The Breeders "Title TK" (2002)

Title TK
release date: May 20, 2002
format: digital
[album rate: 3,5 / 5] [3,52]
producer: Steve Albini
label: 4Ad Records - nationality: USA

Track highlights: 1. "Little Fury" - 2. "London Song" - 3. "Off You" - 4. "The She" - 5. "Too Alive" - 6. "Son of Three" - 7. "Put on a Side" - 10. "Forced to Drive" - 12. "Huffer"

3rd studio album by The Breeders released 9 years [!] after the predecessor, the successful and acclaimed Last Splash. The title is a general expression for "title to come". A small decade without releasing noteworthy new material has its grounds, and the band is also a whole new set of people. The Breeders has always been a Kim Deal project-band - an outlet for her writing creativity. Pixies, which was her main band had been buried by frontman Black Francis in early '93, which should've given Deal room for playing with The Breeders, but Kelley Deal's drug abuse probably got in the way for the project. Anyhow, Kim founded the band The Amps (also with drummer Jim Macpherson), and The Breeders was a shelved project. Basically, what happened was that The Amps, who had been on tour since the release of the debut album Pacer in '95, had its name changed to The Breeders at some point in '96. The Amps consisted of Deal / Macpherson and with Luis Lerma on bass and Nate Farley on guitar. Deal had awaited Josephine Wiggs and Kelley's return but when Wiggs announced she was not in a position to rejoin The Breeders, Kim simply changed the band's name, which would hand them a broader repertoire, and with the addition of violinist Carrie Bradley the band now played as The Breeders. By late '98 Kelley rejoined while Macpherson left, and in 2000 both Lerma and Farley had left. Rumour has it that it wasn't just Kelley, who had a drug abuse - Kim had her problems and made regular studio work a challenging task, a point that was confirmed by Mark Freegard, who co-produced Last Splash when he found it impossible to work with Kim on sessions that should have been first takes on a follow-up album in '97. In '99 Kim had written new songs and to avoid conflicts with other musicians, she intended to make a solo album. She recorded several songs playing all instruments herself with Kelley in a supporting role but the idea of having to tour made her decide to find a group to play with. In 2000 the Breeders was a project consisting of the Deal sisters assisted by bassist Mando Lopez and guitarist Richard Presley from hardcore punk band Fear, and with Jose Medeles on drums.
Naturally, after 9 years and a lot of U-turns along the way this is not just the follow-up to the fine 93 album. How could it possibly be that? My reaction to the album was not a positive one. I had looked for news about the band and simply found it sheer stupidity not to release a follow-up within the first 5 years - they just didn't understand the importance of that 2nd album. And when it finally came, it was so far from the strengths of Last Splash. I had no idea of what the band had been through, but it's not really a bad album after all. It's biggest asset is that once you get the feel of it, it has a very uniform sound. I think, intentionally, it sounds more like session recordings - or even demo versions - without additional production editing or mixing to make it sound more vivid and alive, which in many ways link it more directly than almost any releases of the 90s to the proto-punk of the late 1960s and early 70s and with bands like Velvet Underground, The Stooges and Patti Smith.
It's not really a great album, but it certainly is a strong and individualised collection of songs, which in a most natural way bonds with Pixies, The Amps, all the 'noise rock' bands but also the whole grunge rock era of the 90s. And that's also a kind of a weakness 'cause by 2002 it does already sound dated - as something that should have been released in the mid-90s when proto-punk references were much more present. Regardless of being a Kim Deal project band, The Breeders has proven with Title TK that it's the most natural link between noise pop and alt. rock of the modern era and art rock and proto-punk some 30 years earlier, and in that respect this album is worth more than just a listen or two.
[ allmusic.com, The Guardian, NME 4 / 5, Rolling Stone 3,5 / 5 stars ]

Tindersticks "Minute Bodies: The Intimate World of F. Percy Smith" (OST) (2017)

Minute Bodies: The Intimate World of F. Percy Smith (soundtrack)
release date: Jun. 9, 2017
format: digital
[album rate: 3 / 5] [3,02]
producer: Stuart A. Staples
label: Lucky Dog / City Slang - nationality: England, UK

Soundtrack album by Tindersticks to a film directed and written by Stuart A. Staples about British film pioneer and photographer Frank Percy Smith. The album is credited 'Tindersticks with Thomas Belhom and Christine Ott', and both French musicians, Belhom and Ott, have previously appeared on Tindersticks releases. Drummer Belhom appeared on both of Staples' first solo releases, the band's 2008 album The Hungry Saw, as well as on several soundtrack albums by Tindersticks. Composer and multi-instrumentalist Christine Ott first played with Tindersticks on the soundtrack to Claire Denis' 35 Rhums (2008) and then also on the soundtrack to Denis's film Les salauds (2013), and she appears here with her 'specialty instrument', Ondes martenot, as pianist, on Fender Rhodes, and as vocalist.

The album consists of 15 mainly instrumentals of varying length from 1:34 to 8:25 minutes and they are all experimental ambient with an electronic touch.

As an album, it relates to other Tinderstick soundtracks in that it may also be seen as neo-classical works, largely created as a supplement to a visual expression.

