Whilst I was packing my record collection into boxes in preparation for the upcoming move, I came across a record that I hadn’t listened to in ages. A Dead Horse is the fourth album by The Golden Palominos from 1989. They aren’t a band per se, but rather a project by Anton Fier, the former drummer of The Feelies. The only permanent members were Bill Laswell on bass and Nicky Skopelitis on guitar. Apart from that, Fier regularly brought together leading figures from the New York nu-wave/nu-jazz scene to create his own blend of alternative, country and electronic music.
This isn’t the first time that Panda Bear and Sonic Boom have been featured on these pages. The collaboration between the two Portugal-based musicians continues and reaches another high point with their recently released album, A ? Of When. With this album, they have taken a big step towards a contemporary revival of the Beach Boys. Pete Kember crafts psychedelic fragments on the guitar, and Noah Lennox harmoniously weaves them together in the studio with flutes and alarm sirens. The result is a minor masterpiece of pop history that is simply a joy to listen to, thanks to its positive vibes.
Years ago, this page featured a long-running series entitled The Foreign Correspondent. It's intention was to draw attention to German bands that caused a stir and provided inspiration, particularly in the 1980's. From time to time, I have revived the series under the title The German Correspondent Returns, and I intend to continue doing so at irregular intervals in future.
Get Well Soon is the project of German singer, songwriter and multi-instrumentalist Konstantin Gropper. He recorded his first albums on his own in his bedroom, as he couldn’t afford a studio. His debut album, which was well received by the critics, depicts village life during his youth. Get Well Soon are nothing less than the German equivalent – in terms of introspection and sensibility – of Conor Oberst, the anti-hero of the American Midwest.
A few months ago, he released his latest album, Minus The Magic, and – having spent years composing film scores – recorded an album with a band for the first time. The result is a classic indie rock album, featuring powerful guitar riffs and brilliant melodies that can certainly hold their own against The Editors. All the tracks were recorded live in the studio and perfectly capture the indie spirit of the early 21st century.
Another episode in this series begins in 1969. Norman Greenbaum wrote this psychedelic-style hit. Handclaps are a key element of the track’s driving, gospel-style rhythm and were added in the studio alongside backing vocals from the Oakland-based gospel trio, the Stovall Sisters.
Mott The Hoople released several good, albeit unsuccessful, albums in the late 1960's and early 1970's, and were on the verge of splitting up in 1972. One of their fans was David Bowie, who wrote and produced All The Young Dudes for them, turning it into a glam rock classic.
‘Dog Days Are Over’ is the opening track on Florence + The Machine’s debut album from 2009. On this album, Florence Welsh has achieved a remarkably successful blend of alternative, art-pop and soul.
From the ashes of the doo-wop group Dion and the Belmonts, their lead singer rose to unprecedented heights as a solo artist and had several hits. Something for those with a nostalgic streak.
Every month, Duncan Grey releases a new track on his tici taci label. This month it’s Netbacks, a rather uncharacteristic track for him. He’s clearly found his niche in funk. A catchy bassline forms the backbone, to which several guitars are then layered and enhanced with a whole host of effects. A brilliant piece of music that really sticks in your head.
The British electronic duo Karl Hyde and Rick Smith, better known as Underworld, launched a project in 2019 and released a song or video every Thursday for a year. They named the collection of all these releases Drift. A year later, they released Drift 2 under the title Atom.
Underworld skillfully alternate between functional techno and clever electronica, straightforward rave and ambient passages, as well as dub. Whilst remaining deeply rooted in the 1990's, they continue to evolve. Perhaps no other track of theirs from that era captures this better than the nearly 15-minute Threat Of Rain, a 15-minute journey through ambient-infused techno.
Today’s song is by a band that got together at a university in Manchester just over two years ago. To date, Westside Cowboy have released an EP and recently announced their debut album. Earlier this week, they released the first single from this album, Kick Stones (The Boys).
Musically, with their jangly guitar sound, brilliant melodies and harmonized vocals, they somehow straddle the genres of surf punk, Americana and early Pavement and The Feelies. I can already tell this is set to be the next big thing, but this four-piece band has much more to offer. As far as I’m concerned, Westside Cowboy aren’t reinventing guitar rock, but they’re adding a brilliant new take on it.
