17 May 2024

Brittany Howard "What Now" (2024)

What Now
release date: Feb. 9, 2024
format: digital (12 x File, FLAC)
[album rate: 4 / 5] [3,78]
producer: Brittany Howard, Shawn Everett
label: Island - nationality: USA

Track highlights: 1. "Earth Sign" - 2. "I Don't" - 3. "What Now" - 4. "Red Flags" - 5. "To Be Still" - 8. "Prove It to You" - 9. "Samson" - 11. "Power to Undo" - 12. "Every Color in Blue"

2nd solo album by Brittany Howard is the more than four year old follow-up to Jaime (Sep. 2019). Bassist Zac Cockrell of Alabama Shakes is credited on this, just as he featured on her solo debut, which also counts drummer Nate Smith as recurring musician. The album was generally made with only a handful of performers, which include the two keyboardists, Lloyd Buchanan and Paul Horton, and aside from these four only guitarist Brad Williams and trumpeter Rod McGaha feature on two songs each.
What Now is showcasing all the various styles Howard seems influenced by, but under her guidance it never feels as too many styles have been involved. Actually, to me, this is a bit like echoing how Prince used to arrange songs with that little detail that this is ever so much better. What Now simply appears as Brittany Howard's best release in her post-Alabama Shakes period. Now why doesn't she release music more often?! Ah well, better have a great album than one with only a few good songs, and this one is a most delightful release despite containing songs about negative aspects of life such as climate changes, global crisis, and political climate / turmoil of her home country, and then: these are appropriate subjects to address at the current time, so better deal with what's at stake. And thanks to Howard's musicality, she manages to wrap her songs up in great music and ultimately, simply hands us one of this year's best albums.
This is highly recommended and one to pay attention to.
[ allmusic.com Mojo, NME 4 / 5, 👍Pitchfork 8,3 / 10, Uncut 4,5 / 5, The Guardian 5 / 5 stars ]

06 May 2024

Hurray for the Riff Raff "The Past Is Still Alive" (2024)

The Past Is Still Alive
release date: Feb. 23, 2024
format: vinyl (translucent orange crush) / digital (11 x File, FLAC)
[album rate: 4 / 5] [3,90]
producer: Brad Cook
label: Nonesuch - nationality: USA


9th studio album by Hurray for the Riff Raff following two years after the acclaimed Life on Earth (Feb. 2022) and is like that made with producer Brad Cook, who also plays bass on the album. Alynda Segarra is credited all songs.
Stylewise, the album is more folk-oriented as opposed to the indie rock feel of the 2022 album, and although the predecessor is a true gem this definitely has other strengths but most of all only establishes Segarra as one of the finest contemporary American singer /songwriters.
The Past Is Still Alive is one of this year's best albums and as such an album you should know.
Highly recommended.
[ allmusic.com, Line of Best Fit 4,5 / 5, BeatsPerMinute 85 / 100, Pitchfork 8,3 / 10, Exclaim! 4 / 5 stars ]

19 April 2024

Gossip "Real Power" (2024)

Real Power
release date: Mar. 22, 2024
format: digital (11 x File, FLAC)
[album rate: 3,5 / 5] [3,62]
producer: Rick Rubin
label: Columbia - nationality: USA


6th studio album by Gossip following 12 years after A Joyful Noise (May 2012), which up until this year has been regarded as the band's final album after which front figure Beth Ditto pursued a solo career and concentrated on her own clothing line. Ditto released her solo debut Fake Sugar in 2017 and in 2019 the band reformed to perform a ten year anniversary concert of Music for Men (2009) but it was still under the charge of Ditto with no announcements of an official reformation. In 2023 Ditto got together with Nathan Howdeshell to write material for Ditto's second solo album and when facing producer Rubin who took part in the band's 2009 album, Ditto and Howdeshell apparently saw it as a natural opportunity to include Hannah Blilie, thus basically making it a Gossip album instead.
The trio is back, which is a wonderful thing, as they have been missed. Rubin secures a tight path on well-known soil, and Real Power comes out as something closer to the 2009 album than what was regarded their final breath in 2012. That said, time has passed, and obviously the three are somewhere else than more than a decade ago, and the album simply betters Ditto's fine solo from 2017, which in a way positioned itself in the outskirts of A Joyjul of Noise without really delivering a substantial stylistic footprint. All tracks here are credited Ditto and multi-instrumentalist Howdeshell and in that regard it's naturally something entirely different than Ditto solo working with other composers, and how could a legendary trio of this caliber come out with something new without people would compare it with their previous works?! It's a statement to call it a Gossip album, as opposed to Ditto's second solo, and it's still great news. Musically, it's original - of course, and with the band history and all in mind, I do think it's a fine accomplishment without it being absolutely great. And then: lesser will do. I think, they succeed in reproducing some of the band's original energy - the genuine garage-sound, and mixed up with a poppier mood they come up with a modernised version of Gossip. Officially, Ditto and Howdeshell are the providers of this new material but I wonder why they don't acknowledge that without Blilie they wouldn't be Gossip - it's a pity but not seldom seen practise to leave out the drummer in credits, but I just wonder how music is composed without a drummer adding his/her personal touch to the songs...
The album may not come with absolute stunning singles but the energy, the crafty output - and that voice on top of these simple, yet powerful arrangements!! And then there's still a certain quality lurking there all over, which lifts it above normality - 'cause what is that exactly?! Ditto belongs in front of Howdeshell and Blilie, and that constellation is all we need. It's like a living torch for humanity. Stay together, you three (PLZ), and the next album will be magic!
[ 👍allmusic.com 3,5 / 5, Pitchfork 7,1 / 10, NME, DIY 4 / 5, 👎The Guardian 3 / 5 stars ]

