Bootstrap Example
632 “Scratch Card Lanyard” by Dry Cleaning
8·5 “Excellent Indie from England”
A single in November, 2020.
– As anyone paying attention knows, I'm a sucker for the spoken word and music combo in all the various forms and genres, and this highly engaging quartet have been doing it for me for the last year and a half. They are: Tom Dowse (guitars), Lewis Maynard (bass), Nick Buxton (drums) and Florence Shaw, the jewel in the crown, who reads and writes biting lyrical snips. Quietus tells a little of the remarkable backstory: “Florence Shaw, a visual artist, drawing lecturer and picture researcher, was recruited by Dowse, who she knew from art school. She had no prior experience in music, other than two years’ worth of piano as a child, but had incorporated the written word into her art. In a pub, after a friend’s exhibition, Dowse played Shaw some phone recordings of what he, Buxton and Maynard had been working on in the garage.” If you like this, get digging in; Dry Cleaning are addictive, endearing and well worth your time.
Get it at Bandcamp
631 “Zeta Potential” by Mugstar
8·7 “Excellent Alternative Rock from England”
From their album “Graft” released in October, 2020.
– Amazing to think that it's nearly 17 years since their first Peel session, good grief. That they were from Liverpool and masters of their Space Rock art was a double whammy; Peelie stuck with them all the way, and they were booked in 2004, the gaffer's final year. Can't say I've been following them all the way like Peelie, but maybe I should be. From the presser: “After experimenting with longer form compositions on 2016’s Magnetic Seasons, Graft‘s six-song journey sees Mugstar return to a more focused work ethic, a move resulting in a sound that is fraught with tension drama whilst still finding plenty of room to improvise and allow for creative exploration.”
Get it at Bandcamp
630 “Ba Ndeko Ya Basi” by Didjak Munya
8·7 “Excellent Africana from the D.R. Congo”
A digital single in June, 2019.
– There's nothing quite like the sweet sound of the Congolesian soukous to hotwire the utmost joy into the soul, and this little beauty certainly hits the spot. I don't much about Didjak, but writing about his “Oxygène” album in 2013, his Akwaaba Music label wrote: “In a country where life is hard and music is joyful, Didjak is not afraid to deal with serious issues in his raps. Much like the musicality on the album, his lyrics show versatility, ranging from diasporan identity issues to how Congolese culture is shaken up by urban living in Kinshasa. Didjak is an important voice for the DR Congo today, a country with decades of history as the most influential music hot spot in the entire continent.
Get it at Amazon