Category: ***


The last few years have been a resounding celebration of club music from Latin America and its diaspora. The rise of TraTraTrax. The virality of DJ Ramon Sucesso and DJ K. The dizzying reggaetón, techno, cumbia and electro hybrids from Miami. Critic Shawn Reynaldo has called it a “Latin Music Gold Rush”.
This excitement by punters and the press, however, obfuscates one important fact: Central and South America, plus the Caribbean, has a long, elaborate history of bangers.
These regions have produced some of the best dance music in recent decades, including hardgroove, afterhours techno and Latin house. This has been the argument long pushed by Chile-born, Brazil-based Valesuchi, a staunch…

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…remastered 40th Anniversary Edition originally recorded and mixed by the lauded British sound engineer Ian Burgess.
One of the first major bands on the Chicago punk scene, the Effigies arrived as first-era punk was being supplanted by hardcore, but their sound reflected little of either. The band was less interested in speed than impact: their songs were simple but intelligently constructed, their lyrics were angry but artful meditations on urban alienation with shout-along choruses, and their performances were muscular and made clever use of dynamics with the guitars grinding and slashing. The Effigies’ influence in the Midwest (especially in their hometown) was significant, and one can hear the faint echo of their early work…

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The latest volume in Bulbous Monocle’s Thinking Fellers Union Local 282 reissue campaign vaults over the Matador years back to the band’s earliest LP. Tangle was released in 1989, prior to TFUL282’s years of rigorous touring.
It’s a first album; you can hear styles engaged and influences acknowledged in a partially digested manner that differs from their later years, when, if they wanted to sound like something, they just covered the song.
There’s a deep vein of blues and western guitar, most evident on the slow, sinister groove of “Cold Cold Ground,” but also audible on the twangy lead guitar of “Sister Hell” and the languid slide intro to “Choke.” The band works a few Sonic Youth moves into the mix as well, like…

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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…

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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…

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“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…

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… 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…

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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…

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…”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…

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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…

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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…

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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,…

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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…

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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’,…

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…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…

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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…

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