![]() ![]() ![]() ![]() ++++++++++ McCutcheon's 'Ghost Light' radiates vitalityĭecades before people were eviscerating complete strangers on social media for offering a contrary opinion, folksinger John McCutcheon was finding common ground among us all.Īnd he’s still doing that with his new “Ghost Light,” McCutcheon’s often-gentle and usually poignant 39th album. Franz Ferdinand "Always Ascending" Rating: 4 (out of 5) It’s a tender end for the otherwise rousing release, and it works. “Always Ascending” is a bit tattered and blustery at times, but Kaporanos and the guys pull it together for a strong finish as the vocalist gets more personal, asking, “Won’t someone bring me just a glimpse of love?” on the fluid “Glimpse of Love” and sinking into the gracefully grand finale “Slow Don’t Kill Me Slow.” The band is uplifting in the electrified churn of “Paper Cages” (exhorting us to “Step out of our cages!”) and gleeful within the plucky “Finally,” where Kaporanos celebrates that, “Finally I found my people.” And the group offers a wry turn to the bittersweetness of the percolating “Lois Lane”: “The over-30s singles night? It’s bleak!” He then taps into the dark enchantment of “Lazy Boy,” where he endearingly reveals his role as a complacent lover: “I enjoy being a lazy boy, lying in your bed …” Kaporanos kicks off the title-track opener with a mellifluous intro before the song hitches into a full-bodied roll with a sci-fi twist. The release plays especially well in sequence, the tracks building a natural ebb and flow of momentum for an overall continuity that’s rare for most albums. Zdar may be key to the sound, but singer Alex Kaporanos is key to the heart of “Always Ascending.” His deep, melodic croon is central to the stirring rhythms, and his lyrics elevate the material beyond typical dance-floor fodder. The Glasgow group has grown from a quartet to a quintet since its last studio album, 2013’s “Right Thoughts, Right Words, Right Action,” with keyboardist Nick McCarthy leaving the band to spend time with his family, and keyboardist Julian Corrie and guitarist Dino Bardot coming aboard.Īnother suggested change: Given the act’s new “Always Ascending,” it’s time to drop the group’s “alt-rock” genre designation and label them straight-up disco – or at the very least, disco-rock.įranz Ferdinand recorded “Always Ascending” in Paris with producer Philippe Zdar, and the result is crafty, catchy and liberating – dance music with thought and humor. ++++++++++ Franz Ferdinand is ready to go out againįourteen years after the release of their self-titled debut album and iconic single “Take Me Out,” Scottish band Franz Ferdinand is ready to go out again. various acts "Black Panther" soundtrack Rating: 4 (out of 5) That disappointing footnote aside, the sonic integrity is strong. ![]() The film’s focus may be its male title character, but there are several strong actresses in key roles, so it’s a shame that a superhero movie that (finally) gives an underrepresented group its due also essentially relegates women to the background on its soundtrack. On the downside, women vocalists are few and far between here. Non-Kendrick-Lamar standout songs include the Khalid/Swae Lee obsession-based swooner “The Ways,” a chiming, mesmeric “Paramedic!” by SOB x RBE, the propulsive electronic-based “Opps” by Vince Staples and Yugen Blakrok and the irresistible roller “Redemption” by Zacari and Babes Wodumo. More: Justin Timberlake gets lost in 'The Woods'Īlthough his duet with Travis Scott, “Big Shot,” is comparatively lackluster (grating, even), Lamar’s power, ambivalence and angst set the tone for other artists on the soundtrack. Kendrick Lamar appears on five of the 14 tracks of the rap-focused soundtrack, making the most of a solo turn on the taut cut “Black Panther” (“Are you an accident, are you just in the way?”), giving SZA time to shine in the weighty and infectious “All the Stars” and also making space for The Weeknd on the closer “Pray for Me,” where Lamar declares, “If I’ve gotta be sacrificed for the greater good, then that’s what it’s gotta be.” Meanwhile, Lamar stands out in the dynamic mix of the hypnotic “King’s Dead” that also features Jay Rock, Future and James Blake. Instead, “Black Panther The Album: Music From and Inspired By” is cohesive (despite the clunky official title) and compelling in its own right apart from the film. This compilation is neither a hodgepodge of random performers from disparate genres nor a collection of rote and forgettable score music. Marvel Studios is breaking ground with the new blockbuster “Black Panther” featuring a cast dominated by people of color – not just for the film, but for a soundtrack that transcends the usual expectations for a superhero movie. ![]()
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