30 October 2015

Tracey Thorn "Tinsel and Lights" (2012)

Tinsel and Lights
release date: Oct. 30, 2012
format: cd
[album rate: 3,5 / 5] [3,36]
producer: Ewan Pearson
label: Strange Feeling Records - nationality: England, UK

Track highlights: 1. "Joy" - 2. "Hard Candy Christmas" - 3. "Like a Snowman" - 4. "Maybe This Christmas" - 8. "Have Yourself a Merry Little Christmas" - 9. "Tinsel and Lights" - 10. "River" - 11. "Taking Down the Tree" (feat. Green Gartside)

4th studio album by Tracey Thorn is a collection of Christmas songs written by various contemporary and classic artists including Joni Mitchell, Ron Sexsmith, Randy Newman, Jack White, Sufjan Stevens and Green Gartside (the latter also featuring on vocals on two tracks), as well as three by Thorn herself. The songs are not 'the usual' familiar canonical hymns but selected songs adapted for a quiet and uniform chamber pop sound. The first track "Joy" by Thorn feature husband Ben Watt and their three children on choir. Watt also contribute on guitar and piano on several tracks, and also producer Ewan Pearson handles synths on the majority of the tracks. Other musicians are Steve Pearce on bass and Leo Taylor on drums.
The album is a delicate, warm and fine alternative Christmas album.
[ allmusic.com, The Guardian 4 / 5 stars ]

29 October 2015

Nena "Chokmah" (2001)

Chokmah
release date: Oct. 29, 2001
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Florian Sitzmann
label: Eastwest Records - nationality: Germany

Track highlights: 1. "Chokmah" - 2. "Heute hab' ich die Sonne mit dem Mond verwechselt" - 3. "Carpe Diem" - 9. "Silbermond" - 12. "Leuchtturm" - 14. "Carpe Diem (Söhne Mannheims Dancehall-Mix) [incl. hidden track]"

6th studio album as soloist by Nena is her first major stylistic change into electropop. The album follows a live album, and an album with music for children, thus making Wenn alles richtig ist, dann stimmt was nich (Jul. 1998) her last 'real' studio album.
Chokmah was met by mixed reviews - according to wikipedia, mostly positive. Internationally, Nena's popularity may not have grown much after she went solo, but in Germany this album seems like a stepping stone to greater fame. The album peaked as number #18 in Germany, which was a clear improvement to her previous solos as well as to the final album Eisbrecher (1986) with the band, which 'only' made it to number #45.
Although, I don't find the album entirely great, as it contains both highs and lows, I find it quite refreshing, and it's undoubtedly one of her albums that I have played the most.
[ allmusic.com 4 / 5 stars ]

The Chemical Brothers "Born in the Echoes" (2015)

Born in the Echoes
release date: Jul. 17, 2015
format: cd (Deluxe Edition - XDUSTCDX 10)
[album rate: 3,5 / 5] [3,86]
producer: The Chemical Brothers
label: Virgin EMI - nationality: England, UK

Track highlights: 1. "Sometimes I Feel so Deserted" - 2. "Go" (feat. Q-Tip) - 4. "EML Ritual" (feat. Ali Love) - 5. "I'll See You There" - 7. "Reflexion" - 9. "Born in the Echoes" (feat. Cate Le Bon) - 10. "Radiate" - 11. "Wide Open" (feat. Beck) - *14. "Go (Extended Mix)" - *15. "Reflexion (Extended Mix)"
*Tracks 12-15 are bonus tracks included on the Deluxe Edition

8th studio album by The Chemical Brothers, released 5 years following Further, is a nice return to the big beat foundation of Tom Rowlands and Ed Simons. Five years is a long time to wait but luckily the two have released a soundtrack album and a fine live album following Further. After having experimented in a more electronic area with focus on electro house and expanding the duo's musical universe, which I enjoyed to great extent with the 2010 album but I didn't fully get the soundtrack album for Hanna (2011), they here turn to their glorious past. They kind of reach back and basically, as I hear it, combine the danceable greatness from Surrender with the more... electronic Further, and thankfully, also skip the neo-psychedelia, tribal house, and hip hop influences from all the duo's three albums in the new millennium. The two best tracks are "Reflexion" and "Radiate" - quite similar in style, and perhaps even the two compositions that are most in "family" with the sound and style found on the previous studio album, Further, and although, it doesn't reach the quality of the 2010 album, it' still one of the best albums of the year.
[ allmusic.com, NME, Mojo 4 / 5, Rolling Stone, Q Magazine 3 / 5 stars ]
[ Anthony Fantano's needledrop review ]

27 October 2015

The Stranglers "Dreamtime" (1986)

Dreamtime
release date: Oct. 27, 1986
format: vinyl (EPC 26648) / digital
[album rate: 3,5 / 5] [3,44]
producer: Mike Kemp and The Stranglers
label: Epic Records - nationality: England, UK

Track highlights: A) 1. "Always the Sun" - 2. "Dreamtime" - 4. "You'll Always Reap What You Sow" - - B) 2. "Big in America"

9th studio album by The Stranglers following closely on the path laid out with Aural Sculpture (1984). The style is still pop / rock, and the album feature four single releases - none of which made it any higher than to #30 on the UK singles chart list. First single "Nice in Nice" is not really the best track, but the second single "Always the Sun" became a small singles hit outside Britain.
The album was met by luke-warm to negative reviews, which I find strange considering how much it resembles the sound of the predecessor, but from my perspective, sounds more original and is better produced. To me, this was more or less the end of my interest for the band. The last two albums were no near earlier edgy releases and I found that I tired quickly of their new songs. At the time, I do think I found this an even lesser album than the '84 album, but in retrospect, I actually prefer this one.

