Emiliana Torrini ‘Fisherman’s Woman’ (Rough Trade)

Despite the Italian surname, as soon as you hear Emiliana Torrini sing you know she’s got some Icelandic in her. Torrini shares her sweet, hushed voice with the country’s most famous musical export, Bjork, right down to the delicate accent of her English. Her previous record ‘Love in the Time of Science’ was released on Bjork’s label, One Little Indian, but ‘Fisherman’s Woman’ sees a departure both from the label, and that album’s electronic sound. Instead Torrini has stripped her sound down to a bare acoustic guitar and that melancholy voice. Her songs are wistful and dreamy, like a slow-motion re-creation of the simple life she yearns for on the title track. ‘Lifesaver’s sparse melody is backed by the sound of a creaking door and develops a kind of soft focus nostalgia as her lyrical images pass like a blurred and jerky reel of an old home video. It definitely comes as a surprise to learn that Torrini wrote Kylie’s no. 1 single ‘Slow’; here ‘Sunny Road’ is about as close as it gets to upbeat pop. Yet despite the poetic style, ‘Fisherman’s Woman’ is not sombre or weighty. Torrini falls under the gently quirky category and if that description appeals to you, then so should she.

words: Colm Larkin

The Southern Electrics ‘Electric Superhighway’ (Mi5 Recordings)

Hailing from south London but aching to sound like they’re from just south of Lenny Kravitz’s gaff, this lot pitch in willingly and with gusto but manage to miss the vibey rock thing that Kasabian are seemingly pulling off. Much of this album is dull shuffling beats and uninspired riffing. On ‘Save You’ they attempt harmonies that don’t harmonise and ‘Media Coke Whore’ wastes an interesting title with a one-chord plod. However, some of the songs come from the so-bad-they¹re-good variety. ‘Go Dirty’ certainly tries to sound as much but has the unintentionally hysterical Sid James-esque lyric, “Gis a twirl from Bristol down to Brazil”. Fnarr. Then there’s ‘Alien’ which crams in as many space related clichés as is possible and was surely included on the album for a bet. I get what The Southern Electrics are about just the once, on ‘The Rogues Gallery’ where the narrative feel, throaty rawk vocal and pleasing shifting melody combine to make this the stand out track by a country mile. I hardly need add that this does not make the entrance fee worthwhile.

words: Roger Hadwen

Argentine ‘In Other Fictions’ (Argentine)

A game of two halves here, from the much-touted Argentine. Their sound is based on deliciously chiming guitars and a somnambulant pace that the press releases describe as “post-pop” whatever the fuck that means (post-pop = pre-tension). Of the eight tracks on ‘In Other Fictions’ the first four drag by (despite deliciously chiming guitars) at a pace that would have Galaxie 500 looking at their watches impatiently. Then, after half-time oranges, Argentine re-emerge all fired up and ready to rock, ever so slightly harder. ‘Slumberside’ belies its title and forgets that the mood is one of cool ennui, turning up the interest and tempo, albeit within the same formula. ‘Westerly’ is where all the ideas pay off: a killer hook, a heartbroken, breathy lyric and a perfect arrangement this would make for a cracking single. ‘Bowling Green’ is a warm piano ballad which would be like Keane, but as it¹s a surprise change from the chiming guitars it passes off quite well. The album closes with ‘Checks & Balances’ and the chiming comes into its own once again. It truly is a beautiful sound, like a heavenly xylophone. It is a sound you will need to appreciate if Argentine¹s silvery songs are for you.

words: Roger Hadwen