Collection includes all studio albums by Australian alternative rock band from Sydney. In 2010, their album Diesel and Dust ranked no. 1 in the book The 100 Best Australian Albums.
Picking up where DMX Krew left off, Mount Sims' debut record paints a picture of the new wave renaissance with tongue planted firmly in cheek. Appearing to be a mildly fetish-oriented trio consisting of two girls and a pompous male lead singer, the band is actually the studio creation of sonic explorer Matt Sims. Does it work? The answer is a resounding yes; he manages to capture all the glorious excess and studio trickery of the genre's early-'80s heyday and inject soulful singing and hip-hop beats into the mix. Sims affects a voice that turns from an erotic groan to a falsetto croon in a heartbeat, but his straightforward delivery makes the moments of levity that much funnier.
The success of the Austin Powers movies rekindled an interest in everything groovy, swinging and mod. The Instro Hipsters a Go-Go responded in kind, serving up fun but mostly forgotten instrumentals from the '60s and early '70s that sound equally good in a bachelor pad or discotheque. Instro Hipsters a Go-Go, Vol. 3 is a Wall of Sound made up of twangy surf guitars, tumbling drums, flourishes of strings and brass, and funky organs, especially on classic instrumentals like "Cherokee" and "Raunchy," which have been given mod makeovers here by the Mitch Murray Clan and the Ray McVay Sound. Harry Stoneham's "Mogul/I Spy/The Avengers" nods to the spy movie and TV show fetish of the time, while Shocking Blue's "Ackla Ragh"'s trippy sitars allude to the '60s and '70s fascination with Indian music. Though it's more eclectic than some other volumes in this series, this collection makes for very entertaining mood music that still conjures up this swinging, stylish era.
DJ Koze is a big figure in electronic music, but he also appears to be its benevolent godfather. This compilation of tunes from his label Pampa runs the gamut of sounds, but always stays jubilant.
The brief career of this artist, one of four different horn players in jazz named Joe Thomas, can be basically described as symposium on funky flute. He was certainly not the only flautist huffing and puffing over strong backbeats in the '70s and '80s, the era's popular players in this style including Herbie Mann, Jeremy Steig, and Hubert Laws. Thomas' masterwork in this genre might be considered to be "Funky Fever," more than ten minutes of jamming that has been described as "jazzy disco funk boogie," complete with a vocal chorus that chants "I've got this funky, funky fever."
This 5xCD box set from Cherry Red offers a compelling look at shoegaze's prime era. Still in a Dream takes a wide trawl approach to its genre, which has upsides and downsides. As with Rhino’s goth box A Life Less Lived, shoegaze is generously interpreted to include antecedents and formative influences, which bulks up the quality.
Recordings by solo lutenists have been numerous since the beginning of the 21st century. Cynics would say that in an era of declining government subvention it's cheaper to pay a single lutenist than an orchestra or choir, but it's also true that the lute repertory of the 17th and 18th centuries has historically been undervalued, left to a few specialists, despite the fact that court lutenists were some of the most celebrated and highly paid musicians of the time. This recording deals with a 1667 publication, Delitiae Testudinis (Delights of the Lute), by the little-known Esias Reusner, who was active in the German city of Brieg (now Brzeg, Poland).