Warm Chris. Aldous Harding

In 2019 it took me a while to warm to 'Designer'. In fact it wasn't until well into 2020 that I bought the LP and played it an awful lot. With Warm Chris announced, "a warned man counts for two", as we say over here. Listening to Aldous Harding singing with her inner child voice a lot did not scare me off. I did ask myself the question, am I going to get used to it? That question can be answered in the affirmative. I took about three session with Warm Chris. From that moment onwards I was convinced to listen to another strong new album in 2022.

Where the mood of Warm Chris is concerned, fans of 'Designer' ought to find their way around Aldous Harding's new album. Expect a more sober album though. The accompaniment is barer, more elementary. At the same time, each and every extra note played is in its right place. Exactly what makes Warm Chris so attractive to listen to.

Aldous Harding was born as Hannah Sian Topp and is from Lyttleton in New Zealand. Harding is her mother's family name. My introduction to her was through that record shop and label in New Zealand called Flying Nun, with her self-titled debut album. I never found my way into album number 2, 'Party'. (In hindsight I realise, it would be advisable to listen to it once again.) When the same happened to 'Designer', I had the idea, that this was it for me and Aldous Harding. What made me change my mind and even buy the LP, I can't remember. Sometimes I listen again or it comes by when my iPod changes to shuffle mode after some kind of bump causes the thing to do so. Some reason like that probably. The result was that truly anticipated Warm Chris' coming.

The album, to my ears, places itself on two extremes. On the one side it is extremely undercooled, on the other it has this inner warmth. As if Ms. Harding was not able to control her inner warmth and keep inside. The music is fully under control, her voice simply is not. She tries a times, but in the end fails and starts to show how much she cares about her songs, how proud she is of them, pointing it out with all the nuances her voice can muster. I'm sure every artist is proud of new work, on Warm Chris it shows even more because of these extremes. Like sun shining on ice.

The album starts with a strong set of songs. 'Ennui' immediately sets the stage for what is to follow. What you will hear is a piano with a drum behind it. Slowly but surely the song is built up to the first verse. It takes so little to convince and draw me into the album. 'Ennui' has a beautiful vocal melody and only needs a few notes on an electric piano to shine. The interplay is delicate yet determined. A saxophone plays what barely can be called a solo. 'Tick Tock' is a little darker, yet has the same sort of quality. Aldous Harding plays with the mood of the song by changing her voice, changing the darker mood to playful and back.

Living in Wales, she recorded the album there as well and again with John Parish as producer. In a review I read, but can't remember where, the reviewer concluded something like a beautiful album, were it not that Aldous Harding forgot to put herself on it. My only response to this can be, you better screw your ears back on. She's all over the album. She plays superiorly with her voice, not needing extravagant and elaborate music to make her (voice) shine. The music may be at a minimal level, besides being exactly right, it gives room for her voice. It plays with time, it plays with space and above all with the moods of Warm Chris. It is hard to truly know after being able to listen to the album for just a few days, but what I do know already, is that I like it a lot.

Warm Chris is a little universe on its own. It works on all accounts and contains several very strong songs. It took me some time but I have even taken a shine to single 'Lawn'. It totally falls into place on Warm Chris. At this point in time I can only finish with: "What an album"!

Wout de Natris

Famously Alive. Guerilla Toss

Hearing the opening of Famously Alive for the first time within seconds I knew that this album was not made for me. Was I wrong! Since, I've played the album regularly, soft and loud. Of course, Famously Alive is filled with electronic rhythms, autotune singing and dance/house elements but it is also filled with pop melodies, rocking guitars and some weirdness to top it all off. The result is an album that is, a single exception aside, great fun to listen to and no doubt under the right circumstances very danceable.

Guerilla Toss was before the album landed on my door mat, totally unknown to me. Great, adventure, I thought and before long it turned into one. Guerilla Toss is a trio from up state New York's Catskill Mountains area. Kassie Karlton sings and wrote all lyrics, Peter Negroponte is responsible for all the sounds except for Arian Shafiee's guitar playing. Together the trio can kick up huge beats and sounds, totally overwhelming the extended invitation to listen to its music. It's new album is the first one released on the Sub Pop label, a step up in the world, after releasing singles and albums since late 2012.

"Dig deep enough inside yourself -- start treating your body as your sanctuary rather than your enemy -- and eventually you'll find yourself blooming right back out into the sun", is the message coming with Famously Alive. As I said and wrote before, no matter how horrid the Covid period was, it has brought good sides as well. Read this sentence and the quote again and you'll know that it was very much the case for Kassie Karlton too. In times of lockdown she had to reach inside herself and found Famously Alive there. An end result of a time of dread can be a lot worse, as it is for many people.

What I like about this album, is that it is not only called Famously Alive, it has the quality to make the listeners feel alive as well. It certainly speaks to my senses. Firstly, it impresses with the huge sounds coming by regularly, this is an album of the big beat and huge electronics. Secondly, Karlson's voice may sound light at times, but just like, for example, Jerney Kaagman in Earth & Fire she totally stands her ground against the band. Thirdly the album has a few great pop melodies. Sometimes hidden in the huge whole and sometimes occupying the foreground with ease. All together it makes Famously Alive stand out.

If I have to drop a name for you, the one that comes to mind is Garbage, where it not that Guerilla Toss is as modern now, as Garbage was at the time of its debut album in, what was it, 1995? In other words totally left of Garbage's centre.

Famously Alive is one of those albums that I got surprised by. Had I just received a paper notice, I would never have taken the time to listen to it. The fact that it was made easy for me to do so, made all the difference. Modern albums can be fun, folks, even at my, so perhaps your age too.

Wout de Natris

Singles, week 13

Week 13? Mmm, but then I'm not one for superstitions. So, no reason to skip this week and all the more reason to wish this set of singles well. The selection is once again diverse, including a few debut singles, of which one last over 13 minutes. Talking about making an entrance! A few old friends of the blog return with a new single as well. Hopefully you will be introduced to some nice new work. Enjoy!

TV Celebrity. The Anaesthetics

A new Dutch band signed to the Rotterdam based label Gentlemen Records. The Anaesthetics are from the Limburg town Horst aan de Maas and will release its debut album '1080' in May. Listening to the first single, I have the feeling of having been put into a time machine with the dial plus/minus on 1980. The dark electronic wave music coming out of my speakers hold everything from Tubeway Army to China Crisis. Like many song from the day, the sounds all come from synths, the melody, the bass pulses, the drums. That sounds cold, and often it is/was. What can make a positive difference, is the melody. The singing is the characteristic dark wave sort of thing, bats everywhere in the mid-80s. Since a few weeks the world has caught up with the dark wave styled music that is in fashion for a few years already. With a mad man, out of madness or (mis)calculation, waving his nukes in the face of the world, we are all of a sudden there. The Anaesthetics without a doubt oblivious of what about to happen when they wrote TV Celebrity, but catch today perfectly. The synth melodies actually assist in making the song sound a little lighter and stand out. TV Celebrity is not the most joyous of songs. However, with a debut single like it The Anaesthetics can be quite content with themselves.

