The Church "Sometime Anywhere" (1994)

Sometime Anywhere

release date: May 31, 1994

format: cd

[album rate: 3,5 / 5] [3,44]

producer: The Church & (Andy) Dare Mason

label: Arista Records - nationality: Australia

Track highlights: 1. "Day of the Dead" - 2. "Lost My Touch" - 3. "Loveblind" - 4. "My Little Problem" - 5. "The Maven" - 9. "Two Places at Once" - 10. "Business Woman"

8th studio album by The Church released two years after the significant change in style with Priest = Aura (Mar. 1992) may have been released under the moniker of The Church, but a lot has changed since the rock-solid quartet of Kilbey, Koppes, Wilson-Piper, and Ploog released the international breakthrough album Starfish in 1988. The record company was in control when shaping the sound on Gold Afternoon Fix (Feb. 1990), and with the daring '92 album, you saw the first cracks in a quartet that had only been on a rise since the beginning of the 80s. The drummer was replaced, and then guitarist Peter Koppes left after the 1990 album - and for a time he formed the band The Well together with Richard Ploog, among others, and both Kilbey and Wilson-Piper were busy on their own music projects. Wilson-Piper played in the band All About Eve and Kilbey had started the collaboration Jack Frost with Grant McLennan from the Go-Betweens, so that The Church still existed really could be seen as the last convulsions. Arista still stood behind Kilbey and Wilson-Piper, even though the band was in some sort of disbandment. When it turned out that neither new drummer Daugherty wanted to continue, Kilbey and Wilson-Piper met alone and took advantage of having more freedom to shape the music they wanted. In this way, Sometime Anywhere is the result of a new perspective on music created with bold use of drum machine and synths, although there is also room for traditional drums - here played by Tim Powles, who later ended up as a permanent member of the new formation of The Church and he who also features on the second Jack Frost album Snow Job (1995).

Although the album is largely created through improvs and experimentation in the studio, it appears tighter and on the one hand as more closely connected to the band's previous albums than as a direct continuation of the looser Priest = Aura - and on the other hand, it appears as a mix of the band's previous characteristics and by doing so actually addresses the '92 album - or: somewhere in between. Sometime Anywhere has a duration of approx. 77 min. - something close to the absolute maximum for CD releases, and most tracks have a playing length that challenge the traditional three minutes in popular music. Also, there is no focus on single hits, and only one single was chosen for single release: the song "Two Places at Once", which has not charted on any singles charts. Despite positive reviews, the album didn't perform well, and it became the band's final with Arista, who by then no longer saw potential in the band's music.

Unlike the band's previous album, I actually acquired the album when it came out. After a single listen, I thought the band was once again embarking on an exciting development. Afterwards, I didn't listen to it that much - I found it a bit unstructured, but still with a certain originality, although, I could also found it had the touch of a special production, not far removed from U2's Achtung Baby (1991).

In retrospect, the album hasn't aged as one of the band's best, but it's part of the new improvisational approach Kilbey established in the early 90s and which he has since continued in the many musical projects he has been involved in.

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

Blaue Blume "Syzygy" (2015)

Syzygy [debut]
release date: Oct. 23, 2015
format: digital (10 x File, MP3)
[album rate: 3,5 / 5] [3,72]
producer: Aske Rud Jørgensen, Blaue Blume
label: A:larm - nationality: Denmark

Track highlights: 1. "Candy" - 2. "Sky" - 3. "Bouyant Forces" - 4. "Thinking of Roxy" - 5. "On New Year's Eve (Reprise)" - 8. "Tranquil Curtains" - 9. "Before the Sun Blows Up Our Lungs"
[ The Syzygy sessions ]

Studio full-length album debut by Danish dreampop band Blaue Blume following its ep debut Beau & Lorette (June 2014).
Musically, the band builds on inspirational sources as diverse as Cocteau Twins, Jeff Buckley, and Antony and the Johnsons. In that respect it's quite original, and what seemed like a promising release with the 2014 ep turns out as a more solidified and wholesome affair with this one.
Yes, it's a mighty fine accomplishment but alas, I think, too few (will ever) know of it. The band's decision to only release through streaming services and on vinyl makes it less accessible, which I think is really bad as the music requires high fidelity equipment. The soundscape is spacious and voluminous - how does that comply with streaming services with 192 / 256kps?
The album is the last in the initial line-up with Peter Bøgvad on bass.
[ EDIT of 2022: Thankfully, the band has now made their music accessible in FLAC-format from their bandcamp profile! ]
[ Soundvenue 5 / 6, Gaffa.dk 6 / 6 stars ]

Blondie "Panic of Girls" (2011)

Panic of Girls
release date: Jun. 1, 2011
format: digital
[album rate: 3 / 5] [3,08]
producer: Jeff Saltzman
label: Five Seven / EMI - nationality: USA

