Showing posts with label indie pop. Show all posts
Showing posts with label indie pop. Show all posts

21 August 2024

Last Dinosaurs "KYORYU" (2024)

KYORYU
release date: May 21, 2024
format: digital (13 x File, FLAC)
[album rate: 3 / 5] [3,12]
producer: Last Dinosaurs, Oscar Dawson & Scott Horscroft
label: Nettwerk - nationality: Australia


5th full-length studio or a compilation (?) album by Australian dream pop and indie pop quartet Last Dinosaurs following 1½ years after From Mexico with Love (Oct. 2022), which again followed Yumeno Garden (Oct. 2018). Since their 2022 album, the band released two EPs, RYU (Nov. 2023) and KYO (Apr. 2024), and the tracks from these two actually constitute KYORYU, basically reducing the album to a compilation, but then this has become a quite common promotion procedure - regardless, what you may think of it. But it means that the first five tracks are identical to KYU, and tracks #7-13 are all taken from RYO. The digital issue (from the band's bandcamp site) comes with one extra track (track #6), and the total running time clocks in at 49 minutes.
It's all fine melodic indie / dream pop focusing on harmony-driven arrangements. At times it's a bit too slick, a bit too sugary. For my taste. I find, there's a turn towards K-Pop music on this, but it's nevertheless nicely executed. I just don't suspect, it's an album I will return to that regularly. I simply miss more edge, and a bolder original sound.


2023 'RYU' ep

2024 'KYO' ep


14 July 2024

St. Vincent "All Born Screaming" (2024)

All Born Screaming
release date: Apr. 26, 2024
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,56]
producer: St. Vincent
label: Total Pleasure - nationality: USA


8th studio album by St. Vincent follows three years after the generally acclaimed Daddy's Home (May 2021), though, I'm not a fan of that. Actually, The Nowhere Inn (Sep. 2021) is filed as her most recent release but being a soundtrack it doesn't officially belong amongst her studio releases, although, it's more than an ordinary soundtrack being music to afilm with script by Annie Clark and starring Clark herself.
Anyway, this new album unfolds as her so far most electrified and angry album to date. In that regard, it's a warm welcome back to Annie Clark the guitarist; however, in the case of St. Vincent things are not meant to be and cannot be categorised in terms of rock-standards. Clark is a modern musician with a musically schooled background and she is probably one of the most non-conformist acts around, who grabs stylistic impulses like you would pick books on a shelf. Sometimes she builds on a predominantly psychedelic rock tradition but it doesn't take more than a listen to two to three songs here and you have soul, blues, r&b, contemporary pop, indie pop and a whole bunch of other influences blended in.
So what's it like then? Well, critics can't be wrong, can they? They all like it. Alexis Petridis of The Guardian calls it "...the unmasking of a great American songwriter" and claims the album is 'packed with ideas' and yet he also points to the impression that's it contains 'shape-shifting music'. Undoubtedly, the album sounds like the music from no one else - in that regard, St. Vincent is a guarantee of unique music. The other side of that coin is that it sounds exactly like St. Vincent. Some songs build on a stereo-typical matrix of arrangements and of chorus-structures that we've heard about seven times before. Perhaps, critics focus on lyrics and narrative ideas? It's never enough when dealing with music. For me, it leaves me slightly indifferent. No track in particular stand out as one I really enjoy and return to, but yes, it's generally good, and it's better than a lot of other albums, but it's not great. What I really like about it, is the absence of strong influence from one Mr. David Byrne. Apparently, it has taken twelve years to get further into her own soundscape, and that's the most positive, I hear on All Born Screaming, which basically sounds like Clark's continued journey following her best album Mercy from 2011.
Recommended.
[ allmusic.com, NME, Slant 4,5 / 5, Mojo, Rolling Stone 4 / 5, Pitchfork 7,8 / 10, 👉Exclaim! 3,5 / 5, 🙀The Guardian 5 / 5, stars ]

[ digital album may be purchased here ]

12 January 2024

Caroline Polachek "Desire, I Want to Turn Into You" (2023)

Desire, I Want to Turn Into You
release date: Feb. 14, 2023
format: digital (12 x File, FLAC)
[album rate: 2,5 / 5] [2,72]
producer: Caroline Polachek & Danny L Harle
label: Perpetual Novice - nationality: USA

Track highlights: 1. "Welcome to My Island" - 4. "Sunset" - 6. "I Believe"

