Young Marble Giants "Colossal Youth" (1980)

Colossal Youth [debut]

release date: Feb. 1980

format: cd (1994 reissue)

[album rate: 4 / 5] [3,88]

producer: Dave Anderson, Young Marble Giants

label: Les Disques du Crépuscule - nationality: Wales, UK

Track highlights: 1. "Searching for Mr. Right" - 2. "Include Me Out" - 4. "Eating Noddemix" (4 / 5) - 6. "N.I.T.A." - 8. "Music for Evenings" - 12. "Salad Days" - 13. "Credit in the Straight World" - *18. "The Clock"

*Bonus track on '94 reissue taken from Testcard E.P. (ep) (1981)

Studio debut and only album by Walesian post-punk trio, Young Marble Giants, originally released on Rough Trade Records. The band was founded by the Moxham brothers, bassist Philip and primary songwriter, composer, and guitarist, Stuart, together with vocalist Alison Statton. In the course of band's early lifetime also keyboardist Peter Joyce took part in the formation, but here they have been reduced to a trio, where Stuart is also credited organ.

Style-wise, this is something quite orginal at a time when punk rock was still alive and new styles emerged on the music scene while no one understood new potentials in indie pop and jazz pop, but Young Marble Giants were pioneers. Unfortunately, they dissolved as early as 1981 after which Stuart amd Philip Moxham continued briefly as another remarkable act called The Gist - a single album, Embrace the Herd made almost single-handedly by Stuart was released in '82.

Colossal Youth is truly an album to know of.

[ allmusic.com, Blender 4,5 / 5, The Guardian, Uncut 5 / 5, Pitchfork 9,3 / 10, Rolling Stone, Spin 4 / 5 stars ]

Martha Wainwright "Sans fusils, ni souliers, à Paris..." (2009)

Sans fusils, ni souliers, à Paris... (live)
release date: Nov. 24, 2009
format: digital
[album rate: 3 / 5] [3,18]
producer: Hal Willner
label: V2 - nationality: Canada

Track highlights: 1. "La foule" - 4. "L'accordéoniste"

3rd album by Martha Wainwrigth, where the full title is Sans fusils, ni souliers, à Paris: Martha Wainwright's Piaf Record following the acclaimed I Know You're Married but I've Got Feelings Too (May 2008). The album is not the expected new studio album. Instead, it's the live recordings of three concerts from mid-June 2009 at Dixon Place Theatre, New York, thus not what the title could imply recorded in Paris, France. The album title is with reference to the lyrics of "Les Grognards". All songs are Wainwright covers of familiar Edith Piaf songs and it's basically a tribute album.

It's indisputable that Wainwright is a most talented vocalist with a large repertoire and register, and as a French-Canadian she may possess a natural bond with French culture and traditions, and although she is highly capable as a singer, I just don't think she is up to the task particularly convincing on this arena. Wainwright is known for mastering contrasts between the emotionally vulnerable and the more expressively devilish, and yet here her voice seems to lack an emotional attuned dimension that you find in Piaf's versions, but also in songs performed by Mireille Mathieu, who have given most of these songs a different and personal quality.

It's not an unambiguously bad album, where Wainwright misses the mark - it's only more so that others have done it better.

[ Sunday Tribune 3 / 5, The Times, The Guardian 4 / 5 stars ]

Nena "Oldschool" (2015)

Oldschool

release date: Feb. 27, 2015

format: cd (Deluxe Edition)

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

producer: Samy Deluxe (aka Samy Sorge)

label: Laugh + Peas - nationality: Germany

Track highlights: 1. "Oldschool" - 2. "Lieder von früher" - 3. "Genau jetzt" - 4. "Ja das wars" - 7. "Berufsjugendlich" - 8. "Sonnemond" - 11. "Magie" - 12. "Kreis" - 14. "Peter Pan"

12th studio album by Nena following a little more than two years after Du bist gut (Nov. 2012). The standard issue contains 13 tracks with a running time of 43 minutes, whereas the Deluxe Edition comes with an additional four songs - not collected at the end but scattered here and there all over the album, and it comes with a total running time at approx. 58 minutes.

Stylewise, the album is a bit of a turn to more electronically-based compositions and at the same time with a fresh incorporation of elements from songs of Neue Deutche Welle of the 1980s without sounding 'oldschool'. The title obviously both refers to the lyrical content as well as the new take on older styles. Surprisingly, the album comes with several great songs, the whole album being a fine uptempo diverse collection, and in general, this is actually turns out as one of Nenas all-time best studio albums!

