124 REVIEWS! Leaf) id BONNY LIGHT SATAY Err es UT GREG DULLI cnr Det IHS) PUNCH Bl asda HOT CHIP FREAKOUT/RELEASE THE NEW ALBUM / OUT NOW“Werecoptuecttecorieete/Hecontratun secananookbahed ‘oRmany ofusJulyasbegan unexpectedly. There, online, was footage of ont Mitchellsinging "The Crcle Game”, "A Case Of You", “Help Me" and “Amelia” amongother cherished songs the previousdayatthe Newport Folkestival. Watching Mitchell giving her frst ulllive performancesince 2002 proved tobe a hugely emotional way to passa Monday morning ‘Graeme Thomson had already led this month’scoverstory ~about ‘Mitchell's fecundcreativerunthat followed Blue —whenthe Newport story broke. hankstosome impressively swiftandassured work, Graeme was bletotunroundacodatohiscoverstory,speaking’o ‘musicians who performed alongside Michellat this momentousshow and the festivalonganisersthemselves."Ourminds were blown,” one ‘musician reveals whichis perhapstheonly adequate esponse to Mitchel'sextraordinaryreturntothestage. ‘There'splenty moreinsidethismonth'sissue, ofcourse Asurveyofthe ‘Small Faces’ greatest songsby Kenny ones, PP Arnold, Andrew Loos (Oldhamandsundry other Immediatelags. Tom goesround Brett Gnthecover Sonitneloy ney bie Inast TheStFacer byleltHochberg! Coteylmagee ‘Anderson'shousetowitnessthe eturnofSuede ~enjoythesoft furnishings Erin Osmon heads to Kansas Cty where Bonny Light Horsemanare getting backin the saddle (apologiesfor the numerousbad ‘equine punsaround this), Sam hearsallabout Vieuxarka Touréand Khruangbin'srichand deep collaboration of Ali Farka Tourécovers, and Johnassembles former Fall membersto recall theband!'sgloiously idiosyncratic 982. There's Kraftwerk, Deniece Williams, Greg Dull, Dexys ‘and The Byrds, while wehavefinenew albums in Reviews romJames Blount, MakayaMcCraven (one ofmyfavouritealbumsoftheyear soar), Beth Orton, ALasarand abrilliant piecefromJohn Lewisinourarchive section onblacklrushmusie during the’6os.Digin, billatthisyea’sfestival We'llsee you there! Untilnextmonth.. And finaly, we'reofTiond OFThe Roadatthestart “Michael Bonner, Editor. Follow meon Twitter @michaelbonner ofSeptember. Asusual, we'llbehostingon-site Q&AS with some ofour very favouritertistswhoareon the (Instant Karma! ‘ThoByrds, EndOf TheRoad Buzzcocks, Doxys,TimBernardes 11 Karl Bartos Anaudience with 18 New \lbums Including:JakeBlount Lambchop, Both Orton, Pixies, Dr Johnandmore 38 The Archive Including DavidSyivian, Marianne Fcithfull, Vince Guaraldi Stereolabandmore 50Khruangbin How the globetrottingtriopulledott their mostoudaciousmusicalfusiontodate 56Small Faces Colobrating20oftheicgreatestsongswith Kenney Jones,friendsandcollaborators 62'The Fall 102 Lives Formertbandmembersrecalthe beautiful WOMAD Festival 2022, chaos" creating1982'sHexEnductionHour RichardDawson&Circle 68 Greg Dulli AtbumBy Album 106Films e ‘Nope, Crimes Of TheFuture,BothSides Of 72Bonny Light Horseman The Blade, TheForgivenandmore ToKansastomeetthetrioofprovenartists sr reframing trad-folk ballads fortoday 108 DVD, Blu rayand TV : a ‘MoonageDaydream 78Denicce Williams TheMakingOf Free” 109 Books é TomWeits, Charlo Watts, s2Suede ‘The VelvetUnderground Stay together: Brett Andersonandco ‘ontheirraging,‘punk new album ssJoni Mitchell How tofollowamasterpiecelike Biue? With arunofradicalandinteliigentrecords... Plus: JoniliveatNewport, 2022 Se tue eu eal Orcall01371.851882andquotecode UCPR2022 110 Not Fade Away obituaries 112 Let ler... PlustheUncuterossword 4 My LifeIn Music ‘Clare GroganINSTANT KARMA! THISMONTH'S REVELATIONS FROM THE WORLD OF UNCUT eae seamen tees “You can see people thinking, ‘These guysare PUL erie] Menem __ROGERMcGUINNa Byrdson the street! AyellowumbrellainNew York marks the beginning of the endfor the folk-rock pioneers first phase 0 thisday The Byrds don't now who gave them that yellowrumbrella"Rwasnot owned by any of us” insists Chris itlman to Uncut."Itwas probably brought along by ‘the photographer, Don Hunstein, who was Columbia Records'staff photographer” After laying the Monterey op Festiva in June 1967, theband had Flown toNew York fora television show ~ but frst they spentan afternoon walkingaround thecity with Hunstein and that bi yellow ‘umbrella Thy interacted with kids unning through open fire hhydrantsandhad beersata local bar, Outamong everyday New Yorkers, The Byrdslooked the part ofrockstars. "You can see people walking byandlookingatus, thinking, These uysare notnormal™ ‘writes Roger McGuinn in The Byrds 1964-1967,anew book of photographs curated by Hillman, McGuinn and David Crosby. They wereat the height oftheir psychedelic phaseand tensions \withinthe band had eased, ifonly briefly. “Everybody wasgeting along wellin that time period,” says Hillman, “There wasnothing ‘outoftheordinary with rition, although inall musical groups disagreements were common: However, The Byrds would undergoaselsmic upheaval shortly afterthisphotosession. Drummer Michael Carke quit duringthe Notorious Byrd Brothers sessionsin August, and Crosby was fired Taterthat autumn, While the band continued evolving without them, thoselosse marked the end of The Byrds’ remarkable firstphase.“Idon’tremember how ital unravelled,” Crosby \wrtes. “remember what wasstarting o gtinto,and twas dark... Deop down, probably wanted toleave The Byrds anyway because The Byrds didn't swing, Wedid what wedid rea good, but I wanted toswing.” Compiling these photographs - many which were plled from the Sony archives and have neverbeen published ‘amounted toan unofficial reunion. "We wereall working remotelyon the project.” says Hillman. “We ndividuallychose the photographs each ofusliked, then weall reviewed the choicesand cameo the final ut together. Beingin that and \was the most important thingany of us have everdone, and for ‘methisbookrepresens the best period in the band's history. ‘OSTEPHENDEUSHER ‘TneByrds 1964-1967 is publishedbyBMGBooks onSeptember20Tyebeen fllowingherfora couple Hof years. Obviously shewas in Goat Girlbackin the day and she'spartot thiswhole'ebirth ofolk'scene in South Londonatthemoment with roadside Hacks and Shovel ance “7 Gallective. But hersolo stuffalso has E thisBraztianelement,and her voice {sjustincredible.Isawrherwitha | fullbandat ServantJazz Quarters fanditwas ne ofmy favouriteshows foflast year “WE always ry ogive peoplesomething they don'texpect;” says EOTR co-founderand curator Simon Taffe. Aswellas the festival'susual smattering ofsecret showsand pop-up performances, the Disco Ship has been transformed into The Boat-anewlivestage dedicated to out there sounds that Taffe describes.as “Cafe Otoin the forest”, hosting thelikes ofJames Holden, Snapped Anklesand Duncan Marquiss. [think Stephin [Merrit] isone of the greatest living songwriters. Te way houses wordsissospoton, funny andwry. I's very underplayed but stillshowyaswell.'vebeen tying ‘ogethimto playsince ourfrstyear 2006, 1dan'tthinkhe'smuch ofa festival person, butwe convinced himwith the allure ofthe Garden Stage. Ill bequiteaspecial Saturday night headline show evenifsomeidiotsputthemup againstthe Pixies! mintoalotof African musicand {hsisjust pounding lve energy. You feellikeyou'reina workout session, they Fully goforitfora solid hut. slike going intoaboxing ring with lotsof people -ajoyful botingring! You don'thavetoknow the band tall, just umupand you ‘an'tnotenjoy the how. “Isareal music lovers’ festival,”hesays proudly. “People aren't thereJustto get fucked upand have thislalry party - although i's obviously not completely tame! Hopefully people notice the attention to detail that we've putintoit, fromevery