caesar spencer
Get Out Into Yourself - New Radio records
Reviewed by Levi Tubman
Album released - 28th April 23
Get out into yourself, is the debut album of English singer/songwriter Caesar Spencer, English but also Swedish, oh and he was born in Peru but now lives in France, this variance feels mirrored in the atypical ebb and flow of the songs while all having a familiar taste, still manage to stand out on their own against the other tracks.
Opening your debut album with a song called Hail Caesar, when your name is Caesar, is a wonderful stroke of genius, and it’s going to make you remember its name of this short melodic instrumental surf-rock number. It’s not over complicated, gets straight down to the point, musically sandwiched between an atmospheric intro and outro, it’s a highlight of the album giving you a great taste of what’s to come.
Caesar has taken a lot of inspiration from his love of France, after moving to Paris, calling the album a loving tribute to the country, with French musicians and producer. He even feature’s former Miss France winner and singer Mareva Galanter on the gorgeous and provocative When I whisper In Your Ear. Inspired by the duets of Serge Gainsbourg, a simple conversation between the two, framed by sweeping strings speared throughout by inarticulate vocals courtesy of French soprano Aurélie Ligerot
The album is a journey, in part his journey, bringing forth different aspects of life and ages, with the adolescent angst riddled track, Get Out Into The Pigs. Opening with just vocals and acoustic guitar, talking about walking the streets alone, bringing in other instruments as he mentions other people, pulling in drums and strings building throughout. But instead of ending on the crescendo, the last 15 seconds are left for every part to fade out in their own time until there’s almost silence, just something on the edge of hearing until that too ends, nice to see silence being used creatively.
The album is very melodic throughout, even when its at its most melancholic, until you get to the title track. Get Out Into Yourself starts off with swirling noises and processed drums, sounding broken against the guitar, his voice almost a drawl as he asks if this wandering will ever end, the music representing his feelings towards England, and having to leave as the song seamlessly transforms into the wide soundscape and clean sounds we’ve come to expect. The picked guitar becoming brighter, as a heaviness drops away as the song almost takes a relaxing sigh as its finished its transition.
He rounds off the album with Knew That One Day, a vocal heavy song, featuring Jean Felizine and Jo Wedin. Embracing the upbeat tune with almost chorus like vocals with his lead, to little almost whispered words, hidden just underneath. All the while the albums signature sound of big wide spaced sounds. It’s nicely light and a perfect rounding off of the album.
This album is an audio delight from start to finish, his voice is so rich, anchored dead centre while strings and backing vocals are spread wide in a wall of embracing warm sound, providing the sonic landscape for Caesar to walk through, and sing his stories.
Track Listing:
1. hail caesar (feat. gilles tandy & jean felzine)
2. get out into the pigs
3. isn’t that what jimi said (feat. jean felzine & jo wedin)
4. when i whisper in your ear (feat. mareva galanter)
5. jane loves the highway (feat. gilles tandy)
6. requiem
7. cult of personality
8. broken by the song
9. waiting for sorrow (feat. jacqueline taïeb)
10. get out into yourself
11. knew that one day (feat. jean felzine & jo wedin)
Links:
westerman
An Inbuilt Fault - Partisan Records
Reviewed by Neil Milner
Album released - 5th May 23
An Inbuilt Fault, by London-born, Athens, Greece-based artist Westerman is superb, and at moments astonishing.
Comprised of nine songs, including singles Idol: Re-run and CSI: Petralona, and written during the pandemic, it was co-produced with producer and percussionist James Krivchenia (Big Thief).
The songs have a recurring sense of acute isolation, loneliness, and dread, reflecting Westerman’s time creating it. How can an inward journey into the apocalyptic abyss sound at times so achingly beautiful? Well partly because it’s framed by such sonically stunning and haunting music and vocals, full of intricate melodies, rich atmospheric layers and textures, but still leaving the songs with plenty of space to breath.
Inner crises are reflected in both the lyrics and music. On A Lens Turning, Westerman repeats the mantra, “I don’t know who I am anymore, forgot what I was looking for,” and in Help Didn’t Help At All, “I only have myself, now even that feels so ephemeral.”
I won’t dwell too much on influences, but echoes of mid to late period Talk Talk permeates through some of these songs, especially on the opener Give, and the jazz infused Take.
The record ends with the sonically staggering An Inbuilt Fault and Pilot Was A Dancer. An Inbuilt Fault is incredible, almost unworldly. It floats along in its own beautiful construct, the delicate acoustic guitar, punctuated by brass and strings, contrasting with the vocal angst, leading to a sombre harmonic crescendo. It’s a powerful experience. You recognise it as music, but it feels like it should exist as its own ethereal art form.
The closing track Pilot Was A Dancer, imagines a post-apocalyptic world where the central character is the last person left alive. The song is soundtracked by spaced out-arrangements and production values that some of the 1960s psychedelic rock gods could only dream of. I applaud Westerman and Krivchenia for having the imagination and vision to maximise their technological capabilities and create a golden moment.
This all feels like a zeitgeist record reflecting the sombre, alienating, intense mood and times we are part of, but underpinned and held together by an elegiac emotional beauty.
Track Listing:
1. Give
2. Idol: RE-run
3. I, Catallus
4. CSI: Petralona
5. Help Didn’t Help At All
6. A Lens Turning
7. Take
8. An Inbuilt Fault
9. Pilot Was a Dancer
Links:
shit present
What Still Gets Me - Specialist Subject Records
Reviewed by Chris Morley
Album released - 5th May 23
Never judge the book by its cover- for on the surface, with their interesting choice of moniker you might presume Shit Present to be nothing more than a sort of emo- power pop parody.
But think again, & you'd be rewarded with an intense but ultimately rewarding listen from the mind of Iona Cairns, whose own struggles with mental health & writers block inform much of what's on offer here. That she feels confident enough to bare her soul in such a way, let alone set what could be construed as difficult or bleak subject matter, is surely enough to earn her great credit.
But the real assets here are the melodies. No poor me on show here. If anything the music elevates this above what could easily have become a pity party. Instead what you hear is a celebration of finally coming to terms with yourself, & the understanding that brings- Cram The Pagealmost an affirmation in the face of a diagnosis of bipolar disorder, an encouraging nudge towards filling your life with what brings you happiness no matter what the hurdle.
This, of course, is nothing new but most definitely still necessary, all ably supported by the rhythm section of Thom Weeks handling guitars & bass & Ben Cottam behind the kit. Its to their credit that their work, while being relatively unobtrusive, still forms part of the emotional make- up of the album, the ideas behind an exploration & expression of the loneliness of not knowing yourself.
Single Unravelling takes this to its logical conclusion as Cairns & Weeks act as individual voices fighting for control of the same mind. Unsettling in places yes, but sometimes in probing the depths you have to go places you may not necessarily find all that comfortable in search of catharsis.
And when it arrives, it comes with the bonus of the sort of hooks many others of a similar vein would probably give their fretting hand for. If you can resist a good bellow along to the almost mantric Beyond Tonight, you may want to check you still have a pulse before proceeding.....
If this doesn't get them to a festival stage near you, Slam Dunk, say, or Punk In Drublic, very soon, consider your correspondent's hat eaten.
Links:
morganway
Back To Basics
Reviewed by Andi Bridges
Album released - 5th May 23
Morganway are a Norfolk/Cambridge-based six piece, although Bandcamp states they are from Norwich. Founded by twins Callum (lead vocals, bass) and Kieran Morgan (guitar, vocals). SJ Mortimer (lead vocals), Matt Brocklehurst (keyboard, vocals), Nicole J Terry (fiddle, vocals) and Ed Bullinger (drums, vocals) complete the lineup. Back To Zero, is their latest album, the third according to Bandcamp and number four if you believe Discogs.
Although they have been loosely described as Americana, (the band have been named the BCMA (British Country Music Association) ‘Band of the Year’ winning the award in 2021 and 2022, and have also won BCMA’s ‘Best Group’ and UK Country Spotlight Awards’ ‘Best Group’), there are a number of different genres at work here. Stadium rock, folk elements and the blues all rub shoulders with each other.
The band themselves refuse to categorise their output into any one style.
“All of us have very different influences and we don’t focus on genre,” says SJ Mortimer. “Even when we don’t all agree something great still comes out, so we hit record and go with it.” I got a sense of, what I can only term, deep spirituality from the uplifting music on the album.
Clocking in at just shy of 38 minutes, it is an ideal length for vinyl, which is handy as one of the purchase options is red vinyl, along with CD and most major streaming platforms.
The album kicks off with Wait For Me, a straight forward rocker with SJ Mortimer showcasing what a fine set of pipes she has. There are overtones of those great 80s singers such as Pat Benatar, Lee Aaron et al. Track two finds the band in more bluesy territory that builds towards a full on middle section. Here SJ sounds more Joplinesque. There is an official video for this song on the Morganway website.
World Stopped Running is very folkie, think Waterboys in their Fisherman Blues period. Followed by Burn Every Page which does sit in the Americana camp and I can see why the band have just played the C2C Festival. A song about new beginnings and starting again. It comes as no surprise to discover it was written during lockdown.
The Sweetest Goodbye is the lighter (mobile phone?) in the air moment. A simple vocal, piano, fiddle arrangement really does put you through the emotional wringer. It was just a bit of dust in my eye - honest guv.
We Were Going Nowhere is all about the harmonies, gospely without being a gospel song. Then on the home run we get The Man, showcasing some tasteful fiddle playing. Then the title track Back To Zero, a strange choice to name the album after as it isn't the strongest track on the album. It is fairly standard americana. There is also an official video on the website for this one as well
Ending the album is Brother, written by Callum for his brother and bandmate Kieran and I guess is sung by Callum. It again dips it toes into americana/country vibes.
The band’s music has previously seen radio support from the legendary Bob Harris on his BBC Radio 2 show, and has also received airplay on Planet Rock.
Having just missed them supporting Elles Bailey on tour and then headlining their own tour in April, the only way to see them over the summer is at festivals.
I know I have bandied a lot of different comparisons about in this review. That is because Morganway are very hard to pigeon-hole, in a good way. They may have just crowbarred themselves way into my current favourite bands list.
Links:
abc
Lexicon Of Love (Live) - Here Now Recordings
Reviewed by Chris Morley
Album released - 19th May 23
Listening to this 40th anniversary live take on The Lexicon Of Love, now with added orchestral accompaniment, one question becomes apparent- how did it take so long for this to happen?
Other acts of a similar vintage have tried it- mostly with great success fairly recently, & the songs were surely born to have strings draped over them? Still, better late than never for ABC to finally go widescreen, When Smokey Sings a particular early highlight given even more of a Motown- friendly polish thanks to the inspired added scrapings.
And therein lies its true appeal- you could go back & listen to the original record, but to do so would be akin to looking at a diluted version of an original work of art, maybe a few colours missing- still pleasant enough but probably not quite the same. A cinematic quality is lent to Viva Love, in that it now sounds fit to burst with John Barry- era Bond theme touches- close your eyes & you could easily imagine Martin Fry having a warble over a trippy visual of a woman dancing, or indeed something similar, perhaps one for any budding mash-up artists to work on?
The Night You Murdered Love also bursts into full bloom given a helping hand from its new backing- end credits if not sooner? Glorious, & if they're not invited along to at least the Proms to show it off, something's amiss- sort it out, BBC.......
Taking nothing away from Trevor Horn's original production job, of course- the sound that became a sort of critical shorthand for Eighties pop. But this doesn't sound half as dated as elements of what passed for the cutting edge back then, nothing so black & white to pin it to a particular place or time. And of all the entries in their canon, this would be the one most would've picked to get the full bells & whistles treatment.
