Micha P Hinson has been on my radar since his debut ‘ Micah P. Hinson and the Gospel of Progress ‘. There was something about that album that ticked so many boxes for me. I think more than anything I bought him. It all seemed so honest and real; him and the album.
Since his debut I have kept him on my peripheral, but more to the tone of having him on a playlist here and there and that’s about it. It wasn’t until a while ago when I was driving home in the middle of the night and heard his live version of “The Life, Living, Death and Dying of a Certain, LJ Nichols’ did this live album hit my radar. When I say hit, it was more of a punch in the face in the nicest of ways. WTF was this song; and why did it blow me away? The album was ordered; and a few months later you too now will be adding it to your collection.
Live albums are a funny thing; thee aren’t many and there often is a very good reason for that. Not many artists can pull it off. This is less Eric Clapton on MTV and more sitting in a bar and hearing a guy sing his hart out to a half hearted audience. This album is raw; and highlights how raw Micha P. Hinson is as an artist. Hey, and it’s got the BBC stamp of approval… so that’s got to mean something right?
I will say that it took me a few listens to fully get into this album. Hayley still doesn’t fully get it. Although she has pointed out that since visiting the small town in Canada that I’m from she understands why I love it.
His lyrics are solid but deep and work. He doesn’t rhyme just to do so, his content is wholesome. ’Seven Horses Seen’ may just be my current favourite song; it’s catchy and brutal. I’ve changed the lyrics majorly and have started singing it to Olive… she likes my version.
The ruggedness of his singing style isn’t for everyone, but it grows on you. I’m starting to think that he’s a guy that I would like to sit down and have a beer with.
I’m mindful that this is a risky one. It’s not for everyone. But that’s why we’re here. Even brother Joey who is a fan of Micha P. Hinson may have mixed feelings about this album. If I can ask one thing of you; like a good bourbon it may be rough around the edges but give it a little time to sink in.
I look forward to your thoughts.
Yes, I’m late, but it’s worth it, I hope. This album is the first artist to land a second AOTM, and after the effect the first had on all of us, it seemed almost too obvious to revisit it when there’s so much other music around. However, it’s actually a choice that makes so much sense, because really, there’s a definitive break from the past, and perhaps the appearance of one of the most exciting pop music artists for a long while.
So, what did we learn from Christine And The Queens’ sparkling debut in 2016? An album that was a spring sleeper hit (two years after it surfaced in France), relaunched in a post-Brexit haze where we all needed some musical escapism. In my case, I was one of those wandering around in a teary, beery, existentialist haze at Glastonbury whose day was transformed by one of those ‘moments’ that makes the festival so magical. Christine And The Queens’ set on the Other Stage as the rain fell was one that’ll stay long in the memory. There’s no way a French artist complete with slickly choreographed dancers should’ve melted muddy hearts but Tilted, iT, Narcissus Is Back and Here were pop music of the absolute finest. Rubbery synths, crisp percussion, and beguiling vocals singing about love and loss that sounded as enticing in English as in French. A star was born. But… what next?
The answer, flippantly, would be ‘Chris’. But for Héloïse Letissier it was more than just a change of title. The relentless touring and punishing nightly dance moves had transformed her into a leaner being, and with her success came sexual conquests too, but not man or woman, more whichever took her fancy. Pansexuality, freedom and inspiration. Yet the sonic inspiration for Chris – ‘Christine’s androgynous, confident, male-world-view alter-ego – harks back to the 80s and 90s, where r’n’b was in a renaissance with Michael and Janet Jackson at the fore. You can almost hear the Jam and Lewis influence in tracks like Girlfriend and Doesn’t Matter. But it’s original, punchy hooks and oblique lyrical references that are all her own rather than borrowed from the past, as she explores pansexual conquests from the side of the male gaze.
The result is an album that feels it could only be made by a French artist, such is the ambition, and openly artistic musings that would be sniffed at in England. A staggeringly individual collection of songs where Letissier writes, performs and produces almost every single note, and that should fire her even higher into the pop firmament. Fantastique!
