The Jesus and Mary Chain "Just Like Honey" (1985) (single)

Just Like Honey, 12'' single

release date: Oct. 1985

format: vinyl (NEG 17T)

[single rate: 3,5 / 5] [3,55]

producer: The Jesus and Mary Chain

label: Blanco y Negro - nationality: Scotland, UK

Tracklist: A) 1. "Just Like Honey" - 2. "Head" - - B) 1. "Cracked" - 2. "Just Like Honey (Demo - Oct 84)"

Single release by The Jesus and Mary Chain is the band's third and final single taken from its forthcoming debut album Psychocandy (Nov. 1985). The single follows You Trip Me Up (May 1985), which followed Never Understand (Feb. 1985). The A-side tracks also constitute the regular 7'' single issue, which was released in Sep. '85.

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 ]

The Breeders "Fate to Fatal" (2009) (ep)

Fate to Fatal, ep
release date: Apr. 21, 2009
format: digital
[album rate: 3 / 5] [3,24]
producer: Ben Mumphrey, Steve Albini, Gareth Parton
label: Period Music* - nationality: USA

Tracklist: 1. "Fate to Fatal" (3,5 / 5) - 2. "The Last Time" (feat. Mark Lanegan) - 3. "Chances Are" - 4. "Pinnacle Hollow"

Ep release by The Breeders and their first not to be issued on 4AD. Although, only released one year after Mountain Battles, the ep demonstrates another style with more focus on more traditional rock, which may be seen on 3 of the 4 songs. Only the title track sounds like something that would have fitted nicely on the 2007 album, whereas the others are slower and much more pop / rock and folk rock-shaped. The track "The Last Time" sounds like something by The National - here with Screaming Trees vocalist Mark Lanegan on lead vocals. The Bob Marley cover "Chances Are" is fine with its lo-fi sound / minimal instrumentation performed as a doo wop ballad with clear focus on lyrical output, and the closing song "Pinnacle Hollow" is basically a folk rock song with more folk than rock sounding like a jam session in the early 70s with Buffalo Springfield and in that way is afar from any song on the 2007 album and any other songs by The Breeders making this ep a bit of a mixed bag.

The Breeders "Mountain Battles" (2007)

Mountain Battles
release date: Apr. 7, 2008
format: digital
[album rate: 3,5 / 5] [3,44]
producer: non-produced*
label: 4AD Records - nationality: USA

Track highlights: 1. "Overglazed" - 2. "Bang On" - 4. "We're Gonna Rise" - 5. "German Studies" - 8. "Walk It Off" (live) - 12. "It's the Love" (live)

4th and so far final studio album by The Breeders is not attributed producer credits - much in their usual way paying little attention on after-processing. Engineers and recorder credits include Steve Albini, Erika Larsen, Ben Mumphrey and Manny Nieto. Although, Kim and Kelley recorded initial sessions for a new album as early as in 2002 after having just released Title TK, a reunion tour with Pixies and several new studio sessions in various locations delayed the process. In 2007 guitarist Richard Presley left the band and the final recording sessions for the album is therefore only with Kim and Kelley Deal on guitar.
The album may be seen as a fine and natural successor to Title TK with its likewise focus on proto-punk influences and close to garage rock-styled noise pop. Basically, I think this is the album by The Breeders that comes closest to the sound of Pixies when thinking of a combo of Surfer Rosa and Title TK. It doesn't stir up things or excel in high energy guitar distortion as the predecessor, but it balances a demo-sound and typical quirkiness of the Deal sisters nicely within a sonic sphere with equal amounts of rock tradition and artistic originality. Some songs may come close to what sounds like retakes on early Pixies compositions ["German Studies" and "Walk It Off"], but all in all, I think the album is more typical for what represents Kim Deal, and imho that can't be bad.
The Breeders hasn't stopped touring, although, no new albums so far has been released. In 2012 the band re-united in the original Last Splash line-up with the Deal sisters, Josephine Wiggs and Jim Macpherson, and the album was reissued in a comprehensive 3-disc edition titled LSXX. In 2016 rumours suggested that the band was doing studio rehearsals, which would imply that a new album is on its way.
[ allmusic.com, Mojo, Spin, NME 4 / 5, Rolling Stone 3,5 / 5 stars ]

