OMD "Bauhaus Staircase" (2023)

Bauhaus Staircase

release date: Oct. 27, 2023

format: digital (12 x File, FLAC)

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

producer: OMD

label: 100% Records / White Noise - nationality: England, UK

Track highlights: 1. "Bauhaus Staircase" - 2. "Anthropocene" - 4. "G.E.M." - 5. "Where We Started" - 6. "Veruschka" - 8. "Don't Go" - 10. "Aphrodite's Favourite Child"

14th studio album by Orchestral Manoeuvres in the Dark - the fourth since the band's reformation in 2006, follows six full years after The Punishment of Luxury (Sep. 2017). As all the band's four studio albums of the new Millennium, the album production is credited the band and most tracks are written and composed by Andy McCluskey and Paul Humphreys with the former taking the strongest role as songwriter - business as usual. The band hasn't exactly lived without exchanging members and the line-up with the two founding members McCluskey and Humpreys alongside keyboardist Martin Cooper are now on their fourth consecutive album together, whereas drummer Stuart Kershaw, who took part in the writing of five tracks on Liberator (1993), debuted on the 2017 album.

Bauhaus Staircase not only continues where the band left us in 2017 but basically adopts the sound they have stuck to since the reformation and the release of History of Modern (2010), and the title referencing the German art school pretty much sums up what kind of legacy they aim for - and they do know how it connotates an early electronic European tradition, which implies both Jean-Michel Jarre and Kraftwerk. The album cover reflects the same perspective, as we've seen it with their four most recent albums. From the Pacific Age (1986) to Universal (1996) OMD found themselves - if not on a downward spiral, then at least on a negative trend, where they seemed to be caught on the wrong foot, searching of a proper style, which ultimately had McCluskey dissolve the band in '96. After the reunion, however, the band acts very determined to stick to a simple synth-pop founded on synths, drums, and melodic uptempo tunes that somehow all incorporate some of the characteristics of the band's earliest years. Since 2008 they have released live-versions of their most popular albums and been on tours only performing the albums Dazzle Ships and Architecture & Morality, and they have released the live album Access All Areas (2015) dedicated to hits of their heydays.

I feel somewhat undecided on this as I sense much reproduction and not much new, and then on the other hand I acknowledge that they really understand their own strengths and keep to these in a predictable, yet also quite charming way. My first impression was basically a complete rejection, and I thought it was game over. And again, I have to hand it to McCluskey & Co. as they know how to keep the torch alive.

Recommended.

[ Mojo, PopMatters, Record Collector, Uncut 4 / 5, Clash 4,5 / 5 stars ]

Grrrl Gang "Spunky!" (2023)

Spunky!

release date: Sep. 22, 2023

format: digital (10 x File, FLAC)

[album rate: 3,5 / 5] [3,65]

producer: Lafa Pratomo, Grrrl Gang

label: Green Island Music - nationality: Indonesia

Track highlights: 1. "Birthday Blues" - 2. "A Fight Breaks Out at a Karaoke Bar" - 3. "Rude Awakening" - 4. "Spunky!" - 5. "Cool Girl" - 9. "Blue Stained Lips" - 10. "The Star"

Full-length studio album debut by Indonesian trio Grrrl Gang. The album follows the compilation Here to Stay! (2020) and the ep debut Not Sad, Not Fulfilled (2018). Grrrl Gang consist of lead vocalist and guitarist Angeeta Sentana, bassist and vocalist Akbar Rumandung, guitarist and vocalist Edo Alventa, and together they formed the power pop trio in Yogyakarta, Java in 2016 - since then, they have relocated to the capital city of Jakarta.

Spunky!" is a ten track album; however, running for less than 25 mins. it's a rather short album. And frankly, that only makes you wish they had more songs on their repertoire 'cause it's really a fine addictive list of power pop tunes you probably wouldn't expect to originate from Asia - and say least of all: Indonesia. The three met and formed at Gadjah Mada University but might as well have formed in Seattle, or somewhere else in the US, which is like the living proof of how the world has become much smaller when speaking of music culture. Grrrl Gang play power pop and indie rock - in the 90s often referred to as college rock with bonds to The Breeders, Pixies, Echobelly, Throwing Muses and the like.

It's straight-forward and simple, and then it reminds us of how you could just go on and form a band back in 1977/80, or say 1990, just as long as you had some fundamental skills in place, and Grrrl Gang surely know one or two things about composing energetic indie pop.

Spunky! is already an acclaimed album - NME puts it at number #48 on its list of the 50 best albums of the year. I guess all three band members could very well have found, or hoped for another type of living than what they sat out for when deciding to relocate to the capital to find day jobs, and then instead ended up in a successful band.

Highly recommended.

[ NME 4 / 5, Under the Radar 7,5 / 10, 👍Loud and Quiet 3,5 / 5 stars ]

Reverend Kristin Michael Hayter "Saved!" (2023)

SAVED! [debut]

release date: Oct. 20, 2023

format: digital (11 x File, FLAC)

[album rate: 2 / 5] [1,88]

producer: 'Brother' Seth Manchester

label: Perpetual Flame Ministries - nationality: USA

Track highlights: 2. "All of My Friends Are Going to Hell"

Studio album debut as Reverend Kristin Michael Hayter (aka Kristin Hayter), who released four full-length albums from 2017 to 2021 under the name of Lingua Ignota - the final album being Sinner Get Ready (Aug. 2021). SAVED! is like her recent releases on the Sargent House label engineered by (now: 'Brother') Seth Manchester. Hayter's Lingua Ignota project was centered around a neo-classical darkwave style with obvious bonds to the music by Diamanda Galás, whereas the change of project-name signals a change of style. Musically, Hayter still makes anything but ordinary pop music - SAVED! has been labelled 'Southern Gospel' and / or 'Appalachian Music', but in any case it's still highly experimental and bonded to darkwave. The album consists of 11 tracks, which are all arranged, recorded, and mixed as if stemming from early twentieth century recordings. Instrumentally, it's quite simple with banjo and piano as only other dominating instruments apart from Hayter's lamenting vocal, which is much less aggressive than her albums as Lingua Ignota, and the production and mixing aspects quite obviously seek to present the music as recorded on a cheap ancient device of some sort. Deliberately, the volume goes up and down, there are cut-ups and fall-outs in sound, and everything is kept as an amateur's first take.

