A deliberately frothy take on an under-documented moment in US politics
New York Bowery Ballroom
When Greg Dulli conceived of the Twilight Singers, he was almost certainly in the bedroom...
The Twilight Singers' torchsong-tinged understatement is something Dulli felt he couldn't do within the context of a rock band, even one as sensitive to soul as Afghan Whigs, and it's easy to see why. The songs trace emotional meltdown and slow redemption, and in order for them to reach their full potential they must be part of a total concept. Hence Dulli's choice to work with old friends in New Orleans before allowing Fila Brazilla to add a glaze of modern production to the album. Of the album's players, only Howlin' Maggie's Harold Chichester is present - on keyboards and hideous upholstery trousers - but the continuity of the project holds tight. Dulli's voice, is counterbalanced by Chichester's falsetto as they trace their way from the thematic opening of 'Twilite Kid', to the cripplingly forlorn 'Annie Mae' and equally desperate 'Into The Street'. It's an opportunity for Dulli to revel in "big indulgences", so there's also a Skip Spence cover and a rendition of Marvin Gaye's 'Please Stay...'. He belts out a snippet of Moby's 'Honey' before offering a Whigs tune in the form of a beefed-up 'Crazy'. By the time he returns for 'Love', the audience are romanced into submission.
Greg Dulli has always wanted to be both rock star and soul singer. Looks like he's finally achieved his dream.
The second album from Piper and Skylar Kaplan is danceable, euphoric and pleasingly trippy
Mumford & Sons’ collaborative steps into world music aren’t embarrassing – but they’re not essential either
The iconic DJ Shadow returns with a mixtape-like album that frustrates as much as it fascinates
A Western that revolves around a trio of gun-wielding female leads, and has a clear and consistent feminist message