SHUF­FLE

Eoin But­ler The week’s best clips, sin­gles, down­load­sand au­diostreams

The Irish Times - Friday - The Ticket - - MUSIC REVIEWS -

EL­BOW What Time Do You Call This? Fic­tion

El­bow’s first orig­i­nal record­ing since The Take Off and Land­ing

of Ev­ery­thing topped the charts last year is this song, from the sound­track of Simon Pegg’s new film ManUp. Over a gor­geous swirl of acous­tic gui­tars, brushes, pi­ano and strings, Guy Gar­vey re­peats the ba­nal phrase that is this song’s ti­tle, over and over, un­til the creaks rise, the seas give up their dead, and lan­guage it­self ceases to have any mean­ing. Pre­view­ing this track from his band’s Last of Our Kind al­bum, Dark­ness front­man Justin Hawkins claimed Barbarian con­tains “not one but two dra­matic mono­logues, a gui­tar solo that has been de­clared ‘ir­re­spon­si­ble’, a riff that weak­ens lady-knees, and a cho­rus that makes grown men shit di­rectly into their pants”. The first part is true. But “Spinal Tap mi­nus the jokes” might be a more ac­cu­rate sum­ma­tion.

MARIAH CAREY

In­fin­ity

Epic

THE DARK­NESS

Barbarian

Ca­nary Dwarf Records

“Close the door/Lose the key/ Leave my heart on the mat for me.” Yikes. Worst house guest ever. In­fin­ity is the sole new track on Carey’s great­est hits al­bum, Mariah Carey #1 to

In­fin­ity. Since 1990, the singer has had 18 Bill­board No 1 sin­gles. Off the top of my head, I prob­a­bly couldn’t hum a sin­gle one of them. Yet the flesh­coloured bikini set she wore in 1997’s Honey video will re­main im­printed in my ado­les­cent con­scious­ness un­til the day I die. Funny that.

TOR­RES

Cow­boy Guilt

Par­ti­san Records

When Nashvil­lian singer­song­writer Mackenzie Scott re­cruited Rob El­lis, Ian Ol­liv­ers (both of whom played on PJ Har­vey’s Dry) and Adrian Ut­ley (Por­tishead) as her back­ing band for her new al­bum ( Sprinter), it was a pretty em­phatic state­ment of in­tent. Mus­cu­lar and ob­tuse, Cow­boy

Guilt is the first in­fec­tious cut from an al­bum that we’ll soon be hear­ing a whole lot more about. (See re­view, left.)

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