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Album Review: The Blue Aeroplanes – Welcome, Stranger!

 
By on Thursday, 12th January 2017 at 12:00 pm
 

Blue Aeroplanes Welcome Stranger album coverI confess that until recently, I’d never heard of The Blue Aeroplanes. However, after reading up on the Bristolian band’s history and influence, as well as the work of its various members, it’s pretty clear they’re connected in some way to a wide range of artists that I’ve been listening to for a long time. From ex-members working with the likes of Placebo and Massive Attack, to reportedly being the best band that Manic Street Preachers’ James Dean Bradfield has seen live, it feels like The Blue Aeroplanes have, whilst remaining relatively underground, permeated the layers of music history.

The Blue Aeroplanes haven’t released an album in 6 years, since ‘Anti-Gravity’ in 2011. Bearing in mind their first studio album came out in 1984, it’s quite an impressive feat in itself that they’re putting out new material after all this time. That’s even before you consider the band’s incredible history. The Blue Aeroplanes have released almost 12 studio albums across 4 decades and have had a dizzying history of band members over the years. The band’s current lineup also consists of long-serving drummer John Langley, Gerard Starkie, Sharp (bass), Bec Jevons (guitar/vocals) and Mike Youe (guitar).

Their latest, ‘Welcome, Stranger!’, was just released last Friday through Art Star and a PledgeMusic campaign. The album has an old school feel to it, particularly in the edgy drawl of guitars and lead singer Gerard Langley’s distinctive smoky vocals evocative of ‘90s shoegaze. This is a rather wonderful and eclectic mix of subdued indie upbeat rock with Sprechgesang. I can’t tell if I think it’s brilliant or just a bit mad, although I guess there’s not reason why it can’t be both.

[youtube]https://www.youtube.com/watch?v=v6COjr6D_AU[/youtube]

Tracks such as ‘Here is the Heart of All Wild Things’, Poetland’, ‘Retro Moon’ and ‘Nothing Will Ever Happen in the Future’ feature Gerard Langley speak-singing over the track, pulling it off with a biting poetic flair. In the latter, he speaks over a gently twanging guitar during the verses, before singing “we want to be wanted / we need to be needed / we love to be loved” during the chorus. I’d argue this is more a pithy comment on celebrity culture than a personal confession. On ‘Dead Tree! Dead Tree!’, which opens up to a steadily beating drum before a shoegaze-esque guitar breaks in, Langley and co. repeatedly sing out the title of the track. It even features Langley imitating a crow in a strained squawk. This one is a must listen.

A bit like ‘Dead Tree! Dead Tree!’, ‘Elvis Festival’ is brilliantly strange: “You sing badly / but no one cares / you are Elvis”. Other lyrics from it made me laugh out loud at first (“his wife sewed on the sequins / but he made the cape himself”), but then I couldn’t stop playing it for the simple guitar riff and drum beat and brilliantly utilised cowbell that had me dancing along, wishing I was at a festival. ‘Skin’ is a little more upbeat, a diversion from other tracks on the album. Not only does it feature vocals from Bec Jevons (also of IDestroy), but it’s also a straight-to-the-point, fast-paced track. It’s an interesting contrast to the other obscure tracks on the album. Jevons sings, “this is my skin and I welcome you in”, with skin being the central focus of connecting to someone else, not only in tactile terms, but the idea of letting someone into your skin and seeing the world the way that you might see it.

[youtube]https://www.youtube.com/watch?v=7A-AnduoiMQ[/youtube]

Overall, it’s an interesting and exciting listen and deserves to be properly heard to appreciate the songs’ witty wordplay. Its timeless quality makes the LP sound like it could have been produced any time over the past couple of decades. Despite the fact that I found it an enjoyable listen, it’s unlikely to remove the band from their underground cult status and into the mainstream. Having said that, from what I’ve read of the band so far, it doesn’t seem like that’s likely to be their goal. ‘Welcome, Stranger!’ feels more like the work of a band that is making music for the joy of it rather than for fame or notoriety. And it’s sure to be an album that will please the existing fans that have been waiting patiently for new material.

7.5/10

The Blue Aeroplanes’ latest album ‘Welcome, Stranger!’, out now on Art Star, definitely deserves a listen, if you’re not already a fan. The band are in the midst of a UK tour this month; check out the UK dates listed on their official Web site. The bits we have here on TGTF on the band are back here in our archive.

