The Blues Brothers "Briefcase Full of Blues" (1978)

Briefcase Full of Blues (live)
release date: Nov. 28, 1978
format: cd (remaster - 7567-82788-2)
[album rate: 4 / 5] [3,84]
producer: Bob Tischler
label: Atlantic - nationality: USA

Track highlights: 1. "Opening: I Can't Turn You Loose" - 2. "Hey Bartender" - 3. "Messin' With The Kid" - 5. "Rubber Biscuit" (other live performance) - 6. "Shot Gun Blues" (other live performance) - 9. "Soul Man" (from SNL) - 11. "Flip, Flop & Fly"

Album debut by The Blues Brothers is a live album of 12 tracks with a running time just below 40 mins. It's the live recording of a concert Sep. 9, 1978 at the Universal Amphitheater, L.A. when the band opened for Steve Martin.
It's the collection of traditional blues and rhythm & blues compositions from the 1950's, 60's and 70's. The band, The Blues Brothers, feature the two actors John Belushi and Dan Aykroyd as the band's main singers with Belushi as lead vocalist - they are supported by the true musicians of The Blues Brothers' band: Steve 'The Colonel' Cropper and Matt 'Guitar' Murphy on guitars, Donald 'Duck' Dunn on bass guitar, Paul 'The Shiv' Shaffer on Hammond organ, Wurlitzer electric piano, acoustic piano, backing vocals and as the band's musical director, Steve 'Getdwa' Jordan on drums & backing vocals, and the horns' section with Alan 'Mr. Fabulous' Rubin on trumpet & backing vocals, Lou 'Blue Lou' Marini and Tom 'Triple Scale' Scott both on tenor & alto saxophones as well as backing vocals, and Tom 'Bones' Malone on tenor & baritone saxophones, trombone, trumpet and backing vocals. This whole constellation works like a longtime relationship, and the two newbies, Belushi and Aykroyd mingle in rather neatly. Belushi has the rusty vocal that works quite nice in the traditional blues and rhythm & blues arrangements they mostly cover and then Aykroyd fills in and takes the lead on the more unusual tracks like the Otis Redding song "I Can't Turn You Loose" and he simply shines on the fine and crazy "Rubber Biscuit" 1956 doo-wop and comedy song originally by The Chips, and then Aykroyd also plays the harmonica.
It's a typical misconception that the band of The Blues Brothers was created in the aftermath of the film's popularity, when instead the idea of the pair had been created for comedy sketches for the Saturday Night Live Show, Belushi's widespread popularity from the show and his most recent leading part in the film "National Lampoon's Animal House" (1978) together with Aykroyd's comprehensive knowledge about the roots of the music led to the actual formation with the above-mentioned musicians in the fall of 1980 and a script for a full-length comedy film about the two brothers and the soundtrack for the film: The Blues Brothers (Jun. 1980) by John Landis, which again led to a third and final album, Made in America (Dec. 1980).
The album became a spectacular success peaking at number #1 on the Billboard 200 in the US and it remains one of the best-selling blues albums ever.

Dead Can Dance "Within the Realm of a Dying Sun" (1987)

Within the Realm of a Dying Sun
release date: Jul. 27, 1987
format: cd (2008 remaster)
[album rate: 3,5 / 5] [3,72]
producer: Dead Can Dance, John A. Rivers
label: 4AD Records - nationality: Australia

Track highlights: 1. "Anywhere Out of the World" - 3. "In the Wake of Adversity" - 5. "Dawn of the Iconoclast" - 6. "Cantara" - 7. "Summoning of the Muse"

3rd studio album by the duo-project Dead Can Dance following 1½ years after the fine Spleen and Ideal and much like that, this is also produced by the duo in collaboration with John A. Rivers.

The album marks the continued journey within the duo's own stylistic soundscape of neo-classical darkwave and with a subtle addition of electronica. It's pompous and it's ethereal without the dreampop-sound that shaped the debut from '84. This is lighter and more simple without audible electric guitars - instead, it employs keyboards, synths, dulcimer, and classical orchestra representation by organ, strings, oboe, and brass.

Compared to the predecessor, there's a stronger emphasis on classical instrumentation on this as well as more simple compositions with a progressive ambient touch.

Another recommended release from the duo.

