Album Review- The Arcade Fire- WE

I think there were a lot of us impressed by Arcade Fire’s “Funeral”. I (at least very briefly) contemplated traveling across the country to see them live. It was such a scene-changing disc. Arcade Fire seemed a bit more grounded in rock on their next two records, shifting into a band that was defining 00s indie rock as influenced as much by Bruce Springsteen as anyone. I still rate “The Suburbs” quite highly. With a three year layoff, they made another direction change with Reflektor. A Sandinista size mess that had some of their best singles hidden in it’s nearly hour and a half run time. 2017’s Everything Now seems an extension of the move to electronic dance rock and I thought then my love affair with the band had come to an end. Those thoughts lingered as I first heard WE, the surely difficult sixth album (I’m just making that up- is it a thing -LA Woman, Green, The Head on the Door, Physical Graffiti, Music for the Masses, New Order’s Republic, Van Halen’s 1984- you decide). But I have come around to WE which is a slight turn on the Arcade Fire experience which is likely to win as many as it turns away. The titles suggest a throwback to Funeral, but it’s a mix of the personal themes of those follow ups and then the electronic dance beat of Reflektor. Reviews seem to be either really high or really low. I think after a few listens, I am with the former, while acknowledging the shortcomings that cause the latter. In many ways, I am reminded of their contemporaries (a band whose timeline is very similar with just one more album in the discography) the Killers- a band that might not immediately spring to mind sonically. However, like the Killers recent work, Arcade Fire seems to be pushing through on just raw ambition, confidence and conviction. WE is an album that doesn’t sound like much on paper, and I suspect the lyric sheet looks more like The Stooges than Dylan. But Win Butler is as unshakable as Brandon Flowers, and the band is in fine form (and Régine Chassagne’s contribution can’t be overlooked). I think a big asset is that it’s a relatively short album (40 mins) and most songs generally end around four minutes with rare exception (“Rabbit Hole” follows “Reflektor” and “Nightlife” as a song that succeeds despite being essentially a repetitive dance floor jam). Another interesting and a bit ironic part to me has also been remarked upon by others in passing or in part. When Funeral came out in 2004, it did not sound like anything else. WE sounds like a band who has binged on the music that immediately preceded 2004 and it is chock full of that influence- Mercury Rev, Grandaddy, Flaming Lips, and Radiohead. Overall, I think Arcade Fire succeeded in what they wanted to do with WE. Now, listening to a new Arcade Fire album while not considering the band’s legacy is going to be next to impossible. I can’t do much to convince people who won’t like this, but I think I am a fan

Album Review- Tejon Street Corner Thieves- Thick as Thieves

One of my recent discoveries is the Colorado based Tejon Corner Street Thieves. Last years Stolen Goods was an enjoyable listen- old folk songs given a modern touch TCST are out of that tradition of mixing punk ethos and classic Americana themes. They call their music “trashgrass”. There weren’t many bands like this 20 year ago, but there’s quite a few now whose stock in trade is Murder Ballads and Southern Goth. It is probably descended from the mix of the 80s Cowpunk bands, the 90s No Depression crowd and the Outlaw Country genre (with occasional nods to Cave and Cash). Denver’s 16 Horsepower were surely one of the first of this strain of alt country, but the list has just grown, with along the way, with some of the biggest names being Those Poor Bastards, The Devil Makes Three and Murder By Death. If you haven’t heard these bands, they’ve been covered by bigger names like Hank Williams 3 or showed up in movies like Inglorious Bastards. These days, it isn’t an original idea any more, so it comes down to whether these bands have a charismatic front person and whether the band has tunes. That’s where TCST stands out. Also as an aside, TCST are given credit as the first band during the pandemic to do “drive by” concerts where they would literally drive where their fans requested them.

