Music Review | Mr Kinski's Music Shack

Daniel Cavanagh – Monochrome

11 10 2017

Cover by Danny Branscombe Monochrome is a new solo album from Daniel Cavanagh, following hot on the heels of the latest Anathema album, The Optimist.

The album is described by Cavanagh as having “…a late night, candlelit feeling, evoking the light of dusk as the summer sun sinks below the horizon, setting the scene for thoughts and meditations that many people will relate to.“

Album opener The Exorcist ushers in this mood beautifully. Sustained piano notes hang over synth sequences as the arrangement evolves. A close cousin to Are You There?, Cavanagh delivers an emotional vocal. Sometimes the most simple arrangements hit you hardest, and this is most definitely the case with Monochrome.

This Music features Anneke Van Giersbergen as co-vocalist. Sparse lyrics let you focus on the instrumentation, which delivers one of the most joyful, uplifting songs on the album.

Anneke joins Daniel on the beautiful Soho. A slow-building arrangement, this is one of Monochrome‘s strongest performances. Soho could easily have graced any of the recent Anathema albums. The second section of the song has an array of well-crafted reverb and delay treatments on the synth pads that underpin the piano line.

Piano is the lead instrument on Monochrome, and the albums longest track, The Silent Flight Of The Raven Winged Hours, is where the playing really shines. There is a wonderful mixture of piano tones and its clear that the effects and treatments are being ‘played’ as much as the actual instruments. The mostly instrumental The Silent Flight Of The Raven Winged Hours is the most progressive sounding track on the album and at times, feels a little like it could also be drawing inspiration from the post-rock sound of bands such as Mono (particularly Hymn To The Immortal Wind) as much as from the emotional intensity of Talk Talk and Sigur Ros.

The guitar intro of another mostly instrumental track, Dawn draws us back to the classic recent Anathema sound. The violin of Anna Phoebe shines on one of the shorter pieces.

Oceans Of Time builds from its feather-light intro section. Brush drums and organ underpin this soothing, calming piece. Layer upon layer is gently added to the mix as we arrive at the middle section of the song, which is a piece of pure beauty. You can almost feel the tension in the studio as everything is stripped back to the piano and acoustic guitar. Its an intensely moving part of my favourite track on the album.

Artwork by Danny Branscombe

The album closes with Some Dreams Come True. There is magic living in these notes – I’ve always loved the Anathema songs where a motif repeats and slowly mutates, which is what happens with the first part of Some Dreams Come True. Fans of Steve Reich will surely approve. The arrangement builds in the second part, almost reprising the songs that have gone before.

Monochrome feels like it was made for a particular purpose. To calm, reassure and lift your mood. It feels a million miles away from the sort of album you can dip in and out of, in this playlist obsessed, instant gratification era.

So whether you listen to this album on CD, vinyl or via streaming, pop on your best headphones, close your eyes and immerse yourself in this music.

The Exorcist
This Music
Soho
The Silent Flight Of The Raven Winged Hours
Dawn
Oceans Of Time
Some Dreams Come True

Buy Monochrome by Daniel Cavanagh on CD

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Buy The Optimist by Anathema on CD

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Tags: Progressive Rock
Categories : Music Review

David Bowie – Lodger (Tony Visconti 2017 Mix)

30 09 2017

The 2017 Tony Visconti mix of Lodger comes as part of the A New Career In A New Town (1977 – 1982) box set released today (29 September 2017).

Lodger was Bowie’s 13th studio album, originally released in May 1979. The last of the Berlin Trilogy, the album was recorded in Switzerland and New York with Brian Eno, and was produced by Bowie’s longest collaborator, Tony Visconti, who also oversaw this 2017 mix.

First of all I must confess that Station to Station and Lodger are my favourite Bowie albums, so this review is not a critique, but a review of how the album sounds in its 2017 mix.

The short version of the review is this: Lodger has never sounded so good. Ok, now for the longer review! It does not sound as if there has been much tinkering with the instrumentation or vocals on the album, just a reworking using modern technology and the original master tapes – so it’s a remix, not a remaster.

From the drum roll that ushers in Fantastic Voyage, it’s clear that this is a high-fidelity version of the album. The strings and backing vocals are much clearer in the mix and there is added reverb on the tail-end of the “cos we’ll never say anything nice again, will we” vocal line. Apparently the lyrics are about the possibility of nuclear war, so this song is more relevant now than ever.

There is some great piano work from the late Sean Mayes on this song. I can recommend Sean’s Life on Tour with David Bowie book, which gives an interesting account of life on the road with Bowie and the band on the 1978 Isolar II tour.

African Night Flight is also greatly enhanced by the 2017 remix – there is greater separation between all instruments, and the guitar and chanted vocals sit much more comfortably in the mix. The excellent Dennis Davis drum parts on Move On sound so clear, and as with most tracks on this new version of the album, reverb and delay treatments are added to Bowie’s vocals. The ending of the song reveals layers that I have not noticed previously, that were hidden in the original mix.

