Best of 2025: Grant-Lee Phillips "In the Hour of Dust" (2025)

In the Hour of Dust

udgivet: 5. sep. 2025

format: vinyl (clear golden smoke vinyl) (signed) / digital (11 x File, FLAC)

[vurdering: 4 / 5] [4,08]

producer: Grant-Lee Phillips

selskab: Yep Roc - nationalitet: USA

Udvalgte numre: 1. "Little Men" - 2. "Did You Make It Through the Night Okay" - 3. "Closer Tonight" - 4. "Bullies" - 6. "She Knows Me" (4 / 5) - 7. "Someone" - 8. "No Mistaking" - 9. "Dark Ages" - 10. "American Lions"

12. studiealbum fra Grant-Lee Phillips, som udkommer 3½ år efter All That You Can Dream (maj 2022), er skabt i Grant-Lee's velkendte stil, hvilket indebærer en god portion traditionel folk med et gran moderne strejf af country og americana. Når det er sagt, så er alle hans udgivelser alligevel ret unikke i deres udtryk - måske varierer de ikke så voldsomt, som man kan opleve det hos andre kunstnere, men alligevel fremstår de unikke via mere subtile nuancer.

Dette album er ganske enkelt et af hans stærkeste ballade-orienterede udgivelser, og det deler måske nogle af de samme stemninger som 2022-albummet. Der løber en melankolsk enkelhed gennem alle numre – Adam Sobsey fra PopMatters har kaldt albummet for "Lullabies for adults" – men uagtet sangenes langsommelighed, deres indre glød, så fremstår albummet enormt helstøbt og som intet mindre end en kandidat til Grant-Lee's næstbedste til dato.

Jeg har haft albummet på repeat gennem årets sidste måneder, og det er muligvis det album fra 2025, som jeg har lyttet oftest til. Ser vi bort fra Salif Keitas So Kono, så er der ikke andre udgivelser, der har rørt mig som dette. Lige nu anser jeg det for at være 2025's bedste album.

[ Mojo 4 / 5, PopMatters, Uncut 3,5 / 5 stjerner ]

Salif Keita "So Kono" (2025)

So Kono

udgivet: 11. apr. 2025

format: digital (9 x File, FLAC)

[vurdering: 4 / 5] [3,92]

producer: Lucille Reyboz, Yusuke Nakanishi & Laurent Bizot

selskab: No Format! / Nø Førmat! - nationalitet: Mali

Udvalgte numre: 1. "Aboubakrin" - 2. "Awa" - 3. "Tassi" (4 / 5) - 4. "Kanté Manfila" - 5. "Chérie" - 8. "Tu vas me manquer"

Studiealbum af Salif Keita udgivet på det franske pladeselskab No Format! lander hele 6½ år efter Keita's proklamerede sidste album Un autre blanc (okt. 2019). Keita er nu 76 år gammel, og da han nærmede sig de 70, har han muligvis ræsoneret, at albummet fra 2019 skulle blive hans sidste. Men når musik er det, man virkelig mestrer, er det formentlig svært at sige stop, og så kom der jo som bekendt en pandemi, der fik mange til at finde nye veje inden for skabende kunst. Mange kunstnere fortsætter jo helt enkelt uden at trække sig tilbage, hvilket er grunden til, at vi stadig får bemærkelsesværdig musik fra navne som Van Morrison, Bryan Ferry, Robert Plant, Neil Young, John Cale, Laurie Anderson og en lang række andre.

So Kono er ikke en fortsættelse af stilen fra Un autre blanc, som viste Keita i uvanligt orkestrerede arrangementer domineret af keyboards og synths. I den henseende er denne nye udgivelse i langt højere grad både en venden tilbage til rødderne og noget nyt. Det oprindelige islæt er uden de hurtige og danseorienterede kompositioner. Der er tale om en blidere produktion i malisk singer-songwriter-stil, hvor Keita's stadigt farverige og levende vokal udelukkende akkompagneres af få instrumenter som ngoni (et strengeinstrument, der minder om en kora), guitar og slagtøj. På den måde er det et nøgent udtryk vi får på albummet, og måske blev Keita inspireret til albummet gennem en nyligt overstået turné til Japan, hvor han netop spillede akustiske udgaver af sit repertoire. Jeg forstår ikke et ord af teksterne, der skifter fra malisk til lejlighedsvis fransk, men det fremstår som et album, der involverer dybe følelser. Jeg føler i hvert fald, at Keita lægger noget, jeg forstår som et inderligt engagement, i disse enkle, men smukke kompositioner. Nogle af numrene er mere nøgne genfortolkninger af hans egne tidligere sange.

So Kono hører allerede til blandt Keita's bedste albums. Det er et vidunderligt og varmt vidnesbyrd om Keita's styrke og vitalitet, og det er samtidig en stærk kandidat til årets album.

Stærkt anbefalet.

