30 Years Ago the Church Transcended Alternative Rock Limitations with ‘Priest=Aura’
In the 30 years since its release, the Church’s Priest=Aura has gone from a post-“Under the Milky Way” footnote to an acknowledged career pinnacle.
In the 30 years since its release, the Church’s Priest=Aura has gone from a post-“Under the Milky Way” footnote to an acknowledged career pinnacle.
Coldcut’s @0 swaddles the listener in mellow, relaxing swaths of sound. Slow-building, expansive washes of synthesizer pads dominate, swelling and ebbing with each successive track.
Have mercy! This sprawling, four-disc roundup Dr. Cholmondley Repents is a fine entry point to the wonderful world of British indie legends, the Jazz Butcher.
The final, sadly posthumous album from the great Pat Fish (aka the Jazz Butcher) shows the British indie-pop legend was taken much too soon.
This 51-track compendium of 1981-vintage synthpop tries mighty hard but ultimately falls short. Licensing issues likely kept some of 1981’s best from this set.
On his first solo album in a decade, former Fleetwood Mac maestro Lindsey Buckingham reasserts his considerable talents and charms.
The first album in four years from the British pop aesthetes sounds distinctly like Saint Etienne, which is ironic given some of the source material.
The Vaccines’ Back in Love City is their most convincing attempt yet at convincing the world they are a pop band that just happen to use guitars.
For the first time, all six hours of the trumpeter’s 1970 concert are released, leaving a hint of where Lee Morgan may have headed if he lived past 33.
With an all-star cast helping to perform his classics, Solid Gold U-Roy turns out to be an unexpected epitaph for the legendary Jamaican deejay.
After a five-year hiatus, Aussie indie-popper Nick Murphy reactivates the alias of Chet Faker that made him famous. The results on Hotel Surrender are chill.
On the first new Amusement Parks on Fire record in over a decade, Michael Feerick continues to push the boundaries of what a rock album can be.