artinstallationtothe way we curate the band: toptips forashort-cut to FOTR nirvanawe'llsee youdownthe front.» SAMRICHAROS Forme, they’reone ofthe most exciting English bandsaround, ‘They playediast year and wehadto havethem back, Singer en Woods has go thiseally dry style that's kinda country sh, butnot guess thebest comparison s Bill Callahanmeets vid Byrne. His songwriting'ssogrown-upand interesting ana funny. "Here areTaffe's She's from Australiaandshe'sin the work ofKing Gizzard, all those bands, butsbe's nothing ike thee. Wskindoffolk-punk, guess. Actually thebest way todeseribe herisiikea bluessinger.She's got thisreally deep, gravely voice, almost ikea female Nick Cave Pmreallyexcited about heras someone newon the scene and Tthinkshe's going ogo far. He'sbeen on the scenearound the ‘oval Refreshment entreforyeats, Dutthere'sno-one who sounds like him. He'sdoing something completely different wherehe's mixing azzandfolkandspoken word. He's gotthisNorthern wit about him, batalsothis pie joy. There's something magical about him, keashaman, Youdon't ever ‘kno whatto expect frombis performance, but hehas this quality ‘where he makes you fel amazing.® End Of The Roadtakesplaceat Larmer TreeGardens, Witshire, onSeptember 1-4.Swingbythe TalkingHeadsstageforUncut's daily Q&A sessions with someof the festival sbiggestnames full dotalsrevealedsoon!AQUICK ONE He'syourman!Onsaie now'sthe148-page Deluxe dition ofour tol ‘We revisitallhisalbums with thepeople who \workedonthem, there’sanexpanded take onouronthe road feature from 2008,plusadeepdive intoCohen'sturbulent ecrly 1970s. Youwant iRdarker?Dimthelights forasneakpreview ofthe forthcoming documentaryandanew reviewofLenontim. Alsostilinshopsor ‘evailable fromUncut, couk/ingleisour specialedition.Essontiol readingforsummer babesandrangelifers everywhere! TalkingofLeonard Cohen, ‘ore poisedtoissuean ‘lbumofjazzy Cohen covers, sungby thelikes of. sand »Hereitls:A Tribute ToleonardCohenisout enOetober 1d. November's hasjust revealeddetalsofal jributeatthe BorbieanonNovember 20Helmedby theconeert wilfeatureguest ‘oppearancesfromthe extendedCherryclan, including ond gle onthe bittersweet experience of makinganew album without his "brother of 43 years” Pete Shelley ISteve. You'reabout toreleasethe first Buzzcocksalbum for eight years and of coursethe first without fellow founding memberPete Shelley. Was there ever any question of youwindingup thegroup? Wel, it wasa very painful period. Fost my brotherof 43 years. Butwe had gigs ‘booked, including oneat the Royal Albert Hall, which tured intoa memorial forPete. ‘Themanagersaid, doyouwanttocarry ‘nas Steve Diggle \ddoitthat way? mean, Johnny Marr does Smithssongs, 14 Peter Hook does JoyDivisionand New Ordersongs. But wealready had gigs booked asthe Buzzcocks, sothatdecided itreally. Wasitastrange experience going into the studio without Pete? At firstthad totreatitjustthesame,as if hhewas somewhereelsewriting his songsand was doing mine. But nonetheless twaslike being witha woman for thefirsttime~ you'renot g : ; :— i 32. © Be 3 ‘Whatdid youthink when you firstheard AfikaBambaatac's “PlanetRock"?Laurence Gibbs, Walthamstow London ‘waswith Ralf [itter|on the dancetloor {nCologne. Thereweresomany good recordsat this moment, allthese electronic pop sounds. But “Planet Rock’ ‘wasa celebration ofthe dancefloorin adiferentstylethan disco, Disco was justmarching music thought the ‘marching drums! They picked py beat, the°Numbers” beat apparent with ‘an 8o8 machine, Butactually played ity hand withanother recordin mind, You know CffRichard, thefuny singer ‘ith the great voice? Herecordedasong (originaly by Bobby Freeman called “Do ‘You Wanna Dance?” The drummer, Brian ‘Bennett, heplayed an introduction four “oreightbars ~and wien Iwas ery young Thought, Wow! The drumbeat wasso cooland thissongstuckinmy mind. And forsomereasonon thiseveningat the Kling Klangstudio, my subconsciousis bringing theeclingof thisdrumbeatand Iplayed somehow the feeling inside ~ not ‘thedrumbeatitslf,butmy subconscious dda transformation, Ths gcreally lst Inthecomputerage becausei’sso simple tomakean acoustic photograph ofthe ceventorsampleitditety. Butsometimes itsbettertoclimb the mountain instead of usinga cablecar IntheGermaneditionof your ‘autobiography, younotedthat you stilhadthe MlingKlong studio session tapes.|sit possibilty these couldbe releasedinthe future? James esta, viaemail ‘Thegentlemanhasto waituntl Tie! can’treleaseit Iwill face some problems ‘fldo. Maybe! wil finda museurto ‘makea,eul[ Kraftwerk retrospective. 1 ddon'thearthetapes veryofien, but when Iwrotethe book] waslisteningtott.And itbrought me backto this idea haveof the Klang Klang studioasaroom where time was revolvingarounditselfonthe tapemachine, Now fyou open upa ffomanelitebackground, what you're Jookingfor, wharyou'vebeen told, is that you've gottohavesuccess.Aslong aswe were successful, everything was (OK. Anal then nthemidieofthe'8os wedi letrc Cafe, anditwasn'tso sscesefultwasreallyalop. And atthe same ime, everybody was nowusing electronicdrums,eletroni keyboards, synthesisers. My alte friends Ralfand Florian, they were overwhelmed by tha Andso they stopped working, Wewere stuckin thestudioforalmost years, and that was toomuch formein the end, After Kraftwerk youworkedwith JohnayMarrandBernardSumner ‘enenElectronie album. How did you ‘adapt to theirmorehedonistie world? DaveFanshawe, Keighley edonistic? don’t know, they're amazing good! musicians, They cameo vistmein imystudio when Istillvedin DisseXdort anditwasjustinstant, liked them very much. They were very funnyandvery seriousatthe sametime~lkemasic! Wespentquitealotoftimetogether. Wewenttothe Hacienda, and went Berinwith Berard forthe LoveParade So wehad good times together. Ournightout with Nell Tennant inSoho? Itwas very private! “Hetookustosomereally ood places computer, nothingisrevolving, there's noairtobreatheinside thecomputers virtual space and nothing happens. Itkils ‘communication, When we firstintoduced acomputerin thestudio, wedidn' playany more. Wedida'tlookeach other Intheeyeand couldn" play mae tice Whatwouldhave and wewerecruising through been yourpreferred Sohointhe night. But want direction for Kraftwerk toremain friends, you know? togoinduring the'90s, hadyouremaineda Kraftwerkwereamajor partoftheband? Influence ontechno, which Beau Waddell viaermait becomeahugescenein Playlive Wedd playlive Germany Did youever after 1981 until 1990.Soit Visit any ofthe famous \asridiculous. Also, we Germantechno clubstike Justi onerecord and ‘Tresor orBerghain,andif afterwecame upwith sowhat did youthink? BlecrieCafewemadea ‘Clauel Smith, viaemail rible mistake, toremix furoven ecords Inthe secondhalfof the’, wewere listening toomuch o what's sgolngon in the worldand onother records, Wewenttothedancefloor and played oursongsthere, and we compared them toother tracks ikecompetiton. And fom autonomousartists, we changed into sound designer, [musty never was so much intotechno. think’ good when youareina clubandifyou wanttodanceallnight, and you're Ina party mood. Butitsjustone Iitlesticeofmusic, and there'sso ‘many tices Whatkind of musiede youtle listening tonowadays? Any recenttracksonrepeat? Clarisse Quilino viaemail Ireadsomewhere thatRalf Thavetoconfessthatsince Easter, \wasthebadcopandFlorian ] | PmstuckinthesAarhewPassion.'m [Schneider] wos the goodcop is abigfanofBach and Iwillalwayslisten thathow youremember them? {oStravinsky ort John Cage. Butapart Peter Fors Stockholm fromelassical music willany listen to They wereactually muchalike,Theycame