The Cure "Wish" (1992)

Wish
release date: Apr. 21, 1992
format: cd
[album rate: 3 / 5] [3,08]
producer: David M. Allen, Robert Smith
label: Fiction Records - nationality: England, UK

Track highlights: 2. "High" (3 / 5) - 7. "Friday I'm in Love" (4 / 5) - 9. "A Letter to Elise" (3 / 5) - 10. "Cut" (3 / 5)

9th studio album by The Cure. After the exclusion of co-founder Lol Tolhurst and after Roger O'Donnell had decided to leave the band after only two years, they were in need of a new member, and Perry Bamonte who plays 6-string bass, guitar, and keyboards became official member of the band. Apart from that, The band plays in their usual synth pop dream pop and alt. rock combination with focus on keyboards and a heavy spacial sound. I didn't pay the album much attention back then, and have only purchased the album for digital download after 2010, mostly because I like the hit single "Friday, I'm in Love", which isn't enough to raise much over a mediocre album despite that I find it a bit more interesting as a whole compared to Disintegration (1989).
[ allmusic.com 2,5 / 5, Rolling Stone 4 / 5 stars ]

Roxy Music "The High Road" (1983) (live)

The High Road (live)
release date: Mar. 1983
format: vinyl (Mini LP - 2335 269)
[album rate: 4 / 5]
producer: Rhett Davies & Roxy Music
label: EG / Polydor - nationality: England, UK

Track highlights: B) 1. "Like a Hurricane" (other version) - 2. "Jealous Guy" (other version)

Live ep, or as stated on the front cover sticker: Live Mini LP containing 4 tracks with a total running time of 26 mins. was recorded live at the Apollo, Glasgow, Scotland, Sep. 30, 1982 during the band's Avalon Tour.
The two strongest tracks - for which the album is almost essential - are the two cover-versions on the B-side: a nearly 8 mins. powerful version of Neil Young's majestic "Like a Hurricane" - in itself by Young a fantastic composition, and Roxy Music do fine justice to the intensity of the song, and then the more than 6½ mins. cover of John Lennon's likewise classic "Jealous Guy" - two songs Roxy Music would often have on its set-list at concerts throughout the 80s.
The album has never been released in digital format but the same recordings have found their way to the lengthier live album Heart Still Beating (1990), which contains 14 tracks. Also, the abovementioned two covers have been produced and released on other releases but I think these two versions are some of the best renditions of these classics, which makes this very release such a solid one.

The Church "Gold Afternoon Fix" (1990)

from top to bottom:
Koppes, Kilbey, Ploog, Piper

Gold Afternoon Fix
release date: Feb. 22, 1990
format: cd
[album rate: 3,5 / 5] [3,32]
producer: Waddy Wachtel & The Church
label: Arista Records - nationality: Australia

Track highlights: 1. "Pharoah" - 2. "Metropolis" - 3. "Terra Nova Cain" - 4. "City" - 5. "Monday Morning" - 6. "Russian Autumn Heart" - 9. "Disappointment" - 10. "Transient" - 11. "Laughing"

6th studio album by The Church released almost two years after the international breakthrough album Starfish (Apr. '88) and the band's second album on Arista. With the same producer, the company has made attempts to ensure that The Church would follow roughly the same approach and repeat the success, although, the band reportedly had expressed a desire to work with Led Zeppelin bassist John Paul Jones to avoid similar negative experiences as adjacent during the recordings for the '88 album. Needless say, record companies are in a position of immense power and controlling recording settings. Internal conflicts led to the band's exclusion of drummer Richard Ploog after the album's release (apparently due to uncontrollable substance abuse) - some tracks were recorded with drum programming; yet Ploog is credited as the drummer.

