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.

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

Deluxe Edition

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

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

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

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

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

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

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

I like it - it's definitely a grower.

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

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Etta James "Blues to the Bone" (2004)

Blues to the Bone
release date: Jun. 8, 2004
format: digital
[album rate: 3 / 5] [3,18]
producer: Etta James, Donto James, Sametto James
label: RCA Victor - nationality: USA

Studio album by Etta James in her autumn years. The album was to be her third last studio release as she passed away in 2012. The album is dominated by blues standards and rhythm and blues. She does very well, although, the songs are not new nor at her best level of performance but she's still able to add a certain soul and liveliness to every track. The album was handed a Grammy Award in 2005 for Best Traditional Blues Album of the year.
[ allmusic.com 4 / 5 stars ]

The Divine Comedy "Absent Friends" (2004)

Absent Friends

release date: Mar. 29, 2004
format: cd
[album rate: 3,5 / 5] [3,72]
producer: Nel Hannon
label: Parlophone Records - nationality: Northern Ireland, UK

Tracklist: 1. "Absent Friends" (studio session) - 2. "Sticks and Stones" (4 / 5) - 3. "Leaving Today" (4 / 5) - 4. "Come Home Billy Bird" - 5. "My Imaginary Friend" (3,5 / 5) - 6. "The Wreck of the Beautiful" - 7. "Our Mutual Friend" (4 / 5) - 8. "The Happy Goth" (live) - 9. "Freedom Road" - 10. "Laika's Theme" - 11. "Charmed Life" (live)

8th studio album by The Divine Comedy is Hannon's second on Parlophone, and now he has put himself in the producer seat.
After a short detour into art pop this marks a return to his heydays of A Short Album About Love (1997). Vanished is the experimental and darker style as heard on Regeneration (2001), and instead full focus on chamber pop orchestrated with horns and violins, and a bunch of great songs.
[ allmusic.com 4,5 / 5 stars ]

Zucchero "Zucchero & Co." (2004)

Zucchero & Co.
release date: May 14, 2004
format: digital
[album rate: 3,5 / 5] [3,58]
producer: Luciano Luisi & Zucchero
label: Polydor - nationality: Italy

10th studio album by Zucchero following 2½ years after Shake (May 2001) is simply released under his shortened moniker 'Zucchero'. In terms of new material, this is not a traditional album of brand new compositions and on the other hand it's no real compilation either. It's the revisit to Zucchero's back catalog featuring guest artists and with new musical arrangements, and NOT produced by Corrado Rustici, which already makes it a different release. Rustici is credited as producer on two tracks, Mousse T., Simon Climie and Toby Baker all on one track respectively. The album contains 18 tracks and 18 "guest stars" all of which perform "duets" (Miles Davis is the only guest artist as instrumental artist). In track order, the featuring guests are: Miles Davis, Sting, Vanessa Carlton, Mousse T., Macy Gray, Maná, John Lee Hooker, Sheryl Crow, Dolores O'Riordan, Eric Clapton, Tom Jones, B.B. King, Ronan Keating, Cheb Mami, Solomon Burke, Paul Young, Brian May, and Luciano Pavarotti & Andrea Bocelli.
The album is pretty good, even if you happen to know the original tracks because these are new interpretations, except "Senza una donna" (feat. Paul Young), which is as good as it comes in the old familiar version.
Zucchero & Co. does not stir up Zucchero's image but basically, once again, show the international star he has grown into. Over the past decade and more, he has performed with established artists all over the world and he has become Italy's biggest national and international rock star, so in that respect the album only documents his star quality. And in his discography the album marks a fine contribution as a new musical perspective without introducing a stylistic revolution.
All in all a fine album.