Welcome brothers. Happy August, happy Summer. Please may I introduce ‘The Internet’
Why have I only just come across these guys? I had not heard of ‘The Internet’ until Wednesday. I reviewed my Spotify ‘listened to in 2018’ folder where I keep all of the new music I am listening to and from which I then chose to buy the best of. Each album that I loved and considered for AOTM I then qualified-out for one reason or the other.
I considered Tove Stryke ‘Sway’, pure unadulterated Scandi-Pop. I decided no as it is only really a mini-album of 8 tracks, one of which is a demo-cover so 7 tracks really. They’re all perfect 3 minute pop songs but I talked myself out of it when I realised the main reason I love it is that my son can’t not dance when it’s on so it’s getting a lot of air-time in Casa Story. My other thought was the new Yo Lo Tengo, which I love, but good god is it a ‘me’ album which I am also sure means it’s not a brothers album. It’s a bit dense, noodly and by a million miles not their best so it seemed an odd choice. I also considered the new Twin Shadow and a few others but my heart was not in them and I could not 100% ‘stand behind’ them.
So I started looking for new music reviews that excited me and found ‘Hive Mind’ by the Internet. There are lots of facts and figures that I could copy and paste about these guys … but I won’t as it means nothing to me. What does mean something is that I put this on to road-test it and feel immediately in-love with it. Where has music like this been? It’s probably there but just not been in my world. Between Weds evening and now (Friday lunch time) I think I’ve listened to this at least 12 times, start to finish. I love it.
This ticks so many boxes for me. The groove, the beat, lovely vocals, strong lyrics, humour and a ‘proper’ 13 track-album. You’ll hear lots of things in this album. David, lots of lovely nods to much of what we spent much time playing back in the day of 90’s R&B/Pop. They seem to have distilled all the best, most credible elements of mainstream R&B and blended them into something that feels referential as well as fresh.
I’ve been waiting a long time for something to grab me like Lucy Pearl did and while this doesn’t have the obvious bangers like ‘Dance Tonite’ or ‘Don’t Mess With My Man’ the beautiful, luscious soundscape is there.
Some albums are summer albums, some winter albums. Some music is morning music, some night music. Background music vs. headphone tracks. This feels universal to me. So far, I find it to be a stunner and hope you enjoy living with it to.
Have a look at their vids on YouTube as it reveals more about them and made me fall even deeper for them.
Happy Hive Mind.
Hello sunshine. Hello Eleanor.
So. I don’t know how well The Brothers know The Fiery Furnaces, the wilfully leftfield band that consisted of Eleanor and her brother, Matthew. They were like nothing else – a knotty indie band that wrote dense, weird songs with names like “Chief Inspector Blancheflower”, “The Philadelphia Grand Jury” and “The Old Hag is Sleeping”. Their songs’ lyrics sounded like they were some little known novel, and the structure of their songs were often really strange, veering off into different time frames or arranged in several parts.
Now, that makes them sound WAY harder work than they were. They were a bit eccentric, but they were surprisingly easy to love. Well, by me, anyway. Marc Riley used to play them loads on 6Music and I fell for them, bit by bit.
Adam Buxton, on his excellent podcast, recently did an episode with Eleanor F – one that was actually recorded a couple of years back, but for some reason, he wasn’t happy with. I don’t know, I found it charming and it really got to the heart of his subject. As an intro to Eleanor, you couldn’t do any better. I’d strongly recommend listening:
What’s clear from that is that her brother was quite the control freak in the band, and she felt trapped and straitjacketed in the band. Since their seemingly permanent hiatus, she’s started to carve out a strong solo career of her own, with a series of increasingly accessible solo albums, of which is the 4th, and in my opinion, the strongest.
Despite her brother’s control freakery, you can hear in Eleanor’s solo work that she was very much a big part of the Fiery Furnaces’s sound, not least because her beguiling vocals define so much of their output. She’s still fond of obtuse lyrics at times, and slightly wonky music. But what she has done is grown in confidence in writing more direct pop songs – and unlike the FF, this more pop than rock, I think. As you know, I think the P word is much maligned and is one of the highest art forms on Earth! Writing the perfect pop song: what a skill.