06 April 2024

Adrianne Lenker "Bright Future" (2024)

Bright Future
release date: Mar. 22, 2024
format: vinyl / digital (12 x File, FLAC)
[album rate: 4 / 5] [3,92]
producer: Philip Weinrobe
label: 4AD - nationality: USA

Track highlights: 1. "Real House" (4 / 5) - 2. "Sadness as a Gift" (live from Greenwich Village with Nick Hakim) - 4. "No Machine" - 5. "Free Treasure" (live on The Tonight Show)- 6. "Vampire Empire" - 8. "Candleflame" - 9. "Already Lost" - 10. "Cell Phone Says" - 11. "Donut Seam" - 12. "Ruined" (live from Greenwich Village with Nick Hakim)

Studio album by Adrianne Lenker in between albums with Big Thief, and most recently the band released the acclaimed Dragon New Warm Mountain I Believe in You (Feb. 2022). Lenker's most recent solo album was Songs & Instrumentals (Oct. 2020), and this new collection is more like her other solo efforts, more naked, more clean folk and singer / songwriter-oriented. That said, Bright Future contains other performers than Lenker's vocal on top of a lonesome strumming guitar as was the case on her quiet 2020 album. It's still not in the same fully-bodied arrangements as you'll find on albums by Big Thief - only "Vampire Empire" sounds like a song written with the band in mind as the instrumentation appear to be similar with violin, piano, percussion, banjo, guitar, and harmony vocals, but generally, the songs here are played in a much more subtle fashion, as only to turn focus on Lenker's narratives.
Bright Future is so far easily this year's best album and highly recommended.
[ Mojo 4 / 5, Pitchfork 8,4 / 10, Exclaim! 9 / 10 stars ]

16 March 2024

Chelsea Wolfe "She Reaches Out to She Reaches Out to She" (2024)

She Reaches Out to She Reaches Out to She
release date: Feb. 9, 2024
format: digital (10 x File, FLAC)
[album rate: 3 / 5] [2,95]
producer: Dave Sitek
label: Loma Vista - nationality: USA

Track highlights: 1. "Whispers in the Echo Chamber" - 3. "Everything Turns Blue" - 5. "The Liminal" - 6. "Eyes Like Nightshade" - 8. "Unseen World"

7th studio album by Chelsea Wolfe following Birth of Violence (Sep. 2019) is her first album on Loma Vista and it also introduces a certain change in producer-collaboration as most of her former releases were mostle made with co-composer Ben Chisholm, who remains as one her stable collaborators (since 2012) together with drummer Jess Gowrie and mastering engineer Heba Kadry (both since 2017).
A new producer and a new label doesn't mean much new, though. And despite the fact that Wolfe has been influenced by various styles, this new collection of songs still stand with feets buried in a darkwave arena. That said, Wolfe has often sought to colour her songs from new perspectives - with twists of electronica, stronger influnced by / or with the absense of industrial rock, and in that sense her new album doesn't appear as something entirely different. Wolfe belongs to the dark - no doubt about that, and she usually makes her songs with Chisholm - here credited as co-composer, keyboardist and for drum programming. And especially the drum aspect is what basically makes this a different breed than her (brighter) 2019-album. Drums are up-front, energetic pulsating, and attract attention on an album that takes Wolfe back on an industrial, electronic path of dark colours.
The album has mostly been met by acclaim as an original output from an innovative artist, who never seem to walk on already known paths. To me, it doesn't quite invite me in, and I think my reluctant stance has to do with the incoherency I find on the album. It's both strongly electronic with synths and programming providing a new side-step to her darkwave tones, and at the same time it bonds with industrial rock - it wants to be 'hard', and then Wolfe has makes attempts pop-imagery, nicely placed hooks of sweetness, which makes it difficult to digest. It's like, she tries too hard to make her music grandiose and by that she unfortunately also loses contact with authenticity. Is it a spicy treat, or, just a light dessert? I dunno!! And the different flavours do not meet one another that well, I think. And ultimately, Wolfe has been better.
[ 😮allmusic.com 4,5 / 5, Exclaim! 4 / 5, Pitchfork 7,6 / 10, Uncut 3,5 / 5, 👉PopMatters 3 / 5 stars ]

20 February 2024

The Smile "Wall of Eyes" (2024)

Wall of Eyes
release date: Jan. 26, 2024
format: digital (8 x File, FLAC)
[album rate: 3,5 / 5] [3,70
producer: Sam Petts-Davies
label: XL Recordings - nationality: England, UK

Track highlights: 1. "Wall of Eyes" (4 / 5) - 2. "Teleharmonic" - 3. "Read the Room" - 4. "Under Our Pillows" - 7. "Bending Hectic"

