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

My Light, My Destroyer

release date: Jul. 12, 2024

format: vinyl / digital (18 x File, FLAC) (Deluxe Edition)

[album rate: 4 / 5] [4,06]

producer: Andrew Lappin, Cassandra Jenkins

label: Dead Oceans - nationality: USA

Track highlights: 1. "Devotion" (4 / 5) - 2. "Clams Casino" - 3. "Delphinium Blue" (4 / 5) - 5. "Aurora, IL" - 6. "Betelgeuse" (4 / 5) - 7. "Omakase" (4 / 5) - 9. "Petco" - 11. "Tape and Tissue" - 12. "Only One" - *15. "Hailey / Hayley (Only One)" - *17. "Stardust"

* Bonus track on Deluxe Edition

3rd studio album by Cassandra Jenkins following the acclaimed An Overview on Phenomenal Nature (Feb. 2021) and more recently the following release of demos and outtakes released as (An Overview on) An Overview on Phenomenal Nature (Nov. 2021). The standard vinyl and cd issues of the album contains 13 tracks with a total running time of just under 37 minutes. The digital Deluxe Edition (and the 2-disc cd issue) extends the running time to 52 minutes [ find it on bandcamp ]. The title of the album comes from the song "Omakase" and its chorus lines: "My lover - My light - My destroyer - My meteorite".

The album is held in the same original style and tone as her 2021 album. It's therefore made with a distinct sense for sophistication. It's a perfect blend of new age, jazz, indie rock, sophisti-pop, and with delicate use of field recordings. A couple of the bonus tracks are more experimental with bold use of field recordings and less focus on coherency - especially track #17, "Stardust" appears as one long experimental. The album is, however, no less than yet another amazing release. The whole album is meant for attentive listening and it works as a complete work - and more so than a collection of individual songs.

My Light, My Destroyer is one of this year's absolute best albums. For now, it's in my top-3, but I only suspect it to go higher.

Highly recommended.

[ allmusic.com, Uncut 4,5 / 5, 👍Pitchfork 8,0 / 10, 👍Mojo, The Guardian, Slant 4 / 5 stars ]

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

André 3000 "New Blue Sun" (2023)

New Blue Sun [debut]

release date: Nov. 17, 2023

format: digital (8 x File, FLAC)

[album rate: 2,5 / 5] [2,68]

producer: André 3000 & Carlos Niño

label: Epic Records - nationality: USA

Track highlights: 1. "I Swear, I Really Wanted to Make a 'Rap' Album but This Is Literally the Way the Wind Blew Me This Time" - 7. "Ants to You, Gods to Who ?"

Actual solo album debut by André 3000 (aka André Lauren Benjamin), who hasn't released full-length album music of his own since the Idlewild (2006) album by Outkast - one of the most succesful hip hop projects. Speakerboxx / The Love Below (2003) by Outkast has gone down in music history as the best-selling hip hop album ever to be released. André 3000 did, however, release the EP Look Ma No Hands in 2018, but other than that he has made featuring appearances on various singles and albums, although, a solo album was anticipated but never released, that's is, until now. Instead, he was cast as actor in a number of TV-series, also in a leading role in 2012, when he played Jimi Hendrix in John Ridley's film "Jimi: All Is by My Side" (premiered in 2014). Outkast reunited in 2014 for live concerts only, and since then André has lived life somewhat away from the brightest limelight and has been focusing on the production aspect of both music and films. André has been mentioned amongst the best rappers of all-time, and his songwriting and compositional touch has made people yearn for something more substantial - and something that would make everyone remember the famous riffs from the Outkast heydays.

New Blue Sun is anything but rap or hip hop. In fact, it's quiete a loooong way from what could be labelled as pop music. The album runs for more than 87 mins - almost 1½ hours of music, and only enlists eight tracks. All songs - or: they are not really songs but instrumentals as André doesn't add his famous vocal to one single track [!]. The shortest composition is track #5 "Ninety Three 'Til Infinity and Beyoncé", which has one of the shortest titles - the longest being "That Night in Hawaii When I Turned Into a Panther and Started Making These Low Register Purring Tones That I Couldn't Control ... SH¥T Was Wild" (tracks #3), which runs for 10½ mins, but that aint even the longest track. The longest composition is track #8 with its running time exceeding 17 mins. All compositions are credited André mostly together with co-producer Carlos Niñho, Nate Mercereau, and often also Surya Botofasina. André himself is aside for producing and mixing credited wind instruments, including flute, baritone flute, and wind controller aka 'wind synthesizer'. Only vocals on the abum is credited Mia Doi Todd.

