Barry Ryan "We Did It Together" (1970) (single)

We Did It Together, 7'' single

release date: 1970

format: vinyl

[single rate: 2 / 5] [2,18]

producer: Paul Ryan

label: Polydor - nationality: England, UK

Tracklist: A) "We Did It Together" - - B) "Lay Down"

Single release by English songwriter (and photographer), Barry Ryan (Sapherson, aka Barry Davison) of the twin-brother duo 'Paul & Barry Ryan'. This single seems to stem from a time when Barry had concentrated on a solo career while twin-brother Paul assisted him in writing songs and producing, and the title track somehow appear like a most fitting desription of how the two brothers found their way in show business.

This particular Danish print probably comes from my older brother's record collection. I do recall playing this at 7-12 years of age, but it never caught my interest. Stylewise, it sounds much inspired by The Walker Brothers with a love for heavy orchestrated arrangements. Barry and Paul did experience som success after Barry went solo, e.g. with the single hit "Eloise" (1968) (much later also a hit for punk rock band The Damned).

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Johnny Madsen "Godt nyt" (2015)

Godt nyt

release date: Sep. 25, 2015

format: cd

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

producer: Chief 1 (aka Lars Pedersen)

label: REO / Universal - nationality: Denmark

16th and final studio solo album by Johnny Madsen. This is posted on the day it was publicly known that Madsen had passed away, Nov. 4, 2024 (age 73). The album is the only one by Madsen that I purchased shortly after it came out. I never was a huge fan but I really enjoyed much of the music he made from 1982 to 2015, and also in the lasting trio Dalton together with Lars Lilholt and Allan Olsen. I think, I first noticed one of his songs after he had launched his third album Chinatown, Yellow Moon og Den Sorte Fugl in 1987 when I came across the title song and "Halgal halbal" - two songs that had some radio airplay. I thought of these songs as highly original and not without appeal, although, I wasn't a big fan of the blues, and simply wasn't ready for his sometimes surreal original take on the genre back then. His follow-up Udenfor sæsonen (Aug. 1988) was a national breakthrough and it's an album that brought several classics with it, incl. the title track, "Færgemanden", "Komadibovser", and "Tidlig mandag morgen". With that album, he established himself as a contemporary artist with an unusual strong original take on soft blues rock in a most original style and certainly notable for his ear for his local dialect, garnered with strong lyrics and his rasping singing voice.

Godt nyt ['Good news'] may sound like an inappropriate title to pick on this day, but with Madsen's sense for the surreal, an abundance of irony, and a gift for word-play, this title could be as good as any to pay tribute to his gifted soul. The album provides us with a mature and personal look on modern life with well-placed comments on social media, globalism, traditions, and smaller things from everyday life. I really like this one. It both contain great hooks, well-crafted and powerful arrangements but it also has a certain Lo-Fi tone to it that makes you think of something echoing early rehearsals in an organic kind of way, as an ingredient of authenticity, which is a quality I think stick to all his records. He leaves us with a solid discography that I need to dig more into 'cause his music is there, and I do know several of his albums, and they're definitely all worth knowing.

Thank you for the music, Johnny. Keep rockin'!

Illeborg & Lysdal "Hjertekamre" (2004)

Hjertekamre

release date: 2004

format: cd (APCD 60067)

[album rate: 3,5 / 5] [3,48]

producer: Jens Lysdal

label: ArtPeople - nationality: Denmark

Track highlights: 1. "Hjertekamre" - 2. "Kan ikke huske" - 3. "Den mælkehvide måne" - 5. "På må og få" - 9. "Alt kan gå i stå" - 11. "Paradis"

Collaboration album by the two folk and singer / songwriter soloists Laura Illeborg and Jens Lysdal. Admittedly, neither have taken up much space in my music collection, as I have always found it difficult to listen to Danish contemporary soft folk which mostly comes with bonds to a schlager genre I associate with kitch and an indefinable ingredient of something non-professional, which of course is completely ungrounded and also is an undeserved criticism. I have no idea from where that has its foundation, but when consciously approaching music you tend to reject, for whatever reason and all because of a judgemental position, not to forget (ugly) double-standards - meaning: the poorest reasons of all, then you should instead try to be more open-minded and focus on a want to dig out an understanding of the obvious qualities that many others see so easily.

The sudden death of Laura Illeborg early October this year made me curious about her music, as I simply had no idea of what she had produced. Illeborg only lived to be 55 years of age but she has made a solid list of releases in what I understand is a varied discography. Initially, she performed as backing vocalist on various releases for a vast number of artists from all genres and styles, and from 1996 as soloist - her debut album is Lyv mig natten lys (1996) - as collaborator, and featuring vocalist, she has long gone ensured her name in Danish music history. Jens Lysdal is likewise an artist who started out accompanying others, primarily as guitarist and backing vocalist, after which he initiated a solo career with A Matter of Time (1995). Lysdal is a multi-facetted musician with roots in jazz, folk, country, and everything in between and close by, and in company with Illeborg the two showcase a wide repertoire in a soft corner of contemporary Danish folk. And I do enjoy it. The album contains 11 songs of which nine have lyrics by Illebord and music by Lysdal. Track #8 is co-written by Lysdal, and the end-track is exclusively credited Lysdal, who also performs as multi-instrumentalist and as producer. Stylewise, you could label it ballads with elements from jazz, pop, and folk, and it's music arranged with a classic set of minimal instrumentation, focusing on vocal, electric (jazz) guitar, bass, percussion and a small doze of keyboard. It's music made with melancholy as a centre point but balanced with a lightness running through the whole album. Some songs stand more alone as quiet vocal performances, while others engage with more tempo without being uptempo arrangements.

