The Raveonettes "Whip It On" (2002) (ep)

Whip It On (ep) (debut)

release date: May 27, 2002

format: cd

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

producer: [rec. by Sune Rose Wagner]

label: Crunchy Frog - nationality: Denmark

Tracklist: 1. "Attack of the Ghost Riders" - 2. "Veronica Fever" - 3. "Do You Believe Her" - 4. "Chains" - 5. "Cops on Our Tail" - 6. "My Tornado" - 7. "Bowels of the Beast" - 8. "Beat City"

Studio ep debut by Danish duo The Raveonettes consisting of Sune Rose Wagner and Sharin Foo. Wagner put an end to his brain-child Psyched Up Janis in 1999, and after a short stint with the instrumental psycho-billy band Tremolo Beer Gut, Wagner formed The Raveonettes with bassist Sharin Foo in late 2001. Initially, the band was full-members band centered around Wagner and Foo, and along the way it rooted as a duo, who would invite various musicians and vocalist to perform on specific releases.

Whip It On is an 8-track ep (originallly issued in Digipak and 10'' vinyl formats) with a running length just above 21 minutes resulting in quite short compositions all credited Wagner. A note on the cover cover stating: "Recorded in Glorious Bb-Minor" explicitly add detailed information about the music. For these recordings the duo made use of additional guitarist Manoj Ramdas and drummer Jakob Hoyer.

Stylewise, this debut represents a narrow combo of styles mostly originating from the late 1950s and early 1960s. It's basically a blend of garage rock, surf rock, and rockabilly - sometimes with a twist of 'modern' psychobilly, and with full attention on twang and reverb. Wagner already showed his interest for American old school rock music while playing in Psyched Up Janis - accentuated on the band's final studio album Enter the Super Peppermint Lounge (1998), and then with Tremolo Beer Gut, he commited fully on surf rock, rockabilly and psychobilly styles. In that regard, The Raveonettes comes out as a more harmony- and vocal-founded project, which focus both on compositional strength as well as presenting us with actual songs. This is actually, something you could say about their entire following production on the many albums that would follow this, and also despite taking on various stylistic detours on their way, but The Raveonettes always seem to carry a strong affection for quality of sound by implementing their output via... songs. The front cover is characteristically held in b/w with few coloured letters - again setting time and place to a period of the late 1950s and early 1960s - basically pre-Beatles era, which at the early stage of the band was mandatory. The album credits doesn't mention any producer, only that Sune Wagner recorded and wrote all tracks.

The album was met by some national attention and the band was right from scratch on both a critics' darling and a much treasured live cult act, i.e. not as such a mainstream hit but a band with evident potential.

The Gun Club "Lucky Jim" (1993)

Lucky Jim
release date: 1993
format: cd
[album rate: 3 / 5] [3,18]
producer: Jeffrey Lee Pierce, Peer Rave
label: Solid Records - nationality: USA

Track highlights: 1. "Lucky Jim" - 2. "A House Is Not a Home" - 3. "Cry to Me" - 6. "Idiot Waltz" - 7. "Up Above the World" - 8. "Day Turn the Night"

7th and final studio album by The Gun Club follows one year after Pastoral Hide & Seek. Since then, the band has been reduced to a trio as Kid Congo Powers has left to pursue his own project-band, Congo Norvell. The trio then consists of Jeffrey Lee Pierce on vocals and guitar, Romi Mori on bass, and with Nick Sanderson on drums [who once again had been out, but returned]. The style hasn't evolved much since The Las Vegas Story from 1984 but as no-one else sounds quite like The Gun Club nor like Jeffrey Lee Pierce that's not really a bad thing. The garage rock and punk blues rawness has subsided and is  here replaced by a stronger blues rock tone. Simplicity remains, and there's still an edgy tone and Pierce's fragile/desperate voice on top of all compositions. It's by no means poor or mediocre, I just miss that unspecified greatness, which is something else than melancholic despair.
Three years following this, Jeffrey Lee Pierce was found dead as a result of a life-style as a long-time heroin addict and with various deceases as side-effects.
[ allmusic.com 4 / 5 stars ]

Zucchero Fornaciari "Rispetto" (1986)

Rispetto

release date: Apr. 28, 1986
formats: cd
[album rate: 3,5 / 5] [3,68]
producer: Michele Torpedine
label: Polydor - nationality: Italy

