Cassandra Jenkins is quite simply one of the best songwriter-storytellers currently making music. Hers is a specific and singular corner of the Great American Songwriters, artists like David Berman, Adrianne Lenker, Jeff Tweedy and Sufjan Stevens. They’re artists connected by a sense of immediacy, not just in the writing – which is precise, evocative, brutal at times, pitch-back funny right when you need it – but by their delivery, by the way they sing with an immersive, total belief that carries you through their songs. These are the artists and songs that sneak up and really live with us forever, and on “My Light, My Destroyer”, Jenkins joins their ranks.
What’s most remarkable about “My Light, My Destroyer” is it captures an artist at an exciting leap in her evolution. So much about the album feels of-a-kind with its predecessors; field recordings and found sound permeate, narrative songwriting crashes into heady, swirling compositions. Jenkins sings with what can only be described as a power- whisper (think Sufjan Stevens, Annie Lennox, Margo Timmins or YHF-era Tweedy), her vocals up close and intimate but subtly confrontational. But it all feels bigger here, more finely honed, bolder and richer than her previous work and than her peers.
Born and raised in New York City, Jenkins has been touring and performing since she was a child, self-releasing her early recordings before releasing breakthrough “An Overview on Phenomenal Nature” in 2021. On “My Light, My Destroyer“, many of the songs are devoted to specific feelings, and to really getting inside those feelings as opposed to getting inside a narrative arc. Lead single “Only One” is one example, as Jenkins’s asserts that a moment, or a song, can be wholly myopic; it can embody a singular feeling, and provides no answers.
Songs like “Devotion”, “Delphinium Blue”, “Clams Casino”, “Echo”, and “Only One“, speak to the liberating quality of focused observation, even to the point of disillusionment. “There’s this idea about disillusionment that I’ve held onto,” she says. “I really appreciate disillusionment as a process to discover new, unexpected outcomes. We let go of expectations this way. Expectations hold us back. It’s easy to focus on jadedness or disappointment but I actually see it more as freedom.”
Jon Anderson continues to impress with his latest album, showcasing his talent and creativity after over five decades in the music industry. The standout track “Once Upon A Dream” is a progressive masterpiece that will surely become a fan favourite. The Band Geeks prove to be a fitting replacement for the legendary band Yes, delivering stellar performances throughout the album.
It’s almost 20 years to the month when Jon Anderson played his last show as a member of Yes. Perhaps it’s that “release” from a formal band structure that has led to the wide ranging solo path he has taken since then. His discography shows two “full” solo albums (2011’s “Survival” and “Other Stories” – consisting of songs finished up from ideas submitted from a variety of people – and 1000 Hands: ChapterOne – the completion of an album started 30 years earlier) since then.
There have also been a large number of one off releases, ranging from the 20 minute epic “Open” to an atypical political rant called “Go Screw Yourself”! Of course there were also collaborations with some unknown as well as better known artists (Anderson/ Wakeman, Anderson Ponty Band, Anderson RabinWakeman, Yes featuring ARW etc) but I think it’s fair to say that none of those added a substantial, great album to his discography.
The Band Geeks, is led by Richie Castellano was initially a podcast line-up, and they became an online band producing a series of cover versions, sometimes supplemented by special guests. A full cover version of the “Close To The Edge” album, as well as 1990s Rabin era favourite “The Calling“, demonstrated they had the Yes-chops to tour as Anderson’s backing band playing the most complex Yes Music. Now, as the 2024 JA / BG tour comes to a close, we, perhaps surprisingly, get a brand-new studio album. I say “perhaps surprisingly” because interviews with Jon would suggest many projects begin but few end (Chagall … Zamran … 1000 Hands Part 2 etc). He also hinted in previous interviews that while solo albums of the past have deliberately avoided potential Yes territory, in this case he placed no such restrictions on the creative process. So now we have a full album ready to roll and, as a Yes Geek, I’m excited to hear what this ‘True’ holds…
“True Messenger” starts the album with picked 12-string guitar and some strong multitracked vocals. As instruments join, it’s a classic Rickenbacker/ Squire and some vintage Hammond organ along with stacked multitracked vocals. What’s clear is that this music is energetic, intricate and … well, it sounds like Yes Music. I’ll explain what I mean by that: this sounds like a band working together to contribute to the vision of music that Jon has. That’s different from say, “Survival…” which was Jon adding his aspects to other people’s music. The closing sections of “True Messenger” manage to capture elements of classic prog / modern prog and … well even past Yes glories and blend it into something new. It’s an exciting track to kick things off with, with lots of shifts and complexity to let the listener know what they can expect ahead.
