Ane Brun "Rarities" (2013)

Rarities

release date: Oct. 2013

format: digital (20 x File, FLAC)

[album rate: 4 / 5] [3,86]

producer: Ane Brun et al

label: Balloon Ranger Recordings - nationality: Norway

Track highlights: 1. "All My Tears" - 2. "Halo" - 4. "From Me to You" - 5. "Tragedy" - 6. "Ain't No Cure for Love" - 7. "Orphan Girl" - 10. "It's Alright (Baby's Coming Back)" - 11. "Oh Love (piano version)" - 12. "The Opening" - 13. "Jóga (live at the Polar Music Prize 2010) - 15. "Virvelvind" - 16. "Fly on the Windscreen" - 17. "Humming One of Your Songs 2013" - 20. "She Belongs to Me"

2nd compilation album in 2013 - like with Songs 2003-2013 (Jun. 2013) in celebration of her first decade as an active musician, and this time with 20 'rare' recordings, i.e. songs that are not found on any of her previous studio releases, or have been scattered out on various singles and / or other compilations. On Brun's bandcamp site the album is described with the following: "According to BRUN, “RARITIES is a compilation of songs and recordings that have either not been released, or have been released on other compilations or as singles. This is a way to empty our cupboards of recordings that have been lying around, and another way to mark my ten year anniversary as an artist.” The collection includes covers of Björk and The Beatles, Elvis and Eurythmics, as well as new versions of fan favourites and, of course, previously unreleased songs, contributing further to an already impressive back catalogue. Many of the recordings are here described more fully with Brun's own words.

In a year with two major compilations from Ane Brun, it's more than hard to choose between the two, and then you don't have to, because with Songs 2003-2013 she has made a great collection of familiar key songs from that period and with this, she shows us more of the full palette - and 'palette', I think, nicely describes this artist's way with her music: she sort of utilises a painters approach with music, words, tones, arrangements, and choise of instrumentation are colours on the canvas, and Brun sure understands how to make use of the whole palette. Also, she has made a vast number of original compositions but she's also a remarkable interpretor, which makes her covers so powerful. She doesn't have to copy the original to make it swing. This is a wonderful collection of highly varied originals.

Highly recommendable.

Kraftwerk "Computerwelt" (1981)

Computerwelt

release date: May 10, 1981

format: cd (1986 reissue)

[album rate: 3,5 / 5] [3,66]

producer: Ralf Hütter, Florian Schneider

label: Kling Klang / EMI - nationality: Germany

Track highlights: 1. "Computerwelt" - 2. "Taschenrechner" - 3. "Nummern" - 4. "Computerwelt 2" - 5. "Computer Liebe" (4 / 5)

8th studio album by Kraftwerk released three years after Die Mensch-Maschine (1978) - also seen as number five in the list of classic Kraftwerk albums counting from Autobahn (1974), which by Hütter and Schneider is regarded their first, although, they actually released three albums before that. Like the band's recent albums this was recorded in the band's Kling Klang studio in Düsseldorf, and as usual it's the band's founders Hütter and Schneider who are credited as producers. On the 79 album we saw percussionist Karl Bartos as co-composer and on this, he's been granted a more prominent role as composer, and he is thus exclusive composer together with Hütter on all of the album's tracks. Schneider is credited the music on four of a total of seven tracks, and once again Emil Schult is credited album cover and as contributor as songwriter of three songs. And - one might be tempted to add - percussionist Wolfgang Flür is only credited as... percussionist, although rumor has it that he only appears in the credit list and doesn't play on the album at all, but officially it's the band's final album with Flür as instrumentalist.

The album continues deom where the '78 ended, and may at first sound like a mere extension of that, but Kraftwerk basically defined their strength in the present by composing small hooks and catchy melodies, made sharper as pure 'pop' tunes. This is best expressed on "Computer Liebe", as song Coldplay has used on its 2006 hit "Talk", just as La Roux incorporated parts of the track in the song "I'm Not Your Toy" (2009), and LCD Soundsystem has used a sample of "Heimcomputer" (track #6) on the song "Disco Infiltrator" from its debut album LCD Soundsystem (2005).

Reviews were again quite positive and in Germany the album reached number #7 (as Autobahn had done back in '74), and number #15 in the UK. Four tracks in total were selected for singles release: in order tracks #2, #5 , #3, and #1, with no significant rankings. The second single "Computer Love" didn't initially perform significantly, but when it was re-released later that year as the B-side to "The Model" (from the 78 album Die Mensch-Maschine), then it topped the singles chart in the UK (although it was more likely "The Model" pulling that home). In retrospect, the album has achieved a fine position as an influential album, appearing on a number of lists counting the best albums of the 80s.

In my opinion, the album is a classic Kraftwerk album, although without reaching the same heights as the previous four. In the early eighties, the band was overshadowed by bands and artists who managed to write better hooks and music that wasn't so strictly electronic, although most of them drew great inspiration from Kraftwerk's back catalogue. I don't find a lot of recycling in many of the album's compositions, and it may be seen as the band's first step away from the strong influence they have otherwise had in shaping synthpop.

The title track makes it essential.

