La Gaceta De Mexico - LeftLion Reviews New Music from Panchiko, Keane Baldwin, CATHEDRA., and Emily Ashberry

Nottingham’s cultural publication LeftLion has released the 55th installment of its 'Latest Listens' column, offering critical perspectives on recent musical outputs from four distinct local artists. The edition covers a broad spectrum of styles, including glitch pop, piano-driven rock, dark synth-pop, and transatlantic folk.

The review opens with Panchiko’s single 'One Car Hits Another,' described as a 'glitchy pop masterpiece' that signals a progression in the band's sonic identity while retaining their established aesthetic. The track features vocals from Owain Davies and U.S. musician Mei Semones, set against what the publication characterizes as grandiose instrumentation comprising lush synths, guitars, and drums. The review notes that the song possesses a 'soaring, timeless quality' suitable for introspective listening, concluding with a euphoric synth outro.

'One Car Hits Another' serves as the lead single from Panchiko’s third studio album, titled 'Chimera.' The album is scheduled for release on April 9, 2027. Josh Turner, contributing to the review, described the track as an 'exciting look at where Panchiko are to go from here,' emphasizing its enduring appeal despite its concise runtime.

The column then shifts focus to Nottingham pianist Keane Baldwin and his single 'There is No One Quite Like Reg Dwight.' The piece identifies the song as a tribute to Elton John, whose birth name was Reg Dwight. According to the review, Baldwin cites the musician as an inspiration that provided 'real meaning and direction' to his life. The track is characterized by a 'boogie woogie rhythm' and 'groovy rock-and-roll guitar licks' reminiscent of John’s song 'The Bitch Is Back.'

Contributor Claire Spencer noted that Baldwin repeatedly sings the phrase 'Go little Reggie!' as the song reaches its conclusion. The review frames the single as an ode to sharing the 'joie de vivre' derived from Elton John’s music, describing the track as a 'highly infectious earworm.'

The third feature covers CATHEDRA., a rising duo making their mark with the single 'Somebody's Daughter.' The publication places the group within the tradition of 1980s post-punk and new wave, citing influences such as New Order and Depeche Mode. The song explores themes of obsession, blame, and identity, resulting in a 'naturally more gothic feel' that aligns with its layered synth arrangements.

Phillippa Walsh, writing the review, suggested the track is well-suited for 'low-lit nightclubs,' noting that despite being only their third release, the band shows significant potential. The review concluded by describing CATHEDRA. as a 'dark church well worth the worship of its growing fanbase.'

The edition concludes with a review of Emily Ashberry’s debut album, 'Ocean Big & Wide.' Ashberry, identified as a local artist, explores the connections between English and American folk traditions. The opening track, 'Sprig Of Thyme,' features Ashberry’s solo vocal accompanied only by a squeeze box and muted electric guitar.

The album includes interpretations of traditional songs such as 'Pretty Saro' and 'Hard Times Come Again No More,' alongside original compositions like 'Letters to Kentucky' and 'Song For My Grandfather.' Phil Taylor, the reviewer, observed that while the record carries strong Appalachian influences, Ashberry successfully integrates her English roots while looking toward a future musical direction.

LeftLion describes itself as a meeting point for information regarding Nottingham’s established organizations and grassroots initiatives. The publication notes its reliance on reader revenue to maintain free access to its content.

L.Navarro--LGdM