Laura Illeborg performs with her strong original vocal, and she obviously masters the slow intimate parts as well as more uptempo pop variants. No wonder, she has a long record as featuring vocalist in the studio, and together, Illeborg and Lysdal appear like a strong duo. In Illeborg's discography, the album follows what may be regarded as her national breakthrough, the album Lidt in Love (2002), and it's succeeded by the well-received album God vagt (2007).

Hjertekamre is a solid and well-executed album in the soft corner of folk that should appeal to fans of jazz, ballads, and folk.

Daniel Norgren "Wooh Dang" (2019)

Wooh Dang

release date: Apr. 19, 2019

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

[album rate: 4 / 5] [3,84]

producer: Daniel Norgren

label: Superpuma / self-released - nationality: Sweden

Track highlights: 2. "The Flow" - 3. "Dandelion Time" - 4. "The Power" (4 / 5) (live) - 5. "Rolling Rolling Rolling" - 6. "So Glad" - 8. "The Day That´s Just Begun" (live on KEXP)

[ full perfomance on KEXP ]

Studio album by Swedish guitarist and songwriter Daniel Norgren originally released on vinyl and cd on Superpuma Records, and released as digital album via Norgren's bandcamp profile. The album is filed as Norgren's seventh full-length studio album and it follows two studio albums released in 2015: The Green Stone (Oct. 2015) and Alabursy (Apr. 2015). Since then, he has released a US-promotion compilation Skogens frukter (May. 2017) released on vinyl for the American market only.

I only recently knowingly discovered the music by Norgren. I was watching the 2022 Italian film "Le otto montagne" ("The Eight Mountains"), an adaptation by directors Felix van Groeningen and Charlotte Vandermeerschof of the 2016 novel debut by Paolo Cognetti, and I then made sure to pay attention to the music credits at the end of the film, and there I noticed that Daniel Norgren was credited all music. The music score was a most fitting mesmerising dimension to a beautiful film and it left me curious to check out more about this artist. I then discovered Norgren's bandcamp site - understood he is Swedish, although, I had been convinced it was an American artist - I then purchased several of his digital albums after receiving Wooh Dang, which appears to be his most recent studio album, and one that made me want more. All of his albums, or at least all of his seven full-length studio albums that I have come to know of, seem differently shaped. From his first album out Kerosene Dreams (2006) - an album which for some reason isn't included on his bandcamp site and an album I have come to know of via a major streaming service (and which isn't part of my six purchases) - through to Outskirts (2008) and Horrifying Deatheating Bloodspider (2010), Norgren appears much influenced by especially Tom Waits and Captain Beefheart, and then from Buck (2013), Alabursy and Green Stone, his music influences appear more complex with a stronger country foundation, and they all represent music with bonds to more original blues traditions with a bolder accentuated folk at the base, and then you could also say similar things of his more apparent experimental approach on his later albums.

Wooh Dang is modern indie folk with an experimental touch from someone who must be familiar with bluegrass, roots rock and a whole world of country. In that way, it's hard to pin out other Swedish acts as natural influences when Norgren's touch mostly sounds if shaped through the ages of American outback culture. Daniel Norgren is not only a great songwriter and composer, he also narrates and sings in a highly original tone. You can't always tell where it's going, but the journey, so far, is only a most delightful and pleasant one.

Highly recommended.

👉[ Norgren on bandcamp]

Paul Weller "66" (2024)

66

release date: May 24, 2024

format: digital (12 x File, FLAC)

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

producer: Paul Weller

label: Polydor - nationality: England, UK

Track highlights: 1. "Ship of Fools" - 2. "Flying Fish" - 4. "Nothing" (4 / 5) - 5. "My Best Friend's Coat" - 6. "Rise Up Singing" - 7. "I Woke Up" - 9. "Sleepy Hollow" - 11. "Soul Wandering" (4 / 5)

17th studio album by Paul Weller following three years after Fat Pop (Volume 1) (May 2021) is not the perhaps expected Volume 2, when focussing on the title - it's more than close enough though, 'cause fact is, Weller certainly has found his melody treasure box in recent years and simply seems unable to make an unrelevant album. By the way, 66 has a double meaning in that it both refers to the year 1966 and a time when music came through as something in strong growth, production-wise, terms of more fully arrangements, and to specific soul-hits of that year - the front cover art by Peter Blake (who also made the cover for Stanley Road) sets the tone of that particular year quite nicely - and then of course the title hints at his current age. The album is released the day before his 66th birthday and it's Weller's first in a long series not to feature his near usual musical kindred: engineer, producer, multi-instrumentalist, and co-composer Jan 'Stan' Kybert; however, the album both feature stable instrumentalists as well as several more prominent appearances, which count Suggs (aka Graham McPherson of Madness), Bobby Gillespie (of Primal Scream), Christophe Vaillant (of Le SuperHomard), Erland Copper, Steve Cradock, Noel Gallagher, Richard Hawley, Dr. Robert (aka Robert Howard), and Hannah Peel. For this, Weller has both written and composed, but also with inspiration from other songwriters found matching melodies, or simply co-written songs with various others. The remarkable side to that is a strong coherent collection of diverse songs, where Weller's vocal hardly ever sounded this expressive.