Another highlight is the video for their latest single, in which they feature alongside FC United of Manchester – a football club from their home city of Manchester. The band describes the video as a declaration of love for the football club and its special sense of community. The club was originally founded by disillusioned fans in protest against Malcolm Glazer’s controversial takeover of Manchester United. The band particularly values the club’s social and community-oriented values. These include affordable ticket prices, events surrounding home matches and close links to social projects.
Today, Ian Kevin Curtis would have celebrated his 60th birthday. He was the lead singer and creative force behind Joy Division. One of rock music’s all-time greatest cult bands, they released just two albums, never really sold many records, and never played in stadiums, but they went on to influence entire generations of musicians. A small, slight man who worked at Manchester City Council by day, was a devoted family man by night, and transformed into a rock provocateur at the weekends.
Curtis didn’t just sing about loneliness, depression and self-doubt – he actually experienced these feelings first-hand. They were triggered by the conflict between his family life and his life as a musician, an affair that destroyed his marriage, and his fragile health, which was marked by epileptic seizures. These became increasingly severe as Joy Division grew more successful.
One of my biggest mistakes was holding Joy Division’s first EP, An Ideal For Living, in my hands at my favorite record shop and not buying it, because I thought the cover featured too much Nazi symbolism. Even after almost 50 years, this EP is still well worth a listen. Songs that are unrivalled in their blend of emotion and rebellion.
A few days ago Acid Jazz Records who are always good for a surprise – a remix by The Fatback Band. The Fatback Band or later only Fatback were probably one of the last disco bands from NYC. In the mid seventies the got critical acclaim for their funk inspired songs.
Now Joaquin ‘Joe’ Claussell, a Brooklyn based producer and DJ made a remix of their most successful single (Do The) Spanish Hustle. Claussell retains the rhythmic structure and trumpets of the original, but replaces the disco groove with a pumping bass, kick drums and a Latin flair. A thoroughly successful reinterpretation of a fine but forgotten song.
A couple of years ago Alewya Demisse, a British singer/songwriter, producer, artist and model, released some remarkable songs. Now she's back with her first album Zero in which she celebrates her musical diversity and ethnic heritage. Having grown up in Sudan as the daughter of an Egyptian father and an Ethiopian mother, fragments of this background can be found in her songs. She can best be compared to M.I.A., without, however, adopting her rebellious stance.
Her songs sound more like a fusion of Afro-electronic rhythms, Arabic soundscapes and urban pop aesthetics. Above all, it is her versatile voice that lends the songs a special sparkle. I wouldn’t be surprised if this were to become the next big thing.
In 2023, the Nuremberg-based band Konformer released one of the best LPs of the year with their debut album. After a three-year hiatus, they have now released their second album, which they have simply titled Konformer II.
Not much has changed. The three members continue to play instrumental music whose driving sound is a direct nod to krautrock, before drifting off into psychedelic realms. But these days, it’s quite something to maintain the standard you set on your debut.
They do have one unique selling point. I don’t know of any other band that has written a song named after the town – Todmorden – where they’re due to play in two months’ time.
Today’s episode delves largely into the world of hip hop and dancehall. We start with Missy Elliott, who was probably the first woman to take on a leading role in hip hop at the turn of the millennium. Rarely has a singer and producer pulled so many rhythmic masterpieces out of her sleeve as she has.
In 2003, the Jamaican dancehall singer Sean Paul scored a global hit with Get Busy, which could be heard on every radio station in Germany at the time.
The Cure, too, couldn’t resist using handclaps in their songs during their more upbeat phase.
In 1979, at a time when punk had turned the entire British music scene on its head and DIY was all the rage, a student from the Midlands took to the stage. Joe Jackson, who had until then been studying classical composition in London, did not fit in at all with the zeitgeist of the time.
