02 November 2015

Love and Rockets "Earth · Sun · Moon" (1987)

Earth · Sun · Moon
release date: Sep. 9, 1987
format: vinyl (BEGA 84) / digital
[album rate: 3,5 / 5] [3,46]
producer: Derek 'Guru' Tompkins, Love and Rockets
label: Beggars Banquet - nationality: England, UK

Track highlights: 1. "Mirror People" (4 / 5) - 2. "The Light" - 3. "Welcome Tomorrow" - 4. "No New Tale to Tell" - 12. "Youth"

3rd studio album by Love and Rockets this time with a new producer and a bold alt. rock album in neo-psychedelia style. In the early and mid-1980s the label alt. rock wasn't really a style or genre yet, and really, this band has been one of the pioneering efforts in directing music onto new pastures. This album and the two previous by Love and Rockets has helped define a new playground for popular music if it doesn't fall within 'mainstream' genres. The album has been lauded by many critics, and I guess, because of its clear psychedelic qualities. I just don't really enjoy it as much as its predecessors.
[ allmusic.com 4,5 / 5 stars ]

01 November 2015

Madness "Wonderful" (1999)

Wonderful
release date: Nov. 1, 1999
format: digital
[album rate: 3 / 5] [2,94]
producer: Clive Langer, Alan Winstanley
label: Virgin Records - nationality: England, UK

Track highlights: 1. "Lovestruck" - 3. "The Communicator" - 5. "The Wizard" - 6. "Drip Fed Fred" - 9. "Saturday Night Sunday Morning"

8th studio album by Madness is the band's first studio album in 11 years, and once again it features the producer-duo Langer-Winstanley. More importantly the album is the band's first in its classic septet line-up since its 5th album Keep Moving from 1984, which means Suggs, Chas Smash, Foreman, Bedford, Barson, Woodgate and Thompson are united as Madness.
The new set of songs has been written like in the 'old days' with all members contributing on various tracks and an attempt has been made to reconsolidate the band's image as a group playing ska revival instead of the more polished pop / rock as heard on The Madness from 1988. Ian Dury features with "guest vocals" on track #6 - a decent attempt to add some of the familiar humor.
The album is not the great comeback album many had hoped it would be, but it's clearly bettering the band's previous two attempts without coming close to former heydays. Langer-Winstanley have produced a nicely sounding album, and my guess is (from listening to the songs) that the band aimed for something that would follow in the footsteps of Keep Moving. Yes, they incorporate elements from ska revival but it's very much mere associations of that style where the dominating style clearly is pop / rock - and a sound that was wide-spread in the mid-80s. In essence, the album sounds as if released in '86 and not '99.
All in all, it's no near great. Just above average and an album that really doesn't add songs to a new best of album.
[ allmusic.com 4 / 5 stars ]

Kings of Leon "Aha Shake Heartbreak" (2004)

EU cover
Aha Shake Heartbreak

release date: Nov. 1, 2004
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Ethan Johns and Angelo Petraglia
label: Handmedown Records - nationality: USA

Track highlights: 1. "Slow Night, So Long" - 3. "Taper Jean Girl" - 6. "The Bucket" - 7. "Soft"

2nd studio album by Kings of Leon, once again produced by Ethan Johns and Angelo Petraglia (only credited as Angelo) shows a different approach. The band has moved away from what I recognised as 1960s (primarily British) blues rock insofar that the style has become more contemporary indie rock-oriented, which I find is an improvement making the album a better release. There's a tighter aggressiveness and controlled withheld energy - a complementary sound of hard and soft, which balances the compositions nicely. The album only lacks truly noteworthy songs, but it's obvious that they are great instrumentalists and as a whole I find this clearly bettering the debut.
[ allmusic.com, Rolling Stone 3,5 / 5, NME, Q Magazine, Blender 4 / 5 stars ]


US cover

Astrud Gilberto "Look to the Rainbow" (1966)

Look to the Rainbow
release date: 1966
format: cd
[album rate: 4 / 5]

