Showing posts with label alt. rock. Show all posts
Showing posts with label alt. rock. Show all posts

14 May 2025

Bob Mould "Here We Go Crazy" (2025)

Here We Go Crazy
udgivet: 7. mar. 2025
format: digital (11 x File, FLAC)
[vurdering: 3,5 / 5] [3,56]
producer: Bob Mould
selskab: BMG - nationalitet: USA


14. studiealbum fra grunge-rockens far, Bob Mould, lander 4½ år efter Blue Hearts (sep. 2020) og er, ikke overraskende, et album fyldt med masser af energi. Albummet er Mould's første på BMG efter en lang række udgivelser på Merge Records, men da Mould selv indtager sine vante roller som sangskriver, komponist og producer, kan en ny udgivelse ikke give anledning til mange løftede øjenbryn, hvad angår stil eller temaer. Tidligere har Mould eksperimenteret med sit lydbillede og brugen af instrumentering, men siden Silver Age fra 2012 har han befundet sig ganske konsekvent på en energisk alt-rock-platform, dristigt formet af sin forkærlighed for power pop og med små strejf fra en fjernere fortid i Sugar og i Hüsker Dü i det, der var en mere traditionel guitar-rock-indpakning. Sammenlignet med hans seneste album, Blue Hearts, så er albummet her en smule mere råt, lidt mere direkte, lidt mindre politisk-orienteret og i stedet fyldt til randen af rendyrkede følelser. Det passer både godt til den mængde energi, der lægges for dagen, og det melodiske drive - og ja, til tider kunne man argumentere, at det tenderer til noget repetitivt, men nu taler vi altså om den fu*#ing Bob Mould! Den mand bør til evig tid gives ret og tilladelse til bare at sætte strøm til sin guitar, tænde for forstærkeren, skrue godt op, og have det godt med at råbe ad og konfrontere lige præcis, hvad han har lyst til - hvad enten det er verden som sådan, sig selv, sit parforhold, det at blive ældre eller landets utålelige regering! Bob Mould er en slags ventil for den moderne tid. Lad nu dampen slippe ud!
Jeg har fulgt Mould's solokariere siden de sidste to albums med Hüsker Dü, og han har altid været en kunstner, hvis værker jeg har haft et særligt svagt punkt for. Det meste af tiden har han formået at berige mit liv, hvilket er grunden til, at jeg forbliver en slags trofast fan. Han er ikke længere en kunstner, der genopfinder musikken, men han er en garant for kvalitet, og han er en stemme, der taler på vegne af menneskeheden samtidig med, at han tager afstand fra alverdens dumhed – hvilket er endnu en god grund til at følge denne store kunstner.
Here We Go Crazy er i bund og grund det, vi er kommet til at forvente fra Mr. Mould, og endnu en gang er det både relevant og anbefalelsesværdigt!
[ allmusic.com, Rolling Stone 4 / 5 stjerner ]

10 March 2025

Kings of Leon "Can We Please Have Fun" (2024)

Can We Please Have Fun
udgivet: 10. maj 2024
format: cd (2 cd) (Limited udgave)
[vurdering: 3,5 / 5] [3,66]
producer: Kid Harpoon
selskab: LoveTap Records / Polydor - nationalitet: USA

Disc 2 - Live at Wrexham) 1. "Crawl" - 4. "On Call" - 5. "Find Me" - 6."Pyro" [ officielt live uddrag ]

