Protomartyr "Formal Growth in the Desert" (2023)

Formal Growth in the Desert

release date: Jun. 2, 2023

format: digital (12 x File, FLAC)

[album rate: 4 / 5] [3,86]

producer: Greg Ahee, Jake Aron

label: Domino - nationality: USA

Track highlights: 1. "Make Way" - 2. "For Tomorrow" - 3. "Elimination Dances" (4 / 5) - 4. "Fun in Hi Skool" (live) - 5. "Let's Tip the Creator" - 6. "Graft vs. Host" - 7. "3800 Tigers" - 8. "Polacrilex Kid" (live) - 10. "We Know the Rats" (4 / 5) - 12. "Rain Garden"

6th studio album by post-punk revivalists Protomartyr following three years after the acclaimed Ultimate Success Today (Jul. 2020) is another high quality release from a band who understands to stay true to its origins while exploring new territory.

Musically, it's fierce alt. rock building on an American college rock-tradition where both Pixies and Modest Mouse play equal parts with more classic British punk rock and post-punk roots. And then still, Protomartyr sounds just like no one else. They play with a nuanced understanding of balancing quiet and loud and delicate with the brutal, and lead vocalist Joe Casey's political comments are mixed with surreal / cryptic messages that fronts Greg Ahee's white noisy guitar constructs in perfect balanced disorder.

Formal Growth in the Desert gives us Protomartyr as a highly vital American band with something to offer than just a fabrication of mainstream sound.

Highly recommended. [Get the album here].

[ 👍allmusic.com, Uncut, Slant 4 / 5, 👍SputnikMusic 4,1 / 5, TheLineOfBestFit 4,5 / 5, Pitchfork 7,6 / 10 stars ]

Protomartyr "Ultimate Success Today" (2020)

Ultimate Success Today

release date: Jul. 17, 2020

format: digital (10 x File, FLAC)

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

producer: Protomartyr, David Tolomei

label: Domino - nationality: USA

5th album by Protomartyr follows nearly three years after Relatives in Descent (Sep. 2017), and it sort of arrives as a gritty exploration of existential dread. The album continues straight out of the tone of the predecessor showcasing that raw, driving energy that has become the band's hallmark.

Musically, the album features the band’s signature blend of jangly guitars, punchy rhythms, and hints of noise rock. While the album has standout tracks that showcase the band’s growth and depth, some songs can feel meandering, perhaps lacking the punch that defines their best work. Nonetheless, the reflective nature of tracks like "The Aphorist" adds a layer of introspection that complements the album's overall narrative.

Ultimate Success Today is a fine entry in Protomartyr's discography. It captures the spirit of its time with sharp lyrics and a robust sound, even if it occasionally falters in pacing. For fans of post-punk and those seeking a reflection on contemporary anxieties, this album is worth a listen, and even though, I don't find it among their absolute best, it definitely has its moments - much in the same way their other albums have turned out as rough and dirty, and filled with light beams in the darkest of nights, as something sinister overthrown with elements of beauty.

Editors "The Blanck Mass Sessions" (2019)

The Blanck Mass Sessions

release date: Apr. 13, 2019

format: digital (8 x File, FLAC)

[album rate: 3,5 / 5] [3,58]

producer: Blanck Mass, Editors

label: Play It Again Sam - nationality: England, UK

Track highlights: 1. "Barricades" - 2. "Cold" - 3. "Hallelujah (So Low)" - 4. "Violence"

Editors album is bassically the first draft recordings by Blanck Mass, which led to the album Violence (Mar. 2018). The band had wanted a stronger electronic / industrial take on their music and invited Blanck Mass (aka Benjamin John Power) to add something to their new recordings. The result is heard here, but to the band, they were slightly rearranged with less electronic and industrial dominance, and those recordings were released as Violence. However, the initial recordings had their very own strengths, so one year following the actual album release the initial sessions by Blanck Mass were released. And frankly, they are just better and more originally sounding.