Recommended.

Sharon Van Etten "Are We There" (2014)

Are We There
release date: May 26, 2014
format: cd
[album rate: 4 / 5] [4,04]
producer: Sharon Van Etten, Stewart Lerman
label: Jagjaguwar - nationality: USA

Track highlights: 1. "Afraid of Nothing" (live) - 2. "Taking Chances" (4,5 / 5) - 3. "Your Love Is Killing Me" - 4. "Our Love" - 5. "Tarifa" - 6. "I Love You But I'm Lost" (live) - 8. "Break Me" - 11. "Every Time the Sun Comes Up"

4th studio album [not counting her 4-5 non-label and self-released albums and mini-albums as CD-R handouts] by Sharon Van Etten released on the independent label Jagjaguwar.
Stylistically, Van Etten embraces the huge singer / songwriter pool of indie pop and indie folk with equal bits of alt. country and alt. rock.
The album was met by almost universal acclaim, and was Van Etten's commercial breakthrough album peaking at position #25 on the Billboard 200 and as high as #6 on the Top Alternative Albums chart list in the US, and the album was enlisted on allmusic.com's list of "Favorite Indie Pop and Indie Rock Albums" alongside acclaimed artists like Lykke Li, Fear of Men, Future Islands, Little Dragon, Owen Pallett, Swans, and St. Vincent.
The album has really grown on me over the past 3-4 years, and I must confess to have re-discovered Van Etten a bit late as someone to pay attention to, and Are We There was also my first encounter with her music. At first I found her a bit colourless and anonymous, but it seems she has kicked in a door and invited me in 'cause all I hear now is truly fine musicianship. Her voice is quite original - somewhere between strong female artists like Patti Smith, Cat Power, PJ Harvey and Lana Del Rey. Her tonal singing voice contains the strong blatant explosiveness of Smith and Harvey but also the mellow-inner-felt melancholic alto of Power and Del Rey. Some have mentioned her as a female counterpart to Nick Cave. I don't consent to that comparison but understand what people imply with a "dark" lyrical universe, though I find the three former artists share more of the same characteristics. Some times I think more of the female Stuart Staples, but why the need to compare? Van Etten is great on her own terms. Just leave her time to find the door in. The album is easily her best album out and a natural contender to album of the year.
This is an extraordinary and highly recommended gem.
[ allmusic.com, Q, NME, Rolling Stone 4 / 5 stars ]

2014 Favourite releases: 1. Ukendt Kunstner Forbandede ungdom - 2. Kent Tigerdrottningen - 3. Sharon Van Etten Are We There

Bombino "Nomad" (2013)

Nomad

release date: Apr. 1, 2013

format: cd

[album rate: 3,5 / 5] [3,68]

producer: Dan Auerbach

label: Nonesuch - nationality: Niger

Track highlights: 1. "Amidinine (My Friend)" (4 / 5) (live - live - acoustic live) - 3. "Azamane Tiliade (The Era of Young Girls)" - 6. "Adinat (People)" - 7. "Her Tenere (In the Desert)" - 9. "Aman (Water)" - 11. "Tamiditine (My Darling)"

2nd international studio album by Omara 'Bombino' Moctar (aka Goumar Almoctar) following his 2011 album Agadez. 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. Bombino's playing style reflects his musical upbringing listening to cassettes with Jimi Hendrix and Mark Knopfler, reggae-influenced African contemporaries as well as the stylistic impressions from Tuareg guitarist Haja Bebe, who has been a musical teacher of his.

Nomad is a warm and beautiful mix of Western musical influence and a variety of African tradition - it's smooth and meandering and it comes with a solid flavour of the blues.

Soccer Mommy "Clean" (2018)

Clean [debut]

release date: Mar. 2, 2018

format: digital (10 x File, MP3)

[album rate: 3,5 / 5] [3,68]

producer: Gabe Wax

label: Fat Possum / bandcamp - nationality: USA

Track highlights: 1. "Still Clean" (acoustic live) - 2. "Cool" - 3. "Your Dog" (4 / 5) - 4. "Flaw" (live) - 6. "Last Girl" - 7. "Skin" - 8. "Scorpio Rising" - 10. "Wildflowers"

Studio album debut by Soccer Mommy aka Sophia Regina Allison who has written and composed all tracks on her first full-length after releasing material on cassette and CDr's only, and after gaining widespread recognition via her bandcamp-profile. Her ep debut For Young Hearts came out in 2016 and it was followed by Collection in 2017 - both of which seems to consist of songs from single issues and compositions made over a longer time-span and basically should be considered compilations, I guess.

