If you’d told David Gahan and Martin Gore a year before the release of this latest album (which was still in the making at that time) that its title would be somewhat foreboding, the pair would likely have agreed, but for a rather different reason. Memento Mori roughly translates to ‘remember you’re going to die’—that’s what was on Gahan’s mind having just entered his sixties, whilst also remembering his stepfather, the man who raised and cared for him, who had died at just 61. But fate would prove both twisted and cruel when, without warning, it would take the life of Andy Fletcher on 26th May 2022. Depeche Mode’s third man was just 60 years old.However, this sudden death was not what primarily guided the somber, melancholic content of the record. Most of it was composed during the pandemic, which must have forced the band to ask themselves countless questions about their existence, their future and how these doubts would be manifested within their music (though Fletcher’s death would inevitably alter their approach to these same compositions). This all gives rise to a record which, whilst rejecting any semblance of ‘joie-de-vivre’, is a real return to more gothic, vintage and organic sounds. The album’s quasi-industrial opener, ‘My Cosmos is Mine’, sets the tone for the darker journey to come. The album takes a more stripped-back approach to the melodies, where Gahan’s sobering voice steers clear of all excess.In the midst of this darkness, the emphasis on synthesized sounds from a seemingly bygone era strikes a nostalgic chord without losing its edge (‘Wagging Tongue’, ‘Never Let Me Go’). These textures are accompanied by more saturated tones, taking us right back to their flirtations with rock in the 90s (‘My Favourite Stranger’). Memento Mori sounds like a kind of condensed version of the band’s more delicate songs without becoming a simple reconstruction of them. It has a subtle beauty which surely highlights the expertise of the musicians behind it, despite being somewhat overshadowed by the erratic nature of their discography over the last twenty years. Light filters through the cracks here and there on this album however, like the song ‘People are Good’, reminiscent of the classic ‘People are People’ released almost forty years ago. Remember that you’re meant to enjoy it… © Chief Brody/Qobuz

Drummer Patrick Carney recently said the goal for the Black Keys' twelfth album was to have "fucking fun." Sounds like mission accomplished. If you've been waiting for Beck to make a sequel to Midnite Vultures, this might be as close as we get. He's pretty much a third member of the band on Ohio Players—co-writing and/or guesting on eight of the 14 songs. His SoCal sunshine (and backing vocals) can be heard on the relaxed fit of "This Is Nowhere" and freak-show single "Beautiful People (Stay Here)," a co-write with Dan the Automator that borrows the groove of "Feeling That Vibe" by Richard Mead. Beck takes the vocal lead on "Paper Crown," a thick slab of greased-up R&B decorated with deep bass, sassy Hammond, Moog, Vocoder and 808—and that's before Three 6 Mafia's Juicy J rolls in and brings the strut down to a cool, slow roll. It's hard to say who's zoomin' who here, but something about the collision of Beck, Carney and Dan Auerbach brings out a wonderfully weird, playful side of the Black Keys. Delightful "Don't Let Me Go" melds Four Seasons-style pomp, mod garage rock and funk horns while "Read Em and Weep" gives Halloween haunted house vibes—with Beck on organ and Auerbach's revved-up surf guitar conjuring the spirit of teen-tragedy splatter platters (á la Jan and Dean's "Dead Man's Curve"). And it's not just Beck along for the ride.  "... It's a big Saturday night party record," Carney has said. "We just had people come through the studio and throw a little bit of special sauce at each song." The band also brought in Memphis horrorcore legend Lil Noid for sleazy-sounding "Candy and Her Friends." And Noel Gallagher—"We were referring to him as 'The Chord Lord' because he's just a perfectionist with it," Carney told NME—leaves his mark on three songs, including "Only Love Matters," a tight stomp meant for cutting a rug. The Oasis songwriter was apparently in a real dance mood; "You'll Pay" is hip-swiveling, Question Mark and the Mysterians cool, with Auerbach perfectly working his falsetto. Gallagher picks up backing vocals on both of those as well as "On the Game," a mellowed-out live take with a Derek and the Dominos feel. "Fever Tree"—another Beck joint—has a psyched-out stomp. Carney's drums are monstrous, and Auerbach's guitar is like a buzzsaw, on dangerous "Please Me (Till I'm Satisfied)." "I Forgot to Be Your Lover," meanwhile, is solid gold soul: Auerbach really sweats the line "And I'm sorry/ I'm so sorry" for the gritty cover of William Bell and Booker T. Jones' silky Stax single. There's apparently even more to look forward to: A rumored Alice Cooper song didn't make the album, but may be out later this year. © Shelly Ridenour/Qobuz

