Trollheart

Okay, from the moment this starts I love it, and I don't stop loving it till the last track. I'm not a huge country fan but since I listened to Strawfoot I have loved this kind of music, and though I haven't heard much of it I do love bluegrass. This to me comes across more as the alt-country that the above band play, but I'm quite happy to admit I don't know diddly so can't say for sure. The power and drama in the opening track, "I Seen What I Saw" is really effective, the sniping guitar driving the tune while the vocalist has that kind of howling, wailing voice that really suits this kind of music. I'd actually go so far as to say this sounds like Nick Cave doing country music. It's a great start, and it keeps going with "Black Soul Choir", which has a more upbeat, trundling kind of feel to it and brings in the banjo, which is always a great instrument to hear and gives the song a nice folky touch. I love the chorus "Ohh, ohh, ohh, get out of my way!" Sweet.

I don't want to make this too long a review, and there are thirteen tracks so I'll just give my thoughts, but I could write a proper review which would illustrate how great I think this album is. Maybe I will at some point. But not now. I won't talk about standouts, as there are no bad tracks here, but I do love this one. Next up is "Scrawled in Sap" (great titles!) and it's swings along nicely on guitar with a great sort of warp to it (I'm sure there's some technical term, like pitch bend or something, but what I don't know about guitars could fill a warehouse. Inside another warehouse. So I won't even try) while "Horse Head" has a slower, more laconic rhythm, the closest to Nick Cave I've heard to this point, especially the hoarse (sorry) howls. That warped guitar is back.

"Ruthie Lingle" is much slower, with a sort of slow treading feel, and for some reason puts me in mind of gunslingers heading out of the saloon and taking their positions opposite each other as they wait to see who is the fastest draw. You can see the dust swirl around their boots, the townsfolk scattering for cover, while somewhere a Spanish church bell tolls the hour. Ask not who the bell tolls fer, pardner... Okay no, I see that's still "Horse Head". Man, they sure pour a lot into three minutes and change! "Ruthie Lingle" is in fact a much more uptempo song, driven on banjo and kind of clattering percussion, while the harmonica is great to hear in "Harm's Way," and the banjo is back on the attack for "Black Bush".

I love the way they integrate "These Boots Were Made for Walking" into the song - really clever - then "Heel on the Shovel" starts off with some fine guitar pickin' before it takes off at some speed in a fast folky/bluegrass vein, the bass line for some reason reminding me of It's Immaterial's "Driving Away from Home". Weird, but it does. The main riff on "American Wheeze" has me mystified: I would have said some sort of keyboard instrument, but these guys don't seem to use any. The only thing I see which might be it is bandoneon? Yeah that could be it: kind of accordion deal? This really reminds me of Cave's "The Good Son". Great stuff.

"Red Neck Reel" is, to absolutely nobody's surprise, a reel, and it goes at it with real enthusiasm, dancing all over the place with the banjo and harmonica in fine fettle, though strangely about halfway through the vocal fades a little (is this bad production? Don't know: it comes back quickly enough, so much so that I would almost guess the singer had walked away from the mic and then come back) while "Prison Shoe Romp" has a very ominous feel in the guitar (which has that warp* in it again, and very welcome it is too) then it stomps along with real character, into "Neck on the New Blade", where we have harmonica and maybe cello? Slower and quite doomy in its way, think there's accordion in here too, and we end on "Strong Man", slower and almost waltzy in its rhythm, very haunting and a fine closer to a damn excellent album. Superb choice for your first pick, Carpe: I'm already downloading their discography, and if you know any similar artists I'd be happy to hear of them.

Rating: 10/10 duh

* I see they use a steel guitar; I wonder if that's the "warp" I'm hearing? Answers on a postcard.. what do you mean, what's a postcard? Kids these days...

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SGR

Okay, here's my review of Massive Attack's Protection, I just copied and pasted from a review I've already posted on here, I'm a lazy sod, but I think Trollheart's the only one who read it initially, so it's close to being fresh at least.

Massive Attack - Protection (1994)



That bassline hits with unforgiving tenacity, the drum cymbals begin to fill the empty space and then, Tracey Thorn starts to decorate it with syrupy-sweet lyrics about sacrifice and devotion. This is how Massive Attack’s second album ‘Protection’ begins. Brilliance is immediately obvious. Relax and enjoy it.



Massive Attack is a Bristol collective and was one of the pioneering acts in the genre of trip-hop, characterized by downtempo electronica beats laden with hip-hop and breakbeat soundscapes - though it incorporates a variety of sounds including funk, dub, jazz, soul and more. One of the founding members of Massive Attack, Daddy G, described it as “dance music for the head, rather than for the feet”.

