Skip to main content

Titanic Rising

On-line end-of-year 'best-of' lists are occasionally good for something. It was through one such listicle in 2014 that I first became aware of Weyes Blood, aka Natalie Mering. I wasn't quite interested enough at that point to buy her second album, but after I'd heard the featured tracks from its follow-up Front Row Seat to Earth, I reached for my wallet. 'Andromeda', the first song released from album #4, Titanic Rising, likewise motivated me to part with some money.

On first listening to the album as a whole I felt a little disappointed by it, but, on further hearings, I realised that what I'd inititally mistaken as blandness was, in fact, subtlety. It took a few goes around before songs like 'A Lot's Gonna Change' and 'Wild Time' grew on me - with the latter now one of my favourites on the disc. I was a tad surprised when I read in an interview that Mering cited Enya as one of her influences, but, after the fact, I can discern it as an ingredient in the song 'Movies' (along with some Glass-esque arpeggios).

Packaging-wise, the cover images are wonderful, but I don't approve of the decision to affix the artist/title and tracklist as stickers to the outside of the plastic wrap around the CD: I would have preferred that had been printed somewhere on the back or in the gatefold.    

Comments

Popular posts from this blog

All Wrapped Up

Here's another of the compilation cassettes I bought this summer, having taken home a Denon twin-deck hi-fi cassette player from the local charity shop. All Wrapped Up is a 1983 compilation of singles by The Undertones, with Side One filled with A-sides, and B-sides on Side Two. A cassette must be the least desirable medium for such an arrangement, with a long rewind required if one just wants to hear the hits repeatedly. The Undertones were unapologetically provincial and anti-fashionable, with their songs sharply-written slices of life that pointedly avoided any mention of politics, or of the then-continuing violence in their native Derry. My favourite tracks are the obvious choices: 'Teenage Kicks', 'Jimmy Jimmy', 'Here Comes the Summer', 'My Perfect Cousin' & 'Wednesday Week'. Their later singles showed increased sophistication but lack the some of the straightforward charm of their earlier work. The B-sides, not unexpectedly, are mo

In Heat

Having acquired the soubriquet "the walrus of love", Barry White thereafter became something of a figure of fun, something that misled me (and presumably others) into disregarding his music. Only within the last few years have I begun to pay it more attention. After picking up a copy of his '74 album Can't Get Enough last summer, which I loved, I sought out some of the music by his protegés Love Unlimited. From a Discogs seller I ordered well-used copies of Under the Influence of... ('73) and In Heat ('74) for only £6.25. The only unappealing thing about In Heat is its awful title. The songs and the singing are strong; the arrangements rich & warmly enveloping. As one would expect from White, the thematic focus is firmly fixed on amatory matters. The opening number 'Move Me No Mountain' (the only one on the record not written by White) offers a refreshing rebuttal to the kind of lyrical hyperbole in songs like 'Ain't No Mountain High E

Bananas Are Not Created Equal

I knew Jay Berliner's name from his contributions to Van Morrison's Astral Weeks and Charles Mingus' The Black Saint and the Sinner Lady , so when I saw this curiously-titled LP at the local charity shop I was intrigued, and bought it even though I had no idea what kind of music it might contain. This was after the days when one could still buy records there for a pound apiece, but I don't think I paid more than a fiver for it. The music turned out to be an all-instrumental blend of funk, soul & jazz. Berliner's virtuoso lead guitar is only one of many attractions here. The band of first-rate session musicians behind him are all uniformly excellent too, and, crucially, sound like they're having a blast. Cornell Dupree's supporting guitar work, while less showy than Berliner's, is beautifully-judged, and the rhythm section is terrific. Arranger/conductor Wade Marcus was no slouch either, judging from the way everything comes together. Two of the funk