Musically, this falls in a category of new age and ambient. It's slow and delicate, and André has also described parts of the compositions as improvisations, where he experiments with sound. The album has actually and mostly been met by positive reviews. Some suggest the music transcends the very idea and the general perception of what (modern) music is and what it should sound like, but most critics simply admire André's musical project as something extremely unique, and an utter brave decision from someone, who could have chosen the easy way. Instead he turns to music, and to experimentation, and by that shows his genuine love for music itself.

I dunno. I'm in doubts here. The artistic journey aside, I don't think the album as such delivers on that many parameters. To me, it's the kind of music that seems suited for meditation or relaxation, and since I'm not a huge fan of new age in general, it's a bit of a difficult listen. Parts of compositions provide me with a positive energy, and parts are beautifully arranged. There's, however, long periods of almost nothingness, where you try to focus on a palette that's hardly recognisable. I do also think other artists of the genre are able to produce more interesting music. Imho, this is far from entirely bad. It's just not the kind of music I turn to except from when needing a subtle background to lean on when taking a nap.

Not really recommended but still worth knowing.

[ allmusic.com 3,5 / 5, Clash 3 / 5, The Standard 2 / 5, Rolling Stone 4 / 5, Pitchfork 8,3 / 10 stars ]

Robin Guthrie & Harold Budd "Another Flower" (2020)

Another Flower

release date: Dec. 4, 2020

format: digital (9 x File, FLAC)

[album rate: 3,5 / 5] [3,56]

producer: Robin Guthrie

label: Soleil Après Minuit - nationality: Skotland, UK / USA

Track highlights: 1. "Some Smoke" - 2. "Perfect Fire" - 4. "November Day" - 5. "After Dark" - 7. "Harlequin Delight" - 8. "Very Slender Homage"

Final collaborative project between Scottish dream pop master Robin Guthrie and American composer and minimalist Harold Budd. The album is not a bunch of brand new compositions but actually a collection of more than seven years old recordings, which now see the light of day. Possibly, they were intended as another joint work between the now 58-year-old Guthrie and 84-year-old Budd, but it now appears as their last joint work, as Budd was hit by COVID-19 before the album came out and eventually died from complications related to the decease on Dec. 8, 2020 - only 14 days before the album release. As noted in the accompanying liner notes, the album is "Written and performed by Robin Guthrie & Harold Budd during a rainy Summer in Brittany, 2013". It isn't directly mentioned that the album was recorded over a single day or over a matter of sessions, but most often they basically worked in the moment with the recorder running, and while the music was created and performed from start to finish. Perhaps this music wouldn't have been released had Budd not passed away so abruptly 'cause fact is: these compositions are seven-year-old recordings with which Guthrie now choose to pay tribute to his long-time musical playmate. And Harold Budd may not have heard the album in its entirety and with the tracks precisely ordered as they appear here - but Budd heard it all, because he was there himself.

As usual, it's the gentle atmospheric sounds that dominate Guthrie and Budd's music. Since these compositions they have released more than a handful of joint albums, either as musical scores for feature films or as their own releases. They are both listed here as performers and composers of all music, and as usual only Guthrie is credited as album producer. It's another chapter in a common ethereal ambient style that clearly touches on new age and doesn't walk on entirely new paths. The elder Budd is a classically-schooled pianist and composer, and he has early admitted to an improvisational and minimalist expression, which has proven to go quite well with Guthrie's preference for an airy guitar sound. Their final recordings together in terms of chronology was their collaborative works resulting in the 2014 soundtrack White Bird in a Blizzard for the film of the same name directed by Japanese-American Gregg Araki, who had also made "Mysterious Skin" in 2005, for which Guthrie and Budd introduced their collaborative work. In addition to these soundtracks, together they composed and made After the Night Falls and Before the Day Breaks released simultaneously in 2007 as two individual releases, and later they released Bordeaux in 2011. That same year, they also released Winter Garden as a joint project with Italian musician Eraldo Bernocchi.

