Michael Olatuja "Lagos Pepper Soup" (2020)

Lagos Pepper Soup

release date: Jul. 31, 2020
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Michael Olatuja
label: Whirlwind Recordings - nationality: Nigeria

Track highlights: 2. "Lagos Pepper Soup" (feat. Angélique Kidjo) - 4. "Soki" (feat. Dianne Reeves & Lionel Loueke) - 5. "Ma Foya" (feat. Brandee Younger) - 6. "Brighter Day" (feat. Laura Mvula) - 7. "Shadows Fade" (feat. Onaje Jefferson) - 9. "Home True" (feat. Becca Stevens & Robert Mitchell)

2nd album by London-born, Lagos, Nigeria-raised, New York-based electric and acoustic bassist / composer / bandleader Michael Olatuja.
Musically, this is one big blend of genres and styles, although, the overall sensation is one of jazz. It contains instrumental parts that are primarily jazz-founded, it contains vocal jazz and soul pop compositions and it's full of afrobeats (popular African rhythms), but also reveals a strong bond to traditional jazz composers of a you could call a New York tradition.
Aside from well-known studio musicians the album feature a bunch of starring musicians, which include Angélique Kidjo, Dianne Reeves, Laura Mvula, Onaje Jefferson, Becca Stevens, Lionel Loueke, Robert Mitchell, Grégoire Maret, Brandee Younger, Joe Lovano, and Regina Carter.
Production-wise it's a warm and solid collection of beautiful compositions that also showcase the instrumental virtuosity of Olatuja.
The cover illustration seem a bit out of sync with the content as you might expect more traditional African folk music. I guess, Olatuja only hints at his roots, because it might as well have been entirely displaying Autumn leaves in his hometown of New York.
Anyway, I really enjoy this, it's gooood.

Band of Horses "Cease to Begin" (2007)

Cease to Begin

release date: Oct. 9, 2007

format: cd (SPCD 745)

[album rate: 4 / 5] [4,22]

producer: Phil Ek

label: Sub Pop Records - nationality: USA

Track highlights: 1. "Is There a Ghost" (5 / 5) (live on Letterman) - 2. "Ode to LRC" - 3. "No One's Gonna Love You" (5 / 5) (live on Letterman - acoustic live) - 4. "Detlef Schrempf" (4,5 / 5) (live) - 5. "The General Specific" - 7. "Islands on the Coast" - 8. "Marry Song" - 9. "Cigarettes, Wedding Bands" (4,5 / 5) (live)

2nd studio album by Band of Horses following 1½ after the fine Everything All the Time (Mar. 2006) is like that produced by Phil Ek and released on Sub Pop. Since the recording of the debut album the band has changed its line-up more than once, and played as a quintet, a quartet and now reduced to a trio with only remaining member, founder Ben Bridwell. On this he constitutes the band with bassist & guitarist Rob Hampton and drummer Creighton Barrett - both replacing founding members Chris Early and Tim Meinig for the promotion tour of the debut in 2006. Guitarist and keyboardist Joe Arnone only stayed for the 2006 tour, after which the band recruited keyboardist Ryan Monroe as additional musician for an upcoming 2007 tour and for the recording sessions for this album. He was, however, together with guitarist Tyler Ramsey and bassist Bill Reynolds included as new official members after the album release, whci meant the band was soon back as a sextet.

Musically, the album follows close on path laid out with the debut, although, this seems more like a bolder folk rock and country rock release thanks to more focus on electric guitars. The album still leaves room for a varied collection of songs, some are laidback and country-like, others harsh electric folk rock and the first track is an indie pop-shaped grower, but the overall sensation of a strong coherent whole is further accentuated. The album consists of ten tracks - and here comes the least favourable thing about this new album: it only upholds a total running time at 34:50 minutes!

After an acclaimed and strong debut they actually do even better. It's more than an ordinary artistic achievement to make something that both bonds so nicely with the preceeding release and yet improve their sound, which again proves how Ben Bridwell as only remaning member is the band's leader and driving force.

Cease to Begin is their best and it's highly recommended.

[ 👍allmusic.com, NME, Blender, Q Magazine, 👍Spin 4 / 5, Pitchfork 7.7 / 10 stars ]

2007 Favourite releases: 1. Bloc Party A Weekend in the City - 2. Band of Horses Cease to Begin - 3. Natasja I Danmark er jeg født

inlay cover

Toyah "Sheep Farming in Barnet" (1980)

Sheep Farming in Barnet
release date: Feb. 22, 1980
format: digital (2002 reissue)
[album rate: 2,5 / 5] [2,48]
producer: Steve James, Keith Hale
label: Safari Records - nationality: England, UK

Track highlights: 1. "Neon Womb" - 2. "Indecision" - 5. "Victims of the Riddle" - 8. "Danced"

Studio album debut by British band Toyah - named after the band's lead vocalist Toyah Ann Wilcox. The album was originally released as a 6-track ep in '79, which six months later was expanded to an 11-track album. Already as of '80 it was released as a compilation with the band's second album The Blue Meaning (Jun. 1980). The band consists of vocalist Toyah Wilcox, guitarist and main composer Joel Bogen, bassist Mark Henry, keyboardist Peter Bush, and drummer Steve Bray.

Toyah began as a punk rock band and quickly combined all sorts of contemporary influences from post punk, art punk, art pop and new wave with Toyah Wilcox, to a large extent, impersonating German punk queen, Nina Hagen.

I didn't came across this album until the early '00s, and being familiar with Anthem (1981), Changeling (1982) and Love Is the Law (1983) it is a strange experience to go through the band's first two albums. Sheep Farming in Barnet, to me, sounds pretty much like a British version of Nina Hagen Band in a bizarre cocktail with synthesizer inputs from Brian Eno.

The band was probably given a great deal more attention than their music deserved, and it's likely that the band's initial success was linked with Wilcox participating in national TV-series. Imho, the first two albums by Toyah are not more than historical artefacts and only serve to show us from what they spawned.

Not recommended.