The Sugarcubes "It's-It" (1992)

It's-It, remix album
release date: Oct. 27, 1992
format: cd (MRCD 3205)
[album rate: 3,5 / 5] [3,62]
producer: various
label: Mega Records - nationality: Iceland

Track highlights: 2. "Leash Called Love (Tony Humphries mix)" - 3. "Blue Eyed Pop (S1000 mix)" - 4. "Motorcrash (Justin Robertson mix)" - 6. "Gold (Todd Terry mix)" - 7. "Water (Bryan 'Chuck' New Mix)" - 11. "Hit (Tony Humphries Sweet & Low mix)"

A remix album by The Sugarcubes originally released on One Little Indian. No, it's not an original studio album of new compositions but it's neither a mere compilation of best of, left overs or rarities but an interesting remix album. The songs are taken from the band's three studio albums and most of them have been heavily remixed by various artists. Only "Regina" comes in a Sugarcubes remix, and that's also the compositions sounding most alike the original version. Some tracks have little in common with the familiar song and others still carry recognisable traits from the blue print, and then some are very fine remixes with new stylistic qualities, and yet others are too strange.
The album was the second album that I bought with the band, and perhaps the reason why I didn't bother buying the other two until later. 'Cause many of the best songs from both Here Today... (1989) and Stick Around for Joy (1992) appear on this in heavily "remixed" versions, and frankly, I found these better than the original album versions, although "Birthday" comes in two versions, none of which are better than the original. "Leash Called Love (Tony Humphries mix)" is an even better song here, and all remixes are composed as dance-pop or alt. dance with house as a common denominator, which only add that extra energy to some of the more ('artsy-farty') art pop original compositions.
All in all, a very fine collection.

The Pogues "Pogue Mahone" (1995)

Pogue Mahone
release date: Feb. 27, 1996
format: digital
[album rate: 2,5 / 5]
producer: Steve Brown, Stephen Hague
label: WEA Corp. / - nationality: England, UK

7th full studio album by The Pogues. After the last album with founding member Shane MacGowan, Hell's Ditch (1990), the band continued playing with Joe Strummer as a mere temporary substitute, but for the next album Waiting for Herb (1993), Strummer was no longer part of the band. Instead, tin whistle and harmonica player Spider Stacy [aka Peter Stacy] and multi-instrumentalist Terry Woods took over the singing parts, and the album was made up of songs composed by almost all members of the band. I don't have that album on any media, as I find it of little interest and below average. For this, the band has found back to some of the music that gave them their most positive reputation by playing celtic rock, and the title ('Pogue Mahone' is Gaelic for 'Kiss my arse') was actually the name of the band before settling on the shorter version. It's not music to traditionals but still, in that spirit, and that's the most interesting part. I don't find the single songs on level with any of the best by The Pogues with MacGowan but I do think that they regained some of their former status with this album. Founding member guitarist James Fearnley, as well as guitarists Terry Woods and Philip Ranken had all left the band and 3 new band members: David Coulter on guitar, James McNally on guitar and accordion and whistle, and Jamie Clarke on guitar was new replacements in the band. So the only remaining founding members left are Spider Stacy, now on vocals only, and Jem Finer on banjo and guitars. After this, also Jem Finer left the band, and the album remains the last studio album by The Pogues but the band was kept alive as a concerts playing band with a new members list from time to time. 2001 saw many of the former band members re-unite for a Christmas tour, which meant that Shane MacGowan, James Fearley, Andrew Ranken, Terry Woods, and Phillip Chevron were all back together, and they have stayed together, although, MacGowan is often heavily under the influence of alcohol and other drugs.
[ allmusic.com 3 / 5 stars ]

26 October 2015

The Style Council "Modernism: A New Decade" (1998)

Modernism: A New Decade
release date: Oct. 26, 1998
format: digital
[album rate: 2 / 5] [2,02]
producer: The Style Council
label: PolyGram - nationality: England, UK

Track highlights: 6. "That Spiritual Feeling"

5th and final studio album by The Style Council - an album the record label rejected upon its completion in 1989, which led to band splitting up. The bands first three albums had all sold very well in the UK, all reaching at least #2 on the national charts list but the fourth album Confessions of a Pop Group only made it to #15, so what made the band risk a major stylistic change, was not accepted by the label. However, here it is - released a decade after its completion. Apparently, Weller said that the band should have split two-three years before they actually did, meaning before or after recording The Cost of Living (1987). Anyway, this is strange. Not for its time, but for being a release by a sophisti-pop band. And then again: thinking of how well Everything but the Girl made their move from sophist-pop to dance-pop and electronic, would make this an accepted decision. However, Paul Weller and Co. simply weren't accustomed with the genre nor did they get the same and perfect helping hand from someone who knew about the style they boarded. Na, this is weak, though, not worse than the band's '87 album, but frankly, it shouldn't have been released.
[ allmusic.com 1,5 / 5 stars ]

Kliché "De samlede klichéer" (2011)

De samlede klichéer (compilation)
release date: Mar. 28, 2011
format: 2 cd
[album rate: 4,5 / 5]
producer: Kliché, Poul Bruun, Hilly Michaels
label: EMI - nationality: Denmark

2-disc compilation album containing the only two studio albums by Kliché and two additional tracks - the live recordings taken from the compilation album Pære Punk.
Unfortunately, the band never released any singles or eps containing other tracks than may be found on its two studio albums.
Listening to these recordings some 30 years after their original release dates, it's still remarkable how strong and unique a sound they produced.
This is downright essential.

25 October 2015

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] [3,58]
producer: David Sylvian
label: Virgin Records - nationality: England, UK

Track highlights: 1. "I Surrender" - 2. "Dobro #1" - 3. "Midnight Sun" - 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 ]

New Order "Music Complete" (2015)

Music Complete
release date: Sep. 25, 2015
format: cd (CDSTUMM390)
[album rate: 3,5 / 5] [3,64]
producer: New Order
label: Mute Records - nationality: England, UK

Track highlights: 1. "Restless" - 2. "Singularity" - 3. "Plastic" - 8. "Nothing But A Fool" (4 / 5) - 9. "Unlearn This Hatred" (4 / 5) - 11. "Superheated"

