Maria Dada, from Lebanon, and Manchester’s Amy Pennington, open their debut with Daddy’s Bulge, two shouty schoolgirls traversing the bristly ridge of Captain Beefheart’s Sue Egypt with a drum machine in tow. Doomed is bed-sit electro-pop, home-taped by Duracell Gary Numans, and Oh Boy She Moans is a sluggardly Seventies Fall rant. Eighties fixtions surface…
The back catalogue of Giant Sand, Howe Gelb’s durable desert rock disguise, has been leaking out anew from Fire Records, though usually without much bonus material. But the band’s pivotal 2000 release arrives as a laden double. A trio of name producers, including Jim Dickinson, coaxed the serrated edges and ragged rambles of Gelb’s unruly…
Today’s youngsters download all their music illegally. But this five CD archive of juvenilia by the kind of cult artist disposable income laden old men admire, packaged with a ninety page tome a foot square, just wouldn’t be the same as a stolen zip file. John Fahey reinvented the acoustic guitar, taking blues and folk…
The drummer Tony Levin died in February, aged 71, and this is one of six previously unissued recordings offered by Rare Music in tribute. Live in London in 2003, Levin chooses perfect points at which to interrupt and investigate a slowly gathering storm of horns, featuring two veterans from free improvisation’s first wave, Evan Parker…
Britpop’s hardy nearly man Luke Haines’ new album, Nine And A Half Psychedelic Meditations On British Wrestling of The 1970s and Early ‘80s, splices Proustian childhood memories with the spandex flare of naïve pre-WWF Saturday stage fights. Cheap eighties keyboards burble and clatter. Ringside chants become meaningful mantras. Haines whispers intimately, often about sausages. The…