Kate Bush 'The Directors Cut' review (for Kevchino.com)

See the original article posted here: http://kevchino.com/review/kate-bush/director-s-cut/2269

Kate Bush's latest release, Director’s Cut, is the first on her own label, Fish People. Comprising of four tracks taken from the original album Sensual World (released 1989), and seven tracks from original album The Red Shoes (1993), the songs have been rerecorded by Bush to offer a new take on various old favorites. While most of the instrumentation has remained the same, many of the tracks have been recorded in a lower key due to Bush’s now lower vocal tones.

Bush has even gone as far as to alter the lyrics to The Sensual World’s title track, giving it the new moniker “Flower of the Mountain.” The reasoning behind this being, when originally recording this song, Bush wished to set an excerpt from Ulysses by James Joyce to an instrumental piece she’d composed, but was refused the rights. Upon asking a second time around for the Director’s Cut project, permission was granted, and the initial concept came to light.

The two original albums have an endearing and unique Bush-esque quality about them that is no doubt also swayed by memories associated to them around the original release dates. Both were outstanding albums and did relatively well at the time—The Red Shoes being the last album Bush recorded before taking a twelve-year hiatus, and being accompanied by a short film Bush produced herself, titled The Line, The Cross and The Curve. The new album is available in a deluxe box set, which includes all three albums, enabling the listener to sample both the old and the new and survey the merits of having new life breathed into the tracks.

However, one cannot help but wonder the point of all this. Why rerecord these albums? Were the original recordings not a worthy caliber within themselves? And if Bush was stepping into the studio, why not simply record new pieces instead of altering older songs? While the recording of the aforementioned “Flower of the Mountain” is an interesting story in itself, most of the remaining tracks come across as overproduced, erratic, and sometimes just plain bizarre. The addition of bloodcurdling screaming at the finale of “Lily” is a fine example of this, and “A Woman’s Work” has not benefited from the rerecordings whatsoever.

In theory an interesting project to undertake, but in the end a seemingly pointless one.

Mick Harvey 'Sketches from the Book of the Dead' review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/mick-harvey/sketches-from-book-of-dead/2268

Mick Harvey's musical talents stretch far and wide. From his days with The Birthday Party (featuring Nick Cave), Crime and the City Solution and Nick Cave and the Bad Seeds to his stints as a producer with PJ Harvey (3 albums in total including her latest 'Let England Shake') and The Cruel Sea, the multi-talented Australian singer-songwriter has a musical resume that would make anyone swoon. He's written soundtracks, he's won a Mercury Prize, he's even recorded and translated 2 Serge Gainsbourg albums from French to English. And now he provides us with the hauntingly beautiful 'Sketches from the Book of the Dead'.

The album takes us across a dark emotional landscape of what remains once loves and lives are lost. An epic storyteller Harvey's lyrics transport you deep into the heart and soul of the artist through heavy low-toned vocals. The guitar effects are melodic yet eerie making for an intense listen. The soft piano and minor vocal harmonies layered beneath create tumultuous moods and place macabre, Tim Burton-style images in the minds eye.

The bulk of the tracks are shady and brooding - the love story of 'Frankie T. & Frankie C.' ending fatally, as well with 'That's All Paul' who '…took it all when (he) took the drivers seat…'. But the amazing descriptiveness and personality of the lyrics makes it easy to delve into Harvey's world. As a finale he throws us a curve ball with 'Famous Last Words', a perfect summary to the album with up tempo, sultry rock'n'roll riffs and audacious content '…everybody dances with the Grim Reaper…'.

While the album sets a morbid yet consistent tone throughout it can lack continuity lyrically. There are so many lives and stories to be told they often get lost in translation. But it must be said this is a great offering from a fine Australian artist, and one that will no doubt afford him great critical acclaim. It is well deserved.

Beirut 'The Riptide' review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/beirut/riptide/2258

Listening to a Beirut album is like taking a round-the-world trip. Their aptitude to swathe the musical elements of different cultures makes them shine like a star in the world of modern music. They’ve been described as world music, folk, and indie, all the way over to Balkan and Eastern European Gypsy. What they are is simply outstanding, and The Rip Tide further showcases their pure talent and ability to think outside the box.