Yassassin sounds a million dollars. The guitar and drums (especially the kick drum) are pushed to the forefront, giving the track so much more punch and drive. It’s like discovering a whole new song. The same applies to the frantic Red Sails – the guitar and sax interplay is so much clearer. Some of my favourite guitar lines on the album can be found in this track.

I was particularly looking forward to hearing my two favourite Lodger tracks, DJ and Boys Keep Swinging, and the new mixes Sound very fresh. DJ sounds so much richer – the drums and keyboards, including the wonderful ARP Solina, plus the amazing Adrian Belew guitar solos towards the end of the song, sound better than ever.

The kick drum and bass guitar are so much punchier in Boys Keep Swinging. Renowned for some of the band members switching instruments, this track, released as a single, is in my top 10 Bowie songs. Around the 2.30 mark, there seems to be a high-pitched guitar line removed in this mix, which is a little disconcerting and one of only a couple of negative points in the 2017 version of Lodger.

Repetition has the most disturbing lyrics on Lodger, and the song is greatly improved by this remix. I love the odd bassline on this track, and the guitars sound so vibrant. Once again, there are elements that I have not previously noticed that are more visible in this new mix.

The album closes with Red Money, the album’s update of the Bowie / Alomar song that appears as Sister Midnight on Iggy Pop’s The Idiot album. The bass is deliciously bubbly in this mix, and the instruments, especially the drums and percussion, sound so good. The Comsat Angels sounding guitar riff at around 1.30 and 2.20 – one of the strongest parts of the song for me, disappointingly sits much further back in the new mix.

So whilst this 2017 Tony Visconti mix overall is a vast improvement on the original 1979 version of the album, I will still return to the original of some songs, such as Boys Keep Swinging and Red Money.

Other highlights (on top of some of Bowie’s finest albums) on the box-set include the extended version of Beauty and the Beast (I had not heard this version before) and my favourite version of Cat People (Putting Out Fire), the stunning Giorgio Moroder soundtrack version, which has one of the most emotional Bowie vocal performances.

“Its been so long, so long, so long”

The A New Career In A New Town (1977 – 1982) box set is my favourite of the three released to date. The whole package includes the following discs (all remastered, apart from Scary Monsters) plus a hardback 128 page book with photos plus notes from Tony Visconti:

Low / “Heroes” / “Heroes” EP / Stage (original and 2017 versions of the live album) / Lodger / Lodger (2017 Tony Visconti Mix) / Scary Monsters (And Super Creeps) and the compilation Re:Call 3.

Buy “A New Career In A New Town (1977 – 1982)” CD boxset – on Amazon

Buy “A New Career In A New Town (1977 – 1982)” vinyl boxset on Amazon

Buy “Life On Tour With Bowie” by Sean Mayes on Amazon

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Tags: 70s, 80s, David Bowie, re-issue
Categories : Music Review

Blancmange – Unfurnished Rooms

16 09 2017

Unfurnished Rooms is the 9th studio album from Blancmange.

The 2017 version of Blancmange is a world away from the colourful electronic pop of Living On The Ceiling and Blind Vision. Recent releases find the band (now down to Neil Arthur with co-producer and musical partner in Fader, Benge plus occasional appearances from guitarist David Rhodes) producing much darker and more minimalist electronica.

The title track of Unfurnished Rooms hisses and crackles, with a feel of the first two John Foxx albums. Deep synths and frantic guitar lines accompany this song with lyrics hinting at confusion and things being not what they seem, in a dream-like state.

We Are The Chemicals is an early album highlight. I love the glam-rock guitar and any track that centres around “a chemical spillage on a trading estate in Altrincham” is likely to pique my curiosity.

The 70s T-Rex type guitar is ramped up a notch for What’s The Time? – a conversation piece set to music.

“Whats your favourite crime?”

The album’s most moving song arrives at the halfway point of the album. The lyrics for Wiping The Chair focus on the minutiae of a former friendship or relationship, set to a potent mix of 80s sounding electronica and a gothy, The Cure referencing intro.

“But your voice still sounds the same…”

Anna Dine also feels like it is inspired a little by the sound of the early albums of The Cure – with the sort of deep bass that underpinned A Forest. I love the mood conjured up by Unfurnished Rooms, the album has a real feeling of space aided by the good use of glacial reverb and delay.

In December has ringing guitar lines sitting alongside warm, early 80s strings. Old Friends adds some twisted pop to the mix, delivered without warning in the form of a stunning chorus that serves as a prelude to the Nine Inch Nails channelling Gratitude. David Rhodes (Kate Bush / Peter Gabriel) adds some quality guitar work to Gratitude, reminding me a little of the power of the late John McGeoch (Magazine / Siouxsie and the Banshees).

