The Go! Team celebrated 20 years of their debut album Thunder, Lightning, Strike with a sold out Roundhouse show in February 2024. Capturing a band still at the height of their powers, this limited edition contains all the kaleidoscopic chaos and energy that make The Go! Team live such a unique experience.
Kicking off the performance with “Panther Dash,” an instrumental track from Thunder, Lightning, Strike, The Go! Team showcased a blend of influences ranging from indie, funk, hip-hop, folk, and mysticism. The track’s glorious trumpets elevated it to a status reminiscent of Beck’s “Sexx Laws.” Following this opener was the iconic “Ladyflash,” the song that introduced the world to The Go! Team. Reflecting on the setlist, one couldn’t…
Category: ***
Prog superstar Steven Wilson has released a new album, Impossible Tightrope: Live in Madrid. It’s the first release to arrive via Wilson’s new audiophile platform, Headphone Dust.
“For some time I’ve been planning to have an online platform where I can focus on making audiophile versions of the things I work on,” says Wilson. “I love (and am still committed to) the Blu-ray format, but not everyone has the capacity to play these discs, not to mention that these releases need to be limited and tend to go out of print quickly, meaning the audio becomes unavailable. “So I’m happy to announce that a brand new Headphone Dust high-res audio resource has now launched and will provide a permanent home for my work to be downloaded in high resolution, 5.1…
“Femcels! Femcels! Femcels!” Rowan Miles and Gabriella Turton cry over speedy video-game bleeps, sounding like they’ve just won the lottery. “You are listening to The Femcels, we don’t have sex ever!” In this deranged parody of the life of two sexless young Brits, having greasy hair and scuzzy teeth sounds like so much fun. I Have to Get Hotter is an audio cartoon — with charmingly disheveled, pixelated production and doofy spoken-word passages about feeling like the “indiest girl at school.” In “You’re Gay and You’re in Love With Me (Please Let Me Touch Your Boobs),” only the second-longest song title, the girls reminisce on an afternoon at a Counter-Strike tournament, with its fetid odor of “incels and hotdogs.” “Rowan, if you want a girl to like you, you just…
… The UK-based Phil Tomsett, who otherwise issues material under The Inventors of Aircraft name, is a supreme crafter of atmospheric electronic-ambient music, and the 13 soundscapes he’s spread across the two discs uphold that reputation. Tomsett helpfully provides preambles to bring clarity to the two parts, details that in no way detract from the listening experience. The idea behind Noise Print has to do with shadow selves and the different versions of ourselves that make up who we are. Beyond the self we present to the world, there are shadowy ones we don’t share or only do with select individuals plus parts deeply buried that we struggle to identify and understand. One might think of Noise Print, then, as an aural, print-to-tape document of…
Charming Disaster sings from a haunted Victorian boudoir, hung all round with silky luxury and velvet comfort and wreathed in scent that might be old fashioned perfume, or, alternatively, poison. The duo of Ellia Bisker and Jeff Morris, from Brooklyn, floats through macabre storylines and lavish, steam-punk arrangements, their music sweet and disturbing and faintly archaic. This seventh and latest album, The Double, explores the nasty side of dopplegangers, twins, clones and partners in crime. Here, bad news comes in twos.
Consider “Gang of Two,” a tipsy waltz giddy on its own huffed fumes. Stylish, lushly arranged, utterly unrepentant, the song circles a doomed, damned partnership between two petty crooks, observing, “It’s hard to say goodbye/when…
…”Microwave,” the 1989 track from Japanese singer Kyoko Koizumi, opens with a plasticky creak and a kitchen timer ring. Adding in crunchy guitar samples, a thudding drum machine and a house-inspired keyboard solo, the chart-topping vocalist embraced the playful spirit that defined Japan’s experimental ’80s genre, known as techno kayō, or techno pop. Positioned on the B-side of the new vinyl-only compilation, Techno Kayō Vol. 1: Japanese Techno Pop 1981-1989, “Microwave” proves that this sometimes-underestimated genre still has the power to surprise.
