Soul Asylum

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Reviewed by Chris Morley

Album released 27th Sept 24

The temptation is there to ask who exactly Soul Asylum appear to be racing against with this latest flowering of what seems to be a later- career renaissance. First single Freak Accident would suggest a blend of Tom Petty, the Replacements & the Byrds, which somehow feels right considering they've spent the best part of their time together attempting to straddle the line between country & something a little bit faster....

Add in the return of a familiar pair of hands behind the desk in Steve Jordan, who took on the role for And The Horse They Rode In On well before his current gig replacing Charlie Watts behind the kit for some young upstarts calling themselves the Rolling Stones, whose more Southern- fried efforts must have been on the playlist for Dave Pirner & chums, clearly not content to rest on their laurels even after being bang on trend enough to release a lyrics book, Loud Fast Words- though for more of those you're better off gravitating towards their Nineties grunge era under the radar in comparison to the likes of Soundgarden, who were of course Louder Than Love.

But at this juncture it seems we're in the heartland of the good old boys for a spiritual successor to the likes of Damn The Torpedoes- The Only Thing I'm Missing & High Road such close soundalikes you may wonder if they'd originally been buried somewhere on a B- sides compilation of dear old Tommy P's. You Don't Know Me does it again, adding a little early Beatles swagger to give off a little of the air of the Travelling Wilburys before a surprising & admittedly welcome Freeloader cranks things up for a whiff of Lynrd Skynrd/ the Allman Brothers Band just to remind us we're firmly rooted in the good old South, Tryin' Man coming on like Eliminator- era ZZ Top for a short blast before we're back in Tom territory.

Whether that's by Freak Accident, only they can answer. Needless to say, if you enjoy a certain kind of wry humour backed with refreshingly simple melodies, you'll probably find plenty to like here, If You Want It Back toys with the formula that bit further, adding a little almost- metal riffing into the mix before fading back into softer fare- think Weezer in plaid shirts, maybe. Trial By Fire even chucks in what sounds like a sort of nod to Deep Purple's Highway Star as an intro pre- Pettyism, Makin' Plans more of the same before a bit more of a rave- up on Sucker Maker- leaving you wishing they'd cut loose like this a bit more as they come across a bit like early Kiss before High & Dry signs off with a seemingly obligatory hint of Led Zeppelin...more of this, please.

Sonic PR

Reviewed by Levi Tubman

Album released 27th Sept 24

Blind Faith is the sixth album from the Mercury prize nominated Irish artist Gemma Hayes, and after losing the urge to write is her first since 2014, bringing with it a decade of thoughts and emotions.

The album has a very gentle opening with Eye For An Eye,  with a single plucked guitar and light synth and strings, unlike a lot of opening tracks its not out to grab your attention with an explosion of sound and energy. Despite a little percussion towards the end, its slowly building, never reaching a high crescendo instead it softly and smoothly grows filling your ears leaving you with a contented warmth. 

Central Hotel starts with vocals slightly processed, with a slight ambient background noise, that gives way to a deep atmospheric drone as the guitar comes in. The opening lyrics of “Somewhere outside Manchester waiting on a train” and “looking out at northern England’s industrial complex” giving the impression of a couple riding across the landscape getting to the destination “Late to the stage, singing our hearts out”. You feel it’s a song written on the road with the memories of destinations and hotels with detail given to the smallest things, and with the vocal fading the music grows towards the end of the song with more and louder instrumentation its suddenly gone for the final beautiful notes of synth and guitar. 

Hardwired swaps out the clean acoustic for a little more caustic, while clean electric guitar, Bringing a lot more urgency and energy to the vocals, while still keeping a safe distance away from falling into the trap of being one its as close to a pop song as you’ll find on the album. Referencing the ever growing online world and social media, singing about everyone being Hardwired and the need to disconnect, it’s a theme  that’s becoming more common post covid, it feels a little off that most of you will read this review on social media and listen to the album online.

The more sombre less fragile sound continues with Feed the flames, bringing a new energy to the album, less frantic but darker, the core guitar and vocals is still there, but the vocals are that little higher in the mix, with processed backing, slow electronic beat with a stronger synth presence its very reminiscent of Manchester’s Lamb. Lyrics pointing a lot towards communication between people, or the lack of, with lyrics like “I see you and know that you see me, but its hard to meet your eyes” and “I cant seem to care I keep trying” giving a feeling of getting to the point of giving up despite trying, it manages to feel hopeful and barren but so incredibly beautiful.

