Kraftwerk "Electric Cafe" (1986)

Electric Cafe

release date: Nov. 10, 1986

format: cd

[album rate: 3,5 / 5] [3,38]

producer: Kraftwerk

label: Kling Klang / EMI - nationality: Germany

Track highlights: 1. "Boing Boom Tschak" - 3. "Musique Non-Stop" (video-version) - 4. "Der Telefon-Anruf" (4 / 5) (single-udgave) - 5. "Sex Object" - 6. "Electric Café"

9th studio album by Kraftwerk released 5½ years after Computerwelt (1981) is the first album where the whole band is credited as producer - and the whole band is no longer as it used to be. The front cover shows the usual four faces, which are supposed to look like Ralf Hütter, Florian Schneider, Karl Bartos, and Wolfgang Flür, however, only the first three actually appear on the album, while Flür is only credited as a permanent member. On his own initiative, he would leave the band after the album release at some point in '87. Additionally, Bartos has been 'promoted' from solely being credited 'electric percussion', he's now credited keyboards, 'electronics' and as lead vocalist on track #4. All six compositions are credited Hütter, Schneider, and Bartos, and only tracks #1 and #6 were created together with the songwriters Emil Schult and Maxime Schmitt, respectively. The original version counts six tracks with a total running time at just under 36 minutes.

Stylistically, the album doesn't introduce new elements or a change of sound, and the music is easily seen as an extension of the '81 album, and in reality most of the compositions were composed already in '82 but the production and mixing of the new Kraftwerk-album, which was intended to showcase 'top-of-the-art' sound quality was delayed for various reasons - including the fact that Hütter was injured in a cycling accident. The composition "Tour de France" had originally been intended for the this album, but as the album proved to be further delayed the song was instead selected for a stand-alone single and EP, and similarly, various titles for the new album were in play. In 2009, Electric Cafe was released under the original working title: Techno Pop, which came with the addition of "House Phone" and a shorter version of "Der Telefon-Anruf". The album release was met by lukewarm reviews, and nationally it peaked at number #26, at number #9 in Sweden, but at a more modest number #58 on the albums chart in the UK, which by this time already featured big synthpop names like New Order and Depeche Mode, who delivered breakthrough albums. Two singles were released from the album: track #3 "Musique Non-Stop" (Oct. '86) and "Der Telefon-Anruf" (Feb. '87), as the best composition from the album, although, also sounding like inspired by New Order.

Electric Cafe is not really a poor album, but it's yet another step in the wrong direction, where you find much of the compositions sounding like repetitions of previous ideas and parts of familiar songs - in general, the album doesn't stand as something that others could take great inspiration from, and the band appears most of all like a train that has lost its steam and perhaps should consider a (permanent) return to the garage.

[ allmusic.com, Uncut, Drowned in Sound 3 / 5, Smash Hits 2,5 / 5 stars ]

2009 cover

Kraftwerk "Tour de France" (1983) (single)

Tour de France, cd single

release date: Aug. 3, 1983

format: digital (1999 remaster)

[single rate: 4 / 5] [3,86]

producer: Ralf Hütter, Florian Schneider

label: Kling Klang / EMI - nationality: Germany

Tracklist: 1. "Tour de France (Radio Version)" (4 / 5) - 2. "Tour de France (Kling Klang Analog Mix)" - 3. "Tour de France (Remix François K)"

Single release by Kraftwerk, originally intended for the album Electric Cafe (1986) but instead issued as a stand-alone single when the album ran into several years of delay. The single has since '83 been issued in many different versions and the 1999 edition is also an edited version. Originally, the single was released in 7'' and 12'' format versions with the maxi single having a more than 6 minutes version followed by the two tracks from the regular 7'' single - a 3 minutes version and a 2:40 minutes instrumental. The '99 CD edition starts off with an edited version of the original track, followed by an edited mix of a 1984 remix, and it ends with a 1984 François Kevorkian remix.

The single was neither a major hit nor went completely unnoticed when it first came out. It charted as No. #47 in Germany, No. #20 in Ireland, No. #6 in Sweden, and as No. #22 in the UK. When it was reissued in 2003 in a re-recorded version for the Tour de France Soundtracks album, it once again delivered similar chart positions, but the track has nevertheless become almost synonymous with Kraftwerk as the track that links the band's earliest and later phases smoothly together.