In that context, it made total sense to have “Shine On” as the album’s first single. The choral vocal intro breaks into a section which could be out of any 1990s/2000s Anderson Yes album, with a nice addition some excellent percussion. I keep finding my mind moving to “The Ladder” – to me that album has always been a great combination of taking the elements of Yes Music Past, adding some fresh aspects, but not pushing it too far out of the comfort zone. That’s probably the closest sonic comparison for “True”.
“Counties and Countries” starts with an epic and triumphant instrumental intro. There seems to be a real synergy between Anderson and the Band Geeks members. I should say that Jon Anderson is sounding strong on this album. The ARW live recording shows how as the years progressed so his vocals have retained their range, if sounding understandably a bit softer and gentler than the past. The production and mixing here are such that his voice is the centerpiece of the album, in, say, the ending of this track: “You’ve got a beautiful day today”. The frantic Moog solo and the ending of this almost 10-minute epic are just superb!
The next track, “Build Me An Ocean,” takes a twist into the territory of a piano-led balance. A beautiful song, with nylon and steel string guitars (including a fantastic solo), the Band Geeks add amazing choral harmonies and counterpoints. It’s a breather before we jump to the energetic “Still A Friend.” These two songs have very positive affirming lyrics, and while they are still in Anderson-style, it’s accessible! “Make It Right” continues the journey, and is a massive vocal showcase. I feel parallels to Turn of the Century in places, such as the slow build-up, how the guitar enters (and even its tone). I understand that Realization is Part Two of the preceding track and is a fun acoustic song with lots of percussion. Jon really sounds like he’s enjoying himself on this one!
The penultimate track is the 17-minute epic “Once Upon A Dream” – and it’s here we go full-on prog! All the stops are out and it’s a great one! Drawing comparisons to the Yes catalogue I’d once again mention the sound and energy of “The Ladder”, with the light and shade of the very best of the “Keys To Ascension” studio tracks. Lyrically we’re in mystical Jon territory with even some sly nods to past Yes song titles, as well as some musical linkages in various guitar and keys tones, and even some finger cymbals in the mid-section that are very Awaken-like.
At this point I should give a shout out to the individual musicians involved in this album. I suppose there is a danger that in the presence of a prog legend like Jon, the musicians end up being anonymous. If that was the case it would be a gross disservice because, compared to the previously mentioned Survival and 100 Hands, the Band Geeks sound like a fully integrated and operational actual band. Richie Castellano stands out as a versatile musician, excelling on both bass and guitar, with a style that effortlessly blends technical skill and creative flair – oh, and he also plays keyboards and sings on top of co-writing a lot of the material. In him, Anderson has found a foil who can harness exactly what Jon is aiming for… and more – his contributions are integral, adding depth and complexity to the band’s sound. Andy Ascolese, the band’s drummer, provides a powerful rhythmic foundation, his dynamic drumming propelling the music with precision and energy. Meanwhile, Andy Graziano takes many of the lead guitar passages – his style is original but yet more than just a copy of. Robert Kipp, on the Hammond organ, brings a classic Yes Album, soulful element to the mix, which compliments Christopher Clark who adds layers of keyboard textures – together they enhance the band’s sound with a modern yet timeless atmosphere. When you mix all of this together, you get a cohesive and vibrant sonic experience that bridges the past and the future. Does it sound like the band we know and love? Yes!
Back to “Once Upon A Dream” – it’s got a spectacular ending with all of the players getting their chance to shine. In my opinion this song has a very strong possibility of ending up in my 2024 Top 10 prog tracks and I believe it would work incredibly well in a live context!
