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FKJ is a virtuosic multi-instrumentalist and producer with one foot in the new world and one in the old, making soulful, limitless music for a restless, genre-fluid generation. His songs blur jazz, soul, folk, rock and experimental beats with an intricacy and intimacy that puts him on a par with the likes of Tom Misch, James Blake and Jacob Collier. V I N C E N T is FKJ’s second album and signals a new dawn, not just as a go-to producer and remixer for artists like PinkPantheress but as an intriguing artist in his own right.

The twin polarities upon which Use Your Illusion has always derived its unique energy from are its absolute bigness and its unparallelled sense of vindictive martyrdom. This deluxe set—which doubles the length of the combined two original albums by including two full live sets—is definitely big, but without the inclusion of additional studio tracks (no demos, b-sides or outtakes) doesn't expand on the original in any meaningful way. Which means that Illusion is still trapped in its own unique 1991 amber. From its odd sequencing—which alternates between melodramatic grandiosity, midtempo sleaze, and energetic rockers built solely on bitterness and spite—to the stultifying airlessness of the recording (all of the band members cut their parts separately), Illusion still feels like an overdetermined mess that somehow manages to consistently deliver the goods though sadly, goods steeped in an aimless rage that these days reads less like anti-authoritarianism and more like toxic narcissism. This is an album that gets out a "fuck you" in its first two minutes, and devolves from there into a master class on petty beefing: Whether it's "Right Next Door To Hell," "Get In the Ring," "My World" (ugh), "Back Off Bitch" (ugggghh), or any of the other tracks where poor Axl Rose blames all of his problems on everyone else in the world, the constant airing of tiny grievances is far more deadening than the set's length. All of this made Use Your Illusion a deeply cynical yet completely sincere work.

Guns N' Roses are the bridge separating 1980s and 1990s hard rock, the band responsible for ushering in an era of grim, gritty rock & roll. Where such peers as Mötley Crüe reveled in the decadence of Sunset Strip sleaze, Guns N' Roses focused on the grimy underbelly of the urban jungle, with guitarists Slash and Izzy Stradlin cranking out mean riffs that matched the dark fantasies of Axl Rose, the vocalist who led GNR with a serpentine charm. Rose countered his nasty tendencies with a romantic side, one that flourished on "Sweet Child O' Mine," the soaring ballad that went to number one in 1988, turning the band into superstars in the process. Over the next few years, GNR's 1987 debut album, Appetite for Destruction, sold in monstrous numbers, with "Welcome to the Jungle" and "Paradise City" both reaching Billboard's Top Ten and "Patience," from the 1989 EP GNR Lies, also reaching that exalted position.

After playing live together since 2008, Sasha Dobson, Norah Jones and Catherine Popper have at last taken their collaboration into the studio. No Fools, No Fun with the release of their debut album on Blue Note Records. The trio, known as Puss n Boots after flirtations with such monikers as Fangbanger, Dixie Fried and Shitstorm, recorded the album at Studio G in Brooklyn with engineer/mixer Joel Hamilton. 'No Fools, No Fun' includes five original songs two each from Dobson and Popper and one from Jones and seven spirited cover tunes, all culled from Puss n Boots live repertoire. The 12-song collection takes its name from the lyrics of 'Bull Rider,' a Rodney Crowell song made famous by Johnny Cash. 'Bull Rider' is one of three album tracks that Puss n Boots recorded live in June of 2013 at The Bell House. Over the years, they have also performed at the Bridge School Benefit, played stadiums with the Beastie Boys on the 'Get Out The Vote' tour and joined Wilco onstage at Madison Square Garden, singing background vocals on 'Jesus, Etc.', a song that Puss n Boots interprets on 'No Fools, No Fun'.

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