26 June 2021

Paul Weller "Fat Pop (Volume 1)" (2021)

Fat Pop (Volume 1)
release date: May 14, 2021
format: digital
[album rate: 4 / 5] [3,76]
producer: Paul Weller & Jan 'Stan' Kybert
label: Polydor Records - nationality: England, UK


16th studio album by Paul Weller released only 10 months after his fine On Sunset (Jul. 2020), and again it's a release featuring producer and multi-instrumentalist Jan Kybert, who first worked with Weller on the album Studio 150 in 2004, and who has since then taken part on most of Weller's studio albums, either as musician or as co-producer.
The album nicely follows the musical expression you'll find on the 2020 album without being mere repetition. It rather seems as if Weller in his older days has come up with his very own expression, which lends from all sorts of genres and styles, but which nevertheless sounds unmistakably as Paul Weller only and no one else. It's British soul with strong roots in the golden beat music of the 60s, and then it's spiced up with mod, traditional American r&b, and equal parts of modern styles making him sound as a one-man Gorillaz band, and yet at other times you may sense it sounds oddly familiar, as on the both beautiful and heartfelt "In Better Times", where the mood alone brings back vivid memories of fine ballads from The Jam, The Style Council, or from Weller's early solo releases, and yet the track appears completely new and personal.
Once again, Weller ranks among the finest English songwriters without sounding old-school or out of sync with present-day.
Recommended.
[ allmusic.com, NME 4 / 5, Clash, American Songwriter, musicOMH 3,5 / 5 stars ]

12 June 2021

Robert Forster "Songs to Play" (2015)

Songs to Play
release date: Sep. 18, 2015
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,58]
producer: Robert Forster, Luke McDonald & Scott Bromiley
label: Tapete Records - nationality: Australia

Track highlights: 2. "Let Me Imagine You" - 4. "And I Knew" - 6. "I'm so Happy for You" - 8. "Turn on the Rain" - 9. "I Love Myself and I Always Have" - 10. "Disaster in Motion"

6th studio album by Robert Forster following a full 7½ years after The Evangelist (Apr. 2008). Apparently, most of these songs were written in 2010 / 2011 but weren't recorded until around five years later. Forster has explained that he needed a break in his music career, and initially had set himself up for a five-year hiatus, which then turned into seven... It was a period during which he wrote music articles and simultaneously worked on his autobiography. The album has been made completely without former collaborators Adele Pickvance and Glenn Thompson. Forster clearly wanted to make a fresh restart and in their place he has invited the two members from Australian The John Steel Singers: Luke McDonald and Scott Bromiley - both as multi-instrumentalists. Forster produced the band's 2010 debut Tangalooma and together they then played some of these songs, which would end up on Songs to Play, and here the two are also credited as co-producers. Forster's wife, Karin Baümler, previously participated on his albums playing violin and doing backing vocals, but on this, she has played a fuller part on all tracks, and together with drummer Matt Piele from Forster's tour band, they all form the new backing 'band', which of course gives the output new colours.
Although McDonald and Bromiley have been given rein to contribute with their ideas, it's still very much a Robert Forster solo with lyrics and music credited the man himself. The style is laid in an acoustic contemporary folk rock characterised by strong bonds to classic rock & roll in its simplest form. At times it's uptempo without being danceable rock and the songs appear with a marked lightness compared to the gloomier tone on his previous albums.
Songs to Play is an album where the music has come to the fore and Forster successfully acts as a classic singer / songwriter without being weighed down by his former achievements, suppressed emotions and the melancholy, which have been natural traits in the past, and by that, the album could pave the way for a new dynamic in his original musical realm. In any case, it's not an album, as the predecessor, that sounds like falling in between The Go-Betweens and a solo album - it's definitely a pure Robert Forster release on which he deals with the present.
The front cover is a photo of Robert and Karin's daughter Loretta Forster.
Recommended.
[ allmusic.com, PopMatters 3,5 / 5, The Guardian 4 / 5 stars ]

11 June 2021

Kraftwerk "The Mix" (1991)