Track highlights: 2. "Rispetto" (4 / 5) - 3. "Come il sole all'improvviso" (4 / 5) - 4. "Tra uomo e donna" - 7. "Solo, seduto sulla panchina del porto guarda le navi partir..." - 10. "Canzone triste (canzone d'amore)"

3rd studio album by Zucchero released as 'Zucchero Fornaciari' follows one year after Zucchero & The Randy Jackson Band, and with this Zucchero is back as primary songwriter and composer. Track #3 is written by Gino Paoli, track #5 by Alberto Salerno and track #8 is co-written by Salerno and Zucchero. Bassist Randy Jackson is the only recurring musician from the predecessor.
This is simply one of his better albums. The style is his trademark: a combo of soul pop and blues, and then I simply prefer him singing in Italian, which he sort of forgot later on as he became an international star.
Recommended.

Neil Young "Dead Man" (OST) (1996)

Dead Man (soundtrack)
release date: Feb. 27, 1996
format: cd
[album rate: 2,5 / 5]
producer: Neil Young, John Hanlon
label: Vapor Records - nationality: Canada

3rd soundtrack album by Neil Young is the official soundtrack to a movie by Jim Jarmusch. The music is instrumental with dialog excerpts from the film. Apparently, Young improvised while watching the movie. I find it difficult, although, it's not entirely bad. It makes me think of Ry Cooder, which may have to do with a certain touch of 'americana'. I think, one really has to be in certain state, and I haven't been close to that yet.
[ allmusic.com 3,5 / 5 stars - Robert Christgau labels it "bad" ]

Peter Murphy "Cascade" (1995)

Cascade
release date: Oct. 10, 1995
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Pascal Gabriel
label: Beggars Banquet - nationality: England, UK

Track highlights: 1. "Mirror to My Woman's Mind" - 2. "Subway" - 3. "Gliding Like a Whale" - 6. "I'll Fall With Your Knife" (4,5 / 5) (live session) - 7. "The Scarlet Thing in You" - 8. "Wild Birds Flock to Me"

5th studio album by Peter Murphy following 3½ years after Holy Smoke (Apr. 1992), which saw him attempt more up-tempo and at times more mainstream compositions. Here, I think, producer Pascal Gabriel, who previously worked with Kitchens of Distinction (and later on productions for Goldfrapp, Marina and the Diamonds, and Bebel Gilberto), helps by adding a certain lightness and clearness to the album without losing the sense of alternative rock of it. Once again, but also for the last time in a decade, Paul Statham has co-written most of the songs with Murphy, who has made a slight turn towards deeper and more thoughtful compositions, which often works well with his dark and gloomy vocal. The album also stands as Murphy's final on the Beggars Banquet label.
The end result is a collection of songs that sound emotionally sincere without distinct post-punk and more low key gothic rock references. The album contains some really fine tracks and also a few mediocre ones with "I'll Fall With Your Knife" as a stand out and one of his absolute best songs ever. The fine "The Scarlet Thing in You" was chosen as single release.
All in all, I think this betters his '92 album and basically lands as his so far third best solo since his fine Love Hysteria and the fascinating debut..
[ allmusic.com 4 / 5 stars ]

Daniel Ash "Foolish Thing Desire" (1992)

Foolish Thing Desire
release date: 1992
format: digital
[album rate: 3 / 5] [3,15]
producer: Daniel Ash and John A. Rivers
label: Beggars Banquet - nationality: England, UK

Track highlights: 1. "Here She Comes" - 2. "Foolish Thing Desire" - 3. "Bluebird" - 5. "Get Out of Control" - 6. "The Void" - 8. "Here She Comes Again"

2nd solo album by Daniel Ash continues the style from his fine debut from 1991. It's alt. rock with the same mix of styles including glam rock, psychedelic rock, surf rock and gothic rock. The whole thing is nicely put together in what bonds with glamorish Phil Spector production with a touch of Bolan / Bowie. Most tracks are co-written with producer John A. Rivers, with whom Ash has worked many times since Rivers produced the debut album for Love and Rockets in '85. Instead of collaborating with Kevin Haskins, Rivers has been put in charge of drum programming ion this album, which isn't all bad, it just doesn't have any noticeable complexity in the rhythm section, and that makes it somewhat less successful. Generally, it's fine - it just lacks that little extra novelty dimension that his first solo leaked, and it's a bit like the expected sequel - the missing bonus disc of the debut, which doesn't add much new to the old sensation.
[ allmusic.com 4,5 / 5 stars ]

