Søgeresultat: nike mercurial vapor 365
Stranglers Peaches: the Very Best of the Stranglers

Stranglers Peaches: the Very Best of the Stranglers

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Of all the first wave punk bands, the gruesomely mercurial Stranglers had the highest disregard for law and order and--as this melody-heavy collection serves to remind us--the highest tally of hits. Peaches--The Very Best Of packs 20 of them ("Hanging Around" was never released as a single but it was a hit for Hugh Cornwell's then girlfriend Hazel O'Connor) into one tin but even then there isn't enough room for either "Go Buddy Go" or "Nice in Nice". Famously short of fuse and occasionally sweary of mouth (at least in the early days) Guildford's self-styled "Meninblack" eventually moved away from the snarling, year-zero tenacity of "Something Better to Change" and "No More Heroes" to plough a sophisticated 1980s adult-rock furrow with the beguiling likes of "Always the Sun", "Skin Deep" and the odd-waltz of "Golden Brown". If anything, the non-chronological running order disproves the "they were punk and then all of a sudden and ever-so-conveniently they weren't anymore" notion which the Stranglers' detractors still persist on carping on about to this day. Things with the Stranglers were never that black and white (except on the band's third album, of course) and to listen to the bikini-ogling quasi-reggae laddishness of "Peaches" or to improve one's command of the French language on the extraordinarily sinister "La Folie" is to experience a band who were creatively flexible and adventurously out-of-step with the times, punk or no punk. Strangely, in a poacher-turned-gamekeeper kind of way, the Stranglers ended up doing charity work for the Metropolitan Police and haven't had a hit in yonks. There's a moral in their somewhere. --Kevin Maidment
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Stranglers Peaches: the Very Best of the Stranglers
Rachmaninov: The Isle of Dead / Symphony No.1

Rachmaninov: The Isle of Dead / Symphony No.1

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The Isle of the Dead represents Rachmaninov at his most uncompromising. The Böcklin painting which inspired this harrowing symphonic poem is reproduced on the cover of this disc (although in colour: Rachmaninov was actually inspired by a black and white reproduction). Pletnev begins his account with the quietest of pianissimos. DG's excellent, crystal clear recording sustains this well. The brass throughout is threatening and doom-laden. Even in the quieter moments, Pletnev keeps the intensity fully alive, so that the rhythmic impetus inexorably moves towards the climactic, punched chords (here precisely together for maximum effect). Pletnev's full grasp of Rachmaninov's idiom and musical processes is confirmed in his account of the First Symphony. The fugal passages are presented unapologetically, almost as if Pletnev believes Rachmaninov to be the greatest contrapuntalist since Bach. The virtuosity of the Russian National Orchestra enables the second movement to be as mercurial as it is swift. The most important facet of both of the performances on this disc is that, in refusing to over-sentimentalise, Pletnev makes the music tremendously powerful. The Larghetto flows gorgeously, all the more so for not being milked for all it is worth. Pletnev becomes a clear choice for a modern recording of these pieces. -- Colin Clarke
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Rachmaninov: The Isle of Dead / Symphony No.1
Duran Duran Greatest [CD + DVD]

Duran Duran Greatest [CD + DVD]

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While pop monarchs Duran Duran have remained active for two decades, it's clear that the indomitable ensemble was at its peak during those mercurial '80s. This greatest-hits CD and DVD collection documents the band's ambitious beginnings as a funky glam-rock outfit and follows its gradual transformation into a high-tech pop band with loads of commercial appeal. Featuring now-classic tunes like "Girls on Film," "Rio," and "Planet Earth" as well as more recent songs like "Ordinary World," Greatest focuses on Duran Duran's unending string of hit singles. Although the young quintet that performs "Hungry Like the Wolf" and "A View to a Kill" has little in common with the posh, aging trio featured on 1997's "Electric Barbarella," vocalist Simon Le Bon provides some impressive continuity to these proceedings. -- Mitch Myers
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Duran Duran Greatest [CD + DVD]
Dave Swarbrick Swarb: Forty Five Years of Folk's Finest Fiddler