Where I'll Stand. The Dream Syndicate

Forty years in business The Dream Syndicate is and still going strong. Admittedly, the band totally passed me by in the 1980s. Somehow, it never came my way, despite buying dozens if not hundreds of albums from the day. Come 2022 and Where I'll Stand landed in my digital post box. The dark song has a Bowie kind of attraction. The Bowie from around 1980, again that year, yes. 'Lodger'. 'Scary Monsters', those albums. Where I'll Stand is a dark song, with the drums and bass in a prominent role. The guitars are mixed somewhat behind the rhythm section, spacious and drawn out, until the lead guitar steps forward in a Robert Fripp/Adrian Belew guitar style. Steve Wynn's voice is older and sober. He's not doing anything extra. The antics are all left for the guitar (overdubs). It makes the single decent, not spectacular.

Point Of View. Beharie

Point Of View is the kind of song that allows the listener to surrender and go with its flow. Listen to how the electric guitar is played. It's like lapping water against a boat. Softly caressing, warm, lulling someone to sleep. This song is totally in control of the mood it brings you under. Beharie is the Oslo, Norway based singer-songwriter Cristian Beharie. Enveloping in a somewhat jazzy, R&B and when all is said and done a 1950s pop, without sounding like it for a second. It's all in the mood and a little in the vocal style of Beharie. Harry Belafonte, Pat Boone's 'Love Letters In The Sand', that sort of thing. There may be a thousand other singers like Beharie, this single reached me and I think it worthwhile sharing my ideas about it. Point Of view is beautifully and obviously lovingly made. Cristian Beharie fully believes in his song and that is why we can too.

Burning Temple. Highwalker

It's not just ZZ Top's Gibbons and Hill who can grow large beards, someone in Highwalker sports an enormous one as well. Is Highwalker the first Finnish band on this blog? I have no way of telling after over ten years. It may well be. What it certainly is, is the first band with an instrumental debut single lasting over 13 minutes. Created during a jam session somewhere in 2017, it was released this month. What to expect? Deep, dark chords that chug along. Huge drumming on dry and dark-tuned drum skins and an even deeper bass guitar. Was this music made for me? No, it was not. This piece is more about the 13 minutes the single lasts. The "stoner doom" band makes a statement with a first release like this and announces what it is about when its still unnamed debut album is released later this year. Burning Temple is huge, as dense as the air in a small room with loads of people partying and smoking, and determined like a slug crossing the road. I hope you get the picture.

Personal Message. Melody's Echo Chamber

Will French sigh girls ever go out of fashion? My guess is no. As long as French and others longing to be French girls love to sing in this breathy, girl-like fashion, there will be sigh girls music. Melody's Echo Chamber is Melody Prochet, a French singer-songwriter who is active in music since 2010 and releasing records since 2012. April release 'Emotional Eternal' will be here fourth album. The single Personal Message has a lot of the classic French sigh girl elements in it. Of course this starts with the Serge Gainsbourg/Air bass guitar. It has a special suave sound and is played unlike a bass in other music somehow. Suave and psychedelic, I should add, as it sounds like a trip alright. What is more modern is the way the guitar weaves itself though the song, slowly but surely pushing itself forward in the musical ranks later on in Personal Message. I hardly know any Tame Impala songs, but the one I do now, 'Let It Happen', is the one that comes to mind here. The combination is simply charming.

Another Man's Jeans. Ashe

"Well, I don't know why I came here tonight", is the line I keep wanting to sing listening to the middle part of Another Man's Jeans and I can't imagine that somebody does has that inclination. The rhythm, the sound of the lead guitar. Ashe is a new name to me, but the Californian singer-songwriter has scored a huge hit on streaming services with the song 'Moral Of The Story'. Some songs pass one by. Yes, even me. Another Man's Jeans starts as strange as it ends. The jazzy-surf guitar beginning totally belies everything coming behind it and the electronic dark vibes at the end is even weirder. In between is a poppy song with a strong 70s vibe and especially one of Stealer Wheel's hits, as I indicated. Another reference is Sheryl Crow's 'All I Wanna Do'. If you like a combination of these two songs and a sexy singing, but relaxed singer, this may be your song to check out. Personally, I'm not fully convinced yet, but nice sometimes is good enough.

Weight Of You. Julia Gaeta

Some more darkness can be heaped on this edition of singles. It's week 13 of the year, so why not? Julia Gaeta is from California, but lives in Paris by way of Berlin. She certainly brought some of the Berlin vibe that became more apparent to the world through David Bowie's Berlin trilogy from the 1970s. Yes, once more it does this week. Weight Of You is less experimental that circa 50% of Bowie's first two Berlin albums 'Low' and 'Heroes', but the dark synth vibes are certainly there. In her debut solo single Julia Gaeta certainly decided not to show herself from her lighter side. With her single she totally caught the dark patch the world is moving through since a few weeks. The rhythm makes the music danceable in a slow, determined way. Played loud enough, the dark synths will totally envelop the listener, catching it without a chance of letting go. When Julia Gaeta catches you, you're without a chance. You'll be dancing to/with her all night, the dark, darker, darkest night.

Phase. Bloomsday

A lot of things in life a relative. One of those things is playing Bloomsday's Phase after Julia Gaeta's 'Weight Of You'. For the first minute I thought that the party had started, until the softish, melancholy mood of Phase caught up with me, that is. Phase is one of those songs to listen to intently before judging it. There a million songs like it. Can I make room in my head for another one? Yes, I can. The soft, deliberate way the song progresses, with its 1970s, modest lead guitar work, think Eagles for example, make it fun to listen to. Nothing is happening in Phase, on the face it, yet everything is. Singer-songwriter Iris met Alex Harwood, needed a drummer but found a guitarist and songwriting partner. Together they went on to form Bloomsday and will release a record this spring. Phase is announcing what should be a nice experience later this year. The lighter touch of this single sets Bloomsday apart from an act like Widowspeak while having a nice connection with its music. Something to look forward to.

Confetti. Judy Blank

Judy Blank shows another side of herself with Confetti. Her new single is an extremely vulnerable song, an empty ballad where a piano plays the central role. All happening around it is pure embellishment to give the song a little extra, which as such it does not truly need. The vocal melody has enough impact as it is. Confetti is a song about life after the party is over, so in a stark contrast with another song of Ms. Blank I really like, 'Mary Jane', where the party never seemed to end. But, "if every day was a party, it wouldn't be that fun to go ". Events in life only get a true meaning because of the contrasts life provides with all its ups and downs. This mood of introspection is caught beautifully in the arrangement around the piano and voice. Confetti is a beautiful song, giving a strong sense of what Judy Blank is capable of. EP 'Saddies' will be out on 22 April.

