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Album Review – The Breeders

Breeders -‘All Nerve.’ (4AD).

When the ‘Good morning!’ on the album’s first single ‘Wait In The Car’ reaches your ears, it feels like a re-awakening. The Breeders are back with their first album in ten years, and it’s something to celebrate. Given that it’s only the fifth Breeders album in 28 years, it feels like An. Event.

Back in the late 1980s, Pixies bassist Kim Deal set up The Breeders as a side-project with Tanya Donnelly (then of fellow Boston band Throwing Muses) and with the release of 1990’s Pod it was seen as the indie supergroup. By 1993, Donnelly was fronting Belly and the Pixies had split up. The Breeders’ second album Last Splash led by the hit single ‘Cannonball’ saw The Breeders become a big success on their own terms and in their own right. Crucially, it was when Kim’s twin sister Kelley joined the band – and All Nerve sees the twins re-united with the Last Splash rhythm section of bassist Josephine Whiggs and drummer Jim Macpherson for the first time on record since the mid 1990s.

We all know the world has changed in the ten years since The Breeders released the

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ir fourth album Mountain Battles (their third album, Title TK was released in 2002), But it’s so damn reassuring to have them back. Sure the links with other bands (and there are a heap to go and enjoy) contributed to coverage – but there remains a distinctive Breeders sound and feel. The undercurrent of menace that never engulfs, the subtlety of sound that makes Steve Albini the perfect person to work with (he first helmed Pod in 1990 and he’s back here on several tracks) and the way that they understand an album needs quality, not quantity – it’s barely more than half an hour long.

Ahead of the album’s

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release, the tracks released indicated that we were in for a treat. In addition, other highlights are ‘Metagoth,’ ‘Space Woman’ and ‘Dawn: Making An Effort.’ Signed to 4AD – one of the coolest independent labels ever – The Breeders have had deserved commercial success in addition to critical acclaim over the decades. They aren’t necessarily going to appeal to everyone- but that’s the non-listeners’ loss.

Sure, it may have been ten years, but it’s another success. It’s a reminder of why The Breeders are so highly rated, and holds its own against their previous albums and EPs. It’s an album you want to play again before it’s even finished, before revisiting their other albums.

In short: a triumph.

****1/2

All Nerve is out now on 4AD

 

Album Review – Tracey Thorn

 

Tracey Thorn – ‘Record’ (Unmade Road/Caroline International)

Fanfares should be sounded! This is Tracey Thorn’s first album of new mate

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rial in seven years. Now coming up to nearly forty years of music making, in her autobiography Bedsi

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t Disco Queen, Tracey Thorn observes that she has been ‘described as an indie darling, a middle-of-the-road nobody and a disco diva.’ Ms. Thorn is one of a kind, having managed to be so many different things to so many different people, and ‘disco diva’ might well be the lazily appl

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ied label which applies here. Yes, it’s her dr

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awing on dance influences – amongst others. (For the record: she has never been a ‘nobody’ in my ears or eyes, or indeed, in many others’.)

Record opens with the appropriately, uh, majestic ‘Queen.’ A song that manages to be both for the head and the feet, it manages to be reflective yet upbeat. Thorn has always been a reflective songwriter – but she’s understood that that doesn’t have to equate to barely accompanying herself on an acoustic guitar. Hell, a lot of this feels like good POP music.

The album was conceived by Thorn as a record that would be listened to in the daytime, possibly on the move rather than being one for the bedroom. A case in point would be ‘Guitar.’ Not only is it impressive to

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rhyme ‘kissed’ with ‘catalyst’ but this tale of a girl taught to play ‘Teenager In Love’ would have been played out as a guitar-led track in lesser hands. It has the yearning for lost innocence served up in a perfect pop style.

For all the perfect pop singles on here, the al

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bum

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’s centrepiece is the nine-minute ‘Sister.’ It’s described as being a song abou

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t female solidarity and defiance for the dance floor. When Thorn sings ‘…and I fight like a girl’ it is no admission of weakness but rather one of female togetherness. It also features Warpaint’s rhythm section, and backing vocals from Corinne Bailey Rae.

This year marks thirty years since Tracey Thorn had, then, one of the biggest hits of her career as one half of Everything But The Girl with a cover of Danny Whitten’s ‘I Don’t Want To Talk About It.’ She has described this album as being ‘nine feminist bangers.’ That’s pretty much an accurate description – and no bad thing. It’s clear that she is comfortable changing styles and reinventing herself. This is an album that is a triumph and as the album reaches its end, it seems so natural to start again…

****

Reco

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rd is released by Caroline International on March 2.

