31 July 2013

Yuki "Wave" (2006)

Wave
release date: Sep. 6, 2006
format: digital
[album rate: 2,5 / 5]

Track highlights: 1. "Nagai Yume" - 2. "Melancholinista" - 5. "Fugainaiya"

Studio album by Yuki. This is a continued journey into synth pop, which suits her voice quite nicely, although it's a stylistic mix. J-pop still is the major style, the production has become more orchestrated in an almost Eurovision-song-contest-kind of way. Also, I think, she challenges her voice more on this release and shows she really can sing and not only use a childlike tone but many tracks are attempts to be indie rock, which fails with her tiny voice and crossings from j-pop pop-songs to more (tempted) aggressiveness.

Yuki "Joy" (2005)

Joy
release date: Feb. 23, 2005
format: digital
[album rate: 3 / 5]

Track highlights: 2. "Joy" - 4. "Walking on the Skyline" - 7. "Air Wave"

3rd solo studio album by Yuki is her best so far, I think. The style is j-pop art pop and now also with some r&b elements and a more distinct synthpop, which makes it a more danceable and joyful release and a clear turn away from her initial indie pop and art rock-inspiration.

Yuki "Commune" (2003)

Commune
release date: Mar. 26, 2003
format: digital
[album rate: 2,5 / 5]

A better album than her solo debut. It's still j-pop and art pop and this time less new wave making it more contemporary. She sounds like someone caught in between a clean pop universe and a need to rebel against the facade. The album lacks good and interesting songs, maybe because I don't get the Japanese lyrics.

Yuki "Prismic" (2002)

Prismic [debut]
release date: Mar. 22, 2002
format: digital
[album rate: 2 / 5]

Yuki's debut as a solo artist. This is clearly j-pop art pop and perhaps an attempt into art rock and indie pop / rock with some new wave style that seems outdated and overall of little interest. Some tracks make me think of inspiration in Breeders / Pixies and the voice of Kim Deal just without the originality and the songs.

Yuki [or: 'YUKI']

~ ~ ~
Yuki: Yuki Kuramochi (倉持 有希, Yuki Isoya [birth name], born Feb. 17, 1972 in Hakodate, Hokkaidō, Japan), known by her stage name Yuki, is a Japanese musician and singer / songwriter. She was the lead vocalist for the band Judy and Mary (1991-2001) of which she was a founding member. After the disbandment she became a solo artist in 2002. She has been a member of the band NiNa (1999, with Kate Pierson of The B-52's, bassist Mick Karn of Japan, former members of the Japanese new wave band The Plastics, Masahide Sakuma and Takemi Shima, and session drummer Steven Wolf), as well as member of Mean Machine (1998-2001), and the collaboration Chara+Yuki (Chara, also from Mean Machine).
~ ~ ~

28 July 2013

Dead Kennedys "Fresh Fruit for Rotting Vegetables" (1980)

Fresh Fruit for Rotting Vegetables [debut]
release date: Sep. 2, 1980
format: vinyl (1981 reissue, blue vinyl - B RED 10) / cd (1993 reissue)
[album rate: 4 / 5] [4,06]
producer: Norm, East Bay Ray (co-producer)
label: Cherry Red Records - nationality: USA

Tracklist: A) 1. "Kill the Poor" (5 / 5) - 2. "Forward to Death" - 3. "When Ya Get Drafted" - 4. "Let's Lynch the Landlord" (4 / 5) - 5. "Drug Me" (4 / 5) - 6. "Your Emotions" (5 / 5) - 7. "Chemical Warfare" - - B) 1. "California Über Alles" (5 / 5) - 2. "I Kill Children" (5 / 5) - 3. "Stealing People's Mail" (5 / 5) - 4. "Funland at the Beach" - 5. "Ill in the Head" - 6. "Holiday in Cambodia" (5 / 5) - 7. "Viva Las Vegas"
[ full album 1 ]

Studio debut album by Dead Kennedys originally released on Cherry Red Records in a '81-reissue on blue vinyl - the '93 cd-issue by Alternative Tentacles.
The album may have had its release when punk rock had been proclaimed 'dead' but it's one of the best and most remarkable (and political) punk rock albums, in my mind. The American punk era came in at least two noteworthy periods. A lot of the original proto-punk bands like The Velvet Underground, The Stooges, MC5, Patti Smith, and New York Dolls came from USA, and when punk rock exploded in Britain with The Damned, The Clash, and Sex Pistols, focus was soon directed back to their major source in proto-punk bands and the (maybe?) first 'real' punk rock band: The Ramones, who had been around a couple of years, and then after this first punk explosion in Europe, the second punk wave hit back on the US, and Americans now experienced hardcore punk rock with Dead Kennedys, Black Flag, Hüsker Dü, Circle Jerks, and D.O.A. (Canadian band) etc. The typical 'tide and flood' tendency involving the two continents when it comes to inspiration and new styles. But I had only just realised that punk existed, so for me, Dead Kennedys were new (which they were...) and punk had only just begun (which it actually hadn't...). Anyway, the debut is not a reproduction or copy of British punk rock but a highly original hardcore punk rock version that I simply loved. The energy, the anger, and the rejection of conformity and double moral was primary themes and it was so delightful to listen to an American band with so strong criticism on American life-style and materialism in general. Looking back, my parents actually were pretty tolerant to my music taste 'cause I played it *#.!.. loud. The album is enlisted in "1001 Albums You Must Hear Before You Die".

[ collectors' item 'blue vinyl' - from ~ €60,- ]

24 July 2013

Kitchens of Distinction "Elephantine" (1989) (ep)

Elephantine, ep
release date: Nov. 13, 1989
format: digital (29TP12)
[album rate: 4 / 5] [3,78]
producer: Kitchens of Distinction
label: One Little Indian - nationality: England, UK

Tracklist: 1. "Elephantine" (4,5 / 5) - 2. "Margaret's Injection" (4 / 5) - 3. "The 1001st Fault" - 4. "Anvil Dub"

4 track ep by Kitchens of Distinction is a fine release that I have come to like a lot many years later. The title track is beautiful tension and could've fitted nicely on the debut as well as the political satire of "Margaret's Injection" - a controversial song about giving Margaret Thatcher a lethal injection... (very much like the track "Margaret on the Guillotine" by Morrissey from his debut in 1988). The last track only seems a bit strange and difficult to accept within their soundscape. The ep is included as bonus tracks on a 1993 reissue of the debut album.

