Chimpomatic

Girls

Album

Fantasy Trashcan

This debut album from San Francisco duo Girls is so subtly engaging, so quietly addictive that it's virtually impossible to pinpoint exactly when, during the listening process, you fell in love or remember your life without this sound in it. It is the work of frontman Christopher Owens and Chet White and though it comprises twelve startlingly simply tracks it seems to encompass a whole history of love songs, each of which rises to the surface at one time or another but never dominate or detract from the central voice, and it's in this voice that the addiction begins.

Recalling as much Elvis Costello as Buddy Holly or Roy Orbison, Owens' 50's drawl is so unique that it could have been the undoing here while stretched out over 44 minutes. But instead it removes the listener from this time and takes them somewhere else. It has the Golden Oldies feel to it but with sometimes crudely produced jangly guitars and Owens' acutely contemporary writing this reference simply adds to the timeless quality and injects a beautiful element of nostalgia. These are heartbreaking songs that are often centered around love lost or yearned for but the quiver and vulnerability in Owens' delivery suggest a deeper hurt. Without this suggestion Album would just be an enjoyable Beach Boys do-over but the simplicity of these songs are underpinned by an emotional complexity.

Musically it's a pretty mixed bag. It tends to divide a lot of its time between the playful jangle-pop of songs like opener Lust For Life or the heart-wrenching croon of slow-jams like Lauren Marie or Headache where we join Owens as he floats weightless in cavernous chambers of loneliness. It can then glimmer with contemporary flair and serve up the lo-fi shoegaze scuzz of Morning Light or the clipped guitar ditty God Damned. The central and most addictive song has to be the first single to be released from Album, Hellhole Ratface. It's by far the longest track and lyrically the most intriguing. As usual it's built around the simple structure that has held our hand all the way through this record. But out of this structure where Owens pines for the brighter days that are surely around the corner he lifts the song into something profoundly special as the chorus is repeated into an unnerving swirling mantra. It's pure genius and might just be one of the best songs to delightfully grace my ears this year. And it sits proud on top of an exceptional pile. These are songs that could so easily have fallen into the category of forgettable pastiche, but instead dazzle with originality and integrity. Highly recommended.

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16th Nov 2009 - 4 comments - Add Comment - Tweet

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Nodzzz

Nodzzz

What’s Your Rupture

Despite the British sound and undoubted nod of the head to bands like Elvis Costello or The Buzzcocks and other Brit-influenced bands like The Feelies or Richard Hell, Nodzzz surprisingly hail from San Francisco. While that may undermine their British credibility somewhat, it is not their main problem.

Deliberately off-hand and disengaging, Nodzzz are ...disengaging. The atmosphere of ha-ha-just-messing-about provides little reward for the listener's time. "Controlled karaoke. La la la, this song is corny" or "Losing my accent. Da da da da." It's not enough.

There are basic, literal messages wrapped up in the lyrics here, but music can be better that this. Lyrics don't have to be printed in upper case to get a message across, and the power of music and atmosphere are put to little use here. It's harmless enough stuff and thankfully it's 10 songs only total a 15 minute running length. That's 15 minutes that you could put to better use.

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3rd Sep 2009 - Add Comment - Tweet

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Elvis Perkins

Elvis Perkins In Dearland

XL

Mr Perkins opened his first long player - Ash Wednesday - with the immense and emotional ‘While You Were Sleeping’. It’s so good that on listening back it dwarfs the rest of the songs. Second time round and the overall quality and craftsmanship have been taken up a notch or two and the collection feels more rounded, more varied, more interesting to the ear.

This seems to be down to Elvis being joined by, or, as the title of the album suggests, himself becoming a member of his live backing band – Dearland. Whereas last time round it was more about one man and his guitar, the lads from Dearland have brought as many instruments as they have ideas to the party. From the off you can feel that its much more than just one persons work. A broader range of styles, sounds and influences are drawn upon.