9. studiealbum fra Kings of Leon udkommer tre år efter When You See Yourself (mar. 2021), og det er bandets første med den britiske producer Kid Harpoon. Han har tidligere arbejdet med Harry Styles og er især blevet hyldet som sangskriver for sit omfattende arbejde på Styles' album Harry's House (2022). Den eksklusive 2-disc udgave er udstyret med den walisiske titel Gawn Ni Hwyl Plîs, med henvisning til live-numrene fra en koncert i Wrexham, Wales, optaget på Racecourse Ground d. 27. og 28. maj 2023.
Mit gæt er, at et stort flertal af KOL-fans ser Harry Styles' musik som mere end blot en slags omvej fra bandets velkendte lydbillede, men jeg er efterhånden nået til den erkendelse, at dette band ser sig selv i et andet lys, end jeg intuitivt ville gøre. Arbejdet med producere som Angelo Petraglia & Jacquire King fik nok flere til at acceptere bandet som en naturlig del af den alternative rock-scene, men med skiftet til Markus Dravs på to på hinanden følgende albums står det, efter min mening, tydeligere, at bandet har andre ønsker end kun at repræsentere den mere stilrene rock. Kid Harpoon (alias Thomas Edward Percy Hull) kan måske ses som en britisk-stilet 'partner in crime' til Dravs - snævert set, naturligvis. Men i virkeligheden er KOL et af de bands - ikke ulig The Killers - der står med ét ben begravet dybt i beskidt rock-mudder og det andet i klæbrig candy-floss. KOL startede som et ren-dyrket psykedelisk rockband og oplevede derefter international berømmelse, da de hoppede på pop-toget, og lige siden har de stået dér med fødderne plantet på hver side, som frosset i et limbo. Nemme penge og gigantisk berømmelse er svære parametre at afvise, når ens hobby pludselig er ens levevej, og hvorfor i alverden skulle man også det? Koncerten på disc 2 her afspejler på en måde dilemmaet: Koncertgængerne skriger og råber efter hits som "Revelry", "On Call", "Find Me" og "Pyro", og bandet leverer varen. KOL er på vej til at blive det tætteste, man kommer en amerikansk udgave af U2, og de sejler med på denne sejlads, fordi det er alt, de kan gøre. Det ville ikke overraske mig meget, hvis de pludselig lavede en U-vending i den nærmeste fremtid og skabte deres eget Achtung Baby med et-eller-andet prominent producer-navn, for derefter at bruge resten af karrieren på at springe fra trædesten til trædesten for at undgå glemslens tåger - som et andet kendt band.
I mellemtiden er Can We Please Have Fun en solid og herlig samling af melodisk uptempo pop/rock, som bekræfter, hvordan de har fundet deres formel og samtidig har afholdt sig fra tidligere fejltrin som Walls (2016) og Mechanical Bull (2012). Sidstnævnte fremstår i dag som nødvendige forsøg med sukkerholdigt indhold og en formel, der ramte for langt ved siden af skiven. Det er nogenlunde 'kvalitet' som småkager fra Karen Volf eller flødeboller fra Spangsberg. Men jo, det sælger jo godt! (Ikke at det betyder, at det er godt, vel?!)
Anbefalet.
[ allmusic.com, Rolling Stone, The Independent 4 / 5, Clash 3,5 / 5, Mojo, NME 3 / 5 stjerner ]


2-disc Limited Edition


17 February 2025

Tindersticks "Soft Tissue" (2024)

Soft Tissue
udgivet: 13. sep. 2024
format: vinyl (Lucky Dog41LP) / digital (9 x File, FLAC)
[vurdering: 4 / 5] [3,96]
producer: Stuart A. Staples
selskab: Lucky Dog / City Slang - nationalitet: England, UK

Udvalgte numre: A) 1. "New World" - 3. "Nancy" - 4. "Falling, the Light" (4 / 5) - - B) 1. "Always a Stranger" (4 / 5) - "The Secret of Breathing" - 3. "Turned My Back" (4 / 5) - 4. "Soon to Be April"

14. studiealbum fra Tibdersticks følger 3½ år efter Distractions (feb. 2021) er som vanligt produceret af sangskriver og frontfigur Stuart A. Staples. Han er krediteret alle sange, dog er to numre (numrene #A4 og #B4) komponeret sammen med basist og tangentspiller Dan McKinna.
Lige fra starten er det tydeligt, at Soft Tissue bevæger sig i en anden retning end de elektroniske elementer, forgængeren forsigtigt lagde op til - med undtagelse af trommeprogrammeringen på nummer #2, "Don't Walk, Run". Disse otte / ni sange - vinyludgaven indeholder otte numre, mens den digitale har et niende bonusnummer, "New World (Edit)" - holder sig til mere ordinære spilletider, der varierer fra 3:35 til 6:15 minutter. Det mest slående på albummet, er den tydelige dominans af strygerinstrumenter, hvilket gør det til et ret karakteristisk chamber pop-album. Og når strygerne ikke lige dominerer sangarrangementet så meget, er det oftest keyboards med lyd som harmonika, et Wurlitzer-klaver, et orgel, som i stedet indtager den ledende plads i lydbilledet. Måske med undtagelse af nummer #B3, som er et varmt soul-agtigt og kor-baseret sidespring, men overordnet set er sangene arrangeret i ret stille, enkle og bløde arrangementer. Ordinære trommer høres stort set ikke på albummet - i stedet benyttes en subtil jazz-agtig perkussion, klokkespil eller bongos som musikalsk akkompagnement.
Endnu en gang kommer Tindersticks med et album, hvor Staples' fortællende og hjemsøgte vokal er altdominerende, men han gør det med stor delikatesse og en nødvendige variation, der gør det hele så meget mere appetitligt.
Som med albummet fra 2021 er coveret krediteret Staples' datter, Sidonie Osborne Staples.
Med Soft Tissue leverer Tindersticks endnu en gang en solid og stærk samling sange til en lang liste af moderne klassikere.
Anbefalet.
[ 👍allmusic.com, Rolling Stone, 👍The Guardian 4 / 5, Gaffa.dk 4 / 6 stjerner ]