Daniel Ash "Coming Down" (1991)

Coming Down
release date: Feb. 11, 1991
format: digital
[album rate: 3,5 / 5] [3,36]
producer: Daniel Ash; (John Fryer, John A. Rivers)
label: Beggars Banquet - nationality: England, UK

Track highlights: 2. "Coming Down Fast" - 3. "Walk This Way" - 6. "This Love" - 7. "Blue Angel" - 9. "Candy Darling" - 10. "Sweet Little Liar" - 11. "Not So Fast"

Solo studio debut album by former guitarist of Bauhaus, Daniel Ash released two years after the acclaimed eponymous 4th studio album by Love and Rockets. John Fryer has co-produced 7 tracks with Ash, and John A. Rivers is co-producer on two tracks. Daniel Ash plays a vast number of instruments on the album (mostly frequently guitar and bass), and Kevin Haskins of Bauhaus and Love and Rockets is credited for drum programming, as well as keyboards on several tracks, and Natacha Atlas sings on almost all tracks - she also plays keyboards and bass on "Walk This Way". The style is hard to define, which is quite understandable when thinking of Ash's central role in Love and Rockets, and their various albums. With Love and Rockets, Daniel Ash has explored the grounds of alt. rock, and this is another such "exploration". It has elements from glam rock, psychedelic rock, but also from progressive rock, folk rock, surf rock, and even from what resembles latin rock and / or even bossanova. The album contains 3 covers: "Blue Moon" (by Rodgers & Hart), "Day Tripper" (by Lennon & McCartney), and "Me and My Shadow" (by Al Johnson, Billy Rose, Dave Dreyer). The inclusion of these covers nicely indicate some of the sources to the music of Daniel Ash. Although, "This Love" comes close, it's not catchy music as "So Alive" from the most recent album by Love and Rockets, but it's a more than just decent collections of songs, and I like it.
[ allmusic.com 3,5 / 5 stars ]

Love and Rockets "Love and Rockets" (1989)

Love and Rockets
release date: Sep. 4, 1989
format: vinyl (PL 90344) / digital
[album rate: 4 / 5] [3,86]
producer: John Fryer, Love and Rockets
label: RCA / Beggars Banquet - nationality: England, UK

Track highlights: 1. "**** (Jungle Law)" - 2. "No Big Deal" - 3. "The Purest Blue" - 4. "Motorcycle" (4 / 5) - 8. "So Alive" (4 / 5) - 9. "Rock and Roll Babylon" - 10. "No Words No More"

4th studio album by Love and Rockets originally released by Beggars Banquet. The band has teamed up with the more 'pop-tuned' producer, John Fryer. The album is a move away from the psychedelic style they have worked deeper into from a chronological perspective, but here they incorporate glam rock and post-punk elements and basically come out with an album closer to the Bauhaus sound than anything else they have made since they began 6 years and 3 albums earlier. The track "So Alive" became a (surprisingly) rather big hit as it went as high as number #3 on the Billboard 100 in the US, and the album reached number #14 in the US (the highest charting album by L&R). In 2002 the album was re-issued as a double disc album with 13 bonus tracks. I remember, when I bought the album, how I used to play "Motorcycle" at maximum volume. "So Alive" was without doubt the big hit of the album, but I simply loved the hard rockin' mc song. To me, this was clearly a shift of style in the right direction, however, the band would not release a follow-up until 5 years later, as both Daniel Ash and David J focused more on solo projects and by the time they again came together as a band, the music was not around this one. Love and Rockets fifth studio album Hot Trip to Heaven from '94, I never understood - I hand it 2 / 5 stars and the 6th album Sweet F.A. from '96 is likewise not an album, I would recommend. I think, they kind of lost their drive and lust for music, or drifted apart in the 1990s - the band's 7th and final album is Lift from '98. I haven't come across the album but I've read an interview with Daniel Ash talking about their lack of musical drive. The critics also became less enthusiastic and in 1999 the band officially disbanded. The band reunited in 2007 to play a concert in tribute of Joe Strummer, toured and played several concerts in 2008 before finally disbanding.
[ allmusic.com 3 / 5 stars ]

Thunderbitch "Thunderbitch" (2015)