The Durutti Column "Tempus fugit" (2004)

Tempus fugit
release date: May 2004
format: digital
[album rate: 4 / 5]

Track highlights: 2. "Shooting" - 3. "Lullaby 4 Nina" (4 / 5) - 6. "Violence" - 8. "Love Song on Quattro" - 9. "Tempus fugit" - 10. "The Man Who Knows" - 11. "Slipping Away" - 14. "Salford Harmonics"

14th studio album by The Durutti Column is a 15-track release issued on Kooky Records produced by Laurie Laptop [aka Laurie Lexicon, aka Laurie Keith] and Vini Reilly. The album has its own distinct dreampop style. Before this, Reilly released the album Someone Else's Party (2003), in homage of his late mother. This album is entirely made by Reilly and it seems like an extraordinary personal and quiet, almost meditative, release, often done with unusual strumming on acoustic guitar. Only other performer on the album is Jill Taylor who adds vocal harmonies to many tracks. The album's title refers to the songs, and is underlined in the front cover, showing Reilly's conception of how 'time flees'.
[ allmusic.com 4 / 5 stars ]

Tom Waits "Real Gone" (2004)

Real Gone
release date: Oct. 5, 2004
format: cd / 2 lp vinyl (2017 remastered & remixed) (180g)
[album rate: 4 / 5] [3,78]
producer: Tom Waits & Kathleen Brennan
label: ANTI- - nationality: USA

Track highlights: 2. "Hoist That Rag" (4,5 / 5) (live) - 3. "Sins of the Father" - 4. "Shake It" - 5. "Don't Go Into That Barn" - 9. "Circus" - 10. "Trampled Rose" (live) - 12. "Baby Gonna Leave Me" - 14. "Make It Rain" (live on Letterman) - 15. "Day After Tomorrow" (live)

16th studio album by Tom Waits - his fourth after changing to ANTI- - following 2½ years after the double release Blood Money and Alice (May 2002).

Real Gone brings to mind Bone Machine (1992) and The Black Rider (1993) in the way that it's about experimental rock but also in a theatrical blues rock style, which partly distances the album from the fine Mule Variations (1999) and at the same time, it also appears as something new with a different rhythm section - as Waits' own "Clang-Boom-Steam" [also the title of track #13] vocal beatbox as background instrumentation - that mix modern styles with an echo of hip-hop and alt. rock.
The Kurt Weil influence from his 2002 releases is somewhat more absent here, whereas you sense a reference to Don Van Vliet. Waits and Brennan's oldest son, Casey Waits is as alt. metal drummer Brain [aka Brian Kei Mantia] both credited drums and percussion on several tracks. Waits' two other children, the eldest, Kellesimone, and the youngest, Sullivan, are also credited as 'production crew' and for 'grub and lug' [food etc.]. A newer element is the clearer use of electric guitar - played by Marc Ribbot (of Lounge Lizards) - on most tracks, which also helps to create a tinge of experimental blues.

The album even overtook the chart success of Mule Variations and peaked at number #28, the highest for a Waits album on the US Billboard 200, and landed as number #16 in the UK, number #2 in Norway, in addition to several top-10 positions around the world.

My first impression of the album was not positive, but over time I have found it quite a lot better and overall I think it's a significantly better album than Blood Money / Alice and The Black Rider, and what it really shows me, is how Waits' albums are all potential favourites. When you dig into (perhaps) any of his many albums, you potentially discover a window of hidden beauty. It's strange and bewildering, but I guess you know, if you dig.

Recommended.

[ allmusic.com, NME 3,5 / 5, Rolling Stone 3 / 5, Mojo, The Guardian 4 / 5 stars ]

Frank Black "Frank Black Francis" (2004)

Frank Black Francis
release date: Oct. 12, 2004
format: 2 cd
[album rate: 2,5 / 5] [2,66]
producer: Two Pale Boys
label: SpinART - nationality: USA