It’s understandable that a close of album gear-shift is what’s needed after that extravaganza, and what we get is a beautiful ballad / tribute from Jon to his wife Janee! The song “Thank God” is a simple thank you to his partner. We know that Jon has had various medical issues already mentioned and his tribute is: “Thank God I’m here, thank God I’m home, thank God you’re in my life”! The Band Geeks pitch the backing perfectly – orchestral and subtle is just what’s needed, yet playing is powerful.
When this album was announced, I have to admit to being a bit nervous. Sure The Band Geeks credentials were unquestionable and they shown they could play great Yes covers… but that didn’t necessarily guarantee a great album! However, the combination exceeded my expectations by quite some way. I know fans of “Olias” will immediately flame me, but I’m going to say this is quite simply the best (and my favourite) Jon Anderson solo album!.
Maybe that comparison is poor because it is a band album. Either way, who cares – the album places everything we love about Jon into a musical collaboration with musicians who are in sympathy and understand just what is needed. To me, the whole “is it / is it not Yes?” question is totally spurious when you are handed an album like this from a legend like Anderson. ‘True” is a brilliant album from one of the most important voices in Prog history and only further cements his legendary status as one of Prog’s ‘True’ pioneers.
With Welsh traditional music flourishing in experimental arrangements and settings thanks to artists such as Cerys Hafana and Lleuwen, Peiriant’s second album (its title means returning) adds to that thrilling sense of motion. Rose Linn-Pearl’s folk fiddle melodies twist and lock with the post-rock-influenced guitars and drones, played by her bandmate and husband, Dan, conjuring up the sublime, jagged landscapes of their home in the Bannau Brycheiniog of mid-Wales. Mellifluous tracks like “Llethr” (Slope) and “Cân Idris” (Idris’s Song) sit side-by-side with the compelling, twitchy textures of “Gors” (Swamp) and “Carreg” (Stone).
Peiriant (pronounced pie-ree-ant) is a Welsh word for a machine or an engine, a fittingly eerie name for the atmospheric duo of violinist Rose and sound artist Dan Linn-Pearl. A couple who returned to their native Wales in recent years, and co-founded the Nawr concert series in Swansea and Hay-on-Wye (alongside free improvising harpist and Richard Dawson collaborator Rhodri Davies), their second album, “Dychwelyd” (pronounced Duh-ch-wel-id – returning), explores the idea of going back to a source in sound, marrying folk textures and techniques with shimmery, modulated guitars and post-rock drones.
Living in the mountainous Bannau Brycheiniog, through which the rivers Wye and Usk flow, Peiriant make music that is anchored to that landscape, revelling in its drama and delicacy, frills and fissures. Opener “Taflu Dŵr” (Throwing Water) begins with Rose hacking at her strings before her notes build to a cascade, her violin bursts sounding like the sprays of a river careering into the sea.
Then come her folk-evoking fiddle melodies, giving a human dimension to tracks such as “Carreg” (Stone) and “Llethr” (Slope). They scrape and fight in the former against Dan’s subaquatic pulses, conveying a mighty power. In the latter, they soar blissfully above subtler, iridescent electronics, suggesting a kite in gentle flight.
These are not long tracks. Out of eight of them, only the throbbing “Toriad-Agoriad” (Cut-Opening) and the quivering “Gors” (Swamp) are over four minutes long. Nevertheless, all act as portals to places that sound primeval and profound, building towards the blissful finale, “Llwyfan Dir” (Plateau). A moment on top of the world with violin and guitar pedals working together, its summery sheen brings an almost Balearic glisten to the idea of folk music, lighting it up like a beacon.
The Cure may have ended 2024 by seeing in goth winter with a magnum opus, but it was NewDad who laid the table with spiderwebs and cracked crockery on this aching dose of glorious gloom, gossamer dream-pop and hazy shoegaze. ‘Madra’ is Irish for ‘dog’ – and this one is purebred.
The Irish alt / rock collective NewDad released their debut album, MADRA on Fair Youth / Atlantic. An album awash with spiralling guitars and a hypnotic bassline, singer/guitarist Julie Dawson finds inspiration in TV show Euphoria, as she ruminates on the destructive relationship of characters, Rue and Jules: a storyline that she herself gravitated towards.