BEST OF 1994:
The Prodigy "Music for the Jilted Generation" (1994)

Music for the Jilted Generation
release date: Jul. 14, 1994
format: cd
[album rate: 5 / 5] [4,82]
producer: Liam Howlett, Neil McLellan
label: XL Recordings - nationality: England, UK

Tracklist: 1. "Intro" - 2. "Break & Enter" (5 / 5) - 3. "Their Law (feat. Pop Will Eat Itself)" - 4. "Full Throttle" (4,5 / 5) - 5. "Voodoo People" (5 / 5) (org. video) - 6. "Speedway (Theme From Fastlane)" - 7. "The Heat (The Energy)" - 8. "Poison" - 9. "No Good (Start the Dance)" (org. video) - 10. "One Love (Edit)" (5 / 5) - 11. "The Narcotic Suite: 3 Kilos" - 12. "The Narcotic Suite: Skylined" - 13. "The Narcotic Suite: Claustrophobic Sting" (5 / 5)

2nd studio album by The Prodigy. The importance of this album can only be underestimated. When grunge rock was on its high with its focus on simplicity and with accepted 'normal' electrified instruments, programmed electronic music with breakbeat and big beat was the music for another huge fraction of music lovers. This is genius, and it's revolutionary. This was their first album to go to number #1 in the UK, as all their following albums have done, which is quite unique. The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com, Record Collector 5 / 5, Sputnikmusic 4,5 / 5, The Guardian, Q Magazine 4 / 5 stars ]

1994 Favourite releases: 1. The Prodigy Music for the Jilted Generation - 2. Everything but the Girl Amplified Heart - 3. C.V. Jørgensen Sjælland

Håkan Hellström "Det kommer aldrig va över för mig" (2013)

Det kommer aldrig va över för mig
release date: Apr. 17, 2013
format: cd (EKO 158 CD)
[album rate: 3 / 5] [3,05]
producer: Håkan Hellström, Johan Forsman, Björn Olsson, Måns Lundberg
label: Stranded Rekords / Universal Music - nationality: Sweden

Track highlights: 2. "Det kommer aldrig va över för mig" - 5. "Pistol" (4 / 5) - 6. "Valborg"

7th studio album by Håkan Hellström, which is very much like his 'usual' albums, one might add. He doesn't change what's working it seems, although this album has a more synth pop and chamber pop feel, which makes a small change. Other than that it's still good songwriting with chorus-based tracks and as usual, thematically, about lost and unrequited love.

22 July 2013

Dead Kennedys

~ ~ ~
Dead Kennedys from their live
appearance with "Pull my Strings"
Dead Kennedys: is an American hardcore punk rock band formed Jun. 1978, San Francisco, USA, and disbanded in 1986. Members: East Bay Ray (aka Raymond John Pepperell Jr. [birth name], guitar), Klaus Flouride (aka Geoffrey V. Lyall [birth name], bass), Jello Biafra (aka Eric Reed Boucher [birth name], vocals), DH Peligro (aka Darren Eric Henley [birth name], drums, 1981-1986). This was the original or longest living line-up. Some members played shortly at the formation or on the first album only, and a bunch of other members have played under the name of Dead Kennedys from 2001. Other members: Ted (aka Bruce Mitchell Slesinger [birth name], drums, 1978-81), 6025 (guitar, 1978-79), Ron 'Skip' Greer (vocals, 2008-present), Brandon Cruz (vocals, 2001-03), Jeff Penalty [Jeff Alulis] (vocals, 2003-08). The band's name apparently (according to Biafra) hints at the American dream, as a poignant reference to its end (i.e. it died with the Kennedys), as opposed of being an insult against former Presidents. The band became known for its hardcore style with fast tempo and for the satirical lyrics of Jello Biafra, as well as being a band who criticized American culture, its influence around the world, US policy and (the Reagan) administration, and especially the moral majority of a primarily god-trusting America. Biafra may have been influenced by the satire of Frank Zappa and others but the band was a conglomerate of British and American anarcho-punk. The band released a total of four full-length studio albums, one ep, and two live albums. Biafra and the band raged against general consumerism, all religious beliefs, the American dream as such, and greed. Ironically, the original band members dragged Jello Biafra (the band's vocalist) through a lawsuit as they thought they weren't paid enough money in royalties and also wanted their share for publishing rights. Biafra had founded and owned the record label Alternative Tentacles that had issued all their material. Eventually, Biafra lost the case and the remaining band members reformed Dead Kennedys (and are probably still performing), naturally, without Biafra. It seemed almost absurd as the new formation released a new best of album titled Milking the Sacred Cow (!) (2007), explicitly as an attempt to profit even more. After the split in 1986, Biafra went on to release a number of spoken word albums, and he became involved in national politics. Actually, he had run for mayor of San Francisco in 1979, and in 2000 he became a member of the Green Party for which he has been engaged in several campaigns since then. Musically, he has worked and released collaboration albums with other artists, e.g. The Melvins, NoMeansNo, Offspring, D.O.A., Mojo Nixon, and he is/was co-founder and member of the industrial metal band Lard (1988-). Dead Kennedys was one of my top favourite punk bands back in the 1980s, and I have never really stopped listening to the old albums. For me, DK, alongside The Ramones (who is foen said to have started punk rock in the first place), is the best American punk band ever.

The Dead Kennedys logo

18 July 2013

C.V. Jørgensen "Solgt til stanglakrids" (1979)

Solgt til stanglakrids
release date: maj 1979
format: cd (1988 reissue)
[album rate: 3 / 5] [3,22]
producer: Stig Kreutzfeldt
label: CBS Records / Elap - nationality: Denmark


