Prince and the Revolution "Parade" (OST) (1986)

Parade (OST) (soundtrack)
release date: Mar. 31, 1986
format: vinyl (gatefold - 925 395-1) / digital
[album rate: 3 / 5] [3,12]
producer: Prince
label: Warner Bros. - nationality: USA

Track highlights: A) "Intro" 1. "Christopher Tracy's Parade" - - B) "End" 3. "Kiss" - 5. "Sometimes It Snows in April" (4 / 5)

7th studio album by Prince and his third as Prince & The Revolution is also titled Parade: Music From the Motion Picture 'Under the Cherry Moon'.

Gregory Porter "Liquid Spirit" (2013)

Liquid Spirit
release date: Sep. 2, 2013
format: vinyl 2 lp (gatefold - 0602537431540) / cd
[album rate: 4 / 5] [4,06]
producer: Brian Bacchus, Kamau Kenyatta
label: Blue Note - nationality: USA

Track highlights: 1. "No Love Dying" (4 / 5) (live) - 2. "Liquid Spirit" - 4. "Water Under Bridges" (4 / 5) - 5. "Hey Laura" - 7. "Wolfcry" (4 / 5) - 9. "Brown Grass" (4 / 5) - 11. "The in Crowd" - 12. "Movin' " - 14. "I Fall in Love Too Easily"

3rd studio album by Gregory Porter and his first on a major label after signing with Blue Note Records. The album is entirely made with the same musical partners, who stood behind Porter on his last album with Motéma Music, Be Good from 2012. The album is released only 1½ years after his last studio album and this time counting a total of 14 tracks - 11 of these new songs are composed by Porter.
It's no wonder Porter has been lauded with prizes with this new album. It continues his take on jazz, but this time he has made a small change of style in that he has abandoned much of the original free jazz universe, which made room for individual instrumentalists.
Liquid Spirit presents a very fine combination of jazz and soul that renews the whole genre of popular jazz and the American 'standards'. Porter has composed the majority of tracks on his own but the entire album sounds like classic American standards. He has such a great crisp vocal with hints of Isaac Hayes and Otis Redding and the most striking element on this new outing is his original blend of traditional jazz, vocal jazz and soul that has "class" written all over the place.
The album gained its biggest success in Europe as it sold Platinum in several EU countries (3 x Platinum in Germany and Platinum in the UK) and it reached #2 on the Top Jazz Albums list in the US (#187 overall). Nationally, it sold just above 40.000 copies, whereas Platinum in the UK is more than 300.000 copies and in Germany alone, the album sold more than 600.000 albums. For Liquid Spirit, Gregory Porter won the Grammy Award for Best Jazz Vocal Album in 2014.
For people who loved his commitment to a traditional jazz sphere may consider this album as closer to mainstream pop, but given the fine reviews and sales numbers I'm also certain that a bigger crowd of people find the album more digestible and a highly welcomed change of style. Imho, this is porter's so far best album and one the best album of 2013 making it highly recommendable.
[ allmusic.com, Daily Express, PopMatters 4 / 5, All About Jazz, Contactmusic.com 4,5 / 5 stars ]

David Sylvian "Blemish" (2003)

Blemish
release date: May 2003
format: cd
[album rate: 3 / 5] [3,08]
producer: David Sylvian
label: Samadhisound - nationality: England, UK

Track highlights: 1. "Blemish" - 8. "A Fire in the Forest"

6th studio solo album by David Sylvian. The album is released on Sylvian's own label Samadhisound (as the label's first release) after leaving Virgin Records for whom he has released his solo albums since his very first solo album in 1984. This is not the "normal" Sylvian solo sound, if ever there was one. Usually, a solo album from his hands is in the style of art pop and sophisti-pop with more or less jazz to it but here he excels in electronic art pop and glitch, although, I guess the overall sensation is one of experimental. The album consists of 8 tracks with track #1 lasting more than 13 minutes. The music was primarily recorded during improvisational sessions live in a studio with few people to support him. Jazz guitarist Derek Bailey feature on three compositions (#2, #5, #7), co-written by Bailey, and Austrian electronic guitarist Christian Fennesz has co-written, arranged and features on the end-track. The music is not easily digested but has its moments, and it was generally met with positive reviews and I find it more than just interesting.
[ allmusic.com 4,5 / 5 stars ]

Tindersticks "The Hungry Saw" (2008)

The Hungry Saw
release date: Apr. 28, 2008
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Stuart A. Staples
label: Beggars Banquet - nationality: England, UK

Track highlights: 3. "The Flicker of a Little Girl" - 4. "Come Feel the Sun" - 6. "The Other Side of the World" - 10. "All the Love" (feat. Suzanne Osborne)

7th studio album by Tindersticks following Waiting for the Moon (Jun. 2003) is the band's first studio album in five years, and it's their first since being reduced to a trio, which here count lead vocalist Stuart A. Staples, guitarist Neil Fraser and multi-instrumentalist David Boulter. The album was recorded with a number of other musicians, including French drummer Thomas Belhom (who also contributed on Staples' two solo albums), violinist Sally Hibbert, as well as bassist Dan McKinna, who was later to become a permanent member of the band after this. The album is the band's final album on Beggars Banquet, and it's their first in a long subsequent series of studio releases with Stuart A. Staples as exclusive producer.

Compared to both the most recent album from 2003, as well as previous albums, this new collection appears less orchestrated, although strings are still a strong component of the soundscape.

Admittedly, I wasn't expecting much when this album came out. Imho, Tindersticks had begun an artistic downward spiral, and when I finally played something with the band, it was always earlier albums - music from before Waiting for the Moon. As with that, this one was a another disappointing experience listening to the album the first time, and I had probably made up my mind that this band had peaked and were by now only keeping the pot boiling by simply repeating and varying what they now had already produced. A decade further down the road, I took a different perspective of the period and of this very album. When you examine what they later released, you already here find a more playful and experimental approach to music, where they are in search of new ways, new paths for their music and which exactly point to their completely original later releases.

The album's printing, design and cover was made by Stuart Staples' wife, Suzanne Osborne, who also sings on track #10.

[ allmusic.com 4 / 5, PopMatters 3,5 / 5, Spin 3 / 5 stars ]

Chelsea Wolfe "Pain Is Beauty" (2013)

Pain Is Beauty

release date: Sep. 3, 2013

format: cd

[album rate: 3,5 / 5] [3,65]

producer: Chelsea Wolfe, Ben Chisholm

label: Sargent House - nationality: USA

Track highlights: 1. "Feral Love" - 2. "We Hit a Wall" - 3. "House of Metal" (4 / 5) (live on KEXP) - 6. "Sick" (live on KEXP) - 9. "Ancestors, the Ancients" - 10. "They'll Clap When You're Gone" - 11. "The Waves Have Come"

3d studio album by American soloist Chelsea (Joy) Wolfe is her second album on Sargeant House and her second to be co-produced with Ben Chisholm, who's also credited various instrumentation and as album mixer. Chisholm also featured playing piano on two songs on Wolfe's debut album The Grime and the Glow (Dec. 2010). Actually, the album could be seen has her fifth, as she released two self-released albums as of 2006 and 2009 respectively, but these were distributed as CDr albums only.