Protomartyr "Ultimate Success Today" (2020)

Ultimate Success Today

release date: Jul. 17, 2020

format: digital (10 x File, FLAC)

[album rate: 3,5 / 5] [3,55]

producer: Protomartyr, David Tolomei

label: Domino - nationality: USA

5th album by Protomartyr follows nearly three years after Relatives in Descent (Sep. 2017), and it sort of arrives as a gritty exploration of existential dread. The album continues straight out of the tone of the predecessor showcasing that raw, driving energy that has become the band's hallmark.

Musically, the album features the band’s signature blend of jangly guitars, punchy rhythms, and hints of noise rock. While the album has standout tracks that showcase the band’s growth and depth, some songs can feel meandering, perhaps lacking the punch that defines their best work. Nonetheless, the reflective nature of tracks like "The Aphorist" adds a layer of introspection that complements the album's overall narrative.

Ultimate Success Today is a fine entry in Protomartyr's discography. It captures the spirit of its time with sharp lyrics and a robust sound, even if it occasionally falters in pacing. For fans of post-punk and those seeking a reflection on contemporary anxieties, this album is worth a listen, and even though, I don't find it among their absolute best, it definitely has its moments - much in the same way their other albums have turned out as rough and dirty, and filled with light beams in the darkest of nights, as something sinister overthrown with elements of beauty.

Toyah "The Blue Meaning" (1980)

The Blue Meaning
release date: Jun. 6, 1980
format: digital (2002 reissue)
[album rate: 2,5 / 5] [2,52]
producer: Steve James, Toyah
label: Safari Records - nationality: England, UK

Track highlights: 1. "Ieya" - 7. "Visions" - 9. "Love Me"

2nd studio album by Toyah succeeding Sheep Farming in Barnet by less than three months. Here the band already demonstrates its ever-changing line-ups as bassist Mark Henry has been replaced by Charlie Francis.

Apart from the line-up change, The Blue Meaning is very much like the other side of the coin to the debut with ten new pompous arrangements and a little more screaming - Wilcox is credited for "verbals & unusual sounds"... [sic], and she has taken an even stronger theatrical sound, which may have seemed avantgarde and experimental at the time. By doing so, she may have looked to both appearances by Kate Bush and Siouxsie Sioux, but in retrospect it only seems rather forced - to put it mildly.

The album was a minor success as it went as high as #40 on the UK albums chart list - at a time when the public in Britain became familiar with her through her acting career. Wilcox appeared in two movies by Derek Jarman: "Jubilee" (1978) and "The Tempest" (1979), she played a minor role in The Who's "Quadrophenia" (1979), and then she also appeared in several TV-series from the late '70s including "Quatermass" (1979), "Minder" (1980) and she was TV-presenter on the BBC programme "Look! Here!".

Had Wilcox not been such a familiar face, it is doubtful that this album would have entered the albums chart list in 1980.

Is it any better or worse than the debut? That's hard to say, really. But as an original piece of music it's not recommended.

[ Smash Hits 1,5 / 5 stars ]

Band of Horses "Infinite Arms" (2010)

Infinite Arms

release date: May 18, 2010

format: cd

[album rate: 3 / 5] [3,18]

producer: Band of Horses; Phil Ek (add. pro.)

label: Brown Records / Sony Music / Columbia - nationality: USA

Track highlights: 1. "Factory" - 2. "Compliments" - 3. "Laredo" (live on Letterman) - 5. "On My Way Back Home"

3rd studio album by Band of Horses following 2½ years after Cease to Begin (Oct. 2007) presents a completely new line-up where only founding member, lead vocalist and primary composer Ben Bridwell and (new) drummer Creighton Barrett re-appear on this. Keyboardist Ryan Monroe appeared on the former as additional musician and became a permanent member after the 2007 album, which had been completed as a trio together with guitarist Rob Hampton, who then left the band before commencing the recording sessions for this one. Hampton was replaced by new members guitarist Tyler Ramsey and bassist Bill Reynolds completing the new formation as a quintet.

Infinite Arms doesn't land far from the previous albums with its predominantly folk rock-foundation. What distinguishes this from the former releases is an addition and strings and brass arrangements, which I don't think improves the whole picture. Some songs could have fitted nicely on the 2007 album without straying far from that - mostly the above highlighted tracks, but what I feel lacks here is outstanding compositions, or: original new material. Bridwell mostly sings like the "old" Bridwell, but at times he sounds like a tired circus artists going through motions he has learned to repeat. The album was generally met by positive reviews, most of which points to a certain americana-feel to the new album. Something I find difficult to hear. In general, the album is positioned as the band's best performing album in the US by reaching number #7 on the Billboard 200.

