New music: Thom Yorke and Mark Pritchard, PUP, Phil Haynes & Ben Monder, Borusan Istanbul Philharmonic Orchestra

Winnipeg Free Press

09-05-2025

Thom Yorke and Mark Pritchard
Tall Tales (Warp)
Tall Tales, the first full-length collaboration between Radiohead singer Thom Yorke and electronic music pioneer Mark Pritchard, captures two prolific artists without much to prove and whole worlds left to explore.
Tall Tales captures their shared, endearing spirit of experimentation in a collection of dystopian, prog electronics that will satisfy fans of both artists. Across the album, Pritchard's inventive productions and use of vintage electronic instruments serve as a perfect foil for Yorke's darker lyrics and mournful vocals.
The opening track, A Fake in a Faker's World, serves as a mission statement. There, Pritchard presents a whirlwind of digital sounds, with Yorke's human voice the sole organic element.
A strong middle section begins with Back in the Game. The opening lyrics evoke the project's genesis during the pandemic: 'Have you missed me? How've you been? Back to 2020 again.' As in so much of Yorke's work, the track blends emotional despair with an infectious musicality.
It is anchored by the album's two catchiest tracks. Gangsters evokes 1980s video games with its use of a Mattel Bee Gees rhythm machine. This Conversation Is Missing Your Voice follows with a propulsive electronic-pop energy that falls somewhere between Gorillaz and Squeeze.
The late songs gradually add analog instruments to the mix, and by the finale, Wandering Genie, the initial musical premise seems almost inverted: In the beginning, Yorke's voice was the only organic sound; by the end, it's all recognizable instruments and his voice has been digitized beyond recognition.
Atop analog flute, bassoon and pipe organ, a mechanical Yorke brings the journey to its coda, repeating the single lyric, 'I am falling.' And in 2020, who wasn't? ★★★★★ out of five
Stream: Gangsters; Back in the Game
— Jim Pollock, The Associated Press
PUP
Who Will Look After The Dogs? (Little Dipper)
For those unfamiliar with Toronto-based punk rock band PUP, the name is an acronym for 'pathetic use of potential,' lead singer Stefan Babcock has said. That should give listeners an idea of the snarky rejection of perfectionism at the core of this group.
It should also be kept in mind when this reviewer says that PUP's latest offering is, well, not good. And compared to their previous work — it's not. But good is probably not what they were going for.
The quartet has come up in the past decade as a punk-pop rock staple, combining Babcock's yelled lyrics about human fallibility with humour and catchy, head-banging melodies, but Who Will Look After the Dogs? is missing the invigorating electric guitar riffs and cohesion that made past albums so solid.
The group's fifth studio album focuses on Babcock's relationships with romantic partners, bandmates and with himself. On the album, Babcock shares his vulnerable side, not the first time for the singer who has an open history with depression.
Dark, self-deprecating humour permeates the album — and PUP's work as a whole — such as on the gritty Olive Garden, when Babcock asks a past romantic partner to meet up at the restaurant, ('Last time your Grandma was in a coffin') or in the bittersweet Hunger for Death.
Some songs take a step back from the band's usual frenetic energy, especially the ones reflecting Babcock's romantic relationships. That is where the album can tend to lag, such as on breakup ballads Best Revenge and Shut Up.
There are pleasures and missteps across the album, but the latter outweighs the former, making this one of the weaker releases across the band's animated discography. ★★ out of five
Stream: Olive Garden
— Kiana Doyle, The Associated Press
Phil Haynes & Ben Monder
Transition(s) (Corner Store)
Drummer Phil Haynes has said he sees jazz musicians falling into one of two camps — traditionalists and modernists. His goal is to bridge the gap he sees as unnecessary.
Within his releases are riffs that might be called traditional but are, in fact, ideas present in Ellington or other earlier artists. This album puts him in duet mode with wonderful guitarist Ben Monder. Together they explore the meaning of 'modern' within a fascinating array of acoustic and electronic moods that are 'new' yet somehow seem familiar and comfortable. It is a terrific romp.
Clearly the overall impact here is electronic with sonic swirls augmenting the guitar. Monder weaves a wide range of moods with lingering chords and drawn out effects. There are a series of brief interspersed tracks titled Ben I etc. or Phil ! etc. that are tiny solos. They add a neat flavour to the longer tracks while tying the album together.
The longer tracks, such as Untitled Ones, are quite slow and meditative with gentle melodies that never jar or seem forced. As Haynes wishes, the familiar is captured within a contemporary package. The title track, Transition, has a harder edge with Haynes' drum driving a recognizable tune.
A highlight is Too Easily, a version of the classic tune I Fall In Love Too Easily that is pure delight. Monder and Haynes move around the melody and each other with grace and melancholy. As the tune slides in and out of the solos it completely relates the lyric instrumentally.
The blend of unusual drum sounds with a guitar feature is often haunting. The final track, Epilogue, exemplifies this and seals off the album beautifully. Highly recommended. ★★★★½ out of five
Stream: Too Easily; Beyond
— Keith Black
Bartók, Enescu, Kodály, Martinů
Borusan Istanbul Philharmonic Orchestra (Onyx)
The orchestral music of Eastern Europe is celebrated with the Borusan Istanbul Philharmonic Orchestra artfully led by its new chief conductor, Carlo Tenanof.
First to bolt out of the gate is 20th-century Hungarian composer Bartok's Dance Suite, Sz. 77, its six movements propelled by forceful syncopated accents and ear-cleaning tonal clusters. Tenanof maintains a taut rein, ensuring its densely packed orchestration and kaleidoscopic, often shifting textures spotlighting individual players remains clear, from its opening I. Moderato, through VI. Finale: Allegro.
Another highlight by Bartok's close friend and musical colleague, Kodály, is Dances of Galánta. The nearly 17-minute work was inspired by the Roma dance bands of (now) Slovakia.
Tenanof's expansive approach brings sweeping romanticism to this five-movement pleaser, its unabashedly lyrical themes evoking the ethos of traditional 'verbunkos.'
By contrast, Martinu's Frescoes of Piero della Francesca, H. 352 reflects the composer's visit to Arezzo to see the famous 15th-century frescoes the History of the True Cross in the Basilica of San Francesco. Its finale, III. Poco allegro, is particularly compelling with insistent rhythm motifs and clear passagework in the winds.
Last but not least is Enescu's Romanian Rhapsody No. 1 with its halting opening bleeding into more fulsome textures and dancelike rhythms.
One can only wish to hear this work performed live, with the orchestra's well-paced, no-holds barred delivery practically leaping off the album and full of fire from the Old Country. ★★★★ out of five
Stream: Dance Suite, Sz. 77, III. Allegro vivace; Romanian Rhapsody No. 1
— Holly Harris