Sufjan Stevens – The Ascension
An ethereal as well political eighth album by the American artist, and the first since 2015's acclaimed, exquisite, and heartbreaking Carrie & Lowell that was fuelled by the death of his mother. The Ascension is less delicate, and at times verges towards electropop, but while Stevens's voice soars again both gently and powerfully, the tone is less personal grief than the last, more anger and despair at the state of his country, particularly current leader he refers to as Donald Duck. The key, final track, as recently highlighted on our Song of the Day section is America, a 12-minute epic with a dark, disturbing classical section. Religion and spirituality is a running theme here, and appears to be from a personal struggle with his own faith, with a sense of both sadness and menace on the title track. Video Game is a protest against herd mentality, Sugar attacks popularism and cliche but also seeks the short-term rewards of sweetness, while Goodbye To All That has several killer lines of dark humour. Lamentations mesmerically forms a fusion of psalmic pop, and several other tracks, such as Ativan, have a sense of some disembodied voice combined with the sort of big and arrhythmic beats you mind find on a Björk album. A long but beautiful album of elevated disquiet. Out on Asthmatic Kitty.
Sufjan Stevens – The Ascension
IDLES – Ultra Mono
Continuing their onwards trajectory with ever increasing acclaim after blistering live performances and first two albums Brutalism (2017) and Joy as an Act of Resistance (2018), this third LP sees the Bristol broaden their sound but also not let up on the visceral vitriolic anger of previous releases. What's so potent and ironic about Joe Talbot and co is that their angry, white English delivery could potentially be loved by the very "gammon" type of those they attack (such as in the Brexit-inspired Model Village), recalling the heady days of when gigs by the Specials in late 1970s were attended by racist skinheads who who too thick to listen to their lyrics. No prisoners who compromises or taken this time either, as well as Talbot's powerful turn of phrase, the guitar whip up a bristle-down-the-neck storm on many tracks, including War, anti royalty track Reigns, and Mr. Motivator which like much of the album, contains many several hilarious lines. Ne Touche Pas Moi features former Savages singer Jehnny Beth, Jamie Cullum plays piano on Kill Them With Kindness, and Hymn offers a darker, slower, different sound. Yet another blistering release of clever, acerbic brilliance. Out on Partisan Records.
IDLES – Model Village
Diana Jones – Song To A Refugee
This heartfelt, very potent and serious album of folk songs by the singer brought up in New York is entirely inspired by the plight of refugees attempting to cross the Mexican-US border. Jones is accompanied producer and instrumentalist David Mansfield. Outstanding tracks, many of which write from first-person perspective, include the title track, Santiago, El Chapparal, Where We Are, and changing to overview from several voices, We Believe You, where she is joined by Steve Earle, Richard Thompson and Peggy Seeger to strengthen the message. Powerful, emotional, vital, and heartbreakingly beautiful at times, and an antidote to everything the current president stands for. Out on Proper Records.
Diana Jones – We Believe You
A Certain Ratio – ACR Loco
After a wave of compilations and boxsets, a first new studio album in 12 years by the legendary Manchester postpunk band. And it's a very dancey number too dipping into different genres and cultural including funky Acid house (Yo Yo Gi) electropop that has echoes of Herbie Hancock and acid (Superfreak), early 90s indie pop (Always In Love and Family), a cross between New Order and krautrock (Berlin) acid jazz (Get A Grip) and jazz-rave closer Taxi Guy. Overall then, still innovating, and making us move. Out on Mute Records.
A Certain Ratio - Yo Gi Gi
Bob Mould – Blue Hearts
Powerful, explosive new solo work from Mould, best known for his work as guitarist, vocalist, and songwriter for alternative rock bands Hüsker Dü in the 1980s and Sugar in the 1990s. The album begins with a note of quiet acoustic vulnerability and fear of climate change with Heart On My Sleeve, but the rest of the album turns the volume right up, nodding to his noisy past while the themes are very much topical and political, with key tracks including American Crisis, Forecast Of Rain, Baby Needs a Cookie, and Leather Dreams. An album that keeps fighting with energy, melody and angry urgency. Out on Merge Records.
Bob Mould - Forecast of Rain
Sad13 – Haunted Painting
Second solo LP by Sadie Dupuis, the singer from the lead singer and guitarist of Speedy Ortiz is almost entirely made by herself and like contemporary St Vincent, is full of clever humour and experimentation, and features guest Tune-Yards. Ghost is chasing a lost good time, Oops...! is a fuzz guitar darkly amusing nod-along pop song, and there are a diversity of wonderful sounds such as on Take Care with plentiful strings and flute while WTD? includes electric sitar and and echoes of Pavement, and Good Grief is an classic upbeat breakup song. Clever, funny and catchy. Out on Wax Nine.
Sad13 – Oops...!
Marie Davidson and L'Oeil Nu – Renegade Breakdown
As previously highlighted on our Song of the Day section, the title track is described as sumptuous, strutting, sexy synth funk-pop of talky-singing in the form of feminist, political defiance by the trio of old Montreal friends Marie Davidson, Asaël R. Robitaille and Davidson husband and Essaie Pas bandmate Pierre Guerineau. There's 80s and 90s-style echoes of Handsome Boy Modelling School, Grace Jones and a dash of 70s Abba. Of other tracks, Worst Comes To Worst strips back the dance funk to minimalism, La Ronde is more like French 60s pop, Just In My Head is almost a low-key jazz number, while My Love is a slow, guitar-strumming flute-decorated landscape of minimalism. Overall, a genre-spanning work of melancholy eccentricity. Out on Ninja Tune.
Marie Davidson and L'Oeil Nu – Renegade Breakdown
Deftones – Ohms
Dark, heavy rock, but with clear postpunk influence such as by the band Wire, and similarities to Smashing Pumpkins, this is the ninth album by the Sacramento alt-metal band who have been around since the late 80s, and their 1995 debut Adrenaline. Alongside the title track, it's worth trying out the rich depts of Uranti, The Spell of Mathematics, Ceremony and Headless. Best listened to late at night, wearing nothing but black. Out on Reprise Records.
Deftones – Ohms
Mildlife – Automatic
A mesmerising new six-track album that crosses many genres jazz, krautrock, prog and groovy dance funk by the Melbourne band. The diversity of their work is exemplified by the slow-build of opener Rare Air, the upbeat old-school grooves of and vocals on Vapour, then Downstream, the smooth jazz guitar of Memory Palace, and in particular the closing title track which has influences in Kraftwerk and Herbie Hancock decorated by the Moog. Out on Heavenly Recordings.
Mildlife – Rare Air
This week's selection is by The Landlord.
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