The album ends with the track that will probably become most fans favourite, Don’t Get Me Wrong. By far the albums longest track (at just over 8 minutes), and no, its not a cover of The Pretenders track! Don’t Get Me Wrong features long-time Blancmange admirer John Grant giving it his best Mike Garson on piano as well as adding wonderful mood-altering backing vocals. The album closer abandons the sparse , early 80s feel of the rest of the album, and hints at a possible new direction for Neil Arthur & Blancmange.

I’m so glad that Blancmange are still developing and heading in new directions, instead of looking back to their past. Give Unfurnished Rooms a listen if you are a fan of electronic music, I think you will find much to enjoy.

Buy Blancmange Unfurnished Rooms on CD

Buy Unfurnished Rooms on vinyl

Buy The Blanc Tapes

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Tags: Electronic, Synth-pop
Categories : Music Review

The National – Sleep Well Beast

11 09 2017

Sleep Well Beast is the seventh album from Cincinnati’s The National, and the follow up to the 2013 release Trouble Will Find Me.

I’ve always loved the more mid-paced, atmospheric songs such as Lemonworld, Fireproof and the haunting I Need My Girl so Sleep Well Beast is a pure delight for me. Opening with glitchy percussion and buried deep in the mix atmospherics, Nobody Else Will Be There sets the scene for the majority of the album.

“Its getting cold again but New York’s gorgeous”

Sleep Well Beast is stuffed to the brim with a mix of memories, the trials and tribulations of getting older and attempts to make sense of our messed up world.

I think its a brave move opening the album with one of the slower paced tracks, rather than a more obvious opener such as Day I Die. After the disappointment of the last Arcade Fire album, its great to be reminded that there is still plenty of great alternative rock coming from across the Atlantic.

Walk It Back is a perfect example of how simplicity can lead to the most beautiful music. The simple three note guitar riff, underpinned by strings, in the songs mid-section is one of the most moving parts of the album. Talking of great guitar work – the white-hot guitar solo that leads into a wonderful delay heavy rhodes piano and rhythm outro on lead single The System Only Dreams In Total Darkness is a moment of pure magic.

“I can’t explain it any other, any other way”

Born To Beg feels like a love song to New York and to an un-named someone. The often discordant electronica bubbling alongside the repeating piano motif works well, and shines a bright light onto the aching lyrics.

Turtleneck is the album’s noisiest track, with a late 80s / early 90s U2 referencing guitar line in the 1st verse, and what sounds like a dig at the current resident of The White House. Achtung baby!

Empire Line has one of the album’s most infectious choruses and some Fripp like squealing, processed guitar lines as the track heads to its conclusion.

The intro to I’ll Still Destroy You sounds like 80s Bill Nelson – all handclaps and crazy marimba. The arrangement and instrumentation is playful and endearing, and at odds with the more sombre feel of the majority of the album. I would have loved to hear this song blaring out of an FM radio in the 80s. This one is a keeper!

Of course, after such a frenzied and uplifting track, you just know that the comedown is waiting just around the corner. Guilty Party is the delicious antidote to the joy that preceded it. The end section of Guilty Party, with a trumpet line battling for your attention against a looping guitar melody, is awe-inspiring.

“Its nobody’s fault – no guilty party”

Carin At The Liquor Store is the first of a pair of songs that almost feel like standards from the mid 1950s. The arrangement and band performances feel effortless on this track.

The National

Dark Side Of The Gym is my favourite song on the album, and likely to be one of my favourite songs of 2017. After a quiet, unassuming opening and chorus, the chords of verse two hit hard. The song slowly builds but keeps its core simplicity throughout.

And how can you not fall in love with a verse like this:

“I have dreams of anonymous castrati, singing to us from the trees
I have dreams of the first man and first lady, singing to us from the sea”

Seriously, everyone else just stop writing your self-obsessed lyrics and ask Matt Berninger and Carin Besser to supply your words from now on.

The psychedelic ending to Dark Side Of The Gym leads into the album’s title track and final song. The percussion and electronica backing of Sleep Well Beast has a feel of some of Bjork’s darker material. The fuzzy guitar and deep synths add a feeling of disquiet that mirror the lyrics of loss and dread.

“Thought that you were something good that I would always keep”

I hope you feel like diving into the new album by The National. Let me know if you enjoyed the album by leaving a comment below.

Buy The National – Sleep Well Beast on CD

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Buy The National – Trouble Will Find Me on vinyl

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Tags: Alternative, Vinyl
Categories : Music Review

Hannah Peel – Mary Casio: Journey to Cassiopeia

3 09 2017

Mary Casio: Journey to Cassiopeia is the follow-up to 2016’s Awake But Always Dreaming. Peel’s third full-length solo release heads off in a very different direction to recent album and EP releases from the electronic composer.