 

Album Review: Neil Young – Peace Trail

 
By on Wednesday, 11th January 2017 at 12:00 pm
 

Header photo by Julie Gardner

peace-trail-extralarge_1479236489199Last summer, Canadian singer/songwriter Neil Young released his eye-popping 37th album ‘Earth’, which he described as “a collection of 13 songs from throughout my life, songs I have written about living here on our planet together.” Though the songs themselves weren’t new, the recordings were. Captured while Young was on tour with The Promise of the Real, the live audio was mixed with overdubbed sounds to make a point about the artificial nature of our lives and the damage we’re causing to our planet.

Though he hails from Canada, Young has often used his artistic activism to weigh in on American political and social events. In a Rolling Stone interview around the release of ‘Earth’, he remarked “I vote with my mouth. That’s my way.” Young could easily have rested on his laurels following ‘Earth’, but instead he turned his attention to unfolding drama in the United States, speaking out once again with an album of original music titled ‘Peace Trail’.

Recorded at Rick Rubin’s Shangri-la Studios and co-produced by Young and John Hanlon, ‘Peace Trail’ is a mix of predictable acoustic folk rock and experimental synthetic sounds designed to provoke a specific and unsettling effect. Title track and album opener ‘Peace Trail’ is musically what you might expect from Young, with fuzzy guitars and folk-style tribal percussion, but its central lyric “I think I’ll hit the peace trail / take a trip back home to my old town / ‘cos everyone back there says / something new is growing” hints that change is afoot.

[youtube]https://youtu.be/_O1uQOpzvPQ[/youtube]

The opening lines of ‘Indian Givers’ are the centerpiece of the album, clearly speaking out against the construction of the controversial Dakota Access Pipeline: “There’s a battle raging on the sacred land / our brothers and sisters had to take a stand / against us now for what we all been doing / on the sacred land there’s a battle brewing”. The rhyme might be a bit awkward but the sentiment is solidly stated, over a musical backdrop that combines Young’s blues rock with stark rhythms and austere harmonies more reminiscent of Native American traditional music. Young continues his humanist sermon with ‘Show Me’, a starkly simple arrangement of two-line verses and a repeated one-line chorus that challenges listeners with an ultimate vision: “when heaven on earth is improved by the hand of man / and people everywhere get together and join their hands / show me.”

From that point, the album takes a bit of a left turn. The discordant and rhythmically disjunct ‘Texas Rangers’ comes as a bit of a shock after the predictable folk rock of the previous songs. As jarring as the musical effect is, the lyrics are almost moreso: “Look, can you see things / when they show you / what they want you to know / watch what you don’t see / on the TV / when they hide the truth”. In similarly disturbing fashion, ’Terrorist Suicide Hang Gliders’ explores the dark specters of racial and religious distrust among white Americans: “I think I know who to blame / it’s all those people with funny names / moving in to our neighborhood / how can I tell if they’re bad or good?”

[youtube]https://youtu.be/rkhyw3SJdFs[/youtube]

‘John Oaks’ goes back to familiar musical territory with a lengthy and detailed acoustic folk narrative about migrant workers and racial tensions. ‘My Pledge’ has a similar poetic structure, but a distinctly modern and synthetic arrangement of the vocal melodies. One particular stanza, “I’m lost in this new generation / left me behind it seems / listening to the shadow of Jimi Hendrix / ‘Purple Haze’, sounding like TV” seems markedly appropriate in that context. Young closes the album on a somewhat lighter note with ‘My New Robot’, though sinister undertones peek through the acoustic arrangement in a wide and weird array of computerised voices, and the song’s ending can only be described as alarmingly abrupt.

Neil Young is a legendary and prolific songwriter with a wide and established audience. On ‘Peace Trail’ he has once again used his craft as a vehicle for preaching his broad humanitarian social platform. The messages contained in its songs are deliberate and blunt, not particularly elegant, but in their style, very particular to Young as an artist. The real significance of the ‘Peace Trail’ comes in the fact that Young felt the need to make these statements publicly, and that, at this point in his career, he continues to find bold, inventive ways to keep awareness of political and social injustice at the forefront of our collective consciousness.

7/10

‘Peace Trail’, Neil Young’s second album of 2016 and 38th album overall, is out now on Reprise Records.

