Opportunities and successes came in large numbers when The Spitfires first appeared on the scene in 2012, with sold out concerts, lives on television and continuous interviews for the sector newspapers that influenced their calendars. Now they are out with their project, the return of the three Watford boys with a new album more conceived and wanted. "Life Worth Living", their fourth album, sees Billy Sullivan and his strings, showing more ambition than before, experience the genre in new ways, using other methods to achieve the desired results. Following a change of record label, the band is in a place where they can enjoy the coupled support and a new energy boost to satisfy the cravings of the fans and ready to gain a new listening territory. Their work with Simon Dine, who has previously worked with Paul Weller, as a producer was an excellent choice. Dine gets the sound and ambition of the Spitfires, ensures that their vibrant live sound and energy are present on this new studio album. The result is a diversified LP that offers variety and surprise. Silent and introspective at times, the dynamic contrasts are satisfied by the joyful and happier moments of this album. Musically, it's a far-reaching display. From the breathless ska vibrations heard in 'Start All Over Again' and 'It't't Be Done' to the melodic ballad of 'How Could I Lie To You' and the tranquility of the final tracks' Have It Your Way 'and' Make It Through Every Day ', several good moments are created. "(Just Won) Keep Me Down" addresses the experience of returning home from the pub late at night. Capture some of the dangers, chaos and paranoia. Sometimes touching the atmosphere of the dark streets, the sound of police sirens that could also be confused with the sounds of ambulances as if you had a disturbed hearing when you were drunk. Sullivan wanted to "capture the environment that people can relate to wherever they live". "Life Worth Living" celebrates a little "grit" that everyday life has to offer. Normal lives aren't necessarily glamorous, but there is beauty to discover when you take a look. It is a timely snapshot that comes at a time when perhaps there is even more need.
Paul Weller is not a reassuring artist. So are those artists who do not want to please and pursue only what the voice-guide suggests to them that resonates within them. You cannot passively listen to an album by today's 62-year-old English musician. Most of the time you appreciate it, sometimes you don't fully understand it, at other times you remain perplexed and annoyed, but never indifferent. This is what is required of every self-respecting musician: to enjoy his skills, but also to be involved emotionally and, why not, displaced and surprised. It was a surprise, just under two years ago, "True Meanings", because essentially acoustic and delicate, in tones and themes. The new born "On Sunset" connects in direct line to the previous one with "Mirror Ball", the opening track of the tracklist written at the time of "True Meanings". Almost eight kaleidoscopic minutes, just like a mirror ball that reflects the whole thing. Explanatory summary of what is going to be listened to, for the musical variety that is contained in it. "Baptiste" is pure soul as if it were any Van Morrison. Pure secular soul and, precisely for this reason, religious. The R'n'B of "Old Father Thyme" lingers with a good-natured look at the passage of time, and the warm tones of the song make it the right credibility, "Village" tells of a person who is fully satisfied with what he has, the his 'village', and is characterized by the keyboards of Mick Talbot, old pard of Weller in the adventure Style Council. The use of electronics, with a battery programmed to dictate the tempo in "More" which, curiously, has a verse (only one) in French sung by Julie Gros of Le Superhomard, and ends with an irresistible jam across the whole band . The title track is placed at the center of the tracklist and recalls "Village", both in its sound to the Style Council and for the sense of completeness and pacification that reigns at sunset. In the theatrical "Equanimity" the ex Slade Jim Lea offers his violin. The sense of peace, optimism and love becomes almost disturbing ... we expect an explosion that will not come. And then it is a pleasure to even listen to the birds chirping in "Walkin '" and also "Earth Beat" goes to push on the accelerator of optimism. "On Sunset" can be called a pop album in the most positive sense of the term. The tracks on the disc have many influences, even antithetical to each other, which are amalgamated and connected to each other by Paul Weller's vocal timbre. Pop that stands for popular, or that ability that is anything but trivial for a work to be understandable and pleasing to the public. As in "True Meanings" words such as trust, kindness, love, serenity are used. At sunset the sun still shines for Weller. Has the passage of time softened Weller's otherwise sarcastic gaze? It can also be seen in this way, but the result (which is what matters anyway) does not change. Once more he won. Even in the time of the Coronavirus.