The Breeders "Title TK" (2002)

Title TK
release date: May 20, 2002
format: digital
[album rate: 3,5 / 5] [3,52]
producer: Steve Albini
label: 4Ad Records - nationality: USA

Track highlights: 1. "Little Fury" - 2. "London Song" - 3. "Off You" - 4. "The She" - 5. "Too Alive" - 6. "Son of Three" - 7. "Put on a Side" - 10. "Forced to Drive" - 12. "Huffer"

3rd studio album by The Breeders released 9 years [!] after the predecessor, the successful and acclaimed Last Splash. The title is a general expression for "title to come". A small decade without releasing noteworthy new material has its grounds, and the band is also a whole new set of people. The Breeders has always been a Kim Deal project-band - an outlet for her writing creativity. Pixies, which was her main band had been buried by frontman Black Francis in early '93, which should've given Deal room for playing with The Breeders, but Kelley Deal's drug abuse probably got in the way for the project. Anyhow, Kim founded the band The Amps (also with drummer Jim Macpherson), and The Breeders was a shelved project. Basically, what happened was that The Amps, who had been on tour since the release of the debut album Pacer in '95, had its name changed to The Breeders at some point in '96. The Amps consisted of Deal / Macpherson and with Luis Lerma on bass and Nate Farley on guitar. Deal had awaited Josephine Wiggs and Kelley's return but when Wiggs announced she was not in a position to rejoin The Breeders, Kim simply changed the band's name, which would hand them a broader repertoire, and with the addition of violinist Carrie Bradley the band now played as The Breeders. By late '98 Kelley rejoined while Macpherson left, and in 2000 both Lerma and Farley had left. Rumour has it that it wasn't just Kelley, who had a drug abuse - Kim had her problems and made regular studio work a challenging task, a point that was confirmed by Mark Freegard, who co-produced Last Splash when he found it impossible to work with Kim on sessions that should have been first takes on a follow-up album in '97. In '99 Kim had written new songs and to avoid conflicts with other musicians, she intended to make a solo album. She recorded several songs playing all instruments herself with Kelley in a supporting role but the idea of having to tour made her decide to find a group to play with. In 2000 the Breeders was a project consisting of the Deal sisters assisted by bassist Mando Lopez and guitarist Richard Presley from hardcore punk band Fear, and with Jose Medeles on drums.
Naturally, after 9 years and a lot of U-turns along the way this is not just the follow-up to the fine 93 album. How could it possibly be that? My reaction to the album was not a positive one. I had looked for news about the band and simply found it sheer stupidity not to release a follow-up within the first 5 years - they just didn't understand the importance of that 2nd album. And when it finally came, it was so far from the strengths of Last Splash. I had no idea of what the band had been through, but it's not really a bad album after all. It's biggest asset is that once you get the feel of it, it has a very uniform sound. I think, intentionally, it sounds more like session recordings - or even demo versions - without additional production editing or mixing to make it sound more vivid and alive, which in many ways link it more directly than almost any releases of the 90s to the proto-punk of the late 1960s and early 70s and with bands like Velvet Underground, The Stooges and Patti Smith.
It's not really a great album, but it certainly is a strong and individualised collection of songs, which in a most natural way bonds with Pixies, The Amps, all the 'noise rock' bands but also the whole grunge rock era of the 90s. And that's also a kind of a weakness 'cause by 2002 it does already sound dated - as something that should have been released in the mid-90s when proto-punk references were much more present. Regardless of being a Kim Deal project band, The Breeders has proven with Title TK that it's the most natural link between noise pop and alt. rock of the modern era and art rock and proto-punk some 30 years earlier, and in that respect this album is worth more than just a listen or two.
[ allmusic.com, The Guardian, NME 4 / 5, Rolling Stone 3,5 / 5 stars ]

Frank Black "Teenager of the Year" (1994)

Teenager of the Year
release date: May 24, 1994
format: cd (1999 reissue)
[album rate: 3,5 / 5] [3,68]
producer: Eric Drew Feldman, Frank Black, Alistair Clay
label: 4AD Records - nationality: USA