Tracklist: 1. "Berimbau" - 2. "Once Upon a Summertime" - 3. "Felicidade" - 4. "I Will Wait for You (Love Theme From Umbrellas of Cherbourg)" - 5. "Frevo" - 6. "Maria Quiet (Maria Moita)" - 7. "Look to the Rainbow" - 8. "Bim Bom" - 9. "Lugar bonito (Pretty Place)" - 10. "E preciso aprender a ser so (Learn to Live Alone)" - 11. "She's a Carioca"

4th studio album by Astrud Gilberto (including the collaboration album Astrud Gilberto & Walter Wanderley, also 1966). This is my favorite Astrud Gilberto album. The highly praised debut is in my mind more of an expansion of her vocal jazz and bossa nova music with Getz / Gilberto (1963), but this is more herself. She has turned back to her speciality: the Brazilian bossa nova styled compositions with her quiet fragile vocal guiding the listener through the tracks. There's still a few standards on this album but not the vocal demanding ones as she tried on her second album. She doesn't have the big singing voice but she has a fine jazz understanding which really comes through on this.
[ allmusic.com 4,5 / 5 stars ]

1966 Favourite releases: 1. Otis Redding Complete & Unbelievable: The Otis Redding Dictionary of Soul - 2. Dexter Gordon Gettin' Around' - 3. Astrud Gilberto Look to the Rainbow

30 October 2015

Tracey Thorn "Tinsel and Lights" (2012)

Tinsel and Lights
release date: Oct. 30, 2012
format: cd
[album rate: 3,5 / 5] [3,36]
producer: Ewan Pearson
label: Strange Feeling Records - nationality: England, UK

Track highlights: 1. "Joy" - 2. "Hard Candy Christmas" - 3. "Like a Snowman" - 4. "Maybe This Christmas" - 8. "Have Yourself a Merry Little Christmas" - 9. "Tinsel and Lights" - 10. "River" - 11. "Taking Down the Tree" (feat. Green Gartside)

4th studio album by Tracey Thorn is a collection of Christmas songs written by various contemporary and classic artists including Joni Mitchell, Ron Sexsmith, Randy Newman, Jack White, Sufjan Stevens and Green Gartside (the latter also featuring on vocals on two tracks), as well as three by Thorn herself. The songs are not 'the usual' familiar canonical hymns but selected songs adapted for a quiet and uniform chamber pop sound. The first track "Joy" by Thorn feature husband Ben Watt and their three children on choir. Watt also contribute on guitar and piano on several tracks, and also producer Ewan Pearson handles synths on the majority of the tracks. Other musicians are Steve Pearce on bass and Leo Taylor on drums.
The album is a delicate, warm and fine alternative Christmas album.
[ allmusic.com, The Guardian 4 / 5 stars ]

29 October 2015

Nena "Chokmah" (2001)

Chokmah
release date: Oct. 29, 2001
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Florian Sitzmann
label: Eastwest Records - nationality: Germany

Track highlights: 1. "Chokmah" - 2. "Heute hab' ich die Sonne mit dem Mond verwechselt" - 3. "Carpe Diem" - 9. "Silbermond" - 12. "Leuchtturm" - 14. "Carpe Diem (Söhne Mannheims Dancehall-Mix) [incl. hidden track]"

6th studio album as soloist by Nena is her first major stylistic change into electropop. The album follows a live album, and an album with music for children, thus making Wenn alles richtig ist, dann stimmt was nich (Jul. 1998) her last 'real' studio album.
Chokmah was met by mixed reviews - according to wikipedia, mostly positive. Internationally, Nena's popularity may not have grown much after she went solo, but in Germany this album seems like a stepping stone to greater fame. The album peaked as number #18 in Germany, which was a clear improvement to her previous solos as well as to the final album Eisbrecher (1986) with the band, which 'only' made it to number #45.
Although, I don't find the album entirely great, as it contains both highs and lows, I find it quite refreshing, and it's undoubtedly one of her albums that I have played the most.
[ allmusic.com 4 / 5 stars ]

