reviews albums
BEAU **** Twelve Strings To The Beau( The Sound Of Salvation)
There are probably several hundred lost and / or obscure folk-rock records rereleased each year, and to try and group them into‘ valuable’ and‘ unnecessary’ would mostr likely be classic narcissism of small differences behaviour. I’ m most taken with this’ un, however: Trevor‘ Beau’ Midgley recorded it in 1975 for John Peel’ s Dandelion label, but it was never released until now. Dramatic 12-string guitar work, Beau’ s cut-glass English accent and lyrics which entwine the abstract and the personal add up to an album worthy of comparison to, say, Roy Harper. NG
BLOOD CEREMONY **** The Eldritch Dark( Rise Above)
This Canadian rabble’ s 2008 debut album was pretty much shameless in its assemblage of other people’ s yellowing ideas, but their post-Sabbath slo-mo metal chug and pastoral flute piffle was SO perfectly realised. Two albums later, they’ ve toned down the‘ eavy and hugged the Jethro Tull proggery still more tightly, and as the title suggests, are still getting mileage out of occult subject matter – one song is called Lord Summerisle, for Christ’ s sake. For unlikely pop smarts, they might even trump Uncle Acid in this department. NG
BOMB THE BASS **** In The Sun( O * Solo)
Bomb The Bass’ 1995 album Clear should be given the re-issue treatment; its On-U Sound infused hip-hop soul sounds timeless. Tim Simenon, founder of Bomb The Bass, went on to produce what many people consider one of Depeche Mode’ s best albums and has steered BTB in a more contemporary electronic direction since the 90s. In The Sun is Simenon’ s most soulful album in quite a while and a reminder of why his production / remix skills are much sought after. DN
CHAPEL CLUB *** Good Together( Ignition)
Two years ago, this English indie band’ s promising debut fused 80s new wave, psychedelic 60sisms and modern indie riffage. However, with the band shying away from touring these sounds, the hype overestimated the impact that Chapel Club would have. This return brings an intentional departure from their previous self, their maudlin lyrics now camouflaged by positive-vibes keyboards and their whirring guitars embellished with synths. It is harmless,
BUZZ 50 upbeat and fit for a summery pop driving soundtrack. AP
CLASSIXX ***** Hanging Gardens( Innovative Leisure)
Proving both self-assured and consistent in their own style, accomplished LA mixing duo Michael David and Tyler Blake assert a glistening retrospective image on a consummate, safely melodic debut release. Jabbing bass lines support effusive synths, with standout Supernature adding further definition to the album’ s smooth nostalgic form. Sporting a title track sampling Tango In The Night-era Fleetwood Mac, Hanging Gardens sees Classixx faithfully indulge in luminescent fare that eagerly straddles balmy 80s soft rock and vibrant syncopated funk. CP
CRYSTAL FIGHTERS *** Cave Rave( Zirkulo)
The Basque septet resurface with their first album of new material following the modest success of 2010’ s Star Love. Flaunting a familiar fusion of eclectic electronica and laidback acoustica in the process, No Man and You & I showcase the strength of the Anglo-Spanish outfit in executing immaculate summer anthems. Losing drive as they descend into MOR ballad territory, Crystal Fighters appear more than adequate in fulfilling expectations on an amiable, if at times derivative, sophomore release. CP
DINOSAUR PILE-UP ** Nature Nurture( So)
Still yearn for the days of Feeder and Ash-type singalongs? Look no further than Dinosaur Pile-Up’ s second album Nature Nurture. Written and recorded by the band’ s frontman Matt Bigland, the album is anything but amateur and DPU should be proud of the polished sound. However, despite the nostalgic feelings the album arouses, DPU offer nothing new to consider. No doubt many will find it entertaining and it could certainly end up being someone’ s favourite summer record – just not mine. LEJ
FRANKIE & THE HEARTSTRINGS ** The Days Run Away( Pop Sex Ltd)
It’ s pretty much a case of more of the same on this sophomore effort from the Sunderland five-piece. A breathless collection of short, sharp tracks with the same frantic and energetic production style of their popular debut release, which retains an interesting blend of contemporary indie and classic 80s-inspired pop. The tunes are certainly catchy enough for fans of their initial release to enjoy, but unfortunately just not catchy enough to force differentiation from their peers. JS
GEORGIA RUTH **** Week Of Pines( Gymon)
I was first made aware of Georgia Ruth through Pen Pastwn, a band of excellent musicians including Richard James, Gareth Bonello and Andy Fung. Her voice and harp make for a beautiful combination and this album perfectly shows off that wondrous charm. You may have heard the title track already and the album follows along the same path: Seeing You Around has a timeless panache and there’ s even a song written for her dog, Old Blue. JE
JAMES SKELLY & THE INTENDERS * Love Undercover( Cooking Vinyl)
The Coral’ s frontman extends the poor form of their last LP into this side-project, which is reminiscent of a 60s crooner having a stab at a blue-eyed soul comeback in the 90s. Northern soul opener You’ ve Got It All, with Weller guesting, is listenable, sounding like a Style Council B-side. If you can imagine Cliff Richard fronting Simply Red, then you will have the measure of this turd of an album, which is encrusted with lyrical clegnuts like“ Today, what a day, to feel this way”. CS
