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A couple of years on from dropping an era-defining masterpiece, "A Seat At The Table", Grammy Award-winning singer/songwriter and visual artist Solange Knowles is back on Piccadilly shelves with her new album "When I Get Home". The album is an exploration of origin. It asks the question how much of ourselves do we bring with us versus leave behind in our evolution. In order to answer this, Solange returned to Third Ward Houston, packing the short sonic vignettes with blasts of rim-rattling bass, clattering dirty south percussion and her trademark jazz flecked vocals. Reading like a journey through the city streets to the show, "When I Get Home" serves the varied sounds of street performers, muscle cars, barbers and cook outs - even enjoying a brief flirtation with Jamaica on the stand out "Binz", before getting back on Texan track. Written, performed, and executive produced by Solange, this is a new chapter in her artistic development.
Emily says: Solange siphons the essence of jazz, contemporary R&B and psychedelic soul into her latest offering. Abandoning predictable pop structures, each track develops through a series of short lived motifs and dissolves effortlessly into the next. An album of dazzling minimalist soul which is best listened to in its entirety!
STAFF COMMENTS
Millie says: The iconic vocals of Solange grace us again with her new release, When I Get Home. Her emotion and warmth exude from each track and make us realise we had a Solange-shaped void to fill these past three years. Binz, Way to the Show and Stay Flo are on heavy repeat for me, again and again.Emily says: Solange siphons the essence of jazz, contemporary R&B and psychedelic soul into her latest offering. Abandoning predictable pop structures, each track develops through a series of short lived motifs and dissolves effortlessly into the next. An album of dazzling minimalist soul which is best listened to in its entirety!
Candy Bowman
I Wanna Feel Your Love / Since I Found You (Love Is Better Than Ever) (RSD19 EDITION)
RCA
The infamously velvet tones of Jon Lucien get a much welcomed official remastered, reissue - with the original ‘Rashida’ 7” e.p., that contained four of Lucien’s tracks, now split into two 7”s for a louder, more refined pressing of each song. First up, ‘Lady Love’, with it’s bossa nova inspired style, draws every last drop of emotion from Lucien’s infamously voluptuous voice. Once dubbed by Herbie Hancock as “the man with the golden throat”, it’s easy to see why - Lucien’s rich baritone evokes dreams of summer sunsets, glistening blue seas whilst wrapping you up in a blanket of warmth and tenderness that few can rival. On the B side – ‘Love Everlasting’, another of Jon Lucien’s bossa nova leaning tracks, swells with jazz flutes, plucked acoustic guitars and a soul drenched string section to compliment Lucien’s beautifully calming tones. With the original Rashida 7” exchanging hands for over £150 on Discogs, here’s a chance to get Jon Lucien’s golden-throated voice in the collection without raiding the savings.
Grizzly Bear are back! It's been five long years since 'Shields' and their newest outing, 'Painted Runs' takes the ideologies of that stylistic curveball, and coherently matures it into a pulsing throng of grace and intricacy. From the outset, 'Wasted Acres' seems to hark back to the minimalistic woozy sombre-tronica of yesteryear but quickly gives-in to it's inner lounge-lizard with a throbbing harmonic redux into some sleazy lounge-jazz before smoothly seguing back to the gloom-led minor-key drone.
'Mourning Sound' drives along with a little more energy, bolstered by swelling synth pulses and flickering light-ray saw-waves, a sentiment echoed on it's follow-up 'Four Cypresses', with a metronomic flicker gracefully joined by a militant snare march, and an oddly jarring but brilliantly tempered lo-fi string sample. As it grows, there is more cinematic outpourings and theatrical gestures with a grand euphoric progressive lurch and choral echoes crackling in and out of lucidity like waking from a dream.
Latterly, we get gifted some melodic groovers in the form of 'Losing All Sense', with rhythmic guitar upsweeps and warm distorted bass slowly decaying into the background, and 'Cut-Out' giving the hazy summer vibes before dipping a toe into twangy Americana waters.