 

(SXSW 2017 flavoured!) Album Review: SOHN – Rennen

 
By on Tuesday, 10th January 2017 at 12:00 pm
 

Header photo by Phil Knott

SOHN Rennen album coverAhead of his scheduled appearance at SXSW 2017, electronic musician and producer SOHN ushers in the new year with his newest album. Though the London-born Christopher Taylor has spent most of his creative time since 2012 living in Vienna, he temporarily relocated to a house in sleepy Northern California to work on this second outing, ‘Rennen’. Interestingly, the topics he explores on this effort aren’t entirely escapist; instead, he faces his personal life and international politics head on. And in an unusual move, Taylor decided to take a less is more approach on this SOHN album, limiting himself to three elements going into each track.

Meaning the action of running in German, the title seems to sum up well his escape to America following the whirlwind of critical attention paid to him and the exhausting touring he undertook to promote his celebrated 2014 debut LP ‘Tremors’. “I was running nonstop that whole time,” he says. “It was this incredible blur of seeing the whole world all in one go. I was going from experience to experience to experience always saying yes, and that’s just an incredible thing to put yourself through as a human.”

Given the popularity of ‘Tremors’, which contained the robust singles ‘Bloodflows’ and ‘Artifice’, any follow-up would be difficult. But the time away seems to have done SOHN’s new music a world of good. The influence of his co-writing and production work for other, more pop-centric artists, from Rihanna to Disclosure, have seeped into ‘Rennen’. This provides surprisingly wonderful moments on the album that might otherwise not happened. Changes in Taylor’s personal life since his debut – including falling in love, getting married and learning he will become a father – also affected the content of the new album, providing a unique window into the artist’s psyche during this snapshot in time.

‘Rennen’ begins with the bluesy ‘Hard Liquor’, a darkly appealing track with a clear r&b bent, quickly followed by two already revealed songs. The repeated lyrics in ‘Conrad’ – “I can feel it coming, we can never go back” – could sum up well our collective sorrows of 2016, but Taylor meant to point specifically to Europe’s uncertain future and shaky political climate, no doubt to include the passage of Brexit. The use of empty bottles and kitchen utensils for percussion adds to the scrappy desperate feel despite the song’s undeniable pop sensibility. ‘Signal’ debuted with a music video directed by and starring Hollywood starlet Milla Jovavich. The single itself sees Taylor return to what we formerly knew as the SOHN sound: less pop and more experimental, with intriguing synth note and vocal compression and a bare yet oddly soulful drumbeat. ‘Proof’ is another great example of this.

[youtube]https://www.youtube.com/watch?v=3fQOlOwnaN8[/youtube]

The rest of SOHN’s ‘Rennen’ will delight electro heads but will also fascinate open-minded pop fans with plenty of interesting bits in a post-Bowie/Prince world. The synth chords on ‘Dead Wrong’ are borderline ominous, but accompanied by Taylor’s r&b vocal and rhythm, you can imagine it’d be something Michael Jackson might have come up with if he was still alive today. On ‘Primary’, Taylor revisits politics, specifically the start of the 2016 U.S. presidential election campaign: “nobody seems able to really change / I can’t believe we’re not better / I thought we were past this”. The bright, percussion-led ‘Falling’ mirrors the intoxicating adrenalin rush of love with its upbeat tempo. Is it too much to wish for him to finally record in daylight and be totally happy on album #3? Ha. On the starkly bare title track ‘Rennen’, Taylor’s double-tracked vocals and at times falsetto are beautiful. Maybe we should leave him to follow his muse.

An electronic producer has, pretty much, infinite options at his fingertips when he sets his mind on making music. In challenging himself to do more with less, Taylor proves without a doubt through his vocal and songwriting abilities on ‘Rennen’ that he shines in a relatively minimalist environment. An incredible achievement.

9/10

‘Rennen’, the second album from SOHN, will be out this Friday, the 13th of January 2017, on 4AD. Prior to his scheduled appearance at SXSW 2017, he will embark on a European tour in early February, culminating in a show at London Electric Brixton on the 1st of March. For more coverage of SOHN on TGTF, go here.

