Dead People "We Love" (2022)

We Love [debut]

release date: Nov. 11, 2022

format: digital (10 x File, FLAC)

[album rate: 3,5 / 5] [3,42]

producer: Dead People

label: Universal Music - nationality: Sweden

Track highlights: 1. "Safety Lines" - 2. "River" - 3. "Stay Dead" - 4. "We All Fall" - 5. "Black Hole" - 6. "Life Is Good" - 7. "Kiss This Goodbye"

Studio album debut by this Swedish 'super-group' consisting of the three Swedes, Joakim Berg - former frontman of Kent - Anna Ternheim - alt. folk and singer / songwriter soloist - and Malcolm Pardon, producer, composer and former bassist of British band Kinky Machine, member of Swedish band, Girlsmen, and part of the duo, Roll the Dice. Apparently, this project is one of the many established collaborations that has come about due to COVID-19 restrictions and via networking from a personal home base. Under his own name, Pardon released his ambient and electronic solo album Hello Death in Juli '21. Berg had been writing songs for movies and other artists, and he also launched his first actual solo album Jag fortsätter glömma (May this year), and Ternheim released her most recent album A Space for Lost Time in 2019. As Dead People, the three managed to issue several singles from mid '21 until late '22 without revealing their actual identities. They were known as Mother and Two Sons, and they wrote and composed music for the Netflix film "Black Crab" by Adam Berg (Joakim's brother).

Musically, this sounds like nothing else the three have previously been involved in. Perhaps, Berg comes closest with the synthpop sound of late Kent, but here all songs have vocals by Ternheim with occassional male backing vocals by Pardon, and the music is by the three together. Stylewise it's something you would refer to as light indie pop, and the singles that were released individually from mid-'21 to mid-'22 are all included on the album.

We Love is not new musical territory. In fact, it sounds a bit like a lot of other artists, and with a style of light mainstream pop it doesn't appeal all that much to me, but it's well-executed and nicely produced music. The album contains 10 tracks and has a rather short total running time at just under 35 minutes.

[ 👍Aftonbladet 3 / 5 stars ]

Veronica Maggio "Och som vanligt händer det något hemskt" (2022)

Och som vanligt händer det något hemskt

release date: May 22, 2022

format: digital (12 x File, FLAC)

[album rate: 3,5 / 5] [3,32]

producer: Agrin Rahmani, Simon Hassle

label: Universal - nationality: Sweden

Track highlights: 2. "Se mig" - 3. "Låt mig gå" - 5. "Varsomhelst / Närsomhelst" - 6. "Höghusdrömmar" - 8. "Förlorat mot världen" - 9. "Var är du?" - 10. "Heaven med dig"

7th studio album by Veronica Maggio following 2½ years after Fiender är tråkigt (Oct. 2019) is once again mainly produced by Rahmani and Hassle. Actually, half of the album (six tracks) with the subtitle Kapitel 1 was released as a 6-track EP as early as Oct. 2021 - this was a first half of the full albums total of 12 tracks but released in the following order: #12, #9, #2, #5, #11, and #8, and as of May 22, the full-length album was issued, though no Kapitel 2 has been released, so if you purchased the EP and only need the remaining tracks, only option is download, or to buy the full album. This is modern and smart marketing! It's almost a natural consequence that Maggio's albums top the Swedish albums chart, but she's not only popular at home, as she in Feb. 2022 reportedly was the first artist to round 1 billion streaming hits for a Swedish-language-only performer.

Then how is the new album from one of the most popular Swedish artists? It's really everything you have come to expect. Maggio goes in the obvious direction. Popularity points and off she goes! Sales numbers are probably glowing hot and live shows will be sold out, but imho, it has become too much of what we've already heard before. As Håkan Steen in the Swedish newspaper Aftonbladet commented in May '22: 'she has nearly become too skilled in sounding like herself'. And then this marketing smartness really is an new player. Six tracks were issued half a year earlier as promotion gimmick, which would have been sort of Okay had they released the first half but by picking a different running order makes it bothersome, and then in addition, another four new tracks were released as singles from Mar. to May as small dripples from what was to come, so when the full album finally was released, all but two songs had already been issued. That's smart isn't it?! And not really helpful for fans - and I'm not really the strongest one there, so I just awaited the full album, but still feel fans are not treated well with this bothersome initiative. Anyway, I'm not impressed by this new outing, and frankly, I find it a dull and almost mediocre reproduction of her most recent two albums - perhaps because I normally really enjoy her albums. Even the two highlighted songs "Låt mig gå" and "Var är du?" sound a bit too familiar, and you may think they were part of one of her other albums.

Not her best, but still better than most contemporary pop albums.

[ 👍Aftonbladet 3 / 5 stars ]

Papir "7" (2022)

7

release date: Jan. 14, 2022

format: digital (4 x file, FLAC)

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

producer: Lars Lundholm (rec.]; Troels Bech [mast.]; Papir [mix.]

label: Stickman Records - nationality: Denmark

Track highlights: 1. "7.1 (part I-III)" - 2. "7.2" - 4. "7.4"

7th studio album by Papir following close to three years after VI (May 2019) is the band's third album on Stickman. This new album comes with four compositions and with a total running time at nearly 41 mins. The first track - consisting of three parts - is by far the longest with a running time at almost 20 mins, whereas the three remainders are all well under 10 mins each. Also being released on vinyl, the first track takes up all of the A-side, with the three shorter tracks filling the B-side, it seems natural if all three would have been labelled '7.II (part I-III)' - but they're not. Perhaps the band just think of them as too different, or they want to have you ponder in the dark?

7 is yet another instrumental journey within a post-rock universe but it's also something new to this trio as dreampop-founded AND without the space rock characteristics. Track "7.3" is literally ambient, and that's taking it a bit too far for my taste, but they have successfully tuned down on the fabulating instrumental excess and instead found a calm and slow evolving progress, which to me, sounds as an improvement.

In my ears, this is bliss and it's also the band's so far best album.

[ bandcamp ]

[ 👉SputnikMusic 4 / 5 stars ]

Mazzy Star "Among My Swan" (1996)

Among My Swan
release date: Oct. 29, 1996
format: cd
[album rate: 3,5 / 5] [3,42]
producer: David Roback, Hope Sandoval
label: Capitol Records - nationality: USA

Track highlights: 1. "Disappear" - 2. "Flowers in December" (4 / 5) (live) - 3. "Rhymes of an Hour" - 5. "Take Everything" - 7. "All Your Sisters" - 8. "I've Been Let Down"

3rd studio album by Mazzy Star follows (another) three years after their sophomore So Tonight That I Might See (1993). All songs here are credited David Roback and Hope Sandoval.