Entirely fittingly. A deliciously flighty (of the bumblebee?) The Flames Of Desire just ups the sense of playfulness inherent within these new arrangements, everything given time to properly soar & so much more than mere backdrop, something several acts of ABC's vintage- A-ha, Echo & the Bunnymen etc- have taken advantage of in their own recent- ish similar efforts. But when it sounds this good surely no-one will complain of oversaturation?
It must be to their credit also that this doesn't feel flabby, no massively extended improvisations & the orchestra used to suit the song without outstaying its welcome, knowing when to come to the fore & when to sit back & wait in the tradition of the best soul arrangers.
Enough to make you wonder why they in effect went against such good initial groundwork with Beauty Stab- an experiment in dynamics maybe, but arguably a costly misstep even that early in their fledgling career, & the mind can only ponder over what they might've done had they stuck with the sound that brought them early success.
But if this is their attempt at finding out, with a few more instruments to flesh things out, who are we to judge? If they'd been around to bend Berry Gordy's ear around the time he was launching his own hit factory, he'd no doubt have been salivating over what he was hearing, & indeed should you be so inclined you can almost match any song here with anyone on that storied roster.
Links:
kassi valazza
Knows Nothing - Via Loose
Reviewed by Andi Bridges
Album released - 26th May 23
What I know about Country music can probably be written on a postcard in very big letters. Sure, I own a Johnny Cash CD and I was in the crowd for Dolly Parton at Glastonbury, oh and of course Tammy Wynette sang on a KLF track but apart from that nada, zilch, sweet Fanny Adams. So, when this latest disc landed in my lap for review, I was a bit perturbed.
This is Kassi’s second album, (her sophomore effort for our American cousins) humorously titled Kassi Valazza Knows Nothing, a follow up to her 2019 debut – Dear Dead Days. She also unexpectedly dropped a digital EP – Highway Sounds, last year.
The PR blurb informs me, she is a resident of Portland, Oregon (I had to look up where that is, it’s approximately 250 km south of Seattle in North West America), and a hotbed of songwriters producing albums that bear the torch for American Roots Music.
On the 10-song set, multi-instrumentalists from Portland’s TK & the Holy Know-Nothings appear in varying roles as the backing band: Taylor Kingman (guitars, bass, vocals), Jay Cobb Anderson (harmonica, guitars, pedal steel, bass), Lewi Longmire (pedal steel, piano, bass, trumpet), Sydney Nash (organ, Farfisa, cornet, Wurlitzer), and Tyler Thompson (drums).
The album contains 9 original compositions and a cover of Michael Hurley’s “Wildegeeses”. As I assumed the songs deal with the usual country themes of love and longing. Vassi’s voice has the authentic Nashville sound and the band play their socks off, at times understated and at times rocking out.
Opener, Room In The City tells of the touring life of a musician and a longing for home and a distant lover. There is some delicious lyrical imagery, as there is throughout the album - When I talk to you it’s hard to be withholding / And I was born to chase this blue out of my eyes. / In the still, I often wonder about your breathing / I rise and fall to its rhythm late at night. Tasteful harmonica weaves its way across the song.
Song 2, Rapture is built on a weirdly effective percussive backing with all instruments contributing stabs to maintain the rhythm. This is Country, but not as we know it. Corners the third offering deals with unhealthy love, “My friends, though, they wonder what I’m used to / To love a man who never treats me right.”.
Watching Planes Go By starts with plucked guitar and swooping pedal steel and then does something totally unexpected, just after the guitar solo starts to build the band go into psychedelic Jefferson Airplane territory. I really enjoyed this.
Tracks 4 & 5, namely Song For A Season and Long Way From Home (I’ll Ride You Down) are very listenable The rest of the album flows in much of the same vein. Songs come and go, Telecasters twang, Pedal Steel does what a Pedal Steel does and the lyrics continue paint vivid pictures.
It turns out I’m not a great lover of Country/Alt-Country, specifically the Pedal-Steel, however I can appreciate great musicianship and the release is stuffed full with it.
Links:
a man called adam
The Girl With A Hole In Her Heart - Other Records
Reviewed by Neil Milner
Album released - 26th May 23
The Girl with a Hole in Her Heart is, to my ears, a record searching for an identity. Maybe Sally Rodgers and Steve Jones, who make up the band, are comfortable with this as the album is described as a ‘House record made for all night dancing in a decommissioned steelworks’, and ‘an ambient record that strolls a windswept beautifully ugly deindustrialised coastline’.
The record has some understated euphoric dance anthems. They burst with energy and brilliance but are softened with flat production techniques – and these days, that is a deliberate choice. It begins with the title track, which has ‘retro’ written all the way through it like a stick of post-industrial coastal rock. From the 1980s synth through to the 1970s reverberated electro bassline, it’s detached and unemotional, recreating electronic futuristic predictions from bygone eras. But I suspect that is a mood they were happy to capture.
Fight of Flight sounds like a lightweight, jazzy soul, nondescript minor hit from the early 1980s. A perfect accompaniment for that experimental nascent dinner party coffee lounge vibe. We all need to go through that phase. It’s essential for our self-development, and this song will help.
The mid-section of the record gets more interesting, shifting more towards ambience. Over the Border is still retro and coffee lounge, but more edgy. It could have been used in a low budget thriller soundtrack – the scene which emphasises dramatic tension between the two main protagonists. If I was watching said low budget film, I’d be curious enough to shazam the track, and then probably forget that I’d shazamed it.
Starlings is the record’s highlight. It’s a great example of how impressionism could be represented through music. Bursting with experimentation and imagination along with eerily atmospheric textures and starting and finishing with relaxing bird singing samples.
Stochastic and In Favour of Storms are experimental and ambient, and both are soporifically and monotonously lovely.
Ammonite and It’s Science Baby (Funkified) reignite the dance vibe. The former is a punchy instrumental 1990s sounding dance track punctuated with relentless rhythms and fascinating samples; the latter ending the record defiantly with an anthemic nod to the Balearic glory days.