10th studio album by a re-united New Order following 2½ years after Lost Sirens (Jan. 2013) is here on a new label, and with the introduction of a new line-up after what was never announced an official break-up, although, founding member, bassist Peter Hook in 2007, upon his departure, declared that he and Bernard Sumner were no longer making music together. On the other hand, an official New Order statement promptly stated that the band would continue with or without Hook; however, both Hook and Sumner founded new bands in 2007 and in 2009 Sumner then argued that he would not make music again with New Order. So, although there never really was an official disbandment, the band was practically dead by 2009 [about the split, see: here - here - here - here - here - and here].
New Order's last studio album, Lost Sirens from 2013 was actually recorded 9-10 years prior to its release and basically only consisted of outtakes from the studio recording sessions for the album Waiting for the Sirens' Call (Mar. 2005).
In this new formation of the band, Bernard Sumner still handles lead vocals and is also credited for playing guitar, keyboards, and synthesizers. Likewise, Stephen Morris is the band's usual drummer and percussionist. He also handles keyboards, synthesizers, and is credited for drum programming. After Hook's departure, the band has welcomed back Morris' wife Gillian Gilbert, who once again plays keyboards and synthesizers. Phil Cunningham, who was brought in to replace Gilbert, and who has been a band member since 2002, plays guitars, keyboards, synthesizers, and is in addition credited for electronic percussion. Tom Chapman, replacing Hook, is the newest member, who fills the part as the band's primary bassist, but he also handles keyboards, synthesizers and is credited for backing vocals. Several prominent guest musicians feature on the album. Tom Rowlands of The Chemical Brothers has produced and co-written two of the tracks (tracks #2 & #9). Lead vocalist of The Killers, Brandon Flowers, has co-written and feature on "Superheated". La Roux (now synonymous for Elly Jackson) is credited for additional vocals on two tracks on the album (tracks #4 & #5), and Iggy Pop appears on "Stray Dog".
Soundwise, this is unmistakably New Order, but for once the band has not only reproduced its own back catalogue - which have come to mind on a few occasions looking closer at the albums from 1991 to 2011 - but the band has broadened and updated its sound to a more modern / contemporary expression. Sumner sounds like Sumner, which is a distinct quality of its very own kind and a thing you wouldn't replace, and Morris adds his usual great skills to the basics, which may be the band's biggest asset. On top of that, synths, keyboards and bass-lines provide a fine spatial dynamic soundscape rarely heard of by New Order, and that really says something. La Roux, Iggy Pop, and Flowers don't really provide the music with much extra on this. Actually, I think, the only really fine contributing guest artist is that of Tom Rowlands.
Music Complete is easily bettering the band's last four albums and literally reaching back to redefine what many think of New Order as a band belonging to, defining, but also a band stuck in the 1980s. With the 1990s, and the first decade of the new millennium, New Order had basically taken an artistic de-route, in so far that after many years with lesser albums, this manifestation, is a surprising and uplifting 'new order' of the band many of us had buried in a glorious past.
Recommended.
[ allmusic.com 3 / 5, Rolling Stone 3,5 / 5, The Guardian, The Observer, Mojo, Q 4 / 5 stars ]

24 October 2015

Fine Young Cannibals "The Raw & the Cooked" (1988)

The Raw & the Cooked
release date: 1988
format: vinyl (828 069.1) / cd
[album rate: 4 / 5] [4,14]
producer: *Fine Young Cannibals
label: London Records - nationality: England, UK

Track highlights: 1. "She Drives Me Crazy" (5 / 5) - 2. "Good Thing" (4 / 5) - 3. "I'm Not the Man I Used to Be" - 4. "I'm Not Satisfied" (4 / 5) - 5. "Tell Me What" (5 / 5) - 6. "Don't Look Back" - 7. "It's OK (It's Alright)" - 8. "Don't Let It Get You Down" - 9. "As Hard as It Is" (4 / 5) - 10. "Ever Fallen in Love?"

2nd and final studio album by Fine Young Cannibals. *All three band members are credited as producers on all except track #7, which is produced by David Z (aka David B. Rivkin) - he is also co-producer on tracks #1 and #4; and track #10 is co-produced by Jerry Harrison.
This album was the first that I purchased with the band and it still remains my favourite of their only two studio albums. The majority of the songs here are credited vocalist Roland Gift and bassist and keyboardist David Steele. The debut album contained a few standouts and they may have paved the way for this but the tracks here are just that little bit better or they're simply better arranged. I really enjoy the combo of different styles and genres blended into one original style. Overall this is pop soul but it's styled as synthpop, new wave, and / or sophisti-pop and the production side is truly elegant. Sometimes the guitar or bass play a leading part, at other times it's the drums or the keyboard that take a dominating stance, and then Gift's voice is ever-present in that unique smooth and velvet honey-like tone of his. And although, many styles are present and mixed together, the overall impression is a tight and narrow sound. The new wave and pop / rock single hit "She Drives Me Crazy" is a great track (and the marvellous video by Philippe Decouflé is another classic work), but today, I think, the more soul and r&b-styled modern classics "Tell Me What" and "Don't Let It Get You Down" (both by Gift & Steele) are my two absolute favourite from this album.
Like the debut, also this comes with a cover song. The debut had the splendid version of "Suspicious Minds" and this comes with the Buzzcocks song "Ever Fallen in Love?", and once again, FYC do much more than just replicate a great song as they transform it to something of their very own.
The album was an international bestselling album making it to number #1 on the albums chart lists in several countries, e.g. the UK, USA, Australia, and Canada as well as many other countries world-wide. Apparently, the enormous success was more than the three members had dreamed of and the overwhelming exposure basically put an end to the band. Despite huge success - others would hope for exactly just that! - but FYC had to come to terms with the consequences and went on a hiatus. They relocated to the US and subsequently contributed on the Red Hot + Blue Cole Porter tribute album (1990) but they never released another studio album and Steele, Cox, and Gift parted ways without dissolving the band in the early 90's. A short get-together saw the three record and release the '96 single "Flame", which remains the so far last breath by the trio.
Roland Gift spent many years focussing on a career as an actor before releasing the one and only solo album Roland Gift in 2002. David Steele pursued a successful career as studio musician and producer, and Andy Cox sought various new musical partners in the following years to come - e.g. forming the duo-project Cribabi in 2001 with Japanese vocalist Yukari Fujiu.
This album is still highly recommended - and the above track highlights are basically all tracks on an album without misses. This is no less than an essential album of the late 80s.
[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

Orchestral Manoeuvres in the Dark "Peel Sessions 1979-1983" (2000)

Peel Sessions 1979-1983 (compilation)
release date: Apr. 24, 2000
format: digital
[album rate: 4 / 5] [3,92]
producer: OMD, Tony Wilson, Dale Griffin
label: Virgin Records - nationality: England, UK

Track highlights: [ 1st Peel Session as transmitted ] - [ 2nd Peel Session as transmitted ] - [ "The Misunderstanding" - "The More I See You" from the 3rd session ] - [ 4th Peel Session as transmitted ]