2-disc album by Frank Black released after Pixies had re-united in 2003 and was in a process of releasing new material. Disc 1 "Black Francis demos" are Black's actual demo recordings prior to the first Pixies recording session in 1987. Disc 2 "Frank Black Francis" sees Black reworking a selection of familiar Pixies songs together with Keith Moliné and Andy Diagram from David Thomas and Two Pale Boys.
This is neither a new studio album or a traditional compilation album, although, it contains material which could put the album in both categories. The first disc is 'extra material' one would expect on a deluxe edition of the Come on Pilgrim ep and disc 2 is much more in the tradition of new album releases as it contains completely new interpretations of his own songs, and then all songs have been released before... It also contains a rather unnecessary almost 15 min version of "Planet of Sound", which spins 2:07 in its original version [what?!]. These new recordings are made in subtle 'folk rock' and 'singer / songwriter' shapes, which really alienate them from the originals. They are not entirely bad, but after a while I still end up thinking "so?". It's great classic energetic outbursts tied down to sell an album and to 'milk the sacred cow', as Biafra would've put it. Fact is, Pixies re-united in 2003, played some gigs and went as far to start recording new material. First they released a bunch a live albums, then they released a couple of singles - all self-released material - to have their share. Their former label, 4AD milked its share by releasing the compilation album Wave of Mutilation: Best of Pixies and Frank Black released this one to get his crunchy bit while the band was on everyone's lips again. Musically, disc 1 is a bland experience. There are good reasons as to why demo recordings don't do that well. I mean, of course people want to see the sketches of Da Vinci and Picasso, but why pay a lot of attention to someone humming in his or her bedroom to lay down ideas to elaborate on and have band members fix it all to make it unique and worthwhile in a studio?! Had it been solo originals, it would equal the aforementioned comparison, but Pixies was much more than Frank Black's sketches. This is purely for documentary purpose. Or, if you happen to be one true Pixies hardcore fan, and I'm not really that.
Only disappointed.
[ allmusic.com, Mojo, Uncut 4 / 5, Q 2 / 5 stars ]

Björk "Medúlla" (2004)

Medúlla
release date: Aug. 30, 2004
format: cd
[album rate: 3 / 5] [3,12]
producer: Björk
label: Elektra - nationality: Iceland

Track highlights: 1. "Pleasure Is All Mine" - 4. "Vökuró" - 6. "Who Is It (Carry My Joy on the Left, Carry My Pain on the Right)" - 8. "Desired Constellation" - 9. "Oceania" - 14. "Triumph of a Heart"

5th studio album by Björk is a primarily self-produced album - Mark Bell is co-producer on tracks #3, #7, and #9. The album was originally released by One Little Indian (by Elektra in North America). Although, a new studio album by Björk always means a new sound texture, this is quite unusual for her as it's almost entirely made up of a cappella compositions and by large choirs - The Icelandic Choir on six tracks and The London Choir on track #9. It also feature several guest artists including Inuit throat singer Tagaq (tracks #1, #6, #11, and #12), vocalist Mike Patton of Faith No More (tracks #1 and #3), and Robert Wyatt (tracks #7 and #9)
The album generally received positive reviews and brought her critical acclaim as well as several prize nominations, however, I have never enjoyed this particular album that much. Yes, it contains a number of fine songs but no really truly memorable ones, and as a whole, I think the more experimental compositions dominate an album, I mostly think of as slightly - I dare say 'boring', simply, by being a mere formative release, which again makes me ponder on the word 'pretentious'. It's like one long voice experiment playing with tribal and throat singing, which in the end becomes less inspiring.
I consider this her first in a series of three consecutive and formative albums without strong appealing traits. So why don't I rate it lower? Well, first of all, it's still clearly above mediocre (2,5 on my scale), and then Björk is an artist who dare experiment and most of the time she actually succeeds in making ground-braking new music because she's an artist who dares taking the big leaps. Here, she may likely satisfy critics and fans by doing the near 'impossible' - she expands the borders of popular music but it also takes a lot of willed attention to digest. She is up front when it comes to rethinking popular music, and this time, she's just off target from my perspective, although, she's still producing new music instead of just replicating formulas, and that takes courage. Björk is in that regard like Zappa - someone who is recognised as a great composer and an important personality when it comes to rethinking modern music.
Not really recommended.
[ allmusic.com, Mojo 4 / 5, Rolling Stone 3,5 / 5, Q Magazine 3 / 5 stars ]

