New Music Reviews
The Hives, Brighton Dome review - Swedish power-pop dynamo are as entertaining as everThursday, 04 April 2024
The joy of The Hives on record is encapsulated by their 2012 micro-song “Come On”. Despite being one-minute long and consisting solely of the title phrase, it fizzes with righteous, effervescent buzzsaw euphoria. They open their encore with it, showcasing with ease that, whatever the pleasures of their studio output, live in concert is where The Hives truly explode. Read more... |
Thundercat, The Halls, Wolverhampton review - jazz-funk bassist lets looseTuesday, 02 April 2024
Thundercat is known for his love of having a good old noodle on his six-stringed bass guitar – and there was plenty of that going on at the Halls in Wolverhampton on Easter Sunday. But this was far from the whole story of his show that threw in sci-fi funk, prog jazz and hip-swinging soul music to a performance that was dedicated to Anime master Akira Toriyama. Read more... |
Music Reissues Weekly: Status Quo - The Early YearsSunday, 31 March 2024
“So Ends Another Life” is strange. Very strange. The song’s dolefulness is immediately set up with a strummed guitar along the lines of the intro to The Bee Gees’ “New York Mining Disaster.” “In a world of agitation, there’s no time for compassion” are the opening lyrics. Read more... |
Album: Jane Weaver - Love In Constant SpectacleFriday, 29 March 2024
“Motif,” Love In Constant Spectacle’s fourth track, is the closest Jane Weaver has come in over a decade to the folk influences embraced on her 2007 and 2010 albums Cherlokalate and The Fallen By Watch Bird. Not that her new album is rooted in past ventures, more that it appears she has taken a step back to consider what she has done, and has found this reflection comfortable. Read more... |
Vossa Jazz 2024 review - Norwegian festival embraces William Parker’s spaciness, Karin Krog’s classicism and much moreWednesday, 27 March 2024
“The name of this group is Mayan Space Station.” In spite of the billing as The William Parker Trio, their bassist – coolly introducing himself as “William Parker, bass” – is firm about the designation under which the three musicians on stage are operating. Read more... |
Music Reissues Weekly: Niney The Observer Presents Lightning and Thunder!Sunday, 24 March 2024
Winston Holness started his own record label in 1969. Missing a finger, he became known by many folks as Niney. Born 7 December 1944, he had lost a thumb in an accident at work. By the point his imprint debuted, he had sung on a Clement “Coxsone” Dodd-produced track and was working as a salesman for other producers, including Clancy Eccles, Bunny “Striker” Lee and Lee “Scratch” Perry. Read more... |
Album: High Llamas - Hey PandaSaturday, 23 March 2024
Hey Panda is unlike any previous High Llamas album. While the characteristic traces of late Sixties and early Seventies Beach Boys, Van Dyke Parks and Steely Dan are here, they have become melded with a sensibility lead-Llama Sean O’Hagan has absorbed from multifaceted US hip hop producer J Dilla – whose approach to rhythm and song structure rewrote standard linear templates. Read more... |
WAKE, National Stadium, Dublin review - a rainbow river of dance, song, and so much elseThursday, 21 March 2024
In what feels like the beginning, or at least the Old Testament, there was Riverdance. Now, ready to flow through the world once the world knows it needs it, there’s a rainbow-coloured river of just about everything musical and choreographic that’s found its place in contemporary Ireland, performed with a pulsating energy as well as a poetry that stops you wondering too much about all the connections. Read more... |
Music Reissues Weekly: The Mystic Tide - FrustrationSunday, 17 March 2024
Crashing chords are followed by a spindly, untrammelled solo guitar. After this subsides, the singer lays out the issue: “I try, I cry, I just can't see why. It's clear, she's near, the sights and sounds I hear.” He’s distressed, his anguish palpable, All the while, slabs of guitar squall get ever-more edgy, increasingly wigged out. There are more solos which aren’t far from those of The Velvet Underground’s “I Heard Her Call my Name.” Read more... |
Music Reissues Weekly: Groove Machine - The Earl Young Drum SessionsSunday, 10 March 2024
A few records changed music. One such was “The Love I Lost (Part 1)” by Harold Melvin & The Bluenotes. Issued as a single by the Philadelphia International label in August 1973, its release introduced what would become a major characteristic of disco music. This was the first time a particular groove was heard; the percussive use of the drum kit’s cymbals with an emphasis on the hi-hat. Read more... |
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