This week: jazz riots, folk unity, guitarrons and yeehaw spirit

By in Features





Essential weekend listening.

This week’s rundown is by VF’s Kelly Doherty and Becky Rogers, alongside contributors Annabelle Van Dort, Emily Hill and James Hammond.





Tinariwen return with their ninth album, which was recorded in a makeshift tent studio in Algeria. Amatssou stands as an inherently political body of work, amplifying the Berber tribe’s struggle against the Salafists in Mali. Guided by call-and-response vocals, fluid steel guitars, and a vibrant tapestry of folk sounds, Amatssou effortlessly moves between introspective contemplation and infectious melodic grooves, all while embodying a spirit of communal unity. The release’s guest collaborators and organic, jam-like approach emphasise that Amatssou, just like the political struggle it reflects, is a collective effort.–KD

Various Artists

Yo Boombox! Early Independent Hip Hop, Electro And Disco Rap 1979-83

(Soul Jazz Records)


Iconic record shop Sounds of the Universe’s label Soul Jazz is at the forefront of musical innovation. Their sensational special limited 12-inch series and compilations focus on specific sonic movements all the way from UK future bass to punk. The Yo! Boombox compilation is an exceptional example of their compilation series, bringing together, across three 12”s, a vast collection of early independent hip hop, electro and disco rap made in the USA between 1979 and 1983. Rare and unreleased jams that helped to define an era of New York block parties and social movements in the very early days of rap.–EH

Lary 7


(Blank Forms Editions)


Formed over 10 years in his Plastikville studio apartment in New York City, Larynx takes a retrospective approach to Lary 7’s wild and open-bordered sound world. A long-time collector and modifier of junk store machinery, electronics and differing sound objects, Lary 7’s “frankensteined” instruments and assemblages are at the core of these explorations into acoustic and electronic sounds. From the feedback swells produced by his “spring tree”, or the tape-head scribbles of “le concretotron”, these works strike out against conventional approaches to technology, instrument and composition.–JH

Lambrini Girls

You’re Welcome

(Big Scary Monsters)


Make way for Lambrini Girls’ unforgiving punk with their debut EP, You’re Welcome. Known for their frenzied live set, You’re Welcome is a perfect capture of the Brighton duo’s honest takes on being queer women within the music industry while paying homage to their raucous onstage antics. Deep dives into the trivialisation of queer culture (“Help Me I’m Gay”), transphobia (“Terf Wars”) and issues surrounding lad culture (“Boys In The Band”) are backed by a barrage of punk-fuelled headiness–Lambrini Girls know what to say and how to say it, and they’ll make sure you’re listening. With two additional live tracks (“Fuck Myself” and “Big Dick Energy”) for the vinyl release, You’re Welcome is an essential addition to queer punk and remedying the faults of riot grrrl politics.–BR

bar italia

Tracey Denim



bar italia’s third album, and their first on Matador, effortlessly blends post-punk and shoegaze influences, all complemented by a touch of power pop tenderness. Tracey Denim holds an ageless and subtly anthemic power. Despite the lo-fi production and introspective atmosphere, its melodic ambitions are transparent—the off-kilter vocal timings and gritty instrumentation are wilfully mesmerising, and nothing is haphazard. By weaving together elements from so many indie rock sub-genres, bar italia have birthed an exciting, distinctive sound. Undoubtedly, Tracey Denim is an evolutionary leap for the trio, propelling them from a promising emerging act to a new cult favourite.–KD

The Murlocs

Calm Ya Farm

(ATO Records)


Knee slaps, yeehaws and country swings are aplenty in The Murlocs’ latest release, Calm Ya Farm. Last year’s Rapscallion saw the Aussie garage-rock troop power through rock n’ roll hedonism, but this time around, they’re trading weighty riffs for a 12-track-long melodic throwdown. Calm Ya Farm is in keeping with their previous crazed layering of harmonicas, flutes and guitar psych-trips. Still, it offers a calming presence through its feel-good stance with frontman Ambrose Kenny-Smith reminding us to “just chill out and take everything a little easier”. With The Murlocs’ members splitting their time across multiple projects, including King Gizzard & the Lizard Wizard, Orb and Crepes, Calm Ya Farm begs the question of how they always manage to get it right–BR

E.R.P. AKA Convextion

Rotating Assembly



Gerard Hanson, the American producer otherwise known by their E.R.P./Convextion monikers, has delivered heat to some of the most respected electro labels out there across their 20-year career, from Frustrated Funk to Legwork. The latest slice in their club-focused productions comes via the Icelandic vinyl-only imprint om:nia. Hanson, performing under E.R.P brings four tracks of classic Detroit-esque origins meshed with a future leaning sonic tip, pushing the sound of electro further into the realms of the electronic universe.–EH

Various Artists

Canto a lo Divino

(Mississippi Records)


Utilising a 10-line rhyming form accompanied by guitar and the 25-string guitarron, the Canto tradition of Chile’s central valley forms the subject of this compilation from Mississippi Records. Sourced from the Museo Campesino en Movimiento’s extensive collection of field recordings, these tracks show the Canto as a fusion of the daily and the divine and sing as readily of angels as they do of farm labour. Played communally and late into the evening following a day’s work, Canto a la Divino goes direct to the source of a unique and centuries-old tradition.–JH


Ruins Everything

(Worm Discs)


When it comes to UK jazz, much of the discussion and hype has been rather London-centric, overlooking the thriving and innovative scenes occurring outside of the capital. Bristol-based label Worm Discs fly the flag for the South West scene with the release of Snazzback’s heavyweight LP Ruins Everything. An atmospheric excursion through riotous dancefloor-ready jazz, silky smooth hip-hop verses and kaleidoscopic synth soundscapes—the Bristol 7-piece creates music that maintains accessibility whilst having an experimental edge. Sure to ignite festival crowds this summer, Ruins Everything marks an exciting chapter for the group.–AVD