Cal Cashin

1 week ago | thequietus.com | Bobby Barry |Cal Cashin

It is testament to the astral, prolific talent of Arthur Russell that two decades after the first reissues of his archival material garnered widespread acclaim, crystals of such high quality are still being unearthed. 2023’s Picture of Bunny Rabbit and 2019’s Iowa Dream hinted at the depth and breadth of what remains unheard in the Arthur Russell Archives, but it is perhaps surprising that it has taken so long for a high-quality live recording to see the light of day.

1 month ago | thequietus.com | John Doran |Cal Cashin

La Brea is a truly inexplicable, revelatory debut. Spending 80 minutes with Chilean band Hesse Kassel, and their writhing, scampering, soaring post rock, is as genuinely life-affirming as it gets. It is music of the most cathartic and reinvigorating nature, and an elemental listening experience that makes everything feel new, exciting, and possible.

1 month ago | thequietus.com | Bobby Barry |Cal Cashin

Spiritual jazz, highlife, disco, and soul – the international debut album of Ghanaian gospel singer Florence Adooni writhes with an endless array of bold genre fusions. Every groove here is rich, vibrant, as Adooni’s powerhouse voice breathes life into a party of playful arrangements and erratic polyrhythms. Adooni was born in Kumasi, Ghana’s home of highlife music, to parents of Frafra heritage, a region renowned for its embarrassment of soul and disco riches.

2 months ago | thequietus.com | Bobby Barry |Cal Cashin

At the tail-end of the 2010s, Squid emerged alongside Black Midi and Black Country, New Road as part of a golden trifecta for the iconoclastic South London singles label Speedy Wunderground. A real revitalising moment for British guitar music, this trio of spookily young groups combined virtuous musicality with a diverse and incongruous canon of influences to make some of the most exciting and experimental rock music seen on these shores for generations.

Jan 23, 2025 | thequietus.com | Bobby Barry |Cal Cashin

Since its invention, the synthesizer has been a powerful tool that has allowed artists to harness feelings of utter loneliness and detachment in their music, often to match feelings of disenfranchisement and disassociation with a technologically transforming world. Alongside the rise of Kraftwerk, the emergence of Britain’s alienated synthesists in the 1970s’ tail end is one of electronic music’s most widely documented happenings and for good reason.