CDs/DVDs
Kieron Tyler
"Stately" is the best adjective for Françoise Hardy’s similarly measured follow-up to 2010’s La pluie sans parapluie. Fifty-three years on from her first release, there is no need for Hardy to break new ground or hare off on a tangent, but her regular release schedule suggests a contentment with sticking to what she knows best. That stretches to the creation of the album itself, where the lyrics are mostly hers but all the music is composed by others. As a pioneering singer-songwriter, it is sad this aspect of her creative self has been surrendered. Writing books seems her focus now.Despite Read more ...
Kieron Tyler
Sandie Shaw: Sandie/Me/Love Me Please Love MeThe former Sandra Goodrich probably would have emerged in the Sixties as an embodiment of the era. She could have been a model, actress or a TV presenter. But it was music that found her, and it suited her a treat. The reissue of her first three albums – each supplemented by the relevant singles and B-sides – is a powerful reminder of her potency. When The Smiths brought her on board for “Hand in Glove”, it further stressed her pivotal role in British culture.Her naturalness obscured the fact that she was a great singer. Ease of delivery did Read more ...
Thomas H. Green
When Major Lazer first appeared half a decade ago they were two on-the-rise DJ-producers, Diplo and Switch, touting a novel mash-up of electro and Jamaican rhythms. Like Damon Albarn’s Gorillaz before them, they hid behind a jokey conceptual conceit – the character of Major Lazer, a zombie-killing cartoon hero. Since then the duo has split and Diplo has taken the reins alongside new accomplices Jillionaire and Walshy Fire, both from West Indian-US sound systems. Aspects of their sound have been influential to the American electronic pop crossover, notably with “Pon De Floor” becoming the Read more ...
Kieron Tyler
While it’s impossible to know the effect of Captured on the few who originally saw it, you can be damn sure it packed a punch. It still does. This unforgettable film was made in 1959 for the Army Kinema Corporation to train personnel in resisting interrogation. Classified as “restricted”, it was seen only by a relevant and limited forces audience. Instead of making a dry, instructional film, director John Krish fashioned a drama with clearly defined characters and a slow-burn intensity which climaxes disturbingly.Its first-time release on DVD comes in the wake of Kathryn Bigelow’s Zero Dark Read more ...
joe.muggs
On hearing the opening track of this album, a friend said “I didn't expect to be listening to new albums of the YYYs 10 years on!” And this is kind of understandable: of all the new rock bands of the early 2000s – The Strokes, The Vines, The Hives, The White Stripes – they had the most air of hipsterism, their kooky demeanour and New York clubbability making it understandable that some could think they were a trend-driven flash-in-the-pan sensation.In fact it was their NYC compatriots The Strokes who all but collapsed under the weight of their own archness, while in contrast what drove the Read more ...
Thomas H. Green
Some bands pootle along in the background for album after album without anyone but their devoted fans appreciating their wares. Such outfits spend years in the shadows of majority culture, but very slowly, through friend sharing with friend, they can occasionally, eventually gather enough momentum to drift into popular consciousness. From Modest Mouse to Biffy Clyro to Flaming Lips, these artists are enjoyably unlikely rock stars for our Facebook eye-food age. Mice Parade have not yet reached such a tipping point (and possibly never will) but if their profile is ever to rise, Read more ...
Lisa-Marie Ferla
Paramore’s fourth album picks and chooses from so many genres that, first time around, I thought that I had accidentally begun to play it on shuffle. Its opening two tracks make an incongruous pairing: the seemingly light-hearted “Fast in My Car”, with its “we just want to have fun” refrain, and the gothy first single “Now”, which piles on the war metaphors.It’s on the second listen that I figure it out, which seems fitting because this self-titled release marks the full-length debut of Paramore the trio, following the departure of Josh and Zac Farro at the end of 2010. The album’s opening Read more ...
Kieron Tyler
Shuggie Otis: Inspiration Information/Wings of LoveShuggie Otis's vanishing act after the release of his 1974 album Inspiration Information belatedly created one of pop’s great what-ifs. However, it only became so in the Nineties after the album was recognised as a soul treasure. David Byrne reissuing the album on his Luaka Bop label in 2001 didn’t plug the information gap, and Otis remained in the shadows. Now though, with this new reissue, the enigmatic soul auteur has resurfaced to supplement the album with a series of unreleased tracks dating from 1971 to 2000. Whatever else he was doing Read more ...
Thomas H. Green
Orchestral Manoeuvres in the Dark are too often remembered for their musical sins. Their long career has taken multiple twists and turns including way too much watery tweeness in the mid-Eighties, then, later on, soppy, occasionally successful attempts to crack American FM radio. Many forget that initially they were one of the first electro-pop bands, Liverpudlian Kraftwerk devotees whose early work stands up beside any equivalent act of the era.The classic quartet line-up, featuring Andy McCluskey and Paul Humphries, the creative core from 1978 until the end of the Eighties, reformed in 2005 Read more ...
Kieron Tyler
Shaking The Habitual’s centrepiece – the seventh of its 14 tracks – is the 19-minute “Old Dreams Waiting to be Realized”. A tone which ebbs in and out, it’s occasionally underpinned by distant rhythmic colour. Although thoughts inevitably turn to the similarly lengthy “SDSS1416+13B (Zercon, A Flagpole Sitter)", the 22-minute amelodic experience exemplifying Scott Walker’s recent Bish Bosch, the astonishing Shaking the Habitual is, over its 97 minutes, an album retaining connections with what is recognisably music. Even so, it’s still pretty far out.Karin Dreijer Andersson and Olof Dreijer – Read more ...
howard.male
These two 1960s movies have more than just their director, Joseph Losey, and their writer, Harold Pinter, in common. They also both star Dirk Bogarde, escaping his matinee idol mould to startling effect, and feature soundtrack composer John Dankworth, whose jazzy scores cleverly veer between generic sexy swagger and disorientating dissonance, as and when appropriate.Perhaps unsurprisingly, it is the most self-consciously avant-garde of the two films that has dated the most. Accident (1967) is at times stilted and painfully slow. And although it might be argued that the pace is a Read more ...
Russ Coffey
Over here, They Might Be Giants are mainly known for the insanely catchy “Birdhouse in My Soul”. There's also a general assumption that it's their only hit, and a suspicion that they're, probably, Canadian. In fact, TMBG are a Brooklyn-based band centred around founders John Flansburgh and John Linnell. A long and often successful career in the States has included several children's albums and even the theme for the sitcom Malcolm in the Middle. The latter won them a Grammy. Nanobots is their 16th album and, quite consciously, looks back over their 21 years in pop.Impressively, it does so – Read more ...