Chimpomatic

The Cave Singers

Invitation Songs

Matador Records

Like an England early goal, a January love affair with an album almost certainly spells the inevitable slump into obscurity and defeat when it comes to the final whistle at the end of the year. Seattle's Cave Singers provided me with my first job of the year and though we all look set for a steady economic decline and general misery in the coming 12 months Invitation Songs has taken up the slack with its generous supply of much needed warmth this winter and only time will tell if it's still emitting this warmth come the end of play but I sincerely hope it is.

Cutting their teeth on a post-punk background and name-checking such bands as The Replacements, The Pixies and Fleetwood Mac as their influences this 3 piece has shocked everybody including themselves by creating what can only be described as a folk album. They never listen to folk music, they never intended to make folk music and until recently the guitarist had never even picked up his instrument. But all this can be seen to contribute to the honesty of this music and in this honesty comes its warmth, charm and power.

The music is uncomplicated with gentle guitar melodies being padded out with brushed and slapped drum beats and singer Pete Quirk's nasal drawl provides this music with the abrasion that is often missing from similar artists. Effortless stompers like opener Seeds Of Night (mp3) and Dancing On Our Graves recall Civil War marches with their relentless rhythm, while Helen is a tortured tale of lost love that swells slowly but then fades to nothing. This is the power of these songs as they hold in their repertoire the latent ability to freeze you with a sparse chill or scoop you up and cary you away on a thermal sky rocket, and they do all this without you knowing. This album makes no mission statements so it's effects are not easily spotted but deeply felt. This is very physical music and conjures up a whole host of landscapes around you as it plays. Called swirls around in a barely visible darkness with haunting cries looming out at you while Royal Lawns expands into cavernous halls that echo its melancholy. Elephant Clouds is the backbone of this record and is a curious affair indeed. It bears a strange resemblance to Richard Marx's Hazard and is still a corker. It tip-toes along on what is by now a trade mark nervous tension but then picks up into a galloping torrent of emotionally soaring awesomeness, but as is also a trademark it never fully puts out and leaves you breathless and wanting more.

The aptly named Invitation Songs has welcomed me into this musical year. It is an album dripping with mystery, its melodies are ghostly and empty and yet can turn with dazzling ease into foot-stomping rousers or delicate heart-warmers. Its humility will make it a slow burner but it has the power to seep into every corner of your life and once it does your life will be a better place.

#Music
#BC

30th Jan 2008 - Add Comment - Tweet

Cat Power

Jukebox

Matador Records

Following her recent mainstream success with The Greatest and her rollicking cover of Stuck Inside of Mobile on last year's I'm Not There soundtrack, Chan Marshall AKA Cat Power returns with a whole album of covers - something of a sequel to 2000's aptly titled The Covers Record.

This swirling unfocussed blur of technically prefect renditions ranges from the bonifide classics like New York, New York through Hank WIlliams' Rambling (Wo)man, Dylan's christian-era I Believe In You and even including a re-working of her own Metal Heart from the album Moon Pix. The backing band pulls together another list of legendary performers - including Spooner Oldham, Teenie Hodges and Larry McDonald, as well as more contempaorary players like Matt Sweeney and Jim White.

With Cat Power's appeal seemingly moving beyond music and into fashion and celebrity it all feels a bit like an indie version of X-Factor. Like someone at the Karaoke bar with a bit of talent, it's impressive but not as fun or impassioned as a group singalong to Freebird ...and certainly doesn't fulfill the promise of hear earlier records, or the power and subtlty of songs like Cross Bones Style. WIth the low-key ethic of earlier albums like You Are Free polished away into oblivion, Chan Marshall could well be heading towards a 200 night stint in Vegas, especially now that Celine Dion has called it a day.

Marshall often adds her own lyrics to covers - as Dylan would do and even Led Zeppelin would to to Dylan with In My Time Of Dying. While this can inject a more interesting twist, it only highlights what's wrong with this record. While covers have always been an integral part of Cat Power's repertoire - and undeniably part of her live presence - it's the original material that works best here. With Song For Bobby, she tells of meeting long-time idol Bob Dylan and it's that personal touch that gives the song something more than just being an interesting rendition.

Seeming little more than a minor diversion as Chan runs for President, this album might just tide you over until she gets back to the main event.

