Chimpomatic

Stephen Malkmus & The Jicks

Real Emotional Trash

Domino

Real Emotional Trash is the fourth solo album from Stephen Malkmus since the amicable break-up of lo-fi pioneers and all time Hall of Famers, Pavement, nearly ten years ago. On heading out on the solo seas, Malkmus opted for an ‘ifitaintbrokedontfixit’ approach; taking that hyperactive yet laidback and slightly surreal sound he so effortlessly brough to Pavement, smoothing out the edges a touch and then just riding with it. For Real Emotional Trash, he obviously thought his well-oiled musical machine still wasn’t broke, so the odd tinker here and there would suffice rather than anything resembling a fix.

Inevitably it’s a maturer sound, but not at the expense of any of that trademark playfulness. “Of all my stoned digressions, some have mutated into truth” sings that familiar conversational voice on ‘DragonflyPie’ and ‘Stoned digressions’ is a neat way to sum up the music of Malkmus; never quite sure what he’s on about lyrically and musically liable to wander off in random directions, but heck it sure sounds nice.

I often forget how good a guitarist he really is, but he’s never one to turn down an extended jam with a range of effects pedals to showcase his chops. Joined by ex Sleater-Kinney drummer Janet Weiss (on drums obviously and the occasional backing vocal) R.E.T. rocks frequently, not least on the title track, which, with the aid of some jaunty piano, clocks in at a hefty ten and a half minutes.

While ‘Real Emotional Trash’ presents no real change of direction, it still follows that path forged by the founding of Pavement back in 1989, and what a scenic and above all fun path it is too - with Stephen Mallkmus up there at the front, holding the flag - your ever so slightly eccentric guide on this enjoyable journey.

#Music
#chimpovich

13th Feb 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

Lightspeed Champion

Falling Off The Lavender Bridge

Domino

Bloody January. It's just a slog, isn't it? The country shrugs its shoulders and goes back to work with a resigned collective grumble, coz evyone knows that the weather will be shit, and that nothing good ever really happens in January. Trudge on through and expect very little. And it was with that open minded attitude that I approached my first two reviews of the year.

Knowing nothing whatsoever about Lightspeed Champion, this album came as an unexpected pleasure. The main man at work here is Devonte Hynes - US born and UK raised, his music has been categorised as "Indie Folk" which could go some way to putting off prospective purchasers who only browse by genre.

But Indie Folk it is - and the good thing is that it takes the good bits from both, and of course ends up being something outside of either. The songs appear to be simple at first, but reveal themselves as something more almost straight away. Songs which could have become 3-chord campfire throwaways are rescued with subtly shifting chords and great instrumentation which puts me in mind of Pretzel Logic era Steely Dan. There are some beautifully restrained string arrangements and lovely touches of steel guitar.

Lyrically, Hynes explores dark territories yet delivers his message in an undepressing way, despite the shock of hearing harsh words in the gentle music. The songs keep surprising - starting out straightforward, but often avoiding conventional structure. No regular verse-chorus-verse-chorus stuff here. The track I really loved was Salty Water, in which Hynes creates a rolling backwash tidalwave with his voice as a perfect accompaniment to the lyrics of rapturous drowning. Personally, I think this music is at its best when Hynes lets go a bit with his voice - sometimes the flat-wovelled estuary drawl veers a little too close to Billy Bragg for my ears, but there's so much more to like about this record that this is easily forgotten. It's not just a collection of songs, it's a real album...and an artist to watch out for.

#Music
#HarrisPilton

21st Jan 2008 - Add Comment - Tweet

Junior Boys

Last Exit

Domino

Not sure what really warrants the re-release of this 2004 album, other than the CD's inclusion of the US release's bonus tracks. Ontario's Junior Boys (not related to JBO) is essentially the work of two men - Jeremy Greenspan and Matt Didemus. Musically it fits rather nicely into a post-clubbing niche since it is born from a background of club music but never rises to anything approaching peak-time dancefloor sounds. Coming across rather like a caucasian Amp Fiddler, house and garage textures underpin the lyrics and soulful vocals for a laid-back sofa surfing experience. There's an emphasis on melody and chord structure which is often lacking in music with this kind of pedigree, and that should be applauded. Weirdly enough, I caught the odd whiff of Scritti Politti in my nostrils.

All the same, I was left with a fairly vague impression of the music. It's very laid-backness lets the whole thing drift by in a haze, like it never wishes to impose upon you too much. Anyway, they've done another album and EP since this, so I guess this must be an in-demand classic or something to go to all the trouble of a re-release.

#Music
#HarrisPilton

27th Nov 2007 - Add Comment - Tweet

Animal Collective

Astoria 2, London

Having seen Animal Collective before I hoped they would live up to their reputation of never producing the same performance twice, as I was a little disappointed when I saw them last year.  The suitable qualities of Feels, the album they were promoting at the time was lost in a very bombastic sound.  The impression I was left with was of band trying to fill a large space.

Having released their most accessible album Strawberry Jam earlier this year on Domino records I made the assumption that the Astoria would be heaving with newly acquired fans. This was not the case as the gig was moved to the smaller Astoria 2. This did cause me some irritation as I believe it to be one of the worst venues in London for visibility and this applies to both floors.

They appeared on stage on time and with very little fuss, minus a band member, (which I did not initially notice as I could not see the stage) but the Animal collective as a three piece did not turn out to be a disappointment. The previous emphasis on the basic set up of guitar and drums had been moved to a more electronic sound orchestrated by the head nodding Avery Tare. This is not unlike the sound that they have organically progressed towards on Strawberry Jam. None of the songs felt regurgitated or overly structured, a freedom perhaps created with the limitation of instruments and arms. This allowed the songs to run along effortlessly,  close too but never quite blending into one repetitive clamor, at times the sound produced was hypnotic that entranced both band and audience alike.

It is difficult to pinpoint a highlight as this felt like a cohesive set punctured by recognisable melodies that carried you along. But to name one Fireworks was a distinctive gem and they did dip into old material, but the emphasis was more on the latest material. The reworking of old favorites like Who Could Win A Rabbit also hit the right note and did benefit from not been note perfect, which is an achievement in itself.

They were not on this occasion frustrating as is often stated, but totally absorbing This was a thoroughly enjoyable performance from one of the most incomparable bands around. Next time it may be a different story.

#Music
#Gig
#R.Hammerstein

20th Nov 2007 - Add Comment - Tweet

Psapp

Tiger, My Friend

Domino

This is a reissue of Psapp's 2004 debut and while it's a beautiful and thoughtfully crafted album the years and numerous TV appearances have been slightly less than kind. Originally released on the Leaf label I remember this the first time around and it slipped out the speakers like a cool drink of water. Galia Durant's effortless vocals breathe a delightful breeze over the airy percussion and glitchy electronica that guide us through this record. It evokes the washed out sunshine bliss of Stereolab with the meticulous attention to detail of Four Tet. The music skips around with playful ease while Durant's vocals sing of loneliness and disappointment. Calm Down is the best known of the bunch and is a joy from start to finish. It has the kind of rhythm and melody that if played in a shop would have customers subconsciously tapping and swaying to its seduction in a four minute consumer paradise bubble.