Divinely Uninspired to a Hellish Extent is the debut studio LP from Scottish singer/songwriter Lewis Capaldi. Composed of heartwarming lyrics, huge singalong choruses, and crystalline pop production, the effort features the singles "Grace" and "Hold Me While You Wait."© Rob Wacey /TiVo

Their music has always given us that “feelin’ good” feeling, so why change tack now? With their androgynous vocals, ethereal guitars, weightless rhythms and sensual melodies, the aptly named Cigarettes After Sex would be foolish to change their style. Maybe that’s why Cry follows directly in the footsteps of their eponymous album from 2017, Cigarettes After Sex. In this second album, the Texans take their dreamy shoegaze and pop to a whole new level – it’s enchanting, cinematographic, sultry and bordering ever so slightly on erotic. All the way through Cry, Greg Gonzalez and his partners in crime Randall Miller, Jacob Tomsky and Josh Marcus have managed to make their ambient-pop music sound similar to that of Angelo Badalamenti, the usual composer for David Lynch’s productions. This album could be a soundtrack for a film without a doubt! © Marc Zisman/Qobuz

Fleetwood Mac's 1980 double-album Live was released as a way for the physically, emotionally, and creatively exhausted group to continue the winning streak that saw them dominate the last half of the '70s with Fleetwood Mac, Rumours, and Tusk. The band recorded audio and video at every one of the 112 (!) dates they played between October 1979 and September 1980 and then proceeded to put together an album that putatively represented a Tusk tour date. In that regard, Live was perhaps the apotheosis of the Frankenstein-ed "live" album. The 2-LP set didn't just combine recordings from multiple dates on the Tusk tour ... it pulled in songs from multiple tours to present a weird, idealized version of "a Fleetwood Mac concert." The original release threw in a few cuts from the Rumours tour, a song originally released by Buckingham Nicks ("Don't Let Me Down Again") that the Mac performed on tour in 1975, and even a couple of studio rarities ("Fireflies" and a cover of the Beach Boys' "Farmer's Daughter"). However the album may fail as an accurate piece of documentary audio it more than succeeds as a cohesive piece of rock 'n' roll. While some tracks do occasionally suffer a bit from the vagaries of live performance—a cracked voice here, a late guitar melody there—thanks to the embarrassment of riches in their song pool and given that the band was at the peak of their powers, the selection of their best individual performances yielded excellent results, and nearly all of the tracks bristle with energy, vibrancy, and a sense of creative electricity that was surely a bit of a crapshoot on such a long and grueling tour. And, in some cases—"Over and Over" and "Never Going Back Again" especially—the live versions captured here are actually superior to the studio takes, gaining an intensity and immediacy that accentuates their inherent drama. This new edition continues in the original's tradition, tacking on a third disc of live rarities that's similarly wide-ranging, including tracks recorded on the Mirage tour which happened two years after Live was originally released. While those extras feel (obviously) tacked on—more than an encore, but less than a standalone show—they also lack the flowing context of the main album and feel far more disjointed in their presentation. Nonetheless, getting to hear the Rumours band take on "The Green Manalishi (With The Two-Pronged Crown)" at the Oklahoma City State Fair Arena in 1977 or a transcendent version of "Songbird" from the tail end of the Tusk tour in Arkansas is still quite thrilling. © Jason Ferguson/Qobuz

With 1991's You Won't Forget Me, Shirley Horn's star continued to rise. While mostly ballads, this recording also includes swinging takes on "I Just Found Out About Love" and "Foolin' Myself." Toots Thielemans stars with his distinctive harmonica sound on "Beautiful Love" and "Soothe Me," and the unmistakable trumpet of Miles Davis weaves around Horn's vocal on the title track. The opening medley moves from the almost-whispered ballad "The Music That Makes Me Dance," to a funkily midtempo "Come Dance with Me." "Don't Let the Sun Catch You Crying" is absolutely gorgeous, with Wynton Marsalis stepping in to trade phrases with Horn's voice. The music here is mostly taken at a very leisurely tempo, and the spare arrangements allow plenty of room for the music to breathe, proving that less is often more. The only complaint is that such spaciousness generates is a certain sameness to the material, but this is leavened by the guest appearances of Thielemans, Davis, the brothers Marsalis, and tenorman Buck Hill.© Jim Newsom /TiVo

