XI Singles

And off we go folks! Another round of recently released singles from several countries and continents, the old and the new. Let yourself be surprised, just like I was, as a lot of these artist are completely new to me, just like their new music is. The link to follow it all is below.

The Minit. Fred Abong

Fred Abong has a long history in Throwing Muses and other bands that started in the 80s. He's no spring chicken anymore and you can here it in his voice. I even dare to ask the question: Can Fred Abong sing? That answer is yes. He holds his melody well. But is he a good singer? That answer is no. Abong sing-tells his way through The Minit with a hoarse voice. The accompaniment is minimal. I hear a few guitars, perhaps a bass, but my guess is the E snare on his electric guitar. Despite not a lot happens on The Minit, I find myself liking the song. The melody is elementary but instantly likeable, the guitar work is intriguing. That voice like a thirsty cowboy walking out of a desert tops the song of nicely.

To Perth, Before The Border Closes. Julia Jacklin

Another lockdown/Covid era song. Julia Jacklin was on tour along Australia's east coast when the lockdown was announced. So she had to decide where to go in the country. Her town of choice is in the title of the song. A good choice, I read recently, as Western Australia seems to have dealt well with the crisis so far. Being extremely isolated from the rest of the country and the world helps I'm sure. Julia Jacklin made the best of it by writing this alternative rocker with some country in it. As singer-songwriter she obviously can be placed in the Courtney Barnett part of the musical spectrum. Her voice is much higher and more fragile. A girl in a rock setting. The guitar work listened to Lou Reed's style of playing a little. From what I'm hearing here, I wouldn't mind to hear more in the future.

B-side 'Cry' is a lighter pop affair, despite the title and the opening lyric "Hiding my depression from the housemaid". Hard times do make for beautiful music in the hands of some artists.

Hesitating Nation / Thousand Oakes. Clap Your Hands Say Yeah

Clap Your Hands Say Yeah's new single is a nervous affair. The music in Hesitation Nation seems to build slowly towards some sort of climax. The promise is there constantly, like in a neo-folk song waiting for the orgiastic "hey-ho!". And slowly but surely the noise goes up, the tempo gives the impression it goes up. It is not a big bang, but comes at the right moment. At the same time it is not 100% satisfying. The promise seemed larger than was possible to deliver.

Thousand Oakes has the same nervousness around it. The music seems to be in a hurry to get somewhere. Despite that I like Thousand Oakes immediately. Also because the, positive, likeness to Arcade Fire. When was it I was first introduced to the band? I honestly can't remember. I do remember not getting through the album. It was too erratic for me in combination with that voice. Listening to the two new songs, makes me curious to hear more in the winter of 2021. An interesting re-acquaintance.

Explain It To Me / Chicago. Squirrel Flower

And here's Squirrel Flower again. Like several other artists she's making the best of the Covid thing. In this single she's all alone with her voice(s) and guitar. And the resonance of the room she's in. It all sounds so spacious as if the whole room is singing and playing with her. Almost like a presence. Of course this is a feature of her debut album as well, but in Explain It To Me she's all alone (I think).

On Chicago there are more instruments. A prominent drum and traces of keyboards. Both songs are slow with Chicago almost bereft of a pace. It only underscores how fine a singer Ella O'Connor Williams is. She manages to bring the whole atmosphere created around her towards her and sits on it like the queen of the realm. Just like she should be when it is her song. Ask me to chose between the two songs and I think you already know which way my vote would go.

Baby Sleep. Maxïmo Park

In my opinion Maxïmo Park approximated a club like Leeds United. Once a cup winner but through the years slowly but surely disappearing from consciousness. The music simply wasn't as good anymore or better urgent enough. With the first single from the upcoming album, 'Child From The Flatlands', I noticed a change, so it made me curious for more. With Baby Sleep that more is there. The single flies out of the intro like 100 meter sprinters. The urgency is there alright. In part the hooray flag is hoisted too early, as Baby Sleep does not keep up that urgency. Still, I'm inclined to give the new single more than just the benefit of the doubt. This is how I want Maxïmo Park to sound. The single is loud, all over the place and holds back in the right places. There's one song the band by now most likely does not want to be remembered of. Simply because they will never make another with the same impact. I can't pretend not to know it. That said Baby Sleep is a fine song by a fine band that truly seems on the way back to the higher leagues. I'm still curious to hear more.

I Wanna Destroy You / Near The Soft Boys. The Soft Boys

Yes, this is an ages old single, re-released for Record Store Day. The Soft Boys was a band around 1980, so (post)punk. At the time The Soft Boys totally passed me by. I wasn't into punk, really. Nowadays I like it so much more. So, I decided to listen and hear a song that leans heavily on circa 1966/67 The Rolling Stones like 'We Love You', without the obligatory psychedelia. It is fantastically melodic in the way only U.K. punkbands dared to be, and Blondie of course. I Wanna Destroy You the title may be, the joy the song has within it suggest the total opposite.

The second re-release, is the maxi single Near The Soft Boys. The four songs come as two 7"singles in one package. Listening to the, once, maxi single's songs I'm moving deeper and deeper into the 60s. From The Kinks to the psychedelic outings of The Who, even The Outsiders come by, as if punk hadn't happened at all in 1980. Each song more psychedelic. Interesting and good.

Mighty Soul. Langhorne Slim

Langhorne Slim returns to WoNoBlog with his new single. Pay attention because it has a 1950s rock and roll length. Musically it has nothing to do with rock and roll. I can't even really think of a niche to put Mighty Soul into. It is a song. The fairly rough sounding guitar in the intro seems a bit like an odd one out, but fits better when the rest of the song progresses. Mighty Soul is an elementary recording but listen more closely and there's more going on then I first suspected. All instruments are more or less mixed together. The surprise comes in a short "aahh aahh" interlude, where the 60s invade Mighty Soul for a few seconds. Mixed a little into that same middle, so it does not stand out fully. Nonetheless it is a beautifully found interlude. The same goes for the keyboards that move in and out again. Langhorne Slim has found a new voice it seems. No matter how short, the message is clear. This is a song.

