My output has been sparse to say the least in 2022, it is therefore with great thanks due to Joe Whyte (Vive Le Rock writer and guitarist with legendary Airdrie punks Reaction) that this blog contains not one but four album reviews covering the globe and providing a gamut of musical styles to suit all tastes…
First up, from one of my favourite record labels, Tarbeach, is an album from Two Hearts, a band I only became aware of last year after they performed as part of Cynthia Ross birthday bash streaming live from NYC…
Two Hearts
Rock ‘N’ Roll 2020 (Tarbeach)
7/10
A Japanese love letter to NYC
I’d have to say that this one was a slow-burner for me; the first couple of listens didn’t convince and I found the lo-fi, clattering production slightly irritating. However, with a couple of extra listens the true glory of this ‘un unfolded. Two Hearts are Kimoko Howlin’ and Maddaddy Shu and they recorded this paean to NYC in their homeland of Japan in 2020 before finding a home on one of VLR’s favourite labels, Tarbeach Records from Queens. The sheer charm and not-giving-a-shit vibe fairly (Johnny) thunders through the grooves; the opening “What’s Up NYC?” is a verging-on-collapse romp of fuzz guitars and immolating drums which would give Jack White nightmares. With a gleeful cover of Walter Lure’s “Seven Day Weekend” and a hypnotic run at the VU’s “What Goes On” among the originals, this is NYC, baby, Nippon-style.
Nash Albert
….Yet (Delta Music)
7/10
From Russia with love; former Blast man with new record.
Originally from Georgia, Nash Albert has spent many years touring and recording, firstly with his debut band Salamandra from his homeland and laterally Blast whom he formed when back in Moscow following his Californian adventures and who became a huge underground draw in the former USSR. Solo since 2014, Nash has recorded with Ian McNabb and been around the globe several times and worked with some pretty famous names. This new album features some of his original band members and is a huge, groove-tastic, verging-on-industrial slab of vinyl. There are hints of “Scary Monsters”-era Bowie in there and thunderous Talking Heads style chunks of freak-disco which keep the interest high. The production is crisp, powerful and clever and the songwriting often defies categorisation; “Kill the Fear” which opens proceedings is a mammoth slab of music; check this out for something a little bit different from the norm.
Mäsh
Mäsh (Wanda Records)
7/10
Superb power-punk from Berlin
Wanda Records have been issuing below the radar releases of high quality for some time now and this Berlin band are another one from their cracking stable of artists. Mash play good-time rock and roll with a punky twist via some powerpop-like harmonies and punchy drumming. If you’re a fan of Guida, Cock Sparrer and 70’s glam-stomp, this will be one you’ll like a lot. Similarly, if you are a fan of crunchy garage, there are elements of that sound through the album, too. Mash are a five-piece (despite the misleading cover pic!) and sound like a whole barrel of rip-roaring fun on this debut album. “Whisper In Your Ear” and the rollicking “Glue” are highlights on this sparkling release.
Xan Tyler and Mad Professor
Clarion call (Ariwa)
7/10
Sweet and soulful 21st century reggae.
Mad Professor has been collaborating with the great and good of the reggae world for the last 40 years or so and has called in some heavyweight names for this one; The KLF, Baaba Mal, Desmond Dekker and Lee Perry chip in with some less likely names such as Little Mix and Beyonce flinging their metaphorical hats in the ring, too. Xan Tyler has known the Prof for 20-odd years since their Poptones-released “Dub Showcase” record as Mission Control; this is their first mash-up since then and it’s been worth waiting for. I’m not, generally speaking, much of a fan of contemporary reggae and its digital-sounding drums but this has the songs to lift it way above the ordinary; the clattering “Silver and Gold” and the snaking “Two Left Shoes” are thoroughly uplifting, summery and pulsating. The dub versions throughout the record weave a darker, more late-night feel which make it simply irresistible.