26 January 2019

Wilmer X "13 Våningar upp" (2005)

13 Våningar upp
released: Jan. 26, 2005
format: digital
[album rate: 3,5 / 5] [3,66]
producer: Chips K. (aka Chips Kiesbye)
label: Amigo - nationality: Sweden

Track highlights: 1. "Blind Mans Bluff" - 2. "Fem ett fem" - 3. "Han måste ut ur mitt liv" - 4. "Dämma upp alla floder" - 5. "Stackars Valentin" - 7. "God god lust" - 9. "Tror du udda är jämt" - 10. "Tuff puck att svälja" - 13. "Bara muskelminnet kvar"

A very strong and up-tempo studio album by Wilmer X in their classic and characteristic blues rock rock & roll combo. Unfortunately, this was only issued in digital format. This is one of their better albums.

Robin Guthrie & Harold Budd "White Bird in a Blizzard" (OST) (2014)

White Bird in a Blizzard
 (soundtrack)
release date: Sep. 23, 2014
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Robin Guthrie
label: Lakeshore Records - nationality: Scotland, UK / USA

Track highlights: 1. "Visions of Eve" - 2. "Brock's Theme" - 4. "Curious" - 5. "Forever Changed" - 11. "I'm Here, Kat, I'm Here" - 12. "White Bird"

Soundtrack by Robin Guthrie & Harold Budd for the film of the same name directed by Gregg Araki, who also directed the 2005 film "Mysterious Skin" for which Guthrie and Budd also provided the musical score, which was their first actual exclusive collaboration, released as Mysterious Skin: Music From the Film. Almost two decades earlier, however, they had made their first album together: The Moon and the Melodies (1986) as a collaboration with Elizabeth Fraser and Simon Raymonde - Guthrie's other two partners from The Cocteau Twins.
White Bird in a Blizzard would turn out to be their last recordings together. December 2020 saw the release of the album Another Flower, but the tracks here, like the tracks for White Bird in a Blizzard, were already recorded in 2013. Perhaps the compositions for both albums stem from the same recording session? It consolidates unmistakably the same moods and soundscape, although the soundtrack overall contains more varied music, which is largely due to the fact that the individual tracks are not, like the 2020 album, attributed both artists - only tracks #4 and #8 are credited both, and exactly those two could easily have be included on Another Flower without changing the overall expression. The soundtrack consists of twelve compositions with a total playing time of 41 minutes. Guthrie is credited tracks #1, #2, #5, #7, #11, and #12, while Budd is exclusive composer of tracks #3, #6, #9, and #10. Quite naturally, you'll notice a distinct dream pop style to Guthrie's tracks, with Budd's compositions being far more minimalistic. However, there are no explicit signs indicating that they do not contribute to each other's compositions, but you may note how Budd's instrumentals are without string instrumentation, and in isolation these stand a bit on their own. Compared to their first film score collaboration, the album here stands stronger because it's more varied without being disjointed. Personally, I prefer Guthrie's compositions but the collaboration with Budd is certainly not without quality, even if Budd's own piano and keyboard variations are a little too new age-styled to my liking. Together, they certainly make relevant music, and I feel as this album surpasses their previous collaborations.
Recommended.

20 January 2019

Björk "Vulnicura" (2015)

Vulnicura
release date: Jan. 20, 2015
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Björk, Arca
label: One Little Indian - nationality: Iceland

Track highlights: 1. "Stonemilker" - 2. "Lionsong" - 4. "Black Lake" - 5. "Family" - 7. "Atom Dance" (feat. Anohni) - 8. "Mouth Mantra" - 9. "Quicksand"

8th studio album by Björk is co-produced by Venezuelan electronic producer / musician Arca [aka Alejandro Ghersi]. Stylistically, a Björk studio album is always within an art pop universe, and here she attributes that with chamber, ambient pop and electronic. It's not far from what she has released before - perhaps the biggest change is the distance to her most recent album Biophilia (Oct. 2011), although, they share the common theme of nature. In many ways this is closer to a mix of her three consecutive albums around the new millennium: Homogenic (1997), Vespertine (2001), Medúlla (2004), and frankly, Vulnicura sounds much like the outcome of a combo of all three albums.
Without containing obvious hits, I think the result is her most interesting album in more than 14 years. An alternative title could have been 'Homogeneous', 'cause that's also what it is.
[ allmusic.com 4,5 / 5, Rolling Stone, The Guardian, NME, Spin 4 / 5 stars ]
=> Needledrop review

19 January 2019

Nana Bech "I Could Kill You in a Thousand Ways" (2018)

I Could Kill You in a Thousand Ways
[debut]
release date: Nov. 16, 2018
format: vinyl
[album rate: 3,5 / 5] [3,64]
producer: ? (rec. by Dennis Ahlgren)
label: self-released - nationality: Denmark


