Mu­sic re­views

Sunday News - - SOUND AND VISION -

Cairo Knife Fight Seven (Warner) ★★★★★ CKF is the alias for Kiwi multi-in­stru­men­tal­ist Nick Gaf­faney and gui­tarplay­ing col­lab­o­ra­tors. The cur­rent it­er­a­tion pairs him with Grammy-award win­ning song­writer/gui­tarist Ge­orge Pa­jon Jr – no­tably of the Black Eyed Peas – and the re­sult is stun­ning. Seven swings from ethe­real har­mony to loud blasts of gui­tar fuzz, and its nat­u­ral home is a mosh­pit. It sounds a lit­tle bit Muse, a lit­tle bit Royal Blood, has a hint of Queens of the Stone Age, and is en­tirely in­dis­pens­able. The only dis­ap­point­ment is how short it is – Seven refers to seven songs, and seven brief in­ter­ludes. But, es­pe­cially in the age of stream­ing, this isn’t enough to de­tract from the strong­est pos­si­ble rec­om­men­da­tion. – James Cardno ★★★ The ide­al­is­tic vi­sion and ex­per­i­men­tal pop of Anne ‘‘An­nie’’ Clark, aka St Vincent’s, four pre­vi­ous re­leases – par­tic­u­larly her 2014 self-ti­tled al­bum – have been mes­meris­ing and un­ortho­dox to say the least. And while Masse­d­u­ca­tion re­tains that sense of be­ing mu­si­cally blind­sided, par­tic­u­larly on the ti­tle trac, it has that un­set­tling sense of some­one who has de­cided to leap naked into the main­stream af­ter swim­ming against the tide. The lyrics are her most per­sonal to date, the re­veal­ing cover art ap­pears to sug­gest she is bar­ing her­self, and yet that is the an­tithe­sis of ev­ery­thing she has por­trayed be­fore. It’s not a bad al­bum but more one you might ex­pect from Gwen Ste­fani. – Mike Alexan­der ★★★★ De­spite be­ing only 23, the thick drawl of Archy Mar­shall is well fa­mil­iar to the al­ter­na­tive mu­sic land­scape in 2017. And this is prob­a­bly his finest work yet. A strange and un­set­tling mar­riage of jazz, post-punk and hip-hop, Krule of­fers a highly idio­syn­cratic ap­proach to the wider realm of singer­song­writ­ers. The likes of Dum Surfer sees him con­trol and or­ches­trate a jazz band with his bru­tal work­ing-class twang. The OOZ is also un­usual in that it emits a broad and di­verse at­mos­phere – much of it would feel as much at home in a jazz club as it would in the mid­dle of a sum­mer­time hip­ster mu­sic fes­ti­val. With three stu­dio al­bums to his name be­fore 25, some­thing sug­gests this is still just the begin­ning for Mar­shall. – Hugh Collins

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