2009 remaster
The Mix
release date: Jun. 11, 1991
format: cd (2009 remaster)
[album rate: 3,5 / 5] [3,38]
producer: Ralf Hütter, Florian Schneider
label: Kling Klang / EMI - nationality: Germany

10th studio album by Kraftwerk following a full five years after Electric Cafe (1986) isn't officially a compilation, although it may perfectly appear as that since it's dedicated to compositions stemming from all of the band's studio albums beginning with Autobahn (1974) right up to the most recent studio album Electric Cafe (1986). Ralf Hütter has offered his thoughts on why it's not to be considered a compilation or let alone a remix album, as others would claim. He states that these tracks are an expression of the band's live versions of well-known songs, all of which have been subjected to reshaping during the many years of performances. Since '86 percussionist Wolfgang Flür has left the band and as of '87, he was practically substituted by Fritz Hilpert. In 1990, Karl Bartos also left the band, after which Fernando Abrantes took over in his place and on the album here, but Abrantes left shortly after the release only to be replaced by Henning Schmitz.
Incidentally, 2009 is the year in which Kraftwerk reissued all of the it's essential albums in newly remastered editions - like this one - and they also reissued the box set Der Katalog (2004) with a back cover label '12345678', indicating the band's 8 studio albums from 1974 to 2003. Regardless Hütter's explanation, and intention, it doesn't change the fact that the tracks on The Mix have all been taken from previously released studio albums, and yes, they are here in completely new remixed versions. The album consists of 11 tracks and has a total running length of 65 minutes.
From both Autobahn (1974) and Radio-Aktivität (1975) only the respective title tracks have been included; from Trans Europa Express (1977) three tracks are included: the title track, "Abzug" and "Metall auf Metall"; from the album Die Mensch-Maschine (1979) only "Die Roboter" has found its way the this; from Computerwelt (1981) we again find three selected tracks: "Taschenrechner", "Computer Liebe", and "Heimcomputer", and from Electric Cafe (1986) only the song "Music Non-Stop" is included. With a bit of quick math, that sums up to only ten tracks, and that's because, in addition to album tracks, there's also room for "Dentaku", which is a Japanese version of "Taschenregner" in a slightly different version, originally featured as a B-side to the single release.
The album received a slightly luke-warm reception, but still landed at number #7 in Germany and at number #15 in the UK. Kraftwerk also released the new versions of "Die Roboter" and "Radio-Aktivität" as the two (promotional) singles from the album.
The Mix is a fine album without dazzling. However, I think that especially the earliest compositions have been altered and given a more modern sound in such a way that they certainly don't stand as improvements to the originals. Later well-known tracks have been exposed to a little bit of everything, and at the end, the album is mostly for fans and connoisseurs, as others will be better served with the original versions. And of course you're are free to think what you want about all their fine tracks they have passed on and not included here. You may ask yourself why on Earth they didn't just release a double album, when there's plenty of material to revisit? It's certainly not an essential release, which basically functions more as bonus material - an appendix you can easily do without.
[ allmusic,com, Mojo 3 / 5, Q Magazine, Uncut 4 / 5 stars ]


org. cover

07 June 2021

Cassandra Jenkins "Play Till You Win" (2017)

Play Till You Win [debut]
release date: Apr. 7, 2017
format: digital (11 x File, FLAC)
[album rate: 3,5 / 5] [3,42]
producer: Cassandra Jenkins & Sam Owens
label: self-released - nationality: USA

Track highlights: 1. "Candy Crane" (live) - 2. "Tennessee Waltz" - 5. "Red Lips" - 6. "Disappearing" - 9. "Disco Death Dance" - 10. "Some Time" - 11. "Halley" (live)

Full-length studio album debut by Cassandra Jenkins is a decent first-attempt where she already upholds a certain self-reliance as someone who's been around much longer. And that is something, which is stressed by how the album is both a coherent and nicely varied experience. She has her own laid-back singing style and maturely builds on classic folk rock and country of the 70s without sounding dated. What lacks, are stronger personal songs and some of the original quality you'll find on her later releases, but all in all, Play Till You Win is a fine debut.
[ The Line of Best Fit 7,5 / 10 stars ]