SORTILEGE

SORTILEGE
LARMES DE HEROS (1986)
REMASTER
320 KBPS

Sortilège was - with Trust, Blasphème, Adx, Vulcain, Warning and a few others - one of those bands who struggled to win France over to heavy metal. That was back in the 80s and, trust me I was there, that wasn't an easy task at all. It meant small independant labels, poor production, very little promotion, playing on small stages with a crappy sound and too few people coming. It would have made sense if those bands were bad, shame is they weren't. Sortilège, for example, was a great classical heavy metal band. With a super-melodic and apt vocalist, two skilled axemen and an efficient rhythm section, they produced something that could have competed with German and English bands of the same era. Thing is, for that to happen, people should at least have been informed of the very existence of Sortilège and, apart from a few die-hard metal fans, none were.
Larme de Héros, their third album, is both their best and last album. Like the two preceeding opuses, it has a sub-par production but don't let that stop you from trying it After all, wasn't Sortilège number one fan none other than Death's leader, Mr Chuck Shuldiner? If that doesn't convince you, I don't know what will. If you're a fan of 80s metal you ought it to yourself to try it, you won't be disappointed.

1. La Hargne Des Tordus
2. Chasse Le Dragon
3. Le Dernier Des Travaux D'Hercule
4. Quand Un Aveugle Rêve
5. Mourir Pour Une Princesse
6. La Montagne Qui Saigne
7. Marchand D'Hommes
8. Messager
9. La Huitieme Couleur De l'Arc-En-Ciel
Bonus tracks
10. Sagittarius
11. Elephant Man
12. Win Her Heart
13. Flesh And Bones

BERNARD BUTLER

BERNARD BUTLER
PEOPLE MOVE ON (1998)
320 KBPS

Bernard Butler's solo career was extremely brief, two years and two albums at Creation, bookended by collaborations with David McAlmont. People Move On is a laid back album in general, and thi was Butler setting his musical stall out; producing, writing, and arranging the whole thing, as well as mixing and recording, he also plays most of the instruments himself bar drums.
The music is expansive, the songs are huge; take, Woman I Know and Autograph, the first pastoral, the other epic. There are upbeat rockers here too, check out You Just Know with it's circular sub Paul Weller rhyff, and the anthemic Not Alone. There are a lot of slower accoustic numbers with big arrangements, People Move On itself, A Change Of Heart and In Vain being the most obvious. There is the huge tidal wave of Spectoresque sound When You Grow, with an impossibly massive sounding guitar solo, and the huge hit, the subtly layered and deeply beautiful, Stay. The only real stripped down moment is the warmly crafted accoustic song You Light The Fire, just guitar voice and harmonica, gently played and well judged.
Anyone expecting a Suede album will be disappointed, Bernard had truly moved on by this point, but listen carefully and what you have is the other half of what he was to do with ex-Suede front man Brett Anderson in The Tears, one half Suede rockers, other half sound paintings. Have a listen...

1. Woman I Know
2. You Just Know
3. People Move On
4. A Change Of Heart
5. Autograph
6. You Light The Fire
7. Not Alone
8. When You Grow
9. You've Got What It Takes
10. Stay
11. In Vain
12. I'm Tired

EMILIE SIMON

EMILIE SIMON
THE BIG MACHINE (2009)
320 KBPS

To say I've been eagerly expecting Emilie Simon's 3rd long play (not counting her sweet soundtrack to "La Marche de l'Empereur") is a massive understatement. Since her debut self titled album, I've been hooked on her Kate-Bushy voice, clever electronic arrangements and divinely precise pop songwriting. When news came that her brand new album was to be released on September 21rst I was beyond excited but also blocking any sound that could come to me. I wanted to live the whole experience not spoiling it by bits and pieces and, well, was I right! On "The Big Machine" Emilie seems to have chosen yet another path to express herself. She now sounds like Kate Bush's heir which could be embarrassing if the songs weren't THAT good. There are still hints of her electronica's past but these have sunk in a more organic background. Some will regret what might look like a commercial gesture, I'm sure it's not and even if it was, it's so well done that it doesn't spoil my pleasure one bit. Also, there are no more songs in French on "The Big Machine" which clearly shows the international aim of the album.
To sum things up, I would say this album will please those who like Kate Bush and regret that she's so rare, those who like pop done with taste and wit and just about every good music lover in the universe. GET IT NOW!