Compilation cd by OMD encompassing 4 early John Peel recording sessions in the years 1979, 1980 and 1983 all of which were broadcast for the BBC Radio 1 show presented by John Peel shortly after the actual recordings. The line-up for the first session was just the two founding members Paul Humphreys and Andy McCluskey, and for the second session they were supported by David Hughes on keyboards and Malcolm Holmes on drums. For the third and fourth sessions Hughes had been exchanged by Martin Cooper. The majority of the tracks (12 / 15) are written by McCluskey and Humphreys.
It's true that almost all tracks are found on their 4 first classic albums, however, the sound on the Peel Sessions are much diverse, which really makes these recordings much treasured.
I have only come across the album in recent years, and must say they are truly fine and original. The sparse instrumentation here really cuts to the bone, and OMD has always been a band with a multi-layered sound, which makes the difference quite noticeable, and not necessarily in a bad way 'cause not all Peel Sessions by other artist comes out with this strength. It's just very different and the melodies are ever-present proving the quality of the songs. Another fine thing is that the release is compiled as is in chronological order.
My only complaint is that the release of the album came this late - two decades after the first recordings and after people, including myself, had turned their ears and eyes elsewhere. And this really makes it more of an archives release.
Before this Virgin also released the compilation album The OMD Singles (1998), which I find slightly better than the best of album from 1988.
Highly recommended.
[ allmusic.com 4 / 5 stars ]

23 October 2015

Sort Sol "Snakecharmer" (2001)

Snakecharmer
release date: Apr. 1, 2001
format: cd
[album rate: 3 / 5] [3,22]
producer: Peter Sunding, Sort Sol
label: Mercury Records - nationality: Denmark

Track highlights: 1. "I'll Take Care of You" - 3. "Brogue" - 4. "Rhinestone" (4 / 5) - 5. "Next Century" - 7. "Who's Afraid of Virginia Woolf"

8th and final studio album by Sort Sol. It took the band 5 years to realise the album, and after Unspoiled Monsters and a band that was often quoted to be on the verge of a break-up, the release of a new album wasn't really expected. Despite coming from a bit of a failure, they basically perform very much as on the predecessor in terms of both style and sound.
Snakecharmer doesn't really change my perspective of a band that might as well give in. Without really impressing, the album also performs on par with the 1996 album. Bassist and central composer of the band, Knud Odde - who composed the best track(s) on the album - had become increasingly more occupied with his career as an artistic painter, and after this, he called it a day and left the band for good.
This album may not be the band's worst attempt but it's far from one of their best. All thanks to Knud Odde, the album is an original Sort Sol album, but if you're looking for artistic originality, you need to turn to the band's back catalogue.
The three remaining members continued performing as Sort Sol, although, also guitarist Lars Top-Galia left in 2004 after having released the soundtrack album Baby (2003) to the Danish movie by Linda Wendell. This left Steen Jørgensen and Tomas Ortved alone to bury the band, which they didn't. They put the band on a hold - hoping they would somehow be able to pick up the pieces and carry on. Persuaded, Top-Galia re-joined the two in 2010, and the band toured and played a number of live concerts in 2011 when rumours circulated that a new album was to be released in 'a near future'. As of late 2015 this has yet to be proven...

Sting "... All This Time" (2001) (live)

... All This Time (live)
release date: Nov. 20, 2001
format: digital
[album rate: 3 / 5] [3,18]
producer: Sting, Kipper [Mark Eldridge]
label: A&M Records - nationality: England, UK

Track highlights: 1. "Fragile" - 4. "All This Time" - 8. "When We Dance" - 10. "Roxanne" - 15. "Shape of My Heart" - 16. "If I Ever Lose My Faith in You"

Live album recorded at [Sting's] "Villa Il Palagio", Tuscany, Italy, Sep. 11, 2001. The concert was planned for a small audience from Sting's fan club and for live broadcast (which was cancelled), and it was carried out in spite of the tragic events that took place during the day of 9/11 2001.
Like his first live album it's a collection of songs from the heydays of The Police blended with his best known solo compositions, but here in a much less orchestrated and electric version, which really suits the songs nicely. The album was also released as a concert film.
I like the fact that the all songs have been rearranged to an intimate live performance, but other than that, I don't think the music by Sting is extremely well-suited as live recordings in general, and the long time span from compositions with The Police, though his jazz-era to more pop / rock-founded compositions makes the whole thing a bit of a mixed bag, really.
[ allmusic.com 4 / 5, Rolling Stone 3,5 / 5 stars ]

22 October 2015

Wilmer X "Mambo feber" (1991)

Mambo feber
released: 1992
format: 2 lp vinyl / 2 cd
[album rate: 3,5 / 5] [3,68]
producer: Dan Sundquist
label: Hi Fidelity / EMI Svenska - nationality: Sweden

Track highlights: A) 2. "Möt mej i din djungel" - 3. "Blå Kongo" - 5. "En modig man" - 6. "Hon tar till vapen" - 7. "Vem får nu se alla tårar?" - - B) 1. "Mambo feber" - 3. "En kvinna i livet" - 6. "Älska mej gick inte alls" - 7. "Jag är ingen Romeo" - - C) 2. "Perssons gård" - 8. "En tusende gång" - - D) 1. "Sex kvinnor på ett tåg" - 2. "Har du sett min ängel?"

A fine double album by Wilmer X in their usual style of blues rock and rock & roll. This is like Bruce Springsteen in genuine Swedish.

The Durutti Column "Without Mercy" (1984)

Without Mercy
release date: Oct. 1984
format: vinyl (fact 84) / digital
[album rate: 4 / 5] [3,86]
producer: Anthony Wilson and Michael Johnson
label: Factory Records - nationality: England, UK

Tracklist: A) 1. "Without Mercy I" (4,5 / 5) - - B) 1. "Without Mercy II" (3,5 / 5)

4th studio album by The Durutti Column. Reilly released an album titled Amigos em Portugal before this one, however, that album was only distributed in Portugal and not on Factory Records like this and all of his official albums, which in my mind makes this his fourth studio album. As far as I know, this is his first album to have Tony Wilson producing and / or working with Reilly on an album release. Wilson was Reilly's manager from the formation of The Durutti Column until Wilson's death in 2007. 
Allegedly, Reilly has disregarded this album and only did it to please Wilson, who tempted Reilly to be more artistically original and persuaded him to do an album with classical instrumentation.
The album is a further step into experimental art rock and what I see as modern classical. I bought the vinyl album upon its release, and both found it sorely beautiful, lamenting, agonisingly melancholic AND at the same time I found it difficult to obtain for a teenager's taste for dirty punk rock and more standardised post-punk expressions. I have never ceased to enjoy this album, and for every decade, I have come to enjoy it a little bit more. Today, I see it as a masterpiece where Reilly showcases his many talents, as guitarist, pianist, and composer of complex modern music, and not only on the border to classical music but on the borders of musical expressiveness. 'Cause how does this fit in, in the time bubble of contemporary manifestations of music, regardless styles and genre? It doesn't. It's so damn unique and to the vast masses, simply unknown. So far.
[ allmusic.com 3 / 5 stars (users reviews: 4,5 / 5) ]