27 October 2015

The Stranglers "Dreamtime" (1986)

Dreamtime
release date: Oct. 27, 1986
format: vinyl (EPC 26648) / digital
[album rate: 3,5 / 5] [3,44]
producer: Mike Kemp and The Stranglers
label: Epic Records - nationality: England, UK

Track highlights: A) 1. "Always the Sun" - 2. "Dreamtime" - 4. "You'll Always Reap What You Sow" - - B) 2. "Big in America"

9th studio album by The Stranglers following closely on the path laid out with Aural Sculpture (1984). The style is still pop / rock, and the album feature four single releases - none of which made it any higher than to #30 on the UK singles chart list. First single "Nice in Nice" is not really the best track, but the second single "Always the Sun" became a small singles hit outside Britain.
The album was met by luke-warm to negative reviews, which I find strange considering how much it resembles the sound of the predecessor, but from my perspective, sounds more original and is better produced. To me, this was more or less the end of my interest for the band. The last two albums were no near earlier edgy releases and I found that I tired quickly of their new songs. At the time, I do think I found this an even lesser album than the '84 album, but in retrospect, I actually prefer this one.

The Sugarcubes "It's-It" (1992)

It's-It, remix album
release date: Oct. 27, 1992
format: cd (MRCD 3205)
[album rate: 3,5 / 5] [3,62]
producer: various
label: Mega Records - nationality: Iceland

Track highlights: 2. "Leash Called Love (Tony Humphries mix)" - 3. "Blue Eyed Pop (S1000 mix)" - 4. "Motorcrash (Justin Robertson mix)" - 6. "Gold (Todd Terry mix)" - 7. "Water (Bryan 'Chuck' New Mix)" - 11. "Hit (Tony Humphries Sweet & Low mix)"

A remix album by The Sugarcubes originally released on One Little Indian. No, it's not an original studio album of new compositions but it's neither a mere compilation of best of, left overs or rarities but an interesting remix album. The songs are taken from the band's three studio albums and most of them have been heavily remixed by various artists. Only "Regina" comes in a Sugarcubes remix, and that's also the compositions sounding most alike the original version. Some tracks have little in common with the familiar song and others still carry recognisable traits from the blue print, and then some are very fine remixes with new stylistic qualities, and yet others are too strange.
The album was the second album that I bought with the band, and perhaps the reason why I didn't bother buying the other two until later. 'Cause many of the best songs from both Here Today... (1989) and Stick Around for Joy (1992) appear on this in heavily "remixed" versions, and frankly, I found these better than the original album versions, although "Birthday" comes in two versions, none of which are better than the original. "Leash Called Love (Tony Humphries mix)" is an even better song here, and all remixes are composed as dance-pop or alt. dance with house as a common denominator, which only add that extra energy to some of the more ('artsy-farty') art pop original compositions.
All in all, a very fine collection.

The Pogues "Pogue Mahone" (1995)

Pogue Mahone
release date: Feb. 27, 1996
format: digital
[album rate: 2,5 / 5]
producer: Steve Brown, Stephen Hague
label: WEA Corp. / - nationality: England, UK

7th full studio album by The Pogues. After the last album with founding member Shane MacGowan, Hell's Ditch (1990), the band continued playing with Joe Strummer as a mere temporary substitute, but for the next album Waiting for Herb (1993), Strummer was no longer part of the band. Instead, tin whistle and harmonica player Spider Stacy [aka Peter Stacy] and multi-instrumentalist Terry Woods took over the singing parts, and the album was made up of songs composed by almost all members of the band. I don't have that album on any media, as I find it of little interest and below average. For this, the band has found back to some of the music that gave them their most positive reputation by playing celtic rock, and the title ('Pogue Mahone' is Gaelic for 'Kiss my arse') was actually the name of the band before settling on the shorter version. It's not music to traditionals but still, in that spirit, and that's the most interesting part. I don't find the single songs on level with any of the best by The Pogues with MacGowan but I do think that they regained some of their former status with this album. Founding member guitarist James Fearnley, as well as guitarists Terry Woods and Philip Ranken had all left the band and 3 new band members: David Coulter on guitar, James McNally on guitar and accordion and whistle, and Jamie Clarke on guitar was new replacements in the band. So the only remaining founding members left are Spider Stacy, now on vocals only, and Jem Finer on banjo and guitars. After this, also Jem Finer left the band, and the album remains the last studio album by The Pogues but the band was kept alive as a concerts playing band with a new members list from time to time. 2001 saw many of the former band members re-unite for a Christmas tour, which meant that Shane MacGowan, James Fearley, Andrew Ranken, Terry Woods, and Phillip Chevron were all back together, and they have stayed together, although, MacGowan is often heavily under the influence of alcohol and other drugs.
[ allmusic.com 3 / 5 stars ]

