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 voices in modern pop music. He even jokes about this on "Button Eyes" when going "I find it funny that I can't sing!". All lyrics are basically always taking a starting point in actual lived life situations mixed with skewed perspectives on politics and culture in general where you both find easily understandable references and what appears as cryptic narratives. Just like the music, it's one huge pot of styles. But it works so well and it's always delivered with a sneer, a wink, and / or both. The great thing is, that since Ryder bounced back - both after serious financial troubles and from years with heavy substance abuse, he sparkles and shines like never before. He's in his 60s, life has given him obvious ups and downs and part of that is family: four ex-wives, six children, and a new perspective on life, but he's now better than ever and it's just a treat to listen to Ryder, Kermit and Youth delivering their own blend of modern pop music with loans from this and that.

It's addictive and recommended.

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

Bloc Party "Alpha Games" (2022)

Alpha Games

release date: Apr. 21, 2022

format: digital (12 x File, FLAC)

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

producer: Nick Launay, Adam Greenspan

label: Infectious Music - nationality: England, UK

Track highlights: 1. "Day Drinker" - 2. "Traps" - 3. "You Should Know the Truth" - 4. "Callum Is a Snake" - 6. "The Girls Are Fighting" - 7. "Of Things Yet to Come" - 8. "Sex Magik" - 9. "By Any Means Necessary"

6th studio album from Bloc Party comes more than six years after Hymns (Jan. 2016) and is made with Launay and Greenspan - a somewhat remarkable producer duo. In the early 80s Nick Launay was already a producer for Virgin Prunes, Killing Joke, Gang of Four and Australian bands like Birthday Party, Midnight Oil, and The Church. He later produced for INXS and The Armoury Show, and in the 90s and into the new Millennium he produced for David Byrne and Nick Cave. In comparison, Greenspan appears a somewhat more unknown producer who has worked as sound engineer for Arcade Fire (on The Suburbs) and he has produced for indie rock bands such as Maxïmo Park and The Veils. Together, they have worked on the critically acclaimed Push the Sky Away (2013) by Nick Cave and the Bad Seeds, where Launay is credited as co-producer and Greenspan was responsible for mixing the album, but they have since then functioned as a producer-duo on several releases.

Alpha Games shows once again that Bloc Party is not an easy act to bring to a halt, even though several times over the years there have been rumors that the group faced a final career break. In the past it has led to changes in the group's line-up, which has supported the rumours, but at the same time there always seems to have been a stable core of songwriter and lead vocalist Kele and the band's musical focal point in guitarist Russell Lissack. The album Hymns was made as a duo-project after being abandoned by first the group's longtime drummer Matt Tong and later, shortly before recording the album, bassist Gordon Moakes. Kele and Lissack carried out studio recordings with studio musicians and subsequently succeeded firstly by filling the vacant seat as drummer with a quite young Louise Bartle and then also the role of bassist thanks to American musician Justin Harris, who featured on Hymns as studio musician, and now, six years down a new path, it is still this constellation that makes up Bloc Party.

Musically speaking, the group has moved in many directions since the starting point as an energetic post-punk revival act, and for fans and critics the band has behaved like a fish in water - a band you could never really know for sure where to place, or where they where they were going - which may have been one of the reasons for lukewarm reviews from confused reviewers, but releases in various styles may also have confused fans. On the other hand, you may argue that very much like front figure Kele, who has himself released albums characterized by quite different styles, such as electronic dance-pop and then even singer / songwriter folk, Bloc Party has insisted on making exactly the music they themselves felt was just right at a certain point. When they thundered out on the scene as one of the hottest names alongside American band Interpol, the easiest thing would have been to continue in the same groove, but no, they immediately plunged into another direction, and from that into another, etc., all while their stylistic dribbles hitched many off - and perhaps in the process itself both lost a drummer and a bassist.

Alpha Games offers a revisit of Bloc Party classic in the sense that the post-punk revival element is back, but not in a pure rock-universe, but in a more nuanced picture with elements drawn from a bunch of other styles. You'll find alt. dance and indie rock in a mix with the addition of a fingertip of electronic without losing the sensation of a complete expression. There is recycling and inspiration from their own previous releases, but it all still sounds like a brand new album that stands on its own feet. In many ways it sounds like an album they could have released in the wake of the great Intimacy (2008), but it doesn't just work that way and without Four (2012) and Hymns, Alpha Games would never have resulted in the album we now face. Justin Harris and Louise Bartle have played that many times together with Kele and Lissack over the past years that they now contribute to a new chapter in the band's long history, which nevertheless 'only' counts six studio albums.

Alpha Games is already an album that (once again) divides the waters. Some critics (Pitchfork) call it a mixed pleasure and cling a bit too much to Kele's lyrical universe, while others (Clash and PopMatters) praise the album's musical qualities. To my ears, the album mostly gives good reason to wish for more releases in the future, knowing that with Bloc Party no one can really tell what will happen. But until then, enjoy this energetic outing, which is even something as conservative as the album original fans could wish for.

An exciting and recommended effort.