20 October 2015

Eva Dahlgren "Petroleum och tång" (2007)

Petroleum och tång
release date: Nov. 14, 2007
format: cd
[album rate: 3,5 / 5] [3,35]
producer: Lars Halapi
label: Capitol / EMI Sweden - nationality: Sweden

Track highlights: 1. "Petroleum och tång" - 3. "Jag är inte fri" (3,5 / 5) - 6. "Skuggorna faller över dig" - 9. "Du och jag" (3,5 / 5) - 11. "Syre och eld"

12th studio album by Eva Dahlgren is like a nice combo op her two best albums En blekt blondins hjärta from '91 and her most recent album, Snö from 2005, making it a singer / songwriter folk and pop / rock release with fine ballads and more up-tempo pop songs with clear chamber pop elements.

18 October 2015

Thåström "Det är ni som e dom konstiga det är jag som e normal" (1999)

Det är ni som e dom konstiga det är jag som e normal
release date: Oct. 18, 1999
format: cd
[album rate: 3,5 / 5] [3,56]
producer: Mikael Herrström, Joakim Thåström and Henryk Lipp
label: Mistlur Records - nationality: Sweden

Track highlights: 1. "Från himlen sänt" - 3. "Hjärter dam" - 5. "Två + två" (live) - 6. "Städer när jag blöder" - 10. "Psalm #99"

3rd solo album by Thåström released more than 8 years following his most recent solo album, and after three consecutive studio albums released from '92-'97 with the band Peace, Love & Pitbulls, which only was active in this period. Thåström is still associated with the Mistlur label, although that label is by now a sublabel owned by MNW.
Thåström's second solo album Xplodera mig 2000 showed us a more aggressive and more hard rockin' Thåström than heard before, and that energy was continued and came to its full extent in the short-lived band he formed with Peter Lööf, Rikard Sporrong and Niklas Hellberg while living in Amsterdam. In 1998 Thåström and Hellberg co-wrote and released the album Singoalla - music for a theatre show based on a novel by Viktor Rydberg from 1857.
Det är ni som e dom konstiga... is his first studio album with songs in his native language since his '91 solo album, and it really follows closely in the footsteps of that particular album, as if he hadn't taken a move into industrial metal and singing in English on three other albums. Yes, there's still room for industrial rock, but that step had already been taken in the early 90s, and when listening to the music by Peace, Love & Pitbulls with its bold use of (vocal) distortion it's easy to point out the difference between industrial rock and the more extreme metal-version of the style, which is much closer the early albums by Marilyn Manson than any Thåström solo album.
I didn't listen to this album until after entering the new millennium, but it does have a strong and original touch with a mix of styles. It's not entirely "just" a bunch of hard rock compositions, as there's a nice blend of harmony-based songs scattered all over the album, and I also hear reminiscences of the old Ebba Grön sound and style - most openly in the song "Städer när jag blöder", which would have made a perfect entry on the first album by his old punk rock collaborators in Ebba Grön. A few tracks bond with the more white noise music of Love, Peace & Pitbulls but other compositions have more in common with his later move into a more apparent singer / songwriter universe (e.g. "Hjärter dam"), and that's also where he concludes the album with "Psalm #99".
The album was generally met by positive reviews from the Swedish music press and the audience who had longed for the day when he would make another album with Swedish lyrics. The album topped the national albums chart list and the first of three singles from the album, "Två + två" reached number #10 on the singles chart list.
Where Explodera mig 2000 showed Thåström experiment with styles and almost stumble into industrial rock, this album reveals a more mature version of his fascination for high energy rock, which blends much richer with music from his past. All in all, a fine release, although, he still seems in search of a unique style of his.

17 October 2015

Eva Dahlgren "Snö" (2005)

Snö
release date: 2005
format: digital
[album rate: 3,5 / 5] [3,48]
producer: Lars Halapi
label: EMI Music Sweden - nationality: Sweden

Track highlights: 1. "Så härlig är jorden" - 2. "Väntar mig brunt" (3,5 / 5) - 3. "När jag längtar" (3,5 / 5) (live) - 4. "Människors kärlek" (3,5 / 5) - 7. "Bob Hund" (3,5 / 5) - 8. "Som ett äventyr" - 9. "Det som bär mig nu" - 10. "Det allra största ljuset"

11th studio album by Eva Dahlgren is a fine return to form. After her '95 collaboration album with Anders Hillborg, she released the self-produced album Lai Lai in 1999.
Snö signals a change of style away from her rock and pop / rock image. The album is much more laid-back and more singer / songwriter founded and it's the closest she has been so far in making a more traditional folk album. As a natural consequence, most of the songs are ballads, which I think is her strongest form. "Det som bär mig nu" and "När jag längtar" were single releases - the first the perhaps most up-tempo song from the album, but really not the best. The album is in my mind one of her absolute best.

Morrissey "You Are the Quarry" (2004)

You Are the Quarry
release date: May 17, 2004
format: cd
[album rate: 4 / 5] [3,96]
producer: Jerry Finn
label: Attack Records - nationality: England, UK

Track highlights: 2. "Irish Blood, English Heart" - 3. "I Have Forgiven Jesus" (4 / 5) - 4. "Come Back to Camden" (4 / 5) - 5. "I'm Not Sorry" (4,5 / 5) (live) - 8. "First of the Gang to Die" (4 / 5) - 9. "Let Me Kiss You" (4,5 / 5) - 11. "I Like You" (4 / 5) - 12. "You Know I Couldn't Last" (4 / 5)

7th studio album by Morrissey is by many considered his comeback album in more than one sense. It was released 7 years after his previous studio album Maladjusted (1997), which had been released after a tiresome trial with his former band members of The Smiths, and after a period where he stood without a record deal and just toured around the world for several years until he signed with the small label Attack Records in 2003. He continued his work (both live as well as for this album) with Alain Whyte and Boz Boorer. The style is not that far from his previous album but may feel closer to Vauxhall and I (1994) than any of his succeeding albums, and it was generally well-received by critics and fans. In the UK it peaked at #2 on the album chart list and in the US, the album was his so far most successful album peaking at #11, and Morrissey was awarded the Mojo Icon Award in 2004. I perfectly understand why this album was met with fine reviews, and think of it as one of his absolute best solo albums placing it on par with his '94 album.
[ allmusic.com, Blender, NME 4 / 5, Rolling Stone 3,5 / 5 stars ]



Show lyrics <- click...

