Hadja Kouyaté & Ali Boulo Santo "Manding-Ko" (2001)

Manding-Ko
release date: 2001
format: digital
[album rate: 2,5 / 5]
producer: Jeff Sharel, Frédéric Galliano
label Frikyiwa - nationality: Senegal

Studio album of Mandé folk music by vocalist Hadja Kouyaté and kora-instrumentalist and singer Ali Boulo Santo. The music is not far from that by Ali Farka Touré and Toumani Diabaté, only I find this less mesmerizing, less musically vivid and simply less interesting.

Kele "Trick" (2014)

Trick
release date: Oct. 13, 2014
format: cd
[album rate: 2,5 / 5] [2,68]
producer: Kele Okereke with Alex Brady and Tom Belton
label: Lilac Records - nationality: England, UK

Track highlights: 1. "First Impressions" - 2. "Coasting" - 9. "Silver and Gold"

2nd full-length solo album by Kele (Okereke) and his first release on his own label, Lilac Records. The 10 track album continues down the electronic and alt. dance path that he has proven to prefer as a solo artist, which also explains the influences one may find on the last three Bloc Party albums.
I don't find this as daring or intriguing as his fine solo debut Boxer from 2010. On Trick he stays on the main road of disco-influenced house or deep house, and I think it somewhat disappoints by staying much in the same mode without much to offer than simple drum and bass-backed compositions. In fact the tracks are so similar that they turn out as mere remixes of the same idea, or old Bloc Party tunes, which doesn't help much on the impression of the various tracks or the album in general.
Not recommended.

Neil Young "Mirror Ball" (1995)

Mirror Ball
release date: Jun. 27, 1995
format: cd
[album rate: 2,5 / 5] [2,54]
producer: Brendan O'Brien
label: Reprise Records - nationality: Canada / USA

22nd studio album by Neil Young was promoted as a collaboration of Neil Young and Pearl Jam, however, all tracks except track #8, "Piece and Love" (written by Eddie Vedder) were written by Young, and the album is basically a Young studio release with Pearl Jam (without Vedder) as his backing band; however, Pearl Jam producer Brendan O'Brien was brought in to produce the album to add some of the Pearl Jam-energy to this Neil Young album. Not surprisingly, the style is highly influenced by grunge rock exemplified by Pearl Jam.
The album was generally met by positive reviews and made it to number #6 on the Canadian albums chart list, number #5 in the US, and to number #4 in the UK.
Apparently, the recording sessions were a bunch of studio sessions with Young and Pearl Jam playing around recording takes as they got along without any pre-written material.
I have never really liked this particular album, and mostly think of it as murky and simply without a distinct vision. It's basically just jam session material and without a single great song.
The album is not recommended for anything but background noise and / or for collectors only.
[ allmusic.com 3 / 5, Rolling Stone 4 / 5, NME 4,5 / 5  stars ]

The The "Mind Bomb" (1989)

Mind Bomb
release date: Jun. 13, 1989
format: cd
[album rate: 4 / 5] [3,88]
producer: Warne Livesey, Roli Mosimann, Matt Johnson
label: Epic Records - nationality: England, UK

Track highlights: 1. "Good Morning Beautiful" - 2. "Armageddon Days Are Here (Again)" - 4. "Kingdom of Rain" (feat. Sinéad O'Connor) (4 / 5) - 5. "The Beat(en) Generation" - 6. "August & September"