Ideas are in plentiful supply on this nostalgic record, and occasionally they make for interesting or noteworthy songs.
Track listing:
1. The Girl With A Hole In Her Heart
2. Fight Or Flight
3. Frankie’s Theme
4. Over The Border
5. Starlings
6. Stochastic
7. Ammonite
8. Hidden Dragon
9. Over The Border (Bongo Club Dub)
10. In Favour Of Storms
11. It’s Science Baby (Funkified)
Links:
a place to bury strangers
See Through You 'Re-realised' - Dedestrange records
Reviewed by Dave Flerin
Album released - 2nd June 23
I’m new to this band, but this record has been a hell of an introduction.
If alternative rock and electronica are your thing, then nirvana awaits within! This digital download version is released on 2nd June, six weeks after its vinyl release on April’s Record Store Day. This remix album sees a carefully chosen group of producers let loose on the original tapes, and the result is an inspired reinterpretation of the band’s 2022 album, “See Through You”.
“…Rerealized” kicks off with “I’m Hurt” (Trentemøller remix), a dark glam-stomper of an opener which sounds like it’s been remixed by a seriously unhinged personality, and it’s definitely all the better for it. Then Trentemøller channels the darker parts of the 60s to add some nightmarish psychedelic flourishes to bring it to a close. One song in and counting.
“Hold On Tight” is next up, and as with all “guest remixer” albums, each cut is giving us a mini glimpse into each different producer’s creative psyche. This Wah Together Acid Remix is a laid back, layered number with some beautiful ideas expertly brought to fruition, and carries on the “dark party gathering” type of vibe established by the opener.
There’s a pattern beginning to emerge now, even through the disparate haze of the many cooks involved here; and that’s of each producer being given the keys to the secret synth room at the back of the studio where all the great synths of the past and the future are assembled, ready to do their master’s bidding. And every one of them proves they’re capable of squeezing some beautiful noises out of their studio equipment. Everything’s put together with a synthetic but sympathetic, trippy groove; and most of it works well. Even on the rare occasion when it doesn’t quite hit the spot, each track still has something interesting to say musically, whether you like it or not.
There are numerous highlights throughout, from the euphoric Gift remix of “Love Reaches Out” (think New Order fronted by Spiritualized’s Jason Pierce); to the Data Animal remix of “Broken”, which, frankly, gave me vibes of The Normal’s “Warm Leatherette”. Brilliant! For contrast, I could cite the aching melancholia of “Nice Of You To Be There For Me” (Annie Hart remix); the Blade Runner-esque bdrmm remix of “I Don’t Know How You Do It”; and “I’m Hurt”, in which GLOK (Ride’s Andy Bell) flexes his remixing chops, and manages to sound nothing like Andy Bell, with a rather splendidly atmospheric remix; doffing its cap well and truly in the direction of New Order’s Blue Monday.
There is genuine surprise and delight a-plenty around each corner of this record, and it feels like the band and their collaborators have put something together which should really hit the spot with those music luvvers who have an open mind and a foot in either the “dance” or “indie” camps. Don’t go for remix albums? Neither do I, ’cept I love this one. A confident-sounding peach of a record. It’s ace, and it knows it is.
Links:
squid
O Monolith
Reviewed by James Fortune-Clubb
Album released - 9th June 23
'O Monolith' is the second album from Brighton post punkers Squid following their much lauded debut 'Bright Green Field' in 2021.
Having enjoyed Squid live at 'End of the Road Festival' (2021) as well as being a big fan of breakthrough single 'Houseplants' - I was looking forward to hearing their latest offering.
'O Monolith' is a varied collection of 8 tracks, all quite lengthy (5 - 6 minutes) and feels like an album that would benefit from further plays, I suspect it's somewhat of a grower.
This album sounds like a very different Squid than the band who gave us the powerful angularity and breath of fresh air that was 'Houseplants' - and feels like a move perhaps from post-punk to prog-rock- especially on tracks such as 'Siphon Song'.
Experimentation in music is usually a positive thing and there's much here to think about, from the juxtaposition of brass with synths, to the sometime jazz drumming and angular aggression.
The downside to these generally longer and more experimental tracks, is that the multi layering whilst interesting, can verge towards the dirge. The vocals feel all too often overly and self consciously understated - and are decidedly better when not.
Occasionally, there are hints of quasi mid period Radiohead (Track 1 being a prime example) and 'O Monolith' does have the feel throughout of a band attempting to be taken seriously - what's perhaps missing is the fun factor of the aforementioned 'Houseplants'.
Change, progression and experimentation is generally to be applauded - and I haven't yet decided whether Squid have delivered something here with 'O Monolith' that has the breadth and depth to deliver in the long term, or whether ultimately this is maybe just a bridge too far?
Links:
Dudu Tassa & Jonny Greenwood
Jarak Qaribak - World Circuit Records
Reviewed by Neil Milner
Album released - 9th June 23
Jarak Qaribak is the engaging debut album by Dudu Tassa, Israeli singer, musician and producer, and composer and guitarist Jonny Greenwood (Radiohead, The Smile).
This collaboration brings together songs, vocalists and musicians from throughout the Middle East region, so Jarak Qaribak appears an astute title as this roughly translates as ‘Your Neighbour Is Your Friend’.
The record’s concept is that each singer takes a turn at a song from a Middle Eastern country other than their own. For example, the Yemeni song Ya Mughir al-Ghazala features the Iraqi singer Karrar Alsaedi.
This song nicely illustrates my feeling about this record. It’s composed of classic Middle Eastern love songs, sung in Arabic, and which are ostensibly traditional in their arrangement, and that’s an enjoyable experience. But listening more closely, I can hear Greenwood’s influence, sometimes to the point where I can close my eyes and imagine Thom Yorke’s eerie vocal style accompanying some of these songs, making them seem familiar.