Nollestrand. De Toegift

Als laatste nog een slow song, zoals Joe Jackson ooit zo mooi zong. De Toegift is een Zeeuwse band, die met Nollestrand haar tweede single presenteert op weg naar de debuut EP 'En Ik Kon Alles Zien', die uitkomt op 1 april. Qua sfeer komt Nollestrand bijzonder overeen met Judy Blanks 'Confetti' hierboven, maar is veel breder van opzet. Hoe melancholisch de single ook klinkt, er is alles aangedaan om het, in alle bescheidenheid, een groots geluid te geven. Denk een saxofoon, zoals The Rolling Stones groots inzetten op een van hun fraaiste ballades, 'Waiting On A Friend'. De Toegift weet die sfeer succesvol neer te zetten. Langzaam, de tijd nemend om het verhaal te vertellen en muzikaal helmaal uit te spelen. Saxofonist Franklin Schiemann als Sonny Rollins? Ik denk dat hij wel blij zal zijn met deze associatie. Aan de basis staan zachte, jazzy drums en bass, met een piano die elementaire akkoorden speelt. Daar overheen waaiert de viool van Hester Julia Voddé breed uit, met de sax natuurlijk. Soft jazz kan een omschrijving zijn, maar 70s pop zoals Billy Joel kan zeker ook als een vergelijking dienen. De Toegift heeft veel in haar mars lijkt het en maakt zeker dat de EP in volle verwachting tegemoet gezien wordt. 'Zo Waren De Dagen', de eerste single, staat in het overzicht van week 9.

Wait, there's an eleventh this week, but for a different reason.

Complience. Muse

In the past week I have listened to Complience several times. It holds Muse elements that are instantly recognisable. But where is the energy, the surprising antics, the drive? The song simply bores me, I'm sorry to say. A bit like a lot of songs on 'Black Holes And Revelations'. An album that I never got to the end of. It made me miss what I think is Muse's best song, 'Knights Of Cydonia'. To make sure I will put on the last song of the upcoming album first.

It's not that Complience is a bad song, it's just not exiting enough for Muse's standards. Too slick is the word I was looking for. Spotify starts playing Midnight Oil's 'All The Time Of Writing' out of its own accord and I'm pricking my ears up immediately. I'm awaiting the review of 'Resist' anxiously. My ticket for the farewell show early July is in the pocket. Any other day, I'd say that the average Muse song has a higher impact. Not Complience.

Wout de Natris

The 1960s hits of Simon & Garfunkel

In this series we take a look at the hitsingles an act scored between 1965 and 1969 in The Netherland's Radio Veronica Top 40. This time we focus on U.S. duo Simon & Garfunkel. Paul Simon and Art Garfunkel met each other long before they became famous. The duo started singing together in the mid 50s as the duo Tom & Jerry and scored one hit in the U.S. in 1957, 'Hey, Schoolgirl'. After high school the duo broke up, to start singing together again in the mid-60s. When this proved unsuccessful they broke up and Paul Simon left for London to pursue his career in the swing and buzz of the U.K. town. When, what we now call a remix of, 'The Sounds Of Silence' became a hit in 1965-66, the duo reformed to go on for five years and scoring several hits, but not as many as would have been expected perhaps. As I know from Paul Simon's solo career as well, his songs are not always easy and smooth to listen to for me as they have a jazzy undertone. That goes for many the duo's songs as well. Simon & Garfunkel were no hit machine like other acts from the 60s were. They have however produced songs that have stood the test of time and will be there forever. So let's delve in, but remember, the duo's biggest successes here are not in this overview, which only counts to five songs, again a little to my surprise.

The Sounds Of Silence (1966, 10)

The song that broke open the book and brought the world at the feet of Paul Simon and Art Garfunkel. The acoustic, original version was vamped by a full band in a Bob Dylan 1965-66 style, because the producer who went to work with the song, Tom Wilson had worked with Dylan on the 'Bringing It Back Home' album. He even brought some of the session players with him. Let's face it, without Tom Wilson many in the world would never have heard the song and who knows of everything that followed it. The Sounds Of Silence is one of those songs that will be with people for eternity, as it has lost nothing of its beauty and strength. To start with, there is the singing between Art and Paul, harmonising like there is no tomorrow. The vocal melody is one that warms my heart each time I hear the song. No matter how often I've listened to it, the effect is always the same. This vocal is one of the strongest in 1960s pop music. Tom Wilson brought in a band, without the knowledge of the duo, went to work. The result of the band is so powerful, with the most ear-catching element, the wacky lead-guitar either played by Al Gorgoni or Vinnie Bell, I don't know. That guitar is all over the place and makes The Sound Of Silence stand out some more, just like that moment the band kicks in in verse 2. The most surprising fact is that in my country the single only rose to number 10. This is made up by the fact that the song is staple in the yearly Top 2000's top 50. With one blemish, that a cover version by some metal band is always a few places higher, for some reason. For a song nearly 60 years old, this positions attest to my earlier words. This song is here for ever.

Homeward Bound (1966, 4)

The duo's second hit was a more dreamy affair. On the one hand more straight forward, on the other it plays with time signatures and dynamics. Making the song stand out. Being a vocal duo, of course Homeward Bound has a few ear-catching melodies. Simon low, Garfunkel high, always easy to spot. Paul Simon wrote the song after a local gig on Widnes Station in the U.K. Homeward Bound is the first of all following hit singles, we can credit Tom Wilson and Columbia Records with as they believed in in the new 'The Sound Of Silence' version. How just that decision was, is proven by Homeward Bound. It is an incredibly strong song. Easy to sing along to but also musically very good. It has a great bass part, intricate acoustic guitar lead lines and all these little extra's. And that chorus of course. The tempo goes up or everything is played in, at least, double time, I'm too lazy to count, sorry. Simon and Garfunkel find each other here, showing what both lost by splitting up a few years later. Jealousy is never a good provider of advise. Beautiful, good, exceptional, these words cover it, I guess.

I Am A Rock (1966, 11)

The one that fell off the train, as I Am The Rock is the hit single I never hear any more. In my book, that is an omission as I Am A Rock is one of the songs that surprised me when I heard it for the first time. That may have been when I bought a, bad, copy of 'Greatest Hits' in Hamburg in 1978 or 9, sailing there from Rotterdam with my dad on a big freighter. Knowing nothing of The Beatles and Hamburg yet, and nothing to see then, I'm sure. Perhaps it is because I Am A Rock has something of a novelty sound with the bouzouki like sound playing the lead melody. What I notice in 2022 is that this song perhaps is the closest Simon & Garfunkel come to Bob Dylan musically. Listen to the Hammond organ played by Larry Knechtel. Several of the musicians had played on Dylan's 'Highway 61 Revisited' album. Bob Johnston producing, also a Dylan connection of course. I Am A Rock is a true folk rocker, with a big beat for a folk song, making it the most joyous, exuberant song of the duo. All in good taste of course, but I love the drive and warmth of the song. And always have. "A rock feels no pain and an island never cries", despite the hurting of  lost love. The vocal melody is beautiful. To me this is one of Paul Simon's finest songs and should have been a far bigger hit.