[ Film-trailer - "The Strangler" / "Percy's Dream" ]

Frank Black "Teenager of the Year" (1994)

Teenager of the Year
release date: May 24, 1994
format: cd (1999 reissue)
[album rate: 3,5 / 5] [3,68]
producer: Eric Drew Feldman, Frank Black, Alistair Clay
label: 4AD Records - nationality: USA

Track highlights: 1. "Whatever Happened to Pong?" - 2. "Thalassocracy" - 3. "(I Want to Live on an) Abstract Plain" - 5. "The Vanishing Spies" - 6. "Speedy Marie" - 7. "Headache" (4 / 5) (live) - 11. "Fiddle Riddle" - 14. "I Could Stay Here Forever" - 16. "Superabound" - 17. "Big Red" - 20. "Pure Denizen of the Citizens Band"

2nd solo studio album by Frank Black is a true long-player at 62 min. playing time and containing 22 tracks (with several tracks under 2 min. and 10 tracks over 3 mins) thus being released as a double vinyl lp. Like on his debut, former Pixies guitarist Joey Santiago feature on several tracks but the musical backbone is once again co-producer Eric Drew Feldman on bass & keyboards and Nick Vincent on drums.
Stylistically, Black may not introduce a lot of new styles here - he excels in what he does best: playing alt. rock and indie rock - at the time often referred to as college rock, but the album is something else than his first solo album where he sort of just did what he had been used to do. And lyrically, he just continues to sing about whatever pops up in his weird super-sub-conscious fantasy. Yes, it's songs about video-games, comics' and cartoon characters, space, UFOs and what lies in between [!]... Quite often it's rather funny, though. The album is very varied incorporating not only inspiration from other genres and styles but by adding elements from 1960s surf rock, folk rock, 70s art rock and of course punk rock. Sometimes he even sounds inspired by more traditional folk as exemplified in "Superabound" and "Sir Rockaby", but without pointing in all directions he somehow manages to keep it all together thanks to a simple production sound without too much post-recording rework and by altogether containing all the various styles in his special universe of alt. rock.
Admittedly, I rejected the album in '94. I did try listening to it - more than once - but I just didn't get it. To me, it was too noisy and without direction and appeal. I dunno. I guess I felt the same way about Trompe le monde by Pixies when I first heard that one. There's something confrontational about his music that may cause people to keep it out, perhaps. Anyway, for me this is an album that has taken more than a usual amount time to settle and to adjust to. But I have. From a 2010-perspective I can't really understand why I didn't just embrace the album as the continued journey out of Pixies - kind of together with what The Breeders did.
The album contains a lot of fine tracks and great bits, and overall, it's quite an accomplishment, where I feel completely in line with Al Wesel of Rolling Stone when he sums up that: "The songs switch gears so much that you're never sure where you might end up, but the ride is always exhilarating." At the time of its release, the album was met by fine but also luke-warm reviews; however, time has really rocketed the album up on many best of charts, and it's also included in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4,5 / 5, NME, Select, Rolling Stone 4 / 5 stars ]

Happy Mondays "Forty Five EP" (1985) (ep)

Forty Five EP, ep

release date: Sep. 1985

format: digital

[album rate: 3 / 5] [3,17]

producer: Mike Pickering

label: Factory Records - nationality: England, UK

Tracklist: 1. "Delightful" (4 / 5) - 2. "This Feeling" (2,5 / 5) - 3. "Oasis" (3 / 5)

3-track ep debut by Happy Mondays is the band's first release after being put on contract by Factory Records. Producer Mike Pickering worked as a DJ at The Haçienda dance and nightclub in Manchester, and he saw the band's potential after having listened to a demo-tape by the band, who at this point toured with New Order. Already then, Happy Mondays is a stable sextet consisting of the Ryder brothers: singer and guitarist Shaun and bassist Paul together with lead guitarist Mark Day, keyboardist Paul Davis, drummer Gary Whelan, and with new member dancer Bez (aka Mark Berry).

Musically, it's not yet the baggy / madchester-style they should later be associated with. Instead, they play dance-friendly indie pop with bold stylistic elements from jangle pop. The ep has also been recognised as "The Delightful ep" with its title referring to the first and also easily best track of the release. Also, in retrospect, Shaun Ryder has described this as a first experience, which he thought was a bit off in respect to what they were aiming at as it resulted in a sound without the dance-vibe they had wanted, and partly because Pickering simply didn't know that, and also because the band were still trying to find their ground. At the same time, Ryder was still influenced by other vocalists, partly leaning towards Ian Curtis, Feargal Sharkey and other strong performers and not yet had found his personal style. You could add that the band simply lacked a musical direction - should we play more like Joy Division / New Order, Orange Juice, or some other new act? Questions that basically revealed that they were not mature enough to hit it off.