So what we have here is Friedberger at her warmest, her most human, her most direct. She hasn’t lost her leftfield edge, and to me, this still feels unusual and far from generic. But has she ever written as out and out a cracking pop tune as ‘Make Me A Song’? There’s a lovely mix of slow jams and uptempo numbers, and the songwriting throughout is A class. Great for lazy summer days too.
Hope you’re enjoying it as much as I am. This Furnace is perhaps less fiery these days, and more smouldering. It’s working for me.
DJ Koze has over recent memory won hearts of the vast majority of dance music fans through his releases on his own label Pampa Records as well as remixes such as Lapsley’s ‘Operator’ which was hands down last summers most played dance record. Intriguingly he’s done all this whilst keeping very much to himself and keeping up the reputation of dance music’s most recluse character. On a personal note I came across Pampa Records about 7 years ago and was instantly hooked, my love over DJ Koze naturally aligned with this. Pampa and more specific Koze has always had the ability to find something wonderful in the weird and make things work that shouldn’t. His approach is fresh yet familiar.
Keeping all of the above in mind I approached this album sceptically. Long players are tough in dance music and there have been few that have pulled it off. The lead single ‘Pick Up’ is a born winner, perhaps the anthem of the summer, but where do you go from there I kept in asking myself?
In short my approach was wrong. This isn’t a dance album. This is an album. This is a well thought out journey into the mind of Koze and friends. He has assembled a strong cast of guest vocalist that range from Jose Gonzales, Speech from Arrested Development and Roisin Murphy to name a few. Sure there is an over all 4/4 pace, and he delves into his techno and house background on tracks but seems to hold it to a level that there is a presence but it doesn’t take over.
Arguably there are more elements of Hip Hop, which makes sense as the few interviews that I have read about the recluse DJ Koze is that his roots firmly sit in this genre. I think this sits more on the side of heavy sampling and making something out of nothing.
1 month into this album I’m discovering new pieces to what is a complex collection of songs that each hold there own but majestically sit very well together.
I hope you all enjoy this as much as me. I find it has been a welcome friend with a gin and tonic in hand outside on an evening and also when I’m getting the kids ready for school in the morning.
Sometimes an album of the month is a leap in the dark (some work, some don’t, like N.E.R.D., yikes) and sometimes you have one that you desperately want to do but the timing is wrong, and when it comes to your shot, someone’s bloody bought it. NOT THIS TIME. So I’m rather chuffed to be able to still present Tracey Thorn’s new solo album: Record.
There’s a lot to say here, and a lot of history for me, so I’ll try and be brief, but probably fail. While never being a properly committed EBTG fan (more fool me), Tracey Thorn’s solo work has found a way into my heart ever since her first recent album, Into The Woods, back in 2007 (technically her second, but A Distant Shore was released in 1982!). She’d obviously found me via work where her vocals (Massive Attack) or her songwriting (Missing) made it onto the dancefloor, but seeing a solo album was still a bit of surprise, especially away from her work with husband Ben Watt.
But it wasn’t just good: Out Of The Woods was outstanding. Pop hooks and electronic tinges that became less of a surprise when you realise that it was produced by Ewan Pearson, but this wasn’t another set of dance tracks with Thorn’s ethereal vocals ghosting over them, but a series of wonderful, sparky songs that drew on Thorn’s own life, loves and experiences, and that leapt out from the page. A career renaissance, of sorts perhaps, or a new chapter that I loved from the start. To state this by example, Grand Canyon is still one of my favourite electronic pop records of the last two decades. And there were some amazing remixes too, of course.
Come 2010 and its follow-up Love And Its Opposite, was, while less of the surprise of its forebear, is still a earnestly beautiful album. Less sparky, more mournful, tracking love and loss in middle age with elan and panache. Sorrow never too deep, joy never false, confirming Thorn as a brilliant songwriter and musician all over again. Of course, Pearson made sure it sounded as fantastic as Out Of The Woods. There was even a quirky but utterly lovely Christmas album – Tinsel and Lights – in 2012 that captured the reality (good and bad, laid bare) of what the festive period means in this modern age, and is the only recent Christmas effort that I ever play. Joy still makes me shed a tear on a regular basis.