Protomartyr "Relatives in Descent" (2017)

Relatives in Descent

release date: Sep. 29, 2017

format: digital (12 x File, FLAC)

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

producer: Protomartyr & Sonny DiPerri

label: Domino - nationality: USA

Track highlights: 1. "A Private Understanding" (4 / 5) - 3. "My Children" - 4. "Caitriona" - 5. "The Chuckler" - 6. "Windsor Hum" - 7. "Don't Go to Anacita" (4 / 5) - 9. "Night-Blooming Cereus" - 12. "Half Sister"

4th studio album by Protomartyr follows two years after The Agent Intellect (Oct. 2015). The album is the band's first to have actual producer credits as their previous releases only mention recording engineers.

Stylewise, the band has progressed from a more minimalist version of garage rock and post-punk to a more refined version still drawing on both styles in combination of more complexity bonding with indie rock and echoing The Bad Seeds, Pixies, and Modest Mouse - in their most tense versions, and sometimes with small hints of The National. That said, Protomartyr are still very much post-punk revivalists in the tradition where both Interpol and Joy Division play their parts. Greg Ahee's guitar swirls and roars as if a clone of Daniel Kessler (Interpol) Isaac Brock (Modest Mouse), and Black Francis (Pixies), while bassist Scott Davidson and drummer Alex Leonard are both highly familiar with Peter Hook and Stephen Morris of New Order / Joy Division. And in front of it all, vocalist Joe Casey fills in with sheer parts of Nick Cave, Matt Berninger, Ian Curtis - at times with a distinct Mark E. Smith (The Fall) wryness on top of his own original sneer. It's both dark, noisy, melodic, and first of all: pretty lively.

Bottom line: it's easily the band's so far best album, and a highly recommended listen.

[ allmusic.com 4,5 / 5, 👍NME, Record Collector 4 / 5, 👎Pitchfork 6,9 / 10, The Guardian 5 / 5 stars ]

Interpol "Marauder" (2018)

Marauder
release date: Aug. 24, 2018
format: cd
[album rate: 3,5 / 5] [3,65]
producer: Dave Fridmann
label: Matador - nationality: USA

Track highlights: 1. "If You Really Love Nothing" - 2. "The Rover" (4 / 5) - 3. "Complications" - 5. "Stay in Touch" - 7. "Mountain Child" - 8. "Nysmaw" (4 / 5) (live)

6th studio album by Interpol, who continues to release albums every four years and in the meantime stays very low. Here, they have put it in the hands of established producer Dave Fridmann. The band seems to regain its post-punk revival flair and do what they have proven to do best: play tight melody-based post-punk. Actually, the album sounds as made in the early 2000s and would easily have followed Antics (2004) or the debut from 2002, and with the album cover they don't even try to take big leaps from their own heritage - on the contrary, in fact, and maybe there's even a message in that.
I guess, critics would argue that the band has only moved few inches since their acclaimed debut and that there are no evident traces of the band's later album releases from 2007, 2010 and 2014. The differences may be small, but not microscopical, and what makes this a more mature album is what appears as perfection in details. The songs are simple, yet delightfully progressive in small dozes - it's subtle form and a significant depth that makes this the band's best album since the debut in 2002.
I like it - it's a grower.
Recommendable.
[ allmusic.com, NME, The Guardian, Slant 4 / 5 stars ]

The Cure "4:13 Dream" (2008)

4:13 Dream
release date: Oct. 27, 2008
format: cd
[album rate: 2,5 / 5]
producer: Robert Smith, Keith Uddin
label: Geffen Records - nationality: England, UK

Track highlights: 2. "The Only One" - 4. "Freakshow" - 6. "Real Snow White" - 8. "Switch"

