Chimpomatic

Dinosaur Jr.

Beyond

Pias

Listening to Beyond, the first album featuring the original 3 members of Dinosaur Jr (J. Mascis, Lou Barlow and Murph) since 1988’s Bug (and a subsequent falling out), I was going to write at length about an old interview with Mascis on Snub TV - but, sure enough, YouTube and Wikipedia fill in the back story there. What struck me was the stark contrast between Mascis the interviewee and Mascis the musician. As he himself points out “There’s nothing going on anywhere really, so you might as well sit where you are.” I can’t imagine the Mascis School of Motivation is over subscribed, but put a guitar in the man’s hands and he’s off and running, screaming fury and love, all articulated over the space of 6 strings and a fretboard. 

This is what we want from Dinosaur Jr. Mascis’ shy, laid-back but sweet vocals, hiding behind some simply stunning electric guitar work. Extended solos and walls of effects might be the stuff of Spinal Tap gimmicks and indeed Barlow himself had a couple of digs at Mascis when first starting up ‘rival’ band Sebadoh (“Pedal hopping like a Dinosaur” he sings on Gimmie Indie Rock), but such is Mascis’ mastery that the guitar is the integral part, the character and essence of each song. Now, with Murph back behind the drums and Barlow, surely one of the hardest Bassists around (in playing, if not fighting terms), reconciled and ready to rock, the rhythm section is there to add the muscle behind Mascis’ wanderings and meanderings - you want a power trio? Here you are.

After almost 20 years apart it is in-keeping with the Mascis’ persona that the first song is called Almost Ready and yep, we’re straight into a blistering solo and ‘immediate classic’ territory.  Almost Ready kicks down the door of Indie Rock 2007 and politely screams ‘What the fuck’s up with this party?’ Less of an edge, but no slacking in quality for the poppier Crumble.  Then early favourite Pick Me Up - 6 and a half minutes and what a journey.  The opening riff could be lifted from a scene in an 80s movie, where the baddie is finally getting the upper hand, all adrenaline and activity, working through a chorus that sees Mascis singing - dueting with his guitar before concluding with a 3 minute guitar solo (that’s three minutes). Awesome.  Play it alongside No More Shoes by Stephen Malkmus to get an idea what these two heroes are all about. 

After all that hi-octane, it’s time to bring things down a bit, with Lou taking over vocal duties on Back to Your Heart.  I’m on record as a huge fan of Sebadoh and a large part of that is down to Barlow’s song writing - so when he’s backed by the power of Dinosaur Jr. it’s a no-lose situation.  This Is All I Came To Do lifts the mood again and whilst the title may or may not refer to guitar solo-work, the song contains a couple of beauties.  Drummer Murph gets to flex on Been There All the Time, laying down some powerful rolls as the band rock out. Hard. Mixing things up, they follow the harder, darker, metal-er(?) It’s Me with the light and airy We’re Not Alone and I Got Lost, which has Mascis’ falsetto voice, sitting atop acoustic guitar, tom rolls and a cello. Lou and his bass take centre-stage for Lighning Bulb before What if I Knew bids us fairwell in the way Mascis knows best…that’s right, a blistering solo.

It’s good to have them back. Since re-forming in 2005, they are amongst a very select group of bands I HAVE to see if they tour near me - and I look forward to seeing them punishing the Marshall Stacks with Beyond.

#Music
#chimpovich

30th Mar 2007 - 5 comments - Add Comment - Tweet

Frightened Rabbit

Sing The Greys

Hits The Fan

Anyone bored to tears with the endless torrent of over styled, pretentious, skinny jeans-wearing, soulless post-dance-punk-disco freak-pop bullshit that dominates British music occasionally then this is for you. Glasgow trio Frightened Rabbit make simple, down-to-earth indie rock and it's great. Sing The Greys is their first full length and it's full of jangly guitars, heartfelt vocals, intelligent lyrics and everything else that makes for a good record these days. They're not aiming for grandeur or to change your life, they're just writing songs "about the same things that everyone does:- heartache, blood donation and fucking."

