Pip Blom’s Welcome Break
Although it’s easy to list Pip Blom’s forebears, especially the Riot Grrl-inflected pop of the 1990s, their second album Welcome Break still sounds like it was made from scratch. (...)
Sonic Hauntology: Subterranean Internationale, by Raz Mesinai
Sonic Hauntology, Raz Mesinai's new album of field recordings for The Battleground, pushes that peculiar genre in exciting new directions. (...)
Where The Wild Purple Iris Grows, by Wild Billy Childish & CTMF
Since his early days with the Pop Rivets in the late 1970s, Billy Childish's music has been remarkably consistent.(...)
Fire, by The Bug
Fire, the new album by The Bug, hits hard, even harder than its rather distant predecessors, London Zoo (2008) and Pressure (2003). But it also hits soft. (...)
Gut and Fratti’s Let’s Talk About the Weather
While the pandemic continues to inflict horrific suffering on the world, its early phase is now capable of inspiring nostalgia. We remember the excitement of watching everyday routines grind to a halt and then having to figure out what to do in their absence.(...)
Medieval Femme, by Fatima Al Qadiri
On her spacious and subtle new album Medieval Femme, Fatima Al Qadiri returns to London’s Hyperdub label to ask forceful questions about the relationship between margin and centre.(...)
This is What Europe Sounds Like, by Joel Schalit
This is What Europe Sounds Like makes for uneasy listening. Not because of strident guitars, disturbing lyrics, or aggressive atonality, but because it refuses to meet the expectation of music at all.(...)
Prayer to Pasolini, by John Waters
Though short – the entire digital recording clocks in at seventeen minutes – and somewhat haphazardly put together, John Waters’ Prayer to Pasolini makes a meaningful contribution to cinematic history.(...)