4th studio album by Caroline (Elizabeth) Polachek and her second album under her given name. After releasing three albums with synthpop band Chairlift from 2008 to 2016, Polachek focussed on her solo career, which she had already initiated while being in the band, and she then released her solo debut Arcadia (Apr. 2014) under the name of Ramona Lisa. Her second solo Drawing the Target Around the Arrow (Jan. 2017) under the name CEP (abbreviation of her name), and preceeding her 2023 album she released Pang in Oct. 2019.
Both albums by Chairlift and her solo releases have generally been met by positive reviews and they also gained public acclaim.
Polachek's newest album is by some regarded as one of the best albums of 2023, but I'm not really a huge fan. Yes, the production is state of the art top-notch, and there's much positive energy in most of her songs - it's just... all heard before, isn't it!? I guess I'm not part of her target fan base and all but still, I simply cannot come to terms with much of the new synthpop and indie pop artists, who spit out new songs that showcase the same arrangements, the same instrumentation, the same song structures, and similar soundscapes! I know Lana Del Rey, Beyoncé, Drake, Taylor Swift, etc. all make different kinds of music, but to me, they nevertheless showcase a common strategy of making music that loans heavily on pre-made music - whether it's music by themselves or others making some of the same 'generic' pop. It leaves me indifferent - at best! But mostly, it only makes me change radio channel or give me an urge to hear something... substantial. Something worthwhile. I don't care how many copies they sell or how many awards they are awarded. I currently don't know anything about Chairlift, or Polachek's earlier albums, and frankly, this album doesn't make me one bit curious about her past. And that's regardless all the good reviews their albums have garnered.
Not recommended.
[ 👎allmusic.com, Clash 4,5 / 5, 🙉PopMatters 5 / 5, Rolling Stone 4 / 5, 👉NME 3 / 5 stars ]

11 December 2023

Grrrl Gang "Spunky!" (2023)

Spunky!
release date: Sep. 22, 2023
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,65]
producer: Lafa Pratomo, Grrrl Gang
label: Green Island Music - nationality: Indonesia


Full-length studio album debut by Indonesian trio Grrrl Gang. The album follows the compilation Here to Stay! (2020) and the ep debut Not Sad, Not Fulfilled (2018). Grrrl Gang consist of lead vocalist and guitarist Angeeta Sentana, bassist and vocalist Akbar Rumandung, guitarist and vocalist Edo Alventa, and together they formed the power pop trio in Yogyakarta, Java in 2016 - since then, they have relocated to the capital city of Jakarta.
Spunky!" is a ten track album; however, running for less than 25 mins. it's a rather short album. And frankly, that only makes you wish they had more songs on their repertoire 'cause it's really a fine addictive list of power pop tunes you probably wouldn't expect to originate from Asia - and say least of all: Indonesia. The three met and formed at Gadjah Mada University but might as well have formed in Seattle, or somewhere else in the US, which is like the living proof of how the world has become much smaller when speaking of music culture. Grrrl Gang play power pop and indie rock - in the 90s often referred to as college rock with bonds to The Breeders, Pixies, Echobelly, Throwing Muses and the like.
It's straight-forward and simple, and then it reminds us of how you could just go on and form a band back in 1977/80, or say 1990, just as long as you had some fundamental skills in place, and Grrrl Gang surely know one or two things about composing energetic indie pop.
Spunky! is already an acclaimed album - NME puts it at number #48 on its list of the 50 best albums of the year. I guess all three band members could very well have found, or hoped for another type of living than what they sat out for when deciding to relocate to the capital to find day jobs, and then instead ended up in a successful band.
Highly recommended.
[ NME 4 / 5, Under the Radar 7,5 / 10, 👍Loud and Quiet 3,5 / 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 ]

08 February 2023

Last Dinosaurs "From Mexico with Love" (2022)

From Mexico with Love
release date: Nov. 4, 2022
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,48]
producer: James Angus
label: Nettwerk - nationality: Australia

Track highlights: 2. "Look Back" - 3. "CDMX" (4,5 / 5) - 5. "Auto-Sabotage" - 8. "The Hating"

4th studio album by Australian indie pop quartet Last Dinosaurs following their so far best album Yumeno Garden (Oct. 2018).
The album showcases a bolder mainstream sound, somewhat in contrast to their recent turn to a more complex rock-sound but it's also a return to the soundscape of the debut, although, with the implication of more nuanced arrangements perhaps more suited for a radio-friendly target.
From Mexico with Love both contains uptempo beats, well-placed guitar-hooks and then some recycling with loans from previous songs, which doesn't establish the album as one of the band's more original ones. The song "CDMX" is the one stand-out single with a happy-go-lucky indie pop lightness and equal share of lush blue-eyed pop and the right amount of Cardigans charm, which really proves the band's potential. The album as such is good, it's fine, and it's also a bit on repeat, although, it's far from mediocre.

28 December 2022

Dead People "We Love" (2022)

We Love
[debut]
release date: Nov. 11, 2022
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,42]
producer: Dead People
label: Universal Music - nationality: Sweden