Founding member Zach Condon’s vocals both comfort and haunt as they lead you across the landscape of this latest offering from the US-based act. Staying true to their original Eastern Gypsy feel with the use of a great range of horns and brass, accordions and waltz-tempoed drum rolls, the album does include hints of modernism within its folds, making it pure poetry in motion.

The first single released from the album, “East Harlem,” medically depicts another love lost on the deceptively small island of Manhattan—“uptown, downtown, a thousand miles between us.” Ballads such as “Goshen” and “The Peacock” present perfectly the strength and character of Condon’s vocals and tug sharply at the heartstrings. And title track “The Rip Tide” sways with rousing string and vocal compositions that leave you adrift in a sea of worldly harmonies.

An inspiring listen that leads you to thoughts of the finer things in life—dancing, kissing, singing, a fine glass of wine, a moonlit night—The Rip Tide transports you to lands far away in an instant and leaves you full of life and humbled by Beirut’s musical prowess. Sweet, beautiful music indeed.

Arctic Monkey's 'Suck It & See' review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/arctic-monkeys/suck-it-see/2252

The Arctic Monkeys began their career recording their own demos and handing them out to punters lining up for shows in Sheffield. They are now one of the biggest bands in the world and there’s no doubt it’s down to their working class musical ethic and sheer originality, as well as having one of the most charismatic and lyrically gifted front men of recent times. Bring in Josh Homme from Queens Of The Stoneage fame as producer and you’re left with a unique and driving sound underlined by dark and brooding influences, which worked extremely well on the bands last effort ‘Humbug’. Unfortunately the same cannot be said for their latest offering ‘Suck It And See’, being produced by James Ford of Simian Mobile Disco fame.

All starts off well with glimpses of the old punchy, melodic, lyrically astounding arrangements we’re used to seeing from the band. ‘She’s Thunderstorms’ and ‘Black Treacle’ almost take you back to the 60’s with their basic riffs and effective simplicity. ‘Library Pictures’ gives a hint of surf-rock sound beneath its thrashy punk rock façade. However the over-production of vocals on ‘Brick By Brick’ coupled with the unusually basic lyrics make for a very uninspiring standard rock song, and the QOTSA influence on ‘Don’t Sit Down Cause I’ve Moved Your Chair’ and ‘All My Own Stunts’ is tantamount to plagiarism. Then from track 8 onwards all songs seem to melt into one big repetitive English indie track that never seems to end.

It pains me to write this review as I love The Arctic Monkeys and adore QOTSA even more, and ‘Humbug’ is one of my most favorite albums, but I’m afraid ‘Suck It And See’ leaves a bitter taste in your mouth. It begins well but fades into a QOTSA cover act that eventually gives up and morphs into an Oasis tribute band. The Arctic Monkeys need to move on production-wise and ensure they remain being influenced by QOTSA and do not simply mimic them. I look forward to the day they regain that initial fire and spark and come back alive, kicking and spitting luscious prose at us like they once did.

Friendly Fires 'Pala' review (for Mesmer Magazine)

'Pala', the second full-length offering from British act Friendly Fires certainly shows their talent and diversity when it comes to differing sounds and genres. The album has a real 80's feel to it, reminiscent of British act Tears For Fears at times, with heavy use of synthesizers and soft flowing vocals. Throw in some latin and disco beats, a hint of R'n'B and add an edge of funk and you have an album that's definitely hard to listen to sitting down.

However this does cause the album to come across as very over produced at times. There's so much going on some things tend to get lost in the mix leaving a few tracks sounding confused and overdone. Towards the end of the album the songs start to run into each other due to overuse of similar effects and beats. 'Show Me Lights' opens with a great R'n'B dance floor bass line and heavy beats but these get lost under numerous layers of synth, guitar, lighter vocal loops and steel drum sounds. 'Pull Me Back to Earth' and 'Chimes' both have a disco and funk lean but fade into one another with use of similar techniques.