Another Flower is, as the title suggests, another distinctive work from Guthrie and Budd - another flower. Perhaps, this was a metaphor Budd used about their compositions or works - we don't know for sure. Guthrie came up with the title after Budd's death - it could also be a reference to Budd himself, as a flower that was here, it was seen, admired, and is now gone. Musically speaking, it's not the large and complex compositional structures that characterise their compositions, but it's music created in a shared moment and in a warm, friendly common expression. You could object that they cling on to the same colours, the same airy timbres, which in way they do, but these are tones that contain something valuable by being created as common breaths expressed in music, and which show themselves as a unique and living organism.

Although new age as such is not really a favourite genre of mine, the album here expresses something quite unique. It's the evidence of both musicians' fondness for the instantaneous - the moment of creation, and they both allow / invite one another to contribute without one or the other dominate the soundscape, or you end up sensing one over the other, and that's a great strength and quality to be able to strike a common note when improvising. When one leads, the other follows suit, and they set out in a common unknown direction with equal vigor to a common end.

Another Flower may not be a work that indicates new paths or inspires new styles, but the music clearly has its merits, and occasionally I feel the music strikes an expression that reminds me of other big names of ethereal music, such as Palle Mikkelborg or Ryuichi Sakamoto, but always without giving impression of plagiarism. When I shut my eyes, I can easily conjure up internal images of underwater footage from Luc Besson's "Le Grand Bleu", which had music by Éric Serra. It's done sincerely and beautifully, and it's perhaps Guthrie and Budd's greatest swan song. At least I haven't heard them perform better than on this album.

Recommended.

Robin Guthrie & Harold Budd "White Bird in a Blizzard" (OST) (2014)

White Bird in a Blizzard (soundtrack)

release date: Sep. 23, 2014

format: cd

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

producer: Robin Guthrie

label: Lakeshore Records - nationality: Scotland, UK / USA

Track highlights: 1. "Visions of Eve" - 2. "Brock's Theme" - 4. "Curious" - 5. "Forever Changed" - 11. "I'm Here, Kat, I'm Here" - 12. "White Bird"

[ full album ] [ film trailer ]

Soundtrack by Robin Guthrie & Harold Budd for the film of the same name directed by Gregg Araki, who also directed the 2005 film "Mysterious Skin" for which Guthrie and Budd also provided the musical score, which was their first actual exclusive collaboration, released as Mysterious Skin: Music From the Film. Almost two decades earlier, however, they had made their first album together: The Moon and the Melodies (1986) as a collaboration with Elizabeth Fraser and Simon Raymonde - Guthrie's other two partners from The Cocteau Twins.

White Bird in a Blizzard would turn out to be their last recordings together. December 2020 saw the release of the album Another Flower, but the tracks here, like the tracks for White Bird in a Blizzard, were already recorded in 2013. Perhaps the compositions for both albums stem from the same recording session? It consolidates unmistakably the same moods and soundscape, although the soundtrack overall contains more varied music, which is largely due to the fact that the individual tracks are not, like the 2020 album, attributed both artists - only tracks #4 and #8 are credited both, and exactly those two could easily have be included on Another Flower without changing the overall expression. The soundtrack consists of twelve compositions with a total playing time of 41 minutes. Guthrie is credited tracks #1, #2, #5, #7, #11, and #12, while Budd is exclusive composer of tracks #3, #6, #9, and #10. Quite naturally, you'll notice a distinct dream pop style to Guthrie's tracks, with Budd's compositions being far more minimalistic. However, there are no explicit signs indicating that they do not contribute to each other's compositions, but you may note how Budd's instrumentals are without string instrumentation, and in isolation these stand a bit on their own. Compared to their first film score collaboration, the album here stands stronger because it's more varied without being disjointed. Personally, I prefer Guthrie's compositions but the collaboration with Budd is certainly not without quality, even if Budd's own piano and keyboard variations are a little too new age-styled to my liking. Together, they certainly make relevant music, and I feel as this album surpasses their previous collaborations.