By combining catchy power-pop melodies with punk-inspired, reggae-influenced energy, he has released a new wave classic with his debut album. Few albums from that era have stood the test of time as well as Look Sharp. The lyrics strike a balance between cynical, self-deprecating humor and a surprising degree of vulnerability. Rather than simply venting his anger, Jackson dissects the banalities of superficial romances and the media with a sharp, articulate eye for detail, culminating in one of the best lines of all time Pretty women out walking with gorillas my street. From my window out staring while my coffee goes cold.
Just over 50 years ago, the German music magazine Sounds began promoting reggae more actively. I still remember a series by Teja Schwaner in which he explained the origins of reggae to German readers, going far beyond Bob Marley. Ska, and its gradual slowing down over several hot summers in Jamaica, evolved into rocksteady, characterized by it's dominant bass lines.
This series also featured a film that depicted the era and the music scene in Jamaica quite realistically. The Harder They Come tells the story of Ivan Martin, a poor young man from rural Jamaica who seeks musical success in the big city and ultimately meets a violent end.
In these times it was impossible to watch the movie at my place and so I got the soundtrack instead. This soundtrack was my gateway to classic reggae and to Jimmy Cliff (who also plays the lead role in the film), The Slickers, many others, and later to dub. The soundtrack was released 54 years ago, and it’s time to revisit it.
A couple of days ago I met my oldest friend from my schooldays for a beer He told me that his eldest brother has been diagnosed with incurable lung cancer and is thought to have only a few months left to live. He was the one who showed us that, 50 years ago, there was more to music than just glam rock. We often visited him at home and he’d play us music that was new and exciting to us. Without him, I wouldn’t have discovered Jimi Hendrix, The Crusaders and Captain Beefheart’s crazy blues rock until much later.
Another band he introduced to us was Chicago Transit Authority, one of the first bands who incorporated a full brass section into their music and also drew on elements of hard rock, pop and jazz. As well as producing catchy songs that quickly became hits, they also ventured into experimental sounds. For example, in 1969, their guitarist Terry Kath recorded a track called ‘Free Form Guitar’, which consisted almost entirely of feedback.
This song is a classic that used to be played in every club back then. A rhythmic staccato on the drums paired with extraordinary guitar passages and a great hook. It’s a shame that they changed their name to Chicago shortly afterwards and, apart from a good live album, became increasingly bland.
Summer 2026. One heatwave follows another. You find it hard to get any work done, and lethargy sets in. Summer blues are a distinct possibility. This is exactly what The Linda Lindas sing about in their new song, Burning Out. The Linda Lindas’ melodic punk rock sounds like a modern take on the riot grrrl sound of the 90's. Surf punk guitars dominate their sound, which has a laid-back feel to it. A fine song by the American women’s quartet.
Today's edition of clapping hands starts with song by Simon and Garfunkel. Released in 1970 Cecilia, a song about a couple having sex in the afternoon was rather unusual for Duo. Despite this, the groovy track managed to reach the top of the charts.
A classic by Gang Of Four. Early 80's post-punk with sharp guitars and soul-funk at their side.
To finish off, a bit of garage rock from The Sonics. Raw rhythm 'n' blues of a kind rarely played in America in the early sixties.
While putting together this series, I realized that Interpol had never featured on these pages before. Time to change that.
In 1997, Paul Banks and Daniel Kessler, two students at New York University, formed Interpol, a band which, contrary to the conventions of the time, did not draw on garage and indie rock. Their musical influences are far more evident in the post-punk bands of the early 1980's. They were soon signed to Matator Records, which also had acts such as Pavement and Yo La Tengo on its roster. With their debut LP, Turn On The Bright Lights, they heralded a post-punk revival.
Intense, brooding melancholy hangs over the ruins of British post-punk, clinging enigmatically to the melodies, whilst an Ian Curtis lookalike sings, in a stylishly broken voice, of the tribulations of human relationships. The songs are fully arranged, feature stoic drumming and a solid bass line, whilst the guitars float above all the tracks, which nevertheless have a lo-fi sound. An album that evokes the past yet feels firmly rooted in the here and now, featuring wonderful songs – the only one that comes too close to Johnny Marr and The Smiths is Say Hello To The Angels.