 

Track of the day #52: Young Fathers

Young Fathers photographed by Julia Noni.

It’s only just over a week until the third Young Fathers album, Young Sugar, is released. Ahead of it, the band have unveiled a third track from the album, entitled ‘Toy.’ It rushes along with the same infectious urgency as ‘Only God Knows’  and yet sounds very littl

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e like it. It’s one of the most anticipated albums of the year a

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round 17 Seconds Towers, so here is a taster.

Enjoy…

EP review – Ride

Ride -‘Tomorrow’s Shore’ EP (Wichita)
Last year Ride released their fifth album Weather Diaries. It was their first album in 22 years, since Tarantula, which was released as the band dissolved. Now the band have issued a new four-track EP, Tomorrow’s Shore – in which they continue to work their magic.

It

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’s pretty fitting that this should be an EP. After all, released around their debut LP there were four stunning EPs (Ride, Play, Fall and Today Forever) which were – and remain – stunning releases in their own right. By the end of 1994 pretty much everyone on their original record label, Creation, had

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been eclipsed by the arrival of new labelmates Oasis – but tellingly, they too released singles (usually four track ones) that formed complete packages.

Nearly a year on, a listen to Weather Diaries confirms that it really was a return to form, to the essence of their first two albums – but moving forward, rather than trying to cling to past glories. Tomorrow’s Shore stands on its own terms, whilst forming a companion piece.
Partly this may be the decision to work with both Alan Moulder (who produced their first two albums Nowhere and Going Blank Again) and Erol Alkan again. It makes for an extremely satisfying listening experience.
Opening with ‘Pulsar’ it striking that while the t

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erm shoegazing was coined because of bands staring at their feet (because of all the foot pedals, duh), this seems to be music that reaches for the stars. Even if lyrically it talks of returning home from another star. It’s fuzzed-up and fabulous, and explains the astronaut on the cover.

‘Keep It Surreal’ is reminiscent of New Order’s first two LPs. ‘Cold Water People’ is perhaps the weakest of the four tracks, not helped by the early part of the track sounding deliberately – and unnecessarily- out of tune. It does get better (and back in tune) in the second half of the track.
The EP closes with ‘Catch You Dreaming.’ A few plays of this track reveals it to be a Ride epic in the vein of ‘Leave Them All Behind’ ‘Vapour Trail’ or ‘Today.’ It’s got perhaps the perfect shoegazing title, and it’s something to lose yourself in. One of the best tracks of the year so far, in fact.
It’s worth finding the twenty minutes to appreciate this release. On this evidence, Ride have the ability to carry on making great music, and it’s a comeback that continues to be worth it. Let’s hope we hear more from them soon.
****
Tomorrow’s Shore is out now on Wichita

Album Review – Monochrome Set

Monochrome Set -‘Maisieworld.’ (Tapete)

“…Playful vocals sing of your frail organic nature, the sad dreams and hopes that you entertain, and the dismal decisions you make. Scenes of a different imagination tear you like brittle canvas and rearrange your portrait into another’s fantasy.

Upon your exit from Maisieworld, you will be pleasantly surprised to find that your vessel is now filled with abnormal thoughts.

Caution : May contain nuts. And bolts.”

Excerpt from press release.

…Of course, I’m not here to review the press release, but it does give some idea of the world in which you enter here…

This year marks forty years since the Monochrome Set formed. Led by Ganesh ‘Bid’ Seshadri, they rose out of the ashes of the B-Sides, which had included Stuart Goddard (the future Adam Ant).

This is, perhaps surprisingly, their fourteenth studio album. It’s a great insight into what makes them distinctive as a band. While I wouldn’t want people to cherry pick what they listen to on this al

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bum (c’mon people, it’s all of 33 minutes long! Find the time, as Five Star once sang), there are highlights on this record. Stage Fright,  the opening ‘Give Me Your Youth’ and the wonderfully titled (and ever so slightly sinister sounding) ‘Oh, Yes, I’m Going To Be In Your Dreams Tonight.’ Sounding so different to almost anything you will hear on mainstream radio as to be from a different planet (and all the better for it) these songs hold their own up against the songs of what is now decades ago like ‘The Monochrome Set’ and ‘Jet Set Junta.’ There are – unquestionably- people who can explain in more depth than I can about what is ver Set’s best work, but this is as good as any place to start with their work. The oft-repeated John Peel cliche about The Fall that they were always different, always the same applies to the Monochrome Set. It’s an equal successor to the band’s last record, 2016’s Cosmonau

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t.

