|
|
||||||
|
|||||||
|
|
||||||
|
|||||||
contents |
albums - reviews page 3 |
Eric Alexandrakis |
see previous reviews page (#2) Creepily
dark yet not at all depressing. Like Beck,
Eels are part of the mainstream and still subversive.
From E’s tragic drawl to the funereal orchestra that backs him on Fresh Feeling, the mood is languid and gloomy
but never despairing. In fact, it’s
frequently uplifting. Fresh Feeling advises that your sorrows are in
the past and it’s time to face a new future. Even
World of Shit points to the subject of the
song as being the start of something good and ending that world he so evocatively
describes. Neither
is the music monochrome. Dog Faced Boy is fuzzy like the Jesus and Mary
Chain. That’s Not Really Funny is almost a
showtune. Teenage Witch and Jungle Telegraph are New Orleans funky. There’s not much humour but E has an artistic
sense that conjures up pictures in the listener’s mind. Souljacker
(Part 1) makes you think of ‘Badlands’ and worry what the protagonists
Sally and Johnny are capable of. It begins
with a homage to Bo Diddley’s ‘Who Do You Love’: “22 miles of hard
road, 33 years of tough luck, 44 skulls buried in the ground, crawling down through the
muck”. Bus Stop Boxer and, best track on the album, Woman Driving, Man Sleeping, are like short
films. The latter is a perfectly observed
three and a half minutes of vivid imagery, slow and melodic. You don’t find out where this couple are gone
or what they’re running from but who cares? The
pleasure’s in the journey and in the tiny details so brilliantly described. Eels may not be to everyone’s taste but cast
your line ‘cos you’re in for a feast. 8.5/10 - Reviewed by Ged
Obviously
being a bit of a jack of all trades, Output supremo Trevor Jackson has set aside his
remixing and album cover creation duties to produce a dance album under the guise of
Playgroup. Well connected in the business, he ’s enlisted the help of the likes of
the quiffmeister Edwyn Collins, Roddy Frame, Happy Monday Rowetta, and various other
fringe musicians to create a patchwork quilt album that covers every genre
recognised...electronica, hip hop, dub, reggae, disco, punk... they’re all there in
various thin layers. Setting
off with a salute to 80’s funk with the single ‘Number 1’, we cross over
genres nodding at Reggae with an ill advised cover of Paul Simons ’50 Ways to Leave
your Lover’, flaccid punk with ‘Bring it On’ and ‘Make it
Happen’, sensual crooning on ‘Pressure’ and moderate hip-hop with
‘Front 2 Back’ (albeit peppered with an amusing Bionic Man
‘boiiiiinnngggg’). There are a few highlights, the aforementioned ‘Number
1’, the diluted Daft Punk exercise ‘Too Much’ and the brooding dance number
‘Overflow’, but generally I don’t think the likes of Daft Punk will be too
worried for their 80’s funk crown. Overall
a lushly produced dance album, with a cast of thousands, that whilst its not going to send
waves through the dance music industry, will certainly be able to send ripples through the
dance music clubs. At least Mr Jackson proves he does have a broad skill set and a large
circle of musician friends, its just that none of them bothered to tell him that
there’s no disgrace in being just a proven producer, mixer and sleeve designer... 6/10
– Reviewed by Eggz
I'm no expert on Jim O'Rourke's past efforts with Gastr del Sol and the like, having first come across him with 1999's much lauded Eureka. I suspect though that this represents the latest step along a long path towards a more mainstream sound. Certainly the jazz- and electronica- tinged improvisational meandering which grated a little on an otherwise fine album are gone here. Even so I doubt there are any London Electricity ads tucked away on this latest effort though. The template is definitiely a (high-quality) seventies one, with Nillsson, Neil Young, John Cale, (ahem) Fleetwood Mac, and even (on the title-track) Burt Bacharach, being cleed to mind. There's little wonder he was picked out by Scott Walker to feature in his Meltdown last year. The songs are excellent, with their accessible tunes undercut by the sort of warped, bitter and (perhaps it's just me) funny lyrics last showcased on the wonderful "Halfway to a Threeway" single. You could use it as a backdrop to a dinner party, but only if you can swaalow your food while listening to vitriolic attacks on former friends, descriptions of poisoned enemies slow last hours and the musings on perils of popping your clogs in bondage gear. Insignificance is proof that accessible music need not be bland music. It feels like the work of an artist whose years of experimentation have not been for their own sake, but with the aim of producing a really good record. The "sensitive blokey" likes of David Gray ought to be tied to table (with rubber tubes and silk scarves) and made to listen and how to do things properly. 8/10 - Reviewed by SPT