[ allmusic.com 4 / 5 stars ]

The Go-Betweens "Bright Yellow Bright Orange" (2003)

Bright Yellow Bright Orange
release date: Feb. 24, 2003
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,66]
producer: The Go-Betweens
label: Trifekta - nationality: Australia

Track highlights: 1. "Caroline and I" - 2. "Poison in the Walls" - 3. "Mrs. Morgan" - 6. "Crooked Lines" - 8. "Make Her Day"

8th studio album by The Go-Betweens released 2½ years after The Friends of Rachel Worth (Sep. 2000) is once again with a changed line-up in the 'supporting roles' of a band that is essentially no more than a duo-project. Now officially, the band is back as a quartet with the two founders at the front, the songwriters and composers Robert Forster and Grant McLennan, who are both credited on vocals and various guitars (Forster is also credited on organ and piano). As on the predecessor, they are here backed by bassist Adele Pickvance, who is also credited on keyboards and backing vocals, and then new member Glenn Thompson is seen on drums, electric guitar, organ, keyboards, and backing vocals. Beyond these, only a small duo of string instrumentalists are credited musical contributions.

Stylistically, there are no major changes since the 2000 revival release, but as a positive contrast, this is a much more cohesive collection of songs, with the two songwriters actually sounding like they've been working together on the new tracks and not 'only' have met in the studio with a handful of their own individual tracks, as they had become accustomed to in the years after their break-up in '88. The album contains an expected even number of 10 new tracks, which typically indicate five songs by Forster and five by McLennan, only this time they don't make a big fuzz about telling us who wrote what song. Instead, all tracks are credited Forster / McLennan, although they are believed to have contributed roughly equally with lyrical and musical contributions. They match each other in unison - and not that they didn't do that before, but it's as if they rise together on more optimistic notes, and perhaps the title suggests exactly what is seen on the cover - the only album by the band without actual photos of the band members - a reflection of a lighter lyrical content. Fact is, many of their earlier songs were woven and soothed in bittersweet melancholy. In contrast, they here sort of narrate in lighter spheres adding tailored vocal harmonies and chamber pop arrangements. The only thing I miss are a number of distinctive strong songs, and seen as a whole the album is perhaps a bit too cohesive with the two songwriters tiptoeing along more or less down the same path on golden rays of sunshine.

Expectedly, Bright Yellow Bright Orange was met by positive reviews and was even nominated, without winning, Best Album at the Australian Music Awards but The Go-Betweens now sound like they have found their footing and are back on course again. And nevertheless, it's always a pleasure to hear new songs with this classic songwriting duo.

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

Sun Kil Moon "Benji" (2014)

Benji
release date: Feb. 11, 2014
format: 2 cd (LTD. 2-disc Edition)
[album rate: 4 / 5] [3,84]
producer: Mark Kozelek
label: Caldo Verde Records - nationality: USA

6th studio album by Sun Kil Moon following nearly two years after Among the Leaves (May 2012) but only six months after the fine collaboration album Mark Kozelek & Desertshore (Aug. 2013). Despite being credited Sun Kil Moon, Benji is basically just another solo project by Kozelek, who changes from releasing new material either in his own name or via the moniker Sun Kil Moon adopted from what was initially the continuing of Red House Painters. The album is also released in a Limited Edition with a bonus disc containing five live recordings taken from five different concerts in 2013: in Aveiro, Portugal at Teatro Aveirense, in Göteborg, Sweden at Stenhammarsalen, in Copenhagen, Denmark at Jazzhouse, in London, England at SBE, and in Leamington Spa, England at The Assembly.

The music here is predominantly acoustic alt. folk, alt-country, and singer / songwriter compositions featuring Kozelek on vocal and on acoustic guitar. It's gentle music and fine stories about everyday life and often about meetings with friends, lovers or family - stories of his past and present - all delivered as if the told story is of highest importance.

The album was lauded by many critics as one of his major works, and it ended up on many lists presenting the best releases of the year.

It's definitely good - almost as usual - it may not offer much new, but it presents Kozelek at his best, when he he's left with his acoustic guitar and is given room to present any given story. Presenting the expected is not the same as being of lesser value, which this serves to document.

Recommended.

The front cover is a photograph by Mark Kozelek.

[ 👎allmusic.com 3 / 5, Rolling Stone 3,5 / 5, 👍NME, Spin, PopMatters 4 / 5, Uncut 4,5 / 5 stars ]

Montasje "Presence!" (1982)

Presence! [debut]
release date: 1982
format: vinyl (MAI 8201) / digital
[album rate: 3,5 / 5] [3,68]
producer: Helge Gaarder; Erik Aasheim (assistant)
label: Plateselskapet Mai - nationality: Norway

Track highlights: A) 1. "Nykter" (TV performance) - 2. "Reisning" - 3. "Presence!" - - B) 1. "Glass" (4 / 5) - 2. "Tundra" - 4. "Europa" - 5. "... Etter regnet"