26 October 2015

The Style Council "Modernism: A New Decade" (1998)

Modernism: A New Decade
release date: Oct. 26, 1998
format: digital
[album rate: 2 / 5] [2,02]
producer: The Style Council
label: PolyGram - nationality: England, UK

Track highlights: 6. "That Spiritual Feeling"

5th and final studio album by The Style Council - an album the record label rejected upon its completion in 1989, which led to the band splitting up. The first three albums by The Style Council had all sold quite well in the UK, all reaching at least number #2 on the national charts list but with the fourth album Confessions of a Pop Group, it 'only' a positions as number #15, so what made the band risk a major stylistic change, was not accepted by the label. However, here it is - released a decade after its completion. Apparently, Weller said that the band should have split two-three years before they actually did, meaning before or after recording The Cost of Living (1987). Anyway, this is a strange album. Not for its time but for being a release by a sophisti-pop band. And then again: thinking of how well Everything but the Girl made their move from sophist-pop to dance-pop and electronic, would make this an accepted decision. However, Paul Weller and Co. simply weren't accustomed with the genre nor did they get the same and perfect helping hand from someone who knew about the style they boarded. Na, this is weak, though, not worse than the band's '87 album, but frankly, this should have stayed on the shelf.
Not recommended.
[ allmusic.com 1,5 / 5 stars ]

Kliché "De samlede klichéer" (2011)

De samlede klichéer (compilation)
release date: Mar. 28, 2011
format: 2 cd
[album rate: 4,5 / 5]
producer: Kliché, Poul Bruun, Hilly Michaels
label: EMI - nationality: Denmark

2-disc compilation album containing the only two studio albums by Kliché and two additional tracks - the live recordings taken from the compilation album Pære Punk.
Unfortunately, the band never released any singles or eps containing other tracks than may be found on its two studio albums.
Listening to these recordings some 30 years after their original release dates, it's still remarkable how strong and unique a sound they produced.
This is downright essential.

25 October 2015

David Sylvian "Dead Bees on a Cake" (1999)

Dead Bees on a Cake
release date: Mar. 29, 1999
format: cd
[album rate: 3,5 / 5] [3,58]
producer: David Sylvian
label: Virgin Records - nationality: England, UK

Track highlights: 1. "I Surrender" - 2. "Dobro #1" - 3. "Midnight Sun" - 4. "Thalhiem" - 5. "God Man" - 8. "The Shining of Things" - 12. "Wanderlust" - 14. "Darkest Dreaming"

5th studio album by David Sylvian is his first solo album in 12 years, thus following his acclaimed Secrets of the Beehive from 1987. The style is as usual somewhere centered around art pop with elements from jazz fusion and sophisti-pop. Most tracks are written solely by Sylvian and a few co-written with others. The album feature several prominent guest artists including Bill Frisell, Ryuichi Sakamoto, Kenny Wheeler, Chris Minh Doky, and much as usual older brother Steve Jansen on percussion. It's really a fine and laid-back album with a singer / songwriter profile, which is nice for a change after several collaboration works with focus on the instrumental side. In a fine way this is like a synthesis of his abilities: cool crooning vocal, and soul-shaped music with a bold touch of jazz and experimental art pop. It's the kind of music I enjoy in solitude and as background carpet for a nice evening in good company. It's one of those albums that make you wish he'd make more music on his own.
[ allmusic.com 2,5 / 5 stars, Pitchfork Media 73 / 100 ]

