Kraftwerk "Computerwelt" (1981)

Computerwelt

release date: May 10, 1981

format: cd (1986 reissue)

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

producer: Ralf Hütter, Florian Schneider

label: Kling Klang / EMI - nationality: Germany

Track highlights: 1. "Computerwelt" - 2. "Taschenrechner" - 3. "Nummern" - 4. "Computerwelt 2" - 5. "Computer Liebe" (4 / 5)

8th studio album by Kraftwerk released three years after Die Mensch-Maschine (1978) - also seen as number five in the list of classic Kraftwerk albums counting from Autobahn (1974), which by Hütter and Schneider is regarded their first, although, they actually released three albums before that. Like the band's recent albums this was recorded in the band's Kling Klang studio in Düsseldorf, and as usual it's the band's founders Hütter and Schneider who are credited as producers. On the 79 album we saw percussionist Karl Bartos as co-composer and on this, he's been granted a more prominent role as composer, and he is thus exclusive composer together with Hütter on all of the album's tracks. Schneider is credited the music on four of a total of seven tracks, and once again Emil Schult is credited album cover and as contributor as songwriter of three songs. And - one might be tempted to add - percussionist Wolfgang Flür is only credited as... percussionist, although rumor has it that he only appears in the credit list and doesn't play on the album at all, but officially it's the band's final album with Flür as instrumentalist.

The album continues deom where the '78 ended, and may at first sound like a mere extension of that, but Kraftwerk basically defined their strength in the present by composing small hooks and catchy melodies, made sharper as pure 'pop' tunes. This is best expressed on "Computer Liebe", as song Coldplay has used on its 2006 hit "Talk", just as La Roux incorporated parts of the track in the song "I'm Not Your Toy" (2009), and LCD Soundsystem has used a sample of "Heimcomputer" (track #6) on the song "Disco Infiltrator" from its debut album LCD Soundsystem (2005).

Reviews were again quite positive and in Germany the album reached number #7 (as Autobahn had done back in '74), and number #15 in the UK. Four tracks in total were selected for singles release: in order tracks #2, #5 , #3, and #1, with no significant rankings. The second single "Computer Love" didn't initially perform significantly, but when it was re-released later that year as the B-side to "The Model" (from the 78 album Die Mensch-Maschine), then it topped the singles chart in the UK (although it was more likely "The Model" pulling that home). In retrospect, the album has achieved a fine position as an influential album, appearing on a number of lists counting the best albums of the 80s.

In my opinion, the album is a classic Kraftwerk album, although without reaching the same heights as the previous four. In the early eighties, the band was overshadowed by bands and artists who managed to write better hooks and music that wasn't so strictly electronic, although most of them drew great inspiration from Kraftwerk's back catalogue. I don't find a lot of recycling in many of the album's compositions, and it may be seen as the band's first step away from the strong influence they have otherwise had in shaping synthpop.

The title track makes it essential.

[ allmusic.com 4,5 / 5, Rolling Stone 3 / 5, Mojo, Select 4 / 5, Uncut, Q Magazine 5 / 5 stars ]

Gregory Porter "All Rise" (2020)

All Rise

release date: Aug. 28, 2020
format: 2 lp vinyl (gatefold, pink vinyl) / digital (16 x File, FLAC - Deluxe)
[album rate: 3,5 / 5] [3,54]
producer: Kamau Kenyatta, Troy Miller, Gregory Porter
label: Blue Note / Decca Records - nationality: USA

6th studio album by Gregory Porter is originally released on Blue Note and Verve in the US and on Blue Note / Decca in the EU. The album comes in many formats and in at least two versions as far as track numbers concern. The various cd versions contain 13 tracks as does the European - traditional and pink vinyl - 2 lp editions, but it also comes in a Dutch 3 lp version and a cassette edition both containing two bonus tracks, and it also comes as a 16 tracks digital Deluxe album (Qobuz). This rises a bit of a negative aspect about his releases, I think, 'cause with a running time at just over one hour, the thirteen tracks could be fitted on a normal 1-disc issue, and fifteen tracks would then be "the excuse" to release the Deluxe edition as a double album - though only on vinyl - but it has become a bit of a habit that Porter's album's are released as standard double albums despite not running that long. Three tracks on each side of the vinyl issue results in short playing times at approx. 15 mins. It's hardly compressed adding one or two tracks to each side.
Another thing is the cover art.... and let's just get straight to the point: Porter's front covers have never been about art, or attempts at making great art work, but let's be frank, it has never been this poor, and a triangle with the title alone would even be an improvement.
That bit aside, and speaking entirely of the musical qualities, All Rise is yet another strong evidence of Porter's composer and vocal qualities that simply makes him the king of contemporary vocal jazz. Gregory Porter has relaunched jazz as an everlasting and very modern genre by adding stylistic elements from contemporary popular music - be it funk, pop, or soul. It's remarkable how this man is able to write and compose songs of near classic status over and over again, and that's perhaps where this new collection may feel like an exercise in treading water.
Recommended.

Editors "The Blanck Mass Sessions" (2019)

The Blanck Mass Sessions

release date: Apr. 13, 2019

format: digital (8 x File, FLAC)

[album rate: 3,5 / 5] [3,58]

producer: Blanck Mass, Editors

label: Play It Again Sam - nationality: England, UK

Track highlights: 1. "Barricades" - 2. "Cold" - 3. "Hallelujah (So Low)" - 4. "Violence"

Editors album is bassically the first draft recordings by Blanck Mass, which led to the album Violence (Mar. 2018). The band had wanted a stronger electronic / industrial take on their music and invited Blanck Mass (aka Benjamin John Power) to add something to their new recordings. The result is heard here, but to the band, they were slightly rearranged with less electronic and industrial dominance, and those recordings were released as Violence. However, the initial recordings had their very own strengths, so one year following the actual album release the initial sessions by Blanck Mass were released. And frankly, they are just better and more originally sounding.

Paul Weller "On Sunset" (2020)

On Sunset
release date: Jul. 3, 2020
format: digital (15 x File, FLAC - Deluxe)
[album rate: 3,5 / 5] [3,68]
producer: Paul Weller & Jan Kybert
label: Polydor Records - nationality: England, UK

Track highlights: 1. "Mirror Ball" - 2. "Baptiste" - 3. "Old Father Tyme" - 6. "On Sunset" - 8. "Walkin' " - 10. "Rockets"

15th studio album by Paul Weller, once again teamed up with Dutch producer Jan 'Stan' Kybert.
With the album Weller doesn't introduce us to a lot of new styles or genres but he does combine some of his latest outputs into one unifying sound. On the predecessor, True Meanings (2018) his output was acoustic and simple, on A Kind Revolution (2017) he sought a more electrifying form of pop soul and chamber pop, and before that he embraced alt. rock and mod revival more explicitly on the strong Saturns Pattern (2015). All this is found here, and mostly not as various pieces pointing here or there but as a nicely woven conglomerate that is so Wellerian. His mod revival and pop soul, and even his sophisti-pop traces of the past are all represented here in a combo of folk rock and singer / songwriter. 

A first listen may not reveal strong single hits but on returning points it comes out as something original, which is an accomplishment. He works with many returning associates, guitarist Steve Cradock, bassist Andy Crofts, keyboardist Charles Rees, drummer Ben Gordelier as well as multi-instrumentalist Jan Kybert. The album also welcomes back former associate Mick Talbot from The Style Council on three tracks.
The Deluxe Edition adds another five compositions of which two are alternate instrumental versions.
It does seem as if Weller has found his niche on his older days by maintaining a high quality level as a mature musician.