Toyah "Anthem" (1981)

Anthem
release date: May 22, 1981
format: cd (1999 enhanced reissue)
[album rate: 4 / 5] [3,82]
producer: Nick Tauber
label: Connoisseur Collection - nationality: England, UK

Track highlights: 1. "I Want to Be Free" (4 / 5) (live) - 2. "Obsolete" - 3. "Pop Star" - 5. "Jungles of Jupiter" - 7. "It's a Mystery" (4,5 / 5) - 8. "Masai Boy" - 9. "Marionette"

3rd studio album by Toyah [the band] following The Blue Meaning (1980) originally released on Safari Records. Here the band again showcases one of its ever-changing line-ups as only lead vocalist and songwriter Toyah Wilcox and main musical composer Joel Bogen on guitar took part in the making of the predecessor, and here they constitute Toyah together with three new members: Phil Spalding on bass, Adrian Lee on keyboards and Nigel Glockler on drums.

Musically, the album is not only Toyah's best charting album (and only album to reach "Gold" status) but also the band's most famous studio release. Despite only following The Blue Meaning (1980) by some 11 months, this is quite a different tonal experience. The '80 album was made with other band members, and although, the songs were also primarily by Wilcox and Bogen, the songs on Anthem introduce a completely new approach and style, but more importantly: the songs are simply better on every level. The Nina Hagen / Siouxsie Sioux influences are gone, and instead some would argue that Wilcox here instead loans (too) much from songs and the singing style of Kate Bush.

The album spawned Toyah's biggest hit song, the non-single cover song "It's a Mystery" (released on the Four From Toyah ep) - written and composed by Keith Hale (originally for his band Blood Donor), who also co-wrote two songs for Toyah on the debut album, Sheep Farming in Barnet (1979), and the album itself peaked at #2 on the albums chart list only surpassed by Kings of the Wild Frontier by Adam & The Ants [which is a bit of a paradox as that was released in Nov. 1980, hence only featured on the successive year's list]. Also the single "I Want to Be Free" was a commercial success peaking at #8 on the singles chart list.

Anthem may owe much to Kate Bush, David Bowie, Blondie and Patti Smith, but it's still an original mix and a most coherent whole that belongs to the list of truly fine and important albums of the early 1980s, and imho, it should be included in any list compiling the best of new wave.

The 1999 "enhanced" cd issue contains an additional six bonus tracks.

Recommended.

Bob Mould "Blue Hearts" (2020)

Blue Hearts

release date: Sep. 25, 2020

format: digital (14 x File, FLAC)

[album rate: 4 / 5] [3,88]

producer: Bob Mould

label: Merge Records - nationality: USA

Track highlights: 2. "Next Generation" - 3. "American Crisis" - 5. "Forecast of Rain" - 7. "Siberian Butterfly" - 8. "Everyth!ng to You" - 10. "Baby Needs a Cookie" - 12. "Leather Dreams"

13th studio album by Bob Mould as usual released on Merge follows 1½ years after Sunshine Rock (2019), and it's as usual with Mould as producer and songwriter and composer on all tracks.

It may not be the strongest progression that we are witnessing here - in fact, it's as if in his older days Mould seems to have sought back towards the starting point of his musical career in the harder-hitting punk rock. Where Sunshine Rock was more upbeat, Blue Hearts is its unpolished counterpart. It's a mixture of energetic and raw guitar-driven melodies with an angry and wronged older man, and on the other hand the few more harmony-driven and melodious compositions. Taken together, you are easily led to believe that you are back in the late eighties and are about to listen to music that was to shape the foundation for the grunge rock wave of the early 90s, but this is Bob Mold in 2020. And strangely it's not the experience of old music sounding as something he has already made several times before. It's a collection of solid rockers exuding sheer energy fronted by an artist who appears as someone with a desire to play, and you may think it's a lie when this guy three decades ago explained his withdrawal from music because of acquired tinnitus as he nearly hasn't been this loud before. Bob Mould has always been a kind of valve for the political climate and the living condition of Americans, and you could say he has rarely faced so much to open up about. He comments on the infected political climate, on our collective global climate as well as the handling of a worldwide pandemic. And by that, it's like gasoline on Mould's eternal fount of inner lyrics just waiting to be ignited. As good as anyone, he can compose a 2-3 minute hard-hitting song with three verses, a bridge, and a rich chorus - 'Bang-bang-bang! On to the next one!!'. In fact, three tracks are under two minutes long, and at the other end, only one track plays for more than three minutes, and the entire album of fourteen tracks is over in under 36 minutes.