#Music
#CSF

30th Jan 2008 - 2 comments - Add Comment - Tweet

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.

#Music
#Gig
#chimp71

29th Jan 2008 - Add Comment - Tweet

Phoo Action

Pilot

BBC Three

London, 2012. The city’s under siege from a gang of mutants, lead by an evil dude with a basketball for a head, who are plotting to convert Prince Harry and Wills to their cause after offing the Queen. Terry Phoo (Eddie Shin) zips in from Hong Kong to help out Police Chief Benjamin Benson (Carl “Apollo Creed” Weathers) with the case, and accidentally hooks up with Benson’s adopted daughter Whitey Action (played by Jaime “Ray’s daughter” Winstone). There's even room for a cameo from Hong Kong cult star Richard Ng as Phoo's TV-loving zen monk master.

It’s based on Jamie “Tank Girl/Gorillaz” Hewlett’s strip Get The Freebies which ran in The Face during the 1990s, with a script by Jess “Spaced” Hynes, Matthew Enriquez Wakeham and Peter Martin.

This is the goofiest thing that’s been on TV for years. It’s infused with the spirit of everything from Batman to Monkey, the Banana Splits (three of my favourite all-time shows), even a bit of Young Ones anarchy. Unlike so many grey British shows, it feels like it’s in total Technicolor, packed with little details like daft news blips running across the screen too fast for you to read and Freebies cereal packets. And even though it’s done with a lot of care and attention to detail, it doesn’t take itself too seriously at all, with car chases obviously filmed against a greenscreen, comedy kung-fu punch-ups, and the odd scene where everyone spontaneously springs into a choreographed dance.

Having caught up on some of the Batman repeats on BBC4 recently, I've been struck by how much fun they are - both to watch, and also to make. It's all so much freer than stuff is now, formulaic and not exactly demanding, sure, but also totally entertaining and good-natured.

It’s running as the first of six pilots from BBC3’s February relaunch – apparently only one is going to get picked up, which is a shame as they all look like they’ve got potential. This is getting the Chimp vote so far – great to see a BBC3 show that doesn’t involve potato products or beer-related humour.

#TV
#chimp71

29th Jan 2008 - 6 comments - Add Comment - Tweet

Various Artists

Rough Trade Shops - Counter Culture 07

Counter Culture Records

In this new dawn of flagging record sales and mass closures of your favorite music shops it seemed a strange time for Rough Trade to expand its empire and open the impressive uber-shop that is Rough Trade East, but I guess if anyone can do it thy can and now that it has its own cafe at the front this new Counter Culture compilation is what you'd likely endure if you closed your office for a day and set up camp in the Rough Trade cafe. Needless to say it wouldn't all be what you were looking for. Having ditched the assistance of some of the major labels that aided the release of the previous Counter Culture series this one has been put together independently by the Rough Trade shops themselves. This is quite evident from the tracklist as some of the selections you just know are the choices of a minority nerd group that really doesn't give a monkeys if the customers don't like it, they're ignorant so why should they be trusted? But then there are some really big hitters that never fail to deliver.

Over the years I have often used these Rough Trade compilations as a way of discovering new musical territory previously untrodden by my delicate and sheltered ears. I first came across Sufjan Stevens on a Counter Culture CD and have looked forward to similar discoveries ever since. Though expertly compiled and a darn good listen throughout this outing unfortunately serves up little in the way of surprises. A quick glance at the tracklist will hint at some immediate stand out moments of last year like Battles' unrivaled and mighty Atlas or Of Montreal's avant-pop gem Gronlandic Edit. Pete And The Pirates provide some ramshackled indie-punk magic from their album Little Death with Come On Feet and Dan Deacon's d.i.y roadrunner-rave is perfectly expressed in The Crystal Cat. But at a glance I would have expected these to be some obvious high points and was slightly disappointed not to be proved wrong. There were exceptions however with Julian Cope and the dirty rock tornado of No Age pricking up my ears but the prize would have to go to Dan Le Sac Versus Scroobius Pip for Thou Shalt Always Kill. This is a razor-sharp pop-culture critique that providing you can keep up is a lesson to us all. Lessons like never to question Steven Fry or watch Hollyoaks are of course a given but the line, "Thou shalt not judge a book by its cover, thou shalt not judge Lethal Weapon by Danny Glover," is really something else.

So as the stand out song on this exceedingly mixed bag its wisdom casts a new light on the compilation itself. After being told repeatedly not set up bands as false idols and to think for yourselves you do start to look over these choices as just someone's opinion. But on a brighter note the whole thing comes impeccably presented in a 2 CD set with 20 page colour fold-out booklet and full sleeve notes and just serves to prove that the supposedly lifeless corpse of the record shop has some breath left in it after all.

#Music
#BC

29th Jan 2008 - Add Comment - Tweet

Sons and Daughters

This Gift

Domino

It is unfortunate that the performance I saw given by Sons and Daughters on last week’s Culture Show of their new single ‘Darling’, was so dire. Unfortunate because, having never seen S+D live, I would have thought them to be naturals on the open stage. Their shtick is, after all; Scottish, spiky, raw, guitar and drums combo, fronted by the vocals of Adele Bethel and Scott Paterson. No flourishes, a perfect live proposal.

In spite of the way Adele’s voice strained ever to match the range and quality displayed on their new album, ‘This Gift’, I’m still convinced that live they must be worth the price of a ticket. This is the band’s third album and builds on foundations laid by 2004’s ‘Love the Cup’. To my taste the paired down, Presbyterian joylessness of that first album made listening to it feel like a bit of a duty; I knew I should probably like it but could rarely be bothered with the effort.

With ‘This Gift’ however, the band combine the Gothic gloom of their lyrical landscape with an energetic new pop sensibility. West Coast Scots have always had an instinctual leaning towards American folk, Country and Soul and the land over the horizon can certainly be felt in the roots of this band’s musical origins. But with the aid of producer Bernard Butler, there is now a lightness of touch and eclecticism to the band’s range which helps show off the smooth Glasgow burr of Bethel’s voice.

The songs still talk of desperation, anger and sexual hunger but with a springing dynamism that doesn’t leave you feeling you’ve been beaten on the head with a frying pan for forty minutes. If you’re struggling to get up on these dull January mornings, stick this on and you’ll be given a jolt, a double shot of musical espresso. ‘House in My Head’ pounds out an urgent alarm call but manages to smooth the raw sound with guitar riffs that would delight Johnny Marr. ‘Goodbye service’, ‘Chains’ and the fabulous ‘Iodine’ make musical reality out of their lyrics. Lines that speak of ‘Trains in the distance’ and ‘High tension lines’ are driven with the momentum of a rampaging railroad engine. And when 60’s stomp ‘Darling’ urges you on with ‘twistin in, twistin out the night’, I dare your foot not to be tapping.

#Music
#LG

26th Jan 2008 - 2 comments - Add Comment - Tweet

These New Puritans

Pyramid Beat

Angular

Jesus H Corbett! Being one of the older Chimps I sometimes despair at the youth of today - you know, frittering their boundless energy away by looking sullen and playing shitwad music out of inadequate speaker phones. Makes me wonder why anyone bothered making decent music for the last 50 years if no-one under the age of 20 can be arsed to put in a bit of research and hard work themselves. Hurrah! Step forward These New Puritans, whose first full-length album blew me out of my own (very) late teenage gloom. Thank fuck.

At last someone seems to have got it - drawing equally from genuine underground dance music, noise rock, B-boy darkness and the very best of post-punk, this album crackles with a kind of confidence which belies the band's tender years. The chunkiest tracks come up front, stamping a large footprint of intent all over your thoughtbox. The influences are all good ones - Gang of Four, Wire, Industrial, The Fall, Dark Hip Hop, Underground Electro - and if that all seems a bit to contrived then I'm not doing them any justice, because this to me is the greatest testament to a well-spent youth.... ie, years spent listening to and absorbing brilliant records, no matter who made those records or what everyone else was listening to, then getting off yer arse/face and making something that lives up to your own high standards. Brilliant.

Of course some bits are better than others, but it is all good. Great lyrics too, and lots of thought gone into the use of samplers and sounds. Anyway, next time someone tries to play you any records by "the streets" take the following steps. One, tell them to fuck off. Two, if they have not complied with your request, play them this record.

#Music
#HarrisPilton

25th Jan 2008 - 1 comments - Add Comment - Tweet