The songs are neutral, and Tassa and Greenwood make the point that they had to be. Along with the authentic arrangements they are at times intensely melancholic, helped in no small part by each guest vocalist. The opener Djit Nishrab, a 1940s Algerian lament to lost love nicely illustrates this. But modern styles weave their way in, such as Greenwood’s quavering string arrangement on this song, reminiscent of Radiohead’s ‘Burn the Witch’.
This complementary juxtaposition is not untypical. The Jordanian folk song Ya ‘Anid Ya Yaba, with its furious percussion would have comfortably fitted into Kings of Limbs. Greenwood’s distinctive restless guitar style resonates through tracks like Ashufak Shay and Leylet Hub.
Interestingly there is also fleeting moments of jazz and electronica on tracks such as Taq ou-Dub, Lhla Yzid Ikthar, (with vocal from Dudu Tassa), and Jan al-Galb Salik.
Despite Greenwood’s noticeable imprint on this record providing an assortment of subtle contemporary flavours, sounds and techniques, I stress that it is respectful of the songs and traditional Middle Eastern vocal and musical arrangements. It’s an example of how you can breathe new life into traditional songs in an interesting, absorbing and reverent way.
Track listing:
1. Djit Nishrab (feat. Ahmed Doma)
2. Ashufak Shay (feat. Rashid Al Najjar)
3. Taq ou-Dub (feat. Nour Freteikh)
4. Leylet Hub (feat. Mohssine Salaheddine)
5. Ya Mughir al-Ghazala (feat. Karrar Alsaadi)
6. Ahibak (feat. Safae Essafi)
7. Ya ‘Anid Ya Yaba (feat. Lynn A.)
8. Lhla Yzid Ikthar
9. Jan al-Galb Salik (feat. Noamane Chaari & Zaineb Elouati)
Links:
james
Be Opened By The Wonderful
Reviewed by Chris Morley
Album released - 9th June 23
Another orchestral album, this one celebrating 40 years of James- is the market becoming saturated, & do the likes of Sit Down really benefit from acoustic treatment?
For surely what drew many in was the sheer propulsive energy of a band brave enough to open themselves- no pun intended- to the dispossessed, those who felt themselves touched by madness or the breath of sadness, & to then feel the need to go back & dilute that feels like something of a mis-step.
As an exercise in nostalgia, Be Opened By The Wonderful works well enough, but all the bells & whistles feel a touch out of step with what went before. Give us the old, transcendent James, not a watered down version…….
If we hadn’t heard such riches, we could live with being poor, you might say.
And surely the feeling to go for is as Larry Gott suggested of Sit Down itself, something which actively “encourages people to put their arms around strangers. As soon as we launch into the opening bars, they start smiling. Then they turn to someone next to them or their girlfriend or boyfriend and hug them, and then they start singing every single word. As a musician, that's incredibly humbling."
Can you ever really achieve that feeling unplugged, though?
So, while Be Opened By The Wonderful may work as a sort of quietened down greatest hits, there is such a thing as too little noise.
Links:
christine & the queens
Paranoïa, Angels, True Love - Because Music
Reviewed by Liam McEvoy
Album released - 9th June 23
Christine and the Queens return with arguably his best and grandest album yet, PARANOïA, ANGELS, TRUE LOVE. The follow up to the 2022 album Redcar les adorables étoiles, the latest album is a true sequel taking everything great about the 2022 album and making it bigger and grander in scope.
The opening track on the album sets the tone for the rest of the 90 minute album. Overture opens the album with an almost choral feel before becoming a much more forbidding sound scape before closing with the line ‘from where I stand everything is glorious. And it is hard to argue with Chris on this as the album opens up into a glorious experimental soundscape that hits some incredible heights.
With the album consisting of 20 tracks there are a number of tracks that stand out. ‘A day in the water is a brilliant synth laden track, underpinned by a sparse drumbeat giving a slight trip-hop feel to the track whilst retaining the sense of scope that encapsulates the album.
Track 10 which is actually the seventh track on the album is an incredible 11 minute epic which with its swirling synths, echoing, pitching vocals, and consistent drumbeat creates an incredible ever changing sound scape that shows Chris at the very peak of his artistic talents.
PARANOÏA, ANGELS, TRUE LOVE is an album that was written performed and produced by Chris with co-production from Mike Dean and sees a couple of notable guest appearances. Madonna first appears on the incredibly atmospheric ‘Angels crying in my bed’ and appears again on the equally ominous ‘I met an angel’.
There is a third appearance on Lick the light out. A track that starts out just as foreboding as the other two, before transforming into a soaring uplifting cacophony of sound. The other notable guest appearance is American rapper 070 Shake who appears on ‘True Love’ and ‘Let me touch you once’.
With PARANOÏA, ANGELS, TRUE LOVE Christine and The Queens produced an ambitiously grand album that lives up to the ambition and delivers brilliantly across its 90 minute play time.
The Sequel to the 2022 album Redcar les adorables étoiles this album is in many ways the perfect follow up as it takes everything good about the 2022 album and expands it to make it bigger, better and grander in almost every way.
Track List:
1. Overture
2. Tears can be so soft
3. Marvin descending
4. A day in the water
5. Full of life
6. Angels crying in my bed (feat. Madonna)
7. Track 10
8. Overture (feat. Mike Dean)
9. He’s been shining for ever, your son
10. Flowery days
11. I met an angel (feat. Madonna)
12. True love (feat. 070 Shake)
13. Let me touch you once (feat. 070 Shake)
14. Aimer puis vivre
15. Shine
16. We have to be friends
17. Lick the light out (feat. Madonna)
18. To be honest
19. I feel like an angel
20. Big eye
Links:
django django
Off Planet - Because Music
Reviewed by Neil Milner
Album released - 16th June 23
Off Planet is the fifth studio album by Django Django. Released in four parts, each as a separate planet, it’s a kaleidoscopic monster, with 21 tracks clocking in at over 75 minutes. In some ways it’s experimental and a departure featuring guest vocalists such as Self-Esteem, Stealing Sheep, Patience, Toya Delazy and many others. In other ways its indefatigably Django Django.