“On this new record we wanted to capture the spirit of our performances,” drummer Nick Kinsey said. And that they seem to do. The vim, vigor and energy that weren’t always present on Ash Wednesday, but appeared from nowhere on stage are present throughout the whole album. Even on the darker, introspective numbers the collective creativity has brought more punch and power to the poetic and prophetic verse penned by Perkins.

While on the opening song Elvis sings “black is the colour of a squashed rainbow” (which called to mind the manically depressed painter from The Fast Show) - it sounds like having the company has cheered Elvis up a bit. In the excellent ‘Doomsday’ - a title which hints he might be at his gloomiest - he triumphantly shouts: “I won’t plan to die. Nor should you!”

To paraphrase The Dude, it seems like he’s not really into the whole brevity thing - as some songs seem to linger longer than perhaps they need to. Though, that could just be me. I’ve been listening to the Minutemen a lot of late.

Putting that aside, this album is certainly a step forward rather than simply more of the same. It’s good and I like it. So there.

Three Songs to Spotify:
I Heard Your Voice in Dresden
Send My Fond Regards to Lonelyville
Doomsday

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10th Mar 2009 - Add Comment - Tweet

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Joan as Police Woman

Concorde 2, Brighton

Brighton’s always had a faintly sordid come down vibe, as though every day is like the last day of a festival. Into the city come Brooklyn’s Joan as Policewoman, intent on banishing the Sunday night gloom.

There’s an echo of Chrissie Hynde and Elvis Presley about Joan Wasser, with a bit of PJ Harvey thrown somewhere in between. It’s all a bit incongruous, as though she’s far more confident than you give her credit for, or far less, you can’t quite tell which.

It starts as an emotional romp of contemplative, melancholic offerings to the dead. ‘Flushed Chest’ for former lover Jeff Buckley, ‘To Be Lonely’, the beautifully synthy ‘Start of My Heart’ and ‘We Don’t Own It’ dedicated to Elliott Smith. Her vocal range yearns to be unleashed but Joan likes to keep you waiting. The emotional foreplay comes to an end with a unique interpretation of Jimi Hendrix’s ‘Light my Fire’ and the throbbing ‘Christobel’ which lifts the mood completely. ‘This is for the new Black House ….. yeeeeeeow!’ screams Joan as the band launch ‘To America’ - a duet recorded with long time cohort Rufus Wainwright. Tonight Rufus’ falsetto vocals are gallantly performed by bassist Timo Ellis and drummer Kindred Parker. The energy leads into a ferocious ‘Furious’, the highlight of the night, but just as they get going the lights come up.

See more photos on our Flickr page.

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11th Dec 2008 - Add Comment - Tweet

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Robyn Hitchcock

Queen Elizabeth Hall

Yep Roc

I Often Dream Of Trains And Other Phenomena

As a long-term Robyn Hitchcock fan, it's always interesting to see what he's going to come out with live - a good 30 years worth of back catalogue means there's a lot to choose from.

Tonight he followed the do-one-album nostalgia format that acts like Sonic Youth and Patti Smith have been trying out. In true Hitchcock style, he presented the "director's cut" of I Often Dream Of Trains (not much chance with a surname like that, etc...) Which meant he veered from the track listing, adding in songs like Queen Elvis and the magical Raining Twilight Coast (which he said was part of the Train sessions, but didn't appear until Eye) and That's Fantastic Mother Church (an unreleasd track that's appeared on the recent mammoth 5 CD I Wanna Go Backwards collection) as well as covers of Roxy Music's More Than This and an Incredible String Band number that he said inspired what he was aiming for at the time - a "dark green album".

With one-time Higson Terry Edwards (inspired by Listening To The Higsons?) on everything from trumpet to keyboards and bass, plus auxiliary guitar from long-term live suppport Tim Keegan this was a classic Hitchcock gig, with the added bonus of him playing piano on tracks like the opener Nocturne.