The album introduces a change of style as the album is primarily founded on the use of acoustic guitars instead of the feedback electric guitar sound on the first two albums, and the bond to both the 'baroque pop' of the '60s as well as to Velvet Underground has been accentuated.

The album produced the UK top-40 single "Flowers in December" but apart from that the album was seen as a lesser album, and also music critics seemed less drawn to the change of style.

After the release, the band went on a live tour and also began work on a follow-up, but they found the demands of the record label management intolerable with "the money people" interfering in their creative craftmanship and Sandoval and Roback eventually asked to be released from their contractual obligations. Without officially dissolving, the band went on a hiatus in '97 that should last fourteen years and Among My Swan was eventually followed by the fourth album in 2013, Seasons of Your Day.

I find this one on a completely different level than the first two albums. It simply tastes too much of the '60s. It's good but not really essential.

[ allmusic.com 3.5 / 5 stars ]

Editors "EBM" (2022)

EBM

release date: Sep. 22, 2022

format: digital (11 x File, FLAC) (Deluxe)

[album rate: 4 / 5] [3,85]

producer: Blanck Mass, Justin Lockey, Elliott Williams

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

Track highlights: 1. "Heart Attack" (4 / 5) - 2. "Picturesque" - 3. "Karma Climb" - 4. "Kiss" - 6. "Strawberry Lemonade" - 7. "Vibe" - 8. "Educate"

7th studio album by Editors follows 4½ years after Violence (Mar. 2018), an album that lacked some of the coherency they showed on The Weight of Your Love from 2013. Since their sixth album Benjamin John Power has become a new member, and he is heard all over an album that fixates the band on an electronic path. Power is also known as Blank Mass and that's also how he's credited here. The album title thus refering to 'Editors Blanck Mass'. Powers played a vital part on the predecessor but the band didn't find the way to utilise Powers' contributions back then and instead ended up with tracks pointing here and there and with an album that seemed unfocused. One year after the release of Violence Editors released The Blanck Mass Sessions containing the initial recordings by Blanck Mass, which led to the album versions, and those early recordings contain some ideas that were ultimately lost on the final album. You could argue they were stronger electronically-founded, which only reflect how the band had to digest the input from Power before realising that he actually laid out a new musical direction for the band to follow.

With Banck Mass aboard Editors comes out as a revitalised band. They make the songs by Tom Smith work on top of an electronic base that gives room for bass and synths and the result is surprisingly good. Blanck Mass is noticeable all over the album, but together they are in positive synergy.

Undoubtedly, this new electronic style will challenge some of the old post-punk revivalists, and although I really enjoyed their initial albums, I like this new constellation!

[ allmusic.com, Record Collector 4 / 5 stars ]

Eee Gee "Winning" (2022)

Winning [debut]

release date: Feb. 25, 2022

format: digital (14 x File, FLAC)

[album rate: 4 / 5] [3,76]

producer: Rasmus Bille Bähncke

label: Future Classic - nationality: Denmark

Track highlights: 1. "Favourite Lover" (4 / 5) - 2. "You Don't Have to Tell Me It's Over" - 5. "Contraband" (live session) - 6. "Bad Person" - 7. "Love Hurts" - 8. "Winning" - 10. "All or Nothing" - 11. "Killing It" (4 / 5)

Studio album debut by Danish act Eee Gee [stylised 'eee gee'] aka Emma Grankvist is virtually a debut-out-of-the-blue. I first listened to the song "Favourite Lover" and then "Bad Person" without knowing anything about artist or nationality, and I remember thinking it must be yet another one blending Lana Del Rey and Billie Eilish, although still doing that quite nicely. But after realising it's music by Danish songwriter Emma Grankvist and upon listening to the whole album, I have to admit it's much more than a copy and quite a remarkable achievement. Why hadn't we heard about her before? And speaking of influences, I also found it's waaaay too simple to mention the aforementioned two American stars as only sources 'cause there's also traces of much else. There's a tongue-in-cheek (Lily Allen-like) presence and songs that are stronger singer / songwriter or alt. folk related that reminds me of Cat Power or Sharon Van Etten, or was it Ane Brun leaning on Joni Mitchell? And then why even compare?!

The album has a total running time above 45 minutes with songs written by Grankvist, and most of the music is co-composed with producer Bähncke. Granted, this may not be highly original, but it's a most powerful collection of personal songs produced in high-end arrangements. Yes, there's influence and traces of others, but looking at the whole picture instead, this is simply one of the strongest Danish debut albums in years.

Highly recommended.

[ Politiken, 👉Soundvenue 5 / 6, Undertoner 4 / 6 stars ]

Joakim Berg "Jag fortsätter glömma" (2022)

Jag fortsätter glömma [debut]

release date: May 27, 2022

format: digital (11 x File, FLAC)

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

producer: Joakim Berg

label: Universal Music - nationality: Sweden

Track highlights: 1. "Barn av vår tid" - 2. "Begravningsbål" - 3. "Aniara" - 4. "Låtsasvärlden" - 5. "Legender" - 7. "Var vi kom ifrån" - 9. "4" - 10. "Mer än ingenting"

Studio solo album debut from Kent frontman follows 6 full years after the final album by Kent Då som nu för alltid. Berg has written and composed all music except one track composed with former Kent guitarist Martin Sköld, and the album is also with Berg as only producer.

Musically, he has been engaged with writing and composing music for others but here hecomes out with his own material. Then how is it? Is it Kent material, or something completely different? Well, national critics are a bit divided here - and then, how could it be any different, you may ask. Aftonbladet og Gaffa.se are overwhelmed whereas Expressen with its 3 / 5 stars, which in a way says more being somewhat cheap on stars than the textual review by Anders Dahlbom.

No, it's not new musical terrain, and no, it's not incorporating new guitar or bass riffs, nor is it reflecting anything associated with indie rock, but what it does contain in abundance is Berg's melancholic vocal fronted soft melodic synthpop tapestry. Of course it would hardly make much sense expecting energetic guitar rock or uptempo basslines. How would it then be something new? Berg has moved along, and he showcases his ability with words despite he may be in need of a backing band, or at least someone else to provide the music with new seasoning. Overall, it's better than feared, but not really as good as you may have hoped for. The whole album stays (too) much in the same emmotions and the arrangements appear slightly narrow, but it both contains uptempo chorus-based songs and slower compositions. all aside, it's just a delight to hear Berg's voice again.