13th studio album by The Cure. After O'Donnell and Bamonte was fired in 2005 the band toured as a trio with Robert Smith, Simon Gallup and Jason Cooper, but later in 2005 Porl Thompson rejoined the band. Another four years under its way, it's hard to see much progression from its predecessor The Cure (2004). I only find it an even more obvious mission for the band to thread the same steps like Franz Ferdinand ('Freakshow'), Bloc Party ('Switch') or other contemporary artists of post-punk revival wave. Unfortunately, the album turns out as yet another mediocre album from Robert Smith & Co, and by 2014 this has been the last studio album from the band, meaning no other album cam out in 2012. On the band members list it has also been in and out like it has for many years. O'Donnell and Tolhurst both have toured with the band, and Thompson on the other hand has announced no wish to continue in the band. Reeves Gabrels, famous guitarist in various art rock bands including Tin Machine and other work with David Bowie has toured and played in The Cure. Concerning new material, rumor has it that a new album is on its way, although, it has also been proclaimed that it would be outtakes from this album, which initially had been intended as a double album.
[ allmusic.com 2 / 5, Rolling Stone 3,5 / 5 stars ]

Editors "Violence" (2018)

Violence
release date: Mar. 9, 2018
format: cd
[album rate: 3 / 5] [3,12]
producer: Leo Abrahams, Editors
label: Play It Again Sam - nationality: England, UK

Track highlights: 2. "Hallelujah (So Low)" - 3. "Violence" (live in studio) - 6. "Magazine" - 10. "The Pulse" (Bonus Track) (live)

6th studio album by Editors follows 2½ years after In Dream from 2015 and it features British electronic act Blanck Mass [aka Benjamin John Power]. The title is stylised 'VI OLENCE' with subtle reference to it being the band's sixth album.
Editors used to be one of my favourite post-punk revival bands, but they have always been in a position of potential great bands with the ability to fall flat. And here they very much reflect that position in not being able to choose a stylistic path of their own. They stubble along with post-punk energy, darkwave gloominess, alt-rock attitudes and with both feet planted in a synthpop arena playing with electronics. Despite som fine reviews, this album eludes me as one of the their least successful albums - not quite decided if this or In This Light... from 2009 is the band's real low point.
The title track and "Magazine" are a few tracks to drag in a positive direction - perhaps with the aid of Benjamin Power? - on an album that simply contains too many songs built on familiar compositions and without [enough] new ideas, but that's just an opinion here and now. The album may one day open up as a much better release but as for now, I'm not impressed.
Not really recommended.
[ allmusic.com 4 / 5 stars ]

The Cure "The Cure" (2004)

The Cure
release date: Jun. 29, 2004
format: cd
[album rate: 3 / 5]
producer: Ross Robinson, Robert Smith
label: I Am - nationality: England, UK

Track highlights: 3. "Before Three" (3,5 / 5) - 4. "The End of the World" (4 / 5) (live)

12th studio album by The Cure - for the first time releasing on a new label, a small label licensed through Geffen Records. Again, it took the "usual" four years to release a new album. It's the band's first album in 25 years [!] not to be released on Fiction Records, and the band / Smith has found together with an American producer who has been known for his work with hard rock death rock and metal bands, which explains the much harder and heavier sound. Despite the improvement from the previous four releases and the effort to seek out new ways of expressing themselves, I don't think it's all that great. The international music scene has seen 'post-punk revival' bands from both the American as well as the European continent, and The Cure jumps that train with the excuse to have returned to their post-punk roots. I just find the band has only little to contribute with. The songs, the melodies, the originality, it's really not there except from on two or three songs, which doesn't make it a great album. Following the album release Roger O'Donnell and Perry Bamonte was fired from the band in 2005.
[ allmusic.com 3 / 5, NME, Rolling Stone 4 / 5 stars ]

The National "High Violet" (2010)

High Violet
release date: May 10, 2010
format: 2lp vinyl (heavyweight repress) / cd
[album rate: 4 / 5] [3,92]
producer: The National
label: 4AD Records - nationality: USA

