Signe Svendsen "Hvem vil ikke elskes igen" (2022)

Hvem vil ikke elskes igen

udgivet: 14. okt. 2022

format: vinyl (LGLP2201) / digital (10 x File, FLAC)

[vurdering: 4 / 5] [3,86]

producer: Lars Skjærbæk

selskab: Lydia Gramophone - nationalitet: Danmark

Udvalgte numre: 1. "Tiden" - 2. "Du fik hendes øjne" - 3. "Hvem vil ikke elskes igen" - 4. "Sig at solen rejser sig" - 6. "Ville give dig alt" - 7. "Hun sagde det" - 9 "Lydia" - 10. "Uden aftale"

5th studiealbum af Signe Svendsen følger lidt mere end 2½ år efter Det forlyder (jan. 2020). Albummet er som alle hendes udgivelser produceret af Lars Skjærbæk, som også medvirker som instrumentalist på guitar, mandolin, synthesizer og som korsanger - hans yngre bror Troels spiller bas, og Lars' datter Sofie Juliane er ligeledes med på kor. Albummet er blevet til i selskab med en tæt række kendte musikere, som også inkluderer multi-instrumentalisten Christoffer Møller, som i øvrigt ofte har dannet musikalsk partner med Skjærbæk i deres roste producer-duo Mahler & Bir. Signe Svendsens eget selskab Lydia Gramophone er i øvrigt opkaldt efter hendes bedstemor, som også er centrum for den stærke "Lydia" (sang #9), hvor Svendsen gendigter noget af den barske skæbne bedstemoren gennemlevede.

Hvem vil ikke elskes igen følger i Svendsens melankolsk-stilede folk og ballade-orienterede singer / songwriter udgivelser. Svendsens pen er gennem årene blevet skarpere, og sangene her står mere personligt skarpt og passer virkelig flot i det musikalske udtryk der manifesteres her, og albummet fremstår ganske enkelt som Svendsens hidtil bedste. Det er et album uden overflødigt fyldstof og efter min mening, kandiderer det til årets bedste danske udgivelse.

Stor anbefaling.

[ Gaffa.dk 4 / 6, Politiken, BT 5 / 6 stjerner ]

The American Breed "Bend Me, Shape Me" (1967) (single)

Bend Me, Shape Me, 7'' single

udgivet: 1967

format: vinyl (KSS 6)

[vurdering: 4 / 5] [3,78]

producer: Bill Traut

selskab: Stateside - nationalitet: USA

Numre: A) "Bend Me, Shape Me" (4 / 5) (alt. mix) - - B) "Mindrocker"

Single med The American Breed taget fra det bandets kommende andet album Bend Me, Shape Me (feb. 1968). B-siden optræder også på samme album. Selvom titelsangen blev et internationalt hit takket være denne version, er nummeret oprindeligt en sang af den amerikanske sangskriverduo Scott English og Larry Weiss. Omkring et år tidligere blev sangen udgivet første gang af et andet amerikansk band: The Outsiders, og deres version af sangen findes på bandets tredje album In (udgivet feb. 1967 / indspillet i '66). Indimellem disse to udgaver, lavede et andet band den første coverudgave af sangen, og det var pigegruppen The Models med deres eneste (single) udgivelse i 1966 [The Models' version] (udgivet før The Outsiders' album, men indspillet efter). Det er en særpræget oplevelse at lytte til disse tre vidt forskellige versioner af den samme sang, som alle blev udgivet inden for et år. Set i bakspejlet er det mit indtryk, at versionen med The Models fremstår som den mest vovede udgave med sin syrede, psykedeliske og Phil Spector-agtige produktion. I den henseende er The Outsiders' version mere skrabet og en mere ligefrem sang, men det er også den, der fremstår som den reneste rock-udgave holdt i en typisk garage-rock-stil. Og så kom The American Breed og gjorde nummeret til et internationalt hit med en dristigere mainstream-appel. Når man lytter til de to tidligere versioner, virker det til, at The American Breed har lånt noget fra arrangementerne fra begge tidligere indspilninger, omend The American Breed står bag den mest polerede version af de tre. Sangen er senere blevet fortolket af diverse andre kunstnere, men gennem årene er det The American Breed, der er gået over i musikhistorien med den mest udbredte udgave af denne fine sang.