both rom avery wealthy background they had deep pockets! Ifyoucome people know personaly. ol listened ‘oFeverDreamby Johnny Mar, because Tlenow him. wil isten to the next Neve (Order record, definitly. Buttoomany peopleare sending me ecordsallthe time! Thave tomake my decision, Iean't listentoeverybody. © TheSoundOfthe Machine: MyLifein Kraftwerk AndBeyondisoutrow, publishedby OmnibusPressFeaturing tracks by Se 2 - Captain Beefheart Blaze Foley Chuck Jackson Link Wray Michael Hurley and many more Between the Music Volume One Out 16.09.22 - Released on End of the Road Records - eo Double Vinyl and CD pre-order: cae endoftheroadfestival.comeuruatetlackzttethn/youcntpy ye abaterlernonun® THE UNCUT GUIDE TO THIS MONTIVS KEY REL. EASES JAKE BLOUNT The New Faith Ambitious \frofuturist concept work from roots music’s latest rising star. By Rob Hughes CTAVIABUTLER'S so93scisfinovel, Parable OfThe Sower, tracesthepightofa youngblack womanin post apocalyptic world, ‘gatheringcampanionson ‘journey forma new communityin Northern California. The contributing factorsaremade ‘depressingly clear ~climate change, thefallofsockety, corporateshithousery —leadinghertosetupan entirely new religion, Farthseed. An early example ‘of Arofutuism, thestoryhas now inspired adirect corollaryin Jake Blounts remarkable The New Faith Ammul-instrumentalist and singer fom Washington DC, Blount'srecorded CVs stil prety slim, Heselt. released an EPin2oy7, cutan old-timefolkalbum aspartofThe Moose Whisperersa year late, then followed up withasimilar effort alongside fiddler Libby ‘Weitnauer)asTui-Butitwas 2o20'ssolo debut, Spider Tales, that brought him wider notice. Ascinilatingset of repurposed old tunes, centred ‘around banjoand fiddle, the albumsoughttouncoverthe hiden codes of Americar rots ‘music reframing them froma blackandqueer perspective. Blountisbetterqualiied than mostwhenitcomesto thisstufl. Armed with adegree Inethnomusicology, he'sascholarwithan informed take on back and indigenous American folk tradition, highlighting the centuries-deep connection toaform of Appalachian musicthat'soften perceived asprimarily white. When he'snot playing or recording, you'll mos likely find Blount teaching Danjo undertaking dutiesasa founder member of ‘Bluegrass Pride, ormaybe sharing hisknowledgeat prestigious bodiesIike Berklee and Yale. Allofthismay suggesta somewhat dryapproach ‘ohisart. Yet Blountevidentlyvaluesthe innate physicality ofthe music heloves, making forthe {hilinalyrawand intimate nature of Spider Tales. Richer, fllerand more complex, TheNew Faith develops thesound and allegoricalideas ofits predecessor and buristhem forward into an Imagined future. ‘Thealbum's promise ‘borrows rom Octavia Butler's dystopian templateinoften spectacular ways. The planet hasbeen decimated by haman folly ts ecosystem destroyed, itscitiesravaged by warfare. A small group ofblack refugees, “worn downy storms and starvation” are cursed to ‘wander northwardsupthe coast, eventually setting up hhome onan islandin Maine, ‘Aside from oncanother, their ‘only comfarsarethesongs >therulersthat dwindling ofhope, Bountsingsoffnding failed toacton ahomeinthe great beyond, guided by keepingtheearth | thoseancestorswho'vealready passed on: alive,leavingthe | "Mybloodrunssochillyansoslow/The remaining populace | oneswho have gone before me/Gon’ pilot towalkacrowded | methrough as go" SkipJames' "They Are pathintodarkness. | WaitingForMe" isanatural companion ltalsomarks the | plece hough thistakes a more celebratory entryofrapper | tack, analryfolktune convinced ofits Demeanor,aka | destiny through “those beautiful pearly JustinHarrington, | wite gates” nephewofanather | Thekeyto The New Faith youfeel, cutting edge liesintsfinalact. Blount spoken-word rootsmusician, | passagetalksoftherefugees drawing, Rhiannon Giddens. | renewed strengthinthedepthsof Blountsyries destitution, inspired bythe terrible ‘ofanoestal tradition they carry with alludetocenturiesof pitiless exploitation, | hardshipsundergoneby theirancestors. them, time-wornspiitualsthatremind —_ includingthepresent day migeantcrisis, | To llustratetheideafshazedstrugele, thom ofhome, ‘Theyheardaboutthewaterrising/Made | Blind WilieMcTelt's “Just As ello Get Blountandco-producerBrianSlattery | aplantotakeadvantage,hadtoenterprise | Ready, You Got ToDie" is imprinted with soundtrack therefugees'tekasamodern i”, psDemeanar.“Wecansellaboat and | anotherreftainof Angola”,as Blount fieldrecording, basedonblackreligious _cansellaboatioad moreforsure”. Plays the same overlapping motifon banjo setvicesfrom the hrsthalfoflast century. Asthesongseguesinio"DidintItRain’, | andstrings ‘Andwhilethesourcemateralissecond-theBiblicalacoountofNeaW’sflood made | “GiveUp The World aroth-century hand thoughtful mixtureofthearcane | famousbySisterRosetta Tharpeand. slave song of unknown origin, custothe and thefamiliy) vivid newarrangemenis | MahaliaJackson, thesameoppartunistic | heartofthe refugees essential dilemma: Dringittodazzlingnowiife,togetherwith | themestalksitswaves: ‘Cryin’ brother, | lifeordeath fight or ight. Both options periodicraps,freshlyricaltwistsand _cantyoutakeacouplemore/Brothersaid, | arepresented almost within the same Blountasomniseientnarator.Anumber Well ourwalletlooksalitlethin/Ifyou | breath: “Why won'tyousive upthewerld2/ ofrecordedsamples,largely fromthe cartpay, you'd better learntoswin. _My brother, don’ryougiveup the word” Caribbeanandrural America,aredeftly Adeepbassthrum plungesinto the ‘Thebeautful*“Once There Was NoSun” looped through the songs, whichare fathoms, beforeBlountsvoiceisechoed | closesthealbumonan equally forceful dominated bybanjo,fidleand stomps-_ byagospelcallandresponsefromatrio | not. Again gleaned from Bessie Jones, and:-handelaps percussion. offemaleguests:RissiPalmer, Dorjay | andmaking finaluseof "Angola" it Dividedintothreesectionsunderthe _TheSinging Shaman ancl the Uncut brings together everythingthat makes tumbrellaheadingofpsalms,The New endorsed Kaa Kater, The New Faith somemorable: rousing Faithbegins naturally, withabaptism, | Themiddlesectionof TheNewFath, | gospelvolces, agorgeousbanjo melody, “TakeMeToThe Water” drawn fom “ThePsalmsoftheGravedigger.finds | carefullyarrangedstringsandahistorical BessieJones'reeordinginthemid'os, | issubjetsreachinginospritual {hrough-line that unitescenturiesof servestocleansethe protagonisisfom the _andreligiousritualforsolace seeking _| shared experience and human tribulation, sinsoftheirforefathers.Environmental salvation inthepromiseofanafterife. | ‘Thesecrettonavigating the future, Blount soundsgivethesongasenseoflocale, __VeraHallslate“sosversionisthekey | suggests, istoassmilatethelessonsofthe ‘underpinned byanominousdrone,the __textfor“Death Have Mercy” Blount pastand remain vigilin the present. resultofBlountsamplingaslamming and Slattery choose toforgothesong’s The New Faith doesn't pretend tobe ‘metaldooronanabandonedfortinMaine. customary mood—amournfullament, | prophecy orsome kind ofsurvival Crucially, to,itsignalsthefirstuseof | aspopularisedbyRalph Stanley’s"O | manual. tis. instead, acelebration arecurtinghistoricalsouree,“Angola", Death" onthesoundtrackofOBrother, | ofthe inherent power ofcommunity sungbyensiaved AficansinJamaicain Where Art Thou?