Album Review- Belle and Sebastian- A Bit of Previous

I’ve written about Belle and Sebastian plenty, but here goes. The first four albums are every superlative in the book in my eyes. After the fourth album, Isobel Campbell left the band and the band seemed to move into a more pop oriented (or as pop as this band could possibly get) direction that has defined them since. (All writing about the band indicate that Isobel had very little creative input into the band at that the two points are coincidental. I just say the two happened at the same time). The band would title a later album “Girls in Peacetime Want to Dance” but the band in this second stage did seem to add a little boogie to their melancholy. Although it took me some time to come around, there are plenty of latter era songs that can hang with their best. At 25 years in, they have unexpectedly became a dependable rock (in their terms) workhorse, even releasing live albums. I have seen very high rated and very low rated reviews for this album. If you like the last decade of their work, I think it is good odds that you won’t be disappointed. But as a longtime fan myself, I also wish there were a couple of songs that were on the same level as the highlights of Girls in Peacetime. I think for me, this means I imagine this will place lower (over time) in rating my favorite B&S discs, but it is still a consistent listen and it is a rewarding listen, just a throwback to a bit of the “recent” previous.

Album Review- Calexico- El Mirador

Let’s talk first a bit about Calexico’s “Hot Rail”. When I first heard the 2001 album, I was blown away. It was the kind of genre mashup like the first time I heard the Pogues (Celtic punk) or the Mighty Mighty Bosstones (ska and hardcore punk). Though not the bands first album, it was my first exposure to them and still holds up as this completely inventive idea- traditional Tex-Mex music meets Rock. Such a game changer that Uncut just named it # 214 of the best albums of the last 30 years. On a side note, outside of Uncut’s championing (which led to my discovery) -Allmusic, Rolling Stone and Christgau all panned it. Ironically, the UK press being a bigger fan of Americana than the States. Also, I was aware of Jump For Joey, the pre-Calexico ska meet big band group with Joey Burns and I thought they were lame. What’s interesting about Jump With Joey is that they predate the Brian Setzer Orchestra and the Cherry Poppin Daddies and that swing 90s revival as well as predating a lot of Third Wave ska bands. I truly should revisit that band. (Lest you forget, like I did, Burns next move, taking advantage of 90s trends, was the Friends of Dean Martinez) In any case, from those unlikely roots came Calexico, a band that has been prolific (12 albums and plenty of EPs in 26 years) and has done the unexpected (collaborating with Iron and Wine, Lisa Germano and Howe Gelb and various times crossing paths with artists as diverse as Tortoise, Neko Case and musician/producer JD Foster (Dwight Yoakum, Patti Griffin, Chris Mars)). Calexico has carried on, often to critical acclaim (2006's Garden Ruin and 2012 Algiers, to name maybe the most loved outside Hot Rail). With the workhorse element of the band, I have to admit I have watched their activity but not necessarily closely. It would be incorrect to say “El Mirador” is a return to form, but it certainly feels like an album that states “You may have not listened to us in awhile, but check this out”. There’s a very clean feel to the album, so I am not sure that any Top 40 radio station would ever play this, but one would like to think they could sneak it in. It’s hard to otherwise point out what is different about this album, but it feels like a lot went into putting together the best 12 songs that fit their style. There is (as always) a number of guest contributors who I am sure provide an extra creative spark. It is interesting for me (as far as the desert as I can be in Iowa) that a local artist Pieta Brown has become a consistent member of the band going back over a decade, and has a couple of writing credits on this record.

What I am listening to - The Pixies (Live from Murat Theatre, Indianapolis June 7, 2005)

Over the years, the Pixies have released albums of somewhere around 17 concerts they have performed. These were released as limited edition vinyls in pressings of 1000 copies. They have also slowly been releasing these concerts to streaming services over the last couple of years. I am a big Pixies fan, and though the classic lineup has maybe six albums worth of material (albums, EPs and Bsides), it never gets old to me. (As an aside, it’s hip not to like the Pixies Mk. 2, but they have had a few worthwhile moments and I haven’t counted out the possibility of a later era masterpiece). Of all these shows, I gravitated to the June 2005 performance at the Murat Theater. The reason was because of all the performances, the location most pertinent to my experience was Indianapolis. Without speaking to other concerts, this one is a pretty high energy show. The fidelity isn’t perfect but it’s good enough given the quality of the show. Like many of the performances that were committed to vinyl, this was from the band’s last tour with Kim Deal. Bizarrely, the set list for this show was performing the songs in alphabetical order. Probably not surprising, the set list is Doolittle heavy (12 of 27 songs) with Bossanova limited to two, and Trompe le Monde solely represented by “UMass”. Of note, other set list additions are “Into the White” (“Here Comes Your Man” b-side the band loves) “In Heaven” ( from the movie Eraserhead, another Pixies concert staple) and “Winterlong” ( the Neil Young song from the Tonight’s the Night era featured on Decade that would become an addition to the Pixies Mk 2 set list)