Track highlights: 1. "Whatever Happened to Pong?" - 2. "Thalassocracy" - 3. "(I Want to Live on an) Abstract Plain" - 5. "The Vanishing Spies" - 6. "Speedy Marie" - 7. "Headache" (4 / 5) (live) - 11. "Fiddle Riddle" - 14. "I Could Stay Here Forever" - 16. "Superabound" - 17. "Big Red" - 20. "Pure Denizen of the Citizens Band"

2nd solo studio album by Frank Black is a true long-player at 62 min. playing time and containing 22 tracks (with several tracks under 2 min. and 10 tracks over 3 mins) thus being released as a double vinyl lp. Like on his debut, former Pixies guitarist Joey Santiago feature on several tracks but the musical backbone is once again co-producer Eric Drew Feldman on bass & keyboards and Nick Vincent on drums.
Stylistically, Black may not introduce a lot of new styles here - he excels in what he does best: playing alt. rock and indie rock - at the time often referred to as college rock, but the album is something else than his first solo album where he sort of just did what he had been used to do. And lyrically, he just continues to sing about whatever pops up in his weird super-sub-conscious fantasy. Yes, it's songs about video-games, comics' and cartoon characters, space, UFOs and what lies in between [!]... Quite often it's rather funny, though. The album is very varied incorporating not only inspiration from other genres and styles but by adding elements from 1960s surf rock, folk rock, 70s art rock and of course punk rock. Sometimes he even sounds inspired by more traditional folk as exemplified in "Superabound" and "Sir Rockaby", but without pointing in all directions he somehow manages to keep it all together thanks to a simple production sound without too much post-recording rework and by altogether containing all the various styles in his special universe of alt. rock.
Admittedly, I rejected the album in '94. I did try listening to it - more than once - but I just didn't get it. To me, it was too noisy and without direction and appeal. I dunno. I guess I felt the same way about Trompe le monde by Pixies when I first heard that one. There's something confrontational about his music that may cause people to keep it out, perhaps. Anyway, for me this is an album that has taken more than a usual amount time to settle and to adjust to. But I have. From a 2010-perspective I can't really understand why I didn't just embrace the album as the continued journey out of Pixies - kind of together with what The Breeders did.
The album contains a lot of fine tracks and great bits, and overall, it's quite an accomplishment, where I feel completely in line with Al Wesel of Rolling Stone when he sums up that: "The songs switch gears so much that you're never sure where you might end up, but the ride is always exhilarating." At the time of its release, the album was met by fine but also luke-warm reviews; however, time has really rocketed the album up on many best of charts, and it's also included in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4,5 / 5, NME, Select, Rolling Stone 4 / 5 stars ]

Frank Black "Frank Black" (1993)

Frank Black [debut]
release date: Mar. 8, 1993
format: digital
[album rate: 3 / 5] [3,18]
producer: Eric Drew Feldman, Frank Black
label: 4AD Records - nationality: USA

Track highlights: 1. "Los Angeles" - 2. "I Heard Ramona Sing" - 3. "Hang on to Your Ego" - 8. "Ten Percenter" - 13. "Adda Lee" - 15. "Don't Ya Rile 'Em"

Studio album solo debut by Frank Black, aka Black Francis, which used to be his moniker while band leader of Pixies, aka Charles Michael Kittridge Thompson IV [actual birth name!] released only a few months after Black had announced the break-up of Pixies, which apparently had come as a surprise to the other members of the band. Musically, it follows close in the tradition of Pixies' material and also as a follow-up to its last album Trompe le monde (1991). Joey Santiago of Pixies feature on additional guitar, and Black's two foremost musical associates here are co-producer Eric Drew Feldman (former Pere Ubu and Captain Beefheart) on bass and keyboards and with Nick Vincent on drums and percussion.
I recall listening to the album by chance in the early 90s finding it superficial and of no particular interest. I think, I had been taken so much by surprise by the split of a great band and also found the band's last album of less interest - at the time - that I simply rejected this, thinking the band had been great with Doolittle and not really again after that. A few years later I changed by view on Pixies last album but never found this one in close relation to that. It's obvious that it's rather close to the soul of the band, but I don't find this one particular successful, and have come to regard it as Black's urge to show the others how he was somewhere else - already releasing his own material as if to say: "Pixies is all over with - just look where I'm heading!" - or something.
It does for sure seem unfinished - like an album in the making, and I have always regarded it as something just above the mediocre... for some reason.'Cause when I compare it to the last two albums by Pixies it's really not far from those - not considerably poorer. I think, it's major problem is that it almost only summarizes what Pixies stood for. Too many compositions stand so close to what has already been issued by his former band - here new songs have their own specific arrangements. That's true, but they still sound like remakes, and that's the problem about this album. Black doesn't do something else than going through the motions - just for himself this time. Perhaps it's actual problem is that it's his break-up album where he just wants something to shove in the face of his former associates saying "We used to do this together, now I do it on my own (and we all know it's the same shite)".
I'm not overly pleased about it, though I can't really say it's near bad. I just don't play it often and can only say that I do not agree with Heather Phares at allmusic.com.
[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

