After releasing the album We Disappear in 2016, post-pop-punk band The Thermals more or less did exactly that. Frontman Hutch Harris broke up the band he had begun in 2002, when he assembled musicians to learn songs he had already recorded by himself. Now, 10 years after what was to be their final album, The Thermals are releasing a new record, Under Crushing Rain.
For Harris, writing and recording are the true artistic expressions of being in a band. Even though he has released three albums as a solo artist (Only Water in 2019, SUCK UP ALL THE OXYGEN in 2022, and Not Everyone is Loved in 2024), he found that he missed writing and recording as The Thermals. Though, strictly speaking, there’s still no band, as such.
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When reviewing Bayonne’s 2016 album Primitives, PopMatters described how “If Debussy and Phil Collins fell in love, Bayonne would be their baby. (That’s a good thing.)” The allusion remains apt. The Texan multi-instrumentalist has continually cited adult pop-rock luminaries such as Phil Collins and Enya, and that fascination with expansive, polished pop remains present on Bayonne’s fourth album, Filters. Yet Bayonne doesn’t simply recreate the sounds of the 1980s. He filters them — appropriately enough — through the loop-based production techniques of contemporary bedroom pop.
On Filters, as with much of Bayonne’s music, the dominant instrumental pairing is a resonating piano accompanied by vibraphone. The piano…
RAP have nothing to do with hip-hop. Or do they? In the 1990s, after a series of landmark court settlements brought an end to the genre’s sample-tastic golden era, producers began creating their own melodies. Many did so using the Korg Triton, the Japanese synthesizer released in 1999 that gave birth to Clipse’s “Grindin’,” Terror Squad’s “Lean Back,” Jay Z’s “Dirt Off Your Shoulder,” among many other immortal tunes.
In the late 2000s, as Missy Elliott’s “Get Ur Freak On” (another Triton classic) faded in the rearview, British producers Guy Gormley and Thomas Bush met somewhere on Britain’s South Coast. Gormley was making sample-based music and Bush loved it. They set about making “humorous big room techno, but with folk singing”…
The first thing you hear on Opening, the new record from Swedish musician Klara Lewis, is a grainy fog of ambient noise: the sound of waves, a roadside or perhaps just the creaks and echoes of the room she’s recording in. The whining reversed strings that soon emerge from the murk create a wistful atmosphere, but then things take a turn: the loop clips and distorts with strobe-like intensity; after several minutes, it cuts off mid-bar, as though it’s been unplugged.
This deconstructed, shape-shifting approach is typical of the self-styled “sound sculptor”, who has been composing uncanny instrumentals from a combination of acoustic instruments and processed samples since 2014. As always, she imbues the harsh experimentalism with real…
Hardly a glimmer of light has shone upon the world since Chat Pile broke out into — and against — its awfulness with their staggering 2022 debut, God’s Country. Yet here we are, inching ever closer to the sun all the same.
Sounding the alarm more soul-crushingly than ever, the band remain angry, deranged and mired in the muck of this place. With each release, they’ve sunk further into the dread and spiritual decay their music has always mined, as though modern life keeps rewarding their worst suspicions with fresh evidence.
Their latest, Who Loves the Sun — never mind its brooding, almost-taunting title — is the next evolution of that descent. It plunges further into the band’s sonic depravity, burrowing…
Around the time that he formed the White Stripes, Jack White had a stint as a guitarist for The Go, a wooly and psychedelic Detroit garage-punk band. White was in the Go when they recorded their debut album Whatcha Doin’, which came out on Sub Pop in 1999. Shortly thereafter, White left the Go, and they recorded another album called Free Electricity. It never came out. But after 26 years on the shelf, Free Electricity finally see worldwide release via Sub Pop.
The Go recorded Free Electricity with their Whatcha Doin’ producer, Outrageous Cherry frontman Matthew Smith. In a press release, Smith says that he and the band were listening to a lot of ’60s free jazz when they recorded the LP and that “there’s a heavy jazz influence on this…
Psychedelia in White, the third album from former member of Nick Cave and the Bad Seeds, Mick Harvey and longtime collaborator Amanda Acevedo, is a natural evolution from their 2023 duet debut, Phantasmagoria in Blue.