-foran upbeatchutchy | andmusic'sablliytoconnectand 3688and collecedby ravellingBritish | Kind of gospel stir, intercut with resonate though theages, created by physician, Hans Sloane, emeanoc thyme. someone fastbecoming oneof themost “TheDownwardRoad”establishesthe | “CityOfHeaven”isrecastasamoody, | important young voices inmodern album’snarrativecontext,denouncing | slouchingelectricblves.Here,amidthe | Americanfolkmusic. SFAITH’S FOUNDATIONS? L Fromstripped-bock debut EPt02020solovisions = J ria are Ce : ESE ee = “Reparations” ‘Astiring soto Blount’s personalvision sere ee booed Le, Memes, Serer eee Se a ees ———— ee ee ae ee Sono Soa Gee ‘TokeMeToThe WterPrayer 2TheDownward Rood 0idn¥tRain ‘TengloEyosiues ‘Porable Morey 7GityCalled Heaven thoy Aro WiitngForMe Pac sO lusts Wet ‘GetReacy. You GotToDie A1GiveUp The Werld 320nceThere WesNoSin Producedby Joke BlountendBrien Scttory Recordedat Frehoure 12, Newhaven, Reade Recerdingco, Partand Mee Jokeeetudo, Providence, Redelstand Bron sto, Newhaven, Connecticut Personnes ke Blount(voeals fila boro, boss. percusion strings) Ban Setter (percussion ‘itoring Bemecnor cosas ton. (bass) Joe Delornets (Goss) Somuel James (gut, Dovey The SigngShaman Koiokotorussie ReePaimerlton Werbin(vocals)Jake Blount: "| fee! likel was atthe cutting edge of whatIcould do...’ This clbumfeels deeper ‘andmore ambitious than Spider Tales.Doyouseeit ‘@sacontinuation? Ithinkso. Therearemomentson Spider Talesthat anticipate The New Faith. definitely agree that this new album is ‘more complex, more personal, and has different kind ofdepthtoit.Insome ways. it'stakingthe ideas behind Spider Tales, which weretoexploretheseold traditions from within the community ‘andthe waythat they progress through thegenerations, and throwing that hundreds of yearsintothe future. I's ike, "What would future people be singing ifthey wentbackand dug through centuris-oldsongsand lterpreted hem with thesounds andtechnologyavailable?” Whatmade Afrofuturism theidealway topresent thisidea? Aofuturismhasbecomean {important part of how Ithinkabout thesetraitions, partially because sometimes fealso dislocated. 'ma biracial blackperson fromacity that’s kindofSouthernandkind ofNorthern, ‘who grewupinanuppermiadle-class setting butis performing working-lass music Sothere'sadegreeof closeness andalsoa degree of separation betvren ‘meand the things hat do, artistically. Thinking about thefuture gives me theabiltytoseemyselfaspartofthe continuum, even though Idon'tfel rounded in something that oesbackto ancient times,Somuch of Afrofuturism Isaboutfiguring outwinerewefitwhen dandnewatthesame time. Whatwas thecriteriafor selecting the songs? ‘When pitched thealbum to Smithsonian Folkways, itwaslike, “| ‘wanttomakean Aftofuturstalbum ‘ha’skind ofa eld recordingoblack seligious musi fromaftertheclimate crisis Sol wentintoitwith thatidea, And when igobackandlistentothose ‘old songs, tend to fee thatsomeofthem arenotactually aboutreligion. Religion isjusttheavailabeallegorytodiscuss ‘he topic that they want togetto. Sot Ustened through old recordingsand ead through old books, looking forthingsthathad minimal CChristianimagery.ifanything. oA ‘wanted to thinkbout things Berney thatcouldbeflxible, that coudleavebreathing oom fortheculturalcontext that thisthingis happeningin What were sulooking for with Bemeanorandthe roptextureshebrings totheclbum? Demeanorisa god friend of sine from NorthCarolinaand "koe goingint this, that wanted arapperonit Because aller what hashappenedin the pass years, how could Timaginea futureinwthich blackmusicdoesn'tinvel rappingfrontandcentre? “How could Limagine a future in which black music doesn’t involve rapping?” JAKEBLOUNT Ne, I cnsnsnnennsnne "NEW ALBUMS © Isjustbeen toobigofan influence, Healso plays the ‘banjo, sofcould send him trackand he'd knowwhat todowithit.Itcould've gone poorly fd chosen the wrong ‘person bute did justan Incredible job. ‘Wasthereamoment duringrecording where itsuddenlystartedto ‘comeinto focus for you? Think themomencwhere? found he pulseof what set ‘ottodowas “Once There Was NoSun™tjusthas his vibeand flexibility anda living breathing quality thatsomany ofthe source recordingsi wastryingto ‘emulate have. Butitalsohas theexpansve, futursticand dleepharmonic vibethat Twas Tookingforin the sweepingstringparts andeverythingelse. And therhythmic complexity things that making upas Tgoalongand melodies that 'mdrawing fiomadocument from 400 yearsago. IWfettlikethatwasthe wholepointof the alburn, “Once There Was No un” {sthismajesticsongaboutthe music of thesphetesandwhatever else. SoTwas like, “OK, this has tobe ig?" wasa powerful momenttobeabletobringatl thasethings together and ellie was atthe cutting edge of what eoulddo, Yourversinof DeathHave lercy” gives thesonga. completely different spin. ‘Wien everybody records that song, they tendto doa low, dark, minimalist version oft. Whichisnottosay those versionsarent grea, butitdidn't necessarily fel that honest for what "weweretrying todo. Weweretryingto embodiyablackreligous service that ‘would havea tof people singing. And even thoughtherearesomesolo singing ‘moments onthe album, wewanted mostoftto fel likeanens songkindofguided isle ‘wanted thatfourto-the floorbeat, £0 Tsangthe ies overitand then Brian [Slater] went: “Whatiftdoadiseobass part?" Therestdeveloped outothat. Thatsong probably has more moving partsthananythingelseon thealbun exceptmaybe “The Downward Road! ‘Sowhat'snext for you? Tveactually been doing alotof blues suitarplayingrecentl. Some f that appearedinavery odd way on The New Faithintheformot“Didn' tain” and its off the-railsguitarsolo. My family’s from Virginia and Piedmont buesisa really bigpartofthemusicallandscape there.SoI'vebeen digging into that aotmore.thinkthat'l figure petty rominentiyin whatever do going forward. ereenewsrosivGnesLAMBCHOP The Bible eo 9/10 Kurt Wagner bouncesback from self doubt with help froma community of collaborators. By Daniel Dylan Wray ESPITEbeingin themidstofone of themost prolific periods ofhiscareer releasing fouralbums andone EP between poxband2oai—Kurt ‘Wagner was questioning things. "What thefuckam doing?” he asked himselflast year, momentaity rapped inaperiod of spar, before getting back to workand ‘makinganother album. ‘The esulting record isonesteepedtin reflection. With the backdrop of Wagner actingas primary caregiver forhisfather, along with his own uneasinessaround life and ageing, mortality naturally seeped intohisconsciousnessand analbum exploring the essence of if, self and spirituality —inanon-religious manne, thatis—floated out. On the opening “His Song sSung", ‘atrackrichin engulfing yet dramatic sirings, tender pianoand warm production, Wagner sings:“I confess hhaveno purpose/I'mnotcomplaining/ Now these days aremeasured bythe umber Thirty sunners from today”. t may presentan image fan attist 30 years Into his career, who was alreadyalate ‘bloomer, Felingalittle at sea or losing theircreativefooting, buttheartistic ‘transition that follows on the album indicates anything but Lead single *Poice Dog Blues" Is beautiful encapsulation of suchajoumey;a vastamalgamation ofstyles that takesinsoating soul, sprawling rock, subtlejazz, buoyant funkand that distinctive Lambchop quality thatcomes from the simple but potent combination of honeyed vocals with delicate piano (here provided by Andrew Broder. Itcaptures thetone fanalbum thatisrichin ambition, scopeand innovation, and forwhich genre categorisation feels utterly futile ‘On2o21'sShoweunes, asonicdeparture Inkself,therewasan almost ambient silliness, thealbumunfuringalongin gently rippling waves. Whilethereare ‘imilarmoments to beheard, suchas ‘onthe deeply atmospheric "SoThere” theres much more yramism, punch and vitality here. "Lite Black Books" {sasclosetodancemusicasLambchop haseverbeen.I'satrackitat glides from futuristicelecronicfunktasnapping beats coupled