3rd studio album release by The The following more than 2½ years after the acclaimed Infected (Nov. 1986). Previously, Matt Johnson had been the only official member of his band as he had worked with studio musicians to record his former albums, as well as working with and hiring various members for live performances. But for this, Johnson included a fixed group of members, and fundamentally changed his project to a functional band, all depicted on the back cover. Band members here are now Matt Johnson on vocals, guitar and keyboards, Johnny Marr (The Smiths) on guitar and harmonica, James Eller (Julian Cope band) on bass, and with Dave Palmer (ABC) on drums. Eller had been hand-picked by Johnson, who had enjoyed the bass-sound on the albums Saint Julian and My Nation Underground by Julian Cope, and he had wanted to continue working with Palmer who had been the drummer on Infected. On songwriter / composer level it doesn't make a big difference since all tracks except one are written entirely by Johnson, so he hasn't given away much in the decision process. The only noticeable difference is a change to a stronger pop / rock style with less room for experiments and art pop, and the sound is very 80s in a not so positive sense with much focus on drum and bass. That said, the album still differs from contemporary releases by incorporating instrumentation and styles from a broad variety.
The album is his so far best-selling album making it to number #4 on the UK albums chart list, and the single "The Beat(en) Generation" is the best-faring single by The The peaking as number #17 on the national charts, as many may have found this release more (mainstream) digestible. The album had the working title of "Psychonaut" - together with the actual title this referred to Johnson's perception of the deceptive mind - whether the topic is religion or ideology. Both Johnson and Livesey had aimed to release "Kingdom of Rain" as promotion single, but apparently they had all 'forgotten' to have O'Connor accept this whilst her mind was set on her album I Do Not Want What I Haven't Got (1990).
Following the relase of the album, Johnson and the band prepared for Johnson's first live tour in almost a decade - he had detested and feared performing live, so he had always found ways around that - with Infected it became a film project including every song on the album directed by Tim Pope, but now with this great line-up, he admitted to his colleages that they were much better experienced with this, and they rehearsed in dept to just get to some point of acceptance that yes, they were able to do this. A complete world tour was scheduled: "The The Versus the World" it was titled. Halfway through an exceptional succesful tour, while Johnson and girlfriend Fiona Skinner were on a week-long break on Mallorca, he got a phone call that had him consider calling the tour over. His younger brother Eugene had been found dead back home from a ruptures brain aneurysm. They hurried back home to find everyone devasted - his mother never fully recovered. After awhile, Matt decided they should finish the tour - life had to win. Alledgedly, he found it more than hard to go through the rest of the tour with Eugene having taken a role helping out, selling merchandise and attending gigs. Matt kept seing his brother's face in the audience - and he had to cope with his own mind going astray when thinking how he called the album "Mind Bomb", with what that implied, thoughts on religious matters, AND a brother who died from a decease in his brain... entering his mind... a Mind Bomb! No wonder he was caught off foot. I have always been in two minds about this - I think, it's more than just good, on the other hand I somehow don't find it as interesting and unique as Infected, and then I'm not a huge fan of the production sound here, and then again: "Armageddon Days Are Here (Again", "Kingdom of Rain" with Sinéad O'Connor, and "August & September" are absolute great songs. "The Beat(en) Generation" might be one of his most familiar songs but it's also a track, I find doesn't show Johnson as the great songwriter he truly is, and according to his autobiography "Long Shadows, High Hopes" it's neither one of his personal favourites.
This is one of the few albums that doesn't have cover art by Johnson's brother Andy Dog; instead Johnson's girlfriend Fiona Skinner is credited artwork [The The logo magnified on back cover, sleeve and inner sleeves] together with stills by fashion photographer Andrew Macpherson to match the label's wish to sell the album with a photo of the main man behind the music, which should have more people fall for the cover instead of 'masturbating devils' or the like - meaning the art by Johnson's brother, Andy.
[ allmusic.com 4,5 / 5 stars ]

The Sugarcubes "Here Today, Tomorrow Next Week!" (1989)

Here Today, Tomorrow Next Week!
release date: Sep. 1989
format: vinyl / cd
[album rate: 3,5 / 5] [3,63]
producer: The Sugarcubes, Derek Birkett
label: One Little Indian - nationality: Iceland

Tracklist: 1. "Tidal Wave" - 2. "Regina" (4 / 5) - 3. "Speed Is the Key" - 4. "Dream TV" - 5. "Nail" - 6. "Pump" (3 / 5) - 7. "Eat the Menu" - 8. "Bee" - 9. "Dear Plastic" - 10. "Shoot Him" - 11. "Water" - 12. "A Day Called Zero" - 13. "Planet"

2nd studio album by The Sugarcubes was a highly expected follow-up to a very interesting debut, but moreover, they were so overly hyped at the time after the debut that they could only fail to fulfill the expectations, and therefore they did. I was extremely disappointed and didn't even buy the album at the time. My initial ratings were probably 2 out of 5 stars as I only thought it had one great song, and one so-so. About ten years after I was so tired of Björk's singing voice that I still couldn't listen to this, so it's actually not until after 2005 that I have come to appreciate this album more. Still, I think it contains one great song, and it's still "Regina", which I think nearly pars "Birthday", but the remaining songs appear much better - today, I think. "Tidal Wave" is a fine track, and a few others shine thanks to varied, complex and good songwriting, BUT it's also music a bit away from the daring simple indie pop, which brought them fame in the first place. The song "Pump" sounds like Björk solo, maybe like a track from Debut (1993) or Post (1995)? I don't think this is their very best but in retrospect, I don't think The Sugarcubes ever released anything poor and this album still contains a few good singles.

Mew "And the Glass Handed Kites" (2005)

And the Glass Handed Kites
release date: Sep. 26, 2005
format: cd
[album rate: 3,5 / 5] [3,64]
producer: Michael Beinhorn
label: Sony BMG - nationality: Denmark

Track highlights: 5. "Apocalypso" (3,5 / 5) - 6. "Special" (4 / 5) - 7. "The Zookeeper's Boy" (4,5 / 5)

4th studio album by Mew is a move into a more progressive style with a heavier sound thanks to alt. rock producer Michael Bienhorn. The compositions has a clear post-rock style, which puts the band aside Sigur Rós more than ever with this album. All tracks are woven together leaving no clear gaps in between the single compositions.
I kind of like the album, although, I also find it a bit on the pretentious side. One cannot put a finger on their musical skills - it simply just appears too mind-constructed in the sense that not all tracks feel like part of a progression, so that the overall sensation of an album with one long take partly fails leaving that idea as a mere construction per se - form over matter.
Bassist Johan Wohlert left the band after the release to focus on his family, although he would later rejoin the band prior to the band's fifth album "+ -" (2015).
The album cover has been criticized for being one of the worst covers in 2005, and to that I consent.
[ allmusic.com 4 / 5, Drowned in Sound 4,5 / 5 stars ]