The album might as well be titled 'Volume 2 (66)' or something similar as it takes up the baton from the 2021 album. It's not strictly from the same night out on town as the '21 album came with more uptempo songs and this one appears more of a mellow-mooded breed - perhaps followed by a melancholy considering all the years gone by? Some tracks contain a certain The Style Council touch, at least when speaking Café Bleu-period quality, a nostalgic tendency also found on his most recent predecessors. And generally speaking, it's a well-balanced album soothing in blue and misty colours of softness that nevertheless still welcomes you inside with the impossible mix of musical aristocracy and working-class appeal and with a strong sense for stylistic diversity without losing one bit of coherency. On top of that, the melodies stand next to one another seeking your attention - it's simply filled with strong songs and already applies for the title as one of his majors. Impressive, that's what this is, and naturally highly recommended.

[ allmusic.com, 👍The Guardian, 4 / 5, Clash 3,5 / 5, Record Collector 5 / 5 stars ]

Cassandra Jenkins "My Light, My Destroyer" (2024)

My Light, My Destroyer

release date: Jul. 12, 2024

format: digital (18 x File, FLAC) (Deluxe Edition)

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

producer: Andrew Lappin, Cassandra Jenkins

label: Dead Oceans - nationality: USA

Track highlights: 1. "Devotion" (4 / 5) - 2. "Clams Casino" - 3. "Delphinium Blue" (4 / 5) - 5. "Aurora, IL" - 6. "Betelgeuse" (4 / 5) - 7. "Omakase" (4 / 5) - 9. "Petco" - 11. "Tape and Tissue" - 12. "Only One" - *15. "Hailey / Hayley (Only One)" - *17. "Stardust"

* Bonus track on Deluxe Edition

3rd studio album by Cassandra Jenkins following the acclaimed An Overview on Phenomenal Nature (Feb. 2021) and more recently the following release of demos and outtakes released as (An Overview on) An Overview on Phenomenal Nature (Nov. 2021). The standard issue of this new album contains 13 tracks with a total running time of just under 37 minutes. The Deluxe Edition extends the running time to 52 minutes [ find it on bandcamp ]. The title of the album comes from the song "Omakase" and its chorus lines: "My lover - My light - My destroyer - My meteorite".

The album is held in the same original style and tone as her 2021 album. It's therefore made with a distinct sense for sophistication. It's a perfect blend of new age, jazz, indie rock, sophisti-pop, and with delicate use of field recordings. A couple of the bonus tracks are more experimental with bold use of field recordings and less focus on coherency - especially track #17, "Stardust" appears as one long experimental. The album is, however, no less than yet another amazing release. The whole album is meant for attentive listening and it works as a complete work - and more so than a collection of individual songs.

My Light, My Destroyer is one of this year's absolute best albums. For now, it's in my top-3, but I only suspect it to go higher.

Highly recommended.

[ allmusic.com, Uncut 4,5 / 5, 👍Pitchfork 8,0 / 10, 👍Mojo, The Guardian, Slant 4 / 5 stars ]

Jessica Pratt "Here in the Pitch" (2024)

Here in the Pitch

release date: May 3, 2024

format: digital (9 x File, FLAC)

[album rate: 4 / 5] [3,95]

producer: Jessica Pratt & Al Carlson; Peter Mudge; Matt McDermott

label: City Slang - nationality: USA

Track highlights: 1. "Life Is" (TV performance) - 2. "Better Hate" (4 / 5) - 3. "World on a String" (4 / 5) - 4. "Get Your Head Out" - 7. "Empires Never Knows" - 9. "The Last Year"

[ Live on KEXP ]

4th studio album by Californian folk artist Jessica Pratt, which follows more than five years after Quiet Signs (Feb. 2019), and just like that this new album counts nine tracks and a total running time of just under 28 minutes.

It's not far from her 2019 album, but that doesn't necessarily mean lesser. Listening to Pratt in 2024 is like being transported on a time machine revisting the 1960s easy listening / baroque pop-period where she could have listened to Phil Spector, The Carpenters, Nick Drake, and / or Stan Getz and João Gilberto. It's... oh so quiet, a bit other-worldly but altogether very relaxing and comforting like a plaid gently swept over your cold legs on a Winter's night. Pratt has a distinct laid-back alto vocal. At times she reminds me of Richard Hawley but mostly she sounds like no one else, and Here in the Pitch is simply Pratt's best album to date, and what a wondrous release that is.

Here in the Pitch is no less than one of this year's absolute best and a highly recommended release.

