Chimpomatic

Bike For Three!

More Heart Than Brains

Anticon

More Heart Than Brains is a creation that has been steadily evolving for many years and across vast distances and comes to our ears now as a fully formed and glistening piece of work. Bike For Three! is the collaborative project of Belgian based electronic producer Joelle Phuong Minh Le (Greetings From Tuscan) and Canadian rapper Buck 65. It all began when Phuong Minh Le found Buck through his Myspace page about two years ago and then sent him a piece of music to write lyrics to. As he explained in a recent interview I did with him (coming soon), he was so taken with the quality of this first and fully formed piece of music she's given him saying "It was was extremely flattering to me that somebody would give me their absolute best best and would push themselves beyond anything they had done before." This first song inspired a blissfully productive series of creative exchanges with Phuong Minh Le delivering shimmering electronic landscapes, all fully formed and unpredictable in their direction, for Buck to weave his intricate lyrical musings. The result is a highly personal and tender opus and probably some of the best things this MC has delivered.

The two artists conducted this creative exchange for many years but have never met. This way of making a record could produce disjointed music with both artists working separately but actually More Heart Than Brains is the opposite. The obvious mutual respect that Terfry talks about is clearly what has driven these songs and what makes both elements merge perfectly. It has also driven each artist to rise to eachothers high standards. Phuong Minh Le's compositions are simply stunning. With an exquisite attention to detail she crafts elaborate vistas built around downtempo beats surrounded in bristling textures. They rarely end up where they start and even though she first approached Terfry the task of matching these compositions with lyrics must have been a daunting one indeed. But it's one that Terfry rises to with equal confidence.

Being presented with such pure and beautiful music has brought out some of the most personal and revealing lyrics he's ever penned. Phuong Minh Le's music stands in front of him like a mirror from which intimate reflections of love and life emanate with arresting honesty. Can Feel Love (Anymore) picks through the wreckage of a broken relationship and all the time Buck's chorus lyrics are shadowed by a subtle and effect laden female voice that only confounds the loneliness. This loneliness is seen again on Nightdriving where Buck's often seen persona as a loner in a strange land takes place in a city at night. The music here gleams like never before reflecting the light that bounces over nighttime urban surfaces. His flow is also severely challenged by this music. This is seen to dazzling effect on one of the albums many highlights There Is Only One Of Us. This song starts with a female intake of breath, as if about to speak. It continues on a steady beat with the lyrics ambling along but then rises on a wash of synths to finally drop into a drum and bass formation with little warning. Buck's tempo excellerates on cue and the whole thing just launches with thrilling pace.

Since 2005's Secret House Against The World it's been pretty tricky to predict what Buck 65's going to come out with next. The following Situation was a highly conceptual album that seemed to rely more heavily on hip hop beats, but it put him in a place that was hard to come back from artistically. This collaboration has proved a wise move for him, taking him out of his one-man-band comfort zone into unfamiliar and yet rich territory. As each artist raises their game, reacting spontaneously and honestly to the creativity of the other, More Heart Than Brains sounds almost like a live feed in an artistic bounce off. It's the sound of two individuals trading intimate thoughts over time and distance and you really can't help feeling honored to be allowed to listen in.

#Music
#HHG

15th Jun 2009 - Add Comment - Tweet

Foreign Born

Person To Person

Secretly Canadian

Los Angeles based ‘Foreign Born’ release their new album, ‘Person to Person’- and it’s worth getting to know. This band’s sound is weighty and complex, with each song opening up like a landscape; building and growing, widening out into anthemic musical plains of guitar and synth.

'In the summer we survive the heat', drawls Matt Popieluch in the first track, ‘Blood Oranges’ - all tumbling riffs and a pulsing percussion heart. And that’s how it continues for the next nine tracks; guitar driven melodies and overlaid orchestration of strings and brass that invariably lend the songs real sonic depth.

There’s U2 in the mix, more than a hint of Modest Mouse and traces of the ubiquitous Arcade Fire. This music feels determinately optimistic - the cheerful guitars on ‘Early Warnings’ come out of the blue like a sudden interruption from some gig in downtown Lagos and bring a smile to your face. However across the album Foreign Born’s mood oscillates between hazy, summer warmth and the kind of melodramatic grandeur that comes with watching approaching storm clouds.

There are no rainbows without showers and the latter half of ‘Person to Person’ brings with it a soft melancholy in the more reflective songs: ‘It Grew On You’ and ‘See Us Home’. But even here, each track’s increasing momentum is driven along by Garrett Ray’s drums and the band’s enthusiasm that keeps insisting on something golden over the horizon.

#Music
#LG

12th Jun 2009 - Add Comment - Tweet

Psychoville

(creator: Reece Shearsmith and Steve Pemberton)

BBC Two

New darkcom from two of the writers from The League Of Gentlemen, Steve Pemberton and Reece Shearsmith. Where LOG was essentially a collection of oddballs sketches framed around the loose idea of a locals-only village, Psychoville is aiming to be a more coherent story. The frame is a blackmail plot, with a mysterious stranger sending the characters the same note: "I know what you did". Last summer? The summer before last? 

There's a similar love of the grotesque here: characters range from a mother and son who share a trainspotting love of serial killers to Mr Jelly ("Keeps Kids Quiet") - a clown who can barely contain his rage; a midwife with an unhealthy attachment to a demonstration baby (played by Dawn French); a blind collector who's hunting toys on eBay; a psychic dwarf and a mean panto Snow White.

It's a bit like being trapped in an English seaside town with all the shops shut, where people are tweaking out from behind their curtains: you know something interesting and possibly disturbing is going on, but you mind not want to hang out with them while you find out what it is. Some of the serial killer stuff's a bit on the gleeful side, like schoolboys sniggering at how much they can get away with, and the mum and son Sowerbutts team are pretty gross, while other bits like Siamese twins the Crabtree hovering over eBay sisters tap into a pretty unique take on modern life, and the sight of Mr Jelly punching out Mr Punch is very funny. 

If you're a League fan, you'll enjoy visiting Psychoville; if it left you a little mystified then no doubt you'll be in the same zone here. Fans will enjoy the added online element, which allows you to access bonus stuff every week on the Psychoville site if you pay attention to all the clues littered throughout each episode. It's this attention to detail and love of the genre that makes it a success, and it's encouraging to see a show that doesn't feel like it's come through the focus-grouped world of sitcom development. The mystery element should keep you coming back too, no matter how daft the set up feels at first.

#TV
#chimp71

10th Jun 2009 - Add Comment - Tweet

Sonic Youth

The Eternal

Matador

As a teenager, once I got over the total, utter, complete sell-out of Sonic Youth moving from legendary indie labels like Homestead and SST to undeniably major label Geffen in 1990, it was obvious pretty quickly that nothing had changed for the band. While my interest seemingly waned after Experimental Jetset, a quick scan through the back-catalogue reveals that I have inadvertently absorbed every major release - and none could be described as disappointing or flat. After releasing 9 albums with the label, Sonic Youth left Geffen in 2007, before pulling the typically left-field move of releasing a greatest hits exclusively through Starbucks, then self-re-released Master Dik and finally settling with Matador for the release of The Eternal.

While The Eternal is being promoted as something of a new chapter for the band, there's no need to reset your expectations - and you're certainly in no danger of being disappointed. Early single Sacred Trickster kicks things off, before the abrasive pummel of Anti-orgasm lets you know the band have lost none of their power - or their ability to craft a catchy tune. The sing-a-long style of Leaky Lifeboat (For Gregory Corso) sits comfortably alongside the screeching rock of Calming The Snake, making for a strangely cohesive record.

Jim O'Rourke may have departed in 2005, but the open slot in the line-up made room for former Pavement bassist Mark Ibold and his contribution is note worthy here, providing a focused spine through many of the songs that the guitars swirl closely around. The best songs on the album follow the same pattern that my Sonic favourites always did: a simmering, bubbling pot of sound that harnesses the power of a storm and takes its shape as a subtly catchy leviathan. Antenna, What We Know, Malibu Gas Station - there's more than a handful of excellent tracks on here that will disappoint no one.

While 2006's Rather Ripped and Thurston Moore's own solo album have arguably moved the band into a more conventionally structured sequence of songs, it's easy to forget how much the musical landscape has shifted since the band's early, pioneering albums of the 80s. The feedback drenched sounds of Sister or Daydream Nation are now considered essential listening - due to the popularity of the 90s alternative explosion that Sonic Youth helped enable. As a result, it's easy not to appreciate how radical a custom-tuned 9.43 minute closing track like Massage The History may have once seemed.

While the girls may be commenting how good Kim Gordon's legs are for a 56 year old, I'm just happy that the band have kept their ambition and refusal to conform. It may not be so much of a new chapter, but at least The Eternal is the continuing story of an old favourite.

#Music
#CSF

9th Jun 2009 - Add Comment - Tweet

Odd Nosdam

T.I.M.E Soundtrack

Anticon

The veteran Anticon producer follows up 2007's Full length Level Live Wires with a collection of hip hop pieces soundtracking the Element Skateboards' film This Is My Element. Each song is tailored to fit the Element skater it accompanies and so is a slightly fractured piece of work but one that sees this beatsmith on strangely upbeat territory crafting some of the dopest beats we've every seen from him.

Famous for his work on cLOUDDEAD, Odd Nosdam is known for his droney-wash soundscapes that fit better into a sound-art category rather than hip hop. Level Live Wires did much to alter this image of him and with this as its followup we see an already awe inspiring producer evolving into something quite special.

The trademark touches are firmly in place here. His work with cLOUDDEAD was meticulously crafted and every sound was enshrouded in fuzz, haze and feedback. this is an altogether cleaner affair but the beats, whether crunching and ominous like on T.I.M.E In or delicate and floating as in Ethereal Slap, rarely travel alone and are muffled and textured with such care and attention that makes them endlessly listenable. Whereas the emphasis in the past has been on oppressive textures songs like We Bad Apples with its guitar-driven melody and the booming Trunk Bomb transform this record into an absolute stomper.

Not surprisingly these songs work best when experienced in the context in which they were created. Seeing the pop/grind/land sequence in Nyjah Huston's opening section of the Elements film happen to the deep beats of the blissful Top Rank is endlessly satisfying and when Jeremy Wray lands a ginormous ollie over some stairs right on the beak of We Bad Apples it is truly awesome. This hazy hip hop obviously doesn't suit Bam Margera's style of anarchy so an appropriately brutal piece of punk has to be drafted in for his section. Elements boast a pretty hefty line up and with people like Mike Vallely and Chad Muska in this film it can't really fail but I've never seen a skate film's soundtrack entirely composed by one producer and it really unites the film into a concise whole rather than the sum of its parts. T.I.M.E is an impressive work both on film and on record and marks the point where this producer turns a corner.

#Music
#HHG

8th Jun 2009 - Add Comment - Tweet

Blank Dogs

Under And Under

In The Red

Blank Dogs is certainly something of an enigma. The Banksy of the noise-pop scene, he remains pretty much anonymous, choosing to hide his face under bed sheets or bandages for press photos. But the solidity of his work suggests that instead of being merely a cheap gimmick to attain notoriety this mystery serves to let the music do all the talking, and judging by the endless string of limited edition releases that have emerged over the last few years and now this, his latest full length, they argue a pretty good case. The one thing we do know about Blank Dogs is that it's singular but for this album he enlists the help of label mates Crystal Stilts and Vivian Girls. The results are impressive.

There seems to be a constant and for the most part welcome stream of fuzzed out noise punk assaulting my ears at the moment but what makes this sound stand apart from all the rest is that its emphasis isn't on 60's rock inspired, redlined garage guitar but opts for programmed beats, synthesizers and a heavy dose of 80's post-punk, goth and new wave. Much like On Two Sides, Blank Dogs' previous album, Under And Under rolls with a deep bass structure, effect laden guitar and a voice so submerged it could be from a different universe altogether. The title of this new release suggests the direction by which it parts company with its predecessor. The booming muffle of these songs impressively drags all that we learnt from On Two Sides way down to almost indecipherable darkness.

The genius of this record is the way he manages to elaborately construct his songs around distant Cure basslines while layering his monotone Joy Division vocals without ever sounding like a rip off. Setting Fire To Your House has a core that is straight out of The Cure's A Forest but it's a sheer delight. It seems to borrow all of the sounds that defined my early musical appreciation and drag them all under water to their deaths. Things are slowed down to a relentless mid-tempo and with all the effects that swirl around the feeling is like watching flash-backs of your life disappear under murky slush. Cutting through all this slush is the screech of distorted guitar that rudely imposes itself on standout songs like No Compass and Around The Room. With scant regard for anything this guitar carves out some of the most surprisingly satisfying melodies ever seen in this genre.

Unlike the recent Crocodiles record that at times seemed to find it hard to let loose the weight of its influences, Blank Dogs serves up a masterclass of how to honor those influences but treat them as starting blocks from which this guy springs forth very successfully. The last bedroom genius of this genre I got excited about was Wavves and as we've just witnessed his very public fall from grace lets hope this hooded enigma has more to offer.

#Music
#Gig
#BC

5th Jun 2009 - Add Comment - Tweet