CDs/DVDs
Kieron Tyler
It’s a good thing After the Disco turned up in the post last November. Initial listens suggested it as a slight follow up to 2010’s eponymous debut. Living with the new album and allowing it to bed in was obviously the way to go. Unfortunately, repeated revisits haven’t revealed any depth or much to grab onto. The thin gruel that is After the Disco isn’t a worthy successor to Broken Bells and is nothing its creators Danger Mouse and James Mercer should be proud of. Yet more listens raise the questions of what this is for and why did they bother?After the Disco is propelled by either chugging Read more ...
Lisa-Marie Ferla
With that warm, slightly husky voice of hers - not unlike that of an old friend at the other end of the telephone - Suzanne Vega has always been one of those singers I’d happily listen to reading the Yellow Pages. To be honest, there are parts of the often mystical, always curious Tales From the Queen of Pentacles that would probably have been easier to understand if she had done, even if the names in Vega’s directory turned out to be as ill-fitting as Mother Teresa, the Knight of Wands and Macklemore.It’s an interesting one to unwrap, this first collection of new material in seven years, Read more ...
Thomas H. Green
The history of motor racing films is littered with detritus. While the sport itself, particularly back in the Sixties and Seventies, undoubtedly pitted man and machine against each other in circumstances where the smallest wrong-headed twitch could be fatal, Hollywood’s response has mostly been turgid: either po-faced, petrol-head fare such as Le Mans, Grand Prix and the Tony Scott/Tom Cruise turkey, Days of Thunder, or affable slapstick gibberish such as The Cannonball Run and Monte Carlo or Bust. This lame record, combined with director Ron Howard’s record of stirring unnecessary added Read more ...
Matthew Wright
Torn between mainstream adulation and the select approval of the folk community, Seth Lakeman has recently seemed unsure of who his audience are. Propelled into the big time on the back of the Mercury nomination for his 2004 album Kitty Jay (recorded in his kitchen for £300), Lakeman then released two albums aimed squarely at the Tesco’s CD aisle (if not at impressing critics), before returning to his roots with the 2012 solo recording Tales from the Barrel House, celebrating the vanishing artisans of his native Devon. He seems now to be aiming for both audiences at once. The concept of Read more ...
Thomas H. Green
A funny thing happened to English pop acts when they embraced LSD in the 1960s. Whereas the original Californian musical tripsters suddenly started emphasising the cosmic nature of reality – think of The Byrds’s beautiful ‘5D’ – the English discovered a weird pastoral idyll, a Looking Glass world of village life through the lens of psilocybin. From The Kinks – who, admittedly, were halfway there already – to Syd Barrett’s Pink Floyd, whimsy and teapots and butterflies and bicycles were where it was at. In the 1980s, there was a strain of wilfully obscure indie that aimed again for this Read more ...
Kieron Tyler
The DVD release of this devastating film brings its impact even closer. Watching it at home is a squirm-inducing experience which brings moments where it’s hard to fight the urge to leave the room or put your hands in front of your face. The overpowering effect stems from more than the discomfort of watching the young boys Arbor and Swifty attempting to navigate through a world which is against them, out to exploit them and, ultimately, probably going to exclude them despite the integrity of their friendship.The Selfish Giant hinges on the extraordinary, magnetic presences of Connor Chapman Read more ...
joe.muggs
A quiet revolution has been underway over the last 10 or 15 years. As digital synthesis becomes more and more available and powerful, as does the ability to manipulate the sound of real wood-and-metal instruments inside a computer, so the boundaries between “electronic” and “organic” have been eroded to the point where they are now meaningless.While some of the artists doing that have been those who parade their technological nous – the Autechres and Flying Lotuses of this world, as well as more academic experimenters – a lot of innovation in this area has been taking place in the less Read more ...
Matthew Wright
The pared-down beauty and integrity of this remarkable new album is all the more exciting given the quantity of stylistic clutter typically associated with its two principal genres, jazz and soul. Showing excellent taste and artistic self-confidence, McFarlane has stripped away warbling vocal ornaments, stale generic phrasing and redundant backing tracks, trusting the assured, true-grained timbre of her voice to carry the emotional weight of her potent and original writing.A handful of these songs are surely destined to endure in the repertoire. They balance McFarlane’s exposed voice and Read more ...
Kieron Tyler
Dory Langdon: My Heart is a HunterAs a singer-songwriter, Dory Previn’s reputation rests on the extraordinary quartet of albums she made for United Artists in the opening years of the Seventies. This, her debut album, was issued in 1958. Commenting on his reaction to hearing “The Lady With The Braid” from 1971’s Mythical Kings & Iguanas for the first time, Jarvis Cocker said “I remember very vividly first hearing this record. I had moved to London. I was living in this squat and I was trying to put a curtain rail up. I was listening to the radio and it’s one of those moments where Read more ...
Thomas H. Green
What is the point of Sheryl Crow? She’s been around for decades but to what purpose? What makes her art worthwhile? She seems a liberal sort, does good things for decent causes, keeps interesting company, but everything she touches turns to US FM radio easy. She likes the smell of rock’n’roll but never looks to have mired herself in it which, making the kind of music she does, country-tinged blues-rock, rather misses the point. She’s a nice, pretty, all-American cheerleader who’s ended up centre stage via hard work, networking and shopping mall anthems such as “All I Wanna Do” and, God help Read more ...
Katie Colombus
In a world where men still dominate the voice-over industry, one woman triumphantly defies the odds. Lake Bell’s directorial debut in which she also stars is a satirical sort-of feminist exposure of this little-known strand of the film world, cushioned by light romantic comedy.Bell plays Carol Solomon, an eccentric, slightly hopeless heroine who strives to break into this unfamiliar showbiz niche as a voice-over artist, only to end up competing with her famous father Sam Soto (played with perfectly enunciated self regard by Fred Melamed). Despite her endearing flaws she overcomes vanity, Read more ...
Kieron Tyler
Croz is everything a David Crosby album should be. That’s not to say it’s the sound of laurels being rested on or evidence of an artist coasting and returning to default settings. Rather, that instead it’s a statement of who this man is and why he is unique. The album – his first solo outing in 20 years – is crammed with jazzy arrangements and melodic shifts. The warm yet spare instrumentation is sympathetic and instantly identifiable as Crosby’s. The lyrics, observational and personalised, are never predictable. And his voice, still bell-like and pure, is as seductive as it has ever been. Read more ...