Chimpomatic

Port O'Brien

All We Could Do Was Sing

City Slang

Van Pierszalowski, the front man for this Californian band, spends 3 months of the year on a salmon trawler on Kodiak Island, Alaska which goes some way to explain the great seafaring influence that dominates their sound - and like the sonic waves that wash over every moment of this record, Port O'Brien find themselves on distant and far richer shores than were explored on their debut.

2007's The Wind And The Swell was less of a debut and more of a compilation of the best of their self-released efforts, but it was very much a stripped down folk affair comprising of mainly guitar and vocals and tinny lo-fi drumming. It's very much a different story here with All We Could Do Was Sing, which curiously kicks off the same way their previous album did - with the frenzied group sing-along of I Woke Up Today. It's given a major overhaul this year but does slightly mislead the listener as to the general direction of this record. Stuck On A Boat is way more representative with its deep guitars and hollow vocals. It's a simple song vividly placing Pierszalowski on his Dad's trawler, it takes its time with the basic rhythmic structure but its glorious swathes of pastoral strings instantly hail the arrival of a whole new band. Fisherman's Son sees our protagonist leave his coastal roots and up and move to the city. Great waves of drums pick this song up and launch it into a vibrant gallop accompanied again by the string section.

Port O'Brien have developed many strings to their bow and this record is full of ideas that span more tempos than their debut hinted at. Songs like Pigeonhold show the band baring its teeth with crashing cymbals and truncated guitar solos that squeal and wine, until the strained vocals bring the whole thing to a calamitous close. This electric injection raises this band from the alt-folk wilderness that they threatened to reside in. The penultimate Close The Lid sees them perfect this element of their sound with a textbook indie jangle that lets rip into a joyous ramshackle of drums and raw vocals. Then as a total antithesis comes the frail closing sound of Valdez. More in line with the earlier songs this finishes the album with melancholic fragility and is the sonic opposite of how the record began. These polar bookends that contain this record illustrate perfectly the rich tapestry that Port O'Brien has woven. They may not be reinventing anything here, but as an example of a rock group that strives to evolve their sound, Port O'Brien's journey from lo-fi folk to indie rock confidence has resulted in a full bodied and endlessly listenable album.

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#BC

28th Jul 2008 - Add Comment - Tweet

The Blakes

The Blakes

Time was when I would pool my baby-sitting proceeds and parental pocket money for a once fortnightly trip to the closest thing that a small provincial German town could muster to an equivalent of Rough Trade. Such hard won earnings would be sacrificed at the musical altar of the latest Seattle, Manchester or Boston Gods or perhaps invested in discs born a generation before in New York state country basements or conjured up in a downtown New York lofts. The sounds of yester-year were guaranteed a fair hearing as they would be on permanent rotation acting as a soundtrack to games of Nintendo, occasional teenage fumbles and 'what am I all about?' existential identity crises. Until another shopping trip a fortnight later that is. At least they had a whole two weeks to win me over. But oh, times have changed.

Unfortunately today's new kids on the block have a far tougher task in proving their worth. There is no two week rotation any longer, but in the days of 7000 downloaded songs in your back pocket and the limited airplay of journeys to and from work new sounds have a tougher task to dislodge that which is already tried and tested. Time is not on the side of newcomers. Such is the fate of one of the new generation – The Blakes, a band who (rather conveniently for this particular review) hail from Seattle but recorded their debut album in the same Fort Apache Studios once home to Boston Lemonheaded and Pixied indie darlings.

The self titled 'The Blakes' is an album that back in the day might well have been a slow-burning winner, but alas now it will probably turn out to be a 'life in the fast lane' loser. It is not that The Blakes are an outfit without merit, just that they now have far more competition. 'Modern Man' is all angular guitars and off kilter drumming that makes you want to clap your hands and say 'yeah', while the autistic wailing of 'Two Times' makes you want to climb Australian Vines. Sadly for the Blakes, there are acts firmly ensconced on my playlists that already serve these purposes, and I dare say on other Chimpomatic reader's lists too.