Dave Swarbrick Swarb: Forty Five Years of Folk's Finest Fiddler

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If anyone deserves a tribute as impressive and comprehensive as this Swarb!! box it is surely mercurial fiddler Dave Swarbrick. Like legendary bluesman Robert Johnson, the man affectionately known to all as Swarb must surely have done a deal with infernal forces in return for his prodigious talent. Since his early days with the Ian Campbell Folk Group, through landmark collaborations with Martin Carthy and his long stint with Fairport Convention--during which he effectively invented electric folk-rock--no single figure has had more influence on the British folk scene. His zest for the pleasures of life--principally beer and cigarettes--and his superabundant sense of humour have always been evident in his music: qualities that make his fiddle playing so unique, so full of character, and so universally admired. This luxurious box set is another in Free Reed's exemplary series--previous boxes have been devoted to Martin Carthy and Fairport Convention. Here four CDs of diverse recordings drawn from every phase of Swarb's career are accompanied by another of Free Reed's massive illustrated biographies and, joy of joys, a selection of Swarbrick fiddle tunes transcribed by Maartin Allcock. Despite the notional themes of each disc, the track listing ranges fairly randomly across the years, from the early 1960s recordings with Ian Campbell, Bert Lloyd and Beryl Marriott, through the Carthy, Fairport and Whippersnapper years, solos, duets and guest spots with other groups, to an extract from 2003's English Fiddler album. Happily, sound quality is on the whole pretty good, with the many live recordings coming up generally very well indeed. It's avowedly not a "Best of" collection, so anyone unfamiliar with Swarbrick's output should begin elsewhere; instead, this is a delightful treasure trove of alternative or unknown recordings from the vast repertoire of Britain's greatest fiddler. -- Mark Walker
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Dave Swarbrick Swarb: Forty Five Years of Folk's Finest Fiddler
Dohnányi - Orchestral Works

Dohnányi - Orchestral Works

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The Symphonic Minutes (1933) is perhaps best seen as the orchestral equivalent, by a composer who loved Brahms, of Brahms's late piano pieces; its quarter of an hour duration includes a mercurial "Capriccio", a majestically nostalgic "Rhapsody", a jagged "Scherzo", a pastoral set of variations and a busy "Rondo". This is virtuoso orchestral music, whose point is partly its swift evocation of mood and partly its virtuosity itself; Bamert and the BBC Philharmonic are delightful in it, catching its spirited clear lines perfectly. The Second Symphony of a decade later starts with one of the finest movements Dohnányi ever wrote--a vehement, anxious allegro which reflects his position at the time, compromising his honour by staying on at the Budapest Philharmonic to protect Jewish musicians from the fascist Horthy regime. This is followed by an idealised pastoral adagio, a febrile scherzo and a powerful set of variations on Bach's "Come Sweet Death; Come Blissful Peace". This is not the greatest symphony World War Two produced, but it has been unjustly neglected--Bamert's eloquent performance gives it the advocacy it needs. -- Roz Kaveney
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Dohnányi - Orchestral Works
John Cameron Kes

John Cameron Kes

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It's one of those weird anomalies of the music business that, up until now, John Cameron's soundtrack to Kes has never been released. Many thanks, then, to the devoted esoterica hounds at Trunk Records, who've added this brief and pretty album to their catalogue. For those who remember the 1969 film about grim school days in a South Yorkshire mining community, Cameron's music to Kes may still come as a surprise. Rather than the brass-band dirges habitually associated with northern working-class drama, this is willowy, audacious stuff--music of escape that seeks to map the trajectories of the film's true star, a kestrel. "This is the sound of a human soul in flight," writes Pulp's Jarvis Cocker in his sleeve notes, a Sheffield artist with a similar ambition to transcend the mundane. He's right, too. Cameron's key trick is to juxtapose slightly foreboding strings with the mercurial flute playing of Harold McNair, creating a very English kind of pastoral jazz. "This is more than just another product of the nostalgia industry," observes Cocker, and he's right again. The belated release of Kes is far from kitsch revivalism, it's the discovery that audacious music can go unnoticed in the most familiar of places. And the understanding that music that evokes vast, slate-grey skies can, against all odds, be uncommonly beautiful.-- John Mulvey
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John Cameron Kes
David Gilmour On An Island

