Chimpomatic

Yo La Tengo

Popular Songs

Matador

It was always going to be a hard act to follow. The title of Yo La Tengo’s 2006 LP, I Am Not Afraid Of You And I Will Beat Your Ass, sits at the pinnacle of my exhaustively researched; top-ten-album-titles-in-history-EVER-super-chart.

I.A.N.A.O.Y.A.I.W.B.Y.A was also noteworthy given that Yo La Tengo’s sound might best have been associated with a kind of low-key, shoe gazing dreaminess. They were certainly not obvious candidates for the brilliant wall of aggressive guitar which opens that album, under the moniker ‘Pass the Hatchet’.

The reason I’m banging on about I.A.N.A.O.Y.A.I.W.B.Y.A is not just because the New Jersey 3 piece's new release clearly doesn’t make the cut for my chart. It's also that the album is not as good as its predecessor, period.

But that’s as far as the criticism goes. The album title may indeed redeem itself after all in terms of accuracy; much of the music here deserves to be popular. The songs are good, by turns romantic and melancholy but generally minus the rocking teenage swagger of 2006.

There are exceptions, Nothing To Hide, and the album’s closing track (a 15 minute guitar jam) And The Glitter Is Gone, dish out plenty of energy and angry chords. For the most part, however, the band act their age (this is their 12th studio album). On stand-out tracks When it’s Dark and More Stars Than There Are In Heaven, they stick to reflective and wistful; plenty of harmonies, strings, organ and gentle acoustic guitars.

Whereas I.A.N.A.O.Y.A.I.W.B.Y.A was bookended by the band’s trademark long playing epics, Popular Songs saves both until last; And The Glitter Is Gone preceded by, The Fireside. The latter track may remind you a little too much of the busker in the high street you’ll have heard, riffing chords and peddling the reverb on his slide guitar. Regardless, this is a haunting instrumental clocking in at over 11mins and entrancing for every one of those.

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7th Sep 2009 - Add Comment - Tweet

The Dark Knight

Still good - but long, convoluted, confusing and a little bit pretentious.

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6th Sep 2009

Adulthood

More confused yoof antics from Noel Clark.

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6th Sep 2009

Portrait of a Lady

Surprisingly studenty period drama.

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6th Sep 2009

Airplane!

As good as ever.

Halliwell says: Arthur Hailey's Flight into Danger and the film Zero Hour which was made from it get the zany parody treatment in this popular movie which is often funny but sometimes merely crude. It rang the box office bell more loudly than most expensive epics of its year.**

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5th Sep 2009

Metro

Eddie Murphy by numbers.

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5th Sep 2009

The X-files I Want To Believe

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5th Sep 2009

District 9

Neill Blomkamp

Aliens appear out of nowhere over the Joburg skies with a massive spaceship that hovers menacingly... and then just stays there, doing nothing. When humans finally get up the courage to go and have a look they find an alien refugee population on its last (insect-like) legs, and take them down to a temporary camp.

Fast forward some 20 years to where District 9 picks up, and the "prawns", as they've been dubbed, are living in squatter camp squalor, just another problem for the South African authorities. Responsibility for moving them on has fallen to the shadowy MNU agency, headed up by a naive official, Wikus van der Merwe (played with brilliant range from newcomer Sharlto Copley) who starts out like a character from a SA version of The Office, and ends up... well, in a pretty different place altogether.

District 9 has already been the surprise hit of the summer in the States, which is great, as it's the sort of film that might have slipped under the radar. It's a sci-fi that's got something to say and uses the genre to say it, with brilliant effects used to make both the aliens and their hovering ship blend into the washed out South African city backdrop. What it's actually saying is perhaps less clear - do the aliens unite a post-Apartheid South Africa at last? Or just add another dimension to the racial politics? Or is it more concerned with the abdication of state responsibility to private security firms?

With this and the cerebral Moon earlier this year it's probably too soon to hope that we're on the threshold of a new sci-fi renaissance here (and the Thundercats impressions of Avatar so far don't bode too well), but it's fun to see sci-fi getting smarter again - and to be giving us a story where we don't know what's going to happen.

Fans of Blomkamp's excellent short Alive in Joburg (check out our preview way back in 2006) won't be disappointed - this builds on the idea of seeing aliens land somewhere other than New York or Tokyo to great effect. Recommended.

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4th Sep 2009 - Add Comment - Tweet

Pastels/Tenniscoats

Two Sunsets

Geographic

In something of a dream team match up, Two Sunsets sees Japanese psych-folk popsters Tenniscoats team up with... Scottish psych-folk popsters Pastels - for an album of psych folk pop.

Joking aside, this is a beautiful record, meeting all expectations for a long-on-hiatus revered band like the Pastels, recently more consumed by the running of their Domino funded label Geographic.

Two Sunsets is dreamy, shoe-gazing pop that is an effortless listen, ebbing and flowing and creating a world and language of its own, although that language is not dissimilar to the work of those other occasional-Japanese-avant-garde-collaborators Damon & Naomi.

The the aptly-titled opening track, Tokyo Glasgow starts things off, while Two Sunsets is a highlight, as is the intriguingly titled closer Start Slowly We Sound Like A Loch - gently layering keyboards and sounds to build up a lush soundscape. Beautiful.

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4th Sep 2009 - Add Comment - Tweet

Nodzzz

Nodzzz

What’s Your Rupture

Despite the British sound and undoubted nod of the head to bands like Elvis Costello or The Buzzcocks and other Brit-influenced bands like The Feelies or Richard Hell, Nodzzz surprisingly hail from San Francisco. While that may undermine their British credibility somewhat, it is not their main problem.

Deliberately off-hand and disengaging, Nodzzz are ...disengaging. The atmosphere of ha-ha-just-messing-about provides little reward for the listener's time. "Controlled karaoke. La la la, this song is corny" or "Losing my accent. Da da da da." It's not enough.

There are basic, literal messages wrapped up in the lyrics here, but music can be better that this. Lyrics don't have to be printed in upper case to get a message across, and the power of music and atmosphere are put to little use here. It's harmless enough stuff and thankfully it's 10 songs only total a 15 minute running length. That's 15 minutes that you could put to better use.

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3rd Sep 2009 - Add Comment - Tweet