Dominique. Ela Minus

Dominique is an electronic affair. Ela Minus is a singer with Columbian roots. Come to think of it, the last time I serious listened to a song like Dominique may be when I bought The Human League's 'The Lebanon' on single, well, come to think of it, I may have something by Yazoo. When was that again? Dominique is darker though. The lyrics reflect a tough night, despite the isolation that is mentioned as well. "I need to eat something that is not liquid"? It sounds like a party like it is 2020. 1999 is pure nostalgia these days. No, this is not my music, really, but somehow I like this song. This isn't exciting music but everything falls together. The talk-singing of Ela Minus dropped against the dark synths just work. In April another single 'they told us it was hard, but they were wrong' was reviewed positively too, so it's 2-0 for Eli Minus on this blog.

Blindspot. Kinlaw

Kinlaw is a U.S. artist, composer and choreographer who in January will release her first album, 'The Tipping Point'. With Blindspot she presents herself on single. Musically Blindspot falls nicely after listening to 'Dominque' as Blindspot is an electronic song as well. The song is somewhat lighter that the 7AM hung over outing by Ela Minus. Kinlaw sings more over electronic rhythms and hints at melodies. Modern music for the 20s without going for the obvious. This is serious music not aimed at the number 1 spot but could get there nonetheless with a little luck and the right sponsors. I do not know a lot about what is extremely popular these days, except that in my slowly ageing ears it all sounds sort of the same. Blindspot is more Lorde and Billie Eilish than Ariana Grande. That allows for being listened to me (a little). As she sings: "He's gotta go" at the end of the single, I have to move on to the next one.

Green Eyes. Arlo Parks

Oh, yes, a funky rhythm presents itself. Arlo Parks is from London and young. Like many young artists or better almost all adolescents, she encountered some troubles while growing up, having to find out who she is. This led to making some choses but also to a nice track like Green Eyes. Just listen how smooth the song flows. It digs deep into music of old while using modern rhythms. It instantly reminds me of a song like 'Why Can't We Live Together', in both famous versions. Arlo Parks uses the influence to create a beautiful mood around the rhythm. One dark note on a guitar is enough to set the song on fire, while one after another melody is found to expand it a little more, from the fairly bare start. Her jazzy voice meanders over the music like a slow moving river, slowly but surely moving towards the sea. Green Eyes has made me very curious to learn more in January when 'Collapsed In Sunbeams' is to be released. Three months does seem like a long time right now. Nice ambulance noise at the very end, as if it entered through the window when the recording was ready, the recording device still on.

Loophole. The Covenant

Can a band exist for 33 years and that I've never heard of it before? Yes, it can. The Covenant is a Dutch rock band that formed in the late 80s and releases a new single in 2020. The video starts with a 45 from the Vertigo label being played on a record player. My 'Paranoid' single e.g. has this design of the label that when played plays tricks on my mind constantly and could induce a vertigo or worse for some people. By then a tight piece of  rock is unleashed on me and I'm all ears. This music has nothing to do with 2020. Loophole contains the kind of rock music that went out of style decades ago but sounds just the nicer because of it. Loud guitars, a singer who, in this case attempts to, scream(s), stark drumming and bouncing strokes on the strings of the guitar. This music may have gone out of style a while back, it doesn't make Loophole a less nice song. Just like I like to listen to Deep Purple every once in while, I don't mind putting Loophole on in the future. Rock on, brothers!

Wo.

or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

 

Franz Ferdinand Live. Oosterpoort, Groningen Sunday 4 March 2018

Well, do you wanna? Seldom a more superfluous question was asked to an audience. The Oosterpoort was filled with Franz Ferdinand fans who only wanted one thing: to have a good time with their favourite band. No matter how much love and affection singer Alex Kapranos wanted, needed, craved and begged for, he got it all.

It came as something of a shock to realise that it was probably nine years ago I last saw the band. In the, now former, Beer Hall in Amsterdam, after the release of 'Tonight: Franz Ferdinand'. Time flies. The first time was in the same venue after 'Take Me Out' broke big.

This gig started with the only song it could have started with, that tremendously good opening song and title track of the new album: 'Always Ascending'. The upbeat pulse of the song makes it one of the best the band ever released. There is enough material in 'Always Ascending', once pulled apart and developed separately could result into three fine pop songs. The superior opening was followed by the first single of the second album, 'Do You Want To?'. from that moment onwards not much could go wrong with this evening.

The selection of songs soon gave away a pattern: one old, one new song. So we got to hear most of the new songs. Not all are party raisers, but there is not one bad song between them. For the wild abandon section, Franz Ferdinand still depends on the hitsingles of its first album, 'Franz Ferdinand'. Although there is nothing wrong with the hits in between. 'Love Illumination' certainly got a lot of response. Too bad 'Bullet' wasn't played, my favourite song of the previous album.

Franz Ferdinand excels in two things. Playing the strangest rhythm while never forgetting the melodies that make up smash hit songs. Where a band like Gang of Four in the early 80s had weird rhythms and stop starts, but no melody in sight, Franz Ferdinand dispenses them like there is no effort involved. As if changing a song totally two or three times within the song, like 'Huck & Jim' does not put most people off, because predictability is left out to sail away in stormy winds.

The superb rhythm of 'Lazy Boy' where every few beats there seems to be a correction necessary which gives the song a great vibe is amazing to follow on record and live. And drummer Paul Thomson just sings along despite all the complex timing involved. Franz Ferdinand plays music that appeals to the body, the soul and the brain all in one.

