Širom’s approach is contradictory. Their music is rooted in the traditional, yet never becomes a prisoner of what’s gone before. It is expansive, playful, seemingly always looking for a way to spiral upwards and outwards, into the future.
The group’s preferred term for what they do is “imaginary folk”. The term was first coined by the French musicologist Serge Moreux to describe the creative approach to Hungarian traditions applied by composers like Bartók and Kodály. Like their forebears across the Pannonian Plain, Širom’s relationship to the customs and rituals of Southeast Europe is ‘idealised’, chimerical – and all the better for it.
But how do you explain Širom’s music? The sounds you hear on the band’s remarkable fifth…
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dodie’s latest album, Not for Lack of Trying, stands as an intimate and tender follow-up to her 2021 debut, Build a Problem. Soft piano and muted guitar strokes thread throughout the record, accentuating her wistful vocals. The production is immaculate, but many of the songs follow a similar arc: gentle strumming on acoustic guitar swelling into a fuller sound of strings and vocal harmonies. Over time, this predictability undermines the album’s impact, especially in the slower second half.
Amid this, ‘Smart Girl’ establishes itself as an early highlight, an emotional rollercoaster with intense and explosive string tremolo. ‘Tall Kids’ is a melancholy ballad where dodie’s emotive vocals reach their peak, accompanied by a pulsing undercurrent of warm piano.
Nicki Bluhm relocated from California to Nashville in 2017 at the end of a tumultuous period in her life. She had just divorced her husband and former bandmate, she parted with her group The Gramblers, and set out on reviving her solo career.
Nashville has clearly been good to her, yet she even namechecks the city on the opening track, “Bay Laurel Leaves” (“Tennessee, you found me at my worst and put me back on my feet”). The song is preceded by strings pivoting to a more traditional folk country structure when her voice floats in to deliver what is essentially the thesis for this album, a song about resilience, starting over, and building an entirely new life and community.
For the next 30 minutes, Bluhm delivers her strongest album yet, a record that seems…
It’s getting hard to keep up with Peter Buck’s various music projects. The legendary R.E.M. guitarist has now teamed up again with veteran indie-rock singer/songwriter Joseph Arthur two record a second collaborative album under the Arthur Buck moniker. Arthur Buck 2 is a follow-up to the duo’s self-titled 2018 debut album. The new record, which features 10 tracks, was produced Jacknife Lee, who also worked on R.E.M.’s final two studio albums.
Buck and Arthur recorded the album with a backing group that featured Scott McCaughey on bass, Linda Pitmon on drums, and Gregg Foreman on keyboards and other instruments.
Buck has played with McCaughey and Pitmon in multiple projects, including Filthy Friends…
2025 remaster
Opting not to fix what broke them, You Could Have It So Much Better serves up more of the stylish, angular sound that worked so well on Franz Ferdinand’s debut. After years of rehearsing in abandoned Glasgow warehouses and playing in relatively obscure groups like the Yummy Fur, it’s perfectly understandable why the band chose not to mess with a good thing — and why they chose to follow up the breakthrough success of Franz Ferdinand so quickly. But, after a year and a half of near-instant acclaim and constant touring, Franz Ferdinand return with songs that just aren’t as consistently good as the album that made them so successful in the first place. A lot of You Could Have It So Much Better feels like…
AFI has never been a band to shy away from evolution. In fact, they encourage it as a natural progression of their sound. For the last 33 years, the California natives have seeped into every orifice of rock’s subgenres, growing from their nascent hardcore sound in the early ‘90s, into their classic punk leanings in the new millennium, before segueing into the depths of emo, alternative, new wave and more in the years since. AFI is continually fascinating, keeping an impressive stream of creativity flowing that marks them as one of the last remaining pillars of their era.
At their core, the Gothic has always been lurking within AFI’s discography, producing a singular melancholy that drives their allure. Now, upon the release of their twelfth album,..
