New music
Thomas H. Green
Paul Simon is currently traversing the globe on his Farewell Tour. His new album clearly accompanies that. It’s a thoughtful look backwards wherein Simon has plucked numbers from his catalogue he feels deserve another go-round, recording them with guest artists, often from the world of jazz (notably Wynton Marsalis). It is, by its nature, somewhat self-indulgent, for there are none of his most famous songs here. These are numbers he wants to bring out of the shadows; that he reckons are worth further attention. On occasion, he’s absolutely right.The album opens with "One Man’s Ceiling is Read more ...
mark.kidel
Peyroux made her name by channelling the sultry sensuality and soul of Billie Holiday and breathing new life into well-known songs written by others - notably Elliott Smith and Leonard Cohen.She still brings enchantment to covers, but has increasingly found her own distinctive voice, without losing that element of sensual magic - those long drawn-out notes - inherited from the great Lady Day.Her new album is drawn strongly together by impeccable arrangements and production, studio expertise and inspiration that provides the album with welcome variety, as well as a touch of melancholy Read more ...
Kieron Tyler
In May 1981, Japan played two nights at London’s Hammersmith Odeon. For NME’s Paul Morley, the high-profile shows at the prestige venue were notable as “Japan can fill two nights at the Odeon and they're not yet a hit group.” Reviewing them, he said their frontman David Sylvian “advances, dances and freezes in motion so like Ferry it's debasing, it's like he is a surgically exalted version of the original Bryan. After ten minutes of Japan’s teenybop Simple Minds material – sumptuous in parts, dank most of the time – it was time to go. Not even a piece the liquid Sylvian wrote with the Great [ Read more ...
joe.muggs
This album starts on a slightly odd footing, thanks to the opener “As a Man” having phrases that sound by turns a lot like Propellorheads and Shirley Bassey's “History Repeating” and Grace Jones's cover of Flash And The Pan's “Walking in the Rain”. Not that those are bad records – both are still highly playable – and it certainly sets a tone of arch assurance and cabaret sass. But being reminded so early of such entirely distinctive and out-on-their-own tracks makes it a little hard to triangulate where Calvi is coming from here.As on previous records, there's a great degree of classicism Read more ...
Lucie Wolfman
Watch Lucie Wolfman's vlog review of Carl Craig's Synthesiser Ensemble at the Barbican. Lucie Wolfman studies English at the University of Sussex, and covers arts for the National Student. She is a Barbican Young Reviewer, creating vlogs about productions. Through this, Lucie became part of Livity, a youth-led creative network which works as an agent for change. @LucieWolfman
Barney Harsent
Following on from last year’s blistering blast of conviction, Every Country’s Sun, it’s tempting to view Mogwai’s latest offering – the soundtrack to a new sci-fi action drama from the producers of Stranger Things – as a continuation of this return to form. There are, however, a couple of problems with this view. Firstly, it’s not strictly speaking a return to form. Mogwai are a band who have rarely, if ever, put a foot wrong in their 23-year career. From 95’s Mogwai Young Team onwards, their career has been defined by deft assurance in their compelling and singular vision. It’s hard to Read more ...
Javi Fedrick
Over their past five albums, Interpol have crafted a strong sound that rests on the heavily reverbed, emotive vocals of singer Paul Banks, the subtly discordant guitars, and drums that pound along underneath it all. Although these can still be found on Marauder, the album holds some of the poppiest songs Interpol have ever done – something which doesn’t always work in their favour.This is evident from the very first song, “If You Really Love Nothing”, which couples typically cryptic and morose lyrics with galloping drums and a happy chord sequence that appears to nod to Noughties indie-pop Read more ...
Ellie Porter
Once pleasingly described on the Flight of the Conchords radio show as "the King of New Zealand", Neil Finn has a new gift for his subjects (and the rest of the world, happily) in the form of this album, which sees him recording with son Liam for the first time. Neil and Liam have toured together a lot, joining forces in 2015 and sharing the setlists. They decided to continue the collaboration in the studio, with the curious Lightsleeper the result. The family theme (in both personnel and thematic terms) goes beyond father and son, though, with Sharon Finn – Neil’s wife and Liam’s mum – Read more ...
Liz Thomson
Birth and death are nowhere more entwined than in folk music, and the seventh album by Radio 2 Young Folk Award-winner Jackie Oates poignantly honours both her father and her daughter, his unexpected death just five days before the birth of Rosie. Inevitably, her life went into free-fall, “intense emotion at the joy and sadness that had struck me all at once”.The album, dedicated to her father, whose love of music inspired Oates, and to her daughter, is very English. Its title comes, of course, from Ewan MacColl’s great song, written as his life drew to a close “to turn grief and loss into Read more ...
Kieron Tyler
The cover images of the four albums Teenage Fanclub issued on Creation Records suggest ambivalence. While Bandwagonesque’s title acknowledges the hopping onto trends endemic in pop, the graphic of a bag with a dollar sign recognises the related collateralisation of music. Thirteen's mismatched halves of a ball hints towards oppositionality as well as, with the sporting reference, competitiveness. Grand Prix features a Teenage Fanclub-branded sports car. More awareness of competition, then. Songs From Northern Britain transports a closed fairground ride into a forested landscape, a Read more ...
Russ Coffey
Kate Nash is no quitter. For years her heavy London accent and kitchen-sink lyrics made her an easy target for mockery. Nash always brushed it off. Even, last year, when her record label dropped her, she refused to take things lying down. So she turned to the internet and Kickstarter. The result is Yesterday Was Forever. Some are saying it's her most sophisticated record yet.Maybe it is, maybe it's not. What is for certain is that, since her massive hit "Foundations" (2007), the sing-song voice has progressed beyond recognition. Much of the album feels more Katy Perry than Kate Nash. There's Read more ...
joe.muggs
This may be tempting fate, and minutes after publication of this she'll probably be arrested for stabbing a dog or something, but Ariana Grande seems like an abnormally benevolent presence in the superstar stratosphere. Even leaving aside her dignified and genuine-seeming reactions in the aftermath of the bombing at her Manchester concert, she generally has an air of unstarry, unforced enjoyment of what she does, which stands in stark contrast to the gimlet-eyed faux-sincerity of the Drakes, Taylor Swifts and Ed Sheerans of this world.She can also really, really sing. And not just in the way Read more ...