High And Low goes back to simple guitar and vocal, opening with the beautiful line “I must be in the wrong place, their lips are moving but their words are bent out of shape” lyrics reflecting back on writing songs at the table, not being able to go home when they’re no longer there. Its looking back on loss through grief, and it can be a crime for such a beautiful voice to sing about such pain, but the beauty really helps to drive it home that little bit harder.

Rounding off the album, Return Of The Daughters, has an almost  playful feel , with a glockenspiel joining the usual instrumentation, a constant droning note really builds the tension, leaving you waiting for that change, that you think might never come, and almost doesn’t. It’s a song with a lot going on, the vocal is once again dropped back a little in the mix, this is more an ensemble piece, her voice is more another instrument in the band than the lead coming to the top. The song ends with the various parts dropping back until only the drums and glockenspiel are left as though the band are walking off the stage as the album finishes in a wonderfully neat way.

If you’re someone who skips through listening to the first 15/20 seconds of each track on a new album to get a feel for it you really shouldn’t with this. These songs are not in a rush to get going to fit in a standard 3-4 minute frame, they’re measured to work at their own pace. There are songs that don’t even get there the first listen though. This album more than any I’ve heard for a long time needs and deserves that second third and fourth listen, it really is a grower and with the detailed backing vocals and instrumentation you’ll not catch everything first time, and then when you listen on headphones it’s a whole new experience. The sounds of fingers moving across the guitars are left in, giving an organic live feel this album doesn’t want an over polished production.

The album is as beautiful as her voice, its captivating with just enough melancholy and darkness to really make it interesting and give it some bite, Gemma is a truly remarkable artist.

Sonic PR

Track Listing

1.  Eye For An Eye

2.  Central Hotel

3.  Another Love

4.  Hardwired

5.  Feed The Flames

6.  High And Low

7.  The Break Didn’t Heal Right

8.  Cant Kill A Hunger

Return Of The Daughters 

Reviewed by Dave Flerin

Album released 4th Oct 24

It’s always interesting to read the official blurb which accompanies a new record, and this is no exception. “The Last Flight”  from Public Service Broadcasting is inspired by Ameila Earhart’s final attempt to circumnavigate the globe, and we all know how that ended. It attempts to evoke the same pioneering spirit and sense of freedom and adventure as its legendary protagonist. So even before the needle hits the record, it’s hard not to be intrigued by the obsession laying at the root of all this; but will they do justice to her story? 

Well…

As a work of art, it’s achingly beautiful, and such a well-realised vision which has been made as authentic and real as it possibly could be. I doubt that not even peak Brian Wilson could make this sound better.

The words “I was always dreaming” are set to dreamy, ambient piano and strings in the song of the same title, which kickstarts this record in a nebulous manner. It immediately sucks you in with its beguiling ambiguity.

There’s a LOT of vintage-sounding soundbites peppered throughout this record, which were all recorded to sound like they were from the 1930s. It exudes fresh-faced joy, which sweeps you up in the romance of Amelia’s story. In fact, as a vehicle to get you inside the world of Amelia, it totally convinces on every level. Only God knows how they can make so many different songs about flying all sound so convincing, but they manage to pull it off with aplomb.

Single “Electra” has a dramatic beauty about it which immediately transports you into the cockpit of a speedy, little plane whizzing across spectacular landscapes. It offers up lots of bold spoken statements (“a burst of bright propellors”, “higher, further, faster than anyone”) along with a Vangelis-style synthy bass which propels you forward as you listen to the song race towards its conclusion. It’s all been flawless so far, but this song is a standout moment of real and powerful beauty.

“Monsoons” is the most indie sounding track on here, with some gorgeously dissonant riffing over three and a half minutes of stomping left-field guitars.

Eera provides the vocals on “A Different Kind Of Love,” and it sounds like the aural equivalent of a very rich cheesecake; but TBH I think I’m in that zone where they could rustle a Greggs paper bag right now and I’d swear it was equivalent to Mozart’s best.

Mournful strings are in abundance at the end of this record in “Howland,” the name of the destination she never reached. It’s the sound of Amelia leaving her earthly form and ascending to heaven. However, a bit of research tells me she was with her navigator throughout, so when she finally met her end, she was thankfully not alone.

This is so well put together, if I was one of her descendants I’d be proper cock-a-hoop over this stunning tribute to Amelia’s life as a pioneering aviatrix. It’s a life-affirming record and one I’m definitely adding to my own collection.

“The Last Flight” is due for release on 04/10/24 on SO Recordings, and if you’re lucky you can catch them touring during October and November.