Mrs. Robinson (1968, 8)

All the previous songs could be heard on the radio when I was to small and we did not have a radio in those years. My mother did not want one until 1967. So, I had no way of knowing the songs, if nobody else played them for me, which must have been the case. With Mrs. Robinson things had changed. Although I had not discovered the Top 40 yet, songs came by daily on Radio Veronica and Mrs. Robinson was one of them. Listening in 2022 and have listened a lot to the song in the past two years as it featured in our "lockdown front garden shows" for the neighbours several times, as it will again in about an hour for the "two year reunion show". The precision of the acoustic guitar in the intro is so fantastic and then that di-di-di and doo-doo-doo, it's all totally jazzy, while at the same the vocal makes it a great pop tune, easy to sing along to by everyone who can hold a melody. The playing on the song is simply wonderful. All acoustic, except for the bass. Intricate guitar parts that weave itself in and out of each other, while the lead guitar is extremely forceful. Having been a part of the 'The Graduate' soundtrack, the song became a hit on its own account in 1968. The duo's second number one hit in the U.S., only number 8 here. To me its another fantastic track by Simon & Garfunkel.

The Boxer (1969, 3)

Another one that I remember well from the release onwards. A song that comes by regularly, but not a song that is close to me. Of course I like as it has been with me for most of that part of my life that I remember. The melody is fine, the singing nice. At the same time The Boxer is an example of the reason that I do not have a single studio album of Simon & Garfunkel. All in all I'm just not a huge fan of their albums. Just like I have trouble getting through a solo album. Yes, even 'Graceland'. The Boxer is a part of me and that is the reason that I do not mind hearing the song every once in a while. The song is different from the previous four hits. I truly like them all and which one to put on top?

Simon & Garfunkel enjoyed their greatest success in 1970, with the majestic 'Bridge Over Troubled Water. Perhaps Paul Simon's best known song and who sings it? Right. Have you ever seen the body language of Simon in the 'Central Park' dvd towards Garfunkel who tries to connect with Paul? It tells you all about jealousy. The other two big hits, 'El Condor Pasa', the only number 1 here and 'Cecilia', the only #2, are more of a novelty song. After that it was all over.

I was lucky enough to see the duo play in Rotterdam in 1982, one week after The Rolling Stones, but it was a great show. I was surprised to learn how many people I would get to know a few years later when going to university had been to one or both of these shows!

The top 5

5. The Boxer

4. Homeward Bound

3. I Am A Rock

2. Mrs. Robinson

1. The Sound Of Silence

Wout de Natris

For The Sake Of Bethel Woods. Midlake

Eight years of silence. Somewhere in between a message the band would never come together again. Allegedly it took a dream to bring Midlake back together. After eight years it is justified to state that For The Sake Of Bethel Woods is a comeback album. Now these kind of albums are not always a success. How does Midlake fare in 2022?

After a few listening sessions, I do not mind sharing with you that For The Sake Of Bethel Woods is an album that I want to own. The kind I will play for quite some time to come, something that hasn't happened to me with Midlake since 'The Trials Of Van Occupanther', my introduction to Midlake, opening with 'Roscoe', of course, without a doubt my favourite Midlake song.

In 2022 that position is challenged. After the short opening song, 'Commune', 'Bethel Woods' comes by. A song made up out of the same sort of drive, almost passive aggressive. The softest kind of rock song possible, a song defining what Midlake stands for as a band.

Midlake formed in 1999 in Denton, Texas. After some line-up changes the band found its form and started releasing records. Despite being around for nearly a quarter of a century, it has only released its fifth album with For The Sake Of Bethel Woods. In a way, even that is special, as the band's singer and principal songwriter Tim Smith left the band in 2012, after which the band released 'Antiphone' in 2013 without Smith; and then silence.

No longer. With For The Sake Of Bethel Woods Midlake returns in the best of forms. The soft side of the band is always present. The singing and playing has a dreamy quality, taking the listener to another reality, as it were. The music is influenced most by West Coast bands and artists of the 70s, with a slight touch of jazz, like David Crosby holds within his music as well. Add a pop element to this mix and Midlake emerges. In other words, expect beautiful harmonies and intricate arrangements.

'Feast Of Carrion' may provide the best example of how beautiful a Midlake song can be. The song plays itself out in a majestic way. Out of the blue a new instrument can pop up, playing an intricate melody, weaving itself into what is already there. I stick with the passive aggressive description. The dreamy side of Midlake is passive, yet the song holds an inner strength suggesting something totally different. Compare that to the next song, 'Noble' and you will know what I mean instantly, as that song is purely passive (and lasts a little too long).

In a few days it is impossible to completely relate to a new album. In other words, 'The Trials Of van Occupanther' remains my favourite Midlake album; for now. The fact that I'm writing these words means that For The Sake Of Bethel Woods has stirred my brain into thinking this position might change. There are so many songs that I simply like a lot on it. Like 'Gone' with its freaky ending and strong bass parts. Midlake explores its inner Beatle here for sure and successfully. Time will tell where For The Sake Of Bethel Woods and I will end up. Fact is 2022 has yielded another good album, from an older act. The fact that I'm writing this, is also a bit shocking. Midlake is one of the newer bands I like, but is around for quite sometime as well.

Wout de Natris

The Hole Around My Head. Will Varley

Ik had tot voor kort nog nooit gehoord van de Britse muzikant Will Varley, maar wat is het onlangs verschenen The Hole Around My Head een mooi, sfeervol en indrukwekkend album.

De Britse muzikant Will Varley draait al een tijdje mee, maar hij was me eerlijk gezegd nog nooit opgevallen. Ook het in oktober verschenen The Hole Around My Head heb ik ten tijde van de release niet opgemerkt. Dat is zonde. Doodzonde zelfs, want het nieuwe album van de Britse singer-songwriter is een hele mooie. De inspiratie door met name Bob Dylan en Bruce Springsteen is heel duidelijk, maar Will Varley doet ook zijn eigen ding met deze invloeden en heeft een album gemaakt vol prachtige klanken, intieme en persoonlijke momenten en doorleefde vocalen. Direct bij eerste beluistering was ik om, maar dit is er ook nog eens een die nog heel lang mooier wordt.

Ik kwam de naam Will Varley de afgelopen week tegen tussen de aanbevelingen van de Britse platenzaak Rough Trade, die zijn in oktober verschenen album nog maar eens onder de aandacht bracht. Het is een naam die ik nog niet eerder was tegengekomen, maar Will Varley is zeker geen nieuwkomer. De muzikant uit Brixton heeft al een aantal albums op zijn naam staan en heeft met het onlangs verschenen The Hole Around My Head een album gemaakt dat niet alleen zeer in de smaak zal vallen bij liefhebbers van singer-songwriters, maar dat bovendien echt veel meer aandacht verdient dan het album vooralsnog heeft gekregen. 

Toen de openingstrack Somers Town voor het eerst uit de speakers kwam, had ik onmiddellijk associaties met de muziek van Bruce Springsteen. Denk hierbij niet aan zijn groots klinkende werk met The E-Street Band, maar wel aan een intiem en donker album als Nebraska. Somers Town doet in vocaal opzicht aan Bruce Springsteen denken, maar ook de wat desolate sfeer op The Hole Around My Head herinnert aan het bij vlagen aardedonkere Nebraska. 