Having followed the band from the beginning, this was my first real disappointment with their new music. My understanding was that the band had made a clear decision to make music with a wider appeal with their previous album, but upon hearing them try to repeat the success of music that was so close to the same output, didn't make things much better. With this, I gradually tired of the music by The Church, although, I still saw them as having unfulfilled potential - and the album is certainly not without fine moments, and the knowledge of their previous releases also made me continue to listen to the band, even though most often it was their older albums. With producer Wachtel at the helm here, you see the band playing large-scale tracks with heavy arrangements obviously adapted to satisfy the American market - it provides me with the image of being a driver of a mobile home on an American highway. It's no longer a question of being original or innovating - but what's left is the task of forging while the iron is still hot.

Gold Afternoon Fix was met by positive reviews, but it didn't quite reach the expected sales figures. The album peaked at No. #66 on the US Billboard 200 and at No. #12 in Australia, which isn't bad after all. The problem was that the band had seen better chart positions and that they were left with a negative experience with studio recordings and by being residents in Los Angeles. Richard Ploog left the group after this album and he was replaced for the upcoming live tour by Jay Dee Daugherty (of Patti Smith).

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

Bruce Springsteen "Devils & Dust" (2005)

Devils & Dust
release date: Apr. 26, 2005
format: cd
[album rate: 3 / 5] [3,16]
producer: Brendan O'Brien
label: Columbia Records - nationality: USA

Track highlights: 1. "Devils & Dust" - 2. "All the Way Home" - 4. "Long Time Comin' " - 9. "Leah"

13th studio album by Bruce Springsteen finds him releasing yet another quiet and primarily acoustic album, his third of its kind as the sequel that started with Nebraska (1982) and was continued with The Ghost of Tom Joad (1995). Although producer Brendan O'Brien is almost synonymous with alt. rock [Pearl Jam] he is still managing the production without co-pilot, and that is hard to tell if that choice make any difference.
I find this the least interesting of his three acoustic albums. Two or three tracks are not acoustic, which seems quite strange because the majority of the tracks are slow and minimally orchestrated ballads. At times he sounds more like Ry Cooder ('Maria's Bed') or Bob Dylan ('Long Time Comin' '), trying something new, and at other times he's just Springsteen doing what he knows - repeating himself.
The album was met by positive reviews topping the charts both in the UK and in the US, and it also secured Springsteen 5 Grammy awards.
Not really recommended.
[ allmusic.com 4 / 5, Rolling Stone 4,5 / 5 stars ]

Sällskapet "Sällskapet" (2007)

Sällskapet [debut]
release date: Mar. 28, 2007
format: digital
[album rate: 3 / 5] [3,18]
producer: Sällskapet
label: Sonet / Universal - nationality: Sweden

Track highlights: 1. "482 Mhz" - 4. "Nordlicht" - 8. "Järnstaden" - 9. "...den dan"

Studio debut album by the trio, Sällskapet [in English: The Company] founded in 2003 by primary vocalist Joakim Thåström, guitarist Pelle Ossler - also credited for bass and piano - and with keyboardist Niklas Hellberg - also credited for handling synthesizer and programming.
Thåström has been in and out of bands since his first trio, The Haters founded in 1977, and he must really enjoy the [creative] energies that may arise from working in a band or with a project-band. After closing the industrial metal-project Peace, Love & Pittbulls in '97, Thåström released the much-awaited return to a Swedish lyrical foundation with the solo albums Det är ni som e dom konstiga det är jag som e normal in '99, "Mannen som blev en gris" in 2002, and the acclaimed Skebokvarnsv. 209 in 2005 - and he could easily have continued a promising solo career, but it seems he has always been that sort of musician, who thrives on the search of new playgrounds for musical expressions.
And together with Ossler and Hellberg, for once, we find him in what appears to be a three-man project without Thåström in the lead. Yes, he is lead vocalist, but all musical and lyrical compositions as well as production is entirely in the hands of the band. Both Ossler and Hellberg played with Thåström on his latest two solo albums and Hellberg has worked with Thåström ever since the early 90s when they got together in Amsterdam and formed Peace, Love & Pittbulls.
Stylistically, Sällskapet is something else. Or: at least when comparing to what Thåström has been involved in since the 1970s. The music is in the electronic genre - far from what could be related to industrial styles as it may be referred to as minimal synth or minimal wave, and without being great, it's a fairly interesting and quite original release the three have put together.

