One record at a time: 61. Coldplay - Ghost Stories

Love them or loathe them, you can't ignore Coldplay. As I remember this album got quite a slating in the press when it was released. The review in The Quietus was so childish and scolding that I deleted their URL from my bookmarks and have never returned. This is not to say I am a massive Coldplay fan, but I won't dismiss an entire album just because some of the lyrics reference the breakdown of the singer's relationship.

This is the standard European 180g vinyl and, as an Optimal Media pressing, it sounds very good indeed. This is another purchase that stems from the beginning of an era when I stopped buying CDs in preference to vinyl. I have even resisted the temptation top buy a second hand CD of this album in a charity shop for £1 recently.

The first track "Always In My Head" is a nice atmospheric opening that sets the tone for the rest of the album. Whilst standout track "Magic" may have a driving electronic beat, it retains the dream pop feeling and is simply a great tune. "Ink" is a bit more disappointing and sounds like a reject from a Sting album. The next track features beats by Timbaland and an interval that I've heard elsewhere; but I quite can't place it. Still its better than appropriating a Kraftwerk melody. Side one finishes with "Midnight" which is quite a haunting track that slowly emerges from its crystallise into a beautiful piece of electronic music.

I regard the b-side of this album as a bit of a disappointment. "Another's Arms" has the first lyric that made me cringe a little and "Oceans" is an acoustic guitar driven song that, despite a sprinkling of electronica, doesn't ever really get started. The only real highlight on the flip side is the ubiquitous "A Sky Full of Stars". This songs has an anthemic chorus and despite being produced by Avici, it retains enough rock stylings to keep the mainstream happy. The last track is labelled as "O" on the sleeve and seems to be two songs, "Fly On" and "O" with two minutes of silence inserted between them. Despite a promising start, I always feel a little let down at the end of this album. If the second side was as good as the first, this would have been an amazing collection of songs. 3/5

One record at a time: 60. Cocteau Twins: Heaven Or Las Vegas

We move from one Scottish band to another. Whilst I have heard all of the Cocteau Twins' albums, this is the only one I consider worthy of purchase. 

Sometime back in the early 90's I was given a cassette of this album and I enjoyed it very much. My gift was an original copy and not just a blank C90 with the album recorded onto it (I would never condone home taping obviously *cough*), but unfortunately I lost it.

It's rather curious that I have no recollection of the exact circumstances under which I was given the tape and I have no idea how it fell out of my possession either. It is as if it came into my life, delivered its message and moved on. I like to think that cassette is now treasured by someone else; but I suspect it met a less satisfactory end.

In 2020 I had tired of only owning digital files of this album and I decided to purchase a nice new copy on vinyl. This was advertised as a remastered "HD audio" 180g vinyl that suggested it would be audiophile heaven. 

However, this record is more like audiophile hell. This is the noisiest new record I own and one of the worst pressings I have ever heard. The needle drop is one of the quieter elements of surface noise and there are constant crackles and random attacks of sibilance throughout playback. As the record spins I find myself repeatedly looking at the needle expecting to see a big ball of dust and debris clogging it up. Really I should have returned it, but my experience is that a replacement is likely to be just as bad. I've seen on Discogs that other owners have a much better experience and don't report any issues, but for me this record verges on unlistenable. I don't even understand what HD audio is outside of a home cinema or computer context. How can you have a HD vinyl?

Anyway, the music on this record is rather magical. Yes, I have an aversion to guitars, but Robin doesn't use them to create the typical rock sound. The guitars on these tracks are played cleverly and drenched in effects that transform them into expressive and imaginative instruments. The contention is that there is no synthesizer on this album and I dare say there is an element of truth in that. But make no mistake there are a lot of electronic sound sources and effects creating the same end result. I like the fact that there is no drummer in the band and they relied entirely on a drum machine and Robin's programming skills. There isn't a bad song on this album which makes it highly suited to vinyl: you don't feel the need to skip about. The only issue with the vinyl experience is this terrible pressing. 4/5 

One record at a time: 59. Chvrches - Screen Violence

Like its predecessor, I can't tell you what this album is called without looking it up. I feel that my interest in Chvrches reduces with each successive album and this may well be the last record of theirs I purchase.

This is a transparent blue 180g vinyl released in 2021. I pre-ordered this from the band's official store and it came with a signed postcard. Whilst I have listened to the digital files of this album, this record remains sealed and unheard.