Will Varley beschikt over een ruw en doorleefd stemgeluid, dat het uitstekend doet in dit genre, maar ook in muzikaal opzicht weet de Britse muzikant onmiddellijk de juiste snaar te raken. De instrumentatie in de openingstrack is sober, maar door de bijzondere accenten op de achtergrond krijgt de openingstrack iets duisters of zelfs spookachtigs. Het doet zoals gezegd wel wat denken aan Bruce Springsteen op een album als Nebraska, maar ik hoor ook wel iets van The Blue Nile; een band waarvan ik de albums iedere winter weer uit de kast trek. 

Wanneer de akoestische gitaar de instrumentatie domineert en dat is in flink wat tracks het geval, krijgen de associaties met de muziek van Bruce Springsteen gezelschap van associaties met de muziek van Bob Dylan, maar ook zeker met die van David Gray. Het is inmiddels een fraai rijtje namen dat beluistering van The Hole Around My Head oproept, maar uiteindelijk blijft ook de naam van Will Varley nadrukkelijk hangen. 

De Britse singer-songwriter pakt op zijn nieuwe album uit met een serie sterke songs en het zijn songs die zich nadrukkelijk weten te onderscheiden van die van de concurrentie door de doorleefde zang en de bijzondere doeltreffende instrumentatie. The Hole Around My Head valt hiernaast op door een bijna desolate sfeer. Will Varley nam het album vorige winter tijdens de zoveelste lockdown op in een afgelegen studio aan de kust en zag vanuit deze studio sneeuwstormen voorbij trekken. Het heeft het album voorzien van nog wat extra melancholie. 

De combinatie van de donkere sfeer, de enerzijds eenvoudige maar ook zeer sfeervolle instrumentatie, de persoonlijke songs en teksten en de intense en doorleefde vocalen van de Britse muzikant, maken van The Hole Around My Head van Will Varley een album dat zich, in ieder geval bij mij, steeds nadrukkelijker opdringt en ook maar aan kracht blijft winnen. Het is een album dat in een jaar zonder een nieuw Springsteen of Dylan album zeker in de smaak moet kunnen vallen bij een brede groep muziekliefhebbers, maar vooralsnog lees ik helaas vrijwel niets over dit bijzondere album, dat volledig lijkt onder te sneeuwen. Dat mag echt niet gebeuren.

Erwin Zijleman

Barbara. Barrie

Barrie is Barrie Lindsay, a singer-songwriter from New York with a knack for pleasant, slightly alternative pop songs. After releasing an EP and an album in 2019, called 'Happy To Be Here', Barrie releases her first self-produced album on which she plays many instruments herself as well.

She chose to make an album that relies on electronics, instruments and for her voice at times, but always hovers somewhere between pop and dreampop. Listening to the songs on Barbara will bring you dreamy singing, in combination with a few, different styles of music. Pure pop mixes easily with 1980s pulsing synths and digital drums. The item that keeps it all together is that dreamy voice.

Another argument to like Barbara, is the variety in songs. Although most songs have a slightly downcast, melancholy mood, due to the singing style, the songs sound different because of the approach. Organic instruments are used in one song, while others are mostly electronic. It allows for a totally different feel.

What I do notice, is and that is fairly unique I should add, I like Barrie a lot better when it plays in the background. In these circumstances the album makes me feel good. Listening to it intently has the opposite effect, as it makes me want to listen to something else. Not a favourable circumstance when writing a review. This is one of those occasions to be alone with just the album, my ears, mind and keyboard to type on.

Not all is negative. 'Quarry' comes by, one of the electronic songs that has a swirling quality because of the synths. A soft kind of 'Always Ascending', Franz Ferdinand's great opening of its newest album. The song has a delicate nature, a rough edge and an intricate arrangement with different synths playing through each other but always a good fit.

Barbara is an album containing traditional songs in a modern package. Not aimed at the charts, I think, because these songs have nothing to do with the formalistic songs I sometimes hear on a radio. Barrie is able to surprise with her musical explorations and is not happy with one kind of song. For those who love a singer-songwriter somewhere in between pop and dreampop, Barbara could well be your next favourite album.

Wout de Natris

Running With The Hurricane. Camp Cope

Camp Cope is a totally new name for me. It is a trio from Melbourne in Australia and with Running With The Hurricane releases its third album since 2015, when the band formed. Described as part Courtney Barnett part Juliana Hatfield on Wikipedia, I can only confirm that Camp Cope has taken the best parts of both artists, as I have far less doubts with Camp Cope than with the other two singers.

The description puts Camp Cope in the alternative rock segment of popular music. Which is totally correct, with a huge exception and that is that in my opinion singer, and guitarist, Georgia McDonald's voice would fit perfectly in semi-country acts like Hazeldine and Dixie Chicks. Female fronted bands with higher, a little shrill voices that can endlessly please. McDonald's voice certainly fits in there.

Listening to a song like 'One Wink At A Time' the music comes close to Hazeldine as well. It goes to show how close genres can be. The difference may not be more that slightly louder singing and more prominent drums, played by Sarah Thompson, and bass guitar. The latter is not just prominent. I notice it to have a special role in the music of Camp Cope. Kelly-Dawn Hellmrich plays bass in such a way that it becomes the lead instrument of the band. She plays extremely nice bass patterns that make 'One Wink At A Time' and most of the songs stand out. Hellmrich may not be a John Entwistle (yet?), her approach to her instrument allows me to call her as aspiring to be.

As I'm not familiar with the band's previous work, it may be that during the Covid lockdowns the band reinvented itself. As the more often I listen to Running With The Hurricane the less I understand the Courtney Barnett and Juliana Hatfield comparison. This music has nothing to do with the 1990s nor with the slacker rock of Barnett, whose last album nearly caused me to fall asleep after a few listening sessions. I realise I have to be careful here, as Ms. Barnett plays guitar on two song of the album. Camp Cope is so much alive and the music has so much nuances within it. McDonald is able to sing with a slacker intonation, like on 'Love Like You Do'. But then listen to what Hellmrich is doing all through the song. Besides the fact that McDonald's voice is much fuller that is. I'm wide awake alright.

Over the past weeks I found myself returning to Running With The Hurricane quite regularly. This is an instantly satisfying kind of album, where people who may have very different tastes in music may actually find each other. For me it is an ideal mix. The last time I've encountered it may be in Hazeldine's 'Drive' somewhere in the later 1990s. And that tells you something, if you know what 'Drive' means to me that is.

Wout de Natris

Island Family. Pictish Trail

Pictish Trail has featured on this blog with its previous albums. All of them were pre-Covid, so a reflection of work under normal circumstances. Island Family is the result of work during the biggest health crisis in active memory. Perhaps being more secluded accounts for the more esoteric parts in the music. As there is more weirdness on Island Family than ever before. And that is actually a good thing.