Arctic Monkeys "Fluorescent Adolescent" (2007) (single)

Fluorescent Adolescent, 7'' single
release date: Jul. 9, 2007
format: cd
[single rate: 3,5 / 5] [3,66]

Tracklist: 1. "Fluorescent Adolescent" (5 / 5) (Live on Jonathan Ross) - 2. "The Bakery" - 3. "Plastic Tramp" (3 / 5) - 4. "Too Much to Ask" (3 / 5)

Single release from Arctic Monkeys and their most recent album Favourite Worst Nightmare (2007). The music has changed a bit and become more mainstream but without losing their originality. The hit single track is mighty fine song that secured the band many hours of airplay on national radio and elsewhere around the world. The remaining songs are actually quite decent single tracks, and what's so typical about this band is how they just put one track from the album here, and the rest are brand new songs and no poor fillers.

Talk Talk "Natural History - The Very Best of Talk Talk" (1990)

Natural History - The Very Best of Talk Talk (compilation)
release date: May 1990
format: digital
[album rate: 4 / 5]
producer: Colin Thurston, Tim Friese-Greene, Rhett Davies
label: Parlophone / EMI - nationality: England, UK

Compilation album by Talk Talk is the band's first best of release issued by EMI as the band was sacked from the record label after having released Spirit of Eden (Sep. 1988), which was anything than what EMI had hoped for.
The original issue contains 12 tracks but as early as of Jul. 1990, 14 tracks re-issues were released for the Japanese and North American markets. In 2004, EMI re-issued the album as The Essential, although with an identical tracklist of the original 12 track issue. In 2007, EMI launched a 2-disc issue based on the original UK release containing a bonus DVD with video versions for the European market. This was reissued by EMI in 2013 - but now with the title Natural History 1982 - 1988. Talking about milking the sacred cow!
Needless say, the album is both an album for everyone else as well as a collectors' item. Lead vocalist and frontman of the band, Mark Hollis, alledgedly said of the album that EMI compiled the album entirely without the band's consent, and that he didn't like the idea of best of albums in the first place.
A year later, EMI also released the album History Revisited - The Remixes - once again made without having informed the band, and what's seems even worse: EMI had the 10 tracks remixed in new extended versions without involving the band when altering its music. As a consequence, Mark Hollis and the band sued EMI for having remixed their songs without asking for permission of the band - and the band won the case, which among other things meant that the company was obliged "to withdraw and destroy all remaining copies of the album" [VOX, 1998].
Natural History - The Very Best of Talk Talk is nevertheless a fine collection of songs, but as Mark Hollis also commented [in Melody Maker, Sep. 7, 1991] about an album he wouldn't release: "It certainly wasn't the selection of tracks I would have liked even if there had to be one".
[ allmusic.com 4,5 / 5 stars ]

Peter Murphy "Dust" (2002)

Dust
release date: Apr. 23, 2002
format: digital
[album rate: 2,5 / 5] [2,68]
producer: Peter Murphy, Mercan Dede
label: Metropolis Records - nationality: England, UK