Allison was born in Switzerland and moved to the US with her American parents as relatively young settling in Nashville, Tennessee, and her musical influences is said to comprise Natalia Imbruglia, Slowdive, Taylor Swift, and Avril Lavigne, which does make much sense when listening to Clean, although, I think there's an edgier side to Allison's compositions here that could point in the direction of Alanis Morrissette and / or other artists from the 90s college rock scene and then also echoing the spirit of Swedish The Radio Dept. and early Kent.

Admittedly, I have only caught up with this one after being introduced to her second album, the acclaimed Color Theory (Feb. 2020), which figures on many critics' year-end lists but to me didn't quite live up to the hype but it had me check this one out, and imo, Clean is a more refreshing album and it doesn't leave me with the same impression of tending towards being slightly overproduced. I find it a more satisfying experience listening to this her scraped down debut where the balance of uptempo / slow-burning melancholy and an ever-presence of lo-fi home-recording sensation is intact and that sound plays a vital part in producing something grounded, and say more genuine.

Highly recommended.

[ allmusic.com, NME, Independent 4 / 5, Pitchfork 8,4 / 10, Uncut 3,5 / 5, 👎Mojo, Q Magazine 3 / 5 stars ]

Papir "Papir" (2010)

Papir [debut]

release date: Dec. 1, 2010

format: digital (5 x File, FLAC)

[album rate: 3 / 5] [2,92]

producer: Troels Bech [masterered by]

label: self-released - nationality: Denmark

Tracklist: 1. "Kurl Te Pow Ralise" - 2. "Lykk Trep-R Hi-Losé" - 3. "Une Frensal N-Erit" - 4. "Rogter Sot Oe Koft"

Studio album debut by Danish space rock and prog rock trio Papir consisting of guitarist Nicklas Sørensen, bassist Christian Becher Clausen, and drummer Christoffer Brøchmann Christensen. The band was founded in Gladsaxe, Copenhagen around 2008. The album consists of four instrumental pieces, and it was originally released on vinyl by independent label Red Tape, and later made available as downloadable via the band's bandcamp profile. The album mentions no producer credits, but Troels Bech is credited mastering and the band is credited mixing.

Stylewise and musically, the band explores experimental progressive rock with bonds to 1970s krautrock and German prog rock band Can in particular.

The album is not an immediate favourite but it definitely isn't without talent. There's both something disturbing, something fascinating, and a great deal of originality to these four compositions.

Sten & Stanley "Får jag följa dig en bit på vägen" (1967) (single)

Får jag följa dig en bit på vägen, 7'' single

release date: 1967

format: vinyl (F77005)

[single rate: 2 / 5] [2,12]

producer: ?

label: Decca - nationality: Sweden

Tracklist: A) "Får jag följa dig en bit på vägen" - - B) "Kapten Kidd"

Single release by Swedish schlager and 'dansband' Sten & Stanley named after two of the founding members Sten Nilsson and Stanley Gransström. The two songs stem from two albums, the title song is taken from Röd var din mund, and the B-side is found on Sten & Stanley's australiska sångbok, both released in 1967.

This single was part of my parents' record collection, and it's a single I knew of at age 6-10 but never really enjoyed - probably because it's styled as schlager music.

~ ~ ~

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

The Divine Comedy "Victory for the Comic Muse" (2006)

Victory for the Comic Muse
release date: Jun. 19, 2006
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Nel Hannon
label: Parlophone Records - nationality: Northern Ireland, UK

Track highlights: 1. "To Die a Virgin" - 2. "Mother Dear" (live on Later) - 3. "Diva Lady" - 4. "A Lady of a Certain Age" (4 / 5) (live) - 5. "The Light of Day" - 7. "Party Fears Two" (4 / 5)

9th studio album by The Divine Comedy is very much like a part two to Absent Friends from 2004, and also much on par with that, making it a very fine release.
"Party Fears Two" is a great cover version of a (likewise great) new romantic track by The Associates from their debut album Sulk (1982), which Hannon nicely succeeds in transposing to his own chamber pop version [Associates original version].
[ allmusic.com 3,5 / 5 stars, The Guardian 4 / 5 ]