A
fantastic mix of American musics. It was Gram
Parsons’s stated intention to create a Cosmic American Music, a mix of country and
soul, and the Beachwood Sparks seem to have done it, taking traditional country rock,
leavened it with Californian psych-pop and garnished it with soulful touches. Their album collection obviously includes the
Louvin Brothers and the Dillards, not to mention Gram Parsons, but less obviously Memphis
soul and a Sade album! The Sade cover, By Your Side, is gorgeous and haunting, with
its lyrical sweetness uplifted by pedal steel and church organ. It’s one of the best songs you’ll hear
all year. Other
tracks are varying degrees of country but it’s the sort of Americana that Mercury Rev
once aspired to and now seem to have forgotten. There
are so many little country touches like Manatee’s
banjo and harmonica, and Hearts Mend
with its saloon piano sound but they seem to be an outsider’s view of the south,
filtered through other musical forms. So you
get scratching on the Sun Surrounds Me and
reverbarating Velvety pop on Good Night Whistle. However, Juggler’s
Revenge, featuring J Mascis, is so like the Allman Brothers it could be the next
theme to Top Gear! Gram
Parsons, if he hadn’t been amateurly cremated, would be tapping a bony foot to this
now and on a number of tracks, the vocals sound incredibly Gram, including The Sun Surrounds Me and Hearts Mend.
The latter, with its country lament “when will I feel free? Not in this crowded city” shares a sentiment
with Gram’s ‘Streets of Baltimore’. But
don’t let me give you the impression that this is Sweetheart of the Rodeo revisited. The album combines old and new, black and white,
conservative and radical and produces a sound that is novel and bang up to date. Apart from the hippy title that is. 9/10 - Reviewed by Ged WEDDING
PRESENT Bizarro - Remastered (BMG) Bizarro is the missing link between George Best and Seamonsters [see review]. Originally released in 1989 (reaching no 22 pop
pickers) it spawned two chart singles: the mighty Kennedy
(no 33) and Brassneck (no 24). It has been re-issued – as has Seamonsters - with bonus tracks, and a welcome
re-issue it is. Its 10
tracks display the sound of a band flexing its musical muscle. Kicking sand in the face of
what might otherwise be three minute indie pop songs they get the chest expander treatment
with instrumental workouts stretching them out to almost epic proportions (well 6 minutes,
say). At once, it shows a band wanting to see
how far songs can go without the need for histrionics or solos (eg the rhythm being more
important than any individual guitar expertise) and firmly establishes the Weddo’s
indie guitar credentials. The opening Brassneck
sets the manifesto, a simple chord pattern that builds through repetition whilst the
minutes fly by! (And the bonus single version shows how Steve Albini brings a subtle but
significant change to the sound). Although
Seamonsters might be the fruition of this
approach, the tracks here work well. But what
that album doesn’t have is the classic Kennedy. A Charles Atlas of songs (it’s on my list as
one of the best ever). If your body, mind and
heart are not pumping iron, endorphins or beating excitedly even as the opening guitar is
followed by the overdriven bass then you truly have lost your love of life. It seems to
last forever but you never want it to stop. Indescribably fantastic. Also if you’re unmoved by the energy and
charm of the bonus It’s Not Unusual
cover, and are not grinning as Gedge’s laugh sees out the song, then don’t come
to any soundsxp parties! David
Gedge has remarked [see Interview] that Bizarro,
and Seamonsters, stand the test of time. He’s right. 8/10 Reviewed by Kev
Befitting
a band named for a poet, Tompaulin are literate (book and film) and sensitive. Like Belle and Sebastian and the Delgados,
they represent a strand of intelligent, urban music - perhaps a more polite and less
streetwise counterpoint to UK garage and house. My
Life at the Movies
is an uptempo opener, with a chorus listing female actors that works as well as Dexys'
list of Irish writers in ‘Dance Stance’. Small
town boredom and narrow-mindedness are themes of the album.
