Eldkvarn "Atlantis" (2005)

Atlantis
release date: 2005
format: digital
[album rate: 2,5 / 5]

21st studio album by Eldkvarn. Stylistically, this is close to that of Bob Dylan, and Plura Jönsson tries too hard to sound like his American idol on this.

The Durutti Column "A Paean to Wilson" (2010)

A Paean to Wilson
release date: Jan. 24, 2010
format: digital (2-disc)
[album rate: 3,5 / 5]

Tracklist: 1. "Or Are You Just a Technician" - 2. "Chant" - 3. "Quatro" - 4. "Requiem" - 5. "Stuki" - 6. "Along Came Poppy" (4 / 5) - 7. "Brother" - 8. "Duet With Piano" - 9. "Darkness Here" - 10. "Catos Revisited" (4 / 5) - 11. "The Truth" - 12. "How Unbelievable"

21st studio album by The Durutti Column issued on Kooky Records produced by Keir Stewart and Bruce Mitchell. Before this, The DC released the 19th studio album Treatise on the Steppenwolf Soundtrack, a soundtrack album released on LTM Recordings (August 2008), and his 20th studio album Love in the Time of Recession (2009) issued on Artful Records.
A Paen... is dedicated to Tony Wilson (Anthony Wilson) co-founder of Factory Records, and Reilly's friend and manager who died in 2007. Here, Reilly covers almost all of his vast stylistic repertoire, playing post-punk, art rock, experimental, acoustic rock, dream pop, ambient, electronic, jazz, modern classical, electronic, shoegaze... and without making it a mishmash of styles. It's so incorporated in Reilly's expressiveness that it works even for this, an instrumental dedication. The album is released with a bonus disc Heaven Sent (It Was Called Digital. It Was Heaven Sent), originally released as digital download ep album only in 2005, thus making it a mere gift than an integral part of the actual album.
[ allmusic.com 4 / 5 stars ]

Peter Murphy "Lion" (2014)

Lion

release date: Jun. 2, 2014

format: digital (11 x File, FLAC)

[album rate: 3 / 5] [2,86]

producer: Youth (aka Martin Glover)

label: Nettwerk - nationality: England, UK

Track highlights: 1. "Hang Up" - 3. "I'm on Your Side" - 5. "Compression" - 9. "Eliza"

9th studio album by Peter Murphy following three years after Ninth (Jun. 2011) and his second album on US label Nettwerk. To the typical procedure, Murphy has made the album with a new producer - this time by British producer and musician Youth, who is also perhaps best known for his part as bassist of post-punk and industrrial rock act Killing Joke, although, he relatively early on initiated a career as producer and basically of all genres and styles. All lyrics are as usual by Murphy, and all music is credited Murphy and Glover with the latter also filling the part as multi-instrumentalist. Some issues (CD and vinyl) include the ten track extra live material "Selections From the Mr. Moonl·)ght Tour (35 Years of Bauhaus)".

Apparently, many of the compositions are studio improvs, and as a whole the album distances itself from Ninth by being stronger influenced by industrial rock. Also, Murphy generally sings in a more restrained and higher register on a majority of the songs. The soundscape is dominated by bass, drums, and synths, and basically doesn't fall far from a style, which has strong bonds to Glover's famous band Killing Joke and their music in the late 80s and early 90s.

Lion was possibly seen as a return to form, or at least some kind of test to his legacy within certain circles, and it also made it to the Billboard 200 as his only second album after Holy Smoke. I just don't find it a particular fascinating album. Murphy's singing style here is too extravagant and as if he tries hard to convince himself about his 'god-given' qualities while going through the motions, doing what he knows the best. Where Ninth actually showed us what he's capable of, Lion appears more like a sequel to Go Away White (2008), although, it's nevertheless a quite coherent release.

Not recommended.