[ 👎NME 3 / 5 stars ]

Magazine "Play." (1980)

Play. (live)

release date: Dec. 1980

format: vinyl / digital

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

producer: Magazine, John Brand

label: Virgin - nationality: England, UK

Track highlights: A) 1. "Give Me Everything" - 2. "A Song from Under the Floorboards" (5 / 5) - 3. "Permafrost" - 4. "The Light Pours Out of Me" (4 / 5) - 5. "Model Worker" - - B) 2. "Thank You (Falettinme Be Mice Elf Agin)" - 3. "Because You're Frightened" (4 / 5) - 5. "Definitive Gaze"

Live album by Magazine are the recordings made at the one and same performance recorded Sep. 6, 1980 at Melbourne Festival Hall, Australia. The band was on tour with its most recent studio album The Correct Use of Soap (May 1980). The band appears in a new line-up after John McGeoch's departure following the album release, and he is here substituted by Robin Simon (ex-Ultravox). Other members here are vocalist Howard Devoto, bassist Barry Adamson, keyboardist Dave Formula, and drummer John Doyle.

The album is a 10 track album with four tracks stemming from the The Corect Use... album, three tracks from the debut Real Life (Jun. 1978), one track from the seconda album Secondhand Daylight (Mar. 1979), and one track (track #B4) is a B-side to the single A Song From Under the Floorboards.

Given that McGeoch was unreplaceable, Simon actually does a great job, although, this is the only Magazine album he plays on. The song selection is great, and the band plays an exquisite concert. Critics argue that since the album is without a great song from the performance and instead comes with "Twenty Years Ago" and the odd cover "Thank You (Falettinme Be Mice Elf Agin)", it doesn't deserve good ratings. Bollocks, I say! The album is bulging from great songs and energetic versions. It's a great testimony of one of the most remarkable post-punk bands, who understood to blend styles and come up with something new, when most bands were lost when parting with punk rock.

Highly recommended.

Band of Horses "Everything All the Time" (2006)

Everything All the Time [debut]

release date: Mar. 21, 2006

format: cd ( SPCD 690)

[album rate: 4 / 5] [4,06]

producer: Phil Ek

label: Sub Pop Records - nationality: USA

Track highlights: 1. "The First Song" (4,5 / 5) - 2. "Wicked Gil" - 3. "Our Swords" - 4. "The Funeral" (4 / 5) - 6. "The Great Salt Lake" (4,5 / 5) (live on Letterman) - 7. "Weed Party" (acoustic live) - 10. "St. Augustine"

Studio album debut by Seattle-based indie folk quintet Band of Horses. The band was originally formed as a trio consisting of lead vocalist & guitarist Ben [Benjamin] Bridwell, bassist Chris Early and drummer Tim Meinig. Later it was expanded to a quartet with vocalist & guitarist Mat Brooke, who had been band leader in Carissa's Wierd, where Bridwell had stepped in at a later stage as substitution of a missing drummer and later as bassist, but in this project, Bridwell appears as the band's unofficial leader. Before joining Carissa's Wierd, Bridwell worked on his record label-project Brown Records and without much training he jumped in as the band's drummer on the band's second album You Should Be at Home Here from 2001. He then became stable drummer in the band and also appears on its acclaimed final studio album Songs About Leaving (2002), after which he changed to bass, guitar and backing vocals for the final live album I Before E from 2004.

All songs here are credited the band, but all lyrics (except two songs by Brooke) are written by Bridwell. The album is, however, the only by the band in this line-up, which also includes Carissa Wierd's final drummer Sera Cahoone, who appears on three tracks but basically just for the album recordings. Shortly after finishing these recordings, both Early and Meinig left the band and for the promotion tour the group reformed in a new line-up with the inclusion of three new members: guitarist & keyboardist Joe Arnone, guitarist & bassist Rob Hampton, and drummer Creighton Barrett but already as of Jul. 2006, also Mat Brooke left the band after which he became co-founder of the Seattle-project Grand Archives.

On this the band's first full-length album, the playlist is made up of several reworks of compositions that had previously been issued on the Band of Horses ep (also titled Tour EP) released, a self-released issue from 2005 sold at concerts, which consisted of three demo takes and three live recordings. Five of those songs appear here in (new) studio versions. The three demo tracks all apear here in re-arranged versions with new titles - "Savannah Part One" is here shortened to "Part One", "The Snow Fall" is here titled "The First Song", and "For Wicked Gil" is here titled "Wicked Gil". Two of the three live recordings appear here in studio versions - "The Great Salt Lake", which has kept its title intact, and "Billion Day Funeral", which here is simply titled "Funeral".

Stylewise, Band of Horses play an uptempo, simple yet modernised folk rock and indie rock with an obvious love for harmony-driven Neil Young classics, but without the sligtest sensation of plagiarism. They have, however, been associated with acts like R.E.M., Slowdive, The Shins and others, as well as been accused of not being original enough. Fact is, you don't have to be an original to make great music. All great stars have copied and "stolen" inspiration from others, and that's what Band of Horses do so well on Everything All the Time. The single songs all sound highly original in their own rights and the whole album showcases a long list of stylistic variations but the magic enters as it all combined becomes one whole that only soothes: Band of Horses. There's no copy, only the original.

Highly recommended.

[ allmusic.com 3,5 / 5, Blender, Drowned in Sound, Uncut 4 / 5, Pitchfork 8.8 / 10 stars ]

Sun Kil Moon "Common as Light and Love..." (2017)

Common as Light and Love Are Red Valleys of Blood

release date: Feb. 17, 2017

format: digital (16 x File, FLAC)

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

producer: Mark Kozelek

label: Rough Trade Records - nationality: USA

Track highlights: 1. "God Bless Ohio" (4 / 5) - 2. "Chili Lemon Peanuts" - 3. "Philadelphia Cop" - 4. "The Highway Song" - 8. "Butch Lullaby" - 9. "Stranger Than Paradise" - 11. "Bergen to Trondheim" - 12. "I Love Portugal" - 16. "I Love You Forever and Beyond Eternity"

8th studio album by Sun Kil Moon is, in CD and vinyl formats, a double album issued on Caldo Verde with a total of 16 tracks and a running time of monstrous 2 hours and 10 minutes. As a digital release only, the album is released on Rough Trade. The album follows the same recipe as Sun Kil Moon's most recent solo, the 1½-year-old Universal Themes (Jun. 2015) - following closely in the wake of the critically acclaimed Benji from 2014 - with Kozelek as songwriter, composer, vocalist, and multi-instrumentalist alongside ex-Sonic Youth drummer Steve Shelley as only other musician. The most recent release featuring Kozelek is the collaboration-project Jesu / Sun Kil Moon (Jan. 2016). This is just one of a handful of releases featuring Kozelek in 2017. A month later he released the solo ep Night Talks (Mar. 2017), and then he released 30 Seconds to the Decline of Planet Earth (May 2017), his second collaboration album with Jesu, and a month later Yellow Kitchen (Jun. 2017), a collaboration album with bassist Sean Yates (of Parquet Courts and Dweller on the Threshold), and he released Mark Kozelek with Ben Boye and Jim White (Oct. 2017) - all issued on Kozelek's own label, Caldo Verde.

