Chimpomatic

Julia

Engaging and original kidnap movie with Tilda Swinton - that ultimately loses it's way.

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25th Jul 2010

Observe And Report

I observe that's it's crap and report it for being lame.

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24th Jul 2010

Jerk With A Bomb

Death To False Metal

Last week's Black Mountain gig sent me into a completist spin of Black-Mountain-Army-MP3-domination and as a result I dug up this previously overlooked, very early Jerk With A Bomb album. Before Pink Mountaintops and before Black Mountain it was just One Easy Skag and the Silo - AKA Stephen McBean and Joshua Wells.

While later JWAB efforts - 2001's The Old Noise and 2003's Pyrokenesis - have their moments (Pyrokenisis in particular with stellar stand-outs Fine Health Is At Home and the sublime To The Graves), both could be considered relatively patchy affairs. Death To False Metal on the other hand aims a little lower but maintains a solid, consistent level of entertainment - as well as a healthy live feel. You could imagine these two turning up at your BBQ and wowing the camp fire crowd with this whole album.

That's not to say it's all at one note - and This Broken Heart, New Wave Is Dead and particularly Half Mast provide some momentous highlights. Sure, it's still a lo-fi affair, but the passion and fury unleashed on some of the tracks is astounding and the record serves as a welcome early warning of Stephen McBean's deep reservoir of song-writing talent, not to mention Joshua Wells' epic drumming.

Listen in full over at CBC Radio 3 (Track 5 onwards is this album, the first 4 are from the 2 later albums).

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23rd Jul 2010 - Add Comment - Tweet

The Boat That Rocked

Loving re-created 60's pirate radio drama. Would have worked better at 45 than 33.

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22nd Jul 2010

Inception

(dir. Christopher Nolan)

What a relief it is to see something new. After all the endless sequels, franchise-extensions, remakes and reboots we've been lumbered with in recent years, you start to feel like no-one is going to bother coming up with anything new, which presents an odd problem: what are people going to remake in 20 years time?!

Anyhow, Inception delivers on its promise of mind-bending action. It's smart, coherent, tense, exciting, unpredictable and rich with emotional depth. Once the rules of the game are established early on - ex-military tech is now being used by corporate spies to steal secrets from people in their dreams you say? Oh, OK, fine! - the movie takes hold, dropping you off in its dream logic, throwing you around the world, dizzying you with some excellent special effects and not letting up until the final credits. Think Eternal Sunshine of The Ocean's 11 Mind, with a bonus dash of Matrix flash (before it got shit). 

Leonardo DiCaprio steps up to the promise he's been showing since The Departed, with another beefy role as the experienced dream warrior who gets hired to plant an idea, rather than steal a secret. It's like he's getting wider rather than older. Ellen "Juno" Page is a great addition to Nolan's tricksy world, adding a grounded, sarky teen level to the blockbuster antics. Tom Hardy's role moves a touch too far towards Action Dude from the cerebral, shady forger who's brought on board the team to impersonate people in dreams, but he's still great - surely a big lead role in a Hollywood film can't be far off for him? Joseph Gordon-Levitt plays DiCaprio's right hand man, another thoroughly watchable performance from him. Cillian Murphy makes a decent mark for them to target. Ken Watanabe and Michael Caine - two more Nolan veterans - add yet more weight. Marion Cotillard perhaps hams it up a little as the mysterious French femme fatale, but that's a minor niggle - and there's an argument to be made that it's an intentional device. 

Going in cold to a film like this is highly recommended - so we'll stop here; it's easily the film of the summer - and a strong contender for the year's best.

Check out the comic book prequel here.

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14th Jul 2010 - Add Comment - Tweet

Jeff Tweedy

Union Chapel, London

Jeff Tweedy cemented his position at the top of the league this week, with another top-notch performance - this time without the help of backing band Wilco and in the serene setting of Islington's Union Chapel. I've been looking forward to this one since missing his 2005 solo show in favour of seeing an ageing Bob Dylan at Brixton. A shocking mistake that I have regretted since, particularly as Dylan has returned several times since.

With just a guitar and his booming voice, the Wilco front man worked his way through a diverse range of classics from Wilco (Jesus Etc, Via Chicago, Kidsmoke), Uncle Tupelo (New Madrid, Acuff-Rose), Loose Fur (Laminated Cat, The Ruling Class) and a good selection of tracks from the Woody Guthrie albums on which Wilco teamed up with Billy Bragg (Remember The Mountain Bed [awesome], California Stars). He even bowed to "some asshole's" request for a Bob Dylan cover.