[ Pitchfork 7,5 / 10, allmusic.com, PopMatters, Exclaim! 3,5 / 5, Q Magazine 3 / 5 stars ]

The Fratellis "Eyes Wide, Tongue Tied" (2015)

Eyes Wide, Tongue Tied
release date: Aug. 21, 2015
format: digital
[album rate: 3,5 / 5] [3,28]
producer: Tony Hoffer
label: Cooking Vinyl - nationality: Scotland, UK

Track highlights: 2. "Impostors (Little by Little)" - 3. "Baby Don't You Lie to Me!" - 12. "Down the Road and Back… Again"

4th studio album by The Fratellis is like the debut album Costello Music (2006) produced by American producer Tony Hoffer who has co-written all songs with Jon Fratelli.
The album may feature Hoffer back with the band, but the dynamics are not really there. It's the band's so far most introspective and least energetic release, and I don't find that the songs have enough quality to equal the band's former releases. In fact, I find that Eyes Wide, Tongue Tied is the band's so far low point.

Lisa Ekdahl "Look to Your Own Heart" (2014)

Look to Your Own Heart
release date: Oct. 23, 2014
format: cd
[album rate: 3 / 5] [3,16]
producer: Mathias Blomdahl & Tobias Fröberg
label: Jive/Epic / Sony Music - nationality: Sweden

Track highlights: 1. "Heavenly Shower" - 2. "Happiness Is Brief" - 7. "Look to Your Own Heart" - 8. "Moving On"

8th studio album by Lisa Ekdahl released 7½ years after Give Me That Knowing Smile. Before this she released the live album At the Olympia, Paris (2011) (commonly sold as a 2-disc album with a cd and a dvd). Quite often a new studio album from Ekdahl also means a new mix of styles, and in that way this is no different, although, it's a mix of musical styles she has tried out before. It's not entirely singer / songwriter nor folk, nor is it vocal jazz but all these genres are present with the addition of standards, jazz pop, and bossa nova. It's like the ultimate mix of all the styles she has released albums in over the years. All tracks are written and composed by Ekdahl herself but many tracks are with a strong influence from latin jazz and something that sounds as Ekdahl standards with the addition of big band arrangements.
It's all very sweet and quiet but not really close to great. I think, she should keep away from latin styles - somehow it doesn't suit her voice, and the album also lacks memorable compositions.

Fingersnap "Smokehouse E.P." (2011) (ep)

Smokehouse E.P., ep [debut]
release date: Nov. 13, 2011
format: cd
[album rate: 3,5 / 5]

Tracklist: 1. "I Wanna Rise" - 2. "Some Kind of Masterpiece" (4 / 5) (rehearsal) - 3. "Mister" (4 / 5) - 4. "The Bishop of New Hampshire"

Studio album debut by Fingersnap is a 4-track cd released on Siskin Records. The band is a collaboration work featuring David McAlmont on vocals and with Guy Davies handling keyboards and piano. I almost always simply enjoy whatever McAlmont releases. He has one of the most fascinating voices of modern soul but really doesn't get the appreciation he deserves. Whether it has to do with his openness about his sexuality, or former (?) religious beliefs, it's really just a pity, 'cause this guy can sing like only few. Unfortunately, nothing else apart from a singles release has come from Fingersnap.

[ Interview on BBC, 2011 ] [ "Tears Dry on Their Own" signing cds ] [ "Blackbirds" live 2012 ]

My own signed copy

C.V. Jørgensen "Sjælland" (1994)

Sjælland

release date: Sep. 26 1994

format: cd (PCCD 8074)

[album rate: 4 / 5] [4,22]

producer: Kasper Winding

label: Pladecompagniet - nationality: Denmark

Track highlights: 1. "Ude af sync" (4 / 5) - 2. "Blåt blod til alle" (4 / 5) - 3. "Fuld af forundring" - 4. "Florafobi" (5 / 5) (short live clip) - 5. "Spildte bedrifter" (4,5 / 5) (live) - 7. "Skygger af skønhed" (5 / 5) - 8. "Intet er mig helligt" - 9. "Hvad mere er der egentlig at sige" (4,5 / 5)

