We’re huge fans of Nick Lutsko at Secret Cave. In fact, just last year, he made an appearance on our podcast. He remains one of the friendliest people we’ve spoken to, and offered up heaps of insight on his music and work for Super Deluxe. Following on from his last album, Etc., Nick has recently released a new song — complete with an excellent music video.
Last month, Goldie Lookin Chain released Fear of a Welsh Planet. It’s an album that continues their trend of hilarious, but relatable, hip-hop. To find out more on its creation, and the evolution of GLC across a lengthy career, I spoke to Rhys (also known as P. Xain). As the member responsible for almost all of the group’s music and production, he’s been deeply ingrained from their earliest beginnings.
Aside from Goldie Lookin Chain, Rhys has put out a number of intriguing solo releases.… [continue reading]
Just a couple of months ago, we spoke to Goldie Lookin Chain’s principle lyricist, Eggsy. How he kept quiet about new material, I’ll never know. But, going against his strategic silence, today sees the announcement of the collective’s twentieth LP, Fear of a Welsh Planet. Last year brought us a wealth of GLC to enjoy, from a Christmas album to a live recording of their compressed Legends of GLC show. Now they’re back, and it’s with some extra ambition.
This article ties in to a podcast I recorded with Sean Tillmann, available here.
Har Mar Superstar is the cipher through which Sean Tillmann expresses his art. Over nearly twenty years of activity, Tillmann has brought immense integrity to a constantly evolving catalogue. Nowhere is this more true than on his latest EP, Personal Boy. Taking all of his previous material and expanding on it naturally, Personal Boy is an exciting growth that works just as well on its own gargantuan merits. It consists of a mere three tracks (and a radio edit), though each is strong enough to outlive the brevity of the record as a whole.… [continue reading]
Majken‘s debut LP, Dancing Mountains, is a whimsical and nostalgic set of twelve autobiographical songs. The mood that the record conjures mirrors the main themes explored throughout; a trip back in time, reflecting on “vivid dreams, fond memories and restless nights”. What makes the collection even more special is the personal touch. The songs reference specific locations encountered, and people she’s crossed paths with.
Dancing Mountains could have been pulled straight out of the late 60’s, and early 70s, surf-pop and avant-garde movement. Trickles of The Velvet Underground are clearly present, uniquely intertwined with elements of Scandinavian pop.… [continue reading]
Having spent over two decades with several bands including A Place to Bury Strangers, The D4 and The Scavengers, it’s surprising to realize Dion Lunadon hadn’t released a solo work sooner and, even more so, to learn it wasn’t planned to exist.
“I hadn’t written by myself for years and felt I needed to create something with no compromises and something that reflected who I am. Out of anything I’ve ever done, this record definitely captures that more than any other. I wasn’t planning on releasing any of it, which is a great place to write from. I wrote it for me.”
With the help of Bambara’s Blaze Batch, APTBS bandmate Robi Gonzalez and Chris Woodhouse (recording engineer for Thee Oh Sees and Ty Segall), Lunadon wrote and completed the album over three months in Brooklyn, NY.… [continue reading]
I first discovered BONZIE, an American musician whose talent betrays her age, purely by accident one evening. Since, I haven’t been able to stop listening to her oddly cathartic music; strong in the belief that I haven’t heard songwriting this refreshing in years. Her first record, Rift Into the Secret of Things, is a gorgeous trek through melodious brevity. While short, the potency of the material within leapt from my speakers with an understated purity. To be more accurate, the music of BONZIE laps against your eardrum with all the playful provocation of relentless waves.
Like soft ocean ripples, her songwriting brings with it a depth that sounds like it’s swirled the entire planet to reach the quiet beach you find it on.… [continue reading]
Among musicians, and music fans, pop music sometimes gets a bit of a bad rap. Personally, I’ve found the world of pop music across the decades to be a fascinating and enjoyable one. While I zoned out of the pop world for years, I could always rely on Gorillaz to fill that hole. From Clint Eastwood to Plastic Beach (The Fall doesn’t really count), Gorillaz have been a surefire hit-factory. Unfortunately, whenever they would come out with a fresh batch, they’d inevitably bugger back off again for a handful of years.
After sailing the underground for the better part of his life, Juiceboxxx still has an undying thirst to move ever onward. He’s made a name for himself with uniquely direct music, and a live show that lives up to it in spades. Each release sees him delving further and further into what the fuck it even means to be alive; sometimes with anger and confusion, others with an optimistic abandon.
This has helped him maintain a dedicated cult audience, who religiously follow his various interesting endeavours. His strong musical catalogue is just one arm of the Juiceboxxx world; a strange place encompassing energy drinks, radio shows, self-deprecating video-blogs and more.… [continue reading]
It’s always unfortunate when an artist has to follow an epochal album. Considering Kid A in the wake of OK Computer was never fair. Pink Floyd‘s awful Final Cut was doomed after The Wall. Placing Kendrick Lamar‘s previous album, To Pimp a Butterfly, in such a legendary ballpark is obvious to anyone who’s heard the record without blinkers. As a result, Lamar’s fresh follow-up was always going to find itself trapped under expectations and heft. Released five days ago, Damn has more written about it in comparison to its predecessor than its own merits.
This is natural.… [continue reading]