There was one exception to the solo status, as Tweedy was joined on stage early on by his 'hero' Bill Fay, with the two singing a charming duet of Be Not So Fearful. The more delicate setting placed a real emphasis on the lyrical quality of many of Tweedy's songs, highlighting his real talent as a talented and prolific songwriter, rather than just the front man of a brilliant rock band.

New tracks also made for some of the highlights (One Wing, Impossible Germany), but the star of the show was Tweedy's charming presence and wit - making the choosing of tracks by the audience like an episode of VH1's Storytellers starring Jack Dee. Brilliant.

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2nd Jul 2010 - 1 comments - Add Comment - Tweet

Kids in the Hall - Death Comes To Town

Death Comes To Town sees the welcome return of 90's comedy legends Kids In The Hall, as the canuckian comedians eschew their traditional scetch show format for a narrative based comedy 'drama'.

Of course it's not that straightforward. The five kids play 90% of the characters in the backwater town of Shuckton, where death has literally come to town. In fact, he's staying at the the No-tell Motel. As the story evolves, we move between a handful of story lines - all revolving around murder in the town. We follow the trial of a 1/16th native suspect, the ascension of the mayors wife, rivalry in the local news crew and sofa-bound former hockey hero Ricky's dodging of death as he's compelled to solve the crime.

There may not be the screaming highlights of the show ("My pen!", Girl Drink Drunk), but it's all solid and full of laughs. Fat, thin, male, female - it makes no difference as the Kids seamlessly blend in and out, building a convincingly ridiculous picture of the intricacies of small town life.

"What's heaven like?"
"It's like Calgary. In the 60's."

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18th Jun 2010 - Add Comment - Tweet

The Drums

The Drums

Island

Emerging bleary eyed from the Christmas/New Year haze I was confronted with nothing but talk of immanent financial hardship and the merits of a New York band called The Drums. I laughed off both as mere hype but lo and behold they've both come true and after hearing this debut album the latter certainly certainly makes the former rumor more easy to bear. If you have the Summertime Ep released last year then you'll be familiar with a lot of this but that shouldn't dampen your enjoyment in the least. Swamped in British eighties warmth but infused with a charm and freshness that seems to only emanate from the States at the moment The Drums continue in part what bands like Vampire Weekend started. These are simple songs heavily recalling bands like The Cure or New Order but laced with a rolling surf-rock sensibility. It's a fine mix and one that benefits form a full length format. They've bravely left off two of their most popular songs from Summertime, I Felt Stupid and Submarine, but left their flagship Let's Go Surfing, a song that won them their considerable acclaim on the blogs.

In these dark times I continuously look across the pond for indie-pop alleviation and with The Drums I look no further. It's not reinventing the wheel but who needs reinvention with a record as joyous as this. Highlights include Forever And Ever Amen and I'll Never Drop My Sword.

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11th Jun 2010 - Add Comment - Tweet

The Ponys

Deathbed Plus 4

Matador

This 5 track EP comes into view as another darkly looming juggernaught in this impressive bands back catalogue. It continues on form the success of 2007's awesome Turn The Lights Out and though doesn't really aim to make much ground in terms of progression it manages to more that solidify this band as one of Matadors more steady exports.

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11th Jun 2010 - Add Comment - Tweet

The Cure

Disintegration (Deluxe Issue)

Polydor

On it's impending release I remember thinking of Disintegration as something of a sell out. A mainstream album on a major record label, which was getting the kind of promotion a new Kings of Leon record would get today. In hindsight, it is perhaps The Cure's darkest and most complete album - focussing their attention in a way that the singles-orientated band had not managed before, into what might as well be one, long brooding composition.

Which begs the immediate question of whether this 12 track masterpiece really needs an expanded, 44 song edition? The answer isn't exactly yes, but if taken as 'extras', this is a fantastic release, which honours the original beautifully. The first disc features a newly remastered version of the original album, making it easy to switch off when that finishes. If you're on a mission, disc two should perhaps be listened to first - as the variety of demos from different periods in the production really show the evolution of the album, without the dull repetition that so many deluxe issue succumb too. Songs evolve from Robert Smith's home demos, through band rehearsals, band demos and studio outtakes.

Delirious Night, Pirate Ships and Babble offer notable non-album tracks on this disc, perfect for mix-tapes - but the more up-beat nature and tempo of each makes it easy to see why they didn't make the cut for the sombre/uplifting final record.

Disc three features the entire album, live (from Wembley Arena! Sell out). Stick this one on last and the evolution of the record is complete, transporting you back to a packed concert as the alum is majestically and triumphantly performed.