The two new members if anything kick a lot of life into the band, if only because the guitars and keyboards can be played simultaneous now or three guitars all at once. A lot of swing is put into the band and synthesizers producing all sorts of sounds. Especially keyboardplayer/guitarist Julian Corrie adds an element of show to the band on stage. His strong presence adds to the whole of Franz Ferdinand. Additionally Alex Kapranos now has the freedom to do whatever he likes and uses this freedom to play the audience and serve it to the best of his abilities. More the frontman than ever.

I can only end with writing what a fine birthday present this was, thank you, son!

I only saw two songs by opening act Pip Blom. Too little to really write anything on. What I noticed, was a fine melodic sense, power and nothing that scared me away. So who knows some more on the band at some time in the future.

The real surprise came after the show when we had a last drink in a pub, where a duo started to sing and play. Just an acoustic guitar and a tambourine. The two were experts at mashing songs up. 'Smells Like Teen Spirit', the music, with the lyrics of 'Billy Jean', 'Long Train Running' with 'Sex Machine' and a song I do not remember, alternating the vocals per song as well. Just very well done and played and sung. Who were you guys? Then I can name you here.

And then the personnel behind the bar changed and guess what? They just came from the same show in De Oosterpoort. Small world.

Wo.

Here's the link to our Spotify Playlist: https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Algiers. Algiers

Hoewel pas aan het eind van het jaar de balans wordt opgemaakt, duikt er zo af en toe een plaat op die ik direct in één van de toekomstige jaarlijstjes wil duwen. Een plaat die wat mij betreft zeker op zal duiken in de lijst met de meest memorabele en bijzondere debuten van 2015 is het debuut van de band Algiers.
 
Algiers bestaat uit drie muzikanten die elkaar tegen het lijf liepen in Atlanta, Georgia, maar inmiddels vanuit diverse wereldsteden opereren. Het titelloze debuut van de band valt direct op door een even bijzondere als krachtige mix van stijlen.
 
Het is een mix van stijlen die door iedereen op een andere manier wordt omschreven, maar de omschrijving van AllMusic.com is wat mij betreft de mooiste illustratie van de onmogelijkheid om de muziek van Algiers in een hokje te duwen: “Algiers' sound is rife with references that smear together in a soundscape that reasserts (not recombines) musical traditions in a visceral, militant, spiritual way: the striated post-punk of a Certain Ratio, the agit-prop funk attack of the Pop Group, angular, elastic guitar screes à la Gang of Four, the pulsing industrial crunch of Suicide, the hard psychedelic soul of the Temptations, raw Georgia gospel circa the Elders of Zion, John Lee Hooker's early boogie, and the lonesome wails of chain gangs and field hollers”.
 
Het is een omschrijving waarvan waarschijnlijk niemand direct chocolade kan maken, maar wanneer je het debuut van Algiers wat beter kent blijkt het ook een omschrijving die wel degelijk hout snijdt.
 
Zelf hoor ik overigens nog 1001 andere dingen in de muziek van Algiers en dit varieert van Moby en de Fine Young Cannibals tot The Birthday Party en Nina Simone, maar ik vrees dat ik deze hele recensie zou kunnen vullen met namen, zonder dat er ook maar één de lading volledig dekt.
 
De muziek van Algiers heeft een diepe onderlaag van stokoude blues en gospel. Het is een laag die wordt gedragen door de geweldige vocalen van Franklin James Fisher, die zijn teksten voordraagt als een voodoo-priester.
 
De soulvolle en bluesy onderlaag van de muziek van Algiers wordt gecombineerd met een nog niet eerder vertoonde mix van stijlen. De muziek van Algiers heeft absoluut wortels in de donkere postpunk van de late jaren 70, maar grijpt ook terug op de industrial van de jaren 80 en 90 of op de muziek die Moby maakte op basis van blues samples.
 
Het is bijzondere combinatie van invloeden, maar het is ook een combinatie die uitstekend blijkt te werken. De muziek van Algiers is soms sober en soms overvol, maar bijna altijd donker en dreigend. Het is muziek die is gevangen in een productie met ongelooflijk veel diepte en dynamiek. De vocalen van Franklin James Fisher zijn soms heel ver weg en spuwen je niet veel later recht in je gezicht. Hetzelfde geldt voor de soms ontsporende gitaren, de diepe en duistere ritmes (of juist subtiel tikkende ritmeboxen) of het bijzondere tapijt aan elektronica, dat soms inderdaad aan Suicide doet denken.
 
Algiers maakt ook nog eens muziek waar de urgentie van af spat. Het trio is niet bang voor politieke thema’s en stookt het vuurtje niet alleen in muzikaal opzicht, maar ook in tekstueel opzicht zo nu en dan flink op.  Het debuut van Algiers is hierdoor een plaat die flink aankomt. Zeker in het begin kon ik de donkere en intense muziek van de band slechts in kleinere doseringen tot me nemen, maar inmiddels beluister ik de hele plaat als het meesterwerk dat het is.
 
Algiers maakt het de luisteraar zeker niet makkelijk, maar een ieder die enthousiast opveert bij bevlogen muziek die durft te experimenteren haalt met het debuut van Algiers een hele indrukwekkende plaat in huis. Een plaat die zoals gezegd wel haast moet gaan opduiken in de lijstjes met de meest opzienbarende debuten van 2015.

Je kunt hier luisteren naar 'Black Eunuch':

https://www.youtube.com/watch?v=IGV9rFA-tRk

of kopen op Bol.Com

F.F.S. F.F.S.

After the artistically very successful album 'Right Thoughts, Right Words, Right Action (read out review here: http://wonomagazine.blogspot.nl/2013/09/right-thoughts-right-words-right-action.html) Franz Ferdinand surprised me completely with a collaboration with 1970s art rockers Sparks. A new album after two years is not so unusual, a total merger of two bands is. What kind of music does this bring? I'll get to that. First to set the stage.

Readers of WoNo Magazine in 2005-2006 became desperate of my singing the praises of the band's first album, singles, b-sides and live show, followed by the hardly any less brilliant second album. After that things became quiet. Three years and four years a new album took Franz Ferdinand. So two years for a new album is fast.

