Distant Days - "Dying Of The Light" (2017)

Probably I'm the only one in Montreal who owns this Swedish album, maybe the only one in Canada. I received it as a birthday gift from my brother, and the members of the band are friends to him, of whom I have met and spoke with a couple of them. Crème de la crème of the Uppsala and Stockholm musicians. At times like these, it's easy that one's objectivity takes vacation.

The company that released the album is Open Mind Records, which is also a record store in my hometown of Uppsala (Sweden), where I spent many hours and quite a bit of money. Probably my favorite store in Uppsala, though I was unaware that the owner also had a record label. They release vinyl records with bands from Uppsala, as I've understood it.

Distant Days consists of four members, of which the singer / guitarist Erik Illes is also the main songwriter. The other members are Anders Vretenäs (bass), Ulf Eklund (drums) and Michael Funke (guitar). My expectations of the record were not that high, what can some local guys from my little hometown create, I thought a bit snobbish, but was immediately put in place. Dying Of The Light is a good album, where rock / alternative rock may be a suitable label. It's generally a relatively quiet mood, and often the band's music is compared to the Swedish band Weeping Willows (for those of you who happen to know them). Personally, I get more vibes of the British band James, their calmer songs, which also happens to be one of my favorite bands. I can definitely hear Tim Booth sing several of these songs. Both of these similarities are to be considered compliments.

The album is filled with many strong songs that tend to get stuck in the head. Several times I've found myself humming a chorus while taking care of everyday life. The opening song Search & Rescue has become a favorite, just like A Song From The Basement and The Loved Ones. Should I find something that the band could do better, it would be a bigger variation in the sound. Although some fast-paced songs are thrown in with a the calmer ones, it's the same soundscape that we're constantly in. Some excursions here and there to something more different would be fun and also show a wider repertoire of the band. Maybe this is primarily a producer issue.

If you like a bit calmer music, with a dark touch, Distant Days debut album can definitely be recommended. If you want to know more about the band, visit their website https://distantdaysmusic.com/

Tracklist

Side A
1. Search & Rescue
2. September
3. A Song From The Basement
4. The Loved Ones
5. The Moon Is Too Pale

Side B
1. Out Of This World
2. Falling Apart
3. Mixed Blessing
4. Sarajevo
5. Strange Things Will Happen Here

Patrick Watson & l'Orchestre Cinema l'Amour / The Barr Brothers - "Live" (2017)

When I a week ago bought the album 13 with Lee Hazlewood on the nearest record shop, Aux 33 Tours, the shopkeeper put something in the bag when I paid, said something quickly in French, of which I only caught pieces, "Je mets ... dans la sac ... gratuite ... ". Since I still understood the essentials, I smiled and responded, "Comme noël." Outside the store, I examined the bag and found to my surprise that there was an extra album there. What a lovely day. Two albums for the price of one. They must have realized that I was a Very Important Person, with a Very Important Blog. Didn't think it was that visible.

The record is a so-called promo, which must be handed out for free by shops, it cannot be sold. After my initial hybrids, I thought maybe they gave it away if you bought for a certain amount of money, but through the internet, I realized that the artists created this record in conjunction with this year's Record Store Day, and Aux 33 Tours' 10th Anniversary. It was to be handed out to the first 1500 customers after the release. I managed to be among the first 1500. The official release date is April 22, 2017, so it's really smokin' fresh.

Patrick Watson

The artists are two local bands that I didn't know before. I had no expectations of the content, but was very pleasantly surprised. As the name suggests, it is a live recording with each artist. Patrick Watson is both an artist and a band (where the artist is, of course, a member / founder). On internet, the band's music is described as a mix of cabaret pop, classical music and indie rock. And the record opens up with something that makes me associate with Jacques Brel and Mackie the Knife. The music is from a concert in 2013 at Église Saint-Jean-Baptiste (a church), and on stage there is an orchestra and a choir in addition to the band. The four songs are a rather eclectic mix, with everything from beautiful, calm songs to cabaret influenced stuff. The band is apparently known for using odd "instruments" in the studio, such as a bike. Interesting side of the album, which definitely makes me want to explore the band further.

The Barr Brothers

On side B you'll hear the two brothers Barr and Sarah Pagé, who are the foundation of The Barr Brothers. On stage there are also other musicians joining them. Their music is described as eclectic modern americana, a music style they are considered to be one of the more important performers of. Different than the A-side, but absolutely listenable. They got to know each other when they were neighbors in Montreal, and Sarah's experimental harp playing was heard through the thin walls. And from there it continued. This music is more back to the American roots, something I don't have much of in the shelf. The closest thing might be Dr John, even though The Barr Brothers don't dive as deeply into the voodoo swamp. Three good songs, and also here I get curious to hear more of the band. The concert was recorded in 2015 at the Montreal International Jazz Festival.