[ Aftonbladet 4 / 5, Gaffa 5 / 6, Expressen 3 / 5 stars ]

Mazzy Star "So Tonight That I Might See" (1993)

So Tonight That I Might See
release date: Oct. 5, 1993
format: cd / vinyl (2022 reissue)
[album rate: 4 / 5] [3,76]
producer: David Roback
label: Capitol Records - nationality: USA

Track highlights: 1. "Fade Into You" (4,5 / 5) (live on Later) - 2. "Bells Ring" (4 / 5) - 3. "Mary of Silence" - 7. "Unreflected" - 9. "Into Dust" - 10. "So Tonight That I Might See"

2nd studio album by Mazzy Star following nearly 3½ years after the debut She Hangs Brightly (1990). Since then, the band signed with Capitol after the Rough Trade division closed in the US, and it appears that although both Keith Mitchell and Will Cooper of Opal participate on the album, they are merely additional personnel, and Mazzy Star has become what it basically always was: the duo-project of composer, guitarist and pianist David Roback and songwriter, vocalist and guitarist Hope Sandoval.

At first, the album sounds much alike the predecessor, in tone and especially sound, as the style has become even darker and mesmerising with drone-like guitar-sequences with Sandoval's haunting vocal on top.

"Fade into You" became the band's first and only top-100 single in the US peaking at #44; however, the band may never have aimed at making hit songs and becoming mainstream artists, but the album is often found listed among the best Dream Pop albums ever made [Pitchfork's 30 best dream pop albums].

The album comes out as the aural version of a highly original dream landscape - both hauntingly beautiful and disturbing at the same time. Roback and Sandoval appear more laid back on this, although, some tracks are 'noise rock' influenced and the title track sounds unimaginable without thinking of "The End" by The Doors and (perhaps also) "Heroin" by Velvet Underground, but overall I find it bettering their debut. This is simply their best studio album.

Now, did anyone say Lana Del Rey? Well, I betcha she heard this one!

Highly recommendable.

[ allmusic.com, Uncut 4,5 / 5, NME, Sputnikmusic 4 / 5, Soundlab 5 / 5 stars ]

Stromae "Multitude" (2022)

Multitude

release date: Mar. 4, 2022

format: digital (12 x File, FLAC)

[album rate: 4 / 5] [3,92]

producer: Stromae

label: Mosaert Label / Universal - nationality: Belgium

Track highlights: 1. "Invaincu" - 2. "Santé" - 3. "La Solassitude" - 4. "Fils de joie" - 5. "L'enfer" - 8. "Riez" - 9. "Mon amour" - 10. "Déclaration"

3rd studio album by Stromae following almost 9 full years after Racine Carrée (Aug. 2013) - a time of both international acclaim and personal turmoil. Stromae went on long tours in the US and in Africa, and then had to pull the plug from performing to recover again. Apparently, he suffered from anxiety and spent a long time rethinking his career. He only resurfaced again in 2021 with his first single from this album, the song "Santé".

Racine Carrée was a step forward from a promising debut and was a massive success - it's really no wonder that the skyrocketing success he has experienced is something that may be more than overwhelming, and with Multitude he not only does it again - he simply takes another step forward. The single "L'enfer" was played everywhere, and I first thought of it as merely another pop song, but it's so much more than just that. Stromae himself is the result of a mixed marriage, but his musical style is a gigantic mix of Euro-pop, American R&B, African and Asian popular music, AND with obvious bits of folkore from all over the world - yet, his music is styled to just fit his expression. All the global influences are destilled into a personal and strict sound that doesn't make you question its coherency.

At first, I found the album contained 2-3 great songs, but soon they kept surfacing, and here at the end of the year, I think of it as one the best albums of the year.

[ NME 4 / 5, Pitchfork 8,0 / 10 stars ]

Band of Horses "Things Are Great" (2022)

Things Are Great

release date: Mar. 4, 2022

format: digital (10 x File, FLAC)

[album rate: 4 / 5] [3,92]

producer: Wolfgang Zimmerman & Benjamin Bridwell

label: BMG - nationality: USA

Track highlights: 1. "Warning Signs" (4 / 5) - 2. "Crutch" (4 / 5) - 3. "Tragedy of the Commons" - 5. "In Need of Repair" - 6. "Aftermath" (4 / 5) - 7. "Lights" - 8. "Ice Night We're Having" - 9. "You Are Nice to Me" - 10. "Coalinga"

6th studio album by Band of Horses is a most welcomed new release following nearly six full years since the band's last effort, Why Are You OK (Jun. 2016). Some probably had their doubts about the band's survival, but here they are, Band of Horses is synonymous with Ben Bridwell, and he's back with a new line-up. Since 2017 the band has been without guitarist Tyler Ramsey and bassist Bill Reynolds, who had both been stable members for a decade, and a new line-up has taken its time. Two new guitarists have been through and out - the most recent, Ian MacDougal played in the band from 2017, and he is still credited as guitarist on this but left the band prior to the album release - he was subsequently replaced by Brett Nash. Bassist Matt Gentling, who played in the band for a short period back in early 2007 after which he was replaced by Bill Reynolds, is now back as substitute for Reynolds.

Although, the album hasn't made impressive entries on the album charts, it has been met by quite positive reviews, and I fully understand the positive hype. Bridwell has simply done it again! Things Are Great follows so nicely in the path laid out by the band's first two - and so far only great albums, but now Band of Horses have made three! Forget Infinte Arms, Mirage Rock and even Why Are You OK. - they contain good and fine songs but are all rather uneven albums. This one on the other hand is up there among their best, and if it's a bit of a mystery why it hasn't been praised more, you may ask how Bridwell & Co. are able to come up with an album that is both so fresh and melodic yet so much in the "tradition" of the band's best songs made some 15 years ago. My guess is, the mystery lies in the fact that this band is more or less a one-man project, and if Bridwell has some great tunes, well, then you get to experience things like this!

Highly recommended!

[ 👍allmusic.com, Mojo, Classic Rock, Uncut 4 / 5, Pitchfork 7,3 / 10, 👎Rolling Stone 3,5 / 5 stars ]

2022 Favourite releases: 1. Hurray for the Riff Raff Life on Earth - 2. Big Thief Dragon New Warm Mountain I Believe in You - 3. Band of Horses Things Are Great

Red Hot Chili Peppers "Return of the Dream Canteen" (2022)

Return of the Dream Canteen

release date: Oct. 14, 2022

format: digital (17 x File, FLAC)

[album rate: 3,5 / 5] [3,46]

producer: Rick Rubin

label: Warner Records - nationality: USA

13th studio album by Red Hot Chili Peppers is the band's second full-length studio of the year following only 6 months after Unlimited Love, the band's first with returning guitarist John Frusciante. Both albums are with old associate Rick Rubin in the producer seat and together they have made two distinct RHCP albums with a more laid-back style founded on a great deal of improvisations and on a mutual understanding of "the real" RHCP sound. The first album included 17 tracks running for almost 75 minutes, and this new collection doubles that with its 75 minutes running time and 17 new compositions.

