Tag Archives: album

Tellison : Hope Fading Nightly, released September 2015

A belated review of ‘Hope Fading Nightly’, the third album release from indie-rockers Tellison.

Opening track ‘Letter To The Team – After Another Imperfect Season’ is a plaintive tale of fate and failure, sung over gentle acoustic background with a bit of keyboard. It is a distinctive, unusual and effectively disturbing song. When the guitars crash in for ‘Helix And Ferman’ we feel on more familiar territory but the lyrical despondency ‘now all things just pass, you still come in last…’only has the answer of ‘drink red wine’ . It is a belting rock song, quickly followed by the energy and superior pop structure of ‘Boy’ with its hookline that you can’t get out of your head.

There is more despondency in the lyric of ‘Wrecker’ with an efficient demolishing guitar. And so it goes on, mostly lyrically bleak and musically powerful (the sublime ‘Tact is Dead’ needs to be played extra loud..!), especially on my favourite track ‘Orion’. Beginning delicately, then the band crash in as the narrator walks out on his life ‘And Orion looked down vengefully on me…’. I look forward to hearing this one live when they return to Cambridge next year.

‘Hellhole’ sounds like pure electronica but played on guitars. ‘Tsundoko’ is a Japanese word for the act of buying books and never reading them, I’m glad there is a special word for that, it is also the title of the epic final track, with the closing line ‘They said if I tried and tried I’d be happy…’

This is a heartfelt, thought-provoking, challenging album and there is a musical and lyrical depth that makes it a bit special.

http://www.tellison.co.uk/

The Granite Shore : Once More From The Top, released May 2015

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The Granite Shore is the project of Occultation Records curator Nick Halliwell. This is a proper concept album, chronicling the life and death of a rock band as a metaphor for the passing of time and the nature of regret.

It is a thoughtful and complex undertaking, starting with the enigmatic castle pictured on the sleeve, the long quote from Chaucer’s Man Of Law’s Prologue balanced against a quote from Ian Hunter(a minor hero of mine since seeing him practically dragged off stage for starting late and over-running at a festival) of Mott The Hoople and a tempting menu of guest players, mostly acoustic.

To the music, it is divided into two 5 song sections ‘In Public’ and ‘Behind The Scenes’. The opening two songs are rich arrangements with buoyant and idealistic lyrics; ‘Nine Days’ Wonder’ is positively jaunty and suggests that ‘I would dance from here to Norwich in the rain, as long as crowds came out to see me in my triumph and my pain’. Notwithstanding the low annual rainfall in East Anglia, the optimistic lyrical sentiment soon starts to go a bit sour as ‘The Management’ gets entwined with the band and there is also tension with the fan/band relationship. All of this sung to a backdrop of pure sonic joy as the carefully balanced instrumentation glides beneath the melancholy vocal.

Side Two delves deeper behind the façade, with ‘Recorded Sound’ an early highlight with guitar arpeggios and achingly beautiful brass textures. The alcoholic drummer dies, to be replaced with a drum machine in ‘Keeping Time’ then legal wrangling and finally a long meditation by the burned out narrator reminiscing, when it is all over.

It is a triumphant and ambitious piece of work, introspective in parts but the vision and musical realisation of the concept has to be admired. Like Pink Floyd’s ‘The Wall’ it cannot be a relentlessly cheery tale but the sombre words deserve study, as repeated plays of the music continue to reward the listener.

http://thegraniteshore.co.uk/

Sound Menagerie : Clocks & Towers, released May 2015

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In this site’s pursuit of the full range of independent music around Cambridge I’m not sure how this one slipped by, but better late than never!

Sound Menagerie are the vocals of Abi Parker and the songs and guitar/bass of Steven C Wilson, accompanied on this album by a range of guest musicians. It is the follow up to ‘Far Or Through’, released in 2011. They describe their sound as Alternative/Dream Pop and they have plans to perform live with a band at some point.

I could be down the front of the venue for that, or wistfully considering it from further away as the textures of voice and varied instrumentation blend into a timeless concoction. ‘Smile in The Sky’, the opening track is a jaunty piano driven delight, ‘Stay With Me’ an inviting mixture of acoustic yearning. The title track is a darker affair and echoes the multiple coloured images of clocks and towers on the album cover. Sinister waltz ‘Cat In The Mirror’ ends with haunting sound effects leading into intricate up-tempo love song ‘Colour Of The Rose’. ‘The Silver Tree’ is a lovely brittle folk song, especially in the first minute before the main band comes in and takes it in another direction.