1. Rainbow
2. Dreamland
3. Nothing to do with you
4. Chinatown
5. Ballad of the big machine
6. The cycle
7. Closer
8. The devil at my door
9. Rocket to the moon
10. Fool like us
11. The way I see you
12. This is your world

COLIN BLUNSTONE

COLIN BLUNSTONE
ONE YEAR (1971)
REMASTER
320 KBPS

The Zombies disbanded before their classic Time Of The Season smashed onto radio airwaves, and lead singer Colin Blunstone took to a desk job.
One year later, he grew tired of insurance or whatever it was and got back in the studio. Armed with fellow Zombs Chris White and Rod Argent as co-writers and producers, Colin managed to record what I consider the most beautiful and precious record in my collection. One Year is a very, very special record to me, so much that it’s actually hard to even mention here.
Three tracks feature backing by the band Argent, and have a lite rock feel, but the rest feature Colin’s gentle voice over a tightly arranged and dynamic chamber orchestra. She Loves The Way They Love Her kicks it off with the album’s full band sound. It takes some getting used to as it’s not quite Zombies and perhaps a little too produced, but believe me, this one will get you in the long run with its amazing melody and Colin’s excellent vocal work. The other rock band songs include Caroline Goodbye and Mary Won’t You Warm My Bed, both excellent, upbeat tunes. It’s the orchestra numbers that will get you on this record though. Songs like I Can’t Live Without You, Her Song, and Let Me Come Closer To You will simply KILL you!!
If you are in the market for records that grow on you more and more each time you listen, this is made for you. I wasn’t sure what to think about One Year when I finally tracked it down (luckily, it’s easily available these days) but after a few years with it, it is definitely one of my favorites.

1. She Loves The Way They Love Her
2. Misty Roses
3. Smokey Day
4. Caroline Goodbye
5. Though You Are Far Away
6. Mary Wont You Warm My Bed
7. Her Song
8. I Cant Live Without You
9. Let Me Come Closer To You
10. Say You Dont Mind

RUSH

RUSH
VAPOR TRAILS (2002)
320 KBPS

'To fully understand, is to fully forgive'. Okay, we're lucky we even had Vapor Trails. After all the turmoil is Neil's life, this album is very acceptable. Not a classic, but superior in many ways in their 1990-2002 period. The songs are about reflexion and irony. I don't quite remember such mature and intense writing by Peart in a while. In this album, the extremes are evident. When it's good, it's good (One little victory, How it is, Vapor Trails, Earthshine, Sweet Miracle, Secret Touch, Ghost Rider) and when it's bad...it is (Freeze, Out of the cradle). A good 70% of the album is above Roll the Bones or Test for Echo. So I don't know why it gets so much bashing. Blaming Rush for being harder and more metal is non-appropriate because that's what they do best. Synths are Rush's best ally, but they make bad leaders. Lee is a very average keyboard player, but they do know how to make it sound nice. But this time, it's back to basics and it feel refreshing. Never Rush sounded so hard and abrasive. Lots of frustration and mixed feelings in Vapor Trails. Listen carefully. Feel the resignation and the desillusion of Neil's lyrics. A very dark and 'rusty' feeling. Don't expect Moving Pictures or Signals, what they did best is behing them. But Vapor Trail is the only album they made like this, so it's worth the try... Good? No...better!