Sounding at times like a scottish Oxford Collapse, Sing The Greys aims very much to sing the blues. It paints a pretty bleak picture at times about the general demise of relationships, but it's hard to follow them down this well of self pity when the music is this honest and this satisfying. To quote their website, "All that we hope is that our songs creep into your head and emerge from your lips next time you decide to whistle." Sorry lads, but I can't whistle, it's a handicap - but i'll be sure to sing the greys.

#Music
#BC

30th Mar 2007 - Add Comment - Tweet

Hot Club De Paris

Moby Dick Club, Madrid

“The latest revelations from Great Britain!” or so say the posters outside the Moby Dick club, nautically themed and one of the better live music venues in Madrid.  I have no idea if they are setting scenes on fire in the uk, but they’ve just come back from the South by Southwest festival in Texas, invitations for which are generally only handed out to those ‘buzz’ bands looking to arouse industry suits.  And it’s easy to get a buzz from Hot Club de Paris, influenced by the likes of Minutemen, Don Caballero and Shellac, theirs are short, energetic, jerky songs but with the charm and wit of their Merseyside roots never far away.

They begin with an off-mic a capella, in which they introduce themselves and then get down to business reeling out most of the songs from their debut album Drop It ’Til It Pops mixing it up with a bit more a capella, some jokes, a spot of Q and A with the audience and rounding things off nicely with last single Shipwrecked, leaving the typically quiet but appreciative Madrid crowd that little bit happier than they had been 45 minutes earlier.

#Music
#Gig
#chimpovich

27th Mar 2007 - Add Comment - Tweet

Joakim

Monsters & Silly Songs

K7

You know those days when you just can't decide between, deep techno, grung rock, abstract noise, driving electro or ambient electronica so you settle for Kid A, well now there's an alternative. Joakim's second album in four years has it all and though this may lead to a slightly disjointed listen it's great to hear an album you can't sum up in the first few tracks.

True opener Sleep In Hollow Tree is a dark, pulsating start to the album recalling experimental oddballs Liars, while Drumtrax is a thumping instrumental electro jam rivaling anything from DFA or LCD. The slower offerings come in the form of Lonely Hearts which could be early Moby or Royksopp and there's even the sprawling ambience of The Devil With No Tail that is not too dissimilar to that of Japanese legend Susumu Yokota. But none of this would amount to anything if it weren't for the album highlight of Love Me 2. This is nearly 9 minutes of slow building drums that if Michael Mann ever hears he'll issue a re-edit of Heat where the Moby song that soundtracks the De Niro/ Pacino motorway chase is dropped for this gem. When you think it's about to climax and tail off you'll see from the time bar that it's only half way through. But do not fear, this baby will put out.

And the same can be said for the album as a whole. It's not perfect but it aims high. A general criticism for albums like this that showcase a wide variety of genres is that they end up spreading themselves too thin and become a Jack of all trades and master of none but I wouldn't say this about Monsters & Silly Songs. It's a highly original project that is both challenging and exciting and if you want to bitch and moan that I've done nothing here but name-check other bands, then I apologise - but hey, I can't write Shakespeare all the time.

#Music
#BC

27th Mar 2007 - Add Comment - Tweet

Electrelane

No Shouts, No Calls

Too Pure

When I ask people if they like Electrelane and their answer is not "hell yea, those girls rule," they get greeted with a look of utter confusion like they've just replied in a language that I am not familiar with. Surely there is only 2 possible ways to answer this question and that is the obvious "yes" or " I'm sorry but I've been in a coma for the last 10 years and haven't heard this band to which you refer." In my humble opinion to hear this band is to love them. I first came into contact with Electrelane via their second album and debut for Too Pure, The Power Out (I was in a coma when they released their first record Rock It To The Moon in 2001.) Their expansion of the instrumental rock jams of before to include the most beautiful vocals was a wise move and made this record one of the best albums of the last 5 years. Strangely though, it's follow up seemed to leave this behind slightly and 2005's Axes was an admirable extension to their sound, offering up a much more challenging listening experience - but it didn't capitalise on the successes of The Power Out as much as I had hoped.