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11th Jun 2010 - Add Comment - Tweet

Wild Nothing

Gemini

Wild Nothing is the work of Virginia's Jack Tatum and though Gemini wears its 80's mope influences on its sleeve it does it with pride. Drenched in hazy sunshine, vocals buried in texture, swirling jangle guitars and synth washes all combine to create a glorious mud of sound that penetrates every pore of your being. It has the nostalgia of Pains Of Being Pure At Heart and the subtle mesmerism of The XX. It doesn't however have the heart stopping captivation of either of those bands but comes a close third. Like a gently drizzly day, you'd have to spend some time in this music for it to soak through, but soak through it certainly will. It sounds familiar but gloriously so.

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11th Jun 2010 - Add Comment - Tweet

Active Child

Curtis Lane

Merok

As the dying beauty of opener I'm In Your Church At Night fades gently into the background you'll ask yourself where on earth this sound came from and how dare it pop up and steal your heart this damn easy and with such little warning. Well it's the momentous achievement of Pat Grossi who's soaring falsetto vocals are the instant attention grabber. They float with a fragility that caries with it real power. Miscellaneous fuzz and effects follow it's every movement and when supported by the calamitous drums on Weight Of The World the effects are utterly dazzling. This music is dream-like in its production with different planes of sound from twinkling harp to great synth oceans sliding in front of the vocals and pushing everything into the distance and rendering it all untouchable. This only serves to encourage your ears and soul to strain even harder to reach the prize.

With such simple strokes Grossi produces epic magnitude and though the EP only spans 6 songs its power is astonishing. It's the soundtrack to a momentous event in your life.
Killer tracks: When Your Love Is Safe, I'm In Your Church At Midnight.

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11th Jun 2010 - 1 comments - Add Comment - Tweet

The Soft Pack

The Soft Pack

Heavenly

I know this has been out for ages but I'm just loving it. Formerly known as The Muslims, this San Diego four piece wisely changed their name and emerged with a belated release of this debut proper. It doesn't rewrite anything but just hits all the indie-punk buttons in quite a mild mannered, but endlessly pleasing way. The formula is very much two minute breakneck shots of garage rock full of jangle guitars, frantic drums and all propelled by singer Matt Lamkin's deadpan swagger. Where this formula is broken is where this band really come alive. Midway through the record you get Pull Out. It establishes a steady beat early on and keeps it steady throughout. Lamkin's repeated vocals give it an almost Krautrock kind of mesmerism. It builds up on this pace then crashes down to return to the rolling drum beat, then starts the process again. Closing track Parasites continues this structure but eases down on the gas and finishes things with at a belting pace. It employs extended areas of driving guitar between Lamkin's shouted vocals and sees the last minute out in this fashion. I's the final sprint and it's electrifying.

There's been much hype surrounding this band, largely due to the name change but also some pretty memorable live shows. This hype has taken its time to manifest here in the UK and it might have been difficult for a small band's reputation to precede them this much. But this release does all that justice and more than wets the appetite for the future.

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4th Jun 2010 - 1 comments - Add Comment - Tweet

Darwin Deez

Darwin Deez

Lucky Number

The problem with this record is evident from the opening bars of the second song. You'll find it's a slowed down version of the first. And this feeling of familiarity runs from song to song and ultimately masks their merit. And they do indeed display their fair share of merit. Running very much in the Strokes / Albert Hammond Jnr school of indie pop this debut is comprised of very simple songs built around the guitar/ drum machine structure. Standout tracks are Constellations and Radar Detector and the reason being that they and a few others are the rare times when the song structure varies. This debut shows promise but does it over and over in the same way.

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4th Jun 2010 - 1 comments - Add Comment - Tweet

Melvins

The Bride Screamed Murder

Ipecac

This is the first proper Melvins release for two years and the third to feature Jarred Warren and Coady Willis from Big Business. The two preceding albums (Senile Animal, Nude With Boots) were chock full of twin-drummer assaults and memorable tracks that somehow combined the best of the Melvins sound with that of Big Business. This new release has its moments, but ultimately fails to satisfy.

Speaking as a total fan-boy, I can't say I'm not disappointed. I've travelled more miles to see this band play live than any other. I've always loved the new ideas that come with shifting line-ups, and lived with this new release for a month before posting my review, but I can't get over the fact that this album is (at best) hotch-potch, and at worst, weak.

It's certainly diverse - the opening track The Water Glass is a rallying cry for the Melvins massive - all military cadence drumming and boot-camp chanting. OK, a bit baffling, but perhaps it'll work live. Things suddenly look up with track 2 - Evil New War God. This is the best track on the album - classic Melvins chunk winding into a doomy synth assisted riff during it's outro. Great stuff, but from here on in, the pickings get much slimmer. Pig House starts out promisingly enough but ends up in a rock-bolero - that most hackneyed and corny device. Even if it's meant to be ironic, it still sounds cheesy.