Peace, Love & Pitbulls "3" (1997)

3
release date: 1997
format: digital
[album rate: 3 / 5] [2,82]
producer: Sankan (aka Ulf Karl Sanken Sandqvist)
label: MVG Records - nationality: The Netherlands / Sweden

Track highlights: 1. "Black Dog Bliss" - 3. "Caveman" - 7. "Youth"

3rd and final studio album by the Thåström-project band Peace, Love & Pitbulls - here in a minimised version as Peter Puders left Joakim Thåström, Niklas Hellberg and Sanken Sandqvist to continue and eventually also end the project as a trio.
Musically, there's considerable change towards both more melodic and slower songs within an industrial rock universe.
The album is imho, clearly the bands best without really impressing. It's still not really good, although, it remains the band's best attempt. After listening to this, you might suggest that bands like Rammstein and Marilyn Manson should pay tribute to Peace, Love & Pitbulls as inspirational source, and Brian Hugh Warner (Manson) has allegedly pointed out that he for one listened to PL&P.
Peace, Love & Pitbulls disbanded after this release and Thåström restarted his solo career.
Not really recommended.

Arctic Monkeys "Who the Fuck Are Arctic Monkeys?" (2006) (ep)

Who the Fuck Are Arctic Monkeys?, ep
release date: Apr. 24, 2006
format: cd
[album rate: 3,5 / 5]

Track highlights: 1. "The View From the Afternoon" (4 / 5) - 2. "Cigarette Smoker Fiona" - 3. "Despair in the Departure Lounge" - 4. "No Buses" - 5. "Who the Fuck Are Arctic Monkeys?"

Here's another fine release by these Arctic garage rockers. The ep starts off with the first track from the band's recent album debut but then very decently presents four new tracks that could easily have been included on the debut, and one could easily get the impression that they were capable of having filled a double album with fine songs instead of a regular 1-disc debut album.

BEST OF 2008:Sigur Rós "Með suð í eyrum við spilum endalaust" (2008)

Með suð í eyrum við spilum endalaust
release date: Jun. 23, 2008
format: vinyl 2 lp (XL LP 364 / 2343161) / cd
[album rate: 4,5 / 5] [4,62]
producer: Sigur Rós, Flood
label: Krúnk / XL Recordings // EMI Japan - nationality: Iceland

Tracklist: 1. "Gobbledigook" (5 / 5) - 2. "Inní mér syngur vitleysingur" (4,5 / 5) - 3. "Góðan daginn" (5 / 5) - 4. "Við spilum endalaust" (4,5 / 5) - 5. "Festival" (4,5 / 5) (live) - 6. "Með suð í eyrum" - 7. "Ára bátur" - 8. "Íllgresi" - 9. "Fljótavík" (4,5 / 5) - 10. "Straumnes" - 11. "All Alright" - 12. "Heima" (bonus track)

5th studio album by Sigur Rós originally released on EMI is produced by Sigur Rós and Flood [Mark Ellis]. The title translates to English "With a buzz in our ears we play endlessly." The album may follow the 2007 Hvarf / Heim compilation but is the natural follow-up to Takk... from 2005 making it the band's first album with newly composed material in three years.

Musically, it also builds quite naturally on the traits from Takk... (2005). It's still certified post rock, but it has more focus on dream pop harmonies as opposed to progressive ambient, which was more accentuated on ( ), the brackets album from 2002.

I think, it's the closest they have come to produce a "conventional" pop album with several shorter tracks. The longest composition here is "Festival" (9:23), which is more of a "typical" Sigur Rós composition starting off quietly, slow and soft and then builds up to a fantastic explosion of percussion, bass and guitar in a blast of a finale.

This is my absolute favourite by the band, and I find it their most vivid and energetic outburst of all their great albums. To me, this is easily this year's best album, although, for years I played Bloc Party's Intimacy more often. However, in retrospect, this album is more enduring - perhaps with more layers to dig into - and the true masterpiece of not only 2008 but of the new millennium.

Highly recommended!

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

2008 Favourite releases: 1. Sigur Rós Með suð í eyrum við spilum endalaust - 2. Bloc Party Intimacy - 3. Alanis Morissette Flavors of Entanglement

John Mayer "Inside Wants Out" (1999) (ep)

Inside Wants Out, ep [debut]
release date: Sep. 24, 1999
format: cd (2002 reissue)
[album rate: 3,5 / 5] [3,34]
producer: John Mayer, Glenn Matullo, David LaBruyere
label: Columbia - nationality: USA

Track highlights: 1. "Back To You" - 2. "No Such Thing" - 3. "My Stupid Mouth" - 4. "Neon" - 6. "Love Soon"