After managing to get his life back in his hands, leaving the tunnel of drug addiction and depression, the restless Jonny Brown recovered the Twisted Wheel project and recruited three new musicians: bassist Harry Lavin, guitarist Ben Warwick and drummer Ben Robinson. Back on the scene with the short EP "Jonny Guitar" (2018), the longtime friends of Liam Gallagher, to whom they also acted as a shoulder group for the European dates of February, have finally released their third studio album, free from record labels. The dances start with the single of the Nomad Hat garage matrix, characterized by good bass lines and sustained rhythm, which with its four minutes adequately loads the listener. I Am Immune slightly increases the speed and puts sharp guitar riffs in the foreground, taking up the punk sounds typical of Brown's previous works. The more melancholy Black And Blue hits hard with a text related to depression and a tribute to the poet Sylvia Plath, surprising with a captivating ending, while Jonny's voice appears more and more distant. The sentimental D.N.A. is the anthem par excellence and one of the flagship songs of the album: initially slow and dominated by the pace of the drums and an acoustic guitar, it gradually adds a few electric guitar riffs, culminating in an unexpected explosion where the tones and speed. The path continues with the most distorted and shabby Ghost Man, a piece oriented towards psych rock that has been present in the live playlists for some time, reaching half the disc with the gritty and short Wheels Of Love, whose main protagonist is the drums. Slows down and totally changes pace Wrong Side Of The Road, which takes up the typical atmosphere of the anthem to be sung with the audience during a concert. The unleashed 2020 Vision is characterized by distorted melodies and is almost only instrumental, since with the exception of the title of the song shouted by Brown, it is totally governed by the tight rhythms of the percussions and the guitar riffs. The last part of the disc is the most experimental and sees the semi-acoustic Rebel follow one another which softens the tones and closes in an echo that immediately introduces the title track Satisfying The Ritual, characterized by unexpected trip hop sounds, and finally the light Show Me, final piece dominated only by the sound of a piano and an acoustic guitar. The home-made rock 'n' roll of Satisfying The Ritual has some imperfections, but in spite of this it works and any song lends itself well to being performed live, succeeding in the intent set by the band and even going beyond expectations. A result that should not be underestimated.
London in the mid-1960s is often imagined as a city of old gentlemen who wear a bowler hat and who carry umbrellas and women who wear gloves and paperbacks. Young people mingle in carnaby Street with paisley colored shirts, bright striped trousers, pink sunglasses, Chelsea boots, miniskirts and white lipstick. Forgotten in this cultural gash between Savile Row and King's Road was a mod jazz scene crowded with talented artists who play pure warmth. While the popularity of jazz was losing ground in the United States during this period in the 1960s, when rock and soul came out, the traditional London jazz scene was filling with talent and craftsmanship in both small groups and large bands. Now there is yet another "trumpet blast" in the spectacular "Jazz Goes Mod" of U.K. and Soho Scene '64 and '65 (Rhythm & Blues). The 78-track four-CD set includes a wide range of British jazz musicians on the first two discs and with American artists of the same period in the other two. I love this series, as each song is different, dynamic and tasty, you can listen to those sounds directly without ever getting bored. British jazz artists and arrangers could play with ease and sophistication than their American peers, and it wasn't just a scene from a few artists. Dozens of bands were top notch and featured truly capable soloists. Unfortunately, many jazz fans weren't completely exposed to the vast vault of talent in London in those years. This set will help you accelerate your knowledge on the scene in those years. This includes tracks from Johnny Burch, Ronnie Scott, Tubby Hayes, Harold McNair, Ernest Ranglin, Dave Lee, Ken Jones, David Mack, John Dankworth, Peter Compton, John Stevens, Pete King and many, many more. The drummers of these bands are particularly furious and rock crushers. In contrast, the U.S. parts of 1964 and '65 are funky and out of the ordinary canons. This includes Clare Fischer's Way Down East, Jimmy Wilkins Orchestra's Snatchin 'It Back, Upstairs Running Mps's Junior, Merle Saunders' Five More, Theme From Bewitched, Groove Holmes' Soul Message and more. One calm soul-jazz after another, creating a wonderful contrast between the evolution of jazz in London and what are the fascinating African American cultural influences. In the United States, the growing popularity of funk, soul, R&B and television is approaching jazz approaches. In London, there is no pop-rock or soul airing on government-owned BBC radio, nor is there the same level of youth-oriented television. Jazz has evolved differently along sophisticated and refined lines, with similar recordings in the sassy style of British sports cars and fashion. Where the jazz of the American big band stopped in the early 1960s, when the bands led by Oliver Nelson, Quincy Jones and Maynard Ferguson ran out of commercial gas, Britain continued to further develop the genre and tastefully. . It's all here on this new compilation of the R'n'B series, so take your Lambretta and run to buy it!
