Chimpomatic

The Rank Deluxe

You Decide

Fat Cat

This album sounds like a great deal of work has gone into it; the songs are interesting, the instruments are all played nice and tight, and the production sounds really full and clear, but I have to confess I'm struggling with it because of the vocals. The Rank Deluxe offer up a confident and thoughtfully crafted album full of indie rock which should, by rights, gain them a lot of attention and maybe some airplay. Once again, it's the sound of early 80's post-punk which informs the band's sound, and in the Rank Deluxe's case the influence seems to be both The Ruts and The Beat (bands with a tad more intelligence and creativity than many of their counterparts). The guitar playing stands out - a tight and schooled American approach to indie rock along the lines of Albert Hammond Jr, and the rhythm section is totally on the case with snappy disco rhythms and reggae influenced basslines. So where does it all go wrong? For me, the stumbling block is the vocals - singers Richard Buchanan and Lewis Dyer have made the decision to sing in a resolutely cockney accent, which is no doubt their own speaking voices. They both have good powerful voices, excellent range and accuracy, but the upfront nature of the glottal-stops, flattened vowels and dropped H's detract in no small way from the band's music.

I'm sure it's an approach the band must be happy with - an unambiguous declaration that The Rank Deluxe are a London band - with colours nailed securely to the mast. This may win them some fans because singing in your own accent is somehow more "real" but could limit their appeal to audiences north of Watford, or on the other side of the Atlantic. Lyrically solid, musically adventurous and sonically charged, the album has few low-spots and works better on tracks like Innocence where the cockneyisms are less emphatic and more relaxed. Basically, this is what Hard-Fi would sound like if they were any good - and one or two listens will make your mind up. I won't be listening to it much, but I have found myself humming the melody of Doll Queue all week, so they must be doing something right.

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#HarrisPilton

24th Mar 2009 - Add Comment - Tweet

Gentleman Reg

Jet Black

Arts & Crafts

Good things have been emerging from the Canadian music scene over the last few years; Arcade Fire, Broken Social Scene, Wolf Parade… Nickelback. This month sees the arrival of Gentleman Reg (Reg Vermue), whose debut UK album, ‘Jet Black’ arrives here on Broken Social Scene's Arts & Crafts label.

‘Jet Black’ opens with plenty of cascading guitars, honky-tonk piano and thumping percussion, which initially brings to mind something of Ben Folds. As the album progresses, however, things take a few abrupt turns. At intervals Reg seems to invite the likes of Belle and Sebastian, Rufus Wainright and even the Scissor sisters along to the party.

At the heart of this album two songs settle Gentleman Reg most comfortably into a landscape of synthesiser heavy, electro-pop. ‘We’re in a Thunderstorm’ and ‘Falling Back’ had me convinced I was listening to the confections of Gallic-pop-combo, Phoenix. Even the lazy way Reg slurs his lyrics suggests a fraudulently French approach to the art of singing in English.

Apparently Reg, ‘has made his sexuality a matter of public record’ and is ‘regularly involved in Gay Pride events’, which strikes me as a curious thing to feel the need to emphasise in pre-release publicity. Half the time, I admit, I didn’t have a clue what the record was making public through its garble of mumbled lyrics, but the music can be dangerously catchy. Occasionally whimsical, more often upbeat, it’s sweet tasting and fluorescent. Certainly not ‘Jet Black’.

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#LG

23rd Mar 2009 - Add Comment - Tweet

Condo Fucks

Fuckbook

Matador

You'd be forgiven for thinking that the new album by Connecticut trio Condo Fucks was a long lost demo from a band who's proper recordings sounded awesome, and actually you wouldn't be far wrong. That band is called Yo La Tengo and Fuckbook is basically their new album. Way back in 1997, in the liner notes of Yo La Tengo's I Can Hear The Heart Beating As One, was listed a tongue in cheek discography of oddly named Matador releases, Condo Fucks being among them. This led to quite a following of this mysterious garage punk band. Most of these releases became so rare and limited edition that most people never even heard them. Well they're back and though it's not really publicised as the new Yo La Tengo record the fact that Georgia Condo is the drummer, James McNew the bassist and Kid Condo on lead guitar and vocals and the the album's title itself is slightly reminiscent of Fakebook, Yo La Tengo's cover record of 1990 it's not difficult to work it out, oh, and did I mention that this is a cover record as well?

All that aside, Fuckbook is a triumph no matter who gets the credit. It's like a whole album of those gritty garage jams that crop up amid the blissed out numbers on a Yo La Tengo record. It borrows from the 60's and 70's for it's cover material taking songs from the Small Faces, The Kinks, The Beach Boys and Slade and forcing them all through a decrepit mincer. The main point to note here is the production quality, and before all you uptight Hunches fans start lining up in the car park with your knuckle dusters, I like it. It's gritty as hell with great fists of guitars and crashing drums being swamped in feedback and muffled chaos, the vocals are launched from the back of the room and often get totally buried in this onslaught of grimy mess. It's The Stooges, but hardcore.

However, with the line up of songs this approach works magnificently. It sounds like a band free of their usual day job and loving the anonymity of their disguise. It's apparently a recording of a secret rehearsal that took place last March and it sounds like it. From the opening butchering of the Small Faces Whatcha Gonna Do About It? they lurch from one song to the next counting each on in with hurried impatience. The disguise slips on their version of the Kinks' This Is Where I Belong. If Ira's vocals weren't so buried it would be very clear who is behind this record. The Beach Boys' Shut Down brings the mask back up to the face as it races through the surf rock cover with gleeful abandon. The Flamin' Groovies' Dog Meat is a magnificently chugging brut, with James McNew at the helm and the spirit of the era in which this song was originally recorded is evoked to great effect. The band crash their way through this song without a care in the world and the same can be said for most of this record, actually all of this record. It sounds like what happens when the teacher leaves the room or fails to turn up at all. Cast your minds back to that magical moment when it looks like the teacher has forgotten your class and this is what it sounds like. Since I'm Not Afraid Of You... I was feverishly awaiting the new Yo La Tengo record, I'm ok now.

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#BC

20th Mar 2009 - Add Comment - Tweet

BLK JKS

Mystery EP

Secretly Canadian

After a year of critical acclaim in the UK and the US, South African art-rockers BLK JKS signed to label Secretly Canadian - who now offer The Mystery EP, a re-mastered and re-sequenced re-release, which was initially produced by the Secret Machines' Brandon Curtis.

These days 'Art Rock' seems to mean slightly erratic drums and having a couple of Paul Simon or Talking Heads albums in your CD collection, but it's a term that serves a purpose and provides a reference point to where these songs might fit in to the bigger picture. Less Vampire Weekend and more Brain Eno might narrow it down further, as the band's vocals ebb and flow around the music, becoming more of a sound than a lyric (see "Mystery"), adding another strand of subtle texture.

It's multi-layered and mysterious, and while there may be nothing new as such (Animal Collective and mid-80's INXS could provide further touchstones), there's a nice subtlety and atmosphere here - and the potential is obvious as things gain some focus on "Summertime", progressing nicely with a spiraling tune rising out of the experimental chaotic sounds. While there's not all that much to write home about at this point, this is ambitious stuff - which will hopefully distill down in the future to reap many rewards for the listener.

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#NM

19th Mar 2009 - Add Comment - Tweet

To Arms Etc

Corner Games

Bronzerat

Taking inspiration from Serge Gainsbourg's 1979 reggae album (don't ask) Aux Armes Et Caetera, To Arms Etc are fronted by Australian multi-instrumentalist Charles Campbell-Jones. Recorded over a prolonged period with a rotating array of guests and band members, Corner Games has a surprisingly cohesive sound.

A mish-mash of styles work well to support the consistent themes and atmosphere running through the album, as piano and xylophone run alongside luscious harmonies, giving the album a sound almost like an indie Coldplay, or a minimalised Flaming Lips. The combination of retro sounds and modern references (Little Domino) often seems insincere and smirking, hinting at deeper meaning beneath the surface.

The prominent piano work is the strength and weakness of the album's sound. When it's working well, it provides a foil for the abrupt lyrics - threatening to rock out at any moment (Super-Radiance) - but with lyrics this narrative in sound, the piano can also push the album into a feeling of theatre, or even the dreaded musical (Isinbayeve).

Ultimately it's the latter that wins out, and while there's plenty of pleasant enough listening here, there's little that really digs in for the long haul.

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#NM

18th Mar 2009 - Add Comment - Tweet

Yeah Yeah Yeahs

It's Blitz!

Fiction

It's quite easy to compare the progression of New York's Yeah Yeah Yeahs with the progression of modern warfare, shit I compare pretty much everything to war. Their stunning debut Fever To Tell saw them engaging in hand to hand combat, homemade shanks were used to gut the opponent or simply the pounding brut force of a bleeding fist. Show Your Bones saw them retreat from the battlefield and adopt a slightly less primal approach, whereas the latest offering It's Blitz! is modern warfare in all its polished glory. There are no ground troops just long range, expertly precise strikes. The brut force kills are now a 'mission accomplished' notice on a computer screen. But the result is always the same, victory.

The last we heard from these guys was in 2007 with the EP Is Is. Since then this short bundle of goodness has become my favored item in their impeccable back catalogue. It's Blitz! isn't quite the cavalry that I thought Is Is was calling but it's still a worthy 3rd roll of the dice and one that takes them into new and rich territory. Karren O's presence still remains steadfast at the centre of their sound but the ship on which she sails has taken a new turn. The minimal crunch of guitars and belting drums have been enshrouded in detailed production and a wealth of synthesizers. The emphasis isn't on power but on depth.

Opener Zero is a massive way to reintroduce themselves. With vocals dripping in echo Karen O is up close and personal with some of the slickest production this band has ever offered. This isn't surprising seeing as TV On The Radio's Dave Sitek is at the helm. Wave upon wave of synth carry this song in directions more suited to Alison Goldfrapp or even Blondie. It's driving power pop and it's quite surprising for this band. Show Your Bones always hinted at this direction but the change has finally arrived. While this is probably the biggest tune here the remaining high points come in more subtle ways. Their ferocity is often punctuated to great effect by their anti-ballads and Skeletons is one of their finest. With grand and distant drums building on an analogue ocean of synthesizers this song sees Karen at her most breathless. Runaway is certainly one of the standout moments on It's Blitz! Introduced with the gentle plink of an old piano Karen sounds lonely among such empty sonic space. With a rumble of strings she is soon joined by the sensitive rhythm and a full orchestra. It just rises and rises on this structure like a flock of migrating birds dancing and reveling in their euphoric freedom. It's loaded with melancholy and tinged with screeching violins but is an utter joy from start to finish.

It's Blitz! is a surprise indeed. It doesn't do what other Yeah Yeah Yeahs albums have always been there to do but isn't it special when a band start to perform other functions. It's the most sensual of their releases. At times it comes way too close to Killers territory for my liking but their front woman steers it away expertly. Her voice has always done things for me but on this record I could just swim in it. They have always flirted with synthesizers but their courage to embrace it here pays off and gives the record an old school charm without sounding retro. They've grown up since Fever To Tell, who'd of thought a woman who brought us such a guttural howl could stand before us on album closer Little Shadow and ask us "will you follow me?" with such monolithic siren beauty. It's stunning and needs to be experienced.

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#BC

17th Mar 2009 - 3 comments - Add Comment - Tweet

Bonnie 'Prince' Billy

Beware

Domino

The dark brooding ‘Tonight’s The Night’-like cover points to a return to the bleak and sombre days of ‘I See A Darkness’ for ‘Beware’, Will Oldham’s latest album under his Bonnie ‘Prince’ Billy moniker. However this is misleading, as this is Oldham at his most mature and confident, the fragility of his Palace days seem a long time gone. The sounds here is full and accomplished, complimented on occasions with forceful backing vocals, fiddles, slide guitar and trumpets.

As ever, Oldham’s gloomy yet playful side prevails, turning seemingly conventional compositions into more interesting beasts altogether. The rousing opener ‘Beware Your Only Friend’ sees his ‘soul sucking thoughts’ go from ‘you want to be my daughter’ to ‘I wanted you to be my Mother’.

Bonnie ‘Prince’ Billy albums are awkward buggers, as at first they can be quite underwhelming, but this is often misleading. Although his style changes, it often does so subtly and on initial listens you get pretty much what you expect. However, after some time they have a habit of slowly and surely getting under your skin.

‘I Don’t Belong To Anyone’ is up there with his greatest songs and best of all is the single ‘I Am Goodbye’ which is foot-stompingly upbeat for Oldham and catchy as hell to boot. So another very good Bonnie ‘Prince’ Billy album but as ever, it might take a few plays to see if it’s a great one.

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#marmot

16th Mar 2009 - Add Comment - Tweet

Black Lips

200 Million Thousand

Vice

With this third release on Vice from Atlanta garage-rock four-piece Black Lips, the band skillfully manage to side step much of the expectation that has been put on them since 2007's fantastic Good Bad Not Evil. Having started out as a bunch of young, unwashed punks they quickly developed a reputation that got them banned from many venues in Georgia for their pretty wild live shows. After a few decent but hardly memorable albums, Good Bad Not Evil has boosted their stock no end. It stays true to their ragged aesthetic and is full of lo-fi blues rock that frays at the edges but stays this side of unpredictable and is packed full of wooly hooks that guide you through its many ups and downs with surprising warmth.

200 Million Thousand however, refuses to expand on this success and is almost a two finger salute to all the praise that came with the last album. That's not to say it's inferior and the fact that they've chosen such a route off the back of what can only be called a break through album is impressive.

Much of the jaunty bar room jams are replaced here with a much more sluggish soup of hazy narcotic songs that recall bands like The Velvet Underground and early Rolling Stones. They have always nodded towards sounds of old and their success comes from their ability to incorporate these with their gritty, no-bullshit sensibility and throwaway passion for rock n roll. But their references seem more clear here and while not necessarily detracting from the songs does change the overall feeling of the record. The twang of their guitars throw up an almost impenetrable veil of sound that swirls around each song. Cole Alexander's vocals growl and crawl through this mist like a possessed Jim Morrison. It's thick and at times hard going, Alexander seems far away from the listener as he's surrounded by this sound and the distant production.

The moments when this mist lifts and the tempo rises are very effective. Drugs and Short Fuse both have an infectious rolling tempo lead by a fantastic surf guitar chord that dispels a lot of the haze and hints to us that the band haven't totally forgotten what they started on the last record. And I suppose as beacons in the slush they are bound to sound all the more sweet. As we descend back into the swirling dream world of songs like Starting Over and Trapped In A Basement, we wait for these beacons to guide us through but like a drug setting in we feel unable to turn our backs on this sound that is pulling us under. Alexander's proposal of "come and ride with me, I'll make some room in my dirty back seat," seems unattractive to a normal mind but here feels almost too much to resist. This is the kind of music you need to shower after as it's scuzzy to say the least but it's a bit of a fuck you of a direction change and while being slightly less enjoyable than its predecessor it hints at the worth of this band

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#BC

13th Mar 2009 - Add Comment - Tweet