11th studio album by C.V. Jørgensen released a long full four years after his fine I det muntre hjørne (1990). In the meantime, Elap released the compilation 16 hits (1992) as a revised edition on cassette and CD of the previously released Det Ganske Lille Band's bedste from 1980. After having produced his two most recent studio releases on his own, C.V. returned the task to someone else taking care of the production sound. All his previous albums have been grounded in traditional rock but by engaging with the bolder 'pop' artist, vocalist and producer Kasper Winding, he ensures a distinctly different expression. C.V. had already worked with Winding in '78, when the two collaborated on the music for Morten Arnfred's film "Mig og Charly" and also the following year for the music to "Johnny Larsen". Since 1990, C.V. gradually turned down the concert activity and led a slightly more withdrawn existence, so the release of new material has been awaited with great excitement. The album's title is a play on the words 'soul' ['sjæl'] and 'country' ['land'] - put together in Danish also happens to be the name for the island of Sjælland [Zealand] - indicating a collection of tracks with a spiritual quality. In that way, it's also a highly personal album, which was also made completely without the usual close team of stable musicians. C.V. is credited on guitar in addition to his vocals, and Winding acts as multi-instrumentalist handling bass, keyboards, and drums, while the tracks are otherwise made with few other musicians, and where only trumpeter Flemming Agerskov is heard on several tracks.

Stylistically, C.V. always had a soft spot for jazz, and on his breakthrough album Storbyens små oaser from '77 you'll clearly notice a special jazz tone on several tracks - something you may also sense in small measure on his last two albums, but with Sjælland this is further emphasized with a style that combines previously unknown terrain - at least when it comes to the discography of C.V. Jørgensen. There is basically no focus on rock in a traditional sense, but only in a combo of trip hop and free jazz in a synthpop wrapping. It's a totally different expression than any other of his albums and in relation to his idiosyncrasy, which has given him status of a national rock icon. The inclusion of electronic instrumentation and a distinct synthpop style founded on keyboards, synths and rhythm programming fused with elements from free jazz is a most daring and remarkable change of style - something that e.g. shares traits with the '89 album Hats by Scottish band The Blue Nile.

Sjælland was released to mostly positive reviews, and although several critics were not exactly enthusiastic about Winding's production, the album ended up as one of Jørgensen's most praised albums. It's also my impression that the first critics of the album's sound nevertheless forgot their first judgment at a later stage.

It's C.V. in his most poetic corner, thus far. It must be remembered that at this point of his career he had been put on a pedestal as the outstanding national rock artist with an unusually sharp pen, which he directed against consumerism, double standards, social conflicts, as general ridicule of those in power and criticism of the political establishment without him taking a stand in relation to a clear left-right sympathy. He then advances here as a 'real' poet with songs full of lyrical features such as inner dialogue, sentiments and figurative language, which in places are the opposite to the characteristics of the epic narrative form and his image as a songwriter who was widely considered some kind of equivalent to that of the short story only adapted to a musical expression.

I attended one of his first live concerts with the album tour in '94, and the weirdest thing from the concert was my shock experiencing the aversion of the audience to his new songs. It was C.V.'s first live tour in four years with new material, and yet all a large group of fans clearly wanted was to hear him play his old stables, which meant that whenever the band started up with one of the new songs, people showed their contempt by hooting and booing. Apart from that 'detail', C.V., band and music were excellently executed, but I still left the concert with a bitter taste in my mouth after witnessing something that was so utter disrespectful. And with that in mind, I can't help thinking that experiences like that on that particular tour may be linked to C.V.'s later renunciation to live performance and also to his otherwise somewhat general withdrawal from the spotlight.

However, Sjælland was both an artistic triumph and a sales success, but it's also clear that fans were immensely divided about the his new musical direction. Some of long-running fans simply couldn't come to terms with C.V.'s progress as an artist, and he would at times be referred to as someone who had 'sold out'.