The music on Mary Casio: Journey to Cassiopeia was performed by Hannah Peel and Tubular Brass, and was recorded live in The Civic, Barnsley by Real World Studios. The album artwork is by Jonathan Barnbrook.

This mostly instrumental album is a mixture of warm analogue synths mixed with a traditional colliery brass band. On paper this should not work, but in reality the mixture of machine and brass band works surprisingly well.

There is a strong sense of nostalgia running through the veins of this album. Hints of the early 80s work of John Foxx blend with the 70s aesthetic of Jean Michel Jarre.

Colliery bands always conjure up a feeling of the early 70s to me. I always think of the late Peter Skellern and also the work of The Brighouse and Rastrick Brass Band. The only other recent album I can recall using colliery bands is the wonderful Diversions Vol.2: The Unthanks With Brighouse And Rastrick Brass Band. Though you will not find any synths on The Unthanks album!

The brass swells offer a real emotional pull, especially on album opener Goodbye Earth.

The celestial sounds of Sunrise Through The Dusty Nebula is an album highlight. There is a moment when the analogue bass synth hits a peak with the brass that sends shivers.

The theme of the album is the story of 86-year-old Mary Casio and her lifelong stargazing dream to leave her South Yorkshire home in the mining town of Barnsley and see the star constellation of Cassiopeia. As the album progresses, you get the feeling that the journey may not be rooted in reality.

Deep Space Cluster uses the brass in the way that electronic musicians often use the slow-building repetition of sequenced synth riffs to build the tension towards the songs climax.

Andromeda M31 takes me back to the days of the 70s London Planetarium. I love the use of the often bubbling beneath the mix ambient bumps and noises that really help built the tracks mood. The synths add a real sense of the huge expanses of space, and makes this track one that 70s / 80s synth music addicts will really love. I’m sure Giorgio Moroder must have snuck into the studio when this track was being recorded.

Life Is On The Horizon is a sad refrain, that has a little of the feel of The Last Post about it. The bubbling analogue noises sound like comets or space debris flying past.

Hannah Peel Live

Archid Orange Dwarf lifts the mood, and is one of the only tracks with a noticeable human vocal element – no lyrics, but a warm vocal hum that adds to the joyful feel of the song.

The album closes with its longest track, The Planet of Passed Souls. Reverb-heavy organs usher in a song that includes a sample of Peel’s grandfather as a choirboy from 1928, mixing reality with fantasy, the distant past with the present. The end section of The Planet of Passed Souls is simply beautiful.

I might take a trip to the Royal Observatory Greenwich, which is not too far from where I live, with Mary Casio: Journey to Cassiopeia as the perfect headphone accompaniment. The album was built to be played in one sitting, in the original sequence. So turn off shuffle and enjoy your journey with Mary Casio.

I really hope she made it to Cassiopeia.

Buy Mary Casio: Journey to Cassiopeia on CD from Amazon

Buy Mary Casio: Journey to Cassiopeia on vinyl from Amazon

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Tags: Electronic
Categories : Music Review

Steven Wilson – To The Bone

22 08 2017

To The Bone is Steven Wilson’s fifth solo album, and was released on 19th August 2017.

Over the past few months Steven has released a handful of To The Bone‘s tracks as the modern equivalent of singles, to stream on your platform of choice. A lot of the interviews and PR have talked up the ‘pop’ aspect of the album, whilst the SW / prog forums have seen many a fan having a hissy fit about the direction the music has taken – especially with the ELO / ABBA leanings of Permanating.

As with all good albums, hearing tracks in isolation away from the whole album listening experience does not always tell the whole story (please excuse the Kate Bush pun).

To The Bone is essentially a rock / pop album, inspired by the music of Tears For Fears, Talk Talk, Peter Gabriel, Songs of Faith and Devotion era Depeche Mode and Kate Bush. So not pop in the modern day sense, but one of pops golden eras, when songs were often experimental, bold and bright.

Another key influence to me is the variety of the music that filled the charts in the late 70s and early 80s. The charts would be populated by artists as diverse as the prog-punk of The Stranglers, next to the electronic pop of The Buggles, alongside the metal of Rainbow’s Since You’ve Been Gone or the AOR of Sailing from Christopher Cross. This mixture of very accessible music drawing from varied genres seems to have seeped into this album. The music still contains the Wilson DNA that has run through his work from no-man through to Lightbulb Sun and up to Hand. Cannot. Erase, so it’s not a total reinvention, more a re-focussing using a slightly more colourful musical palette.

One of the most enjoyable aspects of the album to me is that SW performs so much more of the music (especially guitar) than on recent albums. The other big plus is the bluray 5.1 mix, which has to be heard to be believed. The bluray comes with the (now soldout) deluxe edition, and can also be bought as a standalone disc.

