Efterklang "Altid sammen" (2019)

Altid sammen
release date: Sep. 20, 2019
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Efterklang
label: Rumraket / 4AD Records - nationality: Danmark

Track highlights: 1. "Vi er uendelig" - 2. "Supertanker" - 4. "I dine øjne" - 5. "Hænder der åbner sig" - 6. "Verden forsvinder" - 8. "Havet løfter sig" - 9. "Hold mine hænder"

5th studio album by Danish band Efterklang follows seven whole years after Piramida (2012). In the meantime the band released the live-album The Piramida Concert (2013), made with Copenhagen Phil [The Philharmonic Orchestra of Copenhagen] - much to the same formula they previously did with Performing Parades (2009) in company by The Danish National Chamber Orchestra. Additionally, they have as 'Efterklang / Fundal' released The Colour of Falling (2016) as a collaborative project with Danish composer Kasper Fundal. Also of 2016, Efterklang founded the side-project Liima in collaboration with Finish drummer Tatu Rönkkö, and shortly after they released their debut ii (2016). The following year saw Liima's follow-up 1982. So, to speak of a hiatus is not really the issue, although, seven years may seem like a long period in between studio releases from Efterklang.

The trio remains intact on Altid sammen, which is the band's first with a Danish title and also with lyrics in Danish. Musically, they explore new terrain - much as usual. It appears to be a premise they feel comfortable with, and it's something they have applied to all releases throughout their career in what seems like an attempt to investigate new ways to create 'natural music'. On this, they have tuned down on the more orchestral arrangements thus creating their so far boldest ambient dream pop release. Actually, it's quite fulfilling listening to Casper Clausen singing in Danish, and if he on Piramida sounded a wee bit too much as Matt Berninger (The National), then you might get the idea that someone else has taken over as lead vocalist on this one, as he now sings with a higher pitch. Compared to previous albums, Altid sammen isn't an album following a formula with contenders to compositions like "Mirador", "Hollow Mountain", or "Monument" which almost came with a label saying: 'single'. On the other hand the album here appears, in my mind, as their most coherent studio album where several compositions just overflow with lusciousness.

[ allmusic.com 3,5 / 5, Exclaim! 4 / 5 stars ]

Latin Quarter "Swimming Against the Stream" (1989)

Swimming Against the Stream

release date: Apr. 1989

format: digital (11 x File, MP3)

[album rate: 3,5 / 5] [3,54]

producer: David Kershenbaum, Paul McKenna

label: RCA - nationality: England, UK

Track highlights: 1. "Swimming Against the Stream" - 2. "Blameless" - 4. "Model Son" - 5. "After Maralinga" - 6. "Dominion" - 10. "It Makes My Heart Stop Speaking"

3rd studio album by Latin Quarter following a little more than two years after Mick and Caroline (Jan. '87). Since then, the band has been reduced to a quartet consisting of lead vocalist and rhythm guitarist Steve Skaith, lead guitarist Richard Wright, bassist Greg Harewood and keyboardist & vocalist Yona Dunsford, while songwriter Mike Jones still 'only' delivers the lyrics to the music, which is all credited Skaith. On this, we notice the contributions by David Lindley on guitar, banjo and mandolin, Denny Fongheiser on drums, Tony Waerea on didgeridoo, Judy Gameral on dulcimer, and Paulinho Da Costa as percussionist. James Swinson is responsibe for the cover art, just as he has been on the band's former albums.

Musically, not much has happened since the debut Modern Times from '85. Latin Quarter narrates about the usual subjects and the style is held tight in melodic pop / rock with bits and inspiration from pop reggae and folk. In that way you don't really notice a progression, where the small variations may lie in the fact that Jones writes the lyrics - and they do tend to touch on naiivity - be it deliberate or not. To summarise, this isn't entirely bad - it does contain good tracks but also songs that echo some sort of recycling. Even though it appears as quite coherent, it isn't exactly great. It's good craftsmanship and then perhaps not much more.

The band's debut arguably raised some recognition, the second album was positively notised especially in Germany, Sweden and in Switzerland, whereas this doesn't seem to have been welcomed that well. I haven't been able to find any registered positions from Britain, and in Germany and Sweden the album reached positions as number 38 and 50 respectively on the album chart lists. This progression has continued the following years, where none of the band's releases have led to positions, anywhere. Latin Quarter where inactive from '97 until 2010, but since then and onwards to 2021, they have released another seven albums.

