Album reviews: Perfume Genius | Swans | Bill Fay | Classical | Jazz | Folk

Published on 27/08/2012 02:12

OUr music critics give their verdict on this week’s longplayer releases, including new albums from Perfume Genius, Swans and Bill Fay

POP

Perfume Genius: Put Your Back N 2 It

Organs/Turnstile, £11.99

Star rating: * * * *

DESPITE the Mr Motivator title of his second album, Mike Hadreas, the Seattle singer/pianist who records as Perfume Genius, could probably do with a bit more protein in his diet, coming across like some wilting flower on his delicate compositions.

But I suspect that he could actually be trouble. There is subtly provocative matter within his lyrics contrasting with a hint of the tremulous alternative gospel feel that Antony Hegarty brings to his piano pieces; the combined effect sounds not unlike Bon Iver’s resonant wilderness lullabies with an added frisson of homoeroticism.

FIONA SHEPHERD

Swans: The Seer

Young God Records
Online Only

Star rating: * * *

IN THEIR early years, Swans were one of the most sonically challenging bands on the circuit. Tales of audience members vomiting at the notes and frequencies they used fed their reputation and, despite his protestations to the contrary, frontman Michael Gira was and still is a thoroughly intimidating presence. The Seer, which he claims is the culmination of 30 years’ work, is a punishing listen at two hours in length (and still unfinished, says Gira).

The half-hour title track is the dread, clanking centrepiece but elsewhere there are dark visitations on country roads, unholy mantras, utterly graceful composition and some of the extreme noise terror of old. Rewarding, if you can handle it.

FS

Bill Fay: Life Is People

Dead Oceans, £11.99

Star rating: * * * *

THIS cult English singer/songwriter released a couple of albums in the early 1970s and hasn’t been heard from since, barring covers of his songs by Wilco and Current 93. He never stopped writing though and his first album in more than 40 years sounds so natural. Fay is undoubtedly a product of his times – the songwriting is old school, and the thoughtful lyrics rather hippyish in sentiment but Life Is People is a beautifully and sensitively orchestrated work.

The slick, slightly anachronistic production of City of Dreams puts me in mind of Gerry Rafferty. Elsewhere, with his weathered tone, conversational delivery and philosophical stillness, he radiates a musical integrity you can also hear in Neil Diamond’s recent recordings.

FS

CLASSICAL

John Rutter: The Tewkesbury Collection

Delphian, £13.99

Star rating: * * * *

DELPHIAN’S ongoing relationship with the Tewkesbury Abbey Schola Cantorum turns to the music of John Rutter, which in itself is almost a surefire success. For Rutter’s music has that magical uniqueness about it in being able to straddle the school of light lyrical touch with that of musical sophistication and integrity. Sure enough, it inspires beautifully scented performances from the boys and men – works as varied as the substantial Brittenesque Lord, Thou Hast Been Our Refuge and sparkling Wells Jubilate to the blissfully quiescent Ave Maria – augmented variously by gorgeous solo contributions on oboe, cello and trumpet, and from cathedral organist Carleton Etherington. Now and again the vocal balance goes awry, but it doesn’t spoil the enjoyment.

KENNETH WALTON

JAZZ

Jacob Karlzon 3: More

ACT Records, £12.99

Star rating: * * * *

THE Swedish pianist has become a familiar figure in Scotland, whether as leader of his own trio or accompanying singer Viktoria Tolstoy. His music on this latest trio outing with bassist Hans Andersson and drummer Jonas Holgersson is more expansive than ever, infused with a rock-derived rhythmic energy that fuels both the improvisations and the group’s ensemble interplay in exciting fashion, and nowhere more so than on the opening track, aptly titled Running.

The music is mostly made up of Karlzon’s own compositions, but he does include two unconventional cover selections, Nik Kershaw’s The Riddle and Korn’s crunching metal anthem, Here To Stay. The pianist’s lithe but muscular touch and finely nuanced invention on both piano and electric keyboards are always impressive, and he has an equally winning way in the gentler and more reflective interludes, as on Nilha or Between Us.

KENNY MATHIESON

FOLK

KATHLEEN MACINNES: 
CILLE BHRÌDE / KILBRIDE

KMA, £13.99

Star rating: * * * *

THE title of this lovely second album from the smoky-toned Kathleen MacInnes, harks back to her late mother’s South Uist township of Kilbride, with the singer well supported by some familiar names, including the album’s producer, Iain MacDonald on flute, Iain MacFarlane and John McCusker on fiddles and Irish harpist Laoise Kelly.

There is an Irish feel to some tracks, not least Teanga Binn mo Mhàthair, which undergoes a happy “conversion job” from Mayo to Uist Gaelic, with help from Michael McGoldrick’s uilleann pipes, while one particularly striking arrangement has MacInnes delicately intoning the lament Tha Sneachd’ air Druim Uachdair over sonorous brass drones from Rick Taylor. Also beautifully sung is a lullaby from Napoleonic times, Gur Milis Mòrag, with supporting vocals from Cathy Ann MacPhee.

A low-key transatlantic contribution from banjo maestro Bela Fleck whirrs its way through a pair of work songs while the closing A’ Ghrian is a sublime hymn to the sun.

JIM GILCHRIST

WORLD

Rough Guide to the music of Scandinavia

RGNET, £8.99

Star rating: * * * *

I’VE always been interested in what the Sami people in the Arctic call joiking, which is a cross between throat-singing and yodelling and is one of the oldest forms of folk music in the northern hemisphere. Its shamanistic origins link it with similar music still found in Central Asia, and it crops up here with a techno-ambient gloss courtesy of the Finnish joiker Wimme Saari, who shares this 67-minute stage with a wide variety of other musicians from this huge region.

As the compiler Phillip Page points out, Scandinavia’s great classical composers – Grieg, Sibelius, Neilsen et al – were passionately interested in folk music, and wove it into their work. And geography, trade, and political history ensured that Norway, Sweden, Finland, and Denmark were always in receipt of a plethora of foreign cultural and musical influences.

Musically, however, the biggest influences of the 20th century came from America in the form of jazz and swing, which quickly put down roots, in Norway in particular – a process demonstrated here in tracks from Arild Andersen, Benedicte Maurseth, and Annbjorg Lien.

Iceland meanwhile is strongly represented by the Amina ensemble, Valgeir Sigurosson and múm; the very local nature of their music reflects the fact that until the 19th century the country was singularly free of outside influences.

Denmark is represented by Valravn, whose members have Danish, Swiss, Ecuadoran, and Faroese roots, and whose sound explores old Faroese ballads with the aid of electronic instruments. Sweden, which gave us Abba and Neneh Cherry, here offers bands such as Katzen Kapell and soloists such as the late keyboard virtuoso Lars Hollmer. From Finland comes the inevitable and irrepressible Kimmo Pohjonen, whose accordion is always high-octane.

MICHAEL CHURCH