Musically, Wolfe has always stood with one foot in a darkwave and gothic rock corner of the alt. rock scene, although, all of her now three studio albums are diverse in their individual sound. In that regard, the debut stands as her most clean expression of a lo-fi, alt. rock release bonding with an experimental scene, and her sophomore album Ἀποκάλυψις (aka Apokalypsis from Aug. 2011) is stronger shaped by alt.rock and darkwave which brings memories of PJ Harvey and Dead Can Dance but which also pointed in many directions. Pain Is Beauty is then again a new product with a new focus point. It's primarily an album that blends elements of darkwave and industrial metal, where Wolfe comes out as stronger and more distinct vocalist of her own, although, on the fine "House of Metal" she does sound like influenced by Siouxsie Sioux, but overall, the album appears as her most coherent album to date. There's an underlying ethereal tone throughout the album - even on more direct metal tracks, and perhaps this is what makes it all feel like one organism. My initial thoughts were kind of bland, and I didn't hear any distinct songs but already on a second spin, I found it opening up to an original sound that can only be described as Chelsea Wolfe, and which makes me abstain from further comparison. What's quite remarkable here is Wolfe's try on various styles and sounds but with a result that is anything but incoherent - her moody vocal and the spacious, yet simple arrangements and tight production keeps everything together.

Pain Is Beauty is a fascinating album.

[ allmusic.com, Drowned in Sound, Pitchfork, PopMatters 4 / 5, 👎NME 3 / 5 stars ]

Red House Painters "Ocean Beach" (1995)

Ocean Beach
release date: Mar. 28, 1995
format: digital
[album rate: 3,5 / 5] [3,32]
producer: Mark Kozelek
label: 4AD Records - nationality: USA

Track highlights: 1. "Cabezon" - 2. "Summer Dress" - 3. "San Geronimo" - 5. "Over My Head" - 8. "Moments"

4th studio album by Red House Painters is the band's final release on 4AD and also the last to feature founding guitarist Gordon Mack.

The style has been altered compared to the previous albums by the band and their longer progressive takes. Instead the music has become slower, sometimes acoustic - more folk-oriented and less band-founded.

The album may be above average but not as such a favourite.

[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

David Sylvian "Camphor" (2002)

Camphor (compilation)
release date: May 27, 2002
format: 2 cd (LTD.)
[album rate: 2,5 / 5]
producer: David Sylvian
label: Virgin Records - nationality: England, UK

Compilation album by David Sylvian. This is rather different from the compilation album Everything and Nothing from 2000 as this is concentrating on Sylvian's more experimental instrumental compositions only and not trying to include all of his many projects into one. The album was released as a single-disc album and a Limited Deluxe Edition with three long bonus tracks. The 'normal' edition feature two tracks from Dead Bees on a Cake (1999), three from the album Rain Tree Crow (1991) with former Japan members, and one track from the solo album Alchemy: An Index of Possibilities (1986).
I don't think, Sylvian's best work is in his instrumental compositions, which explains the 2,5 stars, but the album works fine as a whole, and in that way the music is listenable in one long take.
[ allmusic.com 1,5 / 5 stars, Pitchfork Media 66 / 100 ]

The Pogues "Peace And Love" (1989)

Peace and Love
release date: Jul. 1989
format: cd
[album rate: 3,5 / 5] [3,72]
producer: Steve Lillywhite
label: Island Records - nationality: England, UK

Track highlights: 1. "Gridlock" - 2. "White City" (4 / 5) - 5. "Cotton Fields" - 7. "Down All the Days" (4 / 5) - 11. "Boat Train" (4 / 5) - 13. "Night Train to Lorca" - 14. "London You're a Lady"

4th full studio album by The Pogues following a great 1988 album is like that produced by Steve Lillywhite. The album is more pop / rock-founded than its predecessors, and it comes out as more mainstream and less wild. A scheduled US-tour of 1988 as follow-up to the band's success with the '88-album was cancelled due to Shane MacGowan's drinking problems, and it's no secret that his drinking habits had become a serious obstacle for the band, which also explains the lack of great songs and why the album turns out as a lesser great studio release as the other band members was forced to carry an bigger burden.

After two great albums, the band seems to have tired somewhat on this one. MacGowan has only written six of the original album's fourteen tracks, which is unusual, and also recognisable. The band's other fine songwriter, Jem Finer has composed three of the songs, and the remaining five tracks mostly just documents how much the band depends on especially MacGowan's ability to produce new material. Still, the best songs undoubtedly carry MacGowan's signature (#2, #7, #11, and #14).

Joe Strummer (of The Clash) started playing with The Pogues in 1987/88 as a substitute on several live concerts when MacGowan was incapable of performing, and later in 1990 Strummer helped producing the band's next album (and for a about a year in '91 he became official member of the band). It's interesting how MacGowan is the only band member credited for vocal performance on this album as it's quite evident that many others should be credited for that.

In retrospect, the album figures among the band's great albums - in contains truly classic songs, although, it also points to the inevitable end, but it's no near a bad album and a must in any collection of contemporary celtic rock.

[ allmusic.com hands it 4 / 5 stars ]

David Sylvian "Dead Bees on a Cake" (1999)

Dead Bees on a Cake
release date: Mar. 29, 1999
format: cd
[album rate: 3,5 / 5] [3,38]
producer: David Sylvian
label: Virgin Records - nationality: England, UK

Track highlights: 1. "I Surrender" - 2. "Dobro #1" - 4. "Thalhiem" - 5. "God Man" - 8. "The Shining of Things" - 12. "Wanderlust" - 14. "Darkest Dreaming"

5th studio album by David Sylvian is his first solo album in 12 years, thus following his acclaimed Secrets of the Beehive from 1987. The style is as usual somewhere centered around art pop with elements from jazz fusion and sophisti-pop. Most tracks are written solely by Sylvian and a few co-written with others. The album feature several prominent guest artists including Bill Frisell, Ryuichi Sakamoto, Kenny Wheeler, Chris Minh Doky, and much as usual older brother Steve Jansen on percussion. It's really a fine and laid-back album with a singer / songwriter profile, which is nice for a change after several collaboration works with focus on the instrumental side. In a fine way this is like a synthesis of his abilities: cool crooning vocal, and soul-shaped music with a bold touch of jazz and experimental art pop. It's the kind of music I enjoy in solitude and as background carpet for a nice evening in good company. It's one of those albums that make you wish he'd make more music on his own.
[ allmusic.com 2,5 / 5 stars, Pitchfork Media 73 / 100 ]

