Latin Quarter "Mick and Caroline" (1987)

Mick and Caroline

release date: Jan. 1987

format: vinyl (208 142) / digital (2009 reissue)

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

producer: Jason Coraro

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

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

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 Since the predecessor keyboardist Steve Jeffries and drummer Richard Stevens respectively, have been replaced by Martin Lascalles and Darren Abraham.

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

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

[ allmusic.com 4 / 5 stars ]

<  show lyrics >

~ ~ ~
"Nomzamo"

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

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

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

~ ~ ~

Gangway "Whatever It Is" (2019)

Whatever It Is

release date: Apr. 5, 2019

format: cd

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

producer: Janus Nevel Ringsted, Henrik Balling

label: RCA, Sony Music - nationality: Denmark

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

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

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

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

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

Paul Weller "True Meanings" (2018)

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

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

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

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

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

Recommended.

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

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

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

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

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

Trille "Hej søster" (1976)

Hej søster

release date: 1976

format: vinyl (EXL 20005)

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

producer: Philip Foss

label: Exlibris - nationality: Denmark

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

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

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

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

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

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

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

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

Mogwai "Every Country’s Sun" (2017)

Every Country’s Sun

release date: Sep. 1, 2017

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

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

producer: Dave Fridmann

label: Temporary Residence Limited - nationality: Scotland, UK

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

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

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

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

Recommended.

[ bandcamp ]

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

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

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

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

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

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

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

Bill Frisell "Ghost Town" (2000)

Ghost Town

release date: Mar. 7, 2000

format: Digital (16 x File, FLAC)

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

producer: Lee Townsend

label: Elektra Nonesuch - nationality: USA

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

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

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

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

Highly recommended.

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

Björk "Utopia" (2017)

Utopia

release date: Nov. 24, 2017

format: digital (14 x File, FLAC)

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

producer: Björk, Arca

label: One Little Indian - nationality: Iceland

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

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

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

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

Highly recommended.

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

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

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

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

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

The Prodigy "No Tourists" (2018)

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

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

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

Etta James "Blues to the Bone" (2004)

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

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

Richard Hawley "Further" (2019)

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

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

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

Phoebe Bridgers "Stranger in the Alps" (2017)

Stranger in the Alps [debut]

release date: Sep. 17, 2017

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

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

producer: Tony Berg, Ethan Gruska

label: Dead Oceans - nationality: USA

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

*Bonus track on Deluxe Edition

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

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

Recommended.

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

Billie Eilish "When We All Fall Asleep, Where Do We Go?" (2019)

When We All Fall Asleep, Where Do We Go? [debut]
release date: Mar. 29, 2019
format: digital (14 x File, MP3)
[album rate: 2,5 / 5] [2,48]
producer: Finneas O'Connell
label: Interscope Records - nationality: USA

Track highlights: 2. "Bad Guy" - 3. "Xanny" - 7. "When the Party's Over"

Studio album debut by 17-year old Billie Eilish (full name: Billie Eilish Pirate Baird O'Connell - yeah...) produced by her older brother, 21 year old Finneas O'Connell [aka FINNEAS]. The two are children of actors Maggie Baird and Patrick O'Connell.
Stylised as new enfant terrible prodigy Billie and brother Finneas have made a tight collection of art pop and electropop compositions that are... nicely bottled.
The album and Eilish have been lauded with critical acclaim almost world-wide where common denominators use phrases as "game-changer", "artistic vison[ary]", "haunting", "impressive cohesiveness" and Will Hodgkinson of The Times describes the nature of the album, when stating that it "captures one of those rare moments when an artist knows exactly how her audience feels because she feels the same way too." All right, all right, hold your horses, Will... when will that ever occur??
I do not agree, and others also point to opposite stands when eg Roisin O'Connor of The Independent says it's "dull and bloated" and simply rates the album below average. Because once you have listened through the album, it turns out more like a collection of artsy fartsy material that the music industry promptly swallows up like art critics when facing new art by Jeff Koons. All others find themselves as uninvited guests asking themselves what it is they don't get - and what the in-crowd praise as a new-found treasure.
I don't enjoy it one bit. It's over-the-hill hyped because she's predestined to fill out some spot (that really wasn't there). Nothing more. And there's nothing there except The Emperor's New Clothes. After having read several positive reviews it's quite a disappointing affair.
Not recommended.
[ 👎allmusic.com, The Guardian, Q Magazine 4 / 5, Rolling Stone 3,5 / 5, 👉The Independent 2 / 5 stars ]