Grizzly Bear once again continue to defy convention with deft stylistic progressions and impeccably produced seismic shifts, whilst still retaining the sullen melancholic charm of their alt-folk psychedelic roots.
'Mourning Sound' drives along with a little more energy, bolstered by swelling synth pulses and flickering light-ray saw-waves, a sentiment echoed on it's follow-up 'Four Cypresses', with a metronomic flicker gracefully joined by a militant snare march, and an oddly jarring but brilliantly tempered lo-fi string sample. As it grows, there is more cinematic outpourings and theatrical gestures with a grand euphoric progressive lurch and choral echoes crackling in and out of lucidity like waking from a dream.
Latterly, we get gifted some melodic groovers in the form of 'Losing All Sense', with rhythmic guitar upsweeps and warm distorted bass slowly decaying into the background, and 'Cut-Out' giving the hazy summer vibes before dipping a toe into twangy Americana waters.
Grizzly Bear once again continue to defy convention with deft stylistic progressions and impeccably produced seismic shifts, whilst still retaining the sullen melancholic charm of their alt-folk psychedelic roots.
The first new Everything Everything album since 2015's 'Get To Heaven' sees them embrace a plethora of musical tickboxes, from the glistening synths of chillwave and Italo to finely honed filter / drop techniques of dubstep and d&b. Obviously, these are not a fully fledged stylistic shift, more of an osmosis of current trends into a smoothly produced, and well balanced whole. 'Night Of The Long Knives' for instance flits between a soaring chorus, finely balanced with twinkling arps and pattering guitar delay, only to morph into a body-shaking bassy flick-of-a-switch crecentic wave.
'Can't Do' relies more heavily upon skittering drums and that trademark falsetto, taking things slowly into dancefloor territory, complete with stabbing synth chords, rolling bass and swirling guitar squeals. Eminently percussive, but perfectly balanced between the rhythmic backdrop and the shiny forefront.
Move a little further along, and the syncopated groove of 'Good Shot, Good Soldier' sees airy sidechained synth throbs and gated drums weaving around Higgs' unmistakeable vocal stylings, lending a minimalist ambience to the proceedings whilst keeping things moving with a staggered rhythmic backline and spine-tingling melodic turn.
It's follower, 'Run The Numbers' breaks down into a math-rock groover after an initial whimsical ambience, the sentiment echoed on 'A Fever Dream' but this time placing more importance on the beautifully introspective ambient bliss, shifting rapidly but from a propulsive rhythmic force into a beatless cosmic odyssey.
As expected, everything everything have managed to keep close the ideals of layered synth-indie whilst drawing influence from a host of corners of the musical spectrum. Brilliantly evocative, wholly imaginative and perfectly executed throughout.
'Can't Do' relies more heavily upon skittering drums and that trademark falsetto, taking things slowly into dancefloor territory, complete with stabbing synth chords, rolling bass and swirling guitar squeals. Eminently percussive, but perfectly balanced between the rhythmic backdrop and the shiny forefront.
Move a little further along, and the syncopated groove of 'Good Shot, Good Soldier' sees airy sidechained synth throbs and gated drums weaving around Higgs' unmistakeable vocal stylings, lending a minimalist ambience to the proceedings whilst keeping things moving with a staggered rhythmic backline and spine-tingling melodic turn.
It's follower, 'Run The Numbers' breaks down into a math-rock groover after an initial whimsical ambience, the sentiment echoed on 'A Fever Dream' but this time placing more importance on the beautifully introspective ambient bliss, shifting rapidly but from a propulsive rhythmic force into a beatless cosmic odyssey.
As expected, everything everything have managed to keep close the ideals of layered synth-indie whilst drawing influence from a host of corners of the musical spectrum. Brilliantly evocative, wholly imaginative and perfectly executed throughout.
