Sun Kil Moon "Among the Leaves" (2012)

Among the Leaves
release date: May 29, 2012
format: 2 cd (LTD.)
[album rate: 3,5 / 5] [3,46]
producer: Mark Kozelek
label: Caldo Verde Records  - nationality: USA

Tracklist: 1. "I Know It's Pathetic But That Was the Greatest Night of My Life" (3,5 / 5) - 2. "Sunshine in Chicago" - 3. "The Moderately Talented Yet Attractive Young Woman vs. The Exceptionally Talented Yet Not So Attractive Middle Aged Man" - 4. "That Bird Has a Broken Wing" - 5. "Elaine" - 6. "The Winery" - 7. "Young Love" - 8. "Song for Richard Collopy" - 9. "Among the Leaves" (4 / 5) - 10. "Red Poison" - 11. "Track Number 8" - 12. "Not Much Rhymes With Everything's Awesome at All Times" - 13. "King Fish" - 14. "Lonely Mountain" - 15. "UK Blues" - 16. "UK Blues 2" - 17. "Black Kite"

5th studio album by Sun Kil Moon released on Caldo Verde. The album is much like the previous album by being primarily acoustic Spanish guitar-driven with Kozelek playing and singing, thus continuing the band as his solo project, at least for studio and album releases as Sun Kil Moon still exists as a live band with Jerry Vessel, Phil Carney and Anthony Koutsos. All tracks are written and composed by Kozelek, who seems satisfied by accompanying himself while strumming his guitar. I just long for his more orchestrated compositions like the title track, alas, it stands much alone.
[ allmusic.com 3 / 5 stars ]

Trille "Altid har jeg længsel" (1979)

Altid har jeg længsel

release date: 1979

format: vinyl (EXL 30.008 - gatefold)

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

producer: Trille & Anders Koppel

label: Exlibris - nationality: Denmark

Track highlights: A) 1. "Trækfuglen" - 2. "Sig noget" - 3. "Altid har jeg længsel" - - B) 2. "Gi' lidt mere tid" - 4. "Under den høje himmel"

Studio album by Danish singer / songwriter Trille is with its bolder jazz rock-arrangements a more uptempo pop-version than her stripped-down tunes found on Hej søster from 1976. Trille is credited all songs but she is here accompanied by a handful of great musicians, which count guitarist Ole Fick (Burnin Red Ivanhoe), keyboardist Anders Koppel (Savage Rose, Bazaar), bassist Jens Rugsted (Savage Rose, Rugsted/Kreutzfeldt), bassist Hugo Rasmussen, and drummer Alex Riel (Alex Riel Trio, Ben Webster Quartet, Savage Rose...), in other words: a more than ordinarily solid backing band.

The album shows a much more complex Trille than her reputation allows. This is all held in a jazz rock sphere with elements from traditional rock, from a singer / songwriter and folk tradition but also from more contemporary pop / rock at times mixed with blues, with funk, or undefineable world music.

At this point of her career, I think Trille may have hoped for a better reception - it seems she was caught in a certain role as protest singer - not a pop / rock artist, and despite its obvious qualities, Altid har jeg længsel is a bit of a forgotten / neglected album, which showcase Trille as an artist with something to offer.

Latin Quarter "Mick and Caroline" (1987)

Mick and Caroline

release date: Jan. 1987

format: vinyl / digital (2009 reissue)

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

producer: Jason Coraro

label: Rockin' Horse / Arista - nationality: England, UK

Track highlights: 2. "Remember" - 4. "Nomzamo (One People One Cause)" (4,5 / 5) - 5. "Negotiating with a Loaded Gun" - 6. "Burn Again" - 7. "Love Has Gone" (4 / 5) - 8. "The Night" - 10. "The Men Below"

2nd studio album by Latin Quarter, who now appears to have been 'promoted' from the sublabel Rockin' Horse to its mother company of Arista. Since the predecessor keyboardist Steve Jeffries and drummer Richard Stevens respectively, have been replaced by Martin Lascalles and Darren Abraham.

This one follows closely in the established sound and style found on the debut Modern Times (1985), although, it does turn out as a more coherent whole. Several strong compositions make it a better release including the band's greatest track ever: "Nomazamo (One People One Cause)". Nevertheless, it also contain some fillers, and on an overall level, the lyrics tend to reflect the same one-dimensional trait you'll find on the debut: a political correctness mixed with songs about social, racial, and global injustice - all effectuated with a raised finger in a sort of naive approach, as some know-it-all, at least in the long run, but "Nomazamo" nearly raises this album to utter greatness.

Mick and Caroline is imho the band's best studio album.