Track highlights: 1. "D-Day" - 2. "What I Heard" (live) (better performance) - 3. "Mother" - 8. "Sunday Smile"

9th studio album by Blondie. This doesn't feel like the usual comeback albums. The previous album Curse of Blondie was a decent album, but that was released in 2003, so once again the band tries to fuel a comeback. I actually think they succeed rather well with this, although, I have seen and heard Deborah Harry sing live, and... well, she never had a great singing voice in the first place, but at least she was able to hit most notes in the past, but the new millennium does not provide her with much luck. It isn't too noticeable on the album so what the heck. This is a fine pop / rock album with at least a few fine songs.
[ allmusic.com 3,5 / 5, Rolling Stone 3 / 5 stars ]

Grant Hart "The Argument" (2013)

The Argument

release date: Jul. 23, 2013

format: digital (20 x File, FLAC)

[album rate: 4 / 5] [3,83]

producer: Grant Hart & Mike Wisti

label: Domino - nationality: USA

Track highlights: 2. "Morningstar" - 4. "If We Have the Will" - 5. "I Will Never See My Home" - 7. "Sin" - 8. "Letting Me Out" - 9. "Is the Sky the Limit?" (acoustic live) - 11. "So Far from Heaven" - 12. "Shine, Shine, Shine" - 15. "Glorious" - 20. "For Those Too High Aspiring"

4th and final studio album by Grant Hart released 3½ years following Hot Wax (Oct. 2009) is his first album on a label with some credibility. In recent years, Hart has become a more stable performer, he has fought for musical rights of his former solo releases as well as the music released with Nova Mob - these albums have subsequently been reissued in 2014 on Hart's own label Con D'Or Records. It also seems he has come out in better conditions - on the credit list of the album he addresses: "very special thanks to my friends and familiars who pulled me from smoldering ruins and helped build my New Pandemonium".

The album is of conceptual dimensions being based on John Milton's "Paradise Lost" (1667) and inspired by his friendship with author William S. Burroughs. All music is written and composed by Hart except the lyrics on track #1 by Milton. The Argument was released as a double vinyl album and consists of 20 tracks with a total running time of more than 74 minutes. Nearly all music is played entirely by Hart, who is simply credited 'instruments'.

It's mostly melodic alt. rock and indie rock with the usual bonds to psychedelic rock (tracks #9, #13, #15, #16, #20), oldies / standards (track #17), baroque pop (tracks #2, #4 - 7, #10, #11, #12), rock & roll (tracks #8, #16, #19) and experimental rock (tracks #1, #3, #6, #14, #18). Yes, it's a big mix but it never feels forced or out of context and generally sounds like one coherent whole. Hart plays and sings with strong vitality and he narrates with his blessed sense for melody and song structure without losing focus on the existential themes. Needles say, the album was met by critical acclaim.

Alas, the album was to be Hart's final. He appeared to be back from a life in the shadows - marked by many years with drug addiction and the effects of living with Hepatitis C for more than 25 years. He had gained the ownership rights of his many songs over the years, founded a label and appeared more focused than ever before. In his last years, he was plagued by treatments and hospitalisations. Grant Hart died Sep. 13, 2017 of complications from liver cancer and Hepatitis C.

[ allmusic.com 4 / 5, 👍Pitchfork 8.0 / 10, Consequence of Sound 3,5 / 5 stars ]

[ Grant Hart tribute ]

[ Grant Hart remembered in local news ]

Jean-Michel Jarre "Electronica 2: The Heart of Noise" (2016)

Electronica 2: The Heart of Noise
release date: May 6, 2016
format: digital
[album rate: 3,5 / 5] [3,32]
producer: Jean-Michel Jarre
label: Sony Music - nationality: France

Track highlights: 1. "The Heart of Noise, Pt. 1" (feat. Rone) - 6. "Here for You" (feat. Gary Numan) - 7. "Electrees" (feat. Hans Zimmer) - 8. "Exit" (feat. E.S.) - 9. "What You Want" (feat. Peaches) - 11. "Switch on Leon" (feat. The Orb) - 13. "Why This, Why That and Why" (feat. Yello) - 18. "The Heart of Noise (The Origin)"

17th studio album by Jean-Michel Jarre is his second part in collaborative works featuring artists of various electronic styles. Both albums were recorded over a six year period from 2011 to 2016 and they are difficult not to regard as one and the same project, and thus should have been released as a double album. Both albums are highly experimental, and overall it's nice to witness a collaboration work like this where you witness a symbiotic end-result of the process involving different takes on a genre and style leaving equal evidence from both artists. That also means that the individual songs point in different directions as the featuring artists represent very different styles but together with Jarre the output still has his fingerprints all over, making it quite interesting, but not as a perfect overwhelming work of art. Both of the two parts are quite extensive, the first part running for more than 68 mins and this one just above 74 mins.
Recommended.
[ allmusic.com 3 / 5, The Guardian 4 / 5 stars ]