David Gilmour On An Island

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The title of David Gilmour's third solo album may be some clue as to his whereabouts since Pink Floyd's swansong The Division Bell. That period of near-silence has now given way to a flurry of solo touring and glorious charitable reunions, which are enough to make you forget it's been over a decade since we last heard anything new from the band or its remaining members. All this has changed now with the arrival of On An Island. Immaculately crafted with sundry high-profile guests, the album rolls along gently, only cutting loose on "Take A Breath" (reminiscent of "Yet Another Movie"). Lyrically, don't expect any Floydian angst here; Polly Samson's words are dominated by familial contentment and emotional warmth. This may understandably jar with the expected lyrical subjects, but it adds another facet to Gilmour's persona. Musically, all of the trademark soaring mercurial guitars and crashing epics are in place, and there are moments of pure Floyd on the title track and "The Blue" both of which feature Richard Wright. These two tracks are the standouts, alongside the gentle "Smile", and rank among Gilmour's best work, and help make this album as essential as anything from his former band's catalogue. -- Thom Allott
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David Gilmour On An Island
LCD Soundsystem 45:33 [VINYL]

LCD Soundsystem 45:33 [VINYL]

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45.33 might well confuse some of the music purists convinced that great art and commerce must never mix. This 45-minute suite of music, you see, is the result of a commission from sportswear company Nike, who hired LCD Soundsystem's James Murphy to write music to accompany the perfect exercise workout. Murphy, perhaps aware that the gradual, building tempo and euphoric highs of a great run could be seen to closely mirror the dancefloor dynamic of a great DJ set, agreed, and the result is perhaps the most synthetic, funky, altogether club-like records to appear under the LCD name to date. Commencing with rising analogue synth notes, the piece shuffles into life on a sultry Studio 54 tip, a mid-tempo disco beat decorated with handclaps, euphoric piano, and soulful vocals. Before long, though, it's shifting and mixing, first through an alternate instrumental cut of "Something Great" (which would later appear in full on LCD's 2007 album Sound of Silver) then through phases of kosmiche electronica, velvety soul, and brass freak-outs--all intent on keeping the tempo pumping. Also included on this CD issue of 45.33 is three bonus tracks, the conga-tapping "Freak Out/Starry Eyes", a bleepy, dubbed-out mix of "North American Scum", and the bouncy bass grooves of "Hippie Priest Bum-Out". --Louis Pattison
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LCD Soundsystem 45:33 [VINYL]
Dave Swarbrick Swarb! Forty Five Years Of Folks Finest Fiddler

Dave Swarbrick Swarb! Forty Five Years Of Folks Finest Fiddler

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If anyone deserves a tribute as impressive and comprehensive as this Swarb!! box it is surely mercurial fiddler Dave Swarbrick. Like legendary bluesman Robert Johnson, the man affectionately known to all as Swarb must surely have done a deal with infernal forces in return for his prodigious talent. Since his early days with the Ian Campbell Folk Group, through landmark collaborations with Martin Carthy and his long stint with Fairport Convention--during which he effectively invented electric folk-rock--no single figure has had more influence on the British folk scene. His zest for the pleasures of life--principally beer and cigarettes--and his superabundant sense of humour have always been evident in his music: qualities that make his fiddle playing so unique, so full of character, and so universally admired. This luxurious box set is another in Free Reed's exemplary series--previous boxes have been devoted to Martin Carthy and Fairport Convention. Here four CDs of diverse recordings drawn from every phase of Swarb's career are accompanied by another of Free Reed's massive illustrated biographies and, joy of joys, a selection of Swarbrick fiddle tunes transcribed by Maartin Allcock. Despite the notional themes of each disc, the track listing ranges fairly randomly across the years, from the early 1960s recordings with Ian Campbell, Bert Lloyd and Beryl Marriott, through the Carthy, Fairport and Whippersnapper years, solos, duets and guest spots with other groups, to an extract from 2003's English Fiddler album. Happily, sound quality is on the whole pretty good, with the many live recordings coming up generally very well indeed. It's avowedly not a "Best of" collection, so anyone unfamiliar with Swarbrick's output should begin elsewhere; instead, this is a delightful treasure trove of alternative or unknown recordings from the vast repertoire of Britain's greatest fiddler. -- Mark Walker
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Dave Swarbrick Swarb! Forty Five Years Of Folks Finest Fiddler
Joanna MacGregor Neural Circuits

