A couple of years ago a vinyl white label appeared of a track called “Crumbling Down”. It was a breath of fresh air. Warmly crafted Afro-centric percussion, pared back but persuasive, it dragged the ears in, emanating a heads-down beachside vibe.
Alanis Morissette was relieved when fame’s comet swiftly fell to more manageable levels, having crashed into her full-force 25 years ago, when she was just 21. Selling 33 million copies of Jagged Little Pill means, though, that she remains on many people’s minds.
Be careful what you wish for. Turns out the dream that most bands yearn for isn't all it's cracked up to be. Fontaines DC's debut album, Dogrel went large (and won a Mercury Prize nomination and BBC 6 Music's Album of the Year). They toured like crazy and nearly imploded. But, just a year later, they're back. And this time it's personal. The title song perhaps explains the progression "that was the year of the sneer now the real thing's here".
We are no nearer live music returning and, as venues across the country face financial collapse, it’s clear that even when we reach some sort of "new normal", far from all will be left standing. This is clearly a disaster for British music. #SaveOurVenues offers an opportunity to help over 500 UK venues stay alive: details here. In the meantime, as ever, there's still plenty happening online.
Made of Rain is the Psychedelic Furs’ seventh album since their 1980, self-titled debut and, while the band has shed a few original members since then, brothers Richard and Tim Butler are still front and centre of this post-punk colossus. After a break that lasted most of the 90s, the Furs have been touring again since the turn of the century, but it is only now that they have inevitably tired of playing the part of living juke boxes, knocking out the hits from their glam-tinged purple patch.
Max Richter is the million-selling star of post-Minimalism, the composer of moody symphonies of a stillness that suggests otherworldly bliss and inner peace. The boundary between Richter and New Age isn’t always clear, not least in the work he makes outside his justly celebrated film soundtracks, where drama demands a greater variety of tones, textures, paces and rhythms.
“These are African rhythms, passed down to us from the ancient spirits. Feel the spirits, a unifying force. Come on, move with the spirits. Stand up. Clap your hands. Groove with the rhythms. Get down. Get off.”
So begins “African Rhythms”, originally released in 1975 as the opening cut from an album of the same name by Oneness Of Juju. It was issued on Black Fire, their own label.
When she announced her “surprise” 8th album on social media this week, Taylor Swift described its subject matter as a combination of “fantasy, history and memory” told with “love, wonder and whimsy”. For the listener, this hits home around track three. “The Last Great American Dynasty” tells the story of Rebekah, a “middle-class divorcée” who marries a heir to the Standard Oil fortune and spends her widowhood - and inheritance - on boys, ballet and annoying the neighbours of her Rhode Island mansion. And then?
"Alone at Alexandra Palace" is a gift of this time, no compensation but some sort of balm to a world that is still so interior, with a long time to wait until any concerts can resume. The film begins with an emphasis on aloneness that is sustained throughout, Cave reading a fairytale-like story as the soundtrack to his walk through the black and gold of the empty Alexandra Palace.
It is five years since Maria Schneider’s The Thompson Fields was released – and hailed as a masterpiece – so this new two-disc set has been eagerly awaited. It doesn’t disappoint. Data Lords is a major piece of work. This “story of two worlds” as the album’s strap-line has it, is two contrasting albums which inhabit very different emotional territory.