Studio album debut by this Swedish 'super-group' consisting of the three Swedes, Joakim Berg - former frontman of Kent, Anna Ternheim - alt. folk and singer / songwriter soloist, and Malcolm Pardon, producer, composer and former bassist of British band Kinky Machine, member of Swedish band, Girlsmen, and part of the duo, Roll the Dice. Apparently, this project is one of the many established collaborations that has come about due to COVID-19 restrictions and via networking from a personal home base. Under his own name, Pardon released his ambient and electronic solo album Hello Death in Juli '21. Berg had been writing songs for movies and other artists, and he also launched his first actual solo album Jag fortsätter glömma (May this year), and Ternheim released her most recent album A Space for Lost Time in 2019. As Dead People, the three managed to issue several singles from mid '21 until late '22 without revealing their actual identities. They were known as Mother and Two Sons, and they wrote and composed music for the Netflix film "Black Crab" by Adam Berg (Joakim's brother).
Musically, this sounds like nothing else the three have previously been involved in. Perhaps, Berg comes closest with the synthpop sound of late Kent, but here all songs have vocals by Ternheim with occassional male backing vocals by Pardon, and the music is by the three together. Stylewise it's something you would refer to as light indie pop, and the singles that were released individually from mid-'21 to mid-'22 are all included on the album.
We Love is not new musical territory. In fact, it sounds a bit like a lot of other artists, and with a style of light mainstream pop it doesn't appeal all that much to me, but it's well-executed and nicely produced music. The album contains 10 tracks and has a rather short total running time at just under 35 minutes.
[ 👍Aftonbladet 3 / 5 stars ]

05 November 2022

Eee Gee "Winning" (2022)

Winning [debut]
release date: Feb. 25, 2022
format: digital (14 x File, FLAC)
[album rate: 4 / 5] [3,76]
producer: Rasmus Bille Bähncke
label: Future Classic - nationality: Denmark


Studio album debut by Danish act Eee Gee [stylised 'eee gee'] aka Emma Grankvist is virtually a debut-out-of-the-blue. I first listened to the song "Favourite Lover" and then "Bad Person" without knowing anything about artist or nationality, and I remember thinking it must be yet another one blending Lana Del Rey and Billie Eilish, although still doing that quite nicely. But after realising it's music by Danish songwriter Emma Grankvist and upon listening to the whole album, I have to admit it's much more than a copy and quite a remarkable achievement. Why hadn't we heard about her before? And speaking of influences, I also found it's waaaay too simple to mention the aforementioned two American stars as only sources 'cause there's also traces of much else. There's a tongue-in-cheek (Lily Allen-like) presence and songs that are stronger singer / songwriter or alt. folk related that reminds me of Cat Power or Sharon Van Etten, or was it Ane Brun leaning on Joni Mitchell? And then why even compare?!
The album has a total running time above 45 minutes with songs written by Grankvist, and most of the music is co-composed with producer Bähncke. Granted, this may not be highly original, but it's a most powerful collection of personal songs produced in high-end arrangements. Yes, there's influence and traces of others, but looking at the whole picture instead, this is simply one of the strongest Danish debut albums in years.
Highly recommended.
[ Politiken, 👉Soundvenue 5 / 6, Undertoner 4 / 6 stars ]

09 September 2022

Blaue Blume "Country" (2022) (single)

Country
, single
release date: Sep. 9. 2022
format: digital (1 x File, FLAC)
[single rate: 4 / 5] [3,88]
producer: Blaue Blume
label: HFN Music - nationality: Danmark

Tracklist: 1. "Country" (4 / 5)

Single release by Blaue Blume and the band's first actual release Bell of Wool (Nov. 2019) except from the remix of "Loveable" - the first by Trentemøller (released Feb. 2020) and one by Emil Rottmayer (released Mar. 2021). Since that album and in the span of the most recent months the band has been reduced to a trio following the leave of guitarist Robert Buhl Jensen, who then leaves behind a band consisting of vocalist Jonas Smith, guitarist & bassist Buster Lassen, and with Søren Buhl-Jensen on keyboards & drums.
"Country" has so far only been issued in digital format, and the song is a laidback and quiet track with traces to Talk Talk with a certain jazzy quality and with elements from country and progressive pop, and with the pompous production of Blaue Blume in behold. It's beautiful and heartfelt, and it still shows the band's great potential. The single may be found on the band's bandcamp-profile.

15 August 2022

Marie Key "Lys finale" (2022)

Lys finale
release date: Feb. 11, 2022
format: digital (10 x File, FLAC)
[album rate: 4 / 5] [3,78]
producer: Bremer / McCoy
label: Sony Music - nationality: Denmark

Track highlights: 1. "Vinter" - 2. "Tænk" - 5. "Lys finale" (4 / 5) - 6. "Stille måne" - 7. "Verden" - 10. "Festen"

6th studio album by Marie Key following the album Marie Key (2020) saw Key in an attempt to take up the success from her first three solo albums with producer Andreas 'Maskinen' Sommer, and although the album produced a small single hit with "True Love", the album wasn't part of top-40.
Lys finale is easily her most quiet album to date. It's produced by contemporary Danish jazz-duo Bremer / McCoy (bassist Jonathan Bremer and pianist Morten McCoy), and all tracks are co-composed and arranged by the duo, and the end-result is far from the art pop and synthpop-fused predecessors. Stylewise, this might go as indie pop with a strong touch of jazz pop, and most tracks have near minimalist arrangements where bass and a delicate keyboard often are only instruments backing Key's vocal, which is accentuated strongly.
A first listen had me think it was daring and far from expected but I quickly found it a quite strong release. It's not filled with hit material or sing-a-long choruses, and it's primarily the most stripped down songs that work the best - and it's Key's delicate narration that really lifts the album, which then also calls for a native audience, as all songs are in Danish.
This is imho, Key's second best album to date and thus highly recommended.
[ Berlingske 5 / 6, Politiken 3 / 6 stars ]