Jean-Michel Jarre "Electronica 1: The Time Machine" (2015)

Electronica 1: The Time Machine
release date: Oct. 16, 2015
format: digital
[album rate: 3,5 / 5] [3,32]
producer: Jean Michel Jarre
label: Columbia Records - nationality: France

Track highlights: 4. "Automatic (Part 1)" (with Vince Clark) - 8. "Suns Have Gone" (with Moby) - 11. "Zero Gravity" (with Tangerine Dream) - 12. "Rely On Me" (with Laurie Anderson) - 13. "Stardust" (with Armin van Buuren)

16th* studio album by Jean-Michel Jarre is his first real studio album in 8½ years following the album Téo & Téa (2007). It consists of 16 tracks composed and played with 15 different collaborators featuring artists such as Air, Vince Clarke (Erasure), Moby, Fuck Buttons, Pete Townsend, and Laurie Anderson, and as its title suggests, it's the first of two collaborative albums of this sort.
Musically and stylistically, the album represents (at least on some of the songs) a move towards vocal-founded electronic and more strict compositions in terms of popular music tradition. According to Jarre himself, who had invited various artists to participate in his project, his intentions were to make an album that paid tribute to electronic music and an album that would reflect the link between his musical history to other artists, who were either deeply involved or closely (or somewhat) related in the making of electronic music.
My first impression was luke-warm but I have come to see greatness in this project, and knowing a few of the details about this album makes it much more interesting, but it also wins over time.
[ Renowned for Sound 4,5 / 5, The Guardian, Gaffa.dk 4 / 5 stars ]

*Some mention it as his 17th, 18th or 19th album requiring his 2001 album Interior Music (exclusively released for Bang & Olufsen in 1000 copies), his 2004 remix album Aero, and / or Oxygène: New Master Recording from 2007 being regarded as studio releases.

Bombino "Agadez" (2011)

Agadez [debut]

release date: Mar. 2011

format: cd

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

producer: Ron Wyman

label: Cumbancha Discovery - nationality: Niger

Track highlights: 1. "Ahoulaghuine Akaline (I Greet My Country)" - 3. "Adounia (Life)" - 4. "Kammou Taliat (You, My Beloved)" - 8. "Assalam Felawan (Peace to You)" - 9. "Tebsakh Dalet (A Green Acacia)"

International debut by Omara 'Bombino' Moctar (aka Goumar Almoctar) following some appearances on local recordings as well as the album Agamgama 2004 (2010). Bombino was born in Niger and fled with his father and grandmother to Algeria when he was ten, where he initated his musicial upbringing before returning to Niger in '97 and his professional career started. When the Tuareg Rebellion erupted in 2007 he moved to Burkina Faso until the conflict settled in 2010 and he once again returned to his homeland.

The album here appears more laidback and with bolder meandering compositions than the successor Nomad from 2013. This means also, there is more room for Bombino the guitar instrumentalist, which can be both nice and enchanting but also less structured with traits of improvisation.

I didn't come around to this one before listening to his fine 2013 album, and I think that have me prefer the other to this, although, Agadez surely has its moments. It's more of a simple structured album with less emphasis on the arrangements - but to say is a lesser album is a hard verdict, it's more like I'm more into his later albums, which also bridge to traditional Western strucuring of compositions. That said, I think Bombino is a wonderful and original guitarist and vocalist.

Natalie Merchant "The House Carpenter's Daughter" (2003)

The House Carpenter's Daughter
release date: Sep. 16, 2003
format: cd
[album rate: 3 / 5] [3,18]
producer: Natalie Merchant
label: Myth America Records - nationality: USA

Track highlights: 1. "Sally Ann" - 2. "Which Side Are You On?" - 5. "Weeping Pilgrim" -7. "Bury Me Under the Weeping Willow"

4th studio album by Natalie Merchant is her first album release on her own independent label, Myth America Records and it has the subtitle "A Collection of Traditional & Contemporary Folk Music". It marks a substantial change in style towards traditional folk as a majority (7 out of 11) of the tracks are traditionals rearranged by Merchant. The remaining 4 tracks are covers, which means that the album doesn't contain songs written by Merchant herself.
It's a very scraped down album with only few instruments - some songs appear as vocal with strings only, and it may only appeal to people who prefer traditional folk. I don't really enjoy this much, and think of it as Merchant's roots album. Yes, Merchant has a fine singing voice, but I don't think she challenges that instrument particular well on this, which is a bit of a pity.
[ allmusic.com, Uncut 4 / 5, Rolling Stone, Mojo 3 / 5 stars ]