It’s not just that it’s different from so much out there that makes this an entrancing listen. Sure, it’s not a groundbreaking record, but this is a great collection of songs and and attendant sounds. It’s somehow very reassuring that in this uncertain world that Bid and co. continue to produce their slightly quirky songs, a connection to a time when indie meant independent, as opposed to meat and two veg formulaic guitar work, as is so often the case. While members may have wondered why the former Stuart Goddard had much greater commercial success than they, four decades along, there’s still consistently great work coming from the Monochrome Set. There have been splits and hiatuses along the way, but whether the next album is two or ten years away, there’s a strong likelihood it will be worth the wait.

***1/2

Maisieworld is out now on Tapete

More from Sista Strange

Last year, I was

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very impressed by a track from a South London duo called Sista Strange. S

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till in their teens they are Chariz Calanday and Jesley Faye Fantolgo. Writ

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ing about ‘Friday Evening’ I commented ‘I hear electronica, soul, hip-hop and drum’n’bass, served up as a kick-ass tune.

It still is, take note. Somehow I missed out on the slightly darker-sounding ‘Lust’ – but I’m enjoying making up for lost time. You should, too.

In the last week, they have unveiled ‘Ride’ which shows that they have developed further. In what seems to be -charmingly – typical of the Sista Strange sound, it goes places you don’t expect. Not least because my first thought was ‘Wow! They’ve gone more soulful on this one.’ It is, however, like a much needed ray of sunshine

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n this freezing cold weather. Utterly fantastic.

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soundcloud.com/sista-strange/ride

New from Ezra Furman

I cannot claim to be any sort of expert about Ezra Furman. I do know that I really enjoy both of his last two albums Perpetual Motion People and Transangelic Exodus. The latter was released this last Friday just gone. I’m still getting my head around it – it’s absolutely brilliant, though. As in: I would be happy to spend my own money on it, and be thrilled.

So, in

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stead I will point you in the direction of the very nice Loz Etheridge at my other writing gig, God

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Is In The TV, and you can r

ead his excellent review there.

I don’t think it’s either

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controversial nor too early to say this album will be cropping up on end of year lists. This video for ‘Driving Down To L.A.’ is worth seeing on its own…

…and you should stream the

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whole album below:

The return of Broken Records

Having championed them on this blog since 2007, every time there is a new Broken Records release I want to get up and cheer. Should a forty-something man behave this way? Ach, who cares. Broken Records will shortly release their fourth album What We Might Know, on March 30.

The first track from the album is entitled ‘T

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Won’t Ever Leave Us Alone’ – and wheth

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er or not you have seen the video or heard the track, you can view it just here:

The band will be playing the following tour dates:

March 31 – Lexington, London

April 21 – Church, Dundee

April 26 – Summerhall, Edinburgh

April 27 – Tolbooth, Stirling

April 28 – Lem

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on Tree, Aberdeen

The album cover looks like this…

…and the album tracklist is as follows:

  1. They Won’t Ever Leave Us Alone
  2. Let The Right One In
  3. Open Ground
  4. The Inbetween
  5. Anytime
  6. Perfect Hollow Love
  7. When All Of This Is Done
  8. So Free
  9. Clarity.
  10. Someday You’ll Remember Me
  11. What We Might Know

Album Review – Ohio Players (re-issue)

Ohio Players – The Definitive Collection (Cherry Red)

It is absolutely no reflection on the quality of the music produced, but by and large, Ohio Players are mainly known for three things in the UK. The single ‘Who’d She Coo’ which reached no.43 in 1976, the song ‘Love Rollercoaster’

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(which became a top ten hit in Britain for the Red Hot Chili Peppers), and the fact that their song ‘Fopp’ gave the record chain their name. All three tracks are here – but there’s so much more.

This 46-track compilation is pretty comprehensive, divided into three chapters: ‘The Early Years,’ ‘The Golden Years’ and ‘The Later & Solo Years.’ The band were hugely successful in the mid seventies in the US – but even tha

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t had been a long time coming.