And that leads me on to this records misgivings. It seems a shame to even mention them as they are, in effect, out of their control - but it was someone's decision to use many of these songs on TV shows like Nip/Tuck and the OC and 3 years and a follow up album later and this debut is sounding dated and overfamiliar. There is something cringingly T-Mobile-like about this sound and as you strut around to its soundtrack the world around you takes on a sugary sweet pleasantness that just doesn't sit right. Their follow up record The Only Thing I Ever Wanted also does this re-release a disservice. It's a slightly more down-played sound and sombre in tone and while it has all the same glitchy texture and floaty vocals, it relies less on the playful element of the debut and therefore sounds like a mature, upgraded version.

It seems wrong to critisise this reissue on factors that can be largely put down to time. It is a sensitive piece of work that, at the time warmed many a heart - mine included - but it's magic has been diluted due to over-exposure and a slight dash of cynicism.

#Music
#BC

18th Nov 2007 - Add Comment - Tweet

To Rococo Rot

ABC123

Domino

Hey Marketing guys! When you're finished stamping on puppy-dogs minds or slapping ginger orphans or whatever you do during your lee-sure time, consider how cool you're going to look when you recommend this teutonic art-bleep as the soundtrack to your next german or swedish automotive commercial. You know, not as alienating as Aphex, not as sappy as Zero7. And there ends the recommendation. Not really a concept album but conceptual in it's, err, conception or something. This is the music you get when you make the shapes of Helvetica font letters on certain types of music software, and boy does it sound like it. I'm all for art and conceptual performance in music but this falls squarely between the planks of entertainment (right plank) and art (left plank) - plunging sadly into the basement of disinterest.

To Rococo Rot should know better. This is hardly typical of their recent output, and was probably a lot of fun to do, but friends - it just ends up as average sounding noodlectronica. So, come on you lot, back to your real instruments and key-changes. I mean, it's quite pretty and everything, but this so-called music of the future is sounding a bit dated now.

By the way, if you have a really shit car, you could always try driving whilst playing this to see if it fools your mind into thinking you're having a highly engineered autobahn type experience. Do let us know if this turns out to be the case.

#Music
#HarrisPilton

22nd Oct 2007 - Add Comment - Tweet

Robert Wyatt

Comicopera

Domino

There are few musicians of Robert Wyatt's generation who continue to approach their art with fresh thoughts and enthusiasm. Usually by the time rock musicians reach their 50's (or even their 40's) it's all over - jaded by the relentless treadmill of recording and touring, many simply give up trying to be original. You will find no such excuse making on this, the latest album from Robert Wyatt (b.1945).

Wyatt has a voice like no other - recorded solo it sounds wavering and fragile, harmonising with his own multi-tracked voice it becomes a rich silky chorus of unique character. His songwriting distinctly English, his lyrics effortlessly embracing everyday language, Wyatt's music tends towards Jazz as it's main source - the tight modal chord clusters of Bill Evans come to mind - and yet people who claim that they don't like Jazz would still find much to enjoy here.

Right away you can detect the presence of Brian Eno on this album, which is divided into three lyrically themed sections - the first section includes the melancholic Stay Tuned, and the beautiful AWOL, the second section includes Mob Rule which is not a cover of a Black Sabbath track, but Wyatt's wry observations on town planning meetings. The last group of tracks has Wyatt singing in Spanish, and all are punctuated by quirky instrumental interludes. So, not really a party album then, and an album which demands a bit of listening rather than something that's just there to set the mood. Well worth buying....and knock me dahn wiv a fevver if aint anuvver release on bleedin' Domino. Full marks for spending all that Arctic Monkeys cash on something unique.

#Music
#HarrisPilton

8th Oct 2007 - 1 comments - Add Comment - Tweet

Pram

The Moving Frontier

Domino

Hard to believe, but the still relatively obscure Pram are in their seventeenth year of existence, and this their 9th proper album is a treasure box of harmonious wonderment. Having found a home on Domino records, the band founded by Rosie Cuckston has developed a sound which fits elegantly between label-mates Stereolab and Mouse on Mars. Musically, Pram are first cousins (if not actual siblings) of John McEntire's Tortoise, employing the elements of tuned percussion, tremelo guitar, lush brass and sampled sonic textures which lend a soundtrack feeling to the compositions but without falling into the realm of aimless noodling.

The stripped back compositions such as Moonminer or Salt & Sand expose Rosie Cuckston's folk-tinged voice in a bare and dry contrast to the pitched-down sample backings, sometimes unresolved and uncomfortable, sometimes hauntingly beautiful. Never seeming to make a chord shift in the obvious direction, the songs have an unpredictable edge which keeps the listener guessing. The ensemble pieces such as The Empty Quarter or Blind Tiger show what a great band they are, with the Trombone of Harry Dawes and Sam Owen's clarinet sounding particularly fine against the cascading keyboards and percussion.

I'm not suggesting that this album is perfect for all occasions - I think it requires the listener's attention and rewards a bit of time spent with it, but for those familiar with the output of Domino this should come as a well received addition to the collection.

#Music
#HarrisPilton

4th Oct 2007 - Add Comment - Tweet

Animal Collective

Strawberry Jam

Domino

Listening to Animal Collective records is akin to listening to the sounds inside the brain of a child genius who’s hopped up on a cocktail of Ritalin and Prozac and suffering all the known side effects of hyperactive paranoid neurosis. In a good way.

Weaved waves of hypnotic beats are mixed with samples and guitar loops to produce a sometimes awkward, but always interesting experimental sound. All this complimented by the brilliantly bonkers vocals of Avery Tare (supported by some beach boys-like harmonies). One moment singing melodically, then howling like a mad banshee - the innocence, intensity and soreness in the voice, while sounding like nothing else I’ve heard, fits the feel of the songs perfectly.

Listening to Animal Collective can sometimes be a bit challenging. The album opens with some awkward beats and crackles and beeps, but don’t be put off as everything comes together to produce a right rollicking song about monsters – Peacebone.  The stand out tracks on Strawberry Jam are Reverend Green and Fireworks. The former, it’s speculated, is about the things you see living in NYC and contains, I think, one of the best/funniest lines on the album: “Bulimic vegetarian wins weight contest”. The latter, I’m certain, is my current favourite song.