Lige netop denne single var en af mine favoritter, da jeg var 10-14 år gammel. Jeg går ud fra, at min bror må have købt den på et tidligt tidspunkt, før han kastede sig over 70’ernes britiske syrerock.

~ ~ ~

Dette opslag er en del af MyMusicJourney, som lister de vigtigste udgivelser, der har formet min musiksmag gennem min opvækst og frem til 14-årsalderen. De fleste af disse udgivelser stammer fra mine forældres og / eller min storebrors samling.

Tommy Steele "Singing the Blues" (1957) (ep)

Singing the Blues, 7'' EP

udgivet: feb. 1957

format: vinyl (DFE 6389) (1957 genoptryk)

[vurdering: 3,5 / 5] [3,45]

producer: ?

selskab: Decca - nationalitet: Engalnd, UK

Numre: A) 1. "Singing the Blues" - 2. "Rebel Rock" - - B) 1. "Knee Deep in the Blues" - 2. "Elevator Rock"

EP-udgivelse af Tommy Steele - på bagsiden af coveret og på selve vinyl-etiketterne er EP'en krediteret 'Tommy Steele and the Steelmen'. Numrene #A1 og #B1 er krediteret den amerikanske sangskriver Melvin Endsley, mens både #A2 og #B2 er sange skrevet af Tommy Steele selv. Endsleys titelsang var et stort hit i USA for Guy Mitchell og blev udgivet næsten samtidig med Steele's version; sidstnævnte blev til gengæld et britisk nummer 1-hit og et ret stort hit over hele Europa. Ganske finurligt skiftedes Mitchell's og Steele's versioner til at indtage førstepladsen på singlehitlisterne i adskillige lande.

Dette specifikke genoptryk stammer fra mine forældres pladesamling. Jeg husker tydeligt at have spillet den i 7-12-årsalderen, og den var en tidlig favorit på et tidspunkt, hvor jeg mest lyttede til The Beatles, til country, beat og rock & roll. Jeg husker også sangen "A Handful of Songs" (fra soundtrack The Tommy Steele Story fra maj 1957) som sandsynligvis den mest populære Steele-sang i mine barndomsår. De tidlige sceneoptrædener, hvor Steele mimede til sine mest populære sange, præsenterede ham som en mere velfriseret Bill Haley- eller Elvis Presley-klon. Det gjorde formentlig rock & roll mere acceptabelt for dem, der ellers forbandt genren med uopdragne og uregerlige unge mennesker. Tommy Steele er gået over i historien som den første britiske rock & roll-stjerne, men han blev hurtigt efterfulgt af Cliff Richard, der i længden viste sig som en mere holdbar popstjerne.

Set i bakspejlet er denne EP et vigtigt dokument over den tidlige rock & roll-historie, men den placerer også Steele i en kategori for sig selv som en kunstner, der ihærdigt forsøgte at kopiere amerikanske ikoner uden egentlig at have ret meget selvstændigt at byde på. Jo, han hjalp med at transformere rock & roll til noget mere letfordøjeligt, og han eksemplificerede en ny type rock-and-roller, men han leverede primært gennem sine covernumre. På denne EP lyder Steele's egne to bidrag kraftigt inspireret, eller måske endda som kopier af Bill Haley og Chuck Berry, og hans andet album - soundtracket til filmen 'The Tommy Steele Story' - vidner om en prioritering af form over indhold med kun lille relevans for, men også lille forståelse for, hvordan musik bliver til legende. Når det er sagt, har Steele bestemt en plads i historiebøgerne angående, hvordan rock & roll blev et internationalt fænomen, og han spiller en væsentlig rolle i populærmusikkens stilmæssige udvikling.

~ ~ ~

Dette opslag er en del af MyMusicJourney, som lister de vigtigste udgivelser, der har formet min musiksmag gennem min opvækst og frem til 14-årsalderen. De fleste af disse udgivelser stammer fra mine forældres og / eller min storebrors samling.

