What’s on list­ings guide to York­shire

Yorkshire Post - Culture & The Guide - - FRONT PAGE -

TakeThat– Wonderland

SHEREEN LOW

4/5

More than 25 years since Take That hit the UK charts with It Only Takes A Minute, there is no other Bri­tish boy­band­turned-man band who have hit their heady heights and are still go­ing strong. For Wonderland, their sec­ond record as a trio with­out former band­mates Ja­son Orange and Rob­bie Wil­liams, fol­low­ing 2014’s III, the re­main­ing mem­bers have cre­ated a kalei­do­scope of mu­sic that will sat­isfy fans old and new. The ti­tle track,

Lucky Stars and Su­per­star (with Mark tak­ing lead vo­cals), see them serv­ing up slices of elec­tro pop, while Giants, Every Rev­o­lu­tion (with Howard in the fore­front) and River (also led by Mark), are jaunty pop tunes, be­fore bal­lads

It’s All For You and Hope leave a lin­ger­ing sweet taste. There is no­body else like Take That.

Aimee Mann – Men­tal Ill­ness

KIM MAYO

4/5

Amer­i­can Aimee Mann re­mains one of the most ta­lented and en­dur­ing singer­song­writ­ers around, yet for some rea­son her con­sid­er­able achieve­ments still re­main some­what un­der the radar. Now 56, she first found fame with rockers ‘Til Tues­day in the

Eight­ies be­fore branch­ing out on her own, and has re­leased a series of ac­com­plished solo al­bums in the en­su­ing years. The qual­ity of her mu­sic has never wa­vered and Men­tal Ill­ness is yet an­other out­stand­ing ad­di­tion. The al­bum opens with the lilt­ing Goose Snow Cone, but it is on the heart­break­ing You Never Loved Me, that her won­der­ful vo­cals and bril­liant song­writ­ing re­ally shine. This is an al­most flaw­less al­bum, with Roller­coast­ers and Good For Me equally cap­ti­vat­ing. A tri­umph.

Gold­frapp – Sil­ver Eye

ROB LAVEN­DER

3/5

One of those elec­tro acts who are in­stantly recog­nis­able, but as a con­se­quence oc­ca­sion­ally rest too heav­ily on their lau­rels Gold­frapp – singer and synth player Alison Gold­frapp and fel­low syn­ther Will Gregory – have been re­spon­si­ble for some se­ri­ously genre-de­fy­ing, stand-out records: Black Cherry and Felt Moun­tain, to name but two. Granted, Sil­ver

Eye doesn’t quite reach the heights at­tained by these records, but it does mark some­thing of a re­turn to form fol­low­ing Tales Of Us, the duo’s last, lack­lus­tre of­fer­ing. On that al­bum’s launch in 2013, many fans yearned for some­thing gen­uinely new from the pair; here, they are given hope. Gold­frapp have not ex­actly re­painted their house, but Sil­ver Eye makes for a com­pelling mood board.

Tall Ships – Im­pres­sions

LIAM SHEASBY

4/5

Tall Ships are a band not on a me­te­oric rise, but slowly and steadily grow­ing and hon­ing their sound.

The re­sult of their hard work is Im­pres­sions; a pris­tine LP that de­fies ‘Sec­ond Al­bum Syn­drome’. Five years has passed since the re­lease of their de­but, Ev­ery­thing Touch­ing, but the wait was worth it. The­mat­i­cally Im­pres­sions is heavy; Pet­ri­chor tack­les so­cial anx­i­ety, Home delves into the per­ils of love, and Sea Of Blood deals with grief. De­spite all this, Tall Ships man­age to avoid be­ing gloomy. It’s there, in places, but so is their spark, and the tempo and en­ergy that comes across in the rhythms and lay­er­ing of sounds. The joy in this band is that their mu­sic sounds so big and all-en­com­pass­ing. Tall Ships are ex­tra­or­di­nary and de­serve a lot more at­ten­tion.

Vaughan Wil­liams – Sym­phonies Nos 3 & 4

DAVID DEN­TON

3/5

The sec­ond disc in the

Royal Liver­pool Phil­har­monic Or­ches­tra’s com­plete cy­cle of the nine sym­phonies by Vaughan Wil­liams con­tains the enig­matic Third, en­ti­tled ‘A Pas­toral Sym­phony’, though it might well be a bat­tle­field scene of des­o­la­tion in the First World War. It is here made poignant by the use of an op­tional word­less voice at the open­ing and close of the last move­ment. An­drew Manze’s con­duct­ing is most im­pres­sive in the shape and pac­ing of the score, but then I was dis­ap­pointed with the Fourth, the sheer cat­a­clysmic and fran­tic open­ing, vividly cap­tured on disc by the com­poser, to­gether with the fol­low­ing drama, failed to ig­nite the record­ing team to cre­ate the re­quired im­pact.

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