Thunderbitch [debut]
release date: Aug. 25, 2015
format: digital (10 x File, MP3)
[album rate: 3,5 / 5] [3,32]
producer: Thunderbitch
label: self-released - nationality: USA

Studio album debut by Thunderbitch - an American music-project, or super-group led by Alabama Shakes' front-artist, Brittany Howard and three members from the band Clear Plastic Masks and two from Fly Golden Eagle. The band members here are credited as Thunderbitch [aka Brittany Howard] on vocals and guitar, A Man [aka Andrew Katz] on vocals and tambourine, Matt Man [aka Matt Menold] on guitar, B Bone [aka Boone aka Ben Trimble] on bass, Andy Ferro on backing vocals [track #1 only], Char Man [aka Charles Garmendia] on drums, and Thundermitch [aka Mitch Jones] credited for recording and for mixing the album. So, Howard is credited as Thunderbitch and at the same time partof the band-project also credited as Thunderbitch... Well, it's quite obvious a Howard-led project, but it's still difficult to call it a mere solo album. That said, the music isn't far from that by Alabama Shakes, although, this contains a much looser approach on blues rock with some electrified experimentation.
It's not a strong coherent release and it basically sounds like elaborated jam-session that turned out in such positive ways, they felt like making an album out of it. I'm not all excited here but it has that Brittany Howard quality to it that makes it more than just an interesting collection of songs.
[ allmusic.com, NME 4 / 5, Rolling Stone 3,5 / 5 stars ]

Dire Straits "Alchemy: Dire Straits Live" (1984) (live)

Alchemy: Dire Straits Live (live)
release date: Mar. 1984
format: vinyl 2 lp (818 243-1) / digital
[album rate: 3,5 / 5] [3,63]
producer: Mark Knopfler
label: Vertigo Records - nationality: England, UK

Double live album by Dire Straits recorded over two nights at the Hammersmith Odeon, London, Jul. '83. The album showcases the band at the height of its career playing familiar tracks in extended live versions in front of an enthusiastic crowd. The album is a fine document - in fact it's a live album above average, only, I think, I was fed up with the band at this point. I used to really enjoy Mark Knopfler, his signature guitar and laid-back singing voice, but I basically connected Dire Straits with the 1970s and I was occupied by the many new original styles of contemporary music. This is progressive rock and that was part of another decade - dead and gone, but I also felt that the presence of Knopfler had become too dominating. I mean, Bruce Springsteen wasn't even taking such a role being a solo artist when playing live. Dire Straits IS / WAS Mark Knopfler, and you really have to accept that. The songs are more than good, the performance likewise showing extremely skilled instrumentalists, but you just have to love a sound, and style on repeat to fully embrace this.
[ allmusic.com 3 / 5 stars ]

Greene "Minor Sun" (1996)

Minor Sun

release date: Feb. 1996

format: cd (RAIN 017CD)

[album rate: 3,5 / 5] [3,52]

producer: Kim Hyttel

label: Cloudland - nationality: Denmark

Track highlights: 1. "Reason to Carry On" - 2. "Here Comes April" (4 / 5) - 6. "Son Ray" - 7. "She's Radiant" - 9. "The Goodnight Song"

3rd and final studio album by Danish post-punk band Greene follows two years after Lovers' Lingo (Apr. 1994). The band has been reduced to a quintet consisting of the two brothers Olesen, vocalist Peter H. and guitarist Henrik together with lead guitarist Marco de Andreis, bassist John Krog Hansen, and with drummer Flemming Borby. New producer Kim Hyttel is also credited keyboards, as recording enginner and mixer of the album. All nine songs are credited Peter H. and Henrik Olesen.

Stylewise, they continue from the predecessor with their own blend of post-punk, indie pop and jangle pop, where the band appears as standing with one foot in a primarily British rock-soil echoing bands like Joy Division, Echo and the Bunnymen, and especially The Sound / Adrian Borland with strong bonds to early post-punk, and on the other hand, they also seem inspired by Velvet Underground / Lou Reed, The Go-Betweens, Nick Cave and the Bad Seeds. The album stands as the boldest rock-oriented of their three albums.