Studio ep debut by John Mayer is originally a self-released album on Mayer Music containing nine tracks; however, the original cd was released in limited numbers and it was reissued in 2002 by Columbia now leaving one track out from the original.
Stylistically, it's mostly pop / rock but with a clear inspiration from jazz, blues rock, and rhythm & blues. The first four songs would later be included on his full-length studio album debut Room for Squares (2001) in slightly completely altered versions. Especially the track "Neon" - here an acoustic solo, is transformed into a more electrified pop / rock band-version on the 2001 album.
The album contains both slick produced tracks as well as completely narrowly produced compositions showcasing Mayer as a singer / songwriter, folk artist picking his acoustic guitar while singing. And actually, the overall negative aspect about the ep is that Mayer stays undecided as to whether he wants to appeal to a predominantly pop / rock audience or a more folk and jazz-based crowd. Something that he should always be in doubts about it seems.
This first collection of songs points in two separate directions, but it also reveals a gifted artist with a broad repertoire. All in all, it's fine, although, it leaves you thinking, it could have been great.

Cocteau Twins "Blue Bell Knoll" (1988)

Blue Bell Knoll
release date: Sep. 19, 1988
format: cd
[album rate: 3,5 / 5] [3,48]
producer: Cocteau Twins
label: 4AD Records - nationality: Scotland, UK

Track highlights: 2. "Athol-brose" - 3. "Carolyn’s Fingers" (4 / 5) (live on Later) - 5. "The Itchy Glowbo Blow" - 6. "Cico Buff" - 7. "Suckling the Mender" - 9. "A Kissed Out Red Floatboat" - 10. "Ella Megalast Burls Forever"

5th studio album by Cocteau Twins, who is back again as a trio with Simon Raymonde on bass. It's their first really clear dream pop album since their so far best effort, Treasure (1984), and after having released the more introvert and ambient, instrumental album Victorialand (1986) at a time when Raymonde wasn't able to record with the band. Cocteau Twins is already famous for Guthrie's guitar sound, the shoegazing dream pop and Fraser's beautiful echoing vocal, and here they pick up the style from the '84 album.
Without being great the album is a clear improvement to the darker '86 album Victorialand.

10,000 Maniacs "Love Among the Ruins" (1997)

Love Among the Ruins
release date: Jun. 17, 1997
format: digital
[album rate: 2 / 5] [2,18]

Track highlights: 1. "Rainy Day" - 7. "More Than This" - 11. "Shining Light"

6th studio album by 10,000 Maniacs and the first album to feature the new vocalist, Mary Ramsey, and back in the band is guitarist and songwriter John Lombardo, which makes the band a sextet once again. The style has changed to be less jangle pop, less mainstream pop / rock, and with more stress on traditional folk, and what's more devastating is that the great songs simply are absent. Nathalie Merchant almost wrote all lyrics for the band and now that part is left to the band as such, and although, Ramsey is no bad singer, she simply doesn't have a voice to substitute Merchant, and a cover version "More Than This" of a song by Roxy Music (written by Bryan Ferry) doesn't even come close to the magic of the original song. This is perhaps the band's least interesting album to date, imho.
With this, I lost interest in the band, who by no means was left without an audience. I think, many of the original fans welcomed the return of Lombardo - the band's original guitarist and songwriter - and with him, a return to a more traditional folk sound. Shortly after this, guitarist Robert Buck took a year off from the band to focus on another musical project, but he returned again in '99, however he died from liver failure in Dec. 2000, which almost buried the whole band.
[ allmusic.com 2 / 5, Rolling Stone 2,5 / 5  stars ]

Peter Murphy "Deep" (1989)

Deep
release date: Dec. 19, 1989
format: digital
[album rate: 3 / 5] [3,18]
producer: Simon Rogers
label: Beggars Banquet - nationality: England, UK

Track highlights: 1. "Deep Ocean Vast Sea" - 3. "Crystal Wrists" - 5. "Seven Veils" - 7. "Cuts You Up" (4,5 / 5)

3rd solo album by Peter Murphy following nearly two years after Love Hysteria (Mar. 1988). Here Murphy crawls back in a more 'safe place' and makes his own pop / rock version of gothic rock. Murphy has often been compared to David Bowie but on this, he sounds more like another influential icon of his: Iggy Pop, and frankly, it doesn't really make things any better. It's nice to have sources of inspiration, it's not bad at all, that is, when you are able to point them out, and remember their personal traits, but it's not really original when an artist copies another as Murphy blatantly does here. As had been the case on Love Hysteria (1988), most tracks are co-written with guitarist and keyboardist, Paul Statham including one of Murphy's best songs ever: Cuts You Up. The remaining songs are not really near that level, and it's almost a mediocre attempt of doing justice to his most recent album, and if one had hoped to see / hear Murphy re-connect with what worked on his debut, it's not to be found on this one.
Only recommended for "Cuts You Up".
[ allmusic.com 4,5 / 5 stars ]

Mew "Frengers" (2003)

Frengers
release date: Jun. 16, 2003
format: cd
[album rate: 4 / 5] [3,95]
producer: Rich Costey
label: Sony BMG - nationality: Denmark

