Recension (tillika bäst just nu, november 2017, del 2): Noel Gallagher’s High Flying Birds – Who Built the Moon?

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Trötta svenska rockjournalister kommer aldrig att respektera Noel eller Liam Gallagher. Oavsett vad de gör eller hur plattorna egentligen låter kommer samma murkna och motsägelsefulla argument om att det var bättre förr, att de aldrig utvecklas och att det är Beatles- och Stones-influerat rehashas tills tidens ände. Även nu, när Noel släppt en platta som inte låter som något annat han har gjort rapas dessa härskna och mycket lata invändningar upp i recension efter recension. Jag är trött på’t och jag begriper det inte. Nedan följer en recension skriven av någon som dels lyssnat på skivan och dels är insatt i ämnet.

Noel Gallagher är tillbaka, och det med sitt bästa och mest helgjutna album under eget namn, och det klart bästa Gallagher-albumet post-Oasis. Förhandssnacket har (i överkant) handlat om att det är experimentell, hemskt underlig och dansant techno-psykedelia Noel snickrat ihop med producenten David Holmes. Det är fel. Nog för att Who Built the Moon? är modig och inte låter som något annat album han gjort, men SÅ konstig är den inte. Gitarrerna är fortfarande framträdande, men det är större fokus på atmosfärer och ljud, och även rytm. Syntar och samplingar tar mer plats än tidigare, och influenserna är hämtade från fransk pop och psykedelia, men även från tidiga 90-talets Madchester-scen. Men under alla nya och nygamla influenser och referenser är det fortfarande rockmusik med bra melodier, och med Noel Gallaghers klassiska röst ibland långt fram i ljudbilden, ibland långt bak, dränkt av effekter, och ibland, som under de stämningsfulla mellanspelen Wednesday 1 och 2, saknas den helt.

Att Noel sticker ut hakan och gör något nytt är ju roligt, men plattans största behållning är givetvis det starka låtmaterialet. Från öppningsspåret Fort Knox, som är mer ett introstycke i stil med Oasis klassiska Fuckin’ in the Bushes, till avslutande (bonusspåret) Dead in the Water, är det ett jämnt och välskrivet album. Höjdpunkterna är många och starka: förstasingeln Holy Mountain, med Paul Weller på orgel, var jag väldigt tveksam till när jag först hörde den, men den växte sig stark ganska omedelbart. Det är hans mest catchy popsingel på Gud vet hur länge. Keep On Reaching är hårdkokt och malande soul. It’s A Beautiful World går från att i verserna vara suggestiv och monoton till att formligen explodera i en stark och atmosfärisk refräng. Be Careful What You Wish For är disig och psykedelisk blues, med en underbar gitarrloop genom hela låten. The Man Who Built the Moon är plattans mörkaste spår. En dov och episk pärla, full av religiös symbolik, som inte hade låtit fel på ett Nick Cave-album.

Som minst engagerande blir det på den traditionella och rätt bleka pop-rockaren Black and White Sunshine, som jag hade tagit för ett överblivet spår från något hans två tidigare soloalbum, om det inte hade varit så att alla låtar skrevs från scratch i studion i samband med inspelningen. Men de mer traditionella inslagen är inte bara av ondo. Bonusspåret Dead in the Water är en klassisk, akustisk Noel Gallagher-ballad, men så skör och vacker att klockorna stannar. Den är dessutom inspelad live i en irländsk radiostudio och existerar bara i just den här tagningen. Det kan mycket väl vara hans bästa sololåt och den mäter sig utan problem med hans gamla bands största stunder.

Efter att Noel släppt två mer eller mindre ojämna plattor var jag ganska övertygad om att lillebrorsan/ärkefienden Liam skulle dra det längsta strået i år, med sin upphaussade och habila solodebut As You Were. Men genom att återuppfinna sig själv och vidga sitt uttryck, men samtidigt bibehålla sin kärna, visar Noel med Who Built the Moon? att han är den vassare låtskrivaren av de två bröderna.

Annonser

Manchester – 10 of the best

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I’ll be writing this English, because the situation calls for it.

In honor of today’s events, here is a list celebrating one of my favourite cities on the planet – Manchester. Ten of the best Manchester songs of all time. One song per artist/band/songwriter, and the artist must be from the Greater Manchester area.

Stay strong, stay handsome, and remain your brilliant self.

 

10. I am KlootTo the Brink

  • Kloot’s beautiful 2010 paean to drink and the safe havens that are Northern English pubs.

9. John Cooper Clarke Beasley Street

  • Apparently about the rundown streets of Salford in the late 70’s. Dark, gritty, mancunian spoken word by the true bard of the urban North West.

8. MagazineMotorcade

  • Howard Devoto looks at the world from a twisted perspective, while death creeps up slowly all around.

7. The ChameleonsPerfume Garden

  • Gorgeous atmospheric mix between dream pop and post punk, about the fallacies of nostalgia.

6. The VerveSonnet

5. Bee GeesHow Deep Is Your Love

  • Born on the Isle of Wight, raised in Manchester, started their career in Australia, made it big after moving back to Britain, heavily associated with New York Disco. They’re not Mancs through and through, but just about. And it helps if you’ve made one of the most beautiful love songs of the 70’s.

4. Stone Roses Mersey Paradise

  • At first glance a jangly celebration of the North West. But a closer look reveals suicidal thoughts, drowning and betrayal. Cheerful music, disturbing lyrics – how Mancunian.

3. Joy DivisionAtmosphere

  • No other band embodies the post-industrial and gritty air of Manchester and the North West better than Joy Division, and this haunting, elegiac piece is perhaps the best example of it.