I really enjoyed this one when it came out but also soon tired from the simplistic melodies and especially from what I found was too obvious sources. Still, I never quite understood why they didn't find their way to a broader crowd 'cause this was almost like listening to my international idols, and when was it ever forbidden to copy international stars? That's how music evolves! Perhaps, they came too close to original artists, or they simply were too un-Danish? I loved a song like "She's Radiant" but also found it almost like an indiscreet cover of something by Borland.

Anyway, Minor Sun is this band's best album, but without attracting national interest the band split later in '96 and the brothers Olesen initiated their longer-lasting duo-project Olesen-Olesen, and Borby, Krog Hansen, and de Andreis later formed the band Labrador, which along the road ended up as Borby's solo project.

Kate Bush "Rocket Man" (1991) (single)

Rocket Man, 7'' single
release date: Nov. 22, 1991
format: vinyl
[single rate: 3,5 / 5] [3,38]
producer: Kate Bush
label: Mercury Records - nationality: England, UK

Tracklist: A) "Rocket Man (I Think It's Going to Be a Long, Long Time)" - - B) 1. "Candle in the Wind" (2,5 / 5) - 2. "Candle in the Wind (instr.)" (2 / 5)

Single release by Kate Bush, which was part of the Elton John / Bernie Taupin tribute album Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin (1991). I don't recall why or when I purchased this single, and I have never played it much.

Ramblin' Jeffrey Lee & Cypress Grove with Willie Love "Ramblin' Jeffrey Lee & Cypress Grove with Willie Love" (1992)

2006 remaster

Ramblin' Jeffrey Lee & Cypress Grove with Willie Love
release date: 1992
format: cd (2006 remaster)
[album rate: 3,5 / 5] [3,32]
producer: Jeffrey Lee Pierce
label: Flow Records - nationality: USA

Studio album by The Gun Club frontman Jeffrey Lee Pierce released as Ramblin' Jeffrey Lee & Cypress Grove with Willie Love. Jeffrey Lee plays guitar and sings together with guitarist Cypress Love and drummer Willie Love. Carl La Fong isn't credited as primary artist but he plays bass. The majority of the tracks are cover versions of classic 'blues' songs written by various artists (including Don Nix, Willie Brown, and Chester Burnett). The songs are all well-played and cleverly arranged, and despite the fact that the 'blues' isn't really my kinda style, this is quite originally sounding with a lot of genuine heartfelt craftsmanship to it, so to ignore it would be a shame. I like it, It's gooood.

org. cover

Bruce Springsteen "The Ghost of Tom Joad" (1995)

The Ghost of Tom Joad
release date: Nov. 21, 1995
format: cd (2005 reissue)
[album rate: 3,5 / 5] [3,32]
producer: Bruce Springsteen, Chuck Plotkin
label: Sony Music Direct, Japan - nationality: USA

11th studio album by Bruce Springsteen originally released by Columbia Records. The album follows another live album by Springsteen, this time the obligatory live album for an MTV crowd, although, Bruce had it his way changing the channel's unplugged sessions to an "MTV Plugged" album.
This is a critically acclaimed move into his acoustic singer / songwriter tradition initiated on Nebraska (1982), and this is often mentioned as his natural follow-up to that album.
I didn't listen to it at all in the 90s and only came across the album in the new millennium, but it is a mighty fine collection of songs proving what a great songwriter Springsteen truly is, and it's easily an improvement to his two 92 studio releases.
[ allmusic.com, Rolling Stone 3 / 5 stars ]

Talk Talk "Spirit of Eden" (1988)

1988 cd

Spirit of Eden
release date: Sep. 16, 1988
format: cd (2003 remaster) / vinyl + dvd (2012 reissue)
[album rate: 4,5 / 5] [4,28]
producer: Tim Friese-Greene
label: Parlophone (EMI) - nationality: England, UK

Tracklist: 1. "The Rainbow / Eden / Desire" (4 / 5) - 2. "Inheritance" - 3. "I Believe in You" (4 / 5) - 4. "Wealth" (4 / 5)
[ in memoriam: rehearsal tape ]