In 1995 Sonic Youth released The Washing Machine, their probably last great studio album. It shows all I like about them. Not just because they’ve once again conjured up wondrous melodies out of thin air, only to destroy them towards the end in a sea of noise and feedback. What’s more, Thurston Moore is once again redefining the art of playing the electric guitar. For me, the best example of this is the final track on this album: an almost twenty-minute journey through harmony, tranquillity and expressive guitar noise. If you take the time to embark on this journey, you’ll realise what a monster of a track they’ve created.
A few weeks ago Boards Of Canada released their latest album Inferno after a hiatus of 13 years. BOC are the Scottish brothers Marcus Eoin and Michael Sandison who started their musical project almost 30 years ago when they started adding music to their own Super 8 videos. Ever since then, their music has oscillated between guitar tracks and tracks featuring only synthesizer sounds. Yet they always manage to create a distinctive, fluid sound.
In doing so, they consistently rely on tried-and-tested elements: drawn-out melodies, fragmented rhythms, vocals that sound as though they’ve been taken from archive footage, mixed with a touch of gloom. This is an album that should be listened to in its entirety, as you’ll keep discovering new nuances in their music.
Jo Bartlett, a British singer/songwriter released her latest album a couple of days ago. She's active in the music scene for more than 40 years, got critical acclaim but still isn't on the main radar. Her music could be described as indie-folk with occasional outings into electronica. The album is a collaboration with guitarist Neil Haydock. The result is ten laid-back tracks, based on acoustic instruments and accented by the occasional electric guitar.
This musical journey through songs that feature handclapping takes us back to the 1970's. Do Anything You Wanna Do shot up the charts in 1977. Eddie and the Hod Rods were classified as a punk band because of their fast-paced guitar playing and their ‘do whatever you want’ attitude. In fact, they were one of the last successful pub rock bands, and their only connection to punk rock was that the Sex Pistols were their support act and smashed up their kit.
There’s no need to talk about Slade and their significance to glam rock.
There’s no doubt that Gary Glitter should be featured in this series as a representative of rock and roll. But I thought long and hard about whether I should give a convicted paedophile a platform. Ultimately, the song is not to blame for its criminal performer.
Bedford Falls Players is a collective from DJ's and producers from the Berkshire and Buckinghamshire area. Founded by Mark Cooper, they have consistently released excellent tracks and remixes over the last few years. Their latest EP The Moon was released a few weeks ago. Hard beats, a thumping bass and occasional guitar riffs are reminiscent of a 1970s soundtrack set against the backdrop of endless motorways.
Duncan Gray, the founder of the excellent tici taci label, has just released a new track that seems absolutely perfect for the summer. A gently captivating indie dancefloor track with a distinctive bass line that drives the track forward. Bleeps, sweeps and a twangy sound provide the necessary highlights in a very good track.
Just in time for the start of summer, another heatwave has hit southern Germany. Temperatures of around 30 degrees are drawing thousands to the outdoor swimming pools, and there is no sign of the heat letting up in the coming days. We are expecting temperatures to rise to just under 40 degrees Celsius on Thursday. This means that any physical exertion leaves you drenched in sweat, and a fan is the most frequently used household item.
Musically speaking, I’ve also taken it down a notch in this heat and have been listening to Rhythm Collision again. The Ruts were at the forefront of British punk when they formed in 1978. With their political punk, infused with reggae elements and a flair for melody, national fame was guaranteed.
After their singer, Malcolm Owen, sadly passed away following a heroin overdose, the band – now calling themselves Ruts DC – set out in search of a new sound. Alongside this, they played as Kevin Coyne’s backing band; he also lent them 1,000 pounds so they could record another album. Working with producer Mad Professor, they consistently pursued a dub reggae direction and, in 1982, released one of their best albums, which unfortunately failed to attract nearly enough buyers, leading the band to eventually split up shortly afterwards.
Kante are a German indie band who released a number of good albums around the turn of the century. Their calm, flowing blend of post-rock and krautrock, with German lyrics, quickly won over the German indie scene, and with Die Summe der einzelnen Teile they even had a hit in the indie charts.