[ allmusic.com 4 / 5 stars ]

<  show lyrics >

~ ~ ~
"Nomzamo"

"Nine children in one family
Nine Xhosa Wars
Nomzamo in 1960
Already victim of her country's law
I say 'laws', why dignify
The Sjamboks and the slammed cell doors?
In twenty years they gave her nineteen sentences - still
One People! One Cause!
One People! One Cause!
Nomzamo! Nomzamo...

Named 'Trial' but how often can
You take the stand?
Nomzamo left glued in Brandfort
Twenty years for a touch of his hand
But in touch and in the face of
The Robben Islands and the bleak Pollsmoors
I see 'separate' - I see 'development' - still
One People! One Cause!
One People! One Cause!
Nomzamo! Nomzamo...
Nomzamo - you say it's part of your soul
Nomzamo - one day you'll paint it
Red, black, green and gold...

Told today that they release you
That you had paid your debt
Nomzamo in her own damn country
How much more boorish can these people get?
But you refuse to get the message
Of waving whips, in bloody semaphore
Where only gunfire's indiscriminate - as always
One People! One Cause!
One People! One Cause!
Nomzamo! Nomzamo..."

~ ~ ~

Gangway "Whatever It Is" (2019)

Whatever It Is

release date: Apr. 5, 2019

format: cd

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

producer: Janus Nevel Ringsted, Henrik Balling

label: RCA, Sony Music - nationality: Denmark

Track highlights: 1. "The Sea the Moon and the Stars" - 2. "Colourful Combinations" - 3. "See If I Care" - 4. "Confident and Ordinary" - 6. "Don't Want to Go Home" - 10. "Always Crying"

8th studio album by Gangway follows more than two decades (22½ years) (!) after That's Life (Sep. 1996), which up to this surprisingly new collection of brand new material has been filed as the band's final. Perhaps, because the end-result never felt as a decent attempt to main songwriter Henrik Balling, he managed to re-unite the band in its original line-up as it was some 20 years ago with Allan Jensen on lead and backing vocals, Torben Johansen on keyboards, guitar & backing vocals, and with Henrik Balling on guitar, keyboards, programming & backing vocals. Co-producer Janus N. Ringsted is additionally credited keyboards, programming, drums and percussion. As of 2017 Balling already announced the band's ressurection, which led to a series of concerts as their comeback.

Stylistically, it doesn't seem like two decades has passed, and at times it does seem a bit dated when they take up tones of drum'n'bass and techno-pop reminding us all of the 1990s and especially Depeche Mode and Pet Shop Boys. And then, is this new album actually bettering their '96 album? The short answer is yes! It's definitely better, although, it's not up there among the band's best efforts. The national press met the album with appraisal and positive reviews - and the song "Colourful Combinations" - preceding the album as a single release in Jun. 2018 - has been played from the Summer of 2018 up until the album release on local and national radio stations, but that's almost the only great song on an entire album, although, it was followed by two more singles before launching the album: "Don't Want to Go Home" (Nov. 2018) and "Confident and Ordinary" (Mar. 2019).

The best thing is that the band got back together, and only the future will tell if they managed to follow-up on the good reviews. Thanks for the attempt, but it's not really great.

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

Paul Weller "True Meanings" (2018)

True Meanings
release date: Sep. 14, 2018
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Paul Weller
label: Parlophone - nationality: England, UK

Track highlights: 1. "The Soul Searchers" - 3. "Mayfly" - 6. "What Would He Say?" - 7. "Aspects" - 13. "May Love Travel With You" - 14. "White Horses"

14th studio album by Paul Weller, who is also credited as sole producer like he was on A Kind Revolution (2017).

Where his latest solo albums all have been in the alternative rock genre showing various contemporary musical influences, this is something quite diverse. It's a primarily acoustic-driven folk rock and singer / songwriter album, although, it also bears traits of a mellow chamber pop with bold use of strings. The overall sensations, however, is a quiet sincere collection of songs that bonds nicely with the ballads he has written throughout his entire career, be it with The Jam, The Style Council or as solo artist.

As Mark Beaumont of NME remarks "Paul Weller’s career has always ebbed and flowed between the incisive and the pastoral, one minute joy-riding through a town called Malice, the next punting soulfully down the Cam." And yes, that might be so, and what if? It's not entirely up to Weller to release cutting edge game-changing music where he do have his hits and misses - and mostly the latter. It's always nice to hear his own true-meant ballads instead of pretending he's shaping new styles with the young ones, and this album may not be his Nebraska or King of America album, but it does suit his voice and age very nicely.

Recommended.