Track highlights: A) 1. "Terrible Love" (live) - 2. "Sorrow" (5 / 5) - 3. "Anyone's Ghost" (4 / 5) (live on Later) - - B) 1. "Little Faith" - 3. "Bloodbuzz Ohio" (5 / 5) - - C) 1. "Lemonworld" - 3. "Conversation 16" - - D) 1. "England" - 2. "Vanderlyle Crybaby Geeks"

5th full-length studio album by The National follows three years after their acclaimed Boxer (May 2007) and it's the first to be produced exclusively by the band, as well as being their first album on the Beggars Banquet parent label, 4AD.
At first, I was a bit lukewarm about this. Obviously, the giant single "Buzzbomb Ohio" stole much of the attention together with "Sorrow", but slowly, and over time, I think it's more than just an ordinarily decent good album, and eventually, I have come to consider this as the band's absolute best. The sound quality, the arrangements, and the production as such are much as on Boxer, only this one comes with several truly fine songs.
Highly recommended.
[ allmusic.com, Rolling Stone 3,5 / 5, 👍NME, 👍The Guardian, Spin 4 / 5 stars ]

Protomartyr "No Passion All Technique" (2012)

No Passion All Technique [debut]

release date: Oct. 8, 2012

format: cd (2019 reissue)

[album rate: 3 / 5] [3,12]

producer: non-produced

label: Domino - nationality: USA

Track highlights: 1. "In My Sphere" - 4. "3 Swallows" - 6. "Jumbo's" - 10. "How He Lived After He Died" - 11. "Feral Cats"

Studio album debut by Detroit-based post-punk revivalist quartet Protomartyr consisting of vocalist Joe Casey, guitarist Greg Ahee, bassist Scott Davidson, and drummer Alex Leonard. The album was originally released on independent label Urinal Cake Records, and after releasing the critically acclaimed The Agent Intellect (Oct. 2015) the band signed with Domino.

This their first album out doesn't mention producer credits apparently because it was recorded as is by recording engineer Chris Koltay. Stylewise, it sounds much like proto-punk as played by MC5 and The Stooges with some tracks pointing more at the early British punk rock scene with especially The Fall as an obvious influence. Although, it's garage rock-styled in sound and probably hasn't been submitted to any post-production techniques, the sound is still better than what it's inspired by. Drums, bass, guitar, and vocal all have a certain crispiness that makes one aware that it wasn't recorded several decades ago when musical equipment just didn't always suffice to transport the actual energy back on vinyl or to a tape.

No Passion All Technique is hard proto-punk, which doesn't aim to satisfy anyone's request for traditional harmony-driven melodies. Protomartyr are in that regard strongly inspired by other ways of musical expression, and without it being tribute material, it does echo strong references to MC5, The Stooges, Pere Ubu, and The Fall. The album stands as the band's most simplistic and also only actual garage-rock album as all preceeding releases contain more complex compositions. The front cover feature a photograph of Julius Robert Oppenheimer.

To me, this is a fine debut, but also one that sits somewhat on its own as living its own life as a release that could nearly fill in a spot in musical history together with some of the band's influences.

Not recommended.

Editors "In Dream" (2015)

In Dream
release date: Oct. 2, 2015
format: digital
[album rate: 3,5 / 5 ] [3,43]
producer: Editors
label: Play It Again Sam - nationality: England, UK

Track highlights: 1. "No Harm" - 2. "Ocean Of Night" (4 / 5) (radio broadcast) - 5. "Life Is A Fear" (3 / 5) - 10. "Marching Orders" (3 / 5)

5th studio album by Editors is very much like a sequel to The Weight of Your Love from 2013 with synth elements from the lesser third album, In This Light and on This Evening from 2009. It contains one great track and then a few fine compositions, but I don't find that it's up there among the 3 best from the band - it's close, though - but... basically it's the second least interesting studio release from Editors without being anywhere near just a mediocre album. I think, what I miss on this is something 'new' - a sign of being in a process where the band is reaching for an artistic development of some sort... and that's hardly recognizable as it sounds so familiar - perhaps too familiar.
Music critics also seem divided on this.
[ allmusic.com, Mojo 4 / 5, Uncut 2,5 / 5, Q Magazine 2 / 5 stars ]