Stay Golden PR

Reviewed by Chris Morley

Album released 18th Oct 24

As we gear up for the Cure releasing a new album, its interesting to note that the Berries single Watching Wax appears to take more than a few cues from the earliest stirrings of Robert Smith's tortured yet tuneful muse. 

It's not too much of a stretch to suggest that this marries together the best bits of their Three Imaginary Boys post- punk era with a little of the pop trickery applied from around The Top- Wish with a little Lush chucked in for good measure. 

Crumpled Clothes, the closer, even veers into a pinch of the widescreen grandeur of Seventeen Seconds/ Faith, just to show they can stretch out beyond the slightly ponderous riot grrl tag seemingly now attached to any band with a girl in it who have the temerity to get angry about something, 

An eagerness to stretch out from those confines is what really marks this self- titled effort as one to watch even if they & possibly half the competition are so incorrectly badged- this trio as interested in the message as making a racket, though neither is detrimental to the other.

Sonic PR

Reviewed by James Fortune-Clubb

Album released 18th Oct 24

'You're Not a Stranger Here' is the soon to be unleashed new album from UK exponents of Americana, Danny & The Champions of The World.

Formed in London in 2007 and led by songwriter and frontman Danny George Wilson - the band name being a clear reference to the similarly titled Roald Dahl novel (although as to why, it's unclear).

Danny & The Champions are increasingly seasoned proponents of the alt country, americana sound and 'You're Not a Stranger' is their seventh studio album and the first one out for a number of years. 

The latest album contains 10 new tracks and includes first single from the album - 'I'm in Love'. It's an album crammed with familiar sounds and songs that reliably go just about where you expect them to. Nevertheless, Danny and band mates deliver a solid, and strong album - a generally melancholic soundscape with a classic rock sound throughout.

There's occasional echoes of Dark Side era Pink Floyd, late Beatles, Dire Straits guitar riffs, some vaguely Dylanesque sounds as well as the decidedly Jon Bon Jovi flavoured 'The Robot Cries'.

Additionally, the track 'Future Past' could be a lift from a long lost 'Bowie does alt country' (not quite as good as it sounds) an interesting thought though.

So, whilst 'You're Not a Stranger' wears it's alt country, heartfelt rock, americana heart way too much on it's sleeve for my taste, it's a strong album of it's genre and sure to please expectant fans of Danny & The Champions of The World.

'You're Not a Stranger Here' is out on 18 October on Loose and contains the following tracks:

Talking a Good Game 

Kicking Tyres

Last Exit

Every Door You Have Ever Opened 

I'm in Love

Future Past

In Search of Koji

The Robot Cries

The Poetics of Space

Sooner or Later

Sonic PR

Reviewed by Dave Flerin

Album released 18th Oct 24

On paper this melting pot of a record from Seckou Keita looks intriguing. It’s been recorded and mixed across four countries, with a mixture of four languages, it sports a multitude of blended styles, looks like a masterclass in collaboration, and explores the idea of “home.” If that wasn’t enough, it’s also bookended by tunes in the historic griot tradition, where stories and histories are passed on orally. So like I said, intriguing, but is it any good?

Opener “Bienvenue” is a gentle, spoken-word door opener into the house of Seckou Keita, and immediately puts my CSE grade 2 French to the test. In “Home Sweet Home” we’ve also got some rapping in Senegalese draped in piano and what sounds like acoustic guitar; and it’s pleasant enough, but if I’m honest, unremarkable thus far. 

I must admit, I do wish I could decipher the lyrics in order to get more of the nuances of these songs, which would have been filed under “world music” a long time ago (with the world becoming a much smaller place, what would it be filed under these days?). There’s also a stringed instrument used on quite a few songs here; and after some research I’m led to believe it’s a Koto, or something similar; and it adds a delicate sparkle to things every time it’s used.

“Homeland” is generally full of light and melody, but it’s too lightweight and poppy for me, and just doesn’t really agree with my musical palate as I prefer my sounds a bit dirtier and worn. There are moments which hit nearer the mark, like “Deportation Blues”; grimly tugging at the heart strings by exploring how families can be forcibly separated by really minor offences like speeding or possession of a bit of weed! Another highlight, “Nay Rafet,” is one of the best songs here, with an agreeable melody and some interesting rhythms behind it.

“Kibaro,” another tune in the spoken word, griot-style brings this album to an end; with the sound of waves serenely lapping at the shore. Even though I have no idea what’s being said, I am grateful for something different to the lightweight pop sounds which occupy most of the record. I think there’s a lot of people who like their music less dirty than I do, and this is probably for them. 