The shortest track here runs more than 5 minutes, three tracks exceed 10 minutes playing time, and the majority of songs are somewhere between 7 and 9 minutes long. By that alone, this is a different collection of songs, but the individual compositions are also of a special breed. Some tracks - the best to my ears - are reminiscent of older Kozelek releases, where you find clear verses, choruses and Kozelek both singing and handling acoustic guitar. More demanding tracks include Kozelek's spoken word passages on which he appears to be reciting from a diary. He rants about masturbation, he argues with a music journalist about which Bowie songs are the best and how he came to know about Bowie's death, or he goes on about mass shootings, etc., as for example on "Philadelphia Cop", which nevertheless has a certain strength once you get 3-4 minutes into the almost 11 minutes of the composition.

In terms of style and on the surface it comes much as usual in an alt. folk and singer / songwriter setting, but you also find various elements from other styles that Kozelek is influenced by. We hear traces of hip-hop, funk, indie rock, punk rock, and passages with spoken word, where Kozelek opens up about something sounding as an endless reading from his own diary. It's basically The Fall, Hüsker Dü, Pixies, Mark Eitzel, Arcade Fire, Johnny Cash, and many more - all in the same pot, and without being completely structureless, but let's just conclude by saying it presents natural challenges from a listener's perspective.

Common as Light and Love... is a strong album and one of Kozelek's better. There are flaws, peculiar passages and unconventional structures, but overall, it's mostly a joy where you may encounter funny detours, weird existences and slightly hidden beauty.

Recommended.

[ allmusic.com, Drowned in Sound, Rolling Stone 3,5 / 5 stars ]

Hans Zimmer & Lisa Gerrard "Gladiator" (OST) (2000)

Gladiator (soundtrack)

release date: Apr. 25, 2000

format: digital (35 x File, FLAC) (20th Anniversary Edition, 2020 reissue)

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

producer: Klaus Badelt, Hans Zimmer, Ridley Scott

label: Universal Music Classics - nationality: Germany / Australia

Track highlights: 3. "The Battle" - 5. "Sorrow" - 6. "To Zuccabar" - 9. "The Might of Rome" - 15. "Elysium" - 17. "Now We Are Free" - *19. "Now We Are Free (Juba's Mix)" - *25. "Rome Is the Light" - *35. "Now We Are Free (Maximus Mix)"

*2020 Anniversary Edition

Soundtrack to a Ridley Scott directed epic drama starring Russell Crowe, Joaquin Phoenix, Connie Nielsen, Derek Jacobi, Richard Harris, and Oliver Reed (who passed away 1 year before the film premiered). The soundtrack is like the film an acclaimed work in its own rights, and all music here is credited Zimmer & Gerrard in collaboration and with Gavin Greenaway conducting [The London] Lyndhurst Orchestra.

The original soundtrack runs for just over one hour and counts the first 17 tracks - the remaining 18 tracks have been added to the 20th Anniversary Edition; however already in 2001 the soundtrack was released in this version as a 2-disc CD edition for the European market doubling its running time.

The music is held in a classic (heavily) orchestrated frame. The music is pompous but quite fitting to the likewise dramatic imagery side of the film. At times I notice a strong influence from Morricone and some inspiration from Richard Wagner but then aren't all great composers inspired by others? What really works on a higher level here, is that themes and styles go hand in hand with the images and the story, and yet as a standalone piece of work, this soundtrack still works quite nicely; although, I prefer the more progressive compositions and especially those featuring Gerrard's enigmatic vocal performances.

Gladiator (OST) is one of those rare soundtracks where everything is in sublime synergy. I may prefer more experimental and subtle soundtracks but this is one to cherish.

[ 👍allmusic.com 4 / 5 stars ]

[ Hans Zimmer on the making of the soundtrack ]

Pearl Jam "Gigaton" (2020)

Gigaton
release date: Mar. 27, 2020
format: cd
[album rate: 3 / 5] [2,98]
producer: Josh Evans
label: Monkeywrench Records - nationality: USA

Track highlights: 1. "Who Ever Said" - 3. "Dance of the Clairvoyants" - 4. "Quick Escape" - 8. "Take the Long Way"

11th studio album by Pearl Jam is the band's first album in seven years and its first with producer Josh Evans, who is credited as studio guitar crew on Lightning Bolt (2013).

Pearl Jam seems long ago to have come to terms with the fact that they don't need to evolve and make music that satisfy themselves but have settled with spitting out albums that fans will like - be it a never-ending list of live albums, 'best of', 'most of' and albums that look back at various earlier steps in their long career. And no, you do not have to evolve. There's no artistic law to abide, but I guess, if you just try to take your art somewhere else than where you've already been, it may appear as you do it for art's sake and not just for the sake of your wallet. This is Pearl Jam playing some Pearl Jam-songs, and that's Okay.

Admittedly, I've never been a huge fan of this 'great' American orchestra. To me, they've always existed there somewhere in between [terrible] Guns N' Roses, the many American heart rock outings, who seek to balance pop with rock by yelling out loudly and making a big stir, and due parts of influence from European and Australian heavy [metal] rock artists, whom I never payed much attention to. In that perspective I've always admired Vedder's vocal but at the same time felt disillusioned by too many album fillers. So, without containing new classic songs and without being anything near great, Gigaton falls in the anonymous better half of the band's eleven studio albums as it's nevertheless something as rare as a coherent Pearl Jam studio album, only without great compositions. But if you just luv the sound of Pearl Jam, this is probably going to be a fine investment 'cause it doesn't even try to go anywhere else than down the familiar freeway they have run down many times before.

Not recommended.