Album review- Harley Poe- Horrorful

CAUTION: Shock Rock ahead A few years ago, someone shared an Indianapolis and Indiana-centric Punk playlist with me. Although there was a lack of big names (Sloppy Seconds probably remain the biggest punk band to come out of the Circle City, or at least were until Margo and the Nuclear So and Sos), there was a lot of talent. One that especially grabbed me was a relatively obscure artist named Harley Poe. Now, a few years later, I see his name popping up on Reddit and gaining traction in a few places. I am not the first to say it, but Poe reminds me of the excitement of being in High School and hearing the Violent Femmes and the Dead Milkmen. Imagine that (if you were like me), but then never listening to anything else except maybe adding Misfits records into the mix. Harley Poe mix country goth with gross out horror movie lyrics. Like Spiritual forefather Alice Cooper, Harley Poe was a band, but I think the name is pretty much synonymous with Joe Whiteford. Bizarrely for a band that could almost pass for an unplugged Gwar, the core of the band started as Christian rockers. I am not sure I can reconcile that with a band who recorded an album named “Satan, Sex and No Regrets”, except I think he’s sincere (about his faith, if not the lyrics) and people probably thought the Cramps were the end of civilization, too. Fair warning, it’s hard to find a Harley Poe song without swearing. I can’t even pretend that most people will like it. But if you like genres that are called things like Ukulele Punk, Horror Folk, Acoustic Horror, and Folk Punk, if you find the Pogues more interesting than the Sex Pistols and if you think Woody Guthrie is more punk than Joe Woody Strummer, well, this might be for you.

