last updated September 27th 2007
Lost horizons -
Lemon
Jelly (March 2003)
There is a serenity about the sound of
Lemon Jelly. Ostensibly, they play that slow, hazy form of trip-hop best
suited for chill-out rooms or when you feel like both techno and slow-dancing
simultaneously. Truth be told, there’s little original in their sound,
but the elements have been assembled in a highly pleasing way. There’s
the standard ethereal female backing 'oohs' and 'aahs' on tracks like "The
curse of Ka'zar", and the requisite spoken voiceovers and sampled commentaries
and nursery rhymes on the likes of "Ramblin' man" and "Nice weather for
ducks", but for all that they seem fresh and, with one major exception,
restful and enjoyable. That one exception is "Experiment number six", where
the voice over is the recitation of some questionable hospital or laboratory
experiment gone awry (the faint hearted may not enjoy this track too much!).
Apparently this is not the first album by this duo — I shall have to look
for the others!
Summertime dream - Gordon Lightfoot
(September
1992)
Lightfoot, out-and-out folkie with a country
tinge and unofficial poet-laureate of Canada since the sixties. Not because
he's a better writer than many of his countrymen and women, but rather
that his themes never let you forget his origins. The songs here are simple
yet well-written, ranging from maudlin love songs like "I'm not supposed
to care" to the pseudo-mystic "Too many clues in this room". This album
also contains the epic "Wreck of the Edmund Fitzgerald". Good, but docked
one point for the bloody horrible pedal guitar.
Metropol - Lunatic Calm
(September 1998)
Get ready...here's the drum & bass,
coming at you at 160 bpm. White boy vocals over the top of a pounding distorted
synth, overlaid on that same dance breakbeat you love or hate. Thankfully,
there is a bit of variety here, though. "Neon ray" slinks by at a positively
evil 100 bpm, more a case of 'something swaying this way comes' than 'get
up and bounce'. It is also one of the amazingly few tracks of its sort
that has stayed in my head long after it finished (the annoying-as-hell
"Firestarter" and "Tubthumping" notwithstanding). "It evolves on its own"
also allows for a different approach, a little more cut-up, a little less
'same old breakbeat'. "Long shadows" also varies the feel, more dubby,
with a beat that sounds like a fatally wounded washing machine. I will
admit that the whole dance/ trance/ dub/ breakbeat sound is not one I know
enough about to review with more than an 'I like this one more than a lot
of the others I've heard', but... well... I like this one more than a lot
of the others I've heard.
Earth and Sun and Moon
- Midnight Oil (November 1993)
Gone is the heavily-laden pounding which
made Midnight Oil famous beyond Oz's shores, but melody remains in abundance.
More personal than their other recent albums,
Earth and Sun and Moon
is also in many ways more likeable, from the title track's swirl, through
the traditional Oil politics of "Truganini", to the Hunters and Collectorsesque
"My country". Not to be missed is the psychedelic sweep of "Outbreak of
love".
Colour Transmission - Monochrome
Set (March 1992)
Suave, debonair, bizarre. The Monochrome
Set are one of Britain's stranger but more enjoyable groups. They come
across like "Elvis Costello gets happy listening to Noel Coward". Titles?
Hmm... "The etcetera stroll", "Karma suture", "B-I-D spells Bid"...
lyrics? "Expresso", as an example, is a tale as sung by someone who has
just died on the operating table. These people write songs like no-one
else on earth. This may or may not be a good thing.
Wings of an eagle - Russell Morris
(July 2000)
A legend from 60s Australia, I have been
hunting for one of the songs on this album for years. Thanks to the diligent
research of a friend I finally found it - "Rachel", an unusual anti-Vietnam
song, told from the point of view of a female nurse at an army hospital,
writing home to her parents. The style of the songs has definitely dated
- pure 1968-72 era nostalgia, with long proggy sections and all too many
saccharine sounds, but one or two of the songs still sound good (notably
"Rachel" and "Sweet Sweet Love"). And where else might you hear a seven
minute track ending with the sound of a nuclear detonation?
Oddy Knocky - David Mulcahy
(May 2000)
David Mulcahy is an unsung hero of NZ's
indie music scene. As a driving force behind the Jean Paul Sartre Experience
and Superette, his quietly lyrical songs insinuate rather than grabbing
directly. Here, in his first solo album, he shows his influences, which
range between New Zealand's 80s independent groups (the Chills, the Bats,
and his own JPSE), and Australia's equivalents (notably the Triffids and
the Church). Oddy, knocky, and very pleasanty.
Envy of angels - Mutton Birds
(May 1998)
The Mutton Birds can envelop your heart,
brain and being in some of the most sumptuous hook-laden music in existence.
It's less than two years since this album was released, but I cannot imagine
a time when I didn't know the introductory riff of 'Straight to your head',
or the chorus of 'Like this train' or 'Another morning'. And again, although
the surreal imagery is more muted on this album than previously, Don McGlashan's
askew vision is no less potent: "You have to know what's under your feet,
so you can make things strong enough to take the weight, the weight of
all the people who haven't been born yet". Add to that a near perfect love
song ('While you sleep'), and you have a truly lovely album.
