Nick Cave and The Bad Seeds "Push the Sky Away" (2013)

Push the Sky Away
release date: Feb. 18, 2013
format: cd
[album rate: 3,5 / 5] [3,56]
producer: Nick Launay with Nick Cave & The Bad Seeds
label: Bad Seed Ltd. - nationality: Australia

Track highlights: 1. "We No Who U R" (4 / 5) - 2. "Wide Lovely Eyes" (live on KCRW) - 4. "Jubilee Street" - 5. "Mermaids" (live) - 9. "Push the Sky Away"

15th studio album by Nick Cave & The Bad Seeds following 5 whole years after Dig, Lazurus, Dig!!! (2008).

Stylistically, this is still mostly slow ballads in the alt. rock and singer / songwriter category, which means what sounds like a more natural follow-up to No More Shall We Part from 2001. The very first track sounds a bit (too much) like Tindersticks on their most recent chamber pop alt. rock album with some jazz influence, and generally, the first half of the album promise a truly great album but the second half drags it a bit down, I think.

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

And Also the Trees "Hunter Not the Hunted" (2012)

Hunter Not the Hunted
release date: Mar. 26, 2012
format: cd (AATTCD08)
[album rate: 3,5 / 5] [3,52]
producer: AATT
label: AATT - nationality: England, UK

Track highlights: 1. "Only" (4 / 5) ( live ) - 2. "Hunter Not the Hunted" - 7. "The Woman on the Estuary" - 8. "What's Lost Finds" - 12. "Angel, Devil, Man and Beast"

13th studio album by And Also the Trees is another self-released and self-produced album, which is the continued (good) style from their 2007 release, (Listen For) The Rag and Bone Man only with a more alt rock, folk rock element in the gloomy tristesse. Before this they released two acoustic albums with Driftwood (2011) as the most recent. Two albums that possibly made the band understand how powerful their back catalog is without keyboards and synths to express musical dynamics, and those experiences have helped shaping this album, I think.

And Also the Trees "Driftwood" (2011)

Driftwood (mini-album)
release date: Sep. 29, 2011
format: cd (AATTCDM02)
[album rate: 3,5 / 5] [3,52]
producer: Matthew Devenish (recording credits)
label: AATT - nationality: England, UK

Track highlights: 1. "The Suffering of the Stream" (live in Toulouse) - 3. "Belief in the Rose" (live in Toulouse) - 6. "The Way the Land Lies" - 8. "The Untangled Man" (live in Toulouse)

12th studio album by And Also the Trees is according to the label and the band's official website a 'mini album' containing eight additional tracks to the 2009 release When the Rains Come, thus again an album of solely acoustic versions of older songs.
Without listening to the album I found it a superfluous release having 'just' released an album of this kind, but I have to give it to the band, it's really a fine contribution with strong, intense and quite different versions compared to the originals. The inlay info reveals that the album was recorded in the aftermath of a 2009-10 tour, which apparently exhibited the band playing the acoustic versions from the most recent and acoustic album, and one can only imagine how the need and / or lust for expanding the set list with other songs than the obvious versions. With a bunch of new acoustic songs this album was easily perceived. Despite its shorter playing time of just under 30 minutes it's a rather varied compilation of songs but nonetheless another fine album.

Olesen-Olesen "Dagens gerning" (1998)

Dagens gerning
release date: Sep. 23, 1998
format: cd
[album rate: 4 / 5] [3,84]
producer: Kim Hyttel
Label: Exlibris - nationality: Denmark

Track highlights: 1. "Pondus" - 2. "Mit liv i flere versioner" (4 / 5) - 3. "Sol" (4,5 / 5) - 5. "Nu går lykken forbi" (4 / 5) - 7. "Ny dag (morgen i København)" - 8. "Dagens gerning" - 9. "Jeg tog fejl, jeg har fortrudt" - 10. "Himlen er et kedeligt sted"

2nd studio album by Olesen-Olesen released on Exlibris and produced by Kim Hyttel like the debut Indenlands udenbys (1987).