David Sylvian "Everything and Nothing" (2000)

Everything and Nothing (compilation)
release date: Oct. 2000
format: 2 cd
[album rate: 3 / 5]
producer: David Sylvian, Steve Nye
label: Virgin Records - nationality: England, UK

2-disc compilation album by David Sylvian. The album covers most of his vast repertoire from his days with Japan, various collaboration works and recent solo works.
I don't think it's as good as it could've been. First thing that bothers me is the way the tracks in chronological order are randomly put together, or so it seems. Another difficult thing is that the album offers room for all Sylvian's various musical styles and experiments, which makes it more of a document than a digestible album; however, the quality of the single compositions do not justify my rating of the album.
[ allmusic.com 4 / 5 stars ]

Sugar "File Under: Easy Listening" (1994)

File Under: Easy Listening (aka FUEL)
release date: Sep. 6, 1994
format: cd
[album rate: 4 / 5] [3,92]
producer: Bob Mould
label: Rykodisc - nationality: USA

Track highlights: 1. "Gift" (4 / 5) - 2. "Company Book" - 3. "Your Favorite Thing" (4 / 5) (video) - 4. "What You Want It to Be" (4 / 5) - 5. "Gee Angel" (video) - 7. "Can't Help You Anymore" - 9. "Believe What You're Saying" (4 / 5) (video)

2nd and final full-length studio album by Sugar following 1½ years after the ep Beaster (Apr. '93) and two full years after Copper Blue (Sep. 1992). F.U.E.L. follows nicely as a natural follow-up to the debut but what's more important: it seems to have more in common with Black Sheets of Rain (1990) and perhaps comes even closer to the style of Bob Mould (1996) - both solo albums by Mould, which in a sense shows you that he did what he did, regardless the presence of other band members, and perhaps he may have felt the same confining restraints in Sugar as he experienced while member of Hüsker Dü. At the bottom line, I guess he understood that he might just do it all on his own, as he did when continuing with his third solo album Bob Mould (1996) following his project of Sugar.

A track like "Believe What You're Saying" is a semi-acoustic melodic ballad that bonds perfectly with his best songs on Workbook - again: a solo release. Compared to Copper Blue this still reflects the power pop that bonds to the late Hüsker Dü albums but it's also clear that it's a harder collection of songs - perhaps rebounding the ugliness of the Seattle grunge rock that Mould's former band inspired.

The debut by Sugar is found on several lists enlisting the best of alternativ rock of the early 90s, but in my mind, this is the best of the band's two full-length albums. It's a highly recommended album, although, it may not quite match Mould's very best solo album - the successor, simply titled Bob Mould (1996).

Highly recommended.

[ allmusic.com 4,5 / 5, Q Magazine, Select 4 / 5 stars ]

Chumbawamba "Tubthumper" (1997)

Tubthumper
release date: Sep. 23, 1997
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Chumbawamba, Neil Ferguson
label: EMI - nationality: England, UK

Track highlights: 1. "Tubthumping" (4 / 5) (live on Letterman) - 2, "Amnesia" (4 / 5) - 3. "Drip Drip Drip" - 5. "The Good Ship Lifestyle" - 7. "Outsider" - 10. "Smalltown" - 12. "Scapegoat"
[ full album playlist ]

8th studio album by Chumbawamba and the first on a major label. The nine-piece band-collective here are: Lou Watts on vocals, keyboards and as "nippy winger", Danbert "The Cat" Nobacon on vocals and as 'goalkeeper', Paul Greco on bass and as 'solid centre-back', Boff on guitar, vocals and as 'midfield dynamo', Jude Abbott on trumpet, vocals and as 'tigerish left-back', Alice Nutter on vocals and as 'team coach', Dunstan Bruce on vocals, percussion and as 'opportunist striker', and Harry Hamer on drums, programming and as 'hardened sweeper'. Neil Ferguson is also credited as band-member, although not depicted on the inlay band photo - he is credited playing keyboards, guitars, sponge & bucket.

The album was not the first I heard with the band as I already knew Anarchy (1994), which didn't make me more interested at the time but when I saw the animation movie "Shrek", I rediscovered the band. Of course I noticed the track "Tubthumping" - everyone did. I rediscovered the '94 album again, and all of a sudden I got it, a bit bewildered as to why I didn't get it in the first place. Anyway, this one is pretty neat. The album was seen as the band's commercial breakthrough, which was a difficult move for an anarchist band, and many of their "old" supporters criticised the band for selling out by signing with EMI. Apparently, the band argued that they live in a commercial world and that all record labels including their former label didn't care about their ideas, political stands, but only found the band interesting because of the potential profit. I really enjoy this one, and it makes me think of the early 80s British project-band Carter USM and its use of electronic to create alt. dance in a combo with stylistic bonds to punk rock and with a social stand, which again goes back to the late 70s more straight punk rock bands like Angelic Upstarts, Crass, and the like.

Chumbawamba has a strong critical view on capitalism, our Western lifestyle and modern consumerism, and in that positions itself like many others on a political far left-wing but unlike many other spokesmen, they do it with intelligent use of humour, brilliant lyrics and great songs. So the fact that they make use of all possible styles in a huge blend makes it very much their own blend. It's for one thing highly original but also good songwriting - and that's what music is about isn't it?!

I find this the band's best album.

Recommendable.

[ allmusic.com 4,5 / 5, Rolling Stone 3 / 5 stars ]

Steve Kilbey "Unearthed" (1986)

Unearthed [debut]
release date: Jan. 2, 1986
format: vinyl (1987 - ST-73297) / cd (1987)
[album rate: 3,5 / 5] [3,44]
producer: Steve Kilbey (recorded by)
label: Enigma Canada - nationality: Australia

Track highlights: 1. "Out of This World" - 2. "Guilty" - 3. "Pretty Ugly, Pretty Sad" - 5. "Judgement Day" - 11. "Nothing Inside" - 12. "Othertime" (acoustic live)

Solo album debut by Steve Kilbey, main songwriter, composer, and lead vocalist of The Church, released on Red Eye Records in Australia and on Enigma Records. The issue I own is a Canadian import issued on the sublabel Enigma Canada. A short instrumental, "Swampdrone" is written by Kilbey's girlfriend Karin Jansson and she contributes with vocals on "Othertime". The instrumental "Famine" (final track) was written by Steve's younger brother Russell.

