Category Archives: New Releases

MATS EILERTSEN – And Then Comes the Night

Album: And Then Comes the Night

Artist: Mats Eilertsen

Label: ECM

Release Date: February 01, 2019


Veteran Norwegian bassist Mats Eilertsen has more sideperson gigs on his resumé than most of us have had hot dinners – he’s been the go-to guy for Scandinavian jazzers for over twenty years. But he’s also begun to make his mark as a composer and bandleader, as evidenced by 2016’s large ensemble piece Rubicon and his records with his current trio.

His third LP with pianist Harmon Fraanje and drummer Thomas Strønen (Food, Time is a Blind Guide), And Then Comes the Night does an expert job at straddling that fine line between jazz and classical music that European jazz musicians often favor and that ECM showcases so well. “22,” “Soften” and “After the Rain” lean hard on melody, with Fraanje preferring to work variations on the main theme more than spin off into improvisational flights of fancy. The leader works solely in support on these tracks, eschewing solos in favor of creating a foundation for a melancholy atmosphere. “The Void” and “Perpetum” threaten to give in to darkness completely, as Eilertsen weaves mournful arco bass through Fraanje’s minimalist chords on the former and the entire ensemble builds a quiet tower of menacing dissonance on the latter. In the tradition of his pioneering countryman Jon Christensen, Strønen plays around the beat as often as on it, an approach that adds a tension to the hermetic minimalism of “Sirens” that keeps it from floating off into the ether.

Eilertsen and company come full circle by ending the record with a variation on “22,” which, while not a radical departure, re-emphasizes the group’s commitment to its chamber jazz vision.

DOWNLOAD: “22,” “The Void,” “After the Rain”


The Who (reissue) / Pete Townshend (reissue) / Roger Daltrey (new album)

Artist: The Who / Pete Townshend / Roger Daltrey

Release Date: October 04, 2019

Live at the Fillmore East 1968

Who Came First 45th Anniversary Expanded Edition

As Long As I Have You
Republic Records




Long live the Who, or at least the legacy that remains. The on-again, off-again alliance of Pete Townshend and Roger Daltrey notwithstanding, the band as we once knew it, with Keith Moon and John Entwistle powering that formidable rhythm section and adding the flash and finesse makes any attempt to reconvene as The Two pale in comparison.

Indeed, all that’s needed to affirm that premise is found with even a cursory listen to the archival slab of former glories belatedly released as Live at the Fillmore East. It bears witness to the seminal glory of the Who’s glory days gone by. Boasting an ample amount of seminal songs from the band’s early catalog — “I Can’t Explain,” “Happy Jack,” the early min opera and opus “A Quick One (While He’s Away,” and an entire disc devoted to an extended take on, what else, “My Generation” — it fills out the set list with the classic covers that were once given their indelible imprint — “Summertime Blues,” “Fortune Teller” and “Shakin’ All Over.” That early edge and energy, pre Tommy and any other affectations that would come soon after, makes this concert a singular stand-out that is legendary to say the least (bootlegged versions have circulated for decades), as well as one of the few archival examples of the early band live in performance. This is essential Who and a riveting example of all that assured their legendary largess and prowess,

Townshend’s first solo venture, Who Came First, began life as a tribute to his spiritual mentor Meher Baba and consisted mainly of demos of songs destined for the Who’ future catalog while still their seminal states. There were other additives thrown in full good measure — a tender take on the classic standard “There’s a Heartache Following Me” (said to be one of Baba’s Favorites), Small Face/Face bassist Ronnie Lane’s tender tale of reincarnation, “Evolution,” and other early extras that were yet to emerge fully formed. An earlier reissue added a smattering of bonus tracks, all but one of which is repeated here, but for this 45th anniversary edition, an entire disc of extra additives are included, among them, early rough takes on “The Seeker,” and instrumental version of “Baba O’Riley” and a very early version of “Drowned,” a key cut from Quadrophenia. While there was nothing especially earth shattering about Townshend’s first offering — it was more an additive to his bigger vision of the band after all — it still purveys a charm that finds Townshend in both a contemplative state and expressing a vulnerability rarely evidenced amongst the bombast and fury of the essential ensemble.