[ 👉Mojo, The Guardian, 👍Uncut, PopMatters 4 / 5 stjerner ]

Damien Dempsey "Seize the Day" (2003)

Seize the Day

udgivet: 16. maj 2003

format: cd

[vurdering: 4 / 5] [3,78]

producer: John Reynolds

selskab: Clear Records - nationalitet: Irland

Udvalgte numre: 1. "Negative Vibes" - 2. "Ghosts of Overdoses" - 3. "It's All Good" (live) - 4. "Factories" - 5. "Jar Song" - 6. "Celtic Tiger" - 7. "Apple of My Eye" - 11. "Seize the Day"

2. studiealbum fra den irske sanger og sangskriver Damien Dempsey som efterfølger til They Don't Teach This Shit at School (mar. 2000). Albummet er udgivet på Dempsey og producer John Reynolds' eget, nu hedengangne, pladeselskab. Navnet Damien Dempsey ringer måske ikke en klokke hos mange, men han er blevet intet mindre end et nationalikon i Irland. Det skyldes hans mange albums, der blander traditionel folkemusik og historiefortælling med et moderne livssyn samtidig med, at han har forstået at bygge bro mellem moderne folk-pop og en mere traditionelt funderet sangskrivning. Sinéad O’Connor er med på kor på tre af sangene (numrene #1, #3 og #6). Forud for indspilningen albummet inviterede O’Connor Dempsey med som opvarmning på en turné, hvor hun optrådte med noget af det materiale, der senere kom til at fylde hendes irske folk-album Sean-Nós Nua (okt. 2002). John Reynolds har produceret og / eller spillet på størstedelen af O’Connors albums, og han fik efter sigende øjnene op for Dempsey, da O’Connor havde rost hans talent som sangskriver. Dempsey spiller en slags moderniseret irsk folkemusik, der trækker tråde til både The Dubliners og The Pogues, eller rettere: Shane MacGowan - endnu en kunstner med hjertet bankende for irske traditioner og et irsk ikon i egen person, selvom han blev født og opvoksede i England.

Seize the Day er et fremragende album med sange om arbejderklassens moderne liv og sange om det, der virkelig betyder noget i livet - og så har Dempsey en fin og blid vokal. Sangen "It’s All Good" er også med på O’Connors album Collaborations (2005). En anmeldelse i Paste Magazine af Andy Whitman (fra 2004) siger en del om Dempseys status: "Den irske sjæl er en notorisk flygtig størrelse. Van Morrison har den - i hvert fald når han stadig gider. Sinéad O’Connor har den. Bono - trods alle hans mange ubestrideligt musikalske kvaliteter - har den ikke. Den 29-årige Dublin-indfødte Damien Dempsey, han har den, og hans næsten tøjlede passion og råstyrke løfter sangene på hans andet album 'Seize the Day' fra det gode til det ofte sublime."

Varmt anbefalet.

[ allmusic.com 3 / 5, 👉Paste Magazine 3,5 / 5, Sputnik Music 4,5 / 5 stjerner ]

alt. 2004 cover

Signe Svendsen "Hvem vil ikke elskes igen" (2022)

Hvem vil ikke elskes igen

udgivet: 14. okt. 2022

format: vinyl (LGLP2201) / digital (10 x File, FLAC)

[vurdering: 4 / 5] [3,86]

producer: Lars Skjærbæk

selskab: Lydia Gramophone - nationalitet: Danmark

Udvalgte numre: 1. "Tiden" - 2. "Du fik hendes øjne" - 3. "Hvem vil ikke elskes igen" - 4. "Sig at solen rejser sig" - 6. "Ville give dig alt" - 7. "Hun sagde det" - 9 "Lydia" - 10. "Uden aftale"

5th studiealbum af Signe Svendsen følger lidt mere end 2½ år efter Det forlyder (jan. 2020). Albummet er som alle hendes udgivelser produceret af Lars Skjærbæk, som også medvirker som instrumentalist på guitar, mandolin, synthesizer og som korsanger - hans yngre bror Troels spiller bas, og Lars' datter Sofie Juliane er ligeledes med på kor. Albummet er blevet til i selskab med en tæt række kendte musikere, som også inkluderer multi-instrumentalisten Christoffer Møller, som i øvrigt ofte har dannet musikalsk partner med Skjærbæk i deres roste producer-duo Mahler & Bir. Signe Svendsens eget selskab Lydia Gramophone er i øvrigt opkaldt efter hendes bedstemor, som også er centrum for den stærke "Lydia" (sang #9), hvor Svendsen gendigter noget af den barske skæbne bedstemoren gennemlevede.

Hvem vil ikke elskes igen følger i Svendsens melankolsk-stilede folk og ballade-orienterede singer / songwriter udgivelser. Svendsens pen er gennem årene blevet skarpere, og sangene her står mere personligt skarpt og passer virkelig flot i det musikalske udtryk der manifesteres her, og albummet fremstår ganske enkelt som Svendsens hidtil bedste. Det er et album uden overflødigt fyldstof og efter min mening, kandiderer det til årets bedste danske udgivelse.

Stor anbefaling.