More than ever, I Often Dream Of Trains and Trams Of Old London both were filled with that beautiful sense he's got of pulling nostalgia, artful detail and acute observation together to create a vision that's uniquely English, defined by the world as he sees it, illuminating it for the rest of us. When I first heard the Freudian acapella Uncorrected Personality Traits, it seemed like a hilarious exercise; now, it feels like he was hitting on dark truths way back in 1984, masked in humour. Similarly, I Used To Say I Love You cuts way deeper than I ever realised; This Could Be The Day sounds even more balanced between hope and resignation; Cathedral a fully realised insight into the possibilities (or otherwise) of ever knowing someone.

At the same time, RH keeps it all together with his effortless spiels, riffing on everything from Sinatra's legs to Waterloo Bridge, Bush's hotline to God and YouTube subtitles. Could have done with Sometimes I Wish I Was A Pretty Girl, but other than that this was an excellent chance to spend an evening inside the world of one my all-time favourite albums.

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29th Jan 2008 - Add Comment - Tweet

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Best of 2007

Chimpovich

Albums
Honourable mentions to: Elvis Perkins, Love of Diagrams, Silversun Pickups, Battles...

5. The Ponys - Turn the Lights Out
4. Band of Horses - Cease to Begin
3. Plate Six - Battle Hymns of the New Republic

(and these two clear by some stretch)

2. Dinosaur Jr - Beyond
1. Kings of Leon - Because of the Times


Songs (in no order):
Battles - Atlas
Two Gallants - The Deader
Elvis Perkins - While You Were Sleeping
Frightened Rabbit - The Greys
Dinosaur Jr. - Pick Me Up
Kings of Leon - Black Thumbnail

Film
Eastern Promises.

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18th Dec 2007 - Add Comment - Tweet

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Super Furry Animals

Hey Venus!

Rough Trade

Staying true to their name, SFA’s 8th studio album and first for new label Rough Trade, Hey Venus!, is a collection of warm, fuzzy and reliable tracks from these Welsh indie stalwarts.

Recorded by Broken Social Scene producer David Newfield, it comprises 12 multi-layered tracks, that range from the Primal Screamish rock stomp opening of The Gateway Song, more than a hint of epic Elvis Costello (Run-Away), the almost horizontally laidback and beautiful (The Gift That Keeps Giving), a gaggle of funky fuzzed up rockers (Noo Consumer, Into The Night, Baby Ate My Eightball) to Carbon Dating, which wouldn’t be out of place on a 60’s UK Film soundtrack (probably Get Carter). 

All these are tied loosely around a single concept, explained by the band themelves in their open-lettered brief to Japanese artist Keiichi Tanaami, as they sought his services for the album’s artwork.(see comments). Whilst varied, no song strays too far from the pyschedelic-pop flock, resulting in an album that sounds like a well-behaved and focussed Flaming Lips.

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23rd Aug 2007 - 1 comments - Add Comment - Tweet

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Elvis Perkins

Ash Wednesday

XL Recordings

I haven’t quite cracked the elusive unifying theory of why I like or dislike a certain song, but what I’ve sussed out so far is that the music I love the best is the music that makes me feel something. Be it happy or sad. I can only guess, having spoken to none of my musical icons on the subject, that such music must have been made by people who were genuinely feeling it.

After the first listen to “Ash Wednesday”, the moving debut album by Elvis Perkins, you get the impression that this man feels an awful lot of the melancholy that the age in which we live in can inspire. It might just be that the first listen to this album coincided with me turning 30 and the hangover that it brings, but it really struck a chord.

His take on alt.folk draws from other troubled troubadours both past and present. With a nod in the direction of Willy Mason, a crib sheet of cryptic Dylan poems and the warmth and feeling of Ray Lamontagne, Perkins has done his homework, but nicely woven the sources together rather than simply plagiarising the lot.

The album opens with the ace While You Were Sleeping which starts off with just his laidback vocal over his acoustic and is subtly built up to fill your speakers with some fine full blooded soul searching by voice and band alike. Those heights are briefly reached again on the excellent Moon Woman II, but the rest of the album is a more sombre and introspective affair.

Seeing him play live, as Muxloe and I did last week (supporting the aforementioned Willy Mason), he injected more joy in the performance than is present on the album. His backing band throw themselves into some of the songs with the gusto of an old rag time funeral marching band, but not losing the emotion of the songs.