15 April 2022

Love Shop "Levende mænd i døde forhold" (2021)

Levende mænd i døde forhold
release date: Oct. 1, 2021
format: vinyl (first edition incl. 7'' single) / cd
[album rate: 3,5 / 5] [3,64]
producer: Mikkel Damgaard
label: A:larm / Universal - nationality: Denmark

Track highlights: 2. "The Troubles" - 3. "Kun længes skygger mod aftenens fald" - 6. "Ægte Nordic noir" - 10. "Exitstrategi" - - 7'' single, A 1) "Andy Warhol's piger"

13th studio album by Love Shop following 2½ years after the album Brænder boksen med smukke ting (Mar. 2019), and the album (as well as band) is primarily the product by songwriter and vocalist Jens Unmack and keyboardist and musical composer, arranger, and producer Mikkel Damgaard, who has been an official member since 2011, although, he's taken part in the project since 1999.
The title of this new album translates to "Men Alive in Dead Relations", and death does play an everpresent part in this band. Firstly, it was a figurative presence when the band's main composer, guitarist, arranger, and producer Hilmer Hassig decided to leave the trio back in late 2003. It was a devastating decision that resulted in a practical disbandment - they couldn't possibly continue, and the disbandment was a reality. Together, they planned a farewell tour, still executed in late 2003. Hassig then settled as studio technician, arranger, instrumentalist, and producer, while Both Unmack and keyboardist / backing vocalist Henrik Hall initiated independent solo careers; however, after Hassig became the victim of a drive-by incident resulting in his sudden death in late 2008, Hall and Unmack initially reunited as Love Shop to honour their friend for several memorial concerts in 2009. The positive experience of playing together again led them to revive the band, and to write and compose new material, which saw the light of day with Frelsens hær ['Salvation Army'] (Nov. 2010). Death's ugly face appeared again when Hall died Jan. 2011 - following years battling with cancer, and then as opposed to ending their common revitalised life-project, Unmack instead decided to continue Love Shop, although, he is the only remaining member of the original line-up. The following album Skandinavisk lyst ['Scandinavian Lust'] (Oct. 2012) both honours Hassig and Hall and simultaneosly lights a torch of life in what appears as the strong will to carry on. In spite, and not to succumb.
Levende mænd i døde forhold is then of course with reference to those who are here. In the band Love Shop, it's Unmack and Damgaard, and perhaps it's not to be taken too literal, but the title suggests that despite seeming alive, you can may still live your life with a presence / an implication of something that appears dead. This could be an ever-present sensation of people playing a major part in your life - it could also be taken more literal, suggesting your personal relations appearing dead.
Nevertheless, Unmack and Damgaard have proven to have much to offer. Their songs are not surprisingly often dealing with existentialism, and Unmack is forever bound to a Scandic melancholy. He would probably refer to it as "Nordic noir" - something in the DNA of people of the North, which may be found in the works by Hammershøi, Krøyer, Grieg, Sibelius, Munch, Bergman, Von Trier, Björk, Brun, Kent...
The album seems like the second chapter to the 2019 album, not as a copy, but more as the very essence of a sound that has become grounded in the name of Love Shop on its now most recent three albums, starting with Risiko from 2017. I find that the new album is very much in the spirit of the former two - not that it's a lesser work of art, it just feels more like a condensation, an album that doesn't show us something new, but more as new angles on the same view, which can both contain surprises as well as recognition of what we already know.
Not their best, but still far from their lesser works, and definitely worth the price. And then, I absolutely just love the inclusion of a 7'' inch bonus single stressing that vinyl format is very much alive.
[ Gaffa.dk 5 / 6, Politiken, Berlingske 4 / 6 stars ]

03 March 2022

Brimheim "Can’t Hate Myself Into a Different Shape" (2022)

Can’t Hate Myself Into a Different Shape
[debut]
release date: Jan. 28, 2022
format: digital (11 x File, FLAC)
[album rate: 4 / 5] [3,78]
producer: Søren Buhl Lassen [?]
label: self-released - nationality: Faroe Islands, Denmark