[ allmusic.com, Under the Radar 4,5 / 5, Pitchfork 8,8 / 10, 👍The Line of Best Fit 4 / 5 stars ]

Last Dinosaurs "KYORYU" (2024)

KYORYU

release date: May 21, 2024

format: digital (13 x File, FLAC)

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

producer: Last Dinosaurs, Oscar Dawson & Scott Horscroft

label: Nettwerk - nationality: Australia

Track highlights: 1. "Keys to Your Civic" - 3. "Self-Serving Human Being" - 4. "Paranoia Paradise" (feat. Glaze) - 5. "14 Occasions" - 6. "Wait Your Turn" - 10. "Afterlife"

5th full-length studio or a compilation (?) album by Australian dream pop and indie pop quartet Last Dinosaurs following 1½ years after From Mexico with Love (Oct. 2022), which again followed Yumeno Garden (Oct. 2018). Since their 2022 album, the band released two EPs, RYU (Nov. 2023) and KYO (Apr. 2024), and the tracks from these two actually constitute KYORYU, basically reducing the album to a compilation, but then this has become a quite common promotion procedure - regardless, what you may think of it. But it means that the first five tracks are identical to KYU, and tracks #7-13 are all taken from RYO. The digital issue (from the band's bandcamp site) comes with one extra track (track #6), and the total running time clocks in at 49 minutes.

It's all fine melodic indie / dream pop focusing on harmony-driven arrangements. At times it's a bit too slick, a bit too sugary. For my taste. I find, there's a turn towards K-Pop music on this, but it's nevertheless nicely executed. I just don't suspect, it's an album I will return to that regularly. I simply miss more edge, and a bolder original sound.

2023 'RYU' ep

2024 'KYO' ep

Jan Johansson "Jazz på svenska" (1964)

Jazz på svenska

release date: 1964 (HELP-030)

format: vinyl (2013 reissue)

[album rate: 4 / 5] [4,16]

producer: (rec. by Oluf Swembel)

label: Heptagon Records - nationality: Sweden

Studio album by Jan Johansson originally released on Swedish label Megafon is Johansson's third album and it's no less than the best sold Swedish jazz album ever. The album consists Johansson's arrangements of Swedish folk songs, which are characterised by minimalist instrumentation with Johansson on piano accompanied by Georg Ridel on double bass. The abum count twelve compositions with a total playing time of approx. 34 minutes. The 2013 vinyl reissue is based on remastering of the original tape recordings and have been made by Jens and Anders Johansson, who are also founders of Heptagon Records and sons of legendary Jan Johansson.

This album is a must-have in any collection of jazz, and if you think Getz / Gilberto is one of the best jazz albums from '64, you really need to know this one.

Anita Lindblom "Sån't är livet" (1961) (single)

Sån't är livet, 7'' single

release date: 1961

format: vinyl (271 201 TF)

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

producer: ?

label: Fontana - nationality: Sweden

Tracklist: A) "Sån't är livet" (5 / 5) (fan video) - - B) "Det är nå't mysko"

Single release by Anita Lindblom is a cover of a Roy Hamilton 1961 song "You Can Have Her" written by Bill Cook. The Swedish version has lyrics by Stig Rossner (aka Stikkan Anderson), and Lindblom's version was a major hit in all of Scandinavia.

This single was part of my parents' record collection, it's a song I vividly remember from my childhood as a song I have always loved. Not only was the song played on our turntable, but it was and it has been a stable song on national radio ever since the 1960s. It may not be played that often nowadays, but it has status as one of the most played and a highly loved modern standard.

Hamilton's version of the song is fine and strong, and he is one of the many forgotten stars who experienced lesser careers all because Elvis found inspiration in their performances and vocal styles, and he rightfully deserves more recognition. That said, Lindblom's version outshines the original. Her powerful vocal is up there among the greatest, although, she didn't exclusively choose a singing career, but this song more than proves her worth.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

St. Vincent "All Born Screaming" (2024)

All Born Screaming

release date: Apr. 26, 2024

format: digital (10 x File, FLAC)

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

producer: St. Vincent

label: Total Pleasure - nationality: USA

Track highlights: 1. "Hell Is Near" - 2. "Reckless" (live) - 3. "Broken Man" (live) - 4. "Flea" - 6. "Violent Times" - 7. "The Power's Out" - 8. "Sweetest Fruit"

8th studio album by St. Vincent follows three years after the generally acclaimed Daddy's Home (May 2021), though, I'm not a fan of that. Actually, The Nowhere Inn (Sep. 2021) is filed as her most recent release but being a soundtrack it doesn't officially belong amongst her studio releases, although, it's more than an ordinary soundtrack being music to afilm with script by Annie Clark and starring Clark herself.

Anyway, this new album unfolds as her so far most electrified and angry album to date. In that regard, it's a warm welcome back to Annie Clark the guitarist; however, in the case of St. Vincent things are not meant to be and cannot be categorised in terms of rock-standards. Clark is a modern musician with a musically schooled background and she is probably one of the most non-conformist acts around, who grabs stylistic impulses like you would pick books on a shelf. Sometimes she builds on a predominantly psychedelic rock tradition but it doesn't take more than a listen to two to three songs here and you have soul, blues, r&b, contemporary pop, indie pop and a whole bunch of other influences blended in.