Wow! The scale of these two alone is an impressive achievement. In terms of style and sound they are closely related but it what strikes me is that this latter release seems more elaborated and less founded on free improvs, and since all 34 recordings stem from the same sessions it's likely that they have chosen a smart procedure of releasing the more incoherent collection first - it did come as the first RHCP album in six years and would be a most natural success alone from being the first new recordings for a very long time. This second collection contains several tracks that are more melody-based traditional compositions with A-, B-, and chorus parts, and it comes out as the more accessible collection.

I'm not a big fan of RHCP's improvisations, and in my mind, this new album just is a better album. That said, it's still difficult for a band like this to establish a strong bond to its musical traditions, its very distinct style and sound and still come up with something new. The album - or it basically applies both of the band's two albums of 2022 - is RHCP classic. This is not a band like U2, who all of a sudden comes up with a new sound but a band who has become stars via a certain combo of modern psychedlic rock, which bases its sound on a fusion of funk and alternative rock, and there's no intentions in changing that, which also means that what you get what you expect. No more, no less. And that's probably the weakness of the album - it's simply founded on previous releases, and every once in a while, you end up thinking "ah, this is based on that particular songt from that album", and I guess, there's no intentions in hiding that - it's simply a bunch of new songs building on old material.

[ allmusic.com 3 / 5, Pitchfork 6,3 / 10 stars ]

Blaue Blume "Country" (2022) (single)

Country, single

release date: Sep. 9. 2022

format: digital (1 x File, FLAC)

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

producer: Blaue Blume

label: HFN Music - nationality: Danmark

Tracklist: 1. "Country" (4 / 5)

Single release by Blaue Blume and the band's first actual release Bell of Wool (Nov. 2019) except from the remix of "Loveable" - the first by Trentemøller (released Feb. 2020) and one by Emil Rottmayer (released Mar. 2021). Since that album and in the span of the most recent months the band has been reduced to a trio following the leave of guitarist Robert Buhl Jensen, who then leaves behind a band consisting of vocalist Jonas Smith, guitarist & bassist Buster Lassen, and with Søren Buhl-Jensen on keyboards & drums.

"Country" has so far only been issued in digital format, and the song is a laidback and quiet track with traces to Talk Talk with a certain jazzy quality and with elements from country and progressive pop, and with the pompous production of Blaue Blume in behold. It's beautiful and heartfelt, and it still shows the band's great potential. The single may be found on the band's bandcamp-profile.

Marie Key "Lys finale" (2022)

Lys finale

release date: Feb. 11, 2022

format: digital (10 x File, FLAC)

[album rate: 4 / 5] [3,78]

producer: Bremer / McCoy

label: Sony Music - nationality: Denmark

Track highlights: 1. "Vinter" - 2. "Tænk" - 5. "Lys finale" (4 / 5) - 6. "Stille måne" - 7. "Verden" - 10. "Festen"

6th studio album by Marie Key following the album Marie Key (2020) saw Key in an attempt to take up the success from her first three solo albums with producer Andreas 'Maskinen' Sommer, and although the album produced a small single hit with "True Love", the album wasn't part of top-40.

Lys finale is easily her most quiet album to date. It's produced by contemporary Danish jazz-duo Bremer / McCoy (bassist Jonathan Bremer and pianist Morten McCoy), and all tracks are co-composed and arranged by the duo, and the end-result is far from the art pop and synthpop-fused predecessors. Stylewise, this might go as indie pop with a strong touch of jazz pop, and most tracks have near minimalist arrangements where bass and a delicate keyboard often are only instruments backing Key's vocal, which is accentuated strongly.

A first listen had me think it was daring and far from expected but I quickly found it a quite strong release. It's not filled with hit material or sing-a-long choruses, and it's primarily the most stripped down songs that work the best - and it's Key's delicate narration that really lifts the album, which then also calls for a native audience, as all songs are in Danish.

This is imho, Key's second best album to date and thus highly recommended.

[ Berlingske 5 / 6, Politiken 3 / 6 stars ]

Blanck Mass "Ted K (Original Score)" (2022)

Ted K (Original Score) (OST), soundtrack

release date: Mar. 18, 2022

format: digital (19 x File, FLAC)

[album rate: 3,5 / 5] [3,64]

producer: Blanck Mass

label: Sacred Bones Records - nationality: England, UK

Track highlights: 2. "Montana (Main Theme)" - 5. "Revenge" - 7. "Greyhound"

Soundtrack album by Blanck Mass following the release of the live album Mind Killer (May 2021, transmissioned Apr. 2020 during the COVID19-lockdown) and the studio album In Ferneaux (Feb. 2021). The album (issued via the label's bandcamp profile) shares title with the Tony Scott film about the actual Unabomber (sic) Ted Kaczynski, and it's the second full-length soundtrack album credited Blanck Mass, who first scored Nick Rowland’s acclaimed Calm With Horses (OST) from 2020.

The soundtrack here is yet another fascinating work by Benjamin John Power, who simply seems to continously expand musical barriers whenever he produces a new album - be it as solo artist, as new central member of alt. rock act Editors, or when setting the tone for a full-length feature film. The album doesn't provide us with a long list of single hits, but works as a whole. Blanck Mass displays a nice balance of various intense sensations between good and evil - there's always an underlying current of something intruiging, something luring, and various amounts of... desperation.

Ted K (Original Score) works nicely on its own terms and only makes you interested in seing Tony Scott's film.

Recommended.

Big Thief "Dragon New Warm Mountain I Believe in You" (2022)

Dragon New Warm Mountain I Believe in You

release date: Feb. 11, 2022

format: vinyl 2lp (gatefold) / digital (20 x File, FLAC)

[album rate: 4 / 5] [4,06]

producer: James Krivchenia

label: 4AD Records - nationality: USA

Track highlights: 1. "Change" - 3. "Spud Infinity" (4 / 5) (live) - 4. "Certainty" - 5. "Dragon New Warm Mountain I Believe in You" - 6. "Sparrow" - 7. "Little Things" (live) - 10. "Blurred View" - 14. "Wake Me up to Drive" - 16. "12,000 Lines" - 17. "Simulation Swarm" (4 /5) (live) - 19. "The Only Place" - 20. "Blue Lightning"

5th studio album by US folk rock quartet Big Thief is the follow-up to the 2019-album Two Hands, the band's second on 4AD. So far, the band is the same solid ensemble, who have played together under the moniker since 2015 without major changes in a line-up, who all frequented Boston Berklee College of Music, although, they first materialsed as Big Thief following their final exams. Only the function as the band's drummer has changed hands over the years - on the debut Masterpiece (2016) the drummer was Jason Burger, on on that the band's future drummer James Krivchenia is credited as sound technician and 'additional producer', and apart from handling drums on this new one he is also credited as producer. The band consists of vocalist, guitarist, and primary songwriter Adrianne Lenker, guitarist and vocalist Buck Meek, bassist and keyboardist Max Oleartchik, and drummer James Krivchenia. Since the 2019-album, Lenker has released the fine acoustic double album Songs and Instrumentals, also via 4AD. Lenker is furthermore credited the cover art, she's sound engineer, and together with Krivchenia, she's credited mixing of the album.