It’s all just a bit too Lighthouse Family for me, and for all its noble intentions, it sounds too nice. 

Sonic PR

Reviewed by Andi Bridges

Album released 18th Oct 24

Back in 1988, one of my circle of friends “came out” to us. We just shrugged and told him to get the beers in. It was only later, we found out just how difficult it had been for him to pluck up the courage to tell us. The legal age of consent back then was 21 years old for homosexual relationships and would remain so until 1994 when it was lowered to 18 years of age. 

These facts make the release of the debut Bronski Beat album – Age Of Consent – even more remarkable as it was released in 1984. It really was a pioneering voice in the fight for equal rights for the gay community, at a time when such discussions were often silenced. Fast forward 40 years, and this Anniversary reissue is a timely reminder that in the intervening years we have come a long way, but there is still a fair distance to go for the LGBTQ+ community.

London records have pushed the boat out and it comes in a number of formats: A 5-Disc Deluxe Edition (4CD+DVD): featuring 4 essays, the original album, bonus tracks, remixes, rarities, early versions, and rare radio sessions. Its DVD comes with restored promo videos, Top of the Pops performances, and original TV adverts. Other formats include 2CD with new reworks, 2LP (with The Age of Consent and its neighbouring remix album Hundreds & Thousands, a yellow 1LP edition (Lexer Music Exclusive), and a Super Deluxe Edition exclusive Blu Ray edition featuring The Age of Consent and Hundreds & Thousands in Dolby Atmos & 5.1 mixes. 

Steve Bronski, Larry Steinbachek (Keyboards) and Jimmy Sommerville (Vocals) with his remarkable falsetto, back in the day, crafted one hell of an album. Simultaneously balancing Hi-Energy dance floor-ready synth pop with a darker, more serious mood suited to its lyrical concerns, Originally, its inner sleeve listed the age of consent for homosexuals in different countries across the world.

I defy anyone to say they have never been moved by debut single Smalltown Boy, either on the dance floor or by the lyrics on the constant battle of growing up in a community hostile to homosexuality and the desire to find refuge. It’s not even the lead track on the album. That honour falls to Why? Introduced by that voice before synths pulse and a drum machine keeps perfect time. Jaunty brass provide a nice distraction throughout. 

It Ain’t Necessarily So, the George and Ira Gershwin/DeBose Heywood song from Porgy and Bess is ushered in by some sweet clarinet playing by guest musician Arno Hecht from The Uptown Horns and features big backing vocals by The Pink Choir. The medley I Feel Love/Johnny Remember Me was also released as a single at the time, however the album version is a more downbeat affair.

On the 2CD version I was sent to review, disc 1 contains five remixes, four Smalltown Boy and one of Why?.  The first of these is an extended version of Smalltown Boy running to 7 minutes. It starts like a classic 70s Donna Summer record before settling into the groove we are all familiar with. The second version is Planningtorock’s ‘The Love That You Need Rework’. This is interesting as the drums are in a more modern dance style and the synths are more staccato. 

The middle section gets a spoken word passage around trans rights, that brings it right up to date. The third version is a Dave Aude vs Tall Paul Remix. The first half is a more bass groove thing, follow by and extended middle vocal breakdown before coming back about halfway through in full on 90s rave. The final version is labelled  Bronski Beat & The Knocks ft Perfumed Genius. This is probably the closest to the original, although the drums have been replaced and the keyboards are thinner. The  Why? Remix is named Superchumbo Extended Mix ft Neil Tennant, who contributes a section in the middle of the song. If I’m honest it didn’t move me, however with the right drugs, in the right club it’ll probably go down a storm. 

The majority of the second disc was released in 1985 as Hundreds And Thousands and comprises of remixes as well as some B-sides from the singles, released from the parent album. Harvey Goldberg gets his remixing teeth into Heatwave, Why?, Smalltown Boy, Junk and Hard Rain. Run From Love gets a Dominic Maita treatment. 

The extended single version of I Feel Love ft Marc Almond is also included as well as a new track, Love And Money (Hundreds And Thousands Remix). The album is rounded out by Infatuation/Memories, Close To The Edge and Cadillac Car, the aforementioned B-sides.