Sinéad O'Connor "Gospel Oak" (EP) (1997)

Gospel Oak, ep

release date: Jun. 3, 1997

format: cd

[album rate: 3 / 5] [2,92]

producer: John Reynolds

label: Chrysalis Records - nationality: Ireland

Tracklist: 1. "This Is to Mother You" - 2. "I Am Enough for Myself" - 3. "Petit Poulet" - 4. "4 My Love" - 5. "This Is a Rebel Song" - 6. "He Moved Through the Fair" (live)

EP release by Sinéad O'Connor following nearly 3 years after Universal Mother (Sep. 1994). O'Connor may have wanted the predecessor to add new dimensions to her public image but her engagement in various causes, her unmasked political position, and what may be seen as a confrontational nature didn't make the media focus on her music - it had become difficult not to refer to O'Connor's involvement in this or that, and her own willingness, you could say, to participate in TV shows and debates weren't doing her much good throughout the 90s. In early '96 O'Connor gave birth to a daughter, Brigidine Roisin, and nearly immediately O'Connor found herself engaged in a custody battle with the girl's father, Irish journalist John Waters. A process that first came to an end in '99. And once again, O'Connor's love life wasn't without major struggles. In fact, as of '99 it was reported that O'Connor had been hospitalised after attempting suicide.

The Gospel Oak ep thus comes out at a time of disarray and it continues much of the emotional angle she tuned in on with Universal Mother. There's something of a grounding sensation to it where she makes efforts in dwelling on what really matters. Many critics saw it as something more genuine than the predecessor and also with a strong revivalist tone to it. To me, that doesn't seep through, and I generally see it more like an epilogue to what she showed us with her '94 album. Thematically, I think these two releases are closely bonded with songs about motherhood, children, and about true love. Then, she also dedicates the album to "the people of Israel, Rwanda and Northern Ireland" and she has given the album a personalised Star of David containing an extra small dot / circle / star, or perhaps a fetus of sorts. This symbol first fronted the predecessor. I guess, she's really determined about her religious belief and just wants it to express her religious position as someone, who now shares faith with the jewish people and at the same time is someone who understands and respects the rastafari religion. Musically, this comes out as even more quiet and ambient-like than what she presented three years earlier but it has that same soothing sensation to it, as if really wanting to showcase the gentler embrasing and tolerant side. In any case, to me, it just becomes yet another naive expression to a mostly religious-driven mission that drives her music - through and through.

I find it difficult to evaluate this one properly. The thing is, I don't hear a lot of great songs that really appeal to me, and I think that's a good indicator to whether I enjoy something or not. What I do hear is O'Connor's mighty fine vocal singing about love and caring but throughout the album held on her Jewish-Christian-belief, which just soothes an over-the-top appraisal of some divine presence, which in the end makes this touching on unbearable to listen to. I know that's quite harsh, but ultimately, music always serves a purpose, and if one aspect becomes too dominant, then other intensions will be harder to hear and see, and therefore to salute. For my part, I really appreciate O'Connor's vocal but on this, the messaging becomes too apparent and detached from her role as the strong musician she rightfully is. Imo, the album is far from her two great first ones and it's just one of several that indicate what a troublesome life she leads. Unfortunately.

Gospel Oak is her final studio release on the Chrysalis mother label (most of her releases came out on Ensign but was distributed by Chrysalis), and they released the first compilation album So Far... The Best Of with O'Connor's music on Ensign / Chrysalis counting songs mostly taken from her two first studio albums but effectively from the first decade of her career.

The Gospel Oak ep is not one of her best releases and not recommended.

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

The Cranberries "Something Else" (2017)

Something Else
release date: Apr. 28, 2017
format: cd
[album rate: 3,5 / 5] [3,72]
producer: The Cranberries
label: BMG - nationality: Ireland

[ playlist of album songs ]

