Jethro Tull are back after almost 20 years. Or is it just a front man? Ian Anderson, the most famous (because only) flutist in rock history? Anyway, the 74-year-old stares very seriously, strapless and apparently naked from the cover. The music is reminiscent of the folk rock that Jethro Tull defined at the end of the seventies: no sweeping prog epics, but compact, melody-driven songs, which still contain so many ideas that it would have been enough for a prog album. With more than half a century of songwriting experience it seems that Anderson knows how to get to the point. The combination of flute and electric guitar is still a niche of its own, outdated and quite unprecedented. At the same time odd and accessible, calm and yet imaginative. All presented with serious irony. How pleasant. Nicola’s friend
Tara Nome Doyle – “Værmin”
Pop music has a secret ruler. His name is piano. The thing is simply everywhere, and at least since the neoclassical wave swept through the affluent West – back and forth and back and forth – it has touched every worn-out soul that hasn’t taken refuge in a pig’s skirt at three. Like Russian oligarchs, the piano has many residences. This year it issues its sinister commands from Berlin in the incarnation of Tara Nome Doyle. The songwriter, who is considered the new miracle of dark pop, presents her second album. It’s called “Værmin” (Modern Recordings/BMG) and it’s only genuine with the AE ligature, that noble mark that always looks a bit like England before 1066. However, Doyle does not sing about Anglo-Saxon princesses, but dedicates himself to leeches and caterpillars. Flat organs provide a pathos ground. Then her voice starts, which is neither Leech nor Caterpillar, but something between Lindling and Butterfly, depending on the mode (chest/head) and the degree of exaltation.
At first you think the opener “Leeches”, in which fallen stars light up the boulevard, cheats by the total power of the Emperor, but alas! A dusty chord sounds! Enter: THE PIANO. It is said that the young German-Irish woman from the capital writes her songs on him. But we know better. She is just the medium of the instrument with the relentless steel strings and matted mallets. This is also proven by the music video for her single “Caterpillars”, in which she looks like one of the English fur hats with a guard underneath who fell into the Barbie pot, then veiled herself and put on gothic make-up. The meaning remains unclear, but it is very suspicious. Behind it can only be the piano, even if a slightly nervous drum kit pops up every now and then in the songs on “Værmin”. Nothing but distraction!
Each song is named after an animal. These are not sheep or elephants, but the rather questionable representatives of the symbolic fauna. Crow. mosquitoes. Snakes. Flutter, creep and fleuch. The sung about mosquito turns out to be an artfully layered vocal loop arrangement. All in all, there is a lot of suffering on this album, but with great musical maturity. Anyone who doesn’t fear the power of the minor piano, indulges in the vibrato violin and isn’t arachnophobic (there’s a love song from a spider’s perspective) should definitely listen to “Værmin”. Juliana Liebert
Roedelius & Story – “4 Hands”
Anyone who thinks that DAS KLAVIER has already fired their powder is terribly mistaken. Because it can also be “mindful”. That terrible word has Hans Joachim Roedelius in regards to its recent release, but the Krautrockurge rock might be the only person on earth who could be forgiven. “4 Hands” (Erased Tapes/Indigo) is a joint work with the director composed with unpretentious mastery Tim Story. Sometimes one thinks oneself with Erik Satie, then Debussy seems to drip into it. Everything is piano here. Very close and real. Sometimes it creaks as warmly as a campfire crackles. Ostinati mused meekly, a breath. The damper pedal always stays true to you, my friend. After the first two tracks you fear falling into a meditative sleep. But if you persevere, at some point you no longer want to press the stop button. May the piano lull you forever. It won again. Juliana Liebert
Eels – “Extreme Witchcraft”
If you still want to resist, they offer Els a safe space. Keyword Schweinerock, but definitely fattened with organic apples. So alternative. “Extreme Witchcraft” (E-Works) they promise, that sounds very reassuring. At least nasal fuzz guitars and fart-dry rock drums are delivered. If a song here is called “Steam Engine” then it sounds like it and could be in any “Peaky Blinders” episode. On such a stable foundation, one or the other crazy thing like sitar-like metal webbing or robot effects on the voice is allowed. So thank Mark Oliver Everett, known as E, and enjoy. Juliana Liebert
PJ Harvey – “Let England Shake”
Also gives us PJ Harvey the demos for “Let England Shake” (Universal Music). With Polly Jean being arguably Britain’s greatest and most beautiful musician, anyone with a modicum of brains wants to get as close to her songwriting as possible. There is now plenty of opportunity for this because she is gradually publishing the sketches for her albums. In the meantime, everyone has gotten used to the fact that every pop star noise ever recorded is eventually officially released. But PJ Harvey’s demos are always worth it because she’s a totally focused musician. No frills, pure substance. Juliana Liebert
Tocotronic – “Never Again War”
Is the thirteenth, which initially appears extremely striking and situational Tocotronic-Album “Never Again War” with its large yellow protest letters, the slogan-heavy pandemic pop that one might assume? Yes and no. Much of the text can be understood as a response to the current situation, but that is probably also in the nature of human wanting to understand. Basically, the whole length of this album, which the band mockingly described as a “little novel or film”, is actually mostly about love again. Only sometimes it is considered politically or in a figurative sense. In any case, the title song accomplishes the feat of staging the madam of all platitudes in a new and powerful way – and, given the news situation, to serve it at exactly the right time.
Otherwise, the following applies: Here’s an instant catchy tune, here’s a t-shirt slogan for you, here’s a few lines to puzzle out for the arts pages, bang, bang, go on – this band has installed an orgone energy drive somewhere. And yes, the fact that six of the new songs were recorded live in the Hansa-Studio, even with live vocals, fits very well with the actionist and popular framing of this record. Because the non-sterile and direct recording technique reinforces the impression of solidarity, be it against fascism or Corona sadness. In any case, many moments jump right in front of your feet when listening, as if you were sort of second row in the concert and not alone in the quarantine valley of tears of present-day Germany. Max Scharnigg