[ 👍allmusic.com 3,5 / 5, Clash, PopMatters 4 / 5, 👎Pitchfork 5,2 / 10 stars ]

Shaun Ryder "Visits From Future Technology" (2021)

Visits From Future Technology

release date: Aug. 20, 2021

format: digital (11 x File, MP3)

[album rate: 4 / 5] [3,78]

producer: Sunny Levine

label: SWRX Recordings - nationality: England, UK

Track highlights: 1. "Mumbo Jumbo" - 2. "Close the Dam" - 3. "Popstar's Daughters" - 4. "Monster" - 5. "Honey Put the Kettle On" - 6. "Crazy Bitches" - 7. "Straighten Me Up" - 11. "Clubbing Rabbits"

2nd solo album from Shaun Ryder follows a full eighteen years [18!!] after the solo debut Amateur Night in the Big Top (2003) and has been released on Ryder's own label SWRX Recordings. In a certain way, this could probably count as his actual debut, but that's not how music rights work [see comments for the 2003 album]. It is no state secret that Shaun Ryder's life as a musician and as a private person has involved various types of stimulants [!], and the media image of Ryder is first and foremost that of a skilled songwriter - and an addict. First he fronted the Madchester band Happy Mondays, which saw its heydays in the years from 1988 to '93. He then became lead vocalist of Black Grape from 1993 to '98. And in the period after that, he has managed to restart and disband Happy Mondays and Black Grape in almost countless new formations - possibly mostly because he wanted to be able to tour or play individual concerts, and thereby keep the income alive, but this hasn't led to much new music. Most recently, he released Pop Voodoo (2017) under the name of Black Grape, which probably could have just as well been under the name of Happy Mondays, which on the other hand most recently released its Uncle Dysfunktional in 2007. However, he has explained that when he made new music on his own, it would be released as Happy Mondays, whereas with Black Grape, it would always be co-composed with Kermit (aka Paul Leveridge). And although Ryder hasn't been involved in releasing much new music in this Millennium, he has never really been away from the media spotlight in his home country. He has published books, participated in reality shows ('Gogglebox' and 'I’m a Celebrity… Get Me Out of Here!'), and he has been guest musician on a large number of other artists' releases. With Visits From Future Technology, Ryder has managed to collect a number of older and more or less unfinished tracks he had lying around, and with the help of producer Levine, it has become a new album under his own name. Under the name SWR [Shaun William Ryder], "Close the Dam" was already released in 2015 as a single, but is on here anyway. It's not surprisingly music that bears the stamp of the Madchester style that he himself helped establish. It's a danceable mix of alt. dance, indie rock, and electronic music with a good portion of sampling effectively thrown in here and there. The album comes with eleven tracks and a total playing time of just over 40 minutes.

Visits From Future Technology has come out to mostly positive reviews, and it's actually quite a performance he delivers here. It's basically surprisingly good craftsmanship. There are clear reminders of both Happy Mondays and Black Grape, but who really cares as long as it swings?! And it surely does exactly just that! Ryder occasionally mumbles, but charmingly as an old boxer, and without sounding like Shane MacGowan of The Pogues, and then he delivers some of his funniest lyrics - he's sharp and direct and bloody charming. And then he sounds like he's over years with self-abuse, which mostly secures better end results. The album is largely without fillers and represents a quite original combo that manages to raise the level from Pop Voodoo considerably and Ryder has made one of his best albums, ever!

A mighty fine and recommended album!

[ 👍Mojo, TheArtsDesk.com, XSnoize 4 / 5, LouderThanWar 4,5 / 5 stars ]

Kele "2042" (2019)

2042

release date: Nov. 8, 2019

format: digital (16 x File, FLAC)

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

producer: Gethin Pearson

label: Kola / !K7 - nationality: England, UK

Track highlights: 1. "Jungle Bunny" - 3. "Let England Burn" - 4. "St. Kaepernick Wept" - 6. "My Business" - 7. "Ceiling Games" - 9. "Between Me and My Maker" - 13. "Catching Feelings" - 16. "Backburner"

4th studio release by Kele, who once again have returned to stand by his first name only, in contrast to Fatherland (Oct. 2017), which was released under the name Kele Okereke. There has now been room for a total of sixteen tracks and a total playing length of 61 minutes. The album follows four months after he and the band Bloc Party released the live album Silent Alarm Live (Jul. 2019) recorded during the band's European tour in 2018.

Stylistically, he's back in dance mode with an uptempo release using various electronic styles as alt. dance, neo-soul, funk, and disco mixed with indie pop, and a sound which isn't far from that of Bloc Party. Furthermore, he's more political than heard before, and the title apparently alludes to a collection of tracks revolving around an image of England in the year 2042. The album received fine reviews in the UK but didn't chart on the albums chart.

2042 is another fine example of Kele's musical skills, where he picks from all sorts of genres and styles to produce his own personal mix. In that way, stylistically and in terms of form, the album reminds me somewhat of his solo debut The Boxer (2010), without speaking of mere recycling. At times in the past, he hasn't always been able to hit the target with his releases but with 2042, I think he's back on track and the album simply appears to be his best and clearly most exciting album since his exiting debut and is therefore worthy of a recommendation.

[ NME, DIY 4 / 5 stars ]

The Prodigy "No Tourists" (2018)

No Tourists
release date: Nov. 2, 2018
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,35]
producer: Liam Howlett
label: Take Me to the Hospital - nationality: England, UK

Track highlights: 1. "Need Some1" - 2. "Light Up the Sky" - 6. "Timebomb Zone" - 7. "Champions of London" - 9. "Resonate"