Westholme Girls is
about a young girl’s claustrophobia: “it’s a nice house and you want to
smash it”; Kicking and Punching
deals with a fight in a Blackburn backstreet; Short
Affairs seems to concern cottaging in public toilets, interestingly sung by
Stacey from a male point of view; and The Boy
Hairdresser is the story of bigotry (“the Blackburn youth don’t get
it”) with a sad B-story about the sad old dear who’s hair he sets. Love as war is a metaphor which is used
frequently, particularly on the last few tracks.
The
serious wordsmithery comes unstuck once, on Richard
Brautigan. Though it has a
lovely, if gloomy chorus, the lyrically punning becomes wearing on subsequent plays. However, repeated listens bring out the humour in
many of the songs, including The Good
Doctor and On the Buses. The Mary Chain influence is more aspired to
than apparent but emerges in songs like All
the Great Writers and Me and in snatches of lyrics. The vocals are endearing, the horns lively and
the melodica is a gorgeous embellishment. Throughout,
the album has major label production values. File
under poetry-pop. 8/10
- Reviewed by Ged Crave are a New York 4-piece who are not entirely happy bunnies - in their world even the polar bears are up to mischief with shotguns. However, whilst lyrically, it's all dark and moody, the styles change from one song to the next to ensure you don't get too down. Musically they fuse rock and keyboards with subtle sampling/scratching and occasional vocal effects and some of the songs are pretty good: the anti-tech, which is three parts Radiohead to one part Bowie, stirring and brooding; my plea, which is Been Caught Stealing but sung by Kurt Cobain; and my favourite, black hole, a Pumpkins-ish number with an excellent slightly off-kilter drum beat. There's a couple of tracks I was not too keen on, the opening number meant to be, which starts reasonably enough but then degenerates into something far too similar to Killer by Seal to be acceptable in polite society and Let's Go Swimming with the Polar Bears, which I guess can be best described as a novelty record. Anyway, if you like Radiohead, Deftones, Nirvana, Smashing Pumpkins and homicidal bears you'll probably find something of interest here. I did. Available from their website www.cravenyc.com 7/10 - Reviewed by Mawders
In the 80s the Fall released an album titled The Wonderful and Frightening World of…” The news is that they’re still wonderful even if, with all the bands they’ve inspired or been copied by, they’re no longer so frightening. This is a very accessible Fall album, reminiscent of the mid-80s when they were on the verge of chart “success”. Then, too, they had a version of an R Dean Taylor song (There’s a Ghost in My House). This time, it’s Gotta See Jane. This is archetypal Fall: Mark E Smith speaks the words in a monotone while the band produce a metronomic backing, through which the melody breaks like sunlight through rain clouds. And it’s a passionate song for all its apparent tonelessness. MES is centre stage on every song, with the band playing a
fine supporting role, and to hear him intone “World War 1…soldiers in greatcoats
and pickelhaube” on Crop Dust is as classic a Fall moment as ever. The backing is classic Fall too, with a pounding
beat including an Eastern guitar figure. Bourgeois
Town is the Fall exercising their rockabilly fixation, as they do on Kick the Can. My Ex-Classmate’s Kids is MES
lyrically as quirky but down to earth as he ever is.
The Acute sounds bitter, as MES gives advice like “keep your cap
on your pen and your dick in your pants” to the strains of a fuzzy psych guitar. The most experimental track is Ibis-Afro Man
which has monkey noises and ends on a quite punky note.