New Order "Music Complete" (2015)

Music Complete
release date: Sep. 25, 2015
format: cd (CDSTUMM390)
[album rate: 3,5 / 5] [3,64]
producer: New Order
label: Mute Records - nationality: England, UK

Track highlights: 1. "Restless" - 2. "Singularity" - 3. "Plastic" - 8. "Nothing But A Fool" (4 / 5) - 9. "Unlearn This Hatred" (4 / 5) - 11. "Superheated"

10th studio album by a re-united New Order following 2½ years after Lost Sirens (Jan. 2013) is here on a new label, and with the introduction of a new line-up after what was never announced an official break-up, although, founding member, bassist Peter Hook in 2007, upon his departure, declared that he and Bernard Sumner were no longer making music together. On the other hand, an official New Order statement promptly stated that the band would continue with or without Hook; however, both Hook and Sumner founded new bands in 2007 and in 2009 Sumner then argued that he would not make music again with New Order. So, although there never really was an official disbandment, the band was practically dead by 2009 [about the split, see: here - here - here - here - here - and here].
New Order's last studio album, Lost Sirens from 2013 was actually recorded 9-10 years prior to its release and basically only consisted of outtakes from the studio recording sessions for the album Waiting for the Sirens' Call (Mar. 2005).
In this new formation of the band, Bernard Sumner still handles lead vocals and is also credited for playing guitar, keyboards, and synthesizers. Likewise, Stephen Morris is the band's usual drummer and percussionist. He also handles keyboards, synthesizers, and is credited for drum programming. After Hook's departure, the band has welcomed back Morris' wife Gillian Gilbert, who once again plays keyboards and synthesizers. Phil Cunningham, who was brought in to replace Gilbert, and who has been a band member since 2002, plays guitars, keyboards, synthesizers, and is in addition credited for electronic percussion. Tom Chapman, replacing Hook, is the newest member, who fills the part as the band's primary bassist, but he also handles keyboards, synthesizers and is credited for backing vocals. Several prominent guest musicians feature on the album. Tom Rowlands of The Chemical Brothers has produced and co-written two of the tracks (tracks #2 & #9). Lead vocalist of The Killers, Brandon Flowers, has co-written and feature on "Superheated". La Roux (now synonymous for Elly Jackson) is credited for additional vocals on two tracks on the album (tracks #4 & #5), and Iggy Pop appears on "Stray Dog".
Soundwise, this is unmistakably New Order, but for once the band has not only reproduced its own back catalogue - which have come to mind on a few occasions looking closer at the albums from 1991 to 2011 - but the band has broadened and updated its sound to a more modern / contemporary expression. Sumner sounds like Sumner, which is a distinct quality of its very own kind and a thing you wouldn't replace, and Morris adds his usual great skills to the basics, which may be the band's biggest asset. On top of that, synths, keyboards and bass-lines provide a fine spatial dynamic soundscape rarely heard of by New Order, and that really says something. La Roux, Iggy Pop, and Flowers don't really provide the music with much extra on this. Actually, I think, the only really fine contributing guest artist is that of Tom Rowlands.
Music Complete is easily bettering the band's last four albums and literally reaching back to redefine what many think of New Order as a band belonging to, defining, but also a band stuck in the 1980s. With the 1990s, and the first decade of the new millennium, New Order had basically taken an artistic de-route, in so far that after many years with lesser albums, this manifestation, is a surprising and uplifting 'new order' of the band many of us had buried in a glorious past.
Recommended.
[ allmusic.com 3 / 5, Rolling Stone 3,5 / 5, The Guardian, The Observer, Mojo, Q 4 / 5 stars ]

24 October 2015

Fine Young Cannibals "The Raw & the Cooked" (1988)