Hifi Sean & David McAlmont "Daylight" (2024)

Daylight

release date: 16. aug 2024

format: digital (12 x File, FLAC)

[vurdering: 4 / 5] [3,90]

producer: Hifi Sean

selskab: Plastique Recordings - nationalitet: England, UK

Udvalgte numre: 1. "Daylight" - 2. "Sun Come Up" - 3. "Coalition" - 4. "You Are My" - 5. "Meantime" - 7. "Sad Banger" - 8. "USB - USC" - 9. "Summery"

2. samarbejdsalbum fra elektroniske kunstner Hifi Sean og soul- og vocal jazz-sanger David McAlmont som efterfølger til det roste Happy Ending (sep. 2022). Debuten præsenterede os ligeledes for tolv sange, men hvor det albums samlede spilletid sneg sig op på knap en time (56 min.), afslører denne nye samling mere traditionelle spillelængder, der får udgivelsen til at lande på lige under 40 minutter. Det første udspil favnede dristige, eksperimenterende og stilistiske toner med plads nok til Hifi Sean's flair for kompositionsmæssig mangfoldighed; ikke desto mindre var slutresultatet en blanding af elektronisk house møder pop-soul iblandet disco-bidder og moderne synthpop - altsammen flot holdt sammen af især McAlmonts undervurderede blændende vokal, og det føltes stadig som et sammenhængende album.

Daylight fortsætter som en varm sommerbrise, og det ser også ud til netop at have været duoens intention. Ifølge deres Bandcamp-profil er albummet det første af to 'søskende'-albums - den anden er Twilight, som tiltænkes udgivet i starten af 2025. I mellemtiden er dette første kapitel en ret stærk og særdeles fin opfølger til en flot debut. Det handler om den lyse og varme side ved tingene, og duoen cementerer kun deres værd. Med den musikalske partner Hifi Sean er det en fornøjelse at være vidne til, hvordan McAlmont træder i karakter med det, han virker skæbnebestemt til: at synge, synge, synge, og når han får muligheden, fejler han aldrig.

Daylight er en varm og anbefalelsesværdig lytteoplevelse.

[ The Guardian, The Line of Best Fit 4 / 5 stjerner ]

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

We Did It Together, 7'' single

udgivet: 1970

format: vinyl

[vurdering: 2,5 / 5] [2,58]

producer: Paul Ryan

selskab: Polydor - nationalitet: England, UK

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

Singleudgivelse af den engelske sangskriver og fotograf Barry Ryan (Sapherson, også kendt som Barry Davison) fra tvillingebroder-duoen Paul & Barry Ryan. Denne single ser ud til at stamme fra en tid, hvor Barry koncentrerede sig om en solokarriere, mens tvillingebroderen Paul havde trukket sig tilbage fra rampelyset for at hjælpe Barry med sangskrivning og produktion. Titelnummeret her fungerer på sin vis som en passende beskrivelse af, hvordan de to brødre fandt deres vej i showbizz.

Denne specifikke danske udgave stammer sandsynligvis fra min storebrors pladesamling. Jeg kan huske, at jeg spillede den i 7-12-årsalderen, men den fangede aldrig rigtig min interesse. Stilistisk lyder den inspireret af The Walker Brothers og deres kærlighed for tunge, orkestrerede arrangementer. Barry og Paul oplevede en del succes, efter Barry gik solo – for eksempel med hit-singlen "Eloise" (1968), som et årti senere også blev et singlehit for punkrockbandet The Damned.

~ ~ ~

Dette opslag er en del af MyMusicJourney, som lister de vigtigste udgivelser, der har formet min musiksmag gennem min opvækst og frem til 14-årsalderen. De fleste af disse udgivelser stammer fra mine forældres og / eller min storebrors samling.

Johnny Madsen "Godt nyt" (2015)

Godt nyt

udgivet: 25. sep. 2015

format: cd

[vurdering: 3,5 / 5] [3,58]

producer: Chief 1 (aka Lars Pedersen)

selskab: REO / Universal - nationalitet: Danmark

15. og sidste solo studiealbum fra Johnny Madsen. Indlægget her er lagt op på dagen, hvor det blev offentliggjort, at Madsen er gået bort, 4. nov. 2024 (73 år gammel). Albummet er det eneste af Madsens, som jeg købte kort efter, det udkom. Jeg var aldrig en kæmpe fan, men jeg nød virkelig meget af den musik, han lavede fra 1982 til 2015, og også i den holdbare trio Dalton sammen med Lars Lilholt og Allan Olsen satte Madsen et kvalitetsmæssigt præg på musikken. Jeg tror, jeg først lagde mærke til en af hans sange, efter han havde udgivet sit tredje album Chinatown, Yellow Moon og Den sorte fugl i 1987, da jeg faldt over titelnummeret og "Halgal halbal" – to sange, der fik en del spilletid i radioen. Jeg anså disse sange for at være yderst originale og ikke uden appel, selvom jeg ikke var den store fan af blues og simpelthen ikke var klar til hans til tider surrealistiske, originale tilgang til genren dengang. Hans opfølger Udenfor sæsonen (aug. 1988) var et nationalt gennembrud, og det er et album, der bragte flere klassikere med sig, inkl. titelnummeret, "Færgemanden", "Komadibovser" og "Tidlig mandag morgen". Med det etablerede han sig som en moderne kunstner med et usædvanligt stærkt, originalt bud på blød blues rock i en yderst original stil, og han var bestemt bemærkelsesværdig for sit øre for den lokale dialekt, krydret med stærke tekster og en ganske raspende sangstemme.