Dead Can Dance "Dead Can Dance" (1984)

Dead Can Dance [debut]
release date: Feb. 27, 1984
format: cd (2008 remaster)
[album rate: 3,5 / 5] [3,54]

producer: Dead Can Dance
label: 4AD / Warner Music Japan - nationality: Australia

Track highlights: 1. "The Fatal Impact" - 2. "The Trial" - 5. "Ocean" - 6. "East of Eden" - 10. "Musica Eternal"

Studio album debut by Australian, Melbourne-founded, band Dead Can Dance, who at this early point after having relocated to London, UK, consists of Lisa Gerrard, Brendan Perry, James Pinker, Scott Roger, and Peter (Lawrence) Ulrich. Already from the band's successor Spleen and Ideal (1985) and onwards, the band is constituted only by Gerrard and Perry.
Musically, it's quite difficult to narrow in as the style reflects a mix from many sources. The front cover alone - depicting the ancient artwork originating from Papua New Guinea sided by Greek letters tell us bits of their influences. There are dream pop-hauling electric guitars and likewise vocal performances with bold use of echo or delay effects, and then there's 'world'-like use of strong bass lines and percussion, which altogether makes it highly original by adding a gothic rock / ethereal darkwave sensation, although, that term wasn't even thought of at this point.
There are no credit-list available, only a back cover note stating: "A special thank-you to Ivo, Robin and Vaughan for all the interest they have shown." Ivo being Ivo Watts-Russell, one of the founders of 4AD Records, Robin being Robin Guthrie of Cocteau Twins (also associated with 4AD) - both Ivo and Guthrie were involved in the musical project, This Mortail Coil, which included Cocteau Twins and Dead Can Dance; and Vaughan being Vaughan Oliver, graphic designer at 4AD.
The album was released without much recognition in '84, but by passing the new Millenium and a bunch of artists engaged in neo-classical and / or darkwave-styles, Dead Can Dance and this album have attracted much more recognition, although, the band's style here is more linked with contemporary early '80s music - putting the band aside acts like Bauhaus, The Cure, Cocteau Twins and This Mortail Coil. With later (and more original) releases, Dead Can Dance would prove to make highly innovative and influential music.
Later in '84, both Gerrard and Perry represented the band on the debut album It'll End in Tears by the music collective, This Mortal Coil, led by 4AD founder, Ivo Watts-Russell.

Gregory Porter "One Night Only - Live at the Royal Albert Hall" (2018) (live)

One Night Only - Live at the Royal Albert Hall (live)
release date: Dec. 21, 2018
format: digital (19 x File, FLAC)
[album rate: 4 / 5]
producer: non-produced / Jeremy Azis (video-producer)
label: Blue Note - nationality: USA

Track highlights: 1. "Mona Lisa" (other concert) - 6. "Miss Otis Regrets" - 8. "In Heaven" - 9. "When Love Was King" (other concert) - 12. "No Love Dying" (live at Polarprisen 2017) - 13. "I Wonder Who My Daddy Is" - 16. "The Christmas Song" - 17. "Smile" (Irish concert) - 18. "Hey Laura"

Live album by Gregory Porter recorded Apr. 2, 2018 at Royal Albert Hall, London. The album contains 19 tracks and is also issued in a cd + dvd combo-edition with the same material on both cd and dvd, also featuring an additional interview with Porter. The majority of the songs here are taken from the most recent studio album Nat King Cole & Me from 2017 as all twelve songs from that album are represented with the addition of seven songs from various studio releases. The band musicians supporting Porter are Chip Crawford on piano, Jahmal Nichols on bass, Emanuel Harrold on drums, and with Tivon Pennicott on saxophone - his usual backing band. Aside from these great jazz instrumentalists they're all supported by The London Studio Orchestra conducted by Vince Mendoza.
It's not an easy task to select highlights from this album where all compositions are fine examples of Porter's capacity as a vocal jazz and jazz standards crooner. He is in no need of modernised auto-tune equipment, nor a producers golden post-production touch - it's recorded as is, and it's the second best when you missed being there.
Basically, this is the best album release in 2018 - I just don't want to include live releases in my top-3 end-list, which is why it isn't there. But asked to choose between this year's studio releases by Robyn, Nils Frahm, Gorillaz and Porter's live album, I'd go with Porter anytime, as it's absolutely wonderful.
Highly recommendable.
[ 👍allmusic.com 4 / 5 stars ]

Søren Huss "Sort & hvid til evig tid" (2019)

Sort & hvid til evig tid
release date: Sep. 10, 2019
format: vinyl / cd
[album rate: 3,5 / 5] [3,72]
producer: Mahler & Bir (aka Christoffer Møller & Lars Skærbæk)
label: Universal - nationality: Denmark

Track highlights: 1. "En smeltet kaktus i en vestvendt vindueskarm" - 2. "Postkort" - 4. "Romantikerens kile" - 6. "Vekseleren" - 7. "Sort og hvid til evig tid"