Funny thing is that the comparisons made to define Island Family and Pictish Trail all fall on very infertile soil. I don't know a single song from all acts mentioned, barring some Beck songs. Luckily this does not hamper me to listen Island Family with fresh ears. The only thing, potentially, keeping me back is an inner Pictish Trail output comparison. Like I wrote, there may not be much cause for comparison. Johnny Lynch, from the Scottish Isle of Eigg, has, as it were, jumped board and expanded his mind in that act.

On Island Family there seems to be no convention left that he has not gotten rid off. All through the psychedelia, that is a huge chunk of the album, there is a playfulness that allowed Lynch to explore every single option, musically. To go after every sound his synths could well produce and perhaps beyond that capability through combining other effects and instruments.

Promo photo

This results in a sonic adventure, where at all times there is song involved. This not about creating soundscapes and loops for the sake of creating those. No, this is about what a song can contain. Tough rhythms go together with blips and sounds, while a melody is produced by a rhythmically played synth. Only for everything to drop away and create another song within a song, like in the title track.

On the other end of the spectrum a song like 'It Came Back' ties in to what a Belgium band like Balthazar is good at. Combining pop music with electronics and dance. Pictish Trail manages to shatter that image within 'It Came Back' with some devastating noise, interrupting the relative tranquillity. Relative as the song already contains this dangerous undercurrent. It goes to show how diverse the faces of Island Family are. To name a few other names, New Zealand's Pickle Darling, Canada's Astral Swanns, Dutch The Slow Clock and Moon Moon Moon, with Pictish Trail winding up at the extreme side of these one man projects.

The listener is advised to bring an open mind to Island Family. You are bound to be surprised several times and often quite pleasantly. Pictish Trail always has an alternative pop element underneath it all and from there starts its explorations. Electronics play an important role always. In one song this element is worked out more in-depth, in others a rocking side is presented, but always with electronics on the side of things. The best is to just let go and go with Pictish Trail's flow and see how you come out on the other side.

Wout de Natris

Singles. Week 12

There are such huge differences in what can be called popular music. As you will have noticed in the past ten years of this blog, popular music in my book has almost nothing to do with Top 40 music of today. No, popular is a relative word, but popular is where the work pop is derived from. You find a host of different pop here, so enjoy.

Used To It. Sharon van Etten

A second single by Sharon van Etten. Reading her family name I can't help but wander which Etten her family descends from, as in one of them I went to high school in. There are at least three Etten's in The Netherlands though.

There's no link I can make to connect this reminiscence to, so let's proceed to Used To It without further ado. The second single of her upcoming album, is like its predecessor 'Porta', rather dark but also has less of a pop element hidden away underneath the dark coating. Used To It is an electronic song. Synth swaths and electronic drumming. Sharon van Etten's voice hovers over the synths like mist over water, giving the song a mysterious quality. At the same time this misty scene can be extremely beautiful, especially when sun gets into play as well. The sun here is two suns actually. Her singing and the electronic piano playing slow notes that meander through the already meandering music. Slowly the song gains in weight, in presence, in loudness, without truly changing in nature. What results in a song that starts hesitatingly, as in the song and in my appreciation of it, and comes out on top. Sharon van Etten has produced a second song that gets to me. Her singing is totally undercooled, yet as warm as possible under these circumstances. If I remember correctly, at one time, some albums back, I wrote that I felt like she was not singing to me, nor for me and thus was not reaching me, but also that it seemed she was not singing for herself either. It got me a reprimand from a fan, responding to my review. Not so Used To It. This song comes across, loud and clear. If this is the standard, the new, yet to be announced album, must be something to look forward to.

Searching For You. Weird Nightmare

After the seriousness of Sharon van Etten, this punkrock little wildness is quite welcome. Weird Nightmare is the solo project of Metz' Alex Edkins. His band is a bit too much for me in general, so that made me a little hesitant to listen to Searching For You. However, I tend to give almost everything at least one chance. Heck, I even get through Concertzender's Kairos once a month on average. The opening seconds of Searching For You are electronic percussion, putting me quite off immediately. The band kicks in and all sorrows are forgotten just as fast. Searching For you is pure fun to listen to. The band does not hold back, the melody is of the kind to sing along to, even if it's only to the ahh ahhs in the background. The guitars are a complete wall of sound with a couple of overdubs added as well. Bass and drums are all that is expected in a song like this. The singing is tough, the voice has a little edge to it but all so good to listen to. Edkins may say about the single it is "nice, no-nonsense rock and roll". many will want to learn how to write a convincing no-nonsense song like this. 'Weird Nightmare' is expected on 20 May.

Weird Me Out. Coach Party

Coach Party returns to this blog with its first single from its upcoming EP 'Nothing Is Real', slated for 29 April, with live shows in The Netherlands in mid April. First, I'm going to point you to the video, as it shows what you can do with the, lead-windows in an old church. Beautifully done.

Weird Me Out is a hard rocking single that shows Coach Party on the level of my introduction to the band in 2020, 'Can't Talk, Won't'. It has a strong central melody/riff that really drives the song forward the whole time. There's no pause, no time to think things over, no rest for the wicked and wicked this single is. "Why should I care"?, is the central question singer Jess Eastwood poses to the listeners. Weird Me Out is all that matters and accounts for all answers. If this punkrocking kind of music is to your liking, it is all you need for this moment. Coach Party is from the Isle of Wight and together with Wet Leg some exciting music is coming from there recently. Check 'Angelina' by Wet Leg and then Weird Me Out. Enough said. Let's rock and then some more.

Wild Child. The Black Keys

The Black Keys go 'I Love Rock And Roll' with enough variation to get away with it. The groove is nice, the going is good, but let's face it, this song can't compare to the best singles of the band, all found on 'El Camino' of course. As an introductory single for the upcoming album it's nice enough though. After The Doors and Lou Reed, The Black Keys come up with its own Wild Child. It has all the characteristics of a The Black Keys songs. It has that The Black Keys groove that makes it stand out. Combined with the dreamy form of singing of Dan Auerbach. The lead guitar mixed underneath the main groove, gives the song a little extra. Adding it all up, Wild Child is nice, not outstanding.

Good Morning feat. Robin Piso. Beachdog

Believe it or not but Beachdog has recorded a ballad. A heavy one after the quiet intro but a ballad nonetheless. Slowly working towards the release of its debut album, the new band around John Coffey singer David Achter de Molen, shows another side to itself. Just a dark voice and a single electric guitar is enough to start Good Morning and make it interesting. The melody works. It is that simple sometimes and enough to be drawn into a bare sounding song. It does get to an explosion as the whole band kicks in. Reigned in, true as the confines of the song are restraining Beachdog. Enter Robin Piso, keyboardist in DeWolff. He is allowed to escape the confines and go full out; and does. With his warm Hammond sound he colours Good Morning deep red and warm. Am I surprised by this song? Yes, I did not think Beachdog, not so much had it in them, as wanting to have something as subtle as Good Morning in them. A pleasant surprise the song is. 29 April is the album release date.