The Cure "The Cure" (2004)

The Cure
release date: Jun. 29, 2004
format: cd
[album rate: 3 / 5]
producer: Ross Robinson, Robert Smith
label: I Am - nationality: England, UK

Track highlights: 3. "Before Three" (3,5 / 5) - 4. "The End of the World" (4 / 5) (live)

12th studio album by The Cure - for the first time releasing on a new label, a small label licensed through Geffen Records. Again, it took the "usual" four years to release a new album. It's the band's first album in 25 years [!] not to be released on Fiction Records, and the band / Smith has found together with an American producer who has been known for his work with hard rock death rock and metal bands, which explains the much harder and heavier sound. Despite the improvement from the previous four releases and the effort to seek out new ways of expressing themselves, I don't think it's all that great. The international music scene has seen 'post-punk revival' bands from both the American as well as the European continent, and The Cure jumps that train with the excuse to have returned to their post-punk roots. I just find the band has only little to contribute with. The songs, the melodies, the originality, it's really not there except from on two or three songs, which doesn't make it a great album. Following the album release Roger O'Donnell and Perry Bamonte was fired from the band in 2005.
[ allmusic.com 3 / 5, NME, Rolling Stone 4 / 5 stars ]

Anna Ternheim "Somebody Outside" (2004)

Somebody Outside [debut]

release date: Oct. 12, 2004

format: cd

[album rate: 3,5 / 5] [3,36]

producer: Anna Ternheim; Andreas Dahlbäck

label: Stockholm Records - nationality: Sweden

Track highlights: 1. "To Be Gone" (4 / 5) (live) - 2. "Better Be" (4 / 5) (live) - 3. "I'll Follow You Tonight" - 4. "Bring Down Like I" - 9. "My Secret" - 10. "Shoreline" (live)

Studio album debut from Swedish artist Anna Ternheim (aka Anna Alexandra Ternheim) produced by Ternheim herself and Anders Dahlbäck as co-producer on eight tracks, Daniel Jansson on two, and with Mattias Areskog and Åsa Jacobsson as co-producers on one track. The album peaked at a high No. #3 on the Swedish albums chart and the first single "To Be Gone" only made it to No. #40, whereas the track "Shoreline", released nearly one year later, landed at No. #5 on the Swedish singles chart.

Somebody Outside starts off really well with two catchy tracks, after which the quality drops a bit and some compositions are a bit more on an adequate to the mediocre. I don't know anything about the story behind the album, but it definitely contains songs of high quality but also some flaws. Ternheim's occasional English-Swedish accent is somewhat thick, which on the one hand brings memories of Björk or Danish artist Tina Dickow, and on the other hand it's not a thing that should take focus away from the music, but it still does, especially on songs ["I Say No", "A Voice to Calm You Down", "Somebody's Outside"] where the lyrics sound tend towards Swedish high school music... in other words: album fillers that could have been replaced. And it's a bit of a shame, because Ternheim writes and composes really solid songs, which stylistically could fall in an admittedly crowded field somewhere in between Alanis Morissette, Sheryl Crow, and Suzanne Vega - a field of female singer-songwriters who may fill entire ball rooms - but: Ternheim does it better than many others and in any case, the album is clear proof that you should keep eyes and ears open for releases from this artist.

[ Gaffa.dk 4 / 6 stars ]

PowerSolo "It's Raceday ... and Your Pussy Is GUT!!!" (2004)

It's Raceday... and Your Pussy Is GUT!!!
release date: Mar. 8, 2004
format: vinyl (FROG 036-1) / cd
[album rate: 3,5 / 5] [3,42]
producer: The Great Nalna, Jesper Reginal, PowerSolo
label: Crunchy Frog - nationality: Denmark

Track highlights: 1. "Baby You Ain't Looking Right" - 2. "Kat Nazer (Powersoul)" (4 / 5) - 4. "Juanito" (4 / 5) - 5. "Oak Tree Girl"

