Chimpomatic

Antony & The Johnsons

The Crying Light

Rough Trade

It's been nearly four years since the operatic tones of Antony & The Johnsons breakthrough album I Am Bird Now took the music world by storm - well, the Mercury Music loving crowd at least. The Crying Light is the belated follow up, building on that success with confidence and style and again pushing forward the boundaries of popular music.

In name alone, "The Crying Light" gives a pretty clear idea of what to expect. Openers Her Eyes Are Underneath the Ground, Epilepsy Is Dancing and One Dove set the tone - with mournful, haunting vocals over piano and strings creating ethereal soundscapes reminiscent of the dreamy pop of the Cocteau Twins or This Mortal Coil. This is visual music, haunting and narrative - with suggestions of love, loss, life and death ...wait a minute, isn't that what everyone's talking about at the moment?

It's not all doom and gloom, and as early as Kiss My Name there's a chink of light at the end of the tunnel, as a more upbeat piano lifts the mood - accompanied by soaring strings and shuffling drums. It's back to the blues for the guitar-led title track, before lead single Another World brings the mood down again - as well as making for one of the more disappointing tracks here, plodding slowly along and highlighting the essentially straightforward method behind the magic of this album.

Thematically the songs are very consistent, giving a soundtrack feeling to the record - which seems built around centerpiece Daylight and The Sun, which by the time it arrives sound like a reprise itself, swelling beautifully and floating over piano and strings. Touching and melancholic, this record continues along the strikingly original path forged by the debut and should certainly cement the reputation of Anthony Hegarty as a creative force.

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#NM

21st Jan 2009 - Add Comment - Tweet

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John Frusciante

The Empyrean

Record Collection

Since he escaped his tooth-consuming drug addiction and returned to the Red Hot Chili Peppers in 1998, guitar hero John Frusciante has released a remarkable 10+ records through his solo projects - while of course playing a major part in the rehabilitation of the Chili Peppers from punk-funkers to stadium-filling, serious rockers.

While the results of the experimentation on his 2001 and 2004 solo albums have had an obviously positive effect on the Chili Peppers (most notably through the mind-blowing guitar-theatrics of Stadium Arcadium), he still manages to hold plenty back for himself - and there are not many albums that kick off with a 9 minute space-jam. Frusciante's own notes recommend that the album is played "as loud as possible and it is suited to dark living rooms late at night" - and the opener re-affirms that point. Slowly building from a lone drum, it's a vocal-free track where the guitar does the singing (sorry), as we are slowly drawn into the album.

The roles are reversed on Song To The Siren - a cover of the Tim Buckley classic, which is notable here for it's lack of guitar, instead relying on Frusciante's haunting vocals to beautifully carry the song - with delicate keyboards providing much of the charm, both here and throughout the album as a whole. Once we're warmed up, Unreachable provides one of the many high-points of the record, seemingly using a two minute intro as an excuse to unleash the stunt guitars for a blistering 4 minute outro.

The David Axelrod-style production tricks are in full-effect through the album, with some of Frusciante's more eccentric moments adding a great deal of personality to the record, whether he's singing in a faux booming voice on One More Of Me, or looping choral-style samples on Dark Light - which again uses a haunting intro, before segueing into a seemingly separate song and building beautifully on a simple bassline to hypnotise you through another 8 minute epic.

The relatively lavish production quality of Shadows Collide With People is still absent here and would have benefitted the record greatly, although production is certainly a step up from the more lo-fi home-studio vibe of many of the solo projects. Although, when you're a rock star living in the Hollywood hills, the home studio is not what it used to be. The vocals are sometimes often over-effected, where they would perhaps be more effective raw - but don't worry, there's plenty of room for another epic before the end and Central provides another soaring high point to the album, winding samples and booming keyboards through a heavily layered guitar track that builds and builds.

As a complete record, this is certainly a more focused release than Frusciante's six-albums-in-six-months period, as while each of those records yielded several gems, there was a certain sense of in-cohesiveness, which is clearly absent here. While Frusciante describes The Empyrean as a "concept album", he acknowledges that it may not come accross as narrative in that sense, but there is certainly a running theme within the songs, which all hold the same mood and tone - echoing feelings of loss, death and spirituality. The result is an outstanding, thoroughly involving and innovative album - which provides a sometimes challenging listen, with many rewards.