12 January 2025

The Smile "Cutouts" (2024)

Cutouts
udgivet: 4. okt. 2024
format: digital (10 x File, FLAC)
[vurdering: 3,5 / 5] [3,72]
producer: Sam Petts-Davies
selskab: XL Recordings - nationalitet: England, UK

Udvalgte numre: 1. "Foreign Spies" - 2. "Instant Psalm" (4 / 5) - 3. "Zero Sum" - 4. "Colours Fly" - 8. "The Slip" - 9. "No Words" - 10. "Bodies Laughing" (live)

3. fuldlængde album fra The Smile følger kun 9 måneder efter Wall of Eyes (jan. 2024), og det er da også en samling af outtakes – "cutouts" – fra de samme indspilningssessioner, der blev til forgængeren. Der er tale om i alt ti numre med en samlet spilletid på ca. 44 minutter.
Ikke overraskende lyder Cutouts meget som det forrige, og ved første gennemlytning peger det ikke på nye oplagte singler, men giver man det tid, kan det faktisk ende med at fremstå som det bedste af de to albums. Det er ikke fordi, Jonny Greenwood og Thom Yorke har forsømt den eksperimenterende side i deres mange tidligere udgivelser, og Radiohead var ikke ligefrem berømte for deres normale rytmesektion, men det lader til, at der med inddragelsen af trommeslager Tom Skinner (Sons of Kemet) er sket en værdifuld tilføjelse i form af en jazz-vibe til Yorke og Greenwood's idéer. Skinner har en udforskende natur, hvor synkoper lægger sig oven i den naturlige særegenhed ved Greenwood og Yorke's kompositioner, hvilket forvandler alt til synkroniserede improvisationer med en stærk følelse af kreativ sammenhæng, og jazz-elementet gør det ekstra levende. Præcis som visse anmeldere antyder, tror jeg, at essensen af Cutouts er, at det repræsenterer mere fri improvisation og dermed understreger det eksperimenterende, og alligevel udgør udvalget af kompositioner en fin, sammenhængende helhed, hvor man virkelig får lov at høre, hvor fantastiske musikere de alle er. Hvilken af disse to udgivelser man foretrækker, er, som med al musik, en smagssag, og i det lange løb vil de formentlig blive betragtet som værende meget mere på niveau og måske egentlig bare som to kapitler.
Indtil videre foretrækker jeg faktisk dette album. Jeg synes, det er et helstøbt album, der vinder ved hver gennemlytning - men hold da op, tænk om de oprindeligt havde udgivet det hele som et dobbeltalbum!
Anbefalet.
[ 👍allmusic.com, Slant 3,5, The Guardian, NME, 👉Pitchfork 8 / 10, 😲MusicOMH 5 / 5 stjerner ]

01 October 2024

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


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 ]

08 July 2024

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


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 ]

14 June 2024

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


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 ]

19 April 2024

Gossip "Real Power" (2024)

Real Power
release date: Mar. 22, 2024
format: digital (11 x File, FLAC)
[album rate: 3,5 / 5] [3,65]
producer: Rick Rubin
label: Columbia - nationality: USA


6th studio album by Gossip following 12 years after A Joyful Noise (May 2012), which up until this year has been regarded as the band's final album after which front figure Beth Ditto pursued a solo career and concentrated on her own clothing line. Ditto released her solo debut Fake Sugar in 2017 and in 2019 the band reformed to perform a ten year anniversary concert of Music for Men (2009) but it was still under the charge of Ditto with no announcements of an official reformation. In 2023 Ditto got together with Nathan Howdeshell to write material for Ditto's second solo album and when facing producer Rubin who took part in the band's 2009 album, Ditto and Howdeshell apparently saw it as a natural opportunity to include Hannah Blilie, thus basically making it a Gossip album instead.
The trio is back, which is a wonderful thing, as they have been sorely missed. Rubin secures a tight path on well-known soil, and Real Power comes out as something closer to the 2009 album than what was regarded their final breath in 2012. That said, time has passed, and obviously the three are somewhere else than they were more than a decade ago, and the album simply betters Ditto's fine solo from 2017, which in a way positioned itself in the outskirts of A Joyjul of Noise without really delivering a substantial stylistic footprint. All tracks here are credited Ditto and multi-instrumentalist Howdeshell and in that regard it's naturally something entirely different than Ditto solo working with other composers, and how could a legendary trio of this caliber come out with something new without people would compare it with their previous works?! It's a statement to call it a Gossip album, as opposed to Ditto's second solo, and it's still great news. Musically, it's original - of course, and with the band history and all in mind, I do think it's a fine accomplishment without it being absolutely great. And then: lesser will do. I think, they succeed in reproducing some of the band's original energy - the genuine garage-sound, and mixed up with a poppier mood they come up with a modernised version of Gossip. Officially, Ditto and Howdeshell are the providers of this new material but I wonder why they don't acknowledge that without Blilie they wouldn't be Gossip? It's a pity, but on the other hand, it's a not seldom seen practise to leave out the drummer in credits, but I just wonder how music is composed without a drummer adding his / her personal touch to the songs...
The album may not come with absolute stunning singles but the energy, the crafty output - and that voice on top of these simple, yet powerful arrangements!! And then there's still a certain quality lurking there all over, which lifts it above normality - 'cause what is that exactly?! Ditto belongs in front of Howdeshell and Blilie, and that constellation is all we need. It's like a living torch for humanity. Stay together, you three (PLZ), and the next album will be magic!
[ 👍allmusic.com 3,5 / 5, Pitchfork 7,1 / 10, NME, DIY 4 / 5, 👎The Guardian 3 / 5 stars ]

12 April 2024

Sleater-Kinney "Little Rope" (2024)

Little Rope
release date: Jan. 19, 2024
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,64]
producer: John Congleton
label: Loma Vista - nationality: USA


11th studio album by American rock-duo Sleater-Kinney following Path of Wellness (Jun. 2021). The band was formed by its two current members Carrie Brownstein and Corin Tucker, both credited vocals and guitars, but the band has formerly been an actual band of three members, which earlier and for the longest period also included drummer Janet Weiss, who left the band reduced to its founding members after the band's ninth album The Center Won't Hold (Aug. 2019). Little Rope is Sleater-Kinney's first on Loma Vista, and producer Congleton (St. Vincent, Sharon Van Etten, Lucy Dacus, Marilyn Manson, Conor Oberst, Gossip, Phoebe Bridgers, Lana Del Rey, The Killers, Goldfrapp) secures a tight and energetic edge, which makes the album a more powerful expression than the band's previous outings.
Lyrically, it's stripped down, angry and filled with personal despair. The background is the sinister lived-tragedy when Tucker's parents were both killed in a car accident in Italy back in 2022 - a central story to the ten compositions. In that way the process of writing new material might as well have resulted in something closer to Nick Cave's Skeleton, but Little Rope is more like its opposite, full of energy and opposing sensations, and all cleverly held together by great hooks and melodies, which both reminds us of The Undertones, Breeders, and St. Vincent without the bad taste of mere copyist 'cause Sleater-Kinney is much more in their own right.
Imo, Little Rope is possibly the best album from Sleater-Kinney.
Recommended.
[ Mojo, Record Collector 4 / 5, 👉Pitchfork 7,7 / 10, Slant, Uncut 3,5 / 5 stars ]

28 February 2024

The Smile "Wall of Eyes" (2024)

Wall of Eyes
release date: Jan. 26, 2024
format: digital (8 x File, FLAC)
[album rate: 3,5 / 5] [3,66]
producer: Sam Petts-Davies
label: XL Recordings - nationality: England, UK

Track highlights: 1. "Wall of Eyes" (4 / 5) - 2. "Teleharmonic" - 3. "Read the Room" - 4. "Under Our Pillows" - 7. "Bending Hectic"

2nd studio album by The Smile following nearly two years after A Light for Attracting Attention (May 2022) with Petts-Davis as producer - he previously produced Thom Yorke's solo soundtrack Suspiria (2018) for Luca Guadagnino's remake of a Dario Argento horror classic.
Although, the album has been made with a new producer, it really doesn't fall far from the trio's first album and you could also argue that the project here doesn't expose a tone that essentially differs from that of Radiohead, perhaps because that band's musical centre is constituted by Thom Yorke and Johnny Greenwood who are 2/3 of The Smile. And although, many compositions were nearly finished by Greenwood and Yorke in the Summer of '23, all songs and music here is credited the band only.
The now two studio albums by The Smile are so much alike that it's tempting to regard them as two chapters of the same book, or two sides of the same coin, and that's the only snag to a otherwise fine follow-up. On the positive side, you could add that it's really nice to have renowned artists like Yorke, Greenwood, and Skinner, who choose to make an album with focus on musical experimentation instead of going mainstream pop, and in that regard, the trio still offers a refreshing and challenging side-step to the Grammy Awards' self-centrered spotlight of make-believe where everything is about performance.
Recommended.
[ allmusic.com, The Guardian, NME, Rolling Stone 4 / 5, 😮Pitchfork 8,5 / 10, 👎Exclaim! 3 / 5 stars ]