Rain Steam Speed - Mutton Birds
(May 1999)
The Mutton Birds' fourth album has none
of the immediate catchiness of their self-titled debut album's "Dominion
Road", nor the mysterious storytelling quality of "White Valiant", and
it has yet to worm its way to my heart as much as the near perfection of
Envy of Angels. Yet its presence grows, and many of the tracks - notably
"Pulled along by love" (a good choice as first single), "The falls", and
"Jackie's Song" (with its similarities to the Front Lawn classic "Andy")
have developed a strong presence for me.
The Greatest Living
Englishman - Martin Newell (September 1997)
Been wondering what to do while waiting
for that new XTC album? Pick up a copy of this album. The XTC connection
is strong, in part because of the presence of Andy Partridge on this album,
but the tracks carry that same air of wistful Englishness which pervade
a lot of my favourite artists' work. XTC and Robyn Hitchcock spring to
mind, and the ghosts of the Kinks can be heard in "A street called Prospect"
(basically "Dead end street" 30 years on). This album has the same chiming
guitar sound that drifts through a lot of these artists' work, and tracks
like "Goodbye Dreaming Fields", "She Rings the Changes", and "Home Counties
Boy" are a delight.
The fragile - Nine Inch Nails
(July 2000)
The voice of angst, Trent Reznor hissed
and spat his way into CD players with albums like The downward spiral.
This album is less overtly violently angry, but the mood is just as dark.
Long moody semi-instrumentals filled with dark electronica and fast clanky
rhythms. Entertaining and worthwhile, but 'enjoyable' depends on your definition
of that word.
What's the story (Morning
glory) - Oasis (May 1998)
Yes, alright, I know. But after all the
hoohaa has died down, this is a very good album. Derivative, sure, but
what isn't? Even the Beatles were, in their early days, rehashing Buddy
Holly and covering Chuck Berry.
Be here now was touted as the album
of the century, and died of natural causes, but if Oasis are to be remembered
for any one album, it should be "What's the story".
One from the modern - Ocean Colour
Scene (September 2000)
A return to form for OCS. Another Britpop
band, another 60s influence. Rather than the more obvious targets (the
Beatles, the Kinks) OCS have aimed to reproduce the feel of the music of
fellow Brummies the Moody Blues. And they have done so very well. There
is a wistful feel to much of OCS's work, not that they aren't without bite
when they want to be, but it's a gentle, ironic bite, rather than the bitterness
of Cocker or sarcasm of Gallagher. Nothing really stands out as a hit (although
"Profit in peace" is a great track), but in a way that may be a good thing,
when you consider what success has done to Oasis's music!
Seasides and freerides - Ocean
Colour Scene (May 1999)
Albums of B-sides are usually a mishmash
of passable to poor tracks that did not deserve album presence. OCS, however,
have produced an album of also-ran tracks with some distinct merit, even
if only to show the development of their sound (some of these tracks were
written prior to the formation of OCS). Worthy of mention, especially since
OCS's Moody Blues/Move derived music makes for an interesting but effective
contrast to the mainstream of recent Britpop.
Pieces in a modern style - William
Orbit (October 2001)
This could be considered as clever, audacious,
or very very sneaky, depending on how you look at it. William Orbit is
Britain's top producer of house/dance/acid/whatever music, having worked
with a variety of artists (most famously with Madonna) and on his own series
of "Strange Cargo" albums (I recommend Strange Cargo III). Here,
he presents an album of 'chill-out' music for relaxing in a break between
raves. So? Well, the pieces which Orbit presents in a modern style are
by the likes of Cage, Satie, Ravel, Vivaldi, Beethoven, and Handel. Mainly
lesser known pieces, they have been reinterpreted in such a way as to bring
out their more relaxing nature by someone who knows how to do that without
turning the pieces into muzak. Say 'classical synth' and you get dread
thoughts of The Swinging Moog Sounds of Bach or similar dreck, but
in this case the pieces have not only retained their listenability, but
also their dignity. It's impressive, and with luck it may gain a few converts
to classical music from the 'E' set.
Trailer Park - Beth Orton
(September 1997)
I don't really know where to start with
this one: British woman, obviously brought up listening to the likes of
Richard Thompson, but strongly if gently influenced by recent ambient/techno.
The obvious but subtle influence of William Orbit is the key to the latter
quality. That description might have you thinking of Suzanne Vega's 99.9F°,
but this album is a bit more silky and less frenetic than that (comparing
it to Solitude Standing might be nearer the mark). Call it ambient
folk-soul, if you like. The likes of "Touch me with your love" slide gently
out of the speakers. First time I heard this album I quite liked it. By
the fourth listen it was a firm favourite, and it's been in my CD played
for the last week since then. It insinuates sexily into the brain.
