Bournemouth Symphony Orchestra - "Venus: The Bringer Of Peace"
John Phillips - "Boys From The South"
Stomu Yamashta - "33 1/3"
John Phillips - "Rhumba Boogie"
The Kingston Trio - "Try To Remember"
Stomu Yamashta - "Mandala"
John Phillips - "America"
Stomu Yamashta - "Wind Words"
John Phillips - "Jazz"
Stomu Yamashta - "One Way"
John Phillips - "Space Capsule"
John Phillips - "Bluegrass Breakdown"
John Phillips - "Desert Shack"
Stomu Yamashta - "Memory Of Hiroshima"
John Phillips - "Window"
John Phillips - "Alberto"
Bournemouth Symphony Orchestra - "Mars: The Bringer Of War (Excerpt)"
John Phillips - "Liar, Liar"
John Phillips - "Hello Mary Lou"
Robert Farnon - "Silent Night"
Genevieve Waite - "Love Is Coming Back"
John Phillips - "The Man Who Fell To Earth"
Review: Due to legal wrangles, RCA Records declined to release a soundtrack album when The Man Who Fell To Earth hit cinemas in 1976. The decision may have had something to do with the lack of material from the movie's undoubted star attraction, David Bowie. Following the legendary musician's passing, Universal has decided to make the music - a mixture of original compositions by John Phillips, and Japanese percussionist-composer Stomu Yamash'ta, plus featured songs and instrumentals - available for the first time. Yamash'ta's contributions, which tend towards the atmospheric, alien and otherworldly, are particularly impressive, while Phillips' unique riffs on American rock, funk and soul have their moments.
Review: Having previously issued Akiko Yano's 1976 debut "Japanese Girl" - an eccentric set of East-West pop fusions marked out by the artist's distinctive vocals - Wewantsounds has returned to raid her vaults once more. "Iroha Ni Konpeitou" first appeared in 1977 and garnered great hype in Japan thanks to the success of its predecessor. It's a similarly eccentric but inspired set, with Yano confidently flitting between synthesizer-heavy instrumental soundscapes (see superb opener "Kawaji"), drowsy country-inspired songs ("A Long Wait"), seductive jazz-funk ("Hourou"), head-nodding reggae-boogie ("Hai Hai Gasa") and breathy, post-soul ballads ("On The Way Home", a song that boasts both pedal steel and synthesizers).
Review: Although not that well known in Europe, Akiko Yano's "Japanese Girl" set caused a stir in the Japanese music scene upon its release in 1976, not least because her vocal style was closer to the intonations of breathy American pop than the more "girlish" approach prevalent in J-pop at the time. Here reissued by We Want Sounds, the album remains something of an unusual but brilliant J-pop classic. Its 10 tracks variously draw influence from country music, reggae, blue-eyed soul, jazz-fusion, West Coast rock, folk and traditional Japanese music, without particularly sounding like any of them.
Review: When he originally released his second solo album, Tomorrow's Modern Boxes, in 2014, Thom Yorke only made it available as a download via BitTorrent. The paid-for package proved popular, with over a million listeners scrambling to download it in the first week of release. Here it finally gets a physical release (a limited Japanese pressing in 2015 not withstanding). The album is naturally typical of much of Yorke's solo work, blending his fragile and dinstinctive vocals with heart-aching piano motifs, crunchy electronics beats and all manner of weird and wonderful sonic textures. Early reviews stated that it was Yorke's most challenging work to date, but one that just gets better with every listen. That remains a perfect summary of an alluring and deliciously odd collection of tracks.
Review: It's taken a while, but finally Thom Yorke's impressive third solo album, "ANIMA", is available on wax (and in a fetching shade of orange, too). A future classic that continues the legacy he started with XL Recordings back in 2006 (with his solo debut The Eraser), ANIMA is well worth picking up, as Yorke and co-producer Nigel Godrich offer up evocative, off-kilter songs built around the twin attractions of the Radiohead man's distinctive vocals and skewed backing tracks rich in layered electronic noise, body-bending sub-bass, discordant synthesizer parts and intriguingly jaunty drum loops. Highlights are plentiful throughout, from the creepy, lo-fi ambient swirl of "Last I Heard (...He Was Circling the Drain)" and "Dawn Chorus" (a blissfully dewy-eyed early morning soundscape), to the low-slung, post-trip-hop hum of "I Am A Very Rude Person" and the fizzing, jazz-fired thrust of "Impossible Knots". Melancholic, yes. Deep and self-effacing, of course. Nihilistic, not really. Percussive futurist sub-pop is back.
Review: Given his innate ability to craft intensely atmospheric and often fundamentally unsettling music, it seems apt that Thom Yorke has finally got around to producing a film soundtrack. It's fitting, too, that said soundtrack is for Luca Guadagnino's weirdo remake of 1977 Italian horror flick "Suspiria". Yorke nails the brief, delivering a string of chilling, otherworldly instrumentals that not only draw on his well-established love of dark ambient and gruesome electronica, but also foreboding neo-classical movements and sparse, wide-eyed arrangements. There are a smattering of superb vocal moments, too, with recent single "Suspirio" - described by one broadsheet reviewer as "the saddest waltz you'll ever here" - standing out.
Review: Yves Tumor is undoubtedly an artist with a unique musical perspective. That was evident from his 2016 PAN debut, "Serpent's Head", an album of impossible-to-pigeonhole brilliance that drew on a dizzyingly disparate array of styles. Now operating on Warp Records, he continues to mix and match genre boundaries to suit his will on hotly anticipated follow-up "Safe In The Hands of Love". It's another doozy, with the Turin-based artist offering a thrill-a-minute sound soup that flits from pastoral folktronica, experimental IDM and mangled R&B futurism, to wall-of-sound indie-pop, doom-laden orchestral ambient and blissful, hallucinatory dream-pop. While putting Tumor (real name Sean Bowie) in a stylistic box is impossible, we can safely say that he'll soon be joining the top tier of maverick pop experimentalists.