Stylistically, the duo has not entirely abandoned the indie rock style of their common musical upbringing, but they take a stronger move into the origins of folk with songs that nearly all have a sort of singer / songwriter tone lurking at hand - a style that clearly contains Dylan-inspiration but also stays true to a highly original narration with personal subjects and all in Danish lyrics. These are provided by primary songwriter and vocalist, Peter H. Olesen, who constitute the duo with primary musical composer and guitarist, younger brother Henrik Olesen. Where the debut already showed us a fascination for classic American songwriting, the style and subjects were more of a tribute to the beat-generation, whereas this is very much another look at classic America, only with inspiration stemming much more from traditional folk.

I recall finding the album a bit of a disappointment when it came out but have come to enjoy it a lot more over the years. My initial verdict was somewhere around 2,5 / 5, regarding only "Nu går lykken forbi" as the only great song on an uneven album. That song is still very fine, but overall, the album has proved to be a rather strong follow-up, alas completely overlooked. The stylistic change towards more introspectiveness and a softer tone in style probably wasn't the natural choice of progression the public eye expected from the duo, who previously had been associated with a sneer of indie rock and post-punk. This is something else but it surely contains much more of the fingerprints that identify the duo when comparing to their successive releases. This is actually where they consolidate their common style, and in retrospect the album is bettering a fine and promising debut, and by that simply deserves much more recognition.

Recommended.

[ Gaffa.dk 5 / 6 stars ]

Julian Cope "Droolian" (1990)

Droolian

release date: 1990

format: digital

[album rate: 3 / 5] [3,22]

producer: Ron Fair

label: Zippo Records - nationality: England, UK

Track highlights: 1. "Sqwubbsy" - 3. "Unisex Cathedral" - 5. "Safe Surfer" - 7. "Jellypop Perky Jean"

6th studio album by Julian Cope is his second sel-released album to follow his pompeous and disowned My Nation Underground (Oct. 1988). The album follows closely on the same path laid out with Skellington (1989) despite both pointing back on the '89-album as a kind of leftovers and at the same time laying out his future fully-formed style, which comes to full blossom on the successor Peggy Suicide (Apr. 1991) .

Droolian is a peculiar mix of spontaneous fanciful ideas - appearing as improvs and quite subtle arrangements. Cope demonstrates original ideas, although, he may have followed an urge - as a result of the lawsuit tried by Island Records [see Skellington] - just to record and release a complete album without the proper finish, which could have resulted in something closer to Peggy Suicide. As a curiosity Droolian contains "Safe Surfer", which on the '91-album is rearranged to "Safesurfer". Some tracks sound like complete improvs and at times Cope appears as an artist, who is about 100% on some (acid?) trip, which often create unconventional, not seldom quite funny, but also easily forgotten moments.

All in all, Droolian is funny, different, and flawed, and nevertheless worth a moment of your time.

[ allmusic.com 4,5 / 5 stars ]

Lou Reed "Ecstasy" (2000)

Ecstasy
release date: Apr. 4, 2000
format: digital
[album rate: 3 / 5] [3,15]
producer: Lou Reed, Hal Willner
label: Sire records - nationality: USA

Track highlights: 1. "Paranoia Key of E" - 4. "Ecstasy" - 6. "Tatters" - 8. "Turning Time Around" - 9. "White Prism" - 10. "Rock Minuet"

18th studio album by Lou Reed is released more than 4 years since his last studio release, although, the years in between gave birth to at least two live albums and three compilation releases. Ecstacy is another conceptual album - this time about love and relationships. The album doesn't really contain single great tracks but it sort of documents how Reed has evolved from being this wild art rocker to become a fine and subtle story-teller in his older days. It seems like aeons ago that New York (1989) showcased Reed's fine balanced rock & roll stories in a tight band-backed wrapping.
On Ecstacy his story-telling is the strongest when he's most vulnerable, reciting quietly in a jazz and rock-fusion style as a more serene singer / songwriter, and the music itself becomes less relevant.
[ allmusic.com 3 / 5 stars, Rolling Stone 4 / 5 stars ]

Peter Murphy "Unshattered" (2004)

Unshattered

release date: Oct. 19, 2004

format: cd

[album rate: 3,5 / 5] [3,38]

producer: Gardner Cole

label: Viastar - nationality: England, UK

Track highlights: 1. "Idle Flow" - 2. "Kiss Myself" - 3. "Piece of You" - 4. "Face the Moon" - 8. "Give What He's Got" - 9. "Blinded Like Saul"