7th studio album by The Prodigy, which is the continued band-project consisting of dancer Keith Flint on vocals, Maxim Reality (aka Keith Palmer) on vocals and Liam Howlett as the musical mastermind behind it all, as he has made the music with various samples, mixed and produced it all. Flint and Maxim are credited as co-writers on three of the songs and basically "only" contributes with vocals on three and four songs respectively. Aside from the three official band members, the album has been made with various guest musicians, including guitarist Olly Burden, who has co-written four of the songs - on which he's also credited as co-producer - with Howlett and who also plays guitar on three comopsitions.
As the predecessor The Day Is My Enemy from 2015, the album continues in a more aggressive "rave revival" or big beat known as hardcore breaks, which bonds nicely with the first three albums by the band.
The album is the band's 7th consecutive album to peak as #1 on the UK albums chart list (including the compilation album Their Law: The Singles 1990-2005 from 2005), which seems like some sort of record, although, the band hasn't released a No. 1 single since "Breathe" in 1996.
After some time, I have come to enjoy this album more and more - and without comparison, I see it as no less than their best album since The Fat of the Land from 1997.
No Tourists became the last to feature dancer and vocalist Keith Flint as he ended his life in Mar. 2019.
[ allmusic.com, The Guardian, Mojo 3 / 5, Uncut 3,5 / 5, The Observer, The Irish Times 4 / 5, NME 5 / 5 stars ]

Black Grape "Pop Voodoo" (2017)

Pop Voodoo

release date: Jul. 7, 2017

format: digital (12 x File, MP3)

[album rate: 3,5 / 5] [3,52]

producer: Youth (aka Martin Glover)

label: UMC Records - nationality: England, UK

Track highlights: 1. "Everything You Know Is Wrong - Intro" - 2. "Nine Lives" (live) - 4. "Whiskey, Wine and Ham" - 5. "Money Burns" - 7. "Pop Voodoo" - 8. "I Wanna Be Like You"

3rd studio album by Black Grape released twenty years after Stupid Stupid Stupid (Nov 1997). The band has in essence become a moniker for Shaun Ryder and a band effort is a difficult term in regard to this album. Black Grape is here made up by the two vocalists Ryder and Paul 'Kermit' Leveridge, and all lyrics and music is here credited the two in collaboration with producer Martin 'Youth' Glover - long-time recurring bassist of Killing Joke as well as an established remix-producer for a long list of acts. As instrumentalists, Ryder and Kermit are solely credited for their vocal performances, while Youth is also credited on guitar, bass and for programming. Other musicians contribute as session musicians but the album is without the participation of former Black Grape members Danny Saber and Bez.

Musically, it's very much the continued cycle when it comes to music with Shaun Ryder. It's alt. dance music building on old school funk and soul mixed with neo-psychedelia and bits of electronica. Both in 2012 and again in 2015 Ryder spoke of a new Happy Mondays album in the making, but that never materialised, or: it turned out that it was easier for him to release it under the Black Grape moniker.

The album was met by better reviews than Uncle Dysfunktional (2007) by The Mondays, and it went as high as to number #15 on the UK chart list. Two songs were chosen for single releases: "Nine Lives" and "I Wanna Be Like You".

Pop Voodoo might as well be credited Happy Mondays - it's hard to tell the difference, and what remains are the fingerprints of Shaun Ryder's presence: the characteristic vocal and the half-mad, witty and semi-offensive lyrics. And then there's Kermit, or: where is he? He's there, at times popping up, adding rap, but it's mostly Ryder you notice. My guess is, Youth made most of the music, and he does a fine job composing, playing, programming, producing and mixing a style that fits Ryder's voice. It's neat, warm, funky and danceable club-music, but it does sound a bit outdated, and it just lacks outstanding hooks and rifs, although, it's quite coherent and also clearly bettering Ryder's many recent attempts.

Not great, not bad - somewhat easily forgettable BUT with a nice groove, entertaining moments, and ultimately slightly bettering the '97 album as a more coherent release, although, it's without a great hit like "Get Higher".

[ 👍allmusic.com, PopMatters, musicOMH 3,5 / 5 stars ]

Happy Mondays "Uncle Dysfunktional" (2007)

Uncle Dysfunktional

release date: Jul. 2, 2007

format: digital (13 x File, MP3)

[album rate: 3 / 5] [2,88]

producer: Sunny Levine

label: Sequel Records - nationality: England, UK

Track highlights: 1. "Jellybean" - 2. "Angels and Whores" - 5. "Cuntry Disco" - 7. "Anti Warhole (On the Dancefloor)" - 8. "Rush Rush"

5th studio album by Happy Mondays following 15 years after ... Yes Please (1992) is the bands first album with a new line-up, and as of 2018 also the so far final album by The Mondays. After the disbandment in '93, Shaun Ryder and Bez went on to form Black Grape but after two albums and another disbandment, Ryder once again took the initiative to reform his old band with younger brother Paul, best mate Bez and drummer Gary Whelan from the initial line-up but now without keyboardist Paul Davis and guitarist Mark Day. This line-up was expanded with new guitarist "Wags" [Paul Wagstaff], former backing vocalist Rowetta, rapper "Nuts", keyboardist Ben Leach and percussionist Lea Mullen making the band a nonet [nine members]. With this line-up the band was active from 1999 to 2001, and during this short period, they succesfully toured the world and played concerts without releasing other than the Thin Lizzy cover of "The Boys Are Back in Town" (1999). It all came to an end in 2001 after Shaun in Melbourne, Australia, got together with Shane Norton, Pete Carroll and Stephen Mallinder and recorded a bunch of new songs - first to be released in 2003 as Amateur Night in the Big Top. - after which Paul left The Mondays and the band dissolved - again. In 2004, Shaun, Bez and Whelan revived the band by recruiting guitarist Kavin Sandhu, bassist Mike Shine, keyboardist Dave Parkinson as well as guitarist John Dunn making it a septet. After a while, Parkinson was replaced by Dan Broad, and shortly prior to the recordings, also Dunn left the band,. So here the Mondays are "the old core" of Shaun Ryder, Bez, and Gary Whelan, and a complete septet together with Kav Sandhu, Mike Shine, Dan Broad and Julie Gordon.