Lyrically, they refer to the famous quote by the Greek philosopher Aristotle: ‘The whole is greater than the sum of its parts.’ Which makes sense, given that on their second album they incorporated string and wind instruments into their sound to create something new and more beautiful.
This band came back to mind when I heard Acid Pauli’s recently released remix. He’s turned this track into a faster-paced techno version that really works. It’s great that the next generation still remembers the classics from a quarter of a century ago.
This edition of clapping hands spans three decades of music. Let’s start with a song from the disco era. In 1977, a French producer duo had the idea of incorporating flamenco rhythms into disco beats. Santa Esmeralda turned it into a global hit, which younger listeners will only recognise from the final sword fight scene between Kiddo and O-Ren Ishii in Kill Bill.
The American singer-songwriter Sam Beam, also known as Iron & Wine, has also drawn inspiration from flamenco. Although castanets rather than clapping hands set the rhythm, this video is worth featuring here.
One of The Temptations’ absolute classics from the sixties simply has to feature in this series.
2005 saw the first internet craze surrounding a band of which only a handful of songs could be found online. Their concerts were sold out without a single song ever having been officially released. That all changed overnight when Arctic Monkeys, four lads from Sheffield, were signed to a record label and released their debut album.
That all changed overnight when Arctic Monkeys, four lads from Sheffield, were signed to a record label and released their debut album, Whatever People Say I Am That’s What I’m Not. That all changed overnight when Arctic Monkeys, four lads from Sheffield, were signed to a record deal and released their debut single, I Bet You Look Good On The Dancefloor. The album eventually shot to number one in the charts, leaving the likes of Robbie Williams and the Sugacubes trailing behind.
What did the Arctic Monkeys have that others didn’t? Many bands have incorporated the sound of days gone by into their music, but the Arctic Monkeys were the first to blend wave-pop, non-indie rock, and – above all – 1970's funk and soul with crashing guitars and vocals reminiscent of a hoarse Johnny Rotten. What’s more, they brought back memories of perfect bass lines, driving drums and long-forgotten guitar solos. They subsequently moved away from this style, adopting a more earthy sound and more sophisticated songs.
It seems that more and more songs are coming onto the market whose basic structure consists of spoken words. Martin Jenkins, with his project Pye Corner Audio, was no exception. Together with the excellent crime writer Ian Rankin, he has now recorded a song. Rankin’s metaphors about the darkness surrounding us and its hopelessness are accompanied by equally dark, drone-like guitar passages. If it’s going to be like this, then this is the way to do it.
If you know Jim O'Rourke, you'll probably associate him with his work as a producer and occasional member of Sonic Youth. Born and raised in Chicago’s experimental improvisation scene, the producer, composer and singer-songwriter has rarely allowed himself to be pigeonholed into a single genre. He moves effortlessly between ambient, noise and minimalism, as well as rock styles such as indie rock and post-rock.
Shortly before the turn of the century, he released what is probably his best-known album, Eureka. At first glance, Eureka sounds like warm, harmonious 70's folk and soft rock. But beneath the smooth surface lie complex, avant-garde structures. The best example is the opening track, Woman Of The World. The song begins with a gently plucked acoustic guitar, and gradually more instruments are layered on top. Piano, brass and string arrangements drive the track forward, culminating in a compelling pop orchestral arrangement. It is certainly no masterpiece, but it is an album that was ahead of its time and, over 30 years on, has lost none of its beauty.
Bands all over the world are searching for the perfect pop song. The Australian duo Pamela. have come a good deal closer to achieving this goal. Josh Kempen and Sarah Ellen tell yet another break-up story, but with a positive undertone, because it can certainly be liberating to be yourself again. Musically, they draw on guitar chords that we’re already familiar with from The Strokes, yet they have a distinct character all of their own. A perfect song for the summer.
After taking a short break last week, we’ll now continue with a round of clapping hands. First one today's selection features John Fogerty. Centerfield is the title track from his third album and contains everything that made CCR famous.
Beck released Where It's At in 1996 as the lead single of his best album Odelay. The Dust Brothers produced this album that is full of great samples. And they did the same high class production they did on Beastie Boys Paul's Boutique.
