Latest music reviews, including Sinead O’Connor, Bread, Estelle, Ceremony, Katie Melua, The Civil Wars, Seether, Paul Kelly and Napalm Death
Sinead O'Connor How About I Be Me And You Be You?
Sinead O’Connor: How About I Be Me?
WAYWARD worldly moments aside, Sinead O’Connor remains a force to be reckoned with.
Her ninth album – How About I Be Me And You Be You? – is a powerful piece of work. Confessional, passionate and entirely credible, these ten performances demand our full attention and commitment to follow her into
some very dark corners of the human soul. The journey is well worth making.
Ms O’Connor’s voice remains in fine fettle; from a whisper to a roar, her distinctive tone and diction inhabits these compositions like a wraith and a devouring demon. It’s a persuasive and formidable instrument. Whether in a touchingly melancholy composition like Old Lady or an incredibly intimate spiritual catharsis like Take Off Your Shoes (surely one of her very best songs), her firm grasp of both the music and lyrics stirs our blood.
Love and life, death and religion; it’s all here spread out in front of us with skin and hair and bone laid bare to the four winds. This is truly elemental stuff!
I defy anyone not to be deeply moved by her blistering rendition of Back Where You Belong; a song that digs deep into her very core and comes back with something transcendentally simple and true. There but for the grace of her God go we.
So, too, with her take on John Grant’s Queen Of Denmark, whose words clearly resonate with her own experience. Her vivid performance cuts like a rusty knife, and the irreducibly beautiful Very Far From Home touches the sublime.
A unique talent firing on all six cylinders, Ms O’Connor’s fire burns brightly still.
Release Date: March 5
Bread: The Very Best Of Bread
IT remains a mystery to many why this band are never mentioned when 70s retrospectives are regularly unleashed on our screens.
Nor do they feature in music magazines such as Uncut, Mojo or Record Collector, which regularly trumpet articles of long since disbanded groups. I suppose their brand of soft (sometimes very soft) rock is so far out of fashion these days.
It goes without saying that Bread were huge in the early 70s. Make It With You was their biggest UK hit, and covers of Everything I Own and If were number one hits for Ken Boothe and Telly Savalas within a six-month period in the middle of the decade.
The band split in 1973 but reunited for a final album in 1976 (perhaps they kneaded the dough … sorry!). Tensions between lead singer David Gates and guitarist James Griffin couldn’t be resolved, but the band reconvened for a successful reunion tour in 1997. Sadly, any further reunion prospects disappeared with the deaths of Griffin and drummer Mike Botts, both within weeks of each other.
If you like melodic, well-crafted songs, you can do no better than buy this. All the greats are here, such as the aforementioned Make It With You, Everything I Own and If, as well as Baby I’m A Want You, Guitar Man, Any Way You Want Me, It Don’t Matter To Me, Sweet Surrender and, well, the list goes on. If there’s one complaint, it’s the notable omission of Aubrey, which was an absolute belter. Other than that, this is all the Bread you could ever want!
Release Date: March 5
Estelle: All Of Me
ESTELLE returns to the R&B scene after a multi-year hiatus following her flagship album, Shine.
Unfortunate for Shine was the ‘one-hit-wonder’ status the album received (American Boy, and only then with the help of Kanye West’s influence), despite how incredibly solid the material was. Rather worryingly for Estelle, it’s not clear if there will be one hit track among this collection of 15 tunes. There are some shining moments, but no ‘crowning achievements’ per se.
Collaborations with the ilk of Chris Brown, Trey Songz, Rick Ross and Janelle Monae fail to lift the album from anything other than yet another solid performance. There’s no risk-taking, no attempt to extend her obvious talents to reach new heights.
All Of Me lacks the trigger to truly provide Estelle with a new audience. Fans of American Boy won’t be wowed by this unabashedly R&B affair, and those fans who love the totality of Estelle’s Shine will be less impressed with the neo-soul vibe.
A tad disappointing, if I’m to be honest.
Release Date: March 5
Ceremony: Zoo
WHILE their early records were brutal hard-core thrash, this Rohnert Park, California band continues to evolve on their fourth album with help from acclaimed Seattle producer John Goodmanson.
The end result is an intense and expansive blend of classic 70s punk and bristling 80s post-punk, with bands like Wire, Mission of Burma and the Sex Pistols being major touchstones on this consistently stellar set of songs ranging from explosive punk ragers to atmospheric, tension-filled mood-pieces.
Critics will inevitably point to the less hard-core nature of this latest release in comparison to its predecessors, but Zoo has the added bonus of a wider appeal and a more rounded sound. Not so much a sell-out as measured progression, and I, for one, am a fan of that!
Release Date: March 5
Katie Melua: Secret Symphony
IT was with a sense of apprehension that I finally played the new album by Katie Melua.
