The emotion on show here is true, explicit and celebratory.
Michael James Hall
The Minnesota trio’s tenth studio album takes us back to a time of beautiful, soulful hymns, hand in paradoxical hand with a gothic, ancient fear.
The Brooklyn duo use instruments they have made themselves to create the kind of wonderful, odd, occasionally transcendent music you are yearning to hear.
A glowing ember of a record that shares much of the spark of Mondanile’s “day job” band, but also their tendency toward stylistic appropriation over originality.
Breton are five Brothers Grimm, collecting the folklore of our era, scrawling their tales high on the silver screen forcing them out into the world through shuddering, filthy, metallic speakers.
A warm-hearted lover of an album that is hard to pin down but acquiesces to exploration and will, in a fairly filthy way, leave the listener sated, satisfied and inspired.
A move to Camber Sands is a shock to those used to the comparative luxury of Butlins but this year’s Shellac Curated ATP is no less amazing musically. Michael James Hall recalls his top 5 highlights.
At least half the running time here points at the positive, including what might be the “ultimate” Mogwai remix: well worth making an investment in.
A bold record – for the most part affecting, impressively assembled and ultimately enlightening. It asks a lot, offers a lot and leaves you richer for the experience.
John Cale largely resists the urge to trade of his past glories, instead opting to shape modernity in his own image. Michael James Hall reviews.
Ray Davies reminds us of the man behind the legend at Croydon Fairfield Halls. Michael James Hall reviews.
Strictness, precise savagery, burning frustration and searing guitars populate this serrated set of eleven purposely brutalist tracks.
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