12 February 2024

Protomartyr "Formal Growth in the Desert" (2023)

Formal Growth in the Desert
release date: Jun. 2, 2023
format: digital (12 x File, FLAC)
[album rate: 4 / 5] [3,86]
producer: Greg Ahee, Jake Aron
label: Domino - nationality: USA


6th studio album by post-punk revivalists Protomartyr following three years after the acclaimed Ultimate Success Today (Jul. 2020) is another high quality release from a band who understands to stay true to its origins while exploring new territory.
Musically, it's fierce alt. rock building on an American college rock-tradition where both Pixies and Modest Mouse play equal parts with more classic British punk rock and post-punk roots. And then still, Protomartyr sounds just like no one else. They play with a nuanced understanding of balancing quiet and loud and delicate with the brutal, and lead vocalist Joe Casey's political comments are mixed with surreal / cryptic messages that fronts Greg Ahee's white noisy guitar constructs in perfect balanced disorder.
Formal Growth in the Desert gives us Protomartyr as a highly vital American band with something to offer than just a fabrication of mainstream sound.
Highly recommended. [Get the album here].
[ 👍allmusic.com, Uncut, Slant 4 / 5, 👍SputnikMusic 4,1 / 5, TheLineOfBestFit 4,5 / 5, Pitchfork 7,6 / 10 stars ]

14 August 2023

The National "First Two Pages of Frankenstein" (2023)

First Two Pages of Frankenstein
release date: Apr. 28, 2023
format: digital (11 x File, FLAC)
[album rate: 3,5 / 5] [3,62]
producer: The National
label: 4AD - nationality: USA

Track highlights: 1. "Once Upon a Poolside" (feat. Sufjan Stevens) - 2. "Eucalyptus" - 3. "New Order T-Shirt" - 4. "This Isn’t Helping" (feat. Phoebe Bridgers) - 5. "Tropic Morning News" - 6. "Alien" - 8. "Grease in Your Hair" - 10. "Your Mind Is Not Your Friend" (feat. Phoebe Bridgers) - 11. "Send for Me"

9th studio album by The National follows four years after I Am Easy to Find (Apr. 2019), and it's the band's first of two full-length studio albums in 2023. The album feature a long list of guest appearances, notably counting Sufjan Stevens (track #1), Phoebe Bridgers (tracks #4 & #10), and Taylor Swift (track #7), alongside an extensive number of performing artists.
The National don't stray much from their unique sound but still manage to turn out as a revitalised band, who has managed to incorporate small stylistic variations to their trademark of chamber riden melancholy.
Recommended.
[ allmusic.com, Rolling Stone, Clash, Uncut 4 / 5, NME 5 / 5, 👍Pitchfork 6,6 / 10 stars ]

12 May 2023

U2 "Songs of Surrender" (2023)

Songs of Surrender
release date: Mar. 17, 2023
format: digital (40 x File, MP3)
[album rate: 2,5 / 5] [2,72]
producer: The Edge [aka David Evans]
label: Island Records - nationality: Ireland