To me, Infinte Arms simply sounds like a lesser release - compared to their first two it could be an album of leftovers. Bridwell is less poignant, the compositions are well-played but do not contribute with much new, and the overall impression is easily forgettable.

Not recommended.

[ allmusic.com, Uncut, Q 4 / 5, Rolling Stone 3,5 / 5, Slant 3 / 5, Pitchfork 5,3 / 10 stars ]

The Killers "Imploding the Mirage" (2020)

Imploding the Mirage

release date: Aug. 21, 2020

format: cd

[album rate: 3 / 5] [3,08]

producer: Jonathan Rado, Shawn Everett

label: Island Records - nationality: USA

Track highlights: 1. "My Own Soul’s Warning" - 2. "Blowback" - 3. "Dying Breed" - 4. "Caution" - 5. "Lightning Fields" (feat. K.d. Lang)

6th studio album by from The Killers released three years after Wonderful Wonderful (2017) and now with a somewhat lesser-known duo in the producer role. Rado and Everett are also credited as co-composers on several tracks on an album, which is the first after being momentarily reduced to a trio as guitarist Dave Keuning went on an indefinite hiatus after the 2017 album. In his place, the band's bassist Mark Stoermer handles guitar on several tracks and otherwise multi-instrumentalist Rado is credited as guitarist, bassist, keyboardist, cellist, etc.

When The Killers deliberately have chosen quite different producers, it's of course because they want a direction for the music, and with the younger guitarist from Foxygen as co-composer and multi-instrumentalist, it adds a natural turn towards a more indie rock-oriented universe - and thus also a step away from a stadium rock image that The Killers have quite rightly been attributed. There's definitely less Springsteen heartland rock on Imploding the Mirage but it's an album that doesn't quite operate in the same direction. Sometimes it's electronically driven pure synthpop sounding more like Brandon Flowers solo, while at other times it's more unpolished indie pop - though 'unpolished' is a label that pretty much never fits The Killers - and at other times attempts to produce Springsteen-rockers, whicj supposedly should be an extremely popular choice sneak in... And no, 'coherent' is not exactly a term that pops to mind.

As usual, the album performed above its capacity. Reviewers are again divided, but the sales figures don't lie, and as the sixth consecutive album, The Killers' have launched a new studio album, which goes to number #1 on the UK albums chart. Nationally, it lands a nice eighth place on the Billboard 200, while like its predecessor it also tops the list in Australia. It seems as if The Killers have long ago been satisfied running in circles, making new tracks that sound extremely familiar and then simply add a little spice here and there, e.g. outsourcing their sound image to skilled sound designers, and then something 'new' has been wrapped up.

I'm really far from impressed. The album is a long way from the their first albums but it's still better than the rather thin Wonderful Wonderful, so perhaps there's still hope for a decent album from The Killers.

Not recommended.

[ 👎allmusic.com 4,5 / 5, Pitchfork 7,4 / 10, 👉The Guardian 3 / 5, Gaffa.dk 3 / 6 stars ]

Best of 2020:Gorillaz "Song Machine, Season One - Strange Timez" (2020)

Song Machine, Season One - Strange Timez

release date: Oct. 23, 2020

format: vinyl / digital (17 x File, FLAC - Deluxe)

[album rate: 4 / 5] [4,22]

producer: Gorillaz, Remi Kabaka; James Ford et various

label: Parlophone - nationality: England, UK

Track highlights: 1. "Strange Timez" (feat. Robert Smith) (4 / 5) - 3. "The Lost Chord" (feat. Leee John) - 4. "Pac-Man" (feat. ScHoolboy Q) (4 / 5) - 5. "Chalk Tablet Towers" (feat. St. Vincent) (4 / 5) - 7. "Aries" (feat. Peter Hook and Georgia) (4 / 5) - 8. "Friday 13th" (feat. Octavian) (4,5 / 5) - 9. "Dead Butterflies" (feat. Kano and Roxani Arias) - 10. "Désolé" (feat. Fatoumata Diawara) (4 / 5) - 11. "Momentary Bliss" (feat. Slowthai and Slaves) (4 / 5) - 12. "Opium" (feat. EarthGang) - 15. "With Love to an Ex" (feat. Moonchild Sanelly) - 16. "MLS" (feat. JPEGMafia and Chai) - 17. "How Far?" (feat. Tony Allen and Skepta)

7th studio album by Gorillaz following two years after the The Now Now album is the continued Damon Albarn-led music project. Albarn is the mastermind behind the songs and Remi Kabaka, Jr. is his wingman in terms of producing the sound of the individual tracks.