with melodic sabsof piano and wobbly Auto Tune, I’saboldand expansive ong that felsemblematic of where Wagnerisasanartist: making coaselesly unpredictable musi. Perhaps thistrack’sclosest musical relationshipis ‘obefound with contemporary hip-hop asitinereasingly embraces moredance Jeaningelement. “whatever Mortal” beginsasalmost straight up azz, wth bouncing double bass standing imilyas the skeleton of thesong, before spirited gospel vocals appearin harmony around aninfectiouslyIts the work ofan artist attempting to stretch out the parameters of their own imelodicrefain. Thissoon becomes enveloped byastiring brasssectionthatlits the song intoarousing sectionbeforeit settlesintoa dstinetly unique groove, existingsomewhere between jazz, soul and introspective electronica. The opening yriesof “Tamnot OK with (hisbuthere weare™ onceagain suggest adisaffectedstate, Douche musical counterpointempyoyed takesthesongfroma Position of seeming Aespondencyinto anenhanced sate of rmusiealjoy.I'satactic deployed throughout therecordone with ‘momentsofintense ‘melanchaliathat canborderonthe depressive butare ‘constantly elevate by surprise musical Darsts.Thiscreatesgreatclashesof feelings, asrellectvesoul-searching and rousingjoy collide simultaneously. fWagneris shooting forsomething KurtWagnerspirituaity.ikeort, Bs residesinuscll” ‘Youwere considering youroptions ‘as amusician prior tomalding this record Were youclosetostopping? ‘Thereispentwheremonyofuaquestion curlnesandvinereinestondinthemicetot ‘osvorstyandoverwheimingelrcumstanees beyondeurcontralnevertelikal would stopmatingthingrbutrothertrytotind ‘wry tocontnuetodocotiough the coursectmyabityeslstepintoanage ‘rouprot parbeariyknowntorte id youhave an cim/mission statomontgolngintothisrecord? lhadanideathotepirivaty heart tools something hotreidesinutolthelestoguide {hour perspective ofthe werdondheles \Urdealvithbeingaportoit Living outsideot cxgarisedregjondoesrotprecudeus rors having thissptucexperiencethroughour cerpreason Satis gether ihtheiseathat onic world fundamentally spiritual here, pechaps itslinkedto theoverwhelmingfeelingof finding surprising heautyand conection Inlifeduringa periodwhen tseems most unlikely. Thehugelistofcontributors for thisalbum readsmorelikea community thanacreditlist, and this kindof collectiveenergy clearly something Wagnethas harnessed. Theseendlesstwistsandturnsthat Wagner keepsmaking musically that inmany ways havecometodefine Lambchop'slate career may fol dlisorientating forsomeealylay adopters ‘used to that more classically Americana sound, However, despitebeing born froma period ofdeep questioningand selfreflection, The Bible doesn'tfee ke ‘confused orlostmusicianchasingthe zeitgeist or wandering aimlessly. Instead, isthe workofafocusedartist whois consistently altemptingtstretchout the parametersoftheirownever expanding Sonic wold Lastyear City Slanglabel boss Chistot llinghaus told Uneut,“Kurt doesn’t hhavea singlenostalgicbonein his ody", and that'sro moreevident than here. Everythingabout The Bible suggests fierce, steely gazelocked onto the horizon, proving that maybemore artists shouldstopforamomentand ask, What the fuck am fdoing?” In this Instance, ithas resultedin yetanother late-career highlight ‘herecordnesdodiohaveadverseaperoach tosongsondshoukelectthecstaboraion wthRyenandandrewbelpgpartotthe piss neice eats Whisisnalbumthatasksalotofthe questions did youcome away with ‘nybiganswers?ieome oy ang revertiertchoysthopant report inthelolang the exmnngot one rextence enapatngtingsinpersectve ere pestleforetomatasometnngthat fooethootreshbrecthtomenifent twroppedinonew blanketashopenats tyentoanow do. Whatdoestthisrecordropresont to YoU? Surisocomestomind.Thotthere sflleleinthe didhounddegyet Ao that therecrestiinrecblecrtatsouttherethat ‘revelingtoreavhathonpensu/menivedo things together trealysajoyandajoytl nokse wemade togethor INE EWANEL DAVY sHSongesing 2urtobeckbores a0asy {Awhctover Mora SaMjortinor Drop sPotceDopBues Poylonatine Hoteetop Bevery Chia Begin tbe Wor toon Sethe foTrenetasc Prasad yon JOtenand andrew bree Pacordt yon Pascoe! aentart ogo ea precenin rong rongement), tose Brode (ena erengorent Prosarnna ecrsegutcr Synth boc benges) yor Olen erergements ees Prgrering. imaron cies Borden Jn Ft Aloette, fowericoon) UiterenBote [Erorveeas). Toxycrow ceepraton cd Scrmencomered (Gomanom arongement), Coledavatnam ters) TinFan (rote Modan Hotmen Se Srrom(oe) Bidgetbey erp Kiet lctrmony (epetchon, Heathew Mecasghon rccecting [avengametoy BloreMorgan rootsnges vocal Poul Nea oe gute eromy smn Tt ‘Ono(boate) Even Soak(eectre uta Atos Sineeote) NEW ALBUMS © Ato, This month... P24 P26 P27 30 Pat P32 P34 37 MAKAYAMCCRAVEN TIMBURGESS BETHORTON PIXIES JESCAHOOP DRJOHN. ‘SUEDE AL-QASAR ‘THE AFGHAN WHIGS HowDo YouBurn? ano Altrockvetsmpassionedninth Inthelast20years, reg Dull has tected two fne side peoectsand recorded hissoio debut, butrowhe's palledthe Whigs backinto Sharp) focus. Theiefirstinfveyears aps lassicrockand pop, ginginbard ‘witha QOTSilikesuitarvampe ‘open the barreling TT1Make YouSee (ext Theres atomot variety hee, thoughs"The Getaway" borows from thepsye elie Beates, while “Take Me There"Isdrivenby abluesy chain-gang®hythmand “Concealer” Ditea tender spotviaacoustiegultar and Dullsechoingeroon. Closer “inFkimes” ieaweleomereminder thatfewcanmatch the Whigs inthe sow-burn desperation stakes, ‘REN AMBARCHI Shebang 79 Rhythm poweredmoder ‘compostin from Australian ‘guitorimprouisor Forsome | accades, Oren Ambarchihas drifted scan che borders orimetal, electoate musicandfree Improvisation aligning mse with ‘veteranavantnameslie Sunn) and Merzoowalong the way. Shebang finds him nthe diving seat forfour expansiveguizarcompositons, recorded remotely withtheaid of Collaborator Kenad Sprengeranda bostotguestsinctuding m0 Rourke and B}Coe Lethe cakethatadoms ‘Shohong'eover,thismusicisabout leyersupon aves Poinilisticand polyrhythmic, apparently made ofa ‘housand nteocking parts, racks like thepiano-accompanic“Shebang feel comparaletothemusicof Steve Reichor Tortoise. Fastidioasly complex ys, butalsocapableof ‘romentcoisemingpretinessMAKAYA McCRAVEN In These Times 9/10 MaKaYA = McCRAVEN'sseventh 4 alburmunderhisown name dn These Times, ‘opens withthe sound ‘ofapplause anda seam Syvarmofstringsthat quickly cvalesceintoagalloping rhythm, and then something unexpected happens: ahumanvoiceasserts, somewhat mysteriously, “Inever want tobe known asanybodty opposed to progress...just ‘kinda seems to methatnobody bas the rightto takeaway ourtesponsbility 0 finish whatthese peoplehavedied for. ItsaclipofHarry Belafonte speakingwith broadcaster Studs Terkel forhis Chicago Public Rdioshow, and the statement neatly encapsulates McCraven’s mission asadrummer, producerand arranger. Hedrawsfiom the musicofthepastto ‘comment on the present, whichallows thealbum tobound gracefully from ‘oneideato thenext rom freejazzt0 classial, from soul musicto hip-hop, from progto minimalism, BorninParis, raised in Massachusetts andbased in Chicago, McCravenis it LlnTheseTines 2TreFours BHighFves ‘DreamAnother Slby {ThaPlace That oc healing BSeventhStng s0Theknew Unites Produced bypMokaya Mecroven Prosperity Sphere, Symphony Canter JAMDEK Studer Poliade Sts Shir Studs Makaya Mosistudios al CChicage Welker rtsCenter, Meapot Submerge Studios Detroit SholoSteonLA Personal toed Moleir Metraven(pere, ‘crums sample, baby str, sys limba, \brophone, Writer organ, nus? bats ere) JttParker Guitar Brondoe Youngerthar) Lakehi(eat) Tortoiseor The Sea & Cake, Takingitstilefromamagazine assoclated with