STAFF COMMENTS
Barry says: Throbbing synths and skittering percussion lay down a perfect amalgamation of euphoric dancefloor synth-pop and staggering jagged indie, it's a fine line to tread, but Everything Everything make it seem easy.
In case you haven’t heard, D’Angelo is back. The prodigal son of soul and funk dropped his new album online in December 2014, with no fanfare, no hype and no upfront announcement. The soulternet lit up like a Christmas tree. For one so talented 15 years seems like too long a time to wait between albums (we've had to wait so long 'Black Messiah' has been described as “the black 'SMiLE'”), but D'Angelo had demons to slay, issues to resolve, yada yada yada... (for 15 years!?). Anyway, he's back now, reborn, refreshed and sounding as wonderful as ever. The album cooks up a gumbo of the greats - a dash of Marvin, a sprinkle of Minneapolis, some P-funk pepper and Sly salt, all simmered together to make 'Black Messiah' the tastiest real-soul stew around right now. Essential!
FORMAT INFORMATION
2xLP Info: Double vinyl pressing. Includes 16 page 12"x12" photo / info booklet.
Dry the River release their debut album Shallow Bed through RCA Victor. The band is one of 15 artists on the prestigious BBC Sound of 2012 shortlist, making the record one of the most anticipated of the year. The 11-track album, produced by Peter Katis (The National / Interpol), was recorded at his Connecticut home-studio during the summer of 2011. “We were looking for someone who could strike a balance between lo-fi and hi-fi,” says Peter Liddle, Dry the River’s lead singer. “We wanted to record the bulk of it to tape, to use analogue stuff in favour of computer wizardry where possible, but without it sounding like an old folk record. I think we tried to preserve the fragility and honesty of the more stripped down tracks, but still get the intensity of the live show across too - to marry those two aspects of our music without it sounding incongruous.”
With an esoteric list of influences ranging across Leonard Cohen, At The Drive-In, Neil Young and Bruce Springsteen, this is a record not to be missed.
With an esoteric list of influences ranging across Leonard Cohen, At The Drive-In, Neil Young and Bruce Springsteen, this is a record not to be missed.
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With scuzzy beats, trippy keyboard squiggles and vocals 100% full of attitude and belief, these Midlanders seem to have the lot. Like a more brazen Beta Band (similar 60's references, similar use of beats) or prime-time Happy Mondays, some of these songs are like chants or mantras that get right under your skin. It's powerful, low-slung-funky, effortlessly catchy fun!
FORMAT INFORMATION
2xLP Info: Reissued in original 10" double gatefold heavyweight vinyl format in a limited quantity.
Cave In began as 'a remedy for boring suburban hell' in 1995. Since then they've gone through a couple of line-up changes and have moved onto a more progressive metal sound, but still with the hardcore edge that characterised their earlier releases on Hydra Head. Steve Brodsky lead vocals and guitar, John-Robert Conners on drums, Caleb Scofield on bass and Adam McGrath on guitar have followed up the excellent album "Jupiter" with their major label debut "Antenna" a more polished, but impressively powerful set complete with a DVD of live footage and exclusive videos.
FORMAT INFORMATION
2xCD Info: Limited edition comes with a DVD.
Despite their tempos being slow and lethargic, their guitars languid, and Margo Timmins' vocals hauntingly detached, the Cowboy Junkies have become one of the most inventive of the new americana bands recording today. This collection features classics from "The Trinity Sessions" (recorded in an abandoned church for $250) the band's reworkings of "Blue Moon," and "Sweet Jane" earning them a diverse and dedicated cult following. This disc focuses on their early recordings released by RCA.
Handsome Devil is the latest in a line of punk-fuelled rock bands to come out of California. Their influences range from punk fore-fathers, Social Distortion, to today's punk flag-wavers, Offspring. Extensive touring earned them a spot on the world famous Warped Tour and they're tipped for big things in the near future. The album has a pure punk energy and attitude, with a nod to true rock bombast.
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