Sparks however is a band that made me itch in the 1970s. The high voice of Russell Mael in the band's two NL hits, made me very nervous, although I liked 'Amateur Hour'. The band sort of disappeared from my horizon after that, although I was faintly aware of its existence. The notification that my second favorite band of the 00s, merged with Sparks gave reason for considerable concern. It's time to own up.

The first listen on Spotify was no joy. I didn't even sit through the album. Now that doesn't say much. At first listen of new work by old favorites I nearly never shout for joy. I just forgot about it for a while and bought the cd any way, to give it a real spin. This is where this review really starts.

FFS has started to draw me in. Franz Ferdinand is very high up on my list of personal favorites of the 00s bands and after that of all times, so I allow myself to judge the band's judgment. If Fra Fer wants to work with Sparks then something must be right, right? How perfect the mix between the two band is, is shown in opening track 'Johnny Delusional'. The Fra Fer drive blends with the nervousness of Sparks and both Alex Kapranos as Russell Mael shine in the singing.

Where in the first and second listening session I thought that Sparks was holding Franz Ferdinand back the whole time, as if a break was put on the drive, sound and pace of the songs, in the later sessions I started to discover what is given in return. A whole range of subtleties in keyboard(sound)s and a lot of singing that is wider and more varied can be found on FFS. With each spin I discovered more and more. Some brilliant, other details a bit over the top like the interludes in 'Dictator's Son'. The kind of musical jokes I can do without, but can live with when the rest is o.k.

The least known Franz Ferdinand song may be the cover they played of De Kift called 'Heisa-ho'. The funny thing is that the "pom-pom-diddy-diddy" part in 'Police Encounters' reminds me straight away of the intro of De Kift's 'Nauwe Mijter'. It's not a copy, far from, but the ghost of the song is there. One of the songs in which the influence and irateness of Sparks comes out best. Another song where the brake seems applied, but I was wrong. It's just different from what I would expect. And those keyboards!

One of the brilliant songs on FFS is 'Little Guy From the Suburbs'. A totally dressed down song, think 'Eleanore, Put Your Boots On' and then a bit more mysterious. The keyboards here are brilliant, as is the vocal melody. A song of total constraint, that allows all the beauty to come out and just shine and then shine some more. The little extras that are played out through the songs make for an interesting build up also. A silencing song that only begs listening.

Taking in the whole album, I'm still running into the fact that Russell Mael's voice is quite irritating to me. It's obviously 40 years older and Mael has to work hard to hit the high notes. Hence the album takes me here and there, as it is not all roses and sunshine as far as I'm concerned. Some of the works make me quite happy, with some I have my doubts. The claim that on this album two bands really mix is correct. Both have brought their stamp to FFS and have given and received some. Time will tell where FFS and I will really go, but after the first shock I have found my way into the album and continue to do so. There is hope and enjoyment so far. Things may just work out fine in the end.

Wo.

You can listen to 'Johnny Delusional' here:

https://www.youtube.com/watch?v=rCxLpte5loY

Look one step further and there's a whole live show on You Tube.

or buy at Bol.com

On Blonde. Yukon Blonde

This album did a double take on me. All this 80s pop happiness that it takes off with, made me think: What is this? "All the things a doo-we-oo-we-oo"? Listening into the record things became much clearer and downright fun. If Yukon Blonde is able to do something it is aiming for the perfect pop song. Bands like that earn an extra point in Wo's book.

To me Yukon Blonde is a new name, but for Canadians it is not, as perhaps to many music lovers who are even deeper into music than I already am. The core of the band formed in 2005, but carries this name since 2008. On Blonde is the band's third full length album. The band's principal member is Jeff Innes, who sings and plays guitar, next to writing most of the material. The other members are: Brandon Scott on guitar; Graham Jones on drums and James Younger on bass. All three do backing vocals. There are more ex-members than current ones, so whether this is a solid line-up I have no way of telling. There are also a load of keyboards on the album, played by Rebecca Gray, who also sings something here and there. Vancouver is the band's home town, so that makes another Canadian band and especially from Vancouver on this blog this year, although one not introduced by Natalie Ramsay for a change.

Yukon Blonde can be placed in the indie rock section. There are hints towards Fountains of Wayne. Right up in the first song even, but without overdoing it. The backing vocals do a lot of things 60s, even The Beach Boys like harmonies in some of the ooohhhs. In most of the songs the band colours neatly between the lines, without crossing one of my lines, which is a feat worth noticing. This has all to do with the fact that there is a hint of Brit punkfunkers Franz Ferdinand and the late 70s sounds of Gary Newman's Tubeway Army at the time of 'Are Friens Electric?'. Yukon Blonde makes this mix in a very convincing way, which is what caught my ear while listening to the album for the first time. Despite the almost tacky parts in the first song, 'Confused'. It looks like Innes may have been a bit confused while writing and selecting, as the level of all the other songs is so much higher. But who says you have to put the best song up front?

Where things really get smashing is 'I Wanna Be Your Man', no not that The Beatles/The Rolling Stones one, and the almost dancey 'Saturday Night'. The mix between pop, rock and perfection is becoming extremely interesting in these two songs. The next song is more of a ballad, 'Hannah'. In this song Yukon Blonde tries to reach the same mix as Dutch band Villeneuf tries to achieve, combining pop, rock and synths in a convincing way. The role of Rebecca Gray is so large on this track that I wonder why she's not a member of the band. Bands of the 80s like The Human League and Heaven 17 come to mind here and Yukon Blonde comes out on top with only a song like 'Don't You Want Me, Baby?' and 'Let Me Go' hanging over them. Two classics in the genre, mind.