Regardless making music as this or that project, Hayter seems determined to explore Christian holy scriptures, and on this she examines the theme of salvation. The album has been met by critical acclaim, despite speaking to an extremely cult-like audience. From the reviews I've read it appears that critics agree on describing the music here as extreme, with little variation, and as challenging. Critics also note Hayter's artistic determination to stand out and go her very own way, which in some cases stand in the way of actually dealing with musical qualities as such. I find that only few actually describe the music they hear on this as beautiful, delicate, majestic, whatever. Appealing would suffice but that is hardly the point because it's not. Hayter is put in a 'holy' and exclusive category, where form over matter is all there is. In any case, it is an extremely coherent album, and that's of course a positive trait, but there are no tracks on this that will satisfy a hope of finding music you would want as background music for dancing, resting, or for an intimate dinner for two - I guess, this is where the term challenging enters the description. And hey, it's really not intimate at all, and it doesn't scream sing-along potential! In fact, imho, and at best, I find it extreme... but mostly also extremely dreadful. 👉This is form over matter, it's the Emperor's new clothes and there's no way, I'll recommend this!👈

[ The Line of Best Fit, Uncut 4 / 5, Pitchfork 7,5 / 10, Exclaim 3,5 / 5 stars ]

André 3000 "New Blue Sun" (2023)

New Blue Sun [debut]

release date: Nov. 17, 2023

format: digital (8 x File, FLAC)

[album rate: 2,5 / 5] [2,68]

producer: André 3000 & Carlos Niño

label: Epic Records - nationality: USA

Track highlights: 1. "I Swear, I Really Wanted to Make a 'Rap' Album but This Is Literally the Way the Wind Blew Me This Time" - 7. "Ants to You, Gods to Who ?"

Actual solo album debut by André 3000 (aka André Lauren Benjamin), who hasn't released full-length album music of his own since the Idlewild (2006) album by Outkast - one of the most succesful hip hop projects. Speakerboxx / The Love Below (2003) by Outkast has gone down in music history as the best-selling hip hop album ever to be released. André 3000 did, however, release the EP Look Ma No Hands in 2018, but other than that he has made featuring appearances on various singles and albums, although, a solo album was anticipated but never released, that's is, until now. Instead, he was cast as actor in a number of TV-series, also in a leading role in 2012, when he played Jimi Hendrix in John Ridley's film "Jimi: All Is by My Side" (premiered in 2014). Outkast reunited in 2014 for live concerts only, and since then André has lived life somewhat away from the brightest limelight and has been focusing on the production aspect of both music and films. André has been mentioned amongst the best rappers of all-time, and his songwriting and compositional touch has made people yearn for something more substantial - and something that would make everyone remember the famous riffs from the Outkast heydays.

New Blue Sun is anything but rap or hip hop. In fact, it's quiete a loooong way from what could be labelled as pop music. The album runs for more than 87 mins - almost 1½ hours of music, and only enlists eight tracks. All songs - or: they are not really songs but instrumentals as André doesn't add his famous vocal to one single track [!]. The shortest composition is track #5 "Ninety Three 'Til Infinity and Beyoncé", which has one of the shortest titles - the longest being "That Night in Hawaii When I Turned Into a Panther and Started Making These Low Register Purring Tones That I Couldn't Control ... SH¥T Was Wild" (tracks #3), which runs for 10½ mins, but that aint even the longest track. The longest composition is track #8 with its running time exceeding 17 mins. All compositions are credited André mostly together with co-producer Carlos Niñho, Nate Mercereau, and often also Surya Botofasina. André himself is aside for producing and mixing credited wind instruments, including flute, baritone flute, and wind controller aka 'wind synthesizer'. Only vocals on the abum is credited Mia Doi Todd.

Musically, this falls in a category of new age and ambient. It's slow and delicate, and André has also described parts of the compositions as improvisations, where he experiments with sound. The album has actually and mostly been met by positive reviews. Some suggest the music transcends the very idea and the general perception of what (modern) music is and what it should sound like, but most critics simply admire André's musical project as something extremely unique, and an utter brave decision from someone, who could have chosen the easy way. Instead he turns to music, and to experimentation, and by that shows his genuine love for music itself.

I dunno. I'm in doubts here. The artistic journey aside, I don't think the album as such delivers on that many parameters. To me, it's the kind of music that seems suited for meditation or relaxation, and since I'm not a huge fan of new age in general, it's a bit of a difficult listen. Parts of compositions provide me with a positive energy, and parts are beautifully arranged. There's, however, long periods of almost nothingness, where you try to focus on a palette that's hardly recognisable. I do also think other artists of the genre are able to produce more interesting music. Imho, this is far from entirely bad. It's just not the kind of music I turn to except from when needing a subtle background to lean on when taking a nap.

Not really recommended but still worth knowing.

[ allmusic.com 3,5 / 5, Clash 3 / 5, The Standard 2 / 5, Rolling Stone 4 / 5, Pitchfork 8,3 / 10 stars ]

The Streets "The Darker the Shadow the Brighter the Light" (2023)

The Darker the Shadow the Brighter the Light

release date: Oct. 13, 2023

format: digital (15 x File, FLAC)

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

producer: Mike Skinner

label: Rhino UK - nationality: England, UK

Track highlights: 1. "Too Much Yayo" - 2. "Money Isn't Everything" (4 / 5) - 5. "Shake Hands With Shadows" - 6. "Not a Good Idea" - 8. "The Darker the Shadow the Brighter the Light" - 10. "Gonna Hurt When This Is Over" - 11. "Kick the Can" (4 / 5) - 12. "Each Day Gives" - 15. "Good Old Daze"

6th studio album by The Streets following nearly 13 years after Computers and Blues (Feb. 2011) and most recently the mixtape album None of Us Are Getting Out of This Life Alive (Jul. 2020) is a warm welcome back to one of Britain's most charismatic hip hop artists of the new millennium. All tracks except the title track, co-composed with Virginia Liston, are composed, written, arranged, produced and mixed by Skinner himself. Actually, the album appears to have been made on the basis of a full-length feature film (baring the same title) written by Skinner over nearly a full decade, and which has also premiered by now. Compared to his 2020 mixtape album this one doesn't include a long list of featuring artists, although Kevin Mark Trail contributes with vocals on seven tracks (he also performed on the 2002 debut as well as on the 2011 album by The Streets), Robert Harvey (of The Music, The D.O.T., Kasabian) features on two, and Laura Vane on one.