Studio album debut from Danish-Faroese Brimheim, aka Helena Heinesen Rebensdorff released with aid from WAS Entertainment and via her bandcamp.com profile. The total of 11 tracks have a running time around 37 mins and they're all credited Helena Rebensdorff and Søren Buhl Lassen (drummer of Blaue Blume) - previously he collaborated with danish artist Benjamin Hav - but there's little information about the production of the album regarding featuring instrumentalists as well as technical staff.
Musically, it's indie pop with traces of singer / songwriter or folk pop with hints from introspective threads to Phoebe Bridgers, who has herself listened to Kate Bush and uptempo-songs filled with an audacious mindset and presumed inspiration in Alanis Morissette and PJ Harvey without ever sounding like a copy. It's quite impressively arranged and produced, and it reeks the kind of coherency as something you would expect from an artist later on in his / her career. There's a certain maturity to the music and lyrics indicating that Brimheim herself has turned 30, is a mother who has already enough life experience to as foothold, and in that way is far from a mere whiz-kid. Mind you, Brimheim has already released the 5-track ep Myself Misspelled in 2020 and the single Call It What You Want in '21, which had some airplay in on the national DR P3, however, it's not a major back catalogue, calling for the title as 'Best promising Danish Act of the Decade', or the like - something Danmarks Radio in the local echo chamber with some success have applied to their very own radio host Drew Sycamore, although, she's nowhere near the talent and originality of Brimheim. The narratives on Can’t Hate Myself Into a Different Shape mainly touch on the subjects of identity and prejudice, and from what I've managed to read about some of her experiences in that regard, it appears that Rebensdorff has something to draw on, and she does that with great skills while abstaining from sentimentallity and by avoiding to take position as a victim.
Previously, both Oh Land, Rebekkamaria, and Medina have all sought for an international pop-sound in the neighborhood of a mix á la Alanis Morissette and the more introspective á la someone like Sharon Van Etten without copying Lykke Li, Anna Ternheim, or Ane Brun. Helena Rebensdorff succeeds on her own terms, and it remains a mystery, touching on ridiculous, that a major label haven't been able to notice the obvious potential and thrown in the right amounts of money, a promotion campaign, and a solid marketing strategy to secure Brimheim and this very album. Hopefully, it's just no longer necessary if the talent is sufficient support, people's eyes and ears will probably create an interest in Brimheim, who then will take care of the rest herself.
Can't Hate Myself Into a Different Shape is up for grabs as Danish release of the year and can only be recommended
[ Gaffa.dk, Soundvenue 5 / 6 stars ]
#YearBestDanishAlbum

22 November 2021

St. Vincent "Daddy's Home" (2021)

Daddy's Home
release date: May 14, 2021
format: digital (14 x File, FLAC)
[album rate: 3 / 5] [3,12]
producer: Annie Clark & Jack Antonoff
label: Loma Vista Recordings - nationality: USA


7th studio album by St. Vincent follows 2½ years after MassEducation (Oct. 2018), which didn't really offer brand new songs but merely contained acoustic interpretations of songs from Masseduction (Oct. 2017), which still counts as St. Vincent's most recent album, and this new one is like that made in collaboration with producer Jack Antonoff, who is also credited as co-composer on five cuts.
Stylistically, it's unsurprisingly a new mix that Annie Clark comes up with here, although as her recent releases it's music without her previously distinct guitar signature, which markedly characterised her first albums. Where Masseduction offered experimental synthpop, she has now dressed out in 70s nostalgia with equal parts of psychedelic pop and soft glam rock - or: soft psychedelic rock and glam pop. The songs are quiet ones in a laid-back style with focus on the narrative, and it sounds to me like Clark has plowed through everything with Bowie from Aladdin Sane (1973) to Young Americans (1975) and then with some inspiration from Pink Floyd she has set the stove on a low flame. And St. Vincent does share some traits with Bowie: she is always a distinct persona, based on her latest music, and you never know in which direction she moves from there, but you know it's top-dollar-styled like a new production by Andrew Lloyd Webber without ever revealing the actual living individual behind the mask. In the long run, St. Vincent may touch on enervating, and I'm no (longer) the great St. Vincent fan I used to be after her first three albums where she was Annie Clark - the fabulous musician and brilliant guitarist. Now the whole thing has really gone Big Business and she has to conquer every scene dressed up in a new skin suit matching a new ground tone and new musical ideas. It's completely deliciously produced and beautifully executed, but unfortunately also... touching on boring. It lacks edge and a will to mark itself as anything other than another one of today's greats with an album you'll see high up in the charts and which will be forgotten in a year. Don't forget to make great music!!
Not recommended.
[ allmusic.com, NME, Rolling Stone 4 / 5, 👍Pitchfork 6,7 / 10 stars ]

26 August 2021

Lightning Bug "A Color of the Sky" (2021)

A Color of the Sky
release date: Jun. 25, 2021
format: digital
[album rate: 4 / 5] [3,75]
producer: Lightning Bug
label: Fat Possum Records - nationality: USA


3rd studio album by American indie pop band Lightning Bug is the band's first on an actual record label, as their first two albums were pure self-releases. Yet the band is still in full control with keyboardist Logan Miley as mixer and the band themselves in the role as producer. On the their first two outings, the band was a trio but it's now expanded to a quintet with the addition of bassist Vincent Puleo and drummer Dane Hagen, and thus it has been possible to record the album live in the studio, where vocalist and songwriter Audrey Kang previously both played bass and drum tracks.
The style has become more laid back, more spacious and ethereal bonding stronger to dream pop, although it also sounds like a natural extension of the band's second album October Sky (2019). Still, Cocteau Twins and other 80s and 90s dream pop bands pop to mind, but on the album here you may also notice a more apparent inspiration from the two final albums by post-rock band Talk Talk as well as Mazzy Star. It's a fine mix of ambient noise and primarily melodic harmonies, and the album appears to me, as the band's finest to date.
[ allmusic.com, SputnikMusic 4,5 / 5, Slant 4 / 5, Pitchfork 3,5 / 5 stars ]