What Yukon Blonde manages to achieve is to (indie) rock out in a convincing way, while at the same time have 80s synths in its songs and 60s vocals. As if each member is a fan of a different band and all brought in that fanship in equal parts. That makes Yukon Blonde softer but more melodic than Franz Ferdinand, less rocking than Fountains of Wayne and over-rocking the mentioned 80s bands, while putting a soul into Tubeway Army. What comes out is On Blonde by Yukon Blonde. A record so nice that it is almost tasty.

A title of an album that of course has an almost 50 year history: 'Blonde On Blonde'. It has nothing to do with the music, but quality wise? If Yukon Blonde is to grow further like Dylan did, the name of the album will prove to be adequately chosen. That time will tell. For now On Blonde is an album very much worth checking out.

Wo.

You can listen to 'Saturday Night' here:

https://www.youtube.com/watch?v=xbw1HzAWWQg

or buy at Bol.com:

Citizen Zombie. The Pop Group

De uit het Britse Bristol afkomstige band The Pop Group werd in 1977 opgericht en daarom voor het gemak maar in het hokje punk geduwd.
 
Met punk had de muziek van The Pop Group echter niet zoveel te maken en dat werd duidelijk toen in 1979 het debuut van de band verscheen. Y is een plaat die in iedere platenkast moet staan, maar in de meeste platenkasten kom je de plaat helaas niet tegen. Dat is aan de andere kant ook niet zo gek, want Y is met haar mix van dub, noise, free jazz, funk en nog een handvol andere stijlen een volstrekt ongrijpbare plaat.
 
De critici waren terecht laaiend enthousiast, maar de plaat verkocht voor geen meter. Toen The Pop Group met het een jaar later verschenen For How Much Longer Do We Tolerate Mass Murder? ook nog de steun van de critici verloor, viel vrijwel onmiddellijk het doek voor The Pop Group en raakte ook Y helaas in de vergetelheid.
 
De afgelopen 35 jaar was het stil rond The Pop Group, maar bijna uit het niets is de band terug met een nieuwe plaat. Voor haar eerste plaat in 35 jaar tijd wist The Pop Group een producer van naam en faam te strikken. De onder andere van Adele, Lana Del Rey, Cee-Lo Green, U2, Paul McCartney en FKA Twigs bekende Paul Epworth produceerde Citizen Zombie en wat is het een geweldige plaat geworden.
 
The Pop Group is haar wilde haren inmiddels voor een deel kwijt en klinkt op haar nieuwe plaat niet meer zo tegendraads als op haar vergeten debuut, maar gelukkig is Citizen Zombie wel een lekker eigenzinnige plaat geworden. Op haar comebackplaat maakt The Pop Group redelijk lekker in het gehoor liggende, maar op hetzelfde moment ook compromisloze muziek.
 
Een groot deel van de plaat klinkt als de plaat die Bowie zou hebben gemaakt wanneer hij in zijn Berlijnse periode definitief in de goot zou zijn terecht gekomen. Het is donkere muziek waarin popliedjes met een kop en een staart zijn omgeven door een duister klankentapijt.
 
Citizen Zombie riep bij mij in eerste instantie vooral associaties op met de muziek van David Bowie in zijn Berlijnse periode, maar dankzij de funk-injectie heeft het ook zeker wat van ABC, Gang Of Four, A Certain Ratio, Talking Heads en The Fall. Het zijn namen die je ook direct weer moet vergeten, want uiteindelijk klinkt Citizen Zombie toch vooral als The Pop Group.
 
De wederopstanding van de band met de geweldige naam heeft een plaat opgeleverd die uit de speakers knalt, maar het is ook een plaat met een bijna vervreemdende uitwerking. The Pop Group heeft nooit alledaagse muziek gemaakt en doet dat nog steeds niet.
 
Wat mij vooral opvalt is de enorme intensiteit en energie van Citizen Zombie. Er zijn niet veel bands die na 35 jaar stilte een plaat kunnen maken die er toe doet, maar bands die vervolgens ook nog eens aan weten te haken bij de rauwe energie van weleer zijn uiterst schaars.
 
Citizen Zombie is een plaat waar de urgentie van af spat. Dat hoor je in de messcherpe funky riffs, in de dubachtige ritmes en in de soms bijna krankzinnige vocalen. De eerste keer dat ik de terugkeer van The Pop Group beluisterde deed ik dit met open mond en de verbazing is gebleven.
 
Citizen Zombie is een frisse en energieke plaat die na 36 jaar het briljante Y recht doet. Dat Pitchfork er slechts een 2.4 voor over heeft begrijp ik dan ook totaal niet, maar Pitchfork begrijp ik de laatste tijd wel vaker niet. Ik vertrouw daarom liever op mijn eigen oordeel: Citizen Zombie van The Pop Group is een briljante plaat van een grote band.

Erwin Zijleman

Je kunt hier luisteren naar 'Citizen Zombie':

https://www.youtube.com/watch?v=KrfhR5gIyBc

Of kopen bij Bol.com

 

Too much information. Maxïmo Park

Torn in two

That's the title of this post, "Torn in two". Simply because that's what happening to me the whole time I'm listening to Too much information. I just don't know what to make of it. One moment I'm here, next there and liking it, hating it or just uninterested and coming back any way.

Maxïmo Park came into my life with 'Apply some pressure' in 2006. The first 8 songs on debut album 'A certain trigger' were so incredibly good, putting Maxïmo Park right in league with Arctic Monkeys and Franz Ferdinand. Where Arctic Monkeys became a league of their own, incomparable to nearly everyone and Franz Ferdinand developed itself further, Maxïmo Park was left behind more and more with each album. Too much information is its fifth and follows 'The national health'.

On Too much information Maxïmo Park is trying something new. The darker side of the 80s are let into the sound. Less guitars, more dark synthesizers. Yazoo, Depeche Mode, Soft Cell without the louder beats, with real drums. Paul Smith is even singing a bit like David Gahan in some songs. The thing is that in some songs it really works. 'Leave this island' is truly a beautiful song. But is it a song that I want to hear from Maxïmo Park? No, yes, yes, no; there's a reason why I (nearly) never listen to the bands mentioned just now. I just don't like this sort of music very much.

