Christmas already, and there have been a few additions to the music collection since mid-year’s round-up. Certainly enough to get through the summer!
The latest album from Melbourne’s Wendy Rule was funded through Pozible and is now available. It’s well worth the listen, harking back as it does to her World Within Worlds album — meditative and moody, mixing pagan themes and love songs and not being shy about topping the five-minute mark. Plucked guitar, steel guitar, cello, flute set the scenes, with occasional tribal percussion breakouts such as on ‘Black Snake’ and ‘After the Storm’, and electro carnival on ‘From the Great Above to the Great Below’. ‘Home’ is another standout for its sheer yearning for a place that’s ‘more than a suitcase, a room’; Rewind wishes to undo the mistakes of the past ‘when I was fucked up and blind’; and ‘Ereshkigal’ — almost nine glorious minutes of it — shows entrancing layered vocals with tribal influences. Ideal for a winter’s night in or a lethargic summer’s arvo.
By contrast, Gary Numan‘s Splinter: Songs from a Broken Mind (Machine Music, 2013) is a full electro-industrial assault, harking back to the brilliant Jagged album. ‘I Am Dust’ opens in winning fashion while ‘Here in the Black’ brings in orchestral elements worthy of a soundtrack, a space explorer alone in the black, or perhaps drifting through their own inner void. Thematically, the album offers the usual touchstones: love gone awry, aloneness, lost faith. ‘Love Hurt Bleed’ is an EBM standout, while Numan varies the terrain with Arabesque elements on ‘Splinte’r, gorgeous percussion on ‘Where I Can Never Be’, piano on farewell tune ‘My Last Day’. As with Black Snake, there’s familiar material here, an artist playing to their strengths, but engaging highpoints making it a worthy of addition to the collection.
Mona Mur and En Esch swagger with menace on 120 Tage: The Fine Art of Beauty and Violence (Pale Music, 2009), a switchblade-packing duo stalking the city alleys and nightclubs in knee highs and combat boots. Half sung in German, half in English, the songs range from dance fuzz joy of ‘Visions and Lies’ to the grungy back-street feel of ‘The Thin Red Line’ to poppy ‘120 Tage’, all headlined by Mur’s cabaret sex-and-dare vocals. A touch of oom pah pah (‘Mon Amour’), elsewhere circus (‘Der Song von Mandelay’), some spoken word (eight-minute story of ‘Surabaya Johnny’), add texture — and introduce three Bertholdt Brecht/Kurt Weill covers as well. ‘I want to crawl in the mud with you and drag you underground,’ Mur sings on opener ‘Candy Cane’ — it’s an offer hard to resist, with the rest of the album dragging the listener down into a world of, as promised, beauty and violence. On ‘Eintagsfliegen’, ‘this is my rifle, this is my gun, one is for killing, the other is for fun’ gives the idea. ‘Snake’ is a sultry winner. The only annoyance is three minutes of noise tacked onto the end of chugging closing track ‘The Wound’. If this was a nightclub, it’d have a warning sign on the front door.
Mentioned previously, but must be mentioned again, just how superb is the latest Nine Inch Nails album, Hesitation Marks. Welcome to middle-age doubt, with all the studio genius Trent Reznor has to offer. Such superb songcraft …
Also on the playlist: