Wow! What a month that was, with the release of some top albums that will no doubt be vying for some high spots when we get to the end of the year. This month’s On Rotation has been made easy.

on rotationKing Gizzard And The Lizard Wizard
Omnium Gatherum
(KGLW)

What happens when one of the most prolific bands of our times, one whose previous albums have each followed their own individually defined singularity of style; be it prog, garage, microtonal, blissed-out psych-pop; are finally allowed to meet up again and write together as one unit? Well, the rules go out the window and the building implodes under the weight of their own creativity as they smash down each and every one of their columns to rebuild something that brings all their styles together as one. The key is right there in the title. Omnium Gatherum, a miscellaneous collection; eclecticism order of the day as they pull on every one of their strengths to create what just may be their least defined yet most defining record to date.
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on rotationBob Vylan
The Price Of Life
(Ghost Theatre)
When Bob Vylan hit the ears of Louder Than War back in 2020 our own Nathan Brown premiered the news that had gone viral around the punk community and the buzz was on. A big fuck you to racists and a powerful hard hitter which caused a ruckus that year. If you think they’ve mellowed out think again… A startling album that some might say is too short, yet if you link into the lyrics there’s enough in there to keep you waiting for the next angry instalment, from the duo that deliver just what you need to hear at this moment in our corrupt times. You want some slick angry cuts and a bit of loud as fuck hip hop punk grime? Well listen up!
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on rotationFontaines DC
Skinty Fia
(Partisan)

Fontaines D.C. return with their third album in three years and a new widescreen sound. It’s the masterpiece they’ve been working towards from the start. While being recognisably a Fontaines album from the start – how could it not be with Chatten’s distinctive delivery to the fore? – it’s, as the cheesy old ads used to say, basically bigger, bolder and better than before. It’s also filled with surprises. The production is clean and atmospheric, creating a new clarity with the guitars and Chatten’s voice to the fore; and it’s almost as if he is only now beginning to discover his vocal range, experimenting with different registers and styles, finding a new musicality far from the mumbling sprechgesang with which we first discovered him.
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On Rotation: Our pick of April’s Album ReleasesWet Leg
S/T
(Domino)

This confirms my first impression of Wet Leg: they are ‘doing it because it’s fun’. And it really is the best kind of fun – clever too. The album is a glorious selection of bright ideas, 20-something musings and in-jokes, set to highly accomplished riffs with just enough punk in their indie for my money. If you like your reviews with some neat comparisons, have these: they do that Pixies quiet–loud thing, with Elastica Brit-pop vibes, and 21st-century pop. Moreover, they are uniquely Wet Leggish. Which is, we hear, now a thing.
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On Rotation: Our pick of April’s Album ReleasesSpiritualized
Everything Was Beautiful
(Bella Union)

Not resting on his laurels after re-releasing the first four albums as the Spaceman Reissue Program, Jason Pierce is back with another blissed-out medicinal slab of everything you’d expect from the ‘if it’s not broken don’t try to fix it’ sound of almost religious status. The magic is still there and the production is as polished as ever, considering the army of instruments involved, which is the way of The Spaceman. A celebration of a glittering career from one of the most unique songwriters on the planet. Untouchable stuff from one of the great treasures of the British music scene. The perfect prescription.
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On Rotation: Our pick of April’s Album ReleasesKae Tempest
The Line Is A Curve
(Fiction)

There is a strong electronic presence throughout The Line Is A Curve. It’s as though they have bumped into Yellow Magic Orchestra in Catford High Street and convinced them to become their backing band for this album. Those bubbling synths bring a different vibe to Tempest’s delivery and, broadly speaking, this record feels like their warmest one to date.At some point in the future, we will reflect on The Line Is A Curve as an important development in the career of Kae Tempest. The moment when they opened up and allowed us in. The moment when they brought forth what was within. I cannot say whether that has saved them or not, but it has led to the creation of a very good album, one that surprises and delights and evidences a clear musical progression.
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Nathan has been writing for Louder Than War since 2012. Before that, he wrote for manchestermusic.co.uk. Now living in Spain, he also writes for the Spanish magazine Ruta 66.

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