7th studio album, or: 7th official band release is a collection of ten previously released songs in acoustic versions recorded live at the University of Limerick, Ireland with the addition of three new songs (#2, 7 and 13). The album follows a series of live albums (8 albums in 2010 recorded at various European locations and another 2 live albums in 2012 also in Europe), and it presents some of the band's most popular compositions in acoustic / orchestral versions with the addition of the Irish Chamber Orchestra, which really distinguishes this from ordinary live albums.
The album was met by positive reviews and a following European live tour was scheduled, but during its initial stage in late May, the remaining dates were cancelled due to O'Riordan's health problems. Also the American tour was subsequently cancelled in July, and the band didn't get to do any further live performances that year. However, they managed to record O'Riordan's vocals for a forthcoming album when in Jan. 2018 it was announced that she had been found dead at London's Park Lane Hilton hotel. So in a way, this material feature the last official live recordings of The Cranberries and by Dolores O'Riordan, although, a successive and final album, In the End would be released in 2019.
As for track highlights, I find it too difficult a task to pick tracks at the expense of others 'cause there really are no fillers nor any mediocre tracks on an album that may require some familiarisation to these arrangements, but in the end, it's a truly fine result and a recommended album.
[ allmusic.com 4 / 5 stars ]

Beth Hart "37 Days" (2007)

37 Days
release date: Jul. 30, 2007
format: cd / cd (2008 reissue)
[album rate: 3,5 / 5] [3,62]
producer: Rune Westberg & The Beth Hart Band
label: Universal Music Group - nationality: USA

Track highlights: 1. "Good as It Gets" (live) - 4. "Over You" (4 / 5) - 5. "Sick" - 6. "Face Forward" - 9. "Easy" - 11. "Missing You"

4th studio album by Beth Hart released four years following Leave the Light On (2003) is exclusively issued in the EU and comes in various versions with a slightly differing tracklist. A 2008 and 2011 reissue contains an additional three bonus tracks both of which strangely have the fine "Over You" exchanged with "Beautiful Child".

Mogwai "The Hawk Is Howling" (2008)

The Hawk Is Howling

release date: Sep. 2008

format: digital (10 x File, MP3)

[album rate: 3 / 5] [3,22]

producer: Andy Miller

label: Wall Of Sound / [PIAS] Entertainment Group - nationality: Scotland, UK

Track highlights: 1. "I'm Jim Morrison, I'm Dead" - 2. "Batcat" - 3. "Danphe and the Brain" - 5. "The Sun Smells Too Loud" - 10. "The Precipice"

6th studio album by Mogwai following 2½ years after Mr. Beast (Mar. 2006) and 2 years after the two soundtrack albums Zidane: A 21st Century Portrait - a documentary for which Mogwai exclusively made the music score - and The Fountain - a fictional film by Darren Aronofsky with musical score composed by Clint Mansell and music written in collaboration with Mansell, Mogwai, and The Kronos Quartet.

The Hawk Is Howling comes with 10 brand new compositions and a total of 63 minutes of playing time that doesn't add much new to the band's discography - neither in terms of stylistic improvements, nor in adding great compositions to the band's vast tracklist. The track Batcat was chosen for ep release in a slightly alternate version together with two other compositions (released Sep. 2008) including one song with lyrics by Roky Erickson. It's as if they try to relaunch themselves by looking slightly too much in the rearview mirror. There are certainly elements from their first albums out with soft / hard, or slow / fast contrapositioning together with piano / electronic parts, and at the same time a few new albeit out-of context of the full experience we hear temptations of more traditionally 4-4 metric composed songs and something that could be inspired by say Sigur Rós, but everything just sounds too familiar. Perhaps they have been inspired or provoked by their experiences in making two soundtrack albums 'cause they throw in long bits of ambient-like harmonies, and also turn to noise rock metal but don't really succeed well in establishing a coherent whole - perhaps for the first time they really lack consistency. That said, the album still contains some really fine music and Mogwai never sound like anyone else.

Not recommended.

[ bandcamp ]

[ allmusic.com, The Guardian 4 / 5, PopMatters 3,5 / 5, 👍Q Magazine 3 / 5, Pitchfork 4,5 / 10 stars ]

Keld & The Donkeys "Det er så skønt" (1967)

Det er så skønt, 7'' single

release date: 1967

format: vinyl (X 9005)

[single rate: 2,5 / 5] [2,44]

producer: ?

label: HMV / EMI - nationality: Denmark

Tracklist: A) "Det er så skønt" - - B) "Hvorfor er alt nu forbi"

Single release by Keld & The Donkeys. The A-side is credited 'Ubert-Prod - Keld Heick' and it's a cover of a song by Ubert-Prod (alias for Swedish songwriter Ebbe Nilsson), and the song was originally released as a single by Swedish schlager / pop-group Sten & Stanley as Det är så skönt in 1966 - Sten & Stanley was a quintet consisting of the three brothers Nilsson: Sten, Ebbe, and Per together with Stanley Granström and Bo Carlén.