So what's it like then? Well, critics can't be wrong, can they? They all like it. Alexis Petridis of The Guardian calls it "...the unmasking of a great American songwriter" and claims the album is 'packed with ideas' and yet he also points to the impression that's it contains 'shape-shifting music'. Undoubtedly, the album sounds like the music from no one else - in that regard, St. Vincent is a guarantee of unique music. The other side of that coin is that it sounds exactly like St. Vincent. Some songs build on a stereo-typical matrix of arrangements and of chorus-structures that we've heard about seven times before. Perhaps, critics focus on lyrics and narrative ideas? It's never enough when dealing with music. For me, it leaves me slightly indifferent. No track in particular stand out as one I really enjoy and return to, but yes, it's generally good, and it's better than a lot of other albums, but it's not great. What I really like about it, is the absence of strong influence from one Mr. David Byrne. Apparently, it has taken twelve years to get further into her own soundscape, and that's the most positive, I hear on All Born Screaming, which basically sounds like Clark's continued journey following her best album Mercy from 2011.

Recommended.

[ allmusic.com, NME, Slant 4,5 / 5, Mojo, Rolling Stone 4 / 5, Pitchfork 7,8 / 10, 👉Exclaim! 3,5 / 5, 🙀The Guardian 5 / 5, stars ]

[ digital album may be purchased here ]

Pearl Jam "Dark Matter" (2024)

Dark Matter

release date: Apr. 19, 2024

format: digital (11 x File, FLAC)

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

producer: Andrew Watt

label: Monkeywrench - nationality: USA

Track highlights: 1. "Scared of Fear" - 2. "React, Respond" - 3. "Wreckage" (live) - 4. "Dark Matter" - 5. "Won't Tell" - 10. "Got to Give" - 11. "Setting Sun"

12th studio album by old-time rockers, Pearl Jam following four full years after the predictable and rather redundant Gigaton (Mar. 2020) has been made with young upcoming producer Andrew Watt. Four years is usually quite a long time in between studio albums but in the case of Pearl Jam, it's actually seen as a short interval. And then of course, the band hasn't missed an opportunity to release other material. The live album Give Way (Apr. 2023) had previously been circulating as a popular Australian pirate material recording of a 1998 concert in Melbourne and it has been released under various titles such as From Down Under, Human Behaviour, and Brain of JJJ, and then also as of '98 as Give Way, a limited promotion release, which was quickly withdrawn as it hadn't been officially approved of. So, not until '23 it saw the light of day as an official release. The relative long intervals in between studio albums probably also derives from how this band has made it customary to release live recordings of its concert performances every now and then - or more frequently: 'every now', actually. In 2023, the band released no less than eight official so-called live bootleg albums, and in 2022 that number is much higher, which is quite telling in terms of how to make an 'extra' income on your live concerts these days. Bruce Springsteen is another artist who has understood this to near perfection.

Dark Matter pretty much feels like a return to the band's heydays with producer Brendan O'Brien, also in the arrangements where you find the sharp energy-fused songs blended with tracks of more ballad-oriented material, and Andrew Watt does exactly what was intended by introducing a new spark. Vedder sounds like you know him, and the band comes out as a vital and tight unit, which by no means makes you think of an act with limited potential. On the other hand, there's hardly anything new in the repertoire here, which in many ways builds on former releases and former peaks.

Without being a 'Backspacer, part 2' Dark Matter actually succeeds unexpectedly well and even betters the 2009 album, at least from my perspective, since I havent found the band this vital since that album, which was regarded as a step in the wrong direction by some. Yeah, "Wreckage" may sound like Pearl Jam blending this and that of their classic catalogue, but who really would expect them to sound like some other act?! And in that way the album unfolds like a Pearl Jam album 'should'.

Dark Matter is an unexpected warm revisit from old friends telling us they're still sound and alive.

[ allmusic.com, NME 4 / 5, 👉Pitchfork 6,4 / 10 stars ]

Black Grape "Orange Head" (2024)

Orange Head

release date: Jan. 19, 2024

format: cd (Deluxe Edition)

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

producer: Youth (aka Martin Glover)

label: Dgaff Recordings - nationality: England, UK

Track highlights: 1. "Dirt" - 2. "Pimp Wars" - 3. "Button Eyes" - 4. "Quincy" - 5. "In the Ground" - 6. "Loser" - 7. "Milk" - 8. "Panda" - 9. "Self Harm" - 10. "Sex on the Beach" - *12. "Part of Everything"

*Bonus track on Deluxe Edition

4th studio album by Black Grape following seven years after Pop Voodoo (Jul. 2017) is a return of Shaun Ryder in unison with Kermit (aka Paul Leveridge), and also Youth was producer on the predecessor. Seven years in between albums would normally be regarded as a no-go in the music business but Ryder has made it his modus operandi one that doesn't adjust to traditions or standard approaches. Besides, he's never been an artist who sticks to one horse only. In 2021 he released his second solo titled Visits From Future Technology (Aug. 2021), and then he has been busy touring and performing as either Happy Mondays or Black Grape.