More than a decade has passed by, and Skinner has been involved in other projects, so I guess you would expect one of two scenarios: The Streets would take up the batton in a predicted pace and with the inclusion of Skinner's ear for hooks and samples - just like we've come to know him - or, you'd see him from a new perspective utilizing his time with other music projects to expand the musical universe of his most famous brain child. And Skinner only remains true to the spirit, the sound and the soundscape of The Streets, as he simply appears to move forward from whatever position he left his project in. That both makes it very comfortable without having to adjust to a new-found sound and at the same time a tee bit old-school. It does sound like music that should've been released a decade earlier, but then: so what? It wasn't! First and foremost it's nice to have him back in this role, and The Darker the Shadow... won't disturb anyones impression of this project, though I guess some would've wished more progression. Comparing with his fifth studio album I think the most aparent difference is a reluctance to over-arrange songs and stick to some kind of simplicity. The album runs for a total of 47 minutes, and all songs vary little in running time - going from 2:10 to 3:54 minutes they're all composed within a strict matrice of A, B, and C pieces held together with a bridge or two with extremely tight compository differences. That said, he still throws in samples and various stylistic inputs to colour and to make it a digestible treat. The skills remain intact. Some tracks stick out but as a whole it does feel a bit like going through the motions by replicating, duplicating, and by reminding us of his earlier beats. It's not that it doesn't work, 'cause it adds to the repertoire - there's. just. not. a lot. of. new. strengths. being revealed here. Aaaand that said, what really works here is Skinner's artistic approach with words, sentences - i.e. his rhyming to music. That's intact, or perfectly intact actually, and then it doesn't make things worse that you actually have some living experience. His gift in telling everyday life in the context of themes is point on - and we've missed that.

It's nice, it's good, and it's nearly great. Perhaps the biggest accomplishment is that the album actually feels like a real The Streets album to be referred to and compared with the five previvious studio albums. It may not be one of his three best but it comes close.

Recommended.

[ allmusic.com, Uncut, Mojo 4 / 5, Gaffa.dk 4 / 6, Pitchfork, Record Collector, NME 3 / 5 stars ]

Boygenius "The Record" (2023)

The Record [debut]

release date: Mar. 31, 2023

format: digital (12 x File, FLAC)

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

producer: Boygenius, Catherine Marks

label: Interscope - nationality: USA

Track highlights: 1. "Without You Without Them" - 2. "$20" - 3. "Emily I'm Sorry" - 6. "Not Strong Enough" (live on SNL) - 9. "Satanist" - 11. "Anti-Curse"

Studio album debut by 'super-group' boygenius consisting of the three American singer-songwriters Julien Baker, Phoebe Bridgers, and Lucy Dacus, who debuted together under the alias back in 2018 when releasing the 6-track ep Boygenius on Matador. All songs are credited the trio in collaboration, and the album sky-rocketed up the charts on both sides of the Atlantic, and most critics have applauded the album.

Musically, it's labelled as indie-folk, or indie rock, although, Interscope isn't an all independent label and all three singer-songwriters have made several acclaimed albums on their own. Stylewise, they share a lot together and the music here doesn't represent major stylistic variations. In many ways this very collaboration reminds us about Crosby, Stills & Nash when they decided to unite forces back in '69 and produce some highly original music together, although individually, they actually enjoyed stable solo careers. Boygenius is a collective force with individual strengths and together they support one another in a most natural way.

The album is included on numerous lists of the year's best albums, and it is a mighty fine collection of songs, although, as in the case with CS&N, I'm not extremely overwhelmed and the biggest fan. That said, Boygenius does appear as a strong unit with great potential.

And therefore, The Record is recommended.

[ allmusic.com, Mojo 4 / 5, Pitchfork 8,2 / 10, NME, Rolling Stone 5 / 5, 👍Clash 3,5 / 5 stars ]

M.I.A. "MATA" (2022)

MATA

release date: Oct. 14, 2022

format: digital (13 x File, FLAC)

[album rate: 3,5 / 5] [3,65]

producer: various

label: Island Records - nationality: England, UK

Track highlights: 2. "F.I.A.S.O.M. Pt. 2" - 4. "Beep" - 5. "Energy Freq" - 6. "The One" - 8. "Time Traveller" - 9. "Popular" - 11. "K.T.P. (Keep the Peace)" - 13. "Marigold"

6th studio album by M.I.A. following six years after AIM (Sep. 2016) is M.I.A.'s first album to only be issued in digital format. AIM had initially been released as her final studio album but the desire to release new material made her change her decision. MATA is a typical M.I.A. title - instead of refering to an individual, the title is an ironic pun hinted at the change of the name of Facebook to Meta. Furthermore, the front cover depicts a Christian cross in the writing of MATA in vertical letters, and M.I.A. has been outspoken in finding a meaningful life after turning to Christianity, and then, when pronounced in 'working-class' British, 'MATA' becomes 'matter' - meaning this is the / what 'MATA[r]'s. The album consists of thirteen tracks of which none is longer than 3:36 minutes and three tracks are below two minutes making it a relative short full-length album with a total running time under 33 minutes.

MATA is in many ways a typical album from M.I.A. with lyrics touching on social and political awareness. It's music about her role, about being parents, and about living at a current age where global issues demand our full attention.

M.I.A. is confrontatory in her very approach, and that has made her both extremely unpopular but also the opposite, and she's been perfectly aware of this from the very beginning of her career. The song "Popular" says everything about being just that, and that's just very much the very essence of her narrative. "F.I.A.S.O.M. Pt. 1" and "F.I.A.S.O.M. Pt. 2" are other neat examples of her gift with words to elaborate on issues of concern. Here, it's an abbreviation for 'Freedom Is A State Of Mind' ('whatcha gonna do with mine?'), which she uses to deal with exactly what it implies, and at the same time it cleverly refers to being 'Fearsome'. She speaks her mind of the things that she encounters - there's no hiding behind a public image or a media persona, and at the same time, that also reveals her conflicts of trying to be herself in a world where the media image is out of your own control. She rides along, reacts to issues and accusations and no matter what always find herself in the middle of a conflict she never asked for. And the fact that she never writes a song just to make it sound like a good hook or rhyme, but starts off by having something on her mind, and then makes a song about it incorporating rhymes, hooks, and beats is something extremely rare these days.

Anyway, MATA is another fine album from M.I.A., although, its not really among her absolute best, but in this case, much less will do, 'cause she's always right there in the midst of war zones reporting about actual human issues and not really caring about being [TaylorSwift-Reehannah-and-the-like-radio-friendly]-pop-ulaaar!

Recommended.