Album by U2 released as a new studio album, which means it succeeds Songs of Experience (Dec. 2017). The album comes in a standard 16 tracks edition (1 disc cd / 2 lp vinyl), or a 'Deluxe Edition' (4 disc cd / 4 lp vinyl) and a number of special issues. At a first glance it could look like a clever marketing construct as all songs here are newly recorded mostly acoustic versions of old songs - all compiled and put together by The Edge, who has 'invited' Bono to put new vocal arrangements to the recordings. Half of the band didn't have to do anything as Clayton and Mullen Jr. didn't even put any work into this The Edge solo project of utilising old recordings and recorded tracks to re-arrange what appears as a coincidental selection.
Old wine on new bottles? Yes, and no. Firstly, the songs are not really new - people, or at least: fans should be familiar with every single composition. And secondly, other artists have with or without success made this type of re-recordings of a back catalogue; however, in this particular case, I don't really spot ANY improvements, and to issue costly deluxe editions of something like this is difficult to see as anything else than profit thinking. I don't find any great versions - perhaps because I already feel done and over with this once great and innovative band, but bottom line: I just don't like it. For me, this band made its last relevant album back in the year 2009, and before that in 2000, and those albums weren't even close to great. Their last truly remarkable album remains Achtung Baby from 1991.
You've probably noticed how their most recent albums share bonding titles, like a smart marketing scoop of sorts, complete without limitations - you may imagine 'Songs of Wonders', 'Songs of Patience'... 'Lust', 'Greed', 'Profit' - at least there's room for many follow-ups in that category: Songs of Innocence, Songs of Experience, and now a 'Surrender'-version. Who knows, perhaps a fitting title for an upcoming album is 'Songs of Redundance'? Like the other two, this is not recommended.
[ 👍Pitchfork 5.7 / 10, The Guardian, NME 3 / 5 stars ]

03 April 2023

Love Shop "Blues Europa" (2023)

Blues Europa
release date: Oct. 13, 2023
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,55]
producer: Mikkel Damgård
label: Risiko Records - nationality: Denmark

14th studio album by Danish project Love Shop is yet another ambitious chapter in the band's long and winding career. The album showcase the familiar mix of melancholic tunes and lyrical depth that has come to charachterise Love Shop on their most recent albums. It's garnered with a original sound and with thought-provoking narratives, which just seems to stick to the profile of project-leader Jens Unmack.
Right from the start, you sense the special nostalgic mood and that unique reflectiveness Unmack is so sharp on. These new songs only miss some of the potent power of a recognisable touch and the album does feel less impactful compared to their last three albums. The predecessor, Levende mænd i døde forhold (Oct. 2021), was perhaps most notable for its lyrical depth and together with Brænder boksen med smukke ting (Mar. 2019) and Risiko (Mar. 2017) this trilogy all showcase well-crafted arrangements and emotional weight, cementing these as vintage years and also as some of the band's finest records. Blues Europa doesn’t fully replicate this tendency with the fourth in a row, though lyrically strong, it lacks some originality that are the trademarks of the predecessors.
On a national scale, the album has been met by what appears as universal acclaim, and as I do feel that it certainly provides a strong listen with tracks reflecting on themes of European identity and where the ambition is clear, I just sense that there's something in the execution that feels forced, making parts come out more like statements rather than a genuine musical journey. For all its minor flaws, Blues Europa still showcases fine moments, reminding fans why they love Love Shop in the first place. There's no big surprises in that regard - perhaps there's a sensation of going down well-known paths that makes it too evident, in a way. In the end, though, it's still an album worth exploring, especially for loyal followers of the band, who will probably see it as a confirmation of sorts, even if it doesn’t quite live up to the standards set by their recent works. I'm a bit doubtful about a conclusive grade, as I have come across some very positive reviews, and still, I'm not a convinced fan and have so far settled my mind on 3,5 out of 5 stars, as I feel that it doesn't reach the level of the most recent three, which in the end puts it more alongside Kærlighed og straf from 2014.
[ Gaffa.dk, Politiken 5 / 6 stars ]

28 March 2023

The Smile "A Light for Attracting Attention" (2022)

A Light for Attracting Attention
[debut]
release date: May 13, 2022
format: digital (13 x File, FLAC - XL1196DA
[album rate: 4 / 5] [3,88]
producer: Nigel Godrich
label: XL Recordings - nationality: England, UK

Track highlights: 1. "The Same" - 2. "The Opposite" - 3. "You Will Never Work in Television Again" (live on KEXP) - 6. "Speech Bubbles" (live) - 7. "Thin Thing" - 9. "Free in the Knowledge" - 11. "Waving a White Flag" - 13. "Skrting on the Surface" (live)

Studio debut by project-trio The Smile consisting of the two Radiohead members Thom Yorke and Johnny Greenwood together with Sons of Kemet-drummer Tom Skinner. The project is one of many offspring-projects during the COVID-19 lockdown. The album counts 13 tracks with a total running time of 53 mins.
Sonically, it appears as another take on the Radiohead / Atoms for Peace musical universe founded on experimental progressive (art) rock - and here with stronger focus on the electric guitar as opposed to Yorke's solo works and the music Yorke made with Atoms for Peace, where electronic equipment takes up a more present role, but it's also music where the rhythm section really unfolds thanks to Tom Skinner's sense for jazz drumming. In that regard, The Smile offers more room for Greenwood and Skinner - and then, it doesn't fall far from later albums by Radiohead except for being more loose.
Thom Yorke is credited as vocalist and for other instrumentation, he's songwriter and together with Greenwood, Skinner and producer Godrich they're all credited as composers.
The album was met by critical acclaim - several critics noting that there's not much new going on but also answering that it doesn't matter too much because the songs feel new and it just sounds great.
Recommended.
[ 👍allmusic.com, Rolling Stone, NME, The Guardian 4 / 5, Pitchfork 8,6 / 10 stars ]