After already being convinced of the album and its integrity, I learned that he lost his father (actor Anthony Perkins) to AIDS in the early nineties and that his mother was killed on board one of the planes on September 11th 2001. It suddenly became obvious that the feeling of end of the world hopelessness captured on this album is undoubtedly genuine.

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3rd Jun 2007 - Add Comment - Tweet

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Wilco

Sky Blue Sky

Nonesuch

As I have previous professed, for me Wilco are one of the best bands operating at the moment. Since I first got hold of their Mermaid Avenue collaboration with Billy Bragg, I tracked back and forth through their output, sucking it all up until I had it all. As a relatively late adopter, I had less of the undying love for the "alt.country" end of things, and for me A Ghost Of Born was the ultimate conclusion of where a band like this was going, leaving me to wonder where they would be heading next.

While Kidsmoke, Hell Is Chrome and the other big show-off tracks on A Ghost Of Born steal the show, they also tend to over-shadow some superb numbers that pop up later in the album, such as Theologians, Late Greats or Company In My Back. With sixth studio album Sky Blue Sky things are on a much more even keel, making for a more subtle record that is beautifully crafted and full of hidden treasure.

Forget the Fleetwood Mac comparisons you might have heard, The Band are your homework reference for this album, with superb musicianship pulling from all sides to make an apparently simple track like You Are My Face into a musical masterpiece -  winding up from ballad to multi-part guitar duel, or to transform the opener Either Way from a sunny-weather ditty to an all-out majestic finale, complete with a string section. Great talent brings great responsibility however, and unfortunately the album suffers from some of the same pitfalls as The Band's work from Stage Fright onwards - with the undoubtedly excellent musicianship sometimes falling short of the emotion needed for it to engage the listener as A Ghost Is Born did - which I suspect may be down to a Iack of trouble in Wilcoworld at the moment. If only Tweedy could get back on the painkillers.

But fear not, Wilco are still a long way from a Steely Dan's sometimes unapproachable studio tan style. The glib opening line of Impossible Germany ("...unlikely Japan") is quickly forgiven as it morphs off into a six minute guitar monster. And if you do find yourself waiting for that trademark emotional crack in Tweedy's vocals,  don't worry - that comes soon enough on title track Sky Blue Sky: "It's good enough for now..."

Man of the match definitely goes to new signing Nels Cllne, who takes the guitar standards of Wilco's previous records to epic new heights. As a former free-wheeling jazz guitarist he has added guitar to projects by Mike Watt, Stephen Perkins' Banyan, Thurston Moore and others - as well as releasing some notable, if meandering solo work (I've seen him live, and had the sore improv jazz buttocks to prove it). Kept on a tight leash by Tweedy's songwriting, which often reins him in, Nels Cline excels - adding a multitude of guitar highlights, from the crisp Stevie Ray Vaughn-esqe solo that rounds off opener Either Way, to the pyrotechnics that take Side With The Seeds from it's deceptively soulful opening to it's barnstorming finale.

Sure, there are a couple of more forgettable tracks, but the power hidden behind the laid back effortlessness of this album will be fully revealed live and I have no doubt that it is only going to get better and better. I'd even go so far as to wager that after seeing this record played live, the track about Jeff cleaning the house (Hate It Here) may be a late favourite. We'll see.

The bottom line is that this is a top-flight band working at the top of their game. On the surface it may seem to have the stumbling style of fan favourite Yankee Hotel Foxtrot, but when listened to next that album it is a far more complex affair. While it might not have the more overt scene-stealing sonic theatrics of the Jim O'Rourke influenced A Ghost Is Born, beneath the surface there are more than a few nods in that direction - notably on the fantastic closing track On And On And On, where the guitar is pipped to the post at the final hurdle by Mikael Jorgensen's keyboards. His Garth Hudson-style Hammond organ adds a steady stream of quality input throughout the album, but on On And On And On it is thrust into the limelight and carries the album home, bringing it back from a minor lull to finish magnificently.