[ Gaffa.dk 4 / 6, Politiken, BT 5 / 6 stjerner ]

Johnny Madsen "Godt nyt" (2015)

Godt nyt

udgivet: 25. sep. 2015

format: cd

[vurdering: 3,5 / 5] [3,58]

producer: Chief 1 (aka Lars Pedersen)

selskab: REO / Universal - nationalitet: Danmark

15. og sidste solo studiealbum fra Johnny Madsen. Indlægget her er lagt op på dagen, hvor det blev offentliggjort, at Madsen er gået bort, 4. nov. 2024 (73 år gammel). Albummet er det eneste af Madsens, som jeg købte kort efter, det udkom. Jeg var aldrig en kæmpe fan, men jeg nød virkelig meget af den musik, han lavede fra 1982 til 2015, og også i den holdbare trio Dalton sammen med Lars Lilholt og Allan Olsen satte Madsen et kvalitetsmæssigt præg på musikken. Jeg tror, jeg først lagde mærke til en af hans sange, efter han havde udgivet sit tredje album Chinatown, Yellow Moon og Den sorte fugl i 1987, da jeg faldt over titelnummeret og "Halgal halbal" – to sange, der fik en del spilletid i radioen. Jeg anså disse sange for at være yderst originale og ikke uden appel, selvom jeg ikke var den store fan af blues og simpelthen ikke var klar til hans til tider surrealistiske, originale tilgang til genren dengang. Hans opfølger Udenfor sæsonen (aug. 1988) var et nationalt gennembrud, og det er et album, der bragte flere klassikere med sig, inkl. titelnummeret, "Færgemanden", "Komadibovser" og "Tidlig mandag morgen". Med det etablerede han sig som en moderne kunstner med et usædvanligt stærkt, originalt bud på blød blues rock i en yderst original stil, og han var bestemt bemærkelsesværdig for sit øre for den lokale dialekt, krydret med stærke tekster og en ganske raspende sangstemme.

Godt nyt kan lyde som en upassende titel at vælge på netop denne dag, men med Madsens sans for det surrealistiske, en overflod af ironi og et talent for ordspil, kunne titlen være lige så god som enhver anden til at hylde hans begavede sjæl. Albummet giver os et modent og personligt blik på det moderne liv med velplacerede kommentarer til sociale medier, globalisme, traditioner og de små ting fra hverdagen - som en slags bånd til sjælevennen Dan Turréll. Jeg kan virkelig godt lide det her album. Det indeholder både gode hooks og velsmurte, kraftfulde arrangementer, men det har også en vis Lo-Fi-tone over sig, der får mig til at tænke på noget, der lyder som tidlige udkast på en organisk måde – som en ingrediens af autenticitet, hvilket er en kvalitet, jeg synes knytter sig til alle hans plader. Han efterlader os med en solid diskografi, som jeg er nødt til at dykke mere ned i, for hans musik er her stadig, og jeg kender flere af hans album, og de er bestemt alle værd at kende.

Tak for musikken, Johnny. Keep rockin'!

Illeborg & Lysdal "Hjertekamre" (2004)

Hjertekamre

release date: 2004

format: cd (APCD 60067)

[album rate: 3,5 / 5] [3,48]

producer: Jens Lysdal

label: ArtPeople - nationality: Denmark

Track highlights: 1. "Hjertekamre" - 2. "Kan ikke huske" - 3. "Den mælkehvide måne" - 5. "På må og få" - 9. "Alt kan gå i stå" - 11. "Paradis"

Collaboration album by the two folk and singer / songwriter soloists Laura Illeborg and Jens Lysdal. Admittedly, neither have taken up much space in my music collection, as I have always found it difficult to listen to Danish contemporary soft folk which mostly comes with bonds to a schlager genre I associate with kitch and an indefinable ingredient of something non-professional, which of course is completely ungrounded and also is an undeserved criticism. I have no idea from where that has its foundation, but when consciously approaching music you tend to reject, for whatever reason and all because of a judgemental position, not to forget (ugly) double-standards - meaning: the poorest reasons of all, then you should instead try to be more open-minded and focus on a want to dig out an understanding of the obvious qualities that many others see so easily.

The sudden death of Laura Illeborg early October this year made me curious about her music, as I simply had no idea of what she had produced. Illeborg only lived to be 55 years of age but she has made a solid list of releases in what I understand is a varied discography. Initially, she performed as backing vocalist on various releases for a vast number of artists from all genres and styles, and from 1996 as soloist - her debut album is Lyv mig natten lys (1996) - as collaborator, and featuring vocalist, she has long gone ensured her name in Danish music history. Jens Lysdal is likewise an artist who started out accompanying others, primarily as guitarist and backing vocalist, after which he initiated a solo career with A Matter of Time (1995). Lysdal is a multi-facetted musician with roots in jazz, folk, country, and everything in between and close by, and in company with Illeborg the two showcase a wide repertoire in a soft corner of contemporary Danish folk. And I do enjoy it. The album contains 11 songs of which nine have lyrics by Illebord and music by Lysdal. Track #8 is co-written by Lysdal, and the end-track is exclusively credited Lysdal, who also performs as multi-instrumentalist and as producer. Stylewise, you could label it ballads with elements from jazz, pop, and folk, and it's music arranged with a classic set of minimal instrumentation, focusing on vocal, electric (jazz) guitar, bass, percussion and a small doze of keyboard. It's music made with melancholy as a centre point but balanced with a lightness running through the whole album. Some songs stand more alone as quiet vocal performances, while others engage with more tempo without being uptempo arrangements.