2nd studio album by The Smile following nearly two years after A Light for Attracting Attention (May 2022) with Petts-Davis as producer - he previously produced Thom Yorke's solo soundtrack Suspiria (2018) for Luca Guadagnino's remake of a Dario Argento horror classic.
Although, the album has been made with a new producer, it really doesn't fall far from the trio's first album and you could also argue that the project here doesn't expose a tone that essentially differs from that of Radiohead, perhaps because that band's musical centre is constituted by Thom Yorke and Johnny Greenwood who are 2/3 of The Smile. And although, many compositions were nearly finished by Greenwood and Yorke in the Summer of '23, all songs and music here is credited the band only.
The now two studio albums by The Smile are so much alike that it's tempting to regard them as two chapters of the same book, or two sides of the same coin, and that's the only snag to a otherwise fine follow-up. On the positive side, you could add that it's really nice to have renowned artists like Yorke, Greenwood, and Skinner, who choose to make an album with focus on musical experimentation instead of going mainstream pop, and in that regard, the trio still offers a refreshing and challenging side-step to the Grammy Awards' self-centrered spotlight of make-believe where everything is about performance.
Recommended.
[ allmusic.com, The Guardian, NME, Rolling Stone 4 / 5, 😮Pitchfork 8,5 / 10, 👎Exclaim! 3 / 5 stars ]

21 January 2024

Blur "The Ballad of Darren" (2023)

The Ballad of Darren
release date: Jul. 21, 2023
format: digital (12 x File, FLAC) (Deluxe)
[album rate: 3,5 / 5] [3,52]
producer: James Ford
label: Parlophone - nationality: England, UK


9th studio album by Blur marks a long-awaited reunion following more than eight years after The Magic Whip (Apr. 2015), which then was another reunion album following 12 years after Think Tank (May 2003). The Ballad... is produced by James Ford, who has made a name for his work with e.g. Arctic Monkeys, Last Shadow Puppets, and in this context: for his work on albums by Gorillaz. The band remains intact and all tracks are credited the band of Damon Albarn, Graham Coxon, Alex James, and Dave Rowntree. Together with Gorillaz, Albarn released Cracker Island (Feb. 2023), and basically, Blur now appears as just another brain-child of Albarn's. Blur is still something else, and markedly different from albums by Gorillaz, but there are apparent similarities with the music by the Albarn-led project The Good, The Bad & The Queen (e.g. "Goodbye Alert" and "Far Away Island"), who most recently - as of Nov. 2018 released Merrie Land.
The album was met by positive reviews - I didn't immediately embrace it as an improvement, and frankly thought of it as on par with the band's 2015 album, but one year down road, I consider it better than my initial verdict. It's not up there among the best by Blur but it surely has its moments, and Coxon is a most treasured guarantee in delivering classic Blur guitar-riffs, which securely puts it somewhere in the middle on the Blur shelf.
[ 👎allmusic.com 4,5 / 5, The Guardian, Mojo, NME, 👍Pitchfork 7,2 / 10 stars ]

12 January 2024

Caroline Polachek "Desire, I Want to Turn Into You" (2023)

Desire, I Want to Turn Into You
release date: Feb. 14, 2023
format: digital (12 x File, FLAC)
[album rate: 3 / 5] [2,86]
producer: Caroline Polachek & Danny L Harle
label: Perpetual Novice - nationality: USA

Track highlights: 1. "Welcome to My Island" - 4. "Sunset" - 6. "I Believe"

4th studio album by Caroline (Elizabeth) Polachek and her second album under her given name. After releasing three albums with synthpop band Chairlift from 2008 to 2016, Polachek focussed on her solo career, which she had already initiated while being in Chairlift, and she released her solo debut Arcadia (Apr. 2014) under the name of Ramona Lisa. Her second solo Drawing the Target Around the Arrow (Jan. 2017) under the name CEP (abbreviation of her name), and preceeding her 2023 album she released Pang in Oct. 2019.
Both the albums by Chairlift and her solo releases have generally been met by quite positive reviews, and also gained public acclaim. Polachek's newest album is by some regarded as one the best albums of 2023, but I'm not really a huge fan. Yes, the production is state of the art top-notch, and there's much positive energy in most of her songs - it's just... all heard before, isn't it!? I guess I'm not part of her target fan base and all but still, I simply cannot come to terms with much of the new synthpop and indie pop artists, who spit out new songs that showcase the same arrangements, the same instrumentation, the same song structures, and similar soundscapes! I know Lana Del Rey, Beyoncé, Drake, Taylor Swift, etc. all make different kinds of music, but to me, they nevertheless showcase a common strategy of producing music that loans heavily on pre-made music - whether it's music by themselves or others making some of the same 'generic' pop. It leaves me indifferent - at best! But mostly, it only makes me change radio channel or give me an urge to hear something... substantial. Something worthwhile. I don't care how many copies they sell or how many awards they are awarded. I currently don't know anything about Chairlift, or Polachek's earlier albums, and frankly, this album doesn't make me one bit curious. And that's regardless the good reviews their albums received.
Not recommended.
[ 👎allmusic.com, Clash 4,5 / 5, 🙉PopMatters 5 / 5, Rolling Stone 4 / 5, 👍NME 3 / 5 stars ]