Recommended.

Sigur Rós "Valtari" (2012)

Valtari
release date: May 28, 2012
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,58]
producer: Sigur Rós, Alex Somers
label: self-released - nationality: Iceland

Track highlights: 1. "Ég anda" - 2. "Ekki múkk" - 3. "Varúð" - 5. "Dauðalogn" - 6. "Varðeldur"

6th studio album by Sigur Rós following four years after their fine Með suð í eyrum við spilum endalaust is originally released on EMI / Parlophone and produced by Sigur Rós assisted by Alex Somers. Since then the band went on a hiatus during which lead vocalist Jónsi (aka Jón Þór Birgisson) and (his partner) Alex Somers released their collaboration album Riceboy Sleeps in 2009, and the following year, Jónsi released his solo debut Go. Sigur Rós later issued the 2-disc live album Inni (Nov. 2011, from two concerts recorded in 2008). Valtari consists of eight compositions with a total playing time just below 55 minutes in the standard issues - the WEB-version offered through bandcamp.com comes with two bonus tracks and has a total running around 68 minutes.

With this, the band has in a way returned to an initial state of playing ambient music. It's not as direct and uptempo-shaped nor as open as their great 2008 album but appears as more closed and introspective, It's laid-back and almost exclusively ambient with light harmony vocals as a complete U-turn to their so far most uptempo album to date. In a way, it bonds with the debut but more specifically to the third album, aka "the brackets album" ( ) (2002) but on top of that it also feels very much like a soundtrack - with a soundscape so minimalist, as if without a distinct mission except from creating atmosphere and calmness; and perhaps with an attempt to inspire to be your new favourite music for mindfulness, meditation or for your daily yoga exercises. Actually, this is what it is: ambient touching on new age with drops of progressive pop. And although new age has never been a genre I normally fancy all too much, the thing about this band is, they still make such an original artistic effort that you're still blown away regardless your stylistic preferences.

The album is their so far highest ranked in the US, peaking at number #7 on the Billboard 200, and in the UK it reached #8, which is only surpassed by the band's 2008 album (reaching #5). Furthermore, Valtari is the only album by Sigur Rós to top the album chart list in another country - all their studio albums have peaked the charts in Iceland, but with this they also topped the album sales list in Ireland.

Anyhow, the album is not among my absolute favourites from this amazing Icelandic band but I admit, it has grown on me over the years. So if you, like me, rejected this as a minor piece of work, or as a not successful new direction, you may wanna give it another chance - and then perhaps yet another one 'cause for this band it's obviously not a matter of pleasing current requests regarding choice of styles. And thankfully so.

Recommended listen.

[ allmusic.com 4 / 5, 👍PopMatters, Rolling Stone 3,5 / 5, 👎Pitchfork 3 / 5 stars ]

Mark Knopfler "Cal" (OST) (1984)

Cal (soundtrack)
release date: Aug. 24, 1984
format: digital
[album rate: 2,5 / 5] [2,35]
producer: Mark Knopfler
label: Vertigo Records - nationality: England, UK

Track highlights: 5. "A Secret Place / Where Will You Go" - 12. "The Long Road"

2nd solo album by Mark Knopfler is another soundtrack album - this time for a movie by Pat O'Connor. Musically, it's in the same style as Local Hero, although, there's less room for electric finger-picking guitar on this, and there's a stronger sense of celtic new age to this.
I really don't like this much. There's too much tin whistle, bagpipes and bold use of keyboards to my liking.
[ allmusic.com 4,5 / 5 stars ]

Jean Michel Jarre "Waiting for Cousteau" (1990)

Waiting for Cousteau
release date: Jun. 11, 1990
format: digital
[album rate: 3 / 5] [3,22]
producer: Jean Michel Jarre
label: Polydor / Disques Dreyfus - nationality: France