A few songs try to get the mid-00s vibe back and come close. Opener 'Give, get, take', 'Drinking martinis' and 'Her name was Audre' are up-tempo and (almost) exiting. From there on Too much information goes off into a lot of directions. 'Lydia. the ink will never dry' gives another emulation of Maxïmo Park. A laidback version that has a rocking drum, but soft acoustic and electric guitars, even something sounding like stealdrums from a keyboard. 'My bloody mind' is a sort of rocker, but has a great ending. Think The Doors, but great in its own right. In other parts we have A Flock of Seagulls like keyboards.

All together Too much information sounds like Maxïmo Park is adrift. I hope the band is trying for a new sound and a new form. The opposite means that we are listening to the dying rattles of the band. There are parts to Too much information that may give Maxïmo Park a new direction. The main problem is that audiences show up expecting excitement and to jump to the excitement of  a 'A certain trigger' and 'Our earthly pleasures' kind. And they will not be getting it I guess. So that is a bit of a spot Maxïmo Park is in. Let's see how this plays out. In the meantime you'll find me swinging to and fro with this album. I have not given up hope yet. There is enough to enjoy, but leave your preconseptions on Maxïmo Park behind. Perhaps the band needs more time to reinvent itself successfully, but it will have to hurry.

Wo.

You can listen to 'Leave this island' here.

No fright. Live Wire

Every once in a while I take you on a trip down my personal musical memory lane. Today to a fairly obscure album from a U.K. band that released only three records between 1979 and 1981, the others are 'Pick it up' and 'Changes made', of which the second one, No fright, is simply amazing.

No fright is one of my all time favourites, played so much through the years and still the sound of the LP is fantastic. Only a few weeks back I took it out of my stack of LPs and played it from back to end a few times straight. Looking back almost 35 years, the cynical thing to say is that Live Wire got its record contract because of Dire Straits. The record company hoping that they had the next one. There are some similarities in music and singing that can be noticed. Still, No fright has stand the test of time better than 'Dire Straits' as a whole album, I think. The new wave, post punk elements that are woven into the music of Live Wire, especially by the guitar eruptions of lead-guitarist Simon Boswell, that are very Gang of Four like, go beyond anything Mark Knopfler c.s. ever made. This is not all. The spacious mix of the music makes a nod to dub and reggae, while at the same time the band is able to rock out and play most delicately. That sounds like a lot of music that was fashionable at the time and is up to a certain extend again and might give you the impression that Live Wire were mere copycats. Far from it, I'd say. It's the mix of all this and what Live Wire did with it, that made and makes No fright stand out for 33 years and counting.

The album cover is so 1980. The fear of a nuclear explosion which was all around in combination with a conservative father figure who seems to be going about his business as usual, while being torn apart graphically. The mushroomcloud resembling his brain, blown out of his skull. Somehow it spoke volumes then. (1981's 'Red skies over paradise' anyone?)

Live Wire was a four some in 1980. Mike Edwards sang and played guitar. Simon Boswell played guitar and keyboards and did backing vocals. Jeremy Meek on bass and backing vocals and German Gonzales on drums. According to a posting on You Tube, Gonzales came from Peru as a refugee to play in a rock band. Jeremy Meek is, as far as I'm aware, the only who has surfaced regularly since Live Wire disbanded somewhere after 1981. E.g. in The The and now in Paul Carrack's band. The album was produced by Simon Boswell in a Steve Lillywhite style with loads of echo and spaciousness on the singing and instruments. A production that makes the album still sound great.

The songs on No fright are quite varied. From the new wave-funky 'Fight for your right'... to the up tempo 'No fright' or the ballad 'Castle in every Swiss cottage', Live Wire delivers. The band was able to play these different styles in a convincing way with loads of echo on everything. The up-tempo songs are in your face, punky and rioting at elders. Thrown in like a piece of meat to a tiger. This makes the impact direct and confronting. The lyrics are very direct also "Don't bite hand that feeds you, they mean", "We ain't gonna fight for your rights, hell no more". There is a hint of politics there in the early phase of the Thatcher era. 'No fright' seems more like a nightmare in which all goes wrong. Dancing on the volcano, but to a great soundtrack. By far the best song of the album. I even wonder if Franz Ferdinand's keyboard on there current fantastic single 'Love illumination' wasn't inspired by the one on 'No Fright'.

No fright is an album, not many people will remember, let alone know of. It was only one year more and Live Wire was never heard of again. They left behind one masterpiece, with a great sound, with great varied songwriting and performance. An album that deserves recognition as it was more than able to compete with Joe Jackson Band's debut album, Fischer-Z', The Police's debut album and other bands that scored hits around that day. Live Wire's songs are at least as good and deserve to be in the same league. Gang of Four with real songs! So fans of Franz Ferdinand, Arctic Monkeys and the likes, this is something to check out. I have no illusion concerning this post making a difference, but if only a few more people are to give it a try and learn about the band, that would be justice. And should you like it, don't forget to tell your friends. Spread the word!

Wo.

You can listen to studio recording (straight from record) 'First night every night' here or live recording 'No fright' here.