Album Review- Soft Cell

I have spent a quite a bit of time on the Marc Almond discography (also lest we forget the still active Dave Ball dba The Grid who made an album with Robert Fripp last year) so on the event of the first Soft Cell album in 20 years ago, I’m going to focus on the duo’s albums. 1981’s Non Stop Erotic Cabaret is as good as it gets. It’s a great rock trope (small town boy in the big city a la Appetite for Destruction) and even the cover is perfect (Almond with the under the counter goods- presumably the album- in hand under his trenchcoat.) Its a fantastic start to end listen, and if it’s a bit camp, that’s only because if it wasn’t, if it was straight and sincere, it’d probably be too painful to listen to. 1983’s The Art of Falling Apart is as good as titled sequel as “The New York Dolls in Too Much Too Soon” and similarly it features a band in turmoil ready to break up. Soft Cell made a conscious decision to steer away from making a commercial radio friendly follow up and the album is generally described as a disaster. As a fan, I don’t want to oversell the second record, but it certainly is a worthwhile in that it does have some great songs. It is darker but generally always interesting. It also features the 10 minute Jimi Hendrix (?!?) medley and the George Romero inspired 10 minute “Martin” and these latter album songs are better (in my mind) than their descriptions (or reviews) imply, as they usually get a lot of blame for this albums reputation. The album is probably as good as a litmus test on how big of a Soft Cell fan you are. 1984’s This Night In Sodom is that path to the extreme. It is a difficult album in that it’s closer to Almond’s short-lived Immaculate Consumptive pals (Nick Cave, Lydia Lunch, JG Thirlwell) than new wave pop tunes. Considering myself a big fan, I would nonetheless steer most people away, even then, carrying forth the maniacal perspective of the predecessor, it does contain a few songs that are truly great- Meet Murder My Angel, Where was your Heart when you Needed it Most and Mr Self Destruct (not the Nine Inch Nails song). In 2002, the band reunited and recorded the album Cruelty Without Beauty. It could possibly be considered a great “lost album” in so much, that it didn’t get a ton of attention. It is very much in line with the bands that Soft Cell influenced (OMD, Pet Shop Boys, Yaz, etc) and is surprisingly solid as far as reunion records go. The band called it quits very publicly in September 2018 with a final show at the O2 Arena which was released as an album The new album comes somewhat as a surprise to me then, and has received generally very good reviews. As a fan, I hate to say it, as I would love to be gung ho, but I think it’s a good, not great album. The album feels very much a continuation of where TLN..IS left off. The mood is dark, outlook negative. Almond takes a couple of shots at the Holy Trinity (not only, but especially on a track called “I’m Not A Friend of God”) Thematically, it could be a sequel to N-SEC. Songs like Polaroid, Tranquiliser and Bruises on my Illusions are very much revisits and all throughout run the same themes, or reference to revisiting the time (check the title “Nostalgia Machine”). The nsfw “Nighthawks” which recalls Acid House Psychic TV with guest Christeene as some truly nonstop erotic cabaret. The most talked about song is the lead single Heart Like Chernobyl. The writer of “Sex Dwarf” and “Say Hello, Wave Goodbye” gives us one last jaw dropper with a song that begins with “Oh dear, I feel like North Korea in the winter”. The highlight for me is probably “The Purple Zone” which is a duet with the Pet Shop Boys and sounds exactly like the intersection of the two as you might expect. I get a kick out of the video of the pairing of the synth pop legends - both duos with a wry singer and a hard working instrumentalist- surely would love to grab a beer and sit at that table. In many ways, Purple Zone incorporates the theme of the album- hitting on outsider status and aging. It’s video reflects that - with reference to the story of the LGBT+ community as shared by those who survived the 80s and 90s but also (stealing from Dickens) “the best of times and worst of times” of modern today. Also in contrast to the downbeat lyrics, the melody is a celebratory anthem that fits with the Pet Shop Boys' best. As a big fan of the band, saying I am somewhat disappointed is not meant to give the wrong impression. I will listen (and have listened) to some of the songs quite often. Other songs I am unlikely to revisit often. Most songs fit somewhere in between, but the aforementioned Purple Zone and Heart Like Chernobyl, the opener Happy Happy Happy (which fits the mold of their 2002 record) and the title track (a more upbeat variation on the Chernobyl theme) are all worthwhile additions to inevitable career spanning retrospectives.

What I am Listening To - Curtis Harding- If Words Were Flowers

One of my favorite things each year is putting together a list of my favorite 20 albums of that year. I’m probably close to having done this for 20 years. It is of course impossible to hear every album released in a year. Though with the current environment, I suppose one could get close. To a certain extent, the “old ways” are the best. One needs albums to marinate sometimes, and at some point, the task of listening to as many albums as possible becomes a full time unenjoyable job. Nor would I ever take an approach that I would only listen to “new” music so that means a favorite album of Q1, 2022 is an album that came out in 2021 but missed my ears in 2021. I am not sure how I missed Curtis Harding. It seems criminal. Yet even after three albums, he’s not quite a household name. I loved Harding on first listen. He reminds me of the 70s soul records that have become a recent soundtrack of mine with artists like Curtis Mayfield, Al Green and Bobby Womack, among many others. The so called neo-soul genre has thrived though it often gets played as an affectation (Cee Lo Green, Sharon Jones and the Dap Kings, the Heavy, Aloe Blacc, Anthony Hamilton, Baba Ali, Nathaniel Ratliff and so on) But listening to Harding, I don’t feel that it’s playing for a joke (though the video for “Can’t Hide It” has those vibes). A look at Harding’s history is well, unexpected. He’s recorded for Burger and Anti records- labels most well known for bratty punks. The musicians he has worked and crossed paths with are so varied - Cee Lo, OutKast, the Growlers, Mastadon, the Black Lips, the Oh Sees, and Danger Mouse I bring this up because it is important to note that we look at music legends from a long distance to present day lens, and we do give them modern day attributes. We view Johnny Cash via a punk rock and Rick Rubin scope to a point where his image assumes a personality indistinguishable from a hard drinking, brawling, flipping the bird Mike Ness character or a gothic bible-quoting Nick Cave character. So it is with classic soul which these days brings to mind, Tarantino soundtracks and driving rap samples. While I would suggest both Marvin Gaye and Mr Harding have made timeless music, I would also suggest that Harding has the benefit that no circa-1971 soul singer would have - extensive knowledge of the discographies of Parliament-Funkadelic, Gil Scot-Heron and Outkast. Anyway, this is the first “new” artist that I have been this passionate about in awhile.