16 October 2015

Lars H.U.G. "Save Me From This Rock 'n' Roll" (2003)

Save Me From This Rock 'n' Roll
release date: 2003
format: cd
[album rate: 2,5 / 5] [2,88]
producer: Lars H.U.G. / Nikolaj Foss (exec. pro.)
label: EMI-Medley - nationality: Denmark

Track highlights: 1. "Pray" - 2. "Dream Boy" - 3. "Save Me From This Rock 'n' Roll" - 11. "Till the End of the World"

6th studio album by Lars H.U.G co-produced by Peter Juul Kristensen and with Oli Poulsen as assistant producer. The album is H.U.G.'s first studio album in 7 years and stylistically, it's like a continued journey focusing on harmonic jazz pop like his previous album from '96.
I bought the album on its release date without having heard one single track from it, and I also remember my immediate disappointment as feeling that the album was without anything other than half-mediocre vocal pop harmonies.
Imho, Save Me From This Rock 'n' Roll is no less than his least interesting album, and except from the review in Gaffa (see below) it was also met by harsh and negative reviews and after a few months, H.U.G. announced that this album would be his very last - though, he also stated that before...
The front cover art is made by Lars H.U.G.
[ Gaffa.dk 4 / 6 stars ]

Rammstein "Liebe ist für alle da" (2009)

Liebe ist für alle da
release date: Oct. 16, 2009
format: cd
[album rate: 3,5 / 5] [3,34]
producer: Jacob Hellner, Rammstein
label: Universal - nationality: Germany

Track highlights: 1. "Rammlied" - 2. "Ich tu dir weh" - 3. "Waidmanns Heil" - 4. "Haifisch" - *5. "B********" - 7. "Wiener Blut" - 8. "Pussy" - 9. "Liebe ist für alle da" - 11. "Roter Sand"
*referred to as 'Bückstabü', a nonce word made up to mean whatever the listener wants it to mean

6th studio album by Rammstein. The album is a return to form by the band. This is not outtakes but a fine collection of songs where the band seeks new ways of expressing themselves. The album hasn't got a strong single release like many of its predecessors but it's more a whole album on a higher level than heard since Mutter (2001).
The promotional single "Pussy" became the band's first single to reach #1 on the national singles chart list (also in Finland), and it was released with a controversial and sexually explicit music video directed by Swedish music director Jonas Åkerlund. Two more singles followed as #2 and lastly #4 were selected for singles releases in 2010 without attracting much of the same attention. Like the previous four albums it topped the charts in Germany, which it also did in Austria, Denmark, Finland, The Netherlands, and in Switzerland. In Germany alone the album sold 2 x Platinum.
A rule of German censorship made the album exclusive to purchase by adults due to an inlay picture displaying Richard Kruspe spanking a nude woman, and the album was subsequently reissued without the picture and without the track "Ich to dir weh".
Overall it's not near their two best albums but neither as poor as the last two studio releases.
[ allmusic.com, Kerrang!, NME, PopMatters 4 / 5 stars ]

Love and Rockets "Express" (1986)

Express
release date: Sep. 15, 1986
format: digital
[album rate: 3,5 / 5] [3,56]
producer: John A. Rivers, Love and Rockets
label: Beggars Banquet - nationality: England, UK

Track highlights: 1. "It Could Be Sunshine" - 2. "Kundalini Express" - 3. "All in My Mind" (4 / 5) - 5. "Yin and Yang (The Flowerpot Man)" - 7. "All in My Mind (acoustic version)" - 9. "Ball of Confusion (USA Mix)" (Bonus track)

2nd studio album by Love and Rockets takes the band further into experimental and neo-psychedelic within the alt. rock frame. It's strange how it has been successfully mixed as both extremely complex and yet clear as the brightest light. There's the addition of a harder tone of distorted guitars throughout the album but other than that it's undoubtedly Love and Rockets. The album is generally better produced than the debut album, despite being produced by the same people only two years later, and it's a rather hard choice to have to choose between the band's two first albums. They are both very good and highly original. The album comes in various editions. The first UK issue consisted of 8 tracks, although, an American issue had 9 tracks, and a Canadian issue 11 tracks. In 2000 Beggars Banquet reissued the album in a remastered version with 8 bonus tracks.
[ allmusic.com 4,5 / 5, Kerrang! 4 / 5 stars ]

Eva Dahlgren "Jag vill se min älskade komma från det vilda" (1995)

Jag vill se min älskade komma från det vilda
release date: 1995
format: cd (STAT 52)
[album rate: 3 / 5] [2,86]
producer: Eva Dahlgren, Anders Hillborg
label: The Record Station / BMG - nationality: Sweden

Track highlights: 2. "Stenmannen" - 3. "När en vild röd ros slår ut doftar hela skogen" - 8. "Innan kärleken kom" - 9. "Vild i min mun"

9th studio album by Eva Dahlgren is more of a collaboration work with classical composer and conductor (Per) Anders Hillborg. The album consists of 9 compositions all co-written by Dahlgren and Hillborg - with Dahlgren primarily contributing with lyrics and vocal for music composed by Hillborg. The music is performed by Sveriges Radios Symfoniorkester ['Symphony Orchestre of the Swedish National Radio'], thus making this a rather different album by Dahlgren. Stylistically, it's not entirely chamber pop, which one might expect. There's simply too little traditional pop / rock elements present. It's more in a the genre of classical crossover, resembling the music by Sarah Brightman, and with clear links to modern musical, I think. The album gave her the Grammis prize 'Årets artist' ['Best artist of the year'] in 1995 for the album. It's interesting, however; I don't find it among her better albums.
One year after this release, Dahlgren officially spoke about her homosexuality, and she registered in full partnership with the Swedish designer and former model, Efva Attling, and in 2009 the two married.