12 August 2021

Fritz "Pastel" (2021)

Pastel
release date: Feb. 12, 2021
format: digital (9 x File, FLAC)
[album rate: 3,5 / 5] [3,52]
producer: Fraser Marshall
label: Inertia Music - nationality: Australia

Track highlights: 1. "Sweetie" - 2. "Arrow" - 3. "Pastel" - 4. "She's Gonna Hate Me!" - 7. "Die Happily" - 9. "Jan 1"

2nd studio album by Australian music project Fritz (stylised FRITZ) consisting of Matilda Murphy (aka Tilly Murphy) on vocals, rhythm guitar and bass, Cody Brougham on (lead) guitar, and with Darren James on drums. Or at least that's what you could think, and then in the band's music videos you may also see a (second) bass player and a keyboard player, although the band members apparently only count Murphy, Brougham, and James. Matilda is also credited as songwriter and composer. The band is based in Newcastle, New South Wales, Australia, and before Pastel they released the self-promoted album FRITZ in 2017 - which makes Pastel the band's debut on an actual label.
It's music somewhere in between The Vaccines, Jezabels, and Dum Dum Girls with clear inspiration from My Bloody Valentine, Sonic Youth, Breeders and Swedish The Radio Dept. with a balance between light noise pop, classic dream pop and what perhaps should be referred to as pop-grunge. The album consists of nine songs with a modest running time of just under half an hour.
It may be the kind of music that sounds as if made in the 90s, but it has a naive freshness and unimpressiveness that could stem from the fact that the band members have only just stepped out of their teenage years. Musically, it could be described as somewhat narrow - both in terms of production sound and in the variation of the individual compositions - but it's nevertheless delightfully refreshing at a time when music is something that ideally requires a new producer (or preferably several) for each track, and where the compositions should ideally be piled up in countless soundtracks and advanced arrangements to perhaps cover up the fact that the good songs are basically missing. After a quick spin, you might feel like uttering 'was that it? I mean, the whole album?' And yes, it is kinda short, sweet and most of all, it sounds promising for the future, so we have another real alternative to Eilish (and bro), Del Rey, multi-billionaire West and all the other overrated and overproduced hitmakers.
Recommended.
[ 👍Awfultrackrecord.com 3,5 / 5 stars ]

16 July 2021

Kele "The Waves Pt. 1" (2021)

The Waves Pt. 1
release date: May 28, 2021
format: digital
[album rate: 3 / 5] [3,18]
producer: Kele Okereke
label: Kola Records / !K7 - nationality: England, UK


5th studio album by Kele (aka Kele Okereke, whose full name is Kelechukwu Rowland Okereke) following 2042 (Nov. 2019). Unlike most of his releases, Kele himself is credited as producer on this, as was also the case on his second album out Trick (Oct. 2014).
Unsurprisingly, the album comes with COVID-19 as a theme and as a starting point for the creation of an album, which offers 13 cuts and a total playing length of just under 50 minutes. Nor is it any surprise that Kele presents us with new styles and a mix of all possible inspirations. It's a near natural habit of his that the basic tone of any new album is from a new perspective - much in the same manner as we've come to understand the soundscape in Bloc Party. On this new release, there is less, or practically no room for alt. dance, funk, or disco. Instead, the album is somewhat subdued without approaching a bare folk rock and singer / songwriter orientation, as the one he cultivated on Fatherland (Oct. 2017). It's a type of quiet indie pop and alt. folk with the narrative at the center of the compositions. Where 2042 presented us with a series of tales about future English society, The Waves Pt. 1 are stories about Kele's present time. It's about being a parent, living in a relationship, and it's about small and big changes affecting us all.
Nationally, the album has been met by a somewhat lukewarm reception, but that's not something new for Kele personally, nor for his experiences concerning album releases with Bloc Party.
It's not exactly an album of a lot of ear bangers or melodic hooks, and it's generally a more quiet and introspective Kele as opposed to what you might have expected. It may appear as a demanding album, where the listener must take an active part in an attempt to create his/her own understanding. My first impression had me think of it as an off the target album, but it's not necessarily all bad because it makes demands on the listener. As the title indicates, one could expect The Waves Pt. 2.
Not recommended.
[ The Guardian 2 / 5, NME, Mojo 3 / 5, Clash, Narc Magazine 4 / 5 stars ]

03 July 2021

Marie Key "Marie Key" (2020)

Marie Key
release date: Oct. 23, 2020
format: digital (11 x File, FLAC)
[album rate: 3,5 / 5] [3,72]
producer: Andreas Sommer
label: Temper Records - nationality: Demark