Imho, this album is no less than the best Danish album of the 1990s. It's C.V's best and most coherent album, and it's simply among the best Danish albums ever. It's nearly right up there fighting for the title as Best Danish Album Of All Time fighting side by side with Hip by Steppeulvene and the album Supertanker by Kliché.

The front cover is routinely credited C.V.'s girlfriend since 1970, Annemarie Albrectsen.

Highly recommended - a must.

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

The Church "Hologram of Baal" (1998)

Hologram of Baal

release date: Sep. 8, 1998

format: cd

[album rate: 3,5 / 5] [3,66]

producer: The Church

label: Cooking Vinyl - nationality: Australia

*Track highlights: 1. "Anaesthesia" - 2. "Ricochet" - 3. "Louisiana" (official video, short version) - 4. "The Great Machine" - 5. "No Certainty Attached" - 6. "Tranquility" - 7. "Buffalo" - 8. "This Is It" - 9. "Another Earth" - 10. "Glow-Worm"

*[all tracks]

10th studio album by The Church, which here consists of Steve Kilbey, Peter Koppes, Marty Willson-Piper, and Tim Powles. The album follows the critically acclaimed Magician Among the Spirits from 1996. Koppes had left the band back in '92 after the release of Priest = Aura due to disagreements with Kilbey and Willson-Piper, and the band continued until '97 when the trio of Kilbey, Koppes, and Powles released Pharmakoi / Distance-Crunching Honchos With Echo Units as The Refo:mation founded without Willson-Piper. Subsequently, Kilbey decided that The Church should release just one more album before finally disbanding. The Church therefore embarked on a farewell tour in Australia, which was surprisingly quite successful, and the last grand finale in Sydney convinced all members to give it another shot in the studio. For the first time, they found themselves in full control of the production assisted by the band's new drummer Tim Powles, and with him at the helm as sound engineer and mixer, they managed to combine the band's original strengths with a new distinctive set of traits. Powles is also mentioned in several places as the person who managed to shelve old internal tensions between Kilbey, Koppes, and Willson-Piper and make them all look ahead. The album was released in Australia on the label Festival Records, in Europe on Cooking Vinyl, and for the North American market by Thirsty Ear and True North. After the release, the band went on their first world tour for many years, which led the group to New York, where Kilbey was arrested and sentenced to community service for buying heroin.

The album garnered generally positive reviews and is one of the band's most coherent and better albums, which clearly wins for a special feeling for a whole cast rather than individual strong compositions. There are no fillers and the 'featured highlights' above are all ten tracks.

[ allmusic.com 4 / 5 stars ]

org. Australian cover

Mogwai "Rock Action" (2001)

Rock Action

release date: Apr. 2001

format: digital (8 x File, MP3)

[album rate: 3,5 / 5] [3,72]

producer: Dave Fridmann

label: [PIAS] Recordings - nationality: Scotland, UK

Track highlights: 1. "Sine Wave" - 2. "Take Me Somewhere Nice" - 4. "Dial: Revenge" - 5. "You Don't Know Jesus" - 7. "2 Rights Make 1 Wrong"

3rd studio album by Mogwai with its title from the band's own label Rock Action Records (established in 1996) following two years after Come on Die Young sees the band embracing synthesizers and a more electronically-founded sound without losing touch with their beginnings with electric guitars, which in a way links this album with the bands more recent material. It contains 8 compositions with a total running time at just over 38 minutes making it one of the band's shortest full-length albums.

Rock Action is well-produced and the songs are rich in tone and colour making it one of the bands more varied albums.