Terkel In These Timesisa soloalbuminnameonly.Ason previous allums, McCraven works withaspraviling ‘crew ofplayers, and he foregrounds that collaborativespritwithin the musi, asthough finishing “whatthese people responsibilty much largerthan oneman. They recorded these performancescverthelast seven yearsat liflerent venues, mostly inthe Midwest sometakes were played live complete ‘withaudlenceapplause, whileothers ‘were capturedatstudiosand rehearsal spaces. Afterwards, he manipulated therecordingsas hough arranging ‘personalitesratherthan instrument, ‘much theway abigband leader might Condlucthisorchestra. With ts shades of hhavediee for" considered aneof theleading ightsof contemporary jazz, yettocall him simply ajazzmusician ‘understatesthe range ofhisplaying and hescope of his vision. He favours thespontaneity of thar gente, as wellas theemotional heftat spiritual jazz butaten ‘manipulates ecorded performancesto findsomething new Wwithinthemusc, As hhecutsand pastes, the computer becomes aninstrumentinand ofitself Whetherhe's piecingtogetherhis| ‘own compositions or reimaginingthose ‘by GilScot Heron Go20'sWe'e New Again) orBlueNote recordingartists| (aont's Deciphering ‘The Message), he favours dense textures anirevelatory repetition, the kind ofacute ‘hythmic variations thatrecal thefluttery avantgarde compositions of Philip Glass ‘orSteve Reich and the local post rock of Dorothy Ashby’safto-harping,Brandee ‘Yunger’sharpbecomesa prominent clement, appearon everysongtoadd ahushnessto"The Calling” anda dreaminessto“So Ubu Junius Paul's double basskeeps thelow endoastic andagile,creatingan almost subliminal ‘churning underneath these compositions Theresaliguid qualityto these arrangements, withinstruments bobbing briefly othe surface before foating away Thesitaronthetitletrackrecall ThomBell’s sophisticated Pillysoul arrangements, ‘while DeSeanfones conspiratorial ute ‘on"Dream Another” alles to Bobbi Humphrey. Onthecomplex"High Fives”, JeffParker’s electric guitarsneaksin fora fer minutes, changingthecourseof the songprofoundly Hethen deiversabluesy soloon "The Knew Untitled’, channeling bothBBKingand KingCrimson, Asa drummer, MeCraven busily keepstimein "unexpected ways counting out cemplex timesignaturesandevenactingasa {oifortheotherpayers.On" This Place That Place” helandshissnaretapstight Jnbotweenthesax notes, as though tayingto disruptthem,thenlaunches Intoa hyperactive drumandlbass beat. Elsewhere, hesupplementshisplaying with programmed beats, which blend into ‘theswitofsounds whileconnectingthe ‘musictotheearlydaysofhip-hop. Butisnotjustold soundsthat MeCraven, {schasing Its thespritofinvention and ‘wonder and determination that originally Inspired thosesounds. He's notrying tofinish whathisheroes started - or “died fr" -butheknowshehasa duty ‘ocontinuethose traditions, toextend thoseideasandstrugslesin these times, (On Lullaby” the hero shis ownmother, Agnes Zsgimondi, who co-wroteand ‘originally recorded the song inthe 1970s with the ungatian prog flk and Kolinda, There's tenderness tothe way heputs theinstramentsinconversation withoneanother, drawing out Younger’s harpand MacieStewartsmelancholy violin solo. Tha’sukimately what makes thisrecad so powerful, evenifyou'renat familiarwithitstouchstones: by colliding ‘thepastwith the presen, MeCraven makes point ofmaking progress. EEE! ©. \ MakayaMcCraven "Rsaverycommunal record” sete tones oe iain ee, eae poet re cor — rmoreinenio-you-bedy vwayansnoteomicnae Portoringtnsmusiclval \dovelopedtheconcepton theread Thats where we tortodtorocord TePace ThatPlace'maybethockdost Inrotetatewyearsater movingtoCheoge. “Lullaby” was co- writtenby yourmother. Vidoes luleby satinethotcomes frommychidhood picked imymom iebeeninmy ‘rlvebeenleadngbonds IRectwoyeboonvorydecr tome Andliketsbrngalot ctparsenatouchostotne ‘musi especialy they fermiy Thewhalerecorls vorypercenalitsicoavery ‘ommunclrecerd which hoclwayebeenmy musica! cpproachlvebuatdoep everybody whoplaysenhere.MARISA ANDERSON Still Here 10 CClassically‘rained Oregon guitar pPickerbroodensherpalette Havingcutherteeth i injazzcountey ard evencircusbands, Marisa Anderson bringsallthose styles and many moretoher sologultaralbums.Shecontinmesto Usepost Fahey ftkas foundation, ‘but til, Here, hersecond forThril Jockey, switches between acoustic and lect adding graceful ourishes fofpiang.on“Night Ai” and theThe (rack WhereThe Light Gesin'-On “LaLlorona”herpickingiscrispand cexquistalyexressiveasshe draws from Spanish adition, while “Heat TheDrum Slowly” begins 3s aneartiy march beforeunravelling {ntoceletialambience. Thesesltss quietly dizzying. HORACE ANDY Midnight Scorchers m0 Midnight Rockers gets dubbedup MidnighRockers reatirmed Horace Andy sregalrezzae stateless yesimespective ofhistaterday Massive tack Fame. ts producer ‘Adnan Sherwood now competes the pleture with hissound-system-stte refashioning breaking tracksopen, reeetingthem neeriedubscapes, 3s ‘withthetiletack’srough, warping synth, andaddingsesson of cus Sinuousmelodica melts in strings {n-Slepy'sNight Cap" andsax and trombone trade languid soos in*Feverishsorganicelementsin “theOnsoundboe” where, Andy contest, "ove toplay”. The protest balladAin' No Loven thetleart OFTheCity”reduceshissweetcroon toitsessental “ain lve” refrain footinginamournfldubchamber. ARTMOORE ArtMoore 710 Exrafuman-offiiatedtris twidesereendebut Theresultofoy Scouts singer Songwriter Taylor Vieksresoluion to ™ crete something A soundtracky with thehelpof Era Furman drummer SamDuskesand engineer Trevor Tonks, At Moore conjure up some compellingsceneson theirdebut There are faint echoes of Cigarettes ‘AfterSex'ssommambillantreverieson Bell while*October"isadecorated byshimmeringbeamsofsynthto punctuate Vicks plaintvetones. But ‘most evocative oallls"Inspiation ‘And Fun” alitingacoustilamer aged with pillow harmontesas UVickwearly admits,“ don'laime nowital Enough oprickupour ears ete though BELIEF Belief ano Mischievouselectroniesfrom Wiest Coastrhythmsection Belieisthe unlikely techno project Bryan “Boom Bip" Hollon and Warpaint érummerstela Mozgawa, whose {slendship ed to Mozgawadruraaing forNeon Neon, Hollo'sconceptial synthpopaetwithGraf Rhys Beli? ‘samorehands-on affair tity, analogueboxjamsinspired by the limpishsprtofLFO' Mark Bellbut executed ina functional manner With {tsmotvatonal vocal andig-100m raver "Want ToBe” couldbea Indulgeis Aphex syle organ grinding Ultimately thisiscontiden, ltmosphericelecronicsthatdocent Strayfarfomthe party. Persnaann TIMBERNARDES MilCoisasinvisiveis evo RestFoxescollaborator gives buintage ropicalpayeh fob alight expermentaltuist Blessed witha amine vice andafaicfor QP scanty erotic, Topicdla infused psveh-pop,raai's TimBemardestasa blossoming Jnerational profile ollowing collaborations with Flet Foxes, David Byme, Tom Zéandmore.On hissecond sei produced soloalbum, ‘theSde Paulosinger songwriter clothes soul searching alladsinairy orchestra arangementsthatsound, Smultancouslychand spare, fom ‘heflsetobarmoniesandambient ddubundulationsof-Nascer Viver, Morrer" ote sublime slow mo Dssanovaof Esse A Remardes ‘nameciecks The eatls, though these nowinglyreoexereisesinvwst sauudadeatsocalltominderfBuckley, Beirut and Gruff yin ther delcate, stoned beauty. SEMEVONTON THEBETHS Expertin A DyingField case s/o Fine thrdalbum from at indie-poppers The Hethsarrivedin poisaseager power: BF voopers hot footing J fromNew Zealand. Fag Overthe courseot threealbumsthey haveslowly expandedon that inital promise without losing theirendearing bool indie buzz edge Songwriter andfrontwoman Elizabeth