Evigby "John Tonic & metalhjertet" (2023)

John Tonic & metalhjertet

release date: May 19, 2023

format: digital (Soundcloud)

[album rate: 4 / 5] [3,77]

producer: Freddy Konfeddy et al.

label: Kosmokrator Records- nationality: Denmark

Track highlights: 2. "Sult" - 3. "Sober sæbeopera" - 5. "Skejs Kejser" - 6. "Pop Pop" - 8. "Flex" - 9. "Metalhjertet" - 10. "Narkosalg" - 12. "Mordersang" - 13. "Fra den sunkne bys slimede gader rejser den dekadente titan Mest Mefisto sig" - 14. "Phallos" - 16. "Enten eller" - 17. "Far"

Studio album debut by Danish hiphop and rap-collective Evigby led by songwriter and lead vocalist Laurits von Undall, who previously released music under the name of John Tonic. The album is in essence a conceptual album blending what appears as sci-fi storytelling put in a contemporary setting with focus on social awareness. It's by no means a traditional Danish hiphop or rap outing and it seems more directly inspired by various US hiphop and rap artists without being a mere copy. The lyrics are all held in Danish, and the music is hard to narrow in, but lyrics and music put together, really makes this an original cocktail. The music is first and foremost built on hiphop and it's electronically founded but there's nevertheless also a strong will to experiment with traditional rock instrumentation, which provides a refreshing mix of styles, although, the strong vocal performance never suggest anything but hiphop. Laurits showcases a natural ear for rap flow and rhyming, yet there's still focus on the aspect of linear storytelling. Some songs are executed via a mature sense for what works melodically and from a musical perspective, other songs are more one-dimensionally structured on a lyrical foundation. The narrative takes its starting point in John Tonic and his hood, their experiences with drugs and (easy) money, John's connection to the underworld, and then on another level the narrative reveals John's aspirations as well as parts of his upbringing and adolescence.

With John Tonic & metalhjertet, Evigby provides us with a refreshing new take on a Danish hiphop tradition, which expands boundaries with a new blend of styles. Ultimately, this collection of songs and the conceptual idea also points to what purpose it serves to put Evigby in any genre category - to cite Louis Armstrong freely: "there's no such thing as style - there's only good or bad!" And to tell you the truth: this ain't bad at all! What's a real shame though, is how the local and national radio stations' near completely neglect to play what matters instead of playing what some powerful labels and a few distributors think people oughta listen to. Another thing restricting a more solid distribution of the music by Evigby is the fact that the album has not been released for download or in any physical format, yet. The album exists in its electronic format only on Splotify, on blApple Music, and on Soundcloud, but it's really a mighty recommended listen and one of this year's most exciting Danish releases.

I'm really looking forward to wherever Evigby goes from here.

[ Gaffa.dk 4 / 6 stars ]

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

The Darker the Shadow the Brighter the Light

release date: Oct. 13, 2023

format: digital (15 x File, FLAC)

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

producer: Mike Skinner

label: Rhino UK - nationality: England, UK

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

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

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

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

Recommended.

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

Boygenius "The Record" (2023)

The Record [debut]

release date: Mar. 31, 2023

format: digital (12 x File, FLAC)

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

producer: Boygenius, Catherine Marks

label: Interscope - nationality: USA

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

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

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

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

And therefore, The Record is recommended.

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

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

MATA

release date: Oct. 14, 2022

format: digital (13 x File, FLAC)

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

producer: various

label: Island Records - nationality: England, UK

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

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

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

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

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

Recommended.

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

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

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

release date: Jan. 6, 2023

format: digital (33 x File, FLAC)

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

producer: Blanck Mass

label: Invada Records - nationality: England, UK

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

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

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

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

John Frusciante ": I I ." (2023)

: I I .

release date: Feb. 3, 2023

format: digital (10 x File, FLAC)

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

producer: John Frusciante

label: Avenue 66 - nationality: USA

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

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

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

A small recommendation.

[ allmusic.com 3 / 5 stars ]

cover . I : ('One')

Mariza "Fado tradicional" (2010)

Fado tradicional

release date: Nov. 29, 2010

format: cd

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

producer: Diogo Clemente

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

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

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

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

Highly recommended.

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

Mariza "Fado em mim" (2002)

Fado em mim [debut]

release date: Apr. 2002

format: cd (2016 reissue)

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

producer: Jorge Fernando, Tiago Machado

label: Warner Music Portugal / Parlophone - nationality: Portugal

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

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

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

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

Highly recommended.

[ allmusic.com 4 / 5 stars ]

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

At My Most Beautiful, single

release date: Aug. 4, 2023

format: digital (1 x File, FLAC)

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

producer: self-produced

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

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

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

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

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

First Two Pages of Frankenstein

release date: Apr. 28, 2023

format: digital (11 x File, FLAC)

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

producer: The National

label: 4AD - nationality: USA

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

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

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

Recommended.