Interpol "El pintor" (2014)

El pintor
release date: Sep. 9, 2014
format: cd
[album rate: 3,5 / 5] [3,45]
producer: Interpol
label: Matador - nationality: USA

Track highlights: 1. "All the Rage Back Home" - 2. "My Desire" (4 / 5) - 4. "Same Town, New Story" - 6. "Everything Is Wrong" - 7. "Breaker 1" - 8. "Ancient Ways" - 9. "Tidal Wave"

5th studio album by Interpol after a 4-year hiatus is once again produced by the band. After the band's usual bassist Carlos Dengler left the band upon releasing the previous album, Interpol has stayed a trio with vocalist and former rhythm guitarist Paul Banks now also playing bass. Musically, the band has evolved more on this, or they have matured. Interpol still hangs on to the post-punk influence but has tightened its soundscape. It's still centered around simplicity with Bank's dark tone and the voice of Daniel Kessler's bright guitar. It doesn't feel like another attempt to find the formula of their sudden success but more as a fresh start. As a positive thing, it doesn't contain obvious fillers, and it's clearly the band's best effort since the first two fine albums. The title is Spanish for "The painter" but also an anagram for Interpol.
[ allmusic.com, Uncut 3,5 / 5, Slant, NME 4 / 5 stars ]

Editors "The Weight of Your Love" (2013)

The Weight of Your Love
release date: Jul. 1, 2013
format: cd (Deluxe Edition)
[album rate: 4 / 5] [3,86]
producer: Jacquire King
label: Play It Again Sam - nationality: England, UK

Tracklist: 1. "The Weight" (4 / 5) - 2. "Sugar" (4 / 5) - 3. "A Ton of Love" (live) - 4. "What Is This Thing Called Love" (4 / 5) (live) - 5. "Honesty" (4 / 5) - 6. "Nothing" (3 / 5) - 7. "Formaldehyde" - 8. "Hyena" (2,5 / 5) - 9. "Two Hearted Spider" (4 / 5) (live) - 10. "The Phone Book" (4,5 / 5) (acoustic live version) - 11. "Bird of Prey" (3,5 / 5) (live)

4th studio album released 4 years after the bands previous album is the first on Play It Again Sam, and now with an American producer. Most of the material for a new album was already announced ready in 2010 by vocalist Tom Smith, however, the band found itself in discussions about musical direction, and without finding proper solutions the album was delayed. It's the band's first album after guitarist and keyboardist Chris Urbanowicz left the band in 2012 after some time with conflicting interests concerning the band's style. He was replaced by two new members, Justin Lockey (guitar) and Elliott Williams (multi-instrumentalist). The album is quite different from its predecessor, and in my mind, it's also quite clearly a better release than the 2009 album. The sound and style is a return to guitar-driven music with use of a wide range of additional instrumentation, and it makes the 2009 release stand much alone as an experiment and something the band hasn't incorporated or developed from. Instead this turns out more of a natural progression from the 2007 studio release An End Has a Start, and by that it signals a move away from dark post-punk toward alt. rock and a more complex post-punk revival with room for synths and orchestration. It's a fine album, and not only one of the better in 2013, it's also one of the band's best albums ever.
[ allmusic.com, SputnikMusic 3,5 / 5, NME 2 / 5, Mojo 4 / 5 stars ]

Editors "In This Light and on This Evening" (2009)

In This Light and on This Evening
release date: Oct. 12, 2009
format: digital (9 x File, FLAC)
[album rate: 3 / 5] [3,18]
producer: Flood
label: Kitchenware - nationality: England, UK