Tracklist: 1. "Am I Wry? No" (4,5 / 5) - 2. "156" - 3. "Snow Brigade" (4 / 5) - 4. "Symmetry" - 5. "Behind the Drapes" - 6. "Her Voice Is Beyond Her Years" - 7. "Eight Flew Over, One Was Destroyed" - 8. "She Came Home for Christmas" (4 / 5) - 9. "She Spider" (5 / 5) - 10. "Comforting Sounds" (4 / 5)

3rd studio album by Mew and the first to have an original international release, which makes it the band's international debut. Six of the tracks are remakes of tracks either issued on the debut album (1 track) or on the band's follow-up album Half the World Is Watching Me (2000). Track #8 is the only one from the debut, but like the other remakes, track #1, #2, #4, #6, and #10, these versions are better produced, or at least with a different aim in sound. Georgian 14 year-old Becky Jarrett features on track 4, and Swedish pop vocalist Stina Nordenstam features on track #6. Only four tracks are new but then again: the tracks on this album are all unique, and having only issued the first two albums in very limited numbers this album is a necessity.
[ allmusic.com 4,5 / 5, Uncut 4 / 5, Sputnikmusic 5 / 5 stars ]

The Killers "Hot Fuss" (2004)

2005 reissue

Hot Fuss [debut]
release date: Jun. 7, 2004
format: cd (LTD. 2005 reissue)
[album rate: 4 / 5] [4,04]
producer: Jeff Saltzman, The Killers
label: Island Records - nationality: USA

Track highlights: 1. "Jenny Was a Friend of Mine" - 2. "Mr. Brightside" (4,5 / 5) - 3. "Smile Like You Mean It" (5 / 5) - 4. "Somebody Told Me" (4 / 5) - 5. "All These Things That I've Done" (5 / 5) - 6. "Andy, You're a Star" - 7. "On Top" (4 / 5) - 9. "Believe Me Natalie" - *12. Glamorous Indie Rock & Roll - *14. Under the Gun
*Bonus track on 2005 reissue, Limited Edition

Studio album debut by The Killers consisting of vocalist Brandon Flowers (also credited on synths), guitarist Dave Keuning, bassist Mark Stoermer, and with drummer Ronnie Vannucci, Jr. The 2005 Limited Edition reissue contains three bonus tracks with a total running time at 56 minuntes (the standard album runs 45 mins.). Most of the tracks are co-written by Flowers together with either Keuning or Stoermer as musical composer.

The Las Vegas-founded quartet is one among many bands hitting off on the post-punk revival wave of the early noughts, but The Killers is a special band who makes its distinct positive version of post-punk. Lyrically, it may not be in concordance with the majority of that style's original artists of the early 1980s, and one may argue that it's not really post-punk. At least it's a fine combination of pop / rock, synth-rock in the lighter end of alt. rock with traces of post-punk. Perhaps, you could argue that The Killers share traits with American colleagues of My Chemical Romance, The Rapture and later on, The Bravery, all of them with bold focus on harmony-based post-punk and / or power pop. Furthermore, the style also share stylistic influence with that of early Depeche Mode and a more pop-oriented New Order, which may just explain The Killers' huge and immediate success in Britain.

Hot Fuss is one of my favourites of 2004, one of the best albums of the decade, and in retrospect, it also remains the band's best effort ever.

Tracks #2-5 are included on the best of album Direct Hits (2013).

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

2004 standard edition

Paul Weller "Stanley Road" (1995)

Stanley Road
release date: May 15, 1995
format: cd
[album rate: 3,5 / 5] [3,48]
producer: Paul Weller, Brendan Lynch
label: Go! Discs - nationality: England, UK

Track highlights: 1. "The Changingman" - 3. "I Walk On Gilded Splinters" - 4. "You Do Something to Me" (4,5 / 5) (live) (live with Adele) - 5. "Woodcutter's Son" (live) - 9. "Out of The Sinking" (4 / 5) - 10. "Pink on White Walls" - 12. "Wings of Speed"

3rd studio album by Paul Weller. The album is one of Weller's best reputed solo albums. It's more pop / rock founded, and after being lauded by almost all the new bands and artists in britpop as a national icon - as the source to the style of contemporary British working class pop / rock, Weller himself takes a sort of a look down memory lane. Stanley Road hosted his childhood residence in Woking.

The album was released positive reviews and has found its way to Mojo's "The 100 Greatest Albums of Our Lifetime" (2006).