The Raw & the Cooked
release date: 1988
format: vinyl (828 069.1) / cd
[album rate: 4 / 5] [4,14]
producer: *Fine Young Cannibals
label: London Records - nationality: England, UK

Track highlights: 1. "She Drives Me Crazy" (5 / 5) - 2. "Good Thing" (4 / 5) - 3. "I'm Not the Man I Used to Be" - 4. "I'm Not Satisfied" (4 / 5) - 5. "Tell Me What" (5 / 5) - 6. "Don't Look Back" - 7. "It's OK (It's Alright)" - 8. "Don't Let It Get You Down" - 9. "As Hard as It Is" (4 / 5) - 10. "Ever Fallen in Love?"

2nd and final studio album by Fine Young Cannibals. *All three band members are credited as producers on all except track #7, which is produced by David Z (aka David B. Rivkin) - he is also co-producer on tracks #1 and #4; and track #10 is co-produced by Jerry Harrison.
This album was the first that I purchased with the band and it still remains my favourite of their only two studio albums. The majority of the songs here are credited vocalist Roland Gift and bassist and keyboardist David Steele. The debut album contained a few standouts and they may have paved the way for this but the tracks here are just that little bit better or they're simply better arranged. I really enjoy the combo of different styles and genres blended into one original style. Overall this is pop soul but it's styled as synthpop, new wave, and / or sophisti-pop and the production side is truly elegant. Sometimes the guitar or bass play a leading part, at other times it's the drums or the keyboard that take a dominating stance, and then Gift's voice is ever-present in that unique smooth and velvet honey-like tone of his. And although, many styles are present and mixed together, the overall impression is a tight and narrow sound. The new wave and pop / rock single hit "She Drives Me Crazy" is a great track (and the marvellous video by Philippe Decouflé is another classic work), but today, I think, the more soul and r&b-styled modern classics "Tell Me What" and "Don't Let It Get You Down" (both by Gift & Steele) are my two absolute favourite from this album.
Like the debut, also this comes with a cover song. The debut had the splendid version of "Suspicious Minds" and this comes with the Buzzcocks song "Ever Fallen in Love?", and once again, FYC do much more than just replicate a great song as they transform it to something of their very own.
The album was an international bestselling album making it to number #1 on the albums chart lists in several countries, e.g. the UK, USA, Australia, and Canada as well as many other countries world-wide. Apparently, the enormous success was more than the three members had dreamed of and the overwhelming exposure basically put an end to the band. Despite huge success - others would hope for exactly just that! - but FYC had to come to terms with the consequences and went on a hiatus. They relocated to the US and subsequently contributed on the Red Hot + Blue Cole Porter tribute album (1990) but they never released another studio album and Steele, Cox, and Gift parted ways without dissolving the band in the early 90's. A short get-together saw the three record and release the '96 single "Flame", which remains the so far last breath by the trio.
Roland Gift spent many years focussing on a career as an actor before releasing the one and only solo album Roland Gift in 2002. David Steele pursued a successful career as studio musician and producer, and Andy Cox sought various new musical partners in the following years to come - e.g. forming the duo-project Cribabi in 2001 with Japanese vocalist Yukari Fujiu.
This album is still highly recommended - and the above track highlights are basically all tracks on an album without misses. This is no less than an essential album of the late 80s.
[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

Orchestral Manoeuvres in the Dark "Peel Sessions 1979-1983" (2000)

Peel Sessions 1979-1983 (compilation)
release date: Apr. 24, 2000
format: digital
[album rate: 4 / 5] [3,92]
producer: OMD, Tony Wilson, Dale Griffin
label: Virgin Records - nationality: England, UK

Track highlights: [ 1st Peel Session as transmitted ] - [ 2nd Peel Session as transmitted ] - [ "The Misunderstanding" - "The More I See You" from the 3rd session ] - [ 4th Peel Session as transmitted ]

