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Ever since Corby’s very own sonic filthmongers ‘did a Lazarus’ and came back onto the scene, people (like me) who take their music with two fingers of sludge have been eagerly awaiting a new album, so I was happier than a masochist in a circle pit when I received a copy of Lost Ritual to review. If you’re new to Raging Speedhorn, think big, low, stoner- esque riffs. Ten cover it in oil. Tick, dark, heavy metal oil. Ten sprinkle on some lyrics, and roar like a lion at the whole thing until it cries. I could tell you about how it was recorded by Russ Russell, who has also worked with Napalm Death and the Wildhearts, but you can Google all that. What I’ll tell you instead is that opening track Bring Out Your Dead makes my testicles rumble, Ten of Swordsmakes the hairs on the back of my neck stand up and mosh, and Hangmanmakes me want to scream at pigeons. Right in their little birdy faces. Tis may well be the album that finally tips me over the edge. It does things to me. Dark, warm, fuzzy things. I like it. I like it a lot.



Two teenagers from humble Norwich releasing a contender for album of the year seems unlikely. And yet, that’s what Let’s Eat Grandma have done with their extraordinary debut I, Gemini. From the haunting introduction in Deep Six Textbookwe’re led through an exotic adventure to a childlike neverland with saxophones, keyboards and all manner of other obscure noises sound-tracking the journey. Eat Shiitake Mushroomstwinkles and pounds like a swirling mist, Sax in the Cityhops between ethereal vocals and gilded brass wobbles, and Chocolate Sludge Cakewhistles like a mountaintop wind before dissolving into a space-age nursery rhyme. Welcome to the Treehousein its two parts is the record’s crowning gem. Lush percussion fits elegantly alongside piercing vocals and keyboards that whine celestially, before an abrupt and thunderous close. Structure isn’t a concern of Rosa and Jenny’s. Tey flit from verse to verse without a care in the world for build-ups and choruses. It’s innocent, innovative and above all else completely different from anything you’ve ever heard. Vocally, Soak and Lorde are close comparisons to the delicate whispers of I, Gemini but the truth is, Let’s Eat Grandma have crafted a true masterpiece which will exist in its own right for a long time to come.



Over the years James Blake has become notorious for his heartfelt heavy post dubstep productions. His debut album Overgrown was a huge success. Te Colour In Anything clocks in at a whopping 76 minutes and it’s clear that since he last released music in 2013 he’s used his time wisely; this new work makes a leap in development for James, with numerous collaborations from the likes of Bon Iver and Frank Ocean. Although the electronic sound comes in heavy in this album, there is still the token piano ballad that began my love for his take on music. F.O.R.E.V.E.R,possesses that John Lewis Christmas advert vibe, but I am not complaining. Next up is Put Tat Away And Talk To Me, a mesmerising and heartfelt number created through the layering of different sounds. Watch out for Modern Souland Noise Above Our Heads, in my opinion the most enjoyable tracks on the album. Saying this, they’re all bloody great; I’d expect no less from a young talent whose passion is so brutally clear. In a nutshell, James Blake has done it before, he’s done it again and will continue to do so in the future. Absolutely flawless.

38 / June 2016/

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