“When there is something we do in our life that can have such an impact on other peoples’ lives, and to be told this by others, it's humbling. 'The Age of Consent’ is, and always will be, such a special part of my life.” Jimmy Somerville 2024

Sonic PR

Reviewed by Chris Morley

Album released 25th Oct 24

In perhaps one of the unlikeliest transformations, considering from whence they came, Razorlight appear to have discovered the funk- & it suits them, Planet Nowhere coming on like a sort of more laddish Random Access Memories, Zombie Love setting out the stall nicely as the sort of opener Daft Punk or LCD Soundsystem might have come up with in their heyday if they'd been children of the indie boom. U Can Call Me is more of the same, a few nods to a certain purple- suited master of ceremonies.

Dirty Luck does a decent job of sounding like a souped- up take on soul- Bowie as Johnny Borrell seemingly settles on what & who he wants to channel, Scared Of Nothing stretching out into a clipped Young Americans/ Station To Station/ the funkier/ soul bits of Low formula honed on FOBF, Empire Service, Cyclops, Cool People & April Ends- we can only hope its as good live ( having seen them twice previously in what feels like another lifetime for them based on this evidence) as on record. 

Let's dance, indeed, Borrell's protestations that there are no cool people in his band ringing more than a little hollow!

Reviewed by Neil Milner

Album released 25th Oct 24

The Shape of History is the fifth solo album by former Transvision Vamp vocalist, singer songwriter Wendy James. I wasn’t a fan of Transvision Vamp and know nothing of Wendy James subsequent career. But I thoroughly enjoyed hearing the nuances, complexities and intricacies of this eclectic record.

On the album, James reflects on themes of love, life, and her journey in music. The opening tracks are chamber pop music, using rock sensibilities with accompanying strings and piano. However, there are complex but delightful arrangements throughout. 

There are hints of Pet Sounds era Beach Boys in the opening songs, and James notes Brian Wilson as an influence. At times it reminds me of lost days listening to The Boo Radleys’ album Giant Steps, and more recently Field Music songs. 

But just as the garden table is being set for a pleasant English summers’ afternoon of cucumber sandwiches and earl grey tea, James quickly downs some bourbon and rips away the tablecloth with the short edgy rocker ‘The Crack and the Boom of the Creeps and the Goons’ before briefly slowing things down again with the plaintive ‘A Big Vicious Rumble’.

‘Do you dig it? Do you love it? Is it groovy?’ raises the tempo again. ‘Freedomsville’ is a great pop song with a catchy Euro-disco melody. But it’s not cheese, retaining a strong pop edge all the way through. 

As there is a dearth of blues sounding songs on this album, ‘Step Aside Roadkill’ is a bit of a surprise. It wouldn’t sound out of place on a 1990s era Nick Cave & the Bad Seeds record. 

The album begins with quieter more orderly songs and becomes noisier and more chaotic as it progresses, showcasing many of her musical influences. I liked hearing the quality of her vocal set aside the more reflective pieces, but the boisterous stuff has many endearing charms. In fact, my favourite is the closing title track ‘The Shape of History’. It reminds me of Deerhoof in that it’s both fractured and avant-garde. 

As James herself acknowledged, ‘My attitude can be more ferocious and fearless than ever, but there is an acquired wisdom, which naturally comes after having been alive for a few decades!’. I think it is fair to say that this self-reflection is well represented on this wonderful album. 

Track listing:

• Sweet Like Love
• A Happy Life
• Everything Is Magic
• May I Kiss You? (Enough To Get Us Into Trouble)
• The Crack And The Boom Of The Creeps And The Goons
• A Big Vicious Rumble
• Do You Dig It? Do You Love It? Is It Groovy?
• Don’t Let Daylight Into Magic
• This Declaration Of Love
• Freedomsville
• Step Aside Roadkill
• Thank You For The Time We Shared
• The Shape Of History

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Sonic PR

Reviewed by Levi Tubman

Album released 18th Oct 24

With the number of awards tours and hits under his belt you’d be forgiven for not knowing this is only the third studio album from Rag 'n' bone Man. It’s a very personal and emotional album, dealing with love loss and grief in his own unique style.

Opening up with The Right Way, it’s a little playful, with a spoken conversation asking what do you think love is? The little piano and vocal parts work well together, you get the feeling it could be his own childhood being looked back on singing about Being Just 3 Years Old. The little trick of dropping his voice for the world low and then straight up high for the following line, the highest highs has that extra punch, not because his voice is capable of low warm tones but because it shows off the higher part of his range that doesn’t always get as much attention. 

