ts making a welcome return in 2013 grows ever longer (I’ve just taken delivery of the latest releases from David B
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owie, Yeah Yeah Yeahs and Camera Obscura on vinyl. Yum!) To the list we can add Boards Of Canada who will release their first album in ten years, Tomorrow’s Harvest, on June 10.
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nds of music on it…I’m just glad to see the Scottish duo back, frankly.
The first track to do the rounds is the really rather lovely ‘Reach For The Dead.’ And whilst to the uninitiated that might sound like a metal track, it is a fine and welcome reminder of the sort of excellent electronica that Boards of Canada do oh so very well.
Give yourself five minutes to listen to this. If it doesn’t whet your appetite for the new record, shame on you.
The album tracklisting is as follows:
1. Gemini
2. Reach for the Dead
3. White Cyclosa
4. Jacquard Causeway
5. Telepath
6. Cold Earth
7. Transmisiones Ferox
8. Sick Times
9. Collapse
10. Palace Posy
11. Split Your Infinities
12. Uritual
13. Nothing Is Real
14. Sundown
15. New Seeds
16. Come to Dust
17. Semena Mertvykh
I’ve said it before, and I’ll say it again: old-fashioned as it may be, I’m still just as likely to pick up on new music hearing on the radio as receiving submissions (possi
bly because the radio can only play one song at a time, whereas I can get a ridiculous amount of submissions in a day).
I picked up Nadine Shah on Mary-Ann Hobbs’ 6Music Show with her forthcoming single ‘To Be a Young Man’ (out July 8), which is taken from her debut album Love Your Dum And Mad (sic) (out July 22). Having played this several times, each time it becomes clear that this is not just another singer-songwriter and her voice sug
e band – Iain Cook, Lauren Mayberry and Martin Doherty
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– have seen their profile continue to rise, and performances at T in the Park and Reading and Leeds, amongst others, should see a continuation of this upward trajectory. They deserve it.
Sparrow and the Workshop -‘Murderopolis’ (Song, By Toad Records)
This is the third album by Glasgow’s Sparrow and the Workshop and their first for Edinburgh’s Song, By Toad Records. Lead by Belfast-born and Chicago-raised Jill O’Sullivan this new record sees the band developing further and hopefully about to achieve the success they have always deserved, with what is their most accessible and best album to date.
Earlier records had more of a folky feel, while this one sees them still sounding nicely d
ark, but with a more rocky feel, with a touch of glam (though definitely not glam rock). But think PJ Harvey circa To Bring You My Love or Cat Power when she’s not in meltdown mode, and you’re…well, a little bit closer to seeing how great this record is.
The band have been deservedly getting more coverage with the two lead-off singles from this album, the welcome return that was ‘Shock Shock’ and the even better ‘The Faster You Spin.’It’s not just about the singles, though, the opening ‘Valley of Death’ and ‘Darkness’ get the record off to a very fine start that continues through most of the record.
****
Murderopolis is released on Song, By Toad Records on May 27.
My first encounter with Laura Marling was back in 2009, when I saw her supporting Daniel Johnston. I hadn’t heard her debut record Alas I Cannot Swim at that point but I was impressed enough by what I heard. However, when I did hear her solo records I didn’t really connect with them. I went through some years of being swamped in submissions of singer-songwriters, to the poi
nt that I was turned off musically by those of either sex.
In fact I horrified one friend when I dismissed Ms. Marling and said ‘Look! I’ve still got my Joni Mitchell records.’ Well, sorry Amanda and sorry Laura Marling, because it would appear I have done you a great disservice. I started to wonder if this album might be more up my street when I heard the first track to do the rounds from this record ‘Master Hunter.’
And then the album arrived. And with the opening salvo of ‘Take The Night Off’ and ‘I Was An Eagle’ that this album, recorded with Ethan Johns it’s really not another singer-songwriter record. There’s a toughness here, and yet a dreaminess at the same time. Proof that intensity does not mean that you hav
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e to put the amps up to 11.
And I’ve gone back to listen to this album again, and I’m impressed by how good it is. Like a lot of records, it does dip a little about
two-thirds of the way through, and (maybe this is to do with being a child of the vinyl-era, when albums tended to be shorter), but it regains it’s stride on the last two tracks ‘Little Bird’ and ‘Saved These Words.’
It’s a fair cop, guv…I was wrong.
***1/2
Once I Was An Eagle is out on Virgin on
on
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For whatever reason, I seemed to be about the only person who couldn’t connect with The National’s last album, High Violet. So it is with delight that I can announce that I have well and truly fallen in love with Trouble Will Find Me.
In fact, you know you’re onto a good thing with an album when you want to play the album again before you’ve even finished it. I’ve got a whole heap of albums to work through, and this album tempts me : ‘they can wait another day. Enjoy me again.’
‘Demons’ is the first track from the album to do the rounds, but it’s one of many excellent t
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n here, like the opener ‘I Should Live In Salt’ and ‘Fireproof.’ The whole album is sublime, and in fact, I knew I was falling for it when I kept trying to find negative
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s to balance the review…To hell with it. Superb, sublime and even when it’s melancholy, it’s not drag-you-down depressing.
So, a major thumbs-up from me. Go and check it out.
****
Trouble Will Find Me is released by 4AD on May 20.
