Sigur Rós "Route One" (2017)

Route One

release date: Dec. 2017 (re-released Apr. 27, 2018)

format: digital (8 x File, FLAC)

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

producer: Sigur Rós

label: self-released - nationality: Iceland

Remix album by Sigur Rós, or at least a special type of remix album. The band broadcast their more than 1300K road trip around Iceland's ring road in the Summer of 2016 live on YouTube, while using software to make continous remixes of one original composition - "Óveður". Eight of these were then selected for this remix album.

I find the project fascinating, especially as a full audio-visual experience but as is often the case with soundtracks, the audio part alone may suffer from the missing dimension, and that's what I find is at stake with Route One. The compositions are not only instrumentals but they're also held in a mostly ambient style, which makes the end result quite coherent but also challenging as a full listen from start to finish.

One of the band's lesser releases.
In May 2018, Route One was followed by the project Liminal, which was an attempt to make an 'endless mixtape' they would add new pieces to over time, and in Sep. 2018 the band made an announcement that drummer Orri Dýrason had left the band - practically leaving the band reduced to a duo of Jónsi and Georg Hólm.

Elvis Costello & The Brodsky Quartet "The Juliet Letters" (1993)

The Juliet Letters
release date: Jan. 19, 1993
format: digital
[album rate: 2,5 / 5] [2,68]
producer: Brodsky Quartet, Elvis Costello and Kevin Killen
label: Warner Bros. - nationality: England, UK

Studio album by the music crossover-project featuring pop / rock artist Elvis Costello and British classical string ensemble (the) Brodsky Quartet consisting of Ian Belton and Michael Thomas on violin, Paul Cassidy on viola and Jaqueline Thomas on cello.

The album was released to mostly positive reviews and the project also perfomed live to critical acclaim. I just don't think it works that well. Costello performs songs from his most delicate jazzy corner à la "Almost Blue" / "Shipbuilding" with the string quartet as instrumental appendix trying to fit in, or simply communicate that this is true art. I find it boring, uninspiring altogether, and see it as more of a media stunt he pulled through.

[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

The Durutti Column "Short Stories for Pauline" (2012)

Short Stories for Pauline
release date: Jun. 18, 2012
format: cd (fbn 36)
[album rate: 3,5 / 5]

Track highlights: 1. "At First Sight" - 2. "Duet" - 3. "College" - 4. "Invitations" - 5. "Destroy, She Said" - 6. "Model" - 7. "Journeys by Vespa" - 8. "Take Some Time Out" - 9. "A Silence" - 10. "Mirror A" - 11. "Cocktail" - 12. "Telephone Call" - 13. "Mirror B" - 14. "A Room in Southport"

23rd studio album release by The Durutti Column issued on Factory Benelux and produced by Vini Reilly. It's hard to fit in the category of new material as all tracks are from what was an abandoned album that Reilly worked on back in 1983, and which could/should have been his fourth studio album with the same title as here, and therefore it carries the original production number fbn36. Instead, Factory Records, or i.e. manager Tony Wilson, persuaded Reilly to work on what became the neo-classical Without Mercy (1984). That album only consists of two tracks but one will find that the tracks contain themes and pieces that has been incorporated from various tracks on this, the abandoned album. Some of the tracks have previously been released on a compilation album titled Lips That Would Kiss (1991), also by Factory Benelux.
[ official release info, see here ]
[ allmusic.com 4 / 5 stars ]

George Harrison "My Sweet Lord" (1970) (single)

My Sweet Lord, 7'' single

release date: Nov. 23, 1970

format: vinyl (F 2995)

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

producer: George Harrison & Phil Spector

label: Apple Records - nationality: England, UK

Tracklist: A) "My Sweet Lord" (4,5 / 5) - - B) "Isn't It a Pity"

1st single release by George Harrison taken from his solo album debut All Things Must Pass (Nov. 27, 1970). The single was released in the US as a double A-side single and international issues as regular two-sided 7'' singles.

This song is likely to be Harrison's best loved single - being highly valued as a stand-out work from his first album while creating a clash with his mangement as he didn't want to issue any singles from his album. Perhaps, just as importantly, the single is highly treasured because the single mix of the song differs from that found on the album.

During the Winter of 1970/'71, the release became an international number #1 single-hit, and the first to top the singles charts by any of the four ex-Beatles members. The song itself must have been the best possible promotion for the critical acclaim and commercial success of his double album, although, Harrison probably still didn't just see it as a sales stunt.