Luckily, Electrelane's fourth release No Shouts, No Calls ties up unfinished business perfectly and seems a much more logical follow up to The Power Out than Axes did. It's exactly what I wanted from this band and is a damn near perfect album. From the first note of opener The Greater Times your heart will let out a sigh of relief as if it had been holding its breath since the last release. "I've been waiting for you," it claims, well so have we. The majority of the songs here follow a similar formula. They take the form of the most perfect day. They start off gently with the sweetest melody then slowly and only when you're completely ready do they rise and pick up speed to an invigorating gallop. They either wind down as gently as they begun or collapse in a heap of exhausted joy. They contain long hours of sunshine and any clouds that may occur are welcome. In Berlin is a perfect example of this winning formula. The blissful vocals ease us in over the most delicate of piano melodies. The rhythm of the drums carries us higher to be joined gradually by the string section which soars to majestic heights. It's simply beautiful and shows this bands versatility and ability to move the listener with a punch and a whisper.

The punch comes in the form of Between The Wolf And The Dog. This is one of the few times when this gradual build up technique is not employed and it's a wake up call to any lazy ears. The drums are relentless and pounding and the guitars even more so. It's also one of the few nearly instrumental tracks recalling their earlier work. The instrumental muscle is diffused nicely by some sweet oo's and ah's in the middle, but all in all this song serves to get your attention. The other song that strays from the formula is Cut And Run. This is a stripped down ukulele love ditty and is as light as The Wolf And The Dog is heavy. It's airy and joyous and provides light relief from the emotion that went before.

No Shouts, No Calls is Electrelane's most accessible album to date but is also their most joyous. It is packed full of blissful lyrics of devotion and unfailing love and a lot of the dark experimentation of earlier works have turned into more fully realised entities making the album as a whole way more consistent than past efforts. The Power Out will always be dear to me as it was my savored moment of discovery of this band but this release solidifies them as one of the most treasured bands of recent times.

#Music
#BC

25th Mar 2007 - 1 comments - Add Comment - Tweet

Windmill

Puddle City Racing Lights

2007

Judging by the longest losing streak in betting history Grandma Muxloe’s tealeaf reading powers of prediction seemed to have passed me by. Future forecasts are not my strong point.  But I can already guess with confidence your first two thoughts on listening to Puddle City Racing Lights, the debut album from Windmill.  

First up will be the question ‘haven’t we already heard this before?’  You might wonder if this is perhaps an album mislaid by Mercury Rev at some time after Deserters Songs but just before they lost themselves in a haze of pomposity.  Or maybe you’ll think to yourself  ‘cunning, this boy Windmill stumbled on a stash of out-takes from Neil Young’s After the Gold Rush sessions and has added some 21st century beats to pass them off as his own’.

Secondly you’ll have to make a decision on Windmill’s voice.  It’s a transatlantic lilt, failing to reflect his Welsh origins, which is delivered in a pitch which some might laud as ‘soaring’ but others might deride as ‘grating’.  Its not one for the tabloids to seize on in the manner with which they ripped apart Joss Stone for dropping Devon in favour of LA but it might strike you Indie kids as being an indicator of a possible lack of veracity in Windmill’s credentials.

On both counts my advice would be to ‘get over it’.  Sure, Windmill has worked with a template laid out before but give him a chance because he’s added splashes of new colour to bring it all to life once more. It's like Warhol screen-printing over familiar images – they might be the same but they are also so very different.  As to the voice, it may be an acquired taste but it shouldn’t be enough to put you off.  If it does then you lose out in the way that you would if you turned down Sienna Miller or Daniel Craig (depending on your preference - Muxloe is an equally opportunities reviewer after all) on the basis that you don’t usually go for blondes  - some people will just never be satisfied.