Lovingly compiled by Toshihito “Dubby” Maeyama (owner of Onda records) and Antal Heitlager (co-founder of Amsterdam’s renowned Rush Hour label), Vol. 1 sets out to establish…
What if insomnia were a great black black ball of smoke, drifting above thoroughfares, slowly unfurling into ovoid shapes before spreading its tentacles across the land? What if it were to descend upon the general populace, creeping insidiously lower and lower until it cloaked local buildings and was inhaled by those below? What if it became virtually indistinguishable from the night? Yuki Murata’s video for Takahiro Kido‘s title track may be seen as a metaphor, but the subject might be extended to depression, apathy, or even the state of the world today. The music follows suit: foreboding, patient, enveloping. On this track, Kido is joined by other members of Anoice, who will reappear throughout the set. Insomnia contains tracks with the full band and…
Lia Braswell’s Rising is forceful and expressive. Each song sounds an individual statement without there being any real sonic outliers (or weak points, for that matter) in the bunch. This makes for an intense listen, but a rich and engaging one too. The musical backbone is a relentless dance rock, mixing the thundering beats and assertive electronics of Pet Shop Boys or the Eurythmics with the breakneck, organic rush of Florence + The Machine and the complex, artful freedom of Wye Oak.
“Out of Sight” belongs to the 1980s, with a thudding, dead-eyed beat, glancing, urgent bleeps, and big burns of synthesizer that curl into a spacious instrumental bridge. “One Too Many” is another for the Less Than Zero crowd with some Duran Duran menace programmed…
There are times, listening to Richard Bishop do his thing with Sun City Girls, when this reviewer thinks, “Everyone else can stop playing their guitars now.” A few of those moments occur at points during the 92 minutes of music included on Three Lobed’s reissue of tracks from two of the Sun City Girls’ late-1980s Cloaven Cassettes: Famous Asthma (1987) and Tibetan Jazz 666 (1988). For listeners not tuned in to the vagaries of the Sun City Girls’ prolific output, the Cloaven Cassettes were self-released tapes, often composed of performances of the band at its loosest and weirdest, and the Sun City Girls could get very, very weird. Most of what you’ll hear on this reissue is the Bishop brothers and Charles Gocher in improvisation, working a blend of mutant jazz,…
Back in 2021, Tom Paxton and John McCutcheon had stopped touring because of the pandemic, but their ideas for new songs kept flowing. So, the two decided to meet every Monday afternoons at 2pm via Zoom for songwriting sessions. Before long, they had enough songs for an album, and they released Together in 2023. After Together appeared, they continued swapping songs and making music, and when they took stock, they found they had plenty of material for another album, Together Again.
…To dive into their collective pasts would take a book, but suffice it to say that Paxton has recorded or appeared on more than 70 albums starting in 1964, and written thousands of songs which are largely staples of the folk tradition…
This latest full-length from Edinburgh’s Siobhan Wilson touches on many themes including, but not limited to, friendships, wanderlust and the cosmos, but if there’s a relationship that’s key to the record, it’s Wilson’s own with the electric guitar. Known previously for a more folky, pastoral sound, Wilson has clearly come to understand the power that amplification can provide, especially when used minimally. Thaw is loosely conceptual – side A inspired by summer, and side B by winter – but in truth, its mood shifts continually. Opener Starlove is somewhere at the junction between grunge and shoegaze, while Snowflakes, thick with atmosphere, is straight out of Twin Peaks.
Some songs you might categorise as guitar-pop, including the charming ‘On Est Bien’,…
…Peanut is the sixth-ish album by New York-based musician and engineer Otto Benson, and the first with vocals. He shed a lot of skin before arriving at this album’s dusky, dusty sound, which is defined by gentle nylon-stringed guitar and shivery Rhodes piano and lands somewhere at the intersection of Frankie Cosmos, Hayden Pedigo, and Let It Die-era Feist. A scan of his meticulously maintained website reveals a trove of hyperactive vaporwave under the name Memo Boy; ambient music as Ronnie P; puckish hyperpop under the name OTTO; a tingly beat tape with Mietze Conte; and at least a handful more experiments with different forms of contemporary electronic pop.
…All of this is to say that form is clearly important to Benson; although Peanut is his…
There’s something about trees and storms in Iti Eta No. Heimat’s third album is an exploration of collage and landscape – not just the physical landscape of the French countryside where Olivier Demeaux (Cheveu, Accident du Travail) and Armelle Oberlé (The Dreams, Badaboum) moved after lockdown, but it’s visceral, emotional imprint. A violent storm left trees scattered across the road, and that image inspired the atmosphere of Iti Eta No. Heimat’s early records were a deliberate exploration of ‘Eastern’ tonalities, but Iti Eta No sees the group moving away from that kind of orientalist imagery. It feels more refined, like deviant pop made dance-floor accessible thanks to Krikor Kouchian’s (L.I.E.S, I’m a Cliche) mastering. There is a distinct sense of…
Making a choice among artists who create ambient music veering into modern classical is becoming harder by the day. It is becoming hard sifting through hours of music and finding the ones that don’t end up into a musical wallpaper territory, the ones that keep up in both quality and emotional intensity.