[ allmusic.com, The Guardian, 4 / 5, NME 3 / 5 stars ]

Lana Del Rey "Norman Fucking Rockwell!" (2019)

Norman Fucking Rockwell!
release date: Aug. 30, 2019
format: digital (14 x File, FLAC)
[album rate: 3,5 / 5] [3,36]
producer: Jack Antonoff and Lana Del Rey
label: Interscope Records - nationality: USA

Track highlights: 1. "Norman Fucking Rockwell" - 2. "Mariners Apartment Complex" - 3. "Venice Bitch" - 5. "Doin' Time" - 6. "Love Song" - 8. "How to Disappear" - 10. "The Next Best American Record"

6th studio album by Lana Del Rey (aka Elizabeth Woolridge Grant) is primarily produced by Jack Antonoff and Del Rey - producing 11 of the album's 14 tracks, which has a total running time exceeding 78 minutes.
Lana Del Rey is undoubtedly one of America's contemporary major pop stars selling millions of albums all over the world. Her polished melancholy femme fatale style has never really caught me as something... desirable or highly original. Music for the masses, our time's Tina Turner, Kim Wilde and The Bangles - artists I never bothered listening to in the 80s. Regardless, her status and musicality on the safe side of the road, I have to grant her that this is her best effort ever. The album contains some nice half-daring tunes and especially strong lyrics. Much as usual, the new album has been followed by a (long) list of singles, where both tracks #2 and #3 "Venice Bitch", were released a year earlier - the latter being a major hit in a considerably shortened version, which makes much sense 'cause the album version at 9:37 minutes seems unnecessarily long. Track #14 ("Hope Is a Dangerous Thing for a Woman Like Me to Have - But I Have It") was released Jan. 2019 without making any notable entry on the singles charts. Also track #5 was released before the album in May, a song that has also had some airplay. Succeeding the album release, tracks #11 and #4 are so far the only singles to be released, both without any top entries on the singles charts; however, the album has been met by critical acclaim, and it has so far made it to #3 on the Billboard 200 in the US, but peaks at the top in both Switzerland and in the UK.
I think it's truly a bunch of nicely produced songs where the common denominator is more than meets the eye. This is much more than a nicely wrapping, and I do understand the positive reviews, although, I think many are way over the top in critical acclaim. But it's music meant to please, and nothing's wrong with that, and then it offers a layer on top of that, which is nice. In a way, this complexity is also suggested in the front cover. At first, you see a so-so kind of stereo-typical pop music cover with no deeper meaning to it, and then you realise that the sunset glow in back of the image really is a whole country on fire - both hinting at contemporary physical forest fires and the symbolism of a fire running through a country and / or modern society.
Anyway, I'm still not really a big Lana Del Rey fan - never was. It's music for the broad masses, major radio stations will love it - apart from all the beeps 'cause Lana, she makes a fair use of explicit lyrics - and I even think my old mum will enjoy it, though I will probably not listen much to this despite all my recognition 'cause I don't enjoy the singing voice of Lana, which to me is someone trying too hard to sound like Hope Sandoval [see Mazzy Star] and then she stays too much in the same pitch regardless the subject and I just find the whole wrapping too pure mainstream colourless to my liking. All that said, it's undoubtedly still her so far best album.
[ 👎allmusic.com, Rolling Stone, 4,5 / 5, Slant 4 / 5, 👍The Guardian 3 / 5, NME 5 / 5 stars ]

Trille "Hej søster" (1976)

Hej søster

release date: 1976

format: vinyl (EXL 20005)

[album rate: 3,5 / 5] [3,62]

producer: Philip Foss

label: Exlibris - nationality: Denmark

Track highlights: A) 1. "Kom og løft mig op" - 2. "Min lille sol" - 5. "Mors lange cykeltur" - - B) 1. "Hej søster" - 2. "Der hvor lyset findes" - 3. "Sang sidst på vinteren" - 4. "Sangen om Brit"

Studio album by Danish folk artist and singer / songwriter Trille (aka Bodil Gudrun Nielsen). All songs are credited Trille except #B4 written by Kedda Madsen with music by Trille.

Trille was an often played artist throughout the 1970s. She was also famous for her music for children, but her contributions as an original songwriter is well-documented in her long discography as a soloist. She often portrayed quiet and ordinary people struggling with everyday life, as parents, as workers, and as quiet individuals. As a contemporary artist Trille was often regarded as a stable voice among the left-winged protesters calling for civil rights and defending equality for women but her legacy is undoubtedly much more varied than just that with her revivalist tone to traditional folklore. She released albums over two decades, from her debut in 1966 and up until 1986 where she released the acclaimed Indeni / udenpå after which she appeared to have put her song career to rest. I think, her stripped-down content of folk-based political and social awareness was seen as a bit of a dead-end street when first punk rock, new wave and the the whole new romantic era unfolded and showed other ways to attract attention via music in the early 80s, and Trille had no intentions in finding a new audience, which perhaps made her music stand out as out of touch with the younger generation. She did release a final album with music for children in '88, and then she sort of closed the door to a role in the spotlight. She appears to have worked for the national radio channel Danmarks Radio as producer until it was publically known that she had died in late 2016 at age 71.