This is a superbly rich record, taking the huge range of previous Wilco output and creaming off the best of all their albums and shaping it into a rich and polished career overview. There is a fluidity, solidity and cohesiveness here that make it an accomplished delight.

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16th Apr 2007 - 4 comments - Add Comment - Tweet

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Desert Hearts

Proud Galleries, Camden, London

The tradition of live music in art spaces is a cool one that dates back to the Exploding Plastic Inevitable when the Velvet Underground showcased new tunes to the freaks and beautiful people of Warhol's Factory crowd. The Proud Gallery in Camden with its tardis-esque roof space is certainly a cool venue and perfect for such a balmy evening. But don't the patrons just know it. Cool enough to attract the beautiful people that's for sure but the only freaky thing about them was their preference for supping overpriced bottled beer rather than enjoying the bands on offer. A fear that this may be a night of style over substance was fuelled by the furniture on terrace. The canvas deck chairs displayed pictures of such icons as Marc Bolan, Jim Morrison, Gene Simmons and Pete Doherty – the impression was that the likes of Pete Townsend, Angus Scott or John Cale would not have been fashionably stylish enough for parking the posteriors of this crowd.

Such suspicions threatened to be confirmed by night's first act - Tiny Masters of Today. The guitarist wore a t-shirt emblazoned with a large number '12' which neatly worked out to be the average age of the bands stars, 11 year old Ada and her brother 13 year old Ivan, endorsed by such luminaries as Bowie and Karen O. (The trio was completed by Russell Simins, drummer from the John Spencer Blues Explosion.) Initially it was hard to decide if this was a grotesque gimmick or an inspired vision of the future. Considering that they hail from Brooklyn and were playing to a room full of Camden Trendys at least twice their age, the assertion of one chorus that 'all my friends are here with me' seemed a little bit weird and sad. But fair play to Tiny Masters of Today they proved themselves to be more than just a novelty with a tight live act and a couple of joyously rockin' tunes. Their finale of a cover of House of Pain's Jump was anything but grotesque and did indeed border on inspired. Ada even told us that 'this is a real song' as if the Camden crowd didn't know it.

Next act The Invention, fronted by a singer my companion described as like Eddie Vedder on speed, gave their all for a dedicated following. Most couldn't be drawn away from their lime topped beers but the committed fans didn't care singing along to all the songs and while not exactly liking to shoot guns nevertheless showing themselves to be pretty dangerous with flailing elbows.

And then there were the Desert Hearts. The faces of Ada and Ivan might one day feature on art gallery deck chairs after pricking the top 40 a couple of times, but one imagines that even with sales outstripping Elvis the Desert Hearts with beards and grungy cardigans will never be icons to the beautiful people. In any case they'd be wasted on this bunch. After a frantic opening they asked of the smattering of people bothered to take an interest in them 'so is this how it is in London?' - the answer was muted silence but should have been a reassuring 'no this is how it is in an art gallery in Camden'.

Sharing a producer on their most recent album Hotsy Totsy Nagasaki with Mogwai and Arab Strap, the Desert Hearts can be seen as part of this Celtic lineage. Where Arab Strap might be a contemplative sulk and Mogwai the pre-row brood on tonight's performance Desert Hearts are the tantrum and argument itself. They wanted to play a laid back set, explaining this was because 'we're fucked' but instead delivered a 'rifftastic' set of urgent guitars and driving drums which shook the stage if not the whole venue. By the end of their set the crowd had swollen by the passionate sound of the Desert Hearts but still many of the beautiful people drank their cocktails on those deckchairs. For those freaky enough to enquire what was going down on stage it was a triumph for substance over style.

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10th Apr 2007 - Add Comment - Tweet

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Dan Sartain

Join Dan Sartain

One Little Indian

This is the second full length from the Alabama based musician and at 24 Sartain has managed to create a timeless piece of work that oozes bitterness but is delivered with an upbeat confidence. Recorded partly with a mariachi band and partly with The White Stripes producer Liam Watson, Join Dan Sartain is a lighthearted and refreshingly honest example of one man doing what the hell he feels like.