Stylewise, their music is often labeled indie rock, and indie seems like a fair desciption but it's obviously more folk rock-founded with elements from alt. country and a new folk-tradition, which seems like a common ground for Fleet Foxes, Band of Horses, Grand Archives etc., who all have listened to Joni Mitchell, Neil Young, Nick Drake and the likes without necessarily thinking 'Dylan', as many earlier folk-artists found their inspiration in. Perhaps, Johnny Cash is more likely as another source of inspiration. Lenker writes and sings in a highly original style about obscure characters and peculiar observations. At times she share vocal clour with both Martha Wainwright and Lucinda Williams while her narratives often point to similarities with Mark Kozelek's wondrous daily routines. Musically, Big Thief may also have listened to both Kozelek, Sun Kil Moon and Grant-Lee Phillips. In that respect the band is clearly founded in an American music tradition with input from folk, country and a modern singer / songwriter context. Now and then, the band adjoins other stylistic domains without deviating from their personal expression, but here and there you may come to think Pixies, Modest Mouse or The National as other sources of inspiration.

Dragon New Warm Mountain I Believe in You consists of 20 tracks with a total running time just over 80 minutes - yet it comes as a regular cd-version and as a double vinyl, as well as in digital format via the band's bandcamp-profile.

The album offers original and varied music, and it's such a skilfully crafted and seamless release that it's almost bound to end up in my top-3 list for the year. It's a remarkable effort and the band's finest, and it's highly recommended.

[ allmusic.com, Rolling Stone 3,5 / 5, 👍NME, Mojo 4 / 5, Pitchfork, Needledrop 9.0 / 10, Uncut 4,5 / 5 stars ]

2022 Favourite releases: 1. Hurray for the Riff Raff Life on Earth - 2. Big Thief Dragon New Warm Mountain I Believe in You - 3. Band of Horses Things Are Great

Red Hot Chili Peppers "Unlimited Love" (2022)

Unlimited Love

release date: Apr. 1, 2022

format: digital (17 x File, FLAC)

[album rate: 3 / 5] [3,16]

producer: Rick Rubin

label: Warner Bros. - nationality: USA

12th studio album by RHCP following nearly 6 full years after The Getaway (Jun. 2016). Aside from Rubin is back as producer, the biggest news is that this new album welcomes back John Frusciante, who then replaces Josh Klinghofer - the substitute for Frusciante for eleven years but also a guitarist who only contributed to the band's discography on the 2011 album I'm With You and on the 2016 album.

With Frusciante back, the band is reformed in its most potent line-up and Unlimited Love is just one of two full studio albums of the year - and with its 17 tracks and a total of 73 minutes running time, it's not even a short one!

Fans cheer and jump in joy - that's what they do, when their idols release new stuff, right! But it's been awhile since I saw myself as a "real" fan. I really enjoyed I'm With You, but since then, I found they mostly just seemed to lean back in the seats resting on their merits to live their own idolised rock star lives. Granted, it must be difficult to reinvent themselves, but with this it seems they just give it a go - perhaps thinking: "let's be loose, let's jam along and see where it takes us." And yes, a lot of people respond positively to this their certified most laidback album ever. Frusciante adds his neo-psychedelic electric vibes, Flea and Smith provide a punchy rhythm section as back bone, and Kiedis... well he mostly just babbles on, the way only he knows and the end result is solid RHCP. It's just without new strong songs - in fact there's hardly one great tune, but who give a shjite? It's RHCP, and they are entitled to release whatever they feel like. So that's it. Not an immediate favourite. Not in near future. In fact, not ever, but they play well together sounding like a RHCP copy band copying RHCP giving it as RHCP...

[ allmusic.com, Classic Rock 3,5 / 5, Pitchfork 5,4 / 10, Rolling Stone 4 / 5 stars ]

Faye Webster "I Know I'm Funny haha" (2021)

I Know I'm Funny haha

release date: Jun. 25, 2021

format: digital (11 x File, FLAC)

[album rate: 3,5 / 5] [3,72]

producer: Drew Vandenberg, Faye Webster

label: Secretly Canadian - nationality: USA

Track highlights: 1. "Better Distractions" - 3. "I Know I'm Funny haha" - 4. "In a Good Way" - 5. "Kind Of" - 6. "Cheers" - 9. "A Dream With a Baseball Player" - 10. "Overslept" (feat. Mei Ehara)

4th studio album from Faye Webster released two years after what is conceived as her breakthrough album Atlanta Millionaires Club. An unforseen aid has nursed the new album to international attention when ex-president Barrack Obama's Spotify playlist revealed it included the song "Better Distractions".

Webster continue on the same path of alt. country, indie folk mixed with elements from r&b and hip hop. At times it comes close to lounge and jazz pop, and then it also reach out to a stronger hip hop-influence but it mainly stays on a narrow stylistic space filled with lap steel, bass and jazz percussion together with Webster's gentle melancholia keeping everything on the same road. Compared to her 2019 album, the new album comes out as lesser challenging but also as a tighter release.

The album has been met by positive reviews and it has landed two US Billboard top 10 positions with a position as number #10 on the Americana / Folk chart list and a 9th spot on the Heatseekers Album list, and the album also ended as number #11 on Pitchfork's 2021 year-end-list.

Webster is definitely an artist to look out for, and with I Know I'm Funny haha, she has made her most coherent and so far most fascinating album.

Recommended.

[ 😶allmusic.com 3 / 5, 👍Under the Radar 7,5 / 10, NME 4 / 5, Pitchfork 8,4 / 10, Uncut 4,5 / 5 stars ]

George Harrison "My Sweet Lord" (1970) (single)

My Sweet Lord, 7'' single

release date: Nov. 23, 1970

format: vinyl (F 2995)

[single rate: 4 / 5] [4,08]

producer: George Harrison & Phil Spector

label: Apple Records - nationality: England, UK

Tracklist: A) "My Sweet Lord" (4,5 / 5) - - B) "Isn't It a Pity"

1st single release by George Harrison taken from his solo album debut All Things Must Pass (Nov. 27, 1970). The single was released in the US as a double A-side single and international issues as regular two-sided 7'' singles.