Personally, her music resonates with much warmth and empathy, and first and foremost I don't think of her music as narrow-minded or as one-dimensional. It's more the fact that people lost interest but also simply that the public and critics forgot what a strong artst she actually was. Trille had an impact on my interest for music from earliest on, and I remember her various parts in TV shows for children and her music was nearly played on a daily basis when I was 6-12 years old.

Hej søster is one of her best reviewed albums, and unintentional and much to her own surprise, the album became a cornerstone in the movement of womens' rights and Trille was put in a central role as a strong protest singer.

Etta James "The Essential Modern Records Collection" (2011)

The Essential Modern Records Collection (compilation)
release date: Apr. 5, 2011
format: digital
[album rate: 3,5 / 5]
label: Virgin Records - nationality: USA

15 track compilation album by Etta James primarily focusing on the earliest sessions recorded by Etta James for Modern Records between 1955 and 1957, which means that the album is not a normal best of collection trying to embrace all of an artist's career.

Mogwai "Every Country’s Sun" (2017)

Every Country’s Sun

release date: Sep. 1, 2017

format: digital (11 x File, FLAC - TRR291CD)

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

producer: Dave Fridmann

label: Temporary Residence Limited - nationality: Scotland, UK

Track highlights: 1. "Coolverine" - 2. "Party in the Dark" - 3. "Brain Sweeties" - 4. "Crossing the Road Material" (live on KEXP) - 8. "Don’t Believe the Fife" (live on KEXP) - 9. "Battered at the Scramble"

9th studio album by Mogwai following 3½ years after Rave Tapes (Jan. 2014) and 1½ years after the soundtrack album Atomic (Apr. 2016). It's Mogwai's first studio album since the departure of founding member John Cummings, and it's made with producer Dave Fridmann who also produced the band's third album Rock Action (2001), and with that in mind it may signal an attempt to bring back some of the magic from their past. It's 11 new compositions ranging from 4 to 7 minutes with a total running time just under an hour.

And what is back is the dynamics of slow / fast and soft / hard, only not in mere old-time guitar-dominant fashion but in concordance with their musical growth through ambient and electronic stages.

The album was not an immediate favourite, but I have come to see it as a much more complex work, which combines and evolves - and ultimately: points to a new phase of glorious music. The album was well-received in the UK securing the band another top-10 entry with the band's so far highest charting album at number #6 on the albums chart list.

Recommended.

[ bandcamp ]

[ 👉allmusic.com 3,5 / 5, 👍Pitchfork 7,6 / 10, The Guardian, Mojo 4 / 5 stars ]

Gregory Porter "Nat 'King' Cole & Me" (2017)

Nat 'King' Cole & Me
release date: Oct. 27, 2017
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Vince Mendoza
label: Blue Note Records - nationality: USA

5th studio album by Gregory Porter is as the title suggests a tribute to and an album exclusively featuring songs recorded by Nat "King" Cole arranged and produced by Vince Mendoza.

The songs are not that far from Porter's usual style and it really gives you the opportunity to hear from where he got much of his influence. The songs are nicely arranged with the abundance of strings and brass that were associated with Nat Cole, and needless say, it also fits Porter's smooth vocal like hand in glove.

The album comes in various formats - in a standard single cd edition containing twelve tracks, a Deluxe edition containing fifteen tracks like the double vinyl album.

The album hasn't been met by the 'usual' overwhelming positive reviews, and I do understand some of the critics indicating that it's like Porter's voice doesn't compare to the strengths of Cole. In these vocal jazz standards Porter contributes with his honey-dripping warm vocal but doesn't add new dimensions to already classic songs and in that regard has made a bit of the redundant tribute.

Bill Frisell "Ghost Town" (2000)

Ghost Town

release date: Mar. 7, 2000

format: Digital (16 x File, FLAC)

[album rate: 4 / 5] [3,81]

producer: Lee Townsend

label: Elektra Nonesuch - nationality: USA

Track highlights: 1. "Tell Your Ma, Tell Your Pa" - 2. "Ghost Town / Poem for Eva)" - 3. "Wildwood Flower" - 5. "Variation on a Theme" - 9. "My Man's Gone Now" - 10. "Outlaw" - 13. "Winter Always Turns to Spring" - 14. "Justice and Honor"

Studio album by Bill Frisell following his fine interpretations The Sweetest Punch (Sep. 1999) with songs by Costello and Bacharach is almost as rule of thumb with producer Lee Townsend, but the album differs from many other Frisell releases by being a solo album with Frisell as only instrumentalist. It's not recorded live but it contains multi-layered tracks with the artist playing a diversity of string instruments and using overdubs. Alas, the album has only been issued in digital formats for cd or download.