Jesu & Sun Kil Moon "Jesu / Sun Kil Moon" (2016)

Jesu / Sun Kil Moon

release date: Jan. 21, 2016

format: digital (10 x File, MP3)

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

producer: Mark Kozelek & Justin Broadrick

label: Caldo Verde Records - nationality: USA / England, UK

Track highlights: 1. "Good Morning My Love" - 3. "Last Night I Rocked the Room Like Elvis and Had Them Laughing Like Richard Pryor" - 4. "Father's Day" - 9. "Exodus" - 10. "Beautiful You"

Collaborative project between British musician Justin Broadrick under his stage name, Jesu, and American artist Mark Kozelek under his stage name, Sun Kil Moon. The album is like Kozelek's collaboration Perils From the Sea (2013) with electronic musician Jimmy LaValle released on Kozelek's label Caldo Verde. Jesu emerged in 2003 as a trio after the break-up (2002) of the British industrial and metal band, Godflesh, but from day one it was Broadrick's idea and from 2007 Jesu has been a one-man project. Similarly, Sun Kil Moon was originally a band formed from the remnants of the Red House Painters (disbanded in 2001), which after a few years became Mark Kozelek's solo project. Kozelek and Broadrick have already been close acquaintances for several years, beginning when Kozelek reportedly contacted Broadrick back in 2007 about releasing music with Jesu on Kozelek's label Caldo Verde, which lead to the release of the Opiate Sun (2009) ep, which is also the first release from Jesu as a solo project, and later also the full-length album Ascension (2011). Kozelek also named his 2013 covers album Like Rats after the Godflesh song of the same name (the track is featured as the second cut on the album).

Stylistically, it's quite an original mix of shoegaze, noise rock and alt. folk, which is in no way surprising when you consider Broadrick and Kozelek's musical career. These are mainly compositions with lyrics and music by Kozelek and Broadrick, and with individual guest appearances from various vocalists, which include Will Oldham (better known as Bonnie 'Prince' Billy, featured on "Fragile"), Rachel Ann Goswell of shoegaze band Slowdive ("Father's Day", "Exodus" and "Beautiful You"), and Isaac Brock of Modest Mouse ("Beautiful You").

Apart from a single track where he also plays acoustic guitar, Kozelek is solely credited as vocalist, while Broadrick is featured as multi-instrumentalist. And it is also the latter's characteristic wall of sound, which forms the background for the music on Jesu / Sun Kil Moon, while Kozelek, with his characteristic vocals in the foreground, creates a form of traditional musical structure and acts as a counterpoint to the electric discharges, even if he occasionally indulges inspired by the wall of noise and almost manically spits out the words. However, it is Kozelek's stories that carry the tracks forward, while Broadrick's soundscape in a way represents the noise that Kozelek talks about.

It's Kozelek's more self-experienced short stories that press forward. The form is diary-like notes, or fan letter readings like on track #3, about what he does, who he runs into, and what they said and did in momentary glimpses that fill out the lyrics. In this way, Kozelek demonstrates the path he is on as a songwriter in terms of the narrative. To the astonishment and irritation of some - and to the delight of others - because it is indisputable that Mark Kozelek is a storyteller with something on his mind, even when he tells about apparently insignificant incidents.

All in all, it's an exciting constellation, albeit also a demanding album that doesn't reach the same artistic heights as Kozelek's collaboration with Jimmy LaValle.

[ allmusic.com, Drowned in Sound 3,5 / 5, Uncut 4 / 5 stars ]

Lingua Ignota "Caligula" (2019)

Caligula

release date: Jul. 19, 2019

format: digital (11 x File, FLAC)

[album rate: 3 / 5] [3,12]

producer: Kristin Hayter

label: Profound Lore - nationality: USA

Track highlights: 2. "Do You Doubt Me Traitor" - 4. "May Failure Be Your Noose" - 5. "Fragrant Is My Many Flower'd Crown" - 9. "Spite Alone Holds Me Aloft"

3rd studio album by Lingua Ignota follows two years after her self-released international breakthrough All Bitches Die. The album is released on Profound Lore and features Kristin Hayter as songwriter, composer, instrumentalist, singer, photographer, and as producer, just as was the case on her two previous albums.

With this, Hayter refers to the dark time as partner in a long-lasting violent relationship, which she uses here to direct the general focus on. Central to the tracks are motifs such as (violent) revenge in the form of satanic brutal forces. Or perhaps rather: the prince of darkness himself as the righteous (?) avenger of violence against women. The brutality is drawn out through all eleven tracks, which have a total running time of 66 minutes, but in a refined way, where Hayter performs in slow ceremonial lamentation as well as extreme experimental noise-metal - and with throat singing, where her screams take on the form of apocalyptic dimensions.

The album garnered good reviews and ended up on several lists including the year's best albums, and Hayter herself has been highlighted as one of today's most remarkable musicians.

It's difficult to point to outstanding or especially distinguished tracks on Caligula because the compositions offer such unique melodic structures that it makes just as much sense to compare them with parts of classical works. Hayter mixes styles and genres like a painter mixes colors. There is classical or neoclassical music, folk - as in traditional folk music - you'll find metal - as in industrial metal and there is experimental noise metal and more nuanced darkwave. The album is her most complex work to date, which is not only either gentle or brutal. In places it's calm, quiet, soothing and elaborated. And it contains beautiful passages, yet it's mostly black on black. It's music formulated in capital letters BLACK. And, like her two previous albums, it's still quite fascinating. Even for someone who doesn't care much for death metal or related styles like black metal. I don't care about Slipknot, Korn, Metallica, Iron Maiden, etc., but Hayter is as attractive as car headlights to a deer: Scary, fascinating, and something that you deep down just know you should stay far far away from, yet you're gravitated towards it. I'm not a fan, but I can easily sense quality underneath a disturbing surface.

[ Footnote: and yes, Hayter actually has "Caligula" tattooed across her chest ]

Recommended? For a listen or two: Definitely! For multiple full spins: No way!