The copy I own is a first issue pressing from Denmark, which also played a central role as Harrison appears to have written and composed the song while on tour in Copenhagen, Dec. '69.

Back in the 70s I did enjoy this very song but somehow I also felt that I should appreciate it more 'cause I wasn't a huge fan. I think, I found it a bit too melancholic and repetitive - both traits are perhaps the reason I have come to treasure it much more as an adult. Harrison makes it simple and he carries much of a recognisable style from The Beatles without sounding like a tune coming from his former band. The song is both a simple one lyrically and with its bold chorus and yet musically, it's a complex compound of styles. There's a fine balance of psychedelic rock - here it's a conglomerate of folk rock, singer / songwriter, baroque pop, and pop / rock, and you can't really tell which style is the dominant one. It's tempting to stay with notion of 'psychedelic' but it seems too simplistic. All Things Must Pass is an iconic masterpiece, and "My Sweet Lord" is there as a highlight, to stress the fact that Harrison possessed much more than he was given a chance to lay open while being part of a band with two leaders. As much as I enjoy the various periods by The Fab Four, I just feel a more warm-hearted appreciation for Harrison's solo career, which I consider generally underappreciated.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Greyhounds "I (Who Have Nothing)" (1969) (single)

I (Who Have Nothing), 7'' single

release date: 1969

format: vinyl (SC 1106)

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

producer: ?

label: Scan-Disc - nationality: Sweden

Tracklist: A) "I (Who Have Nothing)" - - B) "Theme From the Wild Angels"

Single release from Swedish rock band Greyhounds. The A-side is credited 'Mogul - Donida - Leiber - Stoller'. Now, I know who Leiber & Stoller are. Mogul was a moniker for Italian songwriter Giulio Rapetti and Carlo Donida was an Italian composer and together they made the song "Uno dei tanti" ['One of the Many' / 'One Among Many'], which was transposed to English with new lyrics by songwriter-duo Jerome Leiber & Mike Stoller. The Italian song was originally performed by Joe Sentieri in 1961, and the translated version was initially performed by Ben E. King in 1963 [see more info on other versions here]. The B-side is credited Mike Curb, who made music to Roger Corman's 1966 film "The Wild Angels". There's not much other info on the vinyl labels or on the cover, which has identical sides, but the band appears to consisting of lead vocalist Bo Hellström, guitarist Roger Blomdahl, bassist Rolf Ahlin, keyboardist and vocalist Willy Björkman, and drummer Hasse Andersson.

This single probably comes from my older brother's record collection. I think, the cover somehow signals more than their music - and they could have only just watched Dennis Hopper's "Easy Rider", which premiered Jul. 1969, but most certainly knew of Corman's "The Wild Angels", in which the B-side original is found - and they try really hard to pose as a Swedish Steppenwolf copy.

I recall putting the single on the turntable as a kid and being disappointed about not really finding any enjoyment in it. Now, some five decades later, I still don't find much pleasure from it.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

The Last Shadow Puppets "Everything You've Come to Expect" (2016)

Everything You've Come to Expect
release date: Apr. 1, 2016
format: digital
[album rate: 3 / 5] [3,16]
producer: James Ford
label: Domino Recording Company - nationality: England. UK

Track highlights: 1. "Aviation" (live on Later) - 2. "Miracle Aligner" - 4. "Everything Youve Come to Expect" - 7. "Sweet Dreams, TN"

2nd studio album by project-band The Last Shadow Puppets consisting of (Arctic Monkeys front figure) Alex Turner on vocals and guitar, Miles Kane (from The Rascals) also on vocals and guitar, Zach Dawes on bass and keyboards, and with (producer) James Ford (of Homelife and Simian) on drums and percussion. 'Super-group' this project has been labeled, although, only Turner has been in a highly successful band, but yes, Ford has mainly put his name down as a hot producer for Arctic Monkeys, Klaxons, Beth Ditto, Florence and the Machine and Mumford & Sons to mention just the most famous artists, and Dawes is a new member on this album.
Stylistically, this is somewhat far from Arctic Monkeys being more chamber pop, psychedelic pop and melodic pop / rock-orientated. The album has generally been met by positive reviews by most major critics. I just don't find it that interesting. Admitted, it's above mediocre but there are too few fine songs here to call it anything near great. The production side is fine - very neat and polished - but the songs are just too anonymous and soothing in big arrangement production for my liking. And then I just find that it builds a bit too much on The Divine Comedy and former heydays with Scott Walker and Lee Hazlewood.
It's like Alex Turner going with the jet-set.
[ allmusic.com, NME 4 / 5, Rolling Stone 3,5 / 5 stars ]