Australian-born, Nashville-based Kara Grainger has been gracing the international blues and roots circuit for almost two decades. Originally hailed as a guitar slinger, for her adept picking and slide skills, Grainger has developed into a triple threat with formidable singer-songwriter skills. As the album title, That’s How I Got to Memphis, suggests, Grainger has fulfilled a lifelong dream by recording in Memphis. Not only that, she recorded this, her fifth album, at the iconic Royal Studios under the direction of the celebrated producer, Lawrence “Boo’ Mitchell, while in the company of the Hi Rhythm Section. Grainger points to Al Green and Ann Peebles as two of her all-time favorite artists, obviously honored to be indirectly associated with them on this project, as…
John Ross hasn’t been hiding, exactly, but the Wild Pink mastermind has often taken cover behind music that evokes other music. He’s an inspired enough writer that his personality has tended to show through anyway, though there was always a sense that we weren’t getting the full picture of what Ross could do. Wild Pink’s latest album clears that up.
Dulling the Horns is the band’s most distinctive release so far. It is beholden neither to the hushed piano arrangements and whispery vocals of 2022’s ILYSM, which Ross finished writing after he was diagnosed with cancer (he has since recovered), nor to the lush, indie-adult alternative sound of 2021’s A Billion Little Lights. If there’s an antecedent in the band’s catalog, it’s…
Leading up to the release of her debut album, singer/songwriter Kate Bollinger issued no less than four EPs, signing with Ghostly International for the fourth, after her gentle, jazz-inflected pop attracted the attention of Kanye West, resulting in a songwriting credit on his Donda LP.
For her full-length coming-out (also on Ghostly), she not only remains loyal to a crafted, sophisticated, and soft-footed presentation but maunders even further into soft, pillowy textures, including a vocal delivery sometimes so gossamer as to barely uphold the melodies. She also takes her EPs’ 1960s and ’70s singer/songwriter inspirations to the next level with help from contributors including Matthew E. White, Sam Evian, Adam Brisbin (Katie von Schleicher,…
They started as a neighbourhood group, The Dwarfs of East Agouza, with ex-Sun City Girl Alan Bishop, Karkhana member Maurice Louca, and Sam Shalabi (of Land of Kush, Shalabi Effect, among others) all living in the same apartment block in Cairo, Egypt. It’s tempting to import a kind of “community of sound” ethos onto their collective work; over the decade-or-so that they’ve been together, The Dwarfs of East Agouza have certainly found a voice, a mood, a tone. But surprising things always happen on their albums, whether recorded in the studio or in live performance.
Prior Dwarfs of East Agouza albums have tended toward the sprawl: side-long pieces on albums like Rats Don’t Eat Synthesizers (2018) and High Tide in the Lowlands (2023), and…
A is for Apple, R is for Rocket, et cetera; the stuff we learn in kindergarten can guide our lives far into adulthood’s scary unknowns. And as it happens, kindergarten is where Alithea Tuttle and Cooper Ladomade — half of the Los Angeles band Rocket — learned that they liked the cut of each other’s jibs and became fast friends. It probably took a few years before they graduated from pat-a-cake to bands like my bloody valentine, Ride, and Fugazi, but here was the foundation of their future band, unwittingly established over juice boxes and fruit roll-ups.
The title of their debut, R is for Rocket, feels like it could be a subtle nod to those roots, an endorsement of the “you spend your whole life writing your debut album” aphorism…
The brainchild of drummer Connor Cummins and vocalist Blair Tramel is the epitome of speed. Snooper‘s songs run at a blistering pace, with angular riffs sneaking in one ear and out the other, propelled by frenzied percussion. The Nashville five-piece – completed by bassist Happy Haugen, drummer Brad Barteau, and guitarist Conner Sullivan – squeeze in as many ideas as possible in tunes shy of two minutes, this off-the-cuff musicianship making their 22-minute 2023 debut album, Super Snõõper, feel twice as long and substantial. The wild silliness of abandoning a groove for a totally different one halfway into a barely minute-long song, just for the sake of it, is what makes them addictive.