New York based Animal Collective - made up of Avey Tare, Panda Bear, Deakin and Geologist - all do their own stuff and all seem pretty prolific and I think this is their 8th long player together. (Panda Bear released a brilliant solo album earlier this year – Person Pitch – which is well worth a listen). Pound for pound, I’m not yet sure if Strawberry Jam is as good as their 2005 album Feels, but this is still a contender for album of the year if you ask me.

Listening to it I have to wonder how the bejesus they come up with such abstract ideas for their tunes. However, if they’re gonna keep on serving up delicious treats such as Strawberry Jam then I hope they keep taking the tablets.

#Music
#Locochimpo

10th Sep 2007 - 2 comments - Add Comment - Tweet

Young Marble Giants

Colossal Youth

Domino

Tasked with reviewing Young Marble Giants I approached the commission in just the same way as has served me well so far in my short chimpomatic career. For the uninitiated it should be explained that as well as being provided with the album the record company's PR people often forward info and biogs of the band to provide reviewers with the bigger picture. Personally, I only check the PR once I've listened to the album a few times preferring to approach it with fresh ears and guard against believing any hype. Such a tactic seems to have paid off thus far. After drawing my own conclusions I'll check for any extra detail that might explain any mysteries or ambiguities in the music and I might do some internet research checking for some kind of back-story which might put the the whole project in context. Usually it is a process that confirms initial impressions. Not in the case of Young Marble Giants.

Until I read up on Young Marble Giants I was set to say something along these lines......I've listened to Colossal Youth several times now and though its generally been an enjoyable listen I can't really see the point of them . There are a few stand out tracks such as 'Constantly Changing' and 'Music for Evenings' which with their controlled choppy riffs, aloof vocals and edgy bass showcase the groups understated and spare sound. But I'd now find it difficult to hum a single tune or recall any words. The general feel of Colossal Youth is of an early morning deserted town centre in the twilight period when revellers have headed home and the milk float and postman are yet to start their rounds. Its all a fairly solid package but nothing outstanding. It's moody but nothing on say Tricky. Its atmospheric but not in the league of Portishead. Dark but not as haunted as Joy Division. You want minimal stick with Kraftwerk. You want drum beats programmed through a synth then check out Boards of Canada. If you're after a female voice with some attitude then don't give up on PJ Harvey....you want a drone then look up Tram..... you want to be soothed go back to old school Mazzy Star or even Drugstore....you get the picture. It's hard to see how Young Marble Giants fit in and what their purpose is. I'd give it a 2 and half.

Having read up on them I now feel that I would have done Young Marble Giants a serious dis-service. It turns out this isn't new but a release of the only full length album the Welsh outfit released, all packaged in conjunction with an EP, a couple of singles and out-takes as bonus tracks. Not only that but it was all released over a quarter of a century ago. Though never popular in the mainstream these guys were a seminal act credited with influencing a generation of musicians and at the time possessed a small but dedicated and fanatical cult following. It all makes sense now. In this context Young Marble Giants are something of a revelation producing sounds so at odds to their punk contemporaries and providing a blue print for all the acts already name checked here. At the time it must have seemed that they were from another aural world and should be saluted for being so visionary. I stand by my assertion that they pale in comparison to those who have succeeded them but deserve their reputation and if you're looking for the roots of some of your lo-fi heroes then Young Marble Giants are well worth checking out.

#Music
#Muxloe

31st Aug 2007 - Add Comment - Tweet

Various Artists

Hallam Foe - Original Soundtrack

Domino

Film maker David McKenzie wanted to free himself from the convention of composing an original score as a sound track to his forthcoming film Hallam Foe. Discouraged by the prohibitive costs of forking out for already licensed published source music McKenzie decided the best avenue to pursue this would be to approach a record label about buying up a job lot. It was a move that evidently paid off with McKenzie and Hallam Foe winning this year's Best Music in a Film Silver Bear award at the prestigious Berlin Film Festival. McKenzie's master-stroke was plumping for Domino as his label of choice. Who better to paint the aural landscape of a coming of age tale set in contemporary Britain than Domino? With the exception of the title track by label luminaries Franz Ferdinand, not a single song in this collection was commissioned for the film but instead the whole Domino archive was trawled for appropriate tunes. It's a deal that pays off for everyone because Domino have the opportunity to showcase some of their lesser known talent. And what a stable of talent it is too. As much as a film soundtrack this is a chance for the label to say 'meet the family'.

Listening to the Hallam Foe reminded me of those big occasions when one meets a whole new family, perhaps the in-laws or a new step family for the first time. In this case the Domino family. Like all family do's it is a gathering of quite disparate characters who all have little more than a name in common. Like a family from a Mike Leigh film, or Jonathan Franzen novel there are inevitably secrets. The Domino's are no exception and provide a soundtrack populated by acts who all have a role to play.

Opening the album is 'Blue Boy' by Orange Juice, with Edwyn Collins in the role of the family hatchback driving Uncle reminding all that he once zipped around on a scooter and chopped out songs with military beats and Clash riffs. King Creosote discloses the discovery of an extra marital affair that everyone pretends not to know about in 'The Someone Else'. Rebellious cousins have shown up with Clinic's 'if i could read your mind' snarled out like Jonny Rotten singing a Smiths song and U.N.P.O.C screeching 'here on my own' like Frank Black attempting a Talking Heads number. Pssap is the cute little niece playing kazoo and singing about their Tricycle. The role of exotic wife of the uncle who made all the money is played by Juana Molina with a sultry seductive voice. Franz Ferdinand are the golden boys who have been overindulged and fail to entertain. The sister who's been damaged by a broken heart comes in the form of the sweet and sensitive 'I hope that you get what you want' by the soothing Woodbine and all the teenage heart break is narrated by James Yorkston with the wisdom of an 80 year old granddad. The gathering is completed by a couple of annoying younger brother's, in particular Double Shadow with their pretentious sub Prince effort and Future Pilot AKA who linger with a brooding air of menace.

Like any big do, it's not possible to remember all names and recall all the characters, some just add a background hum to the atmosphere of the Hallam Foe affair but on this one meeting alone the Domino family are ones that I'd definitely like to spend more time with.

#Music
#Muxloe

31st Jul 2007 - Add Comment - Tweet

Eugene McGuinness

The Early Learnings Of...

Double Six

Hailing from Northern Ireland (via Liverpool and London apparently, whatever that means) the 21 year old Eugene McGuinness follows hs single 'Monsters Under The Bed' with his first album, ‘The Early Learnings Of…’, on Domino's new publishing off-shoot Double Six.

Eight tracks clock in at a compact half-hour and take the listener on a brightly coloured trip through the nocturnal anxieties of McGuinness. The journey is peopled by Vampires and ‘Monsters Under The Bed’ and pleas to ‘Turn Up The radio’ and drown out the troubled voices in his head. 