Track highlights: 1. "In This Light and on This Evening" - 2. "Bricks and Mortar" - 3. "Papillon" - 4. "You Don't Know Love" - 5. "The Big Exit" - 9. "Walk the Fleet Road"

3rd studio album by Editors is 'as usual' released on Kitchenware, and also as usual the band makes use of a new producer - this time the acclaimed Flood (aka Mark Ellis). At first I was rather disappointed with this album. It's almost a new style and in a new blend of genres, which made it hard to accept as an Editors album but I it's better than that, only not really great. It's the band's involvement into synth-pop, or synth rock and almost without the blazing distorted guitars you'll find on the two previous album releases. Here the tracks are made of synthesizers and drum machines instead of original guitar and drums. Although, it contains a few really fine tracks it also has some fillers, which ultimately doesn't make it any near a favourite Editors album. This is the last studio album featuring founding member, guitarist and keyboardist of the band, Chris Urbanowicz.
[ allmusic.com 3,5 / 5, NME 2,5 / 5, The Independent 3 / 5 stars ]

Editors "An End Has a Start" (2007)

An End Has a Start
release date: Jun. 25, 2007
format: cd / vinyl (2018 repress)
[single rate: 4 / 5] [3,88]
producer: Jacknife Lee
label: Kitchenware / Play It Again Sam - nationality: England, UK

Track highlights: 1. "Smokers Outside the Hospital Doors" (4 / 5) (live on Later) - 2. "An End Has a Start" (4,5 / 5) - 3. "The Weight of the World" (4,5 / 5) - 4. "Bones" (4,5 / 5) - 7. "Push Your Head Towards the Air" - 8. "Escape the Nest" - 9. "Spiders" (4 / 5)

2nd studio album by Editors this time with Irish producer Garret Lee (credited under his moniker Jacknife Lee) is a very strong follow-up album. It shows a fine development in style with more shoe-gaze distorted guitars and keyboards creating a more spacious production. The tracks are stronger compositions and the album has no real weak tracks. I think, this is my favourite release by the band.

EDIT as of 2018:
I recently purchased a 2018 vinyl repress on PIAS. This issue appears like a repress of the original with little variations from the original print.

[ allmusic.com 3,5 / 5, Rolling Stone 2,5 / 5, The Guardian, Uncut 4 / 5 stars ]

Editors "The Back Room" (2005)

The Back Room [debut]
release date: Jul. 25, 2005
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Jim Abbiss
label: Kitchenware - nationality: England, UK

Tracklist: 1. "Lights" - 2. "Munich" (4 / 5) - 3. "Blood" - 4. "Fall" (2,5 / 5) - 5. " All Sparks" (3 / 5) - 6. "Camera" - 7. "Fingers in the Factories" - 8. "Bullets" (4 / 5) - 9. "Someone Says" (3 / 5) - 10. "Open Your Arms" - 11. "Distance" (3 / 5)

Studio album debut by Editors, and the first album I heard with the band. The cover is very much in family with the minimalist art direction by Peter Saville (who made covers for Joy Division and New Order) as well as Interpol's debut album, and the music is likewise a fine combo of the two prominent artists of post-punk. What is very different from the early contributors of the genre is clearly the production side. Also, Editors' musical universe is more symphonic but still simple and clear, and then of course: the music of the post-punk of the 1980s was not commercially intended... according to the artists themselves. I think, this first album is a fine and interesting release among many artists and releases that seek glory in the past.
[ allmusic.com 4,5 / 5, NME 4 / 5, Rolling Stone 3 / 5 stars ]

Editors "Munich" (2005) (single)

Munich, single
release date: Apr. 18, 2005
format: digital
[single rate: 4 / 5] [3,75]

Tracklist: 1. "Munich" (4 / 5) - 2. "Release" (3,5 / 5)

Single release by Editors from the band's forthcoming debut album. The second track only appears on a special bonus disc edition of the debut.