Joanna MacGregor Neural Circuits

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For her own label, Sound Circus, pianist Joanna MacGregor always pulls something new out of the hat. Neural Circuits could have been a hotchpotch, but the imaginative vigour with which it's put together--and the intrinsic excellence of many of its tracks--lifts it onto a much higher plane. The most substantial piece is Schnittke's Concerto for Piano and Strings, in which the two opposed forces enjoy a productively combative relationship: Schnittke's trademark melange of styles is done with a light touch and with mercurial invention. The cello in the Messaien--a movement from Quartet for the End of Time--is in the hands of the late Christoher van Kampen, now sorely missed as MacGregor's sleeve note observes, and especially in music as movingly plangent as this. Arvo PÃ?rt wrote his Cantus in Memory of Benjamin Britten--a canon for strings plus a single tolling bell--to celebrate the unusual purity of his music, and that phrase aptly describes his piece too. The other three items are typical MacGregor curiosities: Ensemble Bash playing Ghanaian village music as to the manner born, plus two pieces by Nitin Sawhney. Urban Prophecies is actually a delightful little number, full of vigour and pungency, for a combination of Eastern and Western instruments. It's simply a pity that he felt impelled to puff it with a sleeve note that, in its absurd grandiosity, is pure Pseuds' Corner. The indefatigable MacGregor plays and conducts--sometimes both at once--on every track. -- Michael Church
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Joanna MacGregor Neural Circuits
Lcd Soundsystem 45:33

Lcd Soundsystem 45:33

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45.33 might well confuse some of the music purists convinced that great art and commerce must never mix. This 45-minute suite of music, you see, is the result of a commission from sportswear company Nike, who hired LCD Soundsystem's James Murphy to write music to accompany the perfect exercise workout. Murphy, perhaps aware that the gradual, building tempo and euphoric highs of a great run could be seen to closely mirror the dancefloor dynamic of a great DJ set, agreed, and the result is perhaps the most synthetic, funky, altogether club-like records to appear under the LCD name to date. Commencing with rising analogue synth notes, the piece shuffles into life on a sultry Studio 54 tip, a mid-tempo disco beat decorated with handclaps, euphoric piano, and soulful vocals. Before long, though, it's shifting and mixing, first through an alternate instrumental cut of "Something Great" (which would later appear in full on LCD's 2007 album Sound of Silver) then through phases of kosmiche electronica, velvety soul, and brass freak-outs--all intent on keeping the tempo pumping. Also included on this CD issue of 45.33 is three bonus tracks, the conga-tapping "Freak Out/Starry Eyes", a bleepy, dubbed-out mix of "North American Scum", and the bouncy bass grooves of "Hippie Priest Bum-Out". --Louis Pattison
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Lcd Soundsystem 45:33
LCD Soundsystem 45:33

LCD Soundsystem 45:33

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45.33 might well confuse some of the music purists convinced that great art and commerce must never mix. This 45-minute suite of music, you see, is the result of a commission from sportswear company Nike, who hired LCD Soundsystem's James Murphy to write music to accompany the perfect exercise workout. Murphy, perhaps aware that the gradual, building tempo and euphoric highs of a great run could be seen to closely mirror the dancefloor dynamic of a great DJ set, agreed, and the result is perhaps the most synthetic, funky, altogether club-like records to appear under the LCD name to date. Commencing with rising analogue synth notes, the piece shuffles into life on a sultry Studio 54 tip, a mid-tempo disco beat decorated with handclaps, euphoric piano, and soulful vocals. Before long, though, it's shifting and mixing, first through an alternate instrumental cut of "Something Great" (which would later appear in full on LCD's 2007 album Sound of Silver) then through phases of kosmiche electronica, velvety soul, and brass freak-outs--all intent on keeping the tempo pumping. Also included on this CD issue of 45.33 is three bonus tracks, the conga-tapping "Freak Out/Starry Eyes", a bleepy, dubbed-out mix of "North American Scum", and the bouncy bass grooves of "Hippie Priest Bum-Out". --Louis Pattison
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LCD Soundsystem 45:33
Maroons Ambush