Is it me or does he really sing “I eat a monkey for breakfast. I eat a skunk for lunch”? The last track is a reprise of a couple of tracks, underpinned by an insistent Fall beat. The best part of it, Ey Bastardo, has MES singing in a cod-Spanish accent and ends the album on a light note. The new album shows standards haven’t slipped. In Gotta See Jane, MES sings that “I’ve gotta find what I left behind” - and he has. 9/10 - Reviewed by Ged
In the mid-90s Green Day batted off cries of ‘Sellout!’ as they spilled out multi platinum selling albums from their big label offices, reaching millions of spikey topped, baggy shorted kids worldwide. For the majority, this was an introduction to what they thought was punk. In truth, Green Day were travelling on a false passport, as they churned out a fairly formulaic set of new wave pop riffs. Their success spawned a mass of copycats, a flow that has barely relented to this day. This cornily named album acts as a summary of the best to date. It kicks off with a couple of reasonably good 2001 newies, the punk pop Maria and the acoustic Poprocks and Coke before slipping back into the conformity of chronology and the huge selling singles, Longview, Welcome to Paradise and the pick of the bunch, Basket Case, which featured a distinctly Stiff Little Fingers-ish grinding guitar riff. After that we get a number of indistinctive songs from Dookie, Insomnia and Nimrod that thankfully have a pause between them to ensure you know when one has finished and another started. Then they started to tinker with the predictable riff and pounding drums formula. Hitchin’ a Ride is a Stray Cats rockabilly effort, Good Riddance (Time Of Your Life), a folky acoustic ballad accompanied by an orchestra. Sid would be sneering in his grave and we all know from the My Way video what Mr Vicious thought of orchestras. To complete the album there’s four top pop songs from the more thoughtful, mature, and varied Warning LP, the oft derided Levellers-esq Minority and Warning, the punked up Beatles style Waiting and Coldplay meets Dylan-ish Macy’s Day Parade. Personally I prefer the new directions the band are taking and if a few spotty pre-pubescents fall off the back of the bus on the way then all the better. This album sums up the journey to date, I look forward to receiving the future postcards. 7/10 – Reviewed by Mawders |
 BRAIN DONOR Love Peace
& F*** (Impresario)Remember The Fly when Jeff Goldman inadvertently gets in his transporter with a fly and comes out with compound eyes and an unnatural desire to eat shit? Well if you stuffed Rob Tyner, Gene Simmons and Tony McPhee into the booth, the mutant three-into-one might sound something like Brain Donor when it emerged at the other end. The album isn’t a pure Julian H Cope record but anyone who saw him on the Audience with the Cope 2001 tour will recognise a lot of this material. No offence to Kevlar and Dogman but this is Copey exercising his heavy rock obsession and, because he’s probably the most eccentric, entertaining and lovable bloke in music, we’re prepared to indulge him far more than we would three nobodies who were mourning the passing of power trios. The committed Cope-ophile will recognise a number of other obsessions in the lyrics and sleevenotes, from faith in the subversive power of rock ‘n’ roll to the desecration of Mother Earth, pagan deities and the evil automobile. Pretty standard themes and delivered in a typically Cope way: 9 tracks in four phases, including one four-part suite and a 20 minute rock-out! Best track is the Cope-authored Hairy Music. This sounds like the Fall in their prime, when Burns, Hanley and Scanlon produced an elemental force to back Mark E Smith. Here Cope gets the same primal sound to back up his lyrics: “if you see me scratching round the base of my spine/I’m just searching for something that’s no longer mine”. The single She Saw Me Coming is a powerful and punky MC5 track that’s burns its way off the CD. Much of the rest of the album is pretty standard power chords and Julian’s too mannered vocals. The one track where it all becomes too much is the 20 minute She’s Gotta Have It which is too long by, oh, 20 minutes. Fans will like the album, neutrals will be bemused but it’s no substitute for another Julian H Cope album. 7/10 - Reviewed by Ged CONSHAFTER Your Day Job (Dork Epiphany Records)
What’s this? Something that came through the soundsxp maildrop, and excellent it turns out to be. Who are they? Three slacker ‘suburbanite brats’ with a nice line in self-deprecating humo(u)r, an ear for a good tune and inability to hold on to a drummer for very long. What are they on about? Oh that’s easy – leaving education [best days of your lives – unbelievably, it gets worse kids] and having to get a job (road trip), hating the job (day job), seeing others getting better jobs (wanker), slacking (myte as well rawk), being pestered by a girl (still around), losing a girl (porn star moustache), driving around (the schwartz), and getting older and wondering where the time went (midlife crisis). It’s sort of a concept album. But I use the term loosely and besides, it’s funnily serious and vice versa. Who do they sound