Laura Illeborg performs with her strong original vocal, and she obviously masters the slow intimate parts as well as more uptempo pop variants. No wonder, she has a long record as featuring vocalist in the studio, and together, Illeborg and Lysdal appear like a strong duo. In Illeborg's discography, the album follows what may be regarded as her national breakthrough, the album Lidt in Love (2002), and it's succeeded by the well-received album God vagt (2007).

Hjertekamre is a solid and well-executed album in the soft corner of folk that should appeal to fans of jazz, ballads, and folk.

Daniel Norgren "Wooh Dang" (2019)

Wooh Dang

release date: Apr. 19, 2019

format: vinyl / digital (10 x File, FLAC)

[album rate: 4 / 5] [3,84]

producer: Daniel Norgren

label: Superpuma / self-released - nationality: Sweden

Track highlights: 2. "The Flow" - 3. "Dandelion Time" - 4. "The Power" (4 / 5) (live) - 5. "Rolling Rolling Rolling" - 6. "So Glad" - 8. "The Day That´s Just Begun" (live on KEXP)

[ full perfomance on KEXP ]

Studio album by Swedish guitarist and songwriter Daniel Norgren originally released on vinyl and cd on Superpuma Records, and released as digital album via Norgren's bandcamp profile. The album is filed as Norgren's seventh full-length studio album and it follows two studio albums released in 2015: The Green Stone (Oct. 2015) and Alabursy (Apr. 2015). Since then, he has released a US-promotion compilation Skogens frukter (May. 2017) released on vinyl for the American market only.

I only recently knowingly discovered the music by Norgren. I was watching the 2022 Italian film "Le otto montagne" ("The Eight Mountains"), an adaptation by directors Felix van Groeningen and Charlotte Vandermeerschof of the 2016 novel debut by Paolo Cognetti, and I then made sure to pay attention to the music credits at the end of the film, and there I noticed that Daniel Norgren was credited all music. The music score was a most fitting mesmerising dimension to a beautiful film and it left me curious to check out more about this artist. I then discovered Norgren's bandcamp site - understood he is Swedish, although, I had been convinced it was an American artist - I then purchased several of his digital albums after receiving Wooh Dang, which appears to be his most recent studio album, and one that made me want more. All of his albums, or at least all of his seven full-length studio albums that I have come to know of, seem differently shaped. From his first album out Kerosene Dreams (2006) - an album which for some reason isn't included on his bandcamp site and an album I have come to know of via a major streaming service (and which isn't part of my six purchases) - through to Outskirts (2008) and Horrifying Deatheating Bloodspider (2010), Norgren appears much influenced by especially Tom Waits and Captain Beefheart, and then from Buck (2013), Alabursy and Green Stone, his music influences appear more complex with a stronger country foundation, and they all represent music with bonds to more original blues traditions with a bolder accentuated folk at the base, and then you could also say similar things of his more apparent experimental approach on his later albums.

Wooh Dang is modern indie folk with an experimental touch from someone who must be familiar with bluegrass, roots rock and a whole world of country. In that way, it's hard to pin out other Swedish acts as natural influences when Norgren's touch mostly sounds if shaped through the ages of American outback culture. Daniel Norgren is not only a great songwriter and composer, he also narrates and sings in a highly original tone. You can't always tell where it's going, but the journey, so far, is only a most delightful and pleasant one.

Highly recommended.

👉[ Norgren on bandcamp]

Jessica Pratt "Here in the Pitch" (2024)

Here in the Pitch

release date: May 3, 2024

format: digital (9 x File, FLAC)

[album rate: 4 / 5] [3,92]

producer: Jessica Pratt & Al Carlson; Peter Mudge; Matt McDermott

label: City Slang - nationality: USA

Track highlights: 1. "Life Is" (TV performance) - 2. "Better Hate" (4 / 5) - 3. "World on a String" (4 / 5) - 4. "Get Your Head Out" - 7. "Empires Never Knows" - 9. "The Last Year"

[ Live on KEXP ]

4th studio album by Californian folk artist Jessica Pratt, which follows more than five years after Quiet Signs (Feb. 2019), and just like that this new album counts nine tracks and a total running time of just under 28 minutes.

It's not far from her 2019 album, but that doesn't necessarily mean lesser. Listening to Pratt in 2024 is like being transported on a time machine revisting the 1960s easy listening / baroque pop-period where she could have listened to Phil Spector, The Carpenters, Nick Drake, and / or Stan Getz and João Gilberto. It's... oh so quiet, a bit other-worldly but altogether very relaxing and comforting like a plaid gently swept over your cold legs on a Winter's night. Pratt has a distinct laid-back alto vocal. At times she reminds me of Richard Hawley but mostly she sounds like no one else, and Here in the Pitch is simply Pratt's best album to date, and what a wondrous release that is.