Givin' It Up finds crossover jazz icons guitarist George Benson and vocalist Al Jarreau teaming up for a breezy, enjoyably melodic session that highlights both artists' long careers. Technically a duo album, it is Benson's first since signing with Concord Records. As such, it works as a nice reintroduction to both artists and even finds them reworking the Bobby Womack classic "Breezin'," which Benson originally covered on his 1976 album of the same name. Here listeners get Jarreau adding lyrics and vocals on a version that really evokes the classic '70s jazz-meets-R&B sound that was an original hallmark of smooth jazz. In that sense, Givin' It Up is a true joy for fans of that more organic, song-oriented approach to crossover music, with Benson and Jarreau digging in to such great songs as Seals & Crofts' "Summer Breeze," John Legend's "Ordinary People," and Darryl Hall's "Every Time You Go Away." Also adding some unexpected fun and celebrity sheen to the proceedings is an impromptu appearance by Paul McCartney, who joins in on Sam Cooke's gospel-inflected "Bring It on Home to Me." Throw in appearances by trumpeter Chris Botti, vocalist Patti Austin, pianist Herbie Hancock, and bassist Marcus Miller and Stanley Clarke, and Givin' It Up proves music is always fun with a little help from your friends.© Matt Collar /TiVo

Prefab Sprout was always too good for the radio. Hearing the band's immaculate, gorgeously crafted pop songs alongside disposable, unimaginative records seemed like blasphemy. Perhaps many American radio programmers felt the same way, as most of this best-of compilation is obscure to U.S. listeners. While Two Wheels Good and From Langley Park to Memphis are superior purchases, A Life of Surprises is an engaging introduction to a group that is nowhere near as bizarre as its name. Much has been said about Paddy McAloon's warm, comforting voice, but like Paul Heaton of the Housemartins and the Beautiful South, his soothing croon can sometimes hide some pretty depressing lyrics. "When Love Breaks Down" is classic '80s new wave heartache: teary-eyed synthesizers, downtrodden basslines, and McAloon's whispery talk create a film noir atmosphere of deep sadness. The lyrics are sharpened by his adult observations. "When love breaks down/You join the wrecks/Who leave their hearts for easy sex," McAloon sings. The brutal honesty of those lines easily elevate "When Love Breaks Down" to the top class of breakup songs. Even more powerful is "Goodbye Lucille No. 1 (Johnny Johnny)," sung from the perspective of a man trying to make a close friend get over a girl who has rejected him. The words are frank and painfully realistic as McAloon doesn't sugarcoat the dialogue. McAloon rips into his buddy's futile romantic fantasies and lets the hard light of reality shine upon him: "Ooh Johnny Johnny Johnny you won't make it any better/Ooh Johnny Johnny Johnny you might well make it worse." If this sounds dreary it should be noted that Prefab Sprout isn't one of those grim British raincoat bands. The group has a number of wonderfully upbeat moments, such as on the exhilarating "Hey Manhattan!" and "Cars and Girls," a clever commentary on Bruce Springsteen's preoccupation with automobiles and women.© Michael Sutton /TiVo

Producer Giles Martin, son of the legendary George Martin, is at the helm of the soundtrack of the film Rocketman, which tells the story of Elton John's rise into the music world. The retro flavour of this biopic and its soundtrack works at full strength, especially when you consider that Martin Jr. was at the forefront of the pop frenzy that shook England in the 1960s and 1970s. Its elegant and punchy arrangements are certainly very close to the sound of the time, but it also sometimes brings in certain textures, a breath of fresh air that could be described as "postmodern". Rocketman's soundtrack album does not feature any instrumental music from the film, but only hits by the star performed by Taron Egerton, the actor who plays him on screen. Egerton certainly thrills with his vocal prowess, but we should not forget the presence of other actors in some songs: I Want Love is performed by Kit Connor, Gemma Jones, Bryce Dallas Howard and Steven Mackintosh, while The Bitch is Back, Don't Go Breaking My Heart and Goodbye Yellow Brick Road are duets with, respectively Sebastian Rich, Rachel Muldoon and Jamie Bell (who has the difficult task of playing Bernie Taupin, Elton John's favourite songwriter). But the piece of most bravura of this Rocketman soundtrack is certainly the schizophrenic delirium that is the song that closes the record since it is a cover of (I'm Gonna) Love Me Again by Taron Egerton in duet with Elton John himself. © Nicolas Magenham/Qobuz

In the year of his 90th birthday (which he would have celebrated on the 23rd of September 2020 had he not died in 2004), Ray Charles is honoured with a new 90-track compilation box set. Just another compilation like all the rest? Yes and no. Ray Charles is undoubtedly one of the most-compiled artists in the history of music. Published by Tangerine, the label that the musician set up at the end of the 50s to keep the rights to his songs, this box set starts out like all the others: with the post-Atlantic hits, Georgia On My Mind, Hit The Road Jack, One Mint Julep, Busted... These are timeless treasures of proto-soul, but there doesn't seem to be much novelty here. The rest is much more interesting, and much rarer: tracks recorded between the second half of the 1960s and the 2000s, many of which were only released on vinyl, never reissued on CD and until now unavailable on digital. This is the first time that Ray Charles' lesser-known years have been given the compilation treatment in this way, and it is a revelation. In the 90s and 2000s, the production of his songs had a synthetic feel, and they did not age too well. These rarer songs are often hidden gems of southern soul, flavoured with country and wrapped in sumptuous symphonic orchestrations. Whether he is singing the Muppets (It's Ain't Easy Being Green) or Gershwin (Summertime, a duet with Cleo Laine), Ray Charles is always deeply moving. Now, the dream is to hear reissues of all these albums in their entirety. © Stéphane Deschamps/Qobuz