Fast forward to 2018, and a lot, it’s fair to say, has changed since 1982, even 2007. Because while Thorn’s still writing music, there’s much more to her than simply a musical renaissance woman and borderline national treasure. A column for the New Statesman, feminist activist, author and campaigner: even following her introspective Twitter feed doesn’t really cover everything, but it’s through this wider persona that I developed a bona fide intellectual crush on her. Her brilliant memoir, Bedsit Disco Queen, dovetailed wonderfully with Watt’s own poignant books on his own near-death and illustrious parents, and marked her out as much more than just a pop memoirist, but a woman with something to say. And in the era of #MeToo, it’s arguable to say that Record has arrived at an almost perfect confluence of so many parts of the last few decades of her life. The fact that I’m a 43-year old that grew up not log after Thorn’s generation makes all of the subjects and reference points seem all the more close to home, but really, it’s a statement, almost a manifesto for living in the modern world.
Put simply, I think it’s one of the best pop records of the last decade. And it’s much more than simply an album. Thorn’s openly confronted the misogyny of being lazily labelled a ‘quirky’ (and that is the the lightest in a grim litany of terminology she faces on a weekly basis) woman, and given many great interviews that explains the context of making it. Described as ‘feminist bangers’, it’s the best way to summarise the album’s spirit. From Queen’s opening, bleepy, breezy laments, through first single Sister‘s feminist call (“And I fight like a girl”) to arms, it’s an utterly modern palette of beautiful pop music, seen through the eyes of a woman who’s seen many of life’s highs and lows (the steely and world-weary “What year is it? The same old shit”) but come out determinedly swinging. I’m only a new parent now, but listening to Go is a punch in the heart delivered in a velvet glove. And while the songs – sprinkled with Pearson’s disco stardust again – are musically polished and melodically gorgeous, its the lyrics that are arguably the strong point here. Its also is no surprise there’s been gigantic remixes already that are a must for house fans, but they’re an added bonus to the whole experience.
Let none of that take away from the fact that there’s few albums around this decade that have combined great songwriting, fantastic tunesmithery and political and social relevance like this one. I can only hope you can get what I have out of it.
The only thing that I do not like about this album is it’s title. Please don’t let this put you off. So, who or what is U.S. Girls. ? Meg Remy is an American living in Canadia-land, hence the joke-come-band name U.S. Girls. She is to U.S. Girls what James Murphy is to LCD Soundsystem. The beating heart. The reason for it’s existence. Basically, an artist with a backing band. I’ve been ‘aware’ of her for some time and new I was supposed to like what she did. I nearly chose the 2015 album Half Free as AOTM but didn’t feel that I’d loved it enough to justify the choice. Each time I listened to it I really like it but I was not drawn to it enough to recommend. Apparently Half Free was a watershed recording for Meg in that she allowed others to have some input. ‘In a Poem Unlimited’ she has worked much more deeply with others. The result is amazing. It’s opened up what she has always done and injected more influences, excitement and fun into the output.
This is an album of unashamed pop music. With teeth. And power. And politics. And a very 2018 ‘vibe’ to much of the lyrical content. But pop music is the first thing you’ll hear. The most negative review I could find criticised the album because the music was so good that you didn’t notice the importance of the lyrics. That seems to be the worst thing that the critics could find.
There are so many hooks for you to hang on to and drag you into a second listen. There’s no point in me listing my favourite tracks as they all qualify and my favourites rotate depending on mood and context. So who does she sound like? At times she channels PJ Harvey, St. Vincent, Gwen Stefani and even Kylie Minogue and I know I’ve missed a load of references that I’ve heard on my many listens.
I am intrigued to know how you guys feel about this album. I usually love the singularity of output from a solo artist but this album feels like proof that often injecting others influence results in a well rounded and undeniable triumph. Enjoy.