You belong here. Leagues

Het Amerikaanse muziektijdschrift Paste Magazine zaagt inmiddels al een aantal jaren aan de poten van de grote Amerikaanse tijdschriften als Rolling Stone en Billboard. Met succes volgens mij, want Paste weet in tegenstelling tot de grote broers steeds vaker de aandacht te trekken. Ik was onlangs bijzonder gecharmeerd van de lijst met de beste platen van de eerste helft van 2013 (waarom niet?). In deze lijst trof ik persoonlijke favorieten als Phosphorescent, Mikal Cronin, Cayucas en Kurt Vile, maar ook platen die ik nog niet heb besproken, zoals Josh Ritter, Thao, Foxygen, Deerhunter en Frightened Rabbit. (zie ook Erwin's eigen blog De krenten in de pop) en zelfs een plaat waarvan ik nog nooit gehoord had. Die laatste plaat, You Belong Here van Leagues, heb ik inmiddels stevig omarmd en reken ik tot de grote verrassingen van 2013. Leagues heeft een voorman die ik goed ken. Thad Cockrell leek een jaar of tien geleden uit te groeien tot de smaakmakers van de singer-songwriters in het alt-country segment en werd direct gezien als grote concurrent van de op dat moment nog vrijwel onaantastbare Ryan Adams. Thad Cockrell brak ondanks een geweldige plaat echter niet door naar een groot publiek en keert pas vele jaren later terug met Leagues. Alt-country liefhebbers die nu enthousiast opveren moet ik direct teleurstellen, want Leagues heeft helemaal niets te maken met het solowerk van Thad Cockrell. De eerste songs op You Belong Here vallen op door heerlijke funky gitaarloopjes en nogal hoge vocalen. Het zijn songs die me eerst aan Talking Heads deden denken en vervolgens aan Franz Ferdinand; namen waarvoor je je als band niet hoeft te schamen. Het uit Nashville afkomstige Leagues houdt niet de hele tijd vast aan funky gitaren en songs die nauwelijks te weerstaan zijn. Na een aantal tracks worden de gitaren wat steviger, winnen de keyboards aan terrein en begeeft Leagues zich op het terrein van de indie-rock. Ook dat gaat het trio uit Nashville, dat opvallend genoeg zelfs geen vleugje country in haar muziek verwerkt, behoorlijk goed af. Leagues maakt op You Belong Here muziek die bijzonder lekker in het gehoor ligt, maar het is muziek die op één of andere manier ook alternatief en interessant blijft. Leagues schuift in een aantal tracks bijna op richting de mainstream van een band als Maroon 5 (en in 1 of 2 tracks zelfs Electric Light Orchestra), maar net als het mis lijkt te gaan volgt een onverwachte wending, waardoor You Belong Here blijft overtuigen. You Belong Here van Leagues is een plaat die lastig is te plaatsen. Het is dan ook niet zo gek dat tot dusver zo ongeveer alleen Paste Magazine de plaat de hemel in heeft geprezen, maar ze hebben wel gelijk. You Belong Here is een heerlijke plaat voor de zomer, maar het is ook een plaat die genoeg te bieden heeft wanneer het buiten koud en donker is en je net wat minder vatbaar bent voor genadeloos funky gitaren.  Dan pas hoor je immers hoe knap de plaat is geproduceerd, hoe goed Cockrell zingt en hoe fraai het gitaarwerk is. Leagues is absoluut een band voor de grote festivals, maar You Belong Here is zeker ook een plaat die tot in de kleinste details moet worden beluisterd. Mijn conclusie na vele luisterbeurten? Wereldplaat. Uit dank neem ik onmiddellijk een abonnement op Paste Magazine.

Erwin Zijleman

Je kunt hier naar 'Spotlight' luisteren.

Roots in Heaven: Blind Willies, 13 September 2013, Q-Bus

Blind Willies, photo Wo.

Blind Willies is a band from San Francisco and not one with your average line-up. Sure, the bass and drums are pretty normal. Even a singer with an acoustic guitar is a pretty normal sight in a venue like Q-Bus Leiden, that specializes in American roots music. A trumpet and cello that were the solo instruments? Now we're talking. It made for music that was not totally average. The closest I could come in situ to compare was Counting Crows. and like Counting Crows Blind Willies were able to get me near ecstasy and boredom within two songs and back. Later Gogol Bordello came to me, but not very obviously. There was something Eastern-European in there.

The gig started with a beautiful song. Most songs had loads of text and storylines that are impossible to follow when hearing songs for the first time live. At these moments the melody determines where a song will end concerning my mood and this went all across the board. At the moment I started to give up, Blind Willies played a German (Yiddish?) song that stuck out all the way. Another rhythm, another feel and the show came back alive. Then the guitar played two or three blues notes that send off warning bells in my head. Nothing happened for a few seconds and then the cello set in and I was singing along before I consciously knew to what. "My girl, my girl, did you lie to me?" The now Nirvana song by Leadbelly was played and what a surprise! Then a Blind Willies type rocker was played and the concert soared. It all ended with another bit bland song.

In short I do not really know what to make of Blind Willies. To really know I will need to hear them on record. Live they were different and made a difference in several ways. This makes Blind Willies stand out and isn't that what making music is about? With each song they forced a reaction in me. Add to the whole mix the two, three and four piece harmonies and an extra layer is added to this band's music

Max Miller-Loran, photo Wo.

A comment singer Alexei Wajchman made is one I heard several times before, that the audience in The Netherlands is so much better than in the US. Wait till you get to play the Paradiso! That will make you change your mind. In a venue like the Q-Bus where everybody comes to enjoy and listen to the music on offer it may well be the case.

Wo

You can listen to Blind Willies' albums here.

P.S. Blind Willies is releasing a new album, 'Every day is judgement day'  on 31-5. Here's a first taste: 'Big city' on You Tube. (Tol Hansse would have been proud of this video!)

Right thoughts, right words, right action. Franz Ferdinand

It was somewhere in 2004, sitting on a stool in Velvet, Leiden, that I requested to listen to 'Franz Ferdinand'. "Jacqueline was 17, working on a desk...." When the band kicked in after this very pleasing, slow and sensitive start of Franz Ferdinand's debut album, I was nearly swept off my stool. It was a near physical experience. 'Jacqueline' touched me somewhere so deep that I was a fan three seconds into this part of the song. It didn't matter anymore whatever would come next, I had made up my mind and bought 'Franz Ferdinand'. In 2013 we are only three albums down the line, not an extremely high score. 2005's 'You could have it some much better' consolidated the status of the band, 2009's 'Tonight' had a lot of dance influences incorporated into he music, that gave Franz Ferdinand an extra bite. So where are we in 2013?

