New Releases Archives - Page 3 of 12 - Long Live Vinyl

Purple Mountains

Review: Purple Mountains – Purple Mountains

Beneath The Eyrie

Top 5 New Releases – 13th September

Jambinai - ONDA

Review: Jambinai – ONDA

Dope Lemon SMOOTH BIG CAT BMG Let’s hope Angus Stone’s mother doesn’t listen closely to Dope Lemon’s second album, though, given the project’s name, references to drugs and drink may not surprise her. On Hey You, whose woozy guitars recall fellow Australians Swazi Gold’s recent debut, he sounds so lethargic singing of “Staying out late/ Gonna get drunk” he could be dozing, and though Salt & Pepper cautions “I got the cocaine flame in my brain,” this makes little difference to his pace. Lonely Boy’s Paradise, however, switches to a gentle Kurt Vile trot, while Dope & Smoke adds congas for a beachside vibe, and the title track’s backwards string effects and droning guitars underline its slinky nature. Girlish playfulness from ex-girlfriend, actress Isabel Lucas, on the lo-fi, acoustic Hey Man, Don’t Look At Me Like That crowns this charmingly fried collection of songs. Wyndham Wallace

Review: Dope Lemon – Smooth Big Cat

The Alarm - ∑ SIGMA

Review: The Alarm – ∑ SIGMA

Penelope Isles until the tide creeps in bella union Sibling songwriters Jack and Lily Wolter may be six years apart in age, but the duo at the heart of this Brighton four-piece clearly have enough shared experiences to yield some inspired material. Their debut album is a heady wonder of askew dream pop. Not Talking is like a dizzy collision of Radiohead and Grandaddy, replete with a howling guitar interlude and Lily’s Underwater Record Store is as brilliantly dreamy as the title suggests. There’s a lysergic wooziness to the reflective Three and the shimmering psych influence of Tame Impala hovers over the whole shebang. The insistent Gnarbone, meanwhile, already sounds like a triumphant festival anthem, and not one second of its seven minutes is wasted. A buzzing sold out show at Hackney’s Moth Club this spring hints at gathering momentum. Get on board. Gary Walker

Review: Penelope Isles – Until The Tide Creeps In

Kaiser Chiefs duck polydor Last time out, on 2016’s Stay Together, one of this generation’s finest singles bands worked with pop production powerhouses Xenomania. It was an underrated experiment, self-sabotaged by releasing worst song Parachute as its lead single. Returning to work with regular producer Ben Allen could have been a retreat into a safety net. True, you’re never too far from Ricky Wilson yelling “Hey!” But the Kaisers sound revived, determined to triumph by creating choruses bigger than anyone else and uniting a divided nation by cajoling people into singing along. It’s far from indie-by-numbers, with Kurt Vs Frasier fizzing like Weezer, while Don’t Just Stand There, Do Something and Northern Holiday are detailed classicism worthy of Squeeze. Lazy ballad Target Market apart, here are 10 more potential singles. John Earls

Review: Kaiser Chiefs – Duck

The Murder Capital WHEN I HAVE FEARS HUMAN SEASON Like Fontaines D.C., The Murder Capital are championed by IDLES and sing in an unfiltered, impassioned Dublin accent. Sure, Don’t Cling To Life and More Is Less prove they too can do excellent scabrous punk, but there’s a roaming spirit here which suggests The Murder Capital may soon become something very special indeed. Gabriel Paschal Blake’s dark basslines bring a Joy Division depth to Green & Blue and the sonorous Slowdance is how The Sisters Of Mercy should sound in 2019. Post-punk, scalpel-sharp guitars worthy of Gang Of Four cut through Feeling Fades and best of all, On Twisted Ground is quietly heartbreaking, a Donna Tartt novel in four minutes. Where they go next will be fascinating. As it stands, their audacious debut album illustrates The Murder Capital are already a killer. John Earls

Review: The Murder Capital – When I Have Fears

Drab Majesty modern mirror Dais records On their latest record, LA outfit Drab Majesty have stuck to their well-honed oeuvre of darkwave electronica peppered with moments of synth pop and dark dream pop, but have also combined it with a lyrical exploration rooted in Greek mythology. While the heavily electronic and often futuristic sound of the band may seem at odds with such historical subject matter, the two combine in complementary ways. Much like The Cure or New Order, there’s always a pleasant balance between slightly murkier and melancholic tones and glistening melody. The record often completely steps out of this post-punk-pop template, though and moves straight into shimmering synth-pop, as on highlight Ellipsis, which succeeds in sounding deeply nostalgic and brimming with a warm, contemporary glow. Daniel Dylan Wray

Review: Drab Majesty – Modern Mirror

The Golden Filter AUTONOMY 4GN3S Where many eager to incorporate club music into pop end up merging both, Anglo-American couple Penelope Trappes and Stephen Hindman often switch from one to the other, making Autonomy an uneasy, intense experience. With its throbbing bass, echoing piano and nocturnal imagery, Coercion sounds like late-80s Depeche Mode, with the simplicity of its unsettling synth melody worthy of John Carpenter, while Infinity begins like Underworld, then adopts The Prodigy’s ferocity, before Trappes’ vocal climaxes as if she’s joined Suicide. Nonetheless, if Electric Light threatens to explore the hectic, dancefloor-friendly sounds of Soulwax’s NY Excuse, it ends with an elegant sophistication that recalls Roxy Music, and All The Queens makes a Chariots Of Fire circuit round a grim dungeon, before emerging into daylight. Wyndham Wallace

Review: The Golden Filter – Autonomy

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