New wave (64) italian (22) ambient (16) great voices (14) california sound (12) jazz (11) trip hop (10) wire (8) dark (7) neo-psychedelic (7) progressive rock (7) techno-western (7) alternative (6) indie (6) stan ridgway (6) wall of voodoo (6) David Sylvian (5) acid jazz (5) bauhaus (5) world music (5) Paisley underground (4) Peter Murphy (4) Psychedelic (4) australian wave (4) electronic (4) ethnic (4) funky (4) new dandies (4) post punk (4) simple minds (4) tuxedomoon (4) Jesus & Mary Chain (3) Julie's Haircut (3) a certain ratio (3) colin newman (3) dance (3) garage rock (3) hi pop (3) industrial (3) new order (3) oregon (3) progressive (3) punk (3) techno (3) the associates (3) true west (3) John Lydon (2) P.I.L. DANIELE LUPPI & PARQUET COURTS -Milano (2017).

But Jones and White aren't the only scene-stealers in Rome: Edda Dell'Orso pops up in the album-opening 'Theme of Rome,' picking up where she left off in the soundtrack to 1966's The Good, The Bad And The Ugly. Here, Jones at times channels the wounded iciness of Metric's great Emily Haines, while still lending her own brooding gravitas to 'Season's Trees,' 'Black' and 'Problem Queen.' Of course, White makes the most of his own three appearances, from the tone-setting portent of 'The Rose With the Broken Neck' to the album-closing 'The World,' which helps conjure mental images of rolling credits. Jones is long overdue for an image makeover: All those tens of millions of records sold and armloads of Grammys have made it easy to forget that she's still a remarkably cool singer. It almost has to sound better on paper than in practice, but it's terrific in practice, too, as it alternates appropriately cinematic instrumentals with a handful of nifty showcases for its headliners. Naturally, Rome can't possibly exceed the sum of its parts, with its successful composer and arranger in Luppi, its groundbreaking producer and composer in Danger Mouse, countless combined years of orchestra experience, a painstaking recording process with vintage equipment, and the juxtaposition of White's fatalistic moan with Jones' coolly detached croon. More than five years in the making, the project assembles many of the surviving performers of classic '60s and '70s Ennio Morricone scores - and, in half a dozen memorable cases, pairs them up with the vocals of Norah Jones or The White Stripes' Jack White. The long-anticipated brainchild of producer-composer Danger Mouse and Italian composer Daniele Luppi, Rome benefits from a bit of context.

Rome comes out May 17.ДЄudio for this feature is no longer available. Left to right: Jack White, Norah Jones, Danger Mouse (a.k.a.

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