I have never loved this particular album all that much, although, I find it slightly betting his solo debut. Yes, it does contain great songs, and the level is above most other pop / rock releases, but overall, and being anything but mediocre, it simply lacks more than just a general appeal to me, anyway.
[ allmusic.com 3,5 / 5, Rolling Stone 3 / 5, Uncut Magazine 4 / 5, Mojo 5 / 5 stars ]

Turboweekend "Share My Thunder" (2015)

Share My Thunder
release date: Mar. 30, 2015
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Turboweekend
label: Parlophone Denmark / Warner - nationality: Denmark

Track highlights: 1. "Asking for More" - 2. "Disco to Disco" - 4. "Levitate" - 5. "Miles and Miles" (4 / 5) - 7. "Another Woman's Man" - 10. "Good Luck in Barcelona" - 11. "Share My Thunder" (4,5 / 5)

4th and final full studio album by Turboweekend, who keep to their indietronica style. It's strange how their albums have always opened up gradually from what I found just okay to much better over a period of time. I bought the album upon its release and likewise, this was just so-so the first time, but already more interesting the second and third time, and after three months it has shown its potential. That's just how it is with some music. I think, I have to wait some more months to digest it and eventually rate it fully. By now I find it better and really good, but will it be great? Anyway, it betters most other national releases and as such it's my favourite Danish album of the year, and although, it's only just bettering the 2009 album Ghost of a Chance, I don't quite find that it's up there with the band's so far best album Fault Lines from 2012. My favourite composition is the end-track "Share My Thunder" with a very special template. With a running time at 8:57 it's easily the longest track. It contains both fine chorus parts as well as being a strong experimental progressive pop / rock anthem with hints from post-rock, AND it also consists of two rather different halves, which works brilliantly. I have played it over and over - each time ending with a sensation of surprise as to how short it felt. To me, this is the song of the album, and what a single it could have been!
EDIT 2019:
In January 2017 the band released the live album Close-Up - only as a downloadable album, and apparently, they had been recording tracks for a new album throughout 2017 when they in Feb. 2018 announced that the upcoming tour instead would be their farewell tour, and by the end of 2018 Turboweekend ceased to exist.

Orchestral Manoeuvres in the Dark "Liberator" (1993)

Liberator
release date: Jun. 14, 1993
format: digital
[album rate: 2,5 / 5] [2,46]
producer: Andy McCluskey, Phil Coxon
label: Virgin Records - nationality: England, UK

Track highlights: 1. "Stand Above Me" - 11. "Christine"

9th studio album by OMD, which continue as McCluskey's solo-project now only featuring Phil Coxon on programming, whereas band member Nigel Ipinson only contribute on one track. All other musicians are credited as additional personnel.

Liberator takes off in the footsteps of Sugar Tax (1991) thus being synthpop and dance pop material and probably the closest to a pure europop and eurodance album.

None of the three single releases from the album were hits - with the first single release "Stand Above Me" topping at #21 on the UK singles charts list. The album peaked at number #14 in the UK.

Personally, I feel more or less as I did with Sugar Tax, it's really not an interesting release, but it's even worse than that and it may even top The Pacific Age (1986) in a negative sense by being the band's least favourable album to date. It's a task to pin out the highlights 'cause what is such a thing when it's really about being least poor of the poor?!

Not recommended.

[ allmusic.com 2 / 5 stars ]

Eldkvarn "Kungarna från Broadway" (1988)

Kungarna från Broadway
release date: 1988
format: cd
[album rate: 3 / 5]

12th studio album by Eldkvarn. Musically, this is highly inspired by an American pop / rock tradition or roots rock e.g. Bruce Springsteen, John Mellencamp, Tom Petty and the Heartbreakers.

The Radio Dept. "Annie Laurie" (2002) (ep)

Annie Laurie, ep
release date: Dec. 2002
format: digital
[album rate: 3 / 5] [3,16]
producer: Johan Duncanson, Martin Larsson
label: Slottet Recordings - nationality: Sweden

Tracklist: 1. "Annie Laurie" - 2. "Bad Reputation (Rugar Mix)" - 3. "Falafel" - 4. "Tåget"

Early CDr ep issued in a limited number released by The Radio Dept.'s own label, Slottet Recordings prior to signing with Labrador. For these recordings the band is only represented by the two guitarists, Duncanson and Larsson, and compared to the first ep these tracks are more experimental recordings written by Duncanson and Larsson (except track #1, written by Robert Burns), and all are solely played by Duncansson.
The digital mp3s have been made free for download on the band's official site.
The tracks are quite interesting in their own rights without being truly great.
More on the release here.

Gabriel Yared "37°2 Le matin (Betty Blue)" (OST) (1986)

37°2 Le matin (Betty Blue) (OST) (soundtrack)
release date: 1986
format: vinyl (V2396)
[album rate: 3,5 / 5]
producer: Gabriel Yared, Georges Rodi
label: Virgin Records - nationality: Lebanon

Soundtrack album composed, arranged and directed by Lebanese composer Gabriel Yared who has composed music to several major French movies during the 1980s. The film "37°2 Le matin" has become more commonly known as "Betty Blue", and is directed by French director Jean Jacques Beineix.