like? Well, the sleeve says ‘Conshafter – pathetic pop punk’, and I don’t think they can be done under the Trades Description Act (in the UK). Also Pinkerton and Enema of the State are namechecked in the autobiographical road trip. Are these enough clues? Could you tell me more? OK: songs that start gently/quietly with arpeggio/unadorned gtr intros and then turn to rocklitepop distortion gtr chordriffs (road trip, wanker); but some don’t get to the distortion (in it for the money) or do without the gentle intro (myte as well rawk). Also acoustic numbers like the strumming kerouac and solo arpeggiong dying a slow death. midlife crisis is an unchanging punkpop riff that builds up to a shout. Analysis is boring isn’t it? Anyway, Conshafter also have a good sense of melody, punkpop chord riffs and what makes a song catchy (I’ve been humming them for a week). All very clearly produced too. Not lofi at all. Do you have any favourite bits? Well any of the first seven tracks (but the remaining six tracks aren’t bad either). Fave lines : “My hands hurt/From a hard day’s work/On the playstation…. I’ve got no future/Yet no desperation…All our lyrics are senseless/So you might as well hum”. Where are they from? Weezerville, USA. Off I-76 (near I-82, Blink and you’ll miss it). Is that really a place? Yes, in the Atlas of pop. Anything else? Er. You do have to listen to the music. Reading about it isn’t the same. Check it out at www.conshafter.com So what do you reckon? 8/10. At least. Reviewed by Kev
What does the name say to you? Something sleepy, shimmering, shoegazy? Well, that’s not quite it, but not far off. Slumber Party are four girl band from Detroit and this is their debut LP for Alan McGee’s label. The 13 tracks are sort of …[Reviewer shrugs shoulders, scratches head] … understated. Pleasant, but none stand out particularly. Then again I get the feeling they’re not meant to. It’s as if Slumber Party want to say something, but not too loudly. So what are we listening to? It’s a distinctive, gentle indie rock sound, recalling in various measures the Velvet Underground, Throwing Muses, or Cowboy Junkies (re Trinity Sessions). On first listening I thought I was listening to a ’mature’ Shop Assistants, if anyone can remember them. That’s not to say that Slumber Party sound like any of these bands, of course. The guitars, split into rhythm and lead, are delayed, reverbed, overdriven – the lead tending to meander through each song (sometimes to little effect and by the last track I was praying for it to cease, I have to admit). The drummer pounds away at the floor tom in true Mo Tucker stylee. And the vocals are mainly quiet, sometimes emotionally distant (think of those wheyphrased shoegazing vocals), although vocal duties are shared. All in all, the listener has to make the effort to pick out the songs rather than having them laid out boldly before him/her. Titles such as Strawberry Sunday, Ten Little Pills, Blue Sky drift by like clouds. But for me, it’s the last song that I recall because it departs from the usual set up with a simple drum machine pattern and organ figure establishing a quiet rhythm and melody which survive despite the attempts of the ever present niggling/noodling lead guitar. It is hard to see where the band will go from here: it very much sounds like the aural equivalent of standing still (I was going to say running on the spot but that sounds too energetic). In the meantime, forget your jimjams or your togas, have a slumber party. 7/10 - Reviewed by Kev AD FRANK Mr Fancy Pants (Stop, Pop and Roll) Ad is a synth and vocals dude from Boston and this is his debut solo release. Although he's American, he's clearly influenced by many of Britain's finest from the 70s onwards; the album's a collage of styles from glam to 80s electro-pop to 90s clever-clever Britpoppers like Jarvis Cocker and Jake Shillingford. It's camp, occasionally bordering on cabaret but never dull. It opens with Last Night Mark Eitzel Saved My Life, an all too brief number that fades just as you're getting into it, followed by the superb up-tempo orchestral operetta, u-hauls and ryders which would get the toes tapping on a wooden leg. We're soon into The Ticket Was Non Refundable, early Depeche Mode style electro boogie with machine gun synths and accompanied by female co-vocals a la Human League. I Can and I Will is blissful vocals over a thrashing Soft Cell background and again a girlie chorus. Bay of Fundy is gentle guitar pop and both I Have Seen the Moment of My Greatness Flicker and Leave Me in Tears owe much to prime 70s Bowie. This is a terrific album from someone who knows a great pop tune and had it been released 20 years ago it would have gone platinum. But if the Kidz want manufactured boy bands and baggy shorted skate doods then more fool them. Highly recommended. More details from www.stoppopandroll.com. 8/10 - Reviewed by Mawders. PAULA KELLEY Nothing/Everything (Stop, Pop and Roll) “You’re everywhere and nowhere baby. That’s where you’re at.” Thankfully her title isn’t anything to do with Jeff Beck’s hippy anthem but that first line sums up the dual nature of Paula Kelley’s album: looking backwards at the barriers in her life and forwards to a brighter, more independent future: “If nobody in the world is going to please you, you might as well start playing the guitar” (Girl of the Day). It’s personal but poppy and effervescent rather than goth-rocky and introspective. Kelley was a member of the Drop-Nineteens, US shoegazers who produced one classic single, Winona. She was then in Boston pop-rockers Boy Wonder before going out on her own. And essentially making your own way is the theme of this album. A number of songs sound like those numbers in musicals