Musically, this doesn't fall far from the music by The Church, although, it's both more varied and more experimental than what has so far been released by the band. Some of the compositions sound like leftovers and have arrangements that remind you of The Blurred Crusade and Remote Luxury with focus on acoustic guitar, yet there's an uplifting looser atmosphere as perhaps the result of having fewer people involved. Some of the more experimental bits makes me think of David Sylvian.

Unearthed isn't the amazing overlooked debut from one of Australia's best songwriters, but it's like a fine outlet for artistic fascination.

Toots & The Maytals "Time Tough - The Anthology" (1996)

Time Tough - The Anthology (compilation)
release date: 1996
format: 2 cd
[album rate: 3,5 / 5]
producer: various
label: Island Jamaica - nationality: Jamaica

2 -disc best of compilation album by Toots & The Maytals. The album consists of a total of 41 tracks (23 on disc 1, and 18 on disc 2) put in chronological order. A few tracks are unreleased recordings but the majority of the songs here are written by Frederick 'Toots' Hibbert, which is a nice thing about the selection of songs. Disc 1 is clearly the most interesting of the two parts, and my biggest complaint is that there simply aren't enough compositions from the early period, which again explains the lower quality of the second disc. Focus seems to narrow in on the true reggae roots instead of the greatness of rocksteady and ska.
[ allmusic.com 5 / 5 stars ]

David Sylvian & Robert Fripp "The First Day" (1993)

The First Day
release date: Jul. 5, 1993
format: cd
[album rate: 3,5 / 5] [3,72]
producer: David Sylvian, David Bottrill
label: Discipline Global Mobile - nationality: England, UK

Track highlights: 1. "God's Monkey" - 2. "Jean the Birdman" - 3. "Firepower" - 4. "Brightness Falls" - 6. "Darshan (The Road to Graceland)" (4 / 5) (live)
[ full album ]

1st collaboration album by David Sylvian & Robert Fripp. The album is released after several other collaboration projects following his probably best-received solo album Secrets of the Beehive (1987). Before this he made two albums with Holger Czukay (1988 and '89) and one in '91 with multi-artist Russell Mills (who also designed the cover art for Sylvian's '86 album Gone to Earth and Dead Bees on a Cake, 1999), and he contributed on former Japan bassist Mick Karn's second solo album from 1987, a Ryuichi Sakamoto album in '91, the first and only Rain Tree Crow studio album (featuring all former members of Japan) in '91, AND on an album by French composer Hector Zazou in '92, which means: he was extremely productive, although he wouldn't release a new studio album until 1999.
The music on The First Day is yet again "something else" one could be tempted to suggest. Sylvian works his own ways but it's evident that with a progressive rock and jazz fusion guitarist it has to be different from Sylvian's previous releases. It wasn't an immediate favourite but it kept growing on me and simply has its special moments. Initially, I found it fuelled with too much jazz fusion and a certain ambient touch but frankly, I stopped hearing that long ago. All tracks have that Sylvian laid back art pop attitude and then Fripp adds a jazz rock elegance, that both points to his prog rock legacy but on the other hand gives it all a touch of magic with his heavy distorted notes. Especially "Jean the Birdman" and "Firepower" are very fine compositions, but "Darshan (The Road to Graceland)" with its playing time of more than 17 minutes is the album's brilliant stone.
[ allmusic.com 4,5 / 5 stars ]

Gangway "The Quiet Boy Ate the Whole Cake" (1991)

The Quiet Boy Ate the Whole Cake
release date: Mar. 21, 1991
format: vinyl (EL 0115-1) / cd (1993)
[album rate: 3,5 / 5] [3,68]
producer: David Motion
label: Elektra Denmark - nationality: Denmark

Track highlights: A) 1. "Biology" - 2. "Strawberry Coat" (4 / 5) - 3. "Going Away" - 4. "Sisters in Legs" (4 / 5) - 5. "Believe in Me" - - B) 4. "Biology (Reprise)" - 5. "Buck" - 6. "Thermometer Song"

4th studio album (sometimes listed as the third - see below) by Gangway released on Elektra Denmark and reissued in '93 by Genlyd. The album was practically nearly five years in the making due to problems finding a proper record label during a time of tormoil. The band had been buried by many due to its split with former label Irmgardz..., the 'promised' international breakthrough simply didn't materialise after the acclaimed Sitting in the Park (1986), which had sent the band in the arms of huge label PolyGram on the sublabel of London Records, who crafted the alternate version (Jul. '88), and the band only found themselves released from their new contract due to conflicting interests between manager, sublabel and PolyGram. The band returned to Denmark and continued playing their older material. Still without a record contract they then went on an Asian tour in early '89, again, with a setlist primarily focusing on their early songs. Tensions within the band resulted in drummer Gorm Ravn-Jonsen then decided to leave Gangway reduced to a trio. Back in Denmark they now signed with Elektra Denmark (subdivision of Elektra) and they seemed finally in a position to focus on a new album. For the recording sessions the band remains a trio with composer of all songs, Henrik Balling as guitarist & backing vocalist, Allan Jensen on lead vocals (no longer playing bass), and with Torben Johansen on keyboards & backing vocals. Additionally, Kai Bojsen-Møller is now credited on drums but isn't an official member of the band - though he would be after the release - and Jesper Siberg (formerly member of Scatterbrain) is credited 'sound design'. On the album's back cover there's a photo of the three aforementioned (staple) members, and Bojsen-Møller's name is put with a clear blank spot after Balling, Jensen, and Johansen. Anyway, it's also quite obvious that there's hardly any use of traditional drums on the album.

Stylistically, this is closer to the style of Pet Shop Boys than they have ever been and it's clearly with focus on synth-pop with strict arrangements. What may seem like an odd choice is that the album is produced by David Motion, who also produced the rather unsuccesful '88 version of Sitting in the Park, but I guess the reassuring take is that the new album is made with a sound designer, 'cause frankly, Motion didn't exactly help shaping the right sound on the predecessor.

I recall, how several reviews were positive about the album when it came out but soon I also noticed how little attention it was paid by the national media and radio stations. It sort of marked a stylistic change the public hadn't expected. I for one was more than pleased about it, and still cannot understand why "Strawberry Coat" wasn't a bigger hit than "My Girl and Me" from the predecessor. Like "Sisters in Legs" it's quite original and catchy and absolutely great when played loud. I guess, the whole world had tuned in on grunge rock and neo-psychedelia, and if there's an opposite to that movement, it might be polished synth-pop, which explains why it didn't draw the attention it rightfully deserves. The album didn't bring the band new prizes and roughly sold about 20.000 copies. With Elektra the band continued its unfortunate tradition with weak management, or especially: poor promotion. Elektra Denmark simply didn't have the means to finance music videos and already as of Autumn '91 the band broke with Elektra, and stood without a contract...