Sun Kil Moon "Admiral Fell Promises" (2010)

Admiral Fell Promises
release date: Jul. 13, 2010
format: cd
[album rate: 3,5 / 5] [3,66]
producer: Mark Kozelek
label: Caldo Verde Records - nationality: USA

Tracklist: 1. "Ålesund" (4,5 / 5) - 2. "Half Moon Bay" - 3. "Sam Wong Hotel" - 4. "Third and Seneca" - 5. "You Are My Sun" - 6. "Admiral Fell Promises" (4 / 5) (live) - 7. "The Leaning Tree" - 8. "Australian Winter" - 9. "Church of the Pines" - 10. "Bay of Skulls"

4th studio album by Sun Kil Moon following two years after April (Apr. 2008) is like that produced by Kozelek and released on his own label, Caldo Verde. His follow-up is the Mark Kozelek live album Lost Verses - Live (May 2009) consisting of material written for Red House Painters, Sun Kil Moon, as well as songs released under his own name.

On Admiral Fell Promises, the music is acoustic guitar-driven compositions and they are according to Kozelek inspired by the great Spanish classical guitarist Andrés Segovia. Despite being released under the name of Sun Kil Moon, the album consists of tracks written and composed entirely by Kozelek and they all basically only feature his vocal accompanied by his acoustic nylon Spanish guitar. The title track is one of Kozelek's finest compositions.

Sun Kil Moon had basically been the continuation of Red House Painters, however, songwriter Kozelek made nearly all of the band's studio releases on his own and the band only existed as a live constellation and even at this point it seems that Kozelek did whatever he felt like regardless any of the former members. Former guitarist Phil Carney founded the duo Desertshore with pianist Chris Connolly. Drummer Anthony Koutsos had turned to real estate business and occasionally supported Kozelek on live tours when playing under as Kozelek or as Sun Kil Moon. Bassist Jerry Vessel soon founded Heirlooms of August with Frances Everett, and other bassist Geoff Stanfield began work as studio musician and producer.

[ allmusic.com 4 / 5 stars ]

Show lyrics <- click...

~ ~ ~

"Admiral Fell Promises"

"Come out from the burning fire, butterfly
Let me lock you in my room and keep you for a while
Could you be the answer to my every prayer?
Could you be the one now for who I care?

Come into my arms and let your worries die
Come out from the web of all your tangled lies
But be true to me and I’ll be true to you
Judge me not for what I’ve done but what I’ll do

A million nights have led
to this one that we are spending
And I know it’s better here
than anywhere I’ve been going
Where every morning grew
a void more wide and endless"

Come out from the burning fire butterfly
Let me lock you in my room and keep you for a while
You watch over me and I'll watch over you
And if you go tomorrow, choke me till I'm blue

A thousand days have passed
In this house, she and I were sharing
And I hate myself for it
But I have stopped caring
The Marilyn sky tonight
Is so black and blue and beautiful"

~ ~ ~

Thom Yorke "Anima" (2019)

Anima
release date: Jun. 27, 2019
format: digital (9 x File, FLAC)
[album rate: 4 / 5] [3,92]
producer: Nigel Godrich
label: XL Recordings - nationality: England, UK

Track highlights: 1. "Traffic" - 2. "Last I Heard (...He Was Circling the Drain)" - 4. "Dawn Chorus" (live at Montreux) - 6. "Not the News" - 8. "Impossible Knots" - 9. "Runwayaway" (live at Montreux)

3rd solo studio album by Thom Yorke is very much 'business as usual' by being produced by Nigel Godrich. Apparently, Yorke found inspiration to the songs in readings about dreams and the subconscious, and the entire album was recorded partly through live studio recordings, Godrich's collaborative takes on Yorke's musical drafts, and eventually Yorke writing lyrics to pieces they came up with along the way.
Stylistically, the result is not far from his two previous solos, The Eraser from 2006 and Tomorrow's Modern Boxes from 2014, as well as drawing on similar elements from the Radiohead album A Moon Shaped Pool from 2016 with a clear glitch pop twist and the usage of musical loops.
The album release was followed by American film director Paul Thomas Anderson's 15 mins. short "Anima" featuring Yorke and his partner, actress Dajana Roncione as choreographed dancers with music from the album [excerpt from the film].
The album has generally been met by positive reviews with The Guardian and its 3 out of 5 stars review presenting the perhaps most luke-warm reception, and the Telegraph and a 5 out of 5 stars review as probably one of the most positive responds.
I find it quite fascinating and clearly bettering his second solo Tomorrow's Modern Boxes, and it took me quite a long time wondering whether the album, as some critics suggest, is his best. I finally settled with a similar judgement and rate it close to his solo debut from 2006, and I can only say that it's a very fine and originally sounding album, which is worth a great many spins.
[ 👎The Guardian 3 / 5, The Independent, 👍NME, Rolling Stone 4 / 5, The Telegraph 5 / 5 stars ]