[ allmusic.com, Slant Magazine 4 / 5 stars ]

Blanck Mass "The Rig (Prime Video Original Series Soundtrack)" (2023)

The Rig (Prime Video Original Series Soundtrack) (soundtrack)

release date: Jan. 6, 2023

format: digital (33 x File, FLAC)

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

producer: Blanck Mass

label: Invada Records - nationality: England, UK

Track highlights: 1. "The Rig (Main Titles)" - 5. "Flesh Meets Floor" - 8. "Helideck" - 10. "Body, Rejecting" - 14. "Spiderdeck" - 17. "No Fire Without Flare" - 19. "Survivors, Arriving"

Soundtrack album by Blanck Mass (aka Benjamin John Power) following the release of several interesting releases, including his new-found role as official member of Editors and his first album with the band being EBM (Sep. 2022), and his own most recent soundtrack to Sam Collins' documentary about British football legend Paul 'Gazza' Gascoigne released as Gazza (Original Score) (Nov. 2022), which again followed the acclaimed soundtrack Ted K (Original Score) (Mar. 2022), Blanck Mass' musical score to a 2021 Tony Stone historical drama about the so-called 'Unabomber' (the music to the film being released a year later). The most recent studio album credited Blanck Mass is In Ferneaux (Feb. 2021).

"The Rig" is a science fiction thriller television series in 6 episodes created by David Macpherson for Amazon Prime Video directed by John Strickland, and it's the first Amazon Original to be filmed entirely in Scotland. The soundtrack to the series has been issued as a digital album rwith a total running time at more than 72 minutes by Invada Records on its bandcamp profile and as a double vinyl issue.

Normally, soundtracks are a difficult genre - sometimes the animated visuals are a highly missing part, at other times the result is just too varied, and rarely, I think, they work perfectly in their own right, and in this case, it luckily happens to be one of the rare examples. Blanck Mass has made a strong soundtrack that truly makes you want to watch the series - if not only just to experience an audio-visual dimension of this work. Nonetheless, The Rig... is a fine soundtrack.

John Frusciante ": I I ." (2023)

: I I .

release date: Feb. 3, 2023

format: digital (10 x File, FLAC)

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

producer: John Frusciante

label: Avenue 66 - nationality: USA

Track highlights: 1. "Golpin" - 2. "MK 2.1" - 3. "Pyn" - 6. "Clank" - 9. "Sluice" - 10. "Firpln"

12th studio album by John Frusciante following Maya (Oct. 2020). The album is released on the German sublabel Avenue 66 to US parent label Acid Test on whose bandcamp site the album is available. The album has been released in two different versions: a 2 lp seven track vinyl issue titled . I : (pronounced 'one') and a 10 track digital version, sold as a double cd or as digital download [this] pronounced 'two' and called : I I . . The two albums are regarded by some as his 12th and 13th albums since they have rather distinct track listings, although, I think, you could argue they are only different versions. The shorter vinyl issue may also be found in a digital version [!] via bandcamp but it still comes without the vinyl only track ("OFD") making it a 6 track album. Frusciante has explained the different versions due to the limitations in the recording process from digital masters to the vinyl format - some sounds were simply not possible to record on vinyl, and then the running orders are also quite different.

: I I . is really something else from Frusciante, although, he has been experimenting with electronica over more than a decade, this new album is far from what you could describe as Frusciante's take on 90s idm, acid house, or break beat. Instead, this time he has succesfully composed his own mix of electronic music. Stylewise, it may not be groundbreaking material but Frusciante really explores some kind of sound frontier. At times, you may think it's only white noise or some kind of abstract, experimental electronica. And yes, but it's also more than just that. It's also music from someone who wants to challenge our perception of music - and that alone makes it an interesting album. The more I listen to it, the more I discover, and also: the more I enjoy it. It's definitely not background music for dinner at home or at a restaurant, but more like the kind of music you would listen to with your antennas tuned in.

A small recommendation.

[ allmusic.com 3 / 5 stars ]

cover . I : ('One')

Mariza "Fado tradicional" (2010)

Fado tradicional

release date: Nov. 29, 2010

format: cd

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

producer: Diogo Clemente

label: EMI Music Portugal / Capitol / World Connection - nationality: Portugal

Track highlights: 1. "Fado Vianinha (Fado Vianinha)" - 3. "As meninas dos meus olhos (Fado alfacinha)" - 4. "Mais uma lua (Fado Varela)" - 6. "Ai, esta pena de mim (Fado Zé António)" - 8. "Rosa da Madragoa (Fado Seixal)"

5th studio album by Mariza following the album Terra (Jun. 2008). The album is Mariza's return to the roots of the fado after having released albums of more experimental content, where she have challenged the style, or perhaps better: she has widened her repertoire by incorporating stylistic elements from contemporary folk, pop, and latin jazz.

As the title suggests, Fado tradicional is her so far most traditionally shaped album of pure fado compositions. It consists of 12 songs but only reach a total running time of 35 minutes. All songs here are not surprisingly closely bonded songs with small variations, which is also stressed in the arrangements with only acoustic guitars supporting Mariza's vocal. That said, Mariza here reassures her status as one of the best and most wonderful exponents of the Portuguese fado.

Highly recommended.

[ 👍The Telegraph 4 / 5, The Guardian 3 / 5 stars ]

Mariza "Fado em mim" (2002)

Fado em mim [debut]

release date: Apr. 2002

format: cd (2016 reissue)

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

producer: Jorge Fernando, Tiago Machado

label: Warner Music Portugal / Parlophone - nationality: Portugal

Track highlights: 1. "Loucura" - 2. "Poetas" - 3. "Chuva" - 4. "Maria Lisboa" - 5. "Ó gente da minha terra" - 6. "Que Deus me perdoe" - 8. "Terra d'água" - 9. "Oiça lá ó Senhor Vinho" - 11. "Oxalá" - 12. "Barco negro"

Studio album debut by Portuguese Mariza (aka Marisa dos Reis Nunes) originally released on Dutch label World Connection residing in Haarlem.

Mariza skyrocketed into Portuguese fame via this very album, although, no national label paid any interest in the music as she was an unproven artist; however, Mariza has soon become one of the most valued performers of the traditional fado.

Fado em mim is not only the essence of a national genre, it's also beautifully arranged and displaying elegance and sophistication on the highest level.

Highly recommended.

[ allmusic.com 4 / 5 stars ]

Lotte Kestner "At My Most Beautiful" (2023) (single)

At My Most Beautiful, single

release date: Aug. 4, 2023

format: digital (1 x File, FLAC)

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

producer: self-produced

label: self-released (bandcamp) - nationality: USA

Tracklist: "At My Most Beautiful (R.E.M. cover"

Single release and second consecutive R.E.M. cover from Lotte Kestner made available through her bandcamp-profile following the release of the single "Walk Unfraid" (May 2023).

Again, Kestner covers an R.E.M. favourite [the original] from the album Up (1998) and she does that with appropriate conviction. The song remains but heavily rearranged to fit Kestner's lo-fi production and a simple and serene expression. A prediction regarding her next covers relase is likely to feature a handful of covers of the great Athens-band.

