ALBUMS
BASSEKOU KOUYATE ****
Miri (Outhere)
Malian ngoni music might not be everyone’s jam – for those not sure what a ngoni is, it’s kind of like a lute – but in the hands of virtuoso Bassekou Kouyate, it’s hard not to be swayed. This fifth album, from a true icon of West African contemporary music, builds the traditional, technical and experimental into a fascinating layer cake of choruses and intricate string work. There’s a new element to pinpoint with every repeated listen – see if you don’t get sucked in. words Betti Hunter
BILGE PUMP ***
We Love You (Gringo)
Given that their previous release, back in 2010, was an EP called The Fucking Cunts Still Treat Us Like Pricks, the title of Bilge Pump’s new album suggests that they’re now more interested in conciliation than in confrontation. Yet the Leeds mavericks’ elasticated, discordant post-punk remains as much an acquired taste as ever. Fantastically frazzled opener Wheel Of Yew rather oversells what follows, though The Passion Of The Kid profitably ditches the idiosyncrasies in favour of Shellac-style rhythmic precision. words Ben Woolhead
THE CLAYPOOL LENNON DELIRIUM ****
South Of Reality (ATO)
Whilst I am familiar with Primus, I never checked out the previous collaboration between their frontman and the Lennon/Ono offspring. Expecting an unlistenable musical experiment, South Of Reality turn out to be a very pleasant psychedelic rock trip. Fuelled by Claypool’s unmistakable bass work, the duo share vocals and while the lyrical content is barking mad in parts, musically it’s a real treat. Imagine if The Byrds were part of the early 90s alternative scene and you’re in the right ballpark. words Chris Andrews
COSEY FANNI TUTTI ****
TUTTI (Conspiracy International)
Author, performance artist, porn star, founder member of infamous industrial pioneers Throbbing Gristle, “wrecker of civilisation”: Cosey Fanni Tutti has a long and colourful resumé. Despite claiming to loathe acceptance, she’s been embraced as a huge influence by scores of electronic musicians – and her second solo LP, consisting of tracks originally composed for an autobiographical film, demonstrates why. While many people her age are travelling to bingo with their free bus pass, she’s busy transporting listeners to the depths of a nuclear winter on Sophic Ripple. words Ben Woolhead
DAN AMOR ****
Afonydd A Drysau (Cae Gwyn)
Dan Amor’s sound has been likened to The Beatles, but that doesn’t do it justice. Tracks such as Blwyddyn are more Beautiful South, and there’s a glimpse of 90s Britpop in here too. Afonydd A Drysau is a relaxing yet toe-tapping affair and though I couldn’t understand a word I still got the message. Songs are original, Dan plays (almost) everything and, as a bonus, the first 50 copies of the CD come with freebies. LN
DRENGE ****
Strange Creatures (Infectious)
Derbyshire trio Drenge’s third studio release is equal parts anti-establishment poetry, gothic imagery and love-tinged ballads, occupying an unusual sonic space somewhere between Type O Negative and Royal Blood with a healthy splash of Muse thrown in for good measure. Beneath the thick grey smog of depression and reverb, the instrumentation feels colourful and sharp, dabbling with jazz and electronic influence to start to mould the distinctly British deadpan punk sound they’ve adopted into something a little more unique. words Alex Payne
LADYTRON ****
Ladytron (!K7)
Little in the way of fresh output has been seen from Ladytron in the last eight years. The quartet’s reputation for sleek synth precision nevertheless remains intact on a self-titled sixth album that bleeds between the melancholic Paper Highways, Deadzone’s dystopic overtones and the bubbling electropop of Figurine. Polished production values lend a steely sheen that reaffirms the minimalist sound that has come to define the band’s work. Despite a creative pause, this formula remains as potent as ever. words Chis Hamilton-Peach
MERCURY REV ****
Bobbie Gentry’s The Delta Sweete Revisited (Bella Union)
Ramshackle psychedelic mavericks turned melancholy keepers of the Americana flame, Mercury Rev lend their Disneyfied grandiosity to a cover of Bobbie Gentry’s 1968 concept album. Featuring a different guest vocalist on each track, Norah Jones is the biggest name on show here, but the surprise stand out is Laetitia Sadler’s take on Mornin’ Glory. Reverent without being a mere facsimile, the album contains enough surprises to keep fans of both the band and Bobbie Gentry satisfied. words Paul Jenkins
