New Music Reviews
Album: Shearwater - The Great AwakeningThursday, 09 June 2022
The title The Great Awakening is a metaphor for America’s switch from its previous presidential administration to the current: the arrival of a new era and, with it, a fresh phase of life. Emblematic of this is the xenarthran, a type of armadillo, which lends its name to the album’s third track. Native to South America, it slogs its way into Texas where it deals with a new environment. Read more... |
Bloc Party, Barrowland, Glasgow review - falling back on past glories brings a jubilant responseMonday, 06 June 2022
As Bloc Party singer Kele Okereke noted at one point in this gig, his band have now been visiting Glasgow for nearly two decades. Yet few of the shows played in that 18 year span, which have touched upon nearly all of the city’s main music venues, have been as contrasting as this one. Read more... |
Music Reissues Weekly: In A Rocking Mood - Beverley’s Rock Steady 1966-1968Sunday, 05 June 2022
Beverley’s was an ice-cream shop and restaurant on Orange Street in Kingston, Jamaica. Records were on sale too. In 1961, an aspiring singer-songwriter named James Chambers turned up there with a song he’d written called “Dearest Beverley.” If it was recorded, it’d give its creator a leg-up on the music scene and also might be good promotion for the business. Read more... |
Album: Wren Hinds - A Child's Chant for a New MillenniumThursday, 02 June 2022
Side Two of A Child’s Chant for a New Millennium opens with “Wrenbird,” a consideration of whether it’s possible to have a bird’s freedom of mobility. “Anywhere but here,” sings Wren Hinds. He may not be happy where he is, but the accompanying soundtrack is enough to make anyone stick around. Read more... |
ABBA Voyage, Abba Arena, London review - technical mastery and musical joyWednesday, 01 June 2022
he first part of one of ABBA’s most famous lyrics, “You can take the future, even if you fail”, has been bought to life in Pudding Mill Lane, in a musical event that has completely re-defined the possibilities of the future of live music – and has put to bed the latter part about failure. Read more... |
My Chemical Romance, OVO Hydro, Glasgow review - caring, sharing emo kings holler to the heavensWednesday, 01 June 2022
It is a testament to the enduring appeal of My Chemical Romance that this show was credited with having sold the most tickets in the OVO Hydro’s history, and yet still formed one of the group’s smaller dates on the UK leg of their reunion tour. Read more... |
theartsdesk in Bergen: Nattjazz, Nutshell review - Norway makes the case that musical genres are obsoleteWednesday, 01 June 2022
Superless are playing live for the first time. Instead of being bottom of a bill, this quartet have a prime spot at Bergen’s Nattjazz festival. Given the eminence of who’s in the band, it makes sense. Ingebrigt Håker Flaten (bass), Eirik Hegdal (woodwind) and Øyvind Skarbø (drums) are Norwegian and American guitarist Jeff Parker is based in Los Angeles. Read more... |
Alice Cooper & The Cult, Resorts World Arena, Birmingham review - rock’n’roll veterans bring it onWednesday, 01 June 2022
Rock’n’roll has been credited with incredible powers of rejuvenation many times before, but if there are two men who seem to have seriously benefitted from its mystical power, it’s Alice Cooper (74 years old) and Ian Astbury (60 years old). These are two men who would be eligible for free bus passes in the UK but who can still get down with the best of them – and are still in miraculously fine voice. Read more... |
Music Reissues Weekly: John Barry - The More Things ChangeSunday, 29 May 2022
By 1970, John Barry had composed music for Born Free, The Lion in Winter, Midnight Cowboy, You Only Live Twice and about 38 other films. His work with cinema began in 1960 and averaged around five films a year. In 1965, eight films were released with his music. He was busy. Read more... |
Music Reissues Weekly: Patty Waters - You Loved MeSunday, 22 May 2022
“Touched by Rodin in a Paris Museum” is a 14-minute consideration of exactly what its title says: the impact of encountering Auguste Rodin’s work in person. The composition features piano only. There are nods to Debussy and Ravel. The playing is measured and minimal yet still full-bodied. At odd points, there are seconds of complete silence. Read more... |
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