Without each other, country music and rock music wouldn’t get a look-in here. Kathleen Edwards is the only artist I know who can blend them together in such a way that enchants me. I’m not sure which genre takes the lead, it doesn’t matter. Her third album, Asking for Flowers, released over the pond last month, is now available in the UK. Whilst it doesn’t have the rocking highs of previous albums, nor should it given its subject matter, it’s altogether her most accomplished work – every song is essential.

Asking for Flowers – iTunes UK
Amazon UK
Official Website
MySpace

Jo Gabriel’s forthcoming Fools and Orphans could well turn out to be her signature album. Whilst it bears elements from her previous releases and may be open to inevitable musical comparisons, what’s exhibited in these new songs is fiercely individual and nothing short of staggering: musically inventive and lyrically impressive.

Like all of the tracks, Of Love and Ether has this paradox of richness and sparsity – in this instance bringing together a duo of string instruments (and birdsong) to join Jo’s piano and unique voice in a delicate yet powerfully emotive poem.

Fools and Orphans has an artist’s limited release from 7 May through Ephemera and will also be released in Winter 2008 through Kalinkaland.

Jo Gabriel – Official Website
Jo Gabriel – MySpace

M83’s second album Dead Cities, Red Seas & Lost Ghosts passed me by. It nestles in my collection – a quiet existence, undisturbed by such demands as being listened to. Truth is it disengaged me. Perhaps the context that I yearn for in listening wasn’t there that critical first time.

Saturdays = Youth is a different matter. This album inevitably hooks into the continued rebirth of shoegaze, but time travels a quarter of century into the past and in doing so removes the word ‘shoe’, because this is music so shimmering and reflective that it feels like standing in a wind tunnel full of stars.

Much of my change of heart is to do with the arrangements – more songs, more structure and vocals. Guest appearances from Morgan Kibby ride beautifully alongside Anthony Gonzalez’s breathy vocals. Skin of the Night is one such occasion – it devastates musically and emotionally. In amongst these mid-teen desires, the micro-dramas, the angst.. there is bliss.

Saturdays = Youth – iTunes UK

Filmmakers looking for a spooky but engaging soundtrack to accompany their Times New Roman opening credits (complete with sweeping shots of barren landscapes only broken by highway) need look no further than Masque of the Red Death. Taken from Jo Gabriel’s album The Last Drive In, this instrumental appropriates its title from the film of the same name. The key to its success is that it doesn’t attempt to ratchet up tension, or reach any conclusion – any tension that exists is created solely by the listener. Instead it drives onwards, quietly, mercilessly, the piano riding over macabre synth drones which hint at what might happen if you choose to deviate from the given path. And of course we always do.

Official Website

Waking The Dark sets the scene on Jo Gabriel’s album The Last Drive In – nine tracks of solitary terror. I think that’s the plan, but to my ears, using the piano as a centerpiece for such evocative ambience results in something rather beautiful although this doesn’t manifest itself until many hours after that first listen. Subsequent listens are more welcoming.

This opening piece, like all its companions, appears to pair structure with improvisation. The repeated phrases which shift key are emphasised by a subtle organ drone which follows them around, sometimes joined by strings. These movements turn incredibly pretty at times. Upsetting and unsettling this balance are occasional flourishes of keys and synth pads which draw the music back to its primary intentions.

The Last Drive In
Official Website

Kristin writes that this song is “all about half steps and rhythmic skips.” For the first couple of listens you clearly detect the parallel rhythms that slide over each other, but not in the manic Muses way – it’s slow, methodical, beautiful music. Math rock has nothing on this song – this is all about unpicking and rebuilding the DNA of western music.

I marvel at how the song hangs together. I half-expected some of it to run on beyond the end of the tape – some of it is unsettling, but it’s great to feel your brain trying to work out the sense within it.

Speedbath – Free Download

Despite what we were led to believe, El Perro del Mar’s third album turned up on iTunes last week. From the Valley to the Stars rarely visits the classic 60’s girl pop of its predecessor, instead preferring to turn in a couple of these songs, minified to their barest essence, alongside what can only be described as ‘pop hymns’ – pairing focused soul-full lyrics with church organ – and drive-by instrumentals. Opener Jubilee holds just two words (and yes, one of them is Jubilee).

Do Not Despair is based in walking organ chords, a soft bass line and Sarah’s chorused, quietly optimistic vocals. And horns.

From the Valley to the Stars – iTunes UK

Cursory listens to Nine Inch Nails’ new album – the 36 track Ghosts I-IV – could reveal it to be a collection of half-finished ideas, or worse, deliberate off-cuts sold at $5 to prove that people will buy anything. Neither of these opinions would be correct. Ghosts I-IV is probably one of the most interesting and successful compositions released since Aphex Twin’s Select Ambient Works, Vol. 2 and easily Trent Reznor’s best work.

Because it lacks vocals and obvious melodies and rhythms it is firmly rooted as an ambient soundtrack, but unlike most such music, it cannot be experienced this way. Ghosts I-IV demands and rewards listening. The tracks have no titles except for their number (even SAW2 had photographic textures) so it’s up to the listener to attach meaning to each track and link them together.

14 Ghosts II begins with distorted electronic beats and buzzy guitar pads before sickeningly warped slide guitars pick up the tune, jamming around each other. That’s about as pretty as it gets – the introduction of skewed electric guitars knocks the track sideways.

Nine Inch Nails – Ghosts