Stokesisadisarming presence, vwoselaconicapproac disguises Theemotionalcontentathe rics, Themoodof Expert In Dying Feld Isyearingand reflective, ax Stokes picks over the bones ofrlationships ‘onmournfljanglersltke"Your Sie punkyrocker-SilencelsGolden’,the Shimmering"Best Lat" and terrific losat am" PeER WATTS BEYONCE Renaissance rsswoonrcouren Bao Popelitsmasterlossinqueer Blackmustology comeswathan encyclopedias COE vor tfsaes CBB iesststionsara reference ut Reyonc'seventh soloalbumisaflawlessystructured feast Drawing frombouse "Cozy", disco (*Vng's Groove") hip-hop (Thiqu’), dancehall Pure/Honey") and Afrobeat "Move featuring ‘ommanding vocal tur rom Grace Jones) thefrstina planned togy ofpandemic recorded materalisan {invitation rerum tothesteetsand totheclbs, Theseamless mis as Fomthedecks atthe cl night ofyour dreams heads together blackand [LGBTQ muscalinnovators-fom DonnaSummer,tOBig Freed, 10 ballroom emcee Kevin JZ Prodigy vith Beyones' own messagestioy, hedonism and ove Sa AUREPERA ee ey NEW ALBUMS © ‘THEBLACK ANGELS Wilderness Of Mirrorsneman 79 Morespeaker-ratuingrifsfrom thepsych-rockstakwarts Foralmost2oyears ow, Austins The Black Angels have radedottablendot ead. heavy its, psychedelic srs ‘offeedbackand driving blastsofbass ‘and drums allfimiyin theineage of thepsychrock gene, withnnodsfrom 1 Flor Elevatosto Bran Jonestown Massacre. I's tusinessastiial here, with History OF The Future” emitting Fithy speakersatling ifs. Tacks suchas"Firely" veermoretowardsthe rmelodicand whimsical, but irsmosty ‘overdsiven gultarsanbulgingass thatsetsthetone withthe occasional Nelloton warble. Theteitdetobe found here that doesnt already sound Inescapaby familiar, buticsperfecty rocksolidstuffallthesame, BORIS Heavy Rocks es: 730 High-octane metaimeetspunk onlaponese outfit sltest Aterthe slowed downand more armospheric leaning bum Weessed eayinzozzasa partner to 2020NO, Basretumn ofultontauconsmode here. Thentense, rumbling, droning sromsthatoenacrompanysomeo! thei ever we arelatgely swapped infavourofmorestaight-w heey rockhetehencethettle which Saes with somecariretbums. The ‘pening “ShetsBuming”sesthe toneforarecordoffulltrote guar sauealing nd drum thrashing. Tracks suchas"My Names lank” capture thealbumisesrence-amiddle ground between metal andpunk-onarecord that barevlets upforasingle second.© NEW ALBUMS MATTHEW BOURNE Irreaiis eo (One-take ‘preparedpiano'set from Ukjazzman Prepared piano 1 ~mhichistosay jammingsomething BB. inbeteenitestrings: SARE inaybechucking something randomly Inside servesta eval unexpected pathwaysinto the instrument For Matthew Bourne, aproife, mul Aiseipinary UK azzer, an experiment ‘withwoodscrawsand what look ike chevinggumturshisinstrument {nto something capableofelassic ‘beauty, butalsopercusiveclanksand fierce Derek Bale syieharmonic ‘wongs.Tissucctntalbum, recorded Jnonesitingdsplaysalovelyrange oftextures, where hypnotsingSatle ‘ike miniatures "Asa, "Taney st alongside the woozy uncertainty of *Sprtglich piano Dusan”) and the virluosicerackleof"Armanda” in ‘which Bourne beaks through the Keyboard metaverse. MARIEL BUCKLEY Everywhere |Used To! 70 Gueercountrysingerrecals growingupamisft cay Omersecona album, the Calgary singersongwniter Marit Buckley bl aries rounder “old ometownand points otal tholocal landmarks: thatthe comer where she usedto firtwithagieinamed Mary, here's thecitle Kwhereshe scared cok. “Hate Tis Town’ suggests her feelings about the place are deeply fraught ‘ontvanna ate dhstowe, and et relationship with country msc iso Tesscomplicated. Shesingsherkeeniy observediyrcsinaslepy, sensitive twang. butads synths, chiming sgularsand weightless pedalsteeto ‘reateasoundaswideopen asthe Alberta plains BUILT TO SPILL Be Ine-rock veterans sounding Content 30 yearsinonSubPopdebut Bulle Tospilthave hodanever chaning ineapwith Doug Martchastheonly eonsiantmember, Jandhereheteamsup ‘ithe Almeida and oso Casaesot thepsyehedeicjzz rockband On. “Astylsticdeviation otha genrethis {snot withtheopening"Gonra Lose” allarchetypal fuze-dvenchedheevy tifsed by Martschsiosyncratic ‘vocal delivery thatsitssomewhere between Mase Neil Young _Abumhighllght“Undestood” sounds pattcuany Young like here too but ‘sewhere Martsch soundscontident Inhisown skin, merging inetocking layered guitars, subtlemelodic touches andlcks hat oer fromcrunchyto Bisedout. TIMBURGESS TypicalMusic m0 CCharlotanssinger goes double top. ThisisBurgss'thied §sioalvumintour Ka yeas. endesinthe icaeotaproie pel foritsadousle A NG tuingnotewer thanza tacks recondedn days Withsuppot tom Spite {highpatsandnand GrumBng Furs anO'Sllvan wigey lecronies eu om the urgent gallop thetitetrackand the woory pych pot Kinetic Connection othe nematic orchestrations of-Sacker™ aral"A Quarter To gh ThinkThe Flaming Lips sc-isonisgivena very Englchevit-whetakes tno Spice oranda pit hat Burgesrecruted Lip produce Dave Fidmanntosprailehismagledast overtnomx TBONE BURNETT, JAY BELLEROSE & KEEFUS CIANCIA ‘ThelnvisibleLight Spells 79 Bumet sintriguing voyageintothe ‘uant-gardecontinues Secandinstalment oracellaboation tween Burnet, ong serving eomposercampadre [ianciaand ddrummer/percussionist Bellerose boige Thelmvsbe Light Acoustic Spacewasa notably un-Burnetish ‘Burnett album, enturingheyond bisfamilarresimofterse,ootsy Americana no expansive bea poetry soundiocked by eloomy electronic, Spelscontinuesthejourmey, Burnett's sem spoken meditations ona word drivingicelfinsanewithitsown ‘technological geniusaccompanted Dyappropriately derangedand claustrophobic soundscapes. The Iikesof*Casting Spell" and “YouMay Leave Bur This Will Bring You Back” reassure that Burnet formidablfaciity for waspsh vwordplayemainsinac. JEFE COTTON ‘The Fantasy of Reality wens: 6/10 Lost-in-actionBaefheart guitarist bernagain ery ppp Youmay recall Cotton k as Antennae jimmy sexes Semens,playingsteel sppendage guar” on ee Tout Mask Rotica taeplaced Ry Cooerin Don Van letsMagic Band Aferthathe ‘maeonealbum rththe be MUand Uhndseppearedtobecomeachurch ‘minister More than alfacentary cn at theaewofabeneemergesuthadebat SololPofpeyched-upblues(Doeslt WF") avantjaz( Heed TheExge’), pop whimsy Green Bamboo" and Befertian weirdness (Evra, oppedincngrust with Godhering yes about "He ho ‘makes alhngsnew”and"unocks tory” Mt eHSON CRACK CLOUD ToughBaby exrscime m0 Secondroundof Vancouvertes’ rmusie-cs-therapy itenicesones”| urgesvocalistZach Choy’s father inthe snippetotapethat opensCrackClouds secondalbur."1's ‘anexcellen way toler youranger out” TheelderChoy'sposthumousmessage, recardedattheagehissonisnowsets thetoneforthenine tracks ofsoliary, «reatvtyand catharsis thatfllow “Please Yoursell”palsabrasive, speak sung vocals and warpedelecric suitar with moments angi, ‘elodicunison;“The olieiaa casts ZochasamisarthropicMorsssey soundalikeamida clanging, propulsive Soundscape thetitetackhaistsa shimmering, piano-and-bor driven ‘horusabavea naslyrappedbidae. ltsrarelycoherentandnotalays prety, butthemesteflctive therapy "arelyis usr ‘SARAHDAVACHI TwoSistersumeie 8/10 Slowly yieing works forchamber enseméleandsolopipeorgan There's something Sarah Davachi's eormpestions Shes Hever been one for rushingthings bot herlastfewalbumsavefeltdisarmed andrigoous, nthe patient coaxing ‘exploration ofthe posses afforded by minimal, incrementally {evelopinggestures. Two Sites ‘ontintestounvind thethread thatDavachibeganto unpickonits precursors Atphonalsand Cans, Descant adhe seminal simple yet ‘thoroughly coneeptualisedmateria) her allheld within specicharmonic language, sbecutfully realised. The two"leon Studies arepartiulary