The second track on the album, Pocket, is a little more up tempo with brass sections that make it feel a little more modern, although I times I feel the music and vocals lacks are lacking a little dynamically. This is a very slight negative when taken against the lyrics, “Just feel so small like everything is my fault” “Pick up all my pieces And then after you remake me” A man putting his soul into expressing his feelings of sadness and insecurity, but also of finding someone who helps him feel whole and himself again. I’d say he wears his heart on his sleeves, but its more likely tattooed on his arm.  

The title track, What Do You Believe In is clearly one of the big hitters on the record, saying its radio friendly feels like a put down, a better wording might be that its all dialled up that extra notch, its got hooks that stand out when promoting it, with his trademark sound coming in at just over 3 minutes, its short sharp punch. 

Early on his vocals have more freedom, it’s a song that lets him push it letting its natural roughness come though, its not harsh, he just pushes it and then seems to find an extra step, its songs like that this that show he could sing the phone book and people would sit and listen. It also has my favourite part of the album, the beautiful lyrics “Every mistake that I've made was a friend of mine Taught me to come back a hundred times Every hill I didn't die on is a mountain that I climbed” paired perfectly with the building music, 12 short seconds that let you know its going to be a hit. 

Iron is a more sombre stripped back number, at its core its just piano and vocals. Its punctuated with a few other electronic and drum elements, while don’t necessarily detract from the song id love to hear it with just vocal and piano, I think they missed a trick by not adding that version as a bonus track. That aside this is one of my 2 favourite song’s on the album, it shows you don’t need to overcomplicate music.

Feeding All These Fires has some fantastically beautiful vocal sections with creative backing vocals. Lyricaly its full of exasperation “Feeding all these fires aint nothing but our breath” and “ Run out of time, Run out of patience, soon we’ll be running our minds” it continues the album’s theme of looking back on his life, his grief, worries and struggles, its a very personal song at times feeling like eit could be spoken as a poem with just as much impact.

Wreckage. Simply put its a powerhouse, with the full power of his vocals wrapped with uplifting encapsulating music and backing vocals, but its not a song that should be put simply. The vocals alone would be enough, with its narrative of falling from heights, hitting the bottom and finding yourself and brining your self back up. A personal reflective piece that's backed with almost choral backing vocals bringing a church feel as we hear about his salvation and redemption. Its a faultless song, and the highlight of the album.

Hope You Felt Love At The End rounds off the album, and for such an easy listening  song musically its a hard listen. ‘I Had So Much To Say Before The Time Slipped Away” a thought all too often had, and in this tender song it can move you to tears, especially when the big man sings such delicate fragile high notes. Here he truly embraces his loss and grief, and the regret that can all too often come with it, you get so much emotion coming though you come away wanting to check in on loved ones and friends. With death the one true certainty in life, In the end sometimes all you can wish is that they feel love at the end.

I came into this album with no real expectations, while he is an artist with an exceptional voice, he’s not someone I usually listen to. This album has really opened my eyes though, rather than just get by with his distinctive voice these songs pull deeply from his own regrets and problems in life. The grief at the loss of a parent, eluding to loosing himself for a time, drugs sorrow and salvation, all prevalent through out, he doesn't hide from his past, his feelings or worries with his music, he uses them to create what I think is an outstanding record. 

Tracklisting:

The Right Way

Pocket

What Do You Believe In?

Iron

Hideaway

All I Know

Rush Of Blood

Feeding All These Fires

Put A Little Hurt On Me

Chokehold

Wreckage

Hope You Felt Loved At The End

Chuff Media

Reviewed by Dave Flerin

Album released 8th Nov 24

This is a greatest hits collection in everything but name, spanning the 30-odd year career of Orbital. For the uninitiated, they’re like a grand old master of UK electronica, and every song on here is like a mini masterpiece of modern dance music. As someone who has dipped in and out of electronic music over the years, this serves as a timely reminder of just how good they were/are; and for the newbies, well, they’re in for a treat.

Chime is a wonderfully obscure track #1, with a most un-musical synth melody tied to beats which tip-toe through your senses with a very cheeky gait. “Satan” brings back personal memories of getting this single home for a first listen and it sending chills down my spine; and the contrast between the previous tracks and the aggressive guitars on this one really shines a light on the breadth of what the Hartnoll brothers are capable of when they hit their stride.

The songs here tread that fine line between ambient and dance which Orbital have always done so well, offering nothing too heavy (“Satan” notwithstanding!), but executing everything with absolutely exquisite taste. The double-banger of “Are We Here?” featuring Alison Goldfrapp, followed by “Are You Alive?” with Penelope Isles, is plain old perfection. “Style” then mixes things up, resembling a very low-fi stick of rock which has Kraftwerk writ large all the way through. I still can’t make up my mind about Sleaford Mods, but even the “Dirty Rat” collaboration makes me smile, which is definitely a good thing.

