Something For The Weekend – New Vinyl Albums Out 15 June
Long Live Vinyl’s pick of the latest new albums out on vinyl – including Marr’s finest solo offering yet, poppy French psychedelia, Aussie guitar thrills and more…
Call The Comet
The bad news first: this successor to 2014’s Playland at times lacks deeper lyrical substance; but we turn to Johnny Marr for music, not enlightenment, and fortunately, Call The Comet’s greatest pleasure is in how – with his flamboyant former bandmate wrapping The Smiths’ legacy like soggy chips in right-wing tabloids – Marr seems driven to reclaim their musical past before it’s irreversibly soiled.
Consequently, nostalgic flourishes – the Queen Is Dead ferocity of The Tracers and Actor Attractor’s distant echoes of How Soon Is Now – dominate this absorbing collection. Indeed, at times, as on Hi Hello – which is not only brim-full of the jangling guitars that made Marr a hero, but also finds him whooping and moaning like the arch-miserablist himself – it almost feels like revenge. But Call The Comet never depends upon reminders of history. It merely utilises, then transcends them, as proven by the unexpectedly playful, anthemic Bug, or Walk Into The Sea, its naked piano chords and trebly guitar melody swelling into a howling wall of guitars; Marr’s lyrics – eloquently poetic – are recited like he’s The Blue Aeroplanes’ Gerard Langley. Morrissey may be trying to murder The Smiths’ reputation, but Marr hasn’t sounded this alive in years.
Melody’s Echo Chamber
Fat Possum Records
French musician Melody Prochet releases her first new album in six years. It follows her self-titled debut, produced by Tame Impala’s Kevin Parker, and features collaborations with The Amazing’s Fredrik Swahn and Dungen’s Reine Fiske, Gustav Esjtes and Johan Holmegaard.
Bird Dog Dante
Prolific West Country producer, composer and polymath John Parish’s latest album sprinkles vocal songs amid the richly detailed and lovingly crafted instrumentals he usually tends towards; it also features duets with long-time collaborator PJ Harvey and Aldous Harding (whose vocals were recorded on an iPhone backstage at her Jools Holland appearance).
Rolling Blackouts Coastal Fever
A debut album from Melbourne’s Rolling Blackouts Coastal Fever following the infectious promise of two superb EPs. Chiming, ramshackle guitar playing and insistent drums and basslines are the order of the day over 35 exhilarating minutes, with Talking Straight an early contender to feature on a good few critics’ singles of the year lists.
Nothing Is Still
Fêted DJ and electronic composer Leon Vynehall, a recent signing to Ninja Tune, departs from the more dancefloor-orientated sound that’s forged his reputation on his two previous EPs to deliver a stunningly atmospheric, textural full-length debut. It’s an overridingly emotional work, shapeshifting fluidly through cinematic moods and featuring sophisticated movements, blending a wide range of instrumentation and mood. It’s an immersive, artful listen you’ll feel compelled to return to; plus, there’s a boxed version on heavyweight vinyl, with a limited-edition paperback Novella written by Max Sztyber and Leon Vynehall and large poster.
Stains On Silence
Tough Love Records
The Belfast band’s follow-up to 2015’s Arms Around A Vision nearly didn’t happen. “There was a finished – and then aborted – mix of the album, which was shelved for six months,” reveals Girls Names frontman Cathal Cully. “We then took a break from all music and went back to full-time work. We chilled out from the stress of rushing the record and not being happy with it, as well as being skint with no impending touring on the cards and constantly having to worry about rent.” We’re glad they didn’t give up on the album. From the Bang Bang Bar-summoning swoon of opener 25 and the submerged disco doom of Haus Proud to the rapt, dub-leaning Fragments Of A Portrait, Girls Names have excelled in their goal by forging an LP of synchronous nuance and defiance.
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