5th studio album by C.V. Jørgensen is originally his final on Metronome following 15 months after Vild i varmen (1978) and is C.V.'s second of two consecutive albums with producer Stig Kreutzfeldt. On this, C.V. is backed for the last time by Det Ganske Lille Band, here consisting of a quartet with 'the three regulars': guitarist and co-composer on most tracks, Ivan Horn, bassist Erik Falck, and drummer René Wulf, all three of whom have participated on Jørgensen's last three albums. The backing band is now without Thomas Grue, who only appears on Vild i varmen - he never really fell in with the relationships in the band and returned to play with Kim Larsen (and Frede Fup). In his place, keyboardist Lotte Rømer has taken over, she is also co-composer on the first track. Before recording the album, both Wulf and Horn had only just participated on Rømer's debut album and together they reportedly persuaded C.V. and Falck to include Rømer in Det Ganske Lille Band.
Musically, this is not a change of style. The band continues in the continued mainstream pop / rock or soft rock mix based on folk, country rock and funk rock that was heard on the predecessor. Likewise, the songs are like new chapters in the history of new trends in society, styles in art, moneymen, illusions and disillusions - in short: the contemporary lifestyle exposed to critical eyes with a good dose of irony added. It's just like taken from exactly the same shelf as C.V.'s previous album and in a way that it almost sounds like leftovers from the same recordings, and in retrospect it's not one of his best albums. Most of all because it is without strong numbers and good choruses. If you compare it with new musical currents such as new wave and punk rock, it is also remarkable how old-fashioned the album here sounds. However, it is quite clear that C.V. by no means overlooked the new trends. In the song "Surf à la mode" he talks about the new British band Siouxsie and the Banshees and notes that Siouxsie is the only interesting thing, because the band "i sig selv er nemlig ikke en nikkel værd - lige bortset fra som baggrundsfyld - af og til når det fungerer kan man ligesom abstrahere - fra den møgbeskidte lyd der fumles med" ['per se isn't worth a nickel except as background filler - occasionally, when it works, you may be able to ignore the dung-dirty sound they are fumbling with' (my translation)]. He continues his categorization of the band, which he clearly doesn't like: "vi har det ind imellem med at placere - ting på hovedet så hvem ved måske en skønne dag - er Siouxie og the Banshees på toppen - af hitlisterne landet over inklusive den hos Irma"['we sometimes turn things upside down, so who knows maybe one fine day Siouxie and the Banshees are topping the charts all across the country including the one at Sainsbury's' (my translation)]. Yes, yes, he has evidently noted new sounds in popular music, and no, he doesn't like it.
After three years of hectic life going from one concert to another, C.V. had to call it a day after a short tour with the new album. He was not a fan of the new band, in which Rømer and Horn now also formed a couple, and he needed a break, all the while the backing band continued to tour under the name C.V. Moto. He was now determined to move on artistically, and already in the autumn of '79 he announced to Horn, Falck, and Wulf that they had come to an end. With a collection of new songs written by C.V., with Lotte Rømer on vocal and with music by Rømer and (boyfriend) Ivan Horn, C.V. Moto released the stand-alone album Lampefeber in 1980. While the previous backing band had been busy touring and recording the new songs, Jørgensen had inititated a collaboration with Billy Cross, which simultaneosly led to the album Tidens tern (1980).
The reason I'm not a big fan of Solgt til stanglakrids isn't because of C.V.'s aversion to punk rock, it's simply because with this he basically stopped contributing with anything new to the collection of Danish classics and only delivers a few good songs to his repertoire. The band now sounds as if they are playing in 1973 while founding the music on J.J. Cale, Little Feat with the addition of guitar solos by Clapton and seem fully satisfied spitting out new songs as success rolls in. This is actually the first time you hear C.V. on repeat and without the ability, or the desire to move - and perhaps that was what he actually sensed himself when he made the decision to call it quits.
Incidentally, the cover is the first credited to C.V.'s girlfriend, Annemarie Albrectsen.
Not recommended.

The Smiths "Shakespeare's Sister" (1985) (single)

Shakespeare's Sister, 12'' single
release date: Mar. 18, 1985
format: vinyl (RTT 181 - VG2035-Z) / digital
[single rate: 4 / 5] [4,08]
producer: The Smiths
label: Virgin Records - nationality: England, UK

Tracklist: A) 1. "Shakespeare's Sister" (4 / 5) - - B) 1. "What She Said" (3,5 / 5) - 2. "Stretch Out and Wait" (5 / 5)

Single release by The Smiths originally released by Rough Trade. The A-side track is not included on any of the studio albums but may be found on the two 1987 compilation albums The World Won't Listen and Louder Than Bombs, which also goes for the last track "Stretch Out and Wait", which I always thought of as this single's best. B-1 is from the new album Meat Is Murder.
My copy of the single is printed and purchased in Greece, and the Rough Trade signature RTT 181 is only scratched into the vinyl, whereas it has the Virgin number VG2035-Z printed on the back cover.

And Also the Trees "Further From the Truth" (2003)

Further From the Truth
release date: 2003
format: cd (AATTCD04)
[album rate: 3,5 / 5] [3,48]
producer: AATT and Matthew Devenish
label: AATT - nationality: England, UK

Track highlights: 1. "21 York Street" - 2. "He Walked Through the Dew" - 3. "The Man Who Ran Away" - 4. "In My House" - 6. "Pale Sun" - 7. "The Reply" - 11. "The Untangled Man"

9th studio album by And Also the Trees is like the predecessor a self-issued and self-made album, and it has been five years in the making. It takes on an interesting change of style compared to the surf rock-styled Silver Soul (1998) and the previous albums, which have seen the band on what seems a constant search of a style, although, they firmly manage to stick to themselves altogether, and regardless new musical influences. The album marks a turn, like many of their recent albums, only this time to a more poetic experimental chamber pop, which doesn't feel far from the style of Tindersticks. What I really like here is the absence of strong keyboards and synthesizers trying to lift the band's sound to a potent force, which in the past could tend to be on an excessive side. Here, it's all about compositions - a dwelling at the song itself. It may not be at the same level as their best albums of the 80s but I like it - it's gooood, proving there's much more life to this band than some would have it.

17 July 2013

Håkan Hellström "2 steg från paradise" (2010)

2 steg från paradise
release date: Oct. 13, 2010
format: cd
[album rate: 3,5 / 5] [3,28]

Track highlights: 1. "Det här är min tid" - 2. "Saknade te havs" [live] - 4. "River en vacker dröm" - 5. "2 steg från paradise" - 6. "Jag vet vilken dy hon varit i" (4 / 5) - 8. "Det dom aldrig nämner" - 11. "Du är snart där"

6th studio album by Håkan Hellström. This is a return to form, and it appears to be a more mature album by Hellström. The album had its release almost on the date of his 10 year old solo debut. Stylistically, it's a continued journey from his 2008 release För sent för edelweiss into singer / songwriter folk pop area with less party music, and although, I'm quite fond of his uptempo tracks, I think he succeeds much better on this with better and stronger songwriting. Also, the overall impression is that the songs are more of his own than strongly influenced by other artists.