6th studio album by Peter Murphy released seven years after Cascade (Oct. 1995) after which he released his so far only live album aLive Just for Love (2001). This is not only co-produced by a Turkish producer - the whole album is made with assistance of primarily Turkish musicians, which is clearly heard throughout an album where Murphy combines western popular music, the gothic rock, and even progressive rock in a mix with more traditional Turkish folk. Privately, Murphy married Turkish dance-director Ayhan Murphy in '92 and has since then lived primarily in Turkey. There's also a synthpop or electronic influence present on this album and it's really hard to label an overall style, as it's a rather huge blend of influences, and you might even call it world music. The album is Murphy's first studio album after parting with Beggars Banquet and this new album should perhaps also be seen in the light of being forced to rethink his musical career, and again, with his Turkish daily life in mind, it would be a natural consequence of living life with other influences.
The album was met by positive reviews, some found it an artistic achievement, whereas others, in search of a more traditional album and without luck in finding stand-out tracks, saw it as something lesser. I will not say that it doesn't work but I don't find it a strong nor very interesting album as such. It has an intense and warm feel but it doesn't appeal much to me.
[ allmusic.com 4 / 5, Q Magazine 3 / 5 stars ]

John Frusciante "The Will to Death" (2004)

The Will to Death
release date: Jun. 22, 2004
format: cd
[album rate: 4 / 5]

Track highlights: 1. "A Doubt" (4 / 5) - 2. "An Exercise" - 3. "Time Runs Out" (4 / 5) - 5. "Unchanging" (4,5 / 5) - 8. "Wishing" (4 / 5) - 12. "The Will to Death"

5h solo album by John Frusciante and his second in 2004. Together with its predecessor, Shadows Collide With People (Feb. 2004), and his seventh, Curtains (Feb. 2005), they form three really fine works of art, and they are his perhaps three best albums.

This very album was the first I ever listened to by Frusciante solo, and I only came across this wonder by chance. The music is not very different from his first release this year but it has a more raw and simple expression. In some ways, I think, it even betters anything by Red Hot Chili Peppers, although, it's also very unlike any album by the band.

Neil Young "Prairie Wind" (2005)

Prairie Wind
release date: Sep. 20, 2005
format: digital
[album rate: 3 / 5] [3,06]
producer: Neil Young, Ben Keith
label: Reprise Records - nationality: Canada

Key track: 5. "It's a Dream" (4 / 5)

28th studio album by Neil Young is a return to one of his 'comfort zones'. On this, he continues his acoustic singer / songwriter and folk tradition, initiated with Harvest and which had Silver & Gold as his most recent. The album was met by positive reviews and was nominated in two categories at the 2006 Grammy Award. I don't find it as interesting as Comes a Time or Harvest Moon but see it close to match Silver & Gold. Not great, nor bad, just middle of the road, quite alright.
[ allmusic.com, Rolling Stone 3,5 / 5 ]

Cornershop "Brimful of Asha" (1998) (single)

Brimful of Asha, cd single

release date: Feb. 16, 1998

format: digital (4 x File, FLAC)

[single rate: 4 / 5] [4,12]

producer: Tjinder Singh; Norman Cook (remix producer)

label: Wiiija Records - nationality: England, UK

Tracks: 1. "Brimful of Asha (Single Version)" - 2. "Brimful of Asha (Norman Cook Remix Single Version)" - 3. "u47's" - 4. "Brimful of Asha (Norman Cook Remix Extended Version)"

Single release by Cornershop is a four-track release of the band's best known song, which brought them international fame in the Summer of '97, when the single was first released in a 7'' version (August '97). The first Norman Cook Remix single was released in late '97 as single-sided or 3-track 12'' vinyl issues. The original single peaked at #60 on the UK singles chart list, but when re-issued with the Norman Cook remix [this], the single ended up as number #1 on the charts.

The original is a great 1997 song, but the speeded up Norman Cook Remix simply makes it another great tune. Both the single single remix and the extended version are impressive takes.

