Ian Brown/ My Way
By John Earls
Twenty years after The Stone Roses' debut, Brown finally makes the solo record he's capable of.
As confident and ambitious as his public persona, Brown knuckles down to recreate the funk of his life, dominated by huge bass and insouciant horns, plus some Hacienda house chaos.
With the ballads Brown's most tender and reflective songs to date, it's mature but h*llishly fun too. 8/10
1/8.
Vitalic/ Flashmob
After a long gap since his OK Cowboy debut, Belgian producer Pascal Arbez returns with an almighty racket.
The best clattering dance album since Justice, it's an absolute whirlwind of beats, impassioned diva vocals and a sense that, for the hour the album is on, all cares can be lost in hedonism.
For all its apparent carefree disorder, it's brilliantly structured, not least in its impeccably flowed mood. 9/10
2/8.
Liam Frost/ We Ain't Got No Money, Honey, But We Got Rain
Delayed due to label wrangling, it's emergence is a heartwarming triumph.
The shivering ballads from his debut are here again, if anything even more ntense as Frost's rich, strongly-accented croon grows ever steelier.
It's leavened by a clutch of tingling celebrations, with Orchestra of Love and Martha Wainwright duet Your Hand evidence of a new variety. He's as good as traditional troubadours get. 9/10
3/8.
Hope Sandoval And The Warm Inventions/ Through The Devil
Eight years after their debut, Sandoval and Colm O'Coisoig return.
You can guess how intimate and smoky the songs are, which provides a mixed blessing. It's always a treat to hear Sandoval's unadorned vocals. O'Coisoig knows they don't need furnishing, with the zither-led Fall Aside gorgeous.
As on the wispa A Willow, it can be too pared-down, the voice masking underdone songs. Lovely, but no surprises. 7/10
4/8.
Kid Harpoon/ Once
Four years after his first EP, Tom Hull finally finishes an album, with Trevor Horn surprisingly producing.
Horn's first attempt at producing an indie singer-songwriter is superb, polishimg what could have been rickety rackets into sterling, sparkling pop.
Hull's varied writing shines too, as at home on Marianne's breathless joy and Colours' homespun charm as on the expected ballads. Worth the wait. 8/10
5/8.
Maps/ Turning The Mind
Two years after his Mercury-nominated debut, James Chapman is back, with Tim Holmes of Death In Vegas co-producing.
Elements of his fragile shoegazing remain, Chapman's voice still hushed and the guitars are swirling like M83.
But he's diversified into classic Vince Clarke-style synthpop too, with a handful of surprisingly danceable moves worthy of Pet Shop Boys and even some vintage house. A bold step up. 8/10
6/8.
Andrew Weatherall/ A Pox On The Pioneers
After 20 years of producing Primal Scream to F*** Buttons, Weatherall finally makes his debut solo album.
Despite his geezerish reputation, Weatherall's voice is high and delicate- it generally suits the cavernous dub and metronomic Krautrock well.
Indeed, it's the instrumentals that fare less well, tricksy at the expense of the song.
Surprisingly melodic, it's a viable alternative career.
7/8.
The Witch And The Robot/ On Safari
The debut by a Lake District quartet, championed by British Sea Power.
Their proggish clowning about is more fun for them than the listener, especially because they'd have a great album if they focussed more on their songwriting, not windy self-indulgence.
There are sweet, soft vocals, an eerie desolation and a Beta Band-y energy... but also meandering jams, spoken word goonery and dragging on too long. 5/10
8/8.
Teletext page 823; 28th of September, 2009.
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