20 December 2023

OMD "Bauhaus Staircase" (2023)

Bauhaus Staircase
release date: Oct. 27, 2023
format: digital (12 x File, FLAC)
[album rate: 3,5 / 5] [3,55]
producer: OMD
label: 100% Records / White Noise - nationality: England, UK


14th studio album by Orchestral Manoeuvres in the Dark - the fourth since the band's reformation in 2006, follows six full years after The Punishment of Luxury (Sep. 2017). As all the band's four studio albums of the new Millennium, the album production is credited the band and most tracks are written and composed by Andy McCluskey and Paul Humphreys with the former taking the strongest role as songwriter - business as usual. The band hasn't exactly lived without exchanging members and the line-up with the two founding members McCluskey and Humpreys alongside keyboardist Martin Cooper are now on their fourth consecutive album together, whereas drummer Stuart Kershaw, who took part in the writing of five tracks on Liberator (1993), debuted on the 2017 album.
Bauhaus Staircase not only continues where the band left us in 2017 but basically adopts the sound they have stuck to since the reformation and the release of History of Modern (2010), and the title referencing the German art school pretty much sums up what kind of legacy they aim for - and they do know how it connotates an early electronic European tradition, which implies both Jean-Michel Jarre and Kraftwerk. The album cover reflects the same perspective, as we've seen it with their four most recent albums. From the Pacific Age (1986) to Universal (1996) OMD found themselves - if not on a downward spiral, then at least on a negative trend, where they seemed to be caught on the wrong foot, searching of a proper style, which ultimately had McCluskey dissolve the band in '96. After the reunion, however, the band acts very determined to stick to a simple synth-pop founded on synths, drums, and melodic uptempo tunes that somehow all incorporate some of the characteristics of the band's earliest years. Since 2008 they have released live-versions of their most popular albums and been on tours only performing the albums Dazzle Ships and Architecture & Morality, and they have released the live album Access All Areas (2015) dedicated to hits of their heydays.
I feel somewhat undecided on this as I sense much reproduction and not much new, and then on the other hand I acknowledge that they really understand their own strengths and keep to these in a predictable, yet also quite charming way. My first impression was basically a complete rejection, and I thought it was game over. And again, I have to hand it to McCluskey & Co. as they know how to keep the torch alive.
Recommended.
[ Mojo, PopMatters, Record Collector, Uncut 4 / 5, Clash 4,5 / 5 stars ]

11 December 2023

Grrrl Gang "Spunky!" (2023)

Spunky!
release date: Sep. 22, 2023
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,65]
producer: Lafa Pratomo, Grrrl Gang
label: Green Island Music - nationality: Indonesia


Full-length studio album debut by Indonesian trio Grrrl Gang. The album follows the compilation Here to Stay! (2020) and the ep debut Not Sad, Not Fulfilled (2018). Grrrl Gang consist of lead vocalist and guitarist Angeeta Sentana, bassist and vocalist Akbar Rumandung, guitarist and vocalist Edo Alventa, and together they formed the power pop trio in Yogyakarta, Java in 2016 - since then, they have relocated to the capital city of Jakarta.
Spunky!" is a ten track album; however, running for less than 25 mins. it's a rather short album. And frankly, that only makes you wish they had more songs on their repertoire 'cause it's really a fine addictive list of power pop tunes you probably wouldn't expect to originate from Asia - and say least of all: Indonesia. The three met and formed at Gadjah Mada University but might as well have formed in Seattle, or somewhere else in the US, which is like the living proof of how the world has become much smaller when speaking of music culture. Grrrl Gang play power pop and indie rock - in the 90s often referred to as college rock with bonds to The Breeders, Pixies, Echobelly, Throwing Muses and the like.
It's straight-forward and simple, and then it reminds us of how you could just go on and form a band back in 1977/80, or say 1990, just as long as you had some fundamental skills in place, and Grrrl Gang surely know one or two things about composing energetic indie pop.
Spunky! is already an acclaimed album - NMW puts it at number #48 on its list of the 50 best albums of the year. I guess all three band members could very well have found, or hoped for another type of living than what they sat out for when deciding to relocate to the capital to find day jobs, and then instead ended up in a successful band.
Highly recommended.
[ NME 4 / 5, Under the Radar 7,5 / 10, 👍Loud and Quiet 3,5 / 5 stars ]

03 December 2023

Reverend Kristin Michael Hayter "Saved!" (2023)

SAVED!
[debut]
release date: Oct. 20, 2023
format: digital (11 x File, FLAC)
[album rate: 2 / 5] [1,88]
producer: 'Brother' Seth Manchester
label: Perpetual Flame Ministries - nationality: USA

Track highlights: 2. "All of My Friends Are Going to Hell"

