by Ben Hogwood

What’s the story?

Daughter have something of a cult following, and it’s easy to see why. They have the ability to build strong connections with their listeners, through subtle music that can often be interpreted as downward looking but actually turns out to have a positive undercurrent beneath.

Their last album, Not To Disappear, was perhaps too dark especially given its January release in 2016, but seven years on from that the group have released a couple of strong singles with their collective eye firmly on the long playing game.

What’s the music like?

Both elegant and profound. Where Not To Disappear carried a weathered expression, Stereo Mind Games looks upward with more kinetic energy, alternating between urgent thoughts and slow tracks acting as a musical comfort blanket. There is a really pleasing contrast of light and shade, and their songs have an attractive poise this time around.

Be On Your Way is a standout song that hits home a few listens in, flickering with promise for the future while telling the first part of a story to be continued. Dandelion has a crisp urgency that is the ideal foil for the vocal, while Neptune gives the voice free reign, climbing up to emotional heights thanks to Elena Tonra‘s input as a breathy but meaningful vocalist. Swim Back makes a lasting impression, its driving bassline and swirling production complemented by strong vocals and enigmatic lyrics.

Tonra’s voice dominates proceedings, but in the intervening years it has become a more versatile instrument, operating in slightly glacial tones but also capable a more direct approach.

Does it all work?

Yes, it does – because Daughter reach their listeners with subtle, elegant songs and few frills.

Is it recommended?

It is. Give it a few listens and Stereo Mind Game will set up its own corner in your head.

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by Ben Hogwood

What’s the story?

At first glance, an album with the title 1982 might be seen to be wearing rose-tinted spectacles. In the case of A Certain Ratio, however, it is nothing more than a mischievous curveball, for they renounce any links with nostalgia on the surface at least – apart from in the song of the same name.

Instead they go about their business with a continually refreshing disregard for genre boundaries, creating where the music takes them in the course of ten songs.

The line-up remains constant, with Jez Kerr, Martin Moscrop and Donald Johnson working alongside Tony Quigley, Matthew Steele and Ellen Beth Abdi, with a guest slot for Chunky the rapper.

What’s the music like?

Varied and vibrant! This is an album that pulses with activity and good vibes, right from the off.

When the easy beat and upward looking chorus of Samo sets out the band’s stall, the signs are good – and as 1982 progresses they only build on that good feeling. The title track is a blend of German pop music homage and loping Manchester groove, while Constant Curve features exalted levels of funk thanks to a guest turn from Emperor Machine.

Waiting On A Train mines a sweet melancholy thanks to a slower groove and Ellen Beth Abdi’s wonderful voice, complemented by the more nasal tones of Chunky and a dreamy piano prologue. Abdi takes over on Afro Dizzy, too, a dreamy mix of Afrobeat and sultry vocals.

Meanwhile Tombo in M3 is an ultra-cool instrumental, powered by liquid keyboard lines and a springy rhythm, while Holy Smoke bubbles up when Tony Quigley’s saxophone gets involved. Tier 3 finds Abdi on flute duties, behind the album’s catchiest riff.

Finally Ballad of ACR is an experimental sign-off, part song and part modern jazz workout, closing the album in a haze.

Does it all work?

It does. An open musical book is the best way for A Certain Ratio to work, and yields thoroughly invigorating results here.

Is it recommended?

Enthusiastically. If you’re a fan, you know exactly what to do – but if you’re new to ACR, this is a great place to start too.

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