COLDPLAY
“A Rush of Blood to the Head”
(EMI)
Less than two years ago Coldplay could do no wrong. Their debut album “Parachutes” had just been released in a media frenzy of (well-deserved) hype and award nominations were rolling in as fast as their live shows were selling out. Then rumors of a split dogged their US tour with problems, some of which were brought about by the swelling of lead singer and pianist Chris Martin's ego. However, the size of his head didn't prevent him from getting through the studio door to record this comeback, which proves the magic of “Parachutes” was no fluke. The band's strength lies in their songwriting and lyrically there's an inventiveness that matches the anthemic quality of the music (“God gave you style, he gave you grace, And put a smile upon your face.”) The title track is a rising epic with its fair share of spine-tingling moments, with voice and instrumentation in perfect harmony. The orchestrated “In My Place” and piano-led ballad “The Scientist” are typical of the band's fondness for showing off their 20-something year old angst. It's not all about introspective gloom though, as “Daylight,” a positive, up-beat track, firmly attests. It may be difficult not to compare “Warning Sign” to one of their most famous songs “Yellow,” but Coldplay don't seem too bothered about fixing what isn’t broken — they're back for business as usual. Out now
DJ VADIM
“USSR: The Art of Listening”
(Ninja Tune/Pias)
Check the track listing of most DJ-produced records these days and you’ll find an inflated repertoire of guest MCs, rappers, spoken-word artists, poets, preachers, pimps, hustlers and whoever else will help boost sales of an otherwise glorified instrumental LP. DJ Vadim’s third long-player in his “USSR” series proves no exception to this rule, except that his guest-list contains some fresh, innovative, often unique invites. There are obscure collaborations, like on “Revelations Well Expounded,” where Kela (the human beatbox) jams with Polish jazz saxophonist Ulzula Dudziak. Then there's a George Benson-esque contribution from Reverend Clevie Brown, who sings soul over the Russian percussionist’s abstract hip hop beats. More conventional partnerships are formed with Gift of Gab, Phi Life Cypher, Moshun Man and TTC, although “conventional” on a Vadim record still means it’s streets ahead of most other beat-flipping hip hop albums. Out Sept 23
BLUE STATES
“ManMountain”
(XL/Delabel)
Andy Dragazis, on his second album as Blue States, has not only managed to follow up his 2000 debut “Nothing Changes Under the Sun” with a record of equal if not greater genius, but has responded to the critics of that last opus with a positive change in direction. The warm, organic instrumentation is still there, as are the emotional electronics and textured, lo-fi guitar atmospheres, but there is also the welcome addition of vocalist Tahita Bulmer, who imparts a human element to the previously machine-like instrumental tracks. The overall effect is a more approachable sound, like on the triumphant pop anthem “Only Today,” which is reminiscent of Saint Etienne at their most kitsch, or on the Gainsbourgian hymn “What We’ve Won.” Then just when you think the album has slipped into a customary routine of mass pop appeal, “Season Song” (sung by an East London children’s choir) breezes in like a breath of fresh air. A conclusively ambitious recording with enough grace and subtlety to ensure its success. Out now
HOMELIFE
“Flying Wonders”
(Ninja Tune/Pias)
Tracking down the origins of Homelife is almost as difficult as listening to their music. Founded in the post-808 State fallout of Manchester in the late 1990s (but bearing no resemblance to acid house), Homelife is fronted by Paddy Steer and about 15 other part-time multi-instrumentalists (including Graham Massey) who lend a helping hand to sculpt the sonic chaos. Not to say that this is a disturbing album – on the contrary – it’s a docile, subdued production, but includes intense moments of de-synchronized melodies and cut-up rhythms. Percussion and strings are brought together by the cohesion of Seaming To’s vocals, which, on “Too Fast” for example, give an air of mainstream trip hop to their sound, somewhere between Portishead and Pixies, or Pizzicato 5. But the fragmentation makes this record a bit different and more original than these resemblances, meaning it’s not impossible to listen to. Then at the end of the CD, a hidden track introduces the band members, making Homelife and their music that little bit less mysterious. Out now
Playground Vol.5
(Ecco.Chamber/Discograph)
Eddy and Dus are two of Zagreb’s most respected DJs. Organizers of the Kontrapunkt parties, they have been exchanging musical notes with the world’s finest decknicians for over ten years. Croats have been listening to their music in one form or another since the late ‘80s, when Eddy played in the New Wave band Boa. Despite this fact, Viennese label Ecco Chamber invited them to document their musical tastes and express their personalities on the fifth Playground compilation. And that is what makes this selection stand out from the rest – personality. Opening with an acoustic version of London Elektricity’s ‘Rewind,’ Eddy and Dus embark on an imaginative journey through dance music, stopping off for a hip hop break (Jigmasters’ ‘Elevate’) or a pause in jazz (SK Radicals’ ‘On the Street’), before wrapping up with a helping of futuristic soul courtesy of Alison David’s ‘One Last Look.’ A classic in the art of mixing records. Out now