Black Grape "Pop Voodoo" (2017)

Pop Voodoo

release date: Jul. 7, 2017

format: digital (12 x File, MP3)

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

producer: Youth (aka Martin Glover)

label: UMC Records - nationality: England, UK

Track highlights: 1. "Everything You Know Is Wrong - Intro" - 2. "Nine Lives" (live) - 4. "Whiskey, Wine and Ham" - 5. "Money Burns" - 7. "Pop Voodoo" - 8. "I Wanna Be Like You"

3rd studio album by Black Grape released twenty years after Stupid Stupid Stupid (Nov 1997). The band has in essence become a moniker for Shaun Ryder and a band effort is a difficult term in regard to this album. Black Grape is here made up by the two vocalists Ryder and Paul 'Kermit' Leveridge, and all lyrics and music is here credited the two in collaboration with producer Martin 'Youth' Glover - long-time recurring bassist of Killing Joke as well as an established remix-producer for a long list of acts. As instrumentalists, Ryder and Kermit are solely credited for their vocal performances, while Youth is also credited on guitar, bass and for programming. Other musicians contribute as session musicians but the album is without the participation of former Black Grape members Danny Saber and Bez.

Musically, it's very much the continued cycle when it comes to music with Shaun Ryder. It's alt. dance music building on old school funk and soul mixed with neo-psychedelia and bits of electronica. Both in 2012 and again in 2015 Ryder spoke of a new Happy Mondays album in the making, but that never materialised, or: it turned out that it was easier for him to release it under the Black Grape moniker.

The album was met by better reviews than Uncle Dysfunktional (2007) by The Mondays, and it went as high as to number #15 on the UK chart list. Two songs were chosen for single releases: "Nine Lives" and "I Wanna Be Like You".

Pop Voodoo might as well be credited Happy Mondays - it's hard to tell the difference, and what remains are the fingerprints of Shaun Ryder's presence: the characteristic vocal and the half-mad, witty and semi-offensive lyrics. And then there's Kermit, or: where is he? He's there, at times popping up, adding rap, but it's mostly Ryder you notice. My guess is, Youth made most of the music, and he does a fine job composing, playing, programming, producing and mixing a style that fits Ryder's voice. It's neat, warm, funky and danceable club-music, but it does sound a bit outdated, and it just lacks outstanding hooks and rifs, although, it's quite coherent and also clearly bettering Ryder's many recent attempts.

Not great, not bad - somewhat easily forgettable BUT with a nice groove, entertaining moments, and ultimately slightly bettering the '97 album as a more coherent release, although, it's without a great hit like "Get Higher".

[ 👍allmusic.com, PopMatters, musicOMH 3,5 / 5 stars ]

Papir "IIII" (2014)

IIII

release date: Feb. 11, 2014

format: digital (4 x File, FLAC - Impetus Series 09)

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

producer: Jonas Munk [recorded by]

label: El Paraiso Records - nationality: Denmark

Tracklist: 1. "IIII.I" - 2. "IIII.II" - 3. "IIII.III" - 4. "IIII.IIII"

4th studio album by Papir following one year after III seems like the continued series of instrumental space rock, prog rock, and post-rock releases on El Paraiso, again with recording engineer Jonas Munk and with artwork by Jakob Skjøtt.

Even the album title and the track titles differ little from the 2013 album giving a minimalist variation, and you could argue that also the soundscape remains intact with little progression from the two previous albums. In fact, the Papir has played more or less the same instrumental and experimental prog rock founded on 70s krautrock and progressive psychedelic rock and then to some extent: more contemporary post-rock influences. "IIII.I" appear as a strong post-rock compositions, whereas the following tracks repeat the pattern from the 2013 album by being more like jam session-oriented. The final track "IIII.IIII" does, however, again point to a more original melodic universe. The album is in every detail a close new chapter in an ongoing journey that could use some more variation. That said, I still find this band of skilled instrumentalists a rather fascinating acquaintance.

[ bandcamp ]