Reviews by henry-winchester

Slightly pervy, but kind of throbbing and muted, and it's easy to see how they changed things.

Scarily, almost inevitably prophetic. What comes across here is his colossal talent married with boyish vulnerability and self-deprecating humour. And sloppy sex noises. Was not expecting those.

A vast improvement on "Funeral," and pleased to be finally get a track ID on that opener, which I've heard everywhere. Moves fast to start with, but slows down and gets a little lost and meandering towards the end.

Sonic Youth before they went weird were still pretty weird. In a good way!

British folk repackaged for a pop audience, but it just about manages to avoid going too far into Twee Cottage.

Not really my cup of tea, but still a little bit deeper and more intricate than I was expecting.

Not always easy to listen to, but always fun, interesting, and challenging.

I guessed exactly what this would sound like from the album art and I was exactly right. Very, very of its time, bereft of substance and flatly mixed, but I liked its malevolent, trip-hoppy edge.
RIP Suba.

This is why we needed the Dixie Chicks.

Interesting art-pop in places, utter cringe in others.

Tom Waits is definitely the only kid who made a weird face in their school photo. But this was a bit better than his other stuff I've heard on here, it's actually listenable and tuneful in places, for one.

I liked this a lot, very chill with that awesome bass to back up her vocals. Reminded me of John Martyn a lot.
BUT it looks like there's a random floating penis on the cover and I can't unsee it.

Exactly why I love music.

Not sure if this needs to be here. Thorn has a great voice, but the arrangements are bland and it lacks the emotional backbone of their later work.

Not exactly what I expected, but interesting and diverting nonetheless.

Very British in that it invades a foreign land, exports only the good stuff, and profits. But it's also incredible that the Stones proved such a perfect fit for the blues, bringing their own pop-rock sensibilities with them.

50% the absolute origins of modern dance music, 50% utterly unlistenable Teutonic screaming.

Never has a band sounded so much like they're from Birmingham. Turns out they're American!

Not sure about this one. Still moody and muted, but it teeters into overly emotional pop a few too many times.

Surprisingly lo-fi in places, sounds almost like a mo'wax record, but also British and urban and modern. Loved it all.