Album Review- Johnny Marr- Fever Dream Parts 1-4

Johnny Marr’s solo career has been unlikely. When everyone might have expected him to cash in on his fame in the 90s and 00s, he played the hired gun. It’s probably for the best as when he finally launched a serious solo career, there weren’t unwieldy expectations. Fever Dreams Parts 1-4 is the new album. Conceptually, it is a double album consisting of 4 EPs. (In reality, only the first two EPs were released individually as such). Perhaps for this reason (if not literally then perhaps psychologically), this doesn’t feel like an album any more than it does a group of songs. Maybe there is also an inevitability of a letdown after his last couple of records like 2018s Call the Comet and the non-album single Armatopia (which went synth heavy) were so strong. If you read one of the many negative review of Fever Dreams, I will tell you the comments therein are correct. The production and mix tend to treat the music in such a way that a lot of songs fade from memory- “background music” someone called it and I tend to agree. There certainly is a tendency for the songs to sound similar to Marr acolytes. Someone mentioned the Strokes and I’m not sure of that, but certainly there are similarities to this new crop of Marr influenced bands like NewDad. But that’s only half of the story. There are 16 songs here and at least a few are strong singles -songs like All These Days, Gods Gift, Ghoster, Tenement Time, Night and Day and Spirit Power and Soul. Those songs alone are enough to justify this CD length (or 2 Record) album and makes it stand out as a worthwhile choice for any fan of Marr and his similar sounding contemporaries like New Order and Suede. So the casual listener might not be instantly attracted to this mix match of styles with some filler, but I think a few years down the road, Fever Dreams will hold solid in the Marr discography. For your audio needs, here’s God’s Gift. With Marr, there’s much more to his career than the Smiths, but this song about an egotistical blowhard, well, one comes to mind anyway.

Album Review -The Soundcarriers- Wilds

Lately, I’ve been posting veteran rock bands and I begin to wonder why they hang around for those seventh and eighth albums when most bands have peaked by their third. But the reason is that they might get a new audience and I’m reminded that some recent “finds” like the Orange Peels are bands I got around to at a late date. So it is with the Soundcarriers - album #4 after a seven year hiatus- but even still, Wilds has been championed as one of the best new albums by Uncut magazine and Allmusic. The name is perfect for what is an otherwise indescribable band- that dabbles in baroque pop, psychedelia, garage rock, tropicalia, lounge, folk, movie music, jazz, Krautrock and other “found sounds”. The band that shows up most in their reviews is Stereolab. I think the link is more spiritual than sonic, but I suppose it’s not easy to decide where to start. More than anything they remind me of the producer -led groups like Whyte Horses (of note, Lenore Wheatley has been involved in both bands.). I find it interesting that their press often references that they are equally influenced by Os Mutantes and Sergio Mendes/Brazil 66 (two of Brazil’s most well known acts but certainly musically very different), but it goes to show how many ways this music can be approached. Maybe you’re listening to this because you like Psychedelic Syd-era Floyd (and it’s descendants) or maybe you are more interested in modern Coral-style indie rock BBC6 playlist fodder, or it could be you are looking for some thing shoe-gaze (in the original sense of the term). Whatever brings you in, the album will reward you.