This song is likely to be Harrison's best loved single - being highly valued as a stand-out work from his first album while creating a clash with his mangement as he didn't want to issue any singles from his album. Perhaps, just as importantly, the single is highly treasured because the single mix of the song differs from that found on the album.

During the Winter of 1970/'71, the release became an international number #1 single-hit, and the first to top the singles charts by any of the four ex-Beatles members. The song itself must have been the best possible promotion for the critical acclaim and commercial success of his double album, although, Harrison probably still didn't just see it as a sales stunt.

The copy I own is a first issue pressing from Denmark, which also played a central role as Harrison appears to have written and composed the song while on tour in Copenhagen, Dec. '69.

Back in the 70s I did enjoy this very song but somehow I also felt that I should appreciate it more 'cause I wasn't a huge fan. I think, I found it a bit too melancholic and repetitive - both traits are perhaps the reason I have come to treasure it much more as an adult. Harrison makes it simple and he carries much of a recognisable style from The Beatles without sounding like a tune coming from his former band. The song is both a simple one lyrically and with its bold chorus and yet musically, it's a complex compound of styles. There's a fine balance of psychedelic rock - here it's a conglomerate of folk rock, singer / songwriter, baroque pop, and pop / rock, and you can't really tell which style is the dominant one. It's tempting to stay with notion of 'psychedelic' but it seems too simplistic. All Things Must Pass is an iconic masterpiece, and "My Sweet Lord" is there as a highlight, to stress the fact that Harrison possessed much more than he was given a chance to lay open while being part of a band with two leaders. As much as I enjoy the various periods by The Fab Four, I just feel a more warm-hearted appreciation for Harrison's solo career, which I consider generally underappreciated.

Trentemøller "Memoria" (2022)

Memoria

release date: Feb. 11, 2022

format: digital (14 x File, FLAC)

[album rate: 4 / 5] [3,82]

producer: Anders Trentemøller

label: In My Room - nationality: Denmark

Track highlights: 1. "Veil of White" - 2. "No More Kissing in the Rain" - 4. "Glow" - 5. "In the Gloaming" - 7. "When the Sun Explodes" - 8. "Dead or Alive" - 9. "All Too Soon" - 10. "A Summer’s Empty Room" - 12. "Drifting Star" - 13. "Like a Daydream"

6th studio album from Anders Trentemøller follows 2½ years after the fine Obverse (Sep. 2019) and the album has been launched by a series of official videoes - firstly by "In the Gloaming" and later by "All Too Soon", "Dead or Alive", "No More Kissing in the Rain", and "Like a Daydream".

The album is highlighted via its melodic universe, although, the album is quite untraditional from the hands of Trentemøller as a predominantly vocal-founded album. Stylewise, it's more predictable situated in the outskirts of the 80s and 90s nostalgia linked with his very own electronic homeland. Memoria is the sound of shoegaze / dreampop à la Slowdive and Mazzy Star with drops of Robert Smith (The Cure) guitarwork as heard on the Disintegration-era mixed with Robin Guthrie (Cocteau Twins) reverb, and in this manner he sort of continues where Obverse ended, and simultaneously he applies something new. The big difference is that the 2019-release appeared more introspective and closed on progressive instrumental variations, whereas Memoria lurks on the verge of darkness - at times jumpping straight out into the daylight floating away on light tones of Robin Guthrie-inspired loops. And just that may be the newest 'trend' from Mr. Trentemøller - that instead of finding inspiration from the murky corners of the post-punk-era, he now adds a synthpop-soundscape from other areas and by doing so, he also creates a distinct cocktail of his own. On this, Trentemøller has made use of the two Danish guitarists Silas Tinglef and Lisbet Fritze, with the latter also featuring on vocal. The end product is a more coherent collection of compositions compared to what Trentemøller normally ends up with. It's a new touch with which he combines a pervasive flair for micro house and synthwave that ultimately displays his so far best studio album to date.

Highly recommended.

[ bandcamp ]

[ Gaffa.dk, musicOMH, PopMatters 4 / 5 stars ]

Bloc Party "Alpha Games" (2022)

Alpha Games

release date: Apr. 21, 2022

format: digital (12 x File, FLAC)

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

producer: Nick Launay, Adam Greenspan

label: Infectious Music - nationality: England, UK

Track highlights: 1. "Day Drinker" - 2. "Traps" - 3. "You Should Know the Truth" - 4. "Callum Is a Snake" - 6. "The Girls Are Fighting" - 7. "Of Things Yet to Come" - 8. "Sex Magik" - 9. "By Any Means Necessary"

6th studio album from Bloc Party comes more than six years after Hymns (Jan. 2016) and is made with Launay and Greenspan - a somewhat remarkable producer duo. In the early 80s Nick Launay was already a producer for Virgin Prunes, Killing Joke, Gang of Four and Australian bands like Birthday Party, Midnight Oil, and The Church. He later produced for INXS and The Armoury Show, and in the 90s and into the new Millennium he produced for David Byrne and Nick Cave. In comparison, Greenspan appears a somewhat more unknown producer who has worked as sound engineer for Arcade Fire (on The Suburbs) and he has produced for indie rock bands such as Maxïmo Park and The Veils. Together, they have worked on the critically acclaimed Push the Sky Away (2013) by Nick Cave and the Bad Seeds, where Launay is credited as co-producer and Greenspan was responsible for mixing the album, but they have since then functioned as a producer-duo on several releases.

Alpha Games shows once again that Bloc Party is not an easy act to bring to a halt, even though several times over the years there have been rumors that the group faced a final career break. In the past it has led to changes in the group's line-up, which has supported the rumours, but at the same time there always seems to have been a stable core of songwriter and lead vocalist Kele and the band's musical focal point in guitarist Russell Lissack. The album Hymns was made as a duo-project after being abandoned by first the group's longtime drummer Matt Tong and later, shortly before recording the album, bassist Gordon Moakes. Kele and Lissack carried out studio recordings with studio musicians and subsequently succeeded firstly by filling the vacant seat as drummer with a quite young Louise Bartle and then also the role of bassist thanks to American musician Justin Harris, who featured on Hymns as studio musician, and now, six years down a new path, it is still this constellation that makes up Bloc Party.

Musically speaking, the group has moved in many directions since the starting point as an energetic post-punk revival act, and for fans and critics the band has behaved like a fish in water - a band you could never really know for sure where to place, or where they where they were going - which may have been one of the reasons for lukewarm reviews from confused reviewers, but releases in various styles may also have confused fans. On the other hand, you may argue that very much like front figure Kele, who has himself released albums characterized by quite different styles, such as electronic dance-pop and then even singer / songwriter folk, Bloc Party has insisted on making exactly the music they themselves felt was just right at a certain point. When they thundered out on the scene as one of the hottest names alongside American band Interpol, the easiest thing would have been to continue in the same groove, but no, they immediately plunged into another direction, and from that into another, etc., all while their stylistic dribbles hitched many off - and perhaps in the process itself both lost a drummer and a bassist.