Natalie Merchant "Motherland" (2001)

Motherland
release date: Nov. 12, 2001
format: cd
[album rate: 4 / 5] [4,02]
producer: Natalie Merchant, T-Bone Burnett
label: Elektra Records - nationality: USA

Track highlights: 1. "This House Is on Fire" (4 / 5) - 2. "Motherland" - 4. "Put the Law on You" - 5. "Build a Levee" - 8. "The Worst Thing" (live) - 9. "Tell Yourself" (4,5 / 5) (live) - 10. "Just Can't Last" - 11. "Not in This Life"

3rd studio album by Natalie Merchant, co-produced by T-Bone Burnett, her last release on Elektra Records may not reflect big changes in her repertoire as it's primarily a singer / songwriter and folk release with focus on everyday-life existence. In a note Merchant dedicates the 12 track album to the victims of the recent 9/11 tragedy, but the album was made and recorded before the incident.
At first, I found this much in her usual style, and thought of it somewhere in between Tigerlily and Ophelia, but in a matter of months I came to see it as a major work - the songs just kept emerging from the album. Now, it may not contain the great uptempo compositions by her former band 10,000 Maniacs and their great In My Tribe or Our Time in Eden - only "Tell Yourself" sounds much like a typical 10,000 Maniacs composition - but I like this one just as much. Perhaps with the aid of Burnett in the production seat they have found room for elements of americana and roots rock, which makes it sound just right. Merchant's voice is almost always great, but here there's a strong inner sincerity brought to the listener, and the emotions are stressed by a strong soulful approach - there's a tone of blues and soul one hasn't heard on her albums before, which adds an extra layer of dynamics to the songs.
Imho, this the best solo album by Merchant and as such highly recommendable.
[ allmusic.com, Mojo and Uncut 4 / 5, Rolling Stone 3,5 / 5 stars ]

2001 Favourite releases: 1. Björk Vespertine - 2. Nathalie Merchant Motherland - 3. Rammstein Mutter

Ásgeir Trausti "Dýrð í dauðaþögn" (2012)

Dýrð í dauðaþögn
release date: Sep. 11, 2012
format: cd
[album rate: 3,5 / 5] [3,56]
producer: Guðmundur Kristinn Jónsson
label: One Little Indian - nationality: Iceland

Track highlights: 1. "Hærra" - 2. "Dýrð í dauðaþögn" - 4. "Leyndarmál" - 6. "Nýfallið regn" - 7. "Heimförin" (live version) - 8. "Að grafa sig í fönn"

Studio debut album by Icelandic Ásgeir Trausti is somewhere in the quiet region of dreampop, and it's easy to mention related artists like Emilíana Torrini, Jónsi, and múm, but that's also too narrow-minded, and one might just as well include Sigur Rós and Björk as musical familiarities - fact is Trausti makes his own blend and only his high-pitched singing voice and the Icelandic language guides the listener to the island of Iceland. Stylistically, it's in the genre of folk, and really: in the style of folktronica and singer / songwriter making American Bon Iver a closer musical stylist than any of the aforementioned.

The album won in four categories at the Icelandic Music Awards in 2012 including the Album of the Year prize, and it became the best-selling album debut in Iceland overtaking popular albums from Björk and Sigur Rós. A translated English-spoken version "In the Silence" was released in 2013 but this is the original album, and I do really enjoy it and also prefer this over Bon Iver.

Although, the quiet melancholy, which flows on the majority of the compositions, I really like it when there's a contrast with energetic outbursts like on "Nýfallið regn"; however, Dýrð í dauðaþögn is one fine and recommendable album.

John Mayer "Where the Light Is: John Mayer Live in Los Angeles" (2008) (live)

Where the Light Is: John Mayer Live in Los Angeles (live)
release date: Jul. 1, 2008
format: 2 cd
[album rate: 4 / 5] [3,82]
producer: Chad Franscoviak, John Mayer, Steve Jordan
label: Columbia - nationality: USA