Billy. The Shang Hi-Los

Billy combines not only musical styles but also music made at a time my parents were in their early to mid 20s. The likes of Frankie Laine sang cowboy movie soundtracks filled with mariachi trumpets and such. The Shang Hi-Los re-visited these days with a rock guitar and fiery drums. Dan Kopko plays country licks that are totally on fire. Singer Jen D'Angora  has the voice for this kind of music as well. The combination does work. Billy, despite having a gun, has something sweet and innocent over it. The sweet trumpet nails that atmosphere. The threat of the gun, is badly understood by most that is happening in this song. The only one who truly seems to appreciate the situation is drummer Chuck Ferreira. His rolls on the floor tom are alarming. The rest is having fun with Billy. Unfortunately he ends up face down in the video. In cold snow too. But not before playing a great guitar solo. Well done, The Shang Hi-Los.

Aversion/Thin Air. The Sundae Painters

Usually I know how a single winds up in my list. With this one I have no clue. It may not even be new. Listening to Aversion my interest is drawn quite fast. It has that totally deranging quality The Velvet Underground had. The kind of song that barely stays on the rails. So not 'Sister Ray', where for me things stop where The VU is concerned. The Sundae Painters work in that way where spoken word, rhythm and disruptive guitar playing come together in a strong song. Bandcamp helps me. The music came to me through the Flying Nun newsletter it seems. The band is a collaboration of members from New Zealand bands The Bats, The Clean, Tall Dwarfs and Toy Love. On Thin Love the band plays somewhat more conventional but not as in playing a nice pop song. Thin Air is an alternative pop song, with a wavering voice singing and a few odd moments. The song sounds like it is was recorded almost at the moment it was thought up and not much extra was needed to make it succeed.

It turns out the songs are from 2020 but have been released as a 7" single recently. Having it would be real special, but imagine having it schlepped all over the world. Unaffordable most likely. I like, though.

I Feel Nothing. The Dirty Truckers

For a second I thought to have put on Robert Palmer's 'Bad Case Of Loving You (Doctor Doctor)' but no, the song took a different turn quite soon. I Feel Nothing has the same sort of quality though. That kind of nice and dry kind of rocking song. What I notice most in the song, is the nice dirty guitar playing of lead guitarist John Brookhouse. He's allowed to be all over the place and is. Without being dominant or irritating, as some too present guitarists can be. He has all these nice little lines he plays to support the vocal melody. Behind him things are super tight, giving him the room to play like this. The rhythm tandem Jamie Griffith - Johnnie 'Rock' Lynch are rock solid, a monolith. Playful rhythm guitars are laid over that solid bottom, giving the song definitely some more. All Tom Baker has to do is deliver I Feel Nothing with the little rough edge he has on his voice, as if he is totally sure of himself. With a band like this behind him there's no room for doubts whatsoever.

Lopen. Niels Hendrix

Al enige tijd krijg ik platen toegestuurd van het label Fons Records uit België. Vaak van stevige, grungy rock bands. Nu, daar valt Niels Hendrix niet onder. Toen ik nog heel jong was, kwamen er plaatjes uit als 'Green Tambourine' of 'Lazy Sunday'. Wist ik veel dat dat best heel speciaal was, die psychedelica. Zo klonken leuke nummers toen. Nu, Niels Hendrix heeft aan dezelfde pijp gelurkt toen hij deze plaat schreef en opnam. Er gebeurt echt van alles, in de zin dat gitaren flink uit de band kunnen springen, het tempo wel eens kwijt raakt, de zang niet altijd geheel vast is. En net als bij de twee voorbeelden die ik gaf, is ook 54 jaar later een nummer als Lopen superleuk. Het komt misschien een beetje laat, maar wie kan dat iets schelen? Dit is echt een heel leuke plaat. Hij doet me een beetje denken aan Boudewijn de Groot op zijn meest psychedelisch, 'Als De Rook Om Je Hoofd Is Verdwenen' of 'Wie Kan Mij Nog Vertellen'. Hoogtepunten uit de Nederbiet. Bestaat Belgenbiet? Mocht dat niet het geval zijn, dan is dat bij deze uitgevonden. "Eerst moet je kruipen en dan moet je lopen", zingt Hendrix. Nou, missie meer dan geslaagd, want hier wordt er stevig de pas ingezet.

Come On, Come On. Nashville Pussy

The final song this week is really going out of bounds. In the past few weeks Nashville Pussy was on the blog as band members of Miss Georgia Peach's solo singles. Here the band is on its own and rocking the tiles of the roof, as we say here. The sound is huge and totally dirty. ZZ Top may wish to come close to this sound. On Come On, Come On Nashville Pussy really, truly rocks. The intro is already so totally a winner that this song can't go wrong. The guitars are loud and proud, the singing deliciously rough. The band does not hold back for one second. This is rock and roll for the 21st century and hopefully for long beyond. Of course there's nothing new to be heard here but what is on offer, is done in a grand style, full out.

Wout de Natris

Aboogi. Imarhan

2021 was het jaar van Afrique Victime van Mdou Moctar, die het stokje doorgeeft aan de Algerijnse band Imarhan, die met Aboogi een album heeft gemaakt dat kan worden geschaard onder de hoogtepunten van de “woestijnblues”.

Het was een curiositeit toen het twintig jaar geleden opdook, maar inmiddels is de “woestijnblues” uit de landen rond de Sahara een zeer interessant genre. De Algerijnse band Imarhan bracht al twee prima albums uit, maar zet een volgende stap met het geweldige Aboogi. Het is een album vol muzikaal en vocaal vuurwerk en vol dynamiek, maar het is ook een bezwerende of zelfs hypnotiserende luistertrip, die zomaar kan uitgroeien tot een van de mooiste in het genre. Aboogi neemt je mee naar andere werelden waar het heerlijk wegdromen is, wat weer fraai contrasteert met de naar verluidt politieke en maatschappijkritische teksten.

Ik weet nog goed hoe het Britse muziektijdschrift Uncut aan het begin van dit millennium voor het eerst en zeer beeldend schreef over het genre dat vaak wat oneerbiedig wordt omschreven als “woestijnblues”. Het is muziek die op de kaart werd gezet door de Toeareg band Tinariwen, die een paar jaar later gezelschap kreeg van de band Tamikrest. 

De afgelopen jaren doken meerdere bands op in het genre, dat vorig jaar een enorme boost kreeg door alle waardering voor Afrique Victime van de uit het Afrikaanse Niger afkomstige Mdou Moctar. Er was bijna geen jaarlijst te vinden waarin dit album niet voor kwam, waardoor bands in het genre in 2022 waarschijnlijk kunnen rekenen op extra belangstelling. 

Ik bespreek zo nu en dan albums die in het hokje “woestijnblues” passen en heb de afgelopen jaren een flink zwak gekregen voor de muziek van de uit Algerije afkomstige band Imarhan. Imarhan leverde met haar titelloze debuut uit 2016 en met Temet uit 2018 twee uitstekende albums af en keert deze week terug met album nummer drie. 

Ik ben benieuwd of Imarhan met Aboogi net zo gaat scoren als Mdou Moctar vorig jaar, maar aan de kwaliteit van het album zal het zeker niet liggen. De muziek van Imarhan is misschien net wat minder toegankelijk dan de muziek van Mdou Moctar, maar de verschillen tussen de twee albums moeten zeker niet overdreven worden. 