Her previous LP – The House – was an interesting experiment, but sadly didn’t work, so it was with a sense of joy that she returned to working with the legendary Mike Batt, and the results of this perfect harmony between two hugely talented musicians is evident from the first few bars of impressive opener Gold In Them Hills.
If we’re talking about favourite tracks, however, the standouts have to be The Bit That I Don’t Get and the jazzy Nobody Knows When.
The only complaint, if there can be one, is that the version of All Over The World is pretty much a straight copy of Francoise Hardy. It would have been nice to hear Katie inject some of her own personality into this song.
But, to be fair, I’m picking holes for the sake of it. This is a return to form for Katie, and should see her climb back to the top of the table of British female solo artists.
Release Date: March 5
Steve Hogarth and Richard Barbieri: Not The Weapon But The Hand
MARILLION singer Steve Hogarth and Porcupine Tree and former Japan keyboardist Richard Barbieri make music that might appeal to fans of their present and former bands but sounds more like Dead Can Dance with guitars, fronted by Hogarth.
On opener Red Kite the instruments build from piano and willowy string ambience along with Hogarth’s tremulous voice up to what you’d expect to be the introduction to a more up-tempo intensity. Then everything drops out but Hogarth’s vocals and a drum pulse. Live drums join the warm violin and strings to lift you up from the melancholic beginning. Expect the unexpected on Not the Weapon But The Hand.
A Cat With Seven Souls begins with Hogarth whispering something mysterious as earthy drums and burbling synths wash over you. Hogarth has excellent control of his voice as he slowly sings in his high nasal yet inviting way.
Naked has an almost waltz-like drumbeat at the beginning, joined by bass guitar, piano and spooky effects. The vibes played in the middle accentuate the mystical feel, introducing a rollicking chant of “Don’t let them see me like this/ Naked as the day/ We were born again”.
Crack is a futuristic come-on song, with dark bass vrooms and skittering percussion, Hogarth singing “I’m going to love you until you crack” in a sexy purr. Noisy guitars rise up into a triumphant wail, Hogarth coos in the background and the song ends in a satisfying dubbed-out fashion.
Only Love Will Make You Free brings to mind Robbie Robertson’s Somewhere Down That Crazy River in both the song’s slow-burning dramatic flair and the way Hogarth softly speaks poetic words to hand percussion then sings those high notes to a more band-oriented backing. The song is soulful and lifts the spirit.
On Not The Weapon But The Hand, the music of Steve Hogarth and Richard Barbieri is equally cerebral and heart-warming, taking you on a journey into the passions and talents of two unique songwriters.
Release Date: March 5
Phenomenal Handclap Band: Form & Control
PHENOMENAL Handclap Band is a collective of seriously creative musicians based in NYC.
Their sound is a melange of funk, psychedelia and sunshine pop. Think of Isaac Hayes hanging out at Stereolab’s joint with Jimi Hendrix and the ABBA ladies sitting in. The band have done a bit of touring with Bryan Ferry, and if you like the adventurous spirit of his and Roxy Music’s style, you will understand the eclectic aesthetic that the PHB work from.
Every track is special, but here are three to check out to get a taste of where it’s at. The Right One is a great mix of space-age harmonies and serious groove, ripe for multiple remixes. Father James Park is a flashback to 1968. Search out the great video for this track on youtube. Winterfalls is a heavy groover mixed with nice bluesy guitar licks and synthesizer swells, building to a sweet crescendo.
All in all, a great record.
Release Date: March 5
The Civil Wars: Barton Hollow
BARTONM Hollow is the debut album from the indie-folk/country duo The Civil Wars.
Joy Williams and John Paul White met at a Nashville songwriter’s camp that neither wanted to attend. Randomly paired on the first day, they quickly realised it was fate because the chemistry between them was undeniable. They’re not romantically involved, but you wouldn’t know from listening to Poison & Wine, the fifth track on the LP, a tortured song about a relationship at the crossroads.
Most of their songs are stripped down instrumentally, pushing the vocals front and centre. Joy and John Paul’s harmonies are fresh, honest and riveting, exactly what’s missing in most of today’s music.
Opening track 20 Years is sheer poetry, where the vocals blend into one while remaining amazingly independent without diva competition. The second track – I’ve Got This Friend – will keep you smiling long after the last note with ends, its flirtatious lyrics and come hither nuances. There are darker tracks: My Father’s Father, The Girl With The Red Balloon and Falling, which will have you aching for Joy Williams as she laments through the speakers.
All are brilliantly written, layered with influences by William Faulkner, Tennessee Williams and Pat Conroy; southern gothic at its best. The title track, a sinister turn set to bluesy, electric guitars, is the album’s treasure. The first line – “I’m a dead man walking here” – and the closing line – “Can’t no preacher man save my soul” – tell the story, a song where John Paul White’s genius shines.