Maroons Ambush

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Maroons borrow from two of Quannum's best-known groups, pairing Blackalicious producer Chief Xcel with Latyrx's chatterbox Lateef. Though the two have worked together many times before, the focused collaboration on this nine-song effort helps to reinforce each artist's strength. Compared to the more mellow beats that Xcel often concocts for Blackalicious, the production on Ambush is more energetic, even aggressive at times. You hear that most explosively on the funk bomb "Lester Hayes", but even the slick, disco-flavored "Don't Stop" benefits from this more vigorous approach. Likewise, Lateef's mercurial sing-song flow gets a thorough workout, swinging a more seductive lilt on "Beautiful You" while hitting a brisk pace for "Best of Me" (which also features Xcel's Blackalicious partner Gift of Gab). Though clocking in at less than 40 minutes, this offering is still more than a sufficient tease of what new experiments Quannum might produce down the road. --Oliver Wang
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Maroons Ambush
Felix Da Housecat Excursions Vol.4: Mixed By Felix Da Housecat [VINYL]

Felix Da Housecat Excursions Vol.4: Mixed By Felix Da Housecat [VINYL]

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You can always rely on Chicago-based vinyl junkie Felix Da Housecat to turn out a mix CD with a bit of a character. Excursions is a million miles from the frightfully dull progressive house brigade. Felix Da Housecat has been a particularly vocal advocate of the 80s electro-pop revival: it was his 2001 album, Kittenz And Thee Glitz, that brought the mercurial talents of French ice queen Miss Kitten--the vocalist of genre-defining synthcore duo Miss Kitten & The Hacker--to the world stage. Da Housecat's distinctive remix style demonstrates all the hallmarks of the revival sound: synth-heavy minimal house, poised at the midpoint between the robotic funk of Giorgio Moroder and the immediate disco fever of Daft Punk. And while Excursions collars everything from the jackhammer techno of Jeff Mills to the prancing camp of Zoot Woman to the austere Krautpop of Ladytron into one 73-minute mix, it's testament to Felix Da Housecat's skill as a DJ that this compilation never steps beyond its own elegantly defined boundaries. Suave, slick, seductive: as a document of the new wave of synthpop, Felix Da Housecat: Excursions is hard to fault. -- Louis Pattison
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Felix Da Housecat Excursions Vol.4: Mixed By Felix Da Housecat [VINYL]
Extreme Saudades de Rock

Extreme Saudades de Rock

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After reaching their peak in the late 80s and early 90s with albums like Pornograffiti and chart-bothering ballads such as "More Than Words," American rockers Extreme seemed to deliquesce into the musical horizon, never to be heard from again. But 13 years later the band are back with a brand new album that re-treads their classic Queen-meets-Aerosmith "funky rock" schtick. "Saudades" is a Portuguese term for a form of nostalgia, usually for someone or something that you're missing - in this case, good old fashioned rock & roll. So they went into an LA studio and made some more. The original threesome--vocalist Gary Cherone, guitarist Nuno Bettencourt and bassist Pat Badger--teamed up with drummer Kevin Figueiredo to recreate a record that has all the hallmarks of their prior classics. Opening with the immediately contagious "Star" (which features some swaggering guitar and Queen-style harmonizing), Extreme barrel their way through funk rock ("Learn To Love"), catchy blues ("Take Us Alive"), sentimental ballads ("Ghost") and grunge ("Comfortably Dumb")--in other words, a little bit of everything. Cherone's vocals remains compelling and the band's mercurial fusion of genres is as tight as ever, making this a very welcome comeback.
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Extreme Saudades de Rock
Nat 'King' Cole The Best of the Nat 'king' Cole Trios: Instrumental Classics/Vocal Classics Vol.1 & 2