Studio album debut as Reverend Kristin Michael Hayter (aka Kristin Hayter), who released four full-length albums from 2017 to 2021 under the name of Lingua Ignota - the final album being Sinner Get Ready (Aug. 2021). SAVED! is like her recent releases on the Sargent House label engineered by (now: 'Brother') Seth Manchester. Hayter's Lingua Ignota project was centered around a neo-classical darkwave style with obvious bonds to the music by Diamanda Galás, whereas the change of project-name signals a change of style. Musically, Hayter still makes anything but ordinary pop music - SAVED! has been labelled 'Southern Gospel' and / or 'Appalachian Music', but in any case it's still highly experimental and bonded to darkwave. The album consists of 11 tracks, which are all arranged, recorded, and mixed as if stemming from early twentieth century recordings. Instrumentally, it's quite simple with banjo and piano as only other dominating instruments apart from Hayter's lamenting vocal, which is much less aggressive than her albums as Lingua Ignota, and the production and mixing aspects quite obviously seek to present the music as recorded on a cheap ancient device of some sort. Deliberately, the volume goes up and down, there are cut-ups and fall-outs in sound, and everything is kept as an amateur's first take.
Regardless making music as this or that project, Hayter seems determined to explore Christian holy scriptures, and on this she examines the theme of salvation. The album has been met by critical acclaim, despite speaking to an extremely cult-like audience. From the reviews I've read it appears that critics agree on describing the music here as extreme, with little variation, and as challenging. Critics also note Hayter's artistic determination to stand out and go her very own way, which in some cases stand in the way of actually dealing with musical qualities as such. I find that only few actually describe the music they hear on this as beautiful, delicate, majestic, whatever. Appealing would suffice but that is hardly the point because it's not. Hayter is put in a 'holy' and exclusive category, where form over matter is all there is. In any case, it is an extremely coherent album, and that's of course a positive trait, but there are no tracks on this that will satisfy a hope of finding music you would want as background music for dancing, resting, or for an intimate dinner for two - I guess, this is where the term challenging enters the description. And hey, it's really not intimate at all, and it doesn't scream sing-along potential! In fact, imho, and at best, I find it extreme... but mostly also extremely dreadful. 👉This is form over matter, it's the Emperor's new clothes and there's no way, I'll recommend this!👈
[ The Line of Best Fit, Uncut 4 / 5, Pitchfork 7,5 / 10, Exclaim 3,5 / 5 stars ]

30 November 2023

André 3000 "New Blue Sun" (2023)

New Blue Sun
[debut]
release date: Nov. 17, 2023
format: digital (8 x File, FLAC)
[album rate: 2,5 / 5] [2,68]
producer: André 3000 & Carlos Niño
label: Epic Records - nationality: USA

Track highlights: 1. "I Swear, I Really Wanted to Make a 'Rap' Album but This Is Literally the Way the Wind Blew Me This Time" - 7. "Ants to You, Gods to Who ?"

Actual solo album debut by André 3000 (aka André Lauren Benjamin), who hasn't released full-length album music of his own since the Idlewild (2006) album by Outkast - one of the most succesful hip hop projects. Speakerboxx / The Love Below (2003) by Outkast has gone down in music history as the best-selling hip hop album ever to be released. André 3000 did, however, release the EP Look Ma No Hands in 2018, but other than that he has made featuring appearances on various singles and albums, although, a solo album was anticipated but never released, until now. Instead, he was cast as actor in a number of TV-series, also in a leading role in 2012, when he played Jimi Hendrix in John Ridley's film "Jimi: All Is by My Side" (premiered in 2014). Outkast reunited in 2014 for live concerts only, and since then André has lived life somewhat away from the brightest limelight and has been focusing on the production aspect of both music and films. André has been mentioned amongst the best rappers of all-time, and his songwriting and compositional touch has made people yearn for something more substantial - and something that would make everyone remember the famous riffs from the Outkast heydays.
New Blue Sun is anything but rap or hip hop. In fact, it's quiete a loooong way from what could be labelled as pop music. The album runs for more than 87 mins - almost 1½ hours of music, and obly enlists eight tracks. All songs - or: they are not really songs but instrumental compositions as André doesn't add his famous vocal to one single track [!]. The shortest composition is track #5 "Ninety Three 'Til Infinity and Beyoncé", which has one of the shortest titles - the longest being "That Night in Hawaii When I Turned Into a Panther and Started Making These Low Register Purring Tones That I Couldn't Control ... SH¥T Was Wild" (tracks #3), which runs for 10½ mins, but that aint even the longest track. The longest composition is track #8 with its running time exceeding 17 mins. All compositions are credited André mostly together with co-producer Carlos Niñho, Nate Mercereau, and often also Surya Botofasina. André himself is aside for producing and mixing credited wind instruments, including flute, baritone flute, and wind controller aka 'wind synthesizer'. Only vocals on the abum is credited Mia Doi Todd.
Musically, this falls in a category of new age and ambient. It's slow and delicate, and André has also described parts of the compositions as improvisations, where he experiments with sound. The album has actually and mostly been met by positive reviews. Some suggest the music transcends the very idea and the general perception of what (modern) music is and what it should sound like, but most critics simply admire André's musical project as something extremely unique, and an utter brave decision from someone, who could have chosen the easy way. Instead he turns to music, and to experimentation, and by that shows his genuine love for music itself.
I dunno. I'm in doubts here. The artistic journey aside, I don't think the album as such delivers on that many parameters. To me, it's the kind of music that seems suited for meditation or relaxation, and since I'm not a huge fan of new age in general, it's a bit of a difficult listen. Parts of compositions provide me with a positive energy, and parts are beautifully arranged. There's, however, long periods of almost nothingness, where you try to focus on a palette that's hardly recognisable. I do also think other artists of the genre are able to produce more interesting music. Imho, this is far from entirely bad. It's just not the kind of music I turn to except from when needing a subtle background to lean on when taking a nap.
Not really recommended but still worth knowing.
[ allmusic.com 3,5 / 5, Clash 3 / 5, The Standard 2 / 5, Rolling Stone 4 / 5, Pitchfork 8,3 / 10 stars ]