Alpha Games offers a revisit of Bloc Party classic in the sense that the post-punk revival element is back, but not in a pure rock-universe, but in a more nuanced picture with elements drawn from a bunch of other styles. You'll find alt. dance and indie rock in a mix with the addition of a fingertip of electronic without losing the sensation of a complete expression. There is recycling and inspiration from their own previous releases, but it all still sounds like a brand new album that stands on its own feet. In many ways it sounds like an album they could have released in the wake of the great Intimacy (2008), but it doesn't just work that way and without Four (2012) and Hymns, Alpha Games would never have resulted in the album we now face. Justin Harris and Louise Bartle have played that many times together with Kele and Lissack over the past years that they now contribute to a new chapter in the band's long history, which nevertheless 'only' counts six studio albums.

Alpha Games is already an album that (once again) divides the waters. Some critics (Pitchfork) call it a mixed pleasure and cling a bit too much to Kele's lyrical universe, while others (Clash and PopMatters) praise the album's musical qualities. To my ears, the album mostly gives good reason to wish for more releases in the future, knowing that with Bloc Party no one can really tell what will happen. But until then, enjoy this energetic outing, which is even something as conservative as the album original fans could wish for.

An exciting and recommended effort.

[ 👍allmusic.com 3,5 / 5, Clash, PopMatters 4 / 5, 👎Pitchfork 5,2 / 10 stars ]

Lotte Kestner "Lost Songs" (2022)

Lost Songs

release date: Feb. 11, 2022

format: digital (13 x File, FLAC)

[album rate: 3,5 / 5] [3,70]

producer: Anna-Lynne Williams

label: self-released - nationality: USA

Track highlights: 1. "Open Ocean" (4 / 5) - 2. "Slip" - 3. "Weaving" - 5. "Colors That Did Not Exist" - 8. "You Must Have" - 12. "Fade Away" - 13. "Inside of Love"

Solo album by Lotte Kestner (aka Anna-Lynne Williams), former songwriter and vocalist in Seattle folk-quartet Trespassers William, a band which after years with an ever-changing line-up ended up as the duo-project by the only lasting members: Williams and composer / guitarist Matt Brown. After the split from Brown, Williams had a short stint and made two albums with Ormonde - another duo-project (this time with Robert Gomez) - she then concentrated on her already highly original solo career as Lotte Kestner (debuted with China Mountain in 2008).

Lost Songs appears to be her seventh, eigth or ninth solo album. It's not the easyist task to enlist her solo albums. Some releases are pure cover albums, some are alternate mixes, remixes, and with titles like Solo Versions (2017) and Other Versions (2018) it's rather hard to distinguish what's really new releases in a traditional sense. And Lost Songs follows this pattern by both being a studio album of 13 tracks but also a collection of songs composed over [what I read somewhere is] a ten year period. On previous releases Kestner has made it a bit of her thing to do cover versions, and on this you'll find two songs: "Everything I Wanted" by Billie Eilish and "Inside of Love" by Nada Surf.

Kestner's trademarks are slow to very slow folkish material held in lo-fi productions, typically arranged with Kestner's gentle vocal accompanied by the strumming of a guitar and at times with occasional accompanying piano, backing harmonies and soft percussion. Several passages brings to mind folk traditonalists as Joni Mitchell and / or Emmylou Harris, although Kestner's songs are not exemplified entirely by stunning vocal range or the strengths of vocal performances - instead it dwells on a narrow palette of grey colours and emmotional melancholic sensation. That may not sound impressing as such, but Kestner does what she does without much fuzz and still the end result is quality music.

I enjoy this quite a bit, only, at times I find somewhat narrow with little variation but it's all done with artistic conviction.

[ bandcamp ]

[ HeavyPop (German) 7 / 10 stars ]

Eddie Vedder "Earthling" (2022)

Earthling

release date: Feb. 11, 2022

format: digital (13 x File, FLAC)

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

producer: Andrew Watt

label: Seattle Surf Co. / Republic Records - nationality: USA

Track highlights: 1. "Invincible" (live) - 2. "Power of Right" - 3. "Long Way" - 4. "Brother the Cloud" - 6. "The Dark" - 9. "Rose of Jericho" - 10. "Try" - 11. "Picture" - 13. "On My Way"

3rd solo album from Eddie Vedder released nearly 11 full years following Ukulele Songs (May 2011) and two years after Pearl Jam's latest Gigaton (Mar. 2020). Bearing the span of years in between solo-releases it may seem a little sought after to make comparisons, and you may better look at the latest works by Pearl Jam, or: just not compare at all! It's nevertheless interesting to focus on who, he has chosen to co-operate with, and here you find former Red Hot Chili Peppers guitarist Josh Klinghofer as co-composer on all 13 tracks - as many recall, he substituted John Frusciante in Red Hot Chili Peppers in 2009, only to be sacrifised (sat free) in 2020 when the very same Frusciante returned, thus participating on Unlimited Love (Apr. 2020). Apart from Klinghofer all tracks are credited Vedder and producer Andrew Watt (aka Andrew Wotman), who is also creditered as multi-instrumentalist - mostly on bass and guitar. Red Hot Chili Peppers' drummer Chad Smith is credited as co-composer on seven songs and he plays on nine. A small army of acclaimed artists partecipate on the individual tracks, e.g. Stevie Wonder on jews harp on "Try", Elton John as co-composer and vocalist on "Picture", where you allso find drummer Abe Laboriel Jr. (from Paul McCartney's touring band) and keyboardist Benmont Tench (from Tom Petty & The Heartbreakers) on Hammond organ, and on the Beatles-inspired "Mrs. Mills" we find... Ringo Starr on drums.

Once again, Vedder sings the way he does, and it's with a vocal with a clear structure and sound, which has its very own spot in the great American rock-history. On Earthling he delivers as vocalist on melodic tunes in the popular end of pop / rock - at least compared to his contributions with Pearl Jam, who embraces a harder and bolder alt. rock than found here. In that way, it's Vedder in a safe melodic rock-context for warranting an equilibrium of ballads and sheer amounts of juvenile smartness, as if to demonstrate there's still a spark in his musical foundation. The album conatins a few uptempo energetic tracks with a clear taste of Pearl Jam, you'll find melodic heartland rock and soft ballads, and in between it songs and pieces which is there to balance it all. Elton John immitates Elvis Costello on a decent track, although it's all heard before, and that's basically a notion you'll remind yourself of when Vedder builds as much as he does on his own back catalog with apparent inspiration from Springsteen, Tom Petty, The Beatles, U2 and from the great immitators: The Killers.