The Breeders "Last Splash" (1993)

Last Splash
release date: Aug. 31, 1993
format: cd (CAD 3014 CD)
[album rate: 4 / 5] [4,06]
producer: Kim Deal & Mark Freegard
label: 4AD Records - nationality: USA

Track highlights: 1. "New Year" (4,5 / 5) - 2. "Cannonball" (5 / 5) - 3. "Invisible Man" - 5. "Roi" - 6. "Do You Love Me Now?" - 7. "Flipside" (live) - 8. "I Just Wanna Get Along" - 10. "Divine Hammer" - 11. "S.O.S." - 13. "Saints"

2nd studio album by The Breeders who at this point consist of Kim Deal on guitar and vocals, her twin sister Kelley Deal on guitar and vocals, Josephine Wiggs on bass, and with Jim MacPherson on drums.
Musically and stylistically, the band here sounds both more uniform but also more experimental than before. Pod was much more of a one-dimensional expression compared to this. Last Splash is like Pixies, Belly, and Breeders in one band. There are strong aggressive outbursts, which pars the strongest energetic outbursts by Pixies, and there are strangely sounding bits and pieces where you wonder what is going on - and then it all falls in to place in melodic harmonies and great chorus lines.
The album primarily harvested critical acclaim, and is so far the only album by The Breeders to sell Platinum (US), Gold (Australia & Canada) and Silver (UK). It reached number #5 on the album charts list in the UK (base of 4AD Records), and the single release of "Cannonball" went to number #2 on the US single charts list (Billboard's Modern Rock Tracks list). In time it has been lauded as one of the most defining albums of the alt. rock scene of the 1990s. A sample of "S.O.S." was used by The Prodigy in their hit single "Firestarter" (1996), and that electronic project also used a sample from "I Just Wanna Get Along" for the track "World's on Fire" released on the album Invaders Must Die (2009).

The album was released five months after Pixies' frontman Frank Black released his solo debut album to much attention. And Last Splash also spawned fine reviews and was greeted as an immediate success but The Breeders never was and never intended to lead a life in the spotlight, and the acclaim seems to have been more of a burden to a side-project with members who just wanted a playground for themselves. Anyway, the band members returned to other musical projects. Kelley Deal got occupied by drug 'related problems' and Kim formed the band The Amps (which included both Kelley Jim MacPherson), however, the band never split but was put on a hiatus.
In 2013, the album was issued as LSXX (Last Splash 20th Anniversary Edition) - a vinyl box set containing 3 full length records and 4 eps, as well as an optical version consisting of 3 discs.
Last Splash is probably one in three albums I played the most in the mid 1990s, and I'm sure my then-neighbours know "New Year" and "Cannonball" 'cause I kinda played them really L O U D.
Highly recommended.
[ allmusic.com, Blender 4 / 5, Spin, Rolling Stone Album Guide 4,5 / 5 stars ]

1993 Favourite releases: 1. Tindersticks Tindersticks - 2. Björk Debut - 3. The Breeders Last Splash

The Breeders "Cannonball" (1993) (single)

Cannonball, maxi single
release date: Aug. 19, 1993
format: digital
[album rate: 3,5 / 5] [3,59]
producer: Kim Deal, Mark Freegard
label: 4AD Records - nationality: USA