7th studio album by Peter Murphy following 2½ years after Dust (Apr. 2002), which saw him experiment with world music and Turkish music tradition in particular. In that respect, Unshattered appears much more like a natural follow-up to Cascade (Oct. 1995), his final studio album on Beggars Banquet. For the new album, he has teamed up with American producer Gardner Cole, who previously has worked mostly in a dance and synthpop arena, which alone indicates a shift in sound. Former co-composer Paul Statham is back and has composed music on six of the album's eleven songs. The credit list of featuring musicians count several acclaimed names including two members of Porno for Pyros: guitarist Peter DiStefano (who also performed with Murphy on his 'aLive Just for Love tour') is composer of two songs, on which he also plays guitar, and drummer Stephen Perkins, credited on three songs. Former Wham! and George Michael bassist Deon Estus is featured on three tracks, American session musician Eric Avery is bassist on two tracks, and producer Cole is also bassist on three tracks aside from overall handling keyboards, guitar, piano, and percussion on several songs. American session guitarist Tim Pierce is here on most tracks, whereas none of the musicians nor technical personnel from Dust reappear, but then former Bauhaus drummer Kevin Haskins is heard on track #9. The album is Murphy's only on Viastar - in fact it seems to be only one in a total of three releases on this label, all released in 2004.

Unshattered is return to his usual style of dark alt. rock with bonds to gothic rock. Sometimes he revists the darker corners of the style reminding us of Bauhaus, at other times he croons in lighter spheres, although, his vocal always seems to be returning to the shadows.

To his usual standard, the album contains fine moments and adds to the list of Peter Murphy staples, although, as a full-length studio album, it's simply too incoherent with too much filling to be considered one of his better outings.

[ allmusic.com 3,5 / 5 stars ]

Bryan Ferry "... Is Your Love Strong Enough?" (1986) (single)

... Is Your Love Strong Enough?, 7'' single
release date: Mar. 1986
format: vinyl
[single rate: 3,5 / 5] [3,46]
producer: Rhett Davies & Bryan Ferry
label: EG Records - nationality: England, UK

Tracklist: A) "... Is Your Love Strong Enough?" - - B) "Windswept (instrumental)"

Single release by Bryan Ferry taken from the "Legend" soundtrack (Ridley Scott movie).

And Also the Trees "When the Rains Come" (2009)

When the Rains Comes
release date: Jun. 8, 2009
format: cd (AATTCD07)
[album rate: 3,5 / 5] [3,55]
producer: *self-produced
label: AATT - nationality: England, UK
*Credits only mention recording, mixing and mastering credits

Track highlights: 1. "Virus Meadow" (live in Toulouse ) - 2. "Dialogue" (live in Toulouse) - 4. "Mary of the Woods" (live in Toulouse) - 5. "Jacob Fleet" (live in Toulouse) - 6. "Candace"

11th studio album by And Also the Trees is, once again, a self-realised album. Its the first of two consecutive albums to feature only acoustic versions of songs from their back catalogue, and it contains 14 tracks and runs approx. 51 minutes. The music has been stripped down to melody lines with Simon Huw Jones' strong and dark vocal accompanied by acoustic guitar, double bass, dulcimer / or melodica and some backing vocals only. The result is surprisingly powerful and almost mesmerising.
The album has nothing to do with selling old wine on new bottles, as one could suspect when releasing a new album featuring old songs. And the fact that the songs go as far back as the mid 1980s is never heard because of a total revitalisation of music making it a firm and strong whole, which makes me think of the great contemporary Liz Green and her fine alternative folk and singer / songwriter albums Haul Away from 2014 and the great debut O, Devotion! (2011).
Many of the songs on the album were part of a live tour "Livequest #50" [?]. The remaining songs were later reworked in the studio and released on the album Driftwood (2011).

=> French documentary about the process leading to When the Rains Come.

And Also the Trees "(Listen For) The Rag and Bone Man" (2007)

(Listen For) The Rag and Bone Man

release date: Nov. 12, 2007

format: cd (AATTCD06)

[album rate: 3,5 / 5] [3,52]

producer: self-produced

label: AATT - nationality: England, UK

Track highlights: 1. "Domed" - 2. "The Beautiful Silence" - 3. "Rive droite" - 4. "Mary of the Woods" - 9. "Stay Away From the Accordion Girl" (live) - 12. "A Man With a Drum"

10th studio album by And Also the Trees is another self-released album. The cover info only mentions recording and mixing credits - Matthew Devenish recorded and mixed. This is the first album not to feature bassist Steven Burrows, and it's the first to have both new bass player Ian Jenkins and keyboardist Emer Brizzolara as new members, which means that the band by now has been expanded to a quintet (actually, Burrows has never officially left the band, although, he hasn't taken an active part in the process of the band's later releases - as now of 2016).

