Monday, 16 July 2018

Stan Ridgway ‎– The Big Heat (1985)

Style: Alternative Rock, New Wave
Format: CD, Vinyl
Label: I.R.S. Records

Tracklist:
01.   The Big Heat
02.   Pick It Up (And Put It In Your Pocket)
03.   Can't Stop The Show
04.   Pile Driver
05.   Walkin' Home Alone
06.   Drive She Said
07.   Salesman
08.   Twisted
09.   Camouflage
Bonus Tracks
10.   Rio Greyhound
11.   Stormy Side Of Town
12.   Foggy River
13.   End Of The Line
14.   Nadine

Credits:
Vocals – Stan Ridgway
Written-By – Stanard Ridgway
Mastered By – Frank DeLuna, Marv Bornstein
Mixed By – Andy Watermann (tracks: 2 to 6, 8 to 10)
Producer – Louis Van Den Berg (tracks: 3 to 5, 8 to 10), Stanard Ridgway (tracks: 3 to 5, 7 to 10)

Como se um cowboy tivesse entrado, por engano, pelo cenário de um Série B de Fritz Lang («The Big Heat», por exemplo). Nove canções notáveis que são, ao mesmo tempo, guiões para outros tantos filmes negros. A música de Ridgway respira vitalidade e a pergunta «quem era a alma dos Wall of Voodoo» está, de uma vez por todas, respondida. 
Ricardo Saló / Blitz (1986) 

Ursula Bogner ‎– Pluto Hat Einen Mond (2010)

Style: Abstract, Experimental
Format: Vinyl
Label: Maas Media Verlag

Tracklist:
A1.   Photosphaere
A2.   Rhythmus 80
B1.   Synchronton 2
B2.   Expansion (Version)

Credits:
Artwork – Ursula Bogner
Photography By – Ursula Bogner

Although her musical work was the work of a pioneer, Ursula Bogner has been an unknown artist for a long time. Until in 2008 her work was rediscovered by fortunate coincidences and now - step by step - it becomes available for the public. Her works for Synthesizers could have been groundbreaking. This 7inch, released in a small edition of 300 copies, contains 4 tracks. It was released to tie in with an exhibtion about Bogner's work, sketches, notations at the Laura Mars Gallery, Berlin, in mid-December 2009.  
Another archival bit of lost sixties synthesizer music from the very mysterious Urusula Bogner. Or is it? We made the Ursula Bogner full length our Record Of The Week a while back, a collection that purported to be the music of a British housewife, who was basically a secret one woman BBC Radiophonic Workshop, spending her time at home during the day, collecting and building analog synthesizers, constructing soundproofed recording studios, inventing strange instruments, and most importantly, creating some incredible spaced out, subtly psychedelic electronic music. But the catch is, she just might not be real, and in fact, might just be the construct of Jan Jelinek, whose Faitiche label 'discovered' Bogner and assembled that collection. You can read more about Mrs. Bogner in our review of the full length, but as far as we were concerned, it hardly mattered, if she was in fact real, it's an amazing discovery, if it is actually a hoax, then it's an incredibly and meticulously pulled off hoax indeed, and after all, it all comes down to the music, which in either case, is absolutely fantastic.... 
Fantôme

That Petrol Emotion ‎– Manic Pop Thrill (1986)

Style: Indie Rock
Format: CD, Vinyl, Cass.
Label: Demon Records

Tracklist:
01.   Fleshprint
02.   Can't Stop
03.   Lifeblood
04.   Natural Kind Of Joy
05.   It's A Good Thing
06.   Circusville
07.   Mouth Crazy
08.   Tightlipped
09.   A Million Miles Away
10.   Lettuce
11 .  Cheapskate
12.   Blindspot

Credits:
Bass, Vocals, Keyboards – Damian O'Neill
Drums, Percussion – Ciaran McLaughlin
Guitar – Seán Ó Néill
Guitar, Vocals, Keyboards – Réamann Ó Gormaín
Harmonica – Marvin Bisquick
Vocals – Steve Mack
Producer – Hugh Jones
Engineer – Stuart Bruce

Quem sabe, sabe!... Os irmãos O'Neill sempre se afirmaram como uma das melhores duplas de ”songwriters” da new-wave britânica e os Undertones, pelo fim prematuro, como o grande grupo perdido. Faltou-lhes a obra-prima... Ei-la! Onze canções de estalo num falso álbum de estreia dominado por um desembaraço instrumental capaz de garantir «thrills» e «emotions» a toda a familia. Álbum britânico do ano. 
Ricardo Saló / Blitz (1986)

Tracyanne & Danny ‎– Tracyanne & Danny (2018)