Not surprisingly, Orange Head sounds much like we've come to know of Shaun Ryder from whatever disguise he has chosen. sometimes it's positive party dance-oriented, at other times there's more darkness and even some The Prodigy-inspired techno-rave-stuff thrown in here and there. That said, Ryder certainly represents a most lively style that I somehow feel addicted to. His notorious, slight nasal, speak-singing is one of the most original voices in modern pop music. He even jokes about this on "Button Eyes" when going "I find it funny that I can't sing!". All lyrics are basically always taking a starting point in actual lived life situations mixed with skewed perspectives on politics and culture in general where you both find easily understandable references and what appears as cryptic narratives. Just like the music, it's one huge pot of styles. But it works so well and it's always delivered with a sneer, a wink, and / or both. The great thing is, that since Ryder bounced back - both after serious financial troubles and from years with heavy substance abuse, he sparkles and shines like never before. He's in his 60s, life has given him obvious ups and downs and part of that is family: four ex-wives, six children, and a new perspective on life, but he's now better than ever and it's just a treat to listen to Ryder, Kermit and Youth delivering their own blend of modern pop music with loans from this and that.

It's addictive and recommended.

[ musicOMH, Louder Than War, Buzzmag 4 / 5, Uncut 3,5 / 5 stars - 👉Guardian interview ]

And Also the Trees "Mother-of-pearl Moon" (2024)

Mother-of-pearl Moon

release date: Feb. 23, 2024

format: digital (11 x File, FLAC)

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

producer: Matthew Devenish

label: AATT - nationality: England, UK

Track highlights: 2. "The Whaler" (4 / 5) - 3. "Town Square" - 4. "Mother-of-pearl Moon" - 5. "This Path Through the Meadow" - 6. "Valdrada" - 8. "Visions of a Stray" - 9. "Field After Field" - 10. "Ypsilon"

[ album playlist ]

16th studio album by And Also the Trees follows 1½ years after The Bone Carver (Sep. 2023) and is like that made with producer Matthew Devenish and to the usual procedure the album is released on the band's own label.

The album shows a will to explore stylistic ground anew, and in that regard this new collection of songs differ from the band's most recent releases, which have all shown a stronger audible bond to the band's origins in a gothic rock setting. Mother-of-Pearl Moon invites us on a more mellow and subtle type of transport, which is both like a movement through different familiar places as well as a journey through time - and not as such back to the 1980s as much as much further back to another Century. Songwriter Simon Jones shapes these poetic pieces with his dark vocal as centre structure coloured by delicate percussion, bass and strings, which takes us through ancient European landscapes, often inspired by an atmosphere you would be likely to locate to 19th Century Paris or London. Originally, the band expressed itself with excessive theatrical postures - the link to a world of plays still lures on all tracks but in a much more refined manner provoking to your stolen attention, because the music cannot lie when it opens up and reveal its true nature. And that's a truly remarkable and fascinating creature they have come up with this time.

Mother-of-pearl Moon is no less than a great release from one of Britain's underestimated acts.

Highly recommended.

[ SputnikMusic 4 / 5 stars ]

[ bandcamp ]

Solen Er Sexet "Solen Er Sexet" (2022)

Solen Er Sexet [debut]

release date: Jun. 3, 2022

format: digital (sPlotify)

[album rate: 2,5 / 5] [2,36]

producer: various

label: Cloudland Records - nationality: Denmark

Track highlights: 3. "Kyndelmisse kys mig"

Conceptual project album from Solen Er Sexet - here represented by a Danish music collective led by songwriter Lise Westzynthius and author and playwright Bjørn Rasmussen. Both are credited the majority of the songs here and both contribute as vocalists. The album feature a vast group of individuals, some of which have co-written the songs with Westzynthius and Rasmussen and participants count performers with aliases like HunBjørn, Solveig, GRO, Vakle, peachlyfe, Princess Waterfall, O/RIOH, alongside the following: Anna Brønsted, Frederik Valentin, Laurids Bruun Rørvig, Søren Bigum, Niels Gröndahl, Maria Laurette Friis, and Henrik Vibskov - the latter also took part in the Danish band Luksus together with Westzynthius. Producer credits of the individual songs seems based on the featuring 'guest(s)'.

Lise Westzynthius most recently released the album JA (Sep. 2018), which already pointed to a new focal point of her music, which I experienced as having a new-religous tone of naivety. This is indeed another leap into an extraordinary field of performative expression. I'm fully aware that the album has been met by some positive reviews from established national newspapers and music magazines. That said, I have been in doubt about how to meet this release. My first reaction was one of big surprise and something I found was a disbelief - both when listening to sheer musical qualities and then when confronted by the lyrics. Put together, there's undoubtedly musicality at stake. I think that's a most positive notion and probably the one I'm able to utter 'cause fact is, it's more extreme than good. In some ways, and without further comparison, it's a bit like what I experienced upon listening to Reverend Kristin Michael Hayter's SAVED (2023) in terms of an immediate sense of disbelief. And there's a lot of that going on when listening to Solen Er Sexet, which btw. translates to 'The Sun Is Sexy', and the end result unfortunately also include my personal rejection of the music, which it also did in the case of Hayter. Musically, it's mostly anything but challenging and completely held in a harmony-driven gear like someone who only hits the white keys on the keyboard. Lyrically, the songs reflect composer skills but not without a strong implication of not only simplicity but also a new age-/new-found-Christian-/new-nature-religious-like naivety. The whole music collective seems fully emerged in a nature-eros lifestyle, which oozes through music and lyrical content. Without pointing any fingers at the performing collective, they obviously represent and embrace non-binary and multiple sexualities; however, their common musical product here reek anything but deeper intellectual thoughts, which in many ways actually reflect the strongest asset but also, and that's most critical: it also imbellishes an amateurish approach that too often reminds me of what you would expect from a secondary school or high-school musical happening.

