indie
Kieron Tyler
Gil Scott-Heron: The Revolution Begins – The Flying Dutchman MastersKieron TylerThis fine box set has a cuckoo in its nest which has to be dealt with instantly. Like Eric Clapton’s 1976 declaration of support for Enoch Powell, Scott-Heron’s “The Subject Was Faggots” is a blot that’s hard to erase from a career otherwise marked by inclusivity. “Giggling and grinning and prancing and shit… faggots who were balling because they couldn't get their balls inside the faggot hall,” is how it goes, with Scott-Heron plumping for “he, she or it” as his favoured signifier. Yeah, times were different, the Read more ...
Kieron Tyler
The real test of whether an album stands apart from everything else is not whether it’s well crafted, moves a genre forward, is thrillingly original or is searingly confessional. The list could go on. The measure is whether it invites revisiting. Repeatedly. There’ve been many magnificent releases this year, but The Echo Show by Paris duo Yeti Lane is the one which has to be heard more than any other - again, again and again. This seductive swoon of an album has a rare beauty transcending the styles it’s rooted in.The Echo Show, Yeti Lane’s second album and first as a duo, nods towards Read more ...
theartsdesk
Herbert: Bodily Functions (Special Edition)Thomas H GreenMatthew Herbert is an electronic polymath whose career is fascinating whether you’re a fan of his music or not. Currently he’s working hard resurrecting the BBC’s iconic music and sound effects unit, the Radiophonic Workshop, and he’s recently released an album (as Wishmountain) sampling the top ten best-selling items in Tesco’s, while also having time for the odd Björk collaboration and the occasional tour wherein pig parts are cooked on stage in an anti-consumerist sonic performance art extravaganza. In short, Herbert has grown into Read more ...
theartsdesk
The House of Love: The House of LoveKieron TylerAfter The Jesus & Mary Chain, The House of Love were Creation Records’ next most-likely sons. Their melodies had an epic sweep, they had a top-notch songwriter in Guy Chadwick and, with Terry Bickers, a fabulous guitarist. Yet, after signing to a major label their potential was never achieved despite regularly packing major venues. Their first, eponymous, album – reissued here, 24 years on – is their finest hour. All that said, as the liner notes reveal, Creation were more convinced stablemates The Weather Prophets were more likely to happen Read more ...
theartsdesk
The Jam: The GiftThomas H GreenGiven his continued artistic renaissance, it’s currently rather unfashionable to suggest Paul Weller was never better than with The Jam. Nonetheless, a trawl through their back catalogue will assure most this was the case. Musically, it’s arguable but lyrically it’s definitive. The Gift was The Jam’s sixth and final album, released in the spring of 1982. The trio were at the peak of their powers, riding chart success that melded punk’s snarl with Weller’s suburban angst, including, in “Going Underground”, one of the greatest and most furious songs ever to hit Read more ...
Kieron Tyler
It’s been a bumper year for fans of Public Image Ltd. John Lydon took his new version of the band out on the road and issued the This is PiL album. His former PiL colleagues Jah Wobble and Keith Levene reworked the landmark 1979 PiL album Metal Box live, as Metal Box in Dub. Now, the duo have re-cemented their relationship with Yin & Yang, their first new work together since co-writing Gary Clail’s “Beef (How Low Can You Go?)” in 1990.The motives for these reunions and restatements of ownership are rendered moot by the forceful, and sometimes perplexing, Yin & Yang, an album which Read more ...
Kieron Tyler
It’s not quite Iggy Pop strutting across the hands of the crowd, but Efterklang’s singer Casper Clausen's departure from the stage reinforces the bond the Danish mood musicians have with their fans. Trying to keep upright while wobbling on the backs of seats, he is held in position by those close by. This isn’t about attracting attention, but a bridging of the gap between artist and audience. Earlier, Clausen and bassist Rasmus Stolberg had retired to the side of the stage to take in the Northern Sinfonia’s performance of their music. At times, Efterklang are as much spectator as musicians. Read more ...
Kieron Tyler
Nightclub Tähti is on the seventh floor of an anonymous-looking building along Tampere’s main shopping street, Hämeenkatu. Black-suited security wave you into a lift which zips straight up there. After surrendering your coat at the cloakroom – obligatory in Finland - a walk around the bar reveals the dance floor. The couples occupying it are doing the Finnish tango, a measured, understated version of the dance. Finnish schlager is the soundtrack, a sort of native-language Eighties’ electropop with emotive crescendos. It rarely strays from the mid-paced.Thirty minutes earlier, a couple of Read more ...
theartsdesk
John Carpenter: Halloween II/Halloween IIIKieron TylerPeople celebrate Halloween in different ways, but the arrival of these reissues of the soundtrack music to two John Carpenter horror films is enough to put pumpkins, cut-out bats and capes in the shade. Both are landmarks in using electronic music for cinema, and both are a great, spooky listens. Even when divorced from the imagery.Carpenter had already worked with composer Alan Howarth on the music for Escape From New York (1978) and the pair reunited in 1981 to create a score for Halloween II. Howarth built the new music around Read more ...
Kieron Tyler
A lot has blown in since the last Scandinavian round-up. The most recent releases sifted here include singer-songwriter intimacy, various forms of electropop, several shades of jazz experimenta, joyous dance-pop and some distinctly non-Scandinavian flavours. High points are many. Satisfaction is a certainty.On their last album, 2010’s Magic Chairs, Danish moodists Efterklang gently embraced a more direct way of presenting their songwriting. Up to that point, their sepulchral melodies had intertwined with instrumentation that merged glitchiness with the organic. Magic Chairs smoothed the edges Read more ...
Kieron Tyler
Despite the fact that this month marks the 50th anniversary of the release of The Beatles’ first single, the focus on the Fabs right now is as much on their 1967 psychedelic folly Magical Mystery Tour. The arrival of Tame Impala’s second album seems appropriate as it’s a modern psychedelia which knows all about the detachment brought by mind expansion – the distant vocals on opening cut “Be Above it” echo John Lennon’s on “Strawberry Fields Forever”.Not that Tame Impala are specifically Beatles-influenced. For their first album, 2010’s fabulous Innerspeaker, they were pretty much a one-man Read more ...
theartsdesk
A.R. Kane: Complete Singles CollectionJoe MuggsIn my early teens, circa 1988, certain records would appear on The Chart Show indie chart countdown on a Saturday morning, records that hinted disquietingly at something far beyond the standard categories of rock, dance, indie and the rest. “Birthday” by The Sugarcubes, for example, or “You Made me Realise” by My Bloody Valentine. Perhaps the one that haunted me most, though, was “Baby Milk Snatcher” by A.R. Kane, a narcotic fog of blurred guitars, dub echoes and an insistent, insinuating vocal that obeyed only its own idiosyncratic rules of Read more ...