“Madra” is an 11-song, guitar-stacked visceral outing, as singer/guitarist Julie Dawson embarks on a journey of self-exploration, self-sabotage, and reflection. Soaked in dysfunction, “Madra” searches for solace in pain, tackling themes of bullying (‘Where I Go’), self-medication/depression (‘Madra’, ‘Let Go’), destruction (‘Change My Mind’, ‘White Ribbons’), co-dependency (‘Nosebleed’) and resistance (‘Nightmares’). The album artwork, photographed by Irish creative, Joshua Gordon, shows a broken doll that serves as a metaphor for the album’s themes of fragility and vulnerability.
The album finds NewDad reconnect with their musical roots, digging deep into the shoegaze/rock sonics that soundtracked their formative years (the band cite Pixies, The Cure and Slowdive as some of their biggest early influences), together with glimmers of indie/pop that harks back to their earlier material: ‘Waves EP’ (2021) and ‘Banshee EP’ (2022). Written in their home city of Galway, Ireland, before the band moved to London this year, and recorded at the legendry Rockfield Studios (Black Sabbath, Queen), the album has been produced by NewDad’s long-time collaborator Chris Ryan (Just Mustard) and mixed by Alan Moulder (The Smashing Pumpkins, Nine Inch Nails, Wet Leg). Bound together by Julie’s ghostly vocal – a vessel for her weighty, introspective songwriting – “Madra” firmly marks NewDad as one of Ireland’s most promising debut guitar bands.
Ten years in the making, Beth Gibbons’ solo album lived up to its title and meticulously found beauty in life’s pivotal moments of decline and regrowth. Capturing the ethereal charm that catapulted Portishead to fame, ‘Lives Outgrown’ isn’t only Gibbon’s most raw and grounding music to date, it’s also her most mesmerising.
Billed as her debut solo album, this feels like a more than worthy follow up to 2002’s amazing “Out of Season” (credited as a collaboration with Rustin Man). “Lives Outgrown” features production by another Talk Talk alumni, Lee Harris, and contains sonic ghosts of Gibbons‘ past; some haunting, subtle echoes of the anxious moods explored on Portishead’s Third – but there’s a general tilt away from the jazz and soul that has previously informed her work in favour of some kind of ancient British folk through a dreamlike prism. 30 years of music and not one single miss. A masterpiece.
Beth Gibbons Featuring 10 beautiful new songs recorded over a period of 10 years, the album was produced by James Ford and Beth Gibbons with additional production by Lee Harris (Talk Talk).
“Lives Outgrown” is, by some measure, Beth’s most personal work to date, the result of a period of sustained reflection and change — “lots of goodbyes,” in Beth’s words. Farewells to family, to friends, even to her former self. These are songs from the mid-course of life, when looking ahead no longer yields what it used to, and looking back has a sudden, sharper focus.
The beautiful thing about Juliana’s voice is that it is “ageless & timeless.” As smooth today as it was way back when. Her backtrack harmonies are still heavenly to to behold. This is a more mature JH able to look back on past relationships & the stuff that life throws your way. This more laid back Lady still has it going on. Great Compositions & musicianship throughout this release.
First time ever on vinyl! Using the original audio files from producer Andy Chase, Scott Hull at Masterdisk remastered for vinyl and cut lacquers. Aaron Tanner at Melodic Virtue handled artwork using the original photography by Jonathan Gershon Stark. The good folks at Gotta Groove Records in Cleveland, OH pressed the vinyl.
Matthew Sweet’s iconic album “100% Fun” is back!, This Expanded Edition is available for pre-order on CD/SACD, featuring remastering that delivers a rich, immersive listening experience. Matthew Sweet’s “100% Fun” is the third cornerstone of his Holy Trinity of Power Pop, released in 1995. Produced by Brendan O’Brien, the album delivers a rich, layered sound featuring grinding guitars, powerful bass lines, and thunderous drums.