It was fun to get this album, which made me discover two new local bands that seem interesting. When I read about them on internet, I realize that they are quite famous and successful in their respective genres, and no longer only local artists. Of the two bands, Patrick Watson is currently the one that arises most curiosity, but the Barr Brothers are also worth remembering.


Tracklist

Side A - Patrick Watson & l'Orchester Cinéma l'Amour
1. Wooden Arms 3:23
2. Beijing 5:53
3. Man Like You 5:03
4. Where The Wild Things Are 5:13

Side B - The Barr Brothers
1. Even The Darkness Has Arms 4:11
2. Beggar In The Morning 7:23
3. Half Crazy 8:01

James - "Girl at the End of the World" (2016)

James delivers, as usual, on their 14th studio album. Three weeks together in Scotland, with Max Dingel as producer, results in a record with a more electronic sound than usual, something found on a couple of early 2000's albums with the group.

A source of irritation, however, was the label's idea to put a sticker directly on the cover, a sticker that tells which singles are found on the album. When the album is wrapped in plastic. And the sticker has a glue that makes it virtually impossible to peel off without leaving ugly marks on the cover. Why not put it on the plastic surrounding the LP? I was so upset that I wanted to contact the label and ask questions, but on the website no phone number or email address were given. Writing a handwritten letter felt like going to extrems. So they wont have to fear my anger. This time.

The record's nearly 45 minutes are generously distributed on two discs. It's said to be good for the sound quality with a greater distance between the tracks. There is a tendency of getting somewhat spoiled when buying new vinyl with various add-ons, like cool booklets, gatefold covers, etc., so I noted a bit disappointed that this album contains no more than both the discs and a mp3 download. But that's OK, and probably the reason the album has got a relatively affordable price to be a newly released vinyl. The downloading of the mp3 just gave me just over two minutes of each song, I blame it on technical issues during the download. It's nothing I usually listen to, anyway.

It's a good album. Not James's best, but neither one of the less good. If you like the band, I definitely think it should be acquired. Personally, I like the band better when it's a slightly less electronic focus, and Tim Booth's voice doesn't go through various effects, as it does on some songs here. But this doesn't go to exaggeration, and it feels without doubt like a solid James album. As a balance to the electronic sound, you get, amongst others, the Edward Sharp smelling Nothing But Love, which finishes side A. James have been around for a long time, and I am pleased that they continue to create great records. It can be mentioned that it was almost James's first # 1 album in England, but in the last moment they were put down to the second place by Adele.


Tracklist

Side A
1. Bitch - 4:52
2. To My Surprise - 4:21
3. Nothing But Love - 3:29

Side B
1. Attention - 4:08
2. Dear John - 4:04
3. Feet of Clay "- 2:37

Side C
1. Surfer's Song - 3:51
2. Catapult - 4:02
3. Move Down South - 5:19

Side D
1. Alvin - 2:13
2. Waking - 2:44
3. Girl at the End of the World - 3:00

Lee Hazlewood - "13" (1972)

Somewhat an odd bird in Lee Hazlewood's catalog. The story behind the record is described in a two-sided, groovy, serie strip that comes with the album. The background is also described with more words in a text that is also found within the album. The story is as follows:

A man named Larry Marks worked as a producer at Hazlewood's record company (LHI) a few years before the release of the album. Larry liked Hazlewood's music, and had this project in which he chose his favorite songs with Lee, remade them in his favorite flavor - soul, funk & blues - and recorded it with himself singing. Top musicians from Los Angeles were brought in to the recording sessions. But the record company vanished, Lee moved to Sweden and the album was never released. In Sweden, maybe Lee didn't have a lot to do, so he started to go through what was hidden in the vault of his former label, and found this recording. So by re-recording the song with himself singing (and deleting Larry's song) he had an entire album with a minimal effort. I get a feeling one can discuss the morality in this. Anyway, the album was only released in Sweden and attracted not much attention.

Larry Marks

That background means that this sounds different from what Lee usually does. Of course, it's a lot more soul and funk, much more horns than usual. In addition, the music is recorded in a tone that is adapted to Larry's voice, not Lee's deep voice. It also means that this is a pretty fun and interesting album.