The Go-Betweens "16 Lovers Lane" (1988)

16 Lovers Lane
release date: Aug. 1988
format: cd (1996 reissue)
[album rate: 4 / 5] [4,03]
producer: Mark Wallis
label: Beggars Banquet - nationality: Australia

Track highlights: 1. "Love Goes On!" - 2. "Quiet Heart" - 3. "Love Is a Sign" - 4. "You Can't Say No Forever" (4 / 5) - 5. "The Devil's Eye" - 6. "Streets of Your Town" - 8. "Was There Anything I Could Do?" - 10. "Dive for Your Memory"

6th studio album by The Go-Betweens originally released by Mushroom Records in Australia and Beggars Banquet in Europe. Before recording the album, bassist Robert Vickers left the band and was replaced by John Willsteed - his only album with the band. The members credited here are: Grant McLennan on vocals & lead guitar, Robert Forster on vocals, rhythm guitar & harmonica, Amanda Brown on violin, oboe, guitar, vocals, tambourine (listed as "Oliver Tambo" on the sleeve notes, an in-joke of the band), John Willsteed on bass, guitar, Hammond organ & piano and with Lindy Morrison on drums. All compositions are credited McLennan / Forster.

The covers by The Go-Betweens have all been fronted by the band members, and the interesting thing about this particular cover is that three members have been put on the front and two on the back, and I always kind of thought the natural: here's the three original members of course and then the two new ones, put aside. But no! Actually you have Willsteed, McLennan and Morrison on the front and then Forster and Brown put (away) on the back.

Musically, the band continue its jangle pop style and pretty much takes off where they left with the promising Tallulah (1987) only with this being the band's so far boldest pop-shaped album with focus on harmony chorus-lines. In contrast to the '87 album there's a strong synergy between the individual songs by the two songwriters, and with this The Go-Betweens made its so far best album, hailed by music critics. After the release they supported R.E.M. on their Australian tour, and they did a complete world-tour. And when that came to an end, they were back at a new starting point - prepared to initiate the recordings for a follow-up album. Willsteed was fired from the band - apparently for heavy substance abuse, and the four remaining members were in the midst of rehearsing new songs, when the two founding songwriters both felt the lack of energy. McLennan and Forster met in a bar and Grant told Forster that he wanted out to which Forster immediately suggested that the two of them continued as a duo - the way they had started, and Grant agreed. So, only a little more than a year after the album release, Dec. 27, 1989, The Go-Betweens officially disbanded. Forster and Morrison were already in the process of ending their relationship when Amanda Brown had joined the band in '87, at a time when she and McLennan was a couple, and now upon learning about the McLennan / Forster decision to end the band, Amanda simply put an end to the McLennan - Brown affair. Amanda Brown and Lindy Morrison sought new musical bonds and together founded the (short-lived) band Cleopatra Wong in '91. However, the idea of starting a duo by the two main songwriters proved not to succeed at this point. McLennan had basically hit rock bottom after Amanda's leave, and when Forster left for Germany to be with his new-found love, Karin Bäumler in Berlin, the two friends simply continued writing new songs on their own, which eventually resultated in the beginning of two solo careers instead. For the next decade they made solo albums and were involved in various collaborative projects, and it wasn't until the year 2000 that they reunited to reform the band.

16 Lovers Lane is the only album by the band to be included in "1001 Albums You Must Hear Before You Die" and it's a must in any collection of modern pop / rock. For the first six months after the release, I actually mistook it for being a best of album - it's that solid and filled with great songs, but despite being praised by the press and other musicians the album sales didn't equal the artistic effort, which can only point to the people of the record company.

Although, it's not the very final of the band it is the band's last studio album with the original line-up, and it's also the last to feature drummer [Belinda] Lindy Morrison, who has been the stable drummer on all of the band's six studio albums and been a member since 1981. After artistically successful solo careers, McLennan and Forster revived the band in 2000, and by doing so they also introduced a new line-up with their seventh studio album The Friends of Rachel Worth.

Imho, 16 Lovers Lane is the absolute best by The Go-Betweens and highly recommended.

