Mark Kozelek "Night Talks" (2017) (ep)

Night Talks, ep

release date: Mar. 22, 2017

format: digital (5 x File, MP3)

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

producer: Mark Kozelek

label: Caldo Verde Records - nationality: USA

Track highlights: 1. "Night Talks" - 2. "I Love Portugal" (Acoustic Version) - 3. "Astronomy" - 5. "Famous Blue Raincoat"

Ep release from Mark Kozelek as follow-up to his only one month old double Common as Light and Love Are Red Valleys of Blood (Feb. 2017) released under the stage name of Sun Kil Moon.

Night Talks consists of five tracks and Kozelek is back as how he sounds on Universal Themes (Jun. 2016). It's alt. country with acoustic guitar and Kozelek narrating about big and small things from everyday life to dramatic stories he has heard about on TV or read about in a newspaper. The track "I Love Portugal" is included here in an acoustic version but the track is found in its original version on Common as Light and Love... And precisely the acoustic part is perhaps the small common denominator you'll find on his most recent releases as this EP, because otherwise, the basic material is not immediately different to what he has released under his own name and to what ends up being attributed Sun Kil Moon. In any case, Night Talks is released on Caldo Verde with Kozelek in full control as producer, songwriter, composer, just as he often is only musician. Much to his usual procedure, there has been room for covers: "Pretty Little Flowers" by Kath Bloom and "Famous Blue Raincoat" by Leonard Cohen, which is the actual highlight of the ep, here in a live recording on which Kozelek is accompanied by piano.

Night Talks is Kozelek as fans have come to love him: mostly alone with acoustic guitar, and himself narrating / singing about big and small subjects, and with the additions of a some covers. And in that way there is hardly anything new or surprising about this release - it's fine and welcome.

Electric Light Orchestra "Out of the Blue" (1977)

Out of the Blue

release date: Oct. 1977

format: digital

[album rate: 3 / 5] [3,06]

producer: Jeff Lynne

label: Jet Records - nationality: England, UK

Track highlights: 1. "Turn to Stone" - 3. "Sweet Talkin' Woman" - 13. "Mr. Blue Sky"

7th studio album by Electric Light Orchestra following one year after the breakthrough album A New World Record and like that produced by primary songwriter and leader of the band, lead vocalist Jeff Lynne. The band has gone through various line-ups but maintained a quite numerous members list, and here they count seven (three of which exclusively play violin and cello). The band has evolved from playing primarily experimental progressive rock with bonds to symphonic rock and hard rock and through a stage with baroque pop to eventually play progressive pop with bold use of elements from funk and disco - and needless say: with a much more evident mainstream appeal.

I recall this very album from when it wasn't all brand new and they still hadn't released the successor Discovery (May 1979). In Feb. 1979 (at age 13) I happened to be in London with our class, and several mates from class both purchased the predecessor together with this one that I only knew little about. I recall from some teen club evenings at the local church (!) they played this quite a bit. From our journey to London, I remember buying albums with The Police (Outlandos d'amour and Regatta de blanc), Pink Floyd (The Wall) and Dire Straits (the debut) and a few others that I have now forgotten about - alongside a handful of releases for my older brother (I brought a handwritten list of titles to purchase for him). Unfortunately, I didn't yet know anything to the existence of punk rock or new wave at this point - that only came to my attention upon my return later that year, so I was more into music that I already knew of, and especially heavily inspired by my brother's music taste (except The Police, which he didn't play). But what I soon learned was that I didn't like Electric Light Orchestra - not one bit! In fact, I loathed the disco and progressive pop harmonies that my class mates soon praised as the new big thing alongside music by Patrick Hernandez, Kelly Marie, and / or Bee Gees.

The album is included in "1001 Albums You Must Hear Before You Die" as the only by ELO, as they were commonly known. Out of the Blue is the band's second consecutive Platinum-selling studio release, which eventually was surpassed in sales numbers by Discovery and Time (1981). The only reason I have put it here is that I wanted to revisit an album I really never understood. And still don't, it turns out! From the aforementioned book: "Released at the height of disco, Out Of The Blue was seen by some as a futuristic fish out of water." As much as I relate to that picture, it's probably not in the most positive of ways. To me, this is awkwardly over-arranged. Waaaay too much funk and disco, and not just that but with so many synths and strings that it should belong in space. And it makes me think of a musical wedding cake: Mostly impressive and nice to look at, but who really wants to consume that?! In my ears it doesn't fall far from the ABBA and Olivia Newton John melody structures that I disliked then as I still do to some minor degree nowadays. I have definitely grown much milder when it comes to polished pop of the 80s and 70s, and I do understand the qualities of a lot of music that I didn't like at a younger age, but ELO from '76 and onwards still doesn't do much for me. "Mr. Blue Sky" was a hit but would never have seen the light of day without The Beatles and The Moody Blues. "Turn to Stone" was another major hit back then - at least in Europe - but to me that was, and still is, a pastiche - a conglomerate of songs by artists suchs as Giorgio Moroder, Hot Chocolate, Earth, Wind & Fire merged with some Stevie Wonder-arrangements and equal parts of 10cc smoothness - all artists I'd rather listen to than this fine musical mish-mash that remains far from distinctive original.