The National "First Two Pages of Frankenstein" (2023)

First Two Pages of Frankenstein

release date: Apr. 28, 2023

format: digital (11 x File, FLAC)

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

producer: The National

label: 4AD - nationality: USA

Track highlights: 1. "Once Upon a Poolside" (feat. Sufjan Stevens) - 2. "Eucalyptus" - 3. "New Order T-Shirt" - 4. "This Isn’t Helping" (feat. Phoebe Bridgers) - 5. "Tropic Morning News" - 6. "Alien" - 8. "Grease in Your Hair" - 10. "Your Mind Is Not Your Friend" (feat. Phoebe Bridgers) - 11. "Send for Me"

9th studio album by The National follows four years after I Am Easy to Find (Apr. 2019), and it's the band's first of two full-length studio albums in 2023. The album feature a long list of guest appearances, notably counting Sufjan Stevens (track #1), Phoebe Bridgers (tracks #4 & #10), and Taylor Swift (track #7), alongside an extensive number of performing artists.

The National don't stray much from their unique sound but still manage to turn out as a revitalised band, who has managed to incorporate small stylistic variations to their trademark of chamber riden melancholy.

Recommended.

[ allmusic.com, Rolling Stone, Clash, Uncut 4 / 5, NME 5 / 5, 👍Pitchfork 6,6 / 10 stars ]

Best of 2023: Anohni and the Johnsons "My Back Was a Bridge for You to Cross" (2023)

My Back Was a Bridge for You to Cross

release date: Jul. 7, 2023

format: vinyl (LTD. white vinyl) / digital (10 x File, FLAC)

[album rate: 4 / 5] [4,12]

producer: Jimmy Hogarth

label: Rough Trade / Secretly Canadian - nationality: England, UK

Track highlights: 1. "It Must Change" (4 / 5) - 2. "Go Ahead" - 3. "Sliver of Ice" - 4. "Can't" (4 / 5) - 5. "Scapegoat" - 6. "It’s My Fault" (4 / 5) - 9. "Why Am I Alive Now?"

5th studio album by Anohni and the Johnsons (6th by Anohni) follows Hopelessness (May 2016) by Anohni, but more interestingly it continues after the album Swanlights (Oct. 2010), the fourth album in the discography with the Johnson-project after which Anohni put that on a hiatus while seemingly concentrating on a career under the name of Anohni and a period of collaborations and other art projects. All previous releases have been executed with Anohni as producer, but here this role is handed Jimmy Hogarth, who also takes part in the project as guitarist on all tracks. Anohni and Hogarth are the only two instrumentalists featuring on all compositions, and the choice of Hogarth is of course not just a matter of having someone else produce - as a new ingredient or someone with a new and fresh perspective. Hogarth is no novice in the British music industry, and he has recorded albums with soul-influenced artist such as Amy Winehouse, James Morrison, Sia, Duffy, Corinne Bailey Rae, and James Blunt - all artists with bonds to a British version of soul, and that's probably the whole idea: to pay tribute to exactly that source of inspiration.

Thirteen years is an unusual long time in the music business, but if the four studio albums by Antony and the Johnsons are your only reference, then this new album doesn't fall far from that. Anohni is back with chamber pop and pop soul as main ingredients and with an album that is dedicated inacceptable conditions for everyone sticking out on a 'normality' spectre as well as the very existence / destruction of our planet.

Critics have lauded the album as a great return, and I'm already considering it one of the absolute best by this great artist. The musical arrangements are cheerful and fillled with warmth but the lyrics and the lamenting [beautiful] voice of Anohni brings a contrasting element of grief and disaster that nontheless functions brilliantly.

I already consider this part of my top-3 list of the best albums of 2023.

Highly recommended.

The front cover portrays [activist] Marsha P. Johnson, who initially gave name to Anohni's project.

[ 👉Pitchfork 8,7 / 10, 👍NME 4 / 5, Clash 9 / 10, The Observer 5 / 5 stars ]

2023 Favourite releases: 1. Anohni and the Johnsons My Back Was a Bridge for You to Cross - 2. Ukendt Kunstner Dansktop - 3. Sigur Rós Átta

Sigur Rós "Átta" (2023)

Átta

release date: Jun. 23, 2023

format: 2 lp vinyl (gatefold - 45 rpm) / digital (10 x File, FLAC)

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

producer: Sigur Rós, Paul Corley

label: Von Dur / Krúnk - nationality: Iceland

Track highlights: 1. "Glóð" - 2. "Blóðberg" - 3. "Skel" - 4. "Klettur" - 7. "Gold" - 10. "Átta"

8th studio album by Sigur Rós following a whole decade after Kveikur. Since then, the band has released the remix album Route One, the 'endless mixtape' Liminal, Limnial 2, and the soundtrack Odin's Raven Magic (Dec. 2020). In early '22 the band announced that Kjartan Sveinsson had rejoined the band - he had left in early 2012 - again, making it a trio of Jónsi, Hólm and Sveinsson, but still no replacement for drummer Orri Dýrason, the band has made the new album with little focus on drums and percussion. Former touring member (2012-13) Ólafur Ólafsson is credited as additional personnel playing percussion on an album, which also counts London Contemporary Orchestra and several horn instrumentalists. The album is produced by the band and with American sound artist Paul Corley, who was installed as music director for Sigur Rós in 2016.

The album both reinstates former virtues of harmony-driven melodies with especially Jónsi delivering his characteristic singing style but it also appears as a new version combining a quiet ambient sound of keyboards and synths in unison with the addition of strings and horns. It's almost made completely without traces of drums, bass or guitars, but with a compositional 'progressive' ingredient, the songs echo former album moments of sheer beauty.

At first, the album may appear as closed and very etheral, but it contains more when given the attention it deserves. It's not necessarily among the band's most audience-friendly experiences - it may denote introspectiveness and fragility but it comes with 'hidden' layers to unfold, and I really enjoy the musical journey it invites us on. With Átta, Sigur Rós is definitely back on full sails.

Highly recommended.

[ Pitchfork 7,2 / 10, 👍NME, Clash, Exclaim! 4 / 5 stars ]

2023 Favourite releases: 1. Anohni and the Johnsons My Back Was a Bridge for You to Cross - 2. Ukendt Kunstner Dansktop - 3. Sigur Rós Átta

Lotte Kestner "Walk Unfraid" (2023) (single)

Walk Unafraid, single

release date: May 30, 2023

format: digital (1 x File, FLAC)

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

producer: self-produced

label: self-released (bandcamp) - nationality: USA

Tracklist: "Walk Unfraid (R.E.M. cover)"

Single release by Lotte Kestner released via the artist's bandcamp-profile in support of #bravehood ('a community of many supporting children in emergency situations').