[ bandcamp ]

[ allmusic.com 3,5 / 5, The Guardian, Q Magazine, NME, Rolling Stone 4 / 5 stars ]

Talk Talk "Asides Besides" (1998)

Asides Besides (compilation)
release date: Apr. 20, 1998
format: digital (2-disc)
[album rate: 3,5 / 5]
producer: various
label: EMI - nationality: England, UK

A 2 cd compilation - again issued by EMI - released shortly after Mark Hollis released his eponymous solo album in Jan. on Verve Records. Most tracks here are original Talk Talk compositions in (strongly) altered versions attached "Extended Version", "Extended Remix", "12'' Mix", "Dub Mix", "Dance Mix", "U.S. Mix", "Demo Version", or just "Edit". Yes, the old label surely know how to make money. Everything, of course, is released without the band's consent, and to make the company even less sympathetic, they chose to release the album just a few months after Mark Hollis had released his first and only solo album - just to harvest that more... The band had sued and won a the case against EMI with its release of the album History Revisited (1991, see Natural History...), but here EMI "just" release the same remixed songs on an album, claiming it's "demo material"... And my guess - as well as that of EMI - is that the band members simply wouldn't go through another lengthy law suit, so you may ask yourself, who really won the case.
The songs are there - a few of them have been made in extended versions by the band's co-composer and main producer throughout the band's career, Tim Friese-Greene, but the majority of the tracks are edited by EMI engineering staff.
Especially, the older compositions sounds truly fine, but it's also a mixed bag with so many compositions tampered with, and frankly, the studio albums are there, and they're all you need.

EMF "Schubert Dip" (1991)

Schubert Dip [debut]
release date: May 7, 1991
format: digital
[album rate: 3 / 5] [2,86]
producer: Pascal Gabriel & Ralph Jezzard
label: Parlophone - nationality: England, UK

Track highlights: 1. "Long Summer Days" - 5. "I Believe" - 6. "Unbelievable" (4,5 / 5) - 7. "Girl of an Age"

Studio album debut by Gloucester-based electronic quintet EMF [aka Epsom Mad Funkers] consisting of lead vocalist & guitarist James Atkin, Derry Brownson on keyboards & samples, Ian Dench on keyboards & guitars, Zac Foley on bass, and Mark Decloedt on drums.
EMF released the single "Unbelievable" in Nov. '90, and it was an immediate hit around the world reaching #3 on the UK singles chart list (#1 in the US), and it possibly paved the way for the recordings for this full-length album.
Musically, EMF is part of the baggy / madchester, alt. dance scene, which includes bands like The Stone Roses, Happy Mondays, Stereo MCs, Inspiral Carpets, and James. Sampling plays a major role in the music by EMF and most songs are held in an uptempo electronic and alt. dance-style.
Schubert Dip received mixed reviews but still peaked at #3 on the national albums chart list; however, "I Believe" is the only song that comes close to their hit single and the album is really nothing more than just above mediocre. I have occasionally played it in its entirety and always concluded that it's an uneven collection of songs that do not match albums by Happy Mondays, The Stone Roses or most other acts of the genre, but "Unbelievable" is one hell of a tune.
[ allmusic.com 3 / 5 stars ]

Blaue Blume "Sobs" (2017) (ep)

Sobs (ep)

release date: Nov. 17, 2017

format: digital (4 x File, FLAC - HFN 70)

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

producer: Blaue Blume

label: HFN Music - nationality: Denmark

Tracklist: 1. "Macabre" - 2. "Ebony" (4 / 5) - 3. "Mayhem" - 4. "Haven't You"

4-track ep by Blaue Blume following its debut album Syzygy (2015). Since then, the band has moved to the German independent HFN Music ['Hafen Music'], a label who has released albums of several other Danish acts including Trentemøller, Reptile Youth, Lydmor, Kasper Bjørke and Jacob Bellens. Furthermore, the quartet now consists of lead vocalist Jonas Smith, guitarist Robert Buhl-Jensen, new bassist Buster Lassen, and drummer Søren Buhl-Jensen.

"Macabre" was produced with Nis Bysted and released as standalone single in March, and it's here with the uptempo killer "Ebony" the ep's strongest tracks but the two remainders are not bad, making this a strong release with great promises for a forthcoming album.

