Part one of the TVD Record Store Club’s look at the new or reissued wax presently in stores for October, 2016.
NEW RELEASE PICK: Noura Mint Seymali, Arbina (Glitterbeat) With this LP the Mauritanian griot Seymali has easily matched her international debut, an achievement of no small magnitude as Tzenni stands amongst the strongest entries in Glitterbeat’s discography. Seymali’s songs and even more so her vocals grip the attention as the instrumentation, with Seymali on ardine, Jeiche Ould Chighaly on guitar, Ousmane Touré on bass, and Matthew Tinari on drums, offers a wildly funky ride throughout; in particular, “Ghlana” attains a splendid plateau. Expertly produced by Tony Maimone. A
REISSUE PICK: V/A, Afterschool Special: The 123s of Kid Soul (Numero Group) That it took nearly a decade for this follow-up to Home Schooled: The ABCs of Kid Soul to appear is testament to Numero Group’s dedication to quality. Recordings of music by kids and young teens will probably always be associated with gimmickry/ novelty, a fact understandably frustrating fans of the Jackson 5, the Osmonds, and Kris Kross. In the end it’s hard to deny the adult organization necessary in formulating the musical worth as well as historical relevance of these nuggets. The Future Kind’s “Simon Says” is a highlight. A
Acid Arab, Musique de France (Crammed Discs) The prospect of combining Middle Eastern and North African music with techno frankly conjured visions of an aural horror show, but I really shouldn’t have worried; the label responsible was a tipoff to a baseline of quality, and inspecting the contents made plain this isn’t contempo exotica. Torsos will certainly move, but what makes this 2LP/ CD a success is its hard-driving density; appropriate to the group’s name, the contents can get somewhat psychedelic, particularly through the wild keyboard of Rizan Said on standouts “Le Disco” and “A3ssifa.” B+
Ablebody, Adult Contemporaries (Lolipop) The hint of tape drag during the ’80s-tastic synth haze at the start of opener “Backseat Heart” portended a puddle of irony that thankfully never happened; instead, Christoph Hochheim (he of Pains of Being Pure at Heart) and identical twin brother Anton combine indie pop (think Orange Juice), mersh synth pop (a la later Berlin or something), and ’70s soft AOR pop (Al Stewart? Sure…) into carefully crafted formal specimens. And it’s all so meticulously fashioned that I gradually lose interest; the songs are well written but lack brevity, which is an added problem. B-
Lucio Battisti, Amore E Non Amore (Light in the Attic) The notes posit Battisti as Italy’s Serge Gainsbourg, but this 1971 album (some will recall a CD reissue from a decade ago) is a helluva lot more than that; emanating from a psych-folk place and holding a share of instrumentals alongside collaborations with lyricist Giulio “Mogol” Rapetti, getting reacquainted with this LP, Battisti’s fourth, has been a treat. The ’60s are still palpable (e.g. the aggressive sitar at the end of “Una poltrona…”) as moments brought Os Mutantes, Scott Walker (mainly the symphonic sections), and even Procol Harum to mind. Dig. A-
Cálido Home, Tones and Shapes (BCore Disc) Sophomore effort from the Spanish indie folk duo. Using a basic but reliable setup of vocals and guitar, the disc avoids sounding overly fragile or like the byproduct of rumpled troubadours. Simultaneously, they nix the antiseptic aura afflicting too much current folk. Eduard Pagès lends harmony and gets a nice vocal spotlight on “Full Moon Pilgrim,” but much of the appeal derives from Andreu’s straightforwardly sturdy voice; both wield acoustics with aplomb. Not as strong as the Dalton, Bunyan, and Perhacs comparisons, this is still worthwhile. B+
The Dahmers, “Blood on My Hands” (Lövely) These Swedes stretch the punk rock serial killer song impulse (think The Adverts’ “Gary Gilmore’s Eyes” and The Mentally Ill’s “Gacy’s Place”) into a band concept. Roughly analogous to a cheaply-made independently-funded slasher flick, a dalliance with questionable taste is the point, but ultimately there’s nothing really discomfiting in these three songs, which rock effectively but not exceptionally. For Henry: Portrait of a Serial Killer-level ick (if that’s how you roll) there’s the early industrial scene or The Dahmers’ countrymen Brainbombs. B
Dom La Nena, “Cantando” (Six Degrees) Terrific EP of covers from Brazilian-born/ Paris-based cellist and singer-songwriter Dominique Pinto. One might guess she discovered Jacques Brel’s “Les Vieux” after moving to France, but no; ‘twas introduced to her during childhood by her mother. It combines very nicely with the gorgeous reading of Brazilian composer Lupicinio Rodrigues’ “Felicidade” and the fine intermingling of voice and cello in Chilean composer Violeta Parra’s “Gracias a la Vida.” Opening the disc is a version of Beirut’s “Scenic World” that’s recognizable but highly distinct. A-