Out of the Blue is still a cornerstone in the discography of Electric Light Orchestra no matter what I think of it, but I'm not in a position where I feel that I should actually recommend it. If asked back then, I would most likely have handed it 1 or max 2 stars - basically, suggesting it was crap, so in that respect I have come (much) closer in accepting it as genuine acceptable music. It's still over-produced, over-arranged and it didn't do much good for music, imho. But hey, wasn't I into punk?! And punk rock was in many ways a response to exactly this kind of music, and I still do understand the reaction and need to change music as it was back in the mid-70s.

[ allmusic.com 3,5 / 5, Rolling Stone, The Guardian 3 / 5 stars ]

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

The Fall "Grotesque (After the Gramme)" (1980)

Grotesque (After the Gramme)
release date: Nov. 17, 1980
format: cd (1993 reissue)
[album rate: 4 / 5] [3,92]
producer: The Fall, Grant Showbiz, Mayo Thompson, Geoff Travis
label: Castle Classics - nationality: England, UK

Track highlights: 1. "Pay Your Rates" - 2. "English Scheme" - 3. "New Face in Hell" (Peel Sessions) - 4. "C'n'C-S Mithering" - 5. "The Container Drivers" - 10. "The N.W.R.A."

3rd studio album by The Fall produced by The Fall, Grant Showbiz, Mayo Thompson and Geoff Travis (tracks 1-5), tracks 6-10 are produced by The Fall and Geoff Travis originally released by Rough Trade. The Fall always was Mark's band - here the band credits are as follows: Mark on vocals, tape operation, kazoo (#3) and guitar, Marc Riley on guitar and keyboards, Craig Scanlon [credited as Craig Scanlan] on guitar, Steve Hanley on bass, his brother Paul Hanley on drums and with Kay Carroll on additional vocals, which more or less is the same line-up as on Dragnet (Oct. '79) as well as on the next following albums of the 80s, but the debut album Live at the Witch Trials (Mar. '79), saw the band in a completely different line-up. This is, however, merely an early incarnation of the band and the only staple member of the band remains Mark E. Smith.

Style-wise, this is an example of early post-punk labelled as art punk with influences from pub rock and garage rock and its minimum attention on production layering with focus on 'recording as is'.

The album wasn't met as a landslide album - much unlike what it's regarded as in retrospect. Critics were positive without praising the album and fans were, as they would constantly prove to be with The Fall divided in two groups: either belonging to a strong cult of followers, or to fierce haters; however, the album is generally regarded as one of the band's masterpieces. Unfortunately, I didn't appreciate the album in the early '80s - I did actually purchase the original Rough Trade vinyl issue back in 1982 or '83 and kept it for a decade or so, and then I re-sold it in a small pile with other obscure albums just to afford to buy new music, and what a mistake that was! I have come across this '93 CD reissue but I'd rather have the original vinyl, which by now is a collector's item.

I perfectly know how I was unable to see music in a broader perspective in my teens but it still puzzles me, why I couldn't just regard it as a musical curiosity. Anyway, the music lives on and even from a modern perspective I think the music still stands out as both highly original but also with something to offer. The Fall blends perfectly in with standards of Velvet Underground, The Stooges, Captain Beefheart and Frank Zappa as a music collective, who simply ignores all conformities and just do what they think is the right thing to do. Mark E. Smith narrates about English society, working class life, taxes, capitalism, and he often focus on the English class system. Unlike Bob Dylan's social awareness, lyrics on contemporary human conditions, I find the lyrics by Smith to be much more entertaining but also without all the... fuzz [to say it as politely as possible].

Mark E. Smith continued to play with The Fall in various line-ups in the new millennium and also kept releasing new albums being quite keen on not repeating themselves. The last studio album by The Fall is New Facts Emerge (2017), the band's 31st studio album, released only six months before Smith's untimely death at the age of 60, Jan. 24, 2017. The international music press and the entire British press in general were overflown with appraisals dedicated to Smith's legacy as one of Britain's most influential songwriters in 2018, and he is today mentioned alongside the greatest of music.

For those unfamiliar with music by The Fall, it may not seem evident how they ever became such an acclaimed band. It may take some time to get accustomed to - some will never - but from my perspective, the true strengths of The Fall lies in Mark E. Smith's lyrics, his uncompromising attitude towards and against conformity whether concerning music or modern life in general - be it capitalism, class system or politics. The band has its unique sound and its very own conception of musical soundscape, which leaves no listener in doubt of who made it.

