ALBUMS
AKA TRIO *****
Joy (Bendigedig)
Complete harmony with acoustic debut album from virtuosos Antonio Forcione (guitar), Seckou Keita (kora and lead vocals) and Adriano Adewale (percussion). It’s so relaxed that you‘re feel as if you’re on secret Italian, Senegalese and Brazilian beaches, gentle waves lapping at your feet. Keita sings of love on Kanou; there’s a hint of bossa nova on Saudade; rhythms flow in a stream where you’re jumping from stone to stone on Empathy, while instruments weave in and out like players in The Beautiful Game. Absolutely gorgeous. words Rhonda Lee Reali
ARTMAGIC *****
The Songs Of Other England (Artmagicmusic)
Folk sensibilities combined with indiepop-rock is an unlikely coupling but the two blend seamlessly. Richard Oakes, also of Suede, and Sean McGhee sing about fields, flowers, fish and birds, truth, lies, religion and relationships; the tracks have depth musically and lyrically – there are no clichés here but plenty of metaphors – and it’s all very relaxing. There are tiny traces of early Genesis but this, the second album by the duo, can stand up on its own. words Lynda Nash
CAVE IN ****
Final Transmission (Hydra Head)
The newest release from post-hardcore favourites Cave In is a hard listen for any fan, as it’s the last to feature bassist Caleb Scofield, who was tragically killed last year. The opening track, a phone recording of Scofield’s final idea submitted to the band before his untimely death, will absolutely break your heart. Overall, Final Transmission is a fitting tribute, one ultimately as sonically satisfying as anything else from Cave In’s very impressive back catalogue. words Chris Andrews
CRAZY P ****
Age Of The Ego (Walk Don’t Walk/!K7)
Funky yet atmospheric, serious yet ridiculously catchy, Age Of The Ego is a diverse record. Crazy P tackle everything from social media to UK politics in a record that will have you thinking and toe-tapping at the same time. The instrumentation is varied, including guitars dripping in reverb, popping bass and synths that will make you feel as though you’re floating through space. Plus, the production is immaculate: modern yet soaked in nostalgia. Age Of The Ego is the definition of ear candy. words Gareth Mitchell
DJ YODA *****
Home Cooking (Lewis)
DJ Yoda is back with another classic album, full of jazzy hip-hop that’ll put an instant smile on your face. The all-star cast of supporting artistes is something to behold. From the wonderful vocals of Eva Lazarus on Rising Brook and Eastville, old-skool hip-hop spots for Ed O.G and the Jungle Brothers are always something to be celebrated; Nubiya Garcia and Omar are also here and the album is a classy journey with flavour. Summer has arrived! words Justin Evans
EARTH ****
Full Upon Her Burning Lips (Sargent House)
Now a staggering 30 years into their career, Earth return with a curious album that sees the team of Dylan Carlson and Adrienne Davies exploring the soundscapes in between the actual instrumentation, rather than filling all the space with music. It’s not as drone-heavy as their early work and very much keeps in line with the more meditative theme of recent albums. They keep it minimal and remember, it’s all about what you don’t hear. words Chris Andrews
FIRE! ORCHESTRA ****
Arrival (Rune Grammofon)
Variously raucous, elegant, elegaic and mystical, this is an album of experimental big band Swedish jazz which, even if those words give you the boak, might prove more palatable than expected. Merry reference is made in the press material to Fire! Orchestra’s newly slim lineup (14 members, compared to 28 previously), and Arrival, their fourth album, is their first whose richness has felt just right for this listener’s blood. Covers of Robbie Basho and Chic betray their diverse inspirations, and are both gorgeous. words Noel Gardner
HAYDEN THORPE ****
Diviner (Domino)
Comprised of swelling keys, subtle electronic elements and a truly idiosyncratic voice, Hayden Thorpe, of Wild Beasts fame, has crafted an emotional debut solo album. Diviner is a dynamic album that is centred around Thorpe’s pipes but subtly moves from one genre to another, so much so the album seems to fly by. Maybe not the kind of listen for a session on the treadmill or the morning commute, but on those cold, quiet nights: perfect. words Gareth Mitchell