 

(SXSW 2017 flavoured!) Album Review: Sundara Karma – Youth is Only Ever Fun in Retrospect

 
By on Monday, 9th January 2017 at 12:00 pm
 

Header photo by Tom Oxley

Sundara Karma album artThough they’ve been skirting the music scene for a few years now, Reading alt-pop quartet Sundara Karma are beginning 2017 with a grand formal entrance. The release of their debut LP ‘Youth is Only Ever Fun in Retrospect’ follows a whirlwind 2016, which included a main stage slot at Reading and Leeds, a co-headline slot on the first ever BBC Music Presents US tour, and radio accolades on both sides of the pond from BBC Radio 1, Beats 1 and Sirius XM Alt Nation.

The album’s title is striking in its self-awareness, especially when you realise that the members of Sundara Karma (frontman Oscar Pollock, guitarist Ally Baty, bassist Dom Cordell and drummer Haydn Evans), all at or near the ripe age of 20 years, are still in the very midst of what most of us would call youth. Thematically, the songs on the LP revolve around the egocentric angst of coming of age. Musically, the slick instrumentation, propulsive rhythms and catchy choruses channel that very real in-the-moment angst into a set of instantly anthemic radio hits, delivered in Pollock’s endearingly petulant baritone. (It should be noted that, as a frontman, Pollock bears an immediate stylistic and vocal resemblance to The 1975 lead singer Matt Healy, and Pollock’s androgynous stage name “Lulu” suggests that the impression isn’t entirely accidental.)

Most of the songs on ‘Youth is Only Ever Fun in Retrospect’ were released on previous EPs, including a pair from 2015 titled ‘EP I’ and ‘EP II’. But a few of the tracks are new, and final track ‘Loveblood’, was reworked specifically for U.S. release. Though they were clearly written over a period of several years, the tracks mesh with remarkable cohesion in the context of the album’s overarching thematic concept. Opening track ‘A Young Understanding’ sets the mood straightaway with sharp, edgy guitars and a potent lyrical refrain, “reach for a side, reach for an understanding”.

[youtube]https://youtu.be/4KdXoNDtpGo[/youtube]

‘Olympia’ explores the well-worn idea of the feminine mystique from a rather aloof third person distance, as Lulu describes his elusive muse: “modern Venus, tender and frail . . . she’s the best in all of Paris at aching and breaking hearts”. Later in the album sequence, ‘Vivienne’ is the flip side of the coin, a passionate romance requited: “wild eyes, skinny jeans / disengaged at just 19 / you and I stuck in the in-between”. Existential youth anthem ‘She Said’ might be considered the very core of the album’s character. Lyrically, its conflict plays out in the final verse, as Lulu sings of a boy “acting like he doesn’t care / but he’s really the most self-aware . . . ain’t it funny how we’re never certain ‘bout the way we are / another youth wasted, an eternity tainted”.

[youtube]https://youtu.be/aRORIKvOR4Y[/youtube]

The folky guitar intro and bouncy handclaps of ‘Happy Family’ disguise an expansive, Springsteen-esque narrative about reaching a dead end in life and making hard choices: “been searching for a long time in this town / looking for a gold mine so we can get out / to finer days, we’ll waste away…” Simpler instrumentation and a folk rock rhythm are also the foundation for ‘Lose the Feeling’, where ethereally distant synths are added to set the sonic tone for a “lucid dream” experience.

The album becomes notably heavier toward the end, with the dark and ominous ’Be Nobody’ (“all the kids are ravers / ‘cos the church is now the club”) and the angular, shadowy ‘Deep Relief’, which contains the eponymous lyric “good things they come and go / and if they don’t we’re wired to forget / we bear a heavy load / ‘cos youth is only ever fun in retrospect”. Final track ‘Loveblood’ (U.S. Version) is a brooding, vampiric melodrama that takes a notable lyrical misstep in refering to the “taste of the thunder from her thighs”, but ends with a more thematically appropriate line “one last kiss, away she goes / obsessed with loveblood and no one knows”.

[youtube]https://youtu.be/FDLWI3VQb40[/youtube]

Fans of recent upstart bands like The 1975 and Catfish and the Bottlemen might find themselves similarly obsessed with Sundara Karma after a listen to ‘Youth is Only Ever Fun in Retrospect’. It reads a bit like a John Hughes film from the 1980s and borrows sonic gestures from the dark synth pop of the same era, but its musical approach feels fresh and novel from a distance of 30 years, which, once again, is longer than anyone in the band has been alive. Despite their relative youth, the album’s one-two punch of youthful emotion and sonic intensity is sure to propel Sundara Karma forward as one of the biggest new acts of 2017.