2nd studio album by PowerSolo is much better than the debut from 2001. The brothers Petersen (Jesper Reginal and Ulrik, "The Great Nalna"), co-founders of Crunchy Frog and former drummer of Thau, have both helped producing the album, and that really lifts the music to another level. The band members credited here are: Atomic Child (aka Bo Hjort Jeppesen) on guitars, bass, lap steel, and backing vocals, JCBenz (aka Jens Søndergaard) on drums and percussion, and with Kim Kix (Kim Hjort Jeppesen) on lead vocal, guitars and 'dawghouse' bass.
"Kat Nazer", which was included on the debut really sounds much better on this album. The music of PowerSolo is still a blend of all kinds of styles and influences. Compared to the debut, this has less country rock and psychedelic rock elements and is instead pulled in new directions of more melodic indie pop with inspiration from surf rock and Mexican traditional folk. The first half of the album is clearly the best, and it points to an album at 3,5 or even 4 stars. However, the second half tend to reproduce what sounds like mere improvisations and are like silly songs, which probably was a lot of fun recording in the recording studio, but the result is not really brilliant. I think, not only band and record label but also most critics had expected the band to go a lot further with this album. They really deserved (and still do deserve) much more credit than paid, but that's part of the business. The album didn't bring the success, but luckily PowerSolo kept making music.

The track "Juanito" was used in a French commercial for SNCF (Société Nationale des Chemins de fer Français) [National French Rail company], and the track "Baby You Ain't Looking Right" found its way to a Ford commercial, AND "Kat Nazer" was used in a Heineken commercial.

Lisa Ekdahl "Olyckssyster" (2004)

Olyckssyster
release date: Sep. 8, 2004
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Lars Winnerbäck
label: RCA Victor - nationality: Sweden

5th studio album by Lisa Ekdahl. This is Lisa back on track. Instead of making cover versions and / or tribute releases, she has finally made another fine album of folk pop and singer / songwriter in Swedish, and then again her voice shines.
Imho, the album is one of her better, and just puts it outside her top-3 albums.

U2 "How to Dismantle an Atomic Bomb" (2004)

How to Dismantle an Atomic Bomb
release date: Nov. 22, 2004
format: digital
[album rate: 3 / 5] [3,16]
producer: various
label: Island Records - nationality: Ireland

Track highlights: 1. "Vertigo" - 3. "Sometimes You Can't Make It on Your Own" - 6. "All Because of You" (4 / 5) - 10. "Original of the Species"

11th studio album by U2 was not produced by a single producer or a group of people but each and every song had various people producing the individual tracks for the album. Having said that, it's also a return to their first producer Steve Lillywhite, who produced the band's first three albums, and who is credited as producer on five of this album's originally 11 tracks. Chris Thomas produced two tracks (and co-produced one track with Daniel Lanois), and the remaining tracks all had individual producers. Four years after All That You Can't Leave Behind (Oct. 2000) doesn't really suffice to make more than a decent release, and again rumour has it that the band was about to split. The album contains the fine tracks "Vertigo" (a track that was meant to reestablish the band as a real rock quartet), "Sometimes You Can't Make It on Your Own", and the only really great track "All Because of You" - the rest are easily forgotten.
[ allmusic.com 3,5 / 5, 👎Rolling Stone, Q Magazine 4 / 5 stars ]

Alanis Morissette "So-Called Chaos" (2004)

So-Called Chaos
release date: Feb. 26, 2004
format: cd
[album rate: 2,5 / 5]

Track highlights: 1. "Eight Easy Step" - 2. "Out Is Through" (4 / 5) - 7. "Not All Me"

6th studio album release by Alanis Morissette. This reminds me a lot about Supposed Former Infatuation Junkie (1998).

It doesn't contain that many special songs, and as with the aforementioned album, whenever Alanis lacks the good songs, she or the producer tend to throw in a handful of energetic powerdriven tracks that shows her as the angry grunge-inspired lady of rock. Kinda like the same recipe as Pearl Jam has used on a number of occasions, actually.