The great success of this record lies in it's subtle air of defiance. The 15 songs here represent a polite two fingers up to just about everyone in Sartain's life. As the last notes of the closing track Love Is Black ring off you can imagine Dan Sartain, with the arrogance of a young Johnny Cash, throwing his guitar at the mixing desk and storming out of the building mumbling "fucking record that, see if I care." The music isn't at all aggressive and it's hard to pin down just where this defiance comes from, but the effortlessness with which Sartain delivers his short little ditties is a good place to start. The furious pace of the opening track Drama Queens set's Sartain's agenda from the outset. At one and a half minutes it's a tightly packed bundle of forked tongue bitterness and it hooks you in good and proper. And talking of tongues, Sartain's seems firmly in his cheek as he skips through many different genres from the dirty grunge of I Wanted It So to the spanish love song Besame Mucho, originally recorded by Elvis. The warmth of the mariachi accompaniment of Flight Of The Finch is contrasted nicely by the fierce musings of two of the albums highlights, Gun Vs Knife and Hangers On.

It's great to hear an album that obviously comes from a rich tapestry of sources and though many of them will instantly spring to mind they will be wiped clean just as quickly and the lasting impression will be be a work very much its own. The arrogance of the music is reflected in the title of the album and if this is Dan's raleigh call to join him then I for one am in. I say that but at the same time get the impression that you can pledge allegiance as much as you like but the final decision lies with Dan himself and after hearing this record I am left with the immortal words of Eddie Murphy ringing in my ears, "This is my house, if you don't like it, get the fuck out."

I like it, I like it.

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30th Nov 2006 - Add Comment - Tweet

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Various Artists

Peanut Butter Wolf Presents...Chrome Children

Stones Throw Records

Following the critical success of Dangerdoom's The Mouse And The Mask, the late-night animation network Adult Swim has teamed up with Stones Throw records to bring us this epic all-star compilation that really showcases the breadth and scope of this label. Stones Throw is celebrating it's ten year anniversary and following the excellent 'Stones Throw: Ten Years' record, Chrome Children is the second compilation to mark this occasion. The label has always been committed to quality beats whatever form the may come in and Chrome Children features big hitters like MF Doom, Madlib and J Dilla alongside lesser known artists like Guilty Simpson.

Having teamed up with a cartoon network you might expect playful beats from the Ugly Duckling school of thought but then you must remember that Adult Swim brought us cynical classics like Family Guy and American Dad, so bubbly beats is the last thing on offer here. Oh Zone starts us off gently with a wonderfully eclectic beat structure and effortless rhymes that leads us on to the star of the album - Guilty Simpson. Stones Throw's newest signing and long time J Dilla associate, Simpson has a dark and brooding rhyme style and with the lyric "My mood swings like pendulums, I got two birds, one's the middle finger and trust me it's the friendly one," his voice resonates with a booming seriousness that is echoed by the minimal bass heavy beat. The quality keeps coming, with Madlib offering up a great solo cut that showcases his easy as pie style. Stones Throw's ace card is the mighty and elusive MF Doom who appears here with Madlib as Madvillian and Monkey Suite takes no prisoners. Doom's vocals are monotone and unrelenting, the beat: dark and plodding and all the other tracks tread carefully around Monkey Suite, so as not to anger this masked and hooded heavyweight.

But thankfully it's not all doom and gloom and the many instrumentals here offer much needed relief. Koushnik offers up a funked-up calypso gem in the style of Stomp armed with a plethora of rubber dustbins while James Pants hits us with a B-Boy friendly slice of breakbeat bliss. All this was a surprise to me as I had the J Dilla cut pegged as the instrumental high point but was sadly disappointed. Nothing Like This is an adventurous piece of beat technology that has all the signs of Dilla class but ultimately goes nowhere. Dudley Perkins crafts an expert 3 minutes of cartoon hip hop that falls somewhere between Outkast and Del era Gorrilaz. His style of rhyme/singing over the dramatically animated beat seems almost freestyle and it's playful tone is very welcome at the midpoint of this record.