Unfortunately, the vinyl pressing of the album wasn't that good, to put it mildly, so I had to purchase the cd as well. Building on a New Order and Pet Shop Boys-sound of familiar synth-pop, the album may not be the artistically most original album, but I find it the band's most solidly coherent with a bunch of great songs making it no less than their best album altogether.

Naturally recommended!

[ collectors' item ]

Ukendt Kunstner "Hælervarer" (2012), double ep

"Side A" cover

Hælervarer, double ep [debut]
release date: Sep. 20, 2012
format: digital (10 x File, MP3)
[album rate: 3 / 5] [3,18]
producer: Jens Ole McCoy
label: self-released - nationality: Denmark

Tracklist, "Side A": 1. "Pornografisk hukommelse" - 2. "København (feat. Murro)" (4 / 5) (live) - 3. "Kolumbine" - 4. "Ukronede Konger (feat. Gio)" - 5. "Uhyggeligt"
"Side B": 1. "M.A.E.R.S.K." - 2. "De sataniske vers" - 3. "Ingenting" (4 / 5) - 4. "Betonjunglen (feat. Gilli, Kimbo & Semih Automatisk)" - 5. "The Motto Freestyle"
[ Side A - Side B ]

Double ep debut by Ukendt Kunstner consisting of rapper Hans Phillip and composer and producer Jens Ole McCoy. Before establishing the duo, Hans Phillip was a solo grime rapper going by the monicker Skørmand. This album is a self-released double ep made available as two free download eps. It's a fine debut with nicely produced music, which may turn out as a mix between Drake, The Weeknd and Partynextdoor with a combo of Danish rap, although both The Weeknd and Partynextdoor weren't even around at this point. Yes, they seem inspired by American pop rap and alt. r&b, only, I find that the lyrics here are not that evolved (as they would later be). When it's good, it's pretty fine but sometimes it sounds like Danish rapper L.O.C. with lyrics about sex, drugs, women, and... sex - the typical hardcore hip hop subjects. It's rather superficial and (at times) downright tedious. However, the tracks "København" and "Ingenting" are truly fine and show a splendid original tone and musical direction, something they would later successfully elaborate on.
[ Soundvenue 4 / 6 stars ]

"Side B" cover

Rain Tree Crow "Rain Tree Crow" (1991)

Rain Tree Crow [debut]
release date: Apr. 20, 1991
format: cd
[album rate: 3,5 / 5] [3,48]
producer: Rain Tree Crow
label: Virgin Records - nationality: England, UK

Track highlights: 1. "Big Wheels in Shanty Town" - 4. "Red Earth (As Summertime Ends)" - 8. "Blackwater" (4 / 5) - 10. "Blackcrow Hits Shoe Shine City"

1st and only full studio album by Rain Tree Crow, a band completely identical to the line-up of the British new wave, sophisti-pop and new romantic band, Japan, which had disbanded in 1982, and therefore it's difficult to label this as a debut. The message is clear then: to mark that the music is not to be confused with the new romantic and synth pop style of the former band, the band members may have decided to make music together again (they regrouped in '89) but as a new band. Rain Tree Crow consists of vocalist David Sylvian who is also credited on guitar & keyboards, Richard Barbieri on keyboards, Mick Karn on bass, saxophone & bass clarinet, and with (Sylvian's younger brother) Steve Jansen on drums. Ironically, the four split after the release of their only album in almost ten years, apparently, due to tensions between Sylvian and the other members of the band who found that he wanted too much control, ultimately, making it a project of his own - the irony is that the same conflict had led the quartet to the disbandment of Japan in '82.

Anyway, the music here is not what made Japan a famous new romantic and synth pop band bond to the 80s but the result of fine musicianship. Karn's bass-lines are like unique fingerprints and a strong trademark of his lifting any music to something else than the ordinary, and Barbieri contributes nicely with his synth-notes, but Jansen is like Karn's musical twin, who lays the perfect match to Barbieri and Karn with anything but traditional drum-lines, and on top of it all, you find Sylvian's melancholic crooning, which makes it all sound more like his solo releases. All in all, it's actually a fine and tight album, and it's quite surprising to read in inlay that: "The majority of the material on this album was written as a result of group improvisations. There were no pre-rehearsals; the improvisation took place in the recording studio and much of the finished work contains original elements of those initial performances."

[ allmusic.com 4 / 5 stars ]

Interpol "El pintor" (2014)

El pintor
release date: Sep. 9, 2014
format: cd
[album rate: 3,5 / 5] [3,45]
producer: Interpol
label: Matador - nationality: USA

Track highlights: 1. "All the Rage Back Home" - 2. "My Desire" (4 / 5) - 4. "Same Town, New Story" - 6. "Everything Is Wrong" - 7. "Breaker 1" - 8. "Ancient Ways" - 9. "Tidal Wave"

5th studio album by Interpol after a 4-year hiatus is once again produced by the band. After the band's usual bassist Carlos Dengler left the band upon releasing the previous album, Interpol has stayed a trio with vocalist and former rhythm guitarist Paul Banks now also playing bass. Musically, the band has evolved more on this, or they have matured. Interpol still hangs on to the post-punk influence but has tightened its soundscape. It's still centered around simplicity with Bank's dark tone and the voice of Daniel Kessler's bright guitar. It doesn't feel like another attempt to find the formula of their sudden success but more as a fresh start. As a positive thing, it doesn't contain obvious fillers, and it's clearly the band's best effort since the first two fine albums. The title is Spanish for "The painter" but also an anagram for Interpol.
[ allmusic.com, Uncut 3,5 / 5, Slant, NME 4 / 5 stars ]

Crystal Castles "Crystal Castles (III)" (2012)

Crystal Castles (III)
release date: Nov. 12, 2012
format: digital
[album rate: 3 / 5] [3,20]
producer: Ethan Kath
label: Fiction Records - nationality: Canada

Tracklist: 1. "Plague" (4 / 5) - 2. "Kerosene" - 3. "Wrath of God" (other video) - 4. "Affection" - 5. "Pale Flesh" - 6. "Sad Eyes" - 7. "Insulin" - 8. "Transgender" - 9. "Violent Youth" - 10. "Telepath" - 11. "Mercenary" (4 / 5) - 12. "Child I Will Hurt You"

3rd studio album by Crystal Castles. All the band's three studio releases are simply just called Crystal Castles - for convenience labeled I, II, and III. The music is unchanged in regard to the previous release, and I think it would be nice with some development of some sort in their otherwise fine electroclash compositions. For a long time I found that this was a lesser release, especially compared to the band's 2010 release, but now I find that it's really a fine but also both complex and somewhat sinister album.
[ allmusic.com, The Guardian 4 / 5, Slant 2,5 / 5 stars ]

Kele "The Hunter EP" (2011) (ep)