The original is taken from the R.E.M. album Up (1998), and the song is one of my personal all-time favourites by the great band from Athens, Georgia. Kestner is famous for making cover versions, and this one is a highly remarkable and original version by being a lo-fi stripped-down song but also a multi-layered track by the way she has made use of several tracks in the mixing of the recording - to some extent in an unusual manner in the case of Kestner covers that are often quite simple arrangements. That alone makes it a most interesting version, as she has made lots of covers using only guitar with vocal, or piano with vocal, but to hear how she maintains a minimalist expression while turning up on the arrangement-button is something new and a most welcome introduction to her soundscape.

Cat Power "Covers" (2022)

Covers

release date: Jan. 14, 2022

format: cd (BRC687, Japan)

[album rate: 3,5 / 5] [3,56]

producer: Chan Marshall

label: Domino / Beat - nationality:

Track highlights: 1. "Bad Religion" (live) - 3. "Pa Pa Power" - 6. "Against the Wind" - 8. "These Days" - 10. "I Had a Dream Joe" - 12. "I'll Be Seeing You" (4 / 5)

11th studio album by Cat Power following nearly 3½ years after Wanderer (Oct. 2018) is Power's first with Domino after leaving Matador. Cat Power has previously made covers and made it one of her strongest assets. And as the title here suggests, this one appears as a sequel to her The Covers Record from 2000. This new selection more or less copies the idea of covering songs from a large variety of styles and periods. The diversity in the original material is extremely wide, as she covers songs of neo-soul (Frank Ocean), vocal jazz (Billie Holiday), country rock (Bob Seger), celtic rock (The Pogues), folk pop (Jackson Browne), and punk blues (Nick Cave), just to mention one half of the songs. It's an extreme span, although, yes, Cat Power ensures stylistic connection in these new arrangements. I'm just not entirely convinced about the idea to grab songs from any musical shelf to see if it will work. It's possible, yes, but is it that original? And then, she even challenges the idea of having a mutual foundation in the arrangements 'cause there is no common foundation there. "I Had a Dream Joe" comes so close to the original that it somehow sticks out, and several other songs do exactly that - so there goes coherency like it does on her 2000 album. In that regard it's somewhat like repeating what could have been an obvious mistake from her first covers album, although, this new collection betters the former. Chan Marshall is a gifted arranger, and she could possibly have done better when chosing original songs. What on the other hand work really well, is her intense emmotional contribution to well-known songs. She seems capable of covering whatever song and still make it hers. She's an absolute wonderful interpretor and performer - just love that vocal.

Recommendation: probably mostly for fans.

[ allmusic.com 3,5 / 5, Pitchfork 7,7 / 10, 👍The Guardian 3 / 5 stars ]

Lotte Kestner "Radiohead Covers" (2023)

Radiohead Covers (ep) (compilation)

release date: Apr. 7, 2023

format: digital (4 x File, FLAC)

[album rate: 3,5 / 5] [3,63]

producer: Anna-Lynne Williams [recorded by]

label: self-released - nationality: USA

Tracklist: 1. "All I Need" - 2. "Motion Picture Soundtrack" - 3. "How to Disappear Completely" - 4. "No Surprises"

Four previously released covers have here been compiled for digital download at Kestner's bandcamp profile. Tracks #1 and #2 are both included on Covers 2 (2020), track #3 was previously included on Covers (2015), and track #4 has previously been available on her bandcamp site. Covers are just a big part of Kestner's music, as most of her releases have included covers, and she has released several singles, eps, and albums exclusively containing cover songs, so covering Radiohead is not such a special thing.

Her speciality, when speaking of covers, is her ability to make her very own and highly original ambient folk-versions of not-folk material, and in that regard it's always fascinating how she chose to arrange these songs.

The four Radiohead songs are all major classics by this great innovative British band and in Kestner's hands they shine anew. I do prefer the originals, but Kestner's versions are still intruiging renditions.

Ukendt Kunstner "Dansktop" (2023)

Dansktop

release date: May 12, 2023

format: vinyl / digital (11 x File, FLAC)

[album rate: 4 / 5] [4,04]

producer: Jens Ole McCoy

label: FortyFive / Universal Music - nationality: Denmark

Track highlights: 1. "Hena" - 2. "Dansktop" - 3. "Uden dig" (4,5 / 5) - 4. "Gran Turismo" - 5. "Fastelavn" - 6. "Kerosin" - 7. "Stjernekigger" - 9. "Hele dagen" - 11. "For livet" (4,5 / 5)

3rd studio album from Danish rap-duo Ukendt Kunstner follows more than seven years after Den anden side (Feb. 2016). To the regret of half a nation, the two artists announced the end of their project in late '16 despite experiencing massive success. After this, they both concentrated on solo projects. Composer and producer Jens Ole McCoy especially became renowned for his musical scores to movies but also continued as producer, and Hans Philip, who had been the voice of the band, released two acclaimed solo albums before they dropped the bomb: without any rumours or announcements they released this very album and simultaneously declared they were back! Out of nowhere!! Sneaky, sneaky... wonderful guys!

Not only are they now back, but of course they're back with a musical statement. They don't repeat their previous sucesses but come out with a new sound - it's so much part of their instinct not to repeat. Dansktop is in every sense an original album. It doesn't just play along other rap-artists' styles and sound. These two have made their name and continue in a league of their own, and it appears they (can) do whatever they feel like. The album still brings back bits of the groove from their two previous albums, it takes up some of the fragility from Hans-Philips' solo albums, and then it comes out as something new. There's a simplicity to it but also a will to explore and experiment, and in either or any case: they are near sublime. So many Danish rap and hip hop artists walk around the same bushes, do the same mixes, employ the same productions, but this is just original material. Loved it from day one, and it only gets better!

Highly recommended!

