rock
Adam Sweeting
The bittersweet career of The Kinks is portrayed to surprisingly potent effect in this fast, funny and sometimes poignant musical, now transferring to the West End from the Hampstead Theatre. No mere "jukebox musical" – though it's crammed with songs – it finds space for some kitchen-sink drama, a bit of psychotherapy and a few smart insights into the Sixties pop business.Ray Davies wrote all the music as well as the original story, from which playwright Joe Penhall has spun a pacey and eminently performable script. The stage-show format has to skate briskly over issues like dubious Read more ...
Tim Cumming
At the end of last year, The Fall released an EP, The Remainderer, one of their more refreshing studio tonics of recent years, a madly diverse range of songs and sonic attacks with Mark E. Smith’s vocals thick with phlegm and gleeful, gristly exuberance. Among the EP’s tracks was "Amorator", a spindly, crooked 3 and a half minutes of intense weirdness, which reappears in even wilder, woolier form here alongside a second studio track, "Auto (1914) Chip Replace", a fantastically bonkers, multilayered fixture of this year’s live sets, with the line-up expanded to accommodate a second drummer Read more ...
Lisa-Marie Ferla
If you’ve ever found the idea of “cock rock” to be unnecessarily gendered, then the debut album from Ex Hex – an all-female trio who, between them, have created the best 35 minutes of ballsy rock 'n' roll I’ve heard since Sleater-Kinney’s “The Fox” – is for you. If you haven’t, and you’re just looking for something new to listen to that’s uncomplicated and up-front that will blow the cobwebs out from between your ears, then Ex Hex is also for you. And if you’ve been struggling to find a record that would match the giddy girl-rock high you got the first time you listened to Wild Flag’s first Read more ...
David Nice
Like Ibsen’s titanic character in search of a self, the Barbican’s theatre programme globetrots to find the richest and rarest. Yet it certainly doesn’t reach Peer Gynt's conclusion that home's best. In this case London’s finest and, for most of the year, only showcase for the most innovative of world theatre looked as if it might be hoist with its own international petard: I doubt I’ll ever see a production of Ibsen’s epic masterpiece as shatteringly great as Baltasur Kormakur's pared-down vision for the National Theatre of Iceland in the Pit back in 2007. In the event, while Irina Brook’s Read more ...
Russ Coffey
According to Johnny Marr people with gigantic egos are generally miserable. Jokes about Morrissey aside, it follows Marr must be a pretty contented guy. For what other guitarist with his reputation would have put vanity aside to spend 20-odd years as a gun for hire? Now, however, it seems the affable muso finally wants to be a solo artist. Last year he released the interesting, if patchy, The Messenger. Now he’s back with Playland. So what’s it like?In interview, Marr says it sounds just like “where he’s from”, and it’s true that some of the album feels like rain on gray Read more ...
Adam Sweeting
Despite a 47-year history which has taken them from pomp to pop and established them as a top-selling global institution, there's still a lingering sense that Genesis don't think they've been taken seriously enough. This was detectable in Phil Collins's comment included here that "we're just popular and there's nothing wrong with that... I won't take the credit and I won't take the blame."This "it's not my fault, guv" approach seemed curiously defensive in the light of their colossal string of successful albums and hit singles. Genesis have been one of a bare handful of major bands who Read more ...
Adam Sweeting
Jackson Browne's output has slowed since the mid-Nineties, and this arrives six years after Time the Conqueror. The latter was much preoccupied with the Bush administration and the Iraq war, and Standing in the Breach – with a sleeve depicting a war-ravaged African village – is still stamped with Browne's social and political concerns. "Take the money out of politics and maybe we might see /This country turn back into something more like democracy," he rages in "Which Side", an extended tirade about greed and political corruption he first played at the Occupy Wall Street protests in 2012. As Read more ...
Kieron Tyler
Black Widow: SacrificeIt wasn’t John Lennon’s fault, but things weren’t the same after the “bigger than Jesus” scandal of 1966. Pop music had been connected to religion in a way slightly edgier than Cliff Richard or the Salvation Army's The Joystrings' happy celebrations in song. The doors were now open to a darker take on faith.The Rolling Stones waxed about evil in 1968’s “Sympathy for the Devil”. The B-side of the same year’s “Jumpin' Jack Flash" was "Child of the Moon", which referenced Aleister Crowley’s magical novel Moonchild. The Crazy World of Arthur Brown’s “Fire”, with its “ Read more ...
Adam Sweeting
Though advertised as a heartfelt and autobiographical work, U2's 13th studio album tells you far more about the state of the music industry than it does about the intimate inner stories of the musicians. Tying the album release to the launch of Apple's iPhone 6 merely reinforced the view that U2 is no longer a band, more an offshore corporation, and was bound to strike many people as a desperate ploy from an outfit struggling to stay meaningful. Humiliatingly, many iTunes users have been so enraged by finding Songs of Innocence landing uninvited in their libraries that Apple have had to Read more ...
Lisa-Marie Ferla
The story is a familiar one: four lads rattling through three-minute garage rock songs full of sweary, lovelorn couplets. With the exception of the name (a tribute, apparently, to a busker that frontman Van McCann met as a child) there’s little to set Llandudno four-piece Catfish and the Bottlemen apart on paper - but there’s something about their debut album that makes me smile. Clocking in at just under 40 minutes, making it the perfect length for my walk home from work, The Balcony is the aural equivalent of orange squash: drunk too often it tastes cheap and a little bit sickly, but Read more ...
Lisa-Marie Ferla
It’s been that long since the Gaslight Anthem could be called a punk band with any sort of seriousness that a good half of the crowd at their last round of UK shows would have balked at the notion. But it leaves the critic/fan with something of a dilemma: how to marry a continued love of the band with a loathing for the Killer Kings of Leon-style stadium rockers that recent releases have drawn comparisons to? The answer comes in those throwaway lines of frontman Brian Fallon; the sort that written down look like the worst sort of rock ’n’ roll cliché but which, combined with just the right Read more ...
Matthew Wright
The danger of working successfully in many genres is that fans come to expect something revolutionary with each release. A secondary threat is that you succumb to generic schizophrenia, and thus are never quite sure which voice to speak with. Fin Greenall, founder/leader of the folk-blues trio Fink, has a touch of both of these in this latest release, in which songs of menacing Americana sit somewhat uneasily alongside pieces of lugubrious personal reflection. He may be feted for his eclecticism; he’s more likely to suffer for failing to please all his fans. The title track and “Pilgrim Read more ...