KELLY JONES — DON’T LET THE DEVIL TAKE ANOTHER DAY
Stereophonics are probably one of the most underrated bands of the past 20 years, always there with great albums, dynamic performances of their hits at the live shows, but somehow never seeming to hit the dizzy heights of the likes of Oasis and Coldplay.
But what’s it like to hear Kelly Jones without the support of his band? Don’t Let The Devil Take Away Another Day is just that.
Littered with hits from yesteryear — a stripped back version of Local Boy In The Photograph, the timeless classic Traffic and fans’ favourite Dakota — as well as songs from more recent albums and Kelly’s other solo project, Only The Names Have Been Changed, this live album gives you an insight into what made the songs become what they are today.
You’re My Star sees Jones revealing the reason why his daughter was the inspiration behind the record, the aforementioned Local Boy features tales of tragedy and remembrance, and stories of life on the road depict Mr Writer.
With plenty of anecdotes throughout, a touching tribute to former drummer Stuart Cable preceding Before Anyone Knew Our Name and memories of his father shared before his cover of Kris Kristofferson’s Help Me Make It Through The Night, this is a delight for any ‘Phonics fan.
Kelly’s unmistakeable voice shines throughout, and along with the forthcoming film of the same name, it’s certainly not to be missed. However, if you just have a passing interest in the band, Don’t Let The Devil Take Away Another Day maybe isn’t the one for you. 7/10 (Review by Nick Hayward)
YUNGBLUD — WEIRD!
This second full-length album is sure to continue the irresistible rise of the artist born Dominic Harrison. A kind of one-man My Chemical Romance with a South Yorkshire accent, his over-the-top style will not be to everyone’s taste but has won him legions of fans as a spokesman for disaffected youth.
Harrison unflinchingly addresses mental health, his past suicide attempts and gender issues with an eloquence and power belying his 23 years, while showcasing a dizzying range of musical influences — from the shouty rap-rock single Strawberry Lipstick to the vaguely Parklife-esque Charity, via the Greensleeves sample that kicks off Ice Cream Man and clear glimpses of Eminem among others.
A prodigious talent with plenty to say, Yungblud is sure to be a festival fixture once again when circumstances return to relative normality. 7/10 (Review by Tom White)
L.I.T.A.N.I.E.S — NICHOLAS LENS AND NICK CAVE
As a child I was brought up within a church. As a young adult I worked within a monastery. As a grown up I have left a lot of this behind. From the first bar of Litany of Divine Absence it felt as if I had stepped back in time. Written during the first coronavirus lockdown, Nick Cave has collaborated with Belgian composer Nicholas Lens on new opera L.I.T.A.N.I.E.S.
Not what you would expect from a self-described opera, L.I.T.A.N.I.E.S is modern chamber music in its purest form. The simple lyrics from Cave add emphasis to the emotion that swells from Lens’ compositions. A meditative ostinato in its simplest form, L.I.T.A.N.I.E.S is both relaxing and thought-provoking. Asking questions about where we come from, what our purpose is, how we can grow and where we will go at the end. L.I.T.A.N.I.E.S is a powerful work that inspires serenity from its very core. 8/10 (Review by Rachel Howdle)
CALEXICO — SEASONAL: SHIFT
If veteran desert noir band Calexico releasing a Christmas album is a tale of the unexpected, what is also surprising is just how good it is. John Burns says he and other main member John Convertino intended to record a six-track EP, but kept on going, with a mix of originals and covers recorded with friends around the world. Opening track Hear The Bells — “let ‘em ring on New Year’s Day” — is classic Calexico with a festive twist, mournful brass and lyrics about drinking “mezcal on Sunday with tears in our eyes”.
Tom Petty wrote Christmas All Over Again nearly three decades ago but the lyrics “long-distance relatives, haven’t seen in a long, long while, yeah, kind of miss them, I just don’t wanna kiss them” capture perfectly the Covid-haunted socially distanced 2020 festive season like no other.
The upbeat Mi Burrito Sabanero highlights their Mex side, sung in Spanish by Guatemalan star Gaby Moreno, while Glory’s Hope is a gentle instrumental. Tanta Tristeza features Portuguese fado singer Gisela Joao and other guests include Mexican producer Camilo Lara and DeVotchKa’s Nick Urata.
The title track is a gentle ballad about the ritual of preparing for the holidays when “everything will be fine” despite the Christmas tree nearly catching on fire. The faithful cover of John Lennon & Yoho Ono’s Happy Xmas (War Is Over) seems superfluous, but overall Seasonal Shift is a welcomed addition to the limited genre of alt-country festive albums, led by Low’s superlative 1999 Christmas.
The album ends with a reprise of Mi Burrito Sabanero, with participants and friends wishing us all a happy Christmas with the fervent wish “may next year be far better than this one” and we can all raise a glass to that. 8/10 (Review by Matthew George)
SIGUR ROS — ODIN’S RAVEN MAGIC
Way, way back in 2002, just as they were starting to carve a niche for themselves on the international stage, atmospheric rockers Sigur Ros were invited for a collaboration with a host of other Icelandic musicians including national treasure Hilmar Orn Hilmarsson, fisherman, chanter and prior collaborator Steindor Andersen, and Maria Huld Markan Sigfusdottir of contemporaries aniima. That roll call may not catapult the record to the top of many UK Christmas lists — but it should. Released 18 years after it was performed live only a handful of times, Odin’s Raven Magic is an epic Norse tale told through a brooding blend of post-rock and contemporary classical. And, frankly, it’s a travesty it’s been kept from us this long. What’s perhaps most remarkable is that such a grandiose and emotionally enveloping project all came together in just a couple of weeks, indicating what a creative roll the band were on at the time.
At times dark and brooding and others simply shimmering with ethereal beauty, it shows another side altogether to Sigur Ros comfortably stands shoulder to shoulder with the classics of the band’s turn-of-the-century output, Agaetis byrjun and ( ). 8/10 (Review by Steve Jones).