While he wrote only a smattering of songs for the Who, Roger Daltrey has put out a slew of solo albums throughout his career, venturing away from Townshend as a source for his songs and more towards other writers who also offered a seamless fit. Consequently, As Long As I Have You finds him trolling some essential soulful sources — Stevie Wonder, Joe Tex, Ruth Copeland, Jerry Ragavoy and the like — while transforming them with his individual inscription. He’s never sounded better, whether veering from an emotive testimonial  (I’ve Got Your Love”) to an ecstatic wail (“How Far”) to a soulful shout (“Where Is a Man To Go”), and the fact that Townshend is on board throughout most of the disc brings it closer to a Who album than anything else in recent memory. At very least, it’s Daltrey’s best solo effort since Ride a Rock Horse and an obvious indication he’s still in fine form. Every entry is excellent. Suffice it to say, it’s superb.

DOWNLOAD: “I Can’t Explain,” “The Seeker,” “How Far”

TROPICAL FUCK STORM – A Laughing Death in Meatspace

Album: A Laughing Death in Meatspace

Artist: Tropical Fuck Storm

Label: Joyful Noise

Release Date: October 26, 2018


The hiatus of Australia’s amazing Drones was a shock coming after its upward creative arc, but all is not lost for fans of their distinctive arty psychedelic postpunk roots rock. Singer/songwriter Gareth Liddiard and bassist Fiona Kitschin keep the vision flowing with drummer Lauren Hammel and guitarist/keyboardist Erica Dunn in Tropical Fuck Storm, named after the Drones’ self-guided label. Given how weird and eclectic the Drones had become by the end, A Laughing Death in Meatspace is both a retrenchment and an evolution.

The empty spaces and electronic atmospheres have been folded into the background, with guitars back up front and in your face. Kitschin and Dunn soak the arrangements in wild-eyed harmonies and Liddiard’s brilliantly wordy lyrics and off-kilter melodies are in full effect. Yet it would be inaccurate to call this any kind of return to form (a dubious compliment anyway). Having a new crew always changes things, and the band recalls the Drones’ best without being a clone. The social media critique “Chameleon Paint” starts like it’s going to be synthpop, but layers fractured guitar lines over the groove almost immediately; add in a singalong chorus and it’s something new yet familiar. “Soft Power” attacks the subtle abuses perpetrated by those at the top of the food chain across a smear of shrieking feedback, understated drums and Dunn/Kitschin’s otherworldly backgrounds. “Two Afternoons” adds a loping rhythm to its raging six-stream firestorm in a way unique to this group, while “Shellfish Toxin” skips lyrics for a deliberately meandering instrumental that takes Liddiard into new territory. (Below: vinyl enthusiasts will want to snag the “slime green” edition of the record while it’s still available.)

As always with most of the best restless experimenters, TFS know when to lay back and let some recognizable allure take the wheel – “You Let My Tyres Down” recalls the old group’s balladry, the rambling “Rubber Bullies” stands as classic Liddiard, and the nervous “The Future of History” would’ve fit right in on Feelin’ Kinda Free. It’s a combination of old and new, letting Liddiard play to his strengths as a writer while letting a new band paint his compositions in different colors. That blend of comfort and risk makes A Laughing Death in Meatspace one of the best rock records of 2018.

DOWNLOAD: “Rubber Bullies,” “Chameleon Paint,” “You Let My Tyres Down”



Album: Another Life

Artist: Amnesia Scanner

Label: Pan

Release Date: September 07, 2018


Amnesia Scanner constructs dystopic dance electronica out of altered, tortured voices and grindingly heavy industrial sounds. The duo, originally from Finland but more recently living in Berlin, builds heightened alternate realities from synthesized elements, the beats frayed with volume and dissonance, the voices denatured and abstracted. Imagine an AI in existential crisis. Imagine a robot reprogramming itself furiously so that it can scream. Imagine a whole floor of automated factory machines stirring to life and starting, clumsily, to dance.

Up to now Amnesia Scanner — that’s Ville Haimala and Martti Kalliala — has avoided vocals, composing a mixtape, a performance piece and two EPs entirely out of inorganic elements. For this debut full-length, the two add both real and manufactured voices. Pan Daijing, a noise-electronics artist also now living in Berlin, chants and shouts through two tracks, lending a female-empowered hip hop flavor to “AS Chaos” and a pouting hedonism to “AS Unlinear” (all tracks on Another Life begin with the initials AS). As for the manufactured singing, that’s Oracle, whom the artists conceptualize as the sentience that arises out of their dual project. You can hear Oracle in “AS Spectacult Featuring Oracle,” a relatively serene interlude of buzzing discord and high, unearthly keening.