12 January 2023

Modest Mouse "The Golden Casket" (2021)

The Golden Casket
release date: Jun. 25, 2021
format: digital (12 x File, FLAC)
[album rate: 3,5 / 5] [3,64]
producer: Dave Sardy, Jacknife Lee
label: Epic Records - nationality: USA


7th studio album by Modest Mouse follows almost six full years after Strangers to Ourselves (Mar. 2015), and once again the line-up is an issue with Darrin Wiener having briefly been a band member but more seriously, Lisa Molinaro and Jim Fairchild both left the band shortly prior to the album release; and then 1½ years later, founding member Jeremiah Green died.
Stylistically, the album introduces a new sound thanks to the inclusion of electronic instrumentation and a neo-psychedelic tone. Drum machines, synths, and musical loops provides the album with a more modern expression, although, traditional rock instrumentation is still very much part of the band's sound - the focus has just changed making more room for electronics. Isaac Brock still fills out every song with his characteristic vocal, and as is mostly the case with this band the single tracks may point in various directions but the album still maintains a solid sensation of a coherent product.
Not a lot binds this together with Good News for People... from 2004, or any earlier albums for that matter, but it follows closely on the same path as the 2015 album. In that regard the band has always been evolving - constantly moving further down their own evolutionary road and it's not too difficult to follow the whole progression. Their biggest stylistic leap happened when they released their best-selling 2004 album and since then the road has been a bit more predictable, which by no means is the same as uninspiring 'cause Modest Mouse is still a most daring band who could easily have chosen to go with a broader fan base.
I generally enjoy this new album. It's really good, still growing on me - it hasn't reached 'exceptional' nor 'great' but it doesn't appear to have any fillers, so it's definitely worth knowing.
[ 👍Pitchfork 7,3 / 10, NME 5 / 5, Slant Magazine 4 / 5, 👎Rolling Stone 2,5 / 5 stars ]

03 January 2023

And Also the Trees "The Bone Carver" (2022)

The Bone Carver
release date: Sep. 9, 2022
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,48]
producer: Matthew Devenish
label: AATT - nationality: England, UK


15th studio album by And Also the Trees following 6½ years after Born Into the Waves (Mar. 2016). The album doesn't actually mention producer credits but suffice to mention recording engineer Matthew Devenish, who have worked with the band as mixer and recording engineer since the making of Further From the Truth (2003). The band's bassist since (Listen For) The Rag and Bone Man (2007) Ian Jenkins has here been replaced by Grant Gordon.
Stylewise, this is yet another darkwave-founded release as the natural follow-up to the band's last two albums. It adds a few more fine tracks to a long list of compositions that are linked to an original gothic rock scene of the 80s without sounding as if recorded back then, but the band doesn't exactly hand us a bunch of challening new material, and in that way it has become increasingly more difficult to tell their recent albums from one another. In one way, it's a band that positively stays true to its original sound and then neither seems to be really interested in artistic progression. Another positive side to it, is the quality of the songs, as it appears without any fillers.
Still, The Bone Carver is a worthwhile listen.

30 November 2022

Mazzy Star "Among My Swan" (1996)

Among My Swan

release date: Oct. 29, 1996
format: cd
[album rate: 3,5 / 5] [3,42]
producer: David Roback, Hope Sandoval
label: Capitol Records - nationality: USA

Track highlights: 1. "Disappear" - 2. "Flowers in December" (4 / 5) (live) - 3. "Rhymes of an Hour" - 5. "Take Everything" - 7. "All Your Sisters" - 8. "I've Been Let Down"