I’ve loved their previous output. Quirky, infectious, psychedelic instrumentation, sounds, vocal harmonies, and melodies, often replete with epic, soaring choruses. They are aligned with a rich heritage of classic art pop bands. They cut across genres and boundaries, producing neo psychedelic loveliness that you can dance to.
But it’s clear hearing this they wanted to try something different. And yet, whilst the guest vocalists make it an interesting experience, and the musical backdrop, varied, wild, dynamic, and occasionally ominous, it still manages to be them.
They have worked with guest vocalists before, including Self-Esteem, but not to this extent. In an alternate universe Complete Me is a chart smash. Hands High featuring Refound is a hypnotic beautiful psychedelic rap. Toya Delazy on Galaxy Mood creates a mesmerising psychedelic afro vibe.
Lunar Vibrations featuring Isabelle Woodhouse straddles the previously unknown missing link between Joy Division and early Eurythmics. Don’t touch that Dial featuring Yuuko sounds like the song you hear when arriving early at a mega club, and only a few people are there. Do you like it? Is this for me? Well at this moment, yes, I do.
On other collaborative tracks the sound is more traditionally Django evidenced best on Back to Back with Patience, and No Time with Jack Penate.
Songs not featuring guest vocalists still have the Django’s characteristics but range from the frenetic and crazy to the manic and even crazier, barely letting you pause for breath. Dumb Drum sails close to the Chemical Brothers wind.
Slipstream exhibits Django demonic distortion in the chorus. The Oh Zone begins with what sounds like a cosmic ice cream van from the third planet summoning the space kids. Fluxus, Black Cadillac and Golden Cross sound warmly familiar and enthrallingly menacing.
The obvious criticism is the album’s length. It could and should have been shorter. There are fillers and noodles, which could have been excluded.
But don’t let that spoil your overall enjoyment of this sprawling but flawed classic.
Track listing:
1. Wishbone
2. Complete Me ft. Self Esteem
3. Osaka
4. Hands High ft Refound*
5. Lunar Vibrations ft Isabelle Woodhouse
6. Don't Touch That Dial ft. Yuuko
7. Back to Back ft. Patience
8. Squid Inc
9. Come Down
10. Golden Cross
11. No Time ft. Jack Penate
12. A New Way Through
13. Galaxy Mood ft. Toya Delazy
14. The Oh Zone
15. Dead Machine ft. Stealing Sheep
16. Dumb Drum
17. Fluxus
18. Slipstream
19. Who You Know ft. Bernardo
20. Black Cadillac
21. Gazelle
Links:
monograms
A Fine Commitment - Paper Cup Music
Reviewed by Levi Tubman
Album released - 16th June 23
New York’s self-styled “Nuke Wave” artist is back with A Fine Commitment, his 3rd full length album fusing post-punk and New-wave with dark and post-apocalyptic sounds. A description that’s a lot to live up to.
Opening the album, Wink Void, is a gentle intro with sporadic electronic sounds and vocals before 2 minutes in it really finds it New-wave roots and volume, with the music picking up the pace and volume. The vocals keep the same tone and energy pretty much throughout, as the music seems to wind around the contrasting darker voice easily ticking a few boxes of the albums description.
Say it away is a very different beast, with an upbeat 90’s indie vibes, and powers along with noise and power, with driving guitars vocals processed to the point of almost disfigured distortion at the end, it just blows through you demanding a second listen.
Sim Pull lures you in with its promise of a stripped back acoustic number, which compared to the other tracks it is, but effects dropping in and out of the vocals punctured by drums and electronica, goes to show that yes Monograms may well know the rules of making of making a pop song, but only from breaking or bending them to their Nuke-Wave sound.
It’s easy to see why Carry The Weight was chosen as a single, it’s one of my favourites on the album, with sirens backed with early New-wave synths. The drums and guitars seem almost out of place when they kick in, its high energy melodic punk set juxtaposed perfectly against the sombre lyrics of being alone and losing control.
All The Time feels quick and a little dirty, sounds of an indie punk band playing in a parent’s garage, with a raw sound breaking away from the albums smoother production. This carries on into into Collider, cleaning up a little with new-wave breaks in between the high energy sections really feeling like the growth of the song before and they really work as a pair.
The last track on an album is just as important as the first, you need to round up everything that’s come before it, and with Listen Up, Monograms starts with clean guitars and galloping drums. Strangely the electronic sounds prevalent in the previous songs are used sparingly, coming in towards the end as the song builds before collapsing into the electronic ether it came from.
You’ll keep hearing parts you’ll recognise from bands and styles, but before you can get comfortable with it they’ve moved on to a fresh influence. While the albums core is visible throughout, they really work around it and more than live up to their self-claimed Nuke-Wave style.
All in all this album is well-crafted enjoyable and entertaining listen.
Track Listing:
1 – Wink Void
2 – Say It Away
3 – Walk On Weather
4 – Hi Low
5 – Sim Pull
6 – Comm Plex
7 – Carry The Weight
8 – Night Dress
9 – All The Time
10 – Collider
11 – The Moon Is right
12 - Listen Up
Links:
pigeon wigs
Rock By Numbers - Clwb Music
Reviewed by David Flerin
Album released - 7th July 23
The press release on this debut mini-album (?? It’s got 11 songs!) paints it as a love letter to the bands and music they adore; and that’s a pretty accurate description. I could leave it there, but grumpy J. Jonah Jameson at Wall of Sound won’t stand for that, so…
A sense of humour is essential when you’re paying homage to your heroes, and thankfully there is one here which stops “Rock By Numbers” from being a straight, po-faced copy of their heroes. Right from the offing, chunky 70s-inspired guitar riffs clearly signpost the retro direction of this album, but respect must be paid to the way they always manage to stay on the right side of indie; with not too much guitar w@nkery, and the right amount of attitude.