[ bandcamp ]

[ 👎Gaffa.dk 6 / 6, PopMatters 4,5 / 5, Soundvenue 5 / 6, Pitchfork, The Guardian 4 / 5, 👍Blabbermouth 3,5 / 5 stars ]

The Raveonettes "The Observator" (2012)

The Observator

release date: Sep. 11, 2012

format: cd

[album rate: 4 / 5] [3,68]

producer: Richard Gottehrer & Sune Rose Wagner

label: Vice Records - nationality: Denmark

Track highlights: 1. "Young and Cold" - 2. "Observations" - 5. "Sinking with the Sun" - 6. "She Owns the Streets" - 7. "Downtown" - 8. "You Hit Me (I'm Down)" - 9. "Till the End"

6th studio album by Danish duo The Raveonettes follows 1½ years after Raven in the Grave (Apr. 2011). This time, instead being exclusively produced by Sune Wagner and / or the duo, Wagner has made contact with the producer of the band's first albums - his old idol, Richard Gottehrer, who was a member of US-band The Strangeloves and who later produced albums for acts like Dr. Feelgood, Blondie (first two albums), and The Go-Go's (first two albums), and his song "I Want Candy" (co-written with Bern Berns, Rob Feldman and Jerry Goldstein) has later been covered by many artists since its debut in 1965. Gottehrer is also well-known for having established Sire Records with Seymour Stein in '66 - a label that was known specialising in US releases with British underground artists. As producer, Gottehrer represent a particular immediate garage-rock styled sound, which I guess someone like Phil Spector may have elaborated on for his own distinct multi-layered sound but the Gottehrer-sound is a more direct, less post-produced sound that has some live-quality to it, although, it also goes for being less spacious without the loss of dynamics. In the case of Sune Wagner, the point is, he has that fondness for an original 50s/60s sound that still resonate the artist's product and which links with both garage rock and surf rock, and this is also how Gottehrer was chosen to procude the first two album for The Raveonettes.

The Observator is a short acquaintance of 31 minutes total running time but as an album release it appears much more of a whole than the predecessor, and then it comes out without a cleaner sound than most of the band's other releases. Some may think of it as sounding half-finished but I sense a stronger will to focus on simplicity in a way of binding the songs together - and that appears as a strength. The dream pop element is absent from this one, where you will be reminded of a sound from previous decades in combination of noise pop. With less instruments and simpler arrangements, I sense the common traits for the entire album instead of something pointing here and there. Perhaps, you won't find the best songs by The Raveonettes on this one but instead it works on a different level than the less successful 2011-album as that of a coherent release.

Recommended.

[ allmusic.com 4 / 5, Rolling Stone 3 / 5 stars ]

Kraftwerk "Die Mensch-Maschine" (1978)

2009 remaster

Die Mensch-Maschine

release date: May 19, 1978

format: cd (2009 remaster)

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

producer: Ralf Hütter, Florian Schneider

label: Kling Klang / EMI - nationality: Germany

Track highlights: 1. "Die Roboter" (4 / 5) - 2. "Spacelab" - 3. "Metropolis" - 4. "Das Modell" (5 / 5) (officiel video) - 5. "Neonlicht"

7. studio album by Kraftwerk following one year after Trans Europa Express and it's like that produced by the two co-leaders of the band, Ralf Hütter and Florian Schneider.

Musically, the album falls closely in the same style as the '77 album with the addition of more danceable rhythms - especially heard on tracks #1, #2, and #4. Possibly, the biggest difference is that the balance of power - or at least the composer credits between the two founders appears to have changed. The music is now no longer solely credited Hütter and Schneider, as has been the case on all of the previous six albums. Percussionist Karl Bartos is here for the first time credited as a co-composer, and even on all six tracks, three of which solely with Hütter. Schneider, on the other hand, is only credited as co-composer on three tracks, and then Hütter stands alone as songwriter on all tracks except "Das Modell", which is co-written by Emil Schult. The fourth and final member of the band, Wolfgang Flür, is only credited 'elektronisches schlagzeug' ['electronic percussion'].

The album received generally positive reviews and reached a fine 12th position on the German albums chart list and went to number #9 in the UK, as the band's second best-charting album here. Three singles were released from the album, with track #1 as the first single, reaching number #25 on the national chart list, followed by track #4, which didn't chart, and finally track #5, which again didn't make it to the charts. "Das Modell" was reissued again in '81 as B-side to the versioned single "Computerlove" and was by then often chosen over the A-side by UK radio stations, after which EMI issued the single with "The Model" on the cover listed as A-side, although it was the same recordings with "Computerlove" on the A-side, but now the single reached number #7 in Germany, number #4 in Ireland, and going all the way to number #1 in the UK - as the first and only single by the band ('74's "Autobahn" is the closest competitor as the best-selling single at No. #11).

"The Model" from '81 was probably the first time I really took notice of the band and I especially remember the excellent music video that was made to promote the reissue, but I only got to know of the album during the late eighties without being terribly impressed back then. The strict synthpop was definitely not my favourite genre - I needed a clearer connection to new wave and / or post-punk to accept the music, and therefore Kraftwerk and artists like Tangerine Dream, Electric Light Orchestra and Brian Eno were typical examples of music I opted out on, while instead, I was much more excited about Orchestral Manouevres in the Dark, Human League, New Order, and German band Ideal when they combined synth with new wave and post-punk. After the turn of the millennium, I rediscovered Kraftwerk. It's not music I've listened to intensively but still find fascinating - especially considering all the artists they've inspired over several decades since their start in the 70s. Kraftwerk has exerted a great influence on the British 'second wave' with artists such as Human League, Gary Numan, Pet Shop Boys, New Order, Depeche Mode, Duran Duran, OMD - on the development of the hip hop genre - and again during the late eighties and early nineties they have inspired the industrial rock genre and especially an entire techno scene, not to mention post-rock artists of the 90s, and when more comtemporary artists after 2010 find a starting point for their music, it's not seldom in combination with one or more of the aforementioned styles AND basic synthpop and electronic performers, making Kraftwerk one of the most influential bands ever.

Die Mensch-Maschine is well-produced, it has fine touches for strong pop-melodies and it may not sit as the band's most interesting release, but it's worth much more than just to know of.

Recommended.

org. cover
l-r: Bartos, Hütter,
Schneider, Flür

Ane Brun "Songs 2003-2013" (2013)

Songs 2003-2013

release date: Jun 3, 2013

format: digital (32 x File, MP3)

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

producer: Ane Brun, various

label: Balloon Ranger Recordings - nationality: Norway

First compilation album by Ane Brun, released to celebrate her first decade in music. The album was exclusively issued in Europe in 2-disc cd format, and eventually as digital download album via her bandcamp profile. The album contains songs from all of her studio albums, live recordings as well as various covers, international hit songs as well as obscure covers all of which includes "The Dancer" by PJ Harvey, "True Colors" by Tom Kelly & Billy Steinberg, "Big in Japan" by Alphaville, "Lift Me" by Norwegian band Madrugada, "Don't Give Up" by Peter Gabriel, "Alfonsina y el mar" by Argentinian composer Ariel Ramirez, "Neighborhood #1 (Tunnels)" by Arcade Fire, and "Feel Good" by Anthony Newley and Leslie Bricusse. These are scattered all over the album but really, it doesn't change much that the songs are covers 'cause what's so special about Ane Brun and her way of covering other artists is her ability to make songs her own. In that respect, she reminds me a bit of Cat Power, who is perhaps more notoriously a cover's artist but who doesn't possess a vocal instrument that equals the qualities of Ane Brun's impressiveness.