4th live album by John Mayer - or his fourth live album released on cd 'cause in 2004 he released a series of four downloadable albums (making this his (eigth live album) from four consecutive live concerts all from August that year: As/is Mountain View, CA, As/is Houston, TX, As/is Cleveland/Cincinnati, OH and As/is Philadelphia, PA. In Oct. 2004 As/is a double cd was released containing selected tracks from these four concerts, and in Nov. 2005 he released the live album Try! released as John Mayer Trio with Steve Jordan and Pino Palladino with recordings from live concerts from the Fall of 2005.
Where the Light Is is a double live album containing the recordings of a live concert held at L.A. Live Nokia Theatre, Los Angeles, California, Dec. 8, 2007 - the album has also been released as a music concert film on dvd like Any Given Thursday before that. Disc 1 consists of 13 tracks of which the first five songs are acoustic songs, and the following eight are with John Mayer Trio (five of these also appear on the album Try!) - all paying maximum attention on blues rock . Two of these are Jimi Hendrix' compositions: track #7 "Wait Until Tomorrow" and track #13 "Bold as Love". Another two of the eight compositions by the Trio "Who Did You Think I Was" and "Good Love Is on the Way" sound as if written by Hendrix, and "Come When I Call", "Out of My Mind" and "Vultures" sound more like Clapton inspired by Muddy Waters, but at the bottom-line they're all eight blues rock-shaped and as such performed.
Disc 2 consists of nine tracks - eight taken from his most recent studio release Continuum - all blending his pop / rock repertoire with acoustic folk rock, fusion rock (e.g. "Belief") and blues rock.
It seems that Mayer shines so much more when playing live, and this album only serves to document just that. He embraces blues rock and plays with clear influences from jazz, traditional r&b and folk rock when playing these songs live, and at the same time he distances himself from his early studio albums of mere polished pop / rock.
The album is easily his so far best live album, and as such a highly recommendable album.
[ allmusic.com, Rolling Stone 3,5 / 5 stars ]

Kent "En plats i solen" (2010)

En plats i solen
release date: Jun. 30, 2010
format: cd
[album rate: 4 / 5] [3,84]
producer: Kent, Stefan Boman; Joshua [aka Jon Schumann]
label: RCA / Sony Music - nationality: Sweden

Track highlights: 1. "Glasäpplen" - 2. "Ismael" - 3. "Skisser för sommaren" (5 / 5) - 4. "Ärlighet Respekt Kärlek" - 5. "Varje gång du möter min blick" (5 / 5) - 8. "Gamla Ullevi" - 10. "Passagerare" (4 / 5)

9th studio album by Kent, who has found new producer Stefan Boman but also found room for Danish producer Jon Schumann, who is credited for production on tracks #2, 3 and 5. Most people thought they wouldn't come up with any new material within a couple of years - it had become their trademark of a working speed to spent two to three years getting things ready, and then it's the first time the band releases new material in only 7 months! Yes, it was a rather difficult attempt to follow Röd with another album release.
I think they succeed quite Okay, though. It's not way up there but it's neither bad nor poor by any standards. It's only slightly less fantastic by Kent standards. The album has a much more happy tone, which suits the bands just as fine because they really do know how to make pop / rock with sing-along choruses - tunes that make you wanna turn up the volume and just move with the flow even when you ride the car to pick up kids at school, and as they enter the car, they don’t even ask you to turn the music down, as they would if you had been listening to Pixies or Mew or whatever else I expose them to. They like it too 'cause it’s simply great music and kids can tell, or: my kids have good taste... Then of course the album contains ballads - and ballads with the voice of Joakim Berg are not ordinary ballads 'cause they make you consider stopping the car and have you looking for tissues - damn it’s so good! Another typical thing with any Kent album is that it varies what track you love. At the beginning I fell for the first two songs “Glasäpplen” and “Ismael”. THEN those were overtaken by the fantabulous “Skisser för sommaren”, which is sooooooo cool, and yet another great song, "Gamla Ullevi" - 'Jag tänker på dig - Jag tänker på dig - Jag tänker på dig ibland'... I will probably hate the songs after hearing them 10.000 times but not before that, and I still have a few times left on that account. One of the marvellous ballads on the album is “Varje gång du möter min blick”, which really holds the standard and touches me like their (maybe) best ballad ever,“Det finns inga ord” from Röd.
[ allmusic.com 3,5 / 5 stars ]

<  show lyrics >

~ ~ ~

"Ärlighet Respekt Kärlek"

"Jag visste var du varit
var du en gång kom ifrån
Och en gång var din historia också min

Som musik man bara hör
när man kan tala samma språk
När man delar alla hemligheter
Stora som små

Och jag stal något du ändå ville ge mig
Försökte älska det jag tog
Men ärligheten, respekten, kärleken bara dog

Och jag stal något du var beredd att ge mig
Du förlät mig, jag kunde inte se dig
i ögonen, förlåt älskling
jag gör det snart igen

Jag vet var du tar vägen
när du är ensam i din säng
Och vi återvänder om och om igen

Som en bok man bara skriver
när man har slösat varje ord
Om meningslösa självklarheter, meningslösa, meningslösa

Jag stal något du ändå ville ge mig
Försökte älska det jag tog
Men ärligheten, respekten, kärleken bara dog

Och jag stal något du var beredd att ge mig
Du förlät mig, jag kunde inte se dig
i ögonen, förlåt älskling
jag gör det snart igen