Actually, I like Lee better in his more "regular" version, with his own arrangements, but it's fun to break habits sometimes. It's a lot more uptempo here, and perhaps the closest one will get to a party album with Lee. Of course, I've bought a reissue, and with the LP comes a mp3 download as well. Here you'll find the original album, where Larry sings, and the outtakes for the album. Personally, I actually like the music better with Larry's song, maybe because the music is adapted to his voice, and that it actually is the musical style he loves. Perhaps it affects the performance in a positive way. It's really groovy stuff. The LP contains some extra tracks where Larry Marks sings, including some previously unreleased songs.

If you want a slightly different Lee Hazlewood album, with a lot of horns, a clear smell of the early 70's, this record might be something. Especially if you like soul. But one must have an open mind, it sounds different from what Lee usually does, even though his deep baritone nevertheless makes you feel at home. It sets its clear mark on the songs, as always. The photo on the cover is one of Lee's favorite photos, he though the dartboard looked like a halo, and the backrest like angel wings.


Tracklist

Page A
1. You Look Like A Lady 2:10
2. Tulsa Sunday 2:15
3. Ten Or Eleven Towns Ago 2:36
4. Toocie And The River 4:35
5. She Comes Running 2:26
6. Rosacoke Street 2:41

Page B
1. In Move Around 2:24
2. And I Loved You Then 3:30
3. Hej, Me I'm Riding 1:58
4. Cold Hard Times
5. Drums
6. The Start
7. Suzie

Wire - "Chairs Missing" (1978)

This album was not easy to find used, neither in Sweden nor here in Montreal. But suddenly one day, in a record store with a main focus on punk, it stood there in the shelf and waited for me. I quickly grabbed it, noted the words 'Colored vinyl on the cover - Wow, even better! - felt that nice combination of joy and surprise, paid and went happily home. The day had suddenly become so much better.

Once home, I put the album on the record player, and got down in my armchair full of expectations. But something disturbed me in the music, It was hard to put the finger on exactly what. There was something in the sound, something strange. I noticed after a while that not a single tone was kept straight, but they all went up and down. I immediately became even more suspicious, should it really sound like this, and got up and observed the record player's arm. It slalomed on the record. A long left turn, iiiooooo, and an as long right turn, oooiiiiii, and then left again. The record was crazily mispressed. The center of the tracks way off target. The day immediately became much worse.

The B-side is flawless, luckily enough, but the A-side's slalom competition makes it quite difficult to enjoy what I hear, the music doesn't sound like it's supposed to, and it bothers me. This was Wire's second album, and they had mixed up the more pure punk with electronic elements, and the word artpunk is sometimes used to describe the music. The listener is offered some relatively simple punk tunes but also dark creations that are more difficult to define. Everything from somewhat boring to more or less amazing.

It's a good album. If I try to ignore the A-side's soundly misfortunes, I understand that also that side is good. But the B-side would still be my favorite. Songs like I Am The Fly and Used To, everyone must love. Especially the latter I've been attached to lately. It feels quite far from punk, and maybe that's why I like it so much. I've never really been a punk lover, and that I like Wire probably depends on the fact that they often move quite a bit from the classic punk to pretty dark places. It's good stuff. Chairs Missing can be recommended, but is probably not for everyone.


Tracklist

Side A
1 Practice Makes Perfect 4:06
2 French Film Blurred 2:35
3 Another The Letter 1:06
4 Men 2nd 1:43
5 Marooned 2:21
6 Sand In My Joints 1:51
7 Being Sucked In Again 3:12
8 Heartbeat 3:15

Side B
1 Mercy 5:46
2 Outdoor miner 1:45
3 I Am The Fly 3:06
4 In Feel Mysterious Today 1:56
5 From The Nursery 3:00
6 Used To 2:21
7 Too Late 4:16

Pink Floyd - "Delicate Sound of Thunder" (1988)

You can't really complain much regarding this album. Of course, it's of high quality, the musicians among the best, the sound is great, (most of) the songs are really good. Hey, it's Pink Floyd. But is it a necessary record to own? Not really.

I found the album at a local book & record second hand store, and bought it partly to perfect my Pink Floyd collection, and partly because the only Floyd album I don't have, from their official studio releases, is A Momentary Lapse Of Reason, and many of those songs you find here. This way I can continue to justify I haven't bought A Momentary ... (I just don't like that album). That album's highlight, On The Turning Away, you'll get here in a great version, you'll also find Learning To Fly, A Momentary's ... other OK song. So why not? The album wasn't so expensive.