Taking us back most obviously to heady late 60s summer days is the restless ‘Agatha Jones’ and especially one of the strongest tracks on the collection ‘Penny Farthing’, possibly a homage to their love of Syd Barrett and his ‘Bike’ and many of the other influences from Pink Floyd’s debut album.

The album ‘clocks’ in at 52 minutes of enigmatic and carefully crafted songs, plenty to get lost in on a summer afternoon or a late evening…

http://www.soundmenagerie.co.uk/

Bouquet Of Dead Crows : Of The Night, released November 2015

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After their boisterous double A-side single set the pace, a track by track review of the forthcoming album from the Cambridge four-piece rockers…

1. Everything Is Temporary. A distant wind blows in some pensive guitar notes; like many bands they have opted for a gradually building introductory track. The vocal sounds world-weary to reflect the title and the instruments have a subtle presence until it all steps up a gear, guitar crashes in and we have a fully developed anthem. A sinister electronic insect swarm ends the track and starts the next…

2. Epicentre. This is when the band kick off the earthquake, you can sense the pleasure they get playing this one, plenty of noise but some sophisticated and varied arrangements too.

3. Just A Little More. Released as a single and reviewed on this site, the track slots in nicely here. “…seems to cram a lot into the three minutes, opening with a guitar figure partly reminiscent of classic prog-rock ‘Heart Of The Sunrise’ by Yes (high-praise indeed!) and dominated by Antoinette’s powerful vocals and a strong hook line. A short bass interlude(Graeme Clarke) is some quieter relief then the track rocks to a heavy finish….”

4. Without You. Slower and sad, excellent sharp bass. As is clearly shown on this track the production on this album is excellent, capturing their ‘live’ energy and contrasting dynamics very well.

5. Drownout. Distorted and heavy, the guitar sounds like some stalking creature, threatening to engulf the vocal. Intense stuff, again with some nice bass touches.

6. The Fundamental Flaw Of Solitude. A lovingly crafted epic track, from the title to the bluesy intro and grinding riff. The hookline works into your brain effectively as does thunderous drumming and extra-low bass.

7. The Silent Path (Time Goes By). A gentler meditation on the nature of time. Acoustic guitar (and drum machine?) framework for some thoughtful lyrics and layered instrumentation.

8. Don’t Panic! The second song on the single, from my previous review “…starts with a thunderous guitar riff from Neil Bruce that hardly lets up and I am always pleased to hear dynamic drumming, energetic stuff from Andrew Coxall, especially in the anarchic instrumental break towards the end…”

9. Like A Flower. In full acoustic mode for this subtle but pivotal piece, featuring the album title line and some neat harmonies.

10. Endless. At just over seven minutes you know that this song is going to cover some extensive ground and it doesn’t disappoint. A catchy vocal line and some well developed instrumental passages.

The album will be launched at the Portland Arms on Friday November 6th…

Bouquet Of Dead Crows : Don’t Panic!/Just A Little More, released 28 August 2015

http://www.bouquetofdeadcrows.com/

Sarah Cracknell : Red Kite, released June 2015

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As the voice of Saint Etienne, Sarah Cracknell has given a distinctive tone to their many cool and sparse musical vignettes. It is going back a bit, but their ‘Too Young To Die : Singles 1990-1995’ is a great listen.

A follow up to ‘Lipslide’ from 1997, this new solo album features co-writing and many instruments played by Carwyn Ellis of Colorama. The opening track ‘On The Swings’ is a beauty, the spooky introduction creates for me an image of 4am on a damp London Street in 1965 even before the vocal breathes in to take it to another level. Sarah has an instantly recognisable voice, never seeming to try too hard she dominates the piece. The duet with Nicky Wire on the radio-friendly ‘Nothing Left To Talk About’ is the bittersweet ending of a relationship, short and sharp with slide guitar. ‘In The Dark’ is a smooth and velvety voice over waves of acoustic guitar and building strings.

And so the album flows and dreams on like a perfect summer evening. Folk-rock duo The Rails add layers of harmony to ‘Take The Silver’ and the cover of the song ‘The Mutineer’ goes into gentle folk territory. ‘Hearts Are For Breaking’ is pure up-tempo pop. ‘I Am Not Your Enemy’ has sinister guitar lines and is a bit different in texture to the rest, then the closing lullaby of ‘Favourite Chair’ showcases Sarah’s pure vocal.

This album is a grower, give it a spin through the summer and like me hope one day to see her in concert…

http://www.saintetienne.com

Franz Ferdinand/Sparks : F.F.S, released June 2015

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Franz Ferdinand recording with Sparks?! A dream collaboration, resulting in this new album. Along with early Roxy Music, Sparks’ TV performances still stand out when shown on the many music compilations shows from the 70s (thanks BBC4!) and their ‘The Number One Song In Heaven’ is prime-cut electronica from 1979. Franz Ferdinand continue to be a formidable live attraction (see my review on this site) and last album ‘Right Words…’ kept up their high standard.

The sixteen tracks kick off with ‘Johnny Delusional’, a keyboard-led stomper and from the start it is clear that this offspring has shared the traits from the two parents equally. ‘Call Girl’ keeps the energy up, then listening onwards you get the feeling that they are recording all sorts of styles and ideas, then without thinking too much sticking it on the album anyway. A commendable attitude indeed, this experimentation yields many delights – the most spectacular being the many sections of mini-operetta ‘Collaborations Don’t Work’, probably unlike anything else released this year?

Across the songs the lyrical subject matter covers modern obsessions, cultural touchstones, semi-obscure icons, death references (‘so many bridges in the world to jump off of….’) and the music jumps around unpredictably. ‘Save Me From Myself’ could be an Abba greatest hit and ‘The Power Couple’ an excerpt from an updated Brecht/Weill songbook.

It is all a bit much in one listen, but give the album time, you will be occasionally disappointed but in the end richly rewarded…

http://www.franzferdinand.com/
http://allsparks.com/

Gang Of Four : What Happens Next, released March 2015

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In the heady days of late seventies post-punk and new wave, the Gang Of Four emerged from Leeds, an angry four-piece memorably named after a Chinese political faction. Their debut album ‘Entertainment!’ is still cited as a long-lasting classic from the era of ‘Marquee Moon’ by Television, ‘Fear of Music’ by Talking Heads, ‘Unknown Pleasures’ by Joy Division and many more. Their mix of social comment, political thought and the ultra-spiky guitar of Andy Gill was and still is a hypnotic cocktail.

The band have undergone line-up changes, including a proper reunion of the original members in 2004. More upheaval has now left Andy Gill as the only original member and the driving force behind the new ninth album ‘What Happens Next’. Opening track ‘Where The Nightingale Sings’ starts with a pounding bass thud, guitar figures punctuates in and out and builds well into some strange apocalyptic imagery of London. Alison Mosshart, singer in The Kills and collaborator with Jack White takes on lead vocals in the rocky ‘Broken Talk’ and ‘England’s In My Bones’.

‘Isle of Dogs’ pulls no punches, an insistent guitar backing and distorted lyrics about corporate shenanigans. Successful German actor and singer Herbert Grönemeyer is guest vocalist on a contemplative track ‘The Dying Rays’ (and ‘Staubkorn’, the same song sung in German(?)). ‘Obey The Ghost’ is a gentle introduction into a nightmare vision of media control set to strident bass pedals and layers of industrial metallic fuzz. ‘First World Citizen’ features soaring guitar and a brittle chorus, almost catchy. Robbie Furze is another guest singer on ‘Graven Image’ then there is some heavy riffing from collaborating guitarist Tomoyasu Hotei on ‘Dead Souls’.

So it is a challenging listen, not comfortable in many ways but certainly an antidote to the anodyne lyrical concerns and painless musical meanderings of some other bands. It sounds like the band still have an explosive live show too…

http://www.gangoffour.co.uk/

Ryley Walker : Primrose Green, released March 2015

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Ryley Walker, a guitarist and singer/songwriter from Chicago follows up his 2014 debut album ‘All Kinds Of You’ with a new collection of jazz/folk/rock songs, built on his percussive acoustic guitar picking and subtle accompanying instrumentation.

Some commentators have compared him with Nick Drake, I think that is because of a desire to find such a person rather than the reality. His free-form pieces have more in common with some of the more experimental work of John Martyn, but he is taking any influences in a new direction, adding a rockier edge too. This is most evident in the epic ‘Sweet Satisfaction’; it starts off like a track from Martyn’s classic album ‘Solid Air’ then the emotional lyric and acoustic vibe tangles up with a distorted electric guitar and drums building to an exhausting, relentless finale. Brilliant.