4th studio album by Talk Talk following 2½ years after The Colour of Spring (Feb. 1986) is the band's final studio release of new material on EMI, and it's literally 'something else'. In the aftermath of the '86 album Talk Talk had experienced a stronger popularity but at the same time frontman Mark Hollis had no desire of the implications of stardom - actually he found out that he didn't want to tour anymore - a decision which ultimately had deep consequences for the band that basically ended up being a Hollis and Friese-Greene project with the latter only taking part as co-composer and never officially entering the projct. All tracks are co-written by Mark Hollis and Tim Friese-Greene as was the case on the predecessor, but the style has evolved to something completely new. The first track is divided into three parts, which have been merged into one composition on the 2003 remastered version where it has a running time of more than 23 min - originally the entire A-side on the vinyl issue. Comparing the debut to this, is like listening to two completely different bands, but by following the band's stylistic progression through its second and third albums it makes much more sense. The style is like a natural development of what they were looking at on The Colour of Spring, and what they have produced here is music in a style that wasn't given a term until a decade later: post-rock, although, that specific term and style may lead to another discussion. There are slow progressive art rock and jazz rock elements, but that's far from telling the whole story. It's a play with composition from a new perspective, and both Hollis and Friese-Greene took inspiration from jazz and classical music. And that was not what fans and music lovers expected from a band, who had recently released an album of international interest.
By music critics, the album was met by lukewarm reviews and an almost total rejection from record buyers. The label, EMI, felt that the band neglected its contractual obligations by recording something 'so anti-commercial' and even tried a law-suit against the band at court but [thankfully] the label lost the case. However, as a consequence, the band's contract with EMI was terminated. By the end of the year, bassist Paul Webb left the band.
I recall, I also felt 'betrayed' by a band that I had other hopes for. I actually purchased the vinyl album shortly after its release, but never really listened to it - or: I tried, but I never came even close to thinking anything positive about it - that is, back then. About another three years later, I actually resold the album in a pile with other gems, in trade for quick cash, so I could afford one or two new albums [gosh, what stupidity!]. I guess, the sound and style of this was way ahead of its time - not many were prepared for it, and neither was I.
From a modern perspective, the band, and Mark Hollis in particular, are now praised for the ground-breaking musical content, which has inspired post-rock artists like Sigur Rós, Mogwai, and Godspeed You! Black Emperor a whole decade later, but surely without Talk Talk and without Spirit of Eden and the successor, the music by these later artists seems rather unlikely. As much as I hate to admit it, I would perhaps have rated this 2 / 5 stars back in '88. Today, I find it a 4,5 album, and yes! I eventually got myself a new 2012 reissue on vinyl. And I have to add, the 2012 pressing is better than the original 'cause EMI made some poor vinyl pressings in the late 80s, which also is the case with the band's final album.
A highly recommended album!
[ allmusic.com 5 / 5, Sound 4,5 / 5, Q Magazine 4 / 5 stars ]

1988 Favourite releases: 1. Chet Baker Memories: Chet Baker in Tokyo - 2. R.E.M. Green - 3. Talk Talk Spirit of Eden

     

org. vinyl cover
(same as 2012 reissue)

2003 remaster

The Undertones "All Wrapped Up" (1983)

abridged issue

All Wrapped Up (compilation)
release date: Nov. 1983
format: vinyl (abridged issue) / 2 lp vinyl (ARD 1654283) / digital
[album rate: 4 / 5]
producer: various
label: Ardeck - nationality: Northern Ireland, UK

1st compilation album by The Undertones originally released on EMI sub-label Ardeck is issued after the disbandment that followed the release of the band's fourth album The Sin of Pride (Mar. 1983). The original UK album is a double vinyl album containing 30 tracks. The abridged version of the album is the most common, which was issued in North America, Japan, and for the European market. The abridged version contains many great songs as it's a compilation of the band's A-side singles, but it's really the C- and D-sides of the double album, which also happens to be the B-side singles that makes the issue a must-have. Songs like "True Confessions", "Smarter Than You", "Emergency Cases", "Mars Bars" all have that extra wit and bit that defined this great band of the North, and which ultimately reveals what a great band they were to produce such great material as their B-sides.

org. double album

Michael Falch "De vildeste fugle" (1988)

De vildeste fugle

release date: 1988

format: cd (1994 reissue)

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

producer: Michael Falch

label: Medley Records - nationality: Denmark

Track highlights: 1. "Nu brænder sommeren af" - 2. "Piger - piger" - 3. "Venter på vind" - 4. "De vildeste fugle" - 10. "Det bedste jeg har"

3rd studio album by Michael Falch following Det andet land (1986) sees a return to the familiar sound and style of Malurt. The debut album had been something entirely different, an attempt with contemporary synthesizer pop, which had been harshly rejected by music critics, and with his '86-follow-up, he tried a different approach on which he commented on his own status as a songwriter and with subdued folk rock and singer / songwriter attitude - an album I have always found even of lesser value than his mediocre solo debut.