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#CSF

19th Jan 2009 - 1 comments - Add Comment - Tweet

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Animal Collective

Merriweather Post Pavilion

Domino

So here it is, Animal Collective's much anticipated ninth studio album: Merriweather Post Pavilion (apparently named after their favourite venue) arrives with similar claims that greeted their previous few releases; namely that these would be proper songs, rather than the sprawling sketches that characterised their earlier work. The fact that none of the songs clock in at over six minutes, does seems to suggest a new more disciplined agenda.

Opener In the Flowers doesn't quite fit this claim; with its plodding build, it feels rather like a prelude and is slightly underwhelming. However, moving into the blissful My Girls, it all begins to make perfect sense, with Panda Bear's melodic stamp all over it and is utterly delightful. Then the stomping, playful My GIrls take things in a positively sing-a-long direction by Animal Collective's standards.

From there on in, it is apparent that the sound on Merriweather Post Pavilion has evolved markedly since Strawberry Jam, and on the whole it's a lot more accessible record. This time around their reliance on samples and loops seems to have focused them, such on the stripped back Daily Routine (Guitarist Deakin is absent from this record). Yet Animal Collective's real skill is their ability to extract melody from the strangest of places and as the album goes on it slowly seeps deep inside your head.

So whilst Animal Collective remain an acquired taste and are not ever likely ever to make something that isn't hard to categorise, Merriweather Post Pavilion is as an original, joyous and warm album that you're likely to find this year.

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#marmot

14th Jan 2009 - Add Comment - Tweet

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Lost

Season 5: Because You Left / The Lie

ABC/Sky1

With the endgame in sight, Lost's fifth season gets off to a pretty confident, solid start. Now that they have worked out when they're going to end it all, it feels like they can relax with the whole story and just get on with telling it, rather than faffing about so much and adding unnecessary side-tracks all over the place. They must have got enough loose ends to play with by now - here's where they start to tie them up. 

We pick up where we left off, with Jack and Ben in the funeral parlour with Locke's body, Sayid and Hurley on the run after busting Hurley out of his mental institution, Kate and Aaron living in suburbia and the rest of the islanders left behind trying to work out where the boat's gone...

As we hoped when the Freighter Folk first showed up, it looks like Team Weirdo (Daniel Faraday, Charlotte Lewis and ESP-man Miles) are going to come into their own now there's a bit more room on the island. Faraday in particular really steps up in these first two episodes, and for once it feels like someone other than Ben knows what is going on - and might actually tell someone else. As they've hinted before with Desmond, time travel feels like it's going to be at the core of things - more a case of when is the island than where is it perhaps...

It also seems like we're going to be skipping around back and forth between the island and the mainland for this season, with Locke rounding the gang up to take everyone back in one storyline, while we see how everyone else - Juliet, Sawyer, Rose & Bernard, Locke etc - are dealing with being left behind in a state of confusion.

As ever, it's Hurley who gives us some classic moments, explaining in dude-speak what crazy shit he's really been up to since the plane crash - a nice way for the writers to acknowledge just how loopy this story has got  - and then carry on telling it. 

There's more from the Dharma Initiative, which is great, as it kind of felt like they'd forgotten about them for a bit, and they've got the coolest outfits. It's also clear that Ben's operation on the mainland is pretty organised - and that the other Others - ie the people he's worried about (the Widmore Group?) are also closing in. All in all, a very enjoyable return from a show that it would be great to see head for the final straight in style. No doubt they'll probably get a little lost again on the way, but it really feels like they're focused on delivering on the show's early promise again.

 

BONUS SPOILER TRIVIA BELOW

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....

 

 

....

 

Dr Marvin Candle lived on the island for a while, filming the Dharma Initiative Orientation films, liked vinyl and is really called... Dr Chen.

Ana Lucia returns.

Hurley's a shitzu fan.

Charles Widmore (aka hardest working man in TV cameos, Alan Dale) shows up.