Moby "Everything Was Beautiful, and Nothing Hurt" (2018)

Everything Was Beautiful, and Nothing Hurt
release date: Mar. 2, 2018
format: cd
[album rate: 3,5 / 5] [3,56]
producer: Moby
label: Little Idiot - nationality: USA

Track highlights: 1. "Mere Anarchy" - 3. "Like a Motherless Child" - 4. "The Last of Goodbyes" - 5. "The Ceremony of Innocence" - 7. "Welcome to Hard Times" - 9. "Falling Rain and Light"

15th studio album by Moby [aka Richard Melville Hall] released on his own label and via Mute Records following the second release credited Moby & The Void Pacific Choir, More Fast Songs About the Apocalypse from 2017.
Stylistically, this is a return to his 'electronic' releases - as contrary to the 'dance punk' and 'synth punk' of releases with The Void Pacific Choir - and Moby has been around the 'electronic' scene for more than three decades exploring and incorporating genres and styles to satisfy himself more than his fans. That's always a good staring point, but as with someone like Neil Young it takes the artist off on many excursions - sometimes losing, sometimes gaining popularity, but I really like the attitude. With Moby I have felt a certain disappointment at times but this is no such instance. He reworks some familiar bits but mainly maintains a distinct sound, and it's really a nice journey. I like his touch on 'trip hop' combined with what sounds almost 'industrial' with an underlying bittersweet tone like one will find on his masterpiece Play from 1999, although, there's no real revisit to that, as it's more like a big combo of his many influences.
[ allmusic.com, Q Magazine, The Daily Telegraph 4 / 5, Rolling Stone 3,5 / 5 stars ]

Cornershop "Hold on It's Easy" (2015)

Hold on It's Easy
release date: Feb. 2, 2015
format: digital
[album rate: 3,5 / 5] [3,33]
producer: Tjinder Singh
label: Ample Play Records - nationality: England, UK

8th studio album by Cornershop follows nearly three years after Urban Turban - The Singhles Club.

This is something entirely different by being an easy-listening remake [thus the title] of the band's debut album Hold on It Hurts from 1993 and seems to be made exclusively by Tjinder Singh with the assistance of additional musicians and completely without steady band member Ben Ayres.

The album has only been issued in vinyl and digital download formats.

Hold on It's Easy is interesting with its alternate versions of familiar songs but it's nevertheless a somewhat strange and less powerful collection of songs, and the album may serve more in a collection for completionists.

Tracey Thorn "Record" (2018)

Record
release date: Mar. 2, 2018
format: cd
[album rate: 3,5 / 5] [3,48]
producer: Ewan Pearson
label: Unmade Road - nationality: England, UK

Track highlights: 1. "Queen" - 2. "Air" - 3. "Guitar" - 5. "Sister" - 8. "Face"

5th studio album by Tracey Thorn released on [her husband] the Ben Watt-founded label Unmade Roads comes 2½ years after her extensive compilation album Solo: Songs and Collaborations 1982-2015 (made as both 2-disc and single disc issues) and follows some 5½ years since her latest solo studio album Tinsel and Lights from 2012.
Stylistically, these new songs don't expose any new moves by Thorn. It's all made in a warm atmosphere of synthpop alt. dance, which mostly points back to her 2007 comeback solo album Out of the Woods, which is her latest album of pure synthpop, but in essence, the songs feel more like extended and well-known sophisti-pop of Everything but the Girl.
Despite not having released more than 5 albums in the span of 36 years - 3 of which have been issued since 2007, this new solo album is actually Thorn's best selling album to date peaking at number #15 on the national albums chart list, and the critical reception also seems to have welcomed the album as one of her best. Tracey Thorn is currently not "just" known for her musical output - be it her early stages with Marine Girls, her most famous contributions with Ben Watt and their project Everything but the Girl, or her solo releases - she is also columnist of New Statesman; and an acclaimed author of so far three books with the best-selling autobiographical debut from 2013, "Bedsit Disco Queen". Luckily, she hasn't completely abandoned music, and this her most recent album only demonstrates what a gifted musician she is.
It's not so much the songs themselves as the characteristic vocal of Thorn that makes these 9 songs shine. It's an album only touching 35 mins. running time, but Thorn sounds just as fresh and vibrant as on familiar albums of the 1980s or 1990s - there's simply no trace of the years gone by in that fine instrument of hers - and that's this album's biggest feature.
Record is a fine return of one of Britain's finest vocals.
[ allmusic.com, The Guardian, The Daily Telegraph 4 / 5, Rolling Stone 3,5 / 5 stars ]