LONDON POSSE **** Gangster Chronicles: The Definitive Collection( Tru Thoughts)
London Posse weren’ t by any means the first British folks to make rap music, but they may have been the first to create something clearly distinct from its American origins. Gangster Chronicles came out in 1990 and tempered a thumping, funk-sampling production with the loping rhythms of reggae and dancehall, notably on much-loved single Money Mad. It proved to be the only album Rodney P and Bionic would release together, but disc two of this reissue has some tasty unissued demos as well as a few superfluous new remixes. NG
MOUNT KIMBIE *** Cold Spring Fault Less Youth( Warp)
London electronic duo Mount Kimbie release their sophomore effort three years after their well-received debut. Warp has been known for pushing the boundaries of electronic music for years, but has gradually catered to a more reserved group of artists, with Mount Kimbie being one of them. There are interesting moments using horns, accordion and synths but a couple of songs featuring Kid Krule on vocals grate with his Marmite voice. Decidedly average, considering the hype around the album. GM
THE PASTELS **** Slow Summits( Domino)
Many of the C86 graduates were chewed out by major label debut disasters, but not the Pastels, who continued their ramshackle approach and now return with their first full album in 16 years. The opening four tracks are louche indie classics, with a 60s swing and pretty melodies – particularly on Summer Rain, which expands into a gentle shower of drums and flute. Slow Summits evokes the warm nostalgia of a slowdance at a sixth form party, with a sloppy snog from that girl in a cardigan. CS
RADIO SLAVE **** Balance 023( Balance)
Outstanding series welcomes outstanding producer, for an impressive 23rd release in a run consistently rivalling Global Underground in the proggy house genre. Matt Edwards has taken solo captaincy of Radio Slave since Serge Santiágo departed, and some recent personal tribulations meant this was delayed, but it’ s worked in his favour. Disc one is techno with melody and groove, with tracks from DJ Bone and Larry Heard, while part two revisits a personal mix of retro funk, soul and contemporary jazz. RH
SANTA RITA *** High On The Seas( Aloud)
After last month’ s chatter-generating debut album by Savages, here’ s another album which at its best touches – perhaps inadvertently – on the dark and untethered rock of Throwing Muses. Barcelona’ s Santa Rita, who like Savages comprise four women, tap into Muses-esque intensity on Mar Muerto and Cap de Creus, especially; for some reason, their titles are Spanish but their lyrics English, and with all due respect aren’ t quite syntactically perfect. The songs, crisp and jagged bursts of loosely gothic alternative rock, are good enough to override this. NG
SIGUR ROS ***** Kveikur( XL)
The seventh album from Sigur Ros sees the band slimmed to a trio yet still producing the music of a celestial orchestra. It’ s tough to describe their music without a degree in geology, but Kveikur witnesses a seismic shift in their glacial sound to accommodate glass shards of volcanic bass, cymbals like melting icebergs crashing into the sea, Baltic brass and menacing synthlines. Stormur comes closest to BBC Ident territory but the mix of malevolence, chaos and stark beauty makes this essential. CS
SPARROW & THE WORKSHOP **** Murderopolis( Song, By Toad)
The Glasgow trio do not disappoint in a darkly honest return to macabre. Packing a whole lot of versatility, the album has a clear focus on the narratives of melancholy folk-rock with a harsh punk edge that is apparent in the gloomy crescendo of the aggressive musicianship. The Nirvana influences are startling on the album with Jill O’ Sullivan expertly portraying the Cobain-esque combination of punk aggression and intoxicated misery in her hard-hitting lyricism. MCH
THESE NEW PURITANS ***** Field Of Reeds( Infectious)
A yucky feature in the Observer Music Monthly, where TNP and other similarly well-heeled indie groups were lauded for their refinement and erudition, pretty much blew it early on for me and them. They have somehow survived this obstacle to reach a third album, and fondle me in the dorm if Field Of Reeds isn’ t a triumph of grand chamber-pop ambition. It bursts with droney woodwind and watercolour brass, using pop orthodoxy as a springboard, not a millstone: comparable to Scott Walker, Talk Talk and Robert Wyatt, all totems of‘ this kind of thing’. NG
TRICKY **** False Idols( False Idols)
Eighteen years after Maxinquaye, and Tricky has decided to return to the Bristol sound that he, along with Massive Attack and Portishead, defined. Whether the decision was made for commercial or artistic reasons is beside the point – this is a distinctive reinvention of trip-hop which sounds modern without being faddish; classic without being nostalgic. Stand outs include the glitchy funk of Tribal Drums, Parenthesis, which combines menace and unease with a numinous vocal line, and the lullabyish Chinese Interlude. DG
VIDUNDER **** Vidunder( Crusher)
The school of thought that the raddest and most impeccably preserved iterations of 1970s hard rock and proto-metal are currently being made in Sweden – polite liberal Volvo crispbread stereotype Sweden – is given a further boost