Compilation cd by OMD encompassing 4 early John Peel recording sessions in the years 1979, 1980 and 1983 all of which were broadcast for the BBC Radio 1 show presented by John Peel shortly after the actual recordings. The line-up for the first session was just the two founding members Paul Humphreys and Andy McCluskey, and for the second session they were supported by David Hughes on keyboards and Malcolm Holmes on drums. For the third and fourth sessions Hughes had been exchanged by Martin Cooper. The majority of the tracks (12 / 15) are written by McCluskey and Humphreys.
It's true that almost all tracks are found on their 4 first classic albums, however, the sound on the Peel Sessions are much diverse, which really makes these recordings much treasured.
I have only come across the album in recent years, and must say they are truly fine and original. The sparse instrumentation here really cuts to the bone, and OMD has always been a band with a multi-layered sound, which makes the difference quite noticeable, and not necessarily in a bad way 'cause not all Peel Sessions by other artist comes out with this strength. It's just very different and the melodies are ever-present proving the quality of the songs. Another fine thing is that the release is compiled as is in chronological order.
My only complaint is that the release of the album came this late - two decades after the first recordings and after people, including myself, had turned their ears and eyes elsewhere. And this really makes it more of an archives release.
Before this Virgin also released the compilation album The OMD Singles (1998), which I find slightly better than the best of album from 1988.
Highly recommended.
[ allmusic.com 4 / 5 stars ]

23 October 2015

Sort Sol "Snakecharmer" (2001)

Snakecharmer
release date: Apr. 1, 2001
format: cd
[album rate: 3 / 5] [3,22]
producer: Peter Sunding, Sort Sol
label: Mercury Records - nationality: Denmark

Track highlights: 1. "I'll Take Care of You" - 3. "Brogue" - 4. "Rhinestone" (4 / 5) - 5. "Next Century" - 7. "Who's Afraid of Virginia Woolf"

8th and final studio album by Sort Sol. It took the band 5 years to realise the album, and after Unspoiled Monsters and a band that was often quoted to be on the verge of a break-up, the release of a new album wasn't really expected. Despite coming from a bit of a failure, they basically perform very much as on the predecessor in terms of both style and sound.
Snakecharmer doesn't really change my perspective of a band that might as well give in. Without really impressing, the album also performs on par with the 1996 album. Bassist and central composer of the band, Knud Odde - who composed the best track(s) on the album - had become increasingly more occupied with his career as an artistic painter, and after this, he called it a day and left the band for good.
This album may not be the band's worst attempt but it's far from one of their best. All thanks to Knud Odde, the album is an original Sort Sol album, but if you're looking for artistic originality, you need to turn to the band's back catalogue.
The three remaining members continued performing as Sort Sol, although, also guitarist Lars Top-Galia left in 2004 after having released the soundtrack album Baby (2003) to the Danish movie by Linda Wendell. This left Steen Jørgensen and Tomas Ortved alone to bury the band, which they didn't. They put the band on hold - hoping they would somehow be able to pick up the pieces and carry on. Persuaded, Top-Galia re-joined the two in 2010, and the band toured and played a number of live concerts in 2011 when rumours circulated that a new album was to be released in 'a near future'. As of late 2015 this has yet to be proven...
As for Snakecharmer, this is not where you should start an investatigation of this band's discography, as it remains unrecommended.

Sting "... All This Time" (2001) (live)

... All This Time (live)
release date: Nov. 20, 2001
format: digital
[album rate: 3 / 5] [3,18]
producer: Sting, Kipper [Mark Eldridge]
label: A&M Records - nationality: England, UK

Track highlights: 1. "Fragile" - 4. "All This Time" - 8. "When We Dance" - 10. "Roxanne" - 15. "Shape of My Heart" - 16. "If I Ever Lose My Faith in You"