Track highlights: 4. "Waiting for Cousteau"

10th studio album by 'Jean Michel' Jarre released after his most recent album Revolutions (1988) is a somewhat unusual album from Jarre. It's not just music of his ordinary progressive, synthpop with complex compositions but for the most part builds on simple instrumental harmonies and chorus-lines - at least when it comes to 3/4 of the album's tracks.
Frankly, I find the first three tracks more than just boring with the first "Calypso" as a near disastrously naive and tedious composition, but the fourth and final (title) track, with its playing time at almost 47 mins [!], is the album's true gem. It's a slow progressive ambient and new age composition, where Jarre dwells at small changes of sound. I often come to think of Oldfield's "Tubular Bells" upon listening to this track as it opens a simplistic tone and through various loops extends itself like an organic wall or pond of simple yet rather complex music, but again: a rather unconventional composition for Jarre. However, this final track saves the whole album.
[ allmusic.com hands it 4,5 / 5 stars ]

Jan Garbarek "All Those Born With Wings" (1987)

All Those Born With Wings
release date: Feb. 1, 1987
format: cd (ECM 1324)
[album rate: 4 / 5] [3,78]
producer: Manfred Eicher
label: ECM Records - nationality: Norway

Tracklist: 1. "1st Piece" (3,5 / 5) - 2. "2nd Piece" (4 / 5) - *3. "3rd Piece" (4 / 5) - 4. "4th Piece" (3,5 / 5) - 5. "5th Piece" (4 / 5) - 6. "6th Piece" (3 / 5)
* In Memory of Andrej Tarkowskij

Studio album by Jan Garbarek, as always, produced by Manfred Eicher. The album is quite original in that Garbarek is only musician on the album, which is to say he plays (uncredited) all instruments including saxophones, keyboards, guitar, percussion, voice and other.
The album was the very first full album I ever listen to with Garbarek, and perhaps therefore it's still among my favourite Garbarek albums. As said, it's also one of his more experimental studio releases. Some tracks could be labelled modern classical, others as ambient or new age but the overall style is one of contemporary jazz fusion or free jazz, which sometimes drifts too far into what sounds as mere improvisations, but here the compositions predominantly stay on a fixed course.

Vangelis "Blade Runner" (OST) (1994)

Blade Runner (soundtrack)

release date: 1994
format: cd (2013 remaster) / vinyl (2015 reissue - gatefold)
[album rate: 4 / 5] [4,12]
producer: Vangelis
label: Audio Fidelity - nationality: Greece

Original soundtrack by Vangelis for the film "Blade Runner" (1982) by Ridley Scott. An orchestral adaptation of the soundtrack by New American Orchestra was the only official soundtrack released alongside the film premiere and Vangelis was unable / not allowed to release his score until '94.
Although, new age and Vangelis is really not my preferred kind of music, I admit that this is so much better than the official soundtrack from '82. In fact, this is like listening to something otherworldly and entirely different. I also recall my huge disappointment after purchasing what I thought was the soundtrack to "Blade Runner" back in the early '80's, but somehow I still accepted that it was the music from the film, despite the fact that my experience and recollection from the movie theatre had left me with quite a different sensation. Vangelis didn't have the rights to release an album with his original music used in the film until '94 because Warner Bros. owned the rights, and the company was entitled to decide in what form the music should be released. The 1994 album by Vangelis is in sync with the imagery and universe of the film, although, some tracks are not included in the actual film but had been composed by Vangelis for the film.
Highly recommended.

"Blade Runner" (1982)

Blade Runner (soundtrack)
release date: 1982
format: vinyl
[album rate: 2,5 / 5]
producer: Jack Elliott
label: WEA / Full Moon - nationality: USA

Official soundtrack by New American Orchestra to the Ridley Scott movie "Blade Runner" (1982). 'Official', yes; however, it is NOT the original soundtrack (OST) recording, but to confuse things, it was produced, released and promoted as the official album from the film. The original soundtrack wasn't released until 1994 and is (rightfully) credited Greek artist Vangelis. This, the orchestral adaptation released in '82 is without the actual Vangelis score from the film and basically only consists of an adaptation of the original music.
The "Love Theme" track (feat. Dick Morrisey on sax) is a stunning track and THE musical highlight of the album. The rest here is a bit too much jazz-inspired new age music for orchestra, which is something I don't really appreciate all that much.
The original soundtrack by Vangelis is on the other hand something entirely different.