Musically, it's clear that the band aims to make another 'classic' Happy Mondays album by mixing neo-psychedelia, pop soul, funk and alt. dance, but it's also striking how old-school it all sounds. Not much has happened since the 90s it seems, and the album simply lacks good songs. The album was met by mixed reviews and it peaked at a low number #73 on the UK albums chart list, and the two singles, "Jellybean" and "Dysfunctional Uncle" (track #9) failed to chart.

Uncle Dysfunctional surely revives the style and sound of The Mondays, but it mainly serves to maintain the impression of an existing legendary band - and they are able to tour and make a living. The band has continued in various line-ups since. In 2012 Ryder announced that they would continue in the original line-up with a welcome back to his brother Paul on bass, Mike Day on guitar, Paul Davis on keyboards and Rowetta on vocals. They also proclaimed to be working on new material, although, that has yet to materialise. In 2015 Davis left the band and was subsequently replaced by Dan Broad.

Shaun Ryder apparently argued that he could've released the album under the Black Grape band name, but with respect to Bez and Whelan, he went with the Mondays [and yes, Bez was actually in both bands but ended up leaving Black Grape - so there U have that].

Not good, but still better than ... Yes Please, which unfortunately doesn't say much, tho'.

Not recommended.

[ 👍allmusic.com, The Guardian 3 / 5, NME 3,5 / 5 stars ]

Arcade Fire "Everything Now" (2017)

Everything Now
release date: Jul. 28, 2017
format: cd
[album rate: 3 / 5] [2,92]
producer: Arcade Fire and various
label: Columbia - nationality: Canada

Track highlights: 2. "Everything Now" - 4. "Creature Comfort" - 5. "Peter Pan" - 7. "Infinite Content" - 11. "Put Your Money on Me"

5th studio album by Arcade Fire is self-produced by the band with various co-producers on selected tracks sees the band on their perhaps most radical stylistic change. Reflektor had the band try on disco and alt. dance on a number of tracks, but with this, the band has completely moved into a new territory of dance-oriented music.The title track is extended in 3 songs: track 1 "Everything_Now (Continued)", with an underscore continue track 13 "Everything Now (Continued)" without the underscore and plays with the media as to underline what is proposed in the two track titles "Infinite Content" (#7) and "Infinite_Content" (#8) - the whole album is meant to play indefinitely.
It's not that it's bad, 'cause the production sound is there - it's more so a question about what they contribute with. Yes, they can play whatever they feel like, but going synthpop on the dancefloor means that you should add something to the genre - new danceable tunes. But this is just all so ever cute without that thangg. Where are the more than just interesting songs? The title song has been playing on my radio for months, and I'm so tired of that tune. It never was a great one after all, but that's how the music business works these days. Some tracks are cheesy, some have indie pop potential ('Peter Pan', 'Infinite Content'), some sound as drawn after other successful dance songs by New Order ('Creature Comfort'), Daft Punk / Chemical Brothers ('Signs of Life', 'Electric Blue').
Looking down the Arcade Fire path, I see greatness in the wilderness, but I no longer have strong expectations about this band for the future. They jumped right onto the big scene, and perhaps too soon to be able to navigate and continue in what would have been a natural progression.
The album cover is made in numerous editions with different colours and titles in native languages.
This is not really recommended.
[ 👍allmusic.com, Q Magazine, The Guardian 3 / 5, Rolling Stone 4 / 5 stars ]

Arcade Fire "Reflektor" (2013)

Reflektor
release date: Oct. 29, 2013
format: digital (2-disc)
[album rate: 3 / 5] [2,96]
producer: Arcade Fire, Markus Dravs, James Murphy
label: Merge Records - nationality: Canada

Track highlights: 1. "Reflektor" (3,5 / 5) - 2. "Flashbulb Eyes" - 4. "Here Comes the Night Time" - 5. "Normal Person" - 9. "Here Comes the Night Time II" - 13. "Afterlife"

4th studio album by Arcade Fire is a double cd released on Sonovox in Canada, and it follows three years after The Suburbs.

The style has altered - again. I guess, that's what they do. The chamber pop style is almost completely gone, and instead the album has a touch of electronic, or alt. dance.
My initial thoughts on the album were not positive and after some time I must say that I'm not convinced about this band anymore, as they have sort of ceased to interest me. Reflektor is somewhat boring, without glimpses of... interest. I think its close to mediocre and feel like handing it 3 out of 5 stars. It's not really bad, I just don't ever feel like listening to it 'cause nothing on it appeals to me.
[ allmusic.com 3,5 / 5, Rolling Stone 4,5 / 5, NME 4 / 5 stars ]

LCD Soundsystem "American Dream" (2017)

American Dream
release date: Sep. 1, 2017
format: cd
[album rate: 4 / 5] [3,84]
producer: James Murphy
label: DFA / Columbia - nationality: USA

Track highlights: 1. "Oh Baby" (live) - 2. "Other Voices" - 3. "I Used To" - 4. "Change Yr Mind" - 6. "Tonite" - 7. "Call the Police" - 9. "Emotional Haircut"

4th studio album by LCD Soundsystem who had re-united in 2016 is like the third album basically a James Murphy project-album featuring old associates. Looking at the credit list for the album, Murphy plays almost all instruments, though Al Doyle also contribute on several tracks, but official band members Pat Mahoney, Nancy Whang, Tyler Pope, Gavin Rayna Russom, Matt Thornley and Korey Richey nearly only appear on one or two tracks.
Stylistically, LCD Soundsystem still plays on some of the same sources - with some tracks being more electronic, some in the rock genre of alt. dance and dance-punk, and then there are more bold elements of synthpop scattered all over the album, which together with the electronic bits makes it a rather fresh and energetic collection of songs that makes me think of Underworld - only with more power.
In my mind, this is not only the best studio album and a nice surprise by LCD Soundsystem, it's also one of the best albums of 2017.
[ allmusic.com, Mojo, Q Magazine, Rolling Stone 4 / 5, Daily Telegraph, NME, The Guardian 5 / 5 stars ]