[ bandcamp ]

Happy Mondays "Pills 'n' Thrills and Bellyaches" (1990)

Pills 'n' Thrills and Bellyaches

release date: Apr. 1990

format: cd (2007 remaster)

[album rate: 4 / 5] [3,82]

producer: Paul Oakenfold, Steve Osborne

label: Rhino Records - nationality: England, UK

Track highlights: 1. "Kinky Afro" (4,5 / 5) - 2. "God's Cop" - 3. "Donovan" - 4. "Grandbag's Funeral" - 5. "Loose Fit" - 6. "Dennis and Lois" - 7. "Bob's Yer Uncle" (4 / 5) - 8. "Step On"

3rd studio album by Happy Mondays following 1½ years after Bummed (Nov. 1988) originally released on Factory Records. After Happy Mondays' commercial breakthrough with a remix of the hit song "Hallelujah" taken from the ep Madchester Rave On (Nov. 1989) and a similar follow-up succes with the cover song "Step On", the band went to the studio with the two DJs and remix producers Paul Oakenfold and Steve Osborne to see if they could carry the succes of their Club Mixes into shaping a collection of new songs. After all, the band had always been a club house party band and just by its title, the album alludes to a certain unhealthy but nevertheless characteristic lifestyle of this particular band.

If the band blended styles and genres on Bummed, they simply take it to another level here by fusioning the whole mix of the predecessor with modern dance beats, electronic rave and basically embracing the style of acid house. It's a modern version of rock that mixes reminiscences of post-punk with indie pop, neo-psychedelia, funk, disco, soul, alt. dance, techno - and whatever made people dance.

The album was met by great enthusiasm and peaked at number #4 on the British albums chart list bringing new fame to the Factory label. Although, only released in a remix, the first single "Step On" went to #5 on the UK singles chart list, and "Kinky Afro" ecqualed that (and went #1 on the Modern Rock list in the US), which was followed by single releases of "Loose Fit" (#17 in the UK) and "Bob's Yer uncle" (US promo single only).

In retrospect, the album sits on top of the whole "baggy / madchester" movement as an iconic cornerstone. With it's unique stylistic mix and Ryder's original singing style it showcases a most specific time full of exstacy pills and abuse. Ryder mumbles along with funny semi-autobiografical lyrics about sex, drugs, and everyday life of the working-class in Manchester. It's over-the-top and at times odd touching on the bizarre, but also damn charming and full of refreshing youthful energy.

The album is enlisted in "1001 Albums You Must Hear Before You Die". Both the '88-album and the successor contains great tunes, but this is simply the band's best effort. Imho, I never was a huge fan of The Mondays. Generally, I have always found the huge blend of styles to be too much of mix, although, really enjoying a few of their songs, but with the rest being too far from that. Still, this one is more than just fine.

The 2007 Rhino remaster contains five bonus tracks: two 12'' versions of tracks #5 and #7; two remixes of tracks #1 and #8; and the previously unreleased song "Tokoloshie Man".

Recommended.

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

Mark Hollis "Mark Hollis" (1998)

Mark Hollis [debut]
release date: Jan. 26, 1998
format: cd
[album rate: 4 / 5] [4,12]
producer: Mark Hollis
label: Polydor Records - nationality: England, UK

Track highlights: 1. "The Colour of Spring" - 2. "Watershed" - 4. "The Gift" - 5. "A Life (1895-1915)" - 6. "Westward Bound" - 7. "The Daily Planet"