[ Politiken, Gaffa.dk 5 / 6, 👍Soundvenue 4 / 5 stars ]

2023 Favorite releases: 1. Anohni and the Johnsons My Back Was a Bridge for You to Cross - 2. Ukendt Kunstner Dansktop - 3. Sigur Rós Átta

<  show lyrics >

~ ~ ~
"Dansktop"

(Det gik op for mig, baby, nu' jeg-)
Dansktop
Ligesom Birthe Kjær
Ligesom Lis og Per
Ligesom Kjeld og ligesom Hilda er jeg dansktop
Ligesom Campeotto
Tjek min konto, ja, det ligner, at jeg vandt i lotto

Baby, nu' jeg dansktop
Ligesom Birthe Kjær
Ligesom Lis og Per
Ligesom Kjeld og ligesom Hilda er jeg dansktop
Ligesom Campeotto
Tjek min konto, ja, det ligner, at jeg vandt i lotto

Baby, nu' jeg dansktop
Ligesom Lille Per
Ligesom Pia Kjærsgaard og ligesom grisetæer
Jeg burde passe på min konto, men kan ik' la' være
For jeg' millionær
Og jeg kigger ik', hvad prisen er

Jeg' dansktop
Ligesom Birthe Kjær
Men de si'r, der' koldt på toppen, ligesom Isaberg
Men hvorfor snakker de om toppen?
Det' på toppen, at de ikke er
Det' jer, der prøver at ligne mig, jeg prøver ik' at ligne jer

Og I' helt okay
Ja, I' faktisk rigtig gode
I' bare ik' HP

Nej, jeg' dansktop
Ligesom Birthe Kjær
Ligesom Lis og Per
Ligesom Kjeld og ligesom Hilda er jeg dansktop
Ligesom Campeotto
Tjek min konto, ja, det ligner, at jeg vandt i lotto
Baby, nu' jeg dansktop

At jeg var den største, har jeg vidst, siden jeg var bittelille
Men om skolen tænkte mor, "hvad skal det blive til?"
For jeg var god med ord, men ik' til matematikken, vel
Nu' livet letter' end en ti-tabel
Kan komme frem til summer ved at tie stille

Bare lad beatet spille
Ja, og det hele kom så pludseligt
Jeg var nede i minus, jeg' tilbage, jeg' i plus igen
Vendte om på ligningen, nu vil alle være Ukendt

Jeg blæser træer, ligesom en vind i skoven
Hun spørger, hvor jeg mon har det fra
Jeg si'r, "det' sendt fra oven"
Nej, dét, du har i venstre hånd
Det ligner estragon
Jeg si'r, det' Cali i næst' sæson
Gør, mine problemer, de er glemt i morgen

Hov, for fanden
Det' årets mand, han går på vand
Og drypper som en sovsekande
Er varmere end Corsica
Men det' vildt, ik?
Siden lille knægt var hans far pist væk
Men selv som spæd ku' han ik' græde over spildt mælk
Har tit tænkt, "sikke en tung smerte for sådan et ungt hjerte"
"At skulle undvære det smukkeste i verden"
"Nu' hans mor alene, kan hun mon bære det?"
Nætterne var sortere end skosværte
Jeg kigger op, slår korsets tegn og ryger blunten færdig
Åh nej, ung knægt, han var delt op i to
Et splittet atom
Så langt nede, at han mistede troen
Han græd tårer, som der glinsede i solen
Turde ikke engang hviske det til nogen
Så han lyttede ikke efter i skolen
Boede, hvor én, han fik en hård psykose
En anden, han døde af overdose
Det samme skete for overboen
Han plantede frøer, der ik' fik lov at gro
Han havde sig selv og så sin overtro
En sæk med tøj, ti smøger og en sovepose
Der' langt derop
Men vi ramte top
Ligesom Campeotto
Nu' vi dansktop
Ligesom Birthe Kjær
Ligesom Lis og Per
Ligesom Kjeld og Hilda er
Og det vildeste er
Vi gemte det bedste til allersidst, ligesom at spise dessert
...og så har jeg ik' mer'

~ ~ ~

John Cale "Mercy" (2023)

Mercy

release date: Jan. 20, 2023

format: digital (12 x File, FLAC)

[album rate: 3,5 / 5] [3,74]

producer: John Cale, Nita Scott

label: Double Six / Domino - nationality: Wales, UK

Track highlights: 1. "Mercy" (feat. Laurel Halo) - 2. "Marilyn Monroe's Legs (Beauty Elsewhere)" (feat. Actress) - 3. "Noise of You" - 6. "Moonstruck (Nico's Song)" - 8. "Night Crawling" - 9. "Not the End of the World" - 11. "I Know You're Happy" (feat. Tei Shi)

17th (or so?) studio album by John Cale following M:FANS (2016) - which by many isn't really considered an actual new album as it's a redrawing of songs from Music for a New Society from 1982, although, from my perspective it's still a new album containing newly re-arranged songs. A new studio album doesn't necessarily mean new compositions; however, his last to feauture newly written material was Shifty Adventures in Nookie Wood (2012).

Cale was 80 years old when he recorded this album, and you could ask yourself if his high age would show on this album - it doesn't! Actually, the album is a most wonderful combo of soft art rock, singer / songwriter and subtle but noticeable electronica. Several tracks are collaborations - the most prominent artist is probably Weyes Blood (on "Story of Blood"). For the moment, I just feel that is one of the weak songs here, but you can't really put a finger on anyone's contribution that lifts this from Cave's shoulders. Through and through, it's the successful product in the spirit of the artist himself.

The album has been met by positive reviews, and I must confess that it strikes me as one of his better and more coherent studio albums. Since the relase, Cale has been on a world tour with the new album.

The album is still new to me - I rate it just under 3,75, but it might just grow stronger during the following months.

Highly recommended.

[ 👍Pitchfork 7,8 / 10, Mojo 4 / 5, Uncut 4,5 / 5 stars ]

U2 "Songs of Surrender" (2023)

Songs of Surrender

release date: Mar. 17, 2023

format: digital (40 x File, MP3)

[album rate: 2,5 / 5] [2,72]

producer: The Edge [aka David Evans]

label: Island Records - nationality: Ireland

Album by U2 released as a new studio album, which means it succeeds Songs of Experience (Dec. 2017). The album comes in a standard 16 tracks edition (1 disc cd / 2 lp vinyl), or a 'Deluxe Edition' (4 disc cd / 4 lp vinyl) and a number of special issues. At a first glance it could look like a clever marketing construct as all songs here are newly recorded mostly acoustic versions of old songs - all compiled and put together by The Edge, who has 'invited' Bono to put new vocal arrangements to the recordings. Half of the band didn't have to do anything as Clayton and Mullen Jr. didn't even put any work into this The Edge solo project of utilising old recordings and recorded tracks to re-arrange what appears as a coincidental selection.

Old wine on new bottles? Yes, and no. Firstly, the songs are not really new - people, or at least: fans should be familiar with every single composition. And secondly, other artists have with or without success made this type of re-recordings of a back catalogue; however, in this particular case, I don't really spot ANY improvements, and to issue costly deluxe editions of something like this is difficult to see as anything else than profit thinking. I don't find any great versions - perhaps because I already feel done and over with this once great and innovative band, but bottom line: I just don't like it. For me, this band made its last relevant album back in the year 2009, and before that in 2000, and those albums weren't even close to great. Their last truly remarkable album remains Achtung Baby from 1991.