Here in the Pitch is no less than one of this year's absolute best and a highly recommended release.

[ allmusic.com, Under the Radar 4,5 / 5, Pitchfork 8,8 / 10, 👍The Line of Best Fit 4 / 5 stars ]

Søren Huss "Vi fik mere end vi kom for" (2024)

Vi fik mere end vi kom for

release date: Apr. 5, 2024

format: cd

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

producer: Søren Huss & Christian Balvig

label: Universal Music Group - nationality: Denmark

Track highlights: 3. "Sensommerdrøm" - 4. "Et støvet loop i inderste rille" - 5. "Langt ude, langt oppe, langt nede og langt, langt væk" - 7. "Kinddans" - 8. "Lyden af os under ét tag" - 10. "Stoledans"

5th studio album by Søren Huss following 4½ years after Sort & hvid til evig tid (Sep. 2019) is despite the time span an album of a familiar style. His 2019 album was in a way a final statement that his songs are eternally bound to both dark [sort] and light [hvid] sentiments. Some critics had early on directed some criticism to his blue-toned melancholic soundscape and Huss also made attempts in writing positive and lighter songs but he has made it clear that his musical tone is one of many blue notes. In that regard this only follows suit with his previous albums. It's music filled with harmony, light tones and uplifting moments AND it's nevertheless soothing with melancholy.

The musical expression is far from that of Saybia - only the vocal is familiar but that's how Huss primarily comes out on his own. All songs are credited Huss, and his backing band is a mix of stable instrumentalists. Guitarist Lars Skjærbæk has been aboard on the most recent three albums and bassist Morten Jørgensen and drummer Jesper Elnegaard have both been stable musicians on all of Huss' solo albums.

Vi fik mere end vi kom for ['We Got More Than Expected'] is by no means a poor collection of new songs, and in that regard it's a most fitting title in that it's also an excellent description of the album. The title is taken from track #5, which appears as the central song of the album. Huss stays on a safe path - he certainly has visited these roads before and some of the songs could easily be followed by older material without anyone finding it a disturbing change. Huss has never been afraid of narrating about his personal life and about existential crisis. He has found himself in a depressive state, which appears to be central to these ten new songs, and that theme is far from new to fans of his discography. That said, it's a return to his more minimalist songwriting as you'll find it on his first two solo albums. It's still an original sound with influence from folk rock and a whole world of balladry with a subtle touch of jazz. It's music for solitude, for rainy days and for attentive listening, and once you have accustomed and adjusted your expectations, it's like a cleansening bath in Autumn leaves.

[ Gaffa.dk 5 / 6, Politiken, Ekstra Bladet 4 / 6 stars ]

Sharon Van Etten "We've Been Going About This All Wrong" (2022)

We've Been Going About This All Wrong

release date: May 6, 2022

format: digital (14 x File, FLAC) (Deluxe Edition)

[album rate: 3,5 / 5] [3,66]

producer: Sharon Van Etten and Daniel Knowles

label: Jagjaguwar - nationality: USA

Track highlights: 1. "Darkness Fades" - 5. "Born" - 6. "Headspace" - 7. "Come Back" - 9. "Mistakes" - *12. "Porta" - *14. "When I Die"

*bonus track on Deluxe Edition

6th studio album by Sharon Van Etten follows more than 3 years after Remind Me Tomorrow (Jan. 2019). The album has been described by Etten as her 'pandemic record', and that becomes clearer upon listening to a more introvert and desolate collection of songs than what she normally puts out - and that even says quite a bit 'cause Van Etten is an artist who has released albums that reek inner perspective more than anything. In that regard, this new album is two-tongued exposing inner thoughts and sentiments but at the same dealing with a pandemic catastrophe as an outer dialogue. It's about climate, about making the wrong choices on behalf of humanity and life as such. The cover nicely depicts the danger with luring flames, threating homes and nature by eating up everything. The standard edition of the album comes with ten tracks running for a total of 39 minutes - the Deluxe Edition extends it to 55 minutes.

Much as usual, a new Van Etten album takes processing. At first it may sound familiar and alike her previous releases, as a mock up of sorts but given attention, it stands much on its own, with fragility as a common determinator of every song on yet another fine album.

Recommended.

[ Exclaim!, PopMatters 4 / 5, Pitchfork 7,8 / 10, 👉Rolling Stone 3,5 / 5, 👎The Guardian, NME 3 / 5 stars ]

Hurray for the Riff Raff "The Past Is Still Alive" (2024)

The Past Is Still Alive

release date: Feb. 23, 2024

format: vinyl (translucent orange crush) / digital (11 x File, FLAC)

[album rate: 4 / 5] [4,08]

producer: Brad Cook

label: Nonesuch - nationality: USA

Track highlights: 1. "Alibi" (4 / 5) (live) - 2. "Buffalo" - 3. "Hawkmoon" (4 / 5) - 4. "Colossus of Roads" (4 / 5) - 5. "Snake Plant (The Past Is Still Alive)" (4 / 5) (live) - 6. "Vetiver" - 8. "Dynamo" - 9. "The World Is Dangerous"

9th studio album by Hurray for the Riff Raff following two years after the acclaimed Life on Earth (Feb. 2022) and is like that made with producer Brad Cook, who also plays bass on the album. Alynda Segarra is credited all songs.