#TV
#chimp71

12th Jan 2009 - 1 comments - Add Comment - Tweet

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Skins

Season Three

E4

When Skins first appeared on our radar, it looked like it was going to be another painful British attempt to do teen TV - like UK kids doing an amdram ad for American Apparel. But even though it's hyper-styled, and you'd be pretty lucky if your teen years were/are as action-packed and as witty as theirs, it soon became clear that this was easily the best teen drama we've had in years... since... um... Press Gang?! 

The secret seems to be in the production method. Having kids writing with seasoned writers seems to bring out the best of both: well-plotted and paced stories, without too much cringy made-up yoofspeak. The teen cast - Nicholas Hoult (Tony), Dev Patel (Anwar), April Pearson (Michelle), Mike Bailey (Sid), Hannah Murray (Cassie) and Mitch Hewer (Maxxie) - were all engaging, but also bolstered by the decision to cast a large part of the Brit acting/comedy population as their parents and teachers - Harry Enfield, Nina Wadia, Danny Dyer, Morwenna Banks, Peter Capaldi, Josie Lawrence, Kevin Eldon, Neil Morrissey, Arabella Weir, Mark Heap, Sarah Lancashire and Bill Bailey - not a bad lineup for any show. 

By shifting the focus from character to character every episode, it also built up a real sense of what it's like to be in school - sometimes you're at the centre of the action, sometimes on the margins looking in - a clever way of making it about everyone, not just the initially more obvious characters like Tony (although, by S2 they'd also found a way of subverting his alphateen personality). 

After the first two series took us through everything from exams, raves, anorexia, relationships, to losing your virginity and a parent, C4 came up with a pretty bold announcement: they were going to keep the third series set at the school after everyone had left for university, and start again with the next generation - effectively culling the entire cast (apart from Tony's little sister Effy, who cheekily moved into his room at the end of the last series). 

It takes about ten minutes for you to get over it. At first, it's quite annoying to watch three new skivers hanging out drinking and getting stoned before school - but then Harry Enfield shows up, there's a typically daft sequence involving some ketchup and a bike and the whole thing starts to roll again, with enough energy and wit to suggest that they might be able to keep this franchise rolling for years.

This term, they've got some twins (one nerdy, one full of herself - and actually played by real twins, not some Prince And The Pauper CGI trickery), a geeky magician, an over-cocky player who fancies himself almost as much as he fancies every other lucky, lucky lady in the class, a sk8tr boi, and a kid from Africa. Would be nice if they let some of the first generation show up from time-to-time - and it would be great to see Bill Bailey dancing with a dog again) - but on the strength of this opener, it seems like they've made the right call to stay in sixth form, and not head off to uni.

#TV
#chimp71

6th Jan 2009 - Add Comment - Tweet

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Omar Rodriguez Lopez

Old Money

Stonesthrow

Omar Rodriguez Lopez is the guitarist with The Mars Volta and this, his first proper solo album, is a collection of instrumentals and sound collages which serves as a strong statement of where he's at musically. Initially, this album comes across as the Volta without vocals, but repeated listenings reveal a wider scope of influences and textures. Genreally speaking only a couple of tracks resemble the Volta in terms of arrangement - notably the opener The Power Of Myth and the title track itself - elsewhere ORL's earlier excursions into the world of dub and found-sound are very a big influence, with mighty Studio 1 rhythms bouncing off latino melodies and third-world samples. The other big influence which flavours this record is mid-70's Jazz fusion, and by that I mean the good stuff - the use of Bass Clarinet cannot help but invoke the sound of Bitches Brew or Herbie Hancock's Sextant, and Omar's guitar playing coupled with some furious drumming are as close to a modern Mahavishnu Orchestra as we're likely to find.

What makes this good is Omar's approach to playing guitar - he is, without question, the finest rock guitarist to have emerged in two decades and this is a statement I'll attempt to qualify right now: consider the dilemma of the talented musician. If you have the dexterity and the ear for complicated playing, there is often the need to show-off, to learns tricks and to become nothing more than a performing stunt-show of arpeggios and flashy techniques, so many great players end up making music which only serves to highlight their technique. ORL is a very gifted guitarist but he understands something at a much deeper level than the sweep-pickers of fusion or math-rock - his solos charge head-on into unknown places, like someone riding the scree - a controlled crash at high speed. Really, the closest comparison to ORL's solo playing is Frank Zappa - he's really got that wah-wah thing down. On top of this, Omar clearly loves sound manipulation so his guitar sounds are often heavily effected, overdriven and swirling, but with a highly contemporary edge.

