On first listen Great Big Blue is an album that oozes sunny laid-back charm, the sonic equivalent of driving down an empty road by the beach, sun blazing, saturation up high.
Danny Wright brings Gemma Samways and Lee Wakefield together to discuss the farewell of a beloved band.
In dialling up their idiosyncrasies, they've expanded the very horizons of the genre.
Unapologetically bold, the combination of garage, psychedelia and mindful lyrics results in something that feels truly original.
Although there's a shift from the indie-doo-wop of 2015's Perpetual Motion People – this is more aggressive in tone – Furman is still rooted in the same Lou Reed garage rock vein.
The album has an understated coolness to it, combining elements of funk, jazz and electronics with ease the sound moves from 80’s hip-hop to the sound of the future.
Cusp is exactly the kind of album you'd hope to hear two months into a new year.
Basin Rock - 26th JanuaryWe've seen a few articles recently with people using tools such as Google Maps to travel from the safety of their...
A technicolored, varied collection of songs that drifts between electronic-pop hits and intimate ballads.
With all the jittery unease and anxious nervous energy that currently pervades the world, it feels like these times are calling for a band like No Age.
Inspired by folk greats and 90s feminist punk, the record marries a ton of emotion with bold collages of spiky guitars.
The album is bound together by a cohesive vision of grumbling psych rock, put together with a DIY attitude.
Blood is their second album - the follow up to 2013's Woman – and it's a cathartic narrative that makes your heart hurt and soar in equal measure.
There’s something to be said for moments of hedonism on a dancefloor before you take that moment of clarity to consider the context of what you’re dancing to. 'I can feel you creep into my private life' is made up of many of those moments.
Her third EP builds upon the lo-fi eccentricity that has had her hailed as an ‘anti-popstar’.
While A Day With the Homies may be an experiment, it is an outlier that features the least organic strains in a discography rich with texture and playfulness.
Dream Wife's opening salvo feels like indie debuts of old; a 34-minute cobweb-clearer with a few middling-to-good songs and a handful of spectacular ones.
Django Django’s Marble Skies is a genre-blending spectrum of trippy, dance-fuelled fun. With the band returning to their DIY aesthetic, the collection feels fresh and summer-ready.
Summer may be a hazy memory but the Loleatta Holloway-sampling title track is primed for smouldering festival sets, and it looms large over this body of work too.
Eleven tracks of fast-moving, relentlessly catchy, hairs-on-end hits with hugely quotable choruses that feel liberating and powerful to dance and shout along to.
Over these seven tracks and 19 minutes, the compositions are notable for their lack of compromise and sheer atmospheric power.