Bristol’s dUb from the Ruins label drops a heavyweight single from Tenja in Dub, featuring Blackout JA on heavyweight vocals...
Robert Ellis Orrall,“Where Do We Go From Here”Fixation RecordsRelease Date: March 27, 2026 There is a specific kind of songwriter...
With its stark, damning lyrical accusations and an arrestingly erratic groove - not to mention it's stunner of an act three twist - "Conceited" is a stormy portrait of a toxic love affair painted upon the canvas of its off-kilter and cleverly turbulent arrangement. It's also a brief and striking distillation of everything that makes its parent album - and Young's music in general - so compelling.
While the original "Love Insurrection" was in and of itself a trippy, funky feather in Primal Scream's cap, Black Science Orchestra's take is a welcome, nostalgic trip back to the sounds that brought both artists to the fore. More than that, it's also proof that regardless of disparities in time or genre, there's something irresistible at the core of Primal Scream's sound that is immediately and distinctly theirs from iteration to iteration.
"I Like It I Like It" is a soulful, almost sinister little helping of R&B, built on a roiling, slinky beat and a positively seductive bassline and topped with luscious, chime-like keys, plus the occasional clarion-call synth. Both singers join in reverb-drenched harmony throughout, splitting the song's two primary verses between them before ending once more in perfect tandem.
"Claw Foot" ... is a tightly constructed and eminently catchy exemplar of Royel Otis' sterling approach to alt-pop/rock. The song's bass-heavy rhythmic figure and chimey guitars are immediately evocative of genre paragons like Joy Division and The Cure, while it's breakneck pace and chanted chorus keep things sounding fresh and the energy high.
Taken on its own merits, Pop was a daring synthesis of mainstream proclivities, techno affectations, and '90s rock sludge, built upon a foundation that remained distinctly U2.
impressionistic lyrics and given definition by impeccable production values, "What's My Luck" is a dynamic and cathartic evocation of longing that in less skilled hands could easily have been a mosaic of contrasting musical idioms, but is instead a deft blend of styles that conveys holistically much more than its individual parts suggest.
"Like I Say (I runaway)" is the sort of song that one thinks they've might have heard a million times, when in fact they've never heard it at all, in the same way that genius feels obvious in hindsight.
Up-and-coming indie quartet Nicotine Dolls take their name from an epithet the band's members coined to describe a particular breed of anti-social partygoer who would rather retreat to outdoor solitude for a quick drag than endure a crowd, so it's a bit ironic that the band is perhaps best known in the public eye for similarly shunning the limelight.
..."Unraveling," feels like a both a culmination and an evolution of all these past iterations of Muse, merging the synthwave ventures of their later years with the guitar-driven heaviness of their earlier repertoire.
With a synth bass-heavy, disco-injected groove, "Houdini" evokes a a crisply contemporary take on the drum machine-driven dance floor standards of yore.