The Hunter EP, ep
release date: Oct. 31, 2011
format: digital
[album rate: 3 / 5] [2,90]
producer: XXXChange

label: Wichita - nationality: England, UK

Tracklist: 1. "What Did I Do?" (feat. Lucy Taylor) - 2. "Release Me" - 3. "Devotion" - 4. "Goodbye Horses" - 5. "Cable's Goodbye" - 6. "Love as a Weapon" - 7. "You Belong to Someone Else"

7-track ep by Kele, lead vocalist of Bloc Party with four tracks produced by XXChange (aka Alex Epton) (tracks #1, #3, #6 & #7); track #2 by RAC (aka André Allen Anjos) & QNESS (aka Qhubani Ndlovu, South African DJ); track #4 by Daniel Lindegren & Fred Falke, and track #5 by Kele. This is his second solo album not counting single releases. Style-wise, it's a move into a bolder dance-pop universe. My initial response was disorientation and a negative feeling, but as I have come to learn with Bloc Party, new releases rarely deliver the expected and The Hunter EP has something else to offer than meets the "eye". Met on its conditions as a dance music release, this is not entirely bad but it doesn't present any great tracks either.
Not recommended.

Kent "Kent" (1995)

Kent [debut]
release date: Mar. 15, 1995
format: cd
[album rate: 3,5 / 5] [3,48]
producer: Nille Perned
label: RCA / BMG Ariola - nationality: Sweden

Track highlights: 1. "Blåjeans" - 2. "Som vatten" - 4. "När det blåser på månen" - 5. Jag vill inte vara rädd" (4 / 5) - 7. "Den osynliga mannen" - 9. "Ingen kommer att tro dig" - 10. "Stenbrott"

Studio album debut by Swedish band Kent who at this point consists of Joakim Berg on lead vocals, Sami Sirviö on lead guitar, Martin Roos on rhythm guitar, Martin Sköld on bass, and with Markus Mustonen on drums and backing vocals.
The music is rather simple rock-based indie rock in a traditional way with focus on guitar, bass and drums and with some grunge rock or britpop elements. I come to think of the album as a Swedish TV-2 (Danish band) inspired release - perhaps the front cover helps me make that comparison, which is very much in the tradition of that band, although, the music is more British and American-inspired indie pop music where bands like The House of Love, The Smiths, and especially Suede comes to mind.
Four singles were released from the album, and the first issue by Kent was the release of "När det blåser på månen" - only single to be released prior to the album, Feb. 6, 1995. This was followed by tracks #2, #11 ("Frank"), and #5 (the latter released in Sep.). None of the singles made any entries on the national singles chart list, but the album peaked at number #22 in Sweden, and what's more interesting is that Kent with the album debut was awarded the Swedish Grammis [Grammy Award] as 'Best Pop / Rock Group' in 1995.
I did not listen to this until after Du & jag, döden (2005) and at that point made it a difficult step back in time. For some reason, I had not discovered their music until then, so being adjusted to their synthpop style, made the trip back to indie pop so hard that I found the debut a mere weak starting point. Only in 2014, I came to appreciate it more. I regret my first verdict but much more how I completely missed this band out in all those years. Kent is an album without many stand-outs and a debut that points in so many directions that you wouldn't know what to expect. Tracks #1, #4 and #5 are fine and especially the latter points more in the direction the band would pursue on later albums.
[ allmusic.com 2 / 5 stars ]

<  show lyrics >

~ ~ ~

"När det blåser på månen"

"Kostymen den skaver
och jag
har inte duschat
idag är igår
och idag ska jag sitta kvar
Jag fuskade med mina svar
Den svarta kostymen ska av
Kostymen är inte jag
Kostymen är inte jag
är jag en Astronaut?
är jag en Astronaut?
är jag en Astronaut?
är jag så ensam?

Klänningen skaver
och du
den skyler knappt barmen
Idag är igår
och du ska ta mig härifrån
nu när det blåser på månen
ska du ta mig härifrån?
nu när vi fyllt alla hålen
nu när vi fyllt alla hål
är jag en Astronaut…"

~ ~ ~

"Jag vill inte vara rädd"

"Genom staden bland husen
är det inte tillräckligt ljust än
Genom gator jag drömt om
går jag hemåt för att en gång somna
Jag vill inte vara rädd
Varför måste jag vara rädd?

Somliga vet att dom är starkare än andra
Somliga älskar att slå sönder en vit tandrad
Somliga lever för att pina varandra
Innerst inne är vi likadana
Jag tror att människor gör så av gammal vana

Under kepsar och mössor
blinkar ögon som ögon ska blinka
Han gör det utan att tänka
Lika lätt som det är att vinka farväl
Jag vill inte vara rädd
Vaför måste jag vara rädd?

Somliga vet att dom är starkare än andra
Somliga älskar att slå sönder en vit tandrad
Somliga lever för att pina varandra
Innerst inne är vi likadana
Jag tror att människor gör så av gammal vana

Du kan slå mig i bitar
nånting inuti kommer att stå upp ändå
Du kan slå tills det vita vita
hatet är allt som återstår
Jag vill inte vara rädd
Varför måste jag vara rädd?

Somliga vet att dom är starkare än andra
Somliga älskar att slå sönder en vit tandrad
Somliga lever för att pina varandra
Innerst inne är vi likadana

Somliga vet att dom är starkare än andra
Somliga älskar att slå sönder en vit tandrad
Somliga lever för att pina varandra
Innerst inne är vi likadana
Jag tror att människor gör så av gammal vana"

~ ~ ~

David Sylvian & Holger Czukay "Plight & Premonition" (1988)

Plight & Premonition
release date: Mar. 1, 1988
format: digital
[album rate: 2,5 / 5] [2,65]
producer: David Sylvian, Holger Czukay
label: Venture / Virgin Records - nationality: England, UK

Tracklist: 1. "Plight (The Spiralling of Winter Ghosts)" - 2. "Premonition (Giant Empty Iron Vessel)"

1st collaboration album by David Sylvian & Holger Czukay. The album is Sylvian's first after his highly successful album Secrets of the Beehive (1987) but this has only little in common with that as it's an instrumental release consisting of two tracks: "Plight" (of more than 18 minutes) and "Premonition" (more than 16 minutes), both composed by Sylvian and Czukay. Holger Czukay is a German artist who played guitar and bass in the German (primarily 1970s) experimental, krautrock and psychedelic rock band Can. There's nothing of those styles involved in this except from experimental, and neither is there Sylvian's usual sophisti-pop, art pop nor jazz fusion to it, but it's more of an ambient album with the addition of sound collages, which isn't really my favourite. The release only demonstrates Sylvian's broad stylistic approach but also his reluctance to popular mainstream music. As his former band, Japan found itself on the verge of an international commercial breakthrough, the band split, and Sylvian took up his long and wide-embracing solo career. His 1984 and '87 solo albums only gained positive feedback from (almost) everyone in the music business but he sought other values than fame and glory with his music, which this basically serves to demonstrate. It's brave, it's honest to the bone, yes, but really not for the broader masses. Czukay is credited for playing organ, piano, shortwave radio, and for... "treatments", and Sylvian for playing electric guitar, keyboards, piano, vibraphone, and harmonium. Aside from the two main artists, also Can-drummer Jaki Liebezeit is credited for handling "infra sound", and Karl Lippegaus for "radio tuning".
I basically find this a difficult listen and don't enjoy the album that much, but with Sylvian there's always "something" to it, which almost never makes it a lesser release. After all, it might be brilliant for meditating, and my experiences with his music always has me letting a door open to it, 'cause I may find myself in a certain mood one day where his music makes sense upon returning to some of his more experimental music.
[ allmusic.com 4 / 5 stars ]