The Song Machine experiment is an episodical project launched Jan. 2020 with the song "Momentary Bliss" (featuring Slowthai and Slaves) (track #11) - and the idea has been to release one new song each month alongside a video directed by graphic director of Gorillaz, Jamie Hewlett - something that has been accentuated after the Corona-lockdown. Albarn has written and composed partial or more definitive ideas and sent these to collaborating artists, who then have developed on or contributed with vocals or instrumentation, after which Albarn and Kabaka have laid down a final production. The cast of featuring artist is as diverse as the music itself. Here, Albarn mostly collaborates with new musical friends, although, the final track features the late (Nigerian-born) Tony Allen - who also were part of Albarn's side-project The Good, The Bad & The Queen. Robert Smith of The Cure has contributed with vocals and instrumentation making the first song sound like a mix of 1980s post-punk scene and electronica of the early noughts. And in a not so far stylistic universe, Peter Hook of New Order seamlessly blends with Albarn's most Bernard Sumner-like vocal and produces a song resembling New Order's Low-Life-period. Beck has never sounded fresher and Elton John comes to live again, but the featuring artists has been gathered from not only various decades and genres but from several continents - especially when including the Deluxe Edition. The majority of artists come from Britain or the US, but you will also find Malian singer / songwriter Fatoumata Diawara, South African vocalist Moonchild Sanelly (Sanelisiwe Twisha), Japanese all-female rock quartet, Chai, Venezuelean vocalist Roxani Arias [?], and Unknown Mortal Orchestra from New Zealand.

Stylistically, this is a genuine Gorillaz album - considering the wide-spread pond of musical influences you always hear in the music by Albarn - or at least in his post-Blur period. However, far he moves in various directions, he almost magically condenses everything to something fitting within the Gorillaz' universe. The 2017 album Humanz also featured various guest artists but somehow this works even better on this album. and if the 2018 album was a favourite of mine, this newest collection of songs simply beats that and not only is years' best album but also Albarn's best-ever album.

Albarn is simply one of the most underrated artists in the world of modern music, and I do know he's quite successful and that his music is cherished and played all over the globe, but from my perspective, it's nearly only possible to underrate the value of his contributions. On this album he makes sure that the guest artists comes out as individual artists - they shine because of his arrangements and at the same time he adds his own vocals and / or instrumentation to the songs making all compositions sound as stemming from one and the same source - which in a way they do 'cause Albarn made it all happen!

As far as concern the album's track highlights it's a bit of a job to pin out highs on an album that shines in its own light. The standard vinyl album is an eleven songs album, and the Deluxe Edition - made available in a download edition and as a 2 lp vinyl edition contains seventeen tracks (the Japanese edition contains 18 tracks).

Unfortunately, I find that it has become a rare thing to come across new music that stirs you in the same way music did when you were young but with this, I can frankly say that this is it! And did you notice? The album is called "Season One"... And yeah, the second chapter is already on its way and according to Albarn himself scheduled for release Mar. 2021. This man is a factory of music!

Highly recommended!

[ allmusic.com, Rolling Stone 3,5 / 5, The Guardian, Clash, NME, Mojo 4 / 5 stars ]

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

Blanck Mass "Animated Violence Mild" (2019)

Animated Violence Mild

release date: Aug. 16, 2019

format: digital (8 x Files, FLAC)

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

producer: Blanck Mass

label: Sacred Bones - nationality: England, UK

Track highlights: 2. "Death Drop" - 3. "House vs. House" - 4 . "Hush Money" - 8. "Wings of Hate"

4th studio album by Blanck Mass (aka Benjamin John Power) is the follow-up to World Eater (2017), although more recently the artist has been engaged in collaborating on the 2018 album Violence by Editors, which was released in an alternative version as The Blanck Mass Sessions (Apr. 2019).

Animated Violence Mild continues where the 2017 album ended, and in many regards it's like a new chapter to that. Here and there Power introduces something that sound like melody-lines, which could reflect inspiration from his work with the alternative rock band Editors - to me, this only adds a new dimension to his predominant industrial electronica.

[ allmusic.com, The Guardian, NME 4 / 5, Pitchfork 7,9 /10 stars ]