Now we’re out of vinyl territory and into the extras you get with the CD version. These could have been substandard mixes padding out the good stuff, but the quality assurance certificate is holding strong; and they all still manage to sound like Orbital but they’re different enough to not sound formulaic. “Remind” makes me feel like the raver I never was (I was too busy at the time still tending to my girlfriend in a coma), and “The Girl With The Sun In Her Head” serves as a final reminder of the sheer quality of artistry these guys apply to all their music. 

All in all, and particularly if you don’t own any Orbital, this is an indispensable collection of music. Victory is most definitely theirs.

“Orbital: A Beginner’s Guide” is out via London Records on Friday 8th November on vinyl, CD and digitally. And if you’re lucky, you can catch them touring the USA and Europe from November to April.

Sonic PR

Reviewed by Chris Morley

Album released 15th Nov 24

Imagine My Bloody Valentine but softer & you have the basic essence of Fazerdaze- that this is the work of just one artist will surprise nobody who followed Kevin Shields' various Loveless- era travails. But that someone has managed to take that basic template & add in a little more pop smarts without giving the unaware listener something of a sonic bludgeoning is most likely more of a “ wait, what?” moment for those not yet acquainted with the works of Amanda Murray....

And it's to her credit that something so studio- based still has a heart, her own description of a bedroom studio record almost too perfect as she crafts the sort of Eighties pop/ slight tinge of goth soundscape that would probably make Billy Corgan jealous, though this is probably closer in spirit to later Smashing Pumpkins work, Cyr, say, than the straight- up classic psychedelic/ rock moves of a Gish or Siamese Dream, though where old Willie has arguably suffered for being his own producer since dispensing with first Butch Vig & then the team of Flood & Alan Moulder, Fazerdaze does at least seem to have the quality control thing down reasonably well, with a little help from Simon Gooding & Emily Wheatcroft- Snape.

Dancing Years is probably the distillation of everything that makes this what it is, a great hook underpinning a lyric championing sheer abandon, the shoegaze of the early Nineties reshaped for today's listener, hope amidst the seemingly glacial as a sort of reverse Today, which of course set bleak lyrical fare against a melody which suggests that actually today really could be the greatest day you'll ever know pre- a swerve into Depeche Mode territory on A Thousand Years ( think the early stuff minus Vince Clarke & you won't be far wrong, including a synth break which could've been written for Martin L Gore)........

Purple may be the one you'll hear busted out at festivals, though, the synth treated as a sort of surrogate guitar for an almost “ pop side of Fleetwood Mac” interlude, pure Tango In The Night as a warm- up for a second half which promises more of the same & largely delivers, Distorted Dreams another widescreen epic ( Taylor Swift fronts Trans- Europe Express- period Kraftwerk?)

A Gary Numan- ish extended coda then follows on Cherry Pie, & yes, if the Eighties is your bag this is a sweet confectionery indeed. But never sickly so, to its credit!

Sonic PR

Reviewed by Andi Bridges

Album released 15th Nov 24

Just like George Harrisons  first post Beatles solo album got the 50th Anniversary treatment, so does his sophomore solo studio effort, Living In The Material World. Lovingly overseen by Dhani and Olivia Harrison, Living In The Material World has now been completely remixed from the original tapes for a stunning suite of 50th-anniversary releases. Remixed by triple GRAMMY® Award-winning engineer Paul Hicks (The Beatles, The Rolling Stones, John Lennon),

Alongside a Super Deluxe format, the album will also be available on 2LP and 2CD Deluxe Editions, both of which pair new mixes of the original album with session outtakes, running in the same order as the main album. The 2LP Deluxe Edition will be presented in a gatefold sleeve with a 12-page booklet, while the 2CD Deluxe Edition comes in a Clamshell Box with two printed wallets, a 20-page booklet, and a poster. The main album will also be offered individually as a 1CD, 1LP, and limited edition 1LP colour vinyl exclusively available from the official George Harrison online store (Purple Colour Vinyl).

Originally released in May 1973 (yes, I know that’s 51 years ago} and recorded in a period when Harrison was deeply devoted to Hindu Spirituality, but contradictorily also heavily into cocaine. As his friend joked at the time – it was hard to tell whether he was dipping into his Japa Yoga Prayer bag or the Coke bag.