Och jag stal något du ändå ville ge mig
Försökte älska det jag tog
Men ärligheten, respekten, kärleken bara dog

Och jag stal något du var beredd att ge mig
Du förlät mig, jag kunde inte se dig
i ögonen, förlåt älskling
jag gör det snart igen"

~ ~ ~

"Varje gång du möter min blick"

"För första gången på nära håll
stod vi som frusna mot varandra
Och mina händer rörde aldrig din hud
men jag vet att du kände

Som en elektrisk chock genom skelettet
Lätta fingrar genom tyget på de kläder du valde
för någon annans skull

Och varje gång du möter min blick
blir min värld en aning större
Varje gång du möter min blick
hör jag ditt hjärta ge mig blod

Varje gång du möter min blick
går en störning genom ljuset
Varje gång du möter min blick
så vet jag vem jag är

För sista gången på nära håll
står vi som frusna mot varandra
Och våra händer möts affärsmässigt snabbt
som i förvåning

Över en elektrisk chock genom skelettet
Som slog sönder våra liv till ett fullständigt normalt
tillstånd där allt är trasigt

Varje gång du möter min blick
går en störning genom ljuset
Varje gång du möter min blick
Så vet jag vem jag är

Varje gång du möter min blick
blir min värld en aning större
Varje gång du möter min blick
hör jag ditt hjärta ge mig blod

Varje gång du möter min blick
går en störning genom ljuset
Varje gång du möter min blick
så vet jag vem jag var"

~ ~ ~

The Cure "The Cure" (2004)

The Cure
release date: Jun. 29, 2004
format: cd
[album rate: 3 / 5]
producer: Ross Robinson, Robert Smith
label: I Am - nationality: England, UK

Track highlights: 3. "Before Three" (3,5 / 5) - 4. "The End of the World" (4 / 5) (live)

12th studio album by The Cure - for the first time releasing on a new label, a small label licensed through Geffen Records. Again, it took the "usual" four years to release a new album. It's the band's first album in 25 years [!] not to be released on Fiction Records, and the band / Smith has found together with an American producer who has been known for his work with hard rock death rock and metal bands, which explains the much harder and heavier sound. Despite the improvement from the previous four releases and the effort to seek out new ways of expressing themselves, I don't think it's all that great. The international music scene has seen 'post-punk revival' bands from both the American as well as the European continent, and The Cure jumps that train with the excuse to have returned to their post-punk roots. I just find the band has only little to contribute with. The songs, the melodies, the originality, it's really not there except from on two or three songs, which doesn't make it a great album. Following the album release Roger O'Donnell and Perry Bamonte was fired from the band in 2005.
[ allmusic.com 3 / 5, NME, Rolling Stone 4 / 5 stars ]

The The "Naked Self" (2000)

Naked Self
release date: Feb. 29, 2000
format: cd (LTD.)
[album rate: 3,5 / 5] [3,68]
producer: Matt Johnson & Bruce Lampcov
label: Nothing Records - nationality: England, UK

Track highlights: 1. "Boiling Point" - 2. "Shrunken Man" - 3. "The Whisperers" (live) - 5. "Global Eyes" (live) - 6. "December Sunlight" - 7. "Swine Fever" - 9. "Weather Belle" - 10. "Voidy Numbness" - 11. "Phantom Walls"

6th studio album release by The The stylised as NakedSelf follows five full years after Hanky Panky, which for many stands as a bit of the odd one out by being entirely dedicated to Hank Williams covers for which Matt Johnson selected a handful of session musicians instead of working with the established backing band.
NakedSelf is quite naturally a much awaited album and he's back with the old formula working alone, handpicking people to work with, and he's back with twelve new compositions. I purchased the album without giving it a single listen, and I must admit that I'm not certain to have made the same decision having given it an ear test first. I never played this one that many times - for many years I tried, though, but it just never caught me. Also, I've always been a bit bewildered about how to label it in terms of style and genre, which of course isn't important at all. Undoubtedly, it will go as experimental, and art rock, but pop / rock? Most evidently, no! Out of 12 tracks only 2-3 felt like worth the lot, and I soon regreted my purchase. Now, that was my thoughts back in 2000 and for the first decade or so, but after having returned to it in recent years, I really don't find it all that bad after all. My initial verdict would most likely have been 2,5 / 5, max, but nowadays, I'm sure it's 3,5 / 5, and even above that, a rather solid album. Some of the tracks have a Radiohead tone whereas others seem to belong to a different dimension, where Johnson explores his own influences but perhaps most apparently: expands his own soundscape by revisiting some of the sources to his first solo album Burning Blue Soul (1981) with its will to experiment and to explore what should become known as neo-psychedelic.
NakedSelf isn't a bad album, it may not provide us with great pop songs of the like one will find on his previous releases, although, three to four come close. At bottom line, it's much more introspective and basically an album for the keen listener.
Following this, Matt Johnson appears to have withdrawn from the public eye. People may think he left the business but he has continued to compose and write music, only more exclusively as soundtrack composer, and primarily for younger brother Gerard Johnson films, the first being the short Mug (2004), followed by full-length films: Tony (2009) and Hyena (2014) - also for the documentary Moonbug (2010) by Nichola Bruce, all of which have been released as soundtracks via the Matt Johnson founded label and podcast host Radio Cinéola. And speaking of brothers, in 2016 Matt's brother Andrew, known as Andy Dog, the artist behind several covers by The The, died from a brain tumor. Allegedly, the loss of brother Eugene in '99 was one of the reasons to why Matt Johnson felt trapped and ultimately stepped out of the music business - now it appears another brother's untimely death could be one of the reasons to why Johnson may be getting a band back together to perform the back catalogue of The The.
[ allmusic.com, Rolling Stone 3 / 5, 👍NME 3,5 / 5, 👉Pitchfork 7,1 / 10 stars ]