The album was preceded by the single 'Love illumination'. The song is an instant winner in a line with 'Take me out', 'Do you want to', and 'Ulysses', Catchy, easy to sing along with, just begs dancing and has a great gimmick in the form of the organ melody. A hit, a winner, the right song to announce any new album. The chorus harmonies tend to psychedelia, the harmonies between the two guitars just add to the effect. A great riff with a hip retro distortion sound. And then I haven't started about the sixties sounding organ. It's just the finishing touch to a great song. Let's go into the album now.

The first thing I noticed listening to Right thoughts, ... is that this is not the Franz Ferdinand we know of the previous three albums. Several songs are not as easily digested as before. There are clear 60s overtones in some songs, but also disco of the Giorgio Moroder variety. 'Stand on the horizon' has this easy flowing pure pop singing melody, with a keyboard sound straight out of a Donna Summer hit or 'Call me', Blondie's Moroder hitsingle. While 'Fresh strawberries' is a The Beatles song turned Franz Ferdinand. The singing is so fluent and nice or friendly, while the guitars are FraFer in the softest form of its trademark prickliness possible. With a beautiful popsong as a result.

This twist into the further evolution of FraFer makes that Right thoughts, ... took me longer to get used to than the other two albums following the first one. Having heard the album several times by now, I confess that I still have to get used to two of the ten songs and don't know which way I'll go on them. As long as there are instant winners like 'Bullet', this must be the next single!, Right thought, .. is unbeatable. The same goes for 'Treason! animals'. The driving pulse of the song just makes me happy. The organ sound is a key part of 'Treason! Animals'. A keyboard is not new to the sound of FraFer, but it is in the way it is used and becomes a real part of Right thought,... as a whole. It has become an instrument of prominence. Sometimes even carrying a song, like the soft and mellow 'The universe expanded'.

In the last two songs of Right words, ... my concentration span goes down the drain. The reaggaeish 'Brief encounters' I just don't get. In both songs FraFer seems to have the lost pop element that makes all its songs shine and these two just don't. They make me want to go back to the start, to the title song, 'Right words'. To what went on before. All eight songs are winners and great additions to the repertoire of FraFer. Eight out of, only, ten songs, may not seem a high score, but when the songs on Right words, ... are of such a high quality as on offer here, who cares. FraFer delivered another winner. That's the only conclusion I can draw here.

Right thoughts, right words, right action comes with a bonus live cd containing some songs of this and previous albums. A present from Franz Ferdinand to its fans. Having heard it all, it makes me want to go to a show as soon as possible.

Wo.

You can listen to 'Love illumination'  here.

Arctic Monkeys and Franz Ferdinand

All WoNo Magazine readers of old, this is a warning, you better take cover, because the FF word is about to pop up in this review. In one week I noticed that my two favourite bands of the zeroes released a new single. The first, 'Love illumination', is all over Dutch 3FM radio as single of the week. The second, 'Do I wanna know?', I have not heard yet at this moment of writing. So let's take a closer look at the two new songs, but not before some in depth information.

Franz Ferdinand were absolutely my band in 2004 and 2005. Hearing the way 'Jacqueline' blew up after the mellow intro, almost literally blew me off my chair at Velvet record store and that was only the beginning of the fun. 'Franz Ferdinand' was my album of 2004, 'You could have it so much better' of 2005. All this changed in 2006. The coming of '(I bet you look good on the) Dance floor of Arctic Monkeys was a game changer. Where Franz Ferdinand was good time fun, Arctic Monkeys is, imho, nothing more than the birth of The Beatles in the zeroes all over. With three personal albums of the year since 2006 and two top 10s, including The Last Shadow Puppets, you can imagine that the new album is expected with some anxiety in my home.

Franz Ferdinand has released two songs so far on Spotify. 'Love illumination' hits for the dance floor. It starts with a recognisable riff, that is classic Franz Ferdinand. Great fun. The rhythm is tight and neat. Tighter than ever before, I'd say. The melody just begs singing along to. At first listen something appears to be missing also. Where is the letting go moment Franz Ferdinand songs are so well known for? 'Love illumination' seems to be on hold or holding back. Listening closer, there are a few great fun moments, the high sounding keyboard solo is fabulous and the double tracked vocals also lift the song to higher levels, as does the finale with its rising vocals. 'Love illuminations' is not as much fun as 'Do you wanna', which it reminds me of most, but has its moments that will endear itself to me over the coming listening sessions. 'Right action' is the second song on Spotify. This seems a typical Franz Ferdinand b-side song. Still a lot of fun, but somewhat easier going than album tracks. 'Right action' has a few 60s elements built into it, while at the same time being total FF. An upbeat song with rolling drums, marching band style. Four years is too long, gentlemen, but it was well worth the wait so far.

'Do I wanna know?' is the new Arctic Monkeys single, which I'm listening to for the first time right
now. What I'm hearing is a dark song, where Alex Turner is sing-talking volumes of text over sketchy music. A faint hint of a dance rhythm. High background singing. The only release comes in the chorus, but even this is sparsely allowed the listener. 'Do I wanna know?' is clearly not a song to endear to easily. As before Alex Turner is surprising his followers with different music than before, more in the style of the songs on 'Humbug' than 'Suck it and see' (as he left his first two albums behind a while ago). There's definitely some QOTSA in the chorus. A chorus that becomes more intricate and multi layered with each new listen. So slowly but surely it dawns on me that I'm listening to a great song, that, just like it's topic, is drawing me closer, turning me away, drawing me closer "Crawling back to you".

At first listens Franz Ferdinand won by 1-0, but it looks like it is a draw now or better the two songs are totally incomparable. For both goes that I can't wait till the albums are here.

Wo.