…Where the duo’s debut, and their second release, Golden Mirrors (The Uncovered Sessions Vol. 1) were predominately reinterpretations, for this album, the duo have recorded seven tracks of original material exploring some of the themes from their debut – mythology, love, hope, loss and mysticism – but with a distinct shift in musical style and an overarching theme of finding a safe space within the chaos and confusion of the outside world.
Psychedelia in White represents a seismic…
…features the previously unreleased studio track “Accidental Tattoo” plus twelve never-before-released live recordings captured during the trio’s 2016 tour.
When artists of note collaborate on a project, the greatest obstacle is usually balance. The participants may truly respect one another, but as talent, ego, and personality enter the picture, someone is inevitably going to dominate the proceedings, and someone else will end up in the shadows. Neko Case, k.d. lang, and Laura Veirs seem keenly aware of this on the album case/lang/veirs, an album of songs the three singers and songwriters wrote and recorded between 2013 and 2015. And these songs often suggest a conscious effort to make sure everyone…
Six years after finding themselves unexpectedly at a crossroads, Kasabian arrive at their third act with a fresh sense of direction and a renewed appetite for experimentation. Act III draws deep from Kasabian’s back catalogue without getting stuck in it, retaining the familiar while allowing the band to explore some new territory. As the third act following The Alchemist’s Euphoria and Happenings, it brings the curtain down on what Serge Pizzorno calls “a bloody opera” – six years that have ultimately led to this record.
The band’s ninth studio album has the distorted basslines, huge riffs and trademark swagger you’d expect, but also makes room for psychedelic textures and influences that take them somewhere less familiar. The tracklisting…
Just two years into their subtle takeover of radio, MTV, and concert stages across the globe, The Cranberries played a surprisingly intimate show in 1994 at London’s Astoria II. A recording of the set was recently discovered and is being released for the first time. The show finds a band that had just released their (soon-to-be massive) debut with a follow-up on the way (1993’s Everybody Else Is Doing It, So Why Can’t We? and 1994’s No Need to Argue). Despite still being a relatively young band, they played that show with the confidence many groups take decades to develop.
Coming off a series of massive gigs in the U.S. o, opening for Duran Duran, playing to a crowd of around 1,000 at this London gig must have been just as jarring as their leap from small…
The dawn of the British folk revival broke in 1965 when Bert Jansch’s “folk-baroque” finger style revolutionised tradition, providing the early morning light for a burgeoning psychedelic scene which, by 1972 had traveled from folk clubs to the high-concept landscapes of progressive rock, exemplified by the Eastern-tinged sitar-guitar on Yes’s ‘Siberian Khatru’.
Western artists utilised Eastern forms as a new musical bedrock. The Byrds transitioned from folk-rock into the uncharted territory of ‘Eight Miles High’, a track widely cited as the first true U.S. “Raga Rock” single. Driven by Roger McGuinn’s solos – inspired by Ravi Shankar and John Coltrane – it proved pop could embrace complex modal structures. Similarly, The Yardbirds’…
Donatell is the alter ego of Los Angeles-based artist and producer Daniel Memmi.
As Donatell, Memmi explores the discarded sounds, forgotten techniques, and dead-tech gestures of pop’s past, recombining them into uncanny future possibilities.
…If Italo Calvino had dreamed up Water for his Invisible Cities, he might have imagined it as a place with more screens than people, a city populated solely by screens: screens talking only to one other, faltering unison voices falling out of sync, a daisy chain of recent pasts and slightly less recent pasts, a time loop with a lazy, elliptical flow. A city of screens, and thus also a city of tropes — signs and symbols that have lost all interest in pointing to anything beyond…
No doubt the students that join the jazz program at The University of North Texas are incredibly advanced players eager to start making music with their classmates. But their development is also dramatically facilitated through their association with the program’s music director Rob Parton and the enthusiastic support and encouragement he and his colleagues give to them. Anyone hearing the school’s Two O’Clock Lab Band will be awed by the professional calibre of the performances and the preternatural maturity demonstrated by the band personnel. And it’s not only players we’re talking about, as its new Return Two Paradise release also features material composed and arranged by UNT students. That the album’s twelve tracks were culled from two…
The modern creative European trio Punkt Vrt. Plastik — comprising Slovenian pianist Kaja Draksler, Swedish bassist Petter Eldh, and German drummer Christian Lillinger — releases its fourth album. All three artists contribute compositions, adhering to unyielding rhythmic intricacy and classical melodicism to shape music that bristles with provocative interplay, freedom, and heightened expressiveness.
