New Music Reviews
Music Reissues Weekly: Glenda Collins, Heinz, David John & The Mood - the latest treasures from Joe Meek's Tea Chest TapesSunday, 30 July 2023
Restraint wasn’t the watchword. Around March 1965, Heinz was in Joe Meek’s North London recording studio taping “Big Fat Spider,” which became the B-side of his April single version of “Don’t Think Twice it’s Alright.” A run-through which didn’t end up on the record found guitarist Richie Blackmore tossing off blistering lead runs so frenzied, so spikey, so wayward they might – had the track been issued – have caused radio producers to check whether the single had a pressing fault. Read more... |
Julie Byrne, Juni Habel, Kings Place review - finely tuned evening balancing dark with lightThursday, 27 July 2023
It’s probably an unconscious action. Sat on a stage-centre chair, Julie Byrne sings. The two acoustic guitars she plays for about half the set are beside her, on their racks. One hand is above the other, palms down. Each moves side-to-side in a chopping motion. It’s not simultaneous with the song’s rhythm and independent of the meter of the lines. It’s not obvious what's being complemented or ticked off, but it must draw from something concealed by the exterior. Read more... |
Bluedot Festival 2023 review - monsoon weather can't defeat the music'n'science extravaganzaWednesday, 26 July 2023
“This wasn’t the day to wear white suede boots,” says Django Django’s singer Vincent Neff, midway through the band’s Friday evening set. He’s not kidding. Read more... |
Album: Susanna - Baudelaire & OrchestraMonday, 24 July 2023
After his death in 1867, it didn’t take long for Charles Baudelaire’s poems to be set to music. Composer Henri Duparc did so in 1870, but Claude Debussy’s late 1880s framing of five of the Symbolist pioneer’s verses confirmed this as more than a one-off fascination for the musical world. Read more... |
Music Reissues Weekly: Autonomy - The Productions of Martin RushentSunday, 23 July 2023
Two producers named Martin worked with Buzzcocks and Joy Division. Martin Hannett was in the studio for Buzzcocks’ debut release, the Spiral Scratch EP, issued in January 1977, and also for the bulk of the tracks spread across their last three United Artists singles in 1980. He also shaped every studio recording Joy Division made for Factory Records. Read more... |
Tinariwen, O2 Institute 2, Birmingham review - desert superstars raise the roofFriday, 21 July 2023
Mali’s Tinariwen have been a serious powerhouse in non-Western music since the 2001 release of their first major label album, The Radio Tisdas Sessions. Their sound certainly hasn’t stood still in the last twenty years though. Read more... |
theartsdesk on Vinyl 78: Crass, Rhiannon Giddens, Rudimental, Ralfe Band, Ray Barretto, Ultravox and moreMonday, 17 July 2023
VINYL OF THE MONTH Pere Ubu Trouble on Big Beat Street (Cherry Red) Read more... |
Album: Rain Parade - Last Rays of a Dying SunMonday, 17 July 2023
The atmosphere is foggy. What can be discerned through the murk is either out of focus or translucent. Words drift in from somewhere which can’t be pinpointed. “I’m tuning you in,” “I’ve picked up the loaded dice,” “Everything you know is everything that you let go.” Control is just out of reach. The songs are mid paced, with nods to Crazy Horse and Television. There are odd snatches of backwards guitar. Read more... |
Music Reissues Weekly: Keeping Control, Where Were You - Leeds and Manchester navigate the aftershocks of punkSunday, 16 July 2023
“Keeping Control” were the watchwords adopted by The Manchester Musicians’ Collective, an organisation founded in April 1977 to bring local musicians together and give them platforms. On 23 May 1977, it put on its first show – also the first live show by The Fall. Instantly integral to Manchester and its music, the Collective went on to put out two compilation albums, 1979’s A Manchester Collection and 1980’s Unzipping The Abstract. Read more... |
Blur, Wembley Stadium review - a glorious reunion tripWednesday, 12 July 2023
“One night I had a vision of this,” says a visibly emotional Damon Albarn as he looks out to the mass of the crowd at Wembley. Despite closing the London Olympics in 2012, selling millions of albums and headlining Glastonbury, there is the sense that even in their prime, performing two nights at the 90,000 Stadium was one step out of reach. Read more... |
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