Sir Henry and His Butlers "Camp" / "Pretty Style" (single)

Camp / Pretty Style

release date: 1967

format: vinyl (DD 799)

[single rate: 3,5 / 5] [3,42]

producer: ?

label: Columbia - nationality: Denmark

Tracklist: A) "Camp" - - B) "Pretty Style"

Single release by Danish beat quintet Sir Henry and His Butlers. At this point the band line-up counts Ole 'Sir Henry' Bredahl, Tommy Seebach Mortensen on vocals and organ, Peer Frost on lead guitar, Arne Schrøder on rhythm guitar, Jens Bøgvad on drums.

The single was issued all over europe, and the instrumental A-side "Camp" became one of the band's strongest hits, which also caught international attention, and in retrospect, also "Pretty Style" has met acclaim as an early example of a psychedelic rock style. This single was part of my parents' record collection, and it's a single I knew of at age 6-10. Back in the day, I liked this better than their '66 single, although, it never was a favourite, For this both songs are original compositions with the A-side written by 'O. Henry' (meaning Ole Bredahl) and the B-side is credited 'O. Henry & T. Mortensen - J. Bøgvad' - meaning Ole Bredahl & Tommy Seebach Mortensen (the two main songwriters) and drummer Jens Bøgvad.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Edmundo Ros "Patricia / Little Serenade" (1958) (single)

Patricia / Little Serenade, 7'' single

release date: 1958

format: vinyl (reissue)

[single rate: 2 / 5] [2,08]

producer: ?

label: Decca - nationality: England, UK

Tracklist: A) "Patricia" - - B) "Little Serenade"

Single release by Edmundo Ros (aka Edmund William Ross) in a Danish-versioned single credited 'Edmundo Ros Og Hans Orkester'.

This single was part of my parents' record collection, and it's a song I don't remember all too well. In addition, the cover has gone missing many years ago.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Jeffrey Lee Pierce "Wildweed" (1985)

2005 remaster

Wildweed
release date: Apr. 1985
format: cd (2005 remaster)
[album rate: 3 / 5] [3,06]
producer: Craig Leon
label: Sympathy For The Record Industry - nationality: USA

Solo studio album debut by The Gun Club frontman and primary composer, Jeffrey Lee Pierce originally released on Statik Records. The album came about shortly after Pierce closed The Gun Club in late '84.
For this, Pierce on lead guitar, vocals and piano, has teamed up with bassist John Mackenzie and drummer Andy Anderson. The style is less noisy, less energetic, and instead a more americana-shaped type of blues rock. It's not bad at all, I just find that it lacks direction. After the release, Pierce went on a tour to promote the album with a backing band featuring Pierce's new girlfriend, Romi Mori on guitar.

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 ]

Best of 2017:St. Vincent "Masseduction" (2017)

Masseduction
release date: Oct. 13, 2017
format: cd
[album rate: 4 / 5] [4,06]
producer: Jack Antonoff and St. Vincent
label: Loma Vista - nationality: USA

Track highlights: 1. "Hang on Me" - 2. "Pills" - 3. "Masseduction" - 5. "Los Ageless" (live) - 7. "Saviour" (live) - 8. "New York" - 9. "Fear the Future"
[ live solo and acoustic on KEXP ]

5th studio album by St. Vincent co-produced by John Congleton and with Lars Stalfors.
With this, Annie Clark establishes herself as a purer art pop artist than on her previous releases. The noise pop attitudes are more low-key - bits are found here and there but the dominating picture is one of restrained originality taking a move as to embrace both earlier fans of her experimental and progressive rock as well a more recent audience who found her St. Vincent album more digestible. It's her most dance-able release so far and several tracks are touching synthpop meets electropop glued together with a glam rock attitude. But as with her previous albums this is truly a conglomerate of styles.
The album harvested fine reviews and it has become her best selling album to date reaching number #10 on the Billboard 200 in the US and number #6 in the UK. It ended high up on many year-end lists including a first spot on lists by the New York Times and The Guardian.
Musically, she has moved into the spotlight and I think it shows very much in her professional attitude. Earlier she contained and reflected a vulnerability that has been disguised by now. Sometimes I cannot stop thinking of her as an American PJ Harvey. She has the same directness, sexual awareness and a link to a Patti Smith / Janis Joplin-strong-women-of-rock-personality. It's also clear that her new-found (glamorous) image is far from her earlier open-hearted appearance (just watch some of her live performances).
I find this her most cohesive album so far and it appears as a true conceptual album with "Pills" and "Los Ageless" as my immediate favourites but also the title track and "New York" are fine songs, and where her previous works nearly all contained hits and misses this one keeps a high quality throughout, and that's ultimately why it's such a fascinating ride.
In a year with few truly great releases, I find this the most gripping.
[ allmusic.com 4,5 / 5, The Guardian, NME, Rolling Stone 4 / 5 stars ]