You've probably noticed how their most recent albums share bonding titles, like a smart marketing scoop of sorts, complete without limitations - you may imagine 'Songs of Wonders', 'Songs of Patience'... 'Lust', 'Greed', 'Profit' - at least there's room for many follow-ups in that category: Songs of Innocence, Songs of Experience, and now a 'Surrender'-version. Who knows, perhaps a fitting title for an upcoming album is 'Songs of Redundance'? Like the other two, this is not recommended.

[ 👍Pitchfork 5.7 / 10, The Guardian, NME 3 / 5 stars ]

Shocking Blue "Send Me a Postcard" (1968) (single)

l-r.: Cor van der Beek, Mariska Veres
Klaasje van der Wal, Robbie van Leeuwen

Send Me a Postcard, 7'' single

release date: Dec. 14, 1968

format: vinyl (IMA 1002) (1970 issue)

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

producer: Shocking Blue

label: I. M. A. Records - nationality: The Netherlands

Tracklist: A) "Send Me a Postcard" (4,5 / 5) - - B) "Harley Davidson"

Single release by Dutch rock band Shocking Blue originally released on Pink Elephant in '68 and released for the Scandinavian market with this issue in 1970. The single appears to be the band's only third single and it's one of three consecutive non-album single releases following the band's album debut Shocking Blue (Nov. 1967). The band was formed in '67 and went through changing line-ups with a different output starting with music influenced by The Beatles and a folk pop style as expressed by American quartet Brothers Four, but from '68 when Mariska Veres became the band's lead vocalist after founding member Fred de Wilde left, the band changed style to a bolder psychedelic rock founded in American West Coast blues rock. For this single, the band consists of new member vocalist Marika Veres, and the three founding members: lead guitarist and main songwriter Robbie van Leeuwen, bassist Klaasje van der Wal, and drummer Cor (Cornelis) van der Beek. Both tracks are credited van Leeuwen, and the single became an international hit, which was perceived as a fine attempt with a mix of styles exemplified by Jefferson Airplane and The Doors.

The band continued up until 1974 when songwriter and composer van Leeuwen left to concentrate on his newly formed band Galaxy-Lin, and Shocking Blue then released its final album Good Times (1974) after which Mariska Veres left to pursue a solo career and the band split. Shocking Blue reformed in 1980 in their classic line-up and stayed together until '97 when van Leeuwen now left for good, and from hereon and up until 2006 the band was continued around Veres and new lead guitarist André van Geldorp with a changing line-up. The band was put to an abrupt end Dec. 2006 as Mariska Veres died from newly detected cancer.

Shocking Blue was much more than just a few single hits, and among them definitely Send Me a Postcard - they showed an alternative to American and British psychedelic rock, which isn't just covers and copy, and together with Danish band Savage Rose, they stand as a strong European contribution to the vast pool of rock and to the formation and the development of psychedelic rock of the 1970s.

This Swedish issue of the single, released three months after the band's third album Scorpio's Dance (Sep. 1970), was part of my older brother's record collection, and it's a single I vividly recall from age 10-14 years of age - and at that time, it was one of my absolute favourite rock songs.

~ ~ ~

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

l-r.: Robbie, Cornelis, Mariska, Klaasje

Everything but the Girl "Fuse" (2023)

Fuse

release date: Apr. 21, 2023

format: vinyl (LTD. green vinyl) + digital (10 x File, FLAC)

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

producer: EBTG

label: Buzzin' Fly / Virgin Music / Verve - nationality: England, UK

Track highlights: 1. "Nothing Left to Lose" (4,5 / 5) - 3. "Caution to the Wind" - 4. "When You Mess Up" - 6. "No One Knows We're Dancing" - 7. "Lost" (4 / 5) - 8. "Forever" - 10. "Karaoke"

11th studio album following Temperamental by more than 23 years!!! Yes! The waiting game is over - it's finally here! I received this the day after its official release. And it still feels a bit early to hand a 'fixed' grade, and I may change it over the following months. The album has quite naturally been met by positive response. Alone the wait secures this a decent response, though, it's damn nice that not all artists wait that long in between albums. Both Tracey Thorn and Ben Watt have released solo albums since what was until now seen as their final album as a duo, and they have both experienced some artistic success, although, their key brand is EBTG.

Now, if the cover art doesn't exactly look and feel like an EBTG album, the music surely does. In every possible way this is an album for people who love this duo - for what their legacy means. It appears to combine [the fuse?] almost all their stylistic variations from jazzy bits, a great deal of sophisti-pop and parts of their late electronic period. In that way, it doesn't bring about something extraordinary or introduce us to a new move. Where Walking Wounded (1996) was a major step into electronic clubland and Temperamental (1999) kicked in doors to new combinations, this one takes off as a more gentle kind. Not that EBTG has ever been 'hard' or extreme, it's obvious to point to a maturity, when in fact it's probably more the result of a condensed expression - highlighting many of the styles they have been involved with. Or: at least these are my personal initial thoughts 'cause they really sound like EBTG without hitting a copy / paste function.

"Nothing Left to Lose" is a monster of a song that brings to mind the very best from their late period, but again, it's not a copy but something that brings the band into a new era. It's really wonderful to have another album from this highly influential duo. Watt knows about colouring the mix and Thorn... well, she just blows you over with her enchanting vocal. Strong as ever. Again. I already love it!

Highly recommended.

[ 👉allmusic.com, Mojo, NME 4 / 5, Pitchfork 7,7 / 10, Clash 4,5 / 5 stars ]

Scatterbrain "Strip the Future" (1983), single

Strip the Future, 12'' single
release date: 1983
format: vinyl (neu 80-4405)
[single rate: 3,5 / 5] [3,32]
producer: Scatterbrain
label: Neuland Tonträger - nationality: Denmark

Tracklist: A) "Strip the Future" - - B) 1. "Diversity" - 2. "Angry Young Men"

Single release by Danish experimental electro-synth and synth rock band Scatterbrain following the release of the album Keep Dancing (Aug. 1981). The line-up has been expanded with keyboardists Jesper Ranum, who took part in the follow-up tour of the album release, and also with Michael Kastrup Hansen. For this recording, also Henrik Heigren and Anders Brill (from Kliche) contribute.
The single was originally released in '82 as a 7'' single on Irmgardz... with this 12'' single consisting of new recordings and new arrangements made for the German market. After this, the line-up changed again with Ranum leaving the band, and drummer Gorm Ravn-Jonsen (later in Gangway) was shortly a new member, then Anders Brill was promoted to new stable drummer togeher with Torben Kirkholt (of Næste Uges TV), and as the band then released its final album Mountains Go Rhythmic (1984) this was made with actual drummers, thus representing a change of sound, which in essence was what would later be labeled as industrial rock, and in that regard the band has as an important part in shaping new stylistic foundation somewhere in the outskirts of new wave and synthpop.