2. OasisLive Forever

  • Exactly the kind of message of love and freedom the world and Manchester need right now.

1. MorrisseyNow My Heart Is Full

  • The title says it all.

 

The picture is LS Lowry‘s The Blitz, retrieved from here.

My Formative Teenage Albums

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This entry is inspired by something I read on Pitchfork yesterday. There, the staffers had listed the ten albums from their formative teenage years that have made the most lasting impression on them. As a list geek I immediately figured I wanted to do the same. In chronological order, here are the ten most important albums from my formative years, age 14-18. I interpret ”lasting impression” as either meaning albums that opened important doors to musical worlds in which one still dwells, or simply albums one thought was great back then and still does.

Billy Idol Billy Idol

– Time of discovery: late 2000, aged 14.

To be quite honest, Billy Idol is the original reason for me listening to alternative (pop/rock) music. Before seeing the White Wedding video on MTV’s ”So 80’s” Weekend in the fall of 2000, the only music I listened to was hiphop and Michael Jackson (which is great, of course). Seeing this video, this sinister, weird, gothic video, changed everything. The song was equally sinister and weird, yet catchy, and with strange lyrics. It didn’t sound like anything I had ever heard before, or like anything my friends or classmates listened to. And the guy singing it was pale, skinny, wearing a red leather vest (with nothing underneath) and black pants, looking all cool and threatening. This was the first time I could even remotely see myself in a musician (even though we only had the pale and skinny thing in common – I was the least cool person you would ever meet). Earth-shattering. I went out and bought his self-titled debut album. I remember being disappointed that the other songs were kind of poppy, but it didn’t matter. I became a Billy Idol fanatic, and through him I discovered punk rock, and through punk I discovered…everything else. I became a…person. I developed some sort of style. I got ideas. Opinions.  Values. Stuff that’s still at the core of my being. Thank you, Billy. You’re one of the most criminally underrated singers/songwriters of all time (not to mention vocalists!).

Sex PistolsNever Mind the Bollocks, here’s the Sex Pistols

Time of discovery: late 2000, aged 15.

– I had learned that Billy Idol was originally a punk and lead singer with original punks Generation X. This made me terribly interested in the genre, and for my 15th birthday I got a gift certificate at the record store CD Land and I bought this album. Another earth shattering moment. Again, it sounded like nothing I had ever heard. It was totally aggressive, but the lyrics were hilarious (without failing to convey important messages such as anti-royalism, solidarity and alienation) and their attitude was so off, so un-cool (the traditional sense of cool) and antisocial it instantly felt super cool. I was on my path to becoming an individual.

Ebba GrönKärlek och uppror

Time of discovery: 2000, aged 15.

-The dearest thing I ever discovered through punk rock. Cemented my love for all things Thåström – a love that gets stronger with each passing day. There’s no-one like him.

The CureThree Imaginary Boys

Time of discovery: early 2001, aged 15.

– I discovered The Cure on the same So 80’s Weekend on MTV as I did with Billy Idol (and a-ha! and The Clash!), although I had heard of them before. I knew they were moody and weird, and the video for Close to Me didn’t change that idea. It took me a few months, however, before buying my first Cure CD (and this was the only one that the record store had), but I liked it. It was guitar-driven, like the punk rock I usually listened to, but it was more understated, moodier, weirder. Mood-wise, this suited me better than punk and I got deeper and deeper into The Cure in the following years. They are still very dear to me.

Oasis(What’s the Story) Morning Glory?

– Time of discovery: mid-late 2001, aged 15 or 16.

I missed the Britpop wave of the mid 90’s (I was too busy trying to learn how to Moonwalk and rap along to Biggie songs). But after listening to punk and Billy Idol and The Cure for a year or so, I knew I wanted to take it further. I knew of Oasis and I knew their most famous songs, so I decided to borrow their albums from the public library. And I don’t know what it was exactly, but they spoke to me. Their music had the attitude I loved from punk, combined with the wistfulness I more and more felt I needed from music. And so, another life long love began.

Bruce Springsteen The Rising

Time of discovery: mid-late 2002, aged 16.

– I was exploring my increasingly deeper interest in music and decided to check out this legend and his newly released and much talked-about comeback album. It was instant love and Bruce is now one of my all-time favorite artists, and someone I keep returning to. This is far from his greatest album, but it was the first one I heard and that’s important.

KentIsola

– Time of discovery: late 2002, aged 17.

My teen angst had really started to gain serious momentum at this point, and this album spoke to me. It was like discovering an album you always knew was out there, but one you never really seemed to find – until one day.

Joy DivisionSubstance: 1977-1980

Time of discovery: early 2003, aged 17.

– I bought it because I had been knocked out by Love Will Tear Us Apart, and even though the other stuff on the album was far less catchy, I loved it. It had a seriousness to it that I had never heard before. The lyrics were very abstract to my 17-year-old ears. Very pensive.  Very contemplative. They matched my more and more frequent…moods. My love for the band would however grow even stronger in the years to come and I now consider them one of my top 5 all time favorite bands.

The SmithsThe Queen Is Dead

Time of discovery: early-mid 2003, aged 17.

Solidified my lifelong love for Morrissey (and Marr). Helped me survive my teens, my twenties and with a little luck, my thirties and beyond.

Bright Eyes Fevers and Mirrors

Time of discovery: late 2003, aged 18.

I would become a full-fledged hardcore Conor Oberst fan in 2007, but this album blew me away four years prior. Conor is a more interesting songwriter now, but this album is definitely intense. I bought it on a whim, without having heard a single note from it, having read a blurb at the back of a three-year old music rag. I remember it said something overblown about angst. That sealed the deal for me. Glad it did!

 

Photo by me.