Harrison used only a small band of musicians for the recording, Gary Wright -Keyboards and Klaus Voormann – Bass, were retained from the All Things Must Pass sessions. As was John Barham providing Orchestral arrangements. Jim Keltner – Drums and Jim Horn – Flute and Horns, earned a place due to impressing during the Concert For Bangladesh. Ringo also contributed to some songs. Perhaps the biggest change though is George stepping out from Clapton’s shadow and recording all the guitar parts himself. Most of the album’s rhythm tracks are recorded on acoustic guitar.

The album kicks off with what at the time was the lead single, Give Me Love (Give Me Peace On Earth). What is noticeable is the scaling down of the big sound employed on his first album. The song continues the precedent set on My Sweet Lord by fusing Hindu Bhajan (devotional song) with Western Gospel traditions. Like a lot of the album, it deals with Harrison’s spirituality. The alternate version on the second disc is a simple acoustic guitar and vocal version, labelled Take 18 and it really stands up against the full band version.

As you would expect, there are several songs about his former band mates. Sue Me, Sue You Blues spits vitriol about the breakup of The Beatles, only a few years before. The bonus CD version has some added studio chatter at the start, where the musicians are clearly still feeling their way into the song. Weirdly, considering the subject matter, George’s vocals sound a lot like McCartney. He also plays a ripping slide guitar solo probably a better one than on the finished article.  

The Light That Has Lighted The World (Take 13) seems slightly slower than the main version and once the band come in gives it a real Beatles vibe that isn’t so obvious on the main version. Don’t Let Me Wait Too Long is powered by a drum duet between Ringo and Jim. We get (Take 49) as the bonus version, which is another acoustic workout, with just vocals, guitar and piano.

Who Can See It, is another song dealing with George’s feeling towards The Beatles legacy, reflecting George’s disenchantment with his status as ‘junior’ partner. Take 93 is offered up as the mirror version. That so many takes were utilised should come as no surprise to anyone familiar with the tome ‘The Complete Beatles Recording Sessions’ by Mark Lewisohn.

The title track of the album, Living In The Material World, contrasts the concerns of the material world against a commitment to a spiritual path. The rock elements of the song give way to Indian interludes featuring flute, sitar (played by George) and Zakir Hussain on Tabla. Take 31 appears not to have the meditative sections. The Lord Loves The One (That Loves The Lord) is an up-tempo rocker that again returns to the theme of the falsehood of striving for wealth or power in the material world and advocates a direct relationship with one's deity as a genuine life goal. Take 3 gives a more mellow reading of the track.

Be Here Now has a sparse musical arrangement, acoustic guitar, sitar drone and piano, making it hauntingly beautiful. Part of Harrison's inspiration for the song was the popular 1971 book Be Here Now about spiritual teacher Ram Dass specifically, discussing the author's change in identity from a Western academic to following a guru in the Hindu faith. 

Take 8 pops up as the alternative version. Try Some, Buy Some is a bit of an oddity as it was initially written for Ronnie Spector, and produced by her then husband, Phil, for a comeback album to be released on the Apple label. It never materialised, so George used it for this album.

The Day the World Gets Round and That Is All finish off the album. The former very much has a foot in The Beatles camp. Harrison was inspired to write the song following the successful Concert For Bangladesh shows. The lyrics reflect his disappointment that such a humanitarian aid project was necessary, given the abundance of resources available across the planet. An acoustic version appears on disc 2. The latter a heavily orchestrated ballad with a trademark sounds solo from Harrison. Take 24 completes the alternative versions.

The second disc keeps the surprises coming adding Miss O’Dell, which was a non-album B-side. It starts innocently enough as a protest song but at some point George starts laughing and it keeps happening throughout the recording. Finally, Sunshine Life For Me (Sail Away Raymond) rounds of the set. It’s a very folkie track and does seem completely at odds with the rest of the album. Don’t get me wrong it’s a good song but this is probably the reason it has taken 51 years to appear.

At times the album does sound like Abbey Road Beatles, however as it was produced by Harrison and he must have learnt his trade from Sir George Martin, that’s really not surprising.

Of the release, Olivia Harrison shares: “I hope you revisit Living in the Material World or discover it for the first time, and as you listen, share George’s wish for himself and mankind…..

Give me Love Give me Peace on Earth.”

 And Dhani Harrison comments: "Finally, we are overjoyed to present to you the 50th anniversary package of George Harrison's 'Living in the Material World'. For those of you who are just discovering this album; This record was released in service and with deep love for all our Brothers and Sisters around the world who populate this dualistic system we live in called Earth. Peace be upon all sentient beings.”

Big Mouth PR