CDs/DVDs
Javi Fedrick
It’s been nearly 30 years since Gaz Coombes’s former band Supergrass released their first brash single “Caught by the Fuzz”, and he hasn’t stopped making great indie music since. His second solo album Matador received a Mercury Prize nomination in 2015, setting the bar high for World’s Strongest Man but, with its emotional complexity, melodic grace, and classically Coombes-ian soundscapes, it easily surpasses these expectations. As always, Coombes manages to cover a lot of ground across the album. “Shit (I’ve Done It Again)” calls to mind Radiohead’s more tragic, dramatic side, whilst “ Read more ...
Tom Birchenough
Simon Napier-Bell’s film has a huge appetite for its subject, which is, of course, the half-century of gay history in Britain that followed the partial decriminalisation of homosexuality brought by the Wolfenden Report in 1967. 50 Years Legal barely slows for a moment over its 90-minute run, concentrating on the wealth of personal testimony of some four dozen interviewees, drawn predominantly from the worlds of entertainment and the arts, its perspective completed by a small rank of politicians and public figures.Everyone was involved – in different ways, at different times – in the history Read more ...
Thomas H. Green
The opening couplet on Plan B’s new album runs thus: “What the hell have I got to be grateful for?/Can’t be the money as I wasn’t trying to make no more.” One appealing aspect of singer-actor-MC Ben Drew is that he’s spiky, emanating a certain rage. It’s good to see that, after six years away, it’s still there. However, Heaven Before All Hell Breaks Loose, is no Ill Manors, Drew’s 2012 film/album polemic about underclass Britain; instead, steeped in old soul and imaginative production, this is a rip-roaring 21st century pop album, and a very good one.Where Plan B’s last album in this vein, Read more ...
Guy Oddy
Awaken is the debut album by German heavy rockers Confusion Master, a combo of relative unknowns from Rostow who are straight out of the blocks with an unashamed tribute to early Black Sabbath. Loaded with slow and low grooves that come on like a storm of rolling thunder powered by high-grade herbs, spoken word film samples and slabs of heavy psych, it’s powerful stuff that is more than enough to reanimate the inner 14 year-old metal-head in anyone.Gunnar Arndt’s distorted guitars, largely unintelligible vocals from Stephan Kurth, that are buried deep in the mix and Stephen Gottwald’s slow Read more ...
howard.male
In an impressive pop royalty hat-trick, the title track features Brian Wilson, Pharrell pops up on “I Got the Juice”, and Prince helped source sounds for “Make Me Feel”. So does Kansas City gal Janelle Monae’s third album live up to expectations set by such a high calibre of contributors? Indeed, it does. Although, as impressive as it is, when Ms Monae insists on “Take a Bite” that she’s "not the kind of girl you take home to your mother", you might not be wholly convinced. But what’s a one-time prim tuxedoed girl to do in a pop world full of bouncy Beyoncés? Basically, either find her own Read more ...
graham.rickson
Ealing Studios veteran Basil Dearden may have directed it, but 1944’s They Came to a City is mostly a JB Priestley film, an engaging blend of the mundane and the metaphysical. The work’s stage origins are clear; apart from the newly-written prologue and epilogue, this is predominantly a solemn, talky affair, shot mostly on a studio lot. Though we begin with an exterior shot of a sergeant and a WAAF sat on a hillside overlooking an industrial town, discussing what post-war British society might look like. Priestley himself strolls past and asks for a match, before joining in with the couple’s Read more ...
mark.kidel
Van Morrison has always been drawn as much to jazz as anything else. There is a natural swing to his voice, and his phrasing, melisma and familiar vocal mannerisms have always suited the medium well, from early excursions on Astral Weeks, through the jazzy feel of "Moondance" and his most recent albums.Although he could from the start deliver fierce blue-eyed rhythm and blues with a visceral force that put Mick Jagger and Eric Burdon to shame, he was always as much at ease in cooler and more sophisticated territory, as he demonstrated in last year’s big band jazz album Versatile.Joey Read more ...
Thomas H. Green
Blossoms are the latest inheritors of the massive-in-Manchester mantle that has, so often in the past, translated into massive-almost-everywhere ubiquity. That their eponymous 2016 debut album was a chart-topper shows they’re on the way, although they’ve not yet mustered a single that’s thrown them to the next level. The surprise when they first appeared was that, although they look indie and have fans such as Ian Brown of The Stone Roses, their sound was a blend of polished yacht-rock and electro-pop, more The Killers than New Order. With Cool Like You, the rock aspect is almost gone. This Read more ...
David Nice
The touch is not always light here. Swathes of clunking, cliché-ridden English dialogue threaten to make the star-crossed lovers look ridiculous, and one of them (Elliott Gould) can be a wooden actor at times. But Ingmar Bergman's first major film made without the safety net of the Swedish film industry in 1970 has enough serious-minded authenticity to mark it out as more than the total failure he tersely labelled it in his memoirs.Typically, it swerves away from the stereotypical premise: a brisk, chic housewife and hostess in a happy marriage sleepwalks into an affair with a troubled soul, Read more ...
Thomas H. Green
There’s a regular problem with techno albums. The DJ-producers who make them are usually so deeply embedded in club techno that when it comes to making a long-form collection, leaving the dancefloor and showcasing variety, they’re incapable. What, to them, sounds like a sonic adventure, to the rest of us sounds like a series of four-to-the-floor bangers that, after a couple, grows quickly monotonous, however good they’d have sounded at 3am in strobe-strafed Belgian warehouse darkness.Holland-living Brit Oliver Way, however, has some success evading this particular curse. Way, after all, has Read more ...
Tim Cumming
Willie Nelson turned 85 at the end of April, a few days after releasing his latest album and a rare set of self-penned new songs, Last Man Standing. “I don’t want to be the last man standing,” he sings slyly on the shuffling, restless opener, “Oh wait a minute, maybe I do…” Last man standing? In several key contexts, that’s exactly what he is. One of the last surviving Highwaymen, a veteran as well as instigator of Texan Outlaw country as we know it, a Nashville songwriter from its 1950s heyday whose signature songs look set to stay with us till the end of time, or until the party’s over, and Read more ...
David Nice
Opera on film's most magical offering, better by some way than Joseph Losey's cinematically tricksy Don Giovanni, at last makes it to Region 2 in this BFI dual-format release. I've watched Ingmar Bergman's sublime response to Mozart many times, and played scenes to students, in the Criterion Collection edition, but here it is, easily seen in the UK, all spruced up and ready to delight a new generation of kids as well as adults who still don't know it.I disagree with Sameer Rahim's booklet essay that there is nothing of the "dark retelling" about it; once past the "family of man" audience Read more ...