Stylewise, the album is more folk-oriented as opposed to the indie rock feel of the 2022 album, and although the predecessor is a true gem this definitely has other strengths but most of all only establishes Segarra as one of the finest contemporary American singer /songwriters.

The Past Is Still Alive is one of this year's best albums and as such an album you should know.

Highly recommended.

EDIT Aug. 13, 2024:

Last night I experienced Hurray for the Riff Raff live at Voxhall, Aarhus, and that was just an absolute fabulous concert with a playfull four-piece and Alynda in peak performance. The band mostly played the songs from this new album, but instead of just repeating the studio arrangements, they trew the rock-version at us. I really enjoy the album but I must say: in a rock-frame these songs all shined ever so brightly. The releative small audience were all cheering and clapping for more 'cause Segarra and the band showed us what a great act they are. At times they played tight, soulful and bluesy reminding me of Neil Young & Crazy Horse or Alabama Shakes, at other times they hit repetive intervals that made me think of Band of Horses, at other times it was southern guitar rock in the style of Kings of Leon, and then most of the time they just sounded like no one else and led by one shiny Alynda Segarra. Over time and with a matured set of songs, this album has come out even stronger, and I feel it's closing in on another peak for Hurray for the Riff Raff as a strong contender to album of the year.

[ allmusic.com, Line of Best Fit 4,5 / 5, BeatsPerMinute 85 / 100, Pitchfork 8,3 / 10, Exclaim! 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

Bedste i 2024: Adrianne Lenker "Bright Future" (2024)

Bright Future

udgivet: 22. mar. 2024

format: vinyl / digital (12 x File, FLAC)

[vurdering: 4 / 5] [4,12]

producer: Philip Weinrobe

selskab: 4AD - nationalitet: USA

Udvalgte numre: 1. "Real House" (4 / 5) - 2. "Sadness as a Gift" (live fra Greenwich Village med Nick Hakim) - 4. "No Machine" - 5. "Free Treasure" (live på The Tonight Show)- 6. "Vampire Empire" - 8. "Candleflame" - 9. "Already Lost" - 10. "Cell Phone Says" - 11. "Donut Seam" - 12. "Ruined" (live fra Greenwich Village med Nick Hakim)

Studiealbum af Adrianne Lenker udgivet i en pause mellem albums med bandet Big Thief og deres seneste anmelderroste album Dragon New Warm Mountain I Believe in You (feb. 2022). Lenkers seneste solo album var Songs & Instrumentals (okt. 2020), og denne nye udgivelse er mere i stil med hendes andre solo-udgivelser, mere nøgen, mere ren som folk og singer / songwriter-materiale. Når det er sagt, så medvirker der også andre instrumentalister på Bright Future end blot Lenkers egen vokal over enlige guitarakkorder, sådan som det var tilfældet på hendes stille 2020 album. Det er dog ikke de samme fuldformede arrangementer som man finder på albums med Big Thief - kun "Vampire Empire" lyder som en sang skrevet med bandet i tankerne, da instrumenteringen er tættere på numre med bandet med violin, piano, perkusion, banjo, guitar og vokalharmonier, men generelt, så er sangene her fremført på en mere subtil facon, som kun for at holde fokus på Lenkers fortællinger.

Bright Future er allerede årets bedste album og samtidig en stor anbefaling værdig.

[ Mojo 4 / 5, Pitchfork 8,4 / 10, Exclaim! 9 / 10 stjerner ]

[ bandcamp ]

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

Boygenius "The Record" (2023)

The Record [debut]

release date: Mar. 31, 2023

format: digital (12 x File, FLAC)

[album rate: 3,5 / 5] [3,72]

producer: Boygenius, Catherine Marks

label: Interscope - nationality: USA

Track highlights: 1. "Without You Without Them" - 2. "$20" - 3. "Emily I'm Sorry" - 6. "Not Strong Enough" (live on SNL) - 9. "Satanist" - 11. "Anti-Curse"

Studio album debut by 'super-group' boygenius consisting of the three American singer-songwriters Julien Baker, Phoebe Bridgers, and Lucy Dacus, who debuted together under the alias back in 2018 when releasing the 6-track ep Boygenius on Matador. All songs are credited the trio in collaboration, and the album sky-rocketed up the charts on both sides of the Atlantic, and most critics have applauded the album.

Musically, it's labelled as indie-folk, or indie rock, although, Interscope isn't an all independent label and all three singer-songwriters have made several acclaimed albums on their own. Stylewise, they share a lot together and the music here doesn't represent major stylistic variations. In many ways this very collaboration reminds us about Crosby, Stills & Nash when they decided to unite forces back in '69 and produce some highly original music together, although individually, they actually enjoyed stable solo careers. Boygenius is a collective force with individual strengths and together they support one another in a most natural way.

