Fela Kuti and Afro-Beat have achieved a kind of joyous immortality: his son Femi and his grandson Made keep the flame of Nigerian agitprop and party-music ablaze, with a pair of albums (Stop the Hate by Femi, and For(e)ward by Made) that both, in their distinct ways, pay homage to the man who started it all.
The title is in keeping with those of previous portentously handled albums from the Montréal art-rockers. There was their breakthrough 2007 set The Besnard Lakes Are The Dark Horse and 2010’s The Besnard Lakes Are The Roaring Night. The latter’s cover was similar to that of ...The Great Thunderstorm Warnings – a murky painting of a glowering sky hanging over a hostile milieu.
Never have the early months of the year felt more cruel. Escape is what we all yearn for – from home, from ourselves and our shrunken lives. Never has music been more important to us and, over the last few days, I’ve had Steve Hackett’s new acoustic album playing and replaying as I’ve worked at long-overdue practical tasks.
“Hope”, from the debut album by 20 year old London singer-songwriter Arlo Parks, has a perfect chorus for these times. Blissed piano chords, lazy funk beats, lusciously upbeat synth dreaminess, and on top of it all, her sweet, airy voice offering support: “You’re not alone like you think you are.” It seems directed at those who quarantine isolation has swirled down into a dark place. There is much on Collapsed in Sunbeams that easily, chattily offers similar solace.
"Three plus versions of the same album. It’s ridiculous, but I’m glad.” The first paragraph of Richard Hell’s text in the booklet accompanying Destiny Street Complete lays it out. There are, indeed, three versions of his and his band The Voidoids’s July 1982 album Destiny Street on this double-CD set. It seems excessive.
Norway’s Wardruna have proved to be an unlikely international musical success, both within Scandinavia and further afield, since releasing their 2009 debut album Runalijod – Gap Var Ginnunga. In this time, Einar Selvik’s Norsemen have managed to draw fans from a broad variety of genres, including folk, world music, heavy metal and born-again Vikings, no doubt helped by their involvement in soundtracks for television dramas like Vikings and computer games like Assassin’s Creed.
Becoming a has-been is Eminem’s main raw material now, the rocket-fuel for his rhetorical flights. He was a folk-devil 20 years ago, then a prescription drug-zombied recluse, then a huge comeback pop star. Extending that third act has been hobbled by social media sneers since the unfocused but often excellent Revival (2018), and a perception that he’s run out of road.
In such a somnolent time We Come From The Sun is an awakening – the immediacy and presence of poetry urging you to listen, and pay attention to the beauty of now.