Tracey Thorn "Record" (2018)

Record
release date: Mar. 2, 2018
format: cd
[album rate: 3,5 / 5] [3,48]
producer: Ewan Pearson
label: Unmade Road - nationality: England, UK

Track highlights: 1. "Queen" - 2. "Air" - 3. "Guitar" - 5. "Sister" - 8. "Face"

5th studio album by Tracey Thorn released on [her husband] the Ben Watt-founded label Unmade Roads comes 2½ years after her extensive compilation album Solo: Songs and Collaborations 1982-2015 (made as both 2-disc and single disc issues) and follows some 5½ years since her latest solo studio album Tinsel and Lights from 2012.
Stylistically, these new songs don't expose any new moves by Thorn. It's all made in a warm atmosphere of synthpop alt. dance, which mostly points back to her 2007 comeback solo album Out of the Woods, which is her latest album of pure synthpop, but in essence, the songs feel more like extended and well-known sophisti-pop of Everything but the Girl.
Despite not having released more than 5 albums in the span of 36 years - 3 of which have been issued since 2007, this new solo album is actually Thorn's best selling album to date peaking at number #15 on the national albums chart list, and the critical reception also seems to have welcomed the album as one of her best. Tracey Thorn is currently not "just" known for her musical output - be it her early stages with Marine Girls, her most famous contributions with Ben Watt and their project Everything but the Girl, or her solo releases - she is also columnist of New Statesman; and an acclaimed author of so far three books with the best-selling autobiographical debut from 2013, "Bedsit Disco Queen". Luckily, she hasn't completely abandoned music, and this her most recent album only demonstrates what a gifted musician she is.
It's not so much the songs themselves as the characteristic vocal of Thorn that makes these 9 songs shine. It's an album only touching 35 mins. running time, but Thorn sounds just as fresh and vibrant as on familiar albums of the 1980s or 1990s - there's simply no trace of the years gone by in that fine instrument of hers - and that's this album's biggest feature.
Record is a fine return of one of Britain's finest vocals.
[ allmusic.com, The Guardian, The Daily Telegraph 4 / 5, Rolling Stone 3,5 / 5 stars ]

Best of 2017:St. Vincent "Masseduction" (2017)

Masseduction
release date: Oct. 13, 2017
format: cd
[album rate: 4 / 5] [4,06]
producer: Jack Antonoff and St. Vincent
label: Loma Vista - nationality: USA

Track highlights: 1. "Hang on Me" - 2. "Pills" - 3. "Masseduction" - 5. "Los Ageless" (live) - 7. "Saviour" (live) - 8. "New York" - 9. "Fear the Future"
[ live solo and acoustic on KEXP ]

5th studio album by St. Vincent co-produced by John Congleton and with Lars Stalfors.
With this, Annie Clark establishes herself as a purer art pop artist than on her previous releases. The noise pop attitudes are more low-key - bits are found here and there but the dominating picture is one of restrained originality taking a move as to embrace both earlier fans of her experimental and progressive rock as well a more recent audience who found her St. Vincent album more digestible. It's her most dance-able release so far and several tracks are touching synthpop meets electropop glued together with a glam rock attitude. But as with her previous albums this is truly a conglomerate of styles.
The album harvested fine reviews and it has become her best selling album to date reaching number #10 on the Billboard 200 in the US and number #6 in the UK. It ended high up on many year-end lists including a first spot on lists by the New York Times and The Guardian.
Musically, she has moved into the spotlight and I think it shows very much in her professional attitude. Earlier she contained and reflected a vulnerability that has been disguised by now. Sometimes I cannot stop thinking of her as an American PJ Harvey. She has the same directness, sexual awareness and a link to a Patti Smith / Janis Joplin-strong-women-of-rock-personality. It's also clear that her new-found (glamorous) image is far from her earlier open-hearted appearance (just watch some of her live performances).
I find this her most cohesive album so far and it appears as a true conceptual album with "Pills" and "Los Ageless" as my immediate favourites but also the title track and "New York" are fine songs, and where her previous works nearly all contained hits and misses this one keeps a high quality throughout, and that's ultimately why it's such a fascinating ride.
In a year with few truly great releases, I find this the most gripping.
[ allmusic.com 4,5 / 5, The Guardian, NME, Rolling Stone 4 / 5 stars ]

2017 Favourite releases: 1. St. Vincent Masseduction - 2. Paul Weller A Kind of Revolution - 3. Love Shop Risiko

Björk "Volta" (2007)

Volta
release date: May 7, 2007
format: cd
[album rate: 3 / 5] [3,04]
producer: Björk
label: One Little Indian - nationality: Iceland

Track highlights: 1. "Earth Intruders" (feat. Konono Nº1) - 2. "Wanderlust" - 3. "The Dull Flame of Desire" - 4. "Innocence" - 11. "I See Who You Are"