Studio solo debut and only album by Talk Talk front figure Mark Hollis released seven years after the disbandment of Talk Talk. A record deal for two albums with Polydor before the band's final album may be the practical grounds for the initial process in having this album released. Hollis never was an artist who sought out or enjoyed time in the limelight before or after releasing albums, and one of the reasons for the disbandment of Talk Talk was his personal wish not to live life as a performing artist but to recede to family life - so here's at least one good reason for having record contracts that matters.
Stylistically, the album is quite different from any of the albums released with Talk Talk. The only common characteristics is the element of jazz, which had its biggest impact on The Laughing Stock but also found way to Spirit of Eden and The Colour of Spring. One will also find some typical progressiveness on this one but the overall tone and genre is not a post rock sound but a seclusive and almost ambient pop sensation, which is one-third chamber pop, one-third art pop and a third jazz; however, produced with minimal sound, and in a way perhaps should be labelled minimalism if not that style also hinted at repetitious elements, often made with classical or electronic instrumentation, which is not the case here. If not silent, it's just so very delicate. Several familiar musicians contribute on the album. Mark Feltham on harmonica, Martin Ditcham on drums and percussion, and Robbie McIntosh on guitar have all played on several albums by Talk Talk before, but it's nearly incredible how many additional musicians Hollis make use of on this near-quiet album 'cause what you really hear, on the majority of the tracks, is just the voice of Mark Hollis, piano parts by Lawrence Pendrous, the double-bass by classical and jazz bassist Chris Laurence alongside Mark Ditcham's drum and/or percussion sounds. On top of that parts of other instruments are layered briefly to ensure the sensation of a warm, spacious room of beauty.
I bought the album on its release without having heard a single tone from it 'cause I knew it had to be good. Not that it was anything I expected, but it didn't disappoint. Perhaps my only regret is its short playing time just below 47 mins.
The album was met by positive reviews but wasn't followed by live concerts or any tour. Although, Hollis produced and arranged two tracks on the album Smiling & Waving from 2001 by Norwegian Anja Garbarek (daughter of Jan Garbarek), he returned to his private life and regrettably seems to have abandoned music from hereon for good.
[ allmusic.com 4,5 / 5, The Guardian, Uncut and NME 4 / 5 stars ]

1998 Favourite releases: 1. Grant Lee Buffalo Jubilee - 2. Mark Hollis Mark Hollis - 3. Fatboy Slim You've Come a Long Way, Baby

Thåström "Centralmassivet" (2017)

Centralmassivet

release date: Sep. 29, 2017

format: cd

[album rate: 4 / 5] [3,82]

producer: Niklas Hellberg, Thåström

label: Razzia Records - nationality: Sweden

Track highlights: 1. "Bluesen i Malmö" - 2. "Körkarlen" - 3. "Centralmassivet" (4 / 5) (live) - 5. "Låt det goda" - 6. "Aldrig av med varandra" - 8. "Karaokebaren"

9th studio album by Thåström following two years after Den morronen (2015), which again followed Beväpna dig med vingar (2012). Like all his albums since the 2012-release, then also Centralmassivet is released on the Swedish label Razzia Records. Thåström also produced the 2015-album in collaboration with Hellberg and Ulf Ivarsson, and Thåström made up the Swedish trio Sällskapet together with Pelle Ossler and Hellberg from 2007 to 2015 after which Thåström left the two to continue the band as a duo.

On this, Niklas Hellberg is not only credited as music composer of all tracks together with Thåström - he also plays piano, keyboards, synths, is credited all programming and as recording technician. In that respect, Hellberg's role is more or less adapted from how he contributed to the music in Sällskapet. And it doesn't stop with that 'cause what characterises the style and sound on this, Thåström's ninth album, is a delicate combination of styles that both echoes his last two solo albums but also cary an underlying connection with electronic music, which again bonds to the two previous albums by Sällskapet without being as grey as they appeared. Centralmassivet is first and foremost unmistakably a Thåström album with the alt. rock and singer / songwriter mix he has come to be recognised for over the last decade, but it's not just a simple strategy where he utilise a familiar formula. Den morronen was dark and somewhat laidback - and you may argue also a bit of a one-dimensional experience, but here Thåström succeeds in relaunching himself as a pure rock artist with electrifying and punchy tunes. The album is full of modern blues rock and it comes out as a very strong effort with an intelligent and remarkable production that makes room for stylistic inputs from industrial rock and the electronic genre without compromising the overall sensation of something extremely coherent and at the same time a collection of tunes with apparent diversity.

Centralmassivet is undoubtedly Thåström's best solo album since his stunning Skebokvarnsv. 209 (2005) and it's no less than one of his finest releases.

Highly recommendable.

[ Gaffa.dk 5 / 6 stars ]