CDs/DVDs
Guy Oddy
It’s always encouraging to a have a musical rallying call in times of political strife. A song for a better future to encourage those on the right side of history not just to march but to dance as well.As Emma Goldman, the Russian-born anarchist of a century or so ago, once said: “A revolution without dancing is a revolution not worth having”, and this is clearly a view shared by Belfast DJ and producer David Holmes. For Blind on a Galloping Horse is no po-faced, muscular call to burn everything down. Instead, it is a compassionate song of hope that praises those “dreamers, misfits, radicals Read more ...
graham.rickson
Not all Scorsese films are behemoths; Killers of the Flower Moon may last over three hours but After Hours, a low-budget black comedy released in 1983, packs an incredible amount into just 93 minutes.That Scorsese directed the film at all is a happy accident; Joseph Minion’s screenplay was set to be directed by the young Tim Burton, Scorsese opting to take it on after his first attempt to shoot The Last Temptation of Christ had collapsed.Filmed on location in New York, After Hours is dark, oppressive and claustrophobic. An early entry in the “yuppie nightmare” genre (see also Something Wild Read more ...
Guy Oddy
Los Angeles is a collaboration from ex-Cure man Lol Tolhurst, former Banshee, Creature and Slits’ drummer, Budgie and producer Jacknife Lee, as well as an army of musical mates from Bobby Gillespie and The Edge to LCD Soundsystem’s James Murphy and Starcrawler’s Arrow de Wilde. So, it could easily have descended into a supergroup exercise of backslapping and excessive self-regard by a load of rock stars who haven’t been in the limelight for a while.Not so fast though, despite trading under the rather clunky name of Lol Tolhurst x Budgie x Jacknife Lee, Los Angeles is an unexpected peach of Read more ...
Graham Fuller
The story has often been told of how GW Pabst cast the American starlet Louise Brooks in his Berlin-made Pandora’s Box (1929) and fashioned his version of Frank Wedekind’s “Lulu plays” around her transfixing performance as the helpless pan-sexual temptress – a projection of primarily male paranoia – who unintentionally destroys her would-be possessors. So, too, the story of the film’s role in the rediscovery and reinvention of its reclusive star as a writer and retired love goddess in the 1950s.Restored and re-released on a limited Masters of Cinema Blu-ray), Pabst’s sex tragedy has been Read more ...
Kieron Tyler
Atmospherically and musically, the debut album from Lebanon’s Mayssa Jallad swiftly makes its case. It opens with a drifting, elegiac voice singing a wandering melody over a sound-bed including what sounds like a koto and a droning cello. The language employed is Arabic. On the next track, the meditative spell is punctured by the crack of distant gunfire. As it progresses, Marjaa: The Battle of the Hotels seamlessly fuses folky introspection, orchestrated drama, crackling electronica and field recordings. Sometimes – again, without any incongruity – within the same song.Marjaa: The Battle of Read more ...
Liz Thomson
Who knew! James Blunt has sold 20 million records worldwide. Who to, I wonder? Back to Bedlam, his 2004 debut, was the biggest-selling album of the first decade of the 21st century. Call that progress? When pop was pap – think the Carpenters or Bread – it was at least melodic and well-produced, leaving in its saccharine wake a handful of truly memorable songs that still evoke a pang of nostalgia and happy memories of sixth-form parties. But this kind of stuff is just… meh.Who We Used to Be is Blunt’s seventh album. There are also live albums and a box set, and a greatest hits collection, Read more ...
Cheri Amour
With a name like The Kills, it’s not surprising to hear that the band’s long-awaited sixth album, God Games, is suitably tuned for spooky season. This year marks two decades since the duo – made up of songwriter and vocalist Alison Mosshart and her creative soulmate Jamie Hince – slinked onto the early Noughties scene with their gutsy garage rock debut, Keep Me On Your Mean Side earning them a place on the podium alongside fellow dual-pronged powerhouses Death From Above 1979 and The White Stripes. While their sludge-coloured, super lo-fi sulkiness became synonymous with that Read more ...
Guy Oddy
Simon Le Bon has described Duran Duran’s new album as being “about a crazy Halloween party” that is “supposed to be fun”. In fact, it’s a fair bit thinner than even that might suggest.Danse Macabre consists of mainly inadvisable cover versions of tunes by the likes of the Specials and Billie Eilish, a handful of reinterpretations of some of their old album tracks and three uninspiring new songs, written especially for this project. So, anyone expecting a reworked film soundtrack to The Texas Chain Saw Massacre might be advised to lower their expectations to something closer to an alternative Read more ...
Thomas H. Green
The three previous albums that Orchestral Manoeuvres in the Dark have released since reforming in 2010 have all, to varying degrees, adhered to their early sound. The band were part of the post-punk, post-Kraftwerk, 1979-82 synth-pop boom, alongside the likes of The Human League, Depeche Mode and Gary Numan.Those three albums, History of Modern, English Electric and The Punishment of Luxury, were all deep dipped in the sonics of that era. This time round, though, OMD’s sound often moves towards their mid-Eighties output; a less universally loved era.They sound also like they’re having fun. Read more ...
Harry Thorfinn-George
In 2011 the BBC aired Wonders of the Universe, a documentary presented by physicist Brian Cox about the origins of the universe divided into four parts: “Destiny”, “Stardust”, “Falling” and “Messengers”. These episodes could easily have been titles of songs on Sampha’s remarkable new album, Lahai, which is similarly concerned with the cosmos – but in a deeply personal way.Since emerging from London’s left-field indie electronic scene in the 2010s, Sampha has become a sought-after collaborator. It’s as if his emotionally baring lyrics and bruised falsetto grants access to buried emotions for Read more ...
Kieron Tyler
Well, this is lovely. Pearlies opens with “I Was Miles Away”, a puffball of a sonic cloud which marries twinkling electronica with guitar-led shoegazing. It has a familial resemblance with the sort of thing perfected by Sweden’s I Break Horses, but lacks the frostiness. Here, there is a glow akin to that of a fire’s embers. Next, the vaguely bossa nova-ish and similarly exquisite “Bend the Round”.Emma Anderson was one-half of the front-line of Lush and her contemplative yet instant first solo album is brim-full of such gems. Take, at random, “Xanthe” with its giallo soundtrack undertone. What Read more ...
graham.rickson
Brannigan begins in arresting fashion, Dominic Frontiere’s funky theme playing over leery close ups of the titular hero’s Colt revolver. Directed by Douglas Hickox and released in 1973, this was the only film starring John Wayne which wasn’t shot in the US.A brief prologue sets up the plot, with ageing maverick Lieutenant Jim Brannigan flying from Chicago to London to extradite gangster Ben Larkin (John Vernon), currently in the care of the Met. But the presence of Mel Ferrer’s slippery lawyer suggests that things won’t go to plan, and Larkin is subsequently kidnapped and held to ransom Read more ...