Pet Shop Boys - Super, a review.

Pet Shop Boys, now in their 35^th year, return with their 13^th album proper with Stuart Price (Madonna, The Killers, Kylie amongst others) on main production duties for the second album in a row. They’ve never really put forward a naff album for public consumption but have also only hit the heights of their early albums in occasional flashes.

Opening on a harder dance beat than you’d normally expect with ‘Happiness’ we’re welcomed to PSB13 with a clean, metronomic slice of synth dance pop, a slice of bread with Pet Shop Boys marmite spread all over it. To a fan like me it’s got everything you’d want, but it’s unlikely to garner the band a new generation of fans. Then we’re into lead single ‘The Pop Kids’, and, well, it’s more of the same really. A more involved lyric with a wistful look back to younger days. I can’t agree with the sentiment ‘that rock was overrated’, to me rock is a far more inventive musical form of art than PSB’s brand of electronica but when done well their electronica always entertains, and at least two songs in here you can say it’s done well. ‘Twenty Something’ is a superior slice of euro(vision) pop, it’s an Abba riff over another reflective lyric and the quality-ometer needle stays at the good end of the scale. On paper, ‘Groovy’ has a shallow and empty lyric, but the PSB’s always dealt squarely with irony. Musically it’s a tribute to their younger selves. I think it’s taking the rise out of modern instant celebrity status as fuelled by reality TV.

‘The Dictator Decides’ imagines Bashar Assad or Kim Jong-un into a place where they’ve lost the will ‘to threaten and kill’. Five tracks in and I’m hearing a harder edge to the Pet Shop Boys than I’ve heard for many a year, and a bit more breadth in the lyrics too. ‘Pazzo!’ at least musically carries this approach on, though lyrically there’s little depth. There’s been many a song about madness or sanity that lyrically do it better than this one. Should have been an instrumental. ‘Inner Sanctum’ is also all crashing beats and electro pulses and is virtually an instrumental. It’s reminiscent of the also recently returned Underworld, and if that’s what PSB’s are aiming for on this collection then they’re pulling it off quite well. Despite their earlier protestations ‘Undertow’ is dressed with a pretty atypical rock lyric. In fact, it’s a fairly atypical rock song, just wearing electro pop clothes. Imagine it as an 80’s Bon Jovi anthem, you’ll see what I mean. This is not a criticism, it works pretty well and the needle of quality it still wriggling around nearer the upper end of the scale.

‘Sad Robot World’ leads us into the albums closing third with more fully realised synthpop designs. There sympathy and even empathy for manufacturing robots (‘I thought I heard one crying’). The musical accompaniment is toned down to what you’d expect for the subject matter. It’s a simple but spot on song and ‘Super’ is beginning to emerge as a superior Pet Shop Boys album. ‘Say It To Me’ and ‘Burn’ edge on with the harder beat, and even a promise to burn this disco down. And then they disappear ‘Into Thin Air’, a song of escape built over a shuddering percussive beat.

And so, this is a very good Pet Shop Boys album, the best since the glory days, but will it draw you in for repeated listens? Perhaps not, but then a quality book is rarely re-read, and this a definite good read.

7/10

Primal Scream - Chaosmosis, a review.

Primal Scream, Scottish indie/alt rock legends, 36 years young now, have led a varied and bewildering life. Encompassing mid 80’s indie, early 90’s rave scene, challenging electronica, transatlantic rock and most recently straight down the middle pop, they are a band whose new album is always approached with a sense of ‘what’s this gonna be then?’. And that’s exactly how I feel coming face to face with ‘Chaosmosis’, their 11^th full length LP. This is Primal Scream’s sobriety album, it’s title referencing French psychotherapy.