28 November 2023

And Also the Trees "The Bone Carver" (2023)

The Bone Carver
release date: Sep. 9, 2023
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,48]
producer: Matthew Devenish
label: AATT - nationality: England, UK


15th studio album by And Also the Trees following 7½ years after Born Into the Waves (Mar. 2016). The album doesn't actually mention producer credits but suffice to mention recording engineer Matthew Devenish, who have worked with the band as mixer and recording engineer since the making of Further From the Truth (2003). The band's bassist since (Listen For) The Rag and Bone Man (2007) Ian Jenkins has here been replaced by Grant Gordon.
Stylewise, this is yet another darkwave-founded release as the natural follow-up to the band's last two albums. It adds a few more fine tracks to a long list of compositions that are linked to an original gothic rock scene of the 80s without sounding as if recorded back then, but the band doesn't exactly hand us a bunch of challening new material, and in that way it has become increasingly more difficult to tell their recent albums from one another. In one way, it's a band that positively stays true to its original sound and then neither seems to be really interested in artistic progression. Another positive side to it, is the quality of the songs, as it appears without any fillers.
Still, The Bone Carver is a worthwhile listen.

10 November 2023

The Streets "The Darker the Shadow the Brighter the Light" (2023)

The Darker the Shadow the Brighter the Light
release date: Oct. 13, 2023
format: digital (15 x File, FLAC)
[album rate: 3,5 / 5] [3,64]
producer: Mike Skinner
label: Rhino UK - nationality: England, UK


6th studio album by The Streets following nearly 13 years after Computers and Blues (Feb. 2011) and most recently the mixtape album None of Us Are Getting Out of This Life Alive (Jul. 2020) is a warm welcome back to one of Britain's most charismatic hip hop artists of the new millennium. All tracks except the title track, co-composed with Virginia Liston, are composed, written, arranged, produced and mixed by Skinner himself. Actually, the album appears to have been made on the basis of a full-length feature film (baring the same title) written by Skinner over nearly a full decade, and which has also premiered by now. Compared to his 2020 mixtape album this one doesn't include a long list of featuring artists, although Kevin Mark Trail contributes with vocals on seven tracks (he also performed on the 2002 debut as well as on the 2011 album by The Streets), Robert Harvey (of The Music, The D.O.T., Kasabian) features on two, and Laura Vane on one.
More than a decade has passed by, and Skinner has been involved in other projects, so I guess you would expect one of two scenarios: The Streets would take up the batton in a predicted pace and with the inclusion of Skinner's ear for hooks and samples - just like we've come to know him - or, you'd see him from a new perspective utilizing his time with other music projects to expand the musical universe of his most famous brain child. And Skinner only remains true to the spirit, the sound and the soundscape of The Streets, as he simply appears to move forward from whatever position he left his project in. That both makes it very comfortable without having to adjust to a new-found sound and at the same time a tee bit old-school. It does sound like music that should've been released a decade earlier, but then: so what? It wasn't! First and foremost it's nice to have him back in this role, and The Darker the Shadow... won't disturb anyones impression of this project, though I guess some would've wished more progression. Comparing with his fifth studio album I think the most aparent difference is a reluctance to over-arrange songs and stick to some kind of simplicity. The album runs for a total of 47 minutes, and all songs vary little in running time - going from 2:10 to 3:54 minutes they're all composed within a strict matrice of A, B, and C pieces held together with a bridge or two with extremely tight compository differences. That said, he still throws in samples and various stylistic inputs to colour and to make it a digestible treat. The skills remain intact. Some tracks stick out but as a whole it does feel a bit like going through the motions by replicating, duplicating, and by reminding us of his earlier beats. It's not that it doesn't work, 'cause it adds to the repertoire - there's. just. not. a lot. of. new. strengths. being revealed here. Aaaand that said, what really works here is Skinner's artistic approach with words, sentences - i.e. his rhyming to music. That's intact, or perfectly intact actually, and then it doesn't make things worse that you actually have some living experience. His gift in telling everyday life in the context of themes is point on - and we've missed that.
It's nice, it's good, and it's nearly great. Perhaps the biggest accomplishment is that the album actually feels like a real The Streets album to be referred to and compared with the five previvious studio albums. It may not be one of his three best, but it's close to his releases.
Recommended.
[ allmusic.com, Uncut, Mojo 4 / 5, Gaffa.dk 4 / 6, Pitchfork, Record Collector, NME 3 / 5 stars ]

23 October 2023

Boygenius "The Record" (2023)