The songs are positive in subject treatment and even showcase creative, original rhyming phrases. And that's when focusing on a positive feedback regarding artistic intention, but most choruses, and even in the verses, the language is extremely naive and repetitious. "Skødesløse lænder", "Kom i mit smil", "Hej gud", "Heidi her", "Fiskes liste" are all hard to listen to because of downright amateurish language. To me, this is bad on too many parameters and frankly below mediocre. I think, I actually rate it higher only due to the positive starting point and the all-embracing vibes because how can you not welcome someone, when their only desire is to reach out and to preach peace, love, and harmony?

[ Gaffa.dk, Side 33 4 / 6 stars ]

Brittany Howard "What Now" (2024)

What Now

release date: Feb. 9, 2024

format: digital (12 x File, FLAC)

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

producer: Brittany Howard, Shawn Everett

label: Island - nationality: USA

Track highlights: 1. "Earth Sign" - 2. "I Don't" - 3. "What Now" - 4. "Red Flags" - 5. "To Be Still" - 8. "Prove It to You" - 9. "Samson" - 11. "Power to Undo" - 12. "Every Color in Blue"

2nd solo album by Brittany Howard is the more than four year old follow-up to Jaime (Sep. 2019). Bassist Zac Cockrell of Alabama Shakes is credited on this, just as he featured on her solo debut, which also counts drummer Nate Smith as recurring musician. The album was generally made with only a handful of performers, which include the two keyboardists, Lloyd Buchanan and Paul Horton, and aside from these four only guitarist Brad Williams and trumpeter Rod McGaha feature on two songs each.

What Now is showcasing all the various styles Howard seems influenced by, but under her guidance it never feels as too many styles have been involved. Actually, to me, this is a bit like echoing how Prince used to arrange songs with that little detail that this is ever so much better. What Now simply appears as Brittany Howard's best release in her post-Alabama Shakes period. Now why doesn't she release music more often?! Ah well, better have a great album than one with only a few good songs, and this one is a most delightful release despite containing songs about negative aspects of life such as climate changes, global crisis, and political climate / turmoil of her home country, and then: these are appropriate subjects to address at the current time, so better deal with what's at stake. And thanks to Howard's musicality, she manages to wrap her songs up in great music and ultimately, simply hands us one of this year's best albums.

This is highly recommended and one to pay attention to.

[ allmusic.com Mojo, NME 4 / 5, 👍Pitchfork 8,3 / 10, Uncut 4,5 / 5, The Guardian 5 / 5 stars ]

Hurray for the Riff Raff "The Past Is Still Alive" (2024)

The Past Is Still Alive

release date: Feb. 23, 2024

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

[album rate: 4 / 5] [4,08]

producer: Brad Cook

label: Nonesuch - nationality: USA

Track highlights: 1. "Alibi" (4 / 5) (live) - 2. "Buffalo" - 3. "Hawkmoon" (4 / 5) - 4. "Colossus of Roads" (4 / 5) - 5. "Snake Plant (The Past Is Still Alive)" (4 / 5) (live) - 6. "Vetiver" - 8. "Dynamo" - 9. "The World Is Dangerous"

9th studio album by Hurray for the Riff Raff following two years after the acclaimed Life on Earth (Feb. 2022) and is like that made with producer Brad Cook, who also plays bass on the album. Alynda Segarra is credited all songs.

Stylewise, the album is more folk-oriented as opposed to the indie rock feel of the 2022 album, and although the predecessor is a true gem this definitely has other strengths but most of all only establishes Segarra as one of the finest contemporary American singer /songwriters.

The Past Is Still Alive is one of this year's best albums and as such an album you should know.

Highly recommended.

EDIT Aug. 13, 2024:

Last night I experienced Hurray for the Riff Raff live at Voxhall, Aarhus, and that was just an absolute fabulous concert with a playfull four-piece and Alynda in peak performance. The band mostly played the songs from this new album, but instead of just repeating the studio arrangements, they trew the rock-version at us. I really enjoy the album but I must say: in a rock-frame these songs all shined ever so brightly. The releative small audience were all cheering and clapping for more 'cause Segarra and the band showed us what a great act they are. At times they played tight, soulful and bluesy reminding me of Neil Young & Crazy Horse or Alabama Shakes, at other times they hit repetive intervals that made me think of Band of Horses, at other times it was southern guitar rock in the style of Kings of Leon, and then most of the time they just sounded like no one else and led by one shiny Alynda Segarra. Over time and with a matured set of songs, this album has come out even stronger, and I feel it's closing in on another peak for Hurray for the Riff Raff as a strong contender to album of the year.