Somewhat unexpectedly we’re faced with Madchester in full on Happy Mondays/Soup Dragons mode on opener ‘Trippin’ On Your Love’. Bobby Gillespie is joined by Haim on vocals on a track that genuinely sounds as if it came from 1990. It’s high octane pop and it’s fabulous. Surely the whole album won’t be so specifically retro? Well no, cause immediately we trip 10 years further back in time with the synth pop of ‘(Feeling Like A) Demon Again’. It’s so 80’s it could be La Roux. It’s a cyclical song about a relationship being battered through chemical (as in drugs man) warfare. It may sound sugary to the ears but lyrics like ‘Lost my love, became a ghost, Hurt the ones I love the most’ paint the true horror of the situation. Cheery stuff! ‘I Can Change’ lyrically is the optimistic reply to this, and it grooves on a Roxy pop vibe, with Bobby G even attempting a Bryan Ferry vibrato. So far it’s fairly retro sounding but then even when at their harshest and most inventive Primal Scream have always drawn from the multi coloured tapestry of rocks history.

‘100% or Nothing’ opens with a continuing synth pop vibe but is quickly slashed away by buzzsaw guitars, more Haim backing vocals and more brightside struggling relationship words, ‘The anti-depressants don’t anti-depress’.  And then ‘Private Wars’ chimes in, all modern brit folk, and it becomes clear we’re delving into the most diverse Primal Scream album yet. I really like this track, and even with a lyric like ‘Death in all you taste’ there’s a genuinely more hopeful vibe here. Musically unexpected and a true wonder.

‘Where The Light Gets In’, a Bobby Gillespie and Sky Ferreira (American singer/songwriter, model and actress) duet, returns to bright, synth pinned pop, catchy as hell and again a lyric of contrasting highs and lows. It’s followed by a much more hard-core electronica sound on ‘When The Blackout Meets the Fallout’, a decaying story of crumbled love, a sexless relationship cast adrift in the slums of romance. It’s short, sharp and snappy and in its own way as enticing as anything else here. ‘Carnival of Fools’ unites some of the albums influences in one song, single finger synthpop riff, dancey keys and a killer hook. And this quick-fire album is all of a sudden on the home straight, seemingly almost as soon as it’s begun.

‘Golden Rope’ uses another Scream staple, the Stones riff and groove. And the Happy Mondays are again evoked in the ‘Hallelujahs’ of the chorus, there’s even a sax solo before a heavenly ‘Hallelujah’ choral precedes the final part of the song, a softly sung repeated ‘I know that there is something wrong with me’ which in turn is carried out with a clattering drum beat. And then finally ‘Autumn in Paradise’ is hauled in alongside as it should be on this album, a simple synth riff. It’s not ending on a positive note either, this is as bright an ‘all is lost’ song that you could ever wish to hear. You could even imagine it as a late Abba number without too much effort. ‘I’ve got nothing left to steal, There was something when you came here, there’ll be nothing when you leave’ lyrically tops the album perfectly. There’s oodles of despair and loss, broken love and divorce all wrapped up in as polished a Primal Scream album as there ever could be. It’s good stuff, an easy and uncomfortable listen all at one. That’s the chaos I suppose. A melodic paradox.

8/10

Underworld - 'Barbara Barbara, We Face a Shining Future' a review

Underworld, hailing from Romford (lager lager lager) may always be remembered most for their mega hit from 'Trainspotting', 'Born Slippy (Nuxx)’, but there's a lot more to them than that. This is their seventh album proper (as Underworld MKII), and the first since 2010's 'Barking'. Not that they've been lazy, solo projects (mostly ace), more film work and being musical directors for the London 2012 Olympic spectaculars have all been negotiated on the path towards this fine return. And you know that Karl Hyde from Underworld? Well I had him in the back of my cab once. Well, not the back of my cab, I've never driven one. But he did purchase from my place of work, Richer Sounds in Romford shortly after 'Born Slippy' had ruled the airwaves. Amazingly in a packed music related shop in his home town of Romford I seemed to be the only person who recognized him. This says a lot about Underworld, generically faceless but instantly recognizable once you open your ears.