Their first album ‘Blue Lines’, widely considered to be the first trip-hop album, broke a lot of conventions. Drawing many inspirations from the modern hip-hop scene in America, the British group incorporated not only raps and sampling, but live instruments, generous studio overdubs, and the unique vocals of Horace Andy and Shara Nelson into their songs. Perhaps the absolute peak of that album in both vision and execution can be exhibited with the track “Unfinished Sympathy” - a synthesis of all of the aforementioned characteristics into something that was, at the time, absolutely unique and in a way, it remains unparalleled to this day in its creative vision. Initially sounding like a cold and detached ballad, it managed to be a heartfelt and warm ode to love and longing - being human and somewhat inhuman at the same time. It remains one of my favorite songs of all time.



But while this album reverberated across the landscape and influenced many, Massive Attack still had more to give. Exactly what they had to give would come around three years later with their followup album, ‘Protection’.

While the overall tone of their first album was warm and soulful, I’d describe ‘Protection’ as more chilled and lethargic in delivery. It is not ‘Blue Lines’ in way of its goals or in its style. It is, most certainly, its own unique piece of work - a standalone album that thankfully does not simply try to replicate its popular predecessor.

As the second track “Karmacoma” hits, you realized pronounced basslines may become a theme on this album. Tricky contributes vocals here and he does an incredible job affecting the song with his unique vocal style. The song, on its own, sounds absolutely beautiful - but the song sounds better the less sober you are. I dare anyone to roll a joint, have a smoke, and listen to this track and tell me it isn’t brilliant. Little known synth pop group Startled Insects actually wrote two of the songs on this album, “Karmacoma” being one of them (“Eurochild” being the other). The main rhythmic loop is taken from Indian playback singer and Bollywood-starlet Alka Yagnik, the song being “Aaja Sajan Aaja”:



The refrain is taken from a Russian opera (Prince Igor) - and, not being satisfied, also includes Tuvan throat singing with a sample of “Dream Time In Lake Jackson” by the KLF:



This is to say that there was a geyser of creativity bursting forth on this album - if this is the most creative song on the album, then the others are certainly close behind. Enough about the samples - listen to the song for yourself and see how expertly it all comes together:



“Sly” was the first single of the album - and honestly, it’s an excellent representation of what you’re going to get if you buy it. It’s chilled out, detached, and smooth as butter, helped by an accompanying beautiful vocal performance from singer Nicollete. And oh yes, the strings at the end of the song make my heart melt with joy every single time - it is a euphoric experience:


I try to believe what I feel these days
It makes life much easier for me
It's hard to decide what is real these days
When things look so dizzy to me
I already know my
Children's children's faces
Voices that I've heard before
There's always more
There's always more
Wandering, leaving the sea behind
To my home which everybody owns




Perhaps I’m delusional, but I think “Euro Child” would’ve made a better single than “Karmacoma”. It’s catchier - it’s a little easier to digest - and it’s a little more straightforward. Not to mention, there’s still a lot of depth with the track. Which includes, of course, the lyrics which are…well…cryptic, to say the least:


Sitting in my day care, yard is deco painted
Blessed by the drink
Upon the corners where we've seen it
Chased by the planet
Haunted by the medium
Too high to flow toward to break the tedium
Glow from my T.V. set was blue like neon
Activated the remote I put the BBC on
I've seen this city somewhere
I'm looking out for no-one
Pallor in my eyes it get blue like neon
Hell is round the corner where I shelter
Isms and schisms we're living helter skelter
If you believe I deceive then common sense says shall you receive
Let me take you down the corridors of my life
And when you walk, do you walk to your preference
No need to answer till I take further evidence
I seem to need reference to get residence
A reference to your preference to say I'm a good neighbour
I trudge so judge me for my labour
I walk in a bar and immediately I sense danger
You look at me, girl, as if I was some kind of a
A total stranger


I can’t lie - I love this track - the placement of it is perfect within the album - it manages to maintain the chilled out vibe but yet ramp up the intensity at the same time. From Massive Attack’s website, here’s a little background info on the track:



The album comes equipped with two instrumental tracks. With Massive Attack, one of the biggest appeals are the beautiful vocals laid over smooth and chilled out soundscapes - but these tracks (“Weather Storm” and “Heat Miser” [they call me Heatmiser, whatever I touch…No! Not THAT Heatmiser!]) suit the album absolutely well and actually accentuate and help the flow and pacing of the album. “Weather Storm” is probably the more beautiful selection (and doesn’t feature Darth Vader breathing) though “Heat Miser” is distinct enough with its vibrant piano to perhaps be my pick for my favorite closing track of a Massive Attack album….but…

Oh yes, there’s one more track - a cover of The Doors’ “Light My Fire”. I pretend that this is a bonus track and I never listen to it. I recommend that you do the same (Yes, in reality - this is the biggest problem with the album. Whoever thought it was a good idea to tack this on at the end should be brought out to a dark alleyway and should be shot - but I won’t say anymore about it.)