The album marks a return to a more evident gothic rock, post-punk that doesn't really sound outdated. In 2007 that's a work well done! I think, they succeed pretty well by focusing on their strengths in producing tension within beauty and darkness. By doing so they remind me of Tindersticks, although, the previous album is even closer to the Tindersticks style. Without strings and brass this is hardly chamber pop but it has that certain sincerity and beautiful narration, which characterises their best albums - when music and vocals go hand in hand, and when the music supports the lyrics instead of drowns them.

Beth Ditto "EP" (2011)

EP [debut]

release date: Jan. 10, 2011

format: digital (4 x File, MP3)

[album rate: 3,5 / 5] [3,58]

producer: James Ford, Jas Shaw

label: Deconstruction - nationality: USA

Tracklist: 1. "I Wrote the Book" - 2. "Goodnight Good Morning" - 3. "Open Heart Surgery" - 4. "Do You Need Someone"

Studio solo debut by Beth Ditto, who has teamed up with producers James Ford and Jas Shaw as trio behind all four tracks. This solo effort follows two years after the acclaimed Music for Men by Gossip and it shows a new side to Ditto's talent, or: the style is different, but ultimately, Ditto contributes with her energy and brilliant vocal. Stylewise, this is uptempo dance-music - sometimes touching on alt. dance but mostly it's held in a dance-pop and electro pop universe. "Open Heart Surgery" comes closest to the music by Gossip, although, it's fused by a distinct electronic foundation.

I like it, it's goood, and it's a promising side-kick to the alt. rock by Gossip.

[ allmusic.com 4 / 5, SputnikMusic 4,5 / 5 stars ]

Björk "Debut" (1993)

Debut [debut]
release date: Jul. 13, 1993
format: cd (519715-2)
[album rate: 4,5 / 5] [4,28]
producer: Nellee Hooper
label: Mother Records / One Little Indian - nationality: Iceland

Track highlights: 1. "Human Behaviour" - 2. "Crying" - 3. "Venus as a Boy" (4,5 / 5) - 5. "Like Someone in Love" - 6. "Big Time Sensuality" - 9. "Come to Me" - 10. "Violently Happy"

Studio solo debut after leaving the successful indie pop band The Sugarcubes - actually, it's not her actual debut as solo artists since she released her first cover-songs album in her Christian name at the age of 12 in 1977; however, with the title Debut, she initiates her (artistic) adult music career pointing to the fact that her childhood debut should not have critics search for comparisons some 18 years down the line. This is her actual debut as Björk. This is the first issue of the album that consisted of 11 tracks, but already as of Nov. '93, the label reissued the album with 12 tracks and the addition of "Play Dead" on cd issues - later vinyl issues contain the original 11 tracks.
The loss of The Sugarcubes wasn't positively welcomed as they had been a nice blow of fresh air to the music industry, so a solo album by Björk at this point was like a secondary option.
Musically and instrumentally, she wasn't renowned for her musical capabilities, as her main instrument in her former band had been her voice. Therefore, the album almost came as a bit of a shock to everyone - including fans of Sugarcubes. Her vocal remains the same, but the music was brand new. It's literally one of the rare occasions where everything turned out just right. Stylistically, it's a difficult task to pin out - even today, as it represents a huge blend of influences and styles. Yes, it's art pop, and perhaps one should just refer to it as that leaving out the electronic, alt. dance, dance-pop, electropop, trip hop, and house elements, which by no means are just filler styles.
That year the album was aired everywhere. Not just on local and national radio stations, in record stores, not just bars and cafés - the album would be heard in restaurants, in clothes boutiques, shoe shops, and at sports retailers, in airports - you name it. It was like the soundtrack of the year, and it was naturally nominated dozens of prizes all over Europe. Across the Atlantic critics were a bit more controlled, and Rolling Stone even called the album 'a disappointment'; however, the general and wide-spread reception was more than just a thumbs up.
I played the album again and again and truly found it one of the absolute best releases of '93, but I also tired of the sound - not as much the music qualities but the sound of Björk, in general. Anyway, the album is a 'must-have' in any collection of popular music, and it's a quite natural inclusion in "1001 Albums You Must Hear Before You Die". Furthermore, the album is included in many best of lists like Slant Magazine's "The 100 Best Albums of the 1990s", Spin's "The 125 Best Albums of the Past 25 Years", Channel 4's "125 Nominations for the 100 Greatest Albums", Elvis Costello's list of "500 Albums You Need", Melody Maker's "Albums of the Year", Mojo's "The Greatest Albums of All Time... and How They Happened", NME's "The 500 Greatest Albums of All Time" - just to mention some. In retrospect, I find the album worth the positive reviews and think of it as an essential contribution to modern popular music as well as a cornerstone in the history of contemporary popular music.
A musical cornerstone and highly recommended.
[ allmusic.com 5 / 5, Spin NME 4,5 / 5, Q Magazine, Select 4 / 5, Rolling Stone Album Guide 3,5 / 5 but Rolling Stone 2 / 5 stars ]