Madeleine Peyroux "Half the Perfect World" (2006)

Half the Perfect World
release date: Sep. 12, 2006
format: digital
[album rate: 3,5 / 5] [3,42]
producer: Larry Klein
label: Rounder Records / Universal - nationality: USA

Track highlights: 1. "I'm All Right" - 2. "The Summer Wind" - 4. "Everybody's Talkin' " - 5. "River" - 7. "Once in a While" - 8. "(Looking For) The Heart of Saturday Night" - 9. "Half the Perfect World" - 10. "La Javanaise" (live) - 12. "Smile" (live)

Studio album by Madeleine Peyroux following her acclaimed album Careless Love from 2004. The formula is more or less the same here, only this album features several compositions co-written by Peyroux and has more songs from modern times with music by Leonard Cohen, Tom Waits, Serge Gainsbourg, and Joni Mitchell. Generally, I like this slightly more than her 2004 album. Her versions of Cohen, Waits and the classic Chaplin "Smile" are just top notch vocal jazz arrangements and so full of warmth.
[ allmusic.com 3,5 / 5, The Guardian 4 / 5, Mojo 5 / 5 stars ]

Madeleine Peyroux "Careless Love" (2004)

Careless Love
release date: Sep. 14, 2004
format: digital
[album rate: 3,5 / 5] [3,33]
producer: Larry Klein
label: Rounder Records / Universal - nationality: USA

Track highlights: 2. "Don't Wait Too Long" - 3. "Don't Cry Baby" - 4. "You're Gonna Make Me Lonesome When You Go" (4 / 5) - 5. "Between the Bars" - 9. "Weary Blues" - 10. "I'll Look Around" - 12. "This Is Heaven to Me" (4 / 5)

Studio album release by American jazz vocalist Madeleine Peyroux consisting of a mix of classic oldies and more modern classics, and contemporary songs from a pop / rock and singer / songwriter territory, meaning a collection of cover songs (she has written one of the songs). She really has a great singing voice, and it's no wonder she has been compared to Billie Holiday. She has that "fine and mellow" morna melancholy that just suits the songs so well. I believe this album was her international breakthrough.
[ allmusic.com 4 / 5, The Guardian 3 / 5 stars ]

<  show video content >

Morrissey "Vauxhall and I" (1994)

Vauxhall and I
release date: Mar. 14, 1994
format: cd
[album rate: 4 / 5] [4,08]
producer: Steve Lillywhite
label: Sire Records - nationality: England, UK

Track highlights: 1. "Now My Heart Is Full" (4 / 5) - 2. "Spring-Heeled Jim" (4 / 5) - 5. "The More You Ignore Me, the Closer I Get" (5 / 5) - 6. "Why Don't You Find Out for Yourself" (4 / 5) - 7. "I Am Hated for Loving" (4 / 5) - 9. "Used to Be a Sweet Boy" (4 / 5) - 10. "The Lazy Sunbathers" (4 / 5) - 11. "Speedway"

4th studio album by Morrissey released on Sire and produced by Lillywhite is Morrissey's second with guitarist Alain Whyte and his first with Boz Boorer. The two guitarists and composers here launch a longtime collaboration work with Morrissey as his first choices in composer partners. Steve Lillywhite seems like another good choice (like Stephen Street, and Mick Ronson), and he makes sure the sound and style has both the energetic output, and a distinct, yet never boring feel. Your Arsenal (1992) was seen as an artistic and productional success, so for this album Morrissey would most likely have wanted Ronson in the producer seat again if he had not died in 1993 at the age of 46. Anyway, Lillywhite does a great job as substitute, although, the album came out while grunge dominated the world of music and maybe therefore it seemed more polished than it actually is. I remember, thinking how smooth and pop-oriented it was - and with some disappointment. Fact is, it's really one of his better albums. Like its predecessor Your Arsenal the album succeeds in the US, this time reaching #18 on the album chart list there, but it was only his second album so far to top the chart list in the UK, and the single "The More You Ignore Me, the Closer I Get" reached number #8 in the UK but it was his only single making it to the Billboard Hot 100 in the US where it peaked at number #48, however, topping the Hot Modern Rock Tracks list. The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4,5 / 5, Q Magazine, Blender 5 / 5 stars ]

Crystal Castles "Not in Love (feat. Robert Smith)" (2010) (single)

Not in Love (feat. Robert Smith), single
release date: Nov. 14, 2010
format: digital
[single rate: 4,5 / 5]
producer: Ethan Kath
label: Fiction Records - nationality: Canada

( live at Reading 2011 )

<  Unfold video content... >

Oh Land "Wish Bone" (2013)

Wish Bone
release date: Sep. 16, 2013
format: cd
[album rate: 2,5 / 5] [2,70]
producer: David Andrew Sitek (1-3, 6-9, 13)
label: A:larm - nationality: Denmark

Track highlights: 2. "Renaissance Girls" (3 / 5) 3. "Cherry On Top" (3,5 / 5) - 6. "Love A Man Dead" (3 / 5) - 8. "Sleepy Town" (3 / 5) - 9. "Pyromaniac" (3,5 / 5) - 10. "Green Card" (3 / 5)

3rd studio album by Oh Land produced primarily by David Andrew Sitek (tracks #1-3, #6-9, and #13), Nanna Øland Fabricius (tracks #4 and #12), WNDRBRD (tracks #10, and #11), and Dan Carey (track #5). The album is more clear pop-minded, which is a bit sad, as it sort of vanishes in the huge pothole of pop releases. It falls much in the same category as Fallulah, Nabiha, Marina and the Diamonds, and Lana Del Rey as contemporary pop with hints and bits of dance-pop and electropop. It's a vast genre and it's difficult to stay original.
[ allmusic.com 3,5 / 5, The Guardian, Q Magazine 4 / 5 stars ]

Angelo Badalamenti "Blue Velvet - Original Motion Picture Soundtrack" (1986) (OST)