This single was part of my parents' record collection, and it's a single I knew of at age 6-10 but never really enjoyed - probably because it's styled as schlager music.

~ ~ ~

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

The Raveonettes "In and Out of Control" (2009)

In and Out of Control

release date: Oct. 6, 2009

format: digital (11 x File, FLAC)

[album rate: 4 / 5] [3,84]

producer: Thomas Troelsen & The Raveonettes

label: Fierce Panda - nationality: Denmark

Track highlights: 1. "Bang!" - 2."Gone Forever" - 3. "Last Dance" - 4. "Boys Who Rape (Should All Be Destroyed)" - 5. "Heart of Stone" - 7. "Suicide" - 9. "Breaking Into Cars" - 10. "Break Up Girls!" - 11. "Wine"

4th studio album by The Raveonettes following two years after Lust Lust Lust (Nov. 2007) has been made with hot producer Thomas Troelsen. Songwriter Sune Wagner released an acclaimed solo album debut with a bunch of songs written in Danish in his own name in 2008. Much to the usual formula this new album here consists of eleven tracks that doesn't challenge the total album length - even for vinyl releases. Here, the songs come to an end after 37 mins.

Now with Troelsen as co-producer of the album and as co-composer of 7 songs his presence is noticed on the overall sound, making this the band's most pop-founded album to date. Skillfully, Wagner and Foo still maintain their trademarks holding Troelsen on a tight leash, which secures a noticeable change to a modernised 60s sound, or a shift towards a contemporary pop / rock-style with enough influence from 60s surf rock to make it a certified product by Sharin Foo / Sune Wagner. In addition, Foo and Wagner fronts the cover in a b/w photo but for the first time without assimilating a style of the 1950s or 60s.

Stylewise, there's the usual garage rock revival and surf rock vibe runing through the whole album but it's done with a new twist leaning on modern pop-productions, and it works quite nicely. The album starts off with five fine songs that put this on a new high and although the whole affair fades somewhat in the second half, the album still stands as the duo's so far best.

Recommended.

[ allmusic.com, PopMatters 3,5 / 5, Pitchfork 6,9 / 10, The Guardian, Alternative Press 4 / 5 stars ]

I Break Horses "Chiaroscuro" (2014)

Chiaroscuro

release date: Jan. 21, 2014

format: digital

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

producer: Maria Lindén

label: Bella Union - nationality: Sweden

Track highlights: 1. "You Burn" - 2. "Faith" - 3. "Ascension" - 4. "Denial" - 7. "Disclosure"

2nd studio album by Swedish duo I Break Horses following the 2011 debut album Hearts consists of 9 cuts with a total running length of just under 46 minutes.

Maria Lindén is the band's multi-instrumentalist, who has also composed the music, while the lyrics have been created in collaboration with percussionist Fredrik Balck.

Chiaroscuro is a markedly different from Hearts, which largely departed from a familiar scene crowded by bands such as My Bloody Valentine and Jesus and Mary Chain, and which was an album you would be tempted to label as shoegaze revival. Compared to that, this new album sounds as the music from a completely different artist. Here, the duo steps into the keyboard universe of electropop filled with keyboards, synthesizers, sequencers, drum programming, and various software programs as elementary instruments. In this way, the guitar has stepped much into the background or is completely out of a soundscape, which is far from a copy, but in terms of style nevertheless builds on music that reminds of The Knife, Crystal Castles, Cocteau Twins, and Beach House (another Bella Union band). If you enjoyed the band's grinding 90s sound, you will probably be disappointed or think that it's completely different people behind the music here, but just as the debut was Lindén and Balck, Chiaroscuro is made by the same duo, and it also proves how inspiration is a thing you collect from various places.

It's both a happy-go-lucky pop atmosphere, certified dance beats, and gloomy timbres without losing a sense of coherence. It's a fine and artistically challenging album that may not be called the best of the year, but Chiaroscuro garnered international praise and is quite an exciting and original follow-up to Hearts.

