Like any respectable literature, I’m going to throw too many names at you.
Back in early April, a friend shared with me a press release that Manufactured Recordings would be reissuing a trio of classic, overlooked shoegaze records: KG’s Come Closer, We’re Cool, Alison’s Halo’s Eyedazzler and Bethany Curve’s Mee-Eaux. I was vaguely familiar with Bethany Curve, but had never heard of the other two. Considering my friend’s excitement over Alison’s Halo getting a vinyl reissue (and a double-LP treatment at that), I took a dive into the album and their available recordings scattered across the internet.
In their time, Alison’s Halo only released on 7” single and this record, yet they toured with heavy-hitters of the underground shoegaze scene including Medicine, Curve and the Verve. Eyedazzler is a retrospective collection of the band’s music from 1992-1996. The record saw a CD-only release in 1998, and has now been re-released digitally, on a limited-run CD, and as a double-LP vinyl reissue. This record holds its own, using very classic song structures from the ethereal 90s and pumping them through delay and distortion to create a beautiful wall of sound, which sits upon Catherine Cooper’s subdued but definitive vocals. This album deserves its place in shoegaze royalty.
I now consider it one of my favorite records ever, and Manufactured Recordings has taken great care to package this record into something worth tucking-in at night. I recommend this record for warm, wet days inside.
Favorite track: Snowbleed
get the record at www.alisonshalo.com
check out the full roster for the Shoegaze Archives project at discogs
Molly Nillson’s Imaginations reviewed by Jake Folsom.
Last Friday, Berlin-based Swedish singer-songwriter Molly Nilsson released ‘s her seventh LP, Imaginations. Molly Nilsson’s style is consistent – independent, straightforward, minimal synth-pop. She produces & releases all of her material through her own label, Dark Skies Association, creates her own music videos, organizes tours and designs all the album artwork. If you look up any of her live performances on YouTube, most of shows feature Nilsson alone on stage singing over pre-programmed tracks. While big “indie” labels like Secretly Group and Sub Pop consistently push out a catchy brand of rock & pop free of “corporate influence”, Molly Nilsson reminds us that it’s still possible for an artist to self-produce great music.
Neu! Neu! 2 & Neu! 75
By David Pence
Last year saw the reissue of three records that have thrown a long shadow across the landscape of rock. These three albums were made by Neu! (pronounced noy and meaning “new”) in Dusseldorf and Hamburg between 1972 and 1975, after Michael Rother and Klaus Dinger had abandoned the fledgling Kraftwerk to work as a duo. In the ensuing three decades, the influence of Neu! has reached bands like Pere Ubu, Joy Division, Mission of Burma, Sonic Youth, and Stereolab.
The Mighty Hannibal
By Dylan Morrow
West Coast soulster the Mighty Hannibal aka James T. Shaw is a master songwriter and fine vocalist. He is also a great storyteller as exemplified both by his lyrics and in the liner notes accompanying this 28 song collection (there is a nice story about Ray Charles the pilot in here). Apparently this man has made some interesting career moves (for example as a “Master Advisor and Maintainer of Women’s Affairs”) and seen some bad times as attested to in the gospel/funk of “The Truth Shall Make You Free” (containing the line “drugs is just a new name for slavery”). In this instance hard times and heroin made for some interesting music. This collection contains tracks ranging stylistically from 1950’s r&b clatter “Big Chief Hug-Um an’ Kiss-Um” and “My Name is Hannibal” to the deep mournful 70’s soul of the deceptively titled “Party Life”. There is something for the kids with ” Motha !
By Chris Darling
Well, in this huge world of music, with “umpteen” artists debuting their work way before their time, few artists I’ve come across match the readiness and musical knowledge of native Mainer, Sean McGowan. Throw in the sonically pure steel-string guitar prowess & Sean’s masterful delivery and this Solo Guitar (DEBUT) release River Coffee displays, and your in for a treat.
This debut release from Sydney, Australia’s Ides of Space arrived at WMPG late last year and promptly blew my teenie little indie mind. Completely skipping a gawky musical adolescence, this quintet managed to show up on the first day of school with a nearly flawless balance of lush, shoe-gazing melody and carefully controlled bursts of thunderous, fuzzy guitar.
By Lenny Smith
Macy Gray set the bar extraordinarily high for herself with her debut album, On How Life Is, her tremendously commercially and artistically successful 1999 release, but with her second offering, The Id, she may have surpassed it. It may take a few thousand more listenings to know for sure, but then, like her first LP, The Id is tremendously repeatable. While this album feels in no way like a copy or a rehash of her first release, there is a continuity with it, and the same lushness of arrangements and astonishing blend of styles and influences. That and Macy’s unique vocals and worldview make for thirteen killer tracks, complete with beautiful booklet with production notes and lyrics.
Yep Rock Records, 2008
By Ron Raymond
WMPG Music Director
Once the musical force behind two memorable 80s bands, The Jam and The Style Council, Paul Weller has since made taken his Brit pop/rock to all different kinds of levels. His new album, his ninth solo effort titled 22 Dreams, is no exception. “After [2005’s] As Is Now, I thought the time was right to make the sort of record I wanted to make,” he says of the creative process which led to the new album. “Instead of worrying about anyone else, I wanted to really push the boat out. I think the result is going to surprise a few people.”
Don’t you know who I think I was? Best of the Replacements
Rhino Records, 2006
By Ron Raymond
WMPG Music Director
Minneapolis rock heroes The Replacements (led by a rock hero in his own right, Paul Westerberg) have had a best-of compilation before (the fantastic 1997, 2-CD Reprise collection All For Nothing, Nothing For All immediately comes to mind), and I know what you’re saying – why review a compilation that’s already 2 years old? Well, in April 2008, the good folks at Rhino reissued deluxe editions of all of the band’s great early Twin/Tone Records albums Sorry Ma, Forgot To Take Out The Trash, Stink, Hootenanny and Let It Be. And in honor of that, I thought for those folks looking for a starter course on the music of The Replacements, they should start with this great collection Rhino released before the reissues.