New music
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 ...
Matthew Wright
Polar Bear have been re-shaping the musical landscape (the experimental jazz end of it, at least), since 2004, and after a few years’ hibernation after 2010, the creature is back in rude health, this year’s album hot on the heels of last year’s Mercury-nominated In Each And Every One. Identifying the group’s generic mix feels increasingly daunting, as new elements are constantly layered onto the existing work. Leafcutter John’s electronica have always been an important part of the mix; here, their role is a more subdued, but crucial ambient underpinning, as rattly dub beats do more of the Read more ...
mark.kidel
The music of melancholia takes on varied forms on different continents: the religious spirit and anger of the blues contrasts with the edgy rebelliousness of Greek rembetika, and the spiritual longing and melismatic vocal whirling of the Turkish aman with the sweet sadness of Portuguese fado. In Vietnam, the black dog barks softly and blue moods are tinged with resignation and regret, an acceptance of the slings and arrows of outrageous fortune that owes a great deal to Confucian teachings on surrendering to one’s fate.In this collection of recent field recordings, we hear from a variety of Read more ...
Guy Oddy
Not unreasonably, anyone might imagine that a band might lose a bit of their usual vigour if they found themselves four albums into their career playing in a room not much bigger than a church hall, miles from home on a cold Monday evening. Not so the Subways. The Hertfordshire three-piece bounced onto the stage in the Temple room in Birmingham’s Institute and tore straight into the anthemic “We Don’t Need Money to Have a Good Time” and didn’t let up until they finally left the stage more than an hour later with sweat dripping down the walls in torrents.More impressively, they also had the Read more ...
Kieron Tyler
The two-and-a-quarter years between the release of Motorama’s last album Calendar and Poverty hitting the shops have done nothing to dim the Russian band’s aural resemblance to the roster of early-Eighties Factory Records. At this remove, it’s hard to ascertain whether records by Section 25, Stockholm Monsters or The Wake were shipped to the southern port city of Rostov-on-Don. It’s more likely Motorama evolved their Northern British leanings picking up on what they liked via the internet and then doing what came naturally.Reviewing Calendar, theartsdesk noted “their sound has been Read more ...
Thomas H. Green
Things do not start well. Ian McCulloch, in trademark shades, apparently not aged a jot since Echo & the Bunnymen’s 1980s glory days, hits the stage in an offensive strop. He is performing a solo acoustic set from a chair. Beside him on a table sit a glass of water, a glass of milk and another glass with – at a guess – vodka and cranberry juice. He has the demeanour of a diva who’s been having a “party” in their changing room. Milk is good for settling an acid stomach.During his opening numbers, “Rescue” and “Villiers Terrace” from the Bunnymen’s debut album Crocodiles, he repeatedly Read more ...
Kieron Tyler
Various Artists: The Odyssey - A Northern Soul Time CapsuleIt begins with “Open the Door to Your Heart” by Darrell Banks. Over a mid-tempo rhythm, Banks sings in an affecting voice obviously schooled in gospel. Choppy Motown-style guitar is punctuated by brass, lifting both singer and the song through the choruses. A US hit for the independent Revilot Records label in 1966, it reached number two on Billboard’s R&B charts. The UK issue on London Records barely sold. A copy went for £14,500 last year. The song was early floor-filler on the Britain’s then emergent Northern Soul scene, Read more ...
Guy Oddy
As thoughts begin to turn to this summer’s music festivals, it only seems appropriate that along comes Sonic Soul Surfer, the latest album from festie-perennial Seasick Steve. In fact, it’s hard to believe, given what seems to be his ubiquity among the fields of England, that it’s less than 10 years since Steve Wold became the self-proclaimed “cat’s meow” with his appearance on Jools Holland’s 2006 annual Hootenanny TV show.Seasick Steve’s sixth album, is prime-time, rough and ready hobo music that puts a spring in your step and a smile on your face. To be honest, this doesn’t really mark it Read more ...
Tim Cumming
Sam Lee launched his second album this week, the eagerly anticipated follow-up to his Mercury-nominated debut, A Ground of it Own. The Fade In Time has been garnering five-star reviews like poesies in May, and for good reason – Lee is a distinctly 21st-century artist, collecting new versions of old songs on his iPhone and laptop, while his repertoire is steeped in the reek and smoke of folk history and lore, its tales of love, parting, exile and murder bound by a sympathetic magic still resonant today, parting the veil on vivid scenes from our islands’ deep history.There had been concerts Read more ...