I'll Finish You Off is next - and to my ears it sounds just like a Big Business track. I'm not hearing much Buzz and Dale in there. Electric Flower follows and this could be said to be the other highlight of the album. Hospital Up comes next, which sounds like a track that might have been left off Nude With Boots - it starts well but dissolves into two minutes of faux-jazz fucking around. The joke wears thin after about 20 seconds. Inhumanity And Death is a bit incoherent - a stitch-together of left-over riffs, or orphans that don't really get along with each other. Then we get an 8 minute version of The Who's My Generation played as a sloppy bar blues. Once again, the irony is lost on me - it's just boring. The Melvins have done some awesome cover versions over the years (White Punks On Dope, Promise Me) but this doesn't come up to scratch.

The album winds down with PG x 3 - a folksy tone-poem played through three times - on melodica, a-capella, and on fuzz guitar. It ends with a child's voice counting numbers and looping on the number 4. I quite like this, but it's not exactly Steve Reich. Perhaps that repeated number 4 is reminding us that there are four people in the Melvins, each with equal input. Perhaps - but I'm not sure if this serves as a declaration or a disclaimer.

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3rd Jun 2010 - Add Comment - Tweet

Sex & the City 2

Shallow, literally offensive drivel, that's a lot more #2 than the first one, which I enjoyed..

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30th May 2010

Sage Francis

Li(f)e

Anti

It's been a long time coming but finally the follow up to 2007's Human The Death Dance drops and it sees Mr. Francis all grown up. I remember seeing Sage Francis at Plastic People many many years ago as he stood in the middle of the crowd spitting venomously into his mic and backed by a CD of recorded beats that he himself had to operate. Well Li(f)e is a far cry from that set up and is the first time Sage's unique and intricate poetry is given the panoramic backdrop of a a full and live band, not to mention the guest appearances. Opener Little Houdini sees Sage hook up with Grandaddy's Jason Lytle and Slow Man teems up with Joey Burns of Calexico. The result is a far richer concoction and one that works on may levels. It's more low key than previous releases and the warmth with which his beats emanate seem to give Sage's rhymes more body.

Three Sheets To The Wind livens up the general slow pace with Death Cab For Cutie's Chris Walla on guitar, Slow Man shimmers with midwest heat and closer The Best OF Times continues Sage's tradition of ending on an epic note. WIth rich orchestration he wrenches the heartstrings to the bitter end.

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28th May 2010 - Add Comment - Tweet

Moon Duo

Escape

Woodsist

Moon Duo are a San Francisco duo consisting of Sanae Yamada and Eric Johnson who in case you didn't know is the guitarist behind the swirling psychedelia of Wooden Shjips. Escape, their debut full length is very much a continuation of the head-fuck hypnotics that Wooden Shjips ooze out. It spans only 4 tracks and clocks in at just under half an hour as you'd expect. As the guitars whip up a monotonous pounding rhythm Johnson's vocals emanate with a whisper and get buried under the calamitous sonic onslaught. Some are slow and driving and some are nimble but all are bloated with strength.

Escape is a worthy addition to what Wooden Shjips do so well. Eight minute opener Motorcycle, I Love You never lets up with it's narcotic repetition and Stumbling 22nd St fizzes with scuzz. Awesome.

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28th May 2010 - Add Comment - Tweet

Phosphorescent

Here's To Taking It Easy

Dead Oceans

I guess there's two ways to approach a critical analysis of this record. Firstly on its own merit and as a piece of work independent of its predecessors and then secondly in direct comparison to said predecessors. Taking the first route, Here's To Taking It Easy is blissful. Matthew Houck's fragile vocals are complemented and bolstered by a full band and swelling, rich orchestration full of horns, meaty rhythm and soaring backing vocals. It comes off the back of 2009's For Willie, an album of Willie Nelson covers, and sees Houck's writing happier, fuller and and more linear.

Now for the second route. Houck's 2007 release Pride was an exceptional piece of work. It was uncompromising and difficult, it was haunting and utterly bewitching. As track after track sprawled out over nine minutes it hypnotized you with its looped vocals and stark atmospherics. Houck's same fragility threatened to break under this weight and the tension was what kept you hanging on. There is very little of that approach in this record and so I must admit to a certain degree of disappointment. I had figured the tempo and general upbeatness of For Willie was due to it being covers. But it looks like this is the way Houck is heading. Having said that, I love it as a country record, full of heartfelt tales of sorrow and love-lost. I think I'm over-thinking this way too much.

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28th May 2010 - Add Comment - Tweet