The opening track "Asking For A Friend" is the first time I've heard Lauren's accent so prominently. I am not a fan of the affected Mid-Atlantic drawl some singers feel they need to adopt so it is great to hear someone singing in their own accent. The first few times I listened to this song it didn't make much impression but I appreciate it more with every listen. I am also relieved the band are producing themselves and they have returned to their own distinctive sound. The sheen of previous album "Love Is Dead" didn't suit their songs and the grittier production on offer here is much more fitting.

I'm fairly sure I've heard the next song "He Said She Said" on the radio, which is amazing as I don't listen to the radio and none of the music I like is played on mainstream stations any more. The lyrics on this track are quite affecting and serve as a reminder of how considered and well composed some of these songs are.

Guitars make a prominent appearance on "California" and whist the song has a good tune, I can't warm to it. Unfortunately the use of guitars continues on "Final Girl" which sounds like a traditional 'band in the room' recording. Only the breakbeat craziness of "Violent Delights" provides a distraction from this new and worrying direction. Whilst "How Not To Drown" features a vocal contribution by Robert Smith, he is a little under utilised and it sounds like his inclusion was a bit of an afterthought.

Having trawled through some guitar orientated songs, normal service resumes with "Good Girls" which almost sounds like Vince Clarke had a hand in it. "Lullabies" evolves from an unpromising start into a good track with elements that made me think of "Thieves Like Us". The final two tracks aren't to my taste and "Better If You Don't" must be referring to their increasing use of guitars. Still, even with guitars, this record is better than their last one. Maybe I will buy the next one after all. 3/5

One record at a time: 58. Chvrches - Love Is Dead

I'll admit I haven't listened to this record much. My principal excuse is that there was a lot new music around when this album came out and my attention was focussed elsewhere. I did intend on returning to it, but as I am faced with a constant stream of new music and a finite amount of free time, it is inevitable that some records won't get listened to. I may have skimmed through the digital files and added the best songs to a playlist, but I haven't sat down with the vinyl and actually devoted time to listening. Until now.

I bought this translucent blue edition in May 2018 and it came with a signed postcard. The quality of the sound reproduction is okay but does have some annoying surface noise here and there.

The difference in approach between this record and the bands first two albums is quite marked. I'm guessing this change is attributable to Adele's producer Greg Kurtsin coming on board and making things a bit more pop and chart focused. This approach isn't quite in step with the material and I prefer the traditional Chvrches self produced sound. I know Dave Stewart (the 'A' one from Eurythmics and not the keyboard player) was somehow involved in the sessions that led to this album, but I have no idea if anything he contributed remains on the record. He certainly doesn't get into the credits so I'm guessing the collaboration didn't work out and everything was ditched.

As you may expect, the first two tracks, "Graffiti" and "Get Out" are some of the best on the album, but they still fall short of the quality displayed on previous albums. "Forever" and "Never Say Die" are competent electronic pop songs but I refuse to listen to "My Enemy" as it makes my ears bleed. "Graves" has hints of New Order with its high bass guitar and pulsing synths but doesn't quite fulfil its potential. "God's Plan" is the statutory song with Martin's awful vocal and things meander along along until the final track "Wonderland" revives the Hooky style bass guitar. I now realise the other reason I haven't listened to this album: I don't like it much. 2/5

One record at a time: 57. Chvrches - Every Open Eye

For some reason I struggle to remember the title of this album without it in front of me. Is it "Every Eye Open" or "Open Every Eye" or "Every Eye Open"? Whatever the album is called, it is the second from Scottish electronic pop purveyors Chvrches.

This is a 180g white vinyl version from 2015. The vinyl was pressed at Optimal Media in Germany so it sounds great and is pretty much flawless apart from the final track. I also own the Extended Edition of this album on CD which adds four songs and four remixes that aren't featured here.

The effortless nature of opening track "Never Ending Circles" belies its complexity and skilful production. Lauren's voice sounds amazing on both this and the next track "Leave A Trace" which provide the perfect opening. I am a firm believer that bands should front load an album with some of their best songs to ensure listeners are hooked in. This isn't just a commercial consideration but an artistic one. Human beings have short attention spans and if you want them to listen to the whole of your work, you need to pull them in right from the start.

When I first heard the start of "Clearest Blue" the hairs on the back of my neck stood up. As Lauren's vocal drew me in, the band began a build a release cycle that raised my expectations to dizzying heights. However, whilst the crescendo at 2:12 isn't without merit, it didn't pay off in the way I expected. This is about the only track in the world I would like to hear remixed by one of the thousands of anonymous Dutch DJs who peddle EDM/Trance. 