2017 Favourite releases: 1. St. Vincent Masseduction - 2. Paul Weller A Kind of Revolution - 3. Love Shop Risiko

The Divine Comedy "Absent Friends" (2004)

Absent Friends

release date: Mar. 29, 2004
format: cd
[album rate: 3,5 / 5] [3,72]
producer: Nel Hannon
label: Parlophone Records - nationality: Northern Ireland, UK

Tracklist: 1. "Absent Friends" (studio session) - 2. "Sticks and Stones" (4 / 5) - 3. "Leaving Today" (4 / 5) - 4. "Come Home Billy Bird" - 5. "My Imaginary Friend" (3,5 / 5) - 6. "The Wreck of the Beautiful" - 7. "Our Mutual Friend" (4 / 5) - 8. "The Happy Goth" (live) - 9. "Freedom Road" - 10. "Laika's Theme" - 11. "Charmed Life" (live)

8th studio album by The Divine Comedy is Hannon's second on Parlophone, and now he has put himself in the producer seat.
After a short detour into art pop this marks a return to his heydays of A Short Album About Love (1997). Vanished is the experimental and darker style as heard on Regeneration (2001), and instead full focus on chamber pop orchestrated with horns and violins, and a bunch of great songs.
[ allmusic.com 4,5 / 5 stars ]

Kent "Då som nu för alltid" (2016)

Då som nu för alltid
release date: May 20, 2016
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Kent
label: RCA Records / Sony Music - nationality: Sweden

Track highlights: 1. "Andromeda" (4 / 5) - 2. "Tennsoldater" - 3. "Vi är för alltid" 4/ 5) - 4. "Den vänstra stranden" - 5. "Nattpojken & dagflickan" (feat. Anna Ternheim) (4 / 5) - 6. "Vi är inte längre där" - 7. "Förlåtelsen" - 11. "Den sista sången"

12th and final studio album by Kent. Yes... alas, this is the final studio album by the best band in Scandinavia for more than two decades. The album was already proclaimed the final long before the release, as they had made the deal to do only one more and also found they might as well announce it in due time. The year is coming to an end, and I believe they just decided to continue playing the year out on their farewell tour. As it says in their promotion video [at 02:24]: "16 Maj 1990 – 17 Dec. 2016"... it comes to an end on the last day of the tour on the 17th.

Then, what is it like the last album? And no, it doesn't stir up things in the last minute. It's... going out with grandiosity. How could it be any different from this band of (almost) self-proclaimed pretentiousness?! Kent has always been a band who did it their very own way - stood in the spotlight but never did what the fans nor the critics wanted. They did it for themselves, and if people liked it, then fine! And they never paid much attention to what was hip - in what directions others went nor how the international trends were, and that's just one of the reasons so many pay respect to this band.

Då som nu för alltid ['Then as now forever'] sounds like Kent and no one else. It's not far from the last three albums except from being more melancholic and slightly slower than perhaps ever before. They have turned down a bit on the synthpop part and reclaimed a more pop / rock sound from earlier days without exactly repeating themselves.

The album is not their best - neither their worst. It's more than just a decent exit. Initially, I found it among their least inspiring albums, but as always with Kent, they have made an album that keeps growing until you let it in, and all of a sudden you find yourself highlighting most of the tracks to your own surprise. And the end song "Den sista sången" ['The Last Song'] is just spot on in the spirit of this great band. It's over the top pretentious, but still just in that Kent-dignified way that only makes it more than Okay. And yes, they mean it - it's the end of the line.

As much as I enjoy another chapter with Kent, it's unfortunately the last - the very last, and that's the sad news. All good things come to an end. As it reads on Discogs: "With eleven #1 albums, five #1 singles, 23 Swedish Grammy Awards, and over 3 million record sales, Kent is considered the most popular rock / pop group within Sweden and throughout Scandinavia."