Suede "Bloodsports" (2013)

Bloodsports
release date: Mar. 18, 2013
format: digital
[album rate: 2,5 / 5] [2,66]
producer: Ed Buller
label: Suede Ltd. / Sony Music - nationality: England, UK

Track highlights: 3. "It Starts and Ends With You" - 4. "Sabotage" - 10. "Faultlines"

6th studio album by Suede released through Sony Music Entertainment and produced by Ed Buller who produced the band's first three albums.
The album was generally met with positive reviews, which I find hard to understand. The band officially disbanded in the Fall of 2003 and Anderson and Butler were together for a short period of time with The Tears before Suede was brought back together in 2010 playing concerts everywhere. As a 'natural' consequence they started recording new material and out came this long-awaited album in 2013. Maybe they should just do like many other 'dinosaurs' of pop / rock: stay to the good old material that people basically want to hear, and just play live concerts - that's also where the money is, and I bet they do that well, but they don't seem to have anymore to say, artistically, and I think it's a bit sad. This release is not just another one in a series of lesser albums by Suede as it's easily the band's so far lowest artistic point.
Not recommended.
[ allmusic.com, The Guardian 4 / 5, NME 3,5 / 5 stars ]

And Also the Trees "Silver Soul" (1998)

Silver Soul
release date: 1998
format: cd (AATTCD03)
[album rate: 3 / 5] [3,24]
producer: Justin Jones
label AATT - nationality: England, UK

Track highlights: 1. "Nailed" - 2. "Blue Runner" - 3. "Rose-Marie's Leaving" - 5. "Where the Souls Meet" - 6. "Get Critical" - 10. "Highway 4287"

8th studio album by And Also the Trees is a self-released and self-produced album, again with guitarist and main composer Justin Jones as producer, which continue a style with surf rock as heard on Angelfish (1996). Justin has created a more up-tempo and uniform sound and style on this compared to the predecessor. Before finishing the recordings for the album, drummer (and founding member) Nick Havas left the band. He was then replaced with new drummer Paul Hill. With the two most recent albums the band has changed its style quite drastically, although, Simon H. Jones' vocal still haunts throughout the tracks making it a distinct album by this band, and the drumming (despite a new drummer) and bass-lines still keep the soul of AATT intact. The keyboards have been reduced and are less dominant, and on an overall level, it really has its moments.
Admittedly, I saw this as a low-point in the band's career but think better of it in retrospect.

16 July 2013

And Also the Trees "Angelfish" (1996)

Angelfish
release date: 1996
format: cd (MEZCD1)
[album rate: 3,5 / 5] [3,38]
producer: Justin Jones
label: Mezentian - nationality: England, UK

Track highlights: 1. "Brother Fear" - 3. "The Next Flight to Rome" [instr.] - 6. "Tremaine" - 8. "Roulette" - 9. "The Butcher's Daughter" [instr.]

7th studio album release by And Also the Trees is its only release on the label Mezentian, and the first of two consecutive albums with Justin Jones as producer. Former (favourite) producers Mark Tibenham and Richard Waghorn are credited for mastering and as engineer respectively. In the band's search of a new style this is a more bold attempt with surf rock, which was tempted on The Klaxon (1993). It's really not unsuccessful as Justin Jones plays a fine original surf rock guitar - e.g. as heard on the instrumental tracks "The Next Flight to Rome" and "The Butcher's Daughter", and the overall result is a surprising journey into more positive territories.
My experience here tells me that it may take some time to fully adjust oneself to the blend of surf rock and post-punk, but I have come to consider it a more than decent experiment, which would be continued on the successor.

15 July 2013

And Also the Trees "The Klaxon" (1993)

The Klaxon
release date: Oct. 25, 1993
format: cd (Normal 164)
[album rate: 3 / 5] [2,92]
producer: *Richard Waghorn (recording credits)
label: Normal Records - nationality: England, UK

Track highlights: 3. "Jonny Lexington" - 5. "Dialogue"

6th studio album by And Also the Trees and the second to be released by German label Normal Records. As with the predecessor the album credits omits production credits, and only mentions recording, mixing and mastering credits.
The style is the continued progression away from the gloomy post-punk, although, they still keep that style intact incorporating a slightly surf rock guitar sound and a more experimental approach to its repertoire.
I don't find it as successful as Green Is the Sea and it turns out as a so far low point.

14 July 2013

Håkan Hellström "För sent för edelweiss" (2008)

För sent för edelweiss
release date: Mar. 26, 2008
format: cd
[album rate: 3 / 5] [3,12]

Track highlights: 2. "För en lång lång tid" (4 / 5) - 5. "Jag vet inte vem jag är men jag vet att jag är din" - 6. "För sent för Edelweiss" - 7. "Kär i en ängel"

5th studio album by Håkon Hellström released 2½ years after his last studio album, which only had a few new songs, and I don't think this is of his better ones. The tracks are more or less what you would have come to expect, only it doesn't contain several really good songs.

And Also the Trees "Green Is the Sea" (1992)

Green Is the Sea
release date: Jun. 1992
format: cd (Normal 134CD)
[album rate: 3,5 / 5] [3,42]
producer: *Mark Tibenham
label: Normal Records - nationality: England, UK

Track highlights: 1. "Red Valentino" - 2. "The Fruit Room" - 5. "Blind Opera" - 7. "The Woodcutter" - 11. "Jacob Fleet"

5th studio album by And Also the Trees is the band's first after leaving Reflex Records and thus its first to be released with German label Normal Records. The credit list doesn't mention a producer, but only reveals that it was recorded by Mark Tibenham, who produced the predecessor.
The album marks a new beginning in more than one sense, since the band has now left Reflex, and the music has undergone a stylistic change towards a more baroque pop style, although, it clearly still builds on gothic post-punk.
Back in '92 I didn't think much of the new music by AATT, or: their music was only vivid thanks to the albums released from 1984 to 1989, and I found it lacking good songs thinking of it as too theatrical. The word 'dull' came to my mind, but listening to it today, I cannot understand my rejection 'cause they were actually doing quite well, and the album is far from my then verdict. Perhaps, looking for new styles and tendencies at the time made me bury what sounded too heavily linked to post-punk. Admittedly, I don't find it truly great, but it has much more to offer than a first listen could suggest. And frankly, it does sound more in sync with present time than the contemporary grunge rock or techno as one easily associates with the early 1990s music scene.

13 July 2013

Suede "Singles" (2003)

Singles (compilation)
release date: Oct. 13, 2003
format: cd
[album rate: 4 / 5]
producer: various
label: Sony Music - nationality: England, UK

Compilation album by Suede encompassing all the band's A-side single releases from 1992 to 2003 including two brand new singles - released to promote this album. It was released only a few weeks before the band officially declared its split. Suede had done studio sessions to record a follow-up to A New Morning, but the album was shelved, and this then became the band's last album - or: at least until a new incarnation came together almost a decade later.
Overall, the album is a great collection and looking at the individual songs represented really underlines its greatness. I just don't like the random order of the singles as the band stylistically, as well as soundwise, has moved from one point through various, specific stages, to end its musical tour in a completely different corner an universe, and listening to the whole album from start to finish is like a bit of a mish-mash. A much better idea would have been to release a collection containing all of the band's singles: A- and B-sides together drawing the band's progression from sheer glam rock [revival] over art rock and alt. rock to pop / rock and synthpop, although, such a release would require 3 discs. Nearly all songs on the album are taken from the band's studio albums, and this basically just serves to sum things up, and to attract attention from non-fans - i.e. collecting more dough!
[ allmusic.com 4,5 / 5 stars ]

12 July 2013

Fairground Attraction "The First of a Million Kisses" (1988)

The First of a Million Kisses [debut]
release date: May 16, 1988
format: vinyl / digital
[album rate: 3 / 5] [3,22]
producer: Fairground Attraction, Kevin Moloney
label: RCA - nationality: England, UK

Studio album debut by Fairground Attraction consisting of lead vocalist Eddi Reader (aka Sadenia Reader), guitarist Mark E. Nevin, guitarist (guitarrón) Simon Edwards , and percussionist Ray Dodds. All but one song are credited Nevin.

