Paul Weller To Release First-Ever Soundtrack/Film Score Album


For the first time in his long career, Paul Weller has recorded his first-ever full film score / soundtrack project, entitled JAWBONE: Music From The Film, which will be released on Warner Bros. Records in the U.S. on March 10thJAWBONEthe film, will be released in theatres on March 17th in the U.K. This is the first new music from Weller since his universally praised 2015 album Saturns Pattern. JAWBONE: Music From the Film will be available for pre-order beginning today via AmazoniTunes,  Apple Music and Spotify.

Flo Morrissey - Gentlewoman, Ruby Man Album Reviews (Critic Reviews)

Genre(s): Pop/Rock, Alternative/Indie Rock, Alternative Pop/Rock - Based on 6 Critics

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80 - The Guardian
On a wildly eclectic set of cover versions – everything from the Velvet Underground to the Bee Gees – the duo warp the originals into something new, strange and wonderful
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80 - Mojo
This covers collection moves with mysterious grace.

70 - Uncut
Morrissey's rather affectless delivery drains any celebratory urge from "Grease." But "Sunday Morning" is a triumph.

64 - Pitchfork
With the exception of James Blake’s “Colour of Anything,” which here sounds like an outtake from the Virgin Suicides soundtrack, Morrissey and White fare better with the more recent material than with the old.
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60 -  The Independent (UK)
His light, understated tenor blends well with her piquant tone on the blithe, buttoned-down yacht-rock grooves he creates for Little Wings’ “Look At What The Light Did Now” and Frank Ocean’s “Thinking Bout You”; but an affectless version of Barry Gibb’s “Grease” is less successful.
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60 - Drowned in Sound
This record tames its chosen songs, moulding them into softer and smoother beasts, and producing altogether sanitised interpretations.
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Bonobo - Migration Album Reviews (Critic Reviews)

Genre(s): Electronic, Pop/Rock - Based on 6 Critics

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80 - The Guardian
The woozy No Reason is verdant and brooding; the languid, half-awake Break Apart caters to the chillout/easy-listening audience; while Bambro Koyo Ganda features energy from Morocco’s Innov Gnawa; and Kerala’s undulating rhythms, pensive and purposeful, mirror the movement of a bird’s wing.
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80 - Exclaim
This album is yet another triumph in Bonobo's incredibly consistent career, and if the Black Sands and North Borders tours are anything to go by, the live rendition of Migration will be one of 2017's highlights.
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80 - Mojo
It ranks right up there with 2010's exquisite Black Sands.

70 - Allmusic
With Migration, Green blends the unexpected with the familiar and emerges with some of his most affecting work yet.
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60 - The Observer
It all blends into a sonically rich album, perfect for gazing dreamily out of windows at passing landscapes, even if it doesn’t reach any new destinations. 
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60 - Uncut
Migration, road-tested in SJ sets, finds Green cruising into that emotional landscapes occupied by the likes of Jon Hopkins and Mark Pritchard.

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The Flaming Lips - Oczy Mlody Album Review (Critics Review)

Genre(s): Pop/Rock, Alternative/Indie Rock, Alternative Pop/Rock, Dream Pop, Noise Pop, Neo-Psychedelia - Based on 6 Critics
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90 - Musicomh
It’s possible that Oczy Mlody will disappoint those looking for an easy hit, or the sound of old-school Lips, but for those willing to persist and explore, it’s a work of nuance and intelligence.
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90 - Slantmagazine
What makes Oczy Mlody so enthralling is that the Flaming Lips are ambitious in their exploration of the aftermath of their typical spectacle.
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80 - The Quietus
Oczy Mlody re-presents Flaming Lips as a band to be taken seriously once again, despite how much fun they’re clearly having doing it.
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80 - Paste Magazine
The instrumentation here is expectedly psychedelic, anchored in both freeform jams and trip-hop grooves. But somehow the collective makes the two opposing forces, which read like they were picked via pulling genres out of a hat, actually work thanks in no small part to Steven Drozd’s delicate instrumental blending.
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80 - The Guardian
Somewhere in the haze lurks their old knack for writing great, off-kilter pop songs that reflect and escape the bewildering world around us.
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80 - The Skinny
Ok, some of their sillier excesses may jar ever so slightly (unicorns, faeries, witches, wizards and frogs with demon eyes can all be found here, so some strapping yourself in may be required) and fans may well feel the absence of a true pop banger à la Race For The Prize or She Don’t Use Jelly. In every other aspect, however, this is The Flaming Lips on top of their game: refracting the weirdness of the world through a youthful sense of awe and wonder.
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Mick Harvey - Intoxicated Women 2017 Album Review (Critic Reviews)

Genre(s): Pop/Rock, Alternative/Indie Rock - Based on 5 Critics


80 - Record collector
Like Gainsbourg’s music as a whole, there’s too much going on here to do justice to the collection’s many layers. 
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80 - Mojo
Intoxicated Women makes you fall in love with Gainsbourg and his women all over again. 

80 - Uncut
Following much beauty and polymorphous perversity, the climactic take on Histoire De Melody Nelson's "Cargo Cult" is a fittingly epic finale.

80 - Q Magazine
In short: superb.

70 - Magnet
It's jauntier, if still jaundiced, and contains some of Gainsbourg's best compositions.


Dropkick Murphys - 11 Short Stories Of Pain & Glory 2017 Album Reviews (Critic Reviews)

Genre(s): Pop/Rock, Cabaret, Celtic Rock - Based on 7 Critics


80 - Boston Globe
11 Short Stories finds the band serving up pint after pint of a familiar brew--the heady blend of fist-pumping anthems, traditional Irish instrumentation, and scrappy, blue-collar grit that’s made them a household name--while using their distilled strengths to break fresh ground.
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80 - Drowned in Sound
Their output remains honest, unsullied and socially conscious--it’s still got all the bark and bared teeth of a Boston terrier, and the drinking songs are still out in force, but there’s a message of hope at its core that espouses all the values that are held so dear to the contemporary punk scene.
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79 - Paste Magazine
Loss and the possibility of redemption represent the twin themes of pain and glory fueling the Celtic-punk band’s ninth album, a collection of songs by turns bleak and triumphant--and sometimes both at once. 
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70 - Musicomh
Whilst this emotional look back [fourth track Sandlot] might suggest they’ve got one foot in the grave, there’s plenty of fight left yet. In the past, this would have taken the form of furious punk, but this time around the Dropkicks have expanded their sound out into something far grander than anything they’ve attempted before.
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70 - Rock Sound
Replete with ramshackle tales of bar brawls (‘I Had A Hat’) and barely scraping by (‘Sandlot’), this ninth album feels warm and familiar--but there’s more beneath the surface. 
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70 - Classic Rock Magazine
The band venture away from their own back yard for the first time, recording this new album in El Paso. It results in a pleasingly broader palette, from the redneck power pop of Sandlot, to the melodic and bouncy Madness-like closer We’ll Meet Again.
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40 - The Observer
Whether they are covering You’ll Never Walk Alone or rubbishing the single life on Kicked to the Curb (“I ain’t got no honey/ She took all my money”), the music is depressingly rudimentary.
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