I think this is her weakest effort so far.

[ allmusic.com 4 / 5, Rolling Stone 2 / 5 stars ]

Siouxsie and the Banshees "Downside Up" (2004)

Downside Up (compilation)

release date: Nov. 19, 2004

format: digital box set

[album rate: 4 / 5]

producer: various

label: Polydor / Wonderland / Universal - nationality: England, UK

A compilation by Siouxsie and the Banshees as a 4-disc box set, which is described on the sticker on the front cover:

"B-Sides & Rarities Box Set

55 tracks on 4 CDS All digitally remastered
34 tracks on CD for the first time!

Includes a 76 page booklet with an introduction by Siouxsie

Annotations by all 3 members of the band for each track

Full lyrics for all tracks
982 182-3"

55 tracks and 3 hours and 50 minutes of total running time - which should ensure a sensation of being covered with rare takes etc. And it is a rather comprehensive release, which luckily includes fine comments from Siouxsie, Severin, and Budgie as additional material for each track.

Collector's item.

Best of 2004:Arcade Fire "Funeral" (2004)

Funeral [debut]
release date: Sep. 14, 2004
format: cd
[album rate: 4,5 / 5] [4,56]
producer: Arcade Fire
label: Merge Records - nationality: Canada

Track highlights: 1. "Neighborhood #1 (Tunnels)" - 2. "Neighborhood #2 (Laïka)" (5 / 5) (live in Amsterdam) - 3. "Neighborhood #3 (Power Out)" (5 / 5) (live on Jools Holland) - 5. "Neighborhood #4 (7 Kettles)" - 7. "Wake Up" - 8. "Haïti" (5 / 5) - 9. "Rebellion (Lies)" (5 / 5) - 10. "In the Backseat"

Studio debut album by Arcade Fire. Despite the amount of hype that preceded it, the album lives up to all expectations and more! This is great innovative music that takes you places and makes you wanna turn up the volume and just... dance. It may not look pretty [me dancing] but it sure makes me wanna move :-) In spite of the sinister theme of death and loss, it really is an uplifting and positive album, and with this: they deserve all the hype. This was without comparison my most beloved cd that year.The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 5 / 5, NME 4,5 / 5, Rolling Stone, Uncut 4 / 5 stars ]

2004 Favourite releases: 1. Arcade Fire Funeral - 2. The Streets A Grand Don't Come for Free - 3. Grant-Lee Phillips Virginia Creeper

The Blue Nile "High" (2004)

High
release date: Aug. 30, 2004
format: cd
[album rate: 4 / 5] [3,98]
producer: The Blue Nile
label: Sanctuary Records - nationality: Scotland, UK

Track highlights: 1. "The Days of Our Lives" - 2. "I Would Never" (4 / 5 ) - 3. "Broken Loves" (5 / 5) - 4. "Because of Toledo" - 5. "She Saw the World" (4 / 5) - 6. "High" - 7. "Soul Boy" - 9. "Stay Close"

4th and so far final studio album by The Blue Nile released 8 years after the previous album. After the least successful album to date, the band left Warner Bros., and this album is released on the smaller Sanctuary Records (sublabel of BMG). It's like a return to their old style, just updated with a better production and skilful use of electronic.
"Broken Loves" is such a fabulous track, and the album is highly recommended.
Since this, the band has kept quiet. Paul Buchanan, however, released his fine solo debut album Mid Air in 2012.
[ allmusic.com 3,5 / 5, The Guardian 4 / 5 stars ]

Show lyrics <- click...

