BJORK – FOSSORA
BJORK gets back in touch with her homeland on her 10th studio album, which was produced during lockdown in Iceland and touches upon the island nation's folk origins.
Clarinets, trombones, strings, military drums and even a timpani feature, resulting in an avant-garde pop sound that is distinctly Bjork.
On Atopos, the lead single and highlight of the record, clarinet sounds support her powerful vocals set to a militant drum beat, before a sinister closure. Ancestress is a lengthy tribute to her mother following her passing in 2018 and stands strong on its own, and there are welcome techno beats on the title track.
This artistic, dynamic approach continues throughout the album but gradually loses force, with the later tracks tending to overwhelm. Still, Fossora is a unique piece of avant-pop that displays Bjork's impressive talent, even if it lacks cohesion at times.
3/5
THE SNUTS – BURN THE EMPIRE
COMBINING the searing riffs and righteous rage with pop hooks and wanton eclecticism, The Snuts are a band with plenty to say and many – perhaps too many – ways to say it.
Subjects tackled here include poverty and its political causes, mental health and the related ills of social media, sure to strike a chord with a generation of listeners.
The latter comes on the superbly-titled Zuckerpunch, following the title track in a fine opening one-two. But while the slow-burning Yesterday carries more than a hint of early Radiohead, it does not reach the heights of its inspiration and is emblematic of much of the album.
Hallelujah Moment's opening chords have a Western feel, but quickly give way to electro-rock, while Cosmic Electronica's blistering intro dissolves into a derivative take on its title.
An album bursting with ideas which comes up just short in its execution.
3/5
COURTNEY MARIE ANDREWS – LOOSE FUTURE
ON HER latest album, American singer-songwriter Courtney Marie Andrews recalls the awkwardness of her millennial youth with emblems of bittersweet memories and youthful high-jinks – "crooked teeth, cigarettes, foolish ways".
Andrews effortlessly takes you back to key moments of romance, possibility and freedom in a style that recalls the introspection of Joni Mitchell and the earthiness of Greg Brown.
Though these are wonderful, summer-inspired easy-listening songs, Andrews also shows us how she has grown as an artist.
On Older Now, she tells us directly: "I'm older now. I'm ready for a change."
Experimenting with change in her fourth track, Satellite, she uses a synthesiser and gives off a decidedly less folksy feel.
The rest of the album embraces her country-folk style and emphasises the power of her beautiful voice.
3/5
PIXIES – DOGGEREL
PIXIES have always existed on the brave and bold end of alternative rock since forming in the 80s, but sadly the eclecticism of their latest album fails to have a similar impact.
Here, their rock tones are devoid of the penetrating style of classics such as Here Comes Your Man and Hey.
Nomatterday, is a powerful opener, which slams drum and bass at a romantic partner, but this strong and punchy style does not last as the album becomes more forgettable and the songs start to merge.
The final song, Doggerel, does offer a hint at what could have been: hoarse vocals and folky rock conjures up the visceral sound demonstrated by Johnny Cash in Hurt.
If the rest was as interesting as this, the album could be more in keeping with the band's 30-plus years in music.
3/5
