26 October 2019

Folkeklubben "Sort tulipan" (2018)

Sort tulipan
release date: Oct. 26, 2018
format: vinyl (UNI 7701033)
[album rate: 3,5 / 5] [3,48]
producer: Frederik Thaae
label: Universal - nationality: Denmark

4th studio album by Danish folk rock and pop / rock band Folkeklubben.
The band has become a major national act with its songs about a Danish everyday life and with lyrics that are both founded on humour and a certain amount of self-irony. They surely have made some fine and popular songs but overall, I'm not a big fan. It's somehow too mainstream sounding with a bunch of references to artists I just never appreciated that much.

22 October 2019

Ibibio Sound Machine "Doko Mien" (2019)

Doko Mien
release date: Mar. 22, 2019
format: digital (11 x File, FLAC)
[album rate: 3,5 / 5] [3,48]
producer: Max Grunhard
label: Merge Records - nationality: England, UK


3rd studio album by London-founded musical collective Ibibio Sound Machine. The band was initially formed by the three musical producers, (Australian-born) Max Grunhard, Leon Brichard, and Benji Bouton who got together to make a blend of Afro-funk with an electronic or a Drum'n'bass dimension, and the three engaged the London-born Nigerian lead vocalist Eno Williams, (Ghanaian) guitarist Alfred Kari Bannerman, (Brazilian) percussionist Anselmo Netto and the two multi-instrumentalists, Tony Hayden and Scott Bayliss. Brichard and Bouton left the project in the hands of Grunhard and the collective was then expanded by bassist John McKenzie and drummer Jose Joyette, which means that the musical collective now counts eight members.
Musically and stylistically, Ibibio Sound Machine represents a huge melting pot of influences and styles. Sometimes it's almost clean afro-funk or predominantly Drum'n'bass, at other times it focuses more on synthpop and / or an electronic soundscape, but most of the time it's just an original blend of everything and in that respect it feels like a manifestation of modern fusion (rock).
Some songs makes me think of Grace Jones (tracks #2 & #6) or M People (track #3) and my general impression is that the end result is a wee bit difficult, 'cause where's the Ibibio Sound Machine soul if not a modern but smart copyist "band"? The album is not far from the band's previous album Uyai (2017), but I find this a much more coherent and also better mixed release. Generally, I find that the electronic and afro-funk-styled compositions turn out the best with the Drum'n'bass bits as more anonymous and somewhat retro-styled.
Doko Mien is not a clear favourite, though it definitely has its positive moments.
[ allmusic.com 4 / 5 stars ]

20 October 2019

Bill Frisell "The Intercontinentals" (2003)

The Intercontinentals
release date: Apr. 15, 2003
format: digital (14 x File, FLAC)
[album rate: 4 / 5] [3,92]
producer: Lee Townsend
label: Nonesuch - nationality: USA

Track highlights: 1. "Boubacar" - 2. "Good Old People" - 4. "Baba Drame" - 5. "Listen" - 7. "Procissão" - 8. "The Young Monk" - 10 "Yála" - 11. "Perritos"

Studio album by Bill Frisell following his 2002 album The Willies is like most of his albums on Nonesuch produced by Lee Townsend and the majority of the tracks are composed by Frisell, although, this one also contains four by others and one traditional; however, the biggest change on this is probably the boldest inclusions of world music on any album by Frisell, which is also seen on the list of personnel and then it's also referred to in the album title. Several tracks honour famous musicians of world music, e.g. the first track "Boubacar", a tribute to Malian guitarist Boubacar Traoré, who again is composer of track #4. The album feature Malian percussionist Sidiki Camara, also on djembe, Brazilian guitarist and percussionist Vinicius Cantuária, Greek oud and bouzouki player Christos Govetas, American violinist Jenny Scheinman, and staple Frisell slide and pedal steel guitarist Greg Leisz. Yes, this is indeed an intercontinental fusion, and the title of the album also became the name of this very ensemble, initially formed in 2001.
The album was met by international acclaim and is a perfect example of Frisell's continued journey to explore new musical soil. The album nicely balances African blues, latin grooves and rhythms, world music, and American roots music with ever-present americana.
Highly recommended.
[ allmusic.com, PopMatters 4,5 / 5, The Penguin Guide to Jazz Recordings 3,5 / 4, Mojo 4 / 5 stars ]

17 October 2019

Brittany Howard "Jaime" (2019)

Jaime [debut]
release date: Sep. 20, 2019
format: digital (11 x File, FLAC)
[album rate: 3,5 / 5] [3,55]
producer: Brittany Howard
label: ATO Records - nationality:

Track highlights: 2. "He Loves Me" (live session) - 3. "Georgia" - 4. "Stay High" (live session) - 6. "Short and Sweet" - 7. "13th Century Metal" (live session) - 9. "Goat Head" - 10. "Presence"

Studio solo debut album by Alabama Shakes front-figure, Brittany Howard. Well, actually she made the full-length album work already in Sep. 2015 under the moniker of Thunderbitch, which was more of a musical project, where Jaime should be regarded as her actual solo debut. Howard is in complete control as she has written and composed all tracks and also produced it.
In Alabama Shakes the music is a tight mixture of warm and energetic r&b, blues rock, and soul, which also is a mixture you will find here, but on top of that this is much more complex in terms of styles. She blends all that with jazz rock, hip hop, contemporary r&b, and art pop to make her own conglomerate of styles and genres and succeeding without sounding forced or too varied.
Jaime has been met by critical acclaim and it peaked at number #13 on the US Billboard 200 and topping the US Americana / Folk albums chart list.
The musical arrangements and stylistic complexity immediately had me thinking of St. Vincent, but it's rather unfair to point at comparisons 'cause Howard only proves her artistic originality and worth, which pays tribute to the American heritage of great artists of jazz, soul, r&b as well as a great variety of modern performers of pop music.
Recommended.
[ allmusic.com, The Guardian, Rolling Stone 4 / 5 stars ]

16 October 2019

The Go-Betweens "The Friends of Rachel Worth" (2000)

The Friends of Rachel Worth

release date: Sep. 16, 2000
format: cd
[album rate: 3,5 / 5] [3,48]
producer: The Go-Betweens
label: Clearspot / EFA - nationality: Australia


7th studio album by The Go-Betweens released twelve years after 16 Lovers Lane (Aug. 1988) is the band's first since its recent reformation. Robert Forster and Grant McLennan had stayed friends and never lost touch in the years following the band's break-up in '89, although they were now busy pursuing individual solo careers. Forster released four solo albums - most recently Warm Nights from 1996 - and he produced a few releases for wife Karin Bäumler's band Baby You Know, whereas McLennan seems to have been more productive by also releasing four solo albums - most recently In Your Bright Ray from 1997 - one of these is a double album, and then he also released two albums with the band Jack Frost, as well as a single with the band Far Out Corporation. In the run-up to the reformation of The Go-Betweens, the two songwriters played a number of live gigs together assisted by bassist Adele Pickvance, either announced as Forster / McLennan or occasionally as The Go-Betweens, performing songs from their respective solo releases as well as songs from their time with The Go-Betweens. In Forster's autobiography "Grant & I" he recalls how the French music magazine 'Les Inrockuptibles' got in contact with Forster because they wanted to bring a longer article on the band's story and simulaneously they hired a version of the reformed band to perform as The Go-Betweens in Paris. The concert was quite successful and other European concerts soon followed. One night after a performance in '96, Grant aired the idea that they really should reform the band, an idea Forster didn't immediately reject, but it didn't materialise on that occasion as they had too many things going on. Forster had just released Warm Nights, which he intended to promote, and he and Karin were also expecting their first child, and then the near-always prolific McLennan was working on what would turn out to be his final solo album, the fine In Your Bright Ray (Sep. '97). Concurrently, he had also formed the band Far Out Corporation together with guitarist Ian Haug (of Powderfinger), Adele Pickvance, and drummer Ross McLennan (no relation to Grant), who had sometimes replaced Glenn Thompson when playing live with Forster, and together they released the album FOC (Oct. '98). So clearly, thoughts about new music from The Go-Betweens were still well and truly stoved away. As of May '99, Beggars Banquet released the album Bellavista Terrace: Best of The Go-Betweens - and the company wanted the band's aid to promote the album, and a new live tour was soon set up. The concerts were again powerful experiences and yet again McLennan had asked Forster whether it was time to reform the band and perhaps focus their joint songwriting on producing a new album. Forster first had to return home to ask his family in Germany how they felt about him doing a new shot at the old band, and with Karin's approval, Forster then moved with his family to Australia to make sure Forster and McLennan could work closely together on new music, just as they had found working was best years before - getting together with a handful of new drafts and then in a mutual process making a first rough sorting and testing out arrangements before the tracks were presented to the rest of the band.
For this album, the new quintet of The Go-Betweens consists of the two founding members, vocalist and guitarists Forster and McLennan, together with bassist and backing vocalist Adele Pickvance, who, in addition to having assisted McLennan on his solo tours, also was part of the band Far Out Corporation. Pickvance was to prove to be the only other and third stable member in the band's new short life cycle. Much like years before, all tracks are credited the Forster / McLennan unit, with one half of the songwriting credited Forster and the other half to McLennan, while all songs feature both as composers. The album is the band's first to be recorded in the US (Portland, Oregon), and to support the band they are assisted of the trio Sleater-Kinney, consisting of Carrie Brownstein, Corin Tucker, and Janet Weiss (drummer in three bands: Sleater-Kinney, Quasi, and The Go-Betweens). Officially, Brownstein and Tucker are only credited on track #9 for additional guitar and vocals, but apparently they contribute (uncredited) harmony vocals on several tracks. However, the album is the one and only with a line-up featuring Weiss and (husband) Sam Coomes, who both form the core of Sleater-Kinney.
The front cover only depicts McLennan and Forster (the back is text only), and the two reappear with Pickvance and Weiss (but without Coomes) on the inside of the digipak edition.
Compared to their solo releases over the past decade, the album doesn't offer strikingly new, and the closest is actually the style of McLennan and Forster's solo works, where they have both cultivated singer / songwriter and folk rock since the break-up in '89. It's very much like two troubadours doing their usual stuff - together, but separately. Neither the composition contribute much to the sound of the new Go-Betweens, and it's really only the familiar vocals of the two frontmen that connect the album with previous releases by The Go-Betweens.
As was the case before the disbandment, the album was met by positive reviews, and also by a lack of commercial success. All in all, The Friends of Rachel Worth isn't one of the band's most memorable albums, but as with their other six albums - perhaps with the exception of the stumbling debut - the songs have a distinct rock poetic signature. The lyrics offer fine lines and personal stories, 'cause as modern storytellers, the songwriting duo Forster / McLennan are in a league where you easily think of other names such as Patti Smith, Lou Reed, Tom Verlaine, David Bowie, etc., which in itself is exceptional company.
[ 👍allmusic.com, Rolling Stone 3,5 / 5, The Guardian, Melody Maker, NME, Spin 4 / 5, 👉Uncut 4,5 / 5 stars ]

