Chimpomatic

LCD Soundsystem

This Is Happening

DFA

From the solid dance record that was their self-titled debut, LCD Soundsystem have managed to successfully evolve into one of the most essential acts around today. As solid as the debut was, you'd be forgiven for pegging them as a one trick pony. 2007's Sound Of Silver put paid to any of that by topping all the 'best of' lists that year, including All My Friends gaining the top spot on my "best tracks of the decade" list. With that record they stepped out of their dance shoes and became so well-rounded it's almost annoying. James Murphy's got his shit locked down. He hooks the chicks with his onstage antics and charisma, and appeals to the guys by looking like a record company executive that's trying his hand on the shop floor - and aceing it every time.

So what next then for Murphy and crew? Well there's only one thing for it. You follow all that up with an equally tough record and meet the throbbing expectation head on. I say "equally tough" but This Is Happening isn't quite as satisfying as Sound Of Silver although it's close enough. Opener Dance Yrself Clean is a hell of a way to kick off a record; starting slow then punching in with the most pleasing beats since Daft Punk last played in his house. All I Want is the other power-track here and one that really displays the multi-string bow with which this band wield their charm. Centered around a looping guitar chord, it stretches out over six minutes with very little in the way of chorus, it just goes on and on with trance-like sensibilities which are interjected with bleeps and synths that swirl and dive around this structure. Pow Pow is reminiscent of I'm Losing My Edge and also Talking Heads' use of spoken word. Closer Home wraps everything up so perfectly with a near eight minute swirler of unbridled joy. It's another one that's gloriously reminiscent of Talking Heads and one that displays Murphy's trick of "all verse" delivery. The length of these songs coupled with the "all meat and no fat" structure gives an album like this some considerable might.

Everything James Murphy creates under this banner will ultimately be classed as dance music but this has an intelligence rarely seen in the genre. It's fiercely contemporary with songs like All I Want but then gloriously retro with Change and You Wanted A Hit. It's got its weak points however