On Worldwide, Snooper have smoothed out…
…The new edition has been fully remastered and includes unreleased live tracks, plus the lost single ‘Don’t Leave Me Alone’.
Supergrass have a hard time coming down from their musical highs. Every time they release a giddy, irresistible pop album, they repent on the next record, crafting a moodier response. This happened with their 1995 debut, I Should Coco, which engendered two hangover records: the sprawling, ambitious, yet thrilling In It for the Money and its hazy, unfocused 1999 Supergrass, which, despite the instant glitter classic “Pumping on Your Stereo,” was so scattered it sounded as if the guys weren’t sure if they wanted to be a band at all anymore. They sprung back with 2002’s Life on Other Planets, a truly wonderful pop album…
…feature a remastered edition of ‘Z’, plus 14 key outtakes, previously unreleased songs and demos.
In 2004, a dreamy cover of “Rocket Man” concluded My Morning Jacket‘s first volume of rarities. Which was prescient, because it’s Elton John that Jim James’ songs for 2005’s Z first bring to mind. From the wistful recollection of “Goodbye Yellow Brick Road” to Honky Chateau’s melodic and genre explorations, John’s ability to mesh styles and take detours within his sturdy pop songwriting applies to James here, particularly in the expansive opener, “Wordless Chorus,” or the initial happy-go-lucky lilt of “Off the Record.”
Z is My Morning Jacket’s fourth full-length (and second for ATO), and it’s the one that might finally jump-start the reaction that James’…
…The British rock icons offer a slightly expanded edition of 1995’s (What’s the Story) Morning Glory?, pairing a 2014 remaster of the album (which initially came with additional bonus material) with a bonus EP of new unplugged mixes of four of the album’s tracks (plus a non-album B-side, “Acquiesce.” The group’s songwriter/guitarist Noel Gallagher and Callum Marinho built these new versions from the original multitrack recordings in Noel’s London studio.
After the much-hyped blockbuster Definitely Maybe (1994) established the Manchester band (led by the volatile brothers Noel and vocalist Liam Gallagher) as England’s hottest new rock outfit, Oasis sought to go even bigger with Morning Glory, swinging for the fences with their songcraft…
This is quite a tale: Shooter, son of Waylon Jennings, discovers a tranche of his father’s personal multitrack tapes from the analogue years, dating between 1973 – when he wrestled artistic control from RCA – and 1984, when he had quit cocaine, joined The Outlaws and digital technology took over everything.
The tapes were shelved for 40 years, until Shooter took them down, opened them up and brought them to Sunset Sound in 2024. He started digging through them, and found that rather than the demos he expected, many of these “lost” recordings were fully fledged tracks waiting for an album to take them in.
In fact, he has found three albums’ worth of songs, to be released from the original tapes…
…includes four previously unreleased tracks, each featuring one of four new entities and continuing the narrative of ‘The Father of Make Believe’ album.
The Father of Make Believe is the latest instalment in the cinematic fantasy world that Coheed and Cambria have meticulously crafted over the last 30 years. It’s openly more personal in nature than previous albums but The Amory Wars storyline and Sci-Fi emo prog rock atmosphere that the band are known for are still as present.
The catchy, anthemic tracks that are scattered amongst both the delicate and spacey, and the heavier prog metal that make up the rest of the album, are some of the strongest moments.
“Goodbye, Sunshine” and “One Last Miracle” in particular stand out as highlights,…
Brooddark (Yaroslav Gavrilyuk) releases his second album on Cryo Chamber this year, following an excellent collaboration with Tsarewitch. On Overvoltage, he employs some of the same sounds – dense drones, roughly-hewn textures, and a wealth of background elements, from sculpted static to broken percussion and rhythmic lines. Chromatic sweeping takes thick chords up or down a few notes in pitch, providing a dramatic feel.
Indeed, these pieces are quintessentially cinematic. Described as “futuristic and industrial” in the liner notes, there is a strong science fiction theme with dark overtones. One can easily envision the spaceships being infiltrated by alien life forms.
After starting off in a more busy and unconventional direction, Brooddark brings…