Although initially considered a contractually obligated release, when Here and There (1976) was upgraded in 1995 as part of Elton John's (piano/vocals) "Classic Years" catalog overhaul, it became the most definitive live document to date of his immortal '70s quintet that featured the pianist backed by Davey Johnstone (guitar/backing vocals), Dee Murray (bass/backing vocals), Nigel Olsson (drums), and Ray Cooper (percussion). What was originally a single vinyl long-player was expanded to nearly two hours and 20 minutes, spread over two CDs. The "Here" show was recorded at an Invalid Children's Aid Society Benefit at Royal Festival Hall in London on May 18, 1974. John begins with a pair of early solo numbers before being joined by the band for inspired readings of hits such as the rousing "Take Me to the Pilot" and "Crocodile Rock" as well as the equally integral deep cuts "Bad Side of the Moon" and a very special version of the ballad "Love Song" -- featuring a rare duet with the song's author and original co-vocalist Leslie Duncan (vocals). Another real treat is the funky and loose rendering of "Honky Cat" with some interesting interaction between John and Cooper. Six months later John and company hit Madison Square Garden in New York City for a series of shows over Thanksgiving weekend. In acknowledgement of a wager set forth between John and John Lennon that stated, if the duo's single "Whatever Gets You Thru the Night" from Lennon's Walls and Bridges (1974) album topped the singles chart, Lennon would join Elton on-stage for a few numbers. Needless to say the song bound to the number one position, and the stage was literally set for the very first live appearance from Lennon in two years -- which would ironically and tragically likewise be the last he would ever give. Immediately differentiating the "There" show is the comparatively massive audience. This show is as much about spectacle (1974 style) as it is about music. Not that the music suffers in the least. Although John's voice has sounded better, the band are in top form as they rant and rave through the blistering "Funeral for a Friend/Love Lies Bleeding" opener. Among the surprises are the romping live versions of "Grey Seal" and "You're So Static." However, the unmitigated highlight is Lennon's surprise three-song guest shot. Both legends perform their latest singles -- for Lennon it is the aforementioned "Whatever Gets You Thru the Night" and for John it is the non-LP cover of "Lucy in the Sky With Diamonds" -- both of which are quite powerful in terms of sheer vibe. Their finale of "I Saw Her Standing There" is ragged-but-right with Johnstone cleverly quoting "I Feel Fine" during the bridge from the verse to the chorus. While the remainder of the set hold its own, it pales in the wake of the preceding momentous performance. This should be considered essential listening for enthusiasts as well as curious music historians.© Lindsay Planer /TiVo

Given the phenomenal success of Britney Spears' debut, ...Baby One More Time, it should come as no surprise that its sequel offers more of the same. After all, she gives away the plot with the ingenious title of her second album, Oops!...I Did It Again, essentially admitting that the record is more of the same. It has the same combination of sweetly sentimental ballads and endearingly gaudy dance-pop that made One More Time. Fortunately, she and her production team not only have a stronger overall set of songs this time, but they also occasionally get carried away with the same bewildering magpie aesthetic that made the first album's "Sodapop" -- a combination of bubblegum, urban soul, and raga -- a gonzo teen pop classic. It doesn't happen all that often -- the clenched-funk revision of the Stones' deathless "Satisfaction" is the most obvious example -- but it helps give the album character apart from the well-crafted dance-pop and ballads that serve as its heart. In the end, it's what makes this an entertaining, satisfying listen.© Stephen Thomas Erlewine /TiVo

If Japan's Tin Drum album of 1981 sought to redefine the similarities between Oriental melodic structure and Occidental music, then Wang Chung's Points on the Curve pushed the boundaries further toward the mainstream ("Even If You Dream," "Don't Be My Enemy"). It is baffling, then, that such an album should prove a more substantial hit in the States, where "True Love" was memorably adapted as a score to an incestuous rape scene on Miami Vice. Several tracks lend themselves fervently to film; the underlying menace of "Wait" reared its head in To Live and Die in L.A.. Far from the commercial tones of "Dance Hall Days," the song for which they are best known in the U.K., is the dramatic landscape of "Devoted Friends," a stark memo to a companion. Since the album's original release in 1984, it has seen many reissues with as many running orders, and although the sound is a little dated, its craftmanship still holds true.© Kelvin Hayes /TiVo