15 October 2019

The Radio Dept. "I Don't Need Love, I've Got My Band" (2019)

L-R: Duncanson & Carlberg
I Don't Need Love, I've Got My Band
(compilation)
release date: Aug. 23, 2019
format: digital (10 x File, FLAC)
[album rate: 4 / 5]
producer: (rec. by Johan Duncanson, Martin Carlberg)
label: Just So! - nationality: Sweden


Compilation album by The Radio Dept. is basically two old EPs re-released as one album. Tracks 1-5 were originally released as the Pulling Our Weight EP, from Nov. 2003, and tracks 6-10 has previously been released as This Past Week EP, in Jan. 2005. The album has now been released on the band's own label Just So! (established in 2018 when they re-issued Pet Grief as their first album).
Well, this is what we get, when all we really want is new studio material from one of Sweden's most fascinating bands. I take it as a statement saying: 'Hey, but we're still around!'
The front cover is the first revealing the two members of Johan Duncanson and Martin Carlberg. Musically, it's quite naturally The Radio Dept. classic with melodic noise pop, indie rock, and shoegaze written all over, and then the two EPs actually fit nicely together, which makes it a most wanted album, despite being old material. It fits nicely as a natural companion to Passive Aggressive: Singles 2002-2010 (2011).

The two original EPs:
2003 Pulling Our Weight EP


2005 This Past Week EP


08 October 2019

Papir "V" (2015)

V
release date: Aug. 18, 2017
format: digital (7 x File, FLAC)
[album rate: 3,5 / 5] [3,46]
producer: Lars Lundholm [rec.]; Carl Saff [mast.]; John McEntire [mix.]
label: Stickman Records - nationality: Denmark

Track highlights: 1. "V.I" - 2 "V.II" - 3. "V.III" - 4. "V.IV" - 5. "V.V" - 7. "V.VII"

5th studio album by Papir following almost 3½ years after IIII (Feb. 2014) is the band's first on German label Stickman. They hold on to the formula of keeping compositions without other titles than a succession of numbers, but apart from that this new album actually reveal a progression in the band's soundscape, as opposed to what you may experience on their most recent three studio albums. The album consists of seven compositions - in physical form it has only been issued as double vinyl (with tracks #1-6) and a 2-cd release with a total running time exceeding 94 mins.
Musically, the band still embark the space rock and krautrock starship, but on this they have now established room for more diversity without loss of direction. It appears the change to a larger label has crystalised in narrowing in how to come through as a band on a mission. Some tracks would easily go as obvious post-rock beginnings, middles, or endings, but Papir just include various stylistic elements in a broad combo. Here, you'll notice bits of shoegaze and dreampop but everything is cleverly incorporated with their talent for colouring and in that way V is easily the band's so far most successful album, and in my mind, an album of international value.
Worth more than a listen.
[ SputnikMusic 4,2 / 5 stars ]