HOT CHIP ***
A Bath Full Of Ecstasy (Domino)
Hot Chip could compile a mint best-of package from their six prior albums, and pick a few from their seventh. For the first time, the Chippers entirely cede the production reins to two externals – Zdar (Cassius, Phoenix) and McDonald (The XX, Sampha). Single Hungry Child is the totem, with its New Order four-to-the-floor; Positive is a burbling beaut, Why Does My Mind is iridescent and Clear Blue Skies an Arthur Russellesque treat. words Chris Seal
JAMBINAI ****
Onda (Bella Union)
With K-pop outfit BTS topping the album charts and selling out two Wembley dates in two minutes, the UK has evidently developed a taste for Korean music. Jambinai are cut from a very different cloth, though, using traditional instrumentation in the service of epic post-rock/post-metal. In The Woods, the only track really given space to stretch out and explode in its own good time, will appeal to fans of Mono, while the intense thrash and percussive brutality of Event Horizon and Sun. Tears. Red stun you into submission. words Ben Woolhead
LUST FOR YOUTH *****
Lust For Youth (Sacred Bones)
The Scandinavian duo continue to trade minimalist electronic origins for glistening Eurodance intonations on this slick sixth album. Straddling between Depeche Mode, Technique-era New Order and Balearic beat vitality, this self-titled release reaffirms an increasing inclination towards accessible synth melodies, with the shimmering scope of Great Concerns and Insignificant’s throbbing rhythm proving vivid standouts. Leaning towards a balmy, less austere tonality, the outfit augment a fluid sound flaunted on predecessor Compassion; a fresh, addictive and polished formula. words Chris Hamilton- Peach
PIXX ****
Small Mercies (4AD)
Eighties-style synth/grunge-pop with influences (Throwing Muses, Tears For Fears, even Lene Lovitch on first single Disgrace, her middle-finger to Catholic school) but imaginatively done. More dark nods to religion and relationships (not all of the human kind). Top of the pecking order is latest single Andean Condor, with cool country-ish surf guitar from Dylan Jones, while the Cure riffs of the frantic title-track are also hit material. Hannah Rodgers’ alter ego is a bona fide individual force, one unlike any other vocalist out there. words Rhonda Lee Reali
PLAID ****
Polymer (Warp)
It’s hard to envisage the wider world and/or electronic music tastemakers getting collectively excited about the release of a new Plaid album again, but nearly 30 years (!) into the UK duo’s existence, Ed Handley and Andy Turner’s 10th album builds sweetly on the legacy of the previous nine. Plaid’s skill for composing melodies is near-unmatched in techno (term used broadly), with Dancers and, especially, All To Get Her beatific on an almost new age level. words Noel Gardner
THE PRIDE ***
Magic And Molecules (Dope Biscuits)
Hypnotic, hallucinogenic and psychedelic: all adjectives which describe this album by south Wales hip-hop collective The Pride. Space-like vibes accompany a range of voices that preach humanistic concerns such as togetherness and class issues; the beats are varied, and so are the voices, which helps these 14 tracks flow succinctly. Some of the lyrics went over my head, but that doesn’t matter. Magic And Molecules is an intriguing listen regardless of personal experience. words Gareth Mitchell
QUANTIC ****
Atlantic Oscillations (Tru Thoughts)
From his habitually prolific catalogue of music comes Will Holland’s most considered output to date. The first release under the main Quantic moniker since 2014’s Magnetica is a totally refreshing listen. His far ranging mélange of influences flow nicely across the record: West African rhythms, Columbian grooves and mystical electronics all exquisitely arranged. Stand out tracks just happen to have choice features on them: Orquídea, featturing Sly5thAve, and You Used To Love Me with Denitia. Get it in your system. words Charlie Piercey
¡QUE ASCO! ***
Reaper (Maiden Voyage)
The debut LP from Cardiff crew ¡Que Asco! (translated from the Spanish: How Disgusting!) is a mazy meander through the annals of late-80s/early-90s US alternative rock. The faux-American accent grates and the accompanying press release writes cheques the record simply can’t cash, but John Gotti and lead track Marigolds are spirited if scrappy and I’m loath to discourage any band that can offer a fine approximation of A Thousand Leaves-era Sonic Youth at their most languorous (Walk On By). words Ben Woollhead