Sounds traumatic, but McGuinness works in the same vein of musical whimsy as label alumni The Magnetic Fields.  In fact, album opener ‘High Score’ has a bouncing, bittersweet quality which mines dangerously close to former band’s particular sound.  There is plenty of layering to the melodies, switching between acoustic orchestration and synthesised keyboard in a manner similar to Gulag Orkestar.

‘English Rain’ and ‘Big Issue Salesmen’ feature in McGuinness’s pitch to wrestle the title of suburban, lyrical laureates from the likes of Belle and Sebastien.  In ‘Bold Street’ we veer across a streetscene of buskers and schoolboys and late-night vomit before skipping into a rendition of Twinkle-twinkle little star.  The displaced, alienation of Morrissey is always in McGuinness’s sights, but there is none of the raw bite to it.  Eugene is a young, middle-class, street-poet whose strolls through the city always lead him back to the comfort of his TV set, internet connection and a pot noodle.  You sense his gentle, metropolitan paranoia will never take him anywhere really challenging.

Highlights like ‘Monsters Under The Bed’ and ‘A Child Lost Tesco’ seize you with their chirpy restlessness and lyrical flair.  It’s all bit of a musical fairground, bright lights and ghost-trains, but you’re never in any real danger as Mc Guinness busily fills his notebook with new things to worry about.

#Music
#LG

28th Jul 2007 - 2 comments - Add Comment - Tweet

Clinic

Funf

Domino

Like an international friendly, the B-Side is often an opportunity to see an artist discover new heights while the pressure is off, it's a chance for new elements of their game to be given an airing and for these elements to be shown the luxury of a total removal from any grand context, be it a tournament or an album. But as with nearly every friendly under Sven's reign a collection of B-sides and rarities can often turn into a total mishmash of experimentation and half baked ideas. And at the risk of killing this perfectly good analogy, England's friendly against Brazil the other week proves that even the best team in the world can be caught out by a bunch of cretins if they're not careful. So, as awesome as Clinic have performed in the past, I approached Funf with caution for all the reasons stated above.

I may conclude with a cheeky football reference but for now this analogy is over, I promise. This collection gives a pretty concise cross section of Clinic's history but for that reason it sometimes trips itself up. It spans a career that started on a high note with their debut Internal Wrangler right up to last years fantastic Visitations and it really shows the quality of a band when a collection such as this is not easily mapped chronologically. The singles off the debut are as varied as the album itself. Magic Boots is a raw piece of early dirt-rock while the album opener The Majestic holds all the sparse, eeriness of a time long forgotten.

Nicht, off 2004 album Winchester Cathedral's The Magician, is a furious onslaught of pure filth and is not a pleasant listen with its underproduced, tinny teeth bearing but is thankfully followed by one of the albums highlights. Christmas shows Clinic strip away all the noise and allow their uneasiness all the space it needs, Ade Blackburn's clenched teethed vocals quiver over delicate guitar and their trademark organ.

It's hard to imagine any single off the latest album mixing in less than impeccable company and Lee Shan, the flip side to the awesome Harvest (Within You) doesn't let the side down. It has all the twisted surf-rock delight of it's A-side with a steady build up of jangling guitars and Blackburn's forced vocals brimming over with tension. One of the main delights on this collection is when these vocals are removed and the music is allowed centre stage. The album closes with Golden Rectangle, a marvelously underplayed instrumental that illustrates perfectly why this band is so unique. Their music evokes a nostalgia that isn't easily identified as it often sounds like it's coming from the vast halls of an empty ballroom once occupied and full of life but is now full of echoes and ghostly voices that accompany the eery melodies of melancholia. 

And so being English the mere mention of the word melancholia brings be back to my football analogy. This collection of 'Friendlies' is very much a mixed bag where we have seen over the years Clinic try out some new ideas that haven't worked and indulge themselves in some areas of their game that really have. When the pressure's off it's a joy to see this band ease up on the gas and explore the subtle nuances that make their albums so memorable. It's not the result that counts here but the quiet fine-tuning of their art in preparation for when it really counts.

#Music
#BC

1st Jul 2007 - Add Comment - Tweet

Bonde Do Role

Bonde Do Role With Lasers

Domino

Describing Bonde Do Role is tricky.  Theirs’ is a brand of ‘baile funk’, originating from Brazilian ghettos as espoused by current indie darlings CSS.  Describing ‘baile funk’ is also tricky.  Perhaps it is easier to utilise the words of Pedro D'eyrot, one of Bonde Do Role’s MCs.  He explains that ‘baile funk is “like hip hop gone punk.  We have a word for it in Portuguese which is ‘rebola’ and it means dancing with your hips.  Basically, it’s booty music with people screaming over it and lots of energy.”  That’s about it, and very catchy it is too.
 
‘With Lasers’ is an album influenced by a list of genres as long as your arm.  D’eyrot says that it is like ‘digging through the garbage in Brazil and using the pieces to make a club mess’.  By my reckoning this must mean that the bins in Brazil do not just contain household waste and beer cans but a myriad of different vibrant sounds.  There are pre-grunge guitar riffs, beloved of air guitarists Bill and Ted, galore.  There are chants that remind me of primary school skipping games the girls used to play.  Mix these in with rhythms that could shake Brazilian football stadiums and beats that shake the bootys of Carnival dancers.  Throw in some samples lifted from obscure Latin American cartoons and sound effects resurrected from some long forgotten Super NES or Sega Megadrive games.  Amongst all this supposed garbage will also be found synth loops associated with provincial German discos circa 1987, Portuguese cheerleading and some primitive rapping.  It’s a hell of a mixture which leaves quite a cluttered sound.  Clutter can be bad buts it’s more akin to a second hand shop full of gems rather than the contents of a Granny’s house clearance.
 
The whole mixture is held together by the MCing which is of the primitive variety reminiscent of the 80’s when everyone from Blondie to John Barnes tried their hand at rapping.  The fact that it is delivered in Portuguese gives it an exotic and beguiling air which the lyrics may not warrant.  The female MC sounds a bit like Black Eyed Fergie but as she’s singing in a foreign language I’m not quite put off by her rhymes which could just be about London Bridges and Lady Lumps for all I know.  When she throws in a few grunts, groans and sex noises here and there it all becomes more alluring than inane.
 
All in all Bonde do Role’s debut album does have something of a disposable feel to it – much like the contents of a Brazilian bin no doubt – but like a cheap toy its fun for now.  The album is full of infectious energy and insistent beats that’ll get you in the mood for dancing with your hips.  Sophisticated it is not but then who cares?  Pedro D’eyrot doesn’t.   “For us it's all about the fun, and if it's not fun it's not worth doing. People can think whatever they like about us, but I'd like them to listen to Bonde Do Role in 10-15 years' time and laugh their asses off.”  He’s probably right, we probably will laugh in 15 months let alone 15 years.  But for now I hazard a guess they’d be worth seeing live and you might just well play this at every party you host this summer, shaking your booty with people screaming over the top.

