STACK #182 Dec 2019

MUSIC REVIEWS

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Nick Cave and the Bad Seeds Ghosteen Created after one of his twin sons, Arthur, died aged 15 in a tragic accident, some songs on Ghosteen revealed themselves to Nick Cave in "fever dreams". While Cave navigates grief – often testing the uppermost pinnacle of his vocal range and sounding broken-yet- hopeful ("I'm just waiting now for peace to come")– The Bad Seeds take supporting roles on album number 17, with Warren Ellis's ever-present, atmospheric synth drone complemented by spectral vocal harmonies, ominous bass and occasional mystery percussion. During this record's 14-plus-minute closer Hollywood , Cave paraphrases a Buddhist parable. "Kisa had a baby, but the baby died," he sings in fractured falsetto – art imitates life, and we feel Cave's sorrow. Listen to Ghosteen in public at your own risk. (Bad Seed Ltd) Bryget Chrisfield George Michael/WHAM! Last Christmas OST Opening with the title track, Last Christmas is a collection of (mostly remastered) Wham! and George Michael favourites including Freedom! '90, Too Funky and Wake Me Up Before You Go-Go . The soundtrack also features a previously unreleased track, This Is How (We Want To Get High) , which was recorded prior to Michael's death in 2016 and opens with plucked strings underscoring his soulful, wistful singing before funky guitar and Latin dance rhythms take hold. An astounding live version of Praying For Time highlights Michael's flawless vocal delivery, passion oozing through every syllable. Elsewhere, we admire the way Michael makes exasperation sound sexy ( Fantasy ), his staccato vocal delivery ( Faith ) and absolutely everything about Wham!'s masterpiece, Everything She Wants . (Sony) Bryget Chrisfield

DJ Shadow Our Pathetic Age Josh Davis, aka DJ Shadow, is an acclaimed DJ and producer with decades of experience. He's a student of history, fascinated by the music of all generations. And he's a history maker – his debut was the first ever record to be constructed entirely from samples. But it's the Present (and uncertain future) that holds DJ Shadow's attention on his latest LP, Our Pathetic Age . The hint is in the title, and it's echoed in the cover art: a figure gazing into the abyss of a mobile phone screen. The mood is set from the opener, Nature Always Wins – blaring foghorn bass cries out from the speakers. It's followed by Slingblade , a soundtrack of staccato

drum hits, sci-fi synths and tense tubular bells. Throughout the album are pensive piano refrains, skittering jazz drums, earth-shaking rock breaks, sub-bass blasts and expertly selected samples from Davis' record collection. It's signature Shadow. Carefully layered arrangements, rich in detail, heavy in impact. The opening suite is instrumental, and the second half features friends and fellow luminaries like Gift of Gab, Lateef The Truth Speaker, Nas, Pusha T, and numerous others, all on top form. Our Pathetic Age is a fascinating, reflective and exhilarating new chapter in the

ongoing chronicle of this master at work. (Mass Appeal/Caroline) SimonWinkler

Låpsley These Elements EP Two years ago, driving through Portugal, I stopped briefly at sea cliffs just past the popular beaches of Sesimbra. A small group of tourists were clambering up rock walls. They'd find a suitable platform before leaping, carefree, into the ocean, 8, 10, 12 metres beneath. One by one they'd disappear, swim to shore and start again. My friends and I sat nearby for maybe an hour until the afternoon sun got the better of us. First one friend, then another, crossed to the ledge and dove calmly into the water. And then suddenly it was me. Alone. Shaking uncontrollably. Peering at the stony shoreline far below.

"It's not easy letting go, it's not that simple" sings Låpsley on her new EP 'These Elements'. She is not referring to my hands that day as they gripped the cliff in terror. But Lapsley does know well those feelings of facing the unknown. Her brilliant debut 'Long Way Home' addressed the turmoil of teenagehood; an evocative record filled with sharp synth-pop. 'These Elements' swims the tides of life since; four years out in the open ocean. In Låpsley’s own words: “Emotional love, physical desire, depression and self-worth. Everything I’ve gone through in the last four years is in these four songs.” Lapsley finds clarity in the complexity, her lyrics glide on crisp drum machine rhythms and plaintive synth melodies. (XL Recordings/Remote Control Records) SimonWinkler

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DECEMBER 2019

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