Kitchens of Distinction "Love Is Hell" (1989)

Love Is Hell [debut]
release date: Apr. 1989
format: vinyl (tplp9) / cd (TPLP9CD)
[album rate: 4,5 / 5] [4,46]
producer: Kitchens of Distinction
label: One Little Indian - nationality: England, UK

Tracklist of the original cd: 1. "In a Cave" (4 / 5) - 2. "Time to Groan" (4 / 5) - 3. "Shiver" - 4. "Prize" (5 / 5) - 5. "The 3rd Time We Opened the Capsule" (4 / 5) - 6. "Her Last Day in Bed" - 7. "Courage, Mother" (5 / 5) - 8. "Mainly Mornings" (5 / 5) - 9. "Hammer" (5 / 5)

Studio album debut by Kitchens of Distinction is an extremely fascinating debut, and I have had my difficulties in selecting the above rating. Yes, I put Pixies first but that's really only because I chose to define my favourite albums for each year, and frankly, these three are all major albums that I simply love and wouldn't miss! Also, no. 1 on the list IS Pixies' best release, and the other two are not THE best by either of the two other bands, so that sort of made it simple(r).
I purchased this on cd in England in late '89 while temporarily working at a hotel in Banbury, England (The Whately Hall Hotel, an easy and cheap way to experience another country). So, I guess it must have been about 7-8 months after the release. I hadn't come across one single track from the album but just found myself searching for interesting music at a small local music store. The cover caught my attention and just signalled 'interesting indie pop' - so it really matters what type of expression the package comes in. After listening to the first 30-37 seconds, to the point when lead vocalist (and bassist) Patrick Fitzgerald sings "..and it's miiiii-i-iiine" in that highly original phrasing accompanied by Julian Swales' brilliantly distorted and delayed 'flanger' guitar sound that is so much KOD and absolutely like no one else, I knew then, I would have to own the album. Much later into the new Millenium I acquired the album on vinyl.
It's simple, rough and soft [not like Pixies quiet and LOUD complementary style], it's dynamic, intense, sophisticated, and dreamy, and still quite coherent. It's post-punk when most beautiful, and it's shoegaze in its prime. Listen to the appraised Interpol and you know they'd be nothing without Kitchens of Distinction.
Highly recommendable.
[ allmusic.com 4,5 / 5 stars (bonus tracks edition) ]

1989 Favourite releases: 1. Pixies Doolittle - 2. The Blue Nile Hats - 3. Kitchens of Distinction Love Is Hell

The Cure "A Single" (1982) (ep) (single)

FICG 15
(my copy)
A Single, ep
release date: Jul. 12, 1982
format: vinyl 2 x 7'' (gatefold - FICG 14)
[single rate: 4 / 5] [4,08]
producer: The Cure and Phil Thornally
label: Fiction Records - nationality: England, UK

Tracklist: A) "The Hanging Garden" - - B) One Hundred Years" - - C) "A Forest" (live) - - D) "Killing an Arab" (live)

An extended single release by The Cure with two tracks taken from the album Pornography (May 1982). The single is a (rare) gatefolded double 7'' vinyl issue with the two tracks on the first record taken from the new album and an additional two live recordings (side C and D) taken from a live concert at the Manchester Apollo, Apr. 27, 1982 (the single was also released as a traditional 7'' single without the live tracks).

[ collectors' item, 'double gatefold' ]

The Style Council "Introducing The Style Council" (1983) (ep)

Introducing The Style Council, ep
release date: 1983
format: digital
[album rate: 3 / 5] [3,22]
producer: Peter Wilson and Paul Weller
label: Polydor Records - nationality: England, UK

Track highlights: 1. "Long Hot Summer" - 2. "Headstart for Happiness" - 3. "Speak Like a Child" (4 / 5) - 5. "The Paris Match"

Studio debut ep by The Style Council (most likely released in the Summer, or in Sep.-Oct. '83). The band was originally formed by Paul Weller, who had just split with The Jam, and Mick Talbot, ex-keyboardist of Dexys Midnight Runners and The Bureau. These two were the backbone of the project and they brought in various collaborators in the span of the band's 7-8 years life-time, eventually, breaking up in 1990. At this early stage, the band also consists of Tracie Young on backing vocals, and drummer Steve White. All tracks here, except the instrumental "Mick's Up" by Talbot, are written by Weller. The style is very different from the hard new wave-sound of The Jam and is a mix of various styles, which mostly may be referred to as sophisti-pop. However, the best track "Speak Like a Child" is close to the style of The Jam when thinking of the band's last album The Gift (1982). The major influences are soul, rhythm & blues, and jazz. This is not a strong and tight ep release. The tracks are more like a compilation of early singles. Tracks #2, #3, and #7 were all A-side single releases with some of the others tracks as B-sides, which explains the diversity in style.

And Also the Trees "Farewell to the Shade" (1989)

Farewell to the Shade
release date: Oct. 1989
format: vinyl (LEX 10) / cd
[album rate: 3,5 / 5] [3,68]
producer: Mark Tibenham
label: Reflex Records - nationality: England, UK

Track highlights: 1. "Prince Rupert" (4 / 5) - 2. "Macbeth's Head" - 4. "Belief in the Rose" - 5. "The Street Organ" - 6. "Lady d'Arbanville" (4 / 5) - 7. "Misfortunes" - 10. "The Horse Fair"

4th studio album by And Also the Trees (cd issue on Troy Records) is this time produced by Mark Tibenham, who is also credited for keyboards is not quite as great as the band's previous two albums but is still a very fine release. As the title implies it's an end of dark sinister gothic rock, and they really want to make new music, and that's also the album's weakness as it contains brilliant tracks that could be fitted easily on their previous two albums, and at the same time it contains attempts to define a new style of brighter compositions. I think, it's quite typical for bands of this period and style: you can't really keep making music that is so bound to a certain time as gothic post-punk. This is a small change into a more positive universe, which goes much further on the forthcoming albums. "Lady d'Arbanville" is a cover song (written by Cat Stevens). The original is a fine baroque pop song from 1970, but here it's nicely turned into gloomy gothic rock.
The band is still the same quartet as on the three previous albums but here they have been supported by producer Mark Tibenham's keyboards, which adds that extra layer to the soundscape that I do see as an addition - a true potential - but which also serves as too strong dynamics and makes some of songs tend to theatrical excesses.
[ allmusic.com 4 / 5 stars ]