The Cure released this song 1985 and moved to a brighter sound.
Every musical trend has its time. Some last a few years, others fade away quickly. In 2015, a 28-year-old Australian singer-songwriter released her debut album, on which she clearly drew inspiration from the music of her childhood, which was evidently heavily influenced by grunge.
But Courtney Barnett hasn’t been content simply to copy her idols; she uses distorted guitars more as a stylistic device to accompany her songs. The focus is more on the lyrics, which she sings in a spoken style, much as Lou Reed did in many of his songs.
As the title of the LP, Sometimes I Sit And Think, And Sometimes I Just Sit, suggests, Barnett possesses remarkable lyrical power. It is rare for a newcomer to have compiled such incisive songs about everyday events and observations – some of them so sarcastic – on a single album.
Put me on a pedestal and I’ll only disappoint you
Tell me I’m exceptional, I promise to exploit you
Give me all your money and I’ll make some origami, honey
I think you’re a joke, but I don’t find you very funny
The only thing one could possibly find fault with regarding this album is that it is virtually perfect and hard to beat.
Sometimes it takes a re-release to discover a musical gem. Yesterday, the excellent Swedish label Höga Nord Records re-added a 2014 single by Tross to its catalog. Tross is a Swedish instrumental group and active since over 20 years. Their instrumental music is deeply rooted in early 1970s krautrock and is most comparable to Neu!. With a pulsating bass, repetitive drums and understated guitar, the quartet embarks on a wonderful cosmic journey.
In the early nineties, grunge was all the rage and many American bands copied Nirvana’s raw guitar sound. Those who found that too easy retreated to the lo-fi scene to make great music there. One of these bands was Built To Spill, hailing from the mountainous north-west of the United States. Doug Martsch, who remains the band’s only original member to this day, wrote songs that were usually over five minutes long, providing plenty of scope to let the guitars rip.
They were promptly signed to a major label and recorded a number of fine albums before taking an extended break at the turn of the millennium. In 2006, they returned with their finest album, You In Reverse. Once again, Built To Spill proved that clanging guitars haven’t gone out of fashion. Add to that Martsch’s squeaky voice, and a highlight of alternative rock was born. Time to turn our attention once again to their timeless music.
If someone calls their new album Renascent, there must be some significance to it. For me, the significance lies in the fact that Vini Reilly has returned to the scene after a long hiatus. After suffering a minor stroke 15 years ago, playing the guitar no longer came as easily or as fluidly to him as it had before.
Enough has been written here and elsewhere in the blogosphere about the significance and influence of Durutti Column. Although only one track from his album, due out next month, has been released, he has remained true to his music without repeating himself or becoming boring. Here too, Vini blends delicate guitar playing with ambient sounds and piano to create an extraordinary, atmospheric sound in which his voice is not superimposed on the music, but rather woven into it. In the text, he reduces interpersonal relationships to just two three-word phrases: ‘I love you’ and ‘I’m sorry’. Hats off to him.
At the start of the week, I flew to Leeds for a few days to take part in this year’s BlogCon 26 meet-up. As always, I had a wonderful time spending those days with the brilliant bloggers Alyson, Cee, Ernie, The Swede, John and their partners. Among other things, we visited an exhibition on the evolution of the music scene in Leeds, which inspired me to post a short round-up on the subject.
It’s rather unusual to start with Soft Cell, who have carved out their own musical niche with their synth-pop.
Gang Of Four are a fixture on the Leeds music scene with their politically charged new wave funk.
Leeds would be a much poorer place without the magnificent Mekons, and few bands have struck such an impressive balance between new wave and country.
The goth scene is represented by the Sisters of Mercy.
I saw for myself last year that The Wedding Present are still relevant and brilliant today.
Utah Saints represent electronic dance music with their blend of rock and synths.
I’d completely forgotten that Red Lorry Yellow Lorry, with their dark wave sound, are also from Leeds.
The Kaiser Chiefs were at their peak at the start of the new century.
Post-punk is represented by Delta 5, who appeared briefly in the late 1970s and, sadly, disappeared again all too soon.