[ allmusic.com, Mojo, Uncut 5 / 5, Blender, Select 4 / 5, Rolling Stone, NME 3,5 / 5 stars ]

[ story behind the album ]

[ Amanda Brown's version of the disbandment ]

back cover featuring
Forster & Brown

Wilmer X "Pontiac till himmelen" (1993)

Pontiac till himmelen
released: 1993
format: cd
[album rate: 4 / 5] [3,96]
producer: Michael Ilbert
label: EMI - nationality: Sweden

Track highlights: 2. "Slaget om en flickas hjärta" - 3. "Söt sak" - 5. "Ah du, hur fan ser du ut?" - 6. "Teddys rum" - 7. "Ett och ett är två men blir tre när vi blir ett" (4 / 5) - 8. "Fanny i fönstret" - 9. "Min egen metod" (4 / 5) - 10. "Pontiac till himmelen" - 12. "Hoppas på regn" - 14. "Radio W.X." - 15. "Håll flamman levande"

11th studio album by Wilmer X is just so... 'jävla grrreat – ja, bara grym'. I had this album on cassette for about 10 years, and for some other reason I was unable to listen to my old cassettes for some time and then I finally got hold of a cd-version. And as I enjoyed it then, I simply love it again. It’s a bit untraditional in the way the tracks are listed on the album because I think the first two songs are perhaps a little below the rest, or that’s just how it seems at the moment ‘cause another thing that shows its greatness is the way it grows on you. Songs suddenly open and let you in, or: they drag you in, while others remain more unnoticed, lurking for their turn to throw themselves over your defenceless mind, which leads to another wonderful thing about the album: the quality of so many songs on an ordinary studio release is a rare thing. I remember back when I discovered this treasure that I had ambiguous feelings about Nisse Hellberg's vocal – it is soooo 'skånsk' => [‘skaδunsg], ‘scanian’, for those around the world who knows where that is :-) Now I only enjoy it – there’s a humorous touch in the way the dialect is emphasised and used to produce rhymes. Without being to technical, I simply find it highly enjoyable – it is extremely positive music and then you listen to some guys who really know blues rock and rock & roll in a traditional sense, which I’m not really that much for, and perhaps it’s that Swedish twist that makes me love it. Get it, get it, get it, even though you don’t understand the lyrics 'cause it’s a truly fine piece of art.

Bill Frisell "Have a Little Faith" (1993)

Have a Little Faith

release date: Apr. 1993
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Wayne Horvitz
label: Elektra Nonesuch - nationality: USA

Studio album by jazz fusion guitarist Bill Frisell following Where in the World? (1991) and Frisell's third consecutive album with producer Howvitz. Two members from The Bill Frisell Quartet contribute on this: bassist Kermit Driscoll and drummer Joey Baron - both are near stable instrumentalists on Frisell albums.
Normally, a new Frisell album means new original compositions by Frisell, however, in this case it's the selection of music based on what has inspired the artist himself. So, what you'll find here are new arrangements of American popular music ranging from classical music by Charles Yves, Stephen Foster and Aaron Copland to a list of music by modern popular songwriters and composers from a broad palette of styles and genres including Sonny Rollins, Muddy Waters, Bob Dylan, John Hiatt, Madonna - all highly varied originals and all modernised in Frisell's jazz fusion-like arrangements.
I like it, it's really goood.
[ allmusic.com 5 / 5, The Penguin Guide to Jazz Recordings 4 / 4 stars ]

American Music Club "San Francisco" (1994)

San Francisco
release date: Oct. 4, 1994
format: cd
[album rate: 3 / 5] [2,68]
producer: Joe Chiccarelli and American Music Club
label: Reprise Records - nationality: USA

Track highlights: 1. "Fearless" - 3. "Can You Help Me?" - 5. "Wish The World Away" - 12. "I Broke My Promise" - 16. "California Dreamin' "