Tracklist: 1. "Cannonball" (5 / 5) (live - live) - 2. "Cro-Aloha" (3 / 5) - 3. "Lord of the Thighs" - 4. "900" (3 / 5)

Single release ny The Breeders taken from the forthcoming sophomore studio album Last Splash (May 1993). At this point, Tanya Donelly has left the band to concentrate on her new band, Belly and Kim Deal's twin sister Kelley has by now replaced Donelly on guitar and vocal. Also drummer Britt Walford has left to concentrate on his primary band, Slint. Instead, the band now includes drummer Jim MacPherson - and you may see it as Breeders Mark II.
The cd single comes in a 2-track version and this one, the 4-track maxi single. The first two compositions are credited Kim Deal - with the title track from the forthcoming album, and the second track, here a re-take on "No Aloha", also from the Last Splash album - track #3 is a cover by Steven Tyler of Aerosmith and track #4 is written by Josephine Wiggs of the band.
The title track is truly a giant of a song, which basically is the band's best ever song and one I simply adore. The rest is more so-so with "Cro-Aloha" as a skewed near Pixies sort of song.

The Breeders "Safari" (1992) (ep)

Safari, ep
release date: Mar. 9, 1992
format: digital
[album rate: 3,5 / 5] [3,40]
producer: Paul Berry, Dante DeSole, Guy Fixsen
label: 4AD Records - nationality: USA

Tracklist: 1. "Do You Love Me Now?" - 2. "Don't Call Home" - 3. "Safari" - 4. "So Sad About Us" (live)

Ep release by The Breeders following the debut album Pod (May 1990). The debut appears as a 'one-off' album, which basically was a made-up band to the occasion of realising Kim Deal's own songs, and after that the band members returned to their original bands, and Tanya Donelly was in the making of forming the Belly, while Kim would bring in her twin sister Kelley as a substitute to Tanya. Safari is the only album with both Tania and Kelley performing.
Stylistically, this appears both as the continued style from Pod; but moreover, looking at the composer and instrument credits it seems apparent that The Breeders is still more of a Kim Deal-project than the Deal / Donelly-project critics would like it to be, which also explains Donelly's wish to form a band of her own. Three tracks here are by Kim (either alone or with someone else than Tania), and the end-track is a cover by Pete Townshend. The first track also appears on Last Splash (1993) in a new recording and this is credited the two Deal sisters.
Safari appears as a step up in terms of solid material, and it showcases Kim Deal's capabilities as a songwriter.

The Radio Dept. "Passive Aggressive: Singles 2002-2010" (2011)

Passive Aggressive: Singles 2002-2010 (compilation)
release date: Jan. 25, 2011
format: 2 cd
[album rate: 4 / 5]
producer: Johan Duncansson, Martin Larsson
label: Labrador Records - nationality: Sweden

Double compilation album by The Radio Dept. containing A-side and B-side singles released from 2002 to 2010 including online-only singles. Disc 1 is labeled 'A-sides' and disc 2 'B-sides'. The concept is great, and it really proves the strengths of this fairly unknown band. It's quite extraordinary how well it works as an album with tracks taken from three albums released over a seven year period and originating from various eps and single releases. Three tracks are taken from the debut album Lesser Matters (2003), one is from the follow-up album Pet Grief (2006), and three are from their most recent album Clinging to a Scheme (2010). It works, and it's great.

Recommended.

[ allmusic.com, PopMatters 4 / 5 stars ]

The Radio Dept. "Freddie and the Trojan Horse" (2008) (single)

Freddie and the Trojan Horse, single
release date: Jun. 4, 2008
format: digital
[single rate: 3,5 / 5] [3,38]
producer: Johan Duncanson and Martin Carlberg
label: Labrador Records - nationality: Sweden

Tracklist: 1. "Freddie and the Trojan Horse" - 2. "Closing Scene" - 3. "The Room, Tarzana" - 4. "Closing Scene pt. 2"

Single release by The Radio Dept. originally released on vinyl in Japan only but also issued on cd in Sweden. According to the band's official site, the single may be seen as a new direction of style with influences from German krautrock and bands like NEU!, Faust and Kraftwerk.
I really don't hear much of the German sources here, but think it's more noise pop-founded than both their previous and forthcoming albums. None of the tracks are ordinary album tracks, but tracks #1 and #2 are included on the fine compilation album Passive Aggressive: Singles 2002-2010 from 2011.