8.5/10

Sundara Karma’s debut album ‘Youth is Only Ever Fun in Retrospect’ is out now on Chess Club / RCA Victor. It’s also available for streaming in America via Bee & El / Sony RAL.

 

(SXSW 2017 flavoured!) Album Review: Ciaran Lavery – Live at The Mac

 
By on Wednesday, 21st December 2016 at 12:00 pm
 

Northern Ireland native Ciaran Lavery has just released his soon to be iconic live album ‘Live at the Mac’. Recorded December of last year, the album dropped ahead of Lavery finishing a short UK tour, which saw him revisit The Mac 2 years in a row. We don’t usually cover live albums, but since Ciaran only lives up the road from myself, we at TGTF decided we’d make an exception.

Lavery sprung to success after both his debut EP ‘Kosher’ and debut album ‘Not Nearly Dark’ were released in 2014. Two tracks in particular, ‘Left For America’ off the EP and ‘Shame’ from the LP could pinpoint Lavery’s seemingly instant success after racking up an impressive 29 million listens on Spotify, as well as producing many cover versions across the globe. Since then, he hasn’t stopped, as he states himself on his Web site bio, “I have a ridiculous fear of what might happen if I stop moving. I have to keep going”.

[youtube]https://www.youtube.com/watch?v=UhZRAkWxUF8[/youtube]

‘Live at the Mac’ is Lavery in his purest form. He not only reprises the classic tale of a man and his guitar. But he presents himself in an honest and transparent sonic picture, through the fragile tone of his voice against the-bare boned accompaniment of his own guitar and a string trio. Somewhat reminiscent of Jeff Buckley’s ‘Live in Sin-é’, on this new album Lavery gathers together a collection of his most notable songs and presents them in the most captivating and moving setting.

The album begins with a short string intro that sways like the wind, as it implies the theme of his first track. Lavery subtly strengthens the string harmony with a light twinkle around the hinted chord progression, before bursting into ‘Awful Love’. A heavily emotional song is definitely the best way to open his set and thus begin the album. And with the added texture of Lavery’s light yet husky voice against the strong constant backbeat he creates with the heavy ghost note as he downstrokes the chords, there is an added element of urgency that gives the song momentum. Having such a stripped-back ensemble, the musical devices and harmonic expression has a lot more impact. You can tell this isn’t a problem for the group, especially within the second verse of ‘Awful Love’, which raises the level of intensity that bit further when the strings switch from the supporting role to a more forward approach with a strong staccato pulse.

Lavery moves from strength to strength, continuing the strong emotions with his highly acclaimed track ‘Left For America’. The thing about it in the live setting is that the strings seem to shed a new light on Lavery’s intentions with the song, their harmonic effects bringing new colour to the track. What seems like a song about change, with an undercurrent of travelling, now reveals the ups and downs within a family relationship. Without the drum groove from the studio version, it allows for the listener – the audience in this case – to completely immerse themselves in Lavery’s heartfelt and seemingly regretful lyrics. What helps to drive the message home, specifically in the chorus, is the juxtaposition of Lavery’s major key-based vocal melody against the delicate counter melody of the strings. Together they imply a sense of desperation similar to the bonds of a family when tested to extremes.

Among the 12 tracks on the album, 3 are covers, one of which is a Christmas song appropriate for this of year. The other two are Bruce Springsteen’s layman’s anthem ‘Streets of Philadelphia’ and Joy Division’s 1980 chart topper ‘Love Will Tear Us Apart’. Lavery and his incredible string section beautifully represent both by portraying them in a far more desperate manner. It seems Lavery has dissected the lyrics of ‘Love Will Tear Us Apart’, found the true message within and felt it worthy to portray it in such a way. The constant pedal drone in the higher register of the strings and the tremolo bowing technique at the end of the track act more like a sound design device than simply a musical addition to the track. The overall effect provokes a sense of unease and assists in driving the true message of the lyrics home.

Throughout the whole album, and considering the very small collection of musicians recorded on stage, the emotional highs and lows implemented are incredible. The gracious string work accompanying Lavery’s visceral vocal tone is stunning. And with the added texture of the clean acoustic guitar equipped with slack and bright-sounding strings, this ensemble is near perfect performing his amazing works.

8/10

Ciaran Lavery’s ‘Live at the Mac’ is out now on Believe Recordings. To read more about Lavery, including an interview at SXSW 2016 and coverage of his performances in Austin, go here. At the time of this writing, he is scheduled to be perform at SXSW 2017.