Overall, the album is quite nicely produced and sewn together, and it doesn't stir up any stylistic conventions. Vedder sings in a way that no panties are left dry, securing that all (real) men rock along. It may touch on predictable and not highly original, but on the other hand, when Pearl Jam are perfectly content in copying themselves over and over again, Vedder might as well just deliver as the lightning image of who he should be. I only miss, he had something to say but then again, I also find the pleasure in simply listening to his unique voice just the way it shines so bright. It's dad-rock and it's stadium-rock, and it's well-produced through and through as clever genuine craftsmanship.

[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5, 👍Classic Rock 3,5 / 5, Pitchfork 6.7 / 10, NME 3 / 5 stars ]

BEST OF 2022: Hurray for the Riff Raff "Life on Earth" (2022)

Life on Earth

release date: Feb. 18, 2022

format: digital (11 x File, FLAC)

[album rate: 4 / 5] [4,14]

producer: Brad Cook

label: Nonesuch - nationality: USA

Track highlights: 1. "Wolves" - 2. "Pierced Arrows" - 3. "Pointed at the Sun" (4 / 5) - 4. "Rhododendron" - 5. "Jupiter's Dance" - 7. "Nightqueen" - 8. "Precious Cargo" - 9. "Rosemary Tears" - 10. "Saga"

8th studio album from New Orleans project band Hurra for the Riff Raff is the band's first on Nonesuch. From its origins as a multi-piece orchestra, the band has become synonymous with songwriter, composer, lead singer and guitarist Alynda Mariposa Segarra (aka Alynda 'Lee' Segarra) with roots in Puerto Rico and raised in the Bronx, New York. The band's name loosely translates to "Hurrah for Pack" meaning 'the underprivileged' (the homeless, the unemployed, immigrants) which relates to Segarra's own life lived on the American highways and as a blind passenger on freight trains, which was the preferred mode of transportation, after she ran away from her foster parents (her uncle and aunt) in the Bronx and headed for New Orleans. From here she ended up as a street musician and for a time she played banjo and washboard in the street band Dead Man Street Orchestra from 2007 to 2010, and with the band Hurray for the Riff Raff she made two self-released albums in 2008 and 2010, and she features on Six Feet Down (2010) with the band Tuba Skinny, which was an offshoot of the Dead Man Orchestra. In 2011, Segarra released the following album on the Loose label in 2011: Hurray for the Riff Raff as a solo release, whereas the 2012 follow-up Look Out Mama (also on Loose) is released as a band release. With 2013's My Dearest Darkest Neighbor, the band appears once again seemingly reduced to a solo project, (self-released and credited to Segarra's own label 'Mod Mobilian Records' and This Is American Music), which feature recordings from a 2013 UK tour. The most recent two albums Small Town Heroes (2014) and The Navigator from 2017 again seem like pure solo releases. The former is, however, recorded with several old acquaintances such as drummer and violinist Yosi Pearlstein, guitarist Sam Doores, and bassist Dan Cutler, who have all appeared on previous albums and they also played with the band on live tours but are not regular instrumentalists on all tracks and the cast credits reflect more that it's Segarra together with a wide variety of others. The album The Navigator is, like all previous studio albums, solely written and composed by Segarra, and here all other participating musicians are completely new names.

Life on Earth is undoubtedly Segarra's most beautifully produced album, although the predecessor also offered more tracks and reflected a more committed technical preparation than the more lo-fi arranged predecessors, which on the one hand are more closely connected to life as a street musician and on the other hand are not made to satisfy radio stations and the music industry as such. With Life on Earth, Segarra takes the full step as a significant contemporary artist with well-formed arrangements and a strong commitment to express her mind. It is a hybrid form of modern singer / songwriter which both echoes 70's folk rock as well as contain hints of punk rock's directness and at the same time she makes use of elements from classic rock and modern indie pop in a balanced form of her own. Some might point to memories of PJ Harvey, early St. Vincent, or other strong women in music, but it is most of all a highly original blend - and perhaps these type of comparison automatically happens when a single woman narrates with both sophisticated sting and sincerity, because Alynda Segarra's expression comes from a strong personality, and she has her own distinctive melancholy and at the same time a devilish energy, which saturates a number of beautiful, relevant and original compositions.

The album has already garnered good reviews, and Hurray for the Riff Raff has entered the charts with the album and has appeared in major national TV shows.

In my opinion, Life on Earth is no less than album of the year, and naturally a highly recommended album.

[ bandcamp ]

[ Pitchfork 8,3 / 10, The Guardian 4 / 5 stars]

2022 Favourite releases: 1. Hurray for the Riff Raff Life on Earth - 2. Big Thief Dragon New Warm Mountain I Believe in You - 3. Band of Horses Things Are Great

Johnny Marr "Fever Dreams Pts 1 - 4" (2022)

Fever Dreams Pts 1 - 4

release date: Feb. 25, 2022

format: digital (16 x File, FLAC)

[album rate: 3 / 5] [3,16]

producer: Johnny Marr & James Doviak

label: BMG - nationality: England, UK

Track highlights: 1. "Spirit Power and Soul" - 2. "Receiver" - 7. "Sensory Street" - 10. "Night and Day" - 14. "Ghoster"

4th solo studio album from former guitarist in The Smiths, Johnny Marr, follows a little more than 3½ years after the album Call the Comet (June 2018). It's made in a collaboration with producer James Doviak, who has featured on Marr's last three albums and is co-producer on all Marr's four solos. Marr and Doviak both featured on the album All for a Reason by the band Haven in 2004 and the two have since worked closely together.

Marr is clearly inspired by the harmony-driven Pop productions of the 1960s - with a preference for Phil Spector's sound universe - and he has released music in a mix combining traits from pop / rock and jangle pop. These signature styles are also some of the most obvious ingredients you meet on this one. The album has already been met by positive reviews, especially from the British Isles, though I'm not entirely convinced. By all means, it's nicely sounding, and it's altogether a well-made production, but it's not exactly highly original, and it's a little hard to point to Marr's distinctiveness on an album that most of all sounds like something his former songwriter colleague Morrissey could have made. It may be a little more uptempo and rock-shaped than what Morrissey usually fabricates, but the vocals, arrangements and even the rhymes sound a lot like from the aforementioned neighbourhood. Admittedly, Marr has not always represented the best vocal performances, but here he succeeds stronger than usual. What you don't get is a personal expression, which could provide us with more than a mix of something that has been made - many times before.

Not really recommended.

[ allmusic.com, The Guardian, Mojo, NME, Clash Music 4 / 5, UnderTheRadar 6.5 / 10 stars ]