That list is quite rarified these days, but you can easily add Southend-on-Sea visual artist and musician Adrian Lane and his latest album Their Ghosts and Ours to it.
Lane, who has been releasing music since 2013 on various independent labels, is among those who combine acoustic sources with electronic/computer-generated embellishments, something that has been done a lot these days.
Throughout 2024, the Swedish duo Club 8 released a single a month, then gathered them up on an enchanting record titled A Year with Club 8. The idea was such a good one that they did the same thing in 2025.
This time the resulting album was titled Seasonal Echoes and it finds them walking a similar path of warmly melancholic indie pop spiced with the occasional burst of noise pop and a wistful ballad or two. This is the kind of music Johan Angergård and Karolina Komstedt were seemingly born to make, and it should heat the hearts of pop lovers both vintage and newly minted to hear them still making music this sweetly real. As always, Angergård constructs perfect pop miniatures for Komstedt’s lilting voice;…
Syd dePalma’s Paris is dreamlike. Echoes abound, sculpting recognizable rock, folk, and pop stylings into imaginative new shapes. As he plays with light and shadow, the borders between fantasy and reality blur. The familiar soars. An eerie melancholy fills even the most straightforward of dePalma’s melodies, a desperation buried deep in the foundation of every line he sings. The lyrics are uncanny, the sounds constantly shifting. Only two years out from debut, El Lugar de Arder, Paris is a ferocious next step for dePalma, one that radiates surreal energy.
Vivid imagery abounds: of body parts, desire, tears, the sky, the ground, the city, the country. As lead singer on almost all tracks, dePalma makes for a compelling guide to his uncanny world.
Although James Opstad first recorded on double bass at Eastcote Studios, London, in September 2006, on an album entitled Interpretations (2006) credited to a drummer named Jon Opstad, James Opstad did not release an album under his own name until Drift (2025).
In the intervening years, the bassist had played or recorded with Apartment House — for instance, he played on the title track of O, Zomer (2018) by Cassandra Miller — with saxophonist Joe Wright in the duo called duck-rabbit, and in the quartet Jack Davies’ Flea Circus.
On Drift, which was recorded by Simon Reynell in London and Birmingham from 2020 to 2024, a selection of musicians played five Opstad compositions, ranging in…
London’s Led Bib were a quintet for 22 years. During that time, they established a well-founded reputation as architects of the rather short-lived anarchic jazz movement. Keyboardist Toby McLaren was a founding member and a co-architect of the band’s sound. He left after 2017’s Umbrella Weather and was temporarily replaced by Elliott Galvin on 2019’s It’s Morning. Following a tour, drummer Mark Holub, bassist Liran Donin, and saxophonists Pete Grogan and Chris Williams, decided to tour as a four-piece. It proved difficult. Led Bib returned to Cuneiform for Hotel Pupik. It was written for quartet and plays to the group’s strengths as composers (tunes were written by three members) improvisers, arrangers, and gifted, instinctive instrumentalists.
The groove is strong in multi-instrumentalist Adam Ben Ezra’s Heavy Drops. Mainly known as a double bass player, he has performed with the likes of Snarky Puppy, Pat Metheny, Victor Wooten, etc., and it shows in his smooth and energetic musical abilities. Joined by drummer Michael Olivera, Ezra still produces a meaty sound that morphs intriguingly throughout the release. Hints of funk, Latin and Mediterranean accentuate the individual compositions while also coalescing into an album that doesn’t feel disjointed.
Ezra is a confident musician with a willingness to pursue new musical terrain. The title track introduces the listener to the overall vibe. Double bass and drums deliver a fluid performance with brief layers of flute and…
Since leaving Dutch band The Ex, GW Sok – real name Jos Kleij – has spent the last two decades channelling his muse through various projects. His dry wit and often caustic worldview can be heard in collaborations with Oiseaux-Tempête, Lukas Simonis, and King Champion Sounds, to name a handful. The GW in his stage name stands for geitenwollen, and here geitenwollen sok, or sokken (‘goats wool socks’) are the Dutch equivalent of the hair shirt, or the socks with sandals brigade. An implied morality Sok has been happy to subvert this past forty-odd years.
Sok’s new collaboration, Sopa Boba, with dramaturg Jean Vangeebergen and musician Pavel Tchikov, is something else again. In the project’s record, That Moment, Sok narrates…