Two years on from the hedonistic rush of their debut, Eades return with a record that trades chaos for clarity.
On Final Sirens Call, their long-anticipated second album, they shed the last remnants of their scrappy post-punk adolescence and step firmly into a more refined, expansive sound – one steeped in Americana-tinged melancholy, mid-90s indie grit and the restless introspection of artists coming to terms with their place in a fractured world. Growth is placed front and centre, as the quintet dive ever deeper into their roots, finding rare solace amidst the shifting earth.
Following 2022’s Delusion Spree – an album that ricocheted through the anxious energies of early adulthood – and 2024’s Fight Or Flight…
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…This anniversary release of the band’s first EP includes three additional tracks: remastered demos of “31 Seasons in the Minor Leagues,” previously titled as “Tonight I’m So Down,” and “Lonesome Valley,” recorded at Echo Park Studios in Indiana during the ‘Hard to Love a Man’ sessions, as well as “One Thin Dime,” recorded during the Black Ram sessions at Sound of Music Recording Studios in Richmond, Virginia.
Catrin Finch has been at the top her field for a long time now. The Welsh harpist was appointed to the ancient office of Royal Harpist by Prince Charles in 2000, was nominated for a Classical Brit Award in 2004 and her World Music collaborations with Seckou Keita resulted in their winning the 2019 BBC Radio 2 Folk Award for Best Duo.
Holyoke, Massachusetts post-punk outfit Landowner aren’t the type to sit still. Their sound is agitated and animated, their relentless rippers rife with taut basslines, manic shouts and wiry guitar riffs. And, fittingly for a band that’s always in motion, they’ve returned with another new album, 
Drummer/composer Booker Stardrum delivers a new powerful solo album 
Much has been written about the Transatlantic fallout of punk rock, with every crevice of the era meticulously scanned in the hope of a lost classic. Whilst Circle X’s fractious run, two albums and two EPs, over a span of seventeen years, might not signify complete unknown status to seasoned crate-diggers, their minimal place in the history books belies their brilliance.
Two years on from their ambitious debut, 
Conjuring images of blizzards and howling winds, 
Slipping into a ghostly voice on the opening tune, Ritt Momney takes the audience into a country unbalanced by politics and unfocused in theme. These dreamlike, picaresque tunes take many different forms; a collage equal parts inventive and heroic. Jangly garage pop number “Lightshow” exhibits a singer beneath a torrent of swirling instruments: angular, opaque and eerie.
Every now and then a record comes around that just knocks you off your feet on the first listen. Floors you, insists to be played again, rinse and repeat. Carnival is one of those records. An album that demands one’s full attention for its entire duration. Which is testament to the tenacity and talents of its creators, Vona Vella.
In TV they talk of the “anthology series”: a regular, recurring show, like The Twilight Zone, Tales of The Unexpected, Inside No.9 or Black Mirror, where each episode has a different setting, cast and sometimes director, unified only by a small team of writers or showrunners. In a similar vein, you could see certain 21st-century outfits – Sault, UNKLE, Handsome Boy Modelling School, Mr Jukes – as “anthology groups”: modular ensembles with a shifting cast of guest musicians and vocalists, changing from song to song.
When it came to composing for her new album In the Low Light, British singer-songwriter 
After a half-dozen full-lengths and a clutch of EPs and live releases, plus one miraculously injury-free van crash in the French countryside, 
…Composer and sound designer