We skip "High Enough To Carry You Over" as it features Martin on vocals and hit a seam of perfectly adequate songs that meander along until the next epic "Bury It" comes along. This is a great track with an explosive chorus that is as obvious a single as you could hope to hear. The final track"Afterglow" is a bit of a torch song that would provide the perfect ending if it didn't distort so much on the vinyl. So this album builds on their debut, but ultimately falls into the same trap of delivering highly charged and amazing songs alongside some more mediocre offerings. 3/5

One record at a time: 56. Chvrches - The Bones Of What You Believe

I can't remember how I first became aware of Chvrches, but I suspect they were a recommendation from last.fm or Amazon. I began listening to their music in 2014 and I liked them so much I ordered their album on vinyl. 

Amazon soon dispatched me a copy of "The Bones Of What You Believe" on Vertigo records - which was a bit disappointing as they advertised it as the Virgin Records UK version. I know from past experience that Amazon aren't particularly fussy about specific pressings and the product details section of their website is often a work of fiction. At least it was the right album.

There is some great electronic pop music on this record and the band are contemporary enough to make me feel vaguely on trend for only the second time since 1998. I think the first track I heard of theirs was the opener "The Mother We Share" which has a soaring chorus augmented by some amazing programming. The album maintains a consistently high level until the sixth track "Under The Tide" which sees Martin replace the magnificent Lauren on vocals. Now, I acknowledge that Martin probably has more talent in his little finger than I can ever hope to posses; but I hate his singing voice. My aversion is so strong have to skip literally every track where he takes lead vocals. Unfortunately the album never really recovers from this trough and the second side seems to play itself out in a mediocre haze. Still, the first five songs are worth investigating. 3/5

One record at a time: 55. Chromeo - Head Over Heels

This is my third attempt at writing this post as I have been struggling to address the criticism of this album and its apparent attitude towards relationships and women. Having got myself lost in the arguments on either side, I have decided to simply offer my conclusion.

I consider Chromeo to be an 'act' in which Dave and Pee are playing parts (even their adopted Dave One and Pee Thugg monikers point to this). At the centre of this performance is a reflection on the absurdity of geeky guys entering into relationships with beautiful, confident and glamorous women. Their tales of failed relationships and sexual politics are part of the joke rather than being a reflection of their attitudes. I think Chromeo are delivering a self deprecating satire wrapped in an earnest desire to produce great music. Everything is delivered 'tongue in cheek' to make you dance with a smile on your face.

Originally I had a paragraph here discussing the cover image and the arguments around it. Again, I have decided to remove the text and just offer my conclusion that, however successful (or not) you judge it to be in redressing the balance, it was well intended.

On the musical side, pockets of existing fans seemed to regard this album as being overly commercial or too pop for their taste. When an artist sets out to produce a "bona fide all-stars album" with "top 40 producers" they are clearly setting their sights on increasing their commercial appeal. As a consequence, some long term fans who were initially attracted to a different attitude and sound are bound to be disappointed. Personally, I like the polished nature of this album and I enjoy its more pop orientated approach. However, I do agree with some fans who felt that there were too many collaborators and guest vocalists diluting the aesthetic. As good as this album is, there's always a little bit of sand in the Vasoline. 

Chromeo Live: highly recommended

Another issue I have with this album is the use of profanity. Whilst previous albums may have contained a cheeky one liner or an occasional mild swear word, this record is strewn with some quite strong expletives. Whilst I am not a prude (and have even been known to utter the occasional four-letter-word myself), I feel Chromeo are more sophisticated than this. To my mind, Chromeo's music is characterised by funky beats, retro synth styling and great melodies. They should leave the swearing to Snoop.

Having said that, "Head Over Heels" was on constant rotation in my house during the summer of 2018 and it remained so for most of the proceeding winter. My personal favourites are "One Track Mind", "Bad Decision" and "Room Service". The lead single "Juice" is an excellent example of the band's funk/pop/electronic hybrid sound and even the interlude "Right Back Home To You" is better than most bands could produce.

I own the limited edition yellow vinyl which was released in the band's home country of Canada. I imported my copy direct from Last Gang Records which saw the thieves at Her Majesty's Revenue and Customs and Royal Mail almost double the cost of the record with tax and arbitrary charges.  

I also went to see the band on tour in October 2018 and they were brilliant. Chromeo don't visit England very often and when they do it is largely for festival appearances. Fortunately, I saw them at one of the two headline shows on the tour. The performance and the musicianship were outstanding; I would recommend them very highly as a live act (the support act were a bit weird though). 4/5