Album Review- Red Hot Chili Peppers- Unlimited Love

So I guess, Um, I’m a pretty big Red Hot Chilli Peppers fan. When I first heard them, it wasn’t that I didn’t like them, but I felt the hype was unbearable. But I was getting introduced to a lot of things, Mothers Milk was a bit too much for me in terms of advertisement, but I was also hearing some of the silly punk stuff and I didn’t hate the funk stuff, and it would be incorrect to say I wasn’t a fan. Some of it was great. Then the Huge album was next. I was not overly impressed, even while I was hitching my saddle with REM, U2, Nirvana, The Cure and some of the big records of the day. Something funny happened to the Peppers. Like every band in the history of time, they couldn’t stay at the top forever and the follow up four years later was One Hot Minute, which by all measures, a flop. But here’s the thing, I kind of dug it. Adding Dave Navarro to the mix changed things and the darker sound wasn’t what people expected, but I actually think it’s a fairly good listen. The Peppers had transitioned into a more ‘mature’ sound and with John Frusciante back would continue to release albums and return to chart success. For me, the apex of this direction was 2002’s By the Way- one of those love-it-or-hate-it records that solely depends on if one is interested (or not) in a more mature and introspective Peppers. The last couple of RHCP discs feature Josh Klinghofer replacing Frusciante. They were generally well received, but the Peppers are rock lifers now. We won’t likely see much more in terms of inventive music. But Frusciante’s (and Rick Rubin's) return means Unlimited Love will get a lot of attention and scanning the reviews, the album is a bit of a Rorschach test for the reviewer. At 17 tracks and near the standard compact disc length of 80 minutes, it’s a bit of an “all of the above”. Is it a continuation of the current trajectory or is it a mature return to Blood Sugar Sex Magick as the rap of Poster Child or Aquatic Mouth Dance implies? Yes. Bits of both sides interweave throughout. What is your status as a fan? Do you think they are irrelevant dinosaurs? Do you await their every new release? Have you not listened to them in 20 (maybe more) years? With that many songs, all of the above elements are there- throwback to BSSM, introspection like By the Way and effortless arena rock like Stadium Arcadium; and with plenty of songs near or over 5 minutes, again all aspects are present. But as a reviewer, I’m compelled to make some kind of judgement, so I will say it’s a generally very good record. It’s hard not to talk about it in terms other than “lifer”. The band seems to be able to produce 70 minutes with little struggle in effort, much like those late era Stones or U2 albums. Oddly, the artist that comes to mind for me the most isn’t necessarily a stylistically similar one. I hear Alice Cooper insomuch as Anthony and Flea can’t really reinvent themselves at this point. Like Alice, Kiss, or Ozzy, it would be ridiculous to expect anything else. The album is likely not helped by containing that killer single (Black Summer, These are the Ways and She’s a Lover are serviceable enough for the fans and career retrospectives) or that many of the gems are hidden near the end of the album like The Great Apes and Veronica and the much buzzed about guitar workout of the Heavy Wing. I do think if you like this stage of the bands career, you can at least say they stepped up to the plate on this one, and even if it doesn’t measure up to previous albums for the reasons above, it’s still a very worthwhile record.