The Record
[debut]
release date: Mar. 31, 2023
format: digital (12 x File, FLAC)
[album rate: 3,5 / 5] [3,72]
producer: Boygenius, Catherine Marks
label: Interscope - nationality: USA


Studio album debut by 'super-group' boygenius consisting of the three American singer-songwriters Julien Baker, Phoebe Bridgers, and Lucy Dacus, who debuted together under the alias back in 2018 when releasing the 6-track ep Boygenius on Matador. All songs are credited the trio in collaboration, and the album sky-rocketed up the charts on both sides of the Atlantic, and most critics have applauded the album.
Musically, it's labelled as indie-folk, or indie rock, although, Interscope isn't an all independent label and all three singer-songwriters have made several acclaimed albums on their own. Stylewise, they share a lot together and the music here doesn't represent major stylistic variations. In many ways this very collaboration reminds us about Crosby, Stills & Nash when they decided to unite forces back in '69 and produce some highly original music together, although individually, they actually enjoyed stable solo careers. Boygenius is a collective force with individual strengths and together they support one another in a most natural way.
The album is included on numerous lists of the year's best albums, and it is a mighty fine collection of songs, although, as in the case with CS&N, I'm not extremely overwhelmed and the biggest fan. That said, Boygenius does appear as a strong unit with great potential.
And therefore, The Record is highly recommended.
[ allmusic.com, Mojo 4 / 5, Pitchfork 8,2 / 10, NME, Rolling Stone 5 / 5, 👍Clash 3,5 / 5 stars ]

16 October 2023

M.I.A. "MATA" (2022)

MATA
release date: Oct. 14, 2022
format: digital (13 x File, FLAC)
[album rate: 3,5 / 5] [3,65]
producer: various
label: Island Records - nationality: England, UK


6th studio album by M.I.A. following six years after AIM (Sep. 2016) is M.I.A.'s first album to only be issued in digital format. AIM had initially been released as her final studio album but the desire to release new material made her change her decision. MATA is a typical M.I.A. title - instead of refering to an individual, the title is an ironic pun hinted at the change of the name of Facebook to Meta. Furthermore, the front cover depicts a Christian cross in the writing of MATA in vertical letters, and M.I.A. has been outspoken in finding a meaningful life after turning to Christianity, and then, when pronounced in 'working-class' British, 'MATA' becomes 'matter' - meaning this is the / what 'MATA[r]'s. The album consists of thirteen tracks of which none is longer than 3:36 minutes and three tracks are below two minutes making it a relative short full-length album with a total running time under 33 minutes.
MATA is in many ways a typical album from M.I.A. with lyrics touching on social and political awareness. It's music about her role, about being parents, and about living at a current age where global issues demand our full attention.
M.I.A. is confrontatory in her very approach, and that has made her both extremely unpopular but also the opposite, and she's been perfectly aware of this from the very beginning of her career. The song "Popular" says everything about being just that, and that's just very much the very essence of her narrative. "F.I.A.S.O.M. Pt. 1" and "F.I.A.S.O.M. Pt. 2" are other neat examples of her gift with words to elaborate on issues of concern. Here, it's an abbreviation for 'Freedom Is A State Of Mind' ('whatcha gonna do with mine?'), which she uses to deal with exactly what it implies, and at the same time it cleverly refers to being 'Fearsome'. She speaks her mind of the things that she encounters - there's no hiding behind a public image or a media persona, and at the same time, that also reveals her conflicts of trying to be herself in a world where the media image is out of your own control. She rides along, reacts to issues and accusations and no matter what always find herself in the middle of a conflict she never asked for. And the fact that she never writes a song just to make it sound like a good hook or rhyme, but starts off by having something on her mind, and then makes a song about it incorporating rhymes, hooks, and beats is something extremely rare these days.
Anyway, MATA is another fine album from M.I.A., although, its not really among her absolute best, but in this case, much less will do, 'cause she's always right there in the midst of war zones reporting about actual human issues and not really caring about being [TaylorSwift-Reehannah-and-the-like-radio-friendly]-pop-ulaaar!
Recommended.
[ allmusic.com, Slant Magazine 4 / 5 stars ]

04 October 2023

Blanck Mass "The Rig (Prime Video Original Series Soundtrack)" (2023)

The Rig (Prime Video Original Series Soundtrack)
(soundtrack)
release date: Jan. 6, 2023
format: digital (33 x File, FLAC)
[album rate: 3,5 / 5] [3,62]
producer: Blanck Mass
label: Invada Records - nationality: England, UK


Soundtrack album by Blanck Mass (aka Benjamin John Power) following the release of several interesting releases, including his new-found role as official member of Editors and his first album with the band being EBM (Sep. 2022), and his own most recent soundtrack to Sam Collins' documentary about British football legend Paul 'Gazza' Gascoigne released as Gazza (Original Score) (Nov. 2022), which again followed the acclaimed soundtrack Ted K (Original Score) (Mar. 2022), Blanck Mass' musical score to a 2021 Tony Stone historical drama about the so-called 'Unabomber' (the music to the film being released a year later). The most recent studio album credited Blanck Mass is In Ferneaux (Feb. 2021).
"The Rig" is a science fiction thriller television series in 6 episodes created by David Macpherson for Amazon Prime Video directed by John Strickland, and it's the first Amazon Original to be filmed entirely in Scotland. The soundtrack to the series has been issued as a digital album rwith a total running time at more than 72 minutes by Invada Records on its bandcamp profile and as a double vinyl issue.
Normally, soundtracks are a difficult genre - sometimes the animated visuals are a highly missing part, at other times the result is just too varied, and rarely, I think, they work perfectly in their own right, and in this case, it luckily happens to be one of the rare examples. Blanck Mass has made a strong soundtrack that truly makes you want to watch the series - if not only just to experience an audio-visual dimension of this work. Nonetheless, The Rig... is a fine soundtrack.