Rather than set his sails to capture breezes blowing down from Liverpool and Manchester or gusts up from Bristol and London, Windmill has unashamedly located his mill facing westward to America.  But that’s no bad thing as the winds whipped up across the Pond have provided more than enough energy and ideas to power a dynamo of a debut album.  The key to his appeal is that, admirably backed by The Earlies live band, he has created sound-scapes so vivid that they suck you right in.  It’s not so much like watching a film but more like slipping on a virtual reality headset.  By the time the album finished I needed to be reminded that I wasn’t actual an asthmatic Model’s Agent caught up in a Tokyo car crash. Big things, and even Mercury Prizes, have been predicted for Windmill.  I’ve checked the tea leaves but have not the faintest clue what they foretell so will not be joining some of these wilder soothsayers.  All I will say is that the boy Windmill has made a cracking start and deserves whatever plaudits come his way.

#Music
#Muxloe

25th Mar 2007 - 3 comments - Add Comment - Tweet

Victor Bermon

Arriving At Night

Hefty

After a full on evening of five-a-side football on a ruddy cold March night, this album managed to find itself warming my cockles, and more to the point relaxing me enough to wind down within about four tracks. It opens with the pleasant Farewell Lunch For Laura which has a slightly smoky jazz orientation with minute snippets of a soft Coltrane sounding sax sample. Victor Bermon's Arriving At Night is aptly titled, as it's one of those ambient albums that many folk will encounter for the first time after a slammin' night, having gone back to someone's house in order to relax some. It's essentially a collection of bright melodic soundscapes incorporating some loosely plucky acoustic guitar and other string instruments, dreamy Rhodesy type Vibraphone sounds and drifting jazzy rhythms. There's actually something a bit TV or film soundtrack sounding about this whole album, and in fact the track Famous Discussion kind of reminded me slightly of the delightful theme music to BBC2's Arena programme.

Photographs Are Not Memories is about as rocking as it gets which is track 3, having thought it was track 2 until I double checked so that may give you the idea of how this album blends together somewhat. In fact if anything it does tend to sound a tad samey but then personally I find most albums in this ambient vein tend to.

This is Victor Bermon's debut album for Hefty Records. Don't rely on it to get you up and out of bed in the morning but it's warm and optimistic. You could certainly do worse than finding this as the soundtrack to your nocturnal arrival at a foreign destination

#Music
#UncleG

25th Mar 2007 - Add Comment - Tweet

Love Of Diagrams

Mosaic

Matador

Olé! Matador do it again. Since its formation in 1989, the New York label has maintained its position as one of the main players in Independent underground garage rock n roll whatever you want to call it. Such luminaries as Superchunk, Jon Spencer Blues Explosion and Pavement have passed through their doors and now, as the good music revolution version 3.0 keeps on rocking, they show no sign of dropping the ball.

Hot on the heels of the fantastic album by The Ponys, Matador have now added Melbourne 3 piece Love of Diagrams to the stable. As CSF has already posted, they are probably tired of the Gang of Four comparisons, so I won’t tire them further with that one. But there is no getting away from their stripped down sound of driving bass, urgent drums and sparse, reverbed guitars underneath it all, with Guitarist Luke Horton and Bassist Antonia Sellbach sharing call and response vocal duties. But this economy of parts does not sacrifice the whole; as smalltown butchers once said (before getting swamped by Major Label, Tesco) whilst extolling the virtues of a particularly fine piece of meat “Look at That. Not a bit of waste on it.”

And they waste no time in kicking off the album, Form and Function is a 90 mph statement of intent, Sellbach and Horton’s dual vocals recalling Thurston Moore and Kim Gordon of Sonic Youth. The next few tracks continue in the same urgent vain, before they treat us to an interlude with the track ’Interlude’ - a nice and moody bass heavy instrumental, which shows they aren’t mere one-trick ponies - it reminds me of how fugazi used instrumentals to break up an album and take a breather. The next track Ms V. Export, is one of the strongest, Sellbach’s chantlike vocals take sidestage to her bass that practically eats up everything else around it.

Pretty much every press release that accompanies the latest hot new group, comes with the promise of incendiary live shows. The energy of the songs alone, makes me think that Love of Diagrams, wouldn’t disappoint on that front. However, until they are passing through your town - give some love of your own and get hold of this record.