MONO ****
Nowhere Now Here (Pelagic)
As the name implies, Mono’s 10th LP seems born to soundtrack the chaotic, near-apocalyptic times in which we find ourselves. The Japanese post-rock titans are most definitely not masters of understatement: on the contrary, everything they do is on an epic scale. New drummer Dahm Majuri Cipolla makes his presence felt early on, ensuring that After You Comes The Flood sounds like a thrash metal band making the sky fall in. After that, Breathe is more an imperative or reminder than a song title. words Ben Woolhead
NUBIYAN TWIST ****
Jungle Run (Strut)
Of the heat of the Afro-jazz explosion happening up in Leeds, Nubiyan Twist are 12 of the most successful faces. With a full, clean sound and strong hip-hop/neo-soul edges throughout, Jungle Run is of a similar cut as its peers; funky, virtuoso, progressive performances that beg for more rap collaborations or long improvisational sections. As it is, the album is an impressive collection of rich rhythm bars that can step on each other at times but are lovely really. words Jason Machlab
PANDA BEAR ****
Buoys (Domino)
Buoys is the sixth album from Panda Bear, aka Noah Lennox, aka him from Animal Collective. Instead of the chillwave sampledelia of his best known album, 2007’s Person Pitch, Buoys is much closer to the acoustic and melodic output of his main band. And, as with Animal Collective, the songs here straddle the line between earworm and irritating. Mainly manipulated vocals and heavily processed acoustic guitars floating over skittish percussion, for the most part it works, creating a short, sweet, summery album. words Sam Easterbrook
PUPPY ****
The Goat (Spinefarm)
One of the most talked about bands in the underground scene in recent years, the genre-defying Puppy from London are ready to unleash their debut album on the world. The Goat takes influences from all over the world of rock. You’ll find Iron Maiden style melodies following luscious Weezer-style pop-rock, as well as Deftones groove laden with doom overtones. Sounds bizarre, but the trio have brought it all together and created a debut album to remember. words Chris Andrews
RUSTIN MAN ****
Drift Code (Domino)
If he had neighbours they’d be wondering what Rustin Man’s Paul Webb has been building in his barn for 17 years. On this urbane yet bucolic LP he’s commandeered the mic from Beth Gibbons, with a fragile but defiant voice, like an octagenian Bowie. Our Tomorrows is as fleet-footed as Elbow; the meandering piano on Vanishing Heart rivals former band Talk Talk. Pattering drums, woodwind and guitar licks propel Judgement Train and zither and piano embue All Summer with a golden haze. words Chris Seal
RUSTY SHACKLE ****
The Raven, The Thief & The Hangman (Get Folked)
The South Wales quintet show what wizards they are at changing up traditional music. They researched old songs, words and stories and set them to original music and melodies. Combining bluegrass, Celtic, rock, roots and of course folk, they breathe new life into tunes telling us about thieving chimney sweeps, escaped convicts, ladies of the night and uprising Chartists. Good harmonizing, especially on Hanging Johnny. Rock, not jazz awaits at St. James Infirmary and Morricone signals the guitar-driven Time Of Death. words Rhonda Lee Reali
SALIF KEITA ****
Un Autre Blanc (Naïve/Believe)
The Golden Voice Of Africa bows out of the biz with this solid swansong to Keita’s half a century in African music, instigated by being ostracised from his village as an albino. The baton is relayed to the new generation from the synth twisting around the kora of Were Were, autotune on Ngamale and the unintrusive rap of trap artist MHD on the jubilant afropop Itarafo. Keita’s voice soars on the sublime Syrie and the liquid Diawara Fa, featuring afrobeats star Yemi Alade. words Chis Seal
SOUNDWIRE ***
Soundwire (Mine Mine Mine)
The debut album by south Wales psychedelic rockers Soundwire is more indie-synth than trippy 60s psychedelia, yet its repetitive riffs are almost hypnotic. There are some solid beats here, but most tracks are similar in tone (of the eight songs, We Rise and A Hiding To Nothing are the more musically dynamic) and fail to take off like I so wished they would – though when you’re swaying in a dark and hazy backroom, this is probably a good thing. words Lynda Nash
SWERVEDRIVER ***
Future Ruins (Rock Action)
