STACK #126 Apr 2016

MUSIC

REVIEWS

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Paul Weller Saturns Pattern Astrologers well may muse on the mystical impact of Saturn's 28-year orbit on a 56-year-old; astronomers might recognise the hexagon on the cover of Paul Weller's 12th solo album as the shape of clouds at the ringed planet's north pole. But to each note of cosmic mystery, the answer is the same: He's the Modfather, mate. The laws of the universe are his to interpret. The former Jam and Style Council leader effectively retired from linear sense with 2008's 22 Dreams , the first in a series of panoramic-psychedelic studio concoctions with co-writer/programmer/producer Simon Dine. Wake Up the Natio n and Sonik Kicks continued to give a wide berth to the earnest acoustic comfort zone an elder statesman with Wildwood on his resume might be excused for calling home. His Saturn sojourn is another step into the abstract, wherein heartfelt lyrics from the wise end of a rock icon's journey are only as important as that squoodgy sound parting his hair during the acid-rain guitar solo. The magic carpet intro of White Sky explodes into a lovely squall of overdriven guitars before returning to the morphing space debris that forms a background canvas to the album's wilful eclecticism. Going My Way starts like a Robbie Williams piano pleaser, before lurching into a jaunty Sgt. Pepper flashback. Pick it Up traverses from soul funk groove to full-fledged Space Invaders battle over six escalating minutes. The glam-blues epic In the Car… sounds like Sonny Terry and Brownie McGhee joined the Glitter Band, and is that a Chinese fiddle in the rainy neon blur of These City Streets ? It all adds up to another phase of liberation for an artist who's learned to take his universe as it comes. "I really don't get anxious/ I leave it up to fate," he sings in what would might have been a less cryptic title track: I'm Where I Should Be . ( Warner) Michael Dwyer

The Staple Singers Freedom Highway Complete Reissued on the 50th anniversary of the original album's release, this extraordinary listening experience – recorded live at Chicago's New Nazareth Church on April 9th 1965 – captures a church service by this acclaimed gospel group weeks after the historic March 21-25 voting rights march from Selma to Birmingham, Alabama. Pops Staples’ bluesy guitar, the raw, soaring voice of his daughter Mavis, the harmonies of her sister Cleo and brother Purvis, the choir, the band, Pops' between-song patter and testifying, ambient noise from the congregation, coughing, shifting in the pews, and random shouting, puts the listener right in the church. (Sony Music) Billy Pinnell

Dwight Yoakam Second Hand Heart

Dwight Yoakam’s trademark cowboy hat, cowboy boots, tight, tight jeans and distinctive hillbilly honky-tonkin’ sound have remained a constant since launching his career, nearly 30 years ago. A multi-Grammy award winner, he has sold over 25 million records and continues to be one of the bigger names in country. He has stayed true to his roots, playing by his own rules, and Yoakam fans couldn’t be disappointed with this new batch of original songs plus a rocking version of Man of Constant Sorrow as one of two covers. This is familiar Yoakam from years past playing it as fun and refreshing as ever. ( Warner) Denise Hylands

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Scorpions Return to Forever

Psycroptic Psycroptic

Gallows Desolation Sounds

The Heartache State The Heartache State Nick Barker is one of our most underrated songwriters. Sure, he might have made some missteps – “Bad decisions are mighty good prisons,” he sings here – but his Replacements- like rock is whip-smart. On his first album in six years, he confesses, “I was never any good at being alone." So this is a band album, with The Heartache State featuring long- time collaborator Justin Garner. Barker addresses his career in Clockstar : “Time is tickin’ and they ain’t giving out any more,” but he believes, “I got one more in me.” Indeed, he has. And The Heartache State is a great place to be. (MGM) Jeff Jenkins

Despite releasing their debut Lonesome Crow in 1972, Scorpions are celebrating their 50th Anniversary this year with their eighteenth studio album Return to Forever. This release is interesting in that the band has looked into the vaults and dusted off some old ideas from the ‘80s that weren’t completed at the time. Some of these unfinished songs date as far back as the Blackou t period, all the way to the underrated Humanity: Hour 1 sessions from 2007. Return to Foreve r doesn’t break the mould or push boundaries, but it does prove that rock – much like the Scorpions – will never age. (Sony Music) Simon Lukic

Self-titled albums often signify a new chapter for a band. For Psycroptic, their sixth album proves the Tasmanians still have something fresh to offer after 16 years.There is a move to a more thrash metal approach in the guitars, where the riffs are more direct and crisp. This has flowed into the arrangements, which are stripped down and more economical. Psycroptic also highlights the extraordinary talents of guitarist Joe Haley. His brother Dave deservedly gets many kudos for his drumming prowess, but Joe’s unassuming six string virtuosity truly shines here. (EVP/Rocket) Simon Lukic

Losing a frontman is a cause for concern for any band, but when British band Gallows lost Frank Carter in 2011 it was hard to fathom the four-piece without their fiery mouthpiece. They lucked out when Alexisonfire vocalist/guitarist Wade MacNeil stepped i,n and have stoically refused to look back since. With a steely resolve and massive musical chops, MacNeil has helped carve a whole new identity for Gallows. Desolation Sounds is incredibly grim but still somehow rather grandiose. Creamy production ensures even the thickest riffs and most grating vocals are extremely palatable. Tasty. (CookingVinyl/Caroline/ Universal) Emily Kelly

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