Songs 2003-2013 is strong collection of songs, and a nice way to celebrate her time in the limelight. Later this year, she would go on and release another fine 2-disc album of 20 songs titled Rarities containing more obscure recordings of nearly only cover versions, or: 'only' cause those that are not actual covers are Brun covering herself.

Recommended.

Kraftwerk "Trans Europa Express" (1977)

2009 cover

Trans Europa Express

release date: Mar. 1977

format: cd (2009 remaster)

[album rate: 4,5 / 5] [4,28]

producer: Ralf Hütter, Florian Schneider

label: Kling Klang / EMI - nationality: Germany

Track highlights: 1. "Europa Endlos" (4,5 / 5) - 2. "Spiegelsaal" (4,5 / 5) - 3. "Schaufensterpuppen" - 4. "Trans Europa Express" (5 / 5) (live) - 5. "Metall auf Metall" - 6. "Abzug" - 7. "Franz Schubert"

6th studio album by Kraftwerk following Radio-Aktivität (Oct. 1975) is the band's second album in their most classic and longest-lasting line-up. Ralf Hütter and Florian Schneider, who are credited the majority of the tracks are both credited on vocals, synthesizers and 'electronics'. Additionally, Hütter plays on 'Vako Orchestron' and 'synthanorma sequences', while Schneider also handles vocoders and 'votrax'. Apart from the two 'band leaders', the two remaining members are percussionists Wolfgang Flür and Karl Bartos, who are solely credited 'electronic percussion'.

At first, the album sounds much like a close progression from the '75 album, but new electronic instruments add completely new possibilities and sound bits to the band's electronic soundscape. With the use of especially sequencers, vocoders and electric percussion, the band once again marks itself out as musical avant-garde and perhaps takes a larger leap in the electronic genre than the one you find from Autobahn (1974) to the predecessor. Kraftwerk has now moved away from the small electronic quirks we find on the '75 album, and instead they have in a way focused the musical expression - made it more rigorous without simplifying - and at the same time they have created the band's most coherent album to date.

The highlighted tracks above are seven out of eight from an album with no fillers - last composition is the 47 seconds "Endlos Endlos", which basically only serve to resume the album's main theme and melody from track #1, so that the album ends the way it starts. In fact, there are fluid transitions between many of the tracks, even though they appear as distinctively different compositions.

Trans Europa Express was (as the second of the band's classic albums) released in both a German version and in a versioned English album with translated song titles and lyrics titled Trans Europe Express. The album landed at number #32 in Germany, but peaked at number #2 in France, and as number #8 in Italy. Two selected tracks: the 4th and 3th tracks, respectively, were released as singles without charting.

The album was released to generally positive reviews, but over the years it status has heightened to one of modern music's most significant cornerstones. In retrospect, it has achieved finer status than Autobahn and is naturally included in countless lists of the best albums of all time, e.g. "The 500 Greatest Albums of All Time" (Rolling Stone), "The 100 Greatest Albums Ever Made" (Mojo), "Top 100 Albums of All Time" (NME), "The 50 Best Albums of the 70s" (Q Magazine), "The 20 Most Influential Albums" (The Times), etc. etc. - just as the album is naturally found in "1001 Albums You Must Hear Before You Die".

The album has been released in several first editions with different front covers. The first German and some European editions came with a black and white cover with Hütter and Schneider flanked by Bartos and Flür (original Kling Klang / EMI releases), and a (second) colored cover with Schneider and Hütter on the right of the picture (Capitol editions) released in the UK, Scandinavia, and in the Netherlands, and with Kraftwerk's own 2009 remastered edition, the album was launched with a brand new cover without the four band members.

Trans Europa Express is possibly Kraftwerk's finest and greatest achievement. Autobahn, with its groundbreaking form, upholds a very special positions, and Die Mensch-Maschine and Computerwelt have their obvious individual strengths, but both lack a tiny bits in absolute coherency, which the band's brilliant 77 album contains.

Personally, I didn't listen to the album until sometime in the 80s, and unfortunately only after becoming acquainted with bands and artists who have clearly been heavily inspired by Kraftwerk and this very album. Imho, the album is of huge importance for the musical heritage - for the development of synthpop, new romantic, and other related styles. It's hard to imagine the distinctive sound of many artists from diverse styles without thinking of Trans Europa Express. When not counted among my top three favourites from 1977, the album is only absent because of the fact that I wasn't exactly enthusiastic about the electronic genre until much later. Back then, I focused on punk rock and post punk during this period, and here are three albums with three of my biggest favorites from the time: The Ramones, The Clash, and The Jam - artists I listened to far more than the brilliant German band. By detours I discovered Kraftwerk's music and the band's enormous musical influence - and it's for that reason alone I pay tribute to the band and this album. Another note of interest, is the colossal difference in sound production quality when comparing releases by the aforementioned punk bands to that of Kraftwerk releases from the same period. In this way, Kraftwerk stands out as a band from an almost distant future. The album is also demanding to listen to if you subsequently listen to (perhaps) more popular releases from bands such as Human League, Devo, Yellow Magic Orchestra, New Order, Depeche Mode, Per Shop Boys, and then it even seems obvious to compare with much later releases from artists like The Orb, Sigur Rós, Mogwai, The Chemical Brothers, etc.

Highly recommended.

[ allmusic.com, Rolling Stone, Mojo, Q Magazine, Uncut 5 / 5 stars ]

    

1977 org. cover
l-r: Bartos, Schneider
Hütter, Flür

 

1977 UK cover
l-r: Flür, Bartos
Schneider, Hütter

Note the two founders of Kraftwerk, Hútter and Schneider
are in grey suits, while the two newcomers, Flür and Bartos - by the way
not credited one single track - are dressed in black suits.