where the stage darkens except for one spotlight and the audience hears the lead
character’s internal voice. crisis. The twin title tracks describe her insecurities (Everything)
and how she sees a way through (Nothing). Girl
of the Day is, according to Kelley, a pep talk to a depressed friend. Though it might be about miserable teenage years,
the delivery is anything but depressed. The
whole album harks back to classic 60s/70s pop, with big harmonies and lots of woo-hoos. It sounds like the Raspberries, Big Star, Juliana
Hatfield and Blondie in the way it transposes classic pop motifs to modern idioms. Her voice is little-girly and breathy, a bit like
Cerys Matthews crossed with Cilla Black. Lyrically
she’s clever: in Lucie, she sees life as a reverse nursery rhyme, where “the
prince becomes the frog every time”. You
Gonna Make It? is a standout. It’s
very sixties and very summery, in fact a lot like Long Hot Summer by the Style Council
with the same soulful classic pop sound, shot through with strings. Though comparisons with the past are easy to make,
ultimately what you really need to know is that the album is poppy, frothy, intelligent,
optimistic and, above all, fun. 7.5 out of 10 - Reviewed by Ged Funny business, reviewing. You suck in a song, swill it around and spit it out with your tasting notes. Something like: yes, I’m getting Big Star….mmm, strong Beatles flavouring….I think Bob Dylan dipped a sweaty scarf in this vat once or twice and…bloody hell! Is that essence of Fleetwood Mac? Arnold are ex-Creation, now Poptones artistes and they have been marinated in the Creation sound that the House of Love mastered. The result is impressive on the swirly, breathy Climb with its Beatle-y harmonies. Tiny Car also stands out, with its punchy sound and memorable hooks. Boo You is very Alex Chilton-esque while the last track, Pavey Ark, is four songs in a 15 minute segue , including a country-gospelly love song on the second part and a Byrdsian jangle tinged with carnival sounds on the third. It’s an interesting mix, and reveals a lot about Arnold’s influences but leaves Arnold themselves as undefined as ever. 6.5 out of 10 - Reviewed by Ged LIGHTS OVER ROSWELL Exposed
7/10 - Reviewed by Kev
This LP has so many things going on it’s hard to know where to begin and or how to fully describe it. Eric A is fascinated with sound as well as with pop music and these 22 tracks (recorded on a home four track) intersperse the album with variety of dialogue snippets, cut+paste soundscapes and terrific little lo-fi produced songs. It’s also a concept album of sorts, recorded whilst he was undergoing treatment for cancer (now in remission). There are clear images to do with this (his nurse is on the cover, the tracks are divided into Treatments 1-6 and 7-12) as well as in the songs themselves (Ill). But don’t that mislead you into thinking this is an oppressive experience. It isn’t. You may find the idea of sound clips interesting or irritating, but they have a purpose here. His father opens (And now some words from our chairman), his mother advises him to take his medicine (Selenium, vitamin e etc) and Eric himself says goodbye to hospital staff (Fin); these add narrative to the LP. And the aural jigsaw of The big crunch theory with its sound collision of cars, snatches of music, water etc, sounds as if he is trying to contain the sounds of the world on one piece, for posterity. Of course, the LP wouldn’t work without the songs. I like these lo-fi affairs, often without drumming, played with on a range of electric/acoustic guitars, piano or synth (as on the spacey instrumental, Spaceport Cabaret) and trebly/distorted vocals. Some tracks are gentle, like the piano led The Bells of Irony with flanged voice or the acoustic leading into electric gtr, Ill, with its rising vocals. There’s also lo-fi rockers such Sir Gawain and the green knight or the sythnpoppy Daylight Daylight or lovely acoustic folky Cyrano Debergerac. OK I’ll stop listing, but they are varied pieces and all have something to recommend them: clearly Eric knows how to write a little song that can say a lot and that you can remember. I suspect that this LP may have limited appeal - by which I mean the audience is probably marginal. A shame. But I am in that audience and this is fine stuff by me. I suggest you check his website, where you can hear some tracks too. www.ericalexandrakis.com 7.5/10 - Reviewed by Kev |
JIM O'ROURKE Insignificance (Domino)
TOMPAULIN My Life at the Movies
(Ugly Man)
CRAVE Cravenyc5
(e records)
THE FALL Are You the Missing
Winner (Cog Sinister)
GREEN DAY International Superhits!
(Reprise)
ROYKSOPP
Melody AM