The album is included on numerous lists of the year's best albums, and it is a mighty fine collection of songs, although, as in the case with CS&N, I'm not extremely overwhelmed and the biggest fan. That said, Boygenius does appear as a strong unit with great potential.

And therefore, The Record is recommended.

[ allmusic.com, Mojo 4 / 5, Pitchfork 8,2 / 10, NME, Rolling Stone 5 / 5, 👍Clash 3,5 / 5 stars ]

Lotte Kestner "Radiohead Covers" (2023)

Radiohead Covers (ep) (compilation)

release date: Apr. 7, 2023

format: digital (4 x File, FLAC)

[album rate: 3,5 / 5] [3,63]

producer: Anna-Lynne Williams [recorded by]

label: self-released - nationality: USA

Tracklist: 1. "All I Need" - 2. "Motion Picture Soundtrack" - 3. "How to Disappear Completely" - 4. "No Surprises"

Four previously released covers have here been compiled for digital download at Kestner's bandcamp profile. Tracks #1 and #2 are both included on Covers 2 (2020), track #3 was previously included on Covers (2015), and track #4 has previously been available on her bandcamp site. Covers are just a big part of Kestner's music, as most of her releases have included covers, and she has released several singles, eps, and full albums exclusively containing cover songs, so seing Kestner covering Radiohead isn't really a rare thing.

Her speciality, when speaking of covers, is her ability to make her very own and highly original ambient folk-versions of not-folk material, and in that regard it's always fascinating how she chose to arrange these songs.

The four Radiohead songs are all major classics by this great innovative British band and in Kestner's hands they shine anew. I do prefer the originals, but Kestner's versions are still intruiging renditions.

Cornelis Vreeswijk "Cornelis' Bästa" (1985)

Cornelis' Bästa, compilation

release date: 1985

format: 2 cd (2010 reissue)

[album rate: 4 / 5]

producer: various

label: DB Records - nationality: Sweden

Best of compilation by Dutch-Swedish troubadour Cornelis Vreeswijk is the only compilation released during his lifetime. The album was originally released as a triple vinyl album on the Norwegian DB label. The album is a mighty fine collection, although, it still feels insufficient. A 2003 2 cd-only compilation with the same title but a different release issued by Metronome appears as a better choice in representing his best material; however, in the case of Vreeswijk with his vast repertoire of songs, any compilation would come out as insufficient but if you only want one album this isn't bad at all.

Vreejswijk deserves this type of recognition, although, his studio albums are preferred over the many compilations. His status as singer / songwriter and a genuine Nordic troubadour puts him on the shelf among the best.

John Cale "Mercy" (2023)

Mercy

release date: Jan. 20, 2023

format: digital (12 x File, FLAC)

[album rate: 3,5 / 5] [3,74]

producer: John Cale, Nita Scott

label: Double Six / Domino - nationality: Wales, UK

Track highlights: 1. "Mercy" (feat. Laurel Halo) - 2. "Marilyn Monroe's Legs (Beauty Elsewhere)" (feat. Actress) - 3. "Noise of You" - 6. "Moonstruck (Nico's Song)" - 8. "Night Crawling" - 9. "Not the End of the World" - 11. "I Know You're Happy" (feat. Tei Shi)

17th (or so?) studio album by John Cale following M:FANS (2016) - which by many isn't really considered an actual new album as it's a redrawing of songs from Music for a New Society from 1982, although, from my perspective it's still a new album containing newly re-arranged songs. A new studio album doesn't necessarily mean new compositions; however, his last to feauture newly written material was Shifty Adventures in Nookie Wood (2012).

Cale was 80 years old when he recorded this album, and you could ask yourself if his high age would show on this album - it doesn't! Actually, the album is a most wonderful combo of soft art rock, singer / songwriter and subtle but noticeable electronica. Several tracks are collaborations - the most prominent artist is probably Weyes Blood (on "Story of Blood"). For the moment, I just feel that is one of the weak songs here, but you can't really put a finger on anyone's contribution that lifts this from Cave's shoulders. Through and through, it's the successful product in the spirit of the artist himself.

The album has been met by positive reviews, and I must confess that it strikes me as one of his better and more coherent studio albums. Since the relase, Cale has been on a world tour with the new album.

The album is still new to me - I rate it just under 3,75, but it might just grow stronger during the following months.

Highly recommended.

[ 👍Pitchfork 7,8 / 10, Mojo 4 / 5, Uncut 4,5 / 5 stars ]

Robert Forster "The Candle and the Flame" (2023)

The Candle and the Flame

release date: Feb. 3, 2023

format: digital (9 x File, FLAC)

[album rate: 3,5 / 5] [3,38]

producer: Robert Forster, Karin Bäumler, Louis Forster

label: Tapete Records - nationality: Australia

Track highlights: 1. "She's a Fighter" - 2. "Tender Years" - 5. "I Don't Do Drugs I Do Time" - 8. "Go Free"

8th studio album by Robert Forster in his own name follows three years after the fine Inferno (Mar. 2019) and is like that released on the German label, Tapete. His wife Karin Baümler plays a more vital part than normally, as she has become the center of these new songs after having gone through cancer treatment. Aparently, most songs were already written before her diagnosis, but both album title and the first song here sets a tone that nicely fits with the rest of the songs.