The Radio Dept. "Pet Grief" (2006)

Pet Grief
release date: Apr. 12, 2006
format: cd
[album rate: 3,5 / 5] [3,66]
producer: Johan Duncansson, Martin Larsson
label: Labrador - nationality: Sweden

Track highlights: 2. "Pet Grief" - 3. "A Window" - 4. "I Wanted You to Feel the Same" (Live on WFUV) - 6. "The Worst Taste in Music" (4 / 5) - 8. "What Will Give?" - 10. "Sleeping In" (4 / 5) - 11. "Tell"
[ full album playlist ]

2nd studio album by The Radio Dept. is like the debut released by Labrador Records and produced by Duncanson and Larsson. The band members are now the trio which has become synonymous with The Radio Dept.: Johan Duncanson playing keyboards, guitars, and on lead vocal, Martin Larsson on guitars, keyboards, and bass, and with Daniel Tjäder on keyboards.

Stylistically, the album follows closely in the footsteps of their fine debut Lesser Matters (Feb. 2003), and despite that this is not a huge step in new directions, it's a pretty nice and decent follow-up into subtle indie pop / dream pop with less focus on distorted guitars and vocals and thus less noise pop-oriented. It also comes out as more consciously wider produced material indicating a move away from their previously lo-fi recorded releases but without losing the noise-pop connection.

Compared to the fine debut this seems more of a whole but it generally lacks higher level of quality compositions, although, I still enjoy the laid back feel of it.

[ allmusic.com 3,5 / 5 stars ]

The Radio Dept. "The Worst Taste in Music" (2006) (single)

The Worst Taste in Music, single
release date: Mar. 15, 2006
format: digital
[single rate: 3 / 5] [3,14]
producer: Johan Duncanson and Martin Larsson
label: Labrador Records - nationality: Sweden

Tracklist: 1. "The Worst Taste in Music" (4 / 4) - 2. "Flow Flux Clan Remix" - 3. "Industry Standard Mix By Differnet" - 4. "What You Sell"

Single release by The Radio Dept. issued to promote the album Pet Grief (2006). The title track is also on the album.

The Radio Dept. "Lesser Matters" (2003)

Lesser Matters [debut]
release date: Feb. 24, 2003
format: cd
[album rate: 3,5 / 5] [3,64]
producer: Johan Duncanson, Martin Larsson
label: Labrador - nationality: Sweden

Track highlights: 2. "Where Damage Isn't Already Done" (4 / 5) (live) - 3. "Keen on Boys" - 4. "Why Won't You Talk About It?" (4 / 5) (live) - 5. "It's Been Eight Years" - 6. "Bus" - 7. "Slottet #2" - 9. "Against the Tide" - 13. "Lost and Found"
[ full album ]

Studio album debut by Swedish band The Radio Dept. released on Labrador Records and produced by Johan Duncanson and Martin Larsson of the band. At this early point of their career the band consists of the band's main songwriter Johan Duncansson on lead vocals, guitar and keyboards, Martin Larsson also on vocals, guitar and keyboards, Lisa Carlberg on bass and piano, and with Per Blomgren on drums. The majority of the tracks are written solely by Johansson, excluding three tracks co-written with Larsson, and the two also produced the album.
The style is indie pop / dream pop with traces of noise pop and with inspiration from bands like Felt and My Bloody Valentine. The album's release was almost unnoticed but has gained much recognition in the aftermath. On this their first attempt, the sound is somewhat unpolished, intentionally demo-like lo-fi with heavy reverb and distortion on both guitar and vocal. Several tracks stand out but it's also their most incoherent album as tracks point in various directions making it more of a sketching of greatness.
Recommended as the band's second best album, imho.
[ allmusic.com 4 / 5, NME, Drowned in Sound 4,5 / 5 stars ]

Mew "Frengers" (2003)

Frengers
release date: Jun. 16, 2003
format: cd
[album rate: 4 / 5] [3,95]
producer: Rich Costey
label: Sony BMG - nationality: Denmark