Studio debut and only album by Norwegian new wave, post-punk and art pop quintet Montasje, who also featured with one song on a sampler album (Zink Zamler, '82) as an act called Modul 5. The whole project only existed from late 1981 to '82, and the album was recorded from Dec. '81 to Jan. '82, and the band here consists of vocalist and keyboardist Helge Gaarder, Erik Aasheim on guitar, bass and percussion, Jøran Rudi on guitar, Per (Kristian) Tro on bass, and Danish drummer Michael Rasmussen [who should later join the Danish band The Sandmen]. The album comes with an alias, as it says in the few notes on the cover: "Presence! et Montasje produkt - Modul 1".
Musically, it's quite a unique sound they have put together. There are some influences from early New Order - Movement-period ever-present but it's more than just a Scandinavian replica of that. What makes it much more its own blend is the presence of something ethereal - it's not ambient, nor jazz fusion but there's a layer of open landscape meandering throughout the album, which makes me think of Norwegian free jazz artist Jan Garbarek. The unique sound also helps building a sensation of timelessness to the project.
Recommended.

[ collectors' item ]

Blaue Blume "Bell of Wool" (2019)

Bell of Wool

release date: Nov. 8, 2019

format: digital (9 x File, FLAC - HFN 99)

[album rate: 4 / 5] [3,78]

producer: Blaue Blume

label: HFN Music / Universal - nationality: Denmark

Track highlights: 1. "Swimmer" - 2. "Someday" (live) - 3. "Morgensol" - 4. "Vanilla" - 7. "Sobs" - 8. "Loveable" (live) - 9. "New Navel"

2nd full-length album by Blaue Blume follows two years after the release of the 4-track ep Sobs and four [!] full years after the sophomore Syzygy (Oct. 2015). The band followed the debut by playing concerts and at festivals but were forced to withdraw from further band activities in 2018 as front figure and lead vocalist Jonas Smith was overtaken by depression, which explains the long time in between albums.

Bell of Wool sort of continues from Sobs with more instrospective songs - some of which is said to have evolved from Smith's lyrics about personal experiences and sentiments during his time out. It's still music bonded with 1980s dreampop but also with links to Talk Talk and Antony and the Johnsons, and then there's athe addition of a stronger electronic sound, which bonds with contemporaries like Beach House, ultimately making this the band's so far most varied album. And on top of the various styles, the songs are both with English as well as Danish lyrics, although, only "Morgensol" is in Danish. The track was released June 14, 2019 as the album's first single, and then followed by the singles "Loveable" (Sep. 13, 2019) and finally "Vanilla" (Oct. 11, 2019) before the album release.

Smith still executes the lyrics with his strong vibrant and technically skilled vocal, which perhaps forever will bring to mind Elisabeth Fraser of Cocteau Twins but Jonas Smith is much more than just a mere copyist and the production sound always delivers on highest level.

The album is without doubt one of the best Danish albums of the year.

Highly recommended.

[ bandcamp ]

[ Soundvenue 5 / 6 stars ]

Kele "2042" (2019)

2042

release date: Nov. 8, 2019

format: digital (16 x File, FLAC)

[album rate: 3,5 / 5] [3,62]

producer: Gethin Pearson

label: Kola / !K7 - nationality: England, UK

Track highlights: 1. "Jungle Bunny" - 3. "Let England Burn" - 4. "St. Kaepernick Wept" - 6. "My Business" - 7. "Ceiling Games" - 9. "Between Me and My Maker" - 13. "Catching Feelings" - 16. "Backburner"

4th studio release by Kele, who once again have returned to stand by his first name only, in contrast to Fatherland (Oct. 2017), which was released under the name Kele Okereke. There has now been room for a total of sixteen tracks and a total playing length of 61 minutes. The album follows four months after he and the band Bloc Party released the live album Silent Alarm Live (Jul. 2019) recorded during the band's European tour in 2018.

Stylistically, he's back in dance mode with an uptempo release using various electronic styles as alt. dance, neo-soul, funk, and disco mixed with indie pop, and a sound which isn't far from that of Bloc Party. Furthermore, he's more political than heard before, and the title apparently alludes to a collection of tracks revolving around an image of England in the year 2042. The album received fine reviews in the UK but didn't chart on the albums chart.

2042 is another fine example of Kele's musical skills, where he picks from all sorts of genres and styles to produce his own personal mix. In that way, stylistically and in terms of form, the album reminds me somewhat of his solo debut The Boxer (2010), without speaking of mere recycling. At times in the past, he hasn't always been able to hit the target with his releases but with 2042, I think he's back on track and the album simply appears to be his best and clearly most exciting album since his exiting debut and is therefore worthy of a recommendation.

[ NME, DIY 4 / 5 stars ]