Hammock go massive as they meditate on grand themes of death and loss, their music ever larger, more expansive. Every song a mountaintop vista with a clear view to the horizon, unencumbered by clouds, in all directions. Departure Songs demands that it be played loudly so that the details in each track can breathe, whether it is the androgynous, falsetto vocals of Marc Byrd or the angelic voice of Christine Glass Byrd or just a little bit of guitar in the background, this record is nuanced in a most compelling fashion. The arrangements beg to be picked apart - soaring guitars, propulsive bass, and hypnotic strings. The vocals work wonderfully as an instrument, but when the words finally become understandable, they cause shivers.
Michael Nyman's 8 Lust Songs comes with a Parental Advisory warning for explicit content, but the songs are in Italian, so only a small number of Italian speakers in the English-speaking world will have the opportunity to be offended (unless, of course, you read the translations in the booklet). Nyman describes the settings of these explicit sixteenth century poems by Pietro Aretino – essentially bedroom dialogues between lovers – as a natural progression in his work, which, since his days as a student, has frequently been concerned with sex.
A great collection of wonderful songs. 72 Songs including hits from a-ha, Fleetwood Mac, Kylie Minogue, Cher, Phil Collins and many others.
An above-average soundtrack to a mediocre film, this dance-oriented album hits more than it misses. The title track by David Bowie is fluff by his standards, but as it's produced by Nile Rodgers (a year before their collaboration on Black Tie White Noise), it's danceable fluff. Further in, the album samples the beginnings of the '90s techno revolution, with excellent tracks from Future Sound of London ("Papua New Guinea"), Moby ("Next Is the E"), Ministry's Bush-era primal scream "N.W.O.," and Mindless's "Mindless." Brian Eno's exclusive track "Under" is one of his best from the '90s.
In the late 1970s, Gary Bartz's work became quite commercial. But earlier in the decade – when the alto and soprano saxophonist led his Ntu Troop – he was more ambitious. Recorded in 1972, Juju Street Songs is among the risk-taking efforts that came from the Ntu Troop. This ambitious LP finds Bartz drawing on a variety of influences – everything from John Coltrane's modal post-bop to world music to the electric fusion that Miles Davis and Herbie Hancock were providing at the time. The term world music, of course, can mean a lot of different things; for the Ntu Troop, it means a strong Middle Eastern/Arabic influence on the moody "Teheran" and more of an Afro-Caribbean outlook on the exuberant "Africans Unite.".