~ ~ ~

"Broken Loves"

"I feel exactly like a matchstick in relation to you
Thin and broken.
And nothing I can seem - There's Nothing I can seem to do
Make you switch the TV off - To Make you switch the TV off
And look up - Oh look up
Look up

Sail away
Sailing away from me also
I count your sticks and all your toys
You're laughing in the background noise
We won't give up
I'm going to give you something else
That's some kind of broken words

Children swing, to and fro
Do you ever wonder
Where did the summer go?
Counting The TV's and counting the stars
It's so unfunny I don't know where you are anymore
I don't know where you are anymore

Sail away
Sail on back to me envy
I count your sticks and all your toys
Your laughter in the background noise
Please don't give up
I am gonna promise you something else
Not some kind of broken loves

Sail away
Sail on back to me and then (yeah yeah)
I'll keep your sticks and all your toys
I'll keep you in the background noise
Yeah we don't give up
And I am gonna find you something else
Not some kind of broken loves"

~ ~ ~

Peter Murphy "Unshattered" (2004)

Unshattered

release date: Oct. 19, 2004

format: cd

[album rate: 3,5 / 5] [3,38]

producer: Gardner Cole

label: Viastar - nationality: England, UK

Track highlights: 1. "Idle Flow" - 2. "Kiss Myself" - 3. "Piece of You" - 4. "Face the Moon" - 8. "Give What He's Got" - 9. "Blinded Like Saul"

7th studio album by Peter Murphy following 2½ years after Dust (Apr. 2002), which saw him experiment with world music and Turkish music tradition in particular. In that respect, Unshattered appears much more like a natural follow-up to Cascade (Oct. 1995), his final studio album on Beggars Banquet. For the new album, he has teamed up with American producer Gardner Cole, who previously has worked mostly in a dance and synthpop arena, which alone indicates a shift in sound. Former co-composer Paul Statham is back and has composed music on six of the album's eleven songs. The credit list of featuring musicians count several acclaimed names including two members of Porno for Pyros: guitarist Peter DiStefano (who also performed with Murphy on his 'aLive Just for Love tour') is composer of two songs, on which he also plays guitar, and drummer Stephen Perkins, credited on three songs. Former Wham! and George Michael bassist Deon Estus is featured on three tracks, American session musician Eric Avery is bassist on two tracks, and producer Cole is also bassist on three tracks aside from overall handling keyboards, guitar, piano, and percussion on several songs. American session guitarist Tim Pierce is here on most tracks, whereas none of the musicians nor technical personnel from Dust reappear, but then former Bauhaus drummer Kevin Haskins is heard on track #9. The album is Murphy's only on Viastar - in fact it seems to be only one in a total of three releases on this label, all released in 2004.

Unshattered is return to his usual style of dark alt. rock with bonds to gothic rock. Sometimes he revists the darker corners of the style reminding us of Bauhaus, at other times he croons in lighter spheres, although, his vocal always seems to be returning to the shadows.

To his usual standard, the album contains fine moments and adds to the list of Peter Murphy staples, although, as a full-length studio album, it's simply too incoherent with too much filling to be considered one of his better outings.

[ allmusic.com 3,5 / 5 stars ]

Paul Weller "Studio 150" (2004)

Studio 150
release date: Sep. 14, 2004
format: cd (SACD)
[album rate: 3 / 5] [3,06]
producer: Jan Kybert & Paul Weller
label: V2 - nationality: England, UK

7th studio album by Paul Weller following two years after Illumination is a collection of cover songs of various styles from standards, rhythm & blues, soul, classic pop, folk rock, and pop / rock, and most songs are originally from the 1960s.
The album is not all bad, and the material of songs of course represent Weller's influences but I really don't find it a pleasant listen altogether. Some songs are a wee bit hard to listen to in Weller's arrangements and with his pop / rock vocal, e.g. the traditional "Black Is the Colour", Bacharach and Hardin's "Close to You" - legendary in The Carpenters version - Dylan's "All Along the Watchtower" - strongly covered by many others, and then he has made room for a song by britpop composer Noel Gallagher of Oasis, which simply seems out of place, when putting him alongside Bob Dylan, Billie Calvin, Neil Young, Gil Scott-Heron, Burt Bacharach and Nile Rodgers but it also points to how diverse and redundant this collection of songs basically seem.
[ allmusic.com, The Music Box 3 / 5 stars ]