Dublin’s Imelda May, who made her name as a superlative performer of high-energy rockabilly in a way that reflected the music’s partly Irish roots, has just released her first poetry recordings: nine punchy, moving, sometimes humourous and well-crafted spoken lyrics, mostly accompanied by subtle yet atmospheric strings.
Swallow Tales is a great album. It took three musicians fewer than five hours on one afternoon in New York studio in March 2019 to make. But there again, it also took them more than 40 years.
The Prettiest Curse is the third album by Spain’s indie-foursome Hinds and sees them take a substantial step up from the lo-fi, C86/Pastels’ like sound of their previous discs Leave Me Alone and I Don’t Run. Now they have embraced considerably more expansive production values, as well as additional instruments and a noticeable influence from their native culture, and it’s all for the good.
As news bulletins compare events in America to 1968, the mental jukebox spins almost inevitably to “Abraham, Martin and John”, first recorded by Dion – the price of a new record contract after he‘d got clean and split from The Belmonts. It’s not the best known version (that’s Marvin Gaye’s) but it made No 4 on the US charts and relaunched Dion’s career.
Will Westerman is not afraid of sounding retro. It's clear his influences are diverse, from jazz fusion to the bedroom proto-house experiments of Arthur Russell. But in their final form, his high gloss production, highly literate songs and fretless bass sound like something out of a creatively leftfield but megabucks studio-produced mid Eighties record: the likes of Talk Talk, Kate Bush, Roxy Music's Avalon and above all The Blue Nile loom large.
So what exactly is all the fuss about? For those of us from a cinema-deprived area, it’s been a long wait for the homevideo release of this much vaunted "masterpiece". And the trailer gives away so much, there’s probably little to surprise us, right? Very wrong.
Experiencing All Things Being Equal is akin to taking a trip through The Time Tunnel. Although the songs and the recordings on the new solo album from former Spacemen 3 man Pete Kember aka Sonic Boom are recent, they could have been lifted from his first (and last) solo album, 1989’s Spectrum, and Spacemen 3’s final set, 1991’s Recurring.
For the average female millennial, Greta Gerwig’s Little Women is the perfect film to watch in lockdown. Brought up on Winona Ryder’s Jo March, then Gerwig’s Frances Ha in our teen years, we never expected this blessing but are most ardently grateful for it. Even the clothes are echoes of Batsheva and Shrimps dresses, the aesthetic social currency of affluent girls in their late twenties. This relevancy is both Little Women’s strength and the source of its only bum notes.
Bab L’Bluz are a Franco-Moroccan band, They’re the latest in a succession of musicians - going back to the pioneers Nass El Ghiwane, and the recently departed Rachid Taha - to have created a vibrant fusion of traditional sounds from the Maghreb with the energy of rock.
Lady Gaga proclaimed by Tweet that her sixth album represents her “absolute love of electronic music”. Chromatica features EDM names such as Axwell from Swedish House Mafia, French DJ-producers Tchami and Madeon, bro’step superstar Skillex, as well as a good few more.