Concert Review- The English Beat

The English Beat are one of my favorite all time bands. You don’t probably need a history lesson, but let’s just say they’re a band that I had on cassette, had to update to CD, and in the land of streaming, where things are quantifiable, are among artists I still listen to the most. They were already broken up by the time I got to them, but I have always wanted to see them- a bit of the great ‘big white whale’ for me for 30 years as various descended bands like the Special Beat, the International Beat and even General Public reformed and toured, but I never got the chance to see. . Around 2016, both primary members of the English Beat resurrected versions of the band. Dave Wakeling in the US with a new incarnation that would release a new album Here We Go Love, and Ranking Roger (with his son Ranking Jr and Beat drummer Everett Morton) and release two records. Honestly, I initially dismissed these records. I will say that I never took to Wakeling’s record (despite it being a fine record that got plaudits) the Roger albums are fantastic and I can’t recommend them enough. It has been a long time without concerts and I was shocked when the resumption of normal activity brought the English Beat into my smaller town. The cynic in me will point out that the current iteration of the Beat only has Dave Wakeling from the original band, although his gang has been performing Beat/General Public songs for over a decade. But there also isn’t anyone left. Roger and Morton have since passed. Famously, Andy Cox and David Steele joined Roland Gift to form the Fine Young Cannibals, and for whatever reason, have never came back to any of the Beat reunions. Saxaphonist Lionel “Saxa” Morton was already older than everyone else, already a ska legend before he joined the band, and has also recently passed. So I suppose the English Beat can be whatever Wakeling says they are, and that is fine; and they are pretty good at it. I don’t envy anyone forced to replace Ranking Roger, but Antonee First Class has a great personality and voice for it. (I was curious to how I joined, so I researched and saw where AFC saw Roger’s group in London and asked Dave why his group didn’t have a toaster.) In my minds eye, Wakeling is the photogenic frontman of the 80s General Public sleeves and energetic videos from their 90s Chart run. Like Terry Hall, he is nearly unrecognizable now, though he does resemble a respectable elder statesman of rock (meanwhile Suggs always looked like a middle aged man even when he was 20). But when he puts his head down and strums that famous Teardrop guitar, he looks like he did in 82. I know that he stays very active in the 80s Nostalgia circuit and it shows. At 66, he’s a charismatic frontman. He has great interaction with the crowd and his voice which I love sounds like it did on 40 year old records. The set list as it has been a stable greatest hits with long time band opener Rough Rider and the usual suspects (excluding “I Confess”) including three of the best known General Public songs But the band was acutely aware of the location. Antonee with the ska-friendly patois sound of “Io-wa”. Dave seemingly knowledgeable that Andy Williams was the most famous musician the state has produced (and the only person with a more recognizable version of “Can’t Get Used To Losing You”). Mirror in the Bathroom is the big build up as it should be. A song that somehow taps into everything exciting every single time. The show closes with Antonee toasting from Jackpot and a U-Roy inspired freestyle. (He specifically mentioned U-Roy though as far as I know it wasn’t necessarily a U-Roy tune). Wakeling’s accent was a bit too much to grab all of the one liners but he needled Sting a few times and took the blame for Margaret Thatcher (Paraphrasing: She would have probably only served four years but she heard “Stand Down Margaret” and took umbrage and stayed 20). It feels odd to praise a concert for a band who has only one original member and hasn’t had a significant album in 40 years, but surely it was as fun of a concert as someone a third of the age. I would definitely recommend seeing them if you get the chance. Rough Rider Hands Off She’s Mine Twist and Crawl I’ll Take You There Tenderness Whine and Grind/Stand Down Margaret Save it for Later Can’t Get User to Losing You Too Nice to Talk To Never You Done That Doors of Your Heart Ranking Full Stop Mirror in the Bathroom Jackpot

Album Review- Sea Power

2003’s Decline of ..British Sea Power is on the list of life changing albums for me. It actually predates Arcade Fire’s Funeral with its Pixies meets Joy Division bombast. The second album Open Season is often referred in sophomore slump terms and that probably isn’t fair. It is a quieter album that recalls the gothier side of British New Wave that reflects time spent with Will Sergeant of Echo and the Bunnymen. It’s not a bad disc, just overshadowed. To me, the third album Do You Like Rock Music blends the first two albums perfectly- a more accessible version of the debut. But having perfected the sound, it’s been hard for Sea Power to really get back to this artistic peak. It doesn’t help armchair critics like myself when the band seemed quite content on making all sorts of music projects that aren’t the typical 80 minute disc. For me, the fourth album Valhalla Dancehall comes close but is the start of a vague sameness that pervades in the latter discography. Handled individually, the albums aren’t bad. (Allmusic lavishes plenty of praise, while Pitchfork is generally down on the band save 2017s Let the Dancers Inherit the Party and misspell lead singer Yan’s name in the newest review). They just are the product of an established band. Last year, the band dropped the “British” from their name- hoping to prevent any unintended nationalistic implications. In that spirit, this - the bands eighth “proper” (non soundtrack /non instrumental) album “Everything Was Forever” has a sense of relaunch. It is and isn’t. In many ways, it just another continuation- more of the same if you will. Yet, it is also likely their best album since Do You Like Rock Music? Songs like Two Fingers and Folly sound like singles. Green Goddess has the power of the band’s debut. Even a song like Fear Eats the Soul might not otherwise stand out, but surely would convert any first time listeners with its orchestral charm. Of note Bark Psychosis’ Graham Sutton produces (he produced the bands afore mentioned second, third and fourth records). For the most part, the album is best when they lean into the sound of the first record, though on a song like “Folly” with New Order-ish keyboards suggest. As a fan of a 20 year old band, one can’t expect too many surprises but this one is bound to stick in my playlist for a few weeks