1. One Little Victory
2. Ceiling Unlimited
3. Ghost Rider
4. Peaceable Kingdom
5. The Stars Look Down
6. How It Is
7. Vapor Trail
8. Secret Touch
9. Earthshine
10. Sweet Miracle
11. Nocturne
12. Freeze (Part IV of Fear)
13. Out Of The Cradle

SUEDE

SUEDE
COMING UP (1996)
320 KBPS

Brett Anderson carried on after Bernard Butler's departure, adding a teenage guitarist and restructuring the intent of Suede, if not the sound, for their third album, Coming Up. The most striking thing about Coming Up is the simplicity. Gone are the grand, sweeping gestures of both Suede and Dog Man Star, leaving behind the glam, which is now spiked with an invigorating sense of self-belief — Anderson is out to prove that he's a survivor, and he does give a damn whether you believe he is or not. So Coming Up has none of the lush, melancholy, and paranoid overtones of Dog Man Star. It's about celebrating being young, going out, taking drugs, having sex, and living life. And it sounds just like it reads — Richard Oakes pounds out fizzy, fuzzy guitar riffs while the rhythm section lays back with dirty, sexy grooves and new keyboardist Neil Godling exudes a sultry, unattainable cool. Even on the wistful ballads "By the Sea" and "Picnic by the Motorway," there's none of the enveloping melancholy that consumed Dog Man Star — they're as optimistic as the buoyant, melodic rockers that comprise the rest of the album. As a statement of purpose, Coming Up is unimpeachable. Though it doesn't break any new ground for the band — unless you count the newfound sense of optimism — it's a remarkable consolidation and crystallization of Suede's talents and all the evidence anyone needs that Brett Anderson was always the guiding force behind the band.

1. Trash
2. Filmstar
3. Lazy
4. By The Sea
5. She
6. Beautiful Ones
7. Starcrazy
8. Picnic By The Motorway
9. The Chemistry Between Us
10. Saturday Night

IAN MOORE

IAN MOORE
MODERNDAY FOLKLORE (1995)
320 KBPS

Modernday Folklore is an awesome album from Ian Moore. While originally known as a blues guitarist, Moore expanded his sound on this album with impressive results. Moore's playing is very fiery blues sounding similar to both Kenny Wayne Shepherd and Jimi Hendrix.
But Modernday Folklore isn't just for blues fans as there's much diversity on this album. Every track here is very strong. Blues-rockers such as "Muddy Jesus", "Bar Line 99", and "Train Tracks" are killer highlighting Moore's excellent playing. His use of the wah-wah pedal on these tracks only add to the intensity. There's also excellent acoustic tracks here such as "Daggers" and "Home" with Moore's quiet vocals bringing out the best in each track. Then there's the R&B tinged 'Lie" and "Stain" which are highlighted by their punchy horn lines and background vocals. Slower tracks such as the gospel like "Morning Song", "Dandelion" and "Today" are also very strong. The haunting "You'll Be Gone" with its dark vocals and production is also an awesome track. An excellent album from an artist who should have much more recognition.

1. Muddy Jesus
2. Society
3. Today
4. Daggers
5. Bar Line 99
6. Dandelion
7. Lie
8. Train Tracks
9. Monday Afternoon
10. You'll Be Gone
11. Stain
12. Morning Song
13. Home

DAVID BOWIE

DAVID BOWIE
SCARY MONSTERS (1980)
REMASTER
320 KBPS

Side One of Scary Monsters is, in my view, the single best side of music to be found on any Bowie album - not least because of the astonishing musicianship of King Crimson guitarist Robert Fripp ('I've been spraying burning guitar all over David Bowie's new album', as he said at the time) and the supple bass playing of Bernard Edwards. And the songs themselves - from the throat-tearing opener 'It's No Game' (with a frantic Japanese commentary in the background), to the searing title track (check out the guitars on this one!) to the Space Oddity follow-up 'Ashes to Ashes' and the metallic dance track 'Fashion' - rank among his best. It would be surprising if the high standard could be maintained on Side Two - and it isn't. 'Teenage Wildlife' is a highlight - a mini rock-opera that has wonderfully expressive singing and inspired playing - but the tracks that follow it - 'Scream Like a Baby', 'Because You're Young' - are weak in comparison. Still, if I had to choose one album by Bowie to take to a desert island, it would be this one - the perfect antidote to sunshine and blue skies. (It's remarkable to think that the album that followed this, three years later, was 'Let's Dance'.) If you want to sample the music of David Bowie when he was at or near his creative peak, then order this CD. Highly recommended.