In the early 90s, when their Thames Valley contemporaries Ride and Slowdive were preoccupied gazing at their shoes, Swervedriver were looking out across the Atlantic for inspiration. Nearly 30 years later, the latter still bear the imprint of American influence but time has largely robbed them of their alt-rock bite. Mary Winter and Theeascending do at least break the mid-paced mould and up the volume, but the best tracks – Drone Lover and immersive closer Radio-Silent – actually slow things down, luxuriating in stoned, sun-kissed melody. words Ben Woolhead
THEON CROSS ***
Fyah (Gearbox)
Theon Cross is a tuba-playing jazz musician, a niche containing frankly few iconic figures. He’s also a member of London group Sons Of Kemet, a pretty high-profile position as British jazzers go, and on his second album Fyah is joined by sax player Nubya Garcia and drummer Moses Boyd. The nature of Cross’ chosen instrument means he rarely presents as a bandleader per se, rather purring away with bassy depth, with echoes of mid-00s dubstep and soundsystem culture in general. words Noel Gardner
VARIOUS ****
I’m A Freak 2 Baby (Grapefruit/Cherry Red)
Either the reserves of vintage UK underground hard rock and proto-metal are slightly more finite than it can sometimes feel, or Cherry Red don’t have unlimited licensing power. I say this because a few of the 53 bands featured on this three-CD compilation of valve amps, gristle and soapbar hash also featured on I’m A Freak, Baby, its 2016 predecessor. So you get to listen to Stray, Stack Waddy, the Edgar Broughton Band and Lemmy’s pre-Hawkwind group Sam Gopal again: hardly a hardship. In- and exclusive of this, this comp is boss for most of its nigh-on four-hour duration. A few bands are better known than the four already mentioned – there’s a UK number one, Arthur Brown’s Fire, albeit in gnarlier demo form – and many are more obscure. Regionally-minded readers may be interested to know there are four south Wales outfits included here, from the well known Budgie to Rhondda’s demo-only Eugene Carnan and Love Sculpture, represented here with absurd surf-shredder Sabre Dance. words Noel Gardner
WHITE LIES ****
Five (PIAS)
With a sizeable international following built up over the last decade, White Lies could quite easily rest on their laurels with album number five – which does not seem to be the case here at all. With legendary producer Flood contributing, along with Nine Inch Nails mixer Alan Moulder, the band sound re-energised: a bit like Giorgio Moroder re-imagining Breakfast In America via New Gold Dream. On the strength of Five, White Lies have no intention of stepping off the gas. words David Nobakht
CHARLOTTE ADIGÉRY ***
Zandoli EP (Deewee)
Belgian vocalist, previously found warbling on a few Soulwax numbers and released on their label here too, delivers five songs which, in part, mine her Caribbean ancestry via their rhythms and linguistics. High Lights, additionally, is a paean to the artificial weave’s role in black womanhood, although the song itself is springy electropop. words Noel Gardner
FAT WHITE FAMILY ****
Feet (Domino)
Fat White Family return with the triumphant, insane and endlessly cool Feet. Beginning with a smooth psychedelic vibe the track quickly transforms into a chaotic swarm of guitars, synths, drums and autotuned vocals. It’s unmistakably the sound of the FWF but with fresh and unique elements that elevate it to being some of their finest work. words Lloyd Best
GUIDE DOG ****
Dead Beat (Hi Vis)
A slightly unconventional pairing of grunge and electronica is surprisingly kind to the ear and an infectious energy permeates this latest offering from the Welsh three-piece. Readying the follow up to 2017’s Lovely Domestic Bliss, the group continue to reinvigorate hard rock with meaty refrains and comically abstract lyrics – it’s bloody addictive. words Charlie Piercey
KINGSON ***
Tripping The Light (self-released)
This Cardiff four-piece – who busted out in 2016 – could have come off the Car Wash soundtrack! On this, their debut EP, they’re 70s Chic-funky. Can you dig it? Musicianship is slick and professional and fine lead singer Leighton John channels the Average White Band. Lyrically… hopefully they’ll grow in time. words Rhonda Lee Reali
REV MAGNETIC **
Gloaming / Firmament Gear (Rock Action)
Luke Sutherland, who’s collaborated and played with a bunch of people, has a new Scottish band. Gloaming, half of a double A-side, is more listenable than Firmament Gear – electronic noise that left me cold – but the title and video are more interesting than the song, which is mostly fuzz and acoustic guitar. words Rhonda Lee Reali