3rd studio album by Mazzy Star follows (another) three years after their sophomore So Tonight That I Might See (1993). All songs here are credited David Roback and Hope Sandoval.
The album introduces a change of style as the album is primarily founded on the use of acoustic guitars instead of the feedback electric guitar sound on the first two albums, and the bond to both the 'baroque pop' of the '60s as well as to Velvet Underground has been accentuated.
The album produced the UK top-40 single "Flowers in December" but apart from that the album was seen as a lesser album, and also music critics seemed less drawn to the change of style.
After the release, the band went on a live tour and also began work on a follow-up, but they found the demands of the record label management intolerable with "the money people" interfering in their creative craftmanship and Sandoval and Roback eventually asked to be released from their contractual obligations. Without officially dissolving, the band went on a hiatus in '97 that should last fourteen years and Among My Swan was eventually followed by the fourth album in 2013, Seasons of Your Day.
I find this one on a completely different level than the first two albums. It simply tastes too much of the '60s. It's good but not really essential.
[ allmusic.com 3.5 / 5 stars ]

12 November 2022

Editors "EBM" (2022)

EBM
release date: Sep. 22, 2022
format: digital (11 x File, FLAC) (Deluxe)
[album rate: 4 / 5] [3,85]
producer: Blanck Mass, Justin Lockey, Elliott Williams
label: Play It Again Sam - nationality: England, UK

Track highlights: 1. "Heart Attack" (4 / 5) - 2. "Picturesque" - 3. "Karma Climb" - 4. "Kiss" - 6. "Strawberry Lemonade" - 7. "Vibe" - 8. "Educate"

7th studio album by Editors follows 4½ years after Violence (Mar. 2018), an album that lacked some of the coherency they showed on The Weight of Your Love from 2013. Since their sixth album Benjamin John Power has become a new member, and he is heard all over an album that fixates the band on an electronic path. Power is also known as Blank Mass and that's also how he's credited here. The album title thus refering to 'Editors Blanck Mass'. Powers played a vital part on the predecessor but the band didn't find the way to utilise Powers' contributions back then and instead ended up with tracks pointing here and there and with an album that seemed unfocused. One year after the release of Violence Editors released The Blanck Mass Sessions containing the initial recordings by Blanck Mass, which led to the album versions, and those early recordings contain some ideas that were ultimately lost on the final album. You could argue they were stronger electronically-founded, which only reflect how the band had to digest the input from Power before realising that he actually laid out a new musical direction for the band to follow.
With Banck Mass aboard Editors comes out as a revitalised band. They make the songs by Tom Smith work on top of an electronic base that gives room for bass and synths and the result is surprisingly good. Blanck Mass is noticeable all over the album, but together they are in positive synergy.
Undoubtedly, this new electronic style will challenge some of the old post-punk revivalists, and although I really enjoyed their initial albums, I like this new constellation!
[ allmusic.com, Record Collector 4 / 5 stars ]

12 September 2022

Red Hot Chili Peppers "Return of the Dream Canteen" (2022)

Return of the Dream Canteen
release date: Oct. 14, 2022
format: digital (17 x File, FLAC)
[album rate: 3,5 / 5] [3,46]
producer: Rick Rubin
label: Warner Records - nationality: USA

13th studio album by Red Hot Chili Peppers is the band's second full-length studio of the year following only 6 months after Unlimited Love, the band's first with returning guitarist John Frusciante. Both albums are with old associate Rick Rubin in the producer seat and together they have made two distinct RHCP albums with a more laid-back style founded on a great deal of improvisations and on a mutual understanding of "the real" RHCP sound. The first album included 17 tracks running for almost 75 minutes, and this new collection doubles that with its 75 minutes running time and 17 new compositions.
Wow! The scale of these two alone is an impressive achievement. In terms of style and sound they are closely related but it what strikes me is that this latter release seems more elaborated and less founded on free improvs, and since all 34 recordings stem from the same sessions it's likely that they have chosen a smart procedure of releasing the more incoherent collection first - it did come as the first RHCP album in six years and would be a most natural success alone from being the first new recordings for a very long time. This second collection contains several tracks that are more melody-based traditional compositions with A-, B-, and chorus parts, and it comes out as the more accessible collection.
I'm not a big fan of RHCP's improvisations, and in my mind, this new album just is a better album. That said, it's still difficult for a band like this to establish a strong bond to its musical traditions, its very distinct style and sound and still come up with something new. The album - or it basically applies both of the band's two albums of 2022 - is RHCP classic. This is not a band like U2, who all of a sudden comes up with a new sound but a band who has become stars via a certain combo of modern psychedlic rock, which bases its sound on a fusion of funk and alternative rock, and there's no intentions in changing that, which also means that what you get what you expect. No more, no less. And that's probably the weakness of the album - it's simply founded on previous releases, and every once in a while, you end up thinking "ah, this is based on that particular songt from that album", and I guess, there's no intentions in hiding that - it's simply a bunch of new songs building on old material.
[ allmusic.com 3 / 5, Pitchfork 6,3 / 10 stars ]