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The pair's sound owes an explicit debt to 1980s new wave, often sounding a bit like a broken-down version of the Cars with fewer hooks. That specific influence is felt most strongly on \"No. One,\" the EP's lead track, with its chugging eight-note rhythmic pattern. Elsewhere you'll hear hints of the Residents, maybe, or a less-definable lounge influence (\"If Someone Would Know\"). Throughout, you'll find yourself kind of wishing that Böhm didn't feel the need to write in English; her reconstruction of a posthumous conversation between Elvis Presley and Marilyn Monroe is especially weak, filled with bland and generic conversational snippets that sound like they were pulled at random out of a tourist phrase book. 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The duo's opening \"Letter to My Countrymen\" is a soft and sound uplift, with jazzy mallets hitting warm vibes while Ali embraces it all, \"Beautiful ideals and amazing flaws,\" and pledges \"I wanna make this country what it says it is,\" a goal he maintains throughout the album. West's bit on the track is no lecture, but a warmer thing, somewhere between a lullaby and a prayer. \"Only Life I Know\" professes soulful love for the U.S. of A. and its flaws, with funky beats, gospel shouts, and tales of those tattooed girls on the street corner, but as Ali watches the rents go up and living conditions decline, the anger grows. \"Mourning in America\" is mostly venom and blood-spattered speakers, as the system eats its innocent victims to a boom-bap beat, while the gritty, guitar-driven \"Gather Round\" is like Ali fronting Rage Against the Machine -- and another interesting choice from the album's producer, Jake One. Later, it's the deep blues as \"Work Everyday\" hands out woefully small paychecks, and then there's a wondrous cross of Sly Stone and Marvin Gaye for the personal evolution number called \"Namesake,\" which relates Muhammad Ali on the U.S. Olympic team to Brother Ali's own proud journey from Christian to Muslim. Layered viewpoints, bittersweet situations, and complicated anger flow out of this articulate effort, but the sweet trick of the album is how approachable it is, living up to its title with equal shares of Mourning and Dreaming. ~ David Jeffries","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41886821548197,"sku":"826257015228","price":19.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/beb302bb03bca81d650b116ae53a254f.jpg?v=1777602610"},{"product_id":"hot-lunch-lp","title":"Hot Lunch [LP]","description":"Hot Lunch were formed by a bunch of dudes with a punk rock pedigree and a love for skateboards, but a listen to their self-titled debut album suggests this band could have gone through a wrinkle in time and landed at a biker bar in 1972, with no one the wiser. While the frantic tempos of \"Handy Denny\" and \"Killer Smile\" could be traced back to punk rock, coupled with Aaron Nudelman's gargantuan guitar buzz and Eric Shea's arena-ready vocals, relatively uptempo Black Sabbath tracks like \"Paranoid\" and \"After Forever\" seem more like the template for this band's sound. And given the heavy debts to vintage hard rock, first-generation metal, and '70s prog rock that are audible throughout this album, Hot Lunch was presumably inspired by the music their dads used to listen to when they smoked weed. And if ever there were a contemporary band suitable for lighting the sacrament, it's Hot Lunch; this band spent six years woodshedding before cutting this album, and the band is tight but generates a deep, pleasurable groove, while Nudelman's guitar work is evocative while possessing a personality of its own, bassist Charlie Karr and drummer Rob Alper deliver high-octane rock while keeping the rhythms lively, and Eric Shea is an old-school hard rock bellower in the grand tradition of John Kay (who he audibly resembles) and Lonesome Dave Peverett. The original songs fit their chosen era so well that the guitar-retooled cover of Emerson, Lake \u0026amp; Palmer's \"Knife Edge\" hardly stands out from the rest of the tunes, and a line like \"The girls in your scene\/Are shallow, dumb and mean\/They care about their hair\/And the stupid things they wear\" probably would have occurred to some local band in the mid-'70s as readily as Hot Lunch. You wanna rock? You wanna boogie? 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The songs jangle while remaining angular, and boast plenty of hooks with the nervous energy. While understandably not as accomplished as the band's follow-up full-length, it is still an impressive portrait of a band in its formative stages.","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41887476023461,"sku":"656605015514","price":18.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/d75bd5787c05065ae457f8689081e88a.jpg?v=1777769192"},{"product_id":"this-island-remixes-vol-2-single","title":"This Island Remixes, Vol. 2","description":"","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41887544574117,"sku":"880918102467","price":18.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/0c66496d2e98c6523cf7320fefc3977c_7161fb9b-0328-4f3f-8545-d25224cb66bf.jpg?v=1779642043"},{"product_id":"all-days-are-nights-songs-for-lulu-1","title":"All Days Are Nights: Songs for Lulu","description":"This sixth studio album from the popular Canadian singer\/songwriter strips away the orchestral arrangements of past works like Want One and Want Two. 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Dramatically structured, unearthly in its pitchless writhing, flamboyantly manipulating pink and white noise from the opening electronic gun battle onward, \"No Time or Space\" is still an entertaining listening experience, and some of its passages would turn up later in the \"I Remember Jeep\" jam from Harrison's All Things Must Pass album. The shorter \"Mersey Wall,\" recorded in Harrison's Esher bungalow with his own Moog, is a low-key, drifting affair, not quite as virtuosic in its handling of abstract sound, nor nearly as theatrical. Though scoffed at when they were released, these pieces can hold their own and then some with many of those of other, more seriously regarded electronic composers. And when you consider that synthesizers were only capable of playing one note at a time and sounds could not be stored or recalled with the push of a button, the achievement becomes even more remarkable. 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