You might also like

• 6 - Unknown

  

  67% (3)

  6 - Unknown

  132 pages
• Uncut August 2022

  

  No ratings yet

  Uncut August 2022

  116 pages
• Shindig 71

  

  100% (1)

  Shindig 71

  105 pages
• Progressive

  

  No ratings yet

  Progressive

  39 pages
• Zabriskie Point

  

  No ratings yet

  Zabriskie Point

  9 pages
• Dark Globe - Photos - 1

  

  100% (1)

  Dark Globe - Photos - 1

  8 pages
• NME Magazine March 16 2013

  

  100% (1)

  NME Magazine March 16 2013

  60 pages
• 77

  

  No ratings yet

  77

  61 pages
• Bhangra and Asian Underground by Falu Bakrania

  

  100% (1)

  Bhangra and Asian Underground by Falu Bakrania

  49 pages
• DB201104

  

  100% (1)

  DB201104

  86 pages
• Casestudy

  

  No ratings yet

  Casestudy

  1 page
• EMV1 No5

  

  No ratings yet

  EMV1 No5

  16 pages
• 2023 05 01PaulMcCartney TributetotheRockandRollLegend

  

  No ratings yet

  2023 05 01PaulMcCartney TributetotheRockandRollLegend

  100 pages
• NME - 21 July 2012

  

  No ratings yet

  NME - 21 July 2012

  68 pages
• Shindig! - Issue 50 2015

  

  100% (2)

  Shindig! - Issue 50 2015

  100 pages
• THE Histo Ry of Briti SH Rock Musi C: Canidate: Stefan Bogdan-Ionut Class: Xii-C Coordinator: Professor Gaiu Cezar

  

  0% (1)

  THE Histo Ry of Briti SH Rock Musi C: Canidate: Stefan Bogdan-Ionut Class: Xii-C Coordinator: Professor Gaiu Cezar

  19 pages
• UNCUT UK - September 2023

  

  No ratings yet

  UNCUT UK - September 2023

  116 pages
• Pete Townshend On Recording Quadrophenia: Extract From Who I Am

  

  100% (2)

  Pete Townshend On Recording Quadrophenia: Extract From Who I Am

  17 pages
• Uncut-Jan2010 Bob Dylan

  

  100% (2)

  Uncut-Jan2010 Bob Dylan

  9 pages
• Essential Guide: Progressive Rock

  

  No ratings yet

  Essential Guide: Progressive Rock

  47 pages
• EMI Canada New Releases 2011

  

  50% (2)

  EMI Canada New Releases 2011

  38 pages
• Prog Rock Bibliography Most Recent Edit Nov 2011

  

  No ratings yet

  Prog Rock Bibliography Most Recent Edit Nov 2011

  33 pages
• A Brief History of British Rock Music

  

  No ratings yet

  A Brief History of British Rock Music

  14 pages
• GCSE Music Conventions of Rock and Pop Music

  

  No ratings yet

  GCSE Music Conventions of Rock and Pop Music

  4 pages
• NRB FN00158

  

  No ratings yet

  NRB FN00158

  24 pages
• Rock and Roll Hall of Fame Program

  

  No ratings yet

  Rock and Roll Hall of Fame Program

  12 pages
• RCN Vol.8#51

  

  No ratings yet

  RCN Vol.8#51

  8 pages
• Blitzed Magazine - 02 March 2023

  

  No ratings yet

  Blitzed Magazine - 02 March 2023

  100 pages
• Good Vibrations Essays by Various Author PDF

  

  0% (1)

  Good Vibrations Essays by Various Author PDF

  10 pages
• The Smiths' Sound Evolution

  

  100% (1)

  The Smiths' Sound Evolution

  19 pages
• Melody Maker 1969 0301

  

  No ratings yet

  Melody Maker 1969 0301

  28 pages
• The Stooges

  

  No ratings yet

  The Stooges

  7 pages
• Eartrip - Issue 4

  

  100% (4)

  Eartrip - Issue 4

  100 pages
• Uncut - November 2024 UK

  

  No ratings yet

  Uncut - November 2024 UK

  124 pages
• Julian Cope - Krautrock

  

  100% (1)

  Julian Cope - Krautrock

  83 pages
• Shindig! - Issue 56 2016

  

  100% (2)

  Shindig! - Issue 56 2016

  100 pages
• Pink Floyd - Digital Booklet - The Endless River

  

  No ratings yet

  Pink Floyd - Digital Booklet - The Endless River

  16 pages
• Mojo

  

  100% (2)

  Mojo

  132 pages
• DB1904 PDF

  

  100% (2)

  DB1904 PDF

  92 pages
• Smash Hits 25 November 8 December 1982

  

  100% (1)

  Smash Hits 25 November 8 December 1982

  55 pages
• Mark Butler - Pet Shop Boys

  

  No ratings yet

  Mark Butler - Pet Shop Boys

  20 pages
• Uncut UK - January 2021

  

  No ratings yet

  Uncut UK - January 2021

  120 pages
• Pop When The World Falls Apart Edited by Eric Weisbard

  

  100% (1)

  Pop When The World Falls Apart Edited by Eric Weisbard

  10 pages
• Book Excerpt From "Dreaming The Beatles" by Rob Sheffield

  

  100% (1)

  Book Excerpt From "Dreaming The Beatles" by Rob Sheffield

  10 pages
• Smash Hits 23 December 5 January 1983

  

  50% (2)

  Smash Hits 23 December 5 January 1983

  47 pages
• Kojak 50 Seconds of Television Music Tow

  

  No ratings yet

  Kojak 50 Seconds of Television Music Tow

  1 page
• NME M 2014-04-19 Downmagaz - Com 7

  

  No ratings yet

  NME M 2014-04-19 Downmagaz - Com 7

  68 pages
• Uncut January 2015

  

  100% (1)

  Uncut January 2015

  124 pages
• London Punk Fanzines 1976-1984 The Celeb PDF

  

  No ratings yet

  London Punk Fanzines 1976-1984 The Celeb PDF

  102 pages
• Tangerine Dream

  

  No ratings yet

  Tangerine Dream

  212 pages
• 005 Dec 63 Sep 76

  

  No ratings yet

  005 Dec 63 Sep 76

  21 pages
• Still Breathing: The True Adventures of The Donnelly Brothers Extract

  

  No ratings yet

  Still Breathing: The True Adventures of The Donnelly Brothers Extract

  53 pages
• Uncut August 2015

  

  100% (1)

  Uncut August 2015

  124 pages
• Grateful Dead's Lost Tapes Saga

  

  100% (1)

  Grateful Dead's Lost Tapes Saga

  24 pages
• Decca Disco Baquelite

  

  No ratings yet

  Decca Disco Baquelite

  170 pages
• Uncut July 2015

  

  100% (4)

  Uncut July 2015

  124 pages
• The History of Rock #02 - 1966

  

  100% (4)

  The History of Rock #02 - 1966

  148 pages
• Mojo - 04.2018 PDF

  

  100% (1)

  Mojo - 04.2018 PDF

  132 pages
• 101 Indie Classics Tracklist

  

  No ratings yet

  101 Indie Classics Tracklist

  3 pages
• 2012 Uncut - December 2012

  

  No ratings yet

  2012 Uncut - December 2012

  124 pages