Not recommended.

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Van Morrison "Inarticulate Speech of the Heart" (1983)

Inarticulate Speech of the Heart
release date: Mar. 1983
format: cd (2008 remaster)
[album rate: 3 / 5] [3,06]
producer: Van Morrison
label: Polydor Records - nationality: Northern Ireland, UK

Track highlights: 1. "Higher Than the World" - 5. "Rave on John Donne" - 7. "The Street Only Knew Your Name" - 10. "Inarticulate Speech of the Heart No. 2"

14th studio album by Van Morrison originally released on Mercury Records follows one year after Beautiful Vision, and it takes him further down the road in search of spirituality. Where the predecessor had many songs focusing on narratives this one comes with four instrumentals, and the album seems like an outlet for his belief that music have healing powers regardless the lyrical matter. Stylistically, he makes strong use of synths, keyboards and saxophones to create a sensation of new age style on top it all.
In the credit list Morrison explicitly thanks Scientology founder L. Ron Hubbard, a gesture, which in many ways points to his long-lasting spiritual search but also places this very release on a shelf among few others by Morrison that so openly speaks of his strong religious foundation. From Wavelength (1978) to Beautiful Vision (1982) he often sang about childhood memories with a mother devoted to Jehovas Witnesses, and this theme has continued with a more undefinable presence of spiritual divinity, although, an explicit addressing to the founder of Scientology says something about his viewpoint at this stage of his constant search. There are no evident proclamations to be found here, but the lasting impression sort of lifts the music here to serve as a foundation to a state of meditation. The album is almost without really great songs - just an echoing of other characteristic songs of his and much blow of hot air. The album was met by lukewarm to positive reviews, and peaked at number #24 on the UK albums chart list. The highlighted tracks doesn't really represent the nature of the album as they are... better and all more uptempo compositions than the remainders. Just listen to "Connswater", "Celtic Swing", or "Inarticulate Speech of the Heart No. 1", which help define the nature of the album. To me, it's one of the contenders to his least interesting albums.
The 2008 remaster contains two bonus tracks which are alternate takes of songs #9 and #10.
[ allmusic.com, Rooling Stone 4 / 5 stars ]

Van Morrison "Beautiful Vision" (1982)

Beautiful Vision
release date: Feb. 16, 1982
format: cd (1998 remaster)
[album rate: 4 / 5] [3,86]
producer: Van Morrison
label: Polydor Records - nationality: Northern Ireland, UK

Track highlights: 1. "Celtic Ray" - 3. "Dweller on the Threshold" (live) - 6. "Cleaning Windows" (live) - 7. "Vanlose Stairway" (live) - 8. "Aryan Mist" - 9. "Across the Bridge Where Angels Dwell" (live)

13th studio album by Van Morrison originally released by Mercury and as usual produced by Van himself is almost the exception to the rule that Van never releases an album in the same style as his previous album. Beautiful Vision takes off and continue his journey into a country-side of new age-inspired surroundings where Common One (1980) had left many critics and fans somewhat pondering as to what he was up to, perhaps thinking he had given up on his rhythm & blues ground.
It seems critics were more positive about this than the predecessor - many claiming that this is more coherent and melodic.
I recall the time of its release - I wasn't yet a fan but remember how Al Jones on the national radio show kept circling around the fact that Morrison had a Danish girlfriend and that the album had a Danish theme and Scandinavian touch running through it. Of course he had tracks like "Northern Muse (Solid Ground)", "Vanlose Stairway" and "Scandinavia" as obvious evidence, though perhaps the track "Across the Bridge Where Angels Dwell" is one of his most direct love songs. I didn't listen to the album in its entirety until the late 80s thinking of it as one of his lesser releases, but that impression has changed since then. I have always returned to this album, and every time it has given me something new. And that's the obvious strength about it 'cause it has the same universal greatness about it as its predecessor. It's not so much the single tracks that makes you listen but the stories and the sensations it stirs. Earlier, I always felt that "Cleaning Windows" was the only true hit on the album. Nowadays, I still enjoy that, although, I find it a bit out of tune with the other songs, as it has a simpler construct, like a song that would fit better on Into the Music (1979). The other songs here are deeper, soothing of either mysticism or a search of something... love or beliefs. Undoubtedly, the album is produced during a time where Morrison was in search of spiritual faith. Whether he was a strong believer or not, the music and lyrics he delivers don't link him to any specific belief, and the overall theme of love may be interpreted in many ways, which I think is a fine strength of the album. There's a fine element of (free) jazz that stirs the tone of 'new age' and makes it all much more digestible.
It's not an album full of great hit songs, but it's far from weak or a low point in Van's long career. I basically consider it essential to the Van Morrison collection.
Highly recommendable.
[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