Frank Black "Frank Black" (1993)

Frank Black [debut]
release date: Mar. 8, 1993
format: digital
[album rate: 3 / 5] [3,18]
producer: Eric Drew Feldman, Frank Black
label: 4AD Records - nationality: USA

Track highlights: 1. "Los Angeles" - 2. "I Heard Ramona Sing" - 3. "Hang on to Your Ego" - 8. "Ten Percenter" - 13. "Adda Lee" - 15. "Don't Ya Rile 'Em"

Studio album solo debut by Frank Black, aka Black Francis, which used to be his moniker while band leader of Pixies, aka Charles Michael Kittridge Thompson IV [actual birth name!] released only a few months after Black had announced the break-up of Pixies, which apparently had come as a surprise to the other members of the band. Musically, it follows close in the tradition of Pixies' material and also as a follow-up to its last album Trompe le monde (1991). Joey Santiago of Pixies feature on additional guitar, and Black's two foremost musical associates here are co-producer Eric Drew Feldman (former Pere Ubu and Captain Beefheart) on bass and keyboards and with Nick Vincent on drums and percussion.
I recall listening to the album by chance in the early 90s finding it superficial and of no particular interest. I think, I had been taken so much by surprise by the split of a great band and also found the band's last album of less interest - at the time - that I simply rejected this, thinking the band had been great with Doolittle and not really again after that. A few years later I changed by view on Pixies last album but never found this one in close relation to that. It's obvious that it's rather close to the soul of the band, but I don't find this one particular successful, and have come to regard it as Black's urge to show the others how he was somewhere else - already releasing his own material as if to say: "Pixies is all over with - just look where I'm heading!" - or something.
It does for sure seem unfinished - like an album in the making, and I have always regarded it as something just above the mediocre... for some reason.'Cause when I compare it to the last two albums by Pixies it's really not far from those - not considerably poorer. I think, it's major problem is that it almost only summarizes what Pixies stood for. Too many compositions stand so close to what has already been issued by his former band - here new songs have their own specific arrangements. That's true, but they still sound like remakes, and that's the problem about this album. Black doesn't do something else than going through the motions - just for himself this time. Perhaps it's actual problem is that it's his break-up album where he just wants something to shove in the face of his former associates saying "We used to do this together, now I do it on my own (and we all know it's the same shite)".
I'm not overly pleased about it, though I can't really say it's near bad. I just don't play it often and can only say that I do not agree with Heather Phares at allmusic.com.
[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

Jack Frost "Snow Job" (1995)

Snow Job

release date: 1995

format: digital

[album rate: 3 / 5] [3,06]

producer: Steve Kilbey

label: Karmic Hit - nationality: Australia

Track highlights: 1. "Jack Frost Blues" - 5. "You Don't Know" - 6. "Weightless and Wild" - 8. "Cousin / Angel"

2nd studio album by the duo-project Jack Frost consisting of Steve Kilbey (of The Church) and Grant McLennan (formerly The Go-Betweens) following three years after the self-titled debut. The project had lived on for a short period of time in '93 after which the two members went back to their own material. Since then, McLennan released his double album Horsebreaker Star (Dec. '94) and Kilbey has only just been released from the label Arista after the unsuccesful Somewhere Anytime (May '94) by The Church. So in early '95 the two found time to revive their common project. And very much to the same procedure as they launched with the debut, they didn't spend hours in writing and composing songs but more or less brought up ideas and recorded tracks in the studio - much according to the spontaneous songwriting and composing approach utilised by Kilbey at this point of his career. The duo has written and composed 13 tracks and they are assisted by Kilbey's brother Russell credited on organ, backing vocals and as sound engineer, and together with drummer Tim Powles of The Church they are the performing musicians on the album.

Compared to the debut, this is a looser type of album and it ultimately appears as a more incoherent whole. Gone are the jangle-pop and indie pop bits and pieces from the debut, which also pointed in a bunch of directions, but instead of showcasing diferent styles for individual tracks, Snow Job is mostly one huge mix of styles carrying stronger traits of the solo works by Kilbey, and it's simply difficult to sense a presence of and contributions from McLennan. Both McLennan and Kilbey were at this point using heavy drugs, and several songs may refer to their experiences with drugs, e.g. "Aviatrix", "Running From the Body", "Weightless and Wild" and "Haze".

Much like the debut, the album didn't attract much attention, and the project was soon put to a halt.

McLennan produced and played guitar on his sister, Sally McLennan's self-titled and only album from '96 (also with partecipation of Tim Powles and Russell Kilbey) before continuing his solo career and initiating what would result in his fourth and final solo album In Your Bright Ray (1997). Steve Kilbey also returned to his solo career but also began writing songs for the upcoming ninth studio album by The Church, Magician Among the Spirits (1997).

Not recommended.

Jon Hopkins "How I Live Now" (OST) (2013)

How I Live Now (soundtrack)

release date: Nov. 4, 2013

format: digital (16 x File, FLAC)

[album rate: 3,5 / 5] [3,44]

producer: Jon Hopkins

label: Just Music - nationality: England, UK

Soundtrack album by Jon Hopkins to a film by Kevin Mcdonald is Hopkin's second album of the year as it follows the acclaimed fourth album Immunity (Jun. 2013).

The album contains 16 tracks with a total running length of 44 minutes, which implies that the majority of the compositions are relatively short instrumentals. The album feature a few other collaborating artists and it kicks off a bit out of tune with the remainders with an inde rock tune credited Amanda Palmer and performed by Amanda Palmer & The Grand Theft Orchestra. Hopkins cllaborates with Natasha Khan on two tracks and track #9 feature the band Daughters in a remix of their song "Home".

The majority of the compositions are credited Hopkins only and these are nearly all held in an ambient and minimalist tone, which showcase Hopkins as a trained pianist. In that regard, the album stands in its own rights as something quite different when comparing to his discography and especially confronted with his studio album from June.