7th studio album by American Music Club is an album of 16 songs of which Mark Eitzel composed 1-15. The last two tracks are not enlisted on inlay or back cover. Track #16 is a cover of the hit single "California Dreamin' " by The Mamas & The Papas (org. rel. Dec. 8, 1965).
The music is the rather distinct style of most albums by AMC and / or Mark Eitzel solo with focus on singer / songwriter compositions and a certain slow folk rock (also labelled slowcore) with references to alt. country.
It's not a bad album but I've always found it somewhat anonymous.
[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

The National "Alligator" (2005)

Alligator
release date: Apr. 12, 2005
format: cd (BBQCD 241)
[album rate: 3,5 / 5] [3,65]
producer: Peter Katis and Paul Mahajan
label: Beggars Banquet - nationality: USA

Track highlights: 1. "Secret Meeting" (4 / 5) - 2. "Karen" - 4. "Looking for Astronauts" - 7. "Friend of Mine" - 8. "Val Jester" (4 / 5) - 9. "All the Wine" - 10. "Abel" - 11. "The Geese of Beverly Road" - 13. "Mr. November"

3rd full-length studio album by The National, who keeps to the same five-piece line-up and the band has signed with major label, Beggars Banquet. Peter Katis, who worked as co-producer on a few songs on the predecessor is here put in charge of production together with Paul Mahajan.
This is the first really fine album by a band, who seems to be a more confident band, and it's an album that brought them a sudden international fame, and "Alligator" is also enlisted in NME's "The 500 Greatest Albums of All Time" (ranked as number #162). Again, the album marks a change of style within their combination of alt. rock and chamber pop. This is the first album where I think the post-punk influence really comes through, and The National was one of a series of bands (which include Bloc Party, Franz Ferdinand and Interpol) on both sides of the Atlantic who were all of a sudden labelled post-punk revival bands - and with this combo of styles, The National seems to have found their own special path that they will continue to investigate on the following albums to come.
Recommended.
[ allmusic.com, Mojo, Q Magazine 4 / 5, Uncut 5 / 5, Rolling Stone, NME 3 / 5 stars ]

Last Dinosaurs "In a Million Years" (2012)

In a Million Years [debut]

release date: Mar. 20, 2012

format: cd

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

producer: Jean-Paul Fung

label: Dew Process - nationality: Australia

Track highlights: 1. "Zoom" (4 / 5) - 2. "I Can't Help You" - 3. "Sunday Night" - 4. "Time & Place" - 8. "I Can't Decide" - 10. "Honolulu"

Studio album debut by Australian band Last Dinosaurs following the release of the 2010 EP-debut Back From the Dead (Feb. 2010). The album consists of eleven energetic and melodic indie pop tunes with a total running time of just under 43 minutes. All tracks except one, are credited the quartet of Sean & Lachlan Caskey, Sam Gethin-Jones, and Dan Koyama.

Musically, it's light indie rock, or indie pop with focus on simplistic uptempo hooks and harmony choruses. The band appears inspired by various sources from British indie pop bands, and American college rock scene, but also from the Australasian pop / rock community.

In a Million Years is a blow of fresh air. The album appears extremely coherent - with a tendency to display only little variation, but mostly without becoming repetitous, and when comparing to the two-year old ep debut, this contains better arranged songs and with an audible attempt to appeal to a more rock-oriented fan-base.

It's not the most original output but it's still a fine and noteworthy debut that hightens the level from their simpler ep debut.

[ SputnikMusic 4 / 5 stars ]

Siouxsie and the Banshees "The Best of Siouxsie and the Banshees" (2002)

The Best of Siouxsie and the Banshees (compilation)

release date: Nov. 12, 2002

format: digital

[album rate: 3,5 / 5]

producer: diverse

label: Polydor / Wonderland - nationality: England, UK

2 CD best of album by Siouxsie and the Banshees released six years after the disbandment is basically the first release with the attempt to collect the band's best tracks. It's quite obvious a pure record company's idea without intentions of trying to document what the band has really contributed with in a music historical perspective. And the selection of 'the best' compositions hasn't included advice, wishes, guidance from the band members. When you take a closer look at what may have been the trigger for Polydor / Universal 'suddenly' manufacturing an idea to release this album at this very instant, it's striking that former band members Sioux, Severin, and Budgie together with guitarist Knox Chandler met in April 2002 to discuss the preparation of a reunion tour, which they called the "Seven Year Itch tour", which took place in the Summer of 2002, and handpicked tracks from this tour ended up on the live album Seven Year Itch - Live (2003). And yes, the (former) record company then found a way to perhaps ride on the new interest for the band and to earn a little extra profit from that...

