
‘The Return of the Durutti Column’ Is Long Overdue
Listening to The Return of the Durutti Column is like being given the key to a world that, while not as secret as before, is well worth exploring.

Listening to The Return of the Durutti Column is like being given the key to a world that, while not as secret as before, is well worth exploring.

So, Here We Are: Best of Doves shows how their secret is making music that’s grandiose yet unpretentious. It’s big music with a small ego.

As Everything But the Girl, Tracey Thorn and Ben Watt were one of the most unique British acts of the 1980s and 1990s.

OMD’s Crush is a self-contained, ultra-romantic package that both encapsulates and transcends the 1980s. They had never sounded this sleek, sexy, and cool before

Dance Called Memory is something of a pivotal album in its own modest way. It’s Nation of Language’s most introspective and darkest record.

With International, these pop academics have left us with one final lesson: if you must fade away, do so gracefully. Saint Etienne most certainly have.

In the years since his death in 1972 from kidney disease, Kenny Dorham has become one of those artists who are famous for not having been famous—for being underrated.

Power pop was always music for other musicians to like, or for people whose record collections eclipsed their social lives. The songs were catchy and poppy.

While much 1970s rock went straight up its arse, Be-Bop Deluxe offered a swift yet elegant kick in the crotch. Who knew that decades later it would still feel good?

For the Pale Fountains, The Complete Virgin Years is evidence of a group that had more ideas than two studio albums would allow. A few of those ideas were sublime.

Every so often, a band like Lifeguard appear and aren’t experimental, but flaunt their impeccable influences in a way that’s so brash and confident.

Jazz guitarist Kenny Burrell’s collection feels more like a warm vignette than a cynical freeze-frame. This is one occasion where digital files simply won’t suffice.