New Music Reviews
Music Reissues Weekly: Cluster - ZuckerzeitSunday, 30 June 2024
In 1974, two albums by German kosmiche musicians working with electronics became the first from the seedbed of what’d been dubbed Krautrock to explicitly embrace – and merge – melody and rhythmic structure. One was Kraftwerk’s Autobahn. The other was Cluster’s Zuckerzeit. Once on the record player, each LP instantly made its presence felt more directly than anything either had released previously. Read more... |
Taylor Swift, Wembley Stadium review - the Eras Tour lights up LondonWednesday, 26 June 2024
Unless you were around when The Beatles toured America in the mid-1960s, it’s doubtful you've heard anything like this. In 40 years of extensive gig-going, I have not. Taylor Swift has just performed “Champagne Problems” at the piano (pictured below), a song from Evermore, the second of her indie-folk flavoured COVID-era albums. Read more... |
Music Reissues Weekly: The Cryin’ Shames - Please Stay, Do The Strum! - Joe Meek's Girl Groups and Pop ChanteusesSunday, 23 June 2024
Liverpool’s The Cryin’ Shames were responsible for two of mid-Sixties Britain’s most striking single’s tracks. The February 1966 top side “Please Stay” was so eerie, so wraithlike it came across as an attempt to channel the experience of making successful contact with a spirit presence. “Come on Back,” an unpolished September 1966 B-side, could pass for US garage punk at its most paint-peeling. Read more... |
Rain Parade, 229 review - the Paisley Underground perennials prove unafraid of their pastFriday, 21 June 2024
It kicks off with “No Easy Way Down.” First released on 1984’s mini-LP Explosions in the Glass Palace, it was an instant benchmark by which to measure Rain Parade. Churning, dense and foggy, it made good on what this California outfit were portrayed as: integral to a Sixties-inspired wave of bands defiantly reconfiguring the past for the present. Not all Rain Parade songs were like this, but “No Easy Way Down” was a head-spinner. It still is. Read more... |
The Master Musicians of Joujouka, Morocco review - a healing encounterTuesday, 18 June 2024
A small mountain village, tucked away in the foothills of the Rif Mountains, south-east of Tangier. The “smallest music festival in the world”, so it says in the Guinness Book of Records. But this remarkable musical event – more of an encounter than a performance – has none of the usual trappings of the larger events that populate our summers. Read more... |
Music Reissues Weekly: Margo Guryan - Words and MusicSunday, 16 June 2024
Late summer 1966. Jazz was Margo Guryan’s thing. She was not interested in pop music. This changed when she was played The Beach Boys’s “God Only Knows.” Amazed by what she heard, she tuned in to pop radio for the first time. Her head was further turned by The Beatles and The Mamas & the Papas. A copy of “God Only Knows’s” parent album Pet Sounds was bought. Read more... |
Smashing Pumpkins / Weezer, OVO Hydro, Glasgow review - double-bill of unlikely bedfellows makes a racketFriday, 14 June 2024
The current trend for package tours with two headliners appears to be growing, and this jaunt presented somewhat unlikely bedfellows – the theatrical angst of Billy Corgan’s crew and Rivers Cuomo’s indie trendsetters united by a shared love for guitar histrionics, 90s nostalgia for those who remember MTV2 and not much else. Read more... |
theartsdesk on Vinyl 84: Ibibio Sound Machine, Dave Clarke, Eliza Rose, Billy Idol, Bodega, Mui Zyu and moreWednesday, 12 June 2024
VINYL OF THE MONTH Ariel Sharratt & Matthias Kom Never Work (BB*Island) + Ella Ronen The Girl With No Skin (BB*Island) Read more... |
Girls Aloud, OVO Hydro, Glasgow review - pop queens return with poignant hit paradeWednesday, 12 June 2024
There was a point in this pop revival jaunt where you could feel members of the crowd wince. Not for the performance, but because Nicola Roberts introduced a song by mentioning it was from “the Chemistry album, which came out 19 years ago”. You could almost feel some in the crowd recoil, as if expecting to crumble to dust at that confirmation of the passing of time. Read more... |
Album: John Grant - The Art of the LieWednesday, 12 June 2024
“I feel ashamed because I couldn’t become the man that you always hoped I’d become.” The line is repeated during “Father,” The Art of the Lie’s third track. After this, there’s “Mother and Son,” “Daddy” and the allusive “The Child Catcher”. Parent-child relations, from either perspective, are key to John Grant’s sixth solo album. Specifically, how these have rippled through his life to form his present-day self. Read more... |
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