Forster is as always a good narrator, and for that this album should be valued, although, you could argue that he doesn't hand us much new with this one. The first track is a bit off in respect to the colour of the album with it's rougher and energetic starting tone, which in some ways point back in time and reminds us where he began a long lasting musical career with Grant McLennan. The rest is more so-so - nothing daring in style and more simplistic folk with Forster strumming his guitar as support to his personal stories and not a whole lot in musical arrangements other than Adele Pickvance or his son Louis on bass as support to his and Karin's vocal harmonies. It's also a family thing with Robert and Karin being joined by their son and daughter Loretta, who plays second guitar.

I'm sure folk enthusiasts - people who send thanks to almighty Dylan - will embrace this as a warm and mature classic-styled album, but for me, I've heard better from this songwriter giant and it just doesn't provide me with enough substance, melody nor originality to have it on rotation that often.

[ The Guardian 4 / 5, Pitchfork 7,5 / 10 stars ]

Eee Gee "Winning" (2022)

Winning [debut]

release date: Feb. 25, 2022

format: digital (14 x File, FLAC)

[album rate: 4 / 5] [3,76]

producer: Rasmus Bille Bähncke

label: Future Classic - nationality: Denmark

Track highlights: 1. "Favourite Lover" (4 / 5) - 2. "You Don't Have to Tell Me It's Over" - 5. "Contraband" (live session) - 6. "Bad Person" - 7. "Love Hurts" - 8. "Winning" - 10. "All or Nothing" - 11. "Killing It" (4 / 5)

Studio album debut by Danish act Eee Gee [stylised 'eee gee'] aka Emma Grankvist is virtually a debut-out-of-the-blue. I first listened to the song "Favourite Lover" and then "Bad Person" without knowing anything about artist or nationality, and I remember thinking it must be yet another one blending Lana Del Rey and Billie Eilish, although still doing that quite nicely. But after realising it's music by Danish songwriter Emma Grankvist and upon listening to the whole album, I have to admit it's much more than a copy and quite a remarkable achievement. Why hadn't we heard about her before? And speaking of influences, I also found it's waaaay too simple to mention the aforementioned two American stars as only sources 'cause there's also traces of much else. There's a tongue-in-cheek (Lily Allen-like) presence and songs that are stronger singer / songwriter or alt. folk related that reminds me of Cat Power or Sharon Van Etten, or was it Ane Brun leaning on Joni Mitchell? And then why even compare?!

The album has a total running time above 45 minutes with songs written by Grankvist, and most of the music is co-composed with producer Bähncke. Granted, this may not be highly original, but it's a most powerful collection of personal songs produced in high-end arrangements. Yes, there's influence and traces of others, but looking at the whole picture instead, this is simply one of the strongest Danish debut albums in years.

Highly recommended.

[ Politiken, 👉Soundvenue 5 / 6, Undertoner 4 / 6 stars ]

Pino Daniele "Terra mia" (1977)

Terra mia[debut]

release date: 1977

format: vinyl (2015 reissue)

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

producer: Claudio Poggi

label: EMI - nationality: Italy

Studio album debut by Pino Daniele (aka Giuseppe Daniele). This reissue was made available following Daniele's death, Mar. 2015.

Marie Key "Lys finale" (2022)

Lys finale

release date: Feb. 11, 2022

format: digital (10 x File, FLAC)

[album rate: 4 / 5] [3,78]

producer: Bremer / McCoy

label: Sony Music - nationality: Denmark

Track highlights: 1. "Vinter" - 2. "Tænk" - 3. "Stråler" - 5. "Lys finale" (4 / 5) - 6. "Stille måne" - 7. "Verden" - 10. "Festen"

6th studio album by Marie Key following the album Marie Key (Oct. 2020) saw Key in an attempt to take up the success from her first three solo albums with producer Andreas 'Maskinen' Sommer, and although the album produced a small single hit with "True Love", that album wasn't part of top-40.

Lys finale is easily her most quiet album to date. It's produced by contemporary Danish jazz-duo Bremer / McCoy (bassist Jonathan Bremer and pianist Morten McCoy), and all tracks are co-composed and arranged by the duo, and the end-result is far from the art pop and synthpop-fused predecessors. Stylewise, this might go as indie pop with a strong touch of jazz pop, and most tracks have near minimalist arrangements where bass and a delicate keyboard often are only instruments backing Key's vocal, which is accentuated strongly.

A first listen had me think it was daring and far from expected but I quickly found it a quite strong release. It's not filled with hit material nor sing-a-long choruses, and it's primarily the most stripped down songs that work the best - and it's Key's delicate narration that really lifts the album, which in many way also calls for a native or at least a Scandic audience, as all songs are in Danish, but this isn't a new trait to Key's music. The big difference is that Lys finale is a jazz-breed and it's one of Key's absolute best albums. Imho, this is Key's second best to date and thus highly recommended.

[ Berlingske 5 / 6, Politiken 3 / 6 stars ]