The Best of... consists of two CDs, where CD 1, with its 15 tracks mainly originate from the band's later years, and it has a total running length of approx. 57 minutes. CD 2, with 9 tracks, all of which are various extended editions or peculiar mixes, has a total running length of just under 65 minutes.

Let me cut to the conclusion: this is by no means the best of a band who has successfully changed style from album to album over almost two decades, starting out as a post-punk band with strong ties to punk, then becoming one of the most significant style-creating bands of the establishment of both gothic rock and later darkwave styles. Later on, they have progressed again as a distinct kind of pop and alt. dance group, and it's pretty much only this last chapter you'll find being exposed on this very release. The selected tracks are fine - as it's difficult to list fifteen tracks with a band, who have made so many fine songs, without it being automatically a successful selection, however, at the same time it is a somewhat strange experience listening through an album that starts with the band's commercial breakthrough - the cover "Dear Prudence", which, despite its qualities, in no way rightfully represents the band's original contribution to music history. Admittedly, a few well-known tracks from their early period have been included, but the jump from alt. dance tracks back to dark electric gothic rock, and then ending as it started with their most recent period, seems like the strangest journey.

Two fine compilations were released during the band's lifetime: Once Upon a Time / The Singles from '81, which nicely documents the band's earliest music, and then Twice Upon a Time - The Singles from '92, which admittedly doesn't include tracks from the band's final album - but together these are a much better choice than The Best Of.

Not recommended.

[ allmusic.com 3 / 5 stars ]

American Music Club "Mercury" (1993)

Mercury
release date: Mar. 23, 1993
format: cd
[album rate: 4 / 5] [3,78]
producer: Mitchell Froom
label: Reprise Records - nationality: USA

Track highlights: 1. "Gratitude Walks" - 2. "If I Had a Hammer" - 3. "Challenger" - 4. "I've Been a Mess" (4 / 5) - 5. "Hollywood 4-5-92" - 11. "Johnny Mathis' Feet" - 14. "Will You Find Me?"

6th studio album by American Music Club has unmistakably Mark Eitzel's fingerprints all over, and it's, as usual, a slowcore album with elements from folk and jangle pop. Stylistically, it's like the second / continued part of  the fine Everclear from '91.
To me, this is clearly the best album by the band with it's more varied compositions held nicely together in Mitchell Froom's eye for solid productions.
[ allmusic.com, Rolling Stone, Sputnikmusic 4 / 5 stars ]

The Killers "Sawdust" (2007)

Sawdust (compilation)
release date: Nov. 9, 2007
format: digital
[album rate: 2,5 / 5]

3rd album by The Killers is a compilation album consisting of rare recordings, B-sides and a few cover versions. The first cover song is (track #3) "Shadowplay" originally by Joy Division. It's not really a great cover but it really demonstrates their starting point and link to the post punk genre. The second cover is (track #13) "Ruby, Don't Take Your Love to Town" a track written by Mel Tillis and originally performed by Kenny Rogers and the First Edition. This version doesn't add much to the many versions existing of that classic song. The third cover is (track #16) "Romeo and Juliet" by Mark Knopfler and originally performed by Dire Straits. All three cover songs shows The Killers trying to make their copy of an original song, not adding much of their own style, so it's mere fan-material.
I don't find this album that great, and have only played it a few times.