Stylewise, it's in the quiet and introspective section of his releases, which in many ways guarantees great compositions. The 16 tracks are mainly by Frisell himself - 5 are covers - with an overall genre touching country, folk, standards, and instrumental jazz as the repertoire, and with a total tunning time beyond 70 minutes it never feels too long.

Ghost Town was met by positive reviews, which I perfectly understand. On this, Frisell excells with great emotional strength, and although he masters all sorts of styles and genres, I really enjoy it when he incorporates americana with a gentle approach. This is the closest I've so far found Frisell approaching the sound of Ry Cooder making a made up soundtrack to a fine forgotten film by Wenders.

Highly recommended.

[ 👍allmusic.com 4 / 5, The Penguin Guide to Jazz Recordings 3,5 / 4 stars ]

Björk "Utopia" (2017)

Utopia

release date: Nov. 24, 2017

format: digital (14 x File, FLAC)

[album rate: 3,5 / 5] [3,73]

producer: Björk, Arca

label: One Little Indian - nationality: Iceland

Track highlights: 1. "Arisen My Senses" - 2. "Blissing Me" - 3. "The Gate" - 4. "Utopia" - 7. "Courtship" (live Later) - 9. "Sue Me" - 13 "Saint"

9th studio album by Björk following almost three full years after Vulnicura (Jan. 2015). As was the case for the predecessor, Björk has teamed up with Venezuelan artist Arca - only this time Arca appears to have been granted a more dominating role, partly as co-composer on five compositions (tracks #1, #3, #9, #11, and #14) but also by being credited electronics, synth melodies and beats, while no one else is credited programming, electronics, or 'beats', which were roles Björk almost alone stood for on her 2015 album. Aside from being songwriter and composer on all tracks, and apart for lead vocal, she is (only) credited for playing digital flute - which appears as a minor role as 13 others are credited exactly that instrument - and for arrangements of vocals, flute, choir, and cello, thus placing her more in the role as a musical arranger leaving programming and 'beats' in the hands of Arca. The album is a quite lengthy one with 14 tracks and a total running time going beyond 71 minutes.

Utopia was met by critical acclaim with Spin setting it as number #29 on its list of the 50 best albums of 2017, Pitchfork ranged it number #20 on its year-end-list also counting the 50 best albums, and Slant put it at number #11 of the 25 best albums of the year.

Despite leaving much responsibilty in the hands of Arca, the album still reeks 'Björk' above anything else. There's no questioning that she's in complete control. And as a result, I think it has turned out as her most delightful studio effort since the great Vespertine (2001).

Highly recommended.

[ allmusic.com, NME, Q Magazine, Rolling Stone 4 / 5, Pitchfork 8,4 / 10, The Guardian 3 / 5 stars ]

Elvis Costello & The Attractions "All This Useless Beauty" (1996)

All This Useless Beauty
release date: May 14, 1996
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Geoff Emerick and Elvis Costello
label: Warner Bros. Records - nationality: England, UK

Track highlights: 1. "The Other End of the Telescope" - 2. "Little Atoms" - 3. "All This Useless Beauty" (4 / 5) - 4. "Complicated Shadows" - 5. "Why Can't a Man Stand Alone?" - 6. "Distorted Angel" - 10. "You Bowed Down"

16th studio album by Elvis Costello following Kojak Variety (1995) is his first in a decade since Blood & Chocolate (1986) but also his final to feature his old backing band The Attractions on all tracks [see Brutal Youth]. And then it's also his last studio album on the Warner Bros. Records label (a best of album, Extreme Honey, subtitled "The Very Best of Warner Brothers Years" from '97 would be his final issue releasing him from his contract with Warner).

All songs here is a collection of songs that Costello intentionally wrote for other artists to record and two of the these were written and composed with other artists: track #1 with Aimee Mann, and track #7 with Paul McCartney.

It's not a return to the sound and tempo of former albums delivered together with The Attractions, but it's neither a follow-up to other recent releases, where he has experimented with classical material and roots rock, country and traditional folk. Before his '95 album he released the acclaimed Brutal Youth (1994) with reminiscences of his heydays with his renowned backing band, but not really in that neighbourhood either. Then what is it? To compare with former Costello works it sits somewhere in between - and could be described as the combination of three albums: the stripped-down and pure Brutal Youth, the softer Mighty Like a Rose (without the heavy arrangements) and the personal, much varied, and yet unique sound of Spike.