Elvis Costello & The Imposters "The Delivery Man" (2004)

Deluxe Edition

The Delivery Man
release date: Sep. 21, 2004
format: digital (21 x File, FLAC - Deluxe)
[album rate: 3,5 / 5] [3,62]
producer: Dennis Herring and Elvis Costello
label: Lost Highway Records - nationality: England, UK

Track highlights: 1. "Button My Lip" - 2. "Country Darkness" - 3. "There's a Story in Your Voice" (with Lucinda Williams) - 5. "Bedlam" - 7. "Monkey to Man" - 8. "Nothing Clings Like Ivy" - 10. "Heart Shaped Bruise" (live with Emmylou Harris) - 12. "Needle Time"

19th studio album by Elvis Costello following the quiet solo album North (2004) is his first studio album with new material to be credited Elvis Costello & The Imposters, although, the backing band also backed him on When I Was Cruel (2002) and on the compilation album Cruel Smile (2002).

The album is made on the primarily country music label Lost Highway Records and recorded in four different locations in the "deep" South with the majority recorded in Oxford, Mississippi, some in Minnesota, Nashville and live in the studio in Los Angeles, which in many ways already indicate an album consisting of songs with focus on country with a mix of country rock, alt. country and singer / songwriter material. Aside from The Imposters: Steve Nieve, Pete Thomas and Davey Faragher, the album also feature Emmylou Harris on three songs (tracks #8, #10 & #14), guitarist of the Doobie Brothers, John McFee on two songs (tracks #2 & #10) and Lucinda Williams on track #3. Apparently, both Nieve and Thomas wanted to make the album with their old backing band - which would include bassist Bruce Thomas, but Costello were specific that he would no longer make music with that Thomas, and instead Dave Farragher makes the backing trio a new constellation.

The Deluxe Edition contains 7 bonus tracks (in 2-cd format) similar to the bonus disc "Delta-Verité - The Clarksdale Sessions", seven tracks recorded live in the studio using antique microphones, tube amplifiers and old recording equipment.

At a first listen, it may be an odd experience, but as always with Costello you need to adjust to his intentions, and his ideas about the music. He very seldom reproduces the sound and the style on a follow-up album, so you really have to keep an open mind to what he's on to next, and with this I felt taken on the wrong foot, and then upon listening again immediately accepted it 'cause you never know where he's going on his releases, and mostly, it's never bad or mediocre 'cause he's so full of ideas and musicality - and then he simply loves so many styles, which may make it appear as a mish-mash - but it never is just that. Here he incorporates the traditional American country music that he also explored on Almost Blue (1981). Back in the days, I sort of enjoyed his '81 album, which was more in the style with original country (as executed by Hank Williams and the like), and that of course could've been experienced in arrangements close to the original sources, but that's not the case on this one. This is not entirely a country record, although that style takes up the majority of tracks, but it's often in a combo with folk and or jazz elements, which altogether makes it a more diverse experience. Costello makes use of his talent for song structure and lyrical content, and he uses his strong vocal register - not to be confused with range, 'cause it's narrow and highly characteristic but always delivered with a strong passion that resonates through and through. And speaking of his ability to throw himself over new styles, he had been working on the music for Aterballetto Dance Company of Reggio Emilia [Italy] back in 2000 simultaneously while writing and composing music for classical artist Anne Sophie Otter (which was released as For the Stars in 2001], and written several songs for his new [20 year-old younger] partner Diana Krall for her 2004 album The Girl in the Other Room (re. Apr. 2004). With the album Il Sogno (togeher with London Symphony Orchestra and conductor Michael Tilson Thomas), he also re-arranged the ballet music songs for a music album, released on the same day as The Delivery Man.

The songs here reflect a happy and content Costello, who privately has moved in with American jazz and soft rock vocalist and pianist Diana Krall. The two married in 2003, and it's evident that Costello finds himself in a better position than perhaps ever before. He sings with warmth and passion and without the usual wry use of sarcasm and irony that has been key elements on many former albums. Instead, he narrates about real emotions and he delivers with energy and artistry as a matured storyteller. Yes, several songs are heavily inspired by others - Tom Waits seems like an obvious source to more than one song, but Costello is that musical chameleon who absorbs and reconstructs in new ways, and that's how he has made a long-lasting career.

I like it - it's definitely a grower.

[ allmusic.com, Blender, Rolling Stone, The Guardian 4 / 5, Uncut, Q Magazine 3 / 5, 👎Mojo 5 / 5 stars ]

Standard cover

Morrissey "I Am Not a Dog on a Chain" (2020)

I Am Not a Dog on a Chain
release date: Mar. 20, 2020
format: digital (11 x File, FLAC)
[album rate: 3,5 / 5] [3,66]
producer: Joe Chiccarelli
label: Étienne / BMG - nationality: England, UK

Track highlights: 1. "Jim Jim Falls" - 2. "Love Is on Its Way Out" - 3. "Bobby, Don't You Think They Know?" - 5. "What Kind of People Live in These Houses?" (4 / 5) - 6. "Knockabout World" - 9. "The Truth About Ruth" - 11. "The Secret of Music"

13th studio album by Morrissey is the collection of eleven tracks with a duration at just below 50 mins, and it follows less than a year after his so far least favourable studio release, the covers' album California Son (May 2019) - and once again the album is made with producer Joe Chiccarelli.

Musically, it's a return to form with songs written and composed with either guitarist Jesse Tobias or multi-instrumentalist Gustavo Manzur, and the compositions are in the traditional pop / rock and indie pop-style that you'll associate with his music as a solo artist. Sometimes he adds elements from alt. rock, chamber pop or synthpop, and it's the small stylistic differences that mark each of his so far thirteen studio albums. Much to the usual, there's also room here for sing-a-long pop songs - on this, it's the fine "What Kind of People Live in These Houses" and the pompous ballad "The Truth About Ruth".

I Am Not a Dog on a Chain falls closely in the neighbourhood of the fine World Peace Is None of Your Business (Jul. 2014) thus distancing itself from his most recent album of own material, the lesser Low in High School (Nov. 2017). Basically, it's surprising how relevant the lyrics appear and the general quality he throws at us - also seen in the light of his last two albums proved, and which, at least to me, signalled that he had come to an end in his musical career - but here he once again demonstrates an ability to return with significant music.

Personally, I must confess that I thought Morrissey had passed into anonymity - especially after tasteless political statements of his, but this is a rather fine collection of songs if you're capable of listening to the music without thinking this or that about Morrissey as a person with other statements...