The albums odd title comes from Rick Smith. 'Barbara Barbara, We Face a Shining Future' is one of the last things his father said before he died. Rick's mother's name is Barbara and she was fearful of the future without her husband. Despite the most famous lyric from their most famous song Underworlds club culture has always had more depth that drink, drugs and partying.

Opening with a heavy drum beat the group are immediately on pace. The synths are a bit more analoguey sounding than the stabbing digital sound of many previous releases. There's a feel of Berlin Bowie too. The track 'I Exhale' is also the albums leadoff single (as much as it can be in this age of non-physical release pre album 'singles'). It's a great undeniably 'This Is Underworld' lead off moment. Sadly, the days when this kind of creativity leads to hit songs and massive public consciousness are long gone, but Underworld fans will know this as a wonderful new dawn without denying the bands past. And this is how the album continues. It's great because it is what it is, without trying to be anything in particular. The band sound as if this is the music they make because this is who they are not because anyone is telling them who to be. For an electronic band there is a wonderful organic sound and feel.

Always immaculately crafted and supremely produced this also a collection that works well as single tracks or a collective whole. Some of Hyde’s intervening work has been with Brian Eno and though Eno is not present here I feel I can hear his presence. If anybody's going to leave a mark on you it’s probably going to be Brian Eno. Fourth track 'Santiago Cuatro' is the first to break character, a soft instrumental built around a meandering oriental base. 'Motorhome' trance’s around a singular lyrical motif for over three minutes before expanding its horizons, and it's a fine thing. As with 'Louisiana' from 'Barking' (an absolute Underworld career highlight, check it out on YouTube if you're unfamiliar) I'm loving the softer Underworld moments as much as the banging ones. And softly a-banging again we go as the album build towards its climax with ‘Ova Nova' and closing track 'Nylon Strung'.

And so after seven tracks (the Japanese as usual get a bonus extra track) Underworlds classy return slides to halt. Maybe it sounds more mature, but then so are the men that made this music. But as ever Underworld sound and remain highly relevant and coolly creative. A very very good album.

9/10.

X-Ray Audio – Recorded music in Soviet Russia on the bone

On Wednesday (9^th March) I went along to an event at Rough Trade East off of Brick Lane promoting a book called ‘X-Ray Audio – The Strange Story of Soviet Music on the Bone’, a tome about bootlegged western and banned music in post war Russia, in which many Russian citizens suffered imprisonment because of their love of music and their willingness to make it available in a state that banned much of it. With little to put their music on these guys pressed music onto discarded used X-Ray plates. The recorded quality was not great but it was better than nothing. My attendance was prompted by a performance from Marc Almond, whose performances were cut to X-Rays live on the night (without too much success!). This performance of ‘Friendship’ a song Marc knew of from his Russian musical hero, Vadim Kozim, was recorded to one of Marc’s own X-Rays, presumably of his gruesome injuries following a life threatening motorcycle accident in London in 2004. The recording did not work too well (modern X-Ray  plates do not lend themselves as well to the process as much as the older ones used in Russia half a century ago.) Here though is my trusty iPhone recording of the performance.

The resultant recording was unplayable, Marc’s crowd rousing foot stomping basically not helping the process (which can be seen on the projector screen behind him). Before this, Stephen Coates, the editor of the book and performer in the Real Tuesday Weld, presented his story of how the book came together. This is his presentation at TEDxKrakow

On the X-Ray Audio website there is also a short documentary on the subject. This is it.

X-Ray Audio :The Documentary (MP4)

The evening was informative, interesting and enjoyable, including Marc’s all too brief, under-rehearsed but enthusiastic performance. The book is a wonderful read. Finally, here is Marc’s BBC World Service radio documentary (from late 2015) on the previously mentioned Vadim Kozin. Marc cut an album of Kozin’s songs, released in 2009, called ‘Orpheus In Exile’. 