[ allmusic.com 4,5 / 5, Rolling Stone 3 / 5, Mojo, Select 4 / 5, Uncut, Q Magazine 5 / 5 stars ]

Gregory Porter "All Rise" (2020)

All Rise

release date: Aug. 28, 2020
format: 2 lp vinyl (gatefold, pink vinyl) / digital (16 x File, FLAC - Deluxe)
[album rate: 3,5 / 5] [3,54]
producer: Kamau Kenyatta, Troy Miller, Gregory Porter
label: Blue Note / Decca Records - nationality: USA

6th studio album by Gregory Porter is originally released on Blue Note and Verve in the US and on Blue Note / Decca in the EU. The album comes in many formats and in at least two versions as far as track numbers concern. The various cd versions contain 13 tracks as does the European - traditional and pink vinyl - 2 lp editions, but it also comes in a Dutch 3 lp version and a cassette edition both containing two bonus tracks, and it also comes as a 16 tracks digital Deluxe album (Qobuz). This rises a bit of a negative aspect about his releases, I think, 'cause with a running time at just over one hour, the thirteen tracks could be fitted on a normal 1-disc issue, and fifteen tracks would then be "the excuse" to release the Deluxe edition as a double album - though only on vinyl - but it has become a bit of a habit that Porter's album's are released as standard double albums despite not running that long. Three tracks on each side of the vinyl issue results in short playing times at approx. 15 mins. It's hardly compressed adding one or two tracks to each side.
Another thing is the cover art.... and let's just get straight to the point: Porter's front covers have never been about art, or attempts at making great art work, but let's be frank, it has never been this poor, and a triangle with the title alone would even be an improvement.
That bit aside, and speaking entirely of the musical qualities, All Rise is yet another strong evidence of Porter's composer and vocal qualities that simply makes him the king of contemporary vocal jazz. Gregory Porter has relaunched jazz as an everlasting and very modern genre by adding stylistic elements from contemporary popular music - be it funk, pop, or soul. It's remarkable how this man is able to write and compose songs of near classic status over and over again, and that's perhaps where this new collection may feel like an exercise in treading water.
Recommended.

Editors "The Blanck Mass Sessions" (2019)

The Blanck Mass Sessions

release date: Apr. 13, 2019

format: digital (8 x File, FLAC)

[album rate: 3,5 / 5] [3,58]

producer: Blanck Mass, Editors

label: Play It Again Sam - nationality: England, UK

Track highlights: 1. "Barricades" - 2. "Cold" - 3. "Hallelujah (So Low)" - 4. "Violence"

Editors album is bassically the first draft recordings by Blanck Mass, which led to the album Violence (Mar. 2018). The band had wanted a stronger electronic / industrial take on their music and invited Blanck Mass (aka Benjamin John Power) to add something to their new recordings. The result is heard here, but to the band, they were slightly rearranged with less electronic and industrial dominance, and those recordings were released as Violence. However, the initial recordings had their very own strengths, so one year following the actual album release the initial sessions by Blanck Mass were released. And frankly, they are just better and more originally sounding.

Paul Weller "On Sunset" (2020)

On Sunset
release date: Jul. 3, 2020
format: digital (15 x File, FLAC - Deluxe)
[album rate: 3,5 / 5] [3,68]
producer: Paul Weller & Jan Kybert
label: Polydor Records - nationality: England, UK

Track highlights: 1. "Mirror Ball" - 2. "Baptiste" - 3. "Old Father Tyme" - 6. "On Sunset" - 8. "Walkin' " - 10. "Rockets"

15th studio album by Paul Weller, once again teamed up with Dutch producer Jan 'Stan' Kybert.
With the album Weller doesn't introduce us to a lot of new styles or genres but he does combine some of his latest outputs into one unifying sound. On the predecessor, True Meanings (2018) his output was acoustic and simple, on A Kind Revolution (2017) he sought a more electrifying form of pop soul and chamber pop, and before that he embraced alt. rock and mod revival more explicitly on the strong Saturns Pattern (2015). All this is found here, and mostly not as various pieces pointing here or there but as a nicely woven conglomerate that is so Wellerian. His mod revival and pop soul, and even his sophisti-pop traces of the past are all represented here in a combo of folk rock and singer / songwriter. 

A first listen may not reveal strong single hits but on returning points it comes out as something original, which is an accomplishment. He works with many returning associates, guitarist Steve Cradock, bassist Andy Crofts, keyboardist Charles Rees, drummer Ben Gordelier as well as multi-instrumentalist Jan Kybert. The album also welcomes back former associate Mick Talbot from The Style Council on three tracks.
The Deluxe Edition adds another five compositions of which two are alternate instrumental versions.
It does seem as if Weller has found his niche on his older days by maintaining a high quality level as a mature musician.

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 ]

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 ]

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.

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 (2019) - and once again 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 / indie pop style that is associated with his music as 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. As usual, there's also room for sing-a-long pop songs - here, the fine "What Kind of People Live in These Houses" and pompous ballads like "The Truth About Ruth".

The album falls closely in the neighbourhood of the fine World Peace Is None of Your Business (2014) and distances itself from his most recent album of own material, the lesser Low in High School (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, to me, signalled he had come to the end of his musical career - but here he once again demonstrates his ability to return with significant music.

Personally, I must confess that I thought he had passed into anonymity - especially after tasteless political statements, but this is a rather fine collection of songs.

[ 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.