indie
Thomas H. Green
Possibly named after a variety of magic mushroom, left-field Glaswegian six-piece Golden Teacher have been turning out their very strange idea of party music since 2013. Initially they did so for local freak-fostering collective Optimo but have since appeared via various outlets, finally ending up on their own eponymous label. Their sound is electronic but also organic, with percussion that rolls and sometimes has a touch of the more polyrhythmic, advanced drum circle about it. Don’t let the words “drum circle” put you off for Golden Teacher are an invigorating proposition.Heavily stewed in Read more ...
Javi Fedrick
An underground American star since 2010’s Strange Cacti EP, Angel Olsen’s distinctive brand of indie folk-rock was propelled to new heights in both Burn Your Fire For No Witness (2014) and then last year with MY WOMAN. After years of touring, interviews, videos and topping end-of-year lists, Phases, the singer-songwriter's new album of rarities, B-sides, and previously unreleased songs, takes us back to a time when delicacy ruled her music. Its vulnerability suggests that long-time fans will be more than happy to follow Olsen musically back in time and out of the spotlight.“Fly on Your Wall Read more ...
Kieron Tyler
“The Babysitter” tells the story of a Scottish spy embedded with the Nazis during World War Two who has come home. His sister tells him that Unity Mitford is convalescing at a nearby cottage. Visiting, he finds that it’s a maternity home. The details are not revealed, but our spy duly becomes a full-time baby sitter: “The world is safe from an English orphan Hitler,” sings Mathias Kom of The Burning Hell. Mitford, real-life Nazi sympathiser and chum of Hitler, had in this tale been preparing to give birth to the Führer's child.Canadian trio The Burning Hell’s eighth album is a collection of Read more ...
Kieron Tyler
The sensation evoked by Sykli is that it documents a voyage, one beginning with anticipation for what will come and then journeying through diffuse territory which could be an endless, mist-filled valley, anywhere beyond this solar system or within inner space. The mostly instrumental – the only vocals are wordless – album uses repeated guitar and keyboard figures as the basis for five lengthy pieces which openly draw from Philip Glass, Neu and Tangerine Dream. Yet an innate character stands apart from what is recognisable. At its core, Sykli is about intensity.Siinai are Finnish. Half the Read more ...
Javi Fedrick
As son of the famous Blockheads frontman, Baxter Dury has always had big (new) boots to fill. Over the last 15 years though, he’s become distinguishable in his own right for his Chiswick accent and roughened-up pastoral music. Both are just as present in Prince of Tears as they have been on his previous albums, but with friends Madeleine Hart, Jason Williamson (Sleaford Mods) and Rose Elinor Dougall (The Pipettes) providing guest vocals, it’s an album that engages with a wrenching variety of humanity's different sides, often more shade than light, rather than being just about the music.Single Read more ...
Javi Fedrick
Both Rhode Island’s Downtown Boys, and Washington D.C.’s Priests sit at the centre of today’s feminist punk scene. As stated in a recent Downtown Boys press release, they oppose “the prison-industrial complex, racism, queerphobia, capitalism, fascism, boredom, and all things people use to try to close our minds, eyes and hearts”. This, perhaps, explains why the promoters have listed the night as a “radical double bill”. Having also both released extremely well received albums this year - Cost of Living and Nothing is Natural respectively - they descend on Manchester’s Deaf Institute amid a Read more ...
Kieron Tyler
Super Besse are from the Republic of Belarus, Europe’s sole dictatorship – a country where freedom of expression and opportunities for individual self-determination are limited. As there’s little musical infrastructure in their home country, the label they are on is Latvia’s leading independent imprint. Despite the obstacles, the Minsk-based trio – named after a French ski resort – have played across mainland Europe. La Nuit* is their second album.Given where they are from, Super Besse would be notable whatever the nature of their music. However, what they deal in and how they put it over Read more ...
Demetrios Matheou
Michael Winterbottom has always been a mercurial director, moving swiftly between genres, fiction and documentary, keeping us on our toes. But with On the Road it’s time to mark the tiniest of trends.24 Hour Party People is one of the best films about the music industry ever made, a riotous fictionalisation of the revolution in Manchester in the Eighties and Nineties that revolved around Tony Wilson’s Factory Records and the bands Joy Division, New Order and The Happy Mondays. 9 Songs was a radical experiment, as the director presented a sequence of gigs as the backdrop of a sexually explicit Read more ...
Thomas H. Green
London indie-rockers Wolf Alice’s debut album, My Love Is Cool, made it to no 2 in the charts a couple of years back. It was a bona fide success story and a rare thing, a gold record for a female-fronted outfit who major in grungey, ambitious post-Pixies rock. It was derivative, but also showed a feisty, admirable willingness not to be pigeonholed, especially on songs such as the ecstatic “Freazy”. Its successor initially seems destined to be even more wide-ranging, to reach headier heights, but then settles, during most of its second half, for being simply a decent album.Let us not damn Read more ...
Javi Fedrick
The Horrors have always had a penchant for churning out pop-tinged gems, and on V, with help from Adele/Coldplay/Florence and the Machine producer Paul Epworth, they’ve applied their same winning formula to darker music. The album cover, a mishmash of faces, sums up V perfectly – it nods to a huge range of influences, creating something that feels larger and more engaging than all of them on their own.“Hologram” oozes in with monolithic drums and hazy synths, storming its way to the four-minute mark before offbeat eight-bit sparkles create a solo that’s as bemusing as it is enjoyable. We Read more ...
joe.muggs
One of the more interesting developments of this decade is a blurring around the edges of modern soul music: almost a complete dissolution, in fact, of the boundaries of R&B. From the hyper-mainstream – Drake, The Weeknd, Future – via Solange, Frank Ocean, Blood Orange and Sampha, to fringe experimentalists like Atlanta's Awful Records, international Afro-diasporic collective NON and UK one-off Dean Blunt, R&B is being remade as dark, unpredictable and unsettling.It's into the weirder, gloomier end of this territory that Bristol trio Jabu fit with discomfiting comfort. They come out Read more ...
Thomas H. Green
This is, in many ways, an underwhelming evening, but the fault does not primarily lie with The Psychedelic Furs. Things start well with support act Lene Lovich who gives a lively performance, in a black’n’red ensemble with striped sleeves and a gigantic, beribboned, plaited wig/hair/hat confabulation which has something of Big Chief Sitting Bull about it. Despite not playing her only Top 10 hit, 1979’s “Lucky Number”, she whoops and theatricalises while her band delivers a suitably punchy new wave racket.The Psychedelic Furs aren’t going to get away with not playing the hits, especially as Read more ...