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

Karen Carpenter "Karen Carpenter" (1996)

Karen Carpenter [debut]

release date: Sep. 11, 1996

format: cd

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

producer: Phil Ramone

label: A&M Records - nationality: USA

Track highlights: 1. "Lovelines" (4 / 5) - 3. "If I Had You" - 4. "Making Love in the Afternoon" - 5. "If We Try" - 6. "Remember When Lovin' Took All Night" - 9. "Make Believe It's Your First Time" - 11. "Still Crazy After All These Years" - 12. "Last One Singin' the Blues" (bonus track)

Studio debut and only album by Karen Carpenter recorded and mixed in between albums with the Carpenters. In the chronology of the duo, the album stands in between Christmas Portrait (1978) and Made in America (1981), the duo's ninth and tenth albums and recorded at a time when Richard Carpenter went through treatment for substance addiction. With Richard being indisposed, Karen was curious to see if she could do something as a solo artist and A&M Records were in support of the idea. That is, until executives (and brother Richard) listened to the final mix of the album and the management then decided to shelve the album - naturally, to Karen's regret. Alledgedly, they found it missing something. Or: they had their minds up for something else. Karen didn't experience the album release, which wasn't approved of until 1996. In the liner notes, both Richard Carpenter and producer Phil Ramone recount a few of the details about the recordings as well as their wish to see the album released the way it had been mixed in 1980. Track #9 was soon re-recorded but first found its way to the final album by the Carpenters Voice of the Heart (Oct. 1983), and four other songs (tracks #1, #3, #5, and #6) were all included on the thirteenth studio album Lovelines (Oct. 1989), posthumously issued after Karen's passing - Richard had assembled previously unreleased songs for the occasion. Two songs (tracks #8 and #11) later found their way to the compilation album From the Top (1991). All of this documents the weight of this album, although, key people thought otherwise back in the day.

To me, the album is like a rough diamond. It's full of great tracks with Karen's wonderful vocal making everything more delightful. Yes, there are attempts of making this sound more like other contemporary artists as contrary to the Carpenters' unique sound but I think, Ramone did a mighty fine job. Some tracks have a certain otherness - misinterpreted as Karen's detachment, or missing involvement. I think, mainly due to her approach to singing other people's songs. "Lovelines" is up there among the absolute best tracks by the duo, and it's only confusing why record label executives weren't able to see this as pure gold. The only explanation is that they had their minds set on 'something else' than what they already had and this was too close to that.

With Karen Carpenter we're blessed by the existence of unique recordings, although, in 1996 they appear as somewhat out of time. But only somewhat 'cause Karen's vocal will sell sand in the Sahara and everyone should know that.

Recommended.

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

My Back Was a Bridge for You to Cross

release date: Jul. 7, 2023

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

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

producer: Jimmy Hogarth

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

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

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

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

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

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

Highly recommended.

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

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

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

Sigur Rós "Átta" (2023)

Átta

release date: Jun. 23, 2023

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

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

producer: Sigur Rós, Paul Corley

label: Von Dur / Krúnk - nationality: Iceland

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

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

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

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

Highly recommended.

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

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

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

Walk Unafraid, single

release date: May 30, 2023

format: digital (1 x File, FLAC)

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

producer: self-produced

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

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

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

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

Wet Leg "Wet Leg" (2022)

Wet Leg [debut]

release date: Apr. 8, 2022

format: digital (12 x File, MP3)

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

producer: Dan Carey

label: Domino Records - nationality: England, UK

Track highlights: 1. "Being in Love" - 2. "Chaise Longue" - 4. "I Don't Wanna Go Out" - 5. "Wet Dream" - 8. "Ur Mum" - 10. "Piece of Shit" - 12. "Too Late Now"

Studio album debut by Isle of Wight-founded duo Wet Leg consisting of lead vocalist, rhythm guitarist and primary songwriter Rhian Teasdale and lead guitarist Hester Chambers who appears to have formed the duo in 2019. Several singles have been released from this album - actually, no less than six singles preceded this release with "Chaise Longue" issued as the duo's first hit already in Jun. 2021 followed by "Wet Dream", Sep. '21, and then the double-single "Oh No" / "Too Late Now" followed in Nov. '21. In early 2022 "Angelica" (Feb. 2022) and "Ur Mum" (Apr. 2022) all were issued prior to an actual album release. Despite being promoted as a duo, the two are backed by a list of stable names, which include multi-instrumentalist Joshua Mobaraki, bassist Michael Champion, drummer Henry Holmes, and producer and keyboardist Dan Carey.