[ allmusic.com 3,5 / 5, NME 3 / 5, The Telegraph 4 / 5 stars ]

Lightning Bug "October Sky" (2019)

October Sky

release date: Sep. 6, 2019

format: digital

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

producer: Lightning Bug

label: selvudgivet - nationality: USA

2nd studio album by Lightning Bug is like the debut Floaters (2015) self-released and may be found on bandcamp. The band consists of songwriter and vocalist Audrey Kang, who also handles bass and drums, Kevin Copeland on guitar, and with Logan Miley on synthesizer and as sound engineer.

Stylistically, Lightning Bug lands somewhere in an indie pop sphere with a distinct shoegaze / dream pop touch, which brings to mind artists such as My Bloody Valentine, Cocteau Twins, and Flaming Lips without being a mere copy.

October Sky is quite an exciting and original release.

Underworld "Drift Series 1 - Sampler Edition" (2019)

Drift Series 1 - Sampler Edition

release date: Nov. 1, 2019

format: digital (10 x File, FLAC)

[album rate: 4 / 5] [3,94]

producer: Rick Smith

label: Smith Hyde Productions - nationality: Wales, UK

Track highlights: 1. "Appleshine" - 2. "This Must Be Drum Street" - 3. "Listen to Their No" - 4. "Border Country" - 6. "Schiphol Test" - 7. "Brilliant Yes That Would Be" - 9. "Imagine a Box" - 10. "Custard Speedtalk"

[ 40 tracks playlist ]

10th studio album by Underworld following three years after Barbara Barbara, We Face a Shining Future (Mar. 2016) is much more than 'just' another studio album. Actually, Karl Hyde and Rick Smith has produced the album on the basis of their one-year project named "DRIFT", initiated Nov. 2018 through Oct. 2019, which saw the duo release new videos and new tracks each week as free-downloads via Underworld's official website [also available at bandcamp] The result was released simultaneously with this one-disc outtake from no less than a 40 tracks digital album, or: a 5 cd + 1 DVD box-set of nearly 6 hours new music. The 'Sampler Edition' is a fine coherent collection of some of the tracks, which for the occasion has been edited to fit a one-cd format of approx. 57 minutes.

With this, Hyde and Smith more than anything demonstrate they're alive and kicking. The entire 40 tracks Drift Series 1 is actually a splendid and most impressive release, but to think of that as their tenth studio album appears too overwhelming if not somewhat contradictory.

Stylewise, the duo investigates various stylistic corners of house, trance, downtempo, techno - and with the delicate use of progressiveness that has come to shape (nearly) all of their previous albums from Dubnobasswithmyheadman (1994) and via subtle variations up until present day.

Highly recommended.

[ Mojo, Q Magazine, Uncut 4 / 5, UnderTheRadar 8 / 10, PopMatters, The Music, Clash 9 / 10 stars ]

Cornershop "England Is a Garden" (2020)

England Is a Garden

release date: Mar. 6, 2020

format: cd

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

producer: Tjinder Singh

label: Ample Play Records - nationality: England, UK

Track highlights: 1. "St Marie Under Canon" (4 / 5) - 2. "Slingshot" - 3. "No Rock Save in Roll" - 4. "Everywhere That Wog Army Roam" - 6. "Highly Amplified" - 10. "I'm a Wooden Soldier" - 11. "One Uncareful Lady Owner"

9th studio album by Cornershop following five years after Hold on It's Easy (2015) is the band's first album with new songs in eight years as the 2015-album presented acoustic versions of songs from the debut album Hold on It Hurts (1994) making Urban Turban - The Singhles Club (2012) their so far most recent album with new material.

The band primarily consists of the two founding members: vocalist, multi-insrumentalist, songwriter and composer Tjinder Singh and multi-instrumentalist and vocalist Ben Ayres. The two are here supported by the two guitarists Adam Blake and Pete Downing, bassist James Milne, drummer Nick Simms and percussionist Peter Bengry. Also former keyboardist of the band Anthony Saffrey, guitarist Duncan Whyte and keyboardist Alan Gregson participate on the album, and the official line-up remains a bit of an uncertain issue. When visiting the band's Facebook-account the band photo consists of only Singh and Ayres, and it seems the two represent the band and invite various stable musicians to assist when recording new songs and also to make up the band while touring.

England Is a Garden has been released to mostly positive reviews, and it appears to be a collection of songs that more or less sum up most of their career. It's a nice return to the more simple fusion of indie pop, rock & roll with bits of traditional Indian folklore world-music that you also find on the band's 1997 breakthrough album, and it's basically a nice coherent release with good vibes and some fine lyrics.

Recommended.

[ allmusic.com 4,5 / 5, The Independent, 👉The Guardian 4 / 5, musicOMH, NME 3 / 5 stars ]

Lily Allen "It's Not Me, It's You" (2009)

It's Not Me, It's You

release date: Feb 4, 2009

format: digital (12 x File, MP3)

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

producer: Greg Kurstin

label: Regal - nationality: England, UK

Track highlights: 2. "The Fear" (4 / 5) - 3. "Not Fair" (4 / 5) (official video) - 4. "22" - 7. "Never Gonna Happen" - 8. "Fuck You" (clean video version) (live) - 10. "Chinese" - 11. "Him"

2nd album by Lily Allen following close to 3 years after a near Earth-shattering succesful debut with Alright, Still (Jun. 2006). Kurstin produced three tracks on the predecessor but is here sole producer and likewise, all but one cover song are written by Allen and Kurstin together, which really makes this a different approach. Another striking difference comes to mind when listening to stylistic influences. The debut showed a near-abundance of styles, and then here, it's basically an electropop album, through and through. Yes, there's still room for ballad-like tunes and really up-beat bangers, but the overall sensation is much more narrow. "The Fear", "Not Fair" and "Fuck You" stand out as obvious singles but the remaning tracks actually don't differ that much, and that's what makes it a more coherent album than the promising debut.

Personally, I still enjoy "Smile" and "LDN" more than any tracks from this one but Allen comes out as a matured songwriter, and although, I really enjoyed the ska and grime-influence, this new album also strikes me as more personal. On the debut, she demonstrated strong influences that made me think of Winehouse and Mike Skinner, but here, it leaves me thinking Lily Allen is an artist that will continue to impress. All in all, Allen does more than well by making a follow-up that doesn't repeat the recipe from a certified banger but explores new territory and still proves her worth as someone to follow.

Recommended.

[ allmusic.com, NME, The Guardian 4 / 5, 👍Spin 3,5 / 5, Pitchfork 6,6 / 10, Rolling Stone 3 / 5 stars ]