First up, Mogwai take on fellow Glaswegian’s Laki Mera’s track ‘Crater.’
Their album The Proximity Effect is rather good (one of many albums I am trying to get around to reviewing. The band are understandably thrilled that Mogwai wanted to do the remix.
Wilco’s 8th album -released via their own dBpm label – demonstrates just why they are such a highly regarded band. Because whilst debates will doubtless rage about whether this is their best record or not, th
ere are many facets to this albu n that show many sides of Wilco and why I’ve found this such any easy album to fall in love with.
It’s worth the money alone for the opening track ‘Art Of Almost.’ Over the course of seven minutes we have the song and the experimentation, and the guitar workout. And it’s blooming fantastic. But there’s a whole lot more that’s deserving of your attention, like the single ‘I Might’ which seems to bring both the Jam and The Doors and the gorgeous ‘Black Moon.’
band once considered a fine Alt. Country band, Wilco have continued to evolve, experiment and excite, so that they have gone beyond this mere definition. Friends, Romans, Countrypersons- lend your ears to this. A wonderful mixture of leftfield and great song
Texan Annie Clark’s third album – the follow-up to 2009’s rather wonderful Actor – demonstrates why her profile and reputation are continuing to grow rather nicely.Clark is an artist who thinks outside the box and gives the impression of being in total contro
l. This record demonstrates once and for all that she is not just another femail singer-songwriter – but an artist who performs in the vein of a Kate Bush or a Laurie Anderson.
This record is more synthesizer-driven than Actor -‘Northern Lights’ and ‘Surgeon’ are two very different tracks whichshow Clark pushing the extremes of what can be done within the confines of the pop song.
The standout track on Actor was probably ‘Actor Out Of Work’ and I think ‘Cruel’ is the outstanding track here. If I have a criticism of this record, it would be that the lyrics can sometimes seem a little below par. ‘No; if I ever meet the dirty policeman who roughed you up…?’ er, what exactly?
Whilst I think there is a truly outstanding album yet to come from Ms. Clark, this album shows her continuing to grow, as an artist to continue watching. She is getting on top of here game, fairly ahead of it in many ways – and best of all, doesn’t play the game.
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onesthrow -‘Judas or rebel’ (Bloomingfield)
The debut album from this Glasgow four–piece opens with the anthemic ‘Tear It Down.’ This track sets the pace and scene for the album that follows.
Now this might seem like an odd comparison to make, but in a way, Stonesthrow remind me of The Drums. Neither act sound remotely like the other, but they
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have a similar approach. In the case of Stonesthrow they enjoy 70s rock -and whilst their influences are clear to see (or should I say hear), they are having an enormous amount of fun, and have produced an album without any fat on it, so to spe
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ak. So no; it’s not an album to innovate, but nor is it a self-indulgent album.
As well as the aforementioned ‘Tear It Down’ , highlights include ‘I’m Ready’ and ‘Slowly Breaking Through.’ Rock music may be having a tough time of it at the moment of late, what with sales for the genre going through the floor. Yet Stonesthrow strike me as a band who will persevere whatever the economic and/or musical climate.
Yes – I’m back. Not that I actually went away; but the blog was refusing to post pictures or links, which would have been kinda pointless.
Like many people, I’m kinda stunned by the news this evening that REM have called it a day. Now I’m going to be honest: I hadn’t been really blown away by an REM album in a while – possibly at least ten years. But Michael Stipe, Peter Buck, Mike Mills -and with drummer Bill Berry until 1996 were responsible for some excellent music. So many great tracks – singles and album cuts; and so many great albums. Most bands do well to produce a really coherent album in their career. REM made at least eight outstanding albums –Murmur, Life’s Rich Pageant, Document, Green, Out Of
Time, Automatic For The People, Monster and New Adventures In Hifi. Even some of the weaker albums had awesome tracks ‘Driver 8’ ‘At My Most Beautiful’ ‘Discoverer’ ‘So. Central Rain…’
you get a helluva lot of submissions. Some fairly brief, some who get irate that you haven’t replied immediately to them, some providing godawful music and some that make bold claims.
This evening I found one in my inbox that said ‘the new Mo
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rrissey?’ Such a bold claim from any PR that I hurriedly opened it ready
to go ‘hah!’ Well, maybe not the new Morrissey…but definitely a star in the making is one Matthew Kites.
Kites are Matthew Kites (Vocals/Guitar), Richard Kites (Mechanics), Jack Kites (Percussion), and Jasper Kites (Guitar)*. Rooted in synthpop, with debts to both Morrissey and New Order. There’s also a fair bit of The Killers circa Hot Fuss (which I still think was them at their best. Then again I prefer KoL around Youth and Young Manhood, so draw what conclusions you will).
rother’ and it’s awesome. I can’t provide it here (when a Souncloud link says Private it’s probably best to obey). But the b-side is called ‘Art Tastes Better Blind’ and it’s one of a number of tracks you can stream below.
Have a listen. Let me know what you think. The interest is clearly building and on this evidence it’s entirely deserved.
*sorry if this shatters any illusions but a bit of digging reveals that their real names are: Richard Baldwin, Jasper Perkins, Jack Newton, and Matthew Phillips.
Twenty-five years since the release of the first, self-titled release from Throwing Muses, the band release a career-spanning best-of, their first. The band were formed in 1983 by Kristin Hersh and Tanya Donelly – either step-sisters or half-sisters; even twenty-five years later concurrent press releases seem to contradict each other. The first American band to sign to 4AD (before The Pixies -and QED The Breeders), the band emerged in the second half of the eighties as one of the most original bands that America had ever produced. Very much part of what was dubbed ‘College Rock’ in the States, the band produced an impressive body of work over the course of ten years, calling it a day in 1996 after the release of Limbo, and reactivated in 2003. Donelly joined The Breeders for their first album, Pod in 1990, left Throwing Muses after The Real Ramona in 1991, formed Belly and went solo after two albums.
Being as this is on 4AD and not a major, this album is not a straightforward greatest hits or straightforward compilation of all the best known tracks of the band. The first CD is a selection of album cuts and EP tracks while the second CD is a selection of b-sides. So whilst ‘Bright Yellow Gun’ from University and ‘Cry Baby Cry’ from the Chains Changed EP do make the cut, tracks like ‘Counting Backwards,’ ‘Dizzy’ and ‘Shark’ aren’t here. Thing is: it doesn’t matter. I’ve got most of the Muses back catalogue on vinyl and this compilation certainly opens me up to tracks that I hadn’t thought about in a while like ‘Colder’ and ‘No Way In Hell.’
The second disc has some excellent songs too -‘Cottonmouth’, ‘Snailhead’ and ‘Red Eyes’ to say nothing of covers of ‘Amazing Grace’ (which gets a full workout), He
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ndrix’s ‘Manic Depression’ and The Beatles’ Cry Baby Cry’ – it’s certainly been made much of that there are two different songs on the same compilation with the same name. (If you’re a geek about these things, you may be interested to note that in terms of White album related covers that the Donelly version of The Breeders covered ‘Happiness Is A Warm Gun’ while Hersh solo covered ‘Everybody’s Got Something To Hide Except Me And My Monkey.’)
43 songs in one go from many bands can seem like
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hard work for many bands’ listeners. Thing is – this compilation is a delight from start to finish. Hopefully it will reawaken interest in a hugely deserving band.