Never has he released a solo album that bears so many similarities to the music he helped create in Hüsker Dü, and the album emerges as a beautiful essence and a bit of a late journeyman work of art showing us what Bob Mould is capable of as a songwriter: that commenting with a rare directness and precision on social conditions that affect most people - and done with finesse, with and without noise! Some might argue that the album comes 30 years late, but the messages are contemporary and the music is just universal.

Blue Hearts is quite simply one of Bob Mould's very best solo albums and therefore highly recommended.

[ allmusic.com 4,5 / 5, 👍Rolling Stone, Clash 4 / 5 stars ]

Grant-Lee Phillips "Lightning, Show Us Your Stuff" (2020)

Lightning, Show Us Your Stuff

release date: Sep. 4, 2020

format: digital (10 x File, FLAC)

[album rate: 3,5 / 5] [3,68]

producer: Grant-Lee Phillips

label: Yep Roc Records - nationality: USA

Track highlights: 1. "Ain't Done Yet" - 2. "Drawing the Head" - 3. "Lowest Low" (live acoustic) - 4. "Leave a Light On" (live acoustic) - 5. "Mourning Dove" - 6. "Sometimes You Wake Up in Charleston" - 7. "Gather Up" - 8. "Straight to the Ground" - 10. "Walking in My Sleep"

10th studio album by Grant-Lee Phillips follows 2½ years after Widdershins (Mar. 2018), which showed us an upset Phillips on behalf of his fellow Americans regarding the election of the 45th president. Since then, COVID-19 happened, and here Phillips is back in his more introspective corner with ten songs about the fragility of life and the small things in everyday routines. It's alt. country and singer / songwriter folk songs more than anything else - and a bit of contrast to his 2018 album and follows more directly on the path laid on with The Narrows (2016).

No matter how he constructs a new album, he always makes sure to include a varied songlist, and here you'll also find more uptempo tracks, which only makes more appetising. A song like "Gather Up" is almost a Tom Waits kind of thing that lights up when it tends to darken, and I really like his approach as it doesn't appear inconsistent but only varied.

With this, Phillips almost proves he's unable to make a poor album. It's always highly original and something you need to pay attention to. The songs are fluid, in essense straight-forward and purposeful.

It's... nice and fine, and recommended!

[ allmusic.com, Uncut 3,5 / 5, Mojo 4 / 5, American Songwriter 4,5 / 5 stars ]

The Streets "None of Us Are Getting Out of This Life Alive" (2020)

None of Us Are Getting Out of This Life Alive (mixtape)

release date: July 10, 2020

format: digital (12 x File, FLAC)

[album rate: 3 / 5] [3,18]

producer: Mike Skinner

label: Island Records - nationality: England, UK

Track highlights: 1. "Call My Phone Thinking I'm Doing Nothing Better (ft. Tame Impala)" - 2. "None of Us Are Getting Out of This Life Alive (ft. Idles)" - 3. "I Wish You Loved You as Much as You Love Him (ft. Greentea Peng & Donae'o)" - 5. "I Know Something You Did (ft. Jesse James Solomon & Eliza)" - 8. "The Poison I Take Hoping You Will Suffer (ft. Oscar #Worldpeace)" - 10. "Falling Down (ft. Hak Baker)"

Mixtape album by The Streets, aka Mike Skinner, following nine years after Computers and Blues (Feb. 2011), and then also following the 2017 rebirth of his most distinct music project, which saw him on a world tour performing the best of The Streets after years away from the brightest spotlight. The album is not described as a new studio album but merely a mixtape - perhaps to avoid too strong expectations and then again: every song on the album has been made with a featuring artist, which in a way, and only on a surface, makes the songs highly individual, though they all have Skinner's characteristic beats putting them quite close to one another.

First impression was that of a bland experience, which had me thinking of his 2011 mixtape Cyberspace and Reds, but then after some time, I think this is bettering that, although, it's clearly not one of his best albums with a bunch of great tunes sticking out. The biggest issue here is a clear connection to his earlier rhymes and beats, where you end up thinking 'Ah, that's close to the rhyming on...', or beats reminding you of former songs - bits and pieces, here and there, making it a bit of a strange listen. Best thing about it is that Skinner is back making music as The Streets, and hopefully he will soon be releasing an actual follow-up to his 2011 studio album.