So, if you want to hear an album with a lot of high-quality guitar experimentation against a backdrop of electric Miles, King Tubby and Medal-era Floyd, then this is your new year purchase. If that sounds like your idea of hell then steer clear. Personally, I would love to hear the results if Omar teamed up with Bill Laswell - I think that would be a musical marriage made in psychedlic heaven.

#Music
#HarrisPilton

5th Jan 2009 - 1 comments - Add Comment - Tweet

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Demons

Episode One

ITV1

Another attempt from ITV to come up with something to plug that Saturday night Doctor Who black hole. 

Here, it's a fairly generic Buffy ripoff, with large chunks of Neil Gaiman's Neverworld thrown in for good measure. Some boyband wannabe finds out he's the last in the Van Helsing family line when his godfather shows up out of the blue with a large mystic gun and a terrible American accent and points out that there really are things under the bed. They chase them a bit together after going to see a blind piano player in London's Royal Festival Hall and then turning a corner and carrying on their chat in London's Spitalfields market* before Mackenzie Crook (Gareth from The Office) shows up with an odd stuck-on beak on his nose and scares them a bit. 

Philip Glenister - so good at getting you to believe in the Life On Mars/Ashes To Ashes time-travel/coma/where-are-we? conceit - is here lumbered with the task of trying to make this work. But as there's absolutely no reason at all why they've made him attempt an American accent, the whole thing struggles from the moment he pops up, simply because you're trying to work out why he's saying things like "let's verily smite these level three entities" all the time, when it would be a lot more convincing (almost) if he'd just been left to say it in his own accent. Maybe they're hoping to sell it to the US? Not much chance really - it's pretty hard to work out why you'd bother taking on monsters from other realms if you're not going to at least try and make it better than Buffy. Might pick up if it can settle down a bit, but at the moment, those London hellmouths don't feel very safe.

*note for non-London chimps: that would take a good 30 minutes to walk in non-TV time

#TV
#chimp71

3rd Jan 2009 - 3 comments - Add Comment - Tweet

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90210

Pilot

E4

Still got a lot of residual affection lying around for the original adventures of the 90s Peach Pit kids, so it was pretty interesting to see where they're taking this new reboot of the teen soap. It's set in the same universe, with Kelly (Jennie Garth) now a high school counsellor and the big sister of one of the new kids prancing around West Beverly High's catwalks halls.

A lot has changed in teen TV since the dawn of 90210 1.0 - Dawson's, Freaks And Geeks, The OC and most recently Gossip Girl have all pushed the genre way beyond BH's Dallas Jnr aspirations. In its day it was pretty much the only show around to show teenagers apart from Neighbours - now we've got used to seeing amplified angst played out in style, with studied indie soundtracks, and click-here, buy-now fashion tips.

In place of the Brandon and Brenda Walsh good kids from the sticks dealing with the madness of LA, we've got the Wilson family moving from Kansas. Dad Wilson is the new school principal (oh no! that won't be a problem for the kids!); Mom Wilson doesn't get on with Grandma Wilson; Wilson Daughter had a fling with one of the LA hotties a few summers ago, and he's now turned into a bit of a playa; Wilson Son is adopted and plays lacrosse. 

Most of the fun in the first ep - apart from trying to work out if Jennie Garth really is Jennie Garth (where's that perky nose?!) - comes from watching the actors who are refugees from two chimp TV favourites. Jessica Walter seems to be replaying her excellent turn as Arrested Development's boozy matriarch Lucille Bluth, with her cocktails-for-breakfast grandma Tabitha Wilson. Even stranger to deal with is her adopted lacrosse-playing grandson - yes, it's corner kid Michael from The Wire (Tristan Wilds) - who somehow manages to refrain from popping a cap in anyone's ass, even when he gets well-bullied on the lacrosse field. Not a scenario that came up in Baltimore often. 

It's probably not quite trashy or smart enough to really carve out a niche of its own in the current teen TV world, but may hold interest for a stumble-across-it hangover viewing. Shannen Doherty (star of 90s things like the I Hate Brenda Newsletter) shows up around ep5, so that's got to be worth checking back for.