6th studio album by Björk is a primarily self-produced album with various others producing and co-producing single tracks. Here, it's Timbaland and Danja (tracks #1 and ¤4 - with Timbaland also co-pro. track #8), Mark Bell (track #9) and Damian Taylor (track #6).
Volta signals a return to a more melodic mainstream pop universe with more traditional electronic instrumentation and with compositions based on drum and bass in a dance pop sphere. It feature several guest musicians including Congolese music project Konono Nº1 and Toumani Diabaté, Antony Hegarty (Antony & The Johnsons) feature on two tracks, Min Xiao-Fen (also on two tracks), Mark Bell, and Sjón.
"Earth Intruders" is the only great track on an album, which is a bit of... everything and nothing, really. Generally, I find the somewhat disappointing predecessor Medúlla (2004) slightly more interesting, although that fails on other parameters. Volta is certainly more pop-minded - at least more danceable, but it's basically also easier forgettable.
This is not one of her better album - in fact it's her so far least favourable.
Not recommended.
[ allmusic.com, The Guardian, NME 4 / 5, Rolling Stone 3,5 / 5 ]

Beth Ditto "Fake Sugar" (2017)

Fake Sugar [debut]

release date: Jun. 16, 2017

format: digital (12 x File, FLAC)

[album rate: 3,5 / 5] [3,60]

producer: Jennifer Decilveo

label: Sony Music - nationality: USA

Track highlights: 1."Fire" - 2. "In and Out" - 3. "Fake Sugar" - 5. "We Could Run" (4 / 5) - 6. "Oo La La" - 8. "Oh My God" - 9. "Love in Real Life"

Full-length studio album debut by Beth Ditto (aka Mary Beth Patterson) following more than six years after her solo EP debut EP (Jan. 2011). Since then, she released A Joyful Noise (May 2012) with Gossip, and then around 2016 she publically announced than she would concentrate on her solo career and her clothing line - meaning we should not expect any new albums from Gossip.

Fake Sugar is a much expected release - her EP debut was released to fine reviews, and that showed us a new side to her talent, and then people just imagined a full album was on its way, but it took much longer than anyone had foreseen. Musically, this is not styled in her new-found territory of dance-pop or electropop, but more like something following a stylistic pattern in-between the 'final' 2012 Gossip album and her EP - at times she 'goes hard rocking Gossip', whereas other songs ("Do You Want Me To") are closer to the dance-pop / electropop of EP, but no matter what: the album is held together by Ditto's wonderful vocal. In this regard the album isn't a strong coherent product that show us where she goes from here, but then again: she doesn't have to choose one style over the other 'cause she basically demonstrates that her vocal simply fits whatever she explores.

Fake Sugar is something as unusual as a synthpop, hard rock, electropop, and indie pop all-in-one album showcasing Beth Ditto as one of the most charismatic voices of modern popular music. To me, she represents a similar vocal grandiosity as Janis Joplin, Grace Slick, and Mariska Veres did in their time. She simply hightens the musical quality and lifts what appears as ordinary songs to something with a lasting potential. She's no less than a natural force.

[ 👍allmusic.com 3,5 / 5, The Guardian, PopMatters 4 / 5, 👎Pitchfork 6,1 / 10 stars ]

EMF "Schubert Dip" (1991)

Schubert Dip [debut]
release date: May 7, 1991
format: digital
[album rate: 3 / 5] [2,86]
producer: Pascal Gabriel & Ralph Jezzard
label: Parlophone - nationality: England, UK

Track highlights: 1. "Long Summer Days" - 5. "I Believe" - 6. "Unbelievable" (4,5 / 5) - 7. "Girl of an Age"

Studio album debut by Gloucester-based electronic quintet EMF [aka Epsom Mad Funkers] consisting of lead vocalist & guitarist James Atkin, Derry Brownson on keyboards & samples, Ian Dench on keyboards & guitars, Zac Foley on bass, and Mark Decloedt on drums.
EMF released the single "Unbelievable" in Nov. '90, and it was an immediate hit around the world reaching #3 on the UK singles chart list (#1 in the US), and it possibly paved the way for the recordings for this full-length album.
Musically, EMF is part of the baggy / madchester, alt. dance scene, which includes bands like The Stone Roses, Happy Mondays, Stereo MCs, Inspiral Carpets, and James. Sampling plays a major role in the music by EMF and most songs are held in an uptempo electronic and alt. dance-style.
Schubert Dip received mixed reviews but still peaked at #3 on the national albums chart list; however, "I Believe" is the only song that comes close to their hit single and the album is really nothing more than just above mediocre. I have occasionally played it in its entirety and always concluded that it's an uneven collection of songs that do not match albums by Happy Mondays, The Stone Roses or most other acts of the genre, but "Unbelievable" is one hell of a tune.
[ allmusic.com 3 / 5 stars ]

Happy Mondays "Pills 'n' Thrills and Bellyaches" (1990)

Pills 'n' Thrills and Bellyaches

release date: Apr. 1990

format: cd (2007 remaster)

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

producer: Paul Oakenfold, Steve Osborne

label: Rhino Records - nationality: England, UK

Track highlights: 1. "Kinky Afro" (4,5 / 5) - 2. "God's Cop" - 3. "Donovan" - 4. "Grandbag's Funeral" - 5. "Loose Fit" - 6. "Dennis and Lois" - 7. "Bob's Yer Uncle" (4 / 5) - 8. "Step On"

3rd studio album by Happy Mondays following 1½ years after Bummed (Nov. 1988) originally released on Factory Records. After Happy Mondays' commercial breakthrough with a remix of the hit song "Hallelujah" taken from the ep Madchester Rave On (Nov. 1989) and a similar follow-up succes with the cover song "Step On", the band went to the studio with the two DJs and remix producers Paul Oakenfold and Steve Osborne to see if they could carry the succes of their Club Mixes into shaping a collection of new songs. After all, the band had always been a club house party band and just by its title, the album alludes to a certain unhealthy but nevertheless characteristic lifestyle of this particular band.