[ allmusic.com, Exclaim! 3,5 / 5, 👍Clash 3 / 5, Pitchfork 5,5 / 10, Soundvenue 2 / 6 stars ]

The Go-Betweens "Oceans Apart" (2005)

Oceans Apart
release date: May 3, 2005
format: 2 cd (Deluxe)
[album rate: 4 / 5] [3,88]
producer: Mark Wallis and David Ruffy
label: Lo-Max Records - nationality: Australia

Track highlights: 1. "Here Comes a City" - 2. "Finding You" - 3. "Born to a Family" - 4. "No Reason to Cry" - 6. "Darlinghurst Nights" - 7. "Lavender" - 8. "The Statue" - 9. "This Night's for You" - 10. "The Mountains Near Dellray"

9th and the irrevocably final studio album by The Go-Betweens following just over two years after Bright Yellow Bright Orange (Feb. 2003) sees a reunion with producer Mark Wallis, who stood behind the acclaimed 16 Lovers Lane (1988). The 2 CD Deluxe edition comes with the addition of a live recording from The Barbican Concert Hall, London, Jun. 27, 2004.

For once, the quartet is intact compared to their most recent album but what makes the biggest difference here is concerning the actual production of the album. Forster and McLennan themselves were in complete control when producing the band's last two outings, and these are both quite good, but when listening to Oceans Apart, you clearly sense the bond to 16 Lovers Lane. It's not just similar, as it doesn't merely copy what was successful on the '88 album but the new collection of songs has a presence of the same 'multi-layering' without obvious attempts in reproducing the instrumental contributions by Amanda Brown and John Willstead of yesterday.

Another significant positive quality is that it feels and sounds like a band effort, whereas the two previous albums had an unmistakable imprint of the Forster / McLennan guitar duo weaving on all tracks. Here, it's as if bass, keyboards, additional guitars, and drums all contribute to colour the whole picture and, overall, create a sonic complexity that fits together ever so nicely. That said, the songs demonstrate the two songwriters' abilities as skilled storytellers and the end product is no less than the band's second best studio album - ever.

Oceans Apart won the prize for best Adult Contemporary Album at the Australian Grammy Awards in 2005 - first time happing for Forster and McLennan - and as a new experience, the album made its mark on the albums chartc in a number of countries besides Australia. Two tracks were released as singles: tracks #1 and #2, which didn't garner significant chart entries. And that's maybe not too strange, because it's the album itself that appears as a coherent strong album, basically without fillers. It's just extraordinary well-made from start to finish.

Unfortunately, just as the band was finally experiencing growing international recognition - again, the project was brutally interrupted when Grant McLennan suddenly died of a cardiac arrest around the anniversary of the album's release on May 6, 2006. With McLennan's passing, The Go-Betweens ended for good and Robert Forster returned to his solo career and subsequently released the album The Evangelist (Apr. 2008). In 2007, two recurring awards were founded: an annual prestigious Australian honour award "Grant McLennan Lifetime Achievement Award", as well as the annual 1-year music scholarship "Grant McLennan Fellowship" awarded emerging talents in Queensland.

Highly recommended.

[ 👍allmusic.com, Blender, Uncut 4 / 5, 👎Rolling Stone 3,5 / 5, The Guardian, Mojo 5 / 5 stars ]

Lisa Gerrard "The Silver Tree" (2006)

The Silver Tree

release date: Dec. 5, 2006

format: digital (14 x File, FLAC - 2007 reissue)

[album rate: 3,5 / 5] [3,88]

producer: David Badrick & Lisa Gerrard

label: Rubber Records - nationality: Australia

Track highlights: 1. "In Exile" - 2. "Shadow Hunter" - 4. "The Sea Whisperer" - 6. "Space Weaver" - 8. "Serenity" - 10. "Towards the Tower" - 12. "Devotion"

