Satoko Fujii and Myra Melford, Katarahi (Rogueart Records)
Recorded live in September 2024 at Jazz festival Leibnitz in Austria, this unplugged neo-classical piano exhibition pairs up brave, melodically obsessed American Melford with Japanese butt-kicker Fujii, who shows off her ability to turn a Steinway into a percussion instrument. No, I mean she puts a hurting on the thing when these two ladies aren’t trying all sorts of other tricks, including playing the interior piano strings themselves. The album’s title, suggested by Fujii, translates to “an intimate conversation between two friends,” but this, I assure you, is no everyday chitchat, more a loud, boisterous meeting of two (somewhat) like minds who are keeping the waiter busy way past end-of-shift and are the last ones still sitting around. There’s real athleticism to be found here, with hilariously nimble, lightning-speed runs that sound almost AI-like in their precision, and that makes this an album for people who love to hear the instrument pushed beyond all normal boundaries. Priceless. A+
Confess, Metalmorphosis (Frontier Records s.r.l.)
And meanwhile, back at Frontiers Records Mercy Hospital, one of the last legitimate record companies that still puts out albums from bands that sound like they’re from the 1980s, there’s this, the fourth full-length from a Swedish band that identifies as a “sleaze-metal” unit, and yo, it’s actually pretty good, stealing the right anachronistic vibes and all that rot. Now, “sleaze-metal” usually describes your Motley Crües and Ratts, and that kind of sound does surface here and there, but these guys have been mainlining old Ozzy Osbourne albums in preparation for this one; opening track “Colorvision” starts off with an obligato opera-chorus thing and then becomes a variation on Ozzy’s “Now You See It Now You Don’t” which, OK, is Ozzy’s sleaziest song ever, but not in a stupid L.A. way, and yeah, they’re all tatted up and looking like a Poison tribute band, if that matters to your aesthetic. “The Warriors” wants to be the adopted little brother of Guns N’ Roses’ “Mr. Brownstone” while “Wicked Temptations” leans more toward the vibe of Skid Row (is there supposed to be an umlaut in that band name? I can’t remember). They’ve got a great sound anyway. A
PLAYLIST
A seriously abridged compendium of recent and future CD releases
• Holy guacamole and whatnot guys, we’re just about done with May, which means summer is basically here! To celebrate, there will be a clutch of new albums on Friday, May 29, because that’s how this “music business” gizmo works, as we’ve discussed ad nauseum before! The first one to look at this week is from Paul McCartney, former bass player for the Beatles; this one is titled The Boys Of Dungeon Lane, but before you start expecting reams of snark from your humble correspondent just because I’ve said many times that I couldn’t care less about The Beatles, the truth is that I haven’t minded a lot of his solo stuff throughout the years, except of course for the really stupid stuff like the duets he did with Jacko back in the 17th century, like “The Girl Is Mine,” just be glad you didn’t have to listen to those horrible tunes on the school bus (do kids still ride on those things or what?) or in maximum-security juvenile prison or however you spent your formative years. No, old people know that his 1973 album Band On The Run had some good songs, like the title track, and “Nineteen Hundred and Eighty Five,” which was pretty funky, but you have no idea what I’m talking about anyway because all you care about is twerking to nepo baby Sabrina Carpenter and watching K-Pop cartoons, let me go listen to the new single “Days We Left Behind,” from this new album! Right, right, the push single “Days We Left Behind” is exactly what I expected, a drippy unplugged sort-of-rock-ballad that’s really sad, which is understandable, given that Sir Paul is so old now that his voice is super weak and constantly shakes, like it sounds like when Svengoolie reworks some hundred-year-old tune like “Mack The Knife” to make it about Count Dracula, but hey man, it’s still Paul McCartney, right, so I should shut up I suppose. YouTube said there are other songs to sample from the album aside from this one, so for all I know there’s something clever and non-depressing. I doubt it, but be my guest if you love the sound of rich octogenarians singing about the end of the road.
• All Them Witches, you say, who even is that? OK, they’re an indie stoner-rock band based in Nashville, where the drummer relocated from Oregon when he was homeless; the band’s name is taken from a book of witchcraft, All of Them Witches, which was featured in the 1968 film Rosemary’s Baby, and that’s led to trouble, because they have weird fans who follow them around trying to get the fellas to turn them into toads and such. Anyhow, their new LP is titled House Of Mirrors and includes the single “The Welterweight.” It is not your typical Queens Of The Stone Age-type of stuff, like; to me it just sounds like early Nick Cave with a heavy guitar line that comes in once the boring part’s out of the way. Long as we’re here, if you’re the type who plans ahead, you can see this band play in Portsmouth at 3S Artspace on Oct. 19.
• In news that will titillate fans of music that’s been totally irrelevant for decades, folk/psychedelic-rock throwback Kurt Vile is back with another album, Philadelphia’s Been Good To Me. “Chance To Bleed” sounds like something the Rolling Stones left off their Tattoo You album in 1981, but don’t let that curb your enthusiasm.
• And lastly it’s — oh for cripes sakes, it’s been, what, two or three months since the last Guided by Voices album, so it’s already time for Robert Pollard to barf out his most recent failed songwriting attempts. This one, called Crawlspace Of The Pantheon, includes the single, “We Outlast Them All,” which kind of sounds like Psychedelic Furs but is as lame as ever, can you even imagine.
Featured Photo: Satoko Fujii and Myra Melford, Katarahi and Confess, Metalmorphosis