11 July 2013

Suede "A New Morning" (2002)

A New Morning
release date: Sep. 30, 2002
format: cd
[album rate: 3,5 / 5] [3,33]
producer: Stephen Street, John Leckie, Dave Eringa
label: Columbia Records - nationality: England, UK

Track highlights: 1. "Positivity" (4 / 5) - 2. "Obsessions" - 3. "Lonely Girls" - 8a. "[untitled]"

5th studio album by Suede. Now with this they managed to do worse than on their previous album Head Music (1999). The album does contain great tracks but, very much like on the predecessor, most of the tracks are fillers just securing a full album release by a band that just keeps repeating themselves. The best track "Positivity" is the only truly fine track, despite the fact that it sounds like a copy or remake of a single hit on some other Suede album. It's also the only real synthpop track, which seems a bit strange - the rest of the tracks are like an attempt to make more traditional britpop like Blur or Pulp with simple guitar-based compositions, and it really makes it a strange release. After all, it could be a great A-side single with two fine B-sides (tracks #2 and #3), instead it has all these poor and mediocre "bonus" tracks...
One year after the release, Suede disbanded and Anderson and Butler found together in The Tears - or at least for a while.
[ allmusic.com 3,5 / 5, The Guardian 3 / 5, Drowned in Sound 2,5 / 5 stars ]

10 July 2013

Håkan Hellström "Nåt gammalt, nåt nytt, nåt lånat, nåt blått" (2005)

Nåt gammalt, nåt nytt, nåt lånat, nåt blått (compilation)
release date: Dec. 28, 2005
format: cd
[album rate: 3,5 / 5] [3,33]
producer: Håkan Hellström, Daniel Gilbert
label: Dolores Recordings / EMI Music Sweden - nationality: Sweden

Track highlights: 1. "13" (4 / 5) [Big Star cover] - 2. "Klubbland" - 3. "Så länge du är med mig" - 5. "Precis som Romeo" - 7. "Jag hatar att jag älskar dig och jag älskar dig så mycket att jag hatar mig" (4 / 5) - 8. "Evert Taube" - 11. "Gatan fram (live)" [Eldkvarn cover]

4th album release by Håkan Hellström is his second album in the same year. Like the title suggest: 'Some old, some new, some borrowed, and some blue', this is however, not a normal studio album of brand new material but rather a compilation with previously unreleased tracks, cover-versions, a few new songs, and two live recordings. Despite the variety of song material, I think it's a fine album, maybe because what Håkan is so very good at, is to lend (some would say: 'steal'), and make his own personal interpretations of existing music, whether it's his own or other artists' compositions. The album is dedicated the Swedish boy Måns Jenninger, who at 13 took his own life as a consequence of long time bullying.

And Also the Trees "The Millpond Years" (1988)

The Millpond Years
release date: May 1988
format: vinyl (LEX 9) / cd (1992 reissue)
[album rate: 4 / 5] [3,92]
producer: AATT and Richard Waghorn
label: Reflex Records - nationality: England, UK

Track highlights: 1. "The Suffering of the Stream" (4,5 / 5) - 2. "Simple Tom and the Ghost of Jenny Bailey" - 3. "The House of the Heart" - 5. "Count Jeffrey" (4 / 5) - 7. "The Sandstone Man" (4 / 5) - 8. "From the Silver Frost" (4 / 5) - 9. "The Millpond Years" (4,5 / 5)

3rd studio album by And Also the Trees released on Reflex (cd-issue on the German label, Normal) and produced by the band and Richard Waghorn. The album contains really great tunes and has an overall superb feel making it almost on par with their best album Virus Meadow (1986). The greatness of the predecessor is in a way repeated on this, stylistically and musically with a new element of keyboards.
It doesn't quite reach the same level of greatness as it feels less original. What seemed new and refreshing in '86, the theatrical Shakespearian lyrics, becomes less apparent on this. Another minor issue with the release is the inconsistent soundscape as a whole. By this, I mean, the thematic contrasts that one will find in eg. the beauty and lightness in songs like "The House of the Heart" and "From the Silver Frost", which are indeed the opposite of what one has come to associate with the band. On the other side it contains the melancholic hopelessness in e.g. "Count Jeffrey".
The (new) additional keyboard element by Mark Tibenham adds strong dynamics to the songs, yes! But this is almost too much. I think, the 'problem' is that the music in itself - the bold melancholy in both Simon's voice and the music - contains the genuine dynamics and with the almost thundering additional keyboards (by Mark Tibenham) the music nearly drowns itself making the 'problem' more of a productional one. However, critics really liked this - and so do I.
Before this they released the live album The Evening of the 24th (1987).
[ allmusic.com 4 / 5 stars ]

09 July 2013

Håkan Hellström "Ett kolikbarns bekännelser" (2005)

Ett kolikbarns bekännelser
release date: Feb. 16, 2005
format: cd
[album rate: 3,5 / 5] [3,45]

Track highlights: 1. "Jag har varit i alla städer" - 2. "Brännö serenad" (4 / 5) - 4. "Dom kommer kliva på dig igen" - 5. "Bara dårar rusar in" - 6. "Hurricane Gilbert" - 8. "Magasinsgatan" (4 / 5)

3rd studio album release by Håkan Hellström is music with more focus on the singer / songwriter, folk pop and chamber pop (not unlike The Divine Comedy) element, and it's a more personal and intimate Hellström with acoustic guitar and more ballads, and even though I think his best tracks are the uptempo party songs, I consider this, one of his best. "Brännö serenad" and "Magasinsgatan" are some of his very best songs, and are actually fine examples of his ability to write beautiful ballads (the first) and strong party songs (the latter).