#Music
#chimpovich

21st Mar 2007 - 3 comments - Add Comment - Tweet

Longcut

You Got The Love / Idiot Check

Melodic

Chimpomatic favourites The Longcut are back with a limited edition Double A 7" on the fantastic Melodic label out of Manchester. A bonus track from the recording sessions for A Call And Response, Idiot Check is a toughened up version of their sound, using their trademark pounding rhythms and minimal vocals to great effect.

You Got The Love is exactly what you might be suspecting - a cover of the club classic. Hearing any band cover a classic like this always has interesting results, and this is no exception. It's beefed up and raw, with the Longcut's signature style seeping through.

#Music
#CSF

19th Mar 2007 - Add Comment - Tweet

Blonde Redhead

23

4AD

There are some feelings in life that you simply can't beat. I'm not talking here about the grand feelings of joy or euphoria that come with such landmark events like having your first child, no I mean the kind of everyday, low key moments that produce an indiscribable feeling of utter satisfaction. Like the first sip of an ice cold beer after work on a hot summers evening, or sliding your foot into brand new socks, or finding a forgotten favorite album for £2 in a second hand record store, or putting on an album by Blonde Redhead who seem to be able to produce moments such as these with blissful ease.

Ever since 2004's Misery Is A Butterfly my heart has been in love with this band. There is something about Kazu Makino's sweet soprano vocals that make me sigh with delight. They ache with sadness yet float with effortless grace over the claustrophobic wall of sound that underlie them. She has the ability to gently take your heart by the hand and carry it away on the most perfect of melodies. Misery Is A Butterfly was the first album where this quality was brought to the forefront, moving away from the bitter squall of their Sonic Youth inspired sound of previous albums and now with 23 the change is well and truly complete.

The title track chimes in with an eery emptiness that is then discarded as you are pulled close and smothered by sound. The first glimpses of Makino's voice sees the spell cast once again and the love affair re-ignited. The voice is more energetic here and though it will always contain the traces of melancholy that make it so addictive it's more soaring and wonderful than ever on these first two opening tracks. With The Dress things open up a little and as the music is stripped down we get more space to look around and really appreciate the delicate nuances of this band. As usual vocal duties are shared between Makino and Amedeo Pace who's contributions bring valuable muscle to the proceedings with songs like SW and Spring And Summer Fall.

It's hard to talk in depth about these songs for fear of breaking the spell. Blonde Redhead's music is hypnotic, rapturous and holds within it a kind of mystical wonder that is almost impossible to pin down. They make beautiful pop songs but there seems to be something more, something special that once it has touched you you feel privileged. So with this new album my heart is once again buoyant.

#Music
#BC

17th Mar 2007 - 1 comments - Add Comment - Tweet

Hotel Alexis

Goliath, I'm On Your Side

Broken Sparrow Records

Its little wonder that Hotel Alexis declare in the title of their second album that they are on the side of Goliath. The impression is that they've staked their money on the odds on favourite, preferring the safe option and letting someone else fight their battles for them. They'd be wise to take a leaf from David's book by showing just a little more of the biblical underdog's courage, conviction and cunning.

Singer/songwriter Sidney Alexis wears his influences on his musical sleeves but in trying to emulate his heroes he fails to find his own voice. It takes more than slide guitar to sound like Americana idols Sparklehorse. A 19 minute meandering drone doesn't confer Velvet Underground status. And a sense of melancholy needs to be matched by a confessional intimacy to leave an impression like Leonard Cohen, or even Bright Eyes.

All in all it's a great shame as if Hotel Alexis revealed more of themselves rather than just hinting at what's catalogued in their Itunes library they could really be something. The textured arrangements of brushed snares and folksy picking combining with studio experimentation occasionally pays lush and atmospheric dividends. The deserted funfair feel of 'Our Good Captain' is intriguing while 'The Devil knows my handle' has a 'down home' ambience masking a bleaker message but these are fleeting glances at what could have been.

At 19 minutes long 'Hummingbird' is the centre piece of this album recalling a long journey where the scenery is pleasant, as is the company, but you just don't seem to arrive anywhere. Its certainly not a road to hell but neither is it a magical mystery tour. If only they'd been brave, or curious, enough to veer off the beaten track.