Personally, I had stopped following new material from Elvis after his '95 album. My impression at the time was that he had peaked long before that and had his best years behind him, Although, what years they were! 'Cause no mater what, how could he come up with anything new without risking to to fail?! At this point in his massive career, he has been around all corners of genres and styles, he had covered and played with music greats. And perhaps that's what he cleverly unfolds here when he mix EVERYTHING he has done and showcases his 'roots rock' fascination, perfections his Dylanesque composer skills, points to popular music icons of the sixties and plagiarises his older self in completely new tones. It's all Costello, and he can do anything. I still think his best years were back then in the '70s and 80s, but nevertheless, I should have paid this album some attention in '96 'cause fact is, it's much better than many of his other recent releases and up there close to his '94 album. It contains many strong compositions - perhaps not as musical originals but as a songwriter, boy, he really still delivers.

[ allmusic.com, NME 3,5 / 5, Rolling Stone, Uncut, Q Magazine 4 / 5 stars ]

Love Shop "Brænder boksen med smukke ting" (2019)

Brænder boksen med smukke ting
release date: Mar. 8, 2019
format: vinyl / cd
[album rate: 4 / 5] [3,82]
producer: Mikkel Damgaard
label: A:larm / Universal - nationality: Denmark

Track highlights: 1. "Folkets hus" - 2. "Til jorden kommer" - 3. "Underdanmark" - 5. "Leve er at dø med stil" - 6. "British Racing Green" - 7. "Brænder boksen med smukke ting"

12th studio album by Love Shop released exactly two years succeeding Risiko from 2017 is the continued one-man project band by Jens Unmack, who keeps the old flame burning. Around him, a handful of stable collaborators help shaping a sound and style that pays tribute to the heritage of a band that basically ceased to exist in 2003, but which was re-awoken in the shape of a reduced duo in 2009 only to be cut down to a single-man project in 2011. Officially, that is, because some of these musicians have played on several Love Shop albums and toured as part of the live set. Mikkel Damgaard has been an essential keyboardist of Love Shop since 2003 - he has produced the band's studio albums since 2009 - and he has become an unofficial core member at the point when Unmack decided to continue Love Shop in 2011. Guitarist Mika Vandborg has been part of the project since 2009; Nis Tyrrestrup has played bass on the band's last three albums (since 2014), and Thomas Duus has played the drums in Love Shop without becoming official member ever since 1994, which means he is only absent on the band's first two studio albums. With this in mind, it's still a one-man project kept alive for as long as Unmack has the will, but Love Shop is also held together with musicianship that is more than mere nostalgia.
Brænder boksen... is a mature delivery, which bonds perfectly with the Love Shop heritage on one hand but also transports the band onto new solid territory laid out by the last four studio releases. A slow transformation has been on its way, arguably since the start of the band, but with the reduction of official members in the last two decades, we have witnessed various attempts in continuing a familiar style with new elements - sometimes bolder, sometimes more subtle, and with the last three albums it has become clear that a new sonic balance has occurred. Kærlighed og straf (2014) was the first to really embrace the combination of uptempo synthpop and evident singer / songwriter styles. That tempting outing was very successfully continued on Risiko, and with this, I think Unmack and co. have made another strong conglomerate of what is the essence of Love Shop. Unmack has always been a fine lyricist, and in the past that may have been secondary to the musical output, but since 2012 it has become quite clear that he has sharpened his pen, and together with a handful of strong musicians who make up a solid backbone, Unmack has created a very fine and strong document of this band's vitality where the true strength is the complete picture rather than the single songs.
Highly recommended.
[ Gaffa.dk, Soundvenue 4 / 5 stars ]

The Prodigy "No Tourists" (2018)

No Tourists
release date: Nov. 2, 2018
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,35]
producer: Liam Howlett
label: Take Me to the Hospital - nationality: England, UK

Track highlights: 1. "Need Some1" - 2. "Light Up the Sky" - 6. "Timebomb Zone" - 7. "Champions of London" - 9. "Resonate"

7th studio album by The Prodigy, which is the continued band-project consisting of dancer Keith Flint on vocals, Maxim Reality (aka Keith Palmer) on vocals and Liam Howlett as the musical mastermind behind it all, as he has made the music with various samples, mixed and produced it all. Flint and Maxim are credited as co-writers on three of the songs and basically "only" contributes with vocals on three and four songs respectively. Aside from the three official band members, the album has been made with various guest musicians, including guitarist Olly Burden, who has co-written four of the songs - on which he's also credited as co-producer - with Howlett and who also plays guitar on three comopsitions.
As the predecessor The Day Is My Enemy from 2015, the album continues in a more aggressive "rave revival" or big beat known as hardcore breaks, which bonds nicely with the first three albums by the band.
The album is the band's 7th consecutive album to peak as #1 on the UK albums chart list (including the compilation album Their Law: The Singles 1990-2005 from 2005), which seems like some sort of record, although, the band hasn't released a No. 1 single since "Breathe" in 1996.
After some time, I have come to enjoy this album more and more - and without comparison, I see it as no less than their best album since The Fat of the Land from 1997.
No Tourists became the last to feature dancer and vocalist Keith Flint as he ended his life in Mar. 2019.
[ allmusic.com, The Guardian, Mojo 3 / 5, Uncut 3,5 / 5, The Observer, The Irish Times 4 / 5, NME 5 / 5 stars ]

