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Released as a standalone single in October 1962, “The Jungle” by Diablito remains one of the period’s most astounding examples of up-tempo lounge exotica. Continue reading
A short-lived commodity of the mid-60s, Hertfordshire group The Creation were one of an emerging sect of artists that fused garage-rock with dabbles of very early malformed psychedelia and late generation beatnik art-pop. Continue reading
So here’s one for the hungover… Recorded by the Skatalites in 1975, the album Herb Dub-Collie Dub is often mistaken for a King Tubby work; however this was only ever partially correct. Continue reading
Taken from Rubicks’ second album, The Rise of the Giddy, “Jungle of You” sits precariously toward the tail of the player. Continue reading
Formed from the remains of Talulah Does the Hula and Black Robots, September Girls embrace a sound dipped in fuzzbox ethics, prominent in garage groups of the 1960s. Continue reading
Fresh from a time bouncing around the East End, Kate Nash returns to the void of the music industry with a five-track EP, Death Proof. Continue reading
Despite being known mostly for minimalist electronic recordings existing in grey sterility, Kraftwerk actually began life composing music that one might consider to be rather more “fluid”. Continue reading
It’s no fun living through the month of the dead without lifting the floor from beneath our feet every once in a while. And with that, here are The Holy Sparks. Continue reading
A mainstay of the mid-1970s punk scene, Guildford four-piece The Stranglers were often considered the illegitimate cousin of punk with an early output can be viewed as an odd breed, born out by lyrics and themes that occasionally fell into crass misogyny mixed with curiously intellectualised misanthropy. Continue reading
Taking hints from modern R&B, funk, soul and psychedelia, Prince’s five-year project – Sign “O” the Times – proved to be one of the enduring albums of 1987. Continue reading
Following a pair of decent, if rather unspectacular albums at the tail end of the 60s, Melanie Safka broke through into popular culture with her third effort Candles in the Rain. Continue reading
Following on from what lead singer Bradford Cox has often described as a “difficult” début album, Shoegaze group Deerhunter rebounded in 2007 with the release of Cryptograms. Continue reading
Coming to fruition as psychedelic rock hits its mainstream peak in 1968, The Crazy World of Arthur Brown delivered a somewhat demented formula to an already absurd genre. Although their début single “Devil’s Grip” failed to capture the imagination the band would find success with their follow-up offering, “Fire”. Continue reading
Not many notable synth-pop / new wave artists from the late-70’s, started as wrangling folk troubadours, although much of Robin Scott’s history is unusual. Continue reading
Occasionally formless and brilliantly nonsensical, noise-rock’s tendency to avoid the trappings of its more radio-friendly cousin is always welcome. Formed six years ago, Vancouver-based band Shearing Pinx have proved themselves worthy exponents of the genre. Nickelback, this ain’t. Continue reading
While at the height of his powers as the lead in Doctor Who, Tom Baker took on a very different role in front of the camera. For a brief period at the tail end of 1978, Baker stared in Late Night Story, a series of fifteen-minute shorts where he read several macabre tales based on the theme of childhood. Continue reading
There is absolutely no doubt that television has changed beyond all recognition over the last thirty or forty years, but perhaps the biggest change in television over the decades can be seen in its coverage of sports. Continue reading
With an assured and absorbing sound, Hoyt Ming and His Pep Steppers must surely stand out as one of the most unique folk and country artists to have existed in the last century. Continue reading
Drawing sounds from the breath of ghostly post-punk, young London trio Halo Halo chanced upon my radar recently thanks to a storming set supporting Electrelane at Scala. Continue reading
Imagining itself as a mid-1980’s parody of glam-tainted cock rock, Peaches’ third full solo release, “Impeach My Bush”, does its best to push the boundaries of taste on occasion, but never quite makes it. Continue reading
The Weekend Pollution 