In the best cuts, the dance elements win out over doom-y post-apocalyptics. “AS A.W.O.L.” layers metallic-ringing keyboard notes (like a music box made of tin) over a sinuous, vaguely ominous beat. “AS Another Life,” zooms in and out of focus on vibrating bowed tones (or their computerized equivalent), then kicks up its monolithic heels in a syncopated jig. It and “AS Chaos” rumble closest to hip hop, though in a hyper machine-like Terminator-style way. Other tracks deliver a purer evocation of post-industrial ruin, the noise of girders clashing and falling, of steam vents pushing out hot air, of the hiss and sputter of overloaded electrical wires, and, perhaps, as a clue to how it all went wrong, the not quite human sound of AI despair filtered through autotune.

DOWNLOAD: “AS A.W.O.L.” “AS Another Life” “AS Chaos Featuring Pan Daijing”

ARKELLS – Rally Cry

Album: Rally Cry

Artist: Arkells

Label: Last Gang / eOne

Release Date: October 19, 2018


The Arkells are on a seemingly growing list of Canadian bands that put out album after album of great music and attain a certain level of property in their home country, but have yet to really reach that level of recognition here in the U.S. Rally Cry, their fifth LP, is more of what fans have come to expect from the band – a frenetic collection of memorable, sing-along pop rock that brings to mind everyone from U2 to Cheap Trick.

The band clearly discovered a formula early on and have stuck with it ever since. Rally Cry is pretty much a karaoke album for modern times, with danceable hooks, and choruses begging for arena singalongs. Surprisingly one of the more obvious danceable pop songs here, “People’s Champ,” is a trojan horse political anthem, with lyrics describing Trump to a T, all wrapped neatly in hard-to-ignore hooks. Elsewhere, “America Screams,” though still a great song, is a little less subtle with the political implications. There are a couple of weaker songs here that start to lose luster after a couple of listens, but not enough to overshadow many of the stronger tracks.

Another fine entry into the Arkells’ growing canon. Here’s hoping America is listening.

DOWNLOAD: “Company Man,” “Don’t be a Stranger” and “America Screams”


Album: Late Riser

Artist: Frances Cone

Label: Living Daylight Records/Thirty Tigers

Release Date: January 18, 2019


Over the span of just 10 songs, Indie pop group Frances Cone manage to create a blissful soundscape whose beauty seems downright impossible given the current times we are living in. But damn they manage to pull it off impressively here.

“Late Riser” is technically the second record from the Nashville – by way of Brooklyn – band led by Christina Cone. But this album sounds like a rebirth of sorts with the addition of bassist and collaborator Andrew Doherty. Cone’s ethereal vocals soar over the complex soundscapes created by the band. Songs like the album opener “Wide Awake” and the remarkable “Failure” evoke early ‘90s groups like The Sundays and Innocent Mission, both which had similar abilities to take you completely out of your head, transfixed by sweeping melodies.

There are a couple of stumbles here, like on the somber “Easy Love,” but for the most part, Late Riser is crammed with stunning songs strong enough to make you forget what else is going on in the world – at least for 30 minutes or so.

Download: “Failure” and “Wide Awake”

THE BLANKZ- It’s a Breakdown 7”

Album: It's A Breakdown 7"


Label: Slope

Release Date: January 04, 2019


As Clay Davis in the Wire says “SHEEEEEEEEEEEEEET”! This is one incredible slab ‘o’ wax from the packaging to the short sharp and shock songs. The Blankz are from Phoenix and if you haven’t heard of them, don’t pay that no mind because I’m here to tell y’all this right here is some impressive music coming out of the Southwest that you need to take heed of. Taking subtle cues from Social Distortion’s Mike Ness with a dash of Rocket from the Crypt, the band come out guns a blazing on the title track “It’s a Breakdown”.  With lyrics like “Hang myself or Hang around” you know they ain’t messing around. It’s a joyful slab of pop punk yet it has some interesting subtext lurking just beneath the surface. The organ is a welcome addition and works really well in giving the tune a retro and more sophisticated feel. “You’re Not My Friend Anymore” is a slightly weaker tune but still packs a punch and shows just how talented the band is and how they’ve mastered the pop-punk genre. The production is excellent on these two tunes and makes me look forward to a full record when that day comes. I must also mention the 3-D packaging the glasses, the sticker and the deluxe sleeve. Most LP’s these days don’t put in as much effort so kudos to label and band for giving us a deluxe collectible for my own vinyl porn collection.