Fatal Jamz, Coverboy (Lolipop) Ablebody and Wyatt Blair (from a few In Store’s back) are three peas in a label pod, though this leans closer to the latter, as Ablebody display a serious side missing here. I consider myself in line with the objectives of glam, but this really puts that statement to the test; “Jean Paul Gaultier” gets off to an okay start, but the title track embraces clichés, mostly lyrical, so blatant that I find it impossible to take much of what ensues seriously. “Nikki Sixx” rocks out in trib to its namesake, but otherwise this mostly sounds like late new wave curdling into mid-’80s shit-pop. Big deal. C
Katie Gately, Color (Tri Angle) Having worked as a sound editor for films, Gately’s recording career is still in the blossoming stage, but this album, which is built from layers of found audio and manipulations of her voice, delivers a major statement. The bending and shaping of captured sounds isn’t new to the artist, as her cassette “Pipes” stated that no instruments were used in its making. Experimental? Yes, definitely; but it’s combined with a melodic sensibility placing the whole squarely in the realm of art-pop. Björk fans (Gately has remixed the Icelander’s “Family”) take note. A-
Sophe Lux & the Mystic All Are One (Zarathustra) Gwynneth Haynes (sister of film director Todd Haynes) has previously issued material as Sophe Lux, but in tandem with noted recording engineer Larry Crane she’s expanded the moniker; numerous Oregonians contribute. A synth pop angle is immediately asserted, but it’s nearer to Gary Numan than mid-’80s sheen as Haynes’ soulful pipes and engaging songs fruitfully recall femme-voxed pop-rock from the dawn of MTV. Title track is equal parts eccentric and anthemic, while “Who Knows What Wonders Might Arise” is a standout. B+
Rachel Modest, “I Try” b/w “Forbidden Love” (ATA) I’ve yet to get my fill of contempo soul classique, and this 45 from an up and coming UK label makes clear that a personal point of saturation is still way off in the distance. ATA relates that Modest honed her skills in church, and while that’s no surprise she also exudes a level of sophistication suggesting fruitful time spent around the stereo. The influences listed include Dusty and Dee Dee Warwick, and if either is found in one’s bag then make room for this one too. Guitar, bass, and drums get augmented with a small horn section to fill out the backing very well. A-
O Veux, S/T (OnderStroom) and S/T (Softspot) These eponymous 2LP reissues document the noteworthy if not vital lifespan of a Belgian post-punk unit. The set released by OnderStroom corrals unreleased and live recordings from ’81-’82; the opening of “Sex” makes the influence of This Heat (specifically “Horizontal Hold”) screamingly clear, but much of the rest connects like the Pop Group with a no wave edge. The Softspot label collects O Veux’s complete ’82-’86 studio recordings, displaying broadened scope, sharpened ability and inevitably, refinement. Post-punk fans will find much of interest here. B+/ B
The Orb, COW / Chill Out, World! (Kompakt) Consistently active since 1988’s “Tripping on Sunshine,” this is somewhat incredibly the 16th album from The Orb, which for some time now has consisted of founding member Alex Paterson and longtime principal Thomas Fehlmann; highlighting this vigorous and at 43 minutes quite digestible serving of experimental ambient electronica is the knowledge that it was created in five sessions across a six-month period. There’s also an appealing lightheartedness on display; e.g. the CB radio chatter in the expectation-exceeding “9 Elms Over River Eno (Channel 9).” A-
People of the North, The Caul (Thrill Jockey) Kid Millions and Bobby Matador, both of Oneida, are People of the North’s core duo, but per the promo text this LP’s title track is one of the few documents representing the pair unadorned by invited contributors. A delight of skill-elevated abstraction, its nearly 20-minute duration edges closer to free jazz than does the flip-side, a situation partially due to the input of keyboardist Jamie Saft, who also recorded the session. “Surfacing” is a woozy, wobbly dive into the surreal, while “A Real Thing You Can Know” is satisfyingly atmospheric. A-