Godt nyt kan lyde som en upassende titel at vælge på netop denne dag, men med Madsens sans for det surrealistiske, en overflod af ironi og et talent for ordspil, kunne titlen være lige så god som enhver anden til at hylde hans begavede sjæl. Albummet giver os et modent og personligt blik på det moderne liv med velplacerede kommentarer til sociale medier, globalisme, traditioner og de små ting fra hverdagen - som en slags bånd til sjælevennen Dan Turréll. Jeg kan virkelig godt lide det her album. Det indeholder både gode hooks og velsmurte, kraftfulde arrangementer, men det har også en vis Lo-Fi-tone over sig, der får mig til at tænke på noget, der lyder som tidlige udkast på en organisk måde – som en ingrediens af autenticitet, hvilket er en kvalitet, jeg synes knytter sig til alle hans plader. Han efterlader os med en solid diskografi, som jeg er nødt til at dykke mere ned i, for hans musik er her stadig, og jeg kender flere af hans album, og de er bestemt alle værd at kende.

Tak for musikken, Johnny. Keep rockin'!

The Walker Brothers "Living Above Your Head" (1966) (single)

Living Above Your Head, 7'' single

release date: 1966

format: vinyl

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

producer: John Franz

label: Philips - nationality: USA

Tracklist: A) "Living Above Your Head" - - B) "Young Man Cried"

Single release by US pop trio The Walker Brothers consisting of John Walker (aka John Maus), Scott Walker (aka Noel Scott Engel), and Gary Walker (aka Gary Leeds) none of which were related. The single is a Spanish, Dutch, and Danish only release with the title track taken from the trio's second album Portrait (1966). The title track is a cover by US pop group Jay & The Americans taken [original] from the album Living Above Your Head (1966) - the B-side is credited Scott Walker and producer John Franz.

This particular Danish print comes from my parents' record collection. I recall playing this at 7-12 years of age, and remember finding it one of my prefered singles. Stylewise, it's vocal harmony-based baroque pop.

~ ~ ~

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.

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

udgivet: 24. maj 2024

format: vinyl (Ltd. udgave) (blå vinyl) / digital (12 x File, FLAC)

[vurdering: 4 / 5] [3,98]

producer: Paul Weller

selskab: Polydor - nationalitet: England, UK

Udvalgte numre: 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)

17. studiealbum fra Paul Weller følger tre år efter den stærkeFat Pop (Volume 1) (maj 2021), og det er - hvis man fokuserer på titlen - måske ikke den forventede Volume 2. Det er dog tæt nok på, for faktum er, at Weller i sandhed har fundet sin musikalske skattekiste de seneste år og simpelthen virker ude af stand til at lave et irrelevant album. '66' har i øvrigt en dobbeltbetydning, idet titlen både refererer til året 1966 - en tid hvor musikken brød igennem med stor styrke rent produktionsmæssigt og i forhold til fyldigere arrangementer, og specifikke soul-hits fra netop det år - og så selvfølgelig til hans nuværende alder. Forside-coveret af Peter Blake (som også lavede coveret til Stanley Road) rammer ganske fint stilen fra netop det år. Albummet udgives dagen før hans 66-års fødselsdag og er Wellers første i en lang række, der ikke har deltagelse af hans nærmeste musikalske åndsfælle: tekniker, producer, multiinstrumentalist og medkomponist Jan 'Stan' Kybert. Albummet byder dog både på faste instrumentalister samt adskillige prominente gæsteoptrædener, som tæller Suggs (aka Graham McPherson fra Madness), Bobby Gillespie (fra Primal Scream), Christophe Vaillant (fra Le SuperHomard), Erland Copper, Steve Cradock, Noel Gallagher, Richard Hawley, Dr. Robert (aka Robert Howard) og Hannah Peel. Hertil har Weller både skrevet og komponeret selv, men han har også fundet matchende melodier med inspiration fra andre sangskrivere eller skrevet sange sammen med forskellige andre. Det bemærkelsesværdige ved dette er en stærk, sammenhængende samling af forskelligartede sange, hvor Weller's vokal sjældent har lydt så ekspressiv.