This is followed by the gentle string sounds of ‘The High Road’. A roving double bass introduces the instrumental passage of ‘Same Minds’ before the vocal soars and glides above it all. ‘Griffiths Bucks Blues’ is a zesty instrumental, ‘On The Banks of the Old Kishwaukee’ is a bluesy slice of Americana. In contrast, ‘Hide In The Roses’ could almost be from the soundtrack to sinister British horror-flick ‘The Wicker Man’. The opening track ‘Primrose Green’ has many of the good ingredients of the rest of the songs with a more mellow vocal performance.

So it is moving in a different direction from his first album, more loose and moody. I look forward to seeing him in concert..

http://ryleywalker.com/

Van Morrison: Duets, released March 2015

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Van Morrison’s new CD is subtitled ‘re-working the catalogue’ and he has certainly dug deep, mining a rich seam of 16 songs from his 34 studio albums. Some of the choices are familiar but there are many tracks here that are less well-known. A lavish menu for the dedicated fan and also an inviting opportunity for the large numbers who seldom delve more deeply than ‘Brown Eyed Girl’ or ‘Have I Told You Lately’.

The guests all acquit themselves well, especially when they add some instrumental extra to Van’s top-notch backing band, step forward Mark Knopfler and Taj Mahal (guitar), also Steve Winwood (Hammond organ heaven!). A highlight is the version of ‘Higher Than The World’ with the jazz vocal and guitar from George Benson adding a different texture. Mick Hucknall confidently takes on the pastoral meanderings of ‘Streets of Arklow’ and Joss Stone sweetly sails and soars through the challenging loose structure of ‘Wild Honey’.

Clare Teal’s beautifully-judged performance breaks our hearts with the longings of ‘Carrying A Torch’, a sumptuous version of one of my favourite Van songs where the voices and backing blend perfectly. Michael Bublé must have been pleased to be given the show stopping stomp of ‘Real Real Gone’ and there is the long-awaited symmetry of ‘Whatever Happened to P J Proby’, a duet with…P J Proby! Mavis Staples belts out ‘If I Ever Needed Someone’ and as a fitting tribute the opening track is ‘Some Piece Of Mind’ with the late Bobby Womack.

Van’s voice is as on form as ever (see my recent live review) and is always a contrast to the guest, sometimes sharing verses, harmonising, leading or following. He has shared vocals several times before, live and on record with John Lee Hooker, Tom Jones, BB King, Ray Charles and the underrated golden tones of fellow Irishman Brian Kennedy (listen to ‘Tupelo Honey’ from ‘A Night in San Francisco’, the 1994 live album), as well as many others.

So will this uplifting album be the basis of the guestlist/setlist for a future live show…..?

http://www.vanmorrison.com/

Public Service Broadcasting: The Race For Space, released February 2015

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Public Service Broadcasting are an electronic and acoustic duo, ‘on a mission to entertain and educate’. By combining the original recordings of speeches and commentaries with different musical settings they create a variety of involving and atmospheric pieces. Careful crafting of the voices meld perfectly with the sentiments of the added music. It is not the normal expectation that a song will inform you of historical or cultural events, but here we get the full rundown of the competition in the 1960s and 70s between Russia and America to get people into space and on the Moon.

The prologue is John F. Kennedy’s stirring 1962 speech setting out plans for the future Moon landings over a background of ethereal voices, then the electronic pulsing of ‘Sputnik’ evokes the worldwide excitement of the first satellite. ‘Gagarin’ is a lively brass-funk workout, released as a single, then the optimistic mood is brought down with ‘Fire In The Cockpit’ reminding us of the fatal dangers always present in the early days of space. ‘The Other Side’ is brooding and tense electronica with commentaries from the Apollo 8 mission into lunar orbit. ‘Valentina’ commemorates the first woman in space with gentle strings and acoustic guitar and the heavenly floating vocals of Smoke Fairies, who will be accompanying PSB on their upcoming tour.
At last it is ‘Go!’, building genuine excitement in music and words as Apollo 11 finally lands on the Moon. ‘Tomorrow’ uses a looser structure to end the album on a speculative note, finally playing out with layers of keyboard, drifting off into space of course (a nod to the end of Holst’s Planets Suite?)

In concert they combine the sampled audio with live playing and visuals, I am looking forward to it…..

http://publicservicebroadcasting.net/