Bonus Triv: check this totally 90s Eddie Vedder v Shannen Doherty showdown

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#chimp71

1st Jan 2009 - Add Comment - Tweet

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Best Of 2008

CSF

It's been a pretty good year for music according to my ears, and I've struggled to prioritise my top 5. The fifth place provided the most struggle and I narrowed it down to two albums I've overplayed and am currently on hiatus from - TV On The Radio and Vampire Weekend. I suspect they will both remain firm favourites, but song for song I'm going to have to bump Vampire Weekend into 6th place. Other notable mentions go to No Age (fuzzed up easy listening), Silver Jews (these guys finally clicked for me), Tapes and Tapes (an uncut diamond marred by shoddy production), Tindersticks (a comeback I would have betted against), The Wedding Present (it's all fours) and White Denim (lo-fi grandeur).

5. TV On The Radio - Dear, Science
Building on all the promise of their previous records, this one delivered a pretty flawless set of songs, all building of each other and rising to a great finale.

4. Ladyhawk - Shots
"Ladyhawke is in the toilet, she'll be here in a minute" joked band leader Duffy Driediger, as the original Ladyhawk launched into an awesome show at the Borderline - cementing beer-swilling, hard-rocking second-album Shots into a place in my list. No frills rock, with a lot of personality.

3. Flight of the Conchords - Flight of the Conchords
On paper, this record had to stink. Who wants to listen to the same gags over and over again? In reality, every song provides a remarkable understanding of music history, picking just the right sounds to serve the story - with so many jokes you hear a new one every time. Never, ever fails to light up Chimp HQ on a dreary day.

2. Fleet Foxes - Fleet Foxes
Another one that may have been temporarily overplayed, but this 70's throwback has been a pretty remarkable debut. Almost slipping unnoticed when it arrived in the office, it has been a solid player all year and I can't help but feel like it's greatness will soon be overshadowed by an even better follow-up. Unless they crack under the pressure.

1. Black Mountain - In The Future
Since it arrived on my desk in December 2007, In The Future has held the top spot for the year - and it still shows no sign of slipping. After a debut and a few side projects that paved the way, this was somehow exactly the record I expected and it never fails to impress me. Every note, every riff, every drum fill is just when and where I want it.

Some musical clangers for 2008: MMJ - Evil Urges (so disappointing), Weezer - Red Album, Breeders - Mountain Battles (only a semi-clanger), Kings of Leon - Only By The Night.

Best Songs: Portishead - The Rip, Port O'Brien - Close The Lid, Catfish Haven - Set In Stone, Fleet Foxes - Your Protector (for keeping BW running, if nothing else).

Best Gigs: Black Mountain rocked hard (again) at The Scala, Davin Berman's Silver Jews thoroughly proved their worth at ULU, Ladyhawk + The Dudes led the Canadian invasion at The Borderline, Oxford Collapse went under-appreciated at The Windmill and Jim James brightly shone a small light for the future of MMJ.

Live Clangers: Ween were truly disappointing.

Best Movies: In Bruges was a must-see despite an awful trailer, Iron Man andThe Dark Knight proved pretty solid superhero action, while This Is England and Dead Man's Shoes proved to be overlooked gems. Perhaps the biggest shock was the fact that the Sex And The City movie didn't totally suck - and in fact addressed the TV shows many shortcomings to make for a great movie.

Movie Clangers: Indiana Jones was as forgettable as you hoped it wouldn't be, while Somerstown didn't follow it's siblings in quality. There Will Be Blood did follow it's predecessors, with style over substance.

TV: The Wire came to a fantastic finale, Entourage continued to provide lifestyle envy, Breaking Bad took an original direction, Mad Men provided some slow-burning drama, while Summer Heights High provided some simple laughs. Undeclared and Freaks & Geeks finally caught my attention this year, wishing I'd caught both much earlier.

TV Clangers: Heroes just gets more and more contrived.

As a final note, headline of the year goes to chimpovich, regarding Men Called Him Mister's support slot for Foals in Madrid: "Band of Small Horses"

#Music
#CSF

31st Dec 2008 - Add Comment - Tweet

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