More like, music I got ages ago but didn’t get to write about, but better late than never.
Why does everything sound so much more charming when it’s sung in French, or with a French accent? Christine and the Queens is the androgynous alter ego of the French singer Héloïse Letissier, who alternates between English and French on this album but is at her most appealing when she sings in her mother tongue. Catchy, top-notch electronic pop with some provocative lyrics.
I’m a terrible PJ fan – I only got hold of this album a good few months after its release, which is inexcusable for a die-hard fan like myself. It says a lot about her consistently excellent output that I couldn’t describe this, probably my least favourite album of hers so far, as anything less than “very good”. A follow-up to 2011’s Let England Shake, Harvey’s first openly political album and a real game changer for an artist who’s mostly been very inward-looking in terms of lyrics, The Hope Six Demolition Project is basically more of the same, in terms of music and themes. It’s inspired by her travels to war-torn or otherwise tragic areas of the globe, including Kosovo and Afghanistan; and musically it’s quite close to its predecessor – in fact when I first heard the opening single The Wheel, I thought it was a standalone leftover from the Let England Shake era. It’s fair enough for an artist to keep exploring the themes that feel close to their heart, but it is slightly disappointing to see a retread after a career full of bold turns with every album. Not that it’s a complete sound-alike – it leans heavily on the saxophone and horns this time around, and a lot more choral singing. It’s a very solid album that grew on me more with further listening, but apart from the already-mentioned The Wheel it’s not chockfull of individual memorable songs, another somewhat disappointing first. And what’s up with that clunky title and the hideous cover art?
Another hardly-favourite-but-still-very-good release from one of my favourite artists – a concept album written as a soundtrack for an imagined film about a bride who is left at the altar, not because her fiancé is a scumbag but because he dies on the way to the wedding. A downer, that. I fell in love with Natasha Khan’s beguiling, dreamy, mysterious music right from her debut, and here she sticks to her unique vision. The mood is overwhelmingly sad and mournful, which can get a bit same-same if you’re not in the mood, and there are no standouts like the stunning Laura from her previous album, but it’s a beautiful collection of songs and Natasha’s voice is as bewitching as ever.
I have a soft spot for the Beauty and the Beast duets – Nick Cave and Kylie Minogue, Mark Lanegan and Isobel Campbell, Lee Hazelwood and Nancy Sinatra – so this collaboration between Rachel Zeffira (dreamy, celestial) and the Horrors frontman Faris Badwan (dark, gravelly) hits the spot. I loved their retro-ish debut album from a few years back and I’m very pleased to see that the spark remains on their second album as a duo. 60s-tinged, multi-layered, baroque and luscious music, with a sinister neo-noir vibe on some songs that wouldn’t sound out of place on the Twin Peaks soundtrack.