STACK Jul #129

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104 JULY 2015 JB Hi-Fi
Lamb of God
VII: Sturm Und Drang
VII: Sturm Und Drang is everything
you’d expect from Lamb of
God. Fuelled by vocalist Randy
Blythe’s 2010 legal battles in the
Czech Republic – where he was
accused (and then acquitted) of
causing intentional bodily harm to
a fan at one of the band's shows,
it showcases Lamb of God’s
consistency. Musically, the band is
in top form. They have always been
able to lock down some impressive,
technical riffs and deliver them with
devastating panache. But Blythe’s
vocals continue to dissatisfy, making
him the weakest link in Lamb of
God’s arsenal. Thousands will of
course disagree, ensuring VII:
Sturm Und Drang will succeed.
(Nuclear Blast/Caroline/Universal)
Simon Lukic
Gengahr
A Dream Outside
This North London group sure
know how to sound ‘unique’.
Dancing between Modest
Mouse, Can, and an urgent
excitement not heard since the
salad days of Tripping Daisy,
theirs is an explosion of feel-
good joy slid between double
walls of guitar experimentation
and tight, rolling beats. Knowing
how to end a song is as equally
important to how you start (ask
The Beatles), something these
guys exude with syrupy panache.
What lingers well after are their
haunting melodies and theatrical
deliveries (Bathed in Light)… it’ll
have you back for many more
listens, trust us. Chris Murray
(Liberator/Universal)
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hemical Brothers
orn in the Echoes
t wouldn’t be a Chemical Brothers album with
ome reliable pulse-raising, which comes right near
he start with Go. Led by guest rapper Q-Tip, the track
upplies a candy-coloured hook, EDM identifiers and an
vigorating push. What’s most interesting about Born
the Echoes, though, is how often Tom Rowlands
and Ed Simons opt for more diffuse territory over block-rockin’ club anthems.
Reflexion stacks on dragging layers of melody, while St. Vincent brings a sleepy
drawl and subversive edge to her vocals on Under Neon Lights. Radiate is slow
and romantic, while Taste of Honey goes for a slow bubbling that befits its
name. Best of all is the title track, on which Welsh art-pop oddball Cate Le Bon
contributes her usual elegant boredom (think Nico), her voice naturally filling
space without a touch of bombast. Other tracks aren’t as successful, like the
autopilot feel of Just Bang and the weak raga inflections of I’ll See You There.
Beck is oddly bland singing lead on Wide Open, and EML Ritual feels like filler
when Ali Love isn’t at the mic. But the weirder turns mark Born in the Echoes
as a welcomely versatile return. (EMI/Universal) DougWallen AlbumsThat Should Live in Every Collection
Frank Black
Teenager of the Year
After the intensity of the Pixies (and their
frustrating lack of success), Black Francis became
Frank Black, shook out the residue of the former
band on his 1993 self-titled solo album, then on a
tightly packed 22-song disc the following year, hit
his straps in energetic pop-rock. It even nodded
towards mainstream radio play in songs like the
taut, Dylanesque Headache and delightful ballad
Sir Rockaby. Pixies fans smirked at the satirical
cover but many found the songs too straight
ahead and lacking in tense anxiety. It was there,
just wrapped differently, in shorter packages.
Pete townshend
plays TRuant
Peter Townshend's solo albums outside
The Who were always highly regarded,
if – broadly speaking – not that popular.
Townshend makes the case for himself
with a new compilation drawn from
his solo career. Only one of his albums
made any wide impact (1980's Empty
Glass) and for the compilation Truancy:
The Very Best of Pete Townshend, he
taps it for two obvious songs: Let My
Love Open the Door (a hit in the US ) and
Rough Boys, a sexually ambiguous song
he dedicated to The Sex Pistols and
his own children, the implication being
that the Pistols were part of The Who's
offspring. The collection opens with
three songs from his solo debut Who
Came First (‘72).Pure and Easy, which he
once descirbed as a pivot for his fraught
Lifehouse project, the raw acoustic folk
of Sheraton Gibson and the rollicking,
over-long demo of the Who's Let's See
Action (also from Lifehouse). Many
longtime fans would argue his best
solo outing was
his most relaxed,
the terrific Rough
Mix ('77) with his
(late)longtime
pal Ronnie
Lane, Small
Faces/bassist.
Pleasingly, three from it appear here
– My Baby Gives It Away, A Heart to
Hang Onto and Keep Me Turning– and
you can feel the ease between them.
Elsewhere are some memorable solo
songs: Face Dances No. 2 (from All the
Best Cowboys Have Chinese Eyes, ‘82),
the furiousFace the Face (White City,
1985) and two new songs, Guantanamo
andHow Can I Help You. It's a decent
compilation, but as with his often
pugnacious demeanor, there aren't many
laughs with Townshend, although some
might say he's having fun with us right
now. He seems more intent on trawling
through his past. Maybe it's too much
to ask of a man who recently turned 70,
“let's see action”?
Graham Reid
Gillian Welch
Hell Among the Yearlings
Although her debut Revival was exceptional, this
rather darker, mordant and spare alt.country outing
– more on the country, less on the alt – showed an
artist of precocious maturity, and for a university
educated woman from Los Angeles, she had a
mainline into Appalachian folk. Rare stuff.
Etta James Tell Mama
The late Etta James made dozens of albums and,
especially in her last years, picked up almost as
many awards. This album catches her young (30)
but sassy, and recording classics like the title
track, I'd Rather Go Blind, Don't Lose Your Good
Thing and others in F.A.M.E Studios in Muscle
Shoals.