The Blue Nile "Peace at Last" (1996)

Peace at Last
release date: Jun. 10, 1996
format: cd
[album rate: 3,5 / 5] [3,44]
producer: The Blue Nile
label: Warner Bros. - nationality: Scotland, UK

Track highlights: 1. "Happiness" - 2. "Tomorrow Morning" (4 / 5 ) - 4. "Love Came Down" (4 / 5) - 5. "Body and Soul" (live on Later) - 7. "Family Life" (4 / 5) (live) - 9. "God Bless You Kid" (live)

3rd studio album by The Blue Nile released 7 years succeeding the great second album, Hats.
The trio produced two fantastic albums and then they made the audience wait another seven years! The end result doesn't live up the band's previous high standards, and the album is their most 'clean' pop album and as such not really all that great. Gone are the dominating 'synths' and instead it contains tracks with acoustic guitar and gospel choir. Their previous albums had been released on the small independent Scottish label Linn Records but here the band has signed with Warner Bros. Perhaps the record company had a say in making the sound more mainstream? At least that's what I told myself when trying to come to terms with the new style. The album is not bad - it contains at least three great compositions but it has left room for songs of lesser quality, but as mainstream pop, it's better than most albums from 1996.
[ allmusic.com 3 / 5, Q Magazine 5 / 5 ]

Van Morrison "Too Long in Exile" (1993)

Too Long in Exile
release date: Jun. 8, 1993
format: cd
[album rate: 4 / 5] [3,88]
producer: Van Morrison
label: Exile / Polydor - nationality: Northern Ireland, UK

Track highlights: 1. "Too Long in Exile" - 3. "Lonely Avenue" - 4. "Ball & Chain" - 6. "Till We Get the Healing Done" (4 / 5) - 7. "Gloria" - 9. "Wasted Years" - 11. "Moody's Mood for Love" - 14. "I'll Take Care of You"

22nd studio album by Van Morrison who has teamed up with several familiar names including Georgie Fame, Jonn Savannah, Nicky Scott, Kate St. John and Candy Dulfer, but there's also room for one Mr. John Hooker on two of the songs (#7 & #9).
The album doesn't reveal big changes since the great Hymns to the Silence (1991), which on the other hand appears as more introspective and stylistically varied with this being a more simple-construct of pure rhythm & blues, urban blues and soul jazz compositions without strong influences from celtic folk or traditional singer / songwriter. The album contains 15 tracks with several songs running more than 6 minutes and it's rather lengthy for a single cd release with a total running time exceeding 77 minutes, which also explains why the album was issued as a double vinyl album like the predecessor.
Too Long in Exile was generally met by positive reviews praising it's pure bluesy style and Morrison's free vocal performance.
For some years I found it one of his lesser releases, but you have to hand it to The Man - there's hardly anything as a non-quality album from his hands, so you just have to let it grow on you, and it will reveal itself as another fine collection of songs. And that's how it often is with Van Morrison: an album may sound much like a former release, but if you really pay attention, there's nearly always something new, and something quite extraordinary about a new album as he always puts his soul to his work - and that pays off.
It peaked at number#4 on the UK albums chart list, thus making it his best charting studio album to date. Recommendable.
[ allmusic.com 2/ 5, Rolling Stone 3,5 / 5, Chicago Tribune 3,5 / 4 stars ]

The Beautiful South "Carry on Up the Charts: The Best of The Beautiful South" (1994)

Carry on Up the Charts: The Best of The Beautiful South (compilation)
release date: Nov. 1994
format: digital
[album rate: 4 / 5]
producer: Jon Kelly, The Beautiful South
label: Go! Discs - nationality: England, UK

14 track best of album by The Beautiful South is really a fine album documenting the band's great songwriting. Unlike many best of albums this is actually a really good bargain, I think. Mainly because of the band's somewhat uneven albums. At the point of its release, this was the band's first to reach number #1 on the national albums chart list, and it may have had an impact on promoting the band's music, as both of the following two studio albums also topped the charts. The North American issues contain one or two bonus tracks, and a 2-disc Deluxe Edition comprising B-sides to the band's singles was also released, but the 14 extra tracks doesn't live up to the title, I think, but they could easily have been released on its own grounds. The first three tracks are taken from the the debut Welcome to the Beautiful South from 1989, tracks #4-6 are from the second album Choke from 1990, tracks #7-10 are from the third album 0898 Beautiful South from 1992, tracks #11-13 are from the fourth studio album Miaow from 1994, and track #14 is the non-lp / cd single "One Last Love Song" from Oct. '94.
I really like the way they have put the tracks in chronological order, which makes it a much easier listen.
[ allmusic.com 4,5 / 5 stars ]

Mellemblond "Lysvågen" (2013)

org. cover

Lysvågen
release date: Mar. 25, 2013
format: cd / vinyl (repress - Mellem 01 LP)
[album rate: 3,5 / 5] [3,66]
producer: Mads Brinch, Adrian Aurelius, Mellemblond
label: Mellemblond / Tigerspring - nationality: Denmark

Track highlights: 1. "Vågnede en morgen" - 2. "Et øje" (4 / 5) - 3. "Swimmingpoolens blå" - 5. "Drejer" - 6. "Riv" - 7. "Regner ind" - 8. "Hen over midnat" (single version feat. Steffen Brandt) - 10. "Lysvågen"

2nd full-length studio album by Mellemblond follows more than four years after the debut Ude af mine hænder (Jan. 2009). What had been initiated as a regular band has now transformed into a one-man project with music composed by vocalist Kristoffer Munck Mortensen, who also plays guitar and keyboard on the album. Other musicians on the album are former band members, which include Jens Hein on bass and keyboard, Adrian Aurelius on drums and keyboard, Mads Brinch on guitar, bass, and keyboard, and with Silas Tinglef on drums.