The beauty of this long standing record label is its refusal to be type cast as a hip hop label and has continued to source new forms of funk, R'nB and soul but as a compilation this can sometimes tread thin ice. With the exception of Pure Essence's glorious Gil Scott Heron infused soul of Third Rock the non hip hop cuts seam weak when put alongside the heavy-hitting rhyme sayers and Chrome Children does seem to tail off towards the end. But this is all forgotten when you take a look at the DVD that accompanies this anniversary collection. It features interviews with Madlib and Stones Throw mastermind Peanut Butter Wolf but more importantly showcases the labels all-star line up gig at the SXSW festival. Though not particularly visual this gig shows just how important this label is and features all the players including a highlight set from the lyrical acrobatics of Percee P. The masked figure of MF Doom is the headline act here and offers non US viewers a rare chance to catch his live set as he is curiously unable to leave America.

A label of this magnitude can't hope to please every one all the time and though this generous package is patchy at times it shows us just how high its sights are set and with fantastic album art work and some brilliantly animated videos on the website it really shows its commitment to creativity in general.

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13th Nov 2006 - Add Comment - Tweet

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Brakes

The Beatific Visions

After 2004's Give Blood, Brighton's Brakes are back with their second album The Beatific Visions - and the bets are on. Where Give Blood was an eclectic and electrifying collection of tracks, it certainly wasn't without it's problems. It showed great promise however and the threat of a more permenent band (The Electric Soft Parade is another band featuring two of the Brakes) spending more time focusing on a new Brakes album was a tasty prospect.

Opening track Hold Me In The River fulfills the early promise right fom the start. The playing is sharp and focused, with the song quickly shifting up through the gears. The guitars are high on the priority list, with a sliding screech like a muscle car burning rubber. Although the song is more focused tha some of the more comedy elements of Give Blood, there's still plenty of room for wit - with Scarlett Johansson being amongst this song's topic of fun.

There's no drop as we move on with Margarita and the album's already sounding like an old favourite. The country-punk element of their sound is one of the band's strong points - making for taught and engaging songs without the constraints of sounding like everyone else at the moment. This aspect to the Brakes sound has evolved and matured with this album - no doubt helped by the fact that the album was recorded in Nashville with a who's who from all over the record industry. Recorded by Stuart Sikes (Cat Power, White Stripes) at The House of David studio (as used by Elvis amongst others) and featuring David Briggs (of Muscle Shoals, and Elvis' 70's band). If I Should Die Tonight showcases all of these elements to full effect, creating a superb modern country sound layered with guitars and piano under a simple but engaging lyric.

My main gripe with Give Blood was always the under-developed feeling of some of the songs, which seemed to end just as they got started. That has been addressed on several songs here, but unfortunately Mobile Communication, No Return and title track Beatific Visions are the least successful songs this time round. The songs seem to flatten out into a far more conventional sound and structure, robbing the band of much of their originality. It's a small niggle however, and things pick up again with Cease and Desist and the excellent Porcupine Or Pineapple? - distilling recent wars to a few simple words. Spikey, spikey, spikey. At 1.04 it's the shortest track on the album, which still only clocks in at 28 minutes for 11 songs.

The balance seems a bit lost on the album, which could possibly be rectified different sequencing... although I think from now on I'm just going to shut up and keep my opinions to myself, as if this is any evidence to go by Brakes can do a good job of moving things on by themselves. There are some fantastic songs on this record and it just adds further evidence that the band are heading in the right direction, making great music along the way.