5th studio album by Marie Key following a little more than two years after Giganter (Jul. 2018) sees a welcome back to producer Andreas 'Maskinen' Sommer, who is credited as multi-instrumentalist also is credited as co-composer of six out of a total of eleven songs. The album also sees a few featuring guests, which include Tim Christensen on guitar (track #2), Christoffer Gregersen on vocals (track #6), and Simon Kvamm on vocals (track #9). The album has primarily been issued as a vinyl only album (also available as digital download) but not on cd format, and it's the first to be released on Key's own label, Temper Records.
As many releases from 2020 the album has been recorded and produced at a time of uncertainty - with reference to general lockdowns, and in that regard it may have been delayed as Key probably to be able to follow it up by a tour.
Marie Key is a way of showing a more stripped down view on an artist, who has taken the country by storm but also experienced a difficult time after her first two acclaimed albums, although Giganter was a fine album it just was't met by enthusism and great reviews. And that tendency may have hit this very album even harder as it hasn't been promoted strongly and basically appears to have near vanished from the public interest, which is more than strange. Yes, the song "True Love" was a minor national hit but the album failed to enter top 40 and seems to have come out only to be greatly ignored, which is really sad, because it is a fine album where Key once again reveals her gifts as a gifted contemporary songwriter of personal and inner conflicts with an obvious broad appeal always serving her songs with glimpses of hope, despair, and humour, but also with a purposeful sense for a wider target group. It's both simple narratives and modern poetry on a another level than pop without substance, and Key simple deserves more listeners but may have found the limitations in singing entirely in Danish when everyone's eyes and ears are on a globalised perfect world via Insta, Tik-Tok, and X.
Definitely recommended.
[ Gaffa.dk, Kulturen.nu 4 / 6, 💩Ekstra Bladet 3 / 6 stars ]

19 April 2021

Tindersticks "Distractions" (2021)

Distractions

release date: Feb. 19, 2021
format: vinyl (LTD. blue vinyl) / digital (7 x File, FLAC)
[album rate: 4 / 5] [4,02]
producer: Stuart A. Staples
label: Lucky Dog / City Slang - nationality: England, UK

Tracklist: 1. "Man Alone (Can't Stop the Fadin')" - 2. "I Imagine You" - 3. "A Man Needs a Maid" - 4. "Lady With the Braid" - 5. "You'll Have to Scream Louder" - 6. "Tue-Moi" - 7. "The Bough Bends"

13th studio album by Tindersticks succeeding No Treasure but Hope (Nov. 2019) released on Stuart Staples' label Lucky Dog aided by independent German label City Slang. The band is still the quintet consisting of lead vocalist, primary songwriter and composer Stuart A. Staples, guitarist Neil Fraser, bassist and keyboardist Dan McKinna, keyboardist David Boulter, and drummer Earl Harvin. The album 'only' contains seven compositions with a total running length at just above 46 minutes, which means several tracks have a longer running time than the common 3 to 4 minutes, although on recent releases the band really has done things its own way. Somewhat unconventionally, the album starts off with the longest track by far, running more than 11 minutes, and the track is also unusual for Tindersticks as it has a clear electronic edge. After that the album continues in a more traditional way for the band with quite simple-structered chamber pop without much other than Staples' vocal on top of quiet guitar notes, an almost non-existent ambient keyboard and faintly audible strings - with no traditional rhythm instruments whatsoever. Another new move is the presence of cover songs. Of the album's seven tracks, three here are covers and even though the original versions are extremely diverse, Tindersticks have turned the songs into Tindersticks songs, which fit quite nicely together. "A Man Needs a Maid" is a well-known Neil Young song from his classy Harvest album from 1972, and it's here completely adapted to a Tindersticks universe with bright backing vocals and Staples' contrasting darker vocal - the result is very good. The following track, "Lady With the Braid", is probably a lesser-known song to most people written by [Dorothy] Dory Previn [aka Dory Langdon, aka Dory Previn Shannon] taken from her second singer / songwriter studio album Mythical Kings and Iguanas from 1971. That song is followed by the final cover: "You'll Have to Scream Louder" written by Dan Treacy for the British post-punk band Television Personalities taken from the 1984 album The Painted Word. After this, Distractions continues with an also almost typical Tinderstick's composition with French lyrics: "Tue-moi" ['Kill Me'], where Staples with his English-French [sorry] does his best 'chanson' style, which probably only Brits and also some flattered French will perceive as something extraordinary. The song is something quite special in another way, as it's Staples' inspiration from and his thoughts on the assassination at the French venue the Bataclan in 2015 - a venue Tindersticks has visited several times. The album ends a bit like it starts - with a slightly more experimental track with tape loops and 'other electronics', although it still mostly sounds like Tindersticks in the slightly jazzy corner. In a way, the album is like a reminiscent of Staples' most recent solo, the album Arrhythmia from 2018, which is the first time you notice Staples experimenting with electronic devices. That album was also unusual for its rather long compositions.
All in all, Distractions is an album that offers both new and old, and which is unmistakably Tindersticks, who have seriously turned down on the arrangements. The well-known chamber pop element is only faintly present, and instead something experimental appears borrowing both from modern styles and from jazz.
Tindersticks continue to make fascinating music - it seems they have found their own slot in the alt. rock sphere with enough space to keep experimenting without losing artistic progression. And I'm tempted to ask 'when did this band really make a poor album?' It's definitely been a long time, and it certainly hasn't been the case since the band suffered internal conflicts by the turn of the century.
Recommended.
The front cover is credited Sidonie Osborne Staples - daughter of Stuart Staples & Suzanne Osborne.
[ 👍allmusic.com, Uncut 4 / 5, musicOMH 4,5 / 5 stars ]

