STACK #129 Jul 2016

MUSIC

REVIEWS

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Pete townshend plays TRuant

solo outing was his most relaxed, the terrific Rough Mix ('77) with his (late)longtime pal Ronnie Lane, Small Faces/bassist.

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 Actio n (also from Lifehouse ). Many longtime fans would argue his best

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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 furious Face the Face ( White City , 1985) and two new songs, Guantanamo and How 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

Chemical Brothers Born in the Echoes It wouldn’t be a Chemical Brothers album with some reliable pulse-raising, which comes right near the start with Go . Led by guest rapper Q-Tip, the track supplies a candy-coloured hook, EDM identifiers and an invigorating push. What’s most interesting about Born in 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

STREAMYOUR FAVOURITE ALBUMS AT JBHI-FI NOW... NOW!

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. 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. Gillian Welch Hell Among the Yearlings

Lamb of God VII: Sturm Und Drang

Gengahr A Dream Outside

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

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)

JULY 2015 JB Hi-Fi www.jbhifi.com.au

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