The Renderers, A Dream of the Sea (Tinsel Ears) Originally issued on CD back in ’98 through the august Siltbreeze label, this is a totally deserving vinyl reissue, returning to the bins (at least for a while) a masterpiece by a consistently overlooked (and still active) Christchurch New Zealand-spawned outfit. The constants are marrieds Brian and Maryrose Crook, and the band’s main strengths are the C&W-tinged yearn of her voice and the post-VU amp gnaw, which gets laced with elements of desert psych and damaged blues. Should garner much enthusiasm from fans of early Dream Syndicate. A
Sumerlands, S/T (Relapse) Debut by a Philly-based band with noted producer Arthur Rizk on guitar and behind the boards. This isn’t doom or sludge, but rather a beefy branch-out from ’80s-style metal; back in those days, bands of Sumerlands’ inspiration were largely found on indie labels, and a big danger was crummy production. This LP avoids that pitfall with ease, and by extension isn’t any kind of homage. Drummer Justin DeTore and bassist Brad Raub are heavy yet agile, John Powers and Rizk are a worthy guitar tandem, and singer Phil Swanson is neither gruff nor shrill. A-
Richard Sussman, The Evolution Suite (ZOHO) Sussman’s had an impressive and stylistically varied career, and in 2014 he received a Chamber Music America New Jazz Works Grant to create a new composition for jazz group, string quartet and electronics; this CD presents the results in live performance, and it’s a stirring success. Progressive but tied to tradition in a manner bringing Oliver Nelson to mind, the strings are far from mere ornamentation and get the opportunity to really wail in “Movement III: Nexus.” Additionally, the electronics are neither cutting edge nor retrograde. A-
Ultimate Painting, Dusk (Trouble in Mind) A friend hipped me to this UK-based unit earlier in 2016. Consisting of Jack Cooper and James Hoare in the studio, the impact of the Velvets on their sound was pretty obvious in the best of ways; filled out with a rhythm section for live shows, I caught them opening for Woods a couple months back, and the scenario was essentially the same. Well now here comes Dusk; although the VU roots are still showing, they’ve gravitated toward the sound of their fellow Londoners The Clientele. This suits me just fine, as does the occasional use of electric piano. B+
V/A, Meantime (Redux) (Magnetic Eye) While myriad indie-to-major acts struggled or downright faltered in the transition, Helmet found considerable success, predominantly through their Interscope debut Meantime. This tribute might help rescue the band from opprobrium by (questionable) association to the whole Nu Metal debacle; peppering faithful versions with a few worthwhile alterations of varying magnitude, it confirms Helmet’s importance and delivers a fun ride. Fuck the Facts’ “Role Model” is a highlight. Bonus covers include Blackwolfgoat’s take of Strap It On’s “Bad Mood.” B+
Van der Graaf Generator, Do Not Disturb (Esoteric Antenna) In their heyday, VdGG were huge in Italy, but major success eluded them in their UK home and elsewhere, making their 2005 reunion something other than a cash grab; as Pete Hammill, Hugh Blanton, and Guy Evans are all septuagenarians, this just might be the group’s coda. Kinda unusual for a prog group, VdGG’s cult status derived largely from Hammill’s unique songs and singing, and he’s in good form here, as is Blanton on organ (nicely restrained) and Evans on non-rudimentary drums. If this is the end, it’s pretty worthwhile. B+
Becky Warren, War Surplus (Self-released) Warren emerged on the scene over a decade ago as part of the Great Unknowns but took an extended break from music related to her husband’s PTSD; her solo debut tells the story of Iraq-bound soldier Scott and his girlfriend June across 12 tracks. Warren won the 2014 Merlefest Songwriting Competition for opener “Call Me Sometime,” and her vaguely post-Springsteen-style narrative thrives in a hearty pop Americana zone highlighted by Paul Neihaus’ steel guitar. Should interest fans of Neko Case (Warren has pipes) and Lucinda Williams (the songs, again). A-
Wild Pink, “4 Songs” (Tiny Engines) third EP from this young NYC trio. I’ll confess to the indie delicateness of opener “4th of July” sparking memories of all-nighters spent with a deeply missed confidant roughly ten years ago, but after detaching from the claws of nostalgia, I must admit the song’s not a mindblower. But then the three other selections rock to varying degrees, with the best being “Forlim Chop”; all manage dynamic shifts with a fair amount of subtlety and don’t feel like throwbacks. Speaking of which, they’ve been tagged as power-pop, but don’t fit the mold in the classic sense. B