15 October 2015

Eva Dahlgren "En blekt blondins hjärta" (1991)

En blekt blondins hjärta
release date: 1991
format: cd (STATCD29)
[album rate: 3,5 / 5] [3,65]
producer: Anders Glenmark
label: The Record Station / BMG - nationality: Sweden

Track highlights: 1. "Jag är gud"- 2. "Lev så" - 3. "Kanske för minnenas skull" - 4. "Guldlock" - 5. "Vem tänder stjärnorna" (4 / 5) - 6. "Allting om igen" - 7. "Kom och håll om mej" - 9. "Blå hjärtans blues" - 10. "Gunga mej"

8th studio album by Eva Dahlgren is truly something else than her previous album Fria världen 1.989 (1989). Although, Glenmark also produced the '89 album, this is much better produced. Luckily, the bold use of electric guitars and drums up front have been replaced by a more sophisticated spatial sound, and Dahlgren has accentuated her focus on more singer / songwriter material, which really suits her voice better than her (1980s Tina Turner) rocking anthems.
In Sweden, the album put Dahlgren on the top of pop in 1991 and she experienced the height of her musical career when she was awarded 5 prizes at the national Grammis awards for: 'Årets artist' ['Best Artist'], 'Årets kvinnliga pop / rockartist' ['Best Female Pop / Rock Artist'], and 'Årets album' ['Best Album of the Year'] for En blekt blondins hjärta. She also won the prize for 'Årets låt' ['Best Song of the Year'] for "Vem tänder stjärnorna?", and the prize for 'Årets kompositör' ['Best Composer']. In 1992, the album was released in an English version simply titled Eva Dahlgren - not to be confused with her second studio album from 1980 with the same title.

14 October 2015

XTC "Skylarking" (1986)

2014 cover
Skylarking
release date: Oct. 27, 1986
format: cd (2014 corrected polarity edition)
[album rate: 4 / 5] [3,86]
producer: Todd Rundgren
label: Ape Records - nationality: England, UK

Track highlights: 1. "Summer's Cauldron" - 2. "Grass" - 4. "That's Really Super, Supergirl" - 8. "Earn Enough for Us" - 9. "Big Day" - 12. "Dear God"

8th studio album by XTC originally released by Virgin Records is produced by American producer Todd Rundgren. Stylistically, the band has made quite a daring move into more experimental neo-psychedelic pop / rock. The recording process wasn't a great success as Andy Partridge and Rundgren didn't communicate that well, and to make things really complicated an error in the recording process made the final release obscured, and only some 24 years later in 2010, as Partridge reissued the album on his own label, the album came out as intended in a corrected polarity edition.
My initial feelings towards the album was that it once again was a fine collection of songs, but at this point of my contemporary fascination for the band, and their music, I had simply grown tired of their style, and I kind of abandoned the band. I stopped buying and even listening to their new material. Duh! Only 20 years later or so, I returned and found that their progression still made sense, so I still enjoy their music and frankly, I don't think they have made a bad album ever, AND this one is definitely worth more than a listen 'cause it's one of the band's better ones. Despite the unintended sound difficulties the album is the first by XTC to be enlisted in "1001 Albums You Must Hear Before You Die".
The original cover for the album, as drawn out by Partridge, was banned by Virgin and was replaced by another before being released; however, for the 2010 reissue (released by Andy Partridge's Ape House) of the album, the original cover was back and so was the intended sound [ story ]. Having heard both the 1986 album and the 2010 'corrected polarity edition', I must say that the album could only have received even broader acclaim, had the technical error been addressed back then. It's a must for XTC fans and most music lovers of early neo-psychedelia.
[ allmusic.com, Rolling Stone 5 / 5, Uncut 4,5 / 5, Q Magazine 4 / 5 stars ]

   
vinyl cover   1986 cd cover


Kashmir "Zitilites" (2003)

Zitilites
release date: Mar. 3, 2003
format: cd
[album rate: 3 / 5] [2,78]
producer: Kashmir
label: Sony - nationality: Denmark

Track highlights: 1. "Rocket Brothers" - 2. "Surfing the Warm Industry" - 7. "Ramparts"

4th studio album by Kashmir who basically continue its own blend founded on other artists' music. The title is a play with words as it's supposed to be pronounced "City Lights". The band has been expanded to a quartet as Henrik Lindstrand has joined as permanent member playing keyboards and guitar. Completely gone are the Red Hot Chili Peppers and Pearl Jam influence. Radiohead ("Surfing the Warm Industry" and heard on other tracks) still plays a major role in shaping the band's musical universe but more so is Coldplay ("Rocket Brothers", "Ramparts", etc.) now a more obvious source of inspiration. Despite not really being a recommended listen, this is in my mind the band's best effort.

Eva Dahlgren "Fria världen 1.989" (1989)

Fria världen 1.989
release date: 1989
format: digital
[album rate: 2,5 / 5] [2,65]
producer: Anders Glenmark
label: The Record Station - nationality: Sweden

Track highlights: 3. "Ängeln i rummet" (3,5 / 5) - 4. "Hjärta av guld" (3,5 / 5) - 9. "Glad och lycklig"

7th studio album by Eva Dahlgren is not an easy accessible album, imho. I find it without any great compositions and a bit over- or: miss-produced. The songs are overshadowed by too strong emphasis on funky guitar riffs and hard-hitting-80s-drums. The ballads come out the strongest.
Dahlgren won her second and third Grammis prizes when as was awarded 'Årets kvinnliga rockartist' ['Best Female Rock Artist of the Year'] for the album, and the track "Ängeln i rummet" gave her the prize for 'Årets låt' ['Best Song of the Year']. That song was later released in en English version as "Angel in My Room".

13 October 2015

Eva Dahlgren "För väntan" (1981)

För väntan
release date: 1981
format: cd
[album rate: 3 / 5] [2,96]
producer: Anders Glenmark
label: Columbia / Sony Music - nationality: Sweden

Track highlights: 2. "Titta på mig" - 3. "Violence" - 4. "Jag vill ha dej"

3rd studio album by Eva Dahlgren, and her first rock-founded album after two initial more pop-styled releases. The album was well-received in Sweden, and it gave her, her first Swedish award 'Best Female Artist', Rockbjörnen in '81 for this album.