Danny Brown "Atrocity Exhibition" (2016)

Atrocity Exhibition
release date: Sep. 30, 2016
format: cd
[album rate: 3,5 / 5] [3,32]
producer: Paul White
label: Warp Records - nationality: USA

Track highlights: 1. "Downward Spiral" - 2. "Tell Me What I Don't Know" - 3. "Rolling Stone" (feat. Petite Noir) - 4. "Really Doe" (feat. Kendrick Lamar, Ab-Soul & Earl Sweatshirt) - 6. "Ain't It Funny" - 7. "Goldust" - 9. "Pneumonia" - 12. "When It Rain"

5th (?) studio album by Danny Brown and his first on electronic-associated label Warp Records shows a new style of abstract hip hop and industrial hip hop from Danny Brown. There's a touch of (Madvillain) experimental hip hop that makes this a special experience. The lyrics may be obscure but the music really constitute a whole. Strangely, the title is taken from a track by British post-punk band Joy Division - a sample may be heard on "Goldust", and the inclusion of post-punk references and a clear industrial style on top really makes this a strong release far from the mainstream r&b outings of contemporary hip hop and the likes of Kendrick Lamar, Kanye West, and Drake. This is experimental and music with distinction that draws on Madvillain, Outkast, Wu-Tang Clan, and... Joy Division [!]...
[ allmusic.com 4,5 / 5, The Guardian 5 / 5, Mojo, Q Magazine, Rolling Stone 4 / 5 stars ]

C.V. Jørgensen "Indian Summer" (1988)

Indian Summer

release date: Aug. 11, 1988

format: cd (462483 2)

[album rate: 4 / 5] [3,98]

producer: C.V. Jørgensen

label: CBS Records - nationality: Denmark

Track highlights: 1. "Livet er lykken" - 3. "Alle mine bagmænd" (4 / 5) - 4. "Natmænd i modlys" - 5. "Det regner i mit hjerte" (5 / 5) (live) - 6. "Lokomotivation" - 7. "Babylon" - 9. "Indian Summer"

9th studio album by C.V. Jørgensen was released more than three years following Vennerne & vejen (May 1985) and for the first time it's with C.V. himself in the producer seat. Of course he also released the live album Lige lovlig live in '86, but this is the first time this long time pass in between his studio releases. The album feature the usual lineup with Lars Hybel on guitar and bass, Nils Henriksen also on guitar, bass and keyboards, Pete Repete on keyboards, and with Gert Smedegård on drums. In addition, Jacob Andersen is recurring percussionist on three tracks, and Nanna Lüders also participates on backing vocals. More interestingly, Lars Hybel is credited as a co-composer on four of the album's nine tracks (tracks #1, #7, #8, and #9).

Musically, it's once again a new expression without exactly speaking of a definite change of style, because it's more or less tried and tested territory for C.V. Jørgensen. The music has become more subdued and in places it may sound a bit like a return to the more jazzy style you'll find on the breakthrough Storbyens små oaser (1977). However, there are still room for songs cut more as on Vennerne & vejen without touching on repetition 'cause something darker has crept in on all compositions. In general, the songs are more simple in expression - as cut to the bone. The biggest change is probably found in the lyrics, which predominantly reflect a positive outlook on life, but which have acquired a clearer lyrical quality, where C.V. focuses on moods and often avoids linear pieces in his narration. At the same time he makes use of a language heavily loaded with symbols. And speaking of 'positive', that doesn't necessarily mean happy as a clam mood because, although he expresses a positiv stand, his lyrics are also about spirituality, and about life and death.