If there is a lesson that, in his own way, Neil Hannon has taken care to teach us over more than three decades of making music, it is probably the simplest and most visible one: the elixir of long life consists in remaining on foot equal to outside of temporal logics, of the fashions of fashions, of the effort to remain current when instead, simply, you can wear the jacket of a perennial classicism. At best, here, you can change the shape: you can pretend to be Napoleon for an entire tour, just for the sake of doing, inaugurating an impromptu imperialist phase in itself that follows an album, "Foreverland", which more out from time you can't. Then, with an invisible blow of the sponge, you can pretend to find yourself in the quirks of any office, with its tics, gossip, dislikes, logics that are created with or without a reason, precisely. The world of work as a privileged stage for the study of human nature. "Office Politics" is perhaps not a true concept, but allows Hannon to do what he likes most: to wear a completely new mask and try to try his hand at the small-big theater of human nature, extricating himself in a forest of strengths and weaknesses to highlight and mock. To do this, he gets help from the machines: in the thirteenth work in the studio of the Northern Irish artist, his words, "there are synths and songs on synths". In fact, the synthetic component has never been so present in the plots of the Divine Comedy, as well as the reflection on the role and use of the machines, not by chance defined as "infernal" in the homonymous song. If, however, "Foreverland" was a sheltered shelter within the confines of a fiercely twentieth-century and decadent classicism, "Office Politics" is by Dante's law of retaliation the most avant-garde answer ever given by Neil Hannon to the world out there, and even before himself same. The extemporaneous rap of "Psychological Evaluation" stages a dialogue between man and artificial intelligence. "The Synthesiser Service Center Super Summer Sale" stands halfway up the line as the outpost of a new, ephemeral policy (precisely) that seems to want to look to the future through the lenses of an eighties past. And what about the pseudo-industrial march of "Infernal Machines", that sort of three-dimensional nightmare that seems to want to swallow the listener in his gears? And finally, how to welcome the oriental chimes that follow the vocalizations and then the choruses of "Philip And Steve's Furniture Removal Company"? These are operations that only Hannon could succeed, for the simple reason that only he could come to mind. But this does not necessarily mean that the outcome is always up to the almost unlimited credit that Ours has enjoyed for a long time now. And in fact, bragging brand new aside, and certainly not mysteriously, "Office Politics" convinces where the good Neil stops hanging around alien territories to return to being the primactor in the most congenial spotlight. "Norman And Norma" is a new pop classic from the Northern Irish forge that tells the story of a perfect middle class couple now over the years and fully happy with the normality received as a gift. Conversely, the cheeky pop of "Queuejumper" does not manage to conquer completely, while inviting to jump on the rubble of a humanity that has stopped scrupling. For "You'll Never Work In This Town Again" the tails are dusted off in a melting pot of small orchestrations that wink at a swing just mentioned. Even more "classic" is the reflection on the value of each of "Absolutely Obsolete", in turn endowed with precise orchestrations in a game of mirrors between ridicule and seriousness. "The Life And Soul Of The Party" rekindles the desire to party, but without overdoing it, because demeanor is another unshakeable dogma of this calculated madness. The slot dedicated to ballatona is occupied by "A Feather In Your Cap", again immersed in synthesizers and eighties atmospheres, but honestly little stuff compared to any other epigone of the past. And then there is the minute and precious lyricism of "I'm A Stranger Here", imbued with that démodé existentialism that Hannon has been able to raise to art. The truth is that "Office Politics" is a complex album, particularly long (sixteen tracks, one hour in all) and perhaps less immediate than the processors. A work that alternates ups and downs, and as far as we are concerned, less accomplished as a whole than the two chapters that had characterized the Ten years in the Divine Comedy house: "Bang Goes The Knighthood" and "Foreverland". But it is also the most out of the box, and it was not easy, considering the tenor of the predecessors. But, as Hannon reiterates, "I try to make normal albums, but I always seem to be going to strange territories".