If the band blended styles and genres on Bummed, they simply take it to another level here by fusioning the whole mix of the predecessor with modern dance beats, electronic rave and basically embracing the style of acid house. It's a modern version of rock that mixes reminiscences of post-punk with indie pop, neo-psychedelia, funk, disco, soul, alt. dance, techno - and whatever made people dance.

The album was met by great enthusiasm and peaked at number #4 on the British albums chart list bringing new fame to the Factory label. Although, only released in a remix, the first single "Step On" went to #5 on the UK singles chart list, and "Kinky Afro" ecqualed that (and went #1 on the Modern Rock list in the US), which was followed by single releases of "Loose Fit" (#17 in the UK) and "Bob's Yer uncle" (US promo single only).

In retrospect, the album sits on top of the whole 'baggy / madchester' movement as an iconic cornerstone. With it's unique stylistic mix and Ryder's original singing style, it showcases a most specific time full of exstacy pills and abuse. Ryder mumbles along with funny semi-autobiografical lyrics about sex, drugs, and everyday life of the working-class in Manchester - events, episodes, and funny phrases all stashed together, just like the music. It's over-the-top and at times odd touching on the bizarre, but also damn charming and full of youthful energy. It's also obvious that with the right people to produce their music, the end result simply improves above what everyone can see is mere potential. John Cale and Martin Hannett simply didn't really know what they were dealing with - or, at least the latter knew something but wasn't quite able to follow suit. Oakenfield and Osbourne are both part of the contemporary dance-scene and in retrospect you may only ask yourself why on earth Factory weren't better in finding matching engineers and producers.

The album is enlisted in "1001 Albums You Must Hear Before You Die". Both the '88-album and the successor contains great tunes, but this is simply the band's best effort. Imho, I never was a huge fan of The Mondays. Generally, I have always found the huge blend of styles to be too much of mix, although, really enjoying a few of their songs, but with the rest being too far from that. Still, this one is more than just fine.

The 2007 Rhino remaster contains five bonus tracks: two 12'' versions of tracks #5 and #7; two remixes of tracks #1 and #8; and the previously unreleased song "Tokoloshie Man".

Recommended.

[ allmusic.com, Q Magazine, Select 5 / 5, NME 4,5 / 5, Sounds, Uncut 4 / 5 stars ]

Happy Mondays "Hallelujah" (1989) (ep)

Hallelujah, ep

release date: Dec. 1989

format: cd

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

producer: Martin Hannett

label: Factory Records - nationality: England, UK

Track highlights: 1. "Hallelujah (MacColl Mix)" - 2. "Clap Your Hands" - 4. "Rave On" - 5. "Hallelujah (Club Mix)" - 6. "Rave On (Club Mix)" - 7. "W.F.L. (Think About the Future Mix)"

Ep release of the non-album track "Hallelujah" by Happy Mondays. Originally it was released exclusively for the UK market in Nov. '89 in two versions: a 4-track 12'' ep titled Madchester Rave On, and as a 2-track 7'' single titled Hallelujah. In December it was re-released in this expanded 7-track edition consisting of other remixes spliced with the Madchester Rave On ep now targeted for the European continental and US markets. Martin Hannett is producer of the original recordings but four of the tracks are made as additional production remixes. Paul Oakenfold is credited as remix producer on tracks #5, #6, #7 - track #5 together with Andy Wetherall and track #6 with Terry Farley - Steve Lillywhite is remix producer of track #1.

This is a nice collection of extended mixes and various remixes, and it serves as a fine document of the general appeal of Happy Mondays on the club arena back in the day. It also features some of Paul Oakenfold's early remixes for the band, which paved way for his role on the 1990-album, which may be seen as the band's pinnacle.

Happy Mondays "Bummed" (1988)

Bummed

release date: Nov. 1988

format: cd (2000 reissue)

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

producer: Martin Hannett

label: Factory / London Records - nationality: England, UK

Track highlights: 1. "Country Song" - 2. "Moving in With" - 3. "Mad Cyril" - 5. "Performance" (studio session) - 6. "Brain Dead" - 7. "Wrote for Luck" - 9. "Do It Better"

2nd full-length studio album by Happy Mondays follows 1½ years after Squirrel and G-Man Twenty Four Hour Party People... (Apr. 1987) and is made with Factory-label's acclaimed producer, Martin Hannett. The band consists of the usual five: vocalist Shaun Ryder, his younger brother Paul on bass, Mark Day on guitar, Paul Davis on keyboards, (Gary) 'Gaz' Whelan on drums, and with Mark 'Bez' Berry on percussion. All ten songs are credited the band but it's commonly known that Shaun wrote the lyrics 'cause "the rest of 'em can't be arsed". Btw. the song "Lazyitis" (track #10) is basically "Ticket to Ride" by The Beatles with new lyrics and nearly unrecognisable arrangement.