12 October 2015

The Beautiful South "Quench" (1998)

Quench
release date: Oct. 12, 1998
format: cd
[album rate: 3,5 / 5] [3,38]
producer: Jon Kelly and Paul Heaton
label: Mercury Records - nationality: England, UK

Track highlights: 1. "How Long's a Tear Take to Dry?" (live) - 3. "Big Coin" (live) - 4. "Dumb" - 5. "Perfect 10" - 9. "Window Shopping for Blinds" - 12. "Losing Things"

6th studio album by The Beautiful South originally released on Go! Discs and for the 4th consecutive time with Jon Kelly in the producer seat. Stylistically, this band doesn't evolve much or incorporate new ideas to its repertoire, and nevertheless they continue to come up with interesting songs about life in general. It's not lyrics about major global issues but the never-ending works and re-works on human conditions involving relationships between men and women. The album peaked at #1 on the national album charts list like its predecessor following the band's first best of album Carry on up the Charts from '94, which was its first album to reach the highest position in the UK. The single "Perfect 10" featuring Paul Weller on additional guitar was the best fairing single of the album reaching #2 on the singles chart list. I find the album quite nice and really good - kind of "solid". It's well-played and cleverly arranged, I just think that the band tend to have put itself in the middle of everything: not really pressing anyone's toes, nor coming up with great new ideas. It's a bit... "so what!?" I miss the edgy lyrics, the energetic jangle pop elements, and something else but niceness. The small narratives about standardised normality are, however, sheer uplifting irony, which makes it anything but boring.
The front cover depicting a boxer is an artwork by Scottish painter Peter Howson.
[ allmusic.com 3 / 5 stars ]

Eva Dahlgren "Ung och stolt" (1987)

Ung och stolt
release date: Jan. 1987
format: vinyl (STAT 1) / cd
[album rate: 3,5 / 5] [3,54]
producer: Anders Glenmark
label: The Record Station - nationality: Sweden

Track highlights: 1. "Jag klär av mej naken" - 2. "Ung och stolt" - 3. "Skeppet" - 5. "Little Darling" - 8. "Fromme mannen" - 9. "Allt för dej" - 10. "Mitt liv"

6th studio album by Eva Dahlgren released 2½ years after Ett fönster mot gatan (Aug. 1984) establishing her as one of the most critically-acclaimed Swedish singer / songwriters within a predominantly rock sphere in the late 1980's. The album was the first album that I listened to and also aquired with Dahlgren somewhere around 1988. She was handed the Swedish Grammis for the first time for this album in the category Best Female Pop / Rock Artist in 1987. Danish artist Sanne Salomonsen features as backing vocalist on several tracks.
The album now feels somewhat dated - the bold use of flanger and waow-guitar effect pedals, and the heavy 80's drums doesn't add to the qualities - but it nevertheless shows Dahlgren as a prominent Swedish energetic rock artist with an ear for both quiet ballads, epic and theatrical elements with hints of glam rock, and electrifying and more traditional rock compositions. This still remains one of her best albums.

11 October 2015

Sofia Karlsson "Visor från vinden" (2007)

Visor från vinden
release date: Apr. 11, 2007
format: digital
[album rate: 3,5 / 5] [3,66]
producer: Göran Petersson, Sofia Karlsson, Jan Borges
label: Amigo Musik - nationality: Sweden

3rd studio album by Sofia Karlsson following two years after her acclaimed sophomore album Svarta ballader is her last studio album on the Amigo Musik label owned by Bonnier Music Group. The album follows closely the same recipe as her previous album, although, this has lyrics by various composers, and several of the selected songs are familiar Swedish folk songs interpreted by many other artists. It's also very much the same studio musicians as on the 2005 album; however, many of the songs here are live recordings at various locations.
The album fared even better than Svarta ballader and reached number #2 on the national albums chart list, though music critics generally were less positive in their reception. However, both album and Karlsson won several prizes after the release.
In my mind, this is even better than her 2005 album. There's a nice combo of more uptempo songs and quiet ballads, and perhaps other artists have made more than memorable interpretations of some of the songs (Cornelis Vreeswijk, Mikael Wiehe, Eva Dahlgren Joakim Thåström), but I really like the idea of the various lyrical sources and the musical skills and the artistic creativeness that have been put into the engagement of arranging these songs in such a way that it all makes one coherent whole. Don't (always) believe the critics - make your own choices.
This is a recommendable listen.

Rangleklods "Straitjacket" (2015)

Straitjacket
release date: May 18, 2015
format: digital (11 x File, FLAC)
[album rate: 4 / 5] [3,86]
producer: Esben Nørskov Andersen
label: self-released - nationality: Denmark

Track highlights: 1. "Lost U" (4 / 5) - 2. "Schoolgirls" - 4. "Degeneration" (4,5 / 5) - 5. "Forgive" - 7. "Dry Me Out" - 10. "Straitjacket"

2nd studio album by Rangleklods follows three years after Beekeeper (Mar. 2012) and is produced by project-founder Esben Andersen. Before this, the project has been expanded to a duo with co-songwriter and vocalist Pernille Smith-Sivertsen. All tracks are credited the duo with two tracks (tracks #3 and #4) being co-composed by Mads Damsgaard Kristiansen, and track #5 co-composed by Reggie Watts.
Stylistically, Rangleklods has moved on from some of the indications on Beekeeper but it's still a pretty long jump into this club-founded electronica and mostly uptempo house and synthpop variation. Smith-Sivertsen adds a new dynamic to the music, but it's basically much more varied arrangements using sampling and something influenced by electroclash, although, it only really manifests on the title track.
Straitjacket is easily the band's best effort, and it's really a fine danceable mix both pointing back to Art of Noise, Depeche Mode, as well as more contemporary names like The Knife and Moby.
Highly recommended.
[ Gaffa.dk, 👍Soundvenue 5 / 6, Politiken 4 / 6 stars ]

06 October 2015

The Prodigy "The Added Fat EP" (2012) (ep)

The Added Fat EP, ep
release date: Dec. 3, 2012
format: digital
[album rate: 2,5 / 5] [2,46]
producer: Liam Howlett
label: XL Recordings - nationality: England, UK

A 6-track studio ep that was issued on a bonus disc edition of The Fat of the Land (2012). All tracks are just new mixes of hit singles from that album, and they are rather dreadful. It contains two different mixes of "Smack My Bitch Up", two versions of "Breathe", a mix of "Firestarter", and a mix of "Mindfields", none of which are worth... much.
It seems the tracks are only techno and / or industrial versions of some really fine songs, and the only argument here is: money. Look, something new from your favourite hardcore breakbeat heroes, and all you get is the emperor's new clothes.
This is another low release from The Prodigy.