But otherwise it's Pink Floyd's earlier works that appeal to me on the album. It's a double album and the second disc contains only Floyd's earlier material, while the first contains only new songs (new, the year of 1988), except the opening song Shine On You Crazy Diamond. The songs are taken from five concerts the band performed at Long Beach, NY, the summer of 1988.

But I'd say there's no huge reason to have this album in your shelf. At least not if you have the original albums. The live versions don't really bring any new and exiting spices to the songs, and at least I tend to be negatively affected by hearing their previous works performed by only three-quarters of the group that created them (Waters had left PF long before this live album was recorded). It's like something is missing. I am also somewhat twofold when artists play their old songs, the fans favorites, probably mostly because that's what people want to hear. You're leaning against old, safe songs you've played a thousand times, and on the inside probably long ago left for new musical creations. But of course these are the songs that also I like the most and want to hear. Yes, it's twofold.

But again, there really isn't much to complain about regarding this album. Despite that, I will continue to listen to the original songs, most days. Knowing that the context was different when they were recorded, they were new creations the band worked on and recorded, makes them more interesting. And the "new" songs on the album, I have never been particularly interested in.


Tracklist

Side A
1. Shine On You Crazy Diamond 11:45
2. Learning to Fly 5:07
3. Yet Another Movie 7:03
4. Round And Around 0:33

Side B
1. Sorrow 9:44
2. The Dogs Of War 7:13
3. On The Turning Away 7:35

Side C
1. One Of These Days 6:17
2. Time 5:18
3. Money 9:42
4. Another Brick In The Wall Part II 5:17

Side D
1. Wish you were here 4:50
2. Comfortably Numb 8:42
3. Run Like Hell 6:42

King Crimson - "In the Court of the Crimson King" (1969)

King Crimson's debut album, and the first thing that happens is that the monster 21st Century Schizoid Man brutally runs you over. What a start to a career. Maybe you need the rest of the album's considerably quieter songs to pick up the pieces and assemble you again.

This album, subtitled An observation by King Crimson, is considered as one of the most important progressive albums, and must probably also be considered one of the most impressive debut albums. 1969, right at the start of the existence of the progressive genre. Bands like Moody Blues and The Nice had been sniffing at the area, but King Crimson took it to another level. I'm no expert on King Crimson, but this album feels much more accessible and enjoyable than lot of the stuff they recorded later in the 70s (of which I only have heard bits and pieces). On later records, I get the impression there were more difficult and complex pieces, which often were so advanced that the beauty for the ordinary listener got lost somewhere along the way.

The band produced the album themselves, after the producer Tony Clarke, who among others had produced Moody Blues, had begun a collaboration with the band. Apparently it didn't work out. The band's original members, participating on the album, were Robert Fripp, Greg Lake, Ian McDonald, Michael Giles and Peter Sinfield, who was the lyricist. King Crimson's history is then filled with changes of members, and Robert Fripp is the only one who has been in the band at all times.

I really like the cover, and the artwork inside (it's a gatefold). It's paintings by Barry Godber who unfortunately died a short time after the album was released. According to Robert Fripp, the person on the front is the 21st Century Schizoid Man, while the person inside is the Crimson King. Just the cover is reason enough to own the album.

Although the song 21st Century Schizoid Man is regarded as one of King Crimson's greatest classics, I'm not so fond of it. It is just too loud and brutal for me. However, I appreciate the rest of the album. It's nothing but calm, gentle songs, progressive ballads I guess you could call them, which display a lot of beauty. The powerful and mighty Epitaph and The Court Of The Crimson King, are my favorites, if I must choose. At the same time, there is something in the sound that evokes a somewhat solemn, bordering on an unpleasant, atmosphere. The vocals, the mellotron, the dark lyrics. There is something which produces an uncomfortable feeling. It's not an uplifting album, nevertheless, you can't do anything but to recommend it. With this album, King Crimson opened the door wide to a new musical landscape.


Tracklist

Side A
1. 21st Century Schizoid Man (Including "Mirrors") 6:52
2. Talk To The Wind 5:40
3. Epitaph (Including "March For No Reason" and "Tomorrow And Tomorrow") 8:30

Side B
1. Moonchild (Including "The Dream" and "The Illusion"), 12:09
2, The Court Of The Crimson King (Including "The Return Of The Fire Witch" and "The Dance Of The Puppet") 8:48


Most of King Crimson's music is not available on Youtube in its original form, copyright laws... The first video is an original (as long as it stays on Youtube), while the second has the original song, but with new instruments recorded.