The title track is with reference to the rhythm of life, and if you to that consider that the artist's mother died during the making of the album, the title song takes on a very special meaning. The band Sort Sol made a strong cover of this song, which was issued as a single Dec. '89 (also featured on the band's 1992 compilation album Fog Things), and for which C.V. thanks on the successor I det muntre hjørne (1990) on the song "Tak for sangen".

Indian Summer is another strong outing from a standout in Danish music, and it points quite nicely onwards to C.V.'s following album, which otherwise may be experienced as a completely different outing. The front cover is, much to the usual, credited Annemarie Albrectsen.

Strong recommendation.

a-ha "Foot of the Mountain" (2009)

Foot of the Mountain
release date: Jun. 19, 2009
format: cd
[album rate: 3,5 / 5] [3,36]

Track highlights: 1. "The Bandstand" - 4. "Foot of The Mountain" - 6. "Shadowside"

10th studio album release by a-ha. I came across it by chance, and despite the fact that I never really liked the band, this isn't bad. Actually, I think this is clearly their best album ever. Here, they show how technically good musicians they are. The style is still synth-pop but not at all like their releases in the 80s. It's a contemporary multi-layered sound, and it's less blue-eyed pop.

Lisa Ekdahl "Pärlor av glas" (2006)

Pärlor av glas
release date: Jan. 18, 2006
format: cd
[album rate: 4 / 5] [3,76]
producer: Lars Winnerbäck
label: RCA / Sony BMG - nationality: Sweden

Track highlights: 1. "Vraket" - 2. "Där ser du själv hur högt du når" - 4. "Hjärtat var rispat" - 6. "Ljudlöst och salt" - 7. "Ljug för mig älskling" - 8. "Kan någon själ begripa" - 10. "Korsförhör mig" - 11. "I badet"

6th studio album by Lisa Ekdahl sees her continuing at what she's best at, releasing her most uptempo folk rock album, and that really suits her nicely. It's almost like her American country folk album which also makes me think of Joni Mitchell. In my mind, this is her second best ever studio album, and I can only recommend it alongside her mighty debut from '94.
Recommended.

Sharon Van Etten "Tramp" (2012)

Tramp
release date: Feb. 7, 2012
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Aaron B. Dessner
label: Jagjaguwar - nationality: USA

Track highlights: 1. "Warsaw" - 2. "Give Out" (live on KEXP) - 3. "Serpents" - 4. "Kevin's" - 5. "Leonard" - 7. "All I Can" - 9. "Magic Chords"

3rd studio album by Sharon Van Etten is a continued indie pop and singer / songwriter release which balances somewhere between slow and subtle ballads and a turn towards more aggressive / electrified indie rock with reminiscences of garage rock. Without a clear cut of two halves, the first part of the album is primarily the most electrified with the second half reflecting stronger bonds to her 2010 album, Epic.
The album may be without obvious single hits but turns out as a fine and coherent release, and Van Etten's mournful singing makes me think of Cat Power but also makes me think of Van Etten as the American PJ Harvey.
The album is a fine grower once you allow yourself to let it flourish.
[ allmusic.com 3,5 / 5, NME 4,5 / 5, Q, Rolling Stone, Spin, Mojo 4 / 5 stars ]

David Lindley "El Rayo-X" (1981)

El Rayo-X

release date: Apr. 1981

format: vinyl / cd (reissue)

[album rate: 4 / 5] [4,04]

producer: Jackson Browne and Greg Ladanyi

label: Asylum / Elektra - nationality: USA

Track highlights: A) 1. "She Took Off My Romeos" (4 / 5) - 2. "Bye Bye Love" - 3. "Mercury Blues" (4 / 5) (live 1981) - 4. "Quarter of a Man" - 5. "Ain't No Way" - 6. "Twist and Shout" (live 1988) - B) 1. "El Rayo-X" (4 / 5) - 3. "Don't Look Back" - 5. "Tu-ber-cu-Lucas and the Sinus Blues" - 6. "Pay the Man"

Studio album debut by David Perry Lindley is a late but also much anticipated release. Lindley was co-founder of 1960s psychedelic folk band Kaleidoscope and later became renowned for his skills as multi-instrumentalist on all types of strings. He was an acclaimed studio musician and worked for and with artists like Jackson Browne, Crosby & Nash, Linda Ronstadt, James Taylor, Rod Stewart, Dolly Parton, and Ry Cooder before finally making music under his own name.

Stylistically, the album feels timeless with influence from various styles and genres. Only the title track and the closer "Pay the Man" are credited Lindley but really, all songs here are re-arranged according to Lindley's taste, and the result is a highly original coherent whole serving to document what a musical wizzard Lindley is.

This is absolutely and highly recommended.

[ allmusic.com 4,5 / 5 stars ]