RICHARD HAWLEY ****
Further (BMG)
On Further Richard Hawley sounds like a cross between Harry Nilsson and Mark Lanegan, with songs dealing with departure, loss and uncertainty. Kicking off with Off My Mind which has as much ferocity as Iggy And The Stooges circa Raw Power, there’s a fragile beauty to many of the tracks on this record, like the country soul-induced Midnight Train and album closer Doors. Hawley’s eighth album is concise, varied and beautiful: a real treat. words David Nobakht
THE RHYTHM METHOD ***
How Would You Know I Was Lonely? (Moshi Moshi)
The Rhythm Method’s debut album, How Would You Know I Was Lonely?, is a funky pilgrimage through contemporary British times. Concurrently tragic, in a typically millennial #firstworldproblems kind of way, and funny, the album is crammed full of pop-culture references and evokes – at the same time – The Streets, albeit far less venomous, and Chas & Dave. Slightly repetitive, true, but I guess that’s part of its charm. A sonic Where’s Wally of modernity. words Gareth Mitchell
THE TALLEST MAN ON EARTH *****
I Love You. It’s A Fever Dream (AWAL)
From the harmonica in the opening of Hotel Bar to the last notes of the title track, Kristian Matsson’s fifth album is captivating. Matsson has one of those sad and lonely voices that carry emotional lyrics well, while the guitar sounds like it’s being played on a dusty back porch. I’m A Stranger Now is a vibrant yet poignant single, and this is a beautiful collection of songs. words Lynda Nash
YOUNGHUSBAND **
Swimmers (Opposite Number)
This is a gentle album, one which – while pleasant enough – lacks variety. Its 10 songs are in the same tone and lack emotional bite. I longed to be taken somewhere unexpected, but Swimmers is more of a paddle than a swim, and in a pool rather than the sea. There are a few breezy guitar moments but overall it’s a little too restrained – though some folk may prefer the safer option. words Lynda Nash
YOUSSOU N’DOUR ***
History (Believe)
Some super-pleasant Senegalese pop stylings here. Although a few of the tracks (most notably the remixes Hello and Birima) are brickwalled and slick to the point of airlessness, much of it is relaxed, effervescently sunny stuff. Opening track Habib Faye rings with the sound of that wonderfully sweet West African guitar sound, all bright and clean. There’s plenty to dance to, and the trilingual (I think – could be more!) lyricism is a reminder that, ultimately, music is as fine a way as any to bring folks together. Solid stuff from a seasoned master. words Fedor Tot
DEMOS
STARLING’S PLANET
Art-psych with an electronic skeleton from a Cardiff trio who use pseudonyms but who feature two art centre employees, and why not? Uri D’Obscuree, as I am happy to call him, croons and murmurs and barks over drum machine clonk and budget exotica. There are jokes, as hinted by titles like I Love Your Shoes, which is distinct from Starlings Planet being a joke. This four-song EP could have come out on Absurd Records in 1979, which I intend as a great compliment. words Noel Gardner
MINAS
A concept EP, according to its chief architect James Minas, about the Cardiffian’s mental health-related struggles and attempt to find a musical identity of his own. Certainly, the four-song Granted is relentlessly glum, whether an instrumental swirl of slo-mo beats and twinkly synths or abetted by his own lachrymose vocals – or even a guest rap from local MC Razkid. In the Frank Ocean/James Blake lineage of wallow-worthy electro-balladry, Minas is accomplished and melodically affable, but no easy listen. words Noel Gardner
KINGKHAN
soundcloud.com/kingkhandotwave
More “sad trap-influenced pop music” (artist’s own words) from the Welsh capital, Kingkhan – a newish producer, real name Khalid – leans a little further towards the club on his Lovesongs & Melodrama collection. Rattling 808s are anchored by synthesised strings and Autotune, likewise a lyrical tack which is really quite endearing in its puppy-sappy romantic mooning. Kingkhan is also a beatmaker for hire, according to his Soundcloud page; heck, I’d probably shell out if I needed a beat. words Noel Gardner