Posted in Album Reviews

Wet Leg – moisturizer (2025)

Posted on by Michael

The Wet Leg duo from the Isle of Wight return with their sophomore album, moisturizer, this time members of their touring band officially join as band members and songwriters. This includes the excellent rhythm section of bassist Ellis Durand and Henry Holmes on drums. They add a low end groove to tracks like single “Davina McCall” named after the popular English TV presenter.

Lyrically, Wet Leg are all about love, a theme that appears again and again.  Singer Rhian Teasdale sings it implicitly on second single “CPR” – “I’m in love and you’re to blame”. That appears again on the upbeat “liquidize” on the very first line, “love struck me down”.  Moving away from that theme, “Catch Fists” instead threatens males who try to come into the woman’s space when out with her friends. Guitarist Hester Chambers takes over vocals on two of the tracks, it sees her vocals buried slightly in the mix on “Don’t Speak” that also adds some My Bloody Valentine like guitars.

moisuturizer sees the Teasdale/Hester duo move a bit away from their quirky debut that gained them much notoriety and shot to #1 on the UK charts. Many of the songs here are just solid indie rock songs that are played with a bit of style and lots of attitude thrown in. “Jennifer’s Body” is a straight-ahead rocker that compares love to riding on the second level of the double deck bus. It’s a solid album from the band that saw them take the #1 album slot in the UK while the rest of the country was at the Oasis gigs.

8/10

Posted in Album Reviews

Kraftwerk – Autobahn (1974)

Posted on by Michael

In some ways, the Autobahn album by Kraftwerk feels like their first one but it’s actually their fourth release. It’s the first entry point for many, like skipping the early Pink Floyd or Fleetwood Mac to jump into the later catalogue. The core two of Germans Florian Schneider and Ralf Hutter added Klaus Roder and Wolfgang Flur to create an album that is split into two. The 22-minute title track takes up side one with four other songs making up side two of this album that went top 5 in both the US and UK.

Starting with a car door slam, the auto is started and the music starts to drive onto the “Autobahn”. Cinematic, it starts with the sound of driving down the highway while passing by rolling plains and fields of wheat. It’s Kraftwerk’s first track with lyrics that immediately get misinterpreted. Singing “drive drive drive” in German, the words sound like The Beach Boys-like “fun fun fun” in English. The Moog bassline is the main sound with a guitar and flanged synths. Later the sounds gets tighter, more serious, as busy traffic appears before turning into spacey prog.  It’s truly an epic song with ebbs and flows like driving down a highway on a long road trip.

The second side is the come down after the glorious first side, with shorter songs that are more of a soundscape.  “Kometenmelodie 2 (Comet Melody 2)” is a lively track with the low end making a bit of a groove with an infectious, more lighthearted sound. With a couple of moody pieces, closing track “Morgenspaziergang (Morning Walk)” is a bit new age-y with a flute and the sound of rushing water.  

As an album, it’s side one that will rightfully get all the attention but side two manages to hold the listener’s attention as they recover from the long drive.  A remarkable piece of electronic music history that would prove to be as highly influential as it is enduring.

9/10

Posted in Album Reviews

Stereophonics – Make ‘Em Laugh, Make ‘Em Smile, Make ‘Em Wait (2025)

Posted on by Michael

The thirteenth album from Welsh rockers Stereophonics is the first album in 20 years solely produced by singer and bandleader Kelly Jones. The band does not save the best for last with first track, “Make It On Your Own” being a highlight.  Strings swell over a terrific (potential) radio single that includes just a touch of country guitar.  “There’s Always Gonna Be Something” sees Jones sing, “I leave nothing for death but bones” on another country-ish rock song.

A synth adds a bit of an 80s flair to “Seems Like You Don’t Know Me”, a track that contemplates a relationship where “your lie is really my truth”.  Jones’ raspy voice sounds the most like Rod Stewart here.  From there, the record mostly plays out with catchy but fairly non-descript country songs. The band amp up the banal lyrics to match the mainstream country sound.  While this is certainly a criticism, overall, the 30-minute album is a batch of unchallenging yet catchy MOR songs – perfect for unwinding with a domestic beer after work.

7/10

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Siouxsie and the Banshees – Juju (1981)

Posted on by Michael

In 1981, Siouxsie and the Banshees reconvened to once again work with producer Nigel Gray on what became the band’s fourth album, Juju. The band further developed their mix of post punk, art rock, industrial, and goth into and intriguing mix of songs. “Spellbound” got a new lease on life in 2022 when it was used on the TV show, Stranger Things. The top 20 single sees intricate guitar playing and influential guitar tone from John McGeoch.  Drummer Budgie powers the song underneath and replicates the sound of falling down the stairs one of the band’s finest songs.

Second single “Arabian Knights” sees the band continuing to fire on all cylinders. Scathing lyrics from Siouxsie about middle eastern culture and it’s treatment of women, once again powered by Budgie and a bass swing from Steven Severin. “Into The Light” is gloomier yet also contains arguably Siouxsie’s best vocal performance on the album while “Monitor” sees guitar bristle, introducing a bit of an industrial element to the sound.

On side two, “Sin In My Heart” starts as a bit of a dirge before picking up steam before the first verse starts, drums pounding, the track then sees the band in full rock flight. Most tracks on the album have a darkness to them, whether the song is about stepping into death’s light or on “Night Shift” about the Yorkshire Ripper serial killer, yet it never turns into a slog.  Juju has been hailed as a classic in some circles and highly influential on future alternative rock bands, many specifically citing the guitar work of John McGeoch.  Another must hear album from this inventive band.

9/10

Posted in Album Reviews

Pulp – More (2025)

Posted on by Michael

It’s been 24 years since the last Pulp album, the very good We Love Life from 2001. In between there have been scattered concerts, festival gigs, singer Jarvis Cocker’s solo albums, Russell Senior leaving, and unfortunately the passing of bass player Steve Mackey. Getting the rest of the band back together, Pulp enlisted mega producer James Ford to help in the recording. 

First single and track, “Spike Island” explodes out of the speakers where Jarvis sings, “I was born to perform… I exist to do this” – and the listener believes him. “Tina” is a quintessential Pulp song about crushing on a girl but always just missing her, perfect indie pop in the chorus. From there the album goes a bit disco in spots with the house like anthem “Got To Have Love” and the throbbing bass of “Slow Jam”.

The band also includes several slower, midtempo tracks like “Background Noise” that sounds like a holdover from 20 years ago plus the saluting of their Northern home of Sheffield (“The Hymn of the North”) and an ode to the beauty of the sunset (“A Sunset”). It’s a good album that adds in the dance elements from some of Jarvis’ solo work but also sticks to what they do best.  Sophisticated pop music that touches on the dark corners in life. That used to be at the club then the bedroom afterwards but now it’s at the “Farmers Market” remembering those younger times instead.

7.5/10