New music

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This article was published 24/01/2025 (592 days ago), so information in it may no longer be current.

ROCK

Lambrini Girls
Who Let the Dogs Out (City Slang)

As is often the case with U.K. bands, some cultural translation is required: Lambrini is a popular British pear cider (or “perry”) that’s been around for 30 years, marketed at and primarily popular with young women — and these Lambrini Girls are likely giving the drink’s PR team nightmares.

That’s because Brighton-based guitarist/vocalist Phoebe Lunny and bassist Lilly Macieira are catchily strident, raging punk-noise merchants whose propulsive, distorted riffs and screamed/spoken vocals are an irresistible and absolute indictment of modern life. That … and maybe the fact the slogan on Lambrini Girls’ Bandcamp page is: “Party music for gay angry sluts.”

In 10 songs over 29 breathtaking minutes, Lunny, Macieira and Brighton-based session drummer Jack Looker take on all comers – from Metropolitan Police rapist/murderers (album opener Bad Apple) to rampant sexism (Company Culture, Big Dick Energy), body dysmorphia (Nothing Tastes as Good as it Feels), middle-class transformation of neighbourhoods (You’re Not from Around Here), to the aching difficulty of coming out (No Homo) and the trauma of dealing with ASD (Special Different).

Produced by Lambrini Girls and Daniel Fox, of Ireland’s Gilla Band, the music here ranges from full-on punk ragers to twisted drum-n-bass workouts to warped, synth-incorporating noise-pop. The sentiments range from biting social critiques to heartfelt declarations of vulnerability, and the sum total is some of the most compelling new music since Idles, Sleaford Mods or Amyl and the Sniffers.

★★★★1/2 out of five stars

Stream these: Bad Apple: Company Culture; Special Different

— John Kendle

HIP HOP

Mac Miller
Balloonerism (Warner)

To coincide with what would have been Mac Miller’s 33rd birthday, his estate has given us all a present — an unreleased album by the late hip-hop star.

Balloonerism was shelved around 2014 in favour of the album Watching Movies With the Sound Off and the mixtape Faces. The album includes 14 songs and features Thundercat on bass and producing, as well as collaborations with SZA and Ashley All Day.

It’s an airy, experimental album that leans into neo-soul and jazz, often sounding dreamy and drug addled. It’s more scattered and sprawling than the music he officially released at the time. Be prepared for sudden changes in tempo and instruments, as well as ghostly studio murmurs.

Death and money are frequent subjects of Miller’s meditation, as is a frequent nostalgia for childhood. The best track is the lead single — 5 Dollar Pony Rides — which features a hangdog Miller reaching out to an old love, almost scatting by the end. “Your daddy shoulda got you that pony/Let me give you what you want,” he sings.

There is an appearance on Transformations by Delusional Thomas, Miller’s alter ego, which means his usual flow is distorted by effects that make him sound like a helium-sucking imp and then like a demon, all pretty juvenile stuff. It’s one of a few tracks that really didn’t need to see daylight, including the final one, the indulgent Tomorrow Will Never Know.

It’s not clear why Balloonerism stayed on the shelf. Miller’s output was remarkable, and maybe other projects seemed more pressing. But with his voice now silent, we’re hungry to hear anything new, even estranged projects. Let him give you what you want.

★★★1/2 out of five stars

Stream this: 5 Dollar Pony Rides

— Mark Kennedy, The Associated Press

JAZZ

GTO Trio
Within (Anzic)

GTO is Gadi Lehavi on piano, Tal Mashiach on bass and Ofri Nehemya on drums. While the Israeli jazz scene is perhaps not a large part of the North American audience, it is vibrant and alive. These three Israelis began playing together as teenagers and have solidified into a terrific trio.

This is their second release and displays a mature and intuitive relationship. The word that comes to mind about their music is spirited. They simply attack each piece with an enthusiasm that is often joyful. They excel at ballads as well, and somehow retain the feeling of a unified message and style.

Not surprisingly there is a wonderful Mideastern flavour to some tracks. Cachi presents images of celebratory dances or parties. It swings with a smooth integration of eastern and western grooves. No Vowels Allowed is an up-tempo romp that bursts with energy as each member flies around the melody within a shifting metre. Lehavi’s piano is on fire.

A Moment Before is a slow dance with a hummable melody and a gentle rhythm. Mashiach’s bass solo here is lovely. The opening track, Like Water, is perfectly set up to introduce the trio with each shining. All the tracks except one are compositions by the trio and the writing is accessible and enjoyable. There is challenge in some tunes such as Abutbul’s Market that leaps and bounces through a 13/8 time signature with cheerful assurance.

As mentioned, this is spirited jazz. If you are looking for an album that displays frequently complex ideas with abandon, look no further. This is totally enjoyable music that simply makes you feel good. It is truly impressive.

★★★★1/2 out of five stars

Stream these: Merengue Mediterraneo; Cachi

— Keith Black

CLASSICAL

Alina Ibragimova, Cédric Tiberghien
Schumann: Violin Sonatas (Hyperion)

Alina Ibragimova and Cédric Tiberghien bring their simpatico artistry to three of Schumann’s violin sonatas composed between 1851 and 1853.

Ibragimova immediately displays her resonant tone and virtuosic technique in the first offering, Violin Sonata No. 1 in A minor, Op. 105, its sonata form fuelled by compact rhythms often treated canonically. Of particular note is the soloist’s long, lyrical phrasing during the second movement, Allegretto, leading to a rousing finale, Lebhaft, with Tiberghien matching her note for note.

The disc rounds out with Violin Sonata No. 3 in A minor, Wo027, that sees the pianist delivering his cascading runs with relish, in turn punctuated by Ibragimova’s violin. Following a restful Intermezzo, the players hold taut rein throughout the wild, extreme contrasts of the Scherzo, before finally bringing the work – and album – to an end with another roller-coaster finale.

The players are to be commended for tackling this long controversial albeit now much appreciated piece, reflecting the ill-fated composer’s unravelling world as he spiralled towards madness.

★★★★1/2 out of five stars

Stream these: Leise, einfach; Scherzo

— Holly Harris