New Music - Album Reviews - Spring 2020
Tame Impala
The Slow Rush Modular Island Records
First album in 5 years from Australia’s finest export
Kevin Parker has been one of the most talented musical auteurs of the last ten years. His musical concept Tame Impala, where he writes, produces, sings and plays everything á la Prince has built momentum ever since their debut Innerspeaker was released in 2010. This, their fourth LP and follow up to 2015’s brilliant Currents has been years in the making, with two singles released over a year ago, whilst last minute delays meant a 2019 summer release did not happen; perhaps initial inspiration was hard to find after recent success - both professional and personal, he recently married his finance - as Kevin Parker eluded to when he spoke to the New York Times recently: "Part of the thing about me starting an album is that I have to feel kind of worthless again to want to make music".
Like it's predecessor the album sounds gorgeous, with the instrumentation this time focusing a lot less on the electric guitar and more on the synth beat. Despite the fine production, the standard Currents hit aren't quite reached here, with songs less fully formed nor as memorable; there is nothing as complex as "Let It Happen" to unpick or as catchy as "The Less I Know the Better". Indeed the pre-released “Borderline”, which appears here in a slightly new mix and seemed a bit underwhelming last year, turns out to be one of the album's strongest songs.
As a concept on the passing of time it delivers, but the lack of song craft means it is a bit of an underwhelming return.
Rating 6 / 10
The Weeknd
After Hours XO Republic
Much anticipated fourth studio album from Canadian singer Abel Tesfaye
Listening to The Weeknd's 4th album, is to go through the keyhole into his mind. Since 2016’s Starboy, The Weeknd - Abel Tesfaye - has split from his girlfriend. Brokenhearted he's turned to what he knows and alluded to in every release to date: sex & drugs. And whilst we know based on previous releases what to expect, there's an arc to this album that makes it his most satisfying yet.
The LP is split very neatly into two, showcasing both sides of his musical personality: the first half covers the crestfallen Abel as he sings with searing honesty about his current predicament (see those song titles:alone, scared, too late etc), all over a plush sonic landscape made up of brilliant ultra-cinematic keyboards, heavy sub-bass and hard (albeit slow) beats, which together presents a kind of Blade Runner dystopia. Indeed this isn't by accident as he sings on the fifth track Snowchild, the first track where the album catches a breath after the faultless opening salvo: "she like my futuristic sounds in the new spaceship. Futuristic sex give her Philip K Dick".
Admittedly at first, I found these songs a little uncomfortable in places, particularly "Heartless" where "I've been running through the p***y, need a dog pound", however on repeated listens the soul and conviction really come through.
The second half shows his party side as he brings in Max Martin - the man behind most of the biggest pop songs of the last 20 years including The Weeknd's own "Can't Feel My Face" - and the pace quickens with the album's singles "Blinding Lights" and "In Your Eyes".
Not since Bjőrk's classic Homogenic LP has there been such a perfect marriage of song and production by a singer. If there is one criticism, it's that it's quite a bleak record, one wonders what would happen if he wasn't so self-destructive? Or is it all an act? For me he's the biggest pop star right now: he has the voice of Michael, the daring of Prince and a powerhouse production team behind him, so the future is tantalising. It's my favourite Weeknd album to date and it's exciting to think what music he'll make in the future.
Rating 7 / 10
Gigaton Monkey Wrench Republic
The Seattle grungers come back after 6 year hiatus with a solid effort
Grunge’s great survivors? For a variety of reasons Pearl Jam have been able to consistently write solid music and had no real duds over their career, although releasing new music that stands up to the best of their back catalogue is undoubtedly the challenge. However Gigaton does this, particularly in the beginning of the album with the singles "Superblood Wolfmoon" - which recalls the energy of "Spin The Black Circle" - and "Dance Of The Clairvoyants" where Eddie Vedder sings in the style of David Byrne, over an electronic beat, certainly new terrain for PJ. "Quick Escape" too is exciting, no easy feat after the long career Pearl Jam have had. Overall the new sounds explored, along with some great new singles mean a solid effort overall and a welcome return.
Rating 6 / 10
Suddenly City Slang Merge
Canadian Dan Snaith returns with his first album since 2014’s Our Love
A varied offering from Dan Snaith and his 5th album under alias Caribou, named after his daughter's favourite term. Whilst Caribou falls under Electronica and as part of the wider Clubbing genre, this belies the sheer scope on offer and Suddenly is no exception to this as folk, R&B, chillout, sampled blues and dance are all explored, with the latter particularly showcased on single "Never Come Back", surely one of the dance anthems of the year.
It is a warm record and eclectic to boot, both qualities that remind me of Moby's Play, I think it'll help me get through lockdown, a sign of a good thing.
Rating 7 / 10
Cornershop
England Is a Garden Ample Play
Everyone needs a bosom for a pillow, Cornershop are back
It’s good to have Cornershop back. At a time of self-isolation, their brand of rock n roll is a much needed tonic. It doesn't particularly deviate from previous efforts, effortlessly combining Rolling Stones rock and roll with their own unique sounds which stem from their British Asian (or rather British Indian) roots. And while nothing here is as great as "Spectral Mornings" or as catchy as "Brimful of Asha", it is the sort of music you can imagine Austin Powers 'digging' and whilst it may not win any awards for sales or best of year awards, it'll sure host a good party or two and for that we should be grateful.
Rating 6 / 10
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