[ allmusic.com, Drowned in Sound 4 / 5, PopMatters, Uncut 3,5 / 5, Gaffa.dk 5 / 6 stars ]

Grant McLennan "In Your Bright Ray" (1997)

In Your Bright Ray

release date: Jul. 1997

format: cd

[album rate: 4 / 5] [3,86]

producer: Wayne Connolly

label: Cortex - nationality: Australia

Track highlights: 1. "In Your Bright Ray" (4 / 5) - 2. "Cave In" - 3. "One Plus One" - 5. "Malibu 69" - 6. "Who Said Love Was Dead" - 8. "All Them Pretty Angels" (4 / 5) - 10. "Down Here" - 11. "Lamp by Lamp" - 12. "Do You See the Lights?" - 13. "The Parade of Shadows"

4th and final studio album by Grant McLennan following three years after the double album Horsebreaker Star (Dec. 1994) - in between these two albums he shortly returned to the duo-project Jack Snow together with The Church frontman Steve Kilbey and assisted by drummer Tim Powless (also The Church) and together they released the loose follow-up album Snow Job in '95 after which they shelved the project. Prior to the recordings of this album (Dec. '96), McLennan found his way back to performing with Robert Forster but plans about reforming their old band were still in the melting pot as Forster and Karin Baümler were about to become parents and McLennan was busy touring with his new album and writing new music for his new band, Far Out Corporation.

In Your Bright Ray is McLennan when he shines the brightest. The album contains 13 songs all by McLennan with a total running time right on 50 minutes, and it's recorded with Australian producer and multi-instrumentalist Wayne Connolly (from The Whipper Snappers - he also produced for Underground Lovers and Died Pretty) and drummer Tim Powless (from The Church and Jack Frost) together with guitarist Brett Myers (from Died Pretty) and bassist Maurice Argiro (from Underground Lovers).

Musically, this is probably McLennan's cleanest rock-album - with a sheer amount of jangle pop. Imho, this is easily McLennan's best solo album. Where the predecessor was his boldest singer / songwriter album this is something as unusual from this gifted bard as a lush and bright pop / rock album and primarily a collection of uptempo songs where McLennan shows his worth as one of Australia's best songwriters ever. It documents what Robert Forster meant, when he described Grant as ahead of him. Forster claimed that where he had to work hard to write his stuff and to come up with a good song - for Grant, it just came naturally - like opening a hose.

Highly recommended.

[ allmusic.com 4 / 5, Gaffa.dk 5 / 6 stars ]

Sinéad O'Connor "Universal Mother" (1994)

Universal Mother

release date: Sep. 12, 1994

format: cd

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

producer: Sinéad O'Connor, John Reynolds, Tim Simenon, Phil Coulter

label: Ensign - nationality: Ireland

Track highlights: 2. "Fire on Babylon" - 3. "John, I Love You" - 4. "My Darling Child" - 6. "Red Football" - 7. "All Apologies" - 10. "All Babies" - 14. "Thank You for Hearing Me"

4th studio album by Sinéad O'Connor following two years after the covers album Am I Not Your Girl? (Sep. 1992). The album counts 14 tracks of which O'Connor is credited as producer of twelve. John Reynolds is the second main co-producer and he's credited on ten tracks. Phil Coulter is credited as co-producer on seven, and Tim Simenon on three tracks. Track #5 (a 20 seconds recording of Jake) is credited then six-year-old Jake Reynolds (son of O'Connor and John Reynolds), and the first track is un-credited being an excerpt of a recorded speech by Germaine Greer. Before this O'Connor made the featuring song "You Made Me the Thief of Your Heart" for the '93 film "In the Name of the Father" by Jim Sheridan and starring Daniel Day-Lewis. The song was released as a standalone single in early '94 and it remains one of O'Connor's best charting songs reaching number #4 on the singles chart list in Ireland.

The album falls more directly into a sequence from the 1990-album with the actual '92-predecessor as more of a side-step - a project-release of sorts. Universal Mother once again showcases O'Connor's personal life in writings. She apparently puts everything into lyrics and into songs - she has openly admitted that her music has been therapy for her, and it's quite obvious that she has chosen to use her own lived life as source to her lyrics. Stylistically, there are huge differences between these three albums, and the progress is near extreme. The debut was unpolished, raw, and full of energy, and it was proof of an upcoming mega-star. The gigantic follow-up was held in mainstream pop / rock-territory -embrasing both uptempo bangers and heartfelt ballads but held together in majestic arrangements, and it already showed a huge artistic leap presenting a much more mature side to her talent. To that, Universal Mother extends the musical scope by being more of a quiet, simple, and introvert outing. Of all of her albums so far, this is her most obvious not mainstream-dedicated release - as if stating: this is my personal album - this is for me, my family, and for my son (alone), and it's almost like an album delivered from a seasoned artist, who has delivered so much over the years and now choose to concentrate on what first and foremost really matters in her life. And effectively, it's only been seven years since her debut!