And Also the Trees "Virus Meadow" (1986)

Vinyl cover
Virus Meadow
release date: Jun. 1986
format: vinyl (gatefold - LEX 6, NR 335) / cd (1992 reissue)
[album rate: 4 / 5] [4,18]
producer: And Also The Trees, Richard Waghorn, Mel Jefferson
label: Reflex Records / Normal - nationality: England, UK

Track highlights: 1. "Slow Pulse Boy" (4 / 5) - 2. "Maps on Her Wrists and Arms" - 4. "Vincent Craine" - 5. "Jack" (4 / 5) - 6. "The Headless Clay Woman" (4 / 5) - 7. "Gone... Like the Swallows" (4 / 5) - 8. "Virus Meadow" (4,5 / 5)

2nd studio album release by And Also the Trees released on Reflex Records is the band's masterpiece. The voice of Simon Huw-Jones plays a central part for this band and has a tone quite similar to that of Stuart Staples of the Tindersticks. The music is post-punk, gothic rock and for some it may seem outdated today but the album has a certain theatrical feel, which I really like, very much due to the story-narrating Simon Jones but also thanks to the 'orchestration': the complexity of the drums, the insisting and fretless-like bass, and the edgy, psychedelic, and haunting guitar [just listen to "Slow Pulse Boy" 01:55, or "Virus Meadow" (virtually whole track but note) 02:15]. The production sound of the album is similar to that of Tinderbox by Siouxsie and the Banshees, which has a spacious, almost 3D sound, with plenty of room for guitars and drums. The songs are gently sown together, making it a near conceptual and altogether well harmonised album. It’s not an album for background noise, music for work, or the like. It requires the listener’s full attention and may then take you on a special experience.
[ allmusic.com 4 / 5 stars ]

[ collectors' item - from ~ 40€,- ]
1992 cd cover

08 July 2013

Alabama Shakes "Boys & Girls" (2012)

Boys & Girls [debut]
release date: Apr. 9, 2012
format: cd
[album rate: 4 / 5] [4,04]
producer: Alabama Shakes and Andrija Tokic
label: Rough Trade Records - nationality: USA

Track highlights: 1. "Hold On" (4 / 5) (live on SNL) - 2. "I Found You" (4 / 5) (live on KEXP) - 3. "Hang Loose" - 4. "Rise to the Sun" (4,5 / 5) (live on KEXP, and live on 'Live on the Green') - 8. "Boys & Girls" - 9. "Be Mine" (live on Later with Jools Holland)
[ full 'Live performance on KEXP', Dec. 2012 ]

Studio debut album by Alabama Shakes is a great album that really rocks. It's a sublime combo of soul, r&b, blues rock and garage rock, which makes me think of Amy Winehouse doing rock. Brittany Howard is the leading star of the band with her unique voice and she really knows how to play blues rock on her electrified jazz guitar. I've heard and seen them in many live performances and that's truly their playground 'cause not many artists nowadays perform that great live, or at least not as convincing as Alabama Shakes. This is one of the best albums of the year and naturally, it's highly recommendable.
[ allmusic.com, Rolling Stone 3,5 / 5, The Telegraph 4 / 5, The Independent 5 / 5 stars ]

2012 Favorite releases: 1. Marie Key De her dage - 2. Paul Banks Banks - 3. Alabama Shakes Boys & Girls [debut]

And Also the Trees "And Also the Trees" (1984)

vinyl cover
And Also the Trees [debut]
release date: Feb. 1984
format: vinyl (LEX 1) / cd (1992 reissue)
[album rate: 3,5 / 5] [3,36]
producer: Laurence Tolhurst
label: Reflex Records - nationality: England, UK

Track highlights: 1. "So This Is Silence" (4 / 5) - 5. "Impulse of Man" - 6. "Shrine" - 7. "Twilights Pool"

Studio album debut by And Also the Trees is produced by Laurence Tolhurst (The Cure) and issued on Reflex Records as its first album issue - the '92 cd issue is released on Normal Records. Here the band consists of the brothers Jones: Simon on vocals and (younger brother) Justin on guitar together with new bassist Stephen Burrows (who replaced Graham Navas after a clash between Graham and the other members in early '83) and Nick Havas on drums.
The style is a promising gothic rock and post-punk release. I bought the album upon its release and immediately fell for their dark and haunting sound. The first track is great; however, the rest is of varied quality, or: not highly original material, as some tracks seem like attempts to create something similar to the sound of The Cure on Seventeen Seconds (1980) blending with strong influence of Joy Division.
[ allmusic.com 3 / 5 stars ]

[ collectors' item - from ~ 35€,- ]

1992 CD cover

And Also the Trees

~ ~ ~
And Also the Trees: formed 1979, Inkberrow, Worcestershire, UK. Current line-up: [brothers Simon and Justin] Simon Huw Jones (vocals), (younger brother) Justin Jones (guitar), Emer Brizzolara (keyboards, from 2007), Steven Burrows (bass guitar, from 1983), Ian Jenkins (bass guitar, double bass, from 2004), Paul Hill (drums, from 1997).
Former members: The Havas brothers: Graham (bass guitar, 1979-1983), (younger brother) Nick (drums, 1979-1997).
I listened to the AATT from the very start of their musical career, and immediately bought their first four albums upon their release. What I found in their music was another post-punk style than many of the other artists at the time. The initial style is close to The Cure, Bauhaus and Joy Division, but AATT focused much more on poetic stories by Simon Huw Jones, making 'their' sound based on narration and haunting melodies. They never gained a huge crowd, and reviewers seldom appreciated their style, which many thought of as too theatrical, unfitting in the musical progression from post-punk into art rock. Once you're familiar with the sound of Simon's voice and the orchestrated, almost "baroque" alt. rock, you might get drawn into a fascinating whirlpool of poetic narration. 
~ ~ ~

07 July 2013

Suede "Head Music" (1999)

Head Music
release date: May 3, 1999
format: cd
[album rate: 3,5 / 5] [3,38]
producer: Steve Osborne and Bruce Lampcov
label: Nude Records - nationality: England, UK

Track highlights: 1. "Electricity" - 4. "Everything Will Flow" (4 / 5) - 6. "She's in Fashion" (4 / 5) - 12. "He's Gone" - 13. "Crack in the Union Jack"

4th studio album by Suede. It has taken the band 2½ years to make the album but it still seems somewhat unfinished. Aside from introducing another new band member, Neil Codling on keyboards and synthesizers, it does contain great tracks like "Everything Will Flow" and "She's in Fashion" but it also contains an unprecedented number of album fillers, and the overall impression is an album on receipt - it's made more or less on the same blueprint as Coming Up just with an added synthpop touch (drum programming and synths) by Codling. The album producer Steve Osborne has previously produced for Curve, P.J. Harvey, New Order, and U2, and a similar touch doesn't do anything good for the sound of Suede.
Perhaps the band's new low point has to do with vocalist Brett Anderson's drug abuse - for whatever reasons, the album is a rather uneven experience and an immediate worst studio release from the hands of Suede, imho.
[ allmusic.com 3 / 5, NME 3,5 / 5 stars ]

Håkan Hellström "Det är så jag säger det" (2002)

Det är så jag säger det
release date: Oct. 28, 2002
format: cd
[album rate: 3,5 / 5] [3,60]

Track highlights: 1. "Mitt Gullbergs Kaj Paradis" - 2. "Förhoppningar och regnbågar" - 3. "Den fulaste flickan i världen" (4 / 5) - 4. "Kom igen Lena!" (4 / 5) - 5. "Här kommer lyckan för hundar som oss"

2nd studio album by Håkan Hellström, and I think this one betters his debut. The music is more pop soul and party-minded with less focus on the jangle pop style, and I think this suits him better. The album starts out with the fine party-song "Mitt Gullbergs Kaj Paradis", and as many of the other songs it has a calypso feel with samba rhythm and percussion as well as lots of horns and a broader, more complex production. Beside the aforementioned track, the best tracks are the single releases, the ballad "Den fulaste flickan i världen" and the pop soul party track "Kom igen Lena!", which is somewhat copied from The Jam's "A Town Called Malice" (1982) and "Come on Eileen" (1982) by Dexys Midnight Runners. "Kom igen, Lena!" was the first song I ever heard with Håkan Hellström, and is therefore the song that made me look into his music.