Photo by Lasse Hoile

The title track opens the album, and contains the first performance from one of the albums key contributors, Mark Feltham. I presume SW knows Mark’s playing from The The and Talk Talk whereas I have been a fan of his work from the late 70s / early 80s new wave / r & b of Nine Below Zero, who I saw live in hot, sweaty London venues as a teenager countless times. Mark delivers some emotive performances on several songs on To The Bone. Former Mansun leader, and now solo artist, Paul Draper adds some Oberheim sequences to this fine opening track.

Nowhere Now also introduces another aspect of this album – referencing other songs on the record. For example, a little bit of Permanating seeps into the bridge of Nowhere Now. The end section is pure Pete Townshend (All the Best Cowboys Have Chinese Eyes especially) and The Who, and its clear early on that the rock elements on To The Bone are more classic than progressive.

Pariah is my favourite Wilson / Ninet Tayeb collaboration to date. By the way, if you get the chance, listen to Ninet’s Paper Parachute album, especially the wonderful Child. Pariah is one of those timeless songs that could have been released at any point in the past 40 years, and would still sound fresh.

I’m a big fan of the guitar sound on To The Bone. The Same Asylum As Before has some huge guitar lines that simply burst out of the speakers, topped by the wonderful harmonies that were deployed so effectively on Lightbulb Sun. This song sounds a million dollars in 5.1.

Refuge is fast becoming my favourite song on the album. Mark Feltham delivers a heart-breaking harmonica performance, and Adam Holzman, my favourite Wilson keyboard player, adds exquisite solina strings and Hammond work. I can’t wait to hear this song live at The Royal Albert Hall in the spring. There is a real Ashes to Ashes referencing synth line at the end that cuts right through the mix. It’s a wonderful example of the light and shade, the power and restraint that breathes life into these songs.

Permanating is the one song on the album that has really generated the most discussion amongst fans. I will just sum it up by saying that it’s the sort of song that I can remember blasting out of my FM radio in 1979. No static at all.

Its certainly not everyone’s cup of tea, and is my least favourite track on the album, but it does make me smile (especially the video), and that cannot be a bad thing in these troubled times. Permanating works well at this point in the album, the unbridled joy of the song sits in stark contrast to what follows.

Blank Tapes is a stripped back arrangement with just SW, Ninet Tayeb and Adam Holzman.

“Nothing is left but the blank tapes in your car”

It is short and simple and leaves you wanting more, as the dark tale of terror living next door that is People Who Eat Darkness kicks in. I love Craig Blundell’s performance on this track, and the almost Dr Feelgood / Wilko Johnson clipped guitar playing from SW is awe-inspiring.

Song of I features Sophie Hunger on co-vocals. The most outright piece of electronica on the album, its a song of addiction and possession. I know I keep harping on about this, but PLAY THIS SONG LOUD IN 5.1. The hidden in the stereo mix vocal elements and sequencers counter playing with the live strings are a joy to hear in the 5.1 mix.

“I give it up, I give it all up”

The subject matter of Detonation is pretty much self-explanatory. Another piece of mainly dark electronica that soon mutates into a full band performance. An album highlight, with my favourite instrumental passage being the breakdown as the signature 80s conga percussion, Roland Orzabel-alike rhythm guitar and bass line that I was sure was Nick Beggs but isn’t sees out the track.

Album closer Song of Unborn features the recent SW band minus Mr Beggs and has the album’s strongest, and most direct, lyrics. The arrangement is given a deeper emotional edge by the use of a choral section provided by Synergy Vocals.

“Now the time that is gone doesn’t matter to anyone”

It’s the nearest to the sound of recent albums, and a reminder that SW does album closing songs so well.

So there is much to enjoy on To The Bone, but I really would recommend the 5.1 mix, which is available on blu-ray. The deluxe edition, which is now sadly unavailable, also contains some very good unreleased songs (particularly A Door Marked Summer and Ask Me Nicely) and alternative mixes as well as a hardback book with some great pictures and detailed background to the creation of To The Bone. So if you can track down a copy, it will be a worthwhile purchase.

I hope you enjoy the album.

Buy To The Bone on CD from Amazon

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Tags: Steven Wilson, Vinyl
Categories : Music Review

Tim Bowness – Songs From The Ghost Light

14 08 2017

Songs From The Ghost Light is a companion release to Tim Bowness’s Inside Out label albums, Abandoned Dancehall Dreams (2014), Stupid Things That Mean The World (2015) and this years wonderful Lost In The Ghost Light.

The 34 minute mini-album is available in limited quantities on CD & vinyl from Burning Shed, and as a download from Tim’s Bandcamp page.

Stupid Things That Mean The World (chamber version) is a stark re-imagining of the 2015 track. Stripped of the albums guitar and drums, piano and strings underpin the vocals, which have a dollop of extra reverb added, making this version a very different beast. A disturbing alternative synth line adds tension to the middle section of the song.

