Music Reviews

King Gizzard and the Lizard Wizard - Fishing For Fishies (Album Review)

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After a ludicrously productive 2017 saw them release five albums, King Gizzard and the Lizard Wizard have returned after a much needed two year break with ‘Fishing For Fishies’. It’s remarkable that a band as prolific as these Australian psychedelic masters attempts new things at an equally alarming rate, and here they have somehow managed to find another string to their bow.

Catfish and the Bottlemen - The Balance (Album Review)

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Prior to the release of Catfish and the Bottlemen’s second album, 2016’s ‘The Ride’, frontman Van McCann didn’t holding off on singing its praises. Needless to say, it wasn’t quite as brilliant as he was making out, although the public seemed to like it and elevated the LP to the top of the UK chart. It also made the top 30 in the US, which is no mean feat.

LSD - LSD (Album Review)

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Ending up as a conflicted power struggle between vocalists Sia and Labrinth, and producer Diplo, LSD is one of the most unwieldy supergroup outings yet. Comprising wannabe anthemic pop songs that channel off-kilter sounds and melodies, their eponymous debut LP feels like a lazy attempt to cash in on each artist's following.

Fat White Family - Serfs Up! (Album Review)

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Fat White Family’s third studio album is a vibrant, esoteric melange of sounds and influences, bringing together post-punk, reggae, garage rock and more. It’s a fun, considered and detailed record from a band who have sometimes appeared to court gratuitous controversy for the sake of it.

Cage The Elephant - Social Cues (Album Review)

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Photo: Neil Krug Since their introduction to the world in 2008, with the huge single Ain't No Rest For The Wicked and their subsequent self-titled debut, Cage The Elephant have spent their career fluttering between genres, attempting to keep their audience guessing.

Bryce Dessner - El Chan (Album Review)

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Bryce Dessner is a man who knows a lot about music. Widely revered for his role as multi-instrumentalist and composer with the National, on ‘El Chan’ he continues a side odyssey in classical music and transcends the ‘indie rock guitarist’ label. Here, with the help of pianists Katia and Marielle Labèque, and Orchestre de Paris, he has outdone himself by turning in a grand statement with a sense of ease.

Anderson .Paak - Ventura (Album Review)

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Anderson .Paak’s new record is excellent: a rich, energetic return to groovy modern soul that reins in the edgier hip hop tones seen on 2018’s 'Oxnard'. And while his music sometimes feels derivative, it gives space to a singer and musical character of fabulous poise and endeavour.

Weyes Blood - Titanic Rising (Album Review)

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Weyes Blood’s ‘Titanic Rising’ is an exceptionally modern, prescient singer-songwriter record that also couldn’t do a better job of channelling mid-’70s California if it tried. Landing somewhere between Karen Carpenter sitting in with Randy Newman and a polemical statement on present day alienation, Natalie Mering has crafted something quite special here.

The Chemical Brothers - No Geography (Album Review)

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In the 1990s—along with Fatboy Slim and the Prodigy—the Chemical Brothers popularised a particular brand of big beat electronica that ran adjacent to, and sometimes intertwined with, the pompously termed Intelligent Dance Music movement. Their ninth studio album, ‘No Geography’ boldly revisits this sound, updating it thematically while combining many of the compositional elements brilliantly. The result is probably their best album since 2002’s ‘Come With Us’.

Idlewild - Interview Music (Album Review)

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‘Interview Music’, Idlewild’s eighth studio album, finds them following up on the relative success of their 2015 comeback ‘Everything Ever Written’. After a break of six years, that LP surprised a few by sending their sweeping indie-rock back into the UK top 20. Here, though, things seem a little different.

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