How I Live Now is a fine and mostly coherent album - especially when subtrackting the two rock tunes by Amanda Palmer & The Grand Theft Orchestra and the Daughters' remix, and I cannot help feeling it falls more in line with soundtracks by Sakamoto and / or Robin Guthrie & Harold Budd.

Björk "Medúlla" (2004)

Medúlla
release date: Aug. 30, 2004
format: cd
[album rate: 3 / 5] [3,12]
producer: Björk
label: Elektra - nationality: Iceland

Track highlights: 1. "Pleasure Is All Mine" - 4. "Vökuró" - 6. "Who Is It (Carry My Joy on the Left, Carry My Pain on the Right)" - 8. "Desired Constellation" - 9. "Oceania" - 14. "Triumph of a Heart"

5th studio album by Björk is a primarily self-produced album - Mark Bell is co-producer on tracks #3, #7, and #9. The album was originally released by One Little Indian (by Elektra in North America). Although, a new studio album by Björk always means a new sound texture, this is quite unusual for her as it's almost entirely made up of a cappella compositions and by large choirs - The Icelandic Choir on six tracks and The London Choir on track #9. It also feature several guest artists including Inuit throat singer Tagaq (tracks #1, #6, #11, and #12), vocalist Mike Patton of Faith No More (tracks #1 and #3), and Robert Wyatt (tracks #7 and #9)
The album generally received positive reviews and brought her critical acclaim as well as several prize nominations, however, I have never enjoyed this particular album that much. Yes, it contains a number of fine songs but no really truly memorable ones, and as a whole, I think the more experimental compositions dominate an album, I mostly think of as slightly - I dare say 'boring', simply, by being a mere formative release, which again makes me ponder on the word 'pretentious'. It's like one long voice experiment playing with tribal and throat singing, which in the end becomes less inspiring.
I consider this her first in a series of three consecutive and formative albums without strong appealing traits. So why don't I rate it lower? Well, first of all, it's still clearly above mediocre (2,5 on my scale), and then Björk is an artist who dare experiment and most of the time she actually succeeds in making ground-braking new music because she's an artist who dares taking the big leaps. Here, she may likely satisfy critics and fans by doing the near 'impossible' - she expands the borders of popular music but it also takes a lot of willed attention to digest. She is up front when it comes to rethinking popular music, and this time, she's just off target from my perspective, although, she's still producing new music instead of just replicating formulas, and that takes courage. Björk is in that regard like Zappa - someone who is recognised as a great composer and an important personality when it comes to rethinking modern music.
Not really recommended.
[ allmusic.com, Mojo 4 / 5, Rolling Stone 3,5 / 5, Q Magazine 3 / 5 stars ]

The Bryan Ferry Orchestra "The Jazz Age" (2012)

The Jazz Age
release date: Nov. 26, 2012
format: cd
[album rate: 3 / 5] [2,98]
producer: Bryan Ferry & Rhett Davies
label: BMG Rights Management - nationality: England, UK

14th studio album by Bryan Ferry released by The Bryan Ferry Orchestra is a collection of Ferry compositions released on various albums from the early Roxy Music days and his later solo albums, but re-organised for and re-worked into traditional jazz as played in the 1920s and 1930s with a strings and brass backing band.
Stylistically, we're talking contemporary jazz, ragtime and swing, and not only is the orchestral instrumentation according to the aforementioned time but also the recording and production sound are in the spirit of that era, insofar that it feels completely genuinely old. Although, all original compositions were with Ferry on lead vocal, this release is completely without any vocal performance, and Ferry himself is "only" credited as composer, producer and bandleader.
The original Roxy Music and Ferry tracks are sometimes truly hard to recognise but the overall impression is a solid and original release. I would, however, have loved and preferred to hear these songs in vocal arrangements as the natural follow-up to his fine album As Time Goes By (1999). Having said that it's a "solid" and "original" release, although that does not imply that I enjoy it. I find it somewhat redundant.
[ allmusic.com 4 / 5 stars ]

De efterladte "Traditionen utro" (2011)

Traditionen utro [debut]
release date: Jun. 6, 2011
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Peter H. Olesen & Michael Lund
label: Melodika - nationality: Denmark

Track highlights: 1. "Sangen selv" (live) - 2. "Nedenom og hjem" (4 / 5) (live) - 4. "Godmorgen kynisme" (live) - 5. "Du lever og har det godt og bor et sted på Sjælland" - 8. "Mit sortsyn" (4 / 5) (live) - 10. "Med let hånd" - 13. "Den nye sang er en gammel sang" (live with CS Nielsen)

