‘Kiwanuka’ expressive wonder

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Lynne does it all himself

Jeff Lynne’s ELO, “From Out of Nowhere” (Columbia Records)

Jeff Lynne’s ELO is an elastic band that alternates between being a one-man studio outfit and, nowadays, a 13-member touring ensemble with several guitarists, keyboard players, three string players and others.

“Time of Our Life”, from the band’s new album, symbolically brings the two versions together. Lynne plays practically everything on the track (there may be some percussion from album engineer Steve Jay) while paying tribute to the full lineup’s June 2017 show at Wembley Stadium – “60,000 mobile phones/Were shining in the dark of night.” The song briefly quotes ELO classic “Telephone Line” and there’s even a snippet of the crowd’s cheers, but don’t count on performing royalties even if you think you hear your voice.

“From Out of Nowhere”, both the album and its eponymous opening track, contain Lynne’s trademarks – the layered voices, the high-pitched harmonies, sheets of keyboards and guitars and Beatles-esque melodies. It’s all expertly played, as usual, though the drums often sound rather mechanical. With ELO stalwart Richard Tandy playing a piano solo on the rocking “One More Time”, a reunion with ELO original drummer Bev Bevan would have been welcome.

Keeping with Lynne’s usual melancholy, the lovely second track “Help Yourself”, launches a four-tune section, also including rhythmically free-spirited “All My Love”, jingle-jangly “Down Came the Rain” and weepy ballad “Losing You”, where any optimism comes right after the rose-tinted glasses have been crushed – “I still remember how you smiled and waved your last goodbye/But somehow you will always live with me.”

Among the rest of the tracks, “Goin’ Out on Me” evokes Little Anthony and the Imperials’ “Tears on My Pillow” and closer “Songbird” includes the record’s most uplifting lyrics over its slowest beat.

“From Out of Nowhere” continues Lynne’s recent resurgence with songs that stay true to ELO’s immediately identifiable sounds. But to broaden the palette, after two albums that are solo efforts all in but name, Lynne should consider letting his much-praised touring band into the studio, too.

Michael Kiwanuka, “Kiwanuka” (Interscope Records)

Advice about letting your personality flourish, overcoming self-doubt, trusting your instincts and gaining the confidence to do your best work is meted out often and by many, but that’s easier said than done.

While Michael Kiwanuka was struggling with similar difficulties as he recorded his excellent second album, 2016’s “Love & Hate”, his new effort is an extremely successful example of being able to truly express yourself while possessing the talent in and around you for it to be more than a mere vanity exercise.

“Kiwanuka” expands and deepens the sonic palette of its predecessor, reuniting the Londoner born into a family of Ugandan refugees with producers and creative collaborators Danger Mouse and Inflo.

The three collaborators return to some of the musical touchstones of “Love & Hate” – Isaac Hayes, Terry Callier, Marvin Gaye – while often swapping the generally acoustic-based and neat sounds of that album for denser, fuzzier and more percussive atmospheres.

The songs usually flow into each other, simultaneously linked and separated by electronics, spoken-word fragments, vocal quilts and other assorted buffers, providing a sense of unity that also serves as a recommendation for listening to each song as part of a whole. (AP)

The opening trio of “You Ain’t the Problem”, “Rolling” and “I’ve Been Dazed” covers most of the bases – an uplifting, joyous start; a soulful guitar riff that illustrates the lyrics’ urgency and the need to keep moving; and a smoldering track that adds instruments and voices and then breaks back down as the singer both offers and seeks support and guidance.

Kiwanuka’s voice is altered to sound worn and weary at the acoustic start to “Hero”, but regains its youth and vigor as the track gains momentum, including an electrifying guitar solo, to focus on violent fates, societal failures and personal challenges.

“Hard to Say Goodbye” beautifully explores depths of feeling as the music swirls, while the hope and devotion on closer “Light” intensify as strings, an ethereal choir and another extended Kiwanuka guitar solo each add a turn to the kaleidoscope. (AP)

By Pablo Gorondi

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