Aboogi opent met behoorlijk ingetogen akoestische klanken en de wat bezwerende vocalen die we kennen uit de muziek die in en rond de Sahara wordt gemaakt. Op een gegeven moment gaat het tempo wat omhoog en duiken de ook voor het genre zo karakteristieke elektrische gitaren op. De muziek van Imarhan krijgt vervolgens een bijna hypnotiserend karakter, waarna de muziek van de band je meesleept op een bijzondere luistertrip. 

Het is een luistertrip waarin de akoestische klanken meestal domineren en het tempo over het algemeen laag is. Het akoestische gitaarspel op het album is keer op keer van een bijzondere schoonheid en komt prachtig uit de speakers. Door de combinatie van akoestische en elektrische gitaren en het lage tempo heeft de muziek van Imarhan vaak iets psychedelisch. 

Deze psychedelische kant van de muziek van Imarhan wordt versterkt door de bijzondere zang op het album, waarbij mannenstemmen domineren, flink wat verschillende stemmen worden ingezet, vaak bezwerende koortjes worden ingezet en de Soedanese zangeres Sulafa Elyas tekent voor het hoogtepunt op het album. 

Zeker bij beluistering met de koptelefoon hoor je hoe mooi de muziek op het album is, maar ook in vocaal opzicht is Aboogi een knap in elkaar stekend album. Nog meer dan Mdou Moctar vorig jaar slaagt Imarhan er in om een unieke sfeer te creëren met vaak redelijk subtiel ingekleurde songs. 

Zeker de zich uiterst langzaam voortslepende passages zijn prachtig, maar het is knap hoe de Algerijnse band met wat eenvoudige percussie het tempo op kan voeren en de muziek van de band voorziet van dynamiek. Die dynamiek komt ook terug in de zang op het album, die ook fluisterzacht kan klinken. 

Ook ik nam Afrique Victime van Mdou Moctar vorig jaar op in mijn jaarlijstje, maar nu ik Aboogi van Imarhan een paar keer heb gehoord, vind ik dit eigenlijk een beter album. Laten we hopen dat het minstens net zoveel aandacht krijgt als die overigens zeer terechte jaarlijstjesplaat van vorig jaar. 

Erwin Zijleman

.NoWordsNeedeD, 20-03-2022

C'era una strega, c'era una fata - YouTube

.No

Agadez. Etran de L'Aïr

Mdou Moctar zette de Afrikaanse “woestijnblues” vorig jaar weer stevig op de kaart en geeft het stokje door aan zijn landgenoten Etran de L'Aïr, die met Agadez een opwindend en bezwerend album hebben gemaakt.

Etran de L'Aïr uit Agadez in Niger speelde 25 jaar op bruiloften en partijen, maar trok twee jaar geleden de aandacht met een veelbelovend debuutalbum, dat helaas wel wat te lijden had onder de matige geluidskwaliteit. Het deze week verschenen Agadez klinkt gelukkig veel beter en maakt de belofte van het debuut meer dan waar. Etran de L'Aïr maakt typische woestijnblues, maar waar de gitaren in het genre wel eens naar de achtergrond verdwijnen, staan ze bij de band uit Niger weer volledig in de spotlights. Het levert een opwindend album op dat stevig bezweert en hypnotiseert en dat laat horen dat de Afrikaanse woestijnblues weer springlevend is.

De Afrikaanse “woestijnblues” leek de afgelopen jaren wat uit beeld te verdwijnen, maar vorig jaar was er Afrique Victime van de uit Niger afkomstige muzikant Mdou Moctar, die met zijn album terecht in menig jaarlijstje opdook. 2022 is voor het genre prachtig begonnen met Aboogi van het uit Algerije afkomstige Imarhan, dat deze week gezelschap krijgt van Etran de L'Aïr, dat met Agadez haar tweede album aflevert. 

Het eerste album van de band, die op dat moment de kost verdiende als bandje voor bruiloften en partijen, verscheen oorspronkelijk in 2018, maar kreeg in 2020 opeens veel aandacht. Het Amerikaanse tijdschrift The New Yorker koos het album in 2020 zelfs als album van het jaar, maar in Nederland deed het debuut van Etran de L'Aïr niet zo veel. 

No. 1 was op zich een bijzonder album, met zeven lange en bezwerende tracks, maar het met een eenvoudige mobiele telefoon opgenomen album klonk echt voor geen meter, wat mijn luisterplezier stevig beperkte. Deze week is het tweede album van de band uit Niger verschenen en Agadez klinkt niet alleen veel beter, maar maakt ook de belofte van het toch wat obscure debuutalbum volledig waar. 

Agadez is een stad in het noorden van Niger en ligt in de Sahara. Het is een eeuwenoude handelsstad in de woestijn, maar het is ook de stad die momenteel de hoofdstad van de woestijnblues wordt genoemd. In deze stad timmert Etran de L'Aïr al zo’n 25 jaar aan de weg in het bruiloftencircuit en al die ervaring hoor je op het tweede album van de band. 

Bij bands voor bruiloften en partijen denk ik vooral aan bands die zouteloze covers spelen en op een gegeven moment de vogeltjesdans inzetten, maar in Niger gaat het er heel wat opwindender aan toe. Etran de L'Aïr laat op Agadez horen dat het mee kan met de smaakmakers binnen de woestijnblues. De muziek van de band uit Niger bevat alle ingrediënten die de woestijnblues zo’n aantrekkelijk genre maken, maar waar de invloed van de gitaren de afgelopen twee decennia wat kleiner leek te worden, staan deze gitaren centraal in de muziek van Etran de L'Aïr. 

Vergeleken met het debuutalbum zijn de songs wat korter en hierdoor ook toegankelijker geworden, maar de muziek van de band uit Niger heeft nog altijd een hoge bezweringsfactor. De band heeft een buitengewoon swingend spelende ritmesectie, maar het zijn de gitaren die de meeste aandacht trekken. Net als bijvoorbeeld Tinariwen in haar jongere jaren hoor je volop invloeden uit de bluesmuziek, waar Etran de L'Aïr vervolgens een geheel eigen draai aan geeft. 

De gitarist van de band soleert er stevig op los, terwijl de rest van de band de geoliede machine laat draaien. Ook de zang op Agadez sluit aan bij de zang die we inmiddels kennen in het genre, maar de gitaren staan in de meeste songs op de eerste plek. Het levert een bezwerende of zelfs hypnotiserende luistertrip op en dit keer klinkt het gelukkig fantastisch, waardoor de muziek van de band niet uit een blikken doosje lijkt te komen, maar je 40 minuten lang eregast bent op een broeierige bruiloft in de woestijn. 

Alle credits voor The New Yorker, dat de kwaliteit van de band twee jaar geleden al op de juiste waarde wist te schatten, maar op het geweldige Agadez hoor je pas echt hoe goed Etran de L'Aïr is. Grote kans dat dit album het ereplekje van Mdou Moctar gaat overnemen dit jaar.

Erwin Zijleman