The live version of The Warm-Up Man Forever (the studio version appears on Abandoned Dancehall Dreams) features a stunning drum performance from Andrew Booker and a wonderful Experiment IV-like guitar line from Michael Bearpark. As an advert for the Tim Bowness live shows, the non-studio cuts on Songs From The Ghost Light do their job.

No Longer The One is a reworked, much less proggy version of the Henry Fool rarity Pills in the Afternoon. A more expansive guitar line and a richer arrangement and production take one of Tim’s finest hidden pieces to new heights. Its my favourite track on this mini-album.

Some T-bo trivia – No Longer The One was lyrically altered to work with the Moonshot / Jeff Harrison story. Expect an angry tweet from the ageing old Putin worhsipping Moonshotter soon!

Once A Record is a mutated piece of mellotron madness built from The Great Electric Teenage Dream. Whispers, off-kilter and digitally twisted vocals and dark electronics bubble under the surface of a track that would not have sounded out-of-place on David Bowie’s 1. Outside.

Next up is a live version of The Great Electric Teenage Dream. The version on Songs From The Ghost Light is faithful to the times I have heard the song live at recent Bowness shows. Its a powerful performance, with brutal guitar lines.

The polar opposite is The Sweetest Bitter Pill (chamber version). I prefer this take to the version previously released in 2014. Strings and mid-70s sounding lead synth lines push the songs melody to the fore.

The final live song is Abandoned Dancehall Dreams Dancing For You. One of Tim’s saddest songs of nostalgia and regret, Dancing For You is presented here in a moving live performance. A fine synth solo from Stephen Bennett drives the song to its conclusion.

Giancarlo Erra (Nosound/Memories Of Machines) contributes piano to the album’s closing track Lost In The Ghost Light (giallo), as well as mixing and mastering the album. Kit Watkins adds flute and ‘Heartbeat’ percussion to the discordant re-birth of what was already the most menacing piece on this years wonderful Lost In The Ghost Light album.

“Is there more?”

No Longer The One, The Sweetest Bitter Pill (chamber version) and Lost In The Ghost Light (giallo) actually surpass their original incarnations as far as I am concerned. Songs From The Ghost Light works well as a companion to Tim’s successful Inside Out era albums, making you return to the originals whilst working well as an album in its own right.

Stupid Things That Mean The World (chamber version)
The Warm-Up Man Forever (live)
No Longer The One
Once A Record
The Great Electric Teenage Dream (live)
The Sweetest Bitter Pill (chamber version)
Dancing For You (live)
Lost In The Ghost Light (giallo)

Buy the CD and vinyl from Burning Shed

Buy the Download from Tim’s Bandcamp page

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Tags: Tim Bowness, Vinyl
Categories : Music Review

CousteauX – by CousteauX

22 07 2017

Cousteau were a London-based band who released three albums between 1999 and 2005. Their most well-known song was The Last Good Day of the Year from their debut album. After success in the UK, Italy and the US, the band went their separate ways in 2006. Singer Liam McKahey reunited with song-writer Davey Ray Moor in 2015 as CousteauX, and they released their first album in over 10 years in September 2017.

CousteauX opens with Memory is a Weapon, and instantly the years roll away. This is the music of the debut album with added pathos and a much richer, fuller production. I loved Liam’s two solo album’s, but team him up with Davey Ray Moor and something magical happens. The yearning backing vocals and simple piano motif over the insistent bass-line delivers a powerful and direct opening.

This Might Be Love rides on a bluesey acoustic guitar riff and a meandering synth line. One of the darker songs on the album, it has a real Americana feel to it, and breaks new ground for the band.

Track 3 is my favourite song on the album. Burma features an emotional acoustic bass and piano line, and for the first time I can really see the Bowie comparison with Liam’s vocals. Think Wild is The Wind and Bowie’s rich baritone from the Station To Station era. Burma is a song with wonderfully evocative lyrics, and one of Liam’s finest vocals.

“Go my love steady, just be upstairs ready, my angel”

I’m sure this will soon become a fan favourite. The arrangement evolves in an unforced and natural way as the song progresses.

After the beauty of Burma comes the darkness of The Innermost Light. A sleazy, razor-sharp performance that features Carl Barat (The Libertines / Dirty Pretty
Things), The Innermost Light is a future spaghetti western theme tune in the waiting. It makes you want to kick open the bar door and spit in the sawdust. Or maybe that’s just me.

Maybe You is a less tense affair. Arriving at the mid-point of the album, Maybe You is the sort of stripped back ballad that the band deliver so well. The upright bass is phenomenal, and reminds me of the playing of Danny Thompson and his work with John Martyn.

