New Music Reviews
Album: Erlend Apneseth - Song Over StøvMonday, 31 March 2025
A pizzicato violin opens Song Over Støv. Gradually, other instruments arrive: bowed violin, a fluttering flute, pattering percussion, an ominous double bass. They merge. The climax is furious, intensely rhythmic. Suddenly, it is over. Read more... |
Music Reissues Weekly: Yeah Man, It's Bloody HeavySunday, 30 March 2025
The sticker on the front cover says “The heaviest proto-metal compilation ever released.” And considering the label behind Yeah Man, It's Bloody Heavy is Rise Above, founded by former Napalm Death and Cathedral frontman Lee Dorrian, this is not idle hubris. Read more... |
Lauren Mayberry, Barrowland, Glasgow review - solo star stays too close to the day jobMonday, 24 March 2025
It took until the last song before Lauren Mayberry started to well up onstage, which was good going. The singer had mentioned early on the prospect of a hometown Glasgow gig for her solo career had left her emotional all day, both with joy and fear. Read more... |
Album: Toria Wooff - Toria WooffMonday, 24 March 2025
On the cover of her eponymous debut album, the Bolton-raised Toria Wooff reclines on a church pew located in Stanley Palace, a 16th-century mansion in her adopted city of Chester. In her hand, a Celtic Cross. Such imagery implies that what will be heard on the grooves within the sleeve might cleave to forms of gothic-inclined British folk. This, though, is not the case. Read more... |
Music Reissues Weekly: Too Far Out - Beat, Mod & R&B From 304 Holloway Road 1963-1966Sunday, 23 March 2025
The thrill of hearing “Crawdaddy Simone” never wears off. As the September 1965 B-side of the third single by North London R&B band The Syndicats, it attracted next-to no attention when it came out. The top side of the flop 45 was “On the Horizon,” a version of a Ben E. King B-side. After this, The Syndicats’ time seemed to have passed. Read more... |
Mercury Rev, Islington Assembly Hall review - the august US psychedelic explorers cover all basesThursday, 20 March 2025
The body language fascinates. Mercury Rev’s frontman Jonathan Donahue could be playing a theramin. The arm movements fit the bill, yet the putative instrument is absent. At other points, his arms are outstretched, palms down. He might be projecting invisible rays in the manner of a silent-screen magician or, when he's in front of the band’s guitarist Grasshopper, absorbing invisible energies. Read more... |
Lizz Wright, Barbican review - sweet inspirationThursday, 20 March 2025
Lizz Wright’s exquisite singing breaks all boundaries between soul, gospel and jazz. In so doing she channels many interwoven strands of the African-American experience. Wright thrives on singing to an audience: her recorded output is wonderful enough, but, a child of the church, the sacred ceremony of raising the spirit in myriad ways is undeniably her home ground. Read more... |
Wardruna, Symphony Hall, Birmingham review - Einar Selvik's Norsemen return to Mercia in triumphThursday, 20 March 2025
Wardruna are something of a modern musical phenomenon. Part Scandinavian folk revival, part prog rock epic and part pagan ritual, their wide-screen performances are a beautiful and mesmerising celebration of repurposed ancient traditions, the natural world and the power of singing together. Read more... |
Music Reissues Weekly: Norma Tanega - I Don't Think It Will Hurt If You SmileSunday, 16 March 2025
After scoring a hit in 1966 with the distinctive folk-pop of her jazz-inclined debut single "Walkin' my Cat Named Dog," US singer-songwriter Norma Tanega (1939–2019) seemed to melt away. Three follow-up 45s weren’t hits. Her album wasn’t a strong seller. Latterly, though, one of its tracks, “You're Dead,” has been heard as the theme of the TV and cinema versions of What We Do In The Shadows. Read more... |
Album: The Loft - Everything Changes, Everything Stays The SameSaturday, 15 March 2025
“Sitting on a sofa, cigarettes and beer, ten years disappear…agreeing to agree, just to get along.” By going into the difficulties of resuscitating the past, the lyrics of “Ten Years,” the fourth song on The Loft’s first album, neatly sum-up the band’s current situation. The final line gives the 10-track set its title: “Everything changes, everything stays the same.” Read more... |
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