That said, opening rack 'Live Those Days Tonight' jump starts the album well with it's superb dance beats, lead-in verses and climactic chorus'. 'Hawaiian Air' whisks you away with it's good tribal drum beats, fresh airy sound and Nintendo-like synth sounds. And 'Running Away', 'True Love' and bonus track 'Strangelove' take you back to Friendly Fires older, original style with funkier baselines and quirky guitar riffs matched well with echoing glittery synthesizers. Slower and more romantic interludes are provided by the album's title track 'Pala' and the slow funk piece 'Helpless'.

While overall a stand-out album it seems the band need to reel it in and centre a little with their next release lest they literally lose themselves in the music. It's all well and good to be musically apt in various genres but not when it comes at the detriment of a flowing album. Taking it back a notch would let Friendly Fires' true originality shine through while also letting them present a much less-produced, much more distinct sound.

Broken Bells 'Meyrin Fields' review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/broken-bells/meyrin-fields/2237

In September 2004, through the admiration of each other’s talents, James Mercer (The Shins) and Brian Burton (aka Danger Mouse) met at the Roskilde Festival in Denmark. Six years later these talents drew them together once more to create their debut release, the self-titled Broken Bells. The follow-up to this is the beautiful Meyrin Fields, an EP that gives you the depth of a full album in just four outstanding songs.

James Mercer’s distinctive vocals and the powerful production talents of Danger Mouse make this act a force to be reckoned with. Original and intriguing, it seems there’s no limit to what these two musicians can do once put together. Meyrin Fields is a roller coaster of experimental beats and trippy riffs that, coupled with Mercer’s voice, make for an ever-interesting ride.

The title track, “Meyrin Fields,” and following track, “Windows,” both feature macabre and spooky overtones—the latter possibly acting as the soundtrack to a robber or Peeping Tom crawling through back alleys and surveying unknowing victims through their windows.

“An Easy Life” then lightens the mood with its slight reggae feel and fully showcases Danger Mouse’s amazing production skills, especially in the bridge, which is reminiscent of The Beatles’ “Sgt. Pepper’s . . .” Closing with “Heartless Empire,” they opt for a slower, less-produced sound, using distant droning guitars underneath echoing and melodic vocals.

This is unquestionably a fine effort from Mercer and Burton that will leave you wanting more, and it seems the sky’s the limit for these two musical artisans, so who can tell what the future will bring? One thing’s for sure—it’s looking mighty bright.

Battles 'Gloss Drop' Review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/battles/gloss-drop/2232

Battles have a unique and driving sound you can pick out from a mile away. And though their latest offering, Gloss Drop, often differs from their previous works, their originality and creativeness still make for an outstanding listen.

The second full-length album delivered by the experimental rock act from New York is their first without original guitarist, keyboardist, and vocalist Tyondai Braxton—the band now comprised of Ian Williams (formerly of Don Caballero and Storm & Stress), Dave Konopka (formerly of Lynx), and the always outstanding John Stanier (formerly of Helmet). What follows is a more structured, less erratic album featuring deep rhythms of guitar, drums, synth, and vocals, with simpler riffs and beats being eternally layered to create an epic feast for the ears.

Some tracks have a much more up-tempo feel, with the use of Caribbean steel drum effects on tracks such as “Futura” and “Dominican Fade,” and a heavy reggae element featured in “Sndome (featuring Ymantaka Eye)” and “Sundome (Instrumental).” The band's dark side is still ever present, however, and the use of haunting, distant organ sounds on “Futura” sends chills down the spine. The void left by their former vocalist is filled by numerous outstanding and well-paired guest appearances—Matias Aguayo on “Ice Cream,” Gary Numan on “My Machine,” Kazu Makino on “Sweetie & Shag,” and Ymantaka Eye on “Sndome.”

Gloss Drop is an excellent follow-up to their previous full-length effort, Mirrored (released 2007), and shows that even with the loss of a member, Battles can come out fighting and produce a work that explores new and varied creative angles, yet stays true to their distinctive sound.