Musically, the duo embrace a simple garage rock and indie rock sound, which to my remembrance sounds inspired by stylistic variations from both sides of the Atlantic: a late 1980s / early 1990s college rock / indie rock / grunge rock-inspiration stemming from US artists and what could be British indie pop / dream pop / post-punk-sources from the same period. And then of course there's that something else, which makes it quite a refreshing cocktail, although, I keep getting that echo from former songs and bands when listening to this.

The album was met by general acclaim going all the way to the number #1 spot on the UK albums chart list, number #14 on the US Billboard 200, and it won the Grammy category as 'Best Alternative Music Album' in 2023, which is why I gave it a listen and I do enjoy it, although, I don't find it a strong original album, it's nevertheless worth more than a spin or two.

[ allmusic.com, The Guardian, Rolling Stone 4 / 5, 👍Pitchfork 7,2 / 10, The Observer 3 / 5, NME 5 / 5 stars ]

Cat Power "Covers" (2022)

Covers

release date: Jan. 14, 2022

format: cd (BRC687, Japan)

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

producer: Chan Marshall

label: Domino / Beat - nationality:

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

11th studio album by Cat Power following nearly 3½ years after Wanderer (Oct. 2018) is Power's first with Domino after leaving Matador. Cat Power has previously made covers and made it one of her strongest assets. And as the title suggests, this one appears as a sequel to her The Covers Record from 2000. This new selection more or less copies the idea of covering songs from a large variety of styles and periods. The diversity in the original material is extremely wide, as she covers songs of neo-soul (Frank Ocean), vocal jazz (Billie Holiday), country rock (Bob Seger), celtic rock (The Pogues), folk pop (Jackson Browne), and punk blues (Nick Cave), just to mention one half of the songs. It's an extreme span, although, yes, Cat Power ensures stylistic connection in these new arrangements. I'm just not entirely convinced about the idea to grab songs from any musical shelf to see if it will work in your own setting. Yes, it's possible, but is it always that original? This makes me think of how we're completely accustomed to listen to jazz standards interpreted in new ways, which is not only fully accepted but also a way to become an original artist. It's different when speaking of the world of pop music - but why is that 'cause obviously there are songs that could be labelled as pop standards. This is something you face when listening to artist perform live and then include covers, and some songs are more likely to turn up at concerts, right?! Anyway, Cat Power even challenges the idea of having a mutual foundation in the arrangements 'cause there's no common foundation here. "I Had a Dream Joe" comes so close to the original that it somehow sticks out, which isn't my dream of a cover, and several other songs do just that - so there goes coherency like it did on her 2000 album. In that regard it's a bit like repeating what could have been an obvious mistake from her first covers album, although, this new collection slightly betters the former. Chan Marshall is a gifted arranger, and she could possibly have done better when chosing original songs. What on the other hand work really well, is her intense emmotional contribution to well-known songs. She seems capable of covering whatever song and still make it hers. She's an absolute wonderful interpretor and performer - just love that vocal.

Recommendation: perhaps mostly for fans.

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

Lotte Kestner "Radiohead Covers" (2023)

Radiohead Covers (ep) (compilation)

release date: Apr. 7, 2023

format: digital (4 x File, FLAC)

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

producer: Anna-Lynne Williams [recorded by]

label: self-released - nationality: USA

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

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

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

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

Ukendt Kunstner "Dansktop" (2023)

Dansktop

release date: May 12, 2023

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

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

producer: Jens Ole McCoy

label: FortyFive / Universal Music - nationality: Denmark

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

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

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

Highly recommended!

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

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

<  show lyrics >

~ ~ ~
"Dansktop"

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

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

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

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

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

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

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

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

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

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

~ ~ ~

Cornelis Vreeswijk "Cornelis' Bästa" (1985)

Cornelis' Bästa, compilation

release date: 1985

format: 2 cd (2010 reissue)

[album rate: 4 / 5]

producer: various

label: DB Records - nationality: Sweden

Best of compilation by Dutch-Swedish troubadour Cornelis Vreeswijk is the only compilation released during his lifetime. The album was originally released as a triple vinyl album on the Norwegian DB label. The album is a mighty fine collection, although, it still feels insufficient. A 2003 2 cd-only compilation with the same title but a different release issued by Metronome appears as a better choice in representing his best material; however, in the case of Vreeswijk with his vast repertoire of songs, any compilation would come out as insufficient but if you only want one album this isn't bad at all.

Vreejswijk deserves this type of recognition, although, his studio albums are preferred over the many compilations. His status as singer / songwriter and a genuine Nordic troubadour puts him on the shelf among the best.

John Cale "Mercy" (2023)

Mercy

release date: Jan. 20, 2023

format: digital (12 x File, FLAC)

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

producer: John Cale, Nita Scott

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

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

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

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

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

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

Highly recommended.

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