Another Wednesday with songs which, in some way, incorporate hand clapping as a stylistic device in songs. Let's start with 12:51 the first single form the second album by The Strokes, an overlooked album by the band which has not received the same overwhelming acclaim as their debut.
Those sharp, percussive sounds in the intro and throughout the songs are actually snare drum rim clicks, played in such a way that they sound exactly like rhythmic handclaps. In my view, that justifies the inclusion of songs by the Violent Femmes and T.Rex in this series.
In the early 1970's, as the hippie and psychedelic era was drawing to a close, music began to shift towards heavy blues, glam and, to some extent, the electrified folk of singer-songwriters. It was around this time that John Prine released his self-titled debut album.
Born in 1946 into a working-class family, he grew up in a suburb of Chicago. By the age of 14, he was playing the guitar and writing his first songs; to earn some pocket money, he delivered newspapers. After finishing school, he was called up for military service. He was lucky and was allowed to serve as a mechanic at a base in Stuttgart. Nevertheless, he naturally witnessed how inexperienced young people like himself ended up in Vietnam and returned as adults broken both mentally and physically.
And it is precisely this keen eye for detail that runs through many of his songs, which deal with loneliness in old age, Vietnam veterans and the lives of ordinary people. Musically, he draws on the traditions of folk, country and a touch of R&B. His voice was not particularly appealing: it was rough, nasal, gruff and unpolished.
During the last weekend I found time I decided to have a look through my inbox full of promotional emails and delete most of them. As always, there was a surprise to be found. London’s Heavenly Recordings label seems to have a knack for releasing great new music at the moment. Just recently, they announced the new – and presumably final – LP by Dexy’s Midnight Runners and released the fantastic album by The Orielles.
With the release of their debut album, they have made a complete musical turnaround and introduce us to Absolute Lilt. An Irish vocal duo comprising Lisa Canny and Niamh Hinchy, who breathe new life into the traditional Irish singing tradition within a modern framework. Two voices move in close, circling motion, creating something hypnotic, playful and deeply Irish, situated somewhere between folk, gently pulsating club music and vocal experimentation.
Another song that, once you’ve heard it, you just can’t get out of your head.
Rostam Batmanglij is an American producer of Iranian descent. Some may still know him as a co-founder of Vampire Weekend, which he left after their third album in order to focus more on producing. He recently released a new album, American Stories, in which he blends Americana with Persian instruments. On his latest single, Hardy, he has replaced the pedal steel guitar with strings.
Sampled strings feature prominently throughout, appearing regularly in the song and lending it a cheerful feel. Alongside violins, the cello and piano can also be heard, giving the song an organic sound. The song is named after the French icon Fran̤oise Hardy Рonly the artist knows why. A beautifully arranged pop song that really sticks in your head.
Time flies, and once again a year has gone by far too quickly. Looking back, I have to say that the past year has given me far more wonderful moments than I could ever have hoped for. At 67, I continue to look forward to the years ahead with confidence and am eager to see what lies in store for me.
Charles Aznavour would have turned 102 today. He was an Armenian-French chansonnier, lyricist, composer and film actor, and I’ve always had a soft spot for his songs, which often featured poignant lyrics and made a real impact thanks to his distinctive voice.
On their third album, the Hamburg punk band Abwärts took a more laid-back approach and delivered a superb cover of Aznavour’s song.
Clap your hands for a new round of songs and the good news that I’ve found a new flat since yesterday, right across the street from where I’ve been living. The seemingly endless search for affordable accommodation looks set to come to an end once I finalise the arrangements on Saturday.. Stealers Wheel was a band formed by Gerry Refferty in the early seventies. They performed as a British version of CSN&Y and reached the charts with Stuck In The Middle OF You that later became a torture scene in Reservoir Dogs, Quentin Tarantino’s debut film.
The legacy of Gil Scott-Heron was his last album I'm New Here, a spoken word document how that would sound today. A man in the prime of his life who still had something to say
In 1977 Meat Loaf released his first album Bat Out Of Hell, An album overproduced by Jim Steinmann, whose sound is reminiscent of Phil Spector. But he clearly struck a chord with this fine record.