Studio album debut by Danish musician Nanna Bech is a self-released album with nine compositions written, and composed by Bech and co-arranged with Dennis Ahlgren, who also contributes on guitar, bass, synths, and percussion. Aside from singing, Bech also handles piano and ukulele parts.
Musically, it's in a quieter corner of indie pop with strong influences from folk, Nordic folklore, and it could also come with a sticker labelling it as neofolk.
Bech has a delicate singing voice, which adds a destinct quality to all songs, and the arrangements are made with an ear for rhythm and melody, which allows for Bech's funny and story-telling lyrics to stand out on their own terms. The songs have a common theme of the macabre but the stories are wrapped up in serene colours, in softness, and with a lightness that all function as deliberate oppposites showing you a wink as an invitation for a smile. Frankly, I don't think this album comes with any fillers, and to pick the highlights is more than ordinarily hard, and instead of handing the listener with an album of hit song potential, it's really the whole package and the uplifting state it may settle you in that ensures this as a succesful and most recommended debut.
Now, having heard Nanna Bech live, I only wish she would grant us with more of her talent, and perhaps issue an album of songs with lyrics in Danish.
[ Gaffa.dk, Gfrock.dk 4 / 6 stars ]

12 January 2019

Anadol "Hatıralar" (2017)

Hatıralar
release date: Mar. 24, 2017
format: digital (16 x File, FLAC)
[album rate: 2,5 / 5] [2,58]
producer: Anadol, Işık Sarıhan
label: Inverted Spectrum / Pingipung - nationality: Germany

Second album by Anadol (aka Turkish-born Gözen Atila Kaya) originally recorded in 2011-12 in Turkey and Berlin and released on Inverted Spectrum Records, Turkey. The debut comes in various versions - apparently, the original was a memory-stick release, which was reissued by Pingipung as a 12-track vinyl lp and as downloadable album via Anadol's bandcamp profile. 'Hatıralar' is Turkish for 'memories.
Anadol is a musical project primarily playing instrumental psychedelic synth folk - a unique combo where the sound artist combines musical influence from Turkish folklore, Western music and various types of world music to produce simple melodic patterns using synthesizers with sporadic added instrumenation.
EDIT 2023:
The album has been reissued in a remastered and remixed version counting 12 compositions.

10 January 2019

Arctic Monkeys "Tranquility Base Hotel + Casino" (2018)

Tranquility Base Hotel + Casino
release date: May 11, 2018
format: digital
[album rate: 3 / 5] [2,82]
producer: Alex Turner, James Ford
label: Domino Records - nationality: England, UK

Track highlights: 1. "Star Treatment" - 4. "Tranquility Base Hotel + Casino" - 6. "Four Out of Five"

6th studio album by Arctic Monkeys released after a five-year hiatus and produced by composer, vocalist and guitarist Alex Turner with James Ford, who has been in the producer seat on all of the band's releases except the debut - just as Ford was on Turner's last project: The Last Shadow Puppets' second album from 2016 Everything You've Come to Expect. The cold monkeys have come a long way since the brilliant AM from 2013 and so has Mr. Turner. He has always been the undisputed leader of the band, but here he is not only part of the production-team, he has also written all songs and dare I say: turned Arctic Monkeys into a Turner-project. Stylistically and sound-wise, this has much in common with The Last Shadow Puppets most recent album. It sounds like over-polished lounge-like chamber pop and psychedelic pop with Turner crooning like a new-born American jet-setter in his modern aristocratically mumblings about right and wrong.
The album received positive to luke-warm reviews. I find it quite boring and even less interesting than Turner's Shadow project. To quote Alexis Petridis of The Guardian: "The problem is that a smart guy is sometimes all Turner seems to be. The songs can feel like less than the sum of their parts: a selection of one-liners, wry observations and knowing winks to camera that leave you struggling to work out what he’s driving at – and wondering if he knows, or cares – and to locate any real emotional connection or impact." It leaves me as indifferent as when listening to Bowie's last album Black Star from 2016, and Alex Turner has never sounded so much like Bowie as he does here.
Not recommended.
[ allmusic.com, Uncut 3,5 / 5, 👎NME 4 / 5, 👍The Guardian 3 / 5, Rolling Stone 2 / 5 stars ]

07 January 2019

Interpol "Marauder" (2018)

Marauder
release date: Aug. 24, 2018
format: cd
[album rate: 3,5 / 5] [3,65]
producer: Dave Fridmann
label: Matador - nationality: USA

Track highlights: 1. "If You Really Love Nothing" - 2. "The Rover" (4 / 5) - 3. "Complications" - 5. "Stay in Touch" - 7. "Mountain Child" - 8. "Nysmaw" (4 / 5) (live)

6th studio album by Interpol, who continues to release albums every four years and in the meantime stays very low. Here, they have put it in the hands of established producer Dave Fridmann. The band seems to regain its post-punk revival flair and do what they have proven to do best: play tight melody-based post-punk. Actually, the album sounds as made in the early 2000s and would easily have followed Antics (2004) or the debut from 2002, and with the album cover they don't even try to take big leaps from their own heritage - on the contrary, in fact, and maybe there's even a message in that.
I guess, critics would argue that the band has only moved few inches since their acclaimed debut and that there are no evident traces of the band's later album releases from 2007, 2010 and 2014. The differences may be small, but not microscopical, and what makes this a more mature album is what appears as perfection in details. The songs are simple, yet delightfully progressive in small dozes - it's subtle form and a significant depth that makes this the band's best album since the debut in 2002.
I like it - it's a grower.
Recommendable.
[ allmusic.com, NME, The Guardian, Slant 4 / 5 stars ]