Ironically, the tunes that are most likely to be awarded playlist status - as opposed to cropping up on shuffle - arrive when The Blakes set themselves free of the template set by their Seattle predecessors 15 years before. There is a lack of coherence that counts against this being a great album but at least hints at things to come. With shared singing and writing duties there appears to be something of an identity crisis at the heart of this band. No doubt The Blakes consider themselves edgy outsiders, in the mould of all the other outsiders now in the mainstream, but when they let down their guard they actually churn out songs that demonstrate a talent for finding a groove ('Vampire') and an ear for a pop tune ('Lintwalk') that the sensibilities of their hoped for 'alternative' fanbase might rail against. If The Blakes can sort out their own version of the 'what are we all about' teenage existential identity crisis then they may just produce an album that finds itself permanently rotated rather than just making transient shuffle appearances that are as occasional as teenage fumblings.

#Music
#Muxloe

25th Jul 2008 - Add Comment - Tweet

Lil Wayne

Tha Carter III

Cash Money

Hailed as the "most anticipated release of 2007", Lil Wayne's first full album since Tha Carter II in 2005 saw such an unprecedented leak rate that it got pushed back for a 2008 release and has since sold more than a million copies in it's first week. All this acclaim and expectation could spell the demise of a hip hop act such as Wayne but Tha Carter III is a piece of work that more than lives up to its hype and sees this truly unique MC occupying even weirder and bolder territory than ever.

On one of the stand out tracks, Dr. Carter, Wayne assumes the role of doctor and the patient is hip hop. Various symptoms present themselves at the start like lack of confidence, bad concepts, weak flow and no style and by the end he claims to have "saved hip hop." This arrogance is justified as he takes us step by step through just why he is more than qualified to be the self proclaimed saviour. And hip hop has never sounded healthier than on Carter III.

With his grizzly delivery and slow, erratic flow Lil Wayne fills every album with an overflowing quantity of ideas. He has experimented so much with his voice and can swing from a deep menacing growl (Phone Home) to weazle-like ragga-monotone rapid fire (A Milli). Each track demonstrates his lyrical prowess as he changes subject faster than a cornered politician. The production is tight with multi layered beats and deep soulful melodies. There is some great samples, most notably the David Axelrod melody on Dr. Carter and Nina Simone on the overlong Don't Get It. Wayne seems so at ease with the music, as he takes his time delivering vivid metaphors it's as if the beats have to keep up with him. Let The Beat Build demonstrates hip hop's unique freedom to allow songs that are about nothing but hip hop itself. The song is centered around Wayne's grasp of beat timing and that's about it, but it works tremendously. Mid-way through the song everything goes quiet until Wayne whispers, "As I hit the kill switch / Now that's how you let the beat build bitch." Songs like Shoot Me Down show the MC soul-searching with dark, brooding atmospherics that build to his end statement "watch me soar, where the fuck is my guitar?" and a screeching chord brings the whole thing to a close. It's followed by it's antithesis, Lollipop. The first official single, this is a made-for-radio song that is centered round a shameless confectionary-based sexual innuendo. It's good but it's nothing 50 Cent didn't already tell us in Candy Shop.

Lollipop, while a solid tune, does contain elements of where this album, for me, strays from its focus and that'll be in its R n B tendencies. I rarely venture into mainstream hip hop such as this, for this very reason. Hip hop is the biggest selling genre in the US and can't do too bad over here either, but I can't help feeling that this statistic comes about largely due to the genre boundaries being heavily blurred and when hip hop strays into RnB territory the market expands. R Kelly isn't hip hop and Kanye West isn't RnB. Songs like Got Money and Comfortable seem to dilute this MC's dazzling writing skills not to mention Mrs Officer, a song who's principle theme is a female cop sexual fantasy.

So that's the bitching out the way and now down to business. This guy can turn a phrase better than most and that's the sole reason to listen to this album. Unlike many of his contemporaries Wayne doesn't lace every rhyme with the same concepts and themes and so in that respect he is hard to pin down. He isn't a thug rapper, a smut rapper or an indie-poet, he's all that and more. He covers many topics with impressive eloquence. Here's a few.