Whitechocolatespaceegg-Liz
Phair (May 1999)
The lascivious spunkbubble is back, although
with a much toned down offering this time. None the less enjoyable, mind,
and track like "Uncle Alvarez" are guaranteed to earn repetitive brain
space.
Sketch Book: Volume One - Martin
Phillipps (November 1999)
A series of odds and ends from the Chills'
frontman, and very pleasant ones, too, although many of them are more scraps
than completed songs. Not a compulsory purchase, but there are some gems
in here, notably "February".
Martinis and Bikinis - Sam Phillips
(November 1997)
Every 10th album or so gets described
as Beatlesque for various reasons. In this case, it's because of the chord
changes and melodic sense, but it's too simplistic to write Sam Phillips
off like that. Sam resides in that horrible area: too alternative for commercial
air play, too commercial for alternative radio. She is an excellent songwriter,
although her voice is sometimes a little rough (combining these several
things, it's perhaps fitting that the last track is a cover of a John Lennon
song!). I can see the influence of recent Britpop, American indie groups
like the Lemonheads, and also of the likes of Voice of the Beehive, but
the presence of T-Bone Burnette as co-writer of some tracks indicates that
the roots may run a bit deeper than that.
Long player - Pine (August
2002)
A look back towards the simpler days of
New Zealand indie rock, Pine produce gentle, poppy melodic songs reminiscent
of JPSE. Much of the sound is based around simple acoustic guitar motifs
and ambles along at a relaxing pace. When they do rock out, such as on
"Make way for the King", it's still at an amiable pace. The songs have
a distinct catchiness, especially on those rare occasions when Hannah Beehre
adds a female voice to the mix. There is also an occasional nod at recent
Britpop (there is a distinct Oasis feel to songs such as "Cried all night"
and "Sunroom").
Songs for Drella
- Lou Reed and John Cale (September 1992)
It's good to see the two leading Velvets
back working together again (nay, it's good to see them speaking
to each other!). And they've proved that on a special occasion or for a
special reason, such as for this tribute to their former mentor Andy Warhol,
they can work together. Cale distances himself from the work, claiming
that it was mostly Reed's doing, yet it is on Cale's tracks that the album
is the most effective, especially "Style it takes" and "Forever changed".
Lou provides some great songs, like "Nobody but you" and "Work", but sounds
(and probably is) bitterly angry, which in some way detracts from
the power of the music.
Unit - Regurgitator (May
2000)
Not to be taken seriously, lightly, or
internally, this half-Australian/half-Japanese band produce brash, tongue-in-cheek
pop. On their latest album, Art..., they have a song with a monotonous
lyric of "I like repetitive music", and a dance-mix of the theme music
to Are you being served?, but on this, their previous album, they
sing of everything from pornography ("World of sleaze") to the downside
to stardom ("I like your old stuff better than your new stuff"). Then there's
a love song to a sex toy ("Polyester girl"), and a hilarious, if strangely-titled
rap ("I will lick your asshole") in which they compare themselves with
everyone from Cliff Richard and Julie Andrews to Flipper the dolphin and
David Attenborough! Scatological, maybe; fun, certainly; catchy, definitely.
Rialto - Rialto (September
1998)
More sad shoegazer Britpop? In a way,
although the influences here are a little different. There is more subtlety
to the melodies than the likes of Oasis, even if thisdoes sometimes lead
to the songs sounding like the soundtracks to 60s movies. Over the top
of this, the lyrics actually do present stories. If I were looking for
comparisons, I'd say that Rialto have moved into Pulp's territory (although
without the challenge or chillingness of the latter's sad vision). At their
worst, the melodies veer towards 'Morrissey meets Gilbert O'Sullivan',
but even at their most maudlin they work, and they are damned catchy, too.
Robbie Robertson - Robbie Robertson
(March 1992)
Canadian of Scottish/Jewish/Iroquois descent
and upbringing, Robertson was one of the cornerstones of 60s group The
Band. Here he works with producer Daniel Lanois to produce a haunting effort
containing marvel, depth, and mystery. This isn't so much songwriting as
modern myth-making. "Fallen angel", "Somewhere down the crazy river", and
the wonderful "Broken arrow" are standouts. The latter is probably best
known through Rod Stewart's rendition (emphasis on 'rend'). Here is the
original - accept no imitations.
Love over rage - Tom Robinson
(November 1997)
I always wrote Tom Robinson off. He was
the openly and proudly homosexual writer of the gay-pride anthem "Glad
to be Gay", and as such, I thought "One-theme singer, with nothing to say
to straight little old me other than to tolerate and support him for what
he is". I couldn't have been more wrong. Caught his song "Loved" on the
radio recently, and, when the DJ said who it was, I thought "that Tom Robinson?"
Most often espousing songs about relationships (gender mix unspecified)
and occasional socialist anthems, Robinson sounds like a cross between
Billy Bragg and Chris Rea (the latter of whom actually appears on this
album on slide guitar). Maybe not everyone's cup of tea, but having been
disappointed by Uncle Billy's last effort, and looking for something to
fill that musical gap, this will do very nicely.