De vildeste fugle sees Falch back with what had previously worked best for him: his safe-place with songs built on a Danish-versioned Springsteen-formula, and to ensure that, he has engaged some of his former band mates, including guitarist Christian Arendt, keyboardist Pete Repete, and guitarist Peter Viskinde. On "Kinddans (Altid parat til en)" you also find ex-Malurt bassist Dia Nielsen and drummer Peter Mors. To help finding the genuine Springsteen sound, the album is cut in New York and Little Steven is thanked for his assistance. The end result is mostly American pop / rock songs transformed with Danish lyrics, which only works because of the large language gap since it would have been too close to his biggest source of inspiration, had the song been in English.

I had completely neglected his sophomore solo after having heard some its songs on national radio, but I purchased this one when it was released mostly because the promotion single "Venter på vind" signaled a musical U-turn that I found much more in sync with what I had previously enjoyed about Malurt. In retrospect, it's far from original but on the other hand, no other Danish artists made attempts with this type of music and it felt more like a better version than the final studio album by his former band.

Despite coming really close to the style of his American idol, De vildeste fugle is imo one of Falch's best solo albums.

Grant-Lee Phillips "Strangelet" (2007)

Strangelet
release date: Mar. 27, 2007
format: cd
[album rate: 3,5 / 5] [3,66]
producer: Grant-Lee Phillips
label: Zoë Records / Cooking Vinyl (reissue) - nationality: USA

Track highlights: 1. "Runaway" - 2. "Soft Asylum (No Way Out)" (4 / 5) - 3. "Fountain of Youth" (4 / 5) (live) - 5. "Dream in Color" - 7. "Raise the Spirit" - 9. "Killing a Dead Man" - 11. "Return to Love"

5th solo studio album by Grant-Lee Phillips follows only nine months after Nineteeneighties (Jun. 2006). Here, he's back again with his own material, and this is really not like any of his former solo albums being much lighter but also more uptempo than usual. As much as I enjoy his slow melancholic alt. folk songs, I think, he also shines when he's more energetic and pop-minded, although, it's hard to conclude that it necessarily makes it better. The tracks here are composed more as the music with Grant Lee Buffalo, although, this hasn't much alt. rock to it, but more of a pop / rock and alt. folk sound with nice glimpses of Marc Bolan glam rock about it. Strangelet is a strong album and recommended.
[ allmusic.com 4 / 5 stars ]

Cornershop "Hold on It Hurts" (1993)

Hold on It Hurts [debut]
release date: Dec.? 1993
format: cd (1995 reissue)
[album rate: 3 / 5] [3,18]
producer: John Wills; Tjinder Singh
label: Merge Records - nationality: England, UK

Track highlights: 3. "Readers Wives" - 5. "Inside Rani (Long Version)" - 4. "Change" - 6. "Born Disco, Died Heavy Metal" - 8. "Where D'u Get Your Information" - *11. "England's Dreaming"
*Bonus track on '95 US-issue

Studio album debut by Cornershop originally released on Wiiija Records. Cornershop consists of songwriter Tjinder Singh on vocals and bass, his brother Avtar and Ben Ayres (aka Benedict Ayres), both on guitar and vocals, Saffs (aka Anthony Saffery) on sitar, Wallis Healey on guitar, and with David Chambers on drums. All music is credited the band, although, Tjinder and Ben are at the centre of the band with Tjinder as primary songwriter as the natural leader. The album was released exclusively in the UK in '93.
The style is rather hard to narrow in - alt. rock, indie rock, and raga rock are definitely embracing it but those terms may not suffice. Several tracks are definitely punk rock, noise rock, or grunge rock-styled, whereas others share traits from post-punk, gothic rock, dream pop and alt. dance as a new kind of fusion rock embracing elements from funk, soul and South Asian folk. This huge melting pot of styles is not entirely mediocre as it contains much originality, although, it may be a difficult first listen.
The '95 US-edition released on Merge also contains an additional 5-tracks taken from the ep Lock Stock & Double-Barrel included as bonus tracks at the end.
[ allmusic.com 4 / 5 stars ]

Editors "In Dream" (2015)

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

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

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