Excretion: You're like a bitch with no ass, you aint got shit. (A Milli)

Grammar: "I don't owe you like two vowels." (A Milli)

Will Smith movies: "I got so many bitches like I was Mike Lowry."(A Milli)

Ailments: "I Got Swagger tighter than a yeast infection" (Dr Carter)

Cooking: "Don't I treat you like soufflé?" ( Comfortable)

Confectionary: "So I let her lick the (w)rapper" - (Lollipop)

French: "I'm all about oui like Paris / Hilton presidential suite already." (La La)

Finance: "You better pay me cos you don't want my problems / I'll be wiling like Capital One, what is in your wallet" (You Aint Got Nuthin.)

#Music
#HHG

24th Jul 2008 - Add Comment - Tweet

Black Affair

Pleasure Pressure Point

V2

Steve Mason (Beta Band and King Biscuit Time) returns with an all-electro effort. Is it time to admit that the Beta Band were always really one of those bands that were amazing in theory but in practice never quite lived up to the idea of what they could have been? Still love how the 3 EPs managed to get across that sense of indie boys discovering house music and trying to combine elements of both on a 4-track, and King Biscuit Time's Walk The Earth is a great single, but listening to Pleasure Pressure Point it's hard to get beyond the image of that scene in Friends where Ross is mucking about with the presets on his keyboard and totally rocking out ("wow that was so... wow").

It's not that it's terrible, just a bit.... preset - the inspiring thing about the Beta Band was how they tried to get a housey sound out of guitars etc; here it's like he's just found all the minimal 80s electro settings and sung over them, in a deadly serious way. It's quite close to the territory plundered by Neon Neon, but lacks some of the wit that made that work. On the other hand, if you're feeling all roboto and Berlin-concrete this may be the album for you.

#Music
#chimp71

23rd Jul 2008 - Add Comment - Tweet

Burn Up

BBC2

The planet’s in crisis! The ice-caps are melting! The oil industry’s like, really, really bad!

In Burn Up, a new two-part mini-series eco drama, that’s pretty much what we learn, along with other IMPORTANT INSIGHTS like: Don’t trust the Americans. Don’t trust the Brits. And really, really, don’t trust the pesky Chinese.

Rupert Penry Jones (nice English man from Spooks) stars as a nice English man who somehow finds himself promoted to head honcho of some oil company when his father in law decides he’s had enough of getting his hands dirty. For someone who’s obviously been working in the oil industry for a bit, he’s pretty naive about how the whole oil thing is going down. He hires nice wind-farm lover Neve “Scream” Campbell to make it look like his company gives a shit about investing in sustainables (but they don’t really, mwah ha-ha), then seems surprised when he starts to work out that actually she’s the one making sense (around the same time he notices she’s quite hot) and all his nice corporate buddies, like shady Uncle Mack (Bradley Whitford from the West Wing) are actually the real loonies running around the planet, digging stuff up, destroying those nice polar bears and casually killing anyone who gets in their way.

Marc Warren seems to be having quite a good time as an ambiguous British diplomat moving and shaking behind the scenes, scoring points off the Americans and generally being a bit shady. But other than that, it’s all pretty cartoony, one of those message-dramas where they’re so busy cramming lots of IMPORTANT INFORMATION ABOUT THE END OF THE WORLD that they forget to write a believable drama.

It’s hard to accept that anyone at the top of the oil food chain could really be so uninformed about anything to with the reality of the situation. But more importantly, are we really supposed to buy the idea of a post-Kyoto eco summit where all the delegates are schmoozing in the same after-hours disco, bopping and drinking while images of ice-caps melting are projected on the walls? Hey international delegates! Worn out by all that complicated chat about production caps and carbon trading? I know! Let’s all wind down by going to a rave sponsored by Greenpeace! And as for the final big dramatic bit (I’d say this was a SPOILER, or even a spOILer, but really it’s not giving away much to let you know that this predictable drama ends in a chase) - are we really supposed to believe you can just sneak into Calgary stadium in the middle of the night for some clandestine meetings on the steps just because it makes for a scenic location? What? Security’s so lax in a major city where they’ve got thousands of diplomats and eco-protesters running around that you can break into such a public space? Could you break into Wembley like this on a normal day, let alone one when your city is under international scrutiny? The O2? Koko’s got better security! It’s totally ridiculous.

