New music
mark.kidel
On the eve of recording an album at Real World Studios, guitarist Adrian Utley and the American trumpet player Eddie Henderson brought their “project” to the hallowed ground of Ronnie Scott’s in Soho, along with four other top-class British musicians.In a set that included moody arrangements played from a score and freewheeling improvisation, they drew on their individual strengths and wandered between post-bop and free jazz, with touches of noise and rock, in a mix that was at times exciting and at others not entirely convincing, as if drawing on so many influences got in the way of their Read more ...
Liz Thomson
Wow, can it really be 40 years since Solitude Standing, the second studio album by Suzanne Vega who put the 1980s folk revival on the map. “Fast folk” the New York scene was called, and its voices emerged from much the same Greenwich Village cafes which were the proving ground for the 1960s revival that introduced Bob Dylan to the world. Plus some newer ones, notably the Cornelia Street Café, founded in 1977 and run by a Brit named Robin Hirsch until absurd rents forced its closure just a few years ago. The album Cornelia Street: The Songwriters Exchange honoured the weekly gatherings when Read more ...
Kieron Tyler
Over its crisp 32 minutes and nine songs, Altogether Stranger embraces electropop, lo-fi terrain and gothic solo contemplation. By deconstructing modern R&B, the upbeat “Come on” is as close as it gets to pop’s mainstream. The unifying factors are Lael Neale’s way with a tune – she writes a memorable song – and her penetrating yet translucent voice.The Virginia-born, now Los Angeles-resident Neale’s third album is firmly in the art pop bag. Her main instrument is the electronic Suzuki Omnichord, which can employ pre-set rhythms, be played with buttons and strummed via a touch-sensitive Read more ...
mark.kidel
Following a tradition that reaches back to the The Who’s Tommy, bands and musicians with serious artistic ambition have created rock operas, reaching beyond the thematic explorations pioneered in concept albums a form that transcends the limits of the three minute popular song. Singer and guitarist Will Toledo, the leader of Car Seat Headrest, is the latest to throw himself into the drama and story-telling that an opera requires.It’s not clear how this would play out on stage – and to that extent, it may not strciktly speaking be an operatic work – but “The Scholars” consists of a Read more ...
Kieron Tyler
The blurb on the front of the double-CD set The Hamburg Repertoire says it collects “The original recordings of songs performed by The Beatles on stage in Hamburg.” Disc One opens with Little Richard’s “Long Tall Sally.” Disc Two ends with Chet Atkins’ version of the “Theme From ‘The Third Man’.”In between, 86 recordings of varying familiarity: from Chuck Berry’s “Roll Over Beethoven” and The Shirelles’ “Will You Love me Tomorrow” to lesser-known fare such as Duane Eddy’s “3.30 Blues” and Gene Vincent and His Blue Caps’ “Wedding Bells (Are Breaking up That Old Gang of Mine).”Hamburg and The Read more ...
Thomas H. Green
There’s this mod milieu, harking back to the Eighties. Weller at the forefront; Dr Robert and his Blow Monkeys; all righteously hate Thatcher; then the electronically groovy 1990s arrive; Acid Jazz Records; boss mod Eddie Piller; his collection of snappily dressed muso's who magazines wrote about and who nearly had hits. These sorts are still about, endlessly churning out music. It’s impressive. Sometimes the music is too. As with this album.Matt Deighton was in Acid Jazz outfit Mother Earth. He’s one of the aforementioned who keep on bangin’ out music. Much of it well-liked. Those mods Read more ...
Kathryn Reilly
Given that Prioritise Pleasure was Rebecca Lucy Taylor’s (RLT) Back to Black, and that there’s been a lengthy wait for this new release, it’s no wonder that there’s so much anticipation around A Complicated Woman. Add to the mix her frankly jaw-dropping performance alongside Jake Shears in Cabaret in the West End, and you might be forgiven for expecting big changes. But Self Esteem knows a winning formula when she’s on to one. The reprise of perhaps her most popular piece, “I Do This All the Time” in the form of “I Do and I Don’t Care” begins with that same Read more ...
Katie Colombus
Had I read the contextual blurb about Jenny Hval's latest album first, I might have assumed it was a perfume company collaboration. The album is named after a fragrance created by renowned perfumer Maurice Roucel for French house Serge Lutens, a connection that initially seems tenuous.This olfactory obsession, it turns out, developed during lockdown when Hval found that scent filled the void left by the absence of live music. It's an unusual concept for this contemplative work, yet perfectly aligned with Hval's experimental approach, which curates ethereal soundscapes, spoken word, and Read more ...
joe.muggs
There’s always been a goofy charm about Billy Idol. As an implausibly chiselled Adonis shining out from the deliberate ugliness of the original London punk scene, he was a misfit among misfits. As a pop star through the ‘80s, he was visibly so spectacularly high almost all the time that he somehow made everything pantomime-ish around him. Latterly he’s been such a perfect encapsulation of the Brit rock star in LA archetype he could quite plausibly be starring in a Spinal Tap spinoff.Along the way, though, he’s made quite a few really great records and remained absolutely, in every possible Read more ...
Ibi Keita
Sweden’s most gloriously unhinged export is back, and Viagr Aboys might just be Viagra Boys at their most fun, feral and fully realised. This album doesn’t try to out-clever the world; it grabs it by the collar, shakes it around, and laughs in its face.From the opening notes, you can tell this isn’t the band trying to reinvent the wheel. They’ve set the wheel on fire and are using it to roast marshmallows. Sebastian Murphy howls and rambles through songs that feel like the soundtrack to a party thrown by nihilistic philosophers and drunk uncles. It’s chaotic, weird, and totally locked in.“Man Read more ...
Kieron Tyler
It would have been hard to pick up a copy of the album credited to and titled 1001 Est Crémazie in 1975. Just 500 copies were pressed. It didn’t reach shops but was circulated amongst the musicians playing on it, their friends, families and fellow students at Montréal’s Collège André-Grasset, the school at which those on the album were pupils.As is the way with these types of thing, the privately pressed album was found by collectors and became sought after. The album’s final track “Bright Moments” reappeared on a DJ-targeted bootleg single in 2000 and then on 2002’s grey-area France and Read more ...
Kieron Tyler
Luster’s fifth track “Halo” has the lyric “mystical creatures… of Éirne,” referencing the Irish river and lough of the same name – both of which are associated with a mother goddess. Earlier, the album’s opener is a short, ambient-styled, scene-setting instrumental titled “Réalt,” where birds, wordless vocals and a harp are heard. Réalt translates from Irish Gaelic as “star.”The second album, then, by the Connemara-born Maria Somerville affirms her Irish origin (the track "Corrib" is named after another lough, one located in Connemara). In contrast, Luster cleaves stylistically to a form of Read more ...