Forget Me Not was a little too plucky and heavy on the twang for my taste, but overall, Barton Hollow is a solid album. The Civil Warts could well be this year’s Mumford and Sons in the folk/country crossover awards.
And if you like what you hear, catch them live and local at Leeds Metropolitan University on March 18.
Release Date: March 5
Seether: Holding Onto Strings Better Left To Fray
WORKING with producer Brendan O’Brien, Seether have delivered their most mainstream sounding record to date, with just a few tracks testament to their earlier alternative metal roots.
It’s actually a very enjoyable mix. Opening rocker Fur Cue sets a nice tone, No Resolution continues in the same vein before ballad Here And Now slows down the pace.
Country Song was an odd choice for first single in my view, but no doubt the track’s definitely a grower – you’ll soon be humming along to the guitar line.
Those of you looking for some anger and aggression finally find it in the album’s closing section, especially on Desire For Need, which is fast, heavy and melodic.
In many respects, this LP is far superior to 2007’s Finding Beauty In Negative Spaces. It’s a decent return to form, and the remixes ensure the album comes in at a highly respectable 19 tracks – well worth a tenner of anyone’s money.
Release Date: March 5
Sound Of Guns: Angels & Enemies
LET me take you back in time, to when Pete Wylie and the Mighty Wah were making wonderful music out of Liverpool.
Then throw in a bit of Mike Peters and The Alarm at their very raw, passionate best. Stir in some of the pomp and drama of more recent Muse, and top it all off with a voice that has a cutting edge like broken glass, that swoops and soars and holds notes w-a-a-a-y longer than they were meant to be held by a rock singer. And what you end up with is the amazingly good second album by Liverpool band Sound of Guns.
I love it when you stumble upon a band you’ve never heard before and, from just the short snatches you get on preview, you realise this is something a bit special. And absolute stormer.
And if you like what you hear, catch Sound Of Guns live and local at Sheffield Leadmill on March 16 and Leeds Cockpit the following night.
Release Date: March 5
Paul Kelly: Greatest Hits Songs From The South Volumes 1 & 2
WHAT can you say about Paul Kelly apart from being one of the greatest singer/songwriters to have come from Australia.
This double-disc album is a great compilation of some of the highlights.
Disc one starts with his first song, the simple but catchy From St Kilda to Kings Cross from his first solo album Post, and finishes with what I think is the highlight – How to Make Gravy, a song about a guy in prison wondering who will make the gravy for Christmas this year.
And then there’s a second disc taking you from 1998 to 2008. You just can’t get enough of this guy!
Essentially telling stories, Paul Kelly’s strength is in the lyrics, however the music is understated rather than being simple, as some have described it.
In any case, I cannot recommend album enough for those waiting to be introduced to Paul Kelly or to round off a collection for his long-term fans.
Release Date: March 5
Napalm Death: Utilitarian
AFTER five straight highly acclaimed studio albums, it would be easy for Napalm Death to play it safe and bash out another slab of intense grind.
Instead, we get an incredible release that might possibly be their most experimental album since the late 90s, while still retaining the high-level intensity Napalm are known for.
They’ve been incorporating some new elements since Smear Campaign, using droning clean vocals and epic instrumentation to achieve an almost operatic quality on some songs, and that feature sees progression on Utilitarian.
On The Wolf I Feed, Barney’s clean vocals sound weirdly similar to those of Fear Factory’s Burton C. Bell. On several other tracks, like Fall On Their Swords, Blank Look About Face and Leper Colony, his Gregorian chanting style sounds more suited to a massive cathedral.
Another change in the vocal department involves guitarist Mitch Harris, who, on two songs, utilises a hardcore punk style while singing on several verses.
The music doesn’t conform to all expectations, either. For one, Everyday Pox has the weirdest noise I’ve ever heard on a Napalm song, and, as it turns out, the responsible instrument is … a sax! Yes, there’s an eardrum-piercing, high-pitched, screaming loon-sounding sax solo on a Napalm Death track. It sounds every bit as crazy and alien as you’d expect. Also, Mitch incorporates more melody than any of their other albums that makes for a more diverse listening experience.
The overall sound, though, is still Napalm. Brutality is the foundation of each song, and every track crushes, even the ones with more melody. The guitar tone might be a little less low-end than usual. Several songs have a fairly clean, but raw, punk edge to the guitar interspersed with the usual weighty buzz heard in Napalm riffs, although the same can be said of the last album, Time Waits For No Slave.
These guys went very experimental for a few albums in the 90s, barely using grindcore elements, but they now seem to have found a way to combine both the brutality and the experimentation of their past on Utilitarian. Even though some parts of their sound have been enhanced on this release, you still hear tonnes of blast beats, insanely fast riffs, hardcore influences, ridiculously intense screaming and roaring from Barney … you know, Napalm Death!
This album is a powerhouse that all extreme metal fans need to check out.
Release Date: March 5
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Tuesday 18 June 2013
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