1993 Favourite releases: 1. Tindersticks Tindersticks - 2. Björk Debut - 3. The Breeders Last Splash

Antony and the Johnsons "Cut the World" (2012)

Cut the World (live)

release date: Aug. 7, 2012

format: digital (12 x File, FLAC)

[album rate: 4 / 5] [3,84]

producer: Karl Bjerre Skibsted

label: Rough Trade - nationality: USA

Track highlights: 1. "Cut the World" - 3. "Cripple and the Starfish" - 4. "You Are My Sister" - 6. "Epilepsy Is Dancing" - 8. "Kiss My Name" - 10. "Rapture" - 12. "Twilight"

Live album by Antony and the Johnsons recorded live with the Danish National Chamber Orchestra in recordings made Sep. 2011. The album consists of twelve tracks all but two stemming from the four studio albums and an ep by Antony and the Johnsons.

Three tracks (tracks #3, #10, #12) comes from the debut album Antony and the Johnsons (2000), one song (track #4) is taken from the second album I Am a Bird Now (2005), four tracks (tracks #6, #7, #8, #11) stem from the third album The Crying Light (2009), one song (track #5) is from the fourth album Swanlights (2010), and one track is the title song from the ep I Fell in Love With a Dead Boy (2011) (track #9); and then two tracks are new. Track #1 "Cut the World" is a song made for the play "The Life and Death of Marina Abramović" directed by Robert Wilson (2011), and track #2 ("Future Feminism") is a speech by Antony performed during one of the concerts. And then you could argue that all tracks here are new as they are all in new arrangements made by Antony, Nico Muhly, Rob Moose and Maxim Moston.

The album and the song selection is fine, there's nothing bad about it, it just doesn't entirely sum up the strong energy and the best performances by Antony but there's still something special about the arrangements made for a chamber orchestra, and imho, it doesn't necessarily, in every instance, bring out the best versions of the material. They do, however, present alternate dimensions to his work, and for many reasons, Antony's music is perfect for orchestral arrangements, and The Danish National Orchestra seems made for this kind of music. Antony... well, he naturally sings and performs so elegantly that it alone heightens the whole experience. I for one, now prefer both studio and live versions.

[ allmusic.com 4,5 / 5, 👉Pitchfork 8,1 / 10, NME, Drowned in Sound 4 / 5 stars ]

Chris Isaak "Heart Shaped World" (1989)

Heart Shaped World
release date: Jun. 13, 1989
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Erik Jacobsen
label: Reprise Records - nationality: USA

Track highlights: 1. "Heart Shaped World" - 5. "Wicked Game" (4,5 / 5) - 6. "Blue Spanish Sky" (4 / 5) - 8. "Forever Young" - 9. "Nothing's Changed"

3rd studio album by Chris Isaak is a strong album with his own blend of rock & roll, rockabilly, americana and with clear country elements. The album was the first I discovered by Isaak, and I still consider it one of his absolute best.
[ allmusic.com 4,5 / 5, Sputnik Music 4 / 5 stars ]

Chris Isaak "Chris Isaak" (1987)

Chris Isaak
release date: Feb. 16, 1987
format: cd (1990 reissue)
[album rate: 3,5 / 5] [3,62]
producer: Erik Jacobsen
label: Warner Bros. - nationality: USA

