STACK #121 Nov 2015

MUSIC REVIEWS

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Röyksopp The Inevitable End True to its title, this is indeed the final album for Norwegian duo Röyksopp. But they’re not exactly leaving us with a shortage of material: The Inevitable End spans two CDs and 17 tracks. Such a marathon will inevitably drag in places, but there’s enough radiant, ambient warmth and brooding pop gems to offset the slower patches. It helps that guest stars stop by periodically, including their recent collaborator Robyn on Rong (defined by the refrain “What the f*** is wrong with you?”) and the single Monument . Röyksopp have always been pretty ambitious, but this fifth LP may be their definitive statement, ranging from expansive cinematic grandeur to pointed emotional intimacy without ever dwelling in any one genre for long. At the same time, widescreen throbbers like the vocoder- loaded opener Skull will have no trouble dominating the late-night dancefloor. The duo have called this their darkest work lyrically, and that certainly comes through on nocturnal cuts like Compulsion and the quivering Here She Comes Again. But there’s a lot of feel-good levity too. Namely, Thank You is a beautiful send-off that closes the first disc and should appeal to fans of Air’s immersive dream-pop. (Pod/Inertia) Doug Wallen

Ariel Pink Pom Pom

The Drums Encyclopedia There’s something different on the latest album from The Drums: they’re now a duo. Drummer Connor Hanwick has left, and childhood friends Jonathan Pierce and Jacob Graham have re- grouped. It’s an absence hinted at by the cover art, confirmed by some of the restrained songs here. Their melodic pop and indie rock instincts are still evident, but tempered by an experimental, sombre undertone. There is Nothing Left is an example of bleaker lyrical Number in My Phone. On the melodic side there’s also Dayzed Inn Daydreams, some surreal psychedelic sounds on Dinosaur Carebears , and a couple of high-intensity punk tracks in the form of Goth Bomb and Negativ Ed . It’s all somewhat chaotic yet somehow coherent; a portrait of the artist as a contradictory, conflicted, confounding and constantly challenging pop chameleon. (Remote Control/Inertia) Simon Winkler To expect the unexpected is a safe approach to any new Ariel Pink record. For starters, Pom Pom is the first album in a highly prolific career to be solely attributed to Ariel Pink, but by his own admission it’s also the most collaborative. Spiritualized’s Jason Pierce, and famed/infamous Kim Fowley of ‘70s rock group The Runaways contribute to the collage, along with other band members. The result is a characteristic, unpredictable mix of wistful AM radio rock, strange tape textures, stream of consciousness skits, and stream of unconsciousness pop, including standout single Put Your The Grahams Riverman’s Daughter Husband and wife duo Alyssa and Doug Graham thought it a good idea to put their NY City lives on hold, and to travel the 2,500 miles of highways and byways of the Mississippi River from Minnesota to Louisiana. Along the way they gathered stories of places, people and musical experiences that have resulted in their debut album as The Grahams. Their early influences and love of traditional country, folk and mountain (Mumford & Sons) were sent the same 16 pieces of prose, and each of their contributions became part of this creative collaboration. With additional lyrics turning up, Burnett’s team spent two weeks working, recording and breathing new life to the words of a musical master, untouched for nearly 50 years. Backed by a music bed of Americana sounds, Johnny Depp even drops in on guitar. Burnett’s aim was to stay true to the lyrics’ orignal spirit. One for the Dylan fans – we know you’re out there. ( Harvest/EMI/Universal) Denise Hylands If you’re one of music’s most respected producers, you don’t say ‘no’ to a box of unseen Bob Dylan lyrics, written during the recording of the original Basement Tapes in 1967. “Would you like to do something with these?” Dylan’s publisher asked T-Bone Burnett. With Dylan’s approval, Burnett found a team of performers to transform the words with music. Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes), Jim James (My Morning Jacket) and Marcus Mumford The New Basement Tapes Lost on the River

New Build Pour it On

One of several Hot Chip offshoots floating around, New Build are less daggy than The 2 Bears and less arty than About Group. Their second album is actually most like Hot Chip, churning out percolating dance-pop that’s quite preoccupied with matters of the heart and mind. Sentimental balladry can overwhelm songs like Witness and the epic title track, but

and musical sentiment, but a playfulness remains, a note of sweetness and a sense of hope beneath the loneliness. For fans familiar with earlier surf-rock singles, there’ll be few surprises more striking than the eerie Bell Labs , all electronic, synthetic textures and haunted moods. ( Liberation/Universal) Simon Winkler

highlights like the centrepiece Weightless are infectious, straightforward successes. All of the songwriting proves acute, but what stands out most is the band’s heady layering of diverse textures. ( Sunday Best/Liberator/Universal) Doug Wallen

Alex and Nilusha Tales to Tell ‘Alex’ is Chilean-born percussionist Alex Pertout who’s

Leonard Cohen Popular Problems At the age of 80, Leonard Cohen has delivered an inspired album that ranks among the best of his distinguished career. As always, he tackles issues that relate to us all: world conflict, human relationships, his deadpan voice telling stories of despair, grief and joy, sometimes played out with wry humour as in the sexy Slow . Almost Like the Blue s chronicles the plight of innocent victims displaced by ongoing wars, Born a Slave examines his Jewish roots, embellished hundreds of Australian albums – from the M.S.O. to Paul Kelly, Hunters & Collectors, and Daryl Braithwaite. His collaborator, Sri Lankan-born singer Nilusha Dassenaike, has worked with Don Burrows, James Morrison, Renee Geyer, and Ross Wilson. This exceptional release of originals was recorded in Melbourne, Argentina, England, the USA and Cuba with outstanding local contributions. These include pianists Paul Grabowsky and Andrea Keller, actor/musician Tom E. Lewis, plus internationally renowned guitarist Mike Stern (Miles Davis) and Dee Dee Bridgewater’s musical director/pianist Edsel Gomez. The music is an intoxicating fusion of different cultures: Latin American, Asian, Middle Eastern with elements of jazz, world music, Andean (Alex playing the panpipes), pop and English folk (I Gave My Love a Cherry is cleverly grafted to the final track). It’s full of irresistible rhythms born of Alex’s armoury of percussion instruments, and the captivating voice of Nilusha who scats and sings in her native voice and English, depending on the mood of each song. Planet/MGM ( Billy Pinnell)

bluegrass is the foundation of their sound, highlighted by Alyssa’s beautiful, strong vocals and Doug’s precision guitar playing and accompanying harmonies. Easygoing country pickin’ sounds. ( Sony Music) Denise Hylands

Samson in New Orleans addresses the neglect of Hurricane Katrina victims, and Did I Ever Love You lightens proceedings with a country arrangement. ( Sony Music) Billy Pinnell Music

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