#Music
#Muxloe

28th Jun 2007 - Add Comment - Tweet

Sebadoh

The Freed Man

Domino

In this humble chimps opinion, there can never be a bad time to remind yourself of the musical genius that is Lou Barlow, but 2007 has provided particularly rich pickings for fans of the indie veteran.  We've already witnessed the triumphant return to recorded form of amp abusers Dinosaur Jr, with the awesome 'Beyond' an album that featured a rejuvinated Barlow back behind the bass for the first time in 20 years.  Now, at the other end of the Volumic scale we get a repackaged and re-released version of 'The Freed Man', the self-explanatory titled first album from Sebadoh, the band Barlow formed after a well publicised fallout with Dinosaur Jr's J. Mascis.

The importance of Sebadoh in the underground indie scheme of things can never be underestimated. The lo-fi intimacy, invention and sheer refusal to be pigeonholed provided inspiration for many great bands that followed; class acts such as Guided by Voices and Pavement to name but two.  Whereas subsequent albums were more rounded and accesible, the 52 'songs' that make up the reissued Freed Man give an invaluable insight into the inner workings of the band from Boston.  I say songs, but it really plays out like a series of half ideas; the hyperactive result of stoned and wandering minds, which Barlow and partner Eric Gaffney undoubtedly possessed.

Tracks start then end without warning or breakdown altogether, all intercut with taped interviews and random commercials recorded from TV.  With the longest of those 52 tracks clocking in at just over 2 and a half minutes ('Julienne' and even that is really 3 songs stuck together), The Freed Man is restless but not irritating and most definately rewarding.  Like discovering a notebook of Picasso's sketches as he worked to create later masterpieces.

#Music
#chimpovich

25th Jun 2007 - Add Comment - Tweet

James Yorkston

Roaring The Gospel

Domino

The Stones once sang that you can't always get what you want but sometimes you get what you need. But such sentiments were written in the days before globalisation and rampant consumerism.  These days you can you usually get what you want even if it's not strictly what you need.  Our local high street doesn't need a new branch of Subway, JJB Sports or Nandos but that's what we're going to get because apparently that's what the punters want.  In 2007 when everyone seems to have a voracious appetite for musical consumption one thing we definitely don't need is another singer-songwriter out of the folky troubadour mold.  Another one just isn't needed.  There's plenty to cater for our needs already.  Where-ever one stands on the spectrum it seems your needs are catered for; from the Magic FM listening tweeness of the likes of James Blunts to the indie kid loving Bright Eyes of this world.  So we don't strictly need James Yorkston but he is what we should want. When it comes to sorting the musical wheat from the chaff this boy would be top of the pile ready to be sacked up and sent to the mill.

Where many of these troubadours subscribe to the notion that 'imitation is the sincerest form of flattery' and make little effort to disguise the fact that they have just re-hashed the winning formulas tabulated by the likes of Bob Dylan, Nick Drake, and Neil Young, 'Roaring the Gospel' shows that Yorkston’s influences are wider and deeper than that.  Yorkston is a protege of Bert Jansch and I'd hazard a guess that in addition he is not only familiar with Dylan’s back pages but also knows every nook and cranny of such albums as Van Morrison’s Astral Weeks, Love’s Forever Changes and Crosby, Stills, Nash and Young’s Deja Vu.  'Roaring the Gospel', his fourth album, cherry picks some of the finer moments from his heros and blends them together to tasty effect.  Add to this mixture lyrics and a voice that seeps celtic folk traditions and the brew is quite potent indeed.  It might not be entirely groundbreaking but it is an approach that provides Yorkston’s tunes with a character and identity which is very much distinct from his contemporaries.

It is not just the range of influences that ensures Yorkston is sacked up as wheat rather than discarded as chaff; it is also his refusal to follow the route of many of his competitors who feel the need to return to a back to basics style orthodoxy of 'man with guitar recording songs in the solace of his room.'   As a result he has avoided the pitfalls of introspection and melancholy which some manage to make appealing but most don't.  The range of instruments utilised in the pursuit of a sound that is warm, rich and charming is both daring and dizzying.  Yorkston adds colour to his tunes with the odd unexpected flourish. On 'The Lang Toun' the humming presence of bagpipes is inspired.  Accordions don't often make an appearance in modern music but add a certain panache to 'Sleep is the Jewel.'  And when was the last time you heard an oboe used in tandem with a banjo, let alone to used to such magical effect as on 'Seven Sirens'?

I hope James Yorkston has sharp elbows because he really needs to be pushing his way to the front or he'll be lost and dismissed amongst the crowd of all the other singer-songwriting troubadours we don't need.

#Music
#Muxloe

16th Jun 2007 - Add Comment - Tweet

Von Sudenfed

Tromatic Reflexxions

Domino

Getting over that tricky 37th album by starting a new band, mark e smith has teamed up with mouse on mars to produce one of his freshest sounding records in years.

it's exactly what you'd imagine - glitchy, scattery beats, MES sampled and looped, songs about sven vath djing etc. all works really well - it's in the tradition of the stuff he did w coldcut ages ago. his voice sits as well over bleeps as it does guitars (that said, there are some great distorted blow outs here too)

the single Fledermaus Can't Get It is great, and you've got to love tracks called Speech Contamination/German Fear Of Osterreich and Jbak Lois Lane - but it's Dear Dead Friends that's the real standout - the most lowkey, beautiful thing he's recorded since songs like Rose (Shift Work) or Bill Is Dead (Extricate). always liked his take on love songs, and this feels like a funeral tribute, with almost high-life guitars dancing over skipping beats

the fall album to buy if you haven't got round to buying one for a while.

#Music
#chimp71

15th May 2007 - Add Comment - Tweet

Arctic Monkeys

Favourite Worst Nightmare

Domino

Last month in the sweaty temple of music known as the London Astoria I worshiped at the altar of the Arctic Monkeys. Their performance was a revelation that mugged me of my considerable cynicism regarding the copius plaudits given to these whipper-snappers from Sheffield. My account of that experience was the review equivalent of Belushi back flipping down the aisles when the Rev. James Brown asked of the Blues Brothers congregation 'do you see the light?' Yes, I saw the light. And like all new converts I felt an evangelical duty to spread the word. The word was that the Arctic Monkeys are the real deal. So it was with some trepidation with which I approached listening to 'Favourite Worst Nightmare.' Having become such a public zealot would I now be left with a considerable amount of egg on my face? Thankfully the answer is no. Like any belief that is successfully put to the test my faith has been affirmed and strengthened. Though this may not be their masterpiece I stand by my assertion that the Arctic Monkeys are the real deal and, so long as they remain so, it is my mission to convert every Doubting Thomas.