All in all, this is not an album that is disliked by either fans or critics. But - it is often forgotten. And the reason? It is sandwiched between two albums that receive even more praise and fanfare (‘Blue Lines’ and ‘Mezzanine’). In my eyes, this album is just as good as those ones are if not even better. I can listen to it over and over and over again. I don’t get sick of it. It’s as smooth as butter - it’s chilled out to the point that it’s an auditory toke of weed - it’s numb enough to be that dose of oxy I enjoyed with the Manics’ ‘Lifeblood’ - it’s self-aware enough to know that it will never be ‘Blue Lines’ - and it doesn’t try. It’s Massive Attack’s second album - a creative whirlwind forgotten in between two albums that are more distinctive, more immediate, and more genre-defining. But those albums are not, and will never be the familiar hand I reach out to in times of need like this album has been.

9/10 (subtract a point for that godawful Doors cover they tacked on to the end)

SGR

I am going on a 4 day trip, so I may not get around to posting a review of the latest album until sometime next week. Carry on without me - that said, so far, I've liked what I've heard (after, albeit, one listen)

Trollheart

Another trip? I haven't had a holiday since 1996! Enjoy!

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Lisnaholic

Not for the first time, SGR finds in an album a lot more than I hear myself. The difference between our reviews is so marked with Massive Attack that I might go back and listen to Protection again, but in the meantime....

Sixteen Horsepower: Sack Cloth 'n' Ashes

Is genre-loyalty a thing? That's what I feel for 16 Horsepower: they have the kind of sound that has appealed to me for years: lively folk/bluegrass rooted in traditional American music plus a raw edge. So for once I can write a positive review about a band I've come across before and liked.

I'm not familiar with this specific album, but felt well-disposed towards it from the first couple of bars because it's so clearly right there in that genre. No need for me to add my own inaccurate song descriptions to the thorough ones that Trollheart and rubbersoul have already contributed. The album is consistently good, consistently a style I really like. First time round I noticed a couple of the more riff-oriented tracks, or when a different instrument was thrown into the mix -so Horse Head, Harm's Way and American Wheeze caught my attention. I completely missed any Boots Made For Walking ref in Heel On The Shovel, though I did notice the song for having such a great title. Actually, I didn't notice any absolute standout track really, which is perhaps why I'm just going for a 9/10 for this album, which, as others have said, doesn't have a noticably weak track on it.

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"Am I enjoying this moment? I know of it and perhaps that is enough." - Sybille Bedford, 1953

Trollheart

Movin' on folks...



https://www.youtube.com/results?sear...the+black+wave

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rubber soul

THE DONKEYS- RIDE THE BLACK WAVE


So, I guess this is what passes as Indie Rock these days. Don’t get me wrong; this isn’t a bad album, just something that doesn’t stand out for me. The first track, Sunny Daze, seems a little long, but the rest of the album is basically a piece of pleasant pop with some folk rock influences. Imperial Beach is an interesting raga instrumental, though again, nothing out of the ordinary. Ride the Black Wave is the closest thing I’ve seen as a standout track so far.

And maybe that’s it. There aren’t really that many standout tracks. Then again, there aren’t really any stinkers on here either. It’s just a pleasant piece of folk rock circa 2014. Wiki compared them to bands like Pavement and Crosby Stills and Nash, but I don’t see it. Nonetheless, while I wouldn’t attack someone with a chain saw for this album, it is a pleasant listen, especially Bahamas, which I also like a lot with the female (I think) vocals.

So, with that…

7/10 (The Word has spoken )

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Trollheart

Opinions, guys? I'm thinking that at the moment everyone seems to have a problem reviewing the albums in time - only Rubber Soul so far on my one and only three days to go - so maybe we extend it to a month? It seems two weeks isn't enough time, as I kind of thought might be the case anyway. What do you think?

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Lisnaholic

Personally, I'm super-busy now and for about a month, so have slipped behind a little. My intention was to perhaps skip an album or catch up later, but I fear the recent lack of activity here may be indicative of a deeper malaise.

I'm ok with whichever way you want to go: perhaps one album a month will suit people better, yes. It also gives you a chance to repeatedly say, "I told you so", Trollheart, so from your point of view, it has a lot in its favour

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"Am I enjoying this moment? I know of it and perhaps that is enough." - Sybille Bedford, 1953

Trollheart

I'll offer another option: does anyone/everyone want to put this on hold till say after Christmas? I'm busy myself with the usual forty-two thousand, six hundred projects, so I don't mind. If we all want to take a breather and recharge, I'm okay with that. I'll go with whatever everyone wants. Just let me know.

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Trollheart: Signature-free since April 2018