There’s a range of contrast between the different tracks, combined with enough playful quirkiness to sustain your interest right to the end. There’s the slow bluesy bluster of “Heavy Low”, to the powerful “Radiation Blues”; which by the end is trampling through skyscrapers and everything else in its way. The vocals are great too, with Harry sounding annoyingly familiar to someone I can’t quite put my finger on, but he’s definitely channelling some John Lennon, meets Freddie Mercury, meets Ian Astbury vibes; which sounds better than it looks on paper.
Pigeon Wigs have also got a thing about endings, and they’ve obviously skipped the “repeat chorus and fade to end” chapter of the music production rulebook. In “Hold Up” they manage to toss out an ending which is as outrageously pompous as anything I’ve heard.
“Come Of Age” has some very British-sounding Kinks and Beatles-y little moments in what is a very jolly number indeed. In “Iron Dynamite” they give us another standout track, this time sporting a freakbeat vibe; the aural equivalent of a big fat dopey smile. “Going Nowhere” and “You Play Me” are examples of songs I wouldn’t in theory normally like, but have found them utterly charming for different reasons.
With “Epilogue”, the album is brought to a close, drawing on a gentle “Lennon at piano” vibe; a short, but pretty wave goodbye from the band. It’s an apt end to an entertaining record. This Welsh five piece aren’t ground-breaking, but they have crafted a quality body of work here.
Their musical hearts are well and truly worn on their sleeves throughout, and this album is a fitting tribute to the 60s and 70s music which they so clearly love. I bet they’re brilliant live.
Any chance of a ticket??
Links:
blondes
In Separation (EP) - C3 Records/Lab Records
Reviewed by John McEvoy
EP released - 14th July 23
Nottingham based 4 piece band Blondes are back with their new 6 track EP ‘In Separation’ out on the C3/Lab Records and based on this release this is a band who with a little luck could hev a rosy future.
The indie rock market is to say the least a busy one, and so new material needs to have that little extra to cut through.
Opening track ‘Love In The Afternoon’ certainly does that with its crashing ‘Oasis’ style guitar intro and the vocals of Will Potter make this a track that I’m sure will be great live.
Second track ‘The Basement’ follows a similar path, and then proceedings slow down a little with ‘Beautiful World’ which for me is one the stronger tracks on the EP.
The acoustically driven ‘Best Friends’ really highlights the versatility of this band, and then ‘Does It Rain On You’ is back to a higher tempo with some great ‘Stone Roses drum work from Daniel Stroud.
EP closer ‘Conversations’ again reminded me of the Stone Roses with a nice indie funk feel and great hook lines.
The question of course is, is there enough on this 20 minute plus EP to make the Blondes stand out from the crowd? Personally I think there is, and to me at least this is a band who will be great to catch live.
Give this EP a listen, you just might be listening to the next big thing!!
Links:
blur
The Ballad Of Darren - Parlophone Records
Reviewed by James Fortune-Clubb
Album released - 21st July 23
An astonishing 32 years since their debut album 'Leisure' and already 8 years since last release 'Magic Whip' - erstwhile britpop kingpins and pop phenomena Blur are back with a (very Blur-ishly titled) new album 'The Ballad of Darren'.
Whilst previous release 'Magic Whip' received much critical acclaim and sold well, although not stratospherically by Blur standards, this latest release somehow feels like a much bigger deal.
So if this is a 'comeback' and don't forget - Blur have never actually split up (brief Graham Coxon sojourn notwithstanding) - whilst Albarn has been on his various sonic adventures via Gorillaz, The Good, The Bad & The Queen, Africa Express et al, Coxon has released critically acclaimed solo albums and formed the excellent Waeve, James has been busy making cheese and Rowntree has been a Labour councillor...
But somehow this does feel very much like a significant comeback even renaissance - with their huge and triumphant Wembley gigs, preceded by intimate shows in hometown Colchester etc. all cranking up the excitement and anticipation, as well as firmly cementing Albarn, Coxon and co. quite rightly as fully fledged national treasures.
And so to the new album...
10 tracks in all then, including first two album singles 'The Narcissist' and 'St Charles Square'.
From opener 'Ballad' - which is classic understated Blur, straight into aforementioned 'St Charles Square' - which harks back to early period Blur, think 'Modern Life is Rubbish'. It's difficult to pick out the strongest tracks here as this is such a consistent album. If pushed though, I guess I'd go for:
- The Heights
- Goodbye Albert (highlighting the brilliance of Coxon's guitar playing)
- The Everglades
- The Narcissist (with it's hints of The Strokes guitar riff)
But ask me tomorrow and the favourites would be different again I'm sure.
There's great production throughout by James Ford (also Gorillaz and The Waeve) which should also be acknowledged.
'The Ballad of Darren' feels predominantly understated and reflective, with an atmosphere of pathos, it is a moving collection of songs - which perhaps comes with maturity and age (in the best possible way). 'Parklife' this is not and neither could or should it be.
Whilst there are elements which hark back to 'Modern Life' and also hints of '13' - what we have this time around is more subdued, reserved, restrained, almost cautious - but brilliant nonetheless.
For those that love Blur - and love this they most definitely will, whilst 'The Ballad of Darren' further cements Albarns reputation as a great songwriter, as well as the brilliance of Coxon's musicianship - it's also testemant to the chemistry shared by all four members which shines throughout this latest collection of songs.
As an aside and just to take the opportunity, don't even bother comparing the breadth and depth of Albarn's work over the last three decades with key erstwhile britpop rivals who's subsequent careers, whilst competent, have amounted to nothing more than a retread of former glories.
Back to the Blur album then...
Melancholy closer 'The Heights' - builds to a classic squall of Coxon guitar, before an abrupt ending - leaving us all wanting more. A great album closer without a doubt.
'The Ballad of Darren' is Blur's shortest - but nonetheless perfectly executed album, it's a
deeply satisfying opus and vision of Blur for 2023, excellent throughout and a more than welcome return.
Links:
mull historical society
In my Mind There's A Room - Xtra Mile Recordings
Reviewed by Neil Milner
Album released - 21st July 23
‘In My Mind There’s A Room’, is the seventh album by Mull Historical Society, a pseudonym for Scottish musician and novelist Colin MacIntyre.