The difficult second album. Many a lauded and applauded act has struggled with this one. A variety of approaches have been taken in pursuit of delivering the second coming. The Gallagher approach was to give an airing to the left overs deemed not quite good enough for the debut album. Some, such as the Strokes, take a laissez faire 'if it aint broke, don't fix it' approach. The Squire and Brown tactic was to take previous success as a license for self indulgence. Others, thinking of the La's, just wilt from the pressure. Luckily, the Arctic Monkey's have avoided the pit falls that litter the paths taken by these forerunners. Their sound maintains an energy and freshness which dispels fears they may have rested on their laurels. This is a collection that varies the pace and tone to suggest that they are more than just a one trick pony while the retention of economical 3 minute songs has guarded against any over indulgence.

Just in case the listener is in any doubt about the Arctic Monkey's musical direction they deliver hellos and goodbyes which make their own intentions absolutely clear. Album opener Brianstorm offers reassurance that they won't entirely turn their backs on the floor filling anthems with which the myspace kids first fell in love. Also reassuring is the proof that their heads haven't been turned by fame; preferring to mock boys in 't-shirts and ties combinations' and girls in jacuzzis who 'lay it on a plate' rather than deigning to join them. 505, the final song of the set, however leaves the listener with a reminder that the band intend to let their sound evolve even if outright revolution isn't on the cards. The signs point to the emergence of a more measured less frantic approach. Less brash and more sophisticated. Less about bravado but more confessional. All without discarding what made them special in the first place.

Where 'Whatever You Say I Am' was all about the possibilities of the night ahead, the soundtrack to an evening of escapades on dance-floors, Favourite Worst Nightmare is the journey home. Stepping off the nightbus the streets are empty except for neon reflections in dirty puddles and the rattling sound of the kebab shop shutters being pulled down. There is an air of menace that permeates throughout. It is an album that forces you to look over the shoulder to find you're being followed by edgy riffs, eerie organs, frantic drums, aggressive bass and tales of jealous boyfriends, daggers drawn and noses broken.

The strength of the Arctic Monkey's is that there is no evident bandmaster. They are a collective or gang who back each other up and allow all members a moment in the limelight. All have a chance to shine and impress. Alex Turner is a great chronicler of our times and certainly knows how to deliver a tune but that doesn't mean the rest are his backing band - far from it. The band was famously formed after they were given guitars for Christmas and surely Santa must have also delivered a bumper book of rock n roll riffs too. The versatility of the guitar parts is dizzying; ranging from Jack White-esque axe-smithery to delicate moments like riding the surf with the Beach Boys. The rhythm section play their part too. The bass veers from bullying on 'Teddy Picker' to bouncy on 'Flourescent Adolescent' and everything is held together by drumming alternating from powerhouse to shuffling in a manner which even Remi would be proud. Fortunately when they all raise their game simultaneously such as on 'Balaclava' there is no sign of too many cooks spoiling the broth, on the contrary the mixture of ingredients is magic.

I'm not preaching here in hope of convincing you to pay alms to the Chimpomatic church only to find that I shall later misappropriate these funds for a new life in Rio. It is not an album completely immune from criticisms, though in truth this is knit-picking in order to demonstrate that I'm not just pretending that the Emperor is wearing clothes. Very occasionally as on 'If You Were There, Beware' or 'Do Me A Favour' it is easy to predict the 'here comes the rock out' bit that characterises 6th form bands. Maybe sometimes the band have taken this commission too seriously. The likes of 'The Bad Thing' and 'Flourescent Adolescent' offer a too rare glimpse into the fun that it's possible to have when you're young and in a top rock n roll act. Expectations are high and perhaps Turner over-extends himself when he ventures beyond story telling to message giving. He doesn't need to try to be the spokesman for a generation, he can afford to leave that to someone else. But seriously, that is just knit picking.

So will the Arctic Monkey's prove themselves to the doubters with Favourite Worst Nightmare? Perhaps. Is this a great album? Maybe, though not definitely. Only time can hand out such accolades but respect and kudos needs to be awarded for giving it a valiant try. Are the Arctic Monkey's a great band? Again only time will tell but Favourite Worst Nightmare at least proves that they have the nous, talent and balls to one day deserve to be heralded as such.

#Music
#Muxloe

14th May 2007 - Add Comment - Tweet

Benjy Ferree

Leaving The Nest

Domino

As 2006 drew to a close the music scene typically turned in on itself and pumped out endless retrospective compilations to distract us while the new release section of the record stores were replaced with 'Best Of 2006' rundowns. I have never understood the January blues syndrome as this month welcomes the return to form of new music and late December's creative droubt comes to an end. After such thirsty times any relief is welcomed but it is all the more rare when it tastes as sweet as 'Leaving The Nest.' This is the debut album by Domino's new boy Benjy Ferree and it's sure to be a quiet classic.

Ferree's biography reads like any cv and has very little to do with music making. After pursuing a passion for cinema he moved to California and ended up being a nanny to various Hollywood big hitters including David Lynch. The acting thing never seemed to happen and after many sing-song sessions with the kids he realized he possessed a certain talent for song writing. Encouraged by Fugazi's Brendan Canty, Benjee set about compiling his debut work.

This potted history is important when you hear the album. It oozes class but also humility. The songs seem almost improvised and sound like work produced from the innocent mind of someone who never intended to be doing this. 'In The Countryside' starts things off on a refreshingly upbeat note as the lyric "So happy hands all in the air" is repeated with a jaunty swagger. You would be forgiven for assuming that such sugary sweet lyrics could only be the work of a musician hell bent on bogus, loved-up, pop stardom (two words: Magic Numbers,) but that's the great thing about this album. It is happy music, if I can be so sweeping, but not overwhelmingly so, and it's genuine. The compositions are simple and lo-fi and having established these loose perameters Ferree allows his sound to go where it pleases. 'The Desert' is classic Ben Folds with its light melody, 'Private Honeymoon' evokes the hollow, emptyness of Jeff Buckley and 'Leaving The Nest' recalls the mighty Jack White.

While these comparisons - and a good few others - will inevitably spring to mind, Ferree's sound remains his own. 'Leaving The Nest' is a culmination of natural talent, experience and a totally honest love of music. I predict great things for this guy and thank him sincerely for starting 2007 off on such a high.

#Music
#BC

18th Jan 2007 - 1 comments - Add Comment - Tweet

Bonnie 'Prince' Billy

I See A Darkness

Domino

Will Oldham's first album under his Bonnie 'Prince' Billy moniker has proved to be his defining work. The seminal 'I See a Darkness', later covered by Johnny Cash, is here in all it's glory - but is equalled by the beautiful 'A Minor Place' and 'Nomadic Revery' amongst others. In fact there is not a dud on the entire album. A sombre masterpiece.