Musically, it's a huge move from the debut and the band has progressed from being an indie rock band to one founded on a mix of styles, including alt. dance, indie pop, soul, funk, and neo-psychedelia making Happy Mondays one of the original bands behind the baggy / madchester style it should later be known as. The band also went by the alias The Mondays or 'The 24 Hour Party People' and they were one of many artists and bands playing at the famous The Haçienda music club founded by Factory and New Order in unison. Together with The Stone Roses and 808 State - all originating from Greater Manchester - they all produced dance-oriented music with various stylistic elements. The Stone Roses played alt. dance founded on jangle pop and indie rock, and 808 State built their sound on electronica, and then a number of other artists soon emerged on the scene. Producer Martin Hannett to some extent proves his worth here after having been recognised for his minimalist, dark and strict sound when engineering the soundscape for Joy Division less than a decade ago. Shaun Ryder recounts in his autobiography "Twisting My Melon" (2011) how he had been excited to have Hannett produce the album, as Ryder had been a big fan of the Joy Division productions and were thrilled to see what Hannett would come up with. Perhaps John Cale produced the debut album one year earlier with the intend to approach something with a more distinct art rock sound, and as a contrast to that, the sound here weaves in and out of focus making room for a multi-coloured palette, and on top of that, Shaun Ryder bounces freely in his original mumbling narrating style. Ryder describes it as the first really good album of theirs despite memories of recording sessions with drugs all over the place. And Hannett perhaps being the most experimental when Ryder and Bez introduced everyone to E.

The album doesn't contain noteworthy obvious hits, although "Wrote for Luck" had been chosen for single release in late October and is highly characteristic for the band, but it really launched its own life and positioned the band up the charts a bit later when it was released in a re-mixed version as "W.F.L." (official video) by Paul Oakenfold and Vince Clarke. Bummed was met by positive reviews, although, its status as a stylistic cornerstone has only added to its value. The album is included in "1001 Albums You Must hear Before You Die" and is quite an enjoyable ride. Nonetheless, it's mighty fine but given its position, I have never really fancied it all that much, and frankly, I find The Stone Roses debut a greater musical achievement. With Bummed, Happy Mondays may have landed their sound (not the same as found their feet!) but to me, their successor, Pills 'n' Thrills and Bellyaches (Apr. 1990) clearly betters this one.

The front cover is an edited photo of lead vocalist Shaun Ryder when "off his tits", as he probably would describe it.

Recommended.

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

Happy Mondays "Forty Five EP" (1985) (ep)

Forty Five EP, ep

release date: Sep. 1985

format: digital

[album rate: 3 / 5] [3,17]

producer: Mike Pickering

label: Factory Records - nationality: England, UK

Tracklist: 1. "Delightful" (4 / 5) - 2. "This Feeling" (2,5 / 5) - 3. "Oasis" (3 / 5)

3-track ep debut by Happy Mondays is the band's first release after being put on contract by Factory Records. Producer Mike Pickering worked as a DJ at The Haçienda dance and nightclub in Manchester, and he saw the band's potential after having listened to a demo-tape by the band, who at this point toured with New Order. Already then, Happy Mondays is a stable sextet consisting of the Ryder brothers: singer and guitarist Shaun and bassist Paul together with lead guitarist Mark Day, keyboardist Paul Davis, drummer Gary Whelan, and with new member dancer Bez (aka Mark Berry).

Musically, it's not yet the baggy / madchester-style they should later be associated with. Instead, they play dance-friendly indie pop with bold stylistic elements from jangle pop. The ep has also been recognised as "The Delightful ep" with its title referring to the first and also easily best track of the release. Also, in retrospect, Shaun Ryder has described this as a first experience, which he thought was a bit off in respect to what they were aiming at as it resulted in a sound without the dance-vibe they had wanted, and partly because Pickering simply didn't know that, and also because the band were still trying to find their ground. At the same time, Ryder was still influenced by other vocalists, partly leaning towards Ian Curtis, Feargal Sharkey and other strong performers and not yet had found his personal style. You could add that the band simply lacked a musical direction - should we play more like Joy Division / New Order, Orange Juice, or some other new act? Questions that basically revealed that they were not mature enough to hit it off.

LCD Soundsystem "Sound of Silver" (2007)

Sound of Silver
release date: Mar. 12, 2007
format: cd
[album rate: 3,5 / 5] [3,62]
producer: The DFA [Tim Goldsworthy & James Murphy]
label: DFA Records Japan - nationality:

Track highlights: 1. "Get Innocuous!" - 2. "Time to Get Away" - 3. "North American Scum" - 4. "Someone Great" (5 / 5) - 6. "Us V Them"

2nd full studio album by LCD Soundsystem in a Japanese edition including 3 bonus tracks.
It's really not that different from the debut album as they still make use of various influences - on the first three tracks one will hear funk and alt. dance / dance-punk pointing to a more standard rock-outing, but with the track "Someone Great" the album takes a turn towards indietronics and synth pop, which is nicely continued on "All My Friends" before returning to a funky rhythmic conglomerate of all their styles blending funk, electro-disco, synth pop and dance-punk in just one song: "Us V Them". The standard album closer "New York, I Love You But You're Bringing Me Down" is another "weird"-styled track building on a singer / songwriter tradition that makes me think of Lou Reed.
The Japanese edition of the album continues with two (much alike) remixes of the album track "North American Scum" and "Hippie Priest Bum-Out" - all of which are danceable tunes without being really memorable.
The huge blend is really not bad at all - it's highly original, though you may need to reserve time to digest this fusion of styles. It strikes me that the band re-use bits and pieces one will find in the late 1970s varying from the disco sound to more new wave- and art pop-oriented artists - from American artists like Donna Summer, Blondie, Talking Heads, Devo and The B-52's to British David Bowie, Altered Images, Human League and Gang Of Four.
Sound of Silver was met by positive reviews and nominated a Grammy Award for Best Electronic / Dance album of the year [handed to We Are the Night by The Chemical Brothers], and it's included in "1001 Album You Must Hear Before You Die".
I really enjoy this album, although, I don't find it all that homogeneous, and "Someone Great" is a marvellous track.
[ allmusic.com, Spin 4,5 / 5, NME, Q, Rolling Stone 4 / 5 stars ]