Studio debut album by the Danish duo De efterladte ['The Abandoned'] is the beginning of a highly interesting duo consisting of one half of the brother-project Olesen-Olesen, songwriter and vocalist Peter H. Olesen - here without his younger brother Henrik but instead together with guitarist and multi-instrumentalist Michael Lund with whom he composed two songs for the final album, Kain & Abel (2007) with Olesen-Olesen - the second of these compositions is titled "Til de efterladte" ['For the abandoned'], which has given name to the duo. Lund was also among the stable live musicians when the duo toured. Several other additional musicians contribute on the album including Boi Holm, who also mixed the album.
According to Peter H. Olesen [from the official website] he met with Lund after the split of Olesen-Olesen to rehearse and compose new songs to what he thought would be upcoming solo recordings - not unlike what his younger brother Henrik released in 2010 as Ukendt Under Andet Navn - and then he realised that it was more of a collaboration work.
The style isn't far from the former brother-project but it has become much more simple mostly featuring only Olesen's vocal accompanied by Lund's guitar thus emphasising the lyrical side quite substantially. Some compositions are shaped with clear references to rock & roll, chamber pop, americana, or folk rock inspiration and others are simply spoken-word poems accompanied with guitar.
Peter Olesen undoubtedly has a talent with words, and it's truly nice to listen to his lyrics, trying to understand what puzzles him about words, phrases, or sensations, and the new-found sound with Lund makes this a nice journey. Lund is also credited for the cover.
[ Gaffa.dk, Undertoner 4 / 6, Soundvenue 3 / 6 stars ]

Dolores O'Riordan "No Baggage" (2009)

No Baggage
release date: Aug. 24, 2009
format: cd
[album rate: 4 / 5] [3,98]
producer: Dolores O'Riordan and Dan Brodbeck
label: Cooking Vinyl - nationality: Ireland

Track highlights: 1. "Switch Off the Moment" (live) - 2. "Skeleton" - 3. "It's You" (4 / 5) (live acoustic) - 5. "Stupid" (4 / 5) - 6. "Be Careful" - 7. "Apple of My Eye"

2nd and last solo album by Dolores O'Riordan and also the second with producer Dan Brodbeck is a more uptempo collection of songs compared to the slower and more introvert solo debut from 2007. The style is not far from The Cranberries - it seems more balanced towards a mainstream audience with an obvious grounding in the celtic rock heritage, and contemporary pop / rock and singer / songwriter styles - much like the debut, although, that one is somewhat more narrow and simple when it comes to the production sound. In that sense No Baggage shares the more spacious dream pop style of her regular band without being anything close to ambient. The track "Apple of My Eye" was also included on her debut, but here it's been rearranged to a more electrified version.
I really like this album and find it clearly bettering her solo debut. It's also bettering her last three albums with The Cranberries. Despite being a more uptempo album, the two best songs are also two slow and sentimental compositions: "It's You" and "Stupid" - both very strong singles, which deserve so much more recognition.
Highly recommended.
[ allmusic.com 3,5 / 5 stars ]

2009 Favourite releases: 1. Kent Röd - 2. Gossip Music for Men - 3. Dolores O'Riordan No Baggage

Grant McLennan "Horsebreaker Star" (1994)

Horsebreaker Star

release date: Dec. 1994

format: 2 cd

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

producer: John Keane

label: Beggars Banquet - nationality: Australia

Track highlights, disc 1: 1. "Simone and Perry" (4 / 5) - 2. "Ice in Heaven" - 5. "Don't You Cry for Me No More" - 6. "Put You Down" - 8. "Coming Up for Air" - 9. "Ballad of Easy Rider" - 10. "Open Invitation" - 11. "Open My Eyes" - 12. "From My Lips" - - disc 2: 1. "Dropping You" - 2. "Hot Water" - 3. "Keep My Word" - 9. "All Her Songs"

3rd studio album by Grant McLennan following two years after Fireboy is no less than a double album consisting of 24 compositions - all written and composed by McLennan except "Ballad of Easy Rider" by Roger McGuinn. The album is his first solo release where he skipped the 'W.' in Grant W. McLennan. It was recorded in Athens, Georgia by local sound engineer and producer John Keane, who at this point recently had worked with R.E.M. (Out of Time and Automatic for the People), Lisa Germano (Happiness), Indigo Girls (Rites of Passage), Madder Rose (Swim), Vic Cheshnut (Drunk) amongst others and he was already a hot producer name on the indie rock and alt. rock scene.

After Fireboy, McLennan was busy touring as solo artist throughout '93. John Keane is also credited as multi-instrumentalist, and together with a handful of local studio musicians including Steve Venz, Andy Carlson and Joel Morris they play alongside McLennan on all tracks. Uncredited (except on track #6) Syd Straw provides some fine backing vocals to most songs. The music is predominantly held together by guitar, bass, percussion and string arrangements. Some are light and uptempo shaped, some are slow and ballad-like with a strong folk or country-sensation reminding us about Athens, Georgia where jangle pop flourished through R.E.M. and 10,000 Maniacs, but also with a strong reminiscence of The Go-Betweens and their sources of inspiration.

Personally, he seems to have put Amanda Brown behind him. At least when listening to the lyrics, but it's still evident that broken love and an ever-present melancholy plays a major part in his songwriting. It's music in the well-known jangle pop and singer / songwriter category with songs about relations - the ld and new, about friendships, the good and warm, but also the lost love songs as the scary dark tale in "Coming Up for Air".

Horsebreaker Star is a tremendous achievement when thinking it's one man's work. I can't decide if I find it too long or just right. There's undoubtedly tracks you could live without, and despite I have "only" found 13 highlighted tracks it's still difficult to point out enough songs for a standard 10-12 track album 'cause it feels very much of a whole. The album alone showcases McLennan as one of the finest Australian songwriters of modern ages.

Imho, this is his so far best solo album and naturally highly recommended.

