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Pop/Rock - Verschijnt op 28 januari 2022 | Chrysalis Records

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Pop - Verschenen op 26 oktober 2021 | Chrysalis Records

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Pop - Verschenen op 26 oktober 2021 | Chrysalis Records

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Pop/Rock - Verschenen op 20 oktober 2021 | Chrysalis Records

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Pop/Rock - Verschenen op 22 september 2021 | Chrysalis Records

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Pop - Verschenen op 15 september 2021 | Chrysalis Records

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Alternative en Indie - Verschenen op 30 juli 2021 | Chrysalis Records

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Three years after what was supposed to be a short break, Laura Marling and Mike Lindsay of Tunng are relaunching Lump. This duo plays an important role for the British neo-folk singer. “Lump is the repository for so many things that I’ve had in my mind that just don’t fit anywhere in that way. They don’t have to totally make narrative sense, but weirdly they end up making narrative sense in some way.” The profound melancholy of the first Lump album is set aside this time in favour of denser, more heavily-worked songs. In particular, these songs have been run through the Eventide harmoniser which Lindsay likes to use. The effect creates an ambiance similar to that on David Bowie's Berlin trilogy, and in particular his famous Low. It's an urban, futuristic and slightly agonised sound, balanced by Marling's pure voice. And no-one could accuse the singer or her electro-tinkering accomplice of being artistically lazy here. Minimalist electro (Pet), neo post punk (Gamma Ray), science fiction requiem (Paradise), synthetic pop (We Cannot Resist) and scrappy ballad (Phantom Limb): their odd record is full of unexpected treasures, strange and uncategorisable miniatures that fascinate us a little more with every new listen. © Marc Zisman / Qobuz
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Alternative en Indie - Verschenen op 27 juli 2021 | Chrysalis Records

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Folk - Verschenen op 1 juli 2021 | Chrysalis Records

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Alternative en Indie - Verschenen op 29 juni 2021 | Chrysalis Records

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Alternative en Indie - Verschenen op 4 juni 2021 | Chrysalis Records

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What must it even be like, to never live up to the (impossible) expectations set by your debut? Looking back on the criticism that intensified with each album post Liz Phair's Exile in Guyville—building to a fever pitch with 2003's self-titled LP, her fourth proper release—so much of it now feels like a rejection of a girl growing up and evolving, into marriage, motherhood, divorce, being her own woman. As time went on, she was showing people who she was and they didn't really like the honesty. It's as if some fans wanted her to be cooler than she was; instead, she is the kind of cool that ages well. That said, there was a sort of plastic sheen to the production of her later work (and no denying it, Phair's last album, Funstyle, was pretty dismal) that is, refreshingly, missing on Soberish, her first album in 10 years. Credit Brad Wood, who also worked with her on, yes, Exile in Guyville as well as its follow-up, Whip-Smart. "One of the mistakes I make that Brad corrected on this album is, he likes it when I don't try hard," Phair has said of their latest. Cut to the chase: Soberish feels like a true, grown-up companion piece to her early work. Songs like "The Game," gently pulsing "In There," and "Good Side," with its speak-singing verses and woozy horns, would fit neatly on, say, Whip-Smart or whitechocolatespaceegg. Hip-swiveling "Bad Kitty" is as graphic as the legendary "Flower" or "Canary." "Good things can be too much or not enough," she sings on "Dosage," delivering a call-back to Henry the bartender from "Polyester Bride." On the terrific, lightly galloping title track, Phair's scared of taking a chance on new beginnings and letting go of old crutches: "I meant to be sober, but the bar's so inviting." She has said that "soberish" can refer to anything from substance use—"I struggled with coming to my perfect amount of use and not-use," she said of California's legalized marijuana—to using work as avoidance of life, to indulging in fiction, to being a night owl rather than facing the light of day. In other words, anything that blunts reality. (The fact that Phair has said she worked too long on an album with Ryan Adams as producer, despite his inability to focus or finish, before finally abandoning the project, offers some more food for thought here: What kind of mess would that have been?) There's a nostalgic tribute to Chicago ("Sheridan Road"), a fun '60s play on 5th Dimension grooviness ("Hey Lou") and a really lovely slow-build bubbler ("Ba Ba Ba"). Phair, just like she was in 1993, is having sex and affairs, and questioning things, and making mistakes in her 50s, and she can tell you exactly what the difference is: "There's a pure, unspoiled, unselfconscious beauty to the early work that I can't capture again," she has said. "I can't unknow what I know." Bless her for it. © Shelly Ridenour/Qobuz
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Alternative en Indie - Verschenen op 1 juni 2021 | Chrysalis Records

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Alternative en Indie - Verschenen op 12 mei 2021 | Chrysalis Records

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Alternative en Indie - Verschenen op 5 mei 2021 | Chrysalis Records

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Alternative en Indie - Verschenen op 14 april 2021 | Chrysalis Records

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Alternative en Indie - Verschenen op 14 april 2021 | Chrysalis Records

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Alternative en Indie - Verschenen op 5 maart 2021 | Chrysalis Records

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Alternative en Indie - Verschenen op 10 februari 2021 | Chrysalis Records

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Alternative en Indie - Verschenen op 3 februari 2021 | Chrysalis Records

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Alternative en Indie - Verschenen op 3 februari 2021 | Chrysalis Records