 

Album Review: Peter Doherty – Hamburg Demonstrations

 
By on Tuesday, 20th December 2016 at 12:00 pm
 

Peter Doherty Hamburg Demonstrations album coverWhen it comes to Libertine and all round British poet/musician/artist Peter Doherty, you’ll often find divided opinion. There are those who are enamoured by his reckless yet gentlemanly demeanour, whilst the other side of the spectrum simply cannot stand him for both those reasons. Wherever you sit on this line, you can’t deny Doherty has written some of the most memorable songs of the last 10+ years with The Libertines. After the infamous splitting of said band, he then formed Babyshambles, a band that had almost as many ups and down as his prior, but without the immediate success. Now here we are with the second Doherty solo album, the follow-up to 2009’s ‘Grace/Wastelands’.

Doherty’s infatuation with Britannia always lends itself to his musical output. He does a sterling job of crafting songs filled with tales of the down and out, the shit on society’s shoe, but he also manages to romanticise it like no-one else. First track ‘Kolly Kibber’ is referencing a character from Graham Greene’s novel Brighton Rock – immediately we’re thrown into a picture of both woe and British romanticism. A much more folky sound – acoustic guitars, quiet drums, piano and bass – turns the song into a classic folk tale rather than a rock ditty, which he favours throughout the entire album. The choice of a folk direction allows the focus to fall upon his words, of which he certainly cannot be disputed at being a master of. On the occasion where electric instruments do make an appearance, they’re used with the same minimalist acoustic, with their only purpose to give a harsher edge to accommodate the darkness found in songs such as ‘Down for the Outing’.

[youtube]https://www.youtube.com/watch?v=qUUbpeBXse0[/youtube]

There’s certainly a sense that this solo album feels to have more of a focused, sober Doherty at the helm. ‘Birdcage’ is seemingly self-referencing, putting Doherty in a birdcage where the world is able to simple look and judge him, which is inevitably detrimental to his personal relationships. “Only love can bring the secrets of simplicity”: in so few words, Doherty manages to encapsulate a feeling that is impossible to recreate in anyway other than actually falling in love. This carefree and focused turn your mind takes in this state of bliss, where a serenity envelops you. Perhaps, in an almost satirical way, he next focuses upon the choices the youth of America have to make. “Come on boys, you gotta choose your weapon, J-45 or AK-47”. You can hear in his voice that he’s both fully invested in the message of peace and also in just having a good time.

Reaching a poignant moment, ‘Flags Of The Old Regime’ was previously heard back in 2011 after Doherty’s friend Amy Winehouse’s death. Reserved and fragile, the lyrics cut particularly deep when you consider the circus that enveloped and encouraged Winehouse and other celebrities who have gone down a road to ruin: “The fame they stone you with, you soldiered it, and made your fortune, but you broke inside”. Your emotions grow listening to this song, knowing that Doherty himself could’ve succumbed to the tragedy that befell Winehouse. His voice breaks through the gentle cadence he uses, with the final words supporting his recent sobriety, “let’s have it right, we all know the score, we’ve been up for nights, stood behind the door, sparkle on the floor, I don’t wanna die anytime”.

[youtube]https://www.youtube.com/watch?v=tsHA3C1OK88[/youtube]

A heart on sleeve gentleness hits with early single ‘I Don’t Love Anyone (But You’re Not Just Anyone)’. He uses mostly repetitive lyrics, though when he breaks out of this cycle, Doherty describes love in his unique way, with a raw and unbridled hurt. Perhaps most surprising is the third verse when American Civil war song ‘When Johnny Comes Marching Home’ is introduced. ‘The Whole World is Our Playground’ is more of Doherty’s romantic yearn and hurt, but it’s on finale ‘She is Far’ where these topics take things to a whole new level. Quiet and reserved, he paints pictures of lovers and memories of London, memories that are fading away.

Doherty at a reserved level such as this is a blessing. It shows exactly why he is a gem to British music. Doherty proves on ‘Hamburg Demonstrations’ he can play both erratic rockstar and forlorn folk singer with such ease that those who have sought to condemn him would do well to reconsider upon hearing this new album.

9/10

‘Hamburg Demonstrations’ is out now on BMG. To read more of TGTF’s coverage on Peter Doherty, follow this link

 
 
 

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There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

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