Etta James "Blues to the Bone" (2004)

Blues to the Bone
release date: Jun. 8, 2004
format: digital
[album rate: 3 / 5] [3,18]
producer: Etta James, Donto James, Sametto James
label: RCA Victor - nationality: USA

Studio album by Etta James in her autumn years. The album was to be her third last studio release as she passed away in 2012. The album is dominated by blues standards and rhythm and blues. She does very well, although, the songs are not new nor at her best level of performance but she's still able to add a certain soul and liveliness to every track. The album was handed a Grammy Award in 2005 for Best Traditional Blues Album of the year.
[ allmusic.com 4 / 5 stars ]

The Raveonettes "Raven in the Grave" (2011)

Raven in the Grave

release date: Apr. 4, 2011

format: cd

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

producer: The Raveonettes

label: Vice Records - nationality: Denmark

Track highlights: 1. "Recharge & Revolt" - 3. "Forget That You're Young" (4 / 5) - 5. "Summer Moon" - 7. "Ignite"

5th studio album by The Raveonettes follows 1½ years after the fine In and Out of Control (Oct. 2009). The album is a relatively short experience with 9 tracks and total playing length under 36 mins., but this has often been the issue with this band's studio albums, so in that respect it doesn't represent a big change. What appears as something new, though, is a bolder dream pop feel in combination with the typical garage rock sound. This doesn't sound all too bad if only the songs were evenly formed to this shape but that's not the case as too many stick out as mere fillers, or what could have been compositions for a soundtrack, e.g. "War in Heaven", "Evil Seeds", and "My Time's Up" - with the abovementioned highlights sticking out as great singles.

All in all, I feel this doesn't really meet the expectations and falls somewhat flat after a strong tendency with the previous albums. "Recharge & Revolt" and "Forget That You're Young" are however standouts that could sell most albums but they stand much alone and only add to the sensation of an incoherent and unfinished album from a great duo.

Not recommended.

[ allmusic.com 4 / 5, 👍Spin 3,5 / 5, Pitchfork 5,7 / 10, 👎Slant 1,5 / 5 stars ]

Richard Hawley "Further" (2019)

Further
release date: Jun. 7, 2019
format: digital (11 x File, FLAC)
[album rate: 4 / 5] [3,76]
producer: Colin Elliot, Shez Sheridan, Richard Hawley
label: BMG - nationality: England, UK

Track highlights: 1. "Off My Mind" - 2. "Alone" - 3. "My Little Treasures" (4 / 5) - 4. "Further" - 5. "Emilina Says" - 6. "Is There a Pill?" (4 / 5) - 8. "Not Lonely" - 10. "Midnight Train" - 11. "Doors"

8th studio album by Richard Hawley released after his longest hiatus - a nearly four years brake is yet another return to Hawley's preferred "co-assistants", long-time producer Colin Elliott - with whom Hawley has made all of his eight studio albums - and Hawley's usual guitarist Shez Sheridan, both of which have co-produced the album with Hawley as was the case on his most recent album, Hollow Meadows, from 2015.
The album contains 11 new compositions and with a total playing time at just over 35 mins it does seem in the short end of long playing albums these days.
Stylistically, there are no groundbreaking news here, but given an artist carrying so much originality in terms of sound and style, I guess most people wouldn't have expected major changes in that respect. It's almost like a look down memory lane where he showcases the different styles from previous albums - indie pop singer / songwriter on his earliest albums, the striking chamber pop ballads from his most memorable albums, Coles Corner and Lady's Bridge to more hard-rockin' neo-psychedelia experiments from Standing at Sky's Edge but with a nice stress on his chamber pop ballads. Hawley does what he does so well: He delivers sincere ballads and sing-along pop / rock songs about everyday life, dwelling on subjects about being alive, being male and over 50 as one of the best crooners of British popular music.
The album has been met by positive reviews and it peaked at #3 in the UK. Two singles preceded the album release - tracks #1 and #3 respectively. Dave Simpson of The Guardian pretty much wraps it up when writing: "In the album’s 40 minutes, there is scarcely any flab. Twenty years into his solo career, Hawley certainly isn’t tearing up the blueprint, but within the boundaries of his domain, nobody does it better".
Yes, there's a distinct resonance from his two finest albums, Coles Corner and Lady's Bridge, but it's not about copying or a mere repetition that leaves you with the idea that here's an artist with nothing new to offer, it's really a matter of style - and Hawley still delivers new songs about familiar subjects in the finest wrapping.
Recommended.
[ allmusic.com 3,5 / 5, Mojo, Q Magazine, Uncut, 👍The Guardian, Record Collector 4 / 5 stars ]