[ allmusic.com, Mojo, Rolling Stone 4 / 5, Spin 4,5 / 5, Sounds 5 / 5 stars ]

Phoebe Bridgers "Punisher" (2020)

Punisher

release date: Jun. 18, 2020

format: digital (11 x File, FLAC)

[album rate: 4 / 5] [3,80]

producer: Tony Berg, Ethan Gruska, Phoebe Bridgers

label: Dead Oceans - nationality: USA

Track highlights: 2. "Garden Song" - 3. "Kyoto" - 4. "Punisher" - 5. "Halloween" - 6. "Chinese Satellite" - 9. "ICU" - 10. "Graceland Too" - 11. "I Know the End"

2nd studio album by Phoebe Bridgers following her acclaimed debut Stranger in the Alps (Sep. 2017).

Where the melancholy glue of acoustic folk on the debut probably reminded many about the long list of folk artists, Punisher adds layers to that artistry. Some songs are like extended threads to the 2017 album, but since then she has worked with Lucy Dacus and Julien Baker on their side-project Boygenius, and she has collborated with Conor Oberst on Better Oblivion Community Center, and those projects now have coloured this new collection of songs in a most positive way - making it a coherent whole but also by widenening the musical universe of Phoebe Bridgers.

Bridgers still narrates with the colour blue as main ingredient but her music invites other colours in, which makes it more alive and powerful.

Highly recommended.

[ Rolling Stone, 👍The Guardian, Slant 4 / 5, Pitchfork 8,7 / 10, allmusic.com 4,5 / 5, NME, 5 / 5 stars ]

Kesi "BO4L" (2020)

BO4L

release date: Jul. 31, 2020
format: digital (Deluxe) (15 x File, MP3)
[album rate: 4 / 5] [4,08]
producer: Hennedub
label: Disco:wax - nationality: Denmark

Track highlights: 2. "Niveauer" - 3. "Tilbage" (feat. Hennedub) - 4. "Ik tænk" (feat. Benny Jamz) (4 / 5) - 5. "Blå himmel" (feat. Hans Philip) (5 / 5) - 6. "Snak lidt med mig" (4,5 / 5) - 7. "Baku" (feat. ICEKIID) - 9. "Forretning" (feat. Sivas) - 10. "Hygger mig pt. 2" (feat. Gilli) - 12. "Om igen" (feat. Noah Carter) (4 / 5)

3rd full-length studio album [or fourth when including his mixtape Ung Hertug from 2013 to the list of albums] by Danish rapper Kesi (also stylised KESI, aka Oliver Kesi Chambuso) released on the Sony Music Scandinavian sublabel Disco:wax and produced by Hennedub (aka Henrik Bryld Wolsing) - a usual suspect to Kesi and his associates. The title refers to and is the homage to the Danish music collective B.O.C. (aka Bomber Over Centrum) - referring to "Bomber Over (Centrum) For Life". The album is by Kesi but many of his old friends from B.O.C. - Gilli, Benny Jamz, Kimbo, and Noah Carter participate on several tracks, and apart from these also Sivas and Hans Philip are featuring artists. The standard album runs just over 40 mins and the Deluxe Version contains two bonus tracks making it a 15-track album just below 46 mins.
The whole album appears as a look down memory lane, and more so than the usual rap lyrics about sex and drugs, although, you basically find all kind of existential subjects in this broad collection, which is mostly held together in a tight yet wide style of grime and trap. The album starts off with the intro BO4L, and with an older sound clip featuring a young Oliver (Kesi himself) telling a reporter how he has just quit secondary school to concentrate on his music career and about his hopes for the future and his dream about being the best Danish rapper. In several songs, Kesi takes us back to school days, to a harder time but also to days of his musical foundation, when everything was all new, unknown and yet falling into place.
Some compositions are echoing and sound like sequels of older Kesi hit songs, some are expressive up-tempo dancepop related like many of his recent (hit) single releases and others are near ballad-like and introspective - which shows us a new side to his talent. Sound-wise, it's a top-of-the-art production and an impressively coherent collection despite the many stylistic ingredients.
In a time when Danish rap may be looking for replacements for Ukendt Kunstner, Kesi sums up his strengths and simply jumps several steps up the ladder and positions himself as the current best Danish rapper.
Highly recommendable and a strong contender to album of the year.
[ Politiken, Soundvenue 5 / 6, Gaffa.dk 4 / 6 stars ]

2020 Favorite releases: 1. Gorillaz Song Machine, Season One - Strange Timez - 2. Kesi BO4L - 3. I Break Horses Warnings