Albummet kunne lige så godt have heddet 'Volume 2 (66)' eller noget lignende, da det tager stafetten op fra 2021-albummet. Det er ikke strengt taget fra den samme tur i byen, da '21-albummet bød på flere uptempo-sange, mens dette fremstår som en mere afdæmpet udgivelse - måske fulgt af en melankoli over alle de år, der er gået? Nogle numre indeholder et vist strejf af The Style Council, i hvert fald, når vi taler kvalitet i stil med Café Bleu-perioden, hvilket er en nostalgisk tendens, der også høres på hans seneste forgængere. Generelt set er det et velafbalanceret album, der beroliger i blå og disede nuancer af blødhed, som ikke desto mindre stadig byder dig indenfor med den umulige blanding af musikalsk aristokrati og arbejderklasse-appel, og med en stærk sans for stilistisk mangfoldighed uden på nogen måde at miste sammenhængskraften. Oven i det, står melodierne side om side og kalder på lytterens opmærksomhed - det er et album fyldt med stærke sange, som allerede kandiderer til et af hans hovedværker. Imponerende, det er hvad det er, og naturligvis varmt anbefalet.

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

Bo Sundström "Det kanske händer" (2021)

Det kanske händer

release date: Feb. 19, 2021

format: vinyl / cd

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

producer: Jonas Kullhammar

label: Columbia / Sony Music - nationality: Sweden

3rd solo album by Bo Sundström and the follow-up to his acclaimed 2018 vocal jazz album Mitt dumma jag - svensk jazz is much of a second coming to an established formula. The title track ['It Might Happen'] is a free translation of classic "It Could Happen to You" written by Jimmy Van Heusen and Johnny Burke. It's all predominantly old vocal jazz classics in new arrangements with translated lyrics to a common tone to make one coherent whole of originals covering a wider range of genres and styles, and once again, it's a sheer pleasure to listen to Sundström and his hand-picked backing band. One original track by Sundström has also found its way to another mighty fine acchievement, and in this outing, I think Sundström acchieves more at a time when Bo Kaspers Orkester appears to have lost some steam. We only have to see if he will take some of this new-found success back to the band playground and perhaps introduce us to a full circle with BKO returning to bolder jazz influence. I for one, would like to see that instead of a band who appears too eager to follow contemporary patterns. But that aside, there's an ocean of classic folk, standards and vocal jazz songs to rewrite, re-arrange and to release as future solo albums, and I'm pretty convinced there will be a growing audience for this 'cause Sundström just seems to have found his way.

Recommended.

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

My Light, My Destroyer

release date: Jul. 12, 2024

format: vinyl / 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 vinyl and cd issues of the album contains 13 tracks with a total running time of just under 37 minutes. The digital Deluxe Edition (and the 2-disc cd issue) 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 ]

2024 Favourite releases: 1. Adrienne Lenker Bright Future - 2. Hurray for the Riff-Raff The Past Is Still Alive - 3. Cassandra Jenkins My Light, My Destroyer

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] [3,92]

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

Søren Huss "Vi fik mere end vi kom for" (2024)

Vi fik mere end vi kom for

release date: Apr. 5, 2024

format: cd

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

producer: Søren Huss & Christian Balvig

label: Universal Music Group - nationality: Denmark

Track highlights: 3. "Sensommerdrøm" - 4. "Et støvet loop i inderste rille" - 5. "Langt ude, langt oppe, langt nede og langt, langt væk" - 7. "Kinddans" - 8. "Lyden af os under ét tag" - 10. "Stoledans"

5th studio album by Søren Huss following 4½ years after Sort & hvid til evig tid (Sep. 2019) is despite the time span an album of a familiar style. His 2019 album was in a way a final statement that his songs are eternally bound to both dark [sort] and light [hvid] sentiments. Some critics had early on directed some criticism to his blue-toned melancholic soundscape and Huss also made attempts in writing positive and lighter songs but he has made it clear that his musical tone is one of many blue notes. In that regard this only follows suit with his previous albums. It's music filled with harmony, light tones and uplifting moments AND it's nevertheless soothing with melancholy.