Obviously it’s good to see that fiction isn’t operating in a bubble, that people are trying to draw our attention to the plight of the penguins etc etc. But this doesn’t really help. Maybe the planet would be better off if we turned off our TVs for the four-odd hours it takes to watch Burn Up...

#TV
#chimp71

22nd Jul 2008 - Add Comment - Tweet

The Kevin Bishop Show

C4

Following on from his collection of spoof celeb bios Star Stories, Kevin Bishop returns with his own Friday night sketch show.

As you'd expect, it's still pretty sleb-based - Simon Cowell's brother Brian (complete with matching super high-waisted trousers) running the fourth largest convenience store in Rotherham; Jonathan Ross introducing "my special guest... Wicky Gervais!!"; Sienna Miller's elegant new parfum Publicity; a Daily Mail DVD giveaway with alternate outtakes for films like Bruce Forsyth in The Shining and Al Pacino in Superman etc.

It's shot like you're watching someone flipping though the Sky EPG for you, at an ADD speed that keeps it moving fast enough to not let the duffers get in the way of what's mostly a pretty decent Friday night LOLathon; for once it's a sketch show where you feel like they're struggling to get all the ideas crammed into half an hour, rather than pad them out to fit.

Bonus fact: Kevin Bishop was Jim Hawkins in Muppet Treasure Island

#TV
#chimp71

21st Jul 2008 - 2 comments - Add Comment - Tweet

She & Him

Volume One

Domino

This unusual project pairs together Portland guitarst/producer M. Ward and actress (and friend to the elves), Zooey Deschanel - who I've always taken a shine to after assuming her parents were J.D. Salinger fans. After being paired together for a duet over the closing credits of the movie The Go Getter, the unlikely pair formed a developing bond, which led to Deschenal sending her demos to Ward, who suggested recording together. An internet relationship blossomed, ending with the recording of the album which was then mixed by Bright Eyes alumni Mike Mogis - who also plays on the album. It's been out for a while on Merge in the US, but thankfully Domino has seen fit to release this intriguing project in the UK.

Charming opener Sentimental Heart sets the tone, sketching a nostalgic 50's-style tale of teenage angst. Deschanel's crooning voice is effortlessly and infinitly charming, giving the album an instant appeal, while restrained instrumentation backs up the vocals, building slowly into a bombastic ochestral finale. M. Ward makes only the briefest of vocal appearances on the album - dropping in some backing vocals here and there - but he is ever-present and his guitar work adds some magical touches on several occasions. I suspect he's also in charge of what sounds like a kazoo and a touch of whistling.

The album also gives Ward plenty of room to demonstrate his production talents - building up the perfecty positioned retro sound of the album, which manages to show considerable restraint with so many opportunities to break out the brass section - especially next to this year's far less restrained 50's/60's throwback, The Last Shadow Puppets. The sweeping slide guitar of down trodden-broken-hearted-country-ballad Change Is Hard is magical and the Carole King-esqu Thought I saw Your Face builds to a soaring finale, while I Was Made For You finds Deschanel providing her own do-wop backing vocals.

Patsy Cline, Dusty Springfield, Carole King - the reference points span far and wide, but still this album manages to maintain a surprising air of originality. Solid pop with a bit of depth, the songs are never too long - making for a concise, cohesive, continually entertaining album, tied together mostly by the attidude of delivery, which even when potentially maudlin seems continually upbeat.

#Music
#CSF

18th Jul 2008 - Add Comment - Tweet

The Dark Knight

(dir. Christopher Nolan)

Harrowing. Searching. Compelling. If only Christopher Nolan’s Dark Knight stopped there we could have possibly emerged from the Greater Union cineplex on Sydney’s George Street unscathed.

But Nolan wields his artform masterfully and knows his audience only too well - even when we don’t ask for more, he knows we want more and he delivers.

To watch Dark Knight is to undergo a cinematic interrogation. And it’s unsettling from the outset to confront not just the many questions Nolan is asking – good vs evil, right vs might, ambition vs reality and the many vs the few – but also the way in which he is asking them.