24 September 2023

John Frusciante ": I I ." (2023)

: I I .
release date: Feb. 3, 2023
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,46]
producer: John Frusciante
label: Avenue 66 - nationality: USA

Track highlights: 1. "Golpin" - 2. "MK 2.1" - 3. "Pyn" - 6. "Clank" - 9. "Sluice" - 10. "Firpln"

12th studio album by John Frusciante following Maya (Oct. 2020). The album is released on the German sublabel Avenue 66 to US parent label Acid Test on whose bandcamp site the album is available. The album has been released in two different versions: a 2 lp seven track vinyl issue titled . I : (pronounced 'one') and a 10 track digital version, sold as a double cd or as digital download [this] pronounced 'two' and called : I I . . The two albums are regarded by some as his 12th and 13th albums since they have rather distinct track listings, although, I think, you could argue they are only different versions. The shorter vinyl issue may also be found in a digital version [!] via bandcamp but it still comes without the vinyl only track ("OFD") making it a 6 track album. Frusciante has explained the different versions due to the limitations in the recording process from digital masters to the vinyl format - some sounds were simply not possible to record on vinyl, and then the running orders are also quite different.
: I I . is really something else from Frusciante, although, he has been experimenting with electronica over more than a decade, this new album is far from what you could describe as Frusciante's take on 90s idm, acid house, or break beat. Instead, this time he has succesfully composed his own mix of electronic music. Stylewise, it may not be groundbreaking material but Frusciante really explores some kind of sound frontier. At times, you may think it's only white noise or some kind of abstract, experimental electronica. And yes, but it's also more than just that. It's also music from someone who wants to challenge our perception of music - and that alone makes it an interesting album. The more I listen to it, the more I discover, and also: the more I enjoy it. It's definitely not background music for dinner at home or at a restaurant, but more like the kind of music you would listen to with your antennas tuned in.
A small recommendation.
[ allmusic.com 3 / 5 stars ]


cover . I : ('One')


17 September 2023

Mariza "Fado tradicional" (2010)

Fado tradicional
release date: Nov. 29, 2010
format: cd
[album rate: 4 / 5] [3,82]
producer: Diogo Clemente
label: EMI Music Portugal / Capitol / World Connection - nationality: Portugal

Track highlights: 1. "Fado Vianinha (Fado Vianinha)" - 3. "As meninas dos meus olhos (Fado alfacinha)" - 4. "Mais uma lua (Fado Varela)" - 6. "Ai, esta pena de mim (Fado Zé António)" - 8. "Rosa da Madragoa (Fado Seixal)"

5th studio album by Mariza following the album Terra (Jun. 2008). The album is Mariza's return to the roots of the fado after having released albums of more experimental content, where she have challenged the style, or perhaps better: she has widened her repertoire by incorporating stylistic elements from contemporary folk, pop, and latin jazz.
As the title suggests, Fado tradicional is her so far most traditionally shaped album of pure fado compositions. It consists of 12 songs but only reach a total running time of 35 minutes. All songs here are not surprisingly closely bonded songs with small variations, which is also stressed in the arrangements with only acoustic guitars supporting Mariza's vocal. That said, Mariza here reassures her status as one of the best and most wonderful exponents of the Portuguese fado.
Highly recommended.
[ 👍The Telegraph 4 / 5, The Guardian 3 / 5 stars ]

02 September 2023

Mariza "Fado em mim" (2002)

Fado em mim
[debut]
release date: Apr. 2002
format: cd (2016 reissue)
[album rate: 4 / 5] [3,88]
producer: Jorge Fernando, Tiago Machado
label: Warner Music Portugal / Parlophone - nationality: Portugal

Track highlights: 1. "Loucura" - 2. "Poetas" - 3. "Chuva" - 4. "Maria Lisboa" - 5. "Ó gente da minha terra" - 6. "Que Deus me perdoe" - 8. "Terra d'água" - 9. "Oiça lá ó Senhor Vinho" - 11. "Oxalá" - 12. "Barco negro"

Studio album debut by Portuguese Mariza (aka Marisa dos Reis Nunes) originally released on Dutch label World Connection residing in Haarlem.
Mariza skyrocketed into Portuguese fame via this very album, although, no national label paid any interest in the music as she was an unproven artist; however, Mariza has soon become one of the most valued performers of the traditional fado.
Fado em mim is not only the essence of a national genre, it's also beautifully arranged and displaying elegance and sophistication on the highest level.
Highly recommended.
[ allmusic.com 4 / 5 stars ]