The Gun Club "Divinity" (ep) (1991)

Divinity (ep)

release date: Aug. 1991

format: cd

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

producer: Jeffrey Lee Pierce

label: New Rose Records - nationality: USA

Track highlights: 1. "Sorrow Knows" - 2. "Richard Speck" - 3. "Keys to the Kingdom" - 4. "Black Hole" - 6. "Yellow Eyes" (Live) - 7. "Hearts" (Live)

EP release by The Gun Club following 10 months after Pastoral Hide & Seek (Oct. 1990). The album was originally released as a 7-track double vinyl ep consisting of 4 new compositions and 3 live tracks stemming from the band's farewell tour from a concert in France. The cd issue comes with 8 tracks, adding a remix of "St. John the Divine", a song that appears in its original version on Pastoral... - with the three live tracks put at the end of the cd. The band's drummer Nick Sanderson had left the band after Pastoral..., and back here is Desi (aka Desi Desperate, aka Peter Kablean), who previously stood in as an untrained substitute to handle drums on the final performances for the band's farewell concerts in Dec. '84 as Terry Graham already left before Jeffrey Lee Pierce then finally broke up the band. Pierce and girlfriend and bassist Romi Mori stayed in Amsterdam but Kid Congo Powers is now back on guitar, and with Desi these four constitute the new quartet. This is however, the final release with Powers, who should leave again the following Spring of '92.

Dvinity appears to have been made at point when Pierce wanted to record a follow-up to the 1990 album but apparently had been unable to write enough material for a normal album. Also, it seems that Pierce went through a rough period with poor health due to his substance abuse. Anyway, all four new compositions are strong songs that recount some of the characteristics of the band, but the album is a strange breed. The first half takes you into the sensation of what could've been another full-length and then a new mix of an old song, which basically sounds like the original, but it transports you elsewhere before we enter three good live recordings, which in a way both document the energy in the vocal and instrumental performance / the very presence of Jeffrey Lee Pierce, yet also show us another side of the coin of a former great unity, which just isn't the same as the starting point of the album. The end-track is a live version of "Fire of Love" from Miami which in a way takes the sound downstairs in a muddy and distorted chaos of what sound more like a bad recording.

Divinity is a difficult album to review, but I think it will of course appeal to die-hard fans, but for others, it probably could feel like something is missing out. After this, Pierce' condition saw him hospitalised and the band activity was on a halt, although, the line-up once again went through some changes. Desi  was replaced by Simon Fish in early '92, shortly after, Powers left for good, and in early '93 the band was back as a trio of Pierce, Mori, and with Sanderson back on drums - ready to record what would turn out to be the band's final album, Lucky Jim (1993).

Phoebe Bridgers "Stranger in the Alps" (2017)

Stranger in the Alps [debut]

release date: Sep. 17, 2017

format: digital (13 × File, FLAC) (Deluxe Edition)

[album rate: 3,5 / 5] [3,62]

producer: Tony Berg, Ethan Gruska

label: Dead Oceans - nationality: USA

Track highlights: 1. "Smoke Signals" - 2. "Motion Sickness" (4 / 5) - 3. "Funeral" (live at WFUV) - 5. "Scott Street" - 6. "Killer" - 7. "Georgia" - 9. "Would You Rather" - 10. "You Missed My Heart" - *13. "Motion Sickness (Demo)"

*Bonus track on Deluxe Edition

Studio album debut by American singer / songwriter Phoebe Lucille Bridgers, who previously played in a number of bands including Einstein's Dirty Secret and Sloppy Jane before Ryan Adams helped in putting out her debut ep Killer (Mar. 2014) on his label Pax Americana - two of the three songs from her ep debut (tracks #6 & #7) are included on this album in new recordings. The album was preceded by the release of three singles: in Jan. 2017 "Smoke Signals" came out, in July it was followed by her so far biggest (and only) hit "Motion Sickness", and five days before the album release the single "Funeral" was issued. All tracks except track #10 (by Mark Kozelek & Jimmy Lavalle) and track #12 (bonus track by Tom Petty) are credited Bridgers, and of these six are co-composed by drummer Marshall Vore. Conor Oberst appears on vocals, and together with Bridgers the two would go on and found the project Better Oblivion Community Center in 2018.

Style-wise Bridgers resides deeply in 'melancholy valley' with strong bonds to Cat Power, Sharon Van Etten and classic folk artists, although, Bridgers clearly contain enough originality to keep your ears and eyes out for whatever she's involved in.

Recommended.

[ allmusic.com, 👍Pitchfork 3,5 / 5, Mojo, NME, Q Magazine 4 / 5, Exclaim! 4,5 / 5, Uncut 3 / 5 stars ]