Chimpomatic

On Fillmore

Extended Vacation

Dead Oceans

This is the fourth release for On Fillmore - rhythm section duo Glenn Kotche and Darin Gray - a partnership that has gained a great deal of respect in the 10 years since they came up with the idea (at a Meltdown festival in London). Kotche's pedigree is without question, having released compositions for Nonesuch and been part of Chicago's vibrant art-music scene, it also doesn't hurt that he's a member of Wilco. Darin Gray has a great feel for the upright bass - a really beautiful player whose sound compliments Kotche's tuned percussion so perfectly.

As the album started it put me in mind of ECM records where the emphasis is on the spaces between the music, but it soon becomes apparent that those spaces are not going to be left un-filled, as each composition is overlayed with a fairly bewildering array of field recordings, and bird noises (made by Dede Sampaio). I appreciate the intent of this as an element of ambience in the composition, but the overall effect is not a good one because the ambient elements have been pushed very high in the mix - so much that they become intrusive and distracting. Conceptually this sounds like it ought to be very very soothing music - Vibraphone, Upright Bass and tropical bird sounds. In reality it sounds like they recorded this delicate textured music in an aviary at feeding time, or in a studio next to a building site where (oops!) someone forgot to close the window.

This is a real shame because the music is beautiful - if Tom Waits ever abandons his lo-fi junkyard approach and returns to clean recordings, he should get himself on a train to Chicago and have a word with these boys - but that beautiful music is obscured. Surely a much better effect could be had by having a clean version of the tracks released with the listener having the option of opening his or her windows. If you live in the country you'll get bird noises and some fantastic natural reverb. If you live in town, you'll have a symphony of swooshing cars, chatter and rumble, plus you could control the balance between the instruments and the ambience. But it would seem that it's more deliberate than that - On Fillmore want you to hear it this way, with those elements so loud and proud in the mix - in which case I have to declare this one a spoiled idea. There are moments when it sounds exactly as it should - moments where you could lie in the bath listening to this without thinking "I wish someone would shoot those fucking parrots".

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#HarrisPilton

28th Oct 2009 - Add Comment - Tweet

Department Of Eagles

In Ear Park

4AD

Though predating Grizzly Bear, Department Of Eagles is the side project of Daniel Rossen - and after a few years off he returns with an album totally different from their debut but one that sounds nothing like a side project. In Ear Park is a collection of songs that are described by its creator as being too personal for Grizzly Bear. It's dedicated to Rossen's father who passed away in 2007 and the title comes from the nickname for the park in Los Angeles the two used to visit. Gone are the programmed beats and eclectic genre shifts in favor of a much more cosistant album of expertly crafted and infinately layered pop songs.

These songs are set on slow release as if they're really not bothered whether you like them or not. Having enlisted many of his band mates Rossen relies heavily on delicate construction of melody that runs through the heart of Grizzly Bear. Rossen's vocals run down the center of each song. They float as light as air and rarely exert themselves but gently rise on the vast waves of rich instrumentation that surround them. The attention to detail on this record is stunning with piano, double bass, strings, flutes, and acoustic guitars all rising and falling as if being encouraged out by a hard working conductor. No One Does It Like You sounds like it's being played in a cavernous ball room while Around The Bay stays so close to your ear it's quite unnerving - and this balance and contrast of space is what makes these songs so compelling. Phantom Other maskerades as a gentle folk song then with the contorted groan of a chello the whole thing lifts like a lost city rising from the sea, then just as quickly it tapers off with the same gentle acoustic pluck like the whole thing was a figmant of your iagination.

Themes of mortality, memory and nostalgia run through this record. The instruments emplayed and Rossen's distant vocals all conjure images of empty music halls, but through this is often a melancholic image there is a vibrant sense of joy the seems to preside. The use of incredibly subtle sampling and a texture built from a miryad of instruments so delicately employed not only create a rich foundation on which these songs lie but also evoke a ghostly feeling. They emerge and recede like spirits from the past, some more dominant and impatient than others but together bring about a feeling of gathering company rather than haunting lonelyness.

The debut album The Cold Nose was an exciting patchwork of beat driven instrumentals, but did play out like a collection of slightly unrelated but good ideas. In Ear Park is startlingly consistent and unified, evoking everything from Sgt. Pepper to Van Dyke Parks to The Beta Band. Form is definitely king here, but the surpressed experimentation that lurks behind each note and every word is what makes this record reveal more of its soul with every spin.

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#BC

10th Oct 2008 - Add Comment - Tweet

Port O'Brien

All We Could Do Was Sing

City Slang

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

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

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

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#BC

28th Jul 2008 - Add Comment - Tweet

The Wedding Present

El Rey

Vibrant

I'd written my review for this album long before I even heard it and thankfully I didn't have to go back and change much. Where 2005's Take Fountain had been destined to be a release from Cinerama, it was re-purposed at the last minute following a change in personnel and a darker turn in the songwriting. With The Wedding Present brand revived, El Rey has had an entire gestation period and with Steve Albini back in the mix you've got a potent cocktail - which fortunately does not fail to explode. With the advances in technology since the lo-fi early days of George Best or Bizarro, there's no need for a technical back-step and the production is loud, crisp and powerful.

Since the release of Take Fountain in 2005, David Gedge has taken Interstate 5 south and re-located from his post-Leeds home of Seattle down to sunny Los Angeles, although I'm not sure we can expect an Entourage cameo anytime soon. The setting might have moved to Hollywood (Winona Ryder and Spider-man get a namecheck), but the subjects stays the same: broken hearts, cheating, lust, regret. The usual.

Given the usually autobiographical nature of Gedge's songs it would seem that he still hasn't got over his last break up - or he's got another ex-girlfriend already. Either way, his loss is our gain and the serial dating of California has seemingly provided much inspiration. With some of the more Cinerama-esque songs of Take Fountain excised (Larry's, Don't Touch That Dial) and the less-than-sympathetic production from Albini added to the mix and what's left is a beefed up sound with guitar-heavy riffs that leave barely a weak track on the album.

It may be a more up-to-date version of The Wedding Present sound - what with the talk of text messages, on Don't Take Me Home, JPEGs on Intenet obsession tune Model, Actress, Whatever and even a mention of text messaging - but all the ingredients are here and there's even a return to the mosh-pit friendly style of Brassneck on Soup. Speaker stack facing guitar work-outs are also thankfully represented on The Thing I Like Best About Him Is His Girlfriend and Boo Boo amongst others. The dueling female vocals of bassist Terry De Castro may recall Cinerama here and there, but that'll be Cinerama at their best. There's no single track as epic as the sprawling Interstate 5 off Take Fountain, but this is a thoroughly consistent, effortlessly entertaining album. Have no doubt: this is pure, undiluted Wedding Present.

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#CSF

27th May 2008 - 2 comments - 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.

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#Muxloe

28th Jun 2007 - Add Comment - Tweet