[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5

The Durutti Column "Rebellion" (2001)

Rebellion
release date: Aug. 14, 2001
format: digital
[album rate: 3,5 / 5]

Tracklist: 1. "4 Sophia" (4 / 5) - 2. "Longsight Romance" (3 / 5) - 3. "Geh Cak Af En Yam" - 4. "The Feilds of Athenry" - 5. "Overlord Part One" - 6. "Falling" (3,5 / 5) - 7. "Voluntary Arrangement" (3,5 / 5) - 8. "Mello Part One" (3,5 / 5) - 9. "Mello Part Two" (3 / 5) - 10. "Protest Song" - 11. "Meschugana"

12th studio album by The Durutti Column released on Artful Records and the major classical label Decca Records, and is produced by Keir Stewart. Percussionist Bruce Mitchell appears on the release, almost as usual, only this time he has contributed as composer with Reilly on two tracks (#3, #11). The album shows a return to his trademark of ambient experimental art rock with both a classical and jazz feel, and gone is the new found indie pop style and the many years of experiments with house and electronic is put in the background. This is one of Reilly's better releases almost touching his finest hours of the 1980s.
[ allmusic.com 4 / 5 stars ]

Nena "Du bist gut" (2012)

Du bist gut

release date: Nov. 2, 2012

format: 2 cd (Deluxe Edition)

[album rate: 3 / 5] [3,06]

producer: Derek von Krogh

label: Laugh + Peas - nationality: Germany

Track highlights: 1. "Das ist nicht alles" - 2. "Schmetterling" - 3. "Lied Nummer eins" - 5. "Freiheit" - 8. "Wo ist mein Zuhause" - 15. "Du bist gut"

11th studio album (not counting her many releases with music for children) by Nena following three years after Made in Germany (Oct. 2009). Disc 1 contains a total of 15 tracks with a running time surpassing 71 minutes - this is also released as the standard album. Disc 2 contains 8 live recordings of some of her most familiar songs, four of which are new studio live recordings and four recordings from a live concert in Berlin.

Nationally, the album made it as high as to number #2 on the albums chart list but critics didn't meet it with a warm welcome, in fact, the album is regarded as one of her weaker solo albums, and critics mostly found that it failed to showcase anything new from an artist who was caught on repeat. I admit that it sums up much of her previous work, and the best thing here is Disc 2 and especially the Berlin live recordings.

The front cover art is credited Nena's daughter Larissa Kerner and her son Sakias features on vocals on a few tracks.

Ukendt Under Andet Navn "Ukendt Under Andet Navn" (2010) (ep)

Ukendt Under Andet Navn, ep
release date: Jun. 1, 2010
format: cd (ukendt 001)
[album rate: 3,5 / 5] [3,38]
producer: Henrik Olesen, Thomas Thomsen
label: Melodika - nationality: Denmark

Tracklist: 1. "Skridt" - 2. "Korsvej" - 3. "Det gamle, det ny" - 4. "Hjertet" - 5. "Alt som det skal være"

Studio solo ep debut by Henrik Olesen released under the moniker Ukendt Under Andet Navn is a 5-track ep with a running time just below 14 mins. Together with older brother Peter, the two played and released music over a decade from 1997 to 2007 as Olesen-Olesen, and now as they have split, primary songwriter Peter has been occupied as an author, and Henrik has taken up his musical collaboration work with Solveig Sandness in the duo-led musical project Er De Sjældne together with Lone Hørslev. With Sandness, Henrik had taken part as guitarist in the early formation of the Danish / Swedish / Icelandic band Lovebites from 1995 to 2000, while still focusing on his music-project with Peter. In the band Er De Sjældne, he contributes on various guitars whereas the songs remain credited Hørslev (lyrics) and Sandness (music), in collaboration and perhaps this led him to establish his own musical project. Here, he is in complete control - handling all instruments except cello, and he's credited as composer of all music.
Musically, it's like a combo of all his musical engagements throughout the past decade. Tracks #1, #3 and #4 in particular share the musical foundation with Olesen-Olesen with a strong singer / songwriter and subtle folk rock approach, tracks #2 and #5 have a harsher tone bonding more with the post-punk sound that was heard in Greene, where track #5 also reflects an influence from the more pop-shaped universe of Lovebites, but altogether it's still a rather coherent collection of fine and almost minimalist compositions.
Henrik has always represented the lighter tone of the brothers Olesen, and on this, he also demonstrates that he is a talented songwriter, although, the strongest side to the five songs is the musical dimension. This short album serves as a nice document of the musical qualities of at least one half of the brothers Olesen, and then it leaves you with a taste for more.
[ Undertoner 4 / 6 stars - review from diskant.dk ]

The Divine Comedy "A Short Album About Love" (1997)

A Short Album About Love
release date: Feb. 10, 1997
format: cd
[album rate: 4,5 / 5]
producer: *[Neil Hannon]?
label: Setanta Records - nationality: Northern Ireland, UK

Tracklist: 1. "In Pursuit of Happiness" (4 / 5) - 2. "Everybody Knows (Except You)" (4 / 5) - 3. "Someone" (4,5 / 5) (live in France) - 4. "If..." (5 / 5) (live) (live) - 5. "If I Were You (I'd Be Through With Me)" (5 / 5) - 6. "Timewatching" (4 / 5) - 7. "I'm All You Need"
*producer credits are absent