There’s a strong literary bent to this record, with words from the likes of Ian Rankin, Nick Hornby, Jacqueline Wilson, Val McDermid, Scottish poet laureates’ Jackie Kay and Liz Lochhead, and many more.
The records’ concept was for these writers to create some original words on a significant room to them, that MacIntyre then shaped into lyrics and recorded in a significant room to him, namely his recording studio, formerly his grandparent’s residence. A recording of his grandfather Angus MacIntyre, reciting Memories of Mull, makes it onto the record as its poignant poetic finale.
Anaglypta is a highlight. Written and narrated by Liz Lochhead, it opens and closes with a wistful, cosy chorus sample, echoing the stories narrative about the house a very young Liz moved into around the time the late Queen ascended to the throne. It’s highly reflective, and that mood is already set before Lochhead begins. The sprightly 1952 is its companion piece but sung by MacIntyre.
As warm and highfalutin as this all may sound, the music is varied, but mostly safe and conventional, full of cute, whimsical, but ‘heard before’ melodies.
Despite this, there are plenty of surprising moments such as when a sorrowful soprano solo suddenly surges part-way through Kelshabeg. There are occasional hints of other artists oeuvre floating around. Cherry Ghost echoes through the sombre ballad Somebody Else’s Life, and the excellent All Empty Rooms Must Be Mourned. Bombay Bicycle Club is reminiscent in the opener Not enough Sorry. You may even hear the astral Radiohead straining through The Red Flame Diner.
It’s a good, solid record; very listenable, pleasant, and at times nostalgically poignant. The musicianship is great, and the words, as you might imagine, draw you in. Existing fans should probably love it, and some of the tracks may become crowd favourites. But it’s not breaking any new boundaries, and it’s unlikely to generate many new music fans.
But who knows, literary fans may be keen to investigate.
Track listing:
1. NOT ENOUGH SORRY – Jennifer Clement
2. 1952 – Liz Lochhead
3. WAKE UP SALLY – Alan Warner
4. KELSHABEG – Sebastian Barry
5. PANICKED FEATHERS – Nick Hornby
6. THE RED FLAME DINER – Stephen Kelman
7. SOMEBODY ELSE’S LIFE – Jacqueline Wilson
8. MY BEDROOM WAS MY ROCKET – Ian Rankin
9. SEEDS – James Robertson
10. MELTWATER – Jackie Kay
11. ALL EMPTY ROOMS MUST BE MOURNED – Jason Mott
12. ROOM OF MASKS – Val McDermid
13. ANAGLYPTA – Liz Lochhead
14. MEMORIES OF MULL – Angus MacIntyre
william the conqueror
Excuse Me While I Vanish - Chrysalis Records
Reviewed by Liam McEvoy
Album released - 28th July 23
William the Conqueror the Cornish based trio return with their fourth studio album Excuse Me While I Vanish, and with this release they delivered 10 tracks that will live long in the memory with listeners everywhere.
Their style is truly unique, a mixture of blues and American indie rock is on full display on this album to great effect. The first single from the album The Bruises mixes the two genres expertly with a beautiful echoing guitar riffs and lyrics that craft an beautiful story of the hardships of love.
Sheepskin Sleeve is another prime example with the track starting with a distinct blues sound before exploding into life with incredible riffs and powerful guitars. Shots fired from Heaven is again a great showing of how the band can blend differing styles. With more subdued blues style choruses and energetic rock filled choruses.
A Minutes Peace is a fantastically haunting track with brilliantly sparse sections mixed with great guitar riffs. The closing track In Your Arms is a ballad that has a distinct country feel further demonstrating the bands ability to span different genres.
This is a triumphant return, and is certainly worthy of your attention.
Links:
liam gallagher
Knebworth 22
Reviewed by David Flerin
Album released - 11th Aug 23
This is a big-sounding and very capable live album, chock full of Oasis and solo Liam Gallagher hits. People buying this already know these songs, so they must be looking for something slightly more than the studio recordings; and this album delivers just that. His voice, aside from the odd bit of cringey, showbiz inflection here and there, does sound great; and the band is meaty, solid, and more than capable of delivering the trademark Liam/Oasis sound without fuss.
“Knebworth 22” starts with a massive crowd roar equivalent to the size of Liam’s ego, and then kicks-in with “Hello”, which I don’t ever remember sounding this good. And that’s pretty much the story of the whole album. Oasis themselves would rightly be proud of these live performances, they are that good; so it’s mission accomplished for Liam.
The record takes us on a tour of some of Oasis’ greatest songs, interspersed with solo efforts from Liam’s back catalogue. It veers from the fully glam rock-stomping “Shockwave” to the lush-sounding “Once”; and in most cases, everything in each performance conspires to lift the songs that bit higher than the studio versions.
"Slide Away" sounds great here in its live form, with the melodies still retaining their own particular shade of perfection; and right now I’d love to be in that crowd, singing along to it.
By "Cigarettes and Alcohol" it’s starting to hit home just how good the production is, and I’m finding myself enjoying some of these more than the expensively-recorded studio versions.
Even when Liam doesn’t quite hit the high notes like he used to on the chorus of “Some Might Say”, the extra energy generated from the crowd singing along and the band kicking ass means no-one cares as we’re all having too much of a good time.
Supersonic still carries the same big dollop of coolness it had back in 94, whilst Wonderwall is pretty faithful to the version we’re all familiar with, but this time with the crowd serenading Liam in the chorus. “Biblical”, as Liam himself says.
The album predictably finishes with “Champagne Supernova” (what else!?) which Liam dedicates to his mam who’s in the audience; aww!
And there we have it. It is what it is, and it does what it does very well. Oasis have always been crowd-pleasers, and this one has a fighting chance of pleasing both the Liam and Oasis camps simultaneously; whilst they wait for new material, a reunion, or both.