[ allmusic.com, Line of Best Fit 4,5 / 5, BeatsPerMinute 85 / 100, Pitchfork 8,3 / 10, Exclaim! 4 / 5 stars ]

Gossip "Real Power" (2024)

Real Power

release date: Mar. 22, 2024

format: digital (11 x File, FLAC)

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

producer: Rick Rubin

label: Columbia - nationality: USA

Track highlights: 1. "Act of God" - 2. "Real Power" - 3. "Don't Be Afraid" - 4. "Crazy Again" (4 / 5) - 5. "Edge of the Sun" - 6. "Give It Up for Love" - 8. "Tell Me Something" - 9. "Light It Up"

6th studio album by Gossip following 12 years after A Joyful Noise (May 2012), which up until this year has been regarded as the band's final album after which front figure Beth Ditto pursued a solo career and concentrated on her own clothing line. Ditto released her solo debut Fake Sugar in 2017 and in 2019 the band reformed to perform a ten year anniversary concert of Music for Men (2009) but it was still under the charge of Ditto with no announcements of an official reformation. In 2023 Ditto got together with Nathan Howdeshell to write material for Ditto's second solo album and when facing producer Rubin who took part in the band's 2009 album, Ditto and Howdeshell apparently saw it as a natural opportunity to include Hannah Blilie, thus basically making it a Gossip album instead.

The trio is back, which is a wonderful thing, as they have been sorely missed. Rubin secures a tight path on well-known soil, and Real Power comes out as something closer to the 2009 album than what was regarded their final breath in 2012. That said, time has passed, and obviously the three are somewhere else than they were more than a decade ago, and the album simply betters Ditto's fine solo from 2017, which in a way positioned itself in the outskirts of A Joyjul of Noise without really delivering a substantial stylistic footprint. All tracks here are credited Ditto and multi-instrumentalist Howdeshell and in that regard it's naturally something entirely different than Ditto solo working with other composers, and how could a legendary trio of this caliber come out with something new without people would compare it with their previous works?! It's a statement to call it a Gossip album, as opposed to Ditto's second solo, and it's still great news. Musically, it's original - of course, and with the band history and all in mind, I do think it's a fine accomplishment without it being absolutely great. And then: lesser will do. I think, they succeed in reproducing some of the band's original energy - the genuine garage-sound, and mixed up with a poppier mood they come up with a modernised version of Gossip. Officially, Ditto and Howdeshell are the providers of this new material but I wonder why they don't acknowledge that without Blilie they wouldn't be Gossip? It's a pity, but on the other hand, it's a not seldom seen practise to leave out the drummer in credits, but I just wonder how music is composed without a drummer adding his / her personal touch to the songs...

The album may not come with absolute stunning singles but the energy, the crafty output - and that voice on top of these simple, yet powerful arrangements!! And then there's still a certain quality lurking there all over, which lifts it above normality - 'cause what is that exactly?! Ditto belongs in front of Howdeshell and Blilie, and that constellation is all we need. It's like a living torch for humanity. Stay together, you three (PLZ), and the next album will be magic!

[ 👍allmusic.com 3,5 / 5, Pitchfork 7,1 / 10, NME, DIY 4 / 5, 👎The Guardian 3 / 5 stars ]

Adrianne Lenker "Bright Future" (2024)

Bright Future

release date: Mar. 22, 2024

format: vinyl / digital (12 x File, FLAC)

[album rate: 4 / 5] [4,08]

producer: Philip Weinrobe

label: 4AD - nationality: USA

Track highlights: 1. "Real House" (4 / 5) - 2. "Sadness as a Gift" (live from Greenwich Village with Nick Hakim) - 4. "No Machine" - 5. "Free Treasure" (live on The Tonight Show)- 6. "Vampire Empire" - 8. "Candleflame" - 9. "Already Lost" - 10. "Cell Phone Says" - 11. "Donut Seam" - 12. "Ruined" (live from Greenwich Village with Nick Hakim)

Studio album by Adrianne Lenker in between albums with Big Thief, and most recently the band released the acclaimed Dragon New Warm Mountain I Believe in You (Feb. 2022). Lenker's most recent solo album was Songs & Instrumentals (Oct. 2020), and this new collection is more like her other solo efforts, more naked, more clean folk and singer / songwriter-oriented. That said, Bright Future contains other performers than Lenker's vocal on top of a lonesome strumming guitar as was the case on her quiet 2020 album. It's still not in the same fully-bodied arrangements as you'll find on albums by Big Thief - only "Vampire Empire" sounds like a song written with the band in mind as the instrumentation appear to be similar with violin, piano, percussion, banjo, guitar, and harmony vocals, but generally, the songs here are played in a much more subtle fashion, as only to turn focus on Lenker's narratives.

Bright Future is so far easily this year's best album and highly recommended.

[ Mojo 4 / 5, Pitchfork 8,4 / 10, Exclaim! 9 / 10 stars ]

[ bandcamp ]

The Jesus and Mary Chain "Just Like Honey" (1985) (single)

Just Like Honey, 12'' single

release date: Oct. 1985

format: vinyl (NEG 17T)

[single rate: 3,5 / 5] [3,55]

producer: The Jesus and Mary Chain

label: Blanco y Negro - nationality: Scotland, UK

Tracklist: A) 1. "Just Like Honey" - 2. "Head" - - B) 1. "Cracked" - 2. "Just Like Honey (Demo - Oct 84)"

Single release by The Jesus and Mary Chain is the band's third and final single taken from its forthcoming debut album Psychocandy (Nov. 1985). The single follows You Trip Me Up (May 1985), which followed Never Understand (Feb. 1985). The A-side tracks also constitute the regular 7'' single issue, which was released in Sep. '85.