5th studio album by The Divine Comedy. This is the first album I ever heard with Neil Hannon and The Divine Comedy. I had read some reviews praising the album, so I searched the music, and was really blown away by it's classy beauty. It's still my favourite album by Hannon, and the only real downside to it is the short running time.
The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4,5 / 5 stars ]

1997 Favourite releases: 1. Buena Vista Social Club Buena Vista Social Club - 2. The Chemical Brothers Dig Your Own Hole - 3. The Divine Comedy A Short Album About Love

Olesen-Olesen "Kain og Abel" (2007)

(Henrik & Peter)

Kain og Abel
release date: Oct. 1, 2007
format: 2 cd (melo 005)
[album rate: 3,5 / 5] [3,52]
producer: Nikolaj Nørlund; Peter Olesen, Rune Borup, Torsten Larsen
label: Melodika - nationality: Denmark

Track highlights: Disc 1): 1. "Drømmen om et liv" - 2. "Jeg har aldrig haft et job" - 5. "Fyraften" - 7. "Søn af en revisor" - 9. "Sen sne" - - Disc 2): 1. "I kulkælderen på 3. sal" - 3. "Jeg har valgt at være ulykkelig" - 6. "Jeg drømte jeg var et godt menneske" - 8. "Til de efterladte" - 10. "Det skønne og det sande"

7th and final studio album by Olesen-Olesen released on Melodika is a 2-disc album, where disc 1 is mainly produced by Nikolaj Nørlund, and all tracks on disc 2 are produced by Peter Olesen, Rune Borup, Torsten Larsen, and with Tore Johansen as co-producer on tracks #1, #8 and #9. Apart from referring to the Biblical brothers, the album title also pays tribute to the Danish poet Morti Vizki (aka Morten Boeslund Poulsen), who had been found dead in Sep. 2004 at the age of 41 - Vizki wrote the text "To monologer: Abel og Kain" ['Two monologues: Cain and Abel'] and he wrote the poem "Drømmen om et liv" for which Henrik composed accompanying music.
The album is basically a "2-in-1" album, as each disc contains songs exclusively written by either of the two brothers, and in a way gives you two solo albums released as a double album. Disc 1 contains songs exclusively composed by guitarist Henrik Olesen [Abel] in collaboration with other songwriters. Three of these have lyrics by Peter, one is written by Jens Unmack, and one is by Morti Vizki. Disc 2 are songs written by songwriter and vocalist Peter H. Olesen [Kain], mostly with other musical composers of which four are composed by Torsten Larsen, four are credited Klaus Mandal Hansen, one is by Michael Lund, one by Henrik Olesen, and one song has music composed by Peter himself. In this way they also point to their future musical split after having worked together in several bands and projects for more than three decades. Their first releases together were with the band Sort-Hvide Landskaber back in the early '80s. After that they released two tapes as Skizo Kids - for this project Peter was credited as Kain and Henrik as Abel. Soon after they continued in the band Greene, with whom they released three full-length studio albums before founding their duo-project, Olesen-Olesen. And now with Kain og Abel this has also come to an end, and a full circle has been drawn.
I don't know anything about the decision to split after all these years, but in the years to follow they have remained parted. Naturally, it's a rather special album with the two brothers having arranged and written the songs for each disc on their own, and with the help of other artists. I can't tell which of the two discs is the better, as they both have obvious forces. Disc 1 generally contains most up-tempo and positive expressions of songs in a style closely related to that of their former band, Greene, and Disc 2 represents the lyrically most interesting compositions - and in a style that bonds more with that of their most recent works together.
"Til de efterladte" is a fine poem accompanied by music which forecasts the upcoming project De efterladte in more than one sense. The title is one thing, as it's also written together with guitarist Michael Lund, who takes part in the project with Peter H. Olesen. The album as such, is not among the best by the brothers and whether or not the title and the Christian allegory with two brothers in conflict has any bearing in the split remains uncertain. Peter continued his artistic work by writing novels, poems, and eventually by initiating the musical duo De efterladte, whereas Henrik continued as additional guitarist for the duo, Er De Sjældne with Solveig Sandnes (ex Lovebites) and Lone Hørslev, and then he was the first of the two brothers to initiate his own musical project, Ukendt Under Andet Navn.
[ Gaffa.dk, Soundvenue 4 / 6 stars ]

XTC "Wasp Star (Apple Venus Volume 2)" (2000)

Wasp Star (Apple Venus Volume 2)
release date: May 17, 2000
format: cd
[album rate: 3,5 / 5] [3,34]
producer: Nick Davis
label: Cooking Vinyl - nationality: England, UK

Track highlights: 1. "Playground" - 2. "Stupidly Happy" - 3. "In Another Life" - 5. "Boarded Up" - 6. "I'm the Man Who Murdered Love" - 8. "Standing in for Joe" - 10. "You and the Clouds Will Still Be Beautiful" - 12. "The Wheel and the Maypole"
[ full album ]