05 July 2013

Håkan Hellström "Känn ingen sorg för mig Göteborg" (2000)

Känn ingen sorg för mig Göteborg [debut]
release date: Oct. 16, 2000
format: cd
[album rate: 3,5 / 5] [3,38]

Track highlights: 1. "Känn ingen sorg för mig Göteborg" (4 / 5) - 2. "En vän med en bil" - 3. "Ramlar" - 4. "Nu kan du få mig så lätt" (4 / 5) - 5. "Vi två, 17 år" (4 / 5) - 8. "Magiskt, men tragiskt" - 9. "Atombomb"

Studio album debut by Håkan Hellström. The album was probably the best received album in Sweden that year and Håkan went from being fairly unknown to a star overnight after his single-hit with the song "Känn ingen sorg för mig Göteborg", which had been released a few months ahead of the album. The album sold "platinum" and was nominated for 6 Grammis in Sweden later that year, and won the national prize, "Rockbjörnen" for best album. The music is proclaimed indie pop, although I don't think that is a very fitting description. It's more singer / songwriter jangle pop / rock, inspired by The Smiths and Morrissey ("Atombomb" is very close to Morrissey's "Everyday Is Like Sunday") and pop soul as performed by Dexys Midnight Runners, which basically is to say: British music of the 1980s, but also music with bonds to more traditional folk pop and pop soul of the 1970s. Thematically, the songs are about teenage life with partying, and lost and unrequited love. The personnel on the album is almost the same people who contributed to the albums with "Broder Daniel", including most of the former band members including Daniel Gilbert on guitar who continues to work with Hellström on his forthcoming solo albums.

Angélique Kidjo "Ayé" (1994)

Ayé
release date: 1994
format: digital
[album rate: 3 / 5] [3,18]
producer: David Z
label: Mango Records - nationality: Benin

Track highlights: 1. "Agolo" (live) - 2. "Adouma" - 4. "Tatchédogbé" - 6. "Lon Lon Vadjro" - 9. "Yemandja" - 10. "Tombo"

5th studio album by Angélique Kidjo and her major breakthrough album in Western Europe and in America. This is 'Westernized' African pop or: fon music, which in my mind, betters contemporary artists like Tina Turner, Madonna, Janet Jackson, Prince and the like. I remember this release from my then sister-in-law, who used to play it a lot, or whenever she didn't play Suzanna Vega, or: The Guide (Wommat) by Youssou N' Dour, released the same year. It's still quite enjoyable, although, it was never a really big favourite of mine.

04 July 2013

Håkan Hellström

~ ~ ~
Håkan Hellström (birth name: Håkan Georg Hellström; Apr. 2, 1974), was born in Göteborg, Västergötland, Sweden. He was member of the Swedish bands Broder Daniel (1989-2008), and Honey Is Cool (1994-2000). Hellström is a Swedish singer / songwriter pop / rock artist who started out in a high school band Little Wing. He then joined another high school band Broder Daniel, with whom they shared rehearsal studio. This band had been formed by high school friends Henrik Berggren (vocals) and Daniel Gilbert (bass). Hellström joined the two on drums. The band began playing concerts around 1992 with the addition of both Johan Neckvall and Anders Göthberg on guitar. The band released their first album in 1995, and Hellström then parted from the band to be drummer in Honey Is Cool in 1995, with whom he released two albums before leaving around '98 to rejoin Broder Daniel, this time playing bass (as Johan Neckvall had left the band and the current bassist, Theodor Jensen took over the guitar) and contributing with additional vocal. The band faced some success and critical acclaim for the album Broder Daniel Forever (1998), which had been helped along with the band's inclusion of 3 songs on the soundtrack album for the Swedish movie "Fucking Åmål" (1998). Hellström began to work on his own songs and had his first critically acclaimed solo release in 2000 with the homonymous single hit "Känn ingen sorg för mig Göteborg". Throughout his solo career, Hellström has met some criticism for being too inspired by others, i.e. songs by the Jam, Dexy's Midnight and Runners, and Morrissey. All the same, Hellström has had great success as a solo artist in Scandinavia with his jangle pop / rock and singer / songwriter style with both chamber pop and indie pop and most recently some synth pop elements, and all his album releases have been awarded various Swedish prizes, i.e. Rockbjörnen (2000, 2001, 2008, 2011), P3 Guld (2003, 2009), Grammis (2000, 2002, 2006, 2008, 2010), Evert Taube-stipendiet (2007), and all his studio album releases has either sold Gold or Platinum in Sweden.
~ ~ ~

03 July 2013

Suede "Sci-Fi Lullabies" (1997)

Sci-Fi Lullabies (compilation)
release date: Oct. 6, 1997
format: 2 cd
[album rate: 4 / 5]
producer: Ed Buller
label: Nude Records - nationality: England, UK

Track highlights:
Disc 1: 1. "My Insatiable One" (4 / 5) - 3. "Where the Pigs Don't Fly" - 4. "He's Dead" - 8. "My Dark Star" - 9. "Killing of a Flash Boy" - 11. "Modern Boys" - 12. "Together" - 13. "Bentswood Boys" - 14. "Europe Is Our Playground"
Disc 2: 1. "Every Monday Morning Comes" (4 / 5) - 4. "Young Men" - 5. "The Sound of the Streets" (4 / 5) - 6. "Money" (3 / 5) - 8. "This Time" - 11. "Sadie" - 13. "Duchess"

Compilation album by Suede, which indeed is a most interesting release. Normally, compilations are best of, 'most of', or any such labels. It's interesting in that respect that it's the collection of B-side singles to all of the band's single releases - with a total of 27 tracks issued as a 2 discs album. Now, how many bands would promote such an idea with expectations of much success? Very few, I reckon, and that's why this album is quite an accomplishment. Some tracks do seem like leftovers but the above highlighted tracks could easily have been released on any of their so far three studio releases without lowering the standard, and some of the songs would undoubtedly have raised the quality.
Most tracks are (once again) produced by Ed Buller.
[ allmusic.com 4,5 / 5 stars ]


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