Track highlights: 1. "You Owe Me Some Kind of Love" - 2. "Heart Full of Soul" - 3. "Blue Hotel" (4 / 5) (live) - 4. "Lie to Me" (4 / 5) - 7. "This Love Will Last"

2nd studio album by Chris Isaak is like the debut produced by Eric Jacobsen and released by Warner. The title signals an early new - but still second - start. Perhaps because the debut was rather unnoticed by critics and music buyers, which also explains a more mainstream approach with more jangle pop instead of the more laid-back americana sound on the debut.
I don't think it betters the debut much, but it certainly has more mainstream potential. The songs are still pretty good, and it's basically a more homogeneous album, although, I find that the first half is clearly the best.
[ allmusic.com 3 / 5 stars ]

Chris Isaak "Silvertone" (1985)

Silvertone [debut]
release date: Jan. 10, 1985
format: cd (1987 reissue)
[album rate: 3,5 / 5] [3,56]
producer: Erik Jacobsen
label: Warner Bros. - nationality: USA

Track highlights: 1. "Dancin' " - 3. "Livin' for Your Lover" - 5. "Voodoo" - 6. "Funeral in the Rain"

Studio debut album by Chris Isaak named after his 3-piece backing band consisting of James Calvin Wilsey on guitar and lap steel, Prairie Prince on drums and with Chris Solberg on bass. The credit list on the back cover only enlists James Calvin Wilsey in the same character font as Isaak himself with production staff mentioned afterwards, which points to Wilsey's significance. It is after all his lap steel guitar and its 'surf rock' sound that has become a kind of a trademark of Isaak's.
I didn't come across this album until recently, and I must confess that it overshadows his more successful later releases. At this point he was overlooked in the chart lists and it wouldn't be until his "Wicked Game" single from '89 that he became an international star. Three of the album tracks (#1, #5 and #6) are issued on the Wicked Game compilation album from 1991.
[ allmusic.com 4,5 / 5 stars ]

Arctic Monkeys "Humbug" (2009)

Humbug
release date: Aug. 24, 2009
format: digital
[album rate: 2 / 5]

Track highlights: 1. "My Propeller" (3 / 5)

3rd studio album by Arctic Monkeys.
I find that the album is a rather huge disappointment. It's more like: "Say what!!? Left-handed, or just AM now without pilot?? Alex Turner decided to have someone else decide for a change."
The album hasn't even got one great song, and it's like you sense there's another agenda than sending out new songs. It's more like a statement from a highly popular band. They've already been lauded prize winners and both music critics and the audience love the band, so is this just to say: "Sod off, we do the unexpected. Have an American come in and produce, and take over our sound, so no one knows what happened!?" I dunno, I just don't like the result. The style is still indie garage rock but this time with a clear psychedelic element in a heavy and much darker production.
Not recommended.

Natalie Merchant "Ophelia" (1998)

Ophelia
release date: May 25, 1998
format: cd
[album rate: 4 / 5] [3,76]
producer: Natalie Merchant
label: Elektra Records - nationality: USA

Track highlights: 1. "Ophelia" - 2. "Life Is Sweet" - 3. "Kind & Generous" (4 / 5) - 4. "Frozen Charlotte" - 6. "Break Your Heart" - 7. "King of May"

2nd solo album by Natalie Merchant, again self-produced and released through Elektra Records. The album is mostly in the same style as her debut Tigerlily, although, the focus on folk has been if not left then at least subdued to focus more on her singer / songwriter profile with the addition of chamber pop traits. More strikingly, this is a much stronger release with a number of fine tracks that once again documents her status as both songwriter and singer.
[ allmusic.com 3 / 5, Rolling Stone 3,5 / 5 stars ]

The Durutti Column "The Guitar and Other Machines" (1987)

The Guitar and Other Machines
release date: Dec. 1987
format: vinyl (fact204) / digital
[album rate: 3,5 / 5] [3,72]
producer: Stephen Street
label: Factory Records - nationality: England, UK

Track highlights: A) 1. "Arpeggiator" (4 / 5) - 2. "What Is It to Me (Woman)" - 4. "Jongleur Grey" - 5. "When the World" - 6. "U.S.P." (4 / 5) - - B) 1. "Bordeaux Sequence" - 2. "Pol In B" (4 / 5) - 3. "English Landscape Tradition" (4 / 5) - 5. "Don't Think You're Funny" (4 / 5)

6th studio album by The Durutti Column following 1 year after Circuses and Bread.

