Sufjan Stevens is not only prolific, multi-talented and wide-ranging in his experimentation, but he never fails to make interesting work. He’s undoubtedly one of the giants of American contemporary music. His originality and creative risk-taking have led to him being one of the most underrated artists of his time.
Manchester’s Psappha have been proudly flying the flag of new and radical music right through the year of lockdown, and last night’s livestream, with two-and-a-half world premieres, one of them by Mark-Anthony Turnage, showed they haven’t given up making waves.
“Thank you. I think I’ve told you everything. I do have a couple more tunes, but I’ll hold them back for next time – I don’t want to bore you, it’s better that you leave here serene. A nice chord like this. (plays F major first inversion). A good impression. Voilà. Merci.”
In this era when there is so much talk and discussion around crossing musical boundaries, diversity in music and inter-disciplinary work it seems strange that there is still so little knowledge of how, why and when it works. Ironically, much of this type of work and collaborative process is much older than we often think and give credit to.
Let’s get this clear from the off, Marianne Faithfull and Warren Ellis’s new album is not an artistic statement on a par with her classic 1979 album Broken English. Nor I suspect, was that ever the aim.
A few hurdles need jumping before grappling with the essence of Teenage Fanclub’s 11th album. Endless Arcade is their first without bassist and founder member Gerard Love. He, alongside Norman Blake and Raymond McGinley, was one of the band’s songwriters. And this is their first with former Gorky's Zygotic Mynci mainstay and solo artist Euros Childs in the line-up on keyboards.
Lazer Guided Melodies was great. It still is. Spiritualized’s debut album built from what was already there in Jason Pierce’s previous band Spacemen 3 and took it into newer, more textured territory. While softer-focussed and more dynamic than Spacemen 3 there was still an edge, a brittle carapace which ensured Spiritualized was its own thing. There was also a gospel-informed sense of drama.
Chances are many will not have heard of Gojira. At best, as a music lover, theirs may be a name seen among the line-up of metal festivals. As ever with metal, perceived as niche but with a vast audience, this is misleading. Gojira are globally successful, quarter of century into their career, with proper hit albums under their belt. They are also that rare thing, a French heavy metal band.
“I'm growing old,” laments Tom Jones as his 40th studio album draws to a close. Sir Tom is “growing dimmer in the eyes” and “drowsy in my chair”. These blunt observations are not sugared with the mordant humour that, say, Randy Newman or the late Leonard Cohen might apply to a bad case of codgerdom. The only apt listener response to the song "I'm Growing Old" is: “Well you're 80, I guess you are.”