Marc Almond 'In Search Of Vadim Kozin'

David Bowie GIF

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Suede - 'Night Thoughts' a review

‘Night Thoughts’ is Suede’s 7^th album, and the second since getting back together, and follows previous album ‘Bloodsports’ by two years. Recorded mainly in Brussels and also in London and featuring a full string section, the album is very cinematic in its approach, so much so that the album is accompanied by a full length feature film that runs alongside the songs.

The orchestra leads the album in, introducing the filmic ‘When You Are Young’. There’s no rosy sentimentality here, Suede always present things a little gritty, touched with regret and dirt. ‘Outsiders’ follows, a much more guitar lead typical Suede anthem, very redolent of classic 2^nd era Suede, as is ‘No Tomorrow’, and the albums fist pumping defiant pose is struck. And it works. The songs are far more immediate than the previous (very good) album, it’s great to hear a re-formed band creating as vitally as their initial run was. If the pace does slow down through ‘Pale Snow’ (spacey synths and moody atmospherics) and ‘I Don’t Know How To Reach You’ (more measured in pace, but still taut and vital) then the quality doesn’t. ‘What I’m Trying To tell You’ was first presented last year at the NME’s awards show, and it was a glorious atypical Suede cruncher, an instant classic. Here the pace and feel is more metronomic, more mechanical. Still, that’s always been a Suede ploy, and the chorus cannot be dulled, the songs finds a place as a more polished finished article and is thankfully, an album highlight.

‘Tightrope’ crawls in on broken guitar, sparse keyboards and smooth bass, the voice completing the songs first cycle before the drums finish the build. This could be even be first album era Suede, and seven songs in and I still don’t think I’ve heard the word gasoline in the lyrics yet, though we have had cellophane and cars, and chemicals are on their way.  The seamless link into ‘Learning To Be’ passes in a blink, as does the soft song, before ‘Like Kids’ caresses your ears with a gentle childlike lalala intro, a song lyrically and musically not such a distant relative of ‘Trash’, no bad thing, and it’s fresh enough to avoid paying homage to its predecessor, in fact it’s another highlight on this lean, no waste, mean album. Some more kiddie-choral nahnahnah’s see the track out and into ‘I Can’t Give Her What She Wants’. It’s an eerie love song, with a murderous undercurrent of resigned defeat. The albums first track is then resurrected as ‘When You Were Young’, a far more reflective mood piece that the earlier song, dialogue samples, and thunderous orchestra carrying the album towards its crescendo. Which arrives in the form of closer ‘The Fur And The Feathers’. If this sounds like a pub name, then it could well be, as the main hook also namechecks the fox and the geese! It summarises the albums central themes, the first flush of youthful romance and the emptiness when things don’t work out. Another main lyrical hook, ‘It’s the thrill of the chase’ could well have been this songs title. It’s grandiose and epic, vital and real.

’Bloodsports’ may well have shown us that there was life in Suede as an ongoing creative unit, and now ‘Night Thoughts’ completely justifies the band decision to effectively have a second career. If you love ‘Suede’ and ‘Coming Up’ especially and found ‘Bloodsports’ promising or pleasing then you’ll love this too. It’s a first meets third via the sixth. And it’s great.

9/10

Tindersticks - 'The Waiting Room' a review.

With their roots in Nottingham (as Asphalt Ribbons) before locating to London and becoming Tindersticks, this is a group that feels like it’s the independent music scenes best kept secret of the last 25 years. They don’t have a typically indie sound, there’s a lot more ‘art’ to Tindersticks, as evidenced by the fact that apart from ten studio albums they’ve also sound tracked numerous movies, art installations and exhibitions. They have a boozy back alley underground sound, with Stuart Staples distinctive vocal either leaving you in the ‘one of the great singers’ or ‘the man can’t sing’ camp, very rarely taking the middle ground. If you can’t make your mind up, then listen to Stuart sing ‘Hushabye Mountain’, the Sherman brothers ‘Chitty Chitty Bang Bang’ standard that was recorded for Tindersticks side project ‘Songs For The Young At Heart’ nearly ten years ago. Oh yes the man can sing.