Portobello Serenade has the feel of a 1950s / 60s Soho, with its hazy jazz percussion and trumpet. Thin Red Lines switches the tempo up a gear and shifts forward a few decades, with an almost glam-rock / T-Rex feel to the jagged guitars and soulful backing vocals.

“Only the mystery remains”

Shelter is an oddity on the album but oh what a lovely oddity! It’s almost the bands take on modern r ‘n’ b production. A minimal programmed drum pattern on top of Art of Noise (Moments In Love) like backing vocals and a lovely Rhodes piano melody explores new territory for the band. I look forward to more experimentation like this on future CousteauX albums.

cousteaux band

The penultimate track, Seasons Of You is the nearest we get to the classic Cousteau sound of old. Its a joyful, breezy track that lifts the mood before the album’s closing song, the mean and goddamn moody as hell F***ing In Joy and Sorrow.

“I’m in love but I’m grieving”

The hi-hat and toms percussion that underpin a stark organ / guitar backdrop propels the brutally honest and direct lyric of lust, hurt and regret.

This is music made for the night. Switch off the lights, pour yourself some whisky on the rocks and let the music take over.

As a long-time fan of the band, who I have only seen live once (a memorable, packed and sweaty early 90s gig in Blackheath) – I was intrigued as to what a modern day Cousteau would bring us. I’m overjoyed to report that the core of what made this band so special is still intact. *That* voice and the quality song-writing and performances, combined with a brave stretching of the bands template, mean that the 2017 version known as CousteauX has delivered an emotionally satisfying and stylistically varied album that stands up to repeated listening. At times, its far from easy listening, but stick with it and you will find so much to savour in these deep, rich and often dark songs.

Welcome back Cousteaux. You have been missed, stay around a little longer this time….

Buy the Cousteaux CD from Amazon

Buy the Cousteaux vinyl LP from Amazon

Comments : 3 Comments »
Tags: 90s, Alternative, Vinyl
Categories : Music Review

Blancmange – Happy Families / Mange Tout / Believe You Me

9 07 2017

Edsel Records are re-releasing the first three Blancmange albums on 4 August 2017, as the limited edition Blanc Tapes boxset and as three individual deluxe editions . The 2017 editions include a remastered version of the original album, plus b-sides, extended versions, remixes, demos, BBC Radio One sessions and three BBC In Concert performances.

Happy Families (1982) was the first Blancmange album. The remastering on all three re-issues is really well done. No brick-wall remastering here – the music has never sounded as good as it does with these Edel re-issues.

From the Talking Heads like funk of album opener I Can’t Explain, through to singles Feel Me, God’s Kitchen and probably Blancmange’s most well-known track Living On The Ceiling, Happy Families is a wonderful early 80s album.

Disc 1 of Happy Families includes the 7″ and original version of Waves, as well as the extended version of Living On The Ceiling, the 12″ mix of God’s Kitchen and the 12″ instrumental of Feel Me.

Disc 2 is a mixture of demos and my favourite extended version from this period, the Feel Me [extended 12″ version], that features some great guitar work from guitarist David Rhodes (Kate Bush / Peter Gabriel). The demos show a glimpse of a much less polished Blancmange – closer to the starker more experimental work of Cabaret Voltaire and early Human League.

Disc 3 is made up of Radio 1 session tracks from February 1982 (John Peel) and June 1982 (David Jensen) and a concert recorded at the BBC’s Paris Theatre in November of 1982. The highlights of this disc are two rare Blancmange songs – the OMD-like I Would and the dark electronica of Running Thin.

Mange Tout (1984) was another commercial success – and contains the singles Don’t Tell Me, Blind Vision (my favourite Blancmange single), and a fine cover of Abba’s The Day Before You Came.

Other stand-out tracks on Mange Tout include Game Above My Head (CD1 includes a wonderful 7 minute version), the frenetic All Things Are Nice and the dark, glitchy Martin Ware (Heaven 17) demo of Blind Vision.

If you look beyond the pure-pop of the singles, there is a real feel of mid-80s experimental dance, along with a David Byrne influence that I did not pick up on at the time.

CD2 highlights the experimental side of Blancmange, with a mixture of demos and extended versions, the highlight being a very different version of All Things Are Nice. CD3 has a 4 song Kid Jensen session and 12 tracks from a Radio 1 In Concert recorded at Hammersmith Palais.

Blancmange-Believe-You-Me The final 80s Blancmange CD was Believe You Me (1985). The least successful of the original albums, it doesn’t quite have the freshness of the first two albums, but is still a fine album containing some strong songs, including opener Lose Your Love and one of the bands best songs, Why Don’t They Leave Things Alone?

Listening to this album now, especially songs such as M Diver (Alternate Dream) [demo] from the second disc, I think its clear that had the band continued, they could have found a second wind in the late 80s / early 90s amongst the likes of the psychedelic pop / dance of The Beloved and S’Express.