Tracklist: 1. "Am I Wry? No" (4,5 / 5) - 2. "156" - 3. "Snow Brigade" (4 / 5) - 4. "Symmetry" - 5. "Behind the Drapes" - 6. "Her Voice Is Beyond Her Years" - 7. "Eight Flew Over, One Was Destroyed" - 8. "She Came Home for Christmas" (4 / 5) - 9. "She Spider" (5 / 5) - 10. "Comforting Sounds" (4 / 5)

3rd studio album by Mew and the first to have an original international release, which makes it the band's international debut. Six of the tracks are remakes of tracks either issued on the debut album (1 track) or on the band's follow-up album Half the World Is Watching Me (2000). Track #8 is the only one from the debut, but like the other remakes, track #1, #2, #4, #6, and #10, these versions are better produced, or at least with a different aim in sound. Georgian 14 year-old Becky Jarrett features on track 4, and Swedish pop vocalist Stina Nordenstam features on track #6. Only four tracks are new but then again: the tracks on this album are all unique, and having only issued the first two albums in very limited numbers this album is a necessity.
[ allmusic.com 4,5 / 5, Uncut 4 / 5, Sputnikmusic 5 / 5 stars ]

The Radio Dept. "Annie Laurie" (2002) (ep)

Annie Laurie, ep
release date: Dec. 2002
format: digital
[album rate: 3 / 5] [3,16]
producer: Johan Duncanson, Martin Larsson
label: Slottet Recordings - nationality: Sweden

Tracklist: 1. "Annie Laurie" - 2. "Bad Reputation (Rugar Mix)" - 3. "Falafel" - 4. "Tåget"

Early CDr ep issued in a limited number released by The Radio Dept.'s own label, Slottet Recordings prior to signing with Labrador. For these recordings the band is only represented by the two guitarists, Duncanson and Larsson, and compared to the first ep these tracks are more experimental recordings written by Duncanson and Larsson (except track #1, written by Robert Burns), and all are solely played by Duncansson.
The digital mp3s have been made free for download on the band's official site.
The tracks are quite interesting in their own rights without being truly great.
More on the release here.

The Radio Dept. "Against the Tide" (2000) (ep)

Against the Tide, ep
release date: 2000 / 2002
format: digital (2002)
[album rate: 3,5 / 5] [3,48]
producer: Johan Duncanson and Martin Larsson
label: Slottet Recordings - nationality: Sweden

Tracklist: 1. "Against the Tide" - 2. "Liebling" - 3. "Why Won't You Talk About It?" (4 / 5) - 4. "We Would Fall Against the Tide"

First ep release by Swedish band The Radio Dept., originally released as a demo in 2000 and later in 2002 pressed and released on 7'' vinyl.
The first formation of the band goes back to 1995 when vocalist Elin Almered and guitarist Johan Duncanson started playing together as a teenage project. The two soon split but around '98, guitarist Martin Larsson (aka Martin Carlberg) and Johan Duncanson started playing together under the band name, and in autumn 2001 they were joined by bassist Lisa Carlberg and drummer Per Blomgren - and this four-piece was later expanded to a quintet by keyboardist Daniel Tjäder.
Both track #1 and #3 are also found on the debut album, Lesser Matters from 2003, and #2 and #4 are included on the compilation album Passive Aggressive: Singles 2002-2010 (2011).
Despite being self-recorded and self-produced 'lo-fi' compositions the potential is truly remarkable.

My Bloody Valentine "m b v" (2013)

m b v
release date: Feb. 13, 2013
format: digital
[album rate: 4 / 5] [3,82]
producer: Kevin Shields
label: m b v (self-released) - nationality: Ireland

Track highlights: 1. "She Found Now" - 2. "Only Tomorrow" - 3. "Who Sees You" (4 / 5) - 4. "Is This and Yes" - 5. "If I Am" (4 / 5) - 8. "Nothing Is" (4 / 5) - 9. "Wonder 2"