Like it reads on the inlay: "Tack & Förlåt!"

Recommended.

[ Gaffa.dk 5 / 6, Gaffa.no, Gaffa.se, Expressen 4 / 6, Rockbladet 4,5 / 5 stars ]

[ Here you'll find all lyrics by Kent ]

<  show lyrics >

~ ~ ~

"Tennsoldater"

"Du säger vad du vill
Tänker vad du vill
Men ändå kräver du mer
Ditt ord har blivit lag
Rättfärdiga ditt hat
Med att jag förtjänar det
Jag vet vad som håller dig vaken
Det är samma sak som håller mig vaken

Du vinner alla val
Du brinner för din sak
Du ställer bara frågorna
Med svaren du vill ha
Men det kan jag ta
Ditt förakt för mig är gränslöst nu
Och det som gör mig till människa
(nej, nej, gå inte dit!)
Är bara min oändliga längtan
(rör mig, berör mig)

Men jag kan inte lura mitt hjärta
Hur gärna jag än vill
Kan jag inte lura mitt hjärta

Vi väljer våra ord
Vi håller inga tal
Vi hukar oss och väntar på slaget
(och du säger)
”men det är bara ord”
Men hat är hat
Vem som än håller i vapnet

Jag kan inte lura mitt hjärta
Hur gärna jag än vill
Kan jag inte lura mitt hjärta

När vår längtan har blivit besatthet
All närhet är tabubelagd
Det som tar oss igenom natten
Är bara drömmarna om närkontakt
Jag kan inte lura mitt hjärta…"

~ ~ ~

"Nattpojken & dagflickan" (feat. Anna Ternheim)

"Säg vad du menar
När du säger att du menar vad du säger
När du säger vad du tänker & känner
När du säger det till mig

Orden vägde så tungt
När jag hörde dem sist
Nu är de luft i ett luftslott
Fjädrar på drift
Som maskrosfrön i vindarna
Du vet jag älskar din röst
Ditt allvar, din ton
Nånting händer i mig
Jag blir en bättre person
När jag hör din röst på radion

Kan du ta hand om mig
om jag tar hand om dig
Kan du vakta min rygg
om jag vaktar din rygg
Kan du ta hand om mig
om jag tar hand om dig
Kan du ta andan ur mig
Andan ur mig nu

Säg vad du menar
När du säger att du
Menar vad du säger
När du säger vad du
Tänker & känner
När du säger det till mig

Så vad ska jag ge för att ha dig bredvid
På min sida i striden för nu är det krig
Vi duckar undan kulorna
Jag vet att allt har ett pris
Vad är ditt pris?
Vad ska jag betala för din sympati?
En kyss i skyttegravarna?

Kan du ta hand om mig
om jag tar hand om dig
Kan du vakta min rygg
om jag vaktar din rygg
Kan du ta hand om mig
om jag tar hand om dig…

Säg vad du menar
När du säger att du
Menar vad du säger
När du säger vad du
Tänker & känner
När du säger det till mig

Du måste tänka på orden som du väljer
Du måste stå upp för sakerna du gör
Jag måste tänka på orden som jag väljer
Jag måste stå upp för sakerna jag gör
Vi måste stå upp för drömmarna vi säljer
Vi måste stå upp för sakerna vi gör
Det handlar inte bara om allt det där vi säger
Det handlar också om sakerna vi gör

Säg vad du menar
När du säger att du
Menar vad du säger
När du säger vad du
Tänker & känner
När du säger det till mig"

~ ~ ~

"Den sista sången"

"Dina solvarma händer
Svala stillahavsvindar lekte i ditt hår
Jag minns det som om det var igår
Vi körde genom Malibu
När det äntligen blivit vår
Det skulle bli en kylig natt
Det skulle bli ett långsamt fall
Och du log genom fräknarna
Med tårar i ögonen

Allt fanns i ögonen
Allt finns i ögonen

Vi lämnade blodstänk i spåren
Men i minnet blåser vindarna
Dina wayfarers i ditt hår
Du grät solvarma tårar
Courtney sjöng om Malibu
Och allt kunde blivit vårt
Det kommer bli en kylig natt
Det kommer bli en ensam natt
Men jag skulle inte ändra nåt
Även om jag vetat att det här var

Den sista gången sista
gången vi sågs
Sista sången sista
sången du får
Den sista gången sista
gången vi sågs
Det här är sista sången sista
sången du får