12th studio album by XTC is the second part in the band's "Apple Venus" (volumes) series and the remaining tracks of an intended double album. XTC is still a duo of songwriters Andrew [Andy] Partridge and Colin Moulding after guitarist and multi-instrumentalist Dave Gregory left during the recordings of Apple Venus Volume 1. As usual, Partridge has written the majority of the tracks as Moulding is credited for three out of twelve songs.
This new, second part, doesn't quite follow the style of Volume 1 as it's much more a pop / rock album in the style of psychedelic pop / art pop and power pop - rhythm-guitar rock with clear bonds to Beach Boys, The Kinks, The Beatles, Badfinger and Todd Rundgren (who produced XTC's acclaimed Skylarking) more than more experimental styles of neo-psychedelia and progressive pop found on the '99 album, which in a way seems a bit odd given the fact that Partridge, Moulding and Gregory had already written material for a double album when entering the studio back in early '98.
Where critics loved the '99 album, they are much more reluctant and luke-warm about this.
Neither do I find it as fine and innovative as Apple Venus Volume 1, but it's more than just a decent album. It's really such a pity that they couldn't finance the double album they sat out for when entering the studio in '98. I think, it would have been great. Instead of producing an album containing all songs - perhaps with a completely different track listing, which would have made it more of a conglomerate - they end up having released two rather different albums that will always be compared to one another. Some even talk about "the leftovers" from "Volume 1" when determining this is the inferior second part... No, they are just very different, but also so much in the spirit of XTC, who have never ceased to write and compose music in so many different styles without losing the band's dna. This is another fine chapter in the story of XTC - not one of their best but less suffice to make a good album.
[ allmusic.com, Q Magazine, Rolling Stone 3 / 5, NME 3,5 / 5 stars ]

Robin Guthrie "Continental" (2006)

Continental

release date: May 15, 2006

format: cd

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

producer: Robin Guthrie

label: Rocket Girl - nationality: Scotland, UK

Track highlights: 1. "Continental" - 3. "Crescent" - 4. "Monument" (live on KEXP) - 6. "The Day Star" - 10. "Pale"

2nd solo album by Scottish artist Robin Guthrie following three years after Imperial (2003) is the first of four albums originally released on American label Darla Records - issued by Rocket Girl in Europe. Since the debut he has made the second and final album Russian Doll (2004) togeher with Siobhan de Maré in their duo-project Violet Indiana, and he has collaborated with American composer Harold Budd in making the music score Mysterious Skin: Music From the Film (2005), but Continental is his second pure solo album, and as the first, an album of instrumental compositions.

The album differs from his first and also from his recent collaborative releases by being more uptempo founded in a typical dream pop kind of style that bonds more with the music by Cocteau Twins than his debut album as the ambient and minimalism dimensions have been considerably reduced or replaced by more traditional music structure. Some suggest that theese compositions may have been recorded or composed while Guthrie played in Cocteau Twins, meaning more than a decade earlier, which also explains the closer connection to the soundscape of his former band. And I do believe there's a point in that - also when referring to his most recent releases and the fact that only three months succeeding this, he released an ep Everlasting (Jul. 2006) with music that both contain compositions of multi-layering dream pop style and tracks that are like ambient minimalist structure making the narrow 4-track ep extremely incoherent but nevertheless all instrumentals with Guthries' fingerprints all over - despite the strong incoherency - like a couple of old "leftovers" and two new compositions. Anyway, several songs on Continental follow the structure of the title track by starting off as pure ambient compositions but then advance into more uptempo patterns with drum programming and even some vocal harmonies thrown in, although, without actual lyrics. Track #5. "Amphora" and track #9. "Last Exit" are the exceptions sounding more like outtakes from his debut, and track #6. "The Day Star" is another exception by being noise rock and / or post rock-styled as something influenced by Sigur Rós or Mogwai with a progressive beat and swirling distorted guitars as culmination.

All in all, Continental is a much more diverse collection of songs but also more digestible than Guthrie's previous minimalist and almost new age and ambient exercises.

Recommended.

[ allmusic.com 3,5 / 5 stars ]

The Chemical Brothers "Don't Think" (2012) (live)

Don't Think (live)
release date: Mar. 27, 2012
format: dvd & cd
[album rate: 4 / 5] [3,92]
producer: The Chemical Brothers
label: Parlophone - nationality: England, UK

👉 Official playlist trailer

Great live album by The Chemical Brothers is first and foremost a film-documentation of the duo's concert concept recorded from the duo's 2011 live performance at Fuji Rock Festival in Japan. The sticker on the front cover reads 'The Chemical Brothers Present Don't Think Live From Japan'.
It's always a bit hard to review live albums, and electronically-founded ones aren't making it any easier but with the visual dimension it adds a great deal to the live experience. The album is issued in dvd and cd format, which means that Disc 1 is the dvd footage including 20 tracks of live recordings and Disc 2 compiling 11 selected audio tracks. The compositions all come from various albums over time but the great thing about electronic artists performing live, and especially in this case, is their ability to create new music based on their own original material, and this one is absolutely in the high-end of live performances as they understand to build the compositions together and make it a fascinating whole. Compared to e.g. Sigur Ròs and their mighty fine Inni live album, this is simply a better live performance in the sense that The Chemical Brothers' old repertoire played live is transformed into brand new material - instead of 'only' playing popular songs like they sound on the original studio albums (as SR does so well). The Chemical Brothers produce live versions of well-known tracks that are stuffed with interceptions and interpretations of their own material to make everything fit to the moment. Now, that's living the art!
Highly recommended.