So what then of this, Tindersticks official 10^th studio album? Opener ‘Follow Me’ has a glorious cinematic feel (the songs melody is from Brando’s 1960’s version of ‘Mutiny On The Bounty’ and the album is accompanied by a film project, a short film for each of the albums tracks’). It’s a countryside instrumental betraying its recording in the bands studio in Staples current home of Limousin in France. It was the last song recorded for the album, recorded as a scene setter before the heavily treated vocals of ‘Second Chance Man’ drop you straight into the action, it’s an arty sub jazz recording, singular in pace but very affecting all the same. ‘Were We Once Lovers?’ is driven by its flowing bassline, and provided a clear link to the previous Tindersticks albums, intertwining art, indie and soul elements sublimely.

‘Help Youself’ blasts off with a southern soul horn fix (there is immaculate brass throughout this album). It’s a song that was spontaneously written and recorded very quickly, it sits on a basic rhythm and feature an effortless and perfect vocal. ‘Hey Lucinda’ was first put together in 2009 and features Lhasa de Sela on vocals, who sadly passed away from cancer soon after that recording, someone that band has admired and worked with previously. Finishing the song off for this album and they’ve truly done her justice. Centrepiece, ‘Fear Of Emptiness’ is another instrumental, and bookends the two half’s of the album sweetly. ‘How He Entered’ is a spoken word/instrumental piece that harks back to early Tindersticks glories. Proper spoken word songs can be cheesy, but this is anything but, it sounds like its spoken out of choice not through a lack of ideas, and hints of loneliness, sudden arrival and departure and renders the spoken vocal as a proper song. It’s cool and catchy.

Title track ‘The Waiting Room’ also features a previously used Tindersticks trick, vocal gliding over a sparse solo Hammond (augmented only by fleeting minimal percussion), the vocal fragile and vulnerable.  It’s downbeat and miserable but this is a main reason that so many people love Tindersticks. If music was to only soundtrack our highs, then music would not be very interesting. ‘Planting Holes’ is a piano and paella pan instrumental, no kidding. The opening is the recorded sound of rain falling onto paella pans, and the subtle piano complements this nature enhanced sound perfectly. ‘We are Dreamers!’ features Jehnny Beth of Savages. It’s a moody, rhythmic, voodoo enhanced jazz shuffle. It’s wonderfully Tindersticks even if the band in its youth may not have been ready to do this, there is a line that goes right back through their recording career running through this song. That’s the beauty of a band evolving slowly throughout the years, allowed to develop their art without the pressure of supplying a never ending stream of hits, and ultimately this is where the music business needs to get back to if the buying public are to remain engaged by the album as an art form. It’s why we should value bands like Tindersticks.

The album finishes with ‘Like Only Lovers Can’ and sounds as sweet as the title suggests. Lyrically though and questions are still being asked, no resolutions in life or love are offered. It’s another side that the band are so masterful at, the lilting sweet soul that you’d never think could be offered by the same band as their deeper darker moments. And that’s it. The album feels brief, not lightweight, but not giving us enough. It’s a mighty fine latter day Tindersticks album. The band have only ever had one top twenty LP in the UK charts (1995’s second album reached no.13) and those heady chart days are gone. You could however look beyond that and if you’ve never done so before, investigate Tindersticks through this record. It’s a beaut. 

9/10

Dead Wood (Sweden) - Guided By Wolves

A while back, possibly on facebook rather than here, I posted about an album I bought whilst on holiday in Whitby by James Auger and the Natives called 'Story of a Dreamer'. James, a north east native has since moved to Sweden, got married and started a family and has now released a single/EP called 'Guided By Wolves' as his one man project, Dead Wood. There is a 7" release which being limited to twenty copies has all sold out now. But the tracks are available from Bandcamp or Spotify. There is also a nice video for the splendid track 'Send Me A Sign'. Fine folk rock with spot on pop sensibilities. Check it out......

Dead Wood Sweden Bandcamp

Soundcloud

Spotify