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24th Oct 2006 - 2 comments - Add Comment - Tweet

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Zappa Plays Zappa

Manchester Apollo

finally getting to hear zappa's music live is a pretty special thing if you've grown up with it, and I assumed it wasn't going to be possible after the great man smoked his last cigarette. wasn't quite sure what to expect with this dweezil zappa-fronted band - mawkish nostalgia? natalie cole plays nat king cole style weirdness? slightly embarrassing outing from someone who can't actually play as well as frank?

the set starts with some live footage of zappa and the mothers from the 1973 live at the roxy set - montana and another one i hadn't heard before (there's always the odd fifty albums or so to catch up with in the zappa archives)... then as frank retunes his guitar, dweezil and the band walk out, and kick into a storming version of hungry freaks, daddy followed by help i'm a rock - tracks i really thought i'd never hear live.

things just kept getting better from there - great sound, the band have been seriously drilled by dweezil (who's also nailed the style of frank's solos - inca roads was truly awesome - not a note-for-note transcription, but like he's absorbed the sensibility of the zappa tone and is channeling him on that trademark SG) - he's got them to the point that zappa had with his bands where he can direct them to change time signature, feel, who's soloing etc etc with a hand signal - jumping from bass to sax mid-bar - really impressive musicianship, but also highly entertaining (yes, humour DOES belong in music when the jokes are this good). having napoleon murphy brock who sang on loads of the 70s classics made it even more authentic - he's the voice of that great era, and is a real performer, as well as a great sax player.

the only downer came when the power on dweezil's mega guitar rig disappeared. rather than throwing a strop about it, he kept the audience in the loop, looked visibly disappointed and apologised profusely - you could tell he just wanted to put on the best show possible for his dad's fans, and the fact that the ability to switch from one cool sound to another was going to throw him off his game. the band launched into pound for a brown which they hadn't tried before, but eventually they had to power down the whole venue to sort it out.

bar time.

this could have been a drag, but the fact that they then came back with steve vai for some extra insanity on the solos front made it all ok. having someone who can literally do anything on a guitar is sometimes too much, but in this context, where the rest of the band are up to the challenge of making zappa's avant garde rock work, it's what you want. squeezing crazy notes out of his signature ibanez jem guitars, he's a joy to watch, freaking out, noodling at 100 miles an hour, then trading licks with dweezil in a real guitar-fest showdown. actually prefer dweezil's solos, but it's pretty cool to see someone going that far out. as chimp north points out, vai's the devil to dweezil's ralph macchio in crossroads.

the time lost meant that we missed out some other highlights that they had planned like city of tiny lights which we would have loved to see. also no terry bozio who has been playing trying to grow a chin, i'm so cute etc from the sheik yerbouti era.

but we did get to see them trying something they hadn't before - the screen dropped down, to let frank back on stage, filmed in a nutty 80s jumpsuit - soloing with dweezil's band playing. bit elvis, but still cool.

giving it 4.5 due to the lost time etc, but we're not holding it against them. if you love zappa, this band are kiling ugly radio.

other trivia facts from chimp north:

he's playing an SG because that's what he thinks of when he thinks of frank playing and it gets him in the frank zone
they're not frank's actual guitars though - didn't want to risk losing them on tour
they're in talks with gibson to produce a signature zappa model.

ps pic from manchester coming soon…

#Music
#Gig
#chimp71

2nd Jun 2006 - 1 comments - Add Comment - Tweet

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Walk The Line

(dir. James Mangold)

Biopic of the young Johnny Cash, following his upbringing by his tough father following the death of his brother, his start in the music business, his being offered drugs by Elvis' cronies, addiction and constant pursuit of hottie singer June Carter.

Joachim Phoenix was nothing special and I can see why he missed out on the Oscar nod. Unfortunately the same goes for Reese Witherspoon, both were OK and you could even assume they put in reasonable impressions of their characters, it was just that the story itself itself just wasn't that interesting. There was no real drama, goal or end point and in fact it pretty much just finished after the famous Folsom prison show.

The execution was very dull, and cliched... so much so that I thought the first half was simply setting up things for some kind of dark twist which never came. When things were hard it was raining, when they were good everything was sunny. I expected more from James Mangold after Copland... but then he did also bring us Identity. He meanders us through the story, broadcasting the drama to us in cliched and obvious ways (on the phone: "Stop cryin', I can hardly hear what your saying!") and then it just comes to a fairly abrupt but not unwelcome end.

#Film
#CSF

14th Mar 2006 - 1 comments - Add Comment - Tweet

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