Loch Lomond - Night Bats EP (****)
Portland has roughly half a million inhabitants, and surveys reveal that approximately four-hundred thousand of them are in dead good bands (citation needed). Should Loch Lomond tire of Stumptown’s crowded music scene, they’d fit in nicely on this side of the Atlantic – and not just because of the Scotphilia hinted at in their name. Their chosen aesthetic is rife these days: taking cues from Loch Lomond’s fellow countrymen (and touring partners) The Decemberists, pocket-orchestra dramatists line the cobbles of Edinburgh, and Night Bats would establish an expatriate Loch Lomond’s credentials perfectly. The opening Ghost of an Earthworm (incidentally, Best Enigmatic Metaphor of 2010 thus far) stomps in tenderly, while Wax and Wire wanes out splendidly – taking our affections with it.
Out Now
Teenage Fanclub - Shadows (***)
Teenage Fanclub are a reliable bunch, in the sense that even if the overall quality varies from album to album – though even here they’ve proven remarkably consistent over the years – their gratifyingly hook-filled, summery aesthetic stays pretty much the same. Though Shadows proffers few surprises, it does make small gestures towards extending their trademark jangly, guitar-pop harmonising with the odd digression, most notably on the Euros Childs-featuring Dark Clouds, a refreshingly guitarless ballad lifted by sombre piano from the guesting Gorky. Elsewhere it’s business as usual, but while the likes of Baby Lee and Shock and Awe would fit nicely on any Fannies Faves mix-tape, their eighth album ultimately underwhelms. It’s amiable and pleasant, but there was a time when a new album from The Bellshill Beach Boys promised so much more. With past pinnacles like Grand Prix to compare to, Shadows only musters enough lustre to potter off the starting grid.
Out 31st May
Jamie Lidell - Compass (***)
Jamie Lidell hasn’t been typically ‘Warp’ (if the label can still be said to possess a core sound these days) since solo debut Muddlin’ Gear: Multiply tempered its electronics with smooth soul licks, while 2008’s Jim was a Stax-channelling rock ‘n’ soul retro-riot. But halfway through Compass opener Completely Exposed – all muffled bass and modem dialler-pips – a sea-change suggests itself. A point chalked up to innovation isn’t always a point for enjoyment, however: the cut-up aural soup can occasionally leave the plastic-soul vocals sounding incongruous and cheap (Jamie Lidl?) where once they aped Otis Redding expertly. But as Compass stays its course, the pieces fall into place, with the final tracks holding the aces: Gypsy Blood’s TV On The Radio-style fuzzy funk, Coma Chameleon’s midnight blues, the Feist and Beck-featuring Big Drift and You See My Light’s aching gospel together burn brightest amongst Lidell’s tweaked take on his neo-soul formula.
Out Now
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