DOWNLOAD: “It’s a Breakdown” “You’re Not My Friend Anymore”


FLORIAN WEBER – Lucent Waters

Album: Lucent Waves


Label: ECM

Release Date: November 02, 2018


When we last heard from German pianist Florian Weber, he had issued a lovely record called Alba as a duo with Karlheinz Stockhausen’s trumpeter son Markus. For Lucent Waters, his ECM debut as a bandleader, Weber connects with trumpeter Ralph Alessi, bassist Linda May Han Oh (both of whom he worked with in saxophonist/mentor Lee Konitz’s band) and drumming titan Nasheet Waits.

Weber is not a flamboyant player, preferring to meditatively explore his melodies, and he encourages his sidefolks to do the same. “Schimmelreiter” and “Melody of a Waterfall” shimmer under the glow of Alessi’s insistent lines and golden tones, supported by the leader’s sonorous chord work and the rhythmeers’ drifting foundation. Weber does take advantage of the presence of an engine room, however, letting Waits and Oh put a little fire into his step. The rhythm section pushes hard on “Fragile Cocoon” and “Time Horizon,” and though Weber is no McCoy Tyner, he does allow himself to wander more aggressively across the 88s in response. He’s at his best, though, on “Honestlee,” paying tribute to his, Oh and Alessi’s old boss with gorgeous melodics and a rhythmic kick that makes the track swirl.

Beautifully crafted and expertly performed, Lucent Waters perfectly displays Weber’s virtues as player, writer and leader.

DOWNLOAD: “Fragile Cocoon,” “Honestlee,” “Time Horizon”


SPAIN – Mandala Brush

Album: Mandela Brush

Artist: SPAIN

Label: Dangerbird

Release Date: September 28, 2018


Of all the bands to appear the so-called slowcore movement, Spain is now one of the longest-lasting. No surprise, really, as Josh Haden has evolved into a forward-thinking bandleader with a vision that encompasses both the sanctity of songcraft and the openness of improvisation. Mandala Brush, the group’s seventh studio album, bears both of these ideas out.

Song-oriented tracks “Sugarkane” and “You Bring Me Up” continue his trend of adding a rootsy vibe to the band’s languid folk rock, but then genially disrupts the flow with a muscular guitar solo on the former and a gospel coda on the latter. “Holly” sounds like an ancient folk song pulled from the ether. But “Maya in the Summer” and “Tangerine” take a less structured tack, stretching comfortably out, letting the instrumentalists jam and having Haden float over the top with lyrics he might well have made up as he went along. By the end of the record, the appropriately titled “Amorphous” and the epic “God is Love” revel in improvisation and risk, becoming tone poems more than songs. “Folkstone, Kent,” meanwhile, splits the difference, putting jazzy trumpet and a psychedelic atmosphere in the middle of lovelorn lyrics that could have been found on a century-old manuscript.

Haden is, of course, the son of famed jazz bassist Charlie Haden, which has been a notable part of his biography since the band’s inception. But Mandala Brush is the first album on which he really brings his dad’s legacy to bear, and does it without losing the essence of songcraft that’s always made Spain stand out.

DOWNLOAD: “Folkstone, Kent,” “You Bring Me Up,” “Maya in the Summer”



Album: I Hope You OD

Artist: Bad Mojos

Label: Bad Voodoo Rhythm Records

Release Date: December 21, 2018


Sounding like it was recorded at the bottom of the ocean, this 10-track, 20 minute-or-so collection of could be basement/pub anthems from Swiss punks Bad Mojo has all the feel of a late ‘70s, UK street punk album. Unfortunately, the vocals are so buried underneath layers of distortion and an incessant buzzing that seems wildly unnecessary in an age when even a bedroom recording can come across as clean as anything recorded in a studio circa 1970, that any attempt to make sense of what is being sung is just wasted time.

Musically, once you strip away the constant, buzz there seems to be a fun adherence here to classic punk rock, nods to everyone from Cock Sparrer to GG Allin, a favorite among the band. With the average song clocking in around a minute and a half, there is a real sense of smash and grab, get in and get out immediacy to each track.

There are hints of a solid punk rock album here. Unfortunately, the recording quality is so weak, we never really know for sure.

DOWNLOAD: Your guess is as good as mine.