Blue Velvet - Original Motion Picture Soundtrack (OST), soundtrack

release date: 1986

format: cd (VCD47277)

[album rate: 4 / 5] [4,02]

producer: David Lynch

label: Varese Sarabande - nationality: USA

Track highlights: 1. "Main Title" - 2. "Night Streets / Sandy and Jeffrey" - 3. "Frank" - 6. "Frank Returns" - 8. "Blue Velvet / Blue Star (Montage) (feat. Isabella Rossellini)" - 10. "Akron Meets the Blues" - 11. "Honky Tonk Part I (performed by Bill Doggett)" - 12. "In Dreams (performed by Roy Orbison)" - 13. "Love Letters (performed by Ketty Lester)" - 14. "Mysteries of Love (feat. Julee Cruise)" 👉 [ Soundtrack playlist ]

Soundtrack album to the film "Blue Velvet" by David Lynch featuring Kyle MacLachlan, Isabella Rossellini, Dennis Hopper, and Laura Dern. The soundtrack is Badalamenti's first full-length soundtrack under his own name, although, he debuted as soundtrack co-composer as Andy Badale together with Albert Elias (as Al Elias) - together they were credited as Badder Than Evil - and they stood behind the majority of the music for the 1973 film "Gordon's War" (directed by Ossie Davis); a year later, again with Al Elias and still credited as Andy Badale they made the music for "Law and Disorder" by Ivan Passer, they also made music to one episode of the "NBC Special Treat" TV-series in '77, and then in '83 he released the album Nashville Beer Garden under the name of 'Andy Badale and The Beer Garden Band'; however, the Blue Velvet soundtrack is his first soundtrack under his own name and as a solo artist.

The music here represents a huge mix of styles - from traditional r&b, blues, jazz, popular standards, classical, and contemporary pop music, but not in a big melting pot, but various tracks contain bits and pieces from this or that and altogether its a highly coherent mix. Like the film has a disturbing element, so does Badalamenti's soundtrack contain an eerie dimension that helps transporting the film to its status as a certified classic, and perhaps the film rocketed Lynch to the top of hot directors in the 80s.

Badalamenti's soundtrack is regarded as a major work and one of the best soundtracks of the 1980s, and 'frankly' [!] it's one of those, which really works on its own. It's really not a collection where the single compositions compete in gaining the listener's attention but the type of albums where the whole works as the biggest accomplishment.

As the film is a must, the soundtrack by Badalamenti is worth every penny.

Signe Svendsen "Kun de faldne rejser sig igen" (2013)

Kun de faldne rejser sig igen
release date: Sep. 9, 2013
format: cd
[album rate: 3 / 5] [3,18]
producer: Lars Skjærbæk
label: Bear Records - nationality: Denmark

Track highlights: 1. "Hjemløse hjerter" - 3. "For evigt rig" - 4. "Ingen som os" - 6. "Vejen til din mund" - 7. "Dansen"

2nd studio album by Signe Svendsen. After a mediocre debut with Ny passager (2010) she has found something more substantial with this release. My favorite track here was "Ingen som os" - a track I thought of handing 4 / 5 but then I remembered where I had come across it earlier. It's really heavily influenced by Martha Wainwright, and listening to her new album with that in mind, it does seem like she has found more than just one or two tracks by the Canadian artist, Emmylou Harris, or Lucinda Williams to elaborate on. The whole album is like a Danish version of the synthesis of music by Wainwright, Harris, and Williams, which is a bit of a flaw 'cause I really enjoy this all the same. Stylistically, one should argue that it's not copied as such, as this is more folk, more singer / songwriter and with less orchestral backing than heard on most of Martha's albums. I do believe, she has found a more elegant form, she only needs more originality to make it great.
[ Gaffa.dk, Berlingske 4 / 6 stars ]

David Sylvian "Secrets of the Beehive" (1987)

Secrets of the Beehive
release date: Nov. 7, 1987
format: vinyl (VL 2471) / cd
[album rate: 4 / 5] [4,08]
producer: Steve Nye
label: Virgin Records - nationality: England, UK

Tracklist: 1. "September" (4 / 5) - 2. "The Boy With the Gun" (3,5 / 5) - 3. "Maria" (5 / 5) - 4. "Orpheus" (4 / 5) - 5. "The Devil's Own" (3,5 / 5) - 6. "When Poets Dreamed of Angels" (4 / 5) (live) - 7. "Mother and Child" (3 / 5) - 8. "Let the Happiness In" (5 / 5) - 9. "Waterfront" (4 / 5)

4th solo studio album by David Sylvian, former vocalist of Japan. The album has a beautiful atmospheric sound, and is produced by Steve Nye, who has been in the production seat for Sylvian before as a solo artist and with Japan. This was the first album I bought with Sylvian after having listened to his brilliant solo debut Brilliant Trees (1984). Sometimes I can't decide which of these two albums, I prefer, as they're both great and among his three best ever, but mostly I would choose this as his greatest effort ever. This is Sylvian when he is most mainstream. He has experimented with styles and expressions ever since and he has never tried to please record buyers, record labels, nor the critics. His music is always art pop, mostly experimental and sometimes synth pop or electronic. He is always interesting, and never releases the expected, and then he has an ear for spacious sound that require the attention of a listener's ear. Introvert? Nah, just meaningful and delightful music.
[ allmusic.com 4,5 / 5 stars ]

Show lyrics <- click...

~ ~ ~
"September"

"The sun shines high above
The sounds of laughter
The birds swoop down upon
The crosses of old gray churches

We say that we're in love
While secretly wishing for rain
Sipping coke and playing games

September's here again
September's here again."

~ ~ ~

Van Morrison "The Best Of - Volume Two" (1993)

The Best Of - Volume Two (compilation)
release date: Mar. 9, 1993
format: cd
[album rate: 4 / 5]
producer: Van Morrison
label: Polydor Records - nationality: Northern Ireland, UK

2nd official best of album by Van Morrison - and as contrary to the The Best Of (1990) this is compiled by himself. Most tracks are recorded from 1984-91 except for two tracks by Them from 1965 and '66, and 11 of the 15 tracks are Morrison songs, two are traditionals, and two songs performed by Them are credited John Lee Hooker and Bob Dylan respectively.
The album peaked at number #31 on the UK albums chart list (number #6 in New Zealand) and didn't receive as much recognition as his first best of album. Perhaps because when selecting his own best songs, he has avoided many great compositions that he may have tired from, or songs he considers from a time he's no longer in sync with - and then he has selected a collection of songs that are closer to his current state of mind, regardless a long public hit-list of material to choose from.
Anyway, the album is definitely worth more than a listen, although, I never found it as intriguing as his first.
[ allmusic.com 4,5 / 5 stars ]