Van Morrison "Common One" (1980)

Common One
release date: Aug. 1980
format: cd (1998 remaster)
[album rate: 3,5 / 5] [3,52]
producer: Van Morrison
label: Polydor Records - nationality: Northern Ireland, UK

Tracklist: 1. "Haunts of Ancient Peace" - 2. "Summertime in England" (live) - 3. "Satisfied" - 4. "Wild Honey" - 5. "Spirit" - 6. "When Heart Is Open"

12th studio album by Van Morrison originally released on Mercury in the UK and on Warner in the US is not stylistically shaped like its great predecessor. The cover hints at its focus on sensations and a freer style, which in places comes close to new age. Morrison has always found back to a free form of composing, by some described as streams of consciousness, or: impressionistic, and here he may challenge this form further with tunes soothing of mysticism. There are elements of jazz and folk, and the result is clearly less strict compositions than one has met before on any of his albums. Also, the album contains two songs (tracks #2 & #6) of more than 15 mins playing time.
The album was generally met by negative reviews and poor sales numbers and it's his first album not to be followed by any single releases. In retrospect the album has gained much more acclaim with reviewers acknowledging its potential outside a traditional mainstream pop / rock sphere and that it contains other qualities of beauty than those normally attributed popular music albums.
Common One is really something else, even from Morrison's hands, but it's by no means a mediocre or poor album. Yes, you probably have to appreciate vocal jazz and longer more freer compositions that touch on new age in order to enjoy Common One. It doesn't contain any obvious memorable tracks and in that way it resembles the strengths of Hard Nose the Highway from 1973 where it's much about the sum of songs that is the album's real power; however, Common One is in that respect arguably a warmer and better album, imho.
Among his own albums, Morrison is said to hold this as a personal favourite.
[ allmusic.com, Q Magazine 3 / 5 stars ]

Ryuichi Sakamoto "Merry Christmas, Mr. Lawrence" (OST) (1983)

Merry Christmas, Mr. Lawrence (soundtrack)
release date: May 1, 1983
format: cd
[album rate: 3 / 5] [3,22]
producer: Ryuichi Sakamoto
label: London Records - nationality: Japan

Track highlights: 1. "Merry Christmas Mr. Lawrence" - 19. "Forbidden Colours" (feat. David Sylvian)

Original Motion Picture Soundtrack by Ryuichi Sakamoto for the movie directed by Nagisa Ôshima, starring David Bowie, Tom Conti, Takeshi Kitano, AND Ryuichi Sakamoto from '83. The international fame of the movie also brought much attention to its soundtrack composer, and the title track has become a modern classical composition. Most of the tracks are a mixture of traditional Japanese music, modern classical, and experimental art pop and synthpop.
"Forbidden Colours" features Sakamoto's friend and former Japan (the band) vocalist, David Sylvian in one of only a few compositions with lyrics written by Sakamoto, who won the BAFTA Award for best film music in 1983 for the soundtrack.
I enjoy the above two tracks but the album as such is a difficult one, as its primary strength is to underline the action of the film, and therefore becomes no less than a piece of avant-garde or modern classical missing the dimension of images.

The album has been released with various front covers.