It's no secret that O'Connor has found much inspiration in reggae and in the Rastafari culture - this has been apparent on B-side tracks and ouutakes from her second album, and she has often cited the Bob Marley-popularised song "War" as an anti-war / anti-racism declaration of sorts when performing live.

I didn't pay much attention to Universal Mother when it arrived. I had grown tired from O'Connor's mainstream pop / rock, as well as seing her on par with e.g. Sting, Bono, and other prominent celebrities acting as victims, eager to show their stand with the surpressed wherever they were fighting their own causes against injustice or inequality. Their mutual message and position was by no means wrong, it's just that their obvious personal wealth somehow made it easy to reject them as geniune representatives.

The album isn't a bad one. It's full of sincerity and some downright great songs but it's also obvious that O'Connor has chosen a new strategy in her artistic journey. There's no longer a naive desire to reach out to as many as possible by shouting loud and energetic. Instead, it's more of a personal diary containing reflections on life as a mother, life in the media mill, her own role with relationships, and a life with as well as alongside religion. There are strip-naked songs about her personal love affairs: some directed at John Reynolds as an ex-husband, the father of their son, a poorly-hidden message to one-night stand Peter Gabriel (track #14), the strong hommage to Kurt Cobain, and interspersed: songs of love and protection to her son, Jake. It's an album filled with hope and despair and ultimately, it also reveals her position as a most fragile individual. It's crammed up with emotion and tension, and it appears like she comes better through with her messages when holding back on the fire, which so obviously burns within.

I think, the album has matured rather well over the years, and when looking back on her life, and apart from her first two great albums, this is one of her more solid releases of her entire career. Personally, and in all of O'Connor's discography, I rank the album as her seventh best overall.

Recommended and definitely worth checking out.

O'Connor is herself credited the front cover painting.

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

Laura Marling "Short Movie" (2015)

Short Movie

release date: Mar. 23, 2015

format: digital (13 x File, FLAC)

[album rate: 4 / 5] [3,84]

producer: Laura Marling, Matt Ingram, Dan Cox

label: Virgin - nationality: England, UK

Track highlights: 1. "Warrior" - 2. "False Hope" (live) - 3. "I Feel Your Love" - 5. "Strange" - 6. "Don't Let Me Bring You Down" - 7. "Easy" - 8. "Gurdjieff's Daughter" (studio session) - 9. "Divine" - 12. "Short Movie"

5th studio album by Laura Marling follows two years after Once I Was an Eagle (May 2013), and it marks a strong stylistic turn. It's not that Marling has made an album in an entirely different genre or style, but the album may come as a bit of a surprise to those familiar with her most recent albums from 2011 and 2013 with focus on light and subtle instrumentation. Short Movie sees Marling embarking on a more outward and more electrified side of indie folk. There's still room for quiet and introspective songs but also a counter-balanced aggressiveness, which actually suits her singing voice and her other songs in a refreshing way. Not to compare with other artists, but some songs had me thinking of an energy I find in Martha Wainwright and also in PJ Harvey - again without comparing 'cause Marling makes all songs here sound exactly as her own, which they are, but she comes out as a more multi-facetted artist in the most positive way. Once again, Marling proves her worth as a songwriter and as vocalist and this new album, is my new preferred Laura Marling album.

Highly recommended.

[ allmusic.com, Rolling Stone 3,5 / 5, Pitchfork 7,4 / 10, The Guardian, NME, Spin, Exclaim! 4 / 5 Stars ]

Eddie Skoller "En enkel sang om frihed" (1970) (single)

En enkel sang om frihed, 7'' single

release date: 1970

format: vinyl

[album rate: 3 / 5] [2,76]

producer: John Friis

label: Philips - nationality: Denmark

Tracklist: A) "En enkel sang om frihed" - - B) "Den grå dame" (live in 2006)

Single release by Danish folk pop and entertainer Eddie Skoller (aka Edward Ralf Skoller) from his early career as folk troubadour and singer / songwriter shortly before breaking as musical and comic entertainer. The title track is a song by Bobby Darin titled "Simple Song of Freedom", not issued by Darin until '71, and here with (more or less directly translated) Danish lyrics by Skoller.

This single was part of my parents' record collection, and it's a single I knew of at age 6-10 but never really enjoyed - probably because it's touching on schlager music.

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