Draksler’s “Yogen” thrives on a half-step-shifting, mystery-inducing pulse. The pianist opts for motivic figures while the drummer moves from erratic fibrillation to deliberate syncopated fragmentation. This taut flow is regularly interrupted by pacifying jazztronica sections that contrast with the more…
Chris Murphy was born into an Irish-Italian family in New York, growing up surrounded by a wide range of traditional music such as Italian, Irish and Latin rhythms. Later, at college, Murphy explored Turkish and Indian music, so with this spread of influences it’s perhaps unsurprising that his work encompasses a variety of styles and genres, including jazz, blues, Celtic, folk, ambient and country rock.
Now based in Los Angeles, Murphy is principally known for his performances as a violinist, but he is a multi-instrumentalist and singer-songwriter, having a canon of more than 500 compositions. Murphy has also collaborated extensively throughout his career, and his latest album, Songs from the Trees, sees him working…
Ian Prowse has been making music for more than 30 years, first with indie band Pele, then forming the band Amsterdam in 1999, and now releasing albums under his own name. Having recently been inducted into the Liverpool Legends Hall of Fame, No Names, his latest release, finds him involving other similarly engaged souls such as Elvis Costello, Steve Wickham, and Damien Dempsey.
The first thing to note is the music is for the most part fantastic. Acoustic guitars jangle forcefully, Prowse’s vocals are impassioned, and there is frequently a joyous uplift to the melodies that call for audience participation. The arrangements are full of energy, but also nuance and subtlety. Kicking off with a slow arpeggio, opener ‘To the Letter’ soon takes flight into…
While Asher White‘s musical output is a little difficult to catalog after a decade as a prolific Bandcamp releaser, Love Aggregates is the follow-up — not counting her cover of Jessica Pratt‘s eponymous debut — to her critical breakthrough and Joyful Noise label debut, 8 Tips for Full Catastrophe Living. (It’s her 18th album by most counts.) A breakup album by someone with an aversion to cliché, it’s a surprisingly (bitter)sweet, optimistic-sounding one, especially given that White, 25 at the time of its announcement, has confessed that it was her first time writing an album while deeply upset. One of the conspicuous effects of this circumstance, however, is toned-down production compared to the mercurial 8 Tips. Having said that, only the acoustic…
Described as “a luminous collection of scenes and reckonings”, Love, the 7th and possibly final album from Dexys Midnight Runners if Kevin Rowland is to be believed, continues to display the regained spirit Rowland has shown since 2012’s One Day I’m Going to Soar. If 2023’s The Feminine Divine was all about sex (and without doubt Rowland’s autobiography Bless Me Father was full of it); Love is, well, unsurprisingly, about love.
The Feminine Divine was raw and redemptive, and Love is largely a smiling coda. Broadly working with largely the same set up as the last album, with Sean Read and Mike Timothy (Jim Paterson has three co-writes, also), Love reveals itself gradually. Horns and strings are used sympathetically and sparingly; the attack…
Arab Strap were full of middle-aged malaise from day one, at least spiritually. Now, 30 years on they’ve grown into the curmudgeons they were always destined to be, but their ninth album is just as funny and insightful as ever, as the grinding minutiae of life’s banality is contrasted with touching messages of hope and contentment.
Many of these songs are more or less an inventory of gripes on a given theme: internet slop, physical decrepitude, the manosphere etc. All backed with varied arrangements, like the no-wave skronk of ‘Dollar Park’, the old-school thrash finale on ‘You You You’ or the industrial jazz-rock bombast of ‘I Get Noise’. It’s a rich musical abyss for Aidan Moffat to shout into.
But while the one-liners and pop culture…
Longtime shoegaze fans and followers surely have certain sound combinations in their minds that they would love to hear, and one such a combination would probably involve My Bloody Valentine and Slowdive with a touch of Lilys to boot. And such a ‘dream’ combination’ might just have been recorded by San Diego’s Sparkler, a duo of Chris and Tron and a revolving set of guests who all seem to love and cherish MBV’s Loveless and Slowdive’s Pygmalion above anything else.
Of course, such adoration can go two ways – turn out to be a second-rate copy of the originals, or an inspired set of sounds that tries to build more where the sources of inspiration left off.
Luckily for Sparkler, Chris, Tron and their guests are able to come with an interesting take…