The musical expression is far from that of Saybia - only the vocal is familiar but that's how Huss primarily comes out on his own. All songs are credited Huss, and his backing band is a mix of stable instrumentalists. Guitarist Lars Skjærbæk has been aboard on the most recent three albums and bassist Morten Jørgensen and drummer Jesper Elnegaard have both been stable musicians on all of Huss' solo albums.

Vi fik mere end vi kom for ['We Got More Than Expected'] is by no means a poor collection of new songs, and in that regard it's a most fitting title in that it's also an excellent description of the album. The title is taken from track #5, which appears as the central song of the album. Huss stays on a safe path - he certainly has visited these roads before and some of the songs could easily be followed by older material without anyone finding it a disturbing change. Huss has never been afraid of narrating about his personal life and about existential crisis. He has found himself in a depressive state, which appears to be central to these ten new songs, and that theme is far from new to fans of his discography. That said, it's a return to his more minimalist songwriting as you'll find it on his first two solo albums. It's still an original sound with influence from folk rock and a whole world of balladry with a subtle touch of jazz. It's music for solitude, for rainy days and for attentive listening, and once you have accustomed and adjusted your expectations, it's like a cleansening bath in Autumn leaves.

[ Gaffa.dk 5 / 6, Politiken, Ekstra Bladet 4 / 6 stars ]

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', or a new Yield, Dark Matter actually succeeds unexpectedly well and it even betters the 2009 album, at least from my perspective, and I havent found the band this vital since then, or since 1998 for that matter. I know, the 2009 album was regarded as a step in the wrong direction by some. Yes, "Wreckage" may sound like Pearl Jam blending some of their old classic catalogue, but who really would expect this band to sound like some other act?! And in that way Dark Matter unfolds just like a Pearl Jam album 'should'.

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

[ 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] [3,70]

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 vocals 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 basically always take 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 rather cryptic narratives. Just like the music, it's one huge pot of stuff. 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 - after serious financial troubles and from years with heavy substance abuse, he sparkles and shines like ever 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 here and on top of his game, and it's just such a treat to listen to Ryder, Kermit and Youth delivering their special blend of modern pop music with loans from this and that. Musicians always steal anyway but only few understand how to do that cleverly, and Shaun Ryder has a wicked talent at just 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] [3,85]

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 ]

Sharon Van Etten "We've Been Going About This All Wrong" (2022)

We've Been Going About This All Wrong

release date: May 6, 2022

format: digital (14 x File, FLAC) (Deluxe Edition)

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

producer: Sharon Van Etten and Daniel Knowles

label: Jagjaguwar - nationality: USA

Track highlights: 1. "Darkness Fades" - 5. "Born" - 6. "Headspace" - 7. "Come Back" - 9. "Mistakes" - *12. "Porta" - *14. "When I Die"

*bonus track on Deluxe Edition

6th studio album by Sharon Van Etten follows more than 3 years after Remind Me Tomorrow (Jan. 2019). The album has been described by Etten as her 'pandemic record', and that becomes clearer upon listening to a more introvert and desolate collection of songs than what she normally puts out - and that even says quite a bit 'cause Van Etten is an artist who has released albums that reek inner perspective more than anything. In that regard, this new album is two-tongued exposing inner thoughts and sentiments but at the same dealing with a pandemic catastrophe as an outer dialogue. It's about climate, about making the wrong choices on behalf of humanity and life as such. The cover nicely depicts the danger with luring flames, threating homes and nature by eating up everything. The standard edition of the album comes with ten tracks running for a total of 39 minutes - the Deluxe Edition extends it to 55 minutes.

Much as usual, a new Van Etten album takes processing. At first it may sound familiar and alike her previous releases, as a mock up of sorts but given attention, it stands much on its own, with fragility as a common determinator of every song on yet another fine album.

Recommended.

[ Exclaim!, PopMatters 4 / 5, Pitchfork 7,8 / 10, 👉Rolling Stone 3,5 / 5, 👎The Guardian, NME 3 / 5 stars ]

Brittany Howard "What Now" (2024)

What Now

release date: Feb. 9, 2024

format: digital (12 x File, FLAC)

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

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 ]