music reviews
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Enchanting Rhythms SHIRLEY HURT
Shirley Hurt’s debut is a testament to her skills as a storyteller. It seamlessly translates personal experiences into enchanting melodies that express anxiety, grief and heartbreak. In a heady blend of folk and pop balladry, the artist creates an impressive work strengthened by arresting vocals, nuanced lyrics and super slick production. Hurt's journey is a compelling one, marked by a nomadic lifestyle that saw her live in over 20 different houses before the age of 18, never truly finding a place to call "home." It was in New York that she began to immerse herself in various musical scenes. Here, for the first time, she felt a sense of belonging. Travelling back and forth between Toronto and the Empire State until she was 26, she aligned herself with a tradition of Canadian musicians such as Harrison Forman (Hieronymus Harry, Zones) and Patrick Lefler (Roy, Possum). Under their influence,
an organic approach to her music emerged, resulting in a style that alchemises indie folk with pop and country. This self-titled work may have been born on the open road, but came to life in Toronto's West End. Expertly engineered by Nathan Vanderwielen and Chris Shannon, it's an introspective piece that articulates emotional confusion, all the while exploring anxiety and melancholy. With delicate vocals and softly brushed drums, All Looks The Same To Me speaks of loss: “I am tired I am weeping / (All looks the same to me) / I am smiling I am screaming.” Elsewhere, Empty Hands weaves a tale of guilt and regret. These songs are understated but heartfelt, maintaining a pace that mirrors a resting heart rate. Whilst some tracks feel a little too cryptic, this album shines brightest when it combines emotion with whimsy. If nothing else, it reminds us just how difficult it can be to be vulnerable.
Words Eitan Orenstein
Melodic melodic.co.uk
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Box Set 6 FELA KUTI
Following on from previous editions curated by the likes of Chris Martin, Erykah Badu and Questlove, Box Set 6 is the latest instalment in an ongoing series of box reissues of the back catalogue of Afrobeat pioneer Fela Kuti (1938-1997). Curated by actor, producer and musician, Idris Elba, aka DJ Big Driis, this edition features Open & Close, Music of Many Colors, Stalemate, I Go Shout Plenty!!!, Live In Amsterdam, and Opposite People. The artwork for each album has been recreated from the original vinyl pressings, alongside a 24-page booklet featuring commentaries by Afrobeat historian Chris May. Also included is a poster designed by Lemi Ghariokwu, the creative force behind many of Kuti’s album covers. Accompanying the set is the digital release Stalemate (Edit), drawn from the A-side of the 1977 record of the same name. On the track, Kuti muses on the face-off
between Nigeria’s military regime and the social groups who made up the majority of his audience: students, intellectuals and “sufferheads” – the name he attributed to the working class. Characterised by lengthy, ambitious compositions, there is a hypnotic quality to almost everything in Box Set 6. On Open and Close, brass and keys intermingle to create a joyous euphony, an exuberant 15 minutes of rhythmic groove and complexity that constantly changes. Melodic and rhythmic gestures sweep and wane throughout, demanding a special level of attention. Listeners are emphatically told: this is music which denies all convention of traditional song structure. It's hard to think of anyone who has so seamlessly merged jazz, pop, funk, hip-hop and rock. Kuti is a true originator. This collection is a reminder of what a dazzling sociopolitical and musical force he was, and still is.
Words Matt Swaine
Partisan Records partisanrecords.com
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Melt the Honey PACKS
Madeline Link, known by her stage name PACKS, returns for a third full-length project. Melt The Honey is a pleasant rarity. It’s a no-skips project – a comforting rocking chair after a long day. In a way, it feels too formal to label this album as “work,” especially when one of its most redeeming qualities is its playful, garage-like sound. As listeners, we're invited to immerse ourselves in a familial way of life and bask in the album's warm, hazy track list. This feeling comes from the way in which the album was produced. Link gathered her band of fellow Canadian talents (Dexter Nash on guitar, Noah O’Neil on bass and Shane Hooper on drums), journeying to Mexico City to create 11 songs over the course of 11 days. The group travelled to Xalapa, before settling down to compose in Casa Pulpo, a striking 20th century lilac house described as having “no straight lines.” The building's colourful and
spacious setting is reflected in an album that is a testament to the wonderfully strange details of our daily lives. Each sound has been laboured over – whether it be the opening strum of 89 Days or the raspy vocals of Trippin'. Singles like Missy evoke the charismatic scores of Serge Gainsbourg, whilst Take Care is reminiscent of the artpop-punk of Mark Mothersbaugh. The former track takes the ground level perspective of the cat who hung around in the group's practice space in Xalapa. It presents a wistful longing for the love of another creature. Despite its niche subject matter, it delivers an affecting listen through ear-worm hooks and a soft, heady drum groove. Melt The Honey demonstrates what it means to create together. This is an unadorned album that doesn't shy away from emotion. Its warm, grounded acoustics do well to remind us that we're never too far away from a friend.
Words Kyle Bryony
Fire Talk Records firetalkrecs.com
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