From the gritty opening frames of a bank heist you get the feeling Nolan has jumped into the trench right alongside you and that’s a pretty ballsy statement of claim from the guy who knocked out the flawless Batman Begins. Blockbuster sequels too often become cinematic comfort food. Nolan could have gotten away here with dishing up more of the same and most of us would have still come away pretty happy... y’know, a bit of moody darkness against the backdrop of some dazzling special effects, a couple of explosions and the odd menacing baddie... anything that erodes the travesty of Michael Keaton’s vaudevillian portrayal of Batman.

Instead, like so many of the characters in this film Nolan has turned his back on the easy option. The results are mind blowing and along the way he has produced a film every member of an entire generation wishes they could have made.

Believe the hype, Heath Ledger’s Joker will go down in history as one of the greatest silver screen performances and it’s almost a subconscious reflection of one of this film’s powerful recurring themes, the many vs the few, given the richness of the cast. Nonetheless it’s rare to see an entire cast come so totally to grips with a screenplay and deliver it in unison. Ledger, Christian Bale, Aaron Eckhart, Gary Oldman, Morgan Freeman and Michael Caine. Nuff said.

It’s almost as if Nolan and his gang realised early on just how potent a brew they had on their hands. As this flick tears through its paces they start to pull off tricks, twists and turns simply because they can. And it works. When Batman swoops to deliver swift justice to a Chinese fugitive in Hong Kong, it’s Caesar Pelli’s 88-storey IFC that looks as if it was created as a prop for this flick and not as the most astounding skyscraper in a city of astounding skyscrapers.

Treading through the many reviews (this one included) that have emerged in the whitewater of Dark Knight’s release around the world one thing becomes clear – words alone are simply not enough to describe what occurs during a tumultuous two and half hours on screen. In any event, anyone who has seen it will be deeply affected in one way or another. Do yourself a favour and waste no more time trying to decipher what they’re trying to tell you. Pad up, get yer helmets on and get yourself a good seat.

#Film
#BigE

17th Jul 2008 - 4 comments - Add Comment - Tweet

My Morning Jacket

The Forum, Kentish Town, London

After a European tour and a spell at various festivals, My Morning Jacket were back in London to round things off with a show at the Forum, before heading to Benicassim and then back for a US tour, culminating in a headlining spot at Madison Square Garden on New Year's Eve.

After the disappointment of the recent Evil Urges album, I was hoping that mis-step would would have little effect on My Morning Jacket's legendary live shows - but unfortunately it's repercussions haven't stopped there. Title track Evil Urges made for an untypically muted opening, but some older favourites plugged the hole - and with the heavy groove of Off The Record the show started to pick up, finding it's stride with Gideon and old time classic The Way That He Sings.

Unfortunately, a trio of new songs (Two Halves / Sec Walkin' / Thank You Too) then slowed the show to a crawl, as even through they make are some of the more conventional recent tracks, they just don't have the emotional clout of previous classics. Even the band seemed less enthusiastic with this newer material, ham-stringed by the fact that for the most part they eschew the band's most obvious weapon - Jim James stellar voice. Attempts to beef up the tracks with extended work-outs just made things worse, and it took Lay Low to get things back on track. Any performance that requires strapping on an extra guitar half way through deserves accolade, and the band whipped the audience into a hairy rock frenzy. Like a mad Mick Hucknall, James even had a "cape roadie" to assist him when his victorian outer-garment slipped of in the chaos.

Playing out in much the same way as the recent album, the gig may have been slow to get going but was ultimately rewarding. By the time of Smokin' From Shootin' and Touch Me Part 2, the band were back to their old ways - huddled around the drum riser for a more impassioned and suitable guitar work-out.

Like a re-release with a bonus live EP, the show moved on from the Evil Urges-heavy set-list and back to the MMJ we know and love. James was back on stage solo for an acoustic run through of Golden and into an encore that found the band revving up for awesome work-outs of Phone Went West, Dondante, Anytime and a monster finale from One Big Holiday. All in all, plenty to write home about, but for a band capable of 'unbelievable' we had to settle for just 'pretty awesome'.

See more photos on our Flickr page.

#Music
#Gig
#CSF

17th Jul 2008 - 4 comments - Add Comment - Tweet