2nd solo album by Australian artist Lisa Gerrard follows more than a decade after her solo debut The Mirror Pool (Aug. 1995). This doesn't by any means suggest that Gerrard isn't a highly productive artist. She often releases music with collaborating artists, and she has made a golden career from her engagements as soundtrack composer. In '96 she released a so far final studio album, Spiritchaser with the duo-project Dead Can Dance (together with Brendan Perry). In '98 she released the collaboration album Duality with Pieter Bourke, and also with Bourke, she made the soundtrack to Michael Mann's The Insider (1999), the soundtrack to Ridley Scott's The Gladiator (2000) composed with Hans Zimmer - an accomplishment that sky-rocketed her composer value - and again with Bourke she composed the soundtrack to the biographical sports drama Ali (2001), the soundtrack to Whalerider (2003), the collaboration album Immortal Memory together with Patrick Cassidy (2004), and the soundtrack Salem's Lot (2004) with Christopher Gordon to a TV-series. And it doesn't stop with this, as Gerrard has also delivered compositions and vocals to songs appearing on various other releases including TV-series, movies, documentaries and as performing guest on other artists' releases.

Lisa Gerrard works on a classical arena with trained classical intrumentalists and composers, but she also works with artists from a "popular" music culture, the experimental electronic music scene and often on music labeled as neo-classical. On top of this, Gerrard has made it her trademark to blend national folklore from various parts of the world, and not seldom you will find traces of music inspired by traditional folk from the Balkan area - sometimes incorporating tones from an Arabian / Middle East tradition - all brought together in an original colourful blend with her timeless ethereal signature. She has become an acclaimed vocalist with a vocal range of three octaves, and when performing her own songs, she often sings in her own made-up language, sometimes referred to as 'glossolalia'.

The Silver Tree was nominated the Best Album Prize at the Australian Music Awards in 2006, and it may be an album that brings many of her former releases to mind, but it's not a matter of picking bits and pieces from her past and mixing it all together anew. It's more the result of a skilled artist's inspiration overflown with her quality trademarks that makes it a highly original album. It's both electronic, ambient and neo-classical, and not necessarily styles that are present in all 14 compositions. As in styles, the songs vary in tempo, in cadence, in mood but it's all cleverly woven together with Gerrard's delicate touch - be it in the arrangements of the single composition or in the tone of her singing voice. The tracks also vary in running times with the shortest playing for only 1½ minute and the longest for more than 10 minutes. In between there's nearly everything. It may be based on electronic rhythm beats, on hymn-like ambience, or progressive darkwave, but still it remarkably works as a coherent release.

I've always fancied the music with Gerrard's partecipation and it never ceases to amase me, and it always reminds me, what an absolute great artist she is! She has been awarded many prizes for her work, but in my mind, she is way to overlooked an artist and deserves much more recognition - as composer, as vocalist, and as performing artist.

Highly recommended!

John Frusciante "Maya" (2020)

Maya

release date: Oct. 20, 2020

format: digital (9 x File, FLAC)

[album rate: 3,5 / 5] [3,28]

producer: John Frusciante

label: Timesig Records - nationality: USA

Track highlights: 1. "Brand E" - 2. "Usbrup Pensul" - 3. "Flying" - 7. "Amethblowl" - 9. "Anja Motherless"

[ full album ]

11th studio album by John Frusciante following a series of releases under the moniker of Trickfinger with the album She Smiles Because She Presses the Button (Jun. 2020) as his most recent album, but already as of Mar. 2020, Trickfinger released the EP Look Down, See Us; however, his most recent album under his own name remains Enclosure from 2014. Frusciante began experimenting with electronic music about a decade ago, which saw him form Trickfinger as an outlet for mostly instrumental electronic music, but at the same time electronica became a strong influence in his other solo releases, and Maya appears as his first full electronic album to be released under his own name. Apparently, Maya was the name of his beloved cat, and this album is Frusciante's tribute to her.

Maya is made with breakbeat sampling at the heart of the compositions, and they simply sound much like Frusciante's own attempt with Brittish breakbeat anno 1992-ish - say, strongly The Prodigy-inspired compositions making it a bit of a strange experience. Some of the tracks here still sound great, although, altogether it's difficult to listen to without thinking the 1990s dance scene - but then again: it was a great and influential period, so why not reminding everyone about it?! And then, I think this is bettering his idm-fused acid house debut as Trickfinger.

[ allmusic.com 4 / 5, Pitchfork 7,6 / 10, 👍Loud and Quiet 3 / 6 stars ]