CD2 contains a mixture of interesting demos and extended / single edits, the highlights of which are the wonderful re-invention of Why Don’t They Leave Things Alone? as I Can See It [7″ single version] and the lovely, respectful cover of Glen Campbell’s Gentle On My Mind. River Of Life [demo] is a bluesy synth workout that points to Neil Arthurs most recent project, the boldly electronic First Light album by Fader.

CD3 is made up of a late 1985 Janice Long session and a BBC In Concert recorded at the Hammersmith Odeon in late 1986. The highlight of this show is a superb version of Blind Vision (the final song in the set, but introduced as the first song in the set!). Not sure if that was a Spinal Tap moment or something to do with the CD sequencing, but its an enjoyable live show. Hello Cleveland!

blancmange-2017

The three 2017 remastered deluxe editions will appeal to Blancmange fans, and anyone who loved the electronic music of the 80s. The albums have been lovingly remastered and contain fascinating glimpses into the development of the bands songs.

Blancmange return with a new album Unfurnished Rooms in the Autumn of 2017, sadly without Stephen Luscombe but featuring guitarist David Rhodes.

Buy The Blanc Tapes Box set, Deluxe Edition on CD

Buy Happy Families (Deluxe Edition) on CD

Buy Mange Tout Deluxe Edition on CD

Buy Believe You Me Deluxe Edition on CD

Comments : 1 Comment »
Tags: 80s, re-issue, Synth-pop
Categories : Music Review

Public Service Broadcasting – Every Valley

8 07 2017

Every Valley is the third album from Public Service Broadcasting, and the follow up to 2015’s acclaimed The Race for Space.

The first thing that strikes you about the album is the musical palette – for the most-part, the heavy electronics are less obvious, so the result is a much more guitar-driven album than its predecessor.

Recorded in southern Wales (Ebbw Vale), Every Valley is centered around the Welsh mining industry, particularly coal mining. The album subtly touches on the obvious politics (on the track All Out) – so it does not detract from the story of massive economic and social change. Yes, I know these changes were mainly a result of politics, but honing in on the miners strike and the huge upheaval instigated by the Conservative Government in the mid-80s would have made this a less personal album, and taken away from the very real emotion in the words and music.

The buzzing of strings usher in the opening title track, and what a beautiful way to start the album. A sampled reading from the deep, warm tones of Richard Burton sit atop a wonderful drum pattern, softly evolving guitar lines and delicious strings. The production on this album is a massive step up from The Race for Space.

The Pit has Fleetwood Mac Tusk meets Running Up That Hill inspired dry drums. A bubbling synth runs alongside blasts of solo orchestral instrumentation and beautifully chorused guitar. Its a richly rewarding piece of music.

An old 70s coal-board advert prefaces People Will Always Need Coal, the most electronic track on the album. I love the 1980 Talking Heads-like groove on this song.

“There’s more to mining than dust and dirt”

Progress features Tracyanne Campbell from Camera Obscura on lead vocals, and whilst it is a rare positive lyric, it also acts as a way of making the forthcoming songs of decay and destruction feel even more sombre.

All Out is the section of the album that directly deals with the miners strike. Angry crowds underpin the brutal guitars, as the samples tell the story of men and women who just wanted to go to work, to do their jobs, to support their families. Its at this point that you realise that this album is more than a document about a time, and a place, and an industry that is long since destroyed. Its an album about the disconnect and the simmering discontent of the world we live in now. History is repeating itself.

James Dean Bradfield from Manic Street Preachers lends his vocals to Turn No More. Its a strong performance, and I like the fact that the music is quite restrained at times, which makes the message so much more powerful.

Every Valley is a chronicle of the men and women of the mining community. They Gave Me A Lamp is a beautiful piece, from the perspective of the women in the communities, and features members of the Derbyshire trio Haiku Salut.

You + Me is a departure on the album. A jazzy, live sounding performance that features a Welsh / English duet between Lisa Jen Brown and PSB’s J Willgoose Esq. The aching strings of the end section are one of the album’s highlights.

The drum pattern is almost an exact copy of David Bowie’s Five Years, so I hope I am forgiven for being confused when Soul Love is not the next song on the album.

Mother Of The Village brings the story towards its bitter conclusion, and reminds me a little of the wonderful Mogwai soundtrack to Les Revenants (The Returned).

“And you begin to realise what you mean by the death of a village”

As the album drawws to an end, the desperate state of the communities is now apparent, with empty pubs and disappearing shops. The Beaufort Male Choir close the album, with the moving Take Me Home.

“Take me home.. let me sing again..”

Every Valley is shaping up to be a much more satisfying album than The Race for Space, which I loved at the time, but don’t find myself returning to as much. This album has a deep emotional core that will keep drawing you back to the stories and the songs that live in Every Valley.

Every Valley (CD)