Vi tog bilen till Roosevelt för att hämta kidsen
Innan vinterloven
De stod på led
De sjöng i kör
Det kändes som de sjöng för oss
En allra sista sång
Vi är på flykt igen både jag och du
Vi kommer från nån annanstans
än där vi är just nu
Åh Dom sjöng för oss
En sista gång
En sista sång
Dom sjöng för oss

The stars are up
one fell down
and flew away
Flew away

Det här är sista gången,
sista gången vi ses
Sista sången
sista sången jag ger dig
Sista gången
sista gången
Vi ses
Sista sången, sista sången
Jag ger dig"

~ ~ ~

Mogwai "Zidane: A 21st Century Portrait" (OST) (2006)

Zidane: A 21st Century Portrait (soundtrack)

release date: Oct. 30, 2006

format: digital (11 x File, MP3)

[album rate: 3 / 5] [3,08]

producer: Tony Doogan

label: [PIAS] Recordings / Rock Action - nationality: Scotland, UK

Track highlights: 10. "Black Spider 2"

A soundtrack by Scottish post rock band Mogwai - the band's first commisioned work for a film with the subtitle "An Original Soundtrack by Mogwai" to Douglas Gordon & Philippe Parreno's documentary "Zidane: A 21st Century Portrait" from 2006.

The album consists of 10-12 compositions depending on perspective as the album enlists 10 tracks; however, after a more than 3 minute silent part, the album continues with 1 or 2 unlisted [hidden] tracks - perhaps just one with a break into a second part; or they're both extentions to the final listed track "Black Spider 2". Anyway, tracks #1 through #10 are all held between 2:30 and 6:50 minutes, which in the case of Mogwai is a rather narrow time span, whereas the first unlisted track runs for 17:46 minutes (or with the final bit for more than 23 minutes) making the total running time of the album no less than almost 71 minutes long.

Stylewise, the album is the band's so far most quiet release - one could tend to call it an ambient work with dominating piano and dreamy and ambient guitar noise. As is with all soundtrack albums, it's a natural biased work as you only have the music, the sound that is supposed to enlarge the experience of watching the actual film, but since the album has been released as a stand-alone work-of-art, it should somehow be able to work on its own premisses.

Imho, this is not where you would wish to start listening to this band, and frankly, I think of it as one their least impressive works.

[ bandcamp ]

[ allmusic.com 3,5 / 5, Q Magazine, The Mix Tapes 2 / 5, Pitchfork 6,4 / 10 stars]

PowerSolo "The Real Sound" (2014)

The Real Sound
release date: May 19, 2014
format: cd (FROG 100-2)
[album rate: 3,5 / 5] [3,28]
producer: PowerSolo, Jesper Reginal, The Great Nalna (aka Ulrik Petersen)
label: Crunchy Frog - nationality: Denmark

Track highlights: 1. "Boom Babba Do Ba Dabba" - 2. "Sasquatch" - 3. "Two Headed Woman" - 6. "Jurassic Sex Party" - 9. "Salty Lick" (other remix) - 10. "Milk That Thang"

6th studio album by PowerSolo, again produced and also on additional instrumentation with the Petersen brothers, they have made an interesting but slightly conventional PowerSolo release putting this alongside, or at best close to, the 2004 album It's Raceday... and Your pussy is GUT!!! Like that, this starts out very promising and with several fine compositions but there are too many fillers thrown in to complete a full album.

Black Grape "Stupid Stupid Stupid" (1997)

Stupid Stupid Stupid

release date: Nov. 10, 1997

format: cd

[album rate: 3,5 / 5] [3,28]

producer: Danny Saber

label: Radioactive Records - nationality: England, UK

Track highlights: 1. "Get Higher" (4 / 5) (official video) - 2. "Squeaky" - 3. "Marbles" - 4. "Dadi Waz a Badi" - 6. "Spotlight" - 8. "Money Back Guaranteed" - 9. "Lonely"

2nd studio album by Black Grape following a little more than two years after the fine debut It's Great When You're Straight...Yeah (Aug. 1995) is like that released on Radioactive. Since the debut, the line-up has changed with founding member Bez leaving due to dissatisfaction with his paid royalties, and then the band has been expanded to a septet. The band's rapper Paul 'Kermit' Leveridge was hospitalised with blood poisoning during a tour and was replaced by Carl 'Psycho' McCarthy, who ended up being a stable member after the tour and after Kermit was back. Also live guitarist and keyboardist Martin Slattery [he should later join Joe Strummer & The Mescaleros] became a stable member before begining the recordings for the album. And Danny Saber, who had played a major part in making the debut is also new band member. In '96 Black Grape and Joe Strummer stood behind the football support song "England's Irie" and Saber was producer on the joint project. The majority of the songs here are credited Ryder, Saber and 'Manmade' - a joint moniker for Kermit and Psycho. The album contains a cover of the '72 Frederick Knight soul tune"I've Been Lonely for so Long" (by Posie Knight and Jerry Weaver), here just titled "Lonely".