Live album recorded at [Sting's] "Villa Il Palagio", Tuscany, Italy, Sep. 11, 2001. The concert was planned for a small audience from Sting's fan club and for live broadcast (which was cancelled), and it was carried out in spite of the tragic events that took place during the day of 9/11 2001.
Like his first live album it's a collection of songs from the heydays of The Police blended with his best known solo compositions, but here in a much less orchestrated and electric version, which really suits the songs nicely. The album was also released as a concert film.
I like the fact that the all songs have been rearranged to an intimate live performance, but other than that, I don't think the music by Sting is extremely well-suited as live recordings in general, and the long time span from compositions with The Police, though his jazz-era to more pop / rock-founded compositions makes the whole thing a bit of a mixed bag, really.
[ allmusic.com 4 / 5, Rolling Stone 3,5 / 5 stars ]

22 October 2015

Wilmer X "Mambo feber" (1991)

Mambo feber
released: 1991
format: 2 lp vinyl / 2 cd
[album rate: 3,5 / 5] [3,68]
producer: Dan Sundquist
label: Hi Fidelity / EMI Svenska - nationality: Sweden

Track highlights: A) 2. "Möt mej i din djungel" - 3. "Blå Kongo" - 5. "En modig man" - 6. "Hon tar till vapen" - 7. "Vem får nu se alla tårar?" - - B) 1. "Mambo feber" - 3. "En kvinna i livet" - 6. "Älska mej gick inte alls" - 7. "Jag är ingen Romeo" - - C) 2. "Perssons gård" - 8. "En tusende gång" - - D) 1. "Sex kvinnor på ett tåg" - 2. "Har du sett min ängel?"

A fine double album by Wilmer X in their usual style of blues rock and rock & roll. This is like Bruce Springsteen in genuine Swedish.

The Durutti Column "Without Mercy" (1984)

Without Mercy
release date: Oct. 1984
format: vinyl (fact 84) / digital
[album rate: 4 / 5] [3,86]
producer: Anthony Wilson and Michael Johnson
label: Factory Records - nationality: England, UK

Tracklist: A) 1. "Without Mercy I" (4,5 / 5) - - B) 1. "Without Mercy II" (3,5 / 5)

4th studio album by The Durutti Column. Reilly released an album titled Amigos em Portugal before this one, however, that album was only distributed in Portugal and not on Factory Records like this and all of his official albums, which in my mind makes this his fourth studio album. As far as I know, this is his first album to have Tony Wilson producing and / or working with Reilly on an album release. Wilson was Reilly's manager from the formation of The Durutti Column until Wilson's death in 2007. 
Allegedly, Reilly has disregarded this album and only did it to please Wilson, who tempted Reilly to be more artistically original and persuaded him to do an album with classical instrumentation.
The album is a further step into experimental art rock and what I see as modern classical. I purchased the vinyl album upon its release, and both found it sorely beautiful, lamenting, agonisingly melancholic AND at the same time I found it difficult to obtain for a teenager's taste for dirty punk rock and more standardised post-punk expressions. I have never ceased to enjoy this album, and for every decade, I have come to enjoy it a little bit more. Today, I see it as a masterpiece where Reilly showcases his many talents, as guitarist, pianist, and composer of complex modern music, and not only on the border to classical music but on the borders of musical expressiveness. 'Cause how does this fit in, in the time bubble of contemporary manifestations of music, regardless styles and genre? It doesn't. It's so damn unique and to the vast masses, simply unknown. So far.
[ allmusic.com 3 / 5 stars (users reviews: 4,5 / 5) ]

20 October 2015

Eva Dahlgren "Petroleum och tång" (2007)

Petroleum och tång
release date: Nov. 14, 2007
format: cd
[album rate: 3,5 / 5] [3,35]
producer: Lars Halapi
label: Capitol / EMI Sweden - nationality: Sweden

Track highlights: 1. "Petroleum och tång" - 3. "Jag är inte fri" (3,5 / 5) - 6. "Skuggorna faller över dig" - 9. "Du och jag" (3,5 / 5) - 11. "Syre och eld"

12th studio album by Eva Dahlgren is like a nice combo op her two best albums En blekt blondins hjärta from '91 and her most recent album, Snö from 2005, making it a singer / songwriter folk and pop / rock release with fine ballads and more up-tempo pop songs with clear chamber pop elements.