1. It's No Game, Pt. 1
2. Up the Hill Backwards
3. Scary Monsters (And Super Creeps)
4. Ashes to Ashes
5. Fashion
6. Teenage Wildlife
7. Scream Like a Baby
8. Kingdom Come
9. Because You're Young
10. It's No Game, Pt. 2
Bonus Tracks
11. Space Oddity (Re-recorded single b'side, 1979)
12. Panic in Detroit (Re-recorded, previously unreleased, 1979)
13. Crystal Japan (Japanese single a'side, 1979)
14. Alabama Song (UK single a'side, 1979)

THE JUDAS FACTOR

THE JUDAS FACTOR
BALLADS IN BLUE CHINA (1999)
320 KBPS

The Judas Factor have done something that few bands are ever able to do: they discovered what differentiates art from noise. They have managed to create a record, Ballads in Blue China, that not only has the energy to move the listener but allows the listener to enter into the moods and emotions that created it. You don't just listen to this record; you experience it. This New York outfit features members of 108, Ressurection, and Threadbare. However, one listen to this LP will demonstrate that this band is not interested in reliving it's past. Musically you will find no overwhelming influence. The sound ranges from a driving aggressiveness to total dissonance to quiet and troubled. Lyrically, it is one of the most honest and thought provoking records to have ever been made. You won't be supplied with flags to wave or slogans to chant. However, what you do get is a record that sincerely captures the minds and hearts of those who created it. The Judas Factor takes us on a thirty-minute cathartic journey of darkness, torment, regret and beauty. Ballads in Blue China reveals an honesty and vulnerability that will surely leave a mark in the music scene for years to come.

1. Beauty Mark
2. That Beautiful Old Victorian Bathtub
3. As I Lie Down To Die
4. Essay
5. Will You Wait Up For Me?
6. Choose Your Poison
7. My Favorite Stranger
8. If You Are Going To Kill Then Murder
9. Re-Invent
10. Intangibles
11. Stealing Away
12. The Last Song

EDITORS

EDITORS
THE BACK ROOM (2005)
320 KBPS

Sure, The Editors are a bit dour, what with songs like "Blood" and "Bullets" and "Fall" sporting baleful themes. And the oft-noted similarity between them and Interpol will be apparent to listeners on the near-instant basis of the bands' singers, who share a bellowy, stentorian voice, which means, really, that both are fond of Joy Division's Ian Curtis. The Editors, in fact, come closer to Joy Division (geographically they're nearly kin, being from Manchester). Deploying an instrumental color palette of their dark early-80s predecessors, The Editors win with chiming guitar work--as on "Someone Says," which shifts rhythms a la Interpol even while sounding wider-ranged and better-lit. Vocally, Tom Smith can wobble the edges with tremors of urgency stoked by Chris Urbanowicz's guitar atmospherics and occasional outbursts. "Fingers in the Factories," a lyrically mirthless little number that interjects a stellar combo of simple beat and bright-toned guitars to charge up the labor-related lyrics, driving Smith to an emotional charge, something that lots of post-Echo and the Bunnymen ensembles have difficulty doing convincingly. The Editors manage energy in the service of drama, a near-necessity in rock.

1. Lights
2. Munich
3. Blood
4. Fall
5. All Sparks
6. Camera
7. Fingers in the Factories
8. Bullets
9. Someone Says
10. Open Your Arms
11. Distance