On 'I'll arrange for you to fall' Alexis asks “what went wrong, what went right?” Actually referring to a name change he could have been asking for judgement on this album. The answer would have to be a bemused shrug of the shoulders. If they grow some balls like David then Hotel Alexis could be onto a winner.

#Music
#Muxloe

15th Mar 2007 - Add Comment - Tweet

Letters From Iwo Jima

(dir.Clint Eastwood)

Does anyone else have what I have with Clint Eastwood's films? I never rush to see them and then I watch with moderate expectations but invariably come out loving them. I really should learn by now. 'Letters From Iwo Jima' is up there with his very best, and is a great, great film. I thought the Best Picture category was fairly weak this year but it is a travisty that this didn't win. I guess they owed Scorsese one.

Seeing the battle of Iwo Jima from the Japanese perspective is a clever idea and Eastwood explores this deftly. When the 'isn't war pointless' buttons are pushed it is done so in a refreshingly level headed and clear eyed view. The storytelling is always objective and the situations and characters rounded and three-dimensional.

The film is littered with great performances; Ken Watanabe's sympathetic General Kuribayashi, who retains his dignity despite the heavily stacked odds and the hopeless situation. To counterpoint the his perspective, we also follow the story of Saigo (played by Kazunari Ninomiya), a reluctant conscript who is no ones idea of the a war hero, least of all his own.

I used to think of Eastwood as an actor who directed pretty good films but make no mistake, he is a great director that can sit easily alongside the very best.

#Film
#marmot

13th Mar 2007 - Add Comment - Tweet

The High Llamas

Can Cladders

Every review or article concerning the The High Llamas seems to mentioned Brian Wilson. It must be compulsory I guess, and although it is an easy parallel to draw, it is also a good one at that.

Anyway, they have a new album 'Can Cladders' that is not a radical departure from anything they have done before. So although they still sound a bit like YOU KNOW WHO, they do it better than anyone else and this is their best for a long time.

So if slightly mannered chamber-pop, with lush strings, vocal harmonizes galore, banjos, slightly anodyne lyrics is your thing; then this will possibly be your favourite album ever.

If not you'll hate it with a passion. So either * or ***** depending on where you stand.

#Music
#marmot

13th Mar 2007 - Add Comment - Tweet

Richard Swift

Dressed Up For The Letdown

Universal

Straight outta rural Minnesota comes Richard Swift with this, his third album.

His music however comes from somewhere between Tin Pan Alley and 70's Laurel Canyon, he takes these reference points and makes them sound like his own. However Swift is not a one trick pony or a revivalist and mixes things up to good effect. 'Most Of What I Know' and bar room sing-along 'Kisses For The Misses' are both great. However, the Paul McCartney sounding piano ballads feel a little stagnant and tired.

Pretty good but not all that memorable.

#Music
#marmot

13th Mar 2007 - Add Comment - Tweet

Clark

Ted EP

Warp Records

Warp’s press release would have you believe this latest offering from Clark is “astonishing, spectacular, and unpredictable", which it arguably is - though the 6 fairly short tracks left me slightly disappointed and wanting more. Alongside this audio release is apparently a ¨sinisterly engrossing¨ video, but without having the privilege of seeing it I felt I was only getting half of the experience (You can now see it here).  The tracks are cleverly put together with a myriad of beautiful richly textured sounds. The EP has a very narrative feel but really does sound like the soundtrack to a film. The stand out track is Bibio’s remix of title track Ted, reminiscent of the otherworldly Durutti Column - easy to see why Boards of Canada are amongst his fans.

I would probably only add this to my collection if I had the vdu on all the time when I played music for the full experience, if I owned a really trendy clothes shop that I could play it in, or was an Elevator DJ.

Clark will be embarking on a grand UK and European tour between February and April 07 and if Warp sends me some tickets for this I would gladly go as I think the whole show opposed to just the audio would be all the things that the press release says this EP should have been.

#Music
#AH

13th Mar 2007 - 1 comments - Add Comment - Tweet