Since the 2009 album, the music has turned less neo-psychedelic and more indie pop and blues rock-founded with a distinct singer / songwriter profile. Munck Mortensen really has a characteristic vocal and he writes fine lyrics [in Danish], although, some may argue that he has lost some of the unique qualities in the more distorted psychedelic universe you'll find on the debut; however, it's no longer tied to the music of the late 60s and early 70s, and instead it builds on various influences from indie pop, folk rock as well as blues rock á la Dire Straits.

The album points in several directions, or you could say it shares a certain fluidity in terms of style, which by no means makes it less original - because that's exactly one of its strongest assets as a one of a kind.

I most certainly enjoy it.

[ Gaffa.dk 5 / 6 stars ]

vinyl cover (repress)

Gianna Nannini "Malafemmina" (1988)

Malafemmina
release date: 1988
format: vinyl (837 097-1)
[album rate: 3 / 5] [3,18]
producer: Alan Moulder & Gianna Nannini
label: Polydor Records - nationality: Italy

8th studio album by Gianna Nannini.

Kashmir "The Good Life" (1999)

The Good Life
release date: Jun. 7, 1999
format: cd
[album rate: 2,5 / 5] [2,33]
producer: Joshua (Jon Schumann) and Kashmir
label: Start / Sony - nationality: Denmark

Track highlights: 1. "Mom in Love, Daddy in Space" - 4. "Graceland"

3rd studio album by Kashmir. Here, the band has changed its style somewhat and moved away from the grunge rock element. It's also evident that it's still not that original as they now found the music more on alt. rock as played by Pearl Jam and / or art rock as played by Radiohead.

Madness "The Heavy Heavy Hits" (1998)

The Heavy Heavy Hits (compilation)
release date: Jun. 1998
format: cd
[album rate: 4 / 5]
producer: Clive Langer, Alan Winstanley
label: Virgin Records - nationality: England, UK

Compilation album by Madness containing 23 tracks is basically a repackage of Divine Madness from 1992 with the addition of one track, "Sweetest Girl" (track #22) - the track order is identical with the extra track taken from the Mad Not Mad '85 album (informed on the back of the inlay: "Previously available as Divine Madness [except Sweetest girl]". This is in essence a compilation of all the band's singles from 1979 to 1986. The album was issued as Virgin began re-issuing new remastered and expanded editions of the band's back catalog after Madness had been reunited and had made legal contract with Virgin to record new songs for a comeback album.
The Heavy Heavy Hits is a mighty fine compilation, I think. The tracks have been ordered accordingly to release date, and the inlay info is accompanied by info about every track's chart position as a single release. However; if you already know Divine Madness this is (nearly) completely obsolete (and just another commercial stunt) - but if you haven't got the '92 compilation, this is the one to get.
Highly recommendable.

The Go-Betweens "Tallulah" (1987)

Tallulah
release date: Jun. 1987
format: vinyl (6042-1-B) / 2 cd (2004 remaster)
[album rate: 4 / 5] [3,78]
producer: Richard Preston
label: Big Time Records - nationality: Australia

Track highlights: 1. "Right Here" - 2. "You Tell Me" - 3. "Someone Else's Wife" - 4. "I Just Get Caught Out" - 5. "Cut It Out" - 7. "Bye Bye Pride" - 8. "Spirit of a Vampyre" - 9. "The Clarke Sisters"

5th studio album by Australian band The Go-Betweens follows a little more than a year after Liberty Belle and the Black Diamond Express. The album is originally released on Beggars Banquet - the Big Time vinyl issue is an American import, and the 2004 (2 cd) enhanced remaster contains a bonus disc containing 10 extra tracks - mostly alternate ('early') versions [to me sounding like demo takes] and a few previously unreleased compositions.

Before this, the band was officially expanded to a quintet as Amanda Brown was included in the line-up shortly after releasing their '86 album, and the band now consists of the two founding members Grant McLennan on vocals, lead guitar and piano, Robert Forster on vocals and rhythm guitar, staple drummer Lindy Morrison (who has played on all five studio albums), bassist Robert Vickers, who joined the band in '84, and then newest member, multi-instrumentalist Amanda Brown credited on violin, oboe, guitar, keyboards and vocals.

As usual, the cover depicts the band members - here with the three original members: Forster (with his newly-dyed haircut), McLennan and Morrison in the middle flanked by the two newest members: Robert Vickers and Amanda Brown.

The album would prove be the last to feature Vickers, who left the band after this after having played bass on three studio albums. Perhaps he felt uncomfortable at times as not only had Forster and Morrison been a staple couple since '81, and now as they were in the midst of breaking up their relationship, McLennan and Brown initiated their romantic affair as the new couple in the band.

The album may not be their absolute best - it mostly suffers the incoherence between material written by McLennan and Forster, who here seems more out of sync than on any other of the albums, but it's also one of the band's most defining albums with great ideas and songs and as such highly recommendable.

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