Renovation. This is certainly the word at the center of the Ride's record return. It was clear already in 2017, when "Weather Diaries" (the first post-reunion record release of Bell, Gardener, Queralt and Colbert) proved far from the shoegaze of "Nowhere" and "Going Blank Again", instead marrying less saturated atmospheres of noise and more properly neo-psychedelic. The distance from sounds that made the fortune of the Oxford formation at the beginning of the nineties widened further the following year, with an Ep, "Tomorrow's Shore", which, taking advantage of the experience in electronic music of the producer Erol Alkan, introduced consistent doses of synthesizers in the sound. The thing must have surprised, however, only occasional connoisseurs of the quartet, which is not at all new to rejuvenation attempts, more ("Carnival Of Light") or less ("Tarantula") successful. Even if all this is admitted, it is still difficult not to be surprised in front of the amount of suggestions and influences put into play in this new full length, which make it a definitely fascinating and multifaceted, but also discontinuous and episodic work, showing the Ride not always at one's comfortable with the subjects at stake. The clogged electronics of "R.I.D.E.", which grants itself to shoegaze reminiscences only in the plaintive sung parts, actually opens a pinwheel of which it is difficult, if not impossible, to find a logic. Then follow "Future Love", the concession to the past jingle-jangle of "Twisterella" and "Repetition", dilated neo-psych adaptation of the cyber-punk of Primal Scream. The tense "Kill Switch" is a bad as inspired shoegaze hit; the fringes of fuzz that section "Fifteen Minutes", yet another rhythmic marvel of Queralt and Loz, are also very thunderous. The more atmospheric side of the Ride finds its outlet in the folk ballad "Dial Up", liquid and placid, barely streaked by vintage electronic interferences reminiscent of the old ISDN connections; while the introduction of the long "In This Room" even recalls certain mechanisms of the Notwists. "Clouds Of Saint Marie" and "Eternal Recurrence" constitute a full-bodied central block faithful to the spirit of "Weather Diaries". The first of the two is a very successful song, thanks above all to a decidedly catchy chorus, while the second is a weak attempt at stadium rock, a problem that also affects "Jump Jet". The beautiful "End Game", which culminates in a piercing tremolo guitar ending, is finally a juicy saucer for diehard fans of the shoegaze phase. In short, everything can be attributed to the Ride except cowardice or inability to look around. "This Is Not A Safe Place" is yet another testimony of this attitude, as well as the confirmation that their coming back was not dictated by the possibility of monetizing the return to vogue of a genre that was helped to found, but from the need of the four music ideas, perhaps not always worthy, but brand new.
A great book with a choice of five different large covers. Make your choice on the one you want. The Ska, Rock & Mod revival of the late 70s to early 80s brought life and laughter into a politically gloomy UK music scene. Journalist Garry Bushell was at the forefront, worked for Sounds and Dance Craze magazine, and was present to attend all critical events. More than forty years have passed since Jam has inspired a new generation with their album All Mod Cons - released in the final months of 1978. But the Mod revival was much more than a simple phenomenon inspired by the arrival of the film version of Quadrophenia of the Who. A succession of bands including The Purple Hearts, The Jolt, The Chords and Secret Affair, among many who were born at the time and who added a lot of "sound content" to Weller's already powerful songs and great melodies. It was a movement that had been growing organically for more than a year and was a fitting response to the increasingly gloomy post-punk scene with hits such as: 'David Watts',' The Modern World ',' Down in the Tube Station at Midnight ',' Eton Rifles', 'That's entertainement', 'Going Underground' ... This is the story written in a fun, informative and affectionate way by Garry Bushell of the rise and influence of the revival mod. In it, it describes all the main bands and most of the smaller ones. It is the story of those times through the dispatches that he sent from the front line and put on all the musical newspapers of the time.
BRIGHTON 64 return to the label with the fourth album of their second and prolific musical stage through the 2010 reunion. After the intense tour de force that represented the concept album: El tren de la bruja (2017), the veteran band from Barcelona now launches: Como Debe Ser, a handful of denunciation and anger at the precarious situation of freedom in Spain and a devastating criticism and hypocrisy that invades us from all fronts. The law of the strongest in "La cara infame del poder" and "Miedo me das", death and indifference in "Playas del mediterraneo", justice of many or say piloted in the Spanish judiciary in "Juez y parte", annihilation of the freedom of expression in "Este es un pais libre", the legacy of exile and civil war in "Avui he tornat casa", the manipulation of the media in "Gato por Liebre", and a desperate call for political action in " El estado de la nacion "or" La flor que sustainia en la mano ". A gloomy panoramic view of which the band left only for the three minutes of the self-deprecating song "La balada de los perfidos hermanos Gil". 11 direct and unceremonious songs, 11 stabs of political rock and frenetic power-pop co-produced with Paco Loco, whose savoir faire have given a new boost to the band's repertoire. A record relevant to the times that haunt us (especially in Spain). Without a doubt, the most relevant and political BRIGHTON 64 album.