3rd studio album by My Bloody Valentine is what is regarded the final album by My Bloody Valentine, and it follows some 22 years after the band's most recent album, the acclaimed Loveless from 1991. Alledgedly, Kevin Shields had tired of how the music industry worked in terms of having decisive opinions on his music, which in this case has become a self-made product - self-produced, -mastered, and self-released. Yes, this is complete control.
Apparently, the majority of these tracks were initially recorded before the band split in 1997. Other recordings were presumably made in 2006, shortly before the band officially reformed in 2007, but ultimately, all tracks here are credited Shields, and it falls rather fine in the chronology despite following more than two decades after the band's most recent album. In 2013, Shields publicly said a new album was soon to be release, and seemingly, it had already been mastered, but then Shields the prefectionist took over, and another 8 years passed before the end-result was approved.
This is a modernized noise pop and dream pop release that finally came out some 22 years after its predecessor Loveless (1991), as Kevin Shields didn't work in ordinary ways. As was the case with the two previous albums, this also ended up in "1001 Albums You Must Hear Before You Die", and really, it's a certified grower.
[ 👍allmusic.com, Spin 4 / 5, Pitchfork 9,1 / 10, The Guardian 5 / 5 stars ]

My Bloody Valentine "Loveless" (1991)

Loveless
release date: Nov. 5, 1991
format: cd
[album rate 4,5 / 5] [4,28]
producer: Kevin Shields and Colm Ó Cíosóig
label: Sire Records / Warner Bros. - nationality: Ireland

Tracklist: 1. "Only Shallow" (5 / 5) - 2. "Loomer" (4 / 5) - 3. "Touched" - 4. "To Here Knows When" (4 / 5) - 5. "When You Sleep" (4,5 / 5) - 6. "I Only Said" (5 / 5) - 7. "Come in Alone" - 8. "Sometimes" - 9. "Blown a Wish" - 10. "What You Want" (4,5 / 5) - 11. "Soon" (4 / 5)

2nd studio album by My Bloody Valentine originally released on vinyl by Creation Records and on cd by Sire / Warner. The band here is a quartet made up of main composer Kevin Shields credited on guitar, vocals & sampling keyboard, Bilinda Butcher on vocals & guitar, Debbie Googe on bass, and with Colm Ó Cíosóig on drums & sampling keyboard.

Loveless is perhaps THE best known and also the best reviewed dream pop, shoegaze, noise pop album ever released. It's enlisted on a variety of lists collecting all the best albums. The majority of the compositions were written entirely by Shields.

I purchased the album shortly after its release after reading an interview with Robert Smith of The Cure who mentioned the band as one of his personal favourites and for being a band with a highly unique sound. And that particular soundscape, as well as this album's sound, is highly dependent on Shields' guitar work. Listening to the album today, it's really no wonder how it found its way to iconic status. Post rock bands like Sigur Rós and Mogwai owe much to this and to the sound produced by Kevin Shields. Also, an alt. rock band like Smashing Pumpkins could most likely have looked to this, but also electronic artists and big beat performers like The Chemical Brothers and Fatboy Slim may also have found inspiration in tracks like "To Here Knows When" and "Blown a Wish". The track "Soon" reminds me of something made by (electronic artist) The Orb.

My Bloody Valentine didn't sell that many albums with this one, i.e. at the time of the release, although, its status of course has helped music buyers to the attention of its existence in years to follow. The sound of the album is quite unique. Listening to its predecessor Isn't Anything (1988), the band's debut album, it's both evident that it's the same band but also that they have made a considerable progression into a more dream pop area, also suggested by the ep Tremolo released nine months prior to this. The debut album is more shoegaze and noise pop founded, maybe with references to Sonic Youth and a proto-grunge-sensation with a mix of garage rock and the sort of noise pop one could find on Psychocandy (1985) by The Jesus and Mary Chain.

After Loveless the band found itself without a record contract as the costs in producing and making this album were too much for the small independent label Creation Records. Furthermore, Shields' studio work apparently had been more than the label's management would tolerate again, and the band then signed with Island Records, who is said to have paid for building a new studio just for My Bloody valentine and for Kevin Shields. New material was on its way but Shields found himself struggling in his process of composing and in the end no new material was released. Also, Shields started to work with other bands, making appearances and producing for other artists, at least up until 2013 when finally a third full-length studio album was released. Loveless is the band's most deserved inclusion in "1001 Albums You Must Hear Before You Die".

[ allmusic.com 5 / 5 stars ]

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