Stylewise, it's a rougher and more rock-oriented album than the predominantly electronic and alt. dance, which shaped the debut, but there's still room for funk and soul as well as the usual sampling bits and parts. The album was preceded by the single release of track #1 peaking at number #24 followed by the European only release of "Dadi Waz a Badi" and lastly "Marbles" was selected as the third single.

Stupid Stupid Stupid was met by mixed reviews. Stephen Erlewine of allmusic.com says: "...it plays like 'It's Great', part two, only without its predecessor's infectious beats, mammoth hooks, and surreal humor". I don't fully agree on the "without" 'cause the album is not without good beats, hooks and humour but there's unquestionably just less of it. And yes, it is like a part two, which in many ways tries too hard to follow-up on the success.

The succeeding tour didn't last long and ended up being cancelled as Shaun Ryder in Dec. '97, allegedly after a fight of band members simply dismissed the whole band resulting in massive cancellations of already scheduled shows, and Ryder also sacked the band manager, which in the end meant that Ryder via rule of court ended up in receivership for the next 12 years. The end of Black Grape was stressed in the Summer of '98 when Ryder stated he should no longer be recording under that name [only he would much later, though].

This is not great and not entirely bad either. "Get Higher" is a marvelous track, and the album is worth a spin or more but it's not up there alongside the debut.

[ allmusic.com, NME, Spin 3 / 5, Pitchfork 3,5 / 5 stars ]

Liz Green "Haul Away!" (2014)

Haul Away!
release date: Apr. 14, 2014
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Liam Watson
label: Play It Again Sam - nationality: England, UK

Track highlights: 1. "Battle" - 2. "Haul Away" - 3. "Rybka" - 4. "River Runs Deep" - 5. "Where the River Don't Flow" - 7. "Into My Arms" - 8. "Island Song" - 9. "Little I"

2nd album by Liz Green released on Play It Again Sam. Liz is a multi-talented artist, who did all the artwork for the album as she did on her debut O, Devotion! (Nov. 2011). Aside for singing, writing and composing these songs, she's credited playing piano, guitar, organ, clarinet, and banjo.

The album takes off where the debut left us 2½ years ago. Liz keeps to her formula based on traditional British folk and singer / songerwriter material, and thank god for that, because she has such a unique voice and style, which both signals a contemporary blend and yet at the same time points decades and centuries backwards in time. This may turn out just as wonderful as the debut, but I haven't accustomed to this as her first release.

EDIT May 2015

Liz Green is quite unique, and she's really one of the most interesting modern solo artists from Britain today. This album is still mighty fine and far from a mediocre release, but I don't think it's really up there alongside her astonishing 2011 debut. And of course lesser will do.

EDIT May 2018

With a bit of concern I've read this translated Spanish interview with Liz Green where she speaks with José Vicente Bernabeu from CaféBabel [French-based online magazine] at a time when she performed in Clermont-Ferrand in France at Europavox Festival, June 2014. In the interview Green expresses no good feelings about performing with her music, in fact she states that she finds that her music doesn't work at a bigger scale and: "... the truth is, I don't know what I want to do at the moment. Right now, I just want to go home. I'm really, really tired. I haven't been home for two months and, for real, I just want to get my normal life back. Making a normal life like normal people do, and that's it. We've spent a lot of money on all this and it's not working, so I just want to go home." My guess is, Green refers to spending money on producing another album and realising the obstacles of the current music industry.

I came across the interview as I was searching for new info about Liz in hope of news of an upcoming third album, but I discovered absolutely no info about her performing live, nor about plans of new recordings, which seems odd as both of her albums were met by positive feedback but she appears to be on an indefinte hiatus since the 2014 album, or she has left the business - perhaps to concentrate on her figurative art, and with the abovementioned interview in mind simply not enjoying making music.

Now it's only some 4 years since her second album and other artists have been known to take longer breaks from the industry, so let's hope to hear new from the great Liz Green at some point in a near future.