4th studio solo album by Søren Huss is like his most recent solo album MidlivsVisen from 2017 produced by the duo Mahler & Bir and it also feature the same team of backing musicians credited as 'Hussband' with Lars Skjærbæk on guitars and backing vocals, Christoffer Møller on piano, keyboards and backing vocals (also credited string arrangements), Morten Jørgensen on bass, and with Jesper Elnegaard on drums and percussion. In between these two regular studio albums, Huss arranged new music to the play "Bertolt Brechts Svendborgdigte" performed by BaggårdTeatret in Svendborg, and Huss himself participated in the play - the songs were released by Huss in vinyl and cd formats as Bertolt Brechts Svendborgdigte (Jun. 2018) by Sorte Plader.
The title of the album hints at the contrasting elements of sullen melancholy and light-hearted temper that appears to follow Huss as fundamental traits - his ability to write about the strongest of emotions whether he emphasises the troublesome sides to life, or he connects to an opposing positive side - as someone who needs to let the steam out of his system.
MidtlivsVisen was his attempt to break with an old discrediting label of only being able to write sullen soft rock tunes, and without much luck. To some extent, he seems to have returned to a more balanced tone that you'll also find on his sophomore solo Oppefra & ned from 2012. For an artist who spent his formative years writing songs in English, it's quite astonishing what type of true poet of solid craftsmanship he has turned out to be. Søren Huss appears as a genuine artist who just keeps releasing albums at a very high quality level, yet he also seems almost destined to writing songs that always connects with the conditions of existence.
Recommended.
[ 👉Gaffa.dk, Soundvenue 5 / 6, 👎Jyllands-Posten 3 / 6 stars ]

Mark Kozelek "Like Rats" (2013)

Like Rats
release date: Feb. 19, 2013
format: cd
[album rate: 3 / 5] [3,02]
producer: Mark Kozelek
label: Caldo Verde Records - nationality: USA

Track highlights: 4. "Young Girls" - 7. "Silly Girl" - 9. "Carpet Crawlers"

A cover songs studio album by Mark Kozelek featuring Kozelek's very personal versions released on Caldo Verde. The original songs represent a huge mix of styles and genres as well as covering multiple decades. In Kozelek's acoustic singer / songwriter versions they all become alt. folk-styled with Kozelek on acoustic guitar and vocal. "Young Girls" is a song performed by Bruno Mars, "Silly Girl" is a song performed by The Descendents, and "Carpet Crawlers" is by Genesis.

Kozelek is an artist who doesn't forget to praise the music and artists he admires. On Songs for a Blue Guitar (Jul. 1996) by Red House Painters, he included three covers, on his ep-debut Rock 'n' Roll Singer

(Jun. 2000) he included four covers, and his full-length debut album What's Next to the Moon (Feb. 2001) is entirely made up of covers originally by the Australian hard rock band AC/DC, and the second album released under the name of Sun Kil Moon Tiny Cities (Nov. 2005) is entirely made up of songs by indie rock band Modest Mouse. Likewise, his live-concerts never seem to miss covers, and he simply enjoy doing covers from all styles and genres, and by doing so, heavily alters the original arrangements.

I have tried, and mostly I really enjoy albums by Mark Kozelek, but I just don't get this very complex album.

Amy Winehouse "Lioness: Hidden Treasures" (2011)

Lioness: Hidden Treasures (compilation)
release date: Dec. 6, 2011
format: cd
[album rate: 4 / 5]
producer: Salaam Remi
label: Universal Island - nationality: England, UK

Track highlights: 1. "Our Day Will Come" (5 / 5) - 2. "Between the Cheats" - 3. "Tears Dry" (Original Version) - 4. "Will You Still Love Me Tomorrow? (2011)" - 6. "Valerie ('68 Version)" - 8. "Half Time" - 9. "Wake Up Alone" (Original Recording) - 10. "Best Friends, Right?" - 12. "A Song for You"

Compilation album by Amy Winehouse released posthumously is primarily produced by Salaam Remi, but also feature two songs (tracks #4 & 6) produced by Mark Ronson.
The album title suggests a collection of well-hidden gems, and it may just be that but it's more of a mixed bag in the sense that it contains a variety of songs. "Our Day Will Come" and "Between the Cheats" are superb compositions that probably would have been included on a third studio release, but the remaining tracks come to define something else. We find outtakes, demos and rarities rather than future album songs. Some are alternate recordings, two songs are with other artists - Nas and Tony Bennett respectively, where the latter duet was her last studio recording, and then a couple of old classics before it's all over in just about 45 mins. Apparently, the songs were selected by the producers, Sallam Remi and Mark Ronson, but also with a say from family members...
The album debuted at #1 in the UK as it did in Austria, Greece, Portugal, Switzerland, and in The Netherlands. It also became Winehouse's best standard charting album in the US making it to #5 on the Billboard 200 (Back to Black peaked at #2 when it was re-issued). It spawned two single releases - track #11, "Body and Soul", a duet with Tony Bennett reaching #40 and "Our Day Will Come" peaking at #29 on the national singles chart.
It's an album without fillers or poor songs, and it's more than nice to have these songs as well, although, the collection appears more as the incomplete glimpse into a treasury, where the voice of Winehouse is the jewel that shines above it all.
[ 👍allmusic.com, Spin 4 / 5, Rolling Stone 3,5 / 5, 👎The Guardian, Q Magazine 3 / 5 stars ]