This is one of my favourite albums by The DC. The sound and style is very different with the introduction of drum machines and a heavier use of synthesizers. Somehow the album felt right when it came out and I recall how I used to listen to this at full volume on my walk-man while travelling to work by train. It's not his best but I like his experiments and will to expand his repertoire. My main critique of the album is that it points in too many directions to be a really great album.
[ allmusic.com hands it 3 in 5 stars ]

[ collectors' item ]

Lisa Ekdahl "Sings Salvadore Poe" (2000)

Sings Salvadore Poe
release date: Oct. 27, 2000
format: cd
[album rate: 3 / 5] [2,92]
producer: Salvadore Poe, Magnus Lindgren, Lisa Ekdahl
label: RCA Victor - nationality: Sweden

4th studio album by Lisa Ekdahl released after the collaboration album Back to Earth (1998). This is her first album of bossa nova and latin jazz to lyrics and music composed by American composer Salvadore Poe, and with additional orchestral music arranged by Magnus Lindgren.
Well, the lyrics may very likely be fine - I haven't been able to concentrate much on that part, 'cause the music isn't performed to my liking. I don't mind latin jazz, bossa nova or easy listening, but sung by Ekdahl, the lyrics, and music become somewhat tiresome. Her English is... not good, and her bright and light singing voice doesn't fit, I think. Of course it could be a lot worse, and the album is by no means a mediocre one, but for the standards of Ekdahl, this is probably her least favourable album.

Nena "Cover Me" (2007)

Cover Me
release date: Oct. 2007
format: 2 cd
[album rate: 3,5 / 5] [3,54]
producer: Derek von Krogh, Philipp Palm, Nena; Uwe Fahrenkrog-Petersen
label: Warner Strategic Marketing - nationality: Germany

9th solo album by Nena is a 2 cd and 31 tracks covers album.
Disc 1 are all songs of German origin, which is produced by von Krogh, Palm and Nena, whereas Disc 2 are of foreign (meaning primarily English) origin, all produced by Fahrenkrogh-Petersen, and these generally count the least favourable compositions as they are also the most familiar songs, e.g. The Cure's "Friday I'm in Love", Bowie's "Heroes" (here: "Helden") and "Starman", Rolling Stones' "The Last Time" and "She's Like a Rainbow", Dylan's "It's All Over Now, Baby Blue" and "Blowin' in the Wind", Neil Young's "After the Goldrush", and Joni Mitchell's "Big Yellow Taxi".
Initially, I found it superfluous, but it's actually quite fine once you dig into the material. It's really a huge blend of sources, representing songs from all eras and various original styles, but Nena has handpicked the songs, claiming them as personal favourites, and she mostly manages to make them her own with her own personal interpretations. Now, Nena doesn't possess the strongest vocal instrument and you would perhaps believe her hardest parts would be to cover Joni Mitchell or Mazzy Star, but these are actually fine personal songs that add new dimensions to the original versions. Generally, the more difficult covers here are the ones where the arrangements come too close to the originals, e.g. the songs originally performed by Rolling Stones, Moby, Air, and T. Rex.
All in all, it's a fine collection, which both include fine interpretations as well as mildly unneccessary inclussions, but Disc 1 definitely saves the whole album.

Astrud Gilberto "Beach Samba" (1967)

Beach Samba
release date: 1967
format: cd
[album rate: 3 / 5]

Tracklist: 1. "Stay" (4 / 5) - 2. "Misty Roses" - 3. "The Face I Love" - 4. "A Banda (Parade)" - 5. "Oba, oba" - 6. "Canoeiro" - 7. "I Had the Craziest Dream" - 8. "Bossa na praia (Beach Samba)" - 9. "My Foolish Heart" - 10. "Dia das Rosas (I Think of You)" - 11. "You Didn't Have Be So Nice" - 12. "Não bate o coroção"

5th studio album by Astrud Gilberto is a more of a pop and standards-styled album. This is better than her first attempt with the standards, her second album, The Shadow of Your Smile (1965). Primarily, she succeeds better because on this album the pop songs are more easy listening tracks that do not demand a voluminous voice like her best albums with bossa nova vocal jazz. An enhanced re-issue was released in 1993 with 17 tracks. The album is included in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 3 / 5 stars ]