While I am most definitely excited for the first live album (and recorded concert) for Soilwork, I am also very happy and excited to hear some guaranteed quality albums like Marcus Miller, Joel Plaskett, and AWOLNATION. I have not had the opportunity to listen to ANY of these albums yet so it will make for a full and eventful work week. Be sure to take some time and go through this week's collection; whether that be on your way to work, way home, on lunch, before bed, in the shower, or wherever you get some free time.
Be sure to show some love to the artists and pick up a copy of their album(s) at your local record store, an online retailer, or a trusted digital source. Cheers and happy week of new music!
(Mark Knopfler - Tracker)
Tracker seems like Mark Knopfler at his most personal and yet the furthest away from stardom. By celebrating the life of late bloomers – critically speaking – like Bainbridge, he is affirming his place as a song writing nomad who’s writing is enabled as and when the inspiration takes him. Still adorned in his best brown baggies and platform soles, Knopfler can still make the guitar cry and sing without airs and graces. -Drowned In Sound
(Marcus Miller - Afrodeezia)
Miller’s more profound work on Afrodeezia speaks loudly. An African choir and Miller on bass clarinet enhance some unusual textures for the almost unplugged “Preacher’s Kid Song (Song for William H),” touched up with gospel and blues overtones. Though known for his ear-defying bass tapping and popping, Miller’s sensitive bass approach is another of his strongest suits, as demonstrated on the opening of “B’s River,” highlighted by a plucked acoustic bass hook. “We Were There” further spotlights Miller’s bass skill set, switching between bass popping, warm tones and complex layering. Unfortunately, “Xtraordinary” is fairly ordinary with the patent smooth jazz runs, despite shining moments from the brass section and nice contributions from Miller’s bass, sax, vocals and marimba toward the end. -Soul Tracks
(Xavier Rudd & The United Nations - Nanna)
Boasting a supergroup of musicians from around the world, Nanna may be bereft of self-sufficient acoustic pop/folk gems like Follow The Sun or Messages, though strip the joyful Rusty Hammer of its flute riff, brass flourishes and didge breakdown and the bones of Rudd’s instinctive feel for a tidy pop progression are revealed. Flag is strong – robust, in fact, in message and in structure, particularly given Georgia Corowa and Alicia Mellor’s classy harmonies that elsewhere, on the sun-drenched While I’m Gone, offer a warm and deeply feminine anchor. Lead single, Come People is typical of Rudd’s lyrical sense of spirit, land and community – as is Nanna on the whole – and it offers some surprising instrumentation in the form of classic piano tones that one would not normally associate with reggae styling; the entire record goes a long way to challenging preconceptions of the instrumentation and tropes of the genre. -The Music
(AWOLNATION - Run)
The album isn’t perfect, however, and there are a few missteps: the tonal mashup of Windows is good, but the song feels a little like more of what was nailed on earlier tracks like I Am or Headrest For My Soul. Woman Woman is another stumble – although Bruno’s vocal delivery is impressive, there is something slightly flat about the electronic arrangement, and the song moves in largely predictable ways. But these quibbles shouldn’t dissuade expectant fans from the album. Ultimately, RUN is a demented, delirious pop rock delight. I came to it reluctantly, having never really been an Awolnation fan; the fact that it won me over as quickly and completely as it did is a compliment indeed. -Renowned For Sound
(Joel Plaskett & The Park Avenue Sobriety Test)
But for those seeking familiar territory (and frankly, rock and roll), rest assured that the Emergency's rhythm section, Dave Marsh and Chris Pennell, are on about half of the album. "Alright OK" in particular will make longtime fans feel at home, combining those great call and response-style vocals from Three with some suitably ramshackle rock. -Exclaim
(Modest Mouse - Strangers to Ourselves)
Brock’s concerns with not knowing, his homespun wisdom and constant mentions of ghosts, of making a mess of things and making amends. Throughout there’s uncertainty but a shining sense of hope. And on ‘Shit In Your Cut’ he sings about having to “ride this winter out.” There are tough times sure, but there’s always something new on the horizon. ‘Strangers to Ourselves’ might have been a long time in the making but listening to it, it doesn’t feel like it has – and that’s a good thing. It’s bruised and brilliant, idiosyncratic and anthemic, sloppy and heartfelt. It’s an album only Modest Mouse could make. -DIY Magazine
CD/DVD/Blu-Ray:
(Soilwork - Live In The Heart of Helsinki)
At twenty-three songs in length, ‘Live in the heart of Helsinki’ is a pristine and lengthy reminder of just how impressive a band Soilwork are. The frequent shots of the crowd show an audience in rapture at the band’s immense performance and you can’t help wonder why more live DVDs are not so well shot and performed. In terms of quality, thanks to the stunning sound mix and the near perfect image quality this is very near reference quality and it is very much one for the fans. Whilst the uninitiated would be better heading for one of the band’s many excellent albums (I’d start with ‘predator’s portrait’ or ‘figure number five’), 8fans of the band will need no encouragement to track down this excellent package which features both the DVD/Blu ray and a double CD of the band’s set. This may be a belated foray into the world of live releases for Soilwork, but it truly does underscore the old adage that good things come to those who wait. Outstanding. -Sonic Abuse
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