Intervention Record’s 19-track Expanded Edition SACD set is the ultimate way to experience this classic album, offering unmatched sound and stunning presentation. Iconic tracks like “Sick of Myself,” “Not When I Need It,” and “We’re the Same” come to life in incredible detail, making this release an essential addition for music lovers and collectors alike.
“… an album that rocks its worries away without ever getting rid of them.” – Stephen Thomas Erlewine, All Music
“…a classic power-pop record full of chiming guitar, powerful hooks and sing-a-long choruses … a record I keep coming back to year after year …” – DS Barrett
“Intervention Records prides itself on the sound and packaging of its products, and the sound quality and overall listening experience of 100% Fun is second to none. It’s about time this album be revisited; Intervention’s set should be obsessed over.” – Frank Valish
“On top of the superb audio and visual aspects of this “100% Fun” reissue, Sweet has also included seven outtake bonus tracks that were a part of the original “100% Fun” master tapes.” – Will Hodge
In December of 1974, an Island Records A&R exec out of London put together a demo session for punk pioneers Television. They were joined in the studio by Brian Eno, formerly of Roxy Music, who had gone solo that same year. With hopes of a promising endeavor to pitch the band to label heads, the sessions instead were a complete failure with the band and Eno leaving frustrated. This is the story of those fateful demo sessions, the stakes on the table for both Television and Eno, and why they went so catastrophically wrong.
Tracks
1 Prove It (Long Version) 2 Give Me A Friction 3 Venus 4 Marquee Moon (Long Version) 5 Obsession 6 High Voltage Pleasure
1974, Hollywood Session Live At The “Fairland Studios” Bass, Backing Vocals Fred Smith Drums, Percussion Billy Ficca Guitar, Backing Vocals Richard Lloyd Lead Guitar, Lead Vocals Tom Verlaine Vocals, Arranged By, Engineer Bryan Eno
This nine-track debut, delving into the pre-Christian Irish tradition of grieving songs known as caoineadh(keening), shows us a young artist’s arresting engagement with the intensity of emotions surrounding loss. Rose Connolly has a beautiful voice with a wide melodic range, which she bends, twists, strains and warps through both her physical exertions and a sample-based granular synthesiser. The results recall both the Gaelic tradition of séan-nos singing, and the work of experimental artists such as Meredith Monk, Yoko Ono and Hatis Noit, while the beats meld folk with gothic, 4AD-era soundscapes unmatched since the glory days of This Mortal Coil.
“Mo Lean” features several new original recordings and reworks of songs and hymns based around the concept of death, life, mourning and catharsis. Rois re-imagines the tradition of keening in Ireland that goes back to pre-christian times, a practice in which women, or bean caointe, would keen a lamenting wail at the side of a coffin during a wake.
After discovering two out three lasting recordings of keening songs, Rois was inspired by their ethereal melodies to give them a modern reworking. Rois aspires to express the power of the voice to transcend death and help us relinquish our fear of it.
In 1976, following an extensive tour, The Who took a hiatus to focus on individual projects. Ronnie Lane initially approached Pete Townshend to produce his album but later invited him to collaborate on songwriting. Townshend, hesitant as he had never co-written songs before, declined. However, they did succeed in co-writing the album’s title track, “Rough Mix”. The album featured a mix of songs written individually by Lane and Townshend, with the two performing on most tracks together. This song is the one cover they did. The producer was the legendary Glyn Johns.
When I hear this song I think to myself…it’s pretty cool that I met the writer several times. It’s a song written by Don Williams and Wayland Holyfield. I’ll get in a mood where I have to hear something rootsy or down to earth. I usually pick either The Band or Ronnie Lane. This music is something you could play on your back porch.
An album with Pete Townshend and Ronnie Lane you would figure to be huge at the time. It wasn’t huge but it was a great album and has been highly regarded since. Personally, it’s high on my list of albums made in the 1970s along with Lane’s solo material.
Don Williams’s music was really hot during this period. Eric Clapton was covering it and suddenly country music was popular. The album peaked at #44 in the Billboard Album Charts, #70 in Canada, and #45 in the UK in 1977.
The Fat Angel Sings 