Style: Indie Rock
Format: CD, Vinyl
Label: Merge Records

Tracklist:
01.   Home & Dry
02.   It Can't Be Love Unless It Hurts
03.   Deep In The Night
04.   Alabama
05.   Jacqueline
06.   2006
07.   The Honeymooners
08.   Anybody Else
09.   Cellophane Girl
10.   O'Keefe

Credits:
Producer – Edwyn Collins
Producer, Engineer – Sean Read
Songwriter, Performer – Daniel Coughlin, Tracyanne Campbell

When the sumptuous, soul-warming sound of Tracyanne & Danny’s debut track Home and Dry dropped unexpectedly in February, fans experienced a twofold reaction: both joy and relief. 
In October 2015, a rare form of bone cancer called osteosarcoma robbed the life of Glasgow indie pop band Camera Obscura’s keyboardist Carey Lander. That is the exact word Lander’s bandmate and best friend, singer-songwriter Tracyanne Campbell, uses three years on: robbed. “We were all robbed of Carey,” she laments sternly, angrily. “And the band was robbed of our job.” 
A crowdfunding campaign launched by Lander in her final days went on to raise more than £102,000 for Sarcoma UK, bringing some tiny semblance of light to the tragedy. But after that there was only lingering sadness and silence, the group’s future left uncertain. Lander’s illness claimed the life of a much-loved and talented musician at just 33, but it also silenced a popular band in their prime. 
So it is a relief to learn that Campbell was silenced only temporarily. Home and Dry was the first taste of a full album recorded in rural seclusion at Edwyn Collins’s cliff-top Clashnarrow studio, near Helmsdale on the north-east coast of Scotland. A tender and crisply realised collection of panoramic pop vignettes and yearning love songs, it’s a collaboration with Danny Coughlan, the Bristol-based singer-songwriter known as Crybaby. A close friend who shares Campbell’s love for ornate 60s guitar pop, Coughlan was the creative foil she needed to swap song ideas with by email in a delicate process of confidence and career rebuilding. 
He once favoured more retro communication than email, though. “He sent me a song on a cassette tape and a handwritten letter, and I was like: ‘Who’s this weirdo?’” jokes Campbell, reflecting on how she first connected with Coughlan back in 2013, after a chance meeting between her publisher and his manager led to Crybaby twice touring as support for Camera Obscura. 
“They like all that analogue stuff up there in Scotland, don’t they?” Coughlan recalls thinking, when he found out where Campbell was from. It seems a fair cop, actually, when he later describes delightedly raking through Collins’s crofter’s cottage full of classic guitars and equipment. Prized discoveries included the original fuzz effects pedal used on Collins’s huge hit A Girl Like You. “I don’t think it had been in action for a few years,” he admits, before mimicking playing the song’s mighty riff with a series of disappointed raspberry noises. 
Private, peaceful and nourishing, the studio and its surrounds were the perfect place to reflect and start afresh, and observe a daily ritual of strength and determination in face of adversity, courtesy of Collins, who has overcome two brain haemorrhages. “Edwyn’s in the cottage at the bottom of the hill,” Coughlan explains, admiringly. “He walks up the steps to the studio every morning with his walking stick: it’s 100 steps.” 
Campbell says that Camera Obscura are “in slumberland”: the four remaining members all still talk or see one another frequently, but never to discuss the future. The prospect of so much as entering a rehearsal room again without their friend is still too daunting. 
Was there ever a temptation to walk away from music altogether after Lander’s passing? “I wasn’t really thinking too much about music,” Campbell admits. “I was heartbroken; I was trying to deal with my grief, which was massive. That’s the thing about grief: it doesn’t end. It goes on, it just changes. We’re all still grieving for Carey. I know also that it’s important to not dwell on that. [With] my personality, I could have easily dwelled on that for too long. I think it was really important for me to keep Carey in mind and to find a strength to get past it. And I did that, I worked on it. It sounds weird to say, but I put a lot of work into it.” 
The Tracyanne & Danny album could easily have been filled with 10 songs about their lost friend. In the end, one proved enough: the lovely Alabama, a breezy country-pop ode with strings, swooping pedal steel guitar and a vocal cameo from Collins. Campbell sings a bittersweet smile of a chorus: “When I’m an old lady, I’ll still miss you like crazy.” 
“Carey and I were looking forward to being mad old ladies together,” Campbell says, when I ask what she thinks Lander would have made of that lyric. “We already were like a couple of mad grannies.” At that thought, something that she admits hardly ever happens anymore happens, and tears well up in her eyes. Coughlan puts a reassuring hand on his friend’s shoulder. “She would have liked it,” Campbell asserts, quickly recomposing herself. “She’s part of it.”
Malcolm Jack / The Guardian