30 March 2021

I Break Horses "Warnings" (2020)

Warnings
release date: May 20, 2020
format: digital (12 x File, FLAC)
[album rate: 4 / 5] [3,92]
producer: Maria Lindén
label: Bella Union - nationality: Sweden


3rd studio album by I Break Horses as a follow-up to the more than six year old Chiaroscuro (Jan. 2014) is much as usual produced by the band's dynamo, multi-instrumentalist, vocalist and composer Maria Lindén, and it's like the duo's two previous albums released on British label Bella Union.
Six years is a long time between releases in modern popular music culture, but it's the pace of Lindén and percussionist Fredrik Balck who seem in complete control, although part of the explanation for the long wait may have to do with Lindén's perfectionism and the fact that some recordings were lost. The album consists of 12 tracks varying from 1 to 9 minutes and with a total running time of 54 minutes.
Musically, the album lands somewhere in between the first two albums - Hearts from 2011 with its guitar-driven shoegaze and My Bloody Valentine-esque wall of sound versus the more electronic synthpop release from 2014. You'll find energetic uptempo tracks with almost inaudible guitar as background instrumentation, but otherwise it's a more strict synthpop and electropop version of dreampop guided by keyboards, synths, and drum programming, the duo presents here. Lindén is undoubtedly the duo's leading figure - in addition to her vocal contributions, she handles guitar, bass, and keyboards, while Balck, in addition to his part of co-songwriter, apparently is content to contribute as the duo's rhythmic planner.
Warnings has been released to fine reviews, and it's an album that may leave you with a feeling of something ingenious and original pointing back to the best by The Knife, but which also borrows from Cocteau Twins and Radio Dept., but cleverly avoids imitation, because it appears thoroughly new. Lindén doesn't reveal an impressive vocal as some contemporary pop artists, but on Warnings the vocal side is more of a contribution to the tone of dreampop in line with the sound of a synthesiser or the keyboards, and the rhythmic contribution of percussion and drum programming varies from trance-like monotony over more traditional simple rhythm structures to something almost dynamic organic as you would find on albums by The Creatures.
With Warnings, I Break Horses has made a minor masterpiece by balancing the positive energy of their debut with the greater rhythmic complexity of the follow-up. It's a huge musical overview with ties to various styles, which creates rare dynamics, and it's an inviting and captivating sound that deserves all the great reviews. With Warnings the duo has made a most surprising leap to the front of bus.
Highly recommended.
[ allmusic.com, Under the Radar 4,5 / 5, NME, 👍The Line of Best Fit 4 / 5 stars ]

2020 Favourite releases: 1. Gorillaz Song Machine, Season One - Strange Timez - 2. Kesi BO4L - 3. I Break Horses Warnings

09 March 2021

Cat Power "The Greatest" (2006)

The Greatest

release date: Jan. 9, 2006
format: digital
[album rate: 3,5 / 5] [3,65]
producer: Stuart Sikes
label: Matador / P-Vine Records - nationality: USA

Track highlights: 1. "The Greatest" (4 / 5) (live on Later) - 2. "Living Proof" (live on Letterman) - 3. "Lived in Bars" (officiel video) (live on Later) - 5. "Empty Shell" - 6. "Willie" - 7. "Where Is My Love" (officiel video) - 12. "Love & Communication"

7th studio album by Cat Power (aka Chan Marshall) following a full three years after You Are Free (Feb. 2003). Like all Power's other albums, The Greatest is in the quieter end of folk rock and singer / songwriter genre with elements from alt. country and traditional blues. What's new here is especially a far more indie pop-tinged series of songs in larger-than-usual arrangements, which by that don't have 'the usual' clear lo-fi touch. The album therefore seems more airy, varied and lighter than most of her other albums, which have often carried an excessive heavy melancholic mood. The songs here appear brighter and lighter, even though Power's vocals are not that different and without ever displaying the big register, but which nevertheless has its own qualities, which are mainly rooted in a charismatic hoarse and occasionally almost whispering intonation, which can lead thoughts to Lana Del Rey and Hope Sandoval with a common starting point in Laura Nyro.
The Greatest is Cat Power's highest-charting album to date on the US Billboard 200 peaking at number #34, but it reached number #20 in Australia and at number #45 in the UK. The album won the Alternative Shortlist Music Prize (an award running from 2001 to 2007) ahead of names such as Band of Horses, Joanna Newsom, and Tom Waits - an award for which her 2003 album was also nominated without running with the award.
Imho, The Greatest is Powers best album to date and therefore also a recommended place to delve into the special universe of Cat Power.
[ allmusic.com, The Guardian, NME, Q 3 / 5, 👍Rolling Stone 3,5 / 5, Pitchfork 7,9 / 10 stars ]