good flow of royalties. And no doubt absence makes the heart grow fonder.

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WOMAD 2017, Charlton Park review - multicultural nirvana transcends mud-bath conditions

Tim Cumming

Now in its 35 year, Womad is embedded into British festival culture, flying the flags of a musical multiculturalism that is about breaking down barriers and building new relationships. It’s not something you want to lose.

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