Nat 'King' Cole The Best of the Nat 'king' Cole Trios: Instrumental Classics/Vocal Classics Vol.1 & 2

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"And Tatum begat Cole and Cole begat Peterson ... " Here is the middle part of the piano dynasty (Bud Powell has to go in there somewhere) and in the work of Cole's trio a collection of some of the most influential jazz sides from the 1940s. Gillespie and Parker may have been doing the trail blazing but Cole was moving independently towards bebop. Cole had the advantage of huge popularity (he had founded the trio in 1938) and one of these albums is subtitled "The Vocal Classics 1942-46". It includes such delights as "Straighten Up And Fly Right", "Sweet Lorraine" and the ubiquitous "Route 66". Another volume covers the vocals from 1947 to 1950 with the emphasis on good ballads rather than novelty songs. Here the classics include the swinging "No Moon At All". The matching of voice and piano had rarely been done better. But the fine wine is in the instrumentals, 20 of which crowd onto the third disc. The flashing, mercurial piano is well suited to guitar and bass backing--a drummer would have ruined it and the lightness and lift of the music set a tough example for the multitude of piano trios that followed. -- Steve Voce
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Nat 'King' Cole The Best of the Nat 'king' Cole Trios: Instrumental Classics/Vocal Classics Vol.1 & 2
Acetone York Blvd.

Acetone York Blvd.

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Audio CD, Vapor
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Acetone York Blvd.
Van Morrison At The Movies: Soundtrack Hits

Van Morrison At The Movies: Soundtrack Hits

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If Hollywood's marriage with pop music is too often a marketing-driven shotgun affair, there remain musicians whose artistry can't help but elevate whatever film project they're associated with. This 19-track compendium underscores that notion, gathering a career-spanning collection of the Irish rock-R&B legend's contributions to an eclectic body of films that stretches from Pope of Greenwich Village's effusive early solo hit "Jackie Wilson Said" to the unlikely live collaboration with Roger Waters on "Comfortably Numb" that seasons Martin Scorsese's Oscar-nominated The Departed. The collection serves as a concise primer to the high points of Van Morrison's mercurial career, from the gritty career-breakout hits ("Gloria," "Baby Please Don't Go") of his British Invasion band Them through such early solo touchstones as "Wild Night," "Brown Eyed Girl," "Domino," and the collection's fine, previously unreleased live version of "Moondance" from An American Werewolf in London. But, as tracks like "Wonderful Remark," "Bright Side of the Road," "Someone Like You," and his Chieftains collaboration "Irish Heartbeat" ably argue, it's also an invitation to explore less heralded, if equally seductive, corners of the singer's rich oeuvre. --Jerry McCulley
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Van Morrison At The Movies: Soundtrack Hits
Bliss - Piano Concerto; Concerto for Two Pianos; Piano Sonata

Bliss - Piano Concerto; Concerto for Two Pianos; Piano Sonata

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The story of Arthur Bliss' career is one of steady assimilation to an assumed British mainstream of thumping big tunes to which he was--at least in his early post-Impressionist stage and his Jazz age modernist phase--something of an alien. Yet the ambitious 1939 Piano Concerto includes all these aspects, satisfactorily combined in a work that alternates the magisterial and the mercurial, the gently flowing and the fiercely dynamic. It was written for Solomon, but Peter Donohoe has the work's measure, too, and makes it wholly his own. This excellent disc usefully includes both Bliss' Piano Sonata from the 1950s and the Double Piano Concerto that he worked on at various points, and rewrote for various combinations of soloists, throughout his career. This Naxos release is a superlative bargain that allows us to get to know a composer whose Establishment status in old ages sometimes obscures his early radicalism and middle-period accomplishment. -- Roz Kaveney
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Bliss - Piano Concerto; Concerto for Two Pianos; Piano Sonata
Jonathan Richman Her Mystery Not of High Heels and Eye Shadow

Jonathan Richman Her Mystery Not of High Heels and Eye Shadow

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Audio CD, Vapor
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Pris 174.56,-

Jonathan Richman Her Mystery Not of High Heels and Eye Shadow
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