The first disc starts with the fabulous ‘Here Today and Gone Tomorrow’ (later covered by David Bowie on his Diamond Dogs tour). This track, with its echoes of Smok

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ey Robinson and Sam Cooke, came from the band’s debut album Observations In Time, released in 1969. This was a decade after the group had formed in Dayton, Ohio. A series of singles (not included here were issued throughout the sixties, and over the course of their lifetime the band were signed to a number of labels. Amongst other things they backed Wilson Pickett on ‘I Found A Love.’

Observations was only a regional hit, and it was a couple of label changes later before the band had their first hit single and album Pain. The first disc also includes ‘Funky Worm’ – a big US hit that was later sampled numerous times by the likes of Kendrick Lamar, Ice Cube and Snoop Doggy Dogg, amongst many others.

Dubbing the second disc ‘The Golden Years’ is accurate in terms of both American commercial success and just how essential they’d become – these are tracks

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that hold their own against the likes of Stevie Wonder, Marvin Gaye and Funkadelic who were all firing on all creative cylinders at this time

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. As well as the aforementioned likes of ‘Fire,’ ‘Coo’ and ‘Rol

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lercoaster’ there’s the gorgeous ‘Sweet Sticky Thing’ – taken from the album Honey (but of course!) and ‘O-H-I-O.’

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The final disc may sound like it’s preparing you for a let down – but it doesn’t. The band were evolving, even if th

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eir commercial fortunes may have been on the wane – and two noteworthy cover versions of Otis Redding-popularised numbers -‘Try A Little Tenderness’ and ‘Sitting On The Dock Of The Bay’ are radically reworked from the way you think you know them.

Though the music on this compilation ends in 1985, the band continue to tour to this day. What this compilation shows is how great the recorded output of the Ohio Players was in these ye

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ars. Drawing on soul, funk, rock, jazz and disco – and paving the way for hip-hop – it’s time their story was more widely known, not just the edited highlights. If you haven’t heard them before, take this as your starting point – and then go and track down those studio albums.

****

The Definitive Collection Plus… is out now on Cherry Red

 

 

Album Review – Stick In The Wheel

Stick In The Wheel – ‘Follow Them True.’ (From Here)

I thought that if you had an acoustic guitar it meant that you were a protest singer’ sang Morrissey on The Smiths’ 1985 single ‘Shakespeare’s Sister.’ I reference this because it seems that ‘folk music’ is far too often a term used in staggeringly lazy ways. See, Stick In The Wheel do come from a folk tradition – but it’s one that’s very much alive, and has absolutely nothing to do with *insert irritating run of the mill mostly acoustic band of your choice here.*
Hailing from East London, and lead by singer Nicola Kearey and guitarist Ian Carter, this is the second album from Stick In The Wheel. Their debut, 2015’s From Here was a critical success, picking up end of year best of awards. On the strength of this album, it’s likely the same thing is going to happen all over again.
‘The Abbots Bromley Horn Dance’ is a fascinating example of why Stick In The Wheel are so vital. The idea of a ‘dance tune’ is so often tied to EDM – but the point about dance music is that people should be able to like, y’know, be able to dance to it? It originates from the thirteenth century in a Staffordshire village, still being performed every year (you can read more about it here) even in the twenty-first century. Over the course of three and a half minutes, this dance starts off slight before picking up pace and getting more and more urgent. Stick In The Wheel argue that as one of the oldest surviving English dance tunes, people should be aware of this as part of their heritage. If listeners (misguidedly) wonder what relevance this should have to music in the 21st century, it’s because human beings are still human beings, still getting to grips with and being alienated by technology, and dealing with the reality of da

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y to day living.

What it doesn’t have is the voice of Nicola Kearey. On the rest of the album’s tracks she is there, singing unapologetically in her own East London accent. It can be an acquired taste – but well worth acquiring. So whether on the band’s originals like the title track or the stunning opening ‘Over Again,’ the latter sounding both modern and centuries old at the same time, there’s links with the older, traditional material that they visit. One of the standout tracks is ‘The Blind Beggar Of Beth

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nal Green’ which is routed in the legend of SImon de Montfort from the 13th Century. Like Fairport Convention’s take on ‘Matty Groves’ it’s a song centuries old that becomes itself in this recorded version.

Stick In The Wheel are an astonishingly easy band to love. If you’re a fan already, you know this. If your view of folk music is that it’s worthy but dull stuff for real ale bores in hideous jumpers, let this put you right. Not a ‘hey nonny no in sight (or hearing)’, and delivered with an attitude if not sound that’s far more ‘hey ho let’s go.’
Follow Them True is released on January 26 2018 on From Here
****