#Music
#marmot

16th Jan 2007 - 1 comments - Add Comment - Tweet

Joseph K

Entomology

Domino

As a lifelong lover of music, I can trace many of the roots of my musical influences back to the sleeve notes of 1987's Minutemen compilation Ballot Result. The liner notes contained a long list of thank you's to the bands that had inspired D. Boon and Mike Watt, including bands like Wire, Television, Richard ('Dick') Hell, Pop Group and so on - as well as non-punkers like John Fogerty and 'even' Black Sabbath.

If their career hadn't had the aborted start that it received, Joseph K may well have featured on that list and I could well have become a lifelong fan of their work. Formed in Edinburgh in the late 70's, Joseph K started their own imprint label, "Postcard", and set about recording a debut single - released as a double pack with fellow Scots 'Orange Juice'. The band went on to record an album's worth of material (entitled Sorry For Laughing), which was subsequently canned for sounding too polished. An actual album The Only Fun In Town emerged a few months later, at which point the band decided it had peaked and disbanded.

The band can be placed this side of Wire, with the sound evolving to file down the sharp edged punk of and take it off down the gentle slope towards the mid-eighties sound that would become the 'indie' scene - and in fact guitarist Malcolm Ross ended up in fellow scots band Aztec Camera.

Single Radio Drill Time start opens this compilation - which contains a handful of tracks from both albums, plus a few singles and a Peel Session. Radio Drill Time is a taught, dark minimalist punk number, with a thumping bass line that sets the pace. Final Request and Heads Watch have a fast paced edge that shows the bands New York influence of bands like Talking Heads, and tracks like Endless Soul have the distinct political British sound that would be so influential on later punkers like the Minutemen and Dinosaur Jr.

Some of aborted album does sound relatively slick next to the more abrasive later tracks, with synthy pop touches placing the tracks in a more specific time frame - but that's no bad thing. The actual track Sorry For Laughing did make the cut for release as a single and is the highlight of the disc - a perfect slice of pop-punk, reminiscent of some of some of Magazine's best moments.

Tracks from The Only Fun In Town strip the sound back to it's more basic elements, making for a more immediate punch that would send the mosh pit crazy. Fun 'n' Frenzy and Forever Drone are obvious examples - and that strong sound is continued through onto the 1981 Peel Sessions. The only comment would be that the band seem to stay in the same space (high tempo, with crisp guitars) most of the time, but if you're going to pick a spot and stay there it's as good as any.

'Nearly everyone ignored Joseph K, including ultimately themselves' reads the press release. A press release from Domino Records, who have rightly dusted off this mislaid treasure of a band and brought them back into the field of view. Hopefully it will get them some of the credit they deserve.

#Music
#CSF

15th Nov 2006 - Add Comment - Tweet

Pavement

Wowee Zowee: Sordid Sentinels Edition

Domino

The Pavement re-release juggernaut continues with their third album getting the treatment this month, now re-branded as Wowee Zowee: Sordid Sentinels Edition. Following in the steps of the exhaustive first two re-issues (Slanted and Enchanted: Luxe & Reduxe and Crooked Rain, Crooked Rain: LA's Desert Origins), Wowee Zowee has been expanded with a re-remastered version of the classic 1997 album, accompanied by an assortment of B-sides, demos and live tracks from the period.

After the relative radio-friendly hits of Crooked Rain, Wowee Zowee was a relative critial and commercial disappointment on it's release, and the band retreated for a two years before releasing a follow up. In retrospect it is quite possibly the best Pavement album, finding the near perfect balance of the wacky schizophrenia of their early albums with the crafted 24 track song writing of their later albums Brighten The Corners and Terror Twilight. We can only imagine what extended titles are in store for those two.

Eclecticism is the name of the game with Wowee Zowee, and literally handfuls of different styles are covered. From the beautiful opening acoustic chords of We Dance, the music hall sounds of Motion Suggests Itself, Spiral Stairs' trippy Western Homes, or just the straight-up greatness of Black Out, Father To A Sister Of Thought, AT&T or countless others, this is an album that's as hard to define as a collection of Ween rarities.

For all the variation however, this is an album that works superbly. The songs play off each other and make a cohesive, balanced whole - with the highlights enhanced by the lighter, fun numbers.

And so we move on to the bonus material. B-sides from the album's singles (Rattled By The Rush and Father To A Sister Of Thought) start things off, and the Pacific Trim EP is a genuine bonus - recorded to coincide with an Australian tour, this release features all 4 tracks of the Rare EP - including notable mentions for vinyl-only I Love Perth and lead track Give It A Day. A cover of the Descendents It's A Hectic World is disappointing, and rambling tracks like Soul Food serve to highlight Pavement's habit of wandering off into musical cul-de-sacs. A demo of We Dance overlooks the natural beauty of the track, highlighting instead Malkmus' tounge-in-cheek English accent for a song which theories have suggested was influenced - either as a homage or pastiche - by Malkmus' friendship with some of the original Brit Poppers, including Damon Albarn (clearly influenced by Pavement in the mid 90's) and Wire fan Justine Fleischman (a former member of Malkmus' current band The Jicks).

Deeper into disc two a handful of tracks recorded on that same Australian tour showcase the band at their best, with off-kilter humor peeling away to uncover musical magic - illustrated most clearly by Box Elder, which recovers from near disaster to highlight how great this track is - from the often overlooked Westing (By Musket & Sextet) compilation.

One thing this album does bring up is how these re-releases monsters perform as self-contained albums. Is there ever such a thing as too much? The original was always long (56 minutes and 18 songs) and it could be argued that it was already sprawling (check out the re-ordered version here) and it is certainly front loaded with the absolute best-of-the-best tracks. At 50 songs and 156 minutes this new edition certainly adds a lot more to that mix, leaving no doubt that the best comes first - as although there are certainly some gems in the bonus material they never equal the epic heights set by the first two handfuls of tracks off the original.

Should this review rate the album as a whole? Or the original album as a whole, with the disposable extra of 32 bonus tracks? As a devout Pavement fan I'd always choose to have more, but if I was trying to convert a rookie to their majesty this would certainly not be the place to start.

I'm going to plump for something in between on this one, as although it is one of my favourite albums, I'm speculating that it is unlikely I'll be flipping on disc two all that often. But with the age of playlists and compilations upon us Pavement have delivered an ideal gift: A classic album with a selection box on the side.

#Music
#CSF

7th Nov 2006 - 2 comments - Add Comment - Tweet

James Yorkston

Year Of The Leopard

2006 is shaping up to be another fine year for music with releases from old veterans like Yo La Tengo and Grandaddy more than fulfilling expectations. But it definitely lacks a few things that we all need. After their stunning tour and appetising glimpses of new songs we need another Radiohead album and it's been so long since A Ghost Is Born that I think everyone would agree that we certainly need a new Wilco album but as Mr Yorkson shuffles his feet up to the plate to make his mark on this year it soon becomes clear that we don't need Year Of The Leopard. I don't come to this opinion lightly as I am a huge fan of Yorkston's honest and strangely uplifting style of folk but this new offering seems to lack all those attributes and is dull to say the least. A great deal of (dish) water has trickled under the bridge in the world of nu-folk since Yorkston's beautiful second album Just Beyond The River, so to emerge after 2 years with this is just not good enough.

We were dazzled by his presence at the Homefires festival and it was clear that he was a trailblazer for the impressively low key yet fiercely progressive Fence Collective, but since then his subordinates have lapped him in creativity and even though he pumps out new music all the time I could certainly handle another King Creosote album.

Yorkston has eased off on the lush orchestration that layered his previous albums opting instead for Homefires organiser Adem's stripped down style of drowsy folk and that's where the problem lies. Where Adem's voice has the intimate closeness that commands your attention, Yorkston just seems too tired or bored to command anything and before all you blinkered fans out there argue that Yorkston's understated and low-key style is the what makes his music work I would have to refer you to the latest Jason Molina offering or fellow Domino artist Bonnie "Prince" Billy as examples of just how captivating this style of music can be.

Each song follows the same structure with delicate finger picking ushering in hushed, whispering vocals until a feint swell of violins brings the whole thing to an easy close only to begin again and again. The Athletes seem to have all but disappeared and the only song that strives to break from this structure is the aptly titled Woozy With Cider, where Yorkston uses ill considered spoken word to tell his crazy tales of drunken debauchery.

Year Of The Leopard just proves that in a highly competitive market, feet shuffling simply won't do and illustrates perfectly the phrase 'If you snooze, you lose.'

#Music
#BC

7th Oct 2006 - 3 comments - Add Comment - Tweet

Stephen Malkmus

Kindling For The Master EP

Domino

4 remixes of Stephen Malkmus' latest single provide disco entertainment for mix tapes, but surprisingly it's Hot Chip who take the honors - with their Jan Hammer style re-working.

#Music
#CSF

2nd Oct 2006 - Add Comment - Tweet

Psapp

The Only Thing I Ever Wanted

Now on Domino, Psapp put up an intriguing cross between Four Tet and Stereolab with fascinating, organic sampled beats and floaty vocals. Gets dull in places but works overall.

#Music
#BC

4th Sep 2006 - Add Comment - Tweet

Archie Bronson Outfit

Derdang, Derdang

These days a record label is not complete until it has a David Byrne inspired vocalist on their books. Rough Trade got theirs with The Arcade Fire, Wichita with Clap Your Hands Say Yeah and now Domino have found theirs. Hailing from the West Country, Archie Bronson Outfit are not something you would want to listen to if you were of a nervous disposition, or in the least bit on edge. This is not a criticism, it’s just a pretty stressful experience listening to Derdang Derdang, the groups second album. They have managed to create a real sense of urgency that except for the final track is pretty much unrelenting. The whole album can be summed up in the stand out track Dart For My Sweetheart. On the whole, I frown upon songs that use counting, or days of the week as their structure - but this one is an exception. It starts “One is a gun with a dart for my sweetheart,” and continues up to twelve. All this over methodical, driving and jangling guitar and drums. Arp, the drummer and lyricist says, “There’s a nursery rhyme feel to the lyric, the counting stuff.” His kids ain't getting no sleep tonight.

The band claim this album was written and recorded in a very short space of time while they were all living together - and this comes as no surprise to me. It has a captivating sense of immediacy and the ever building tempo in each song threatens an approaching explosion, but rarely gives in. The tension comes from a combination of repetitive guitar rhythms, screeching free jazz saxophone and distinctive, paranoia filled vocals - delivered with such energy and force you have to either switch off or sit up and take notice. On Dead Funny he orders us, “don’t worry just get your head down.” Sound advice I think.

#Music
#BC

10th May 2006 - Add Comment - Tweet

Morrissey

Alexandra Palace, London

I think I could see Morrissey live every time he is in town, it is such an experience. Musically it is impeccable, but half the enjoyment comes from watching the type of fans he attracts and the effect he has on them. His music has the ability to reduce hardened middle-aged men to the mushy, teary-eyed romantics and it is fascinating to watch. Queuing up outside Alexandra Palace last night you’d be hard pushed to guess the band we were all waiting to see. It was a veritable melting pot of misfits, mods, Goths, England fans, dweebs, dickheads and righteous dudes. Beer guts were proudly displayed and back pockets adorned with wilting daffodils (Gladiola’s obviously not in season just yet), a sight to behold indeed.

After waiting at the front of the massing crowd through two support acts (one being Domino’s Sons And Daughters which were very good), the time had arrived and the lights dimmed. Amid deafening “Morrissey!” chants that would put the crowd at Stamford Bridge to shame the excitement was awesome. On walks the man himself and with the words “For what you are about to receive I am truly sorry.” The band explode with The First Of The Gang To Die. This was particularly ironic as my girlfriend very nearly was. The crowd erupted and surged back and forward with such pressure from the back and sides we struggled to keep our feet. So after waiting at the front for 3 hours it took less than 1 song for us to be at the back of the hall.

But without fearing for your life you are able to appreciate the show a bit more. And what a show it was. The man is notoriously private and sedate for the press, so it really feels like a privilege and an honour to see him so animated and vocal when in front of his fans. As usual the set list was mainly comprised of his new material but he did treat us to Girlfriend In A Coma and the show highlight How Soon Is Now? The super-extended rendition of this Smiths classic was greeted with absolute euphoria and a sea of worshipping hands in the air, stuff to make your spine tingle. The other highlight was Life Is A Pigsty which, in my opinion, is the best track off the new album. It was also interesting to notice how the songs off 2004’s You Are The Quarry, especially the encore of Irish Blood English Heart, are treated by the fans as classic Morrissey now.

The combination of such a legendary personality and a truly fantastic backing band (who strangely resembled Jonathan Ross’ ‘Four Poofs And A Piano’) made this performance truly live up to one of Morrissey’s opening statements “Welcome to the lost art of live music.” I can’t give it a perfect score because my girlfriend nearly died.

#Music
#Gig
#BC

2nd May 2006 - 1 comments - Add Comment - Tweet

Various (Domino) Artists

They’ll Have To Catch Us First

Though nowhere near as comprehensive as 2003's Worlds Of Possibilities this is nice little update on the goings on at Domino. Not many surprises as most of the best bits I already have but a stand out track from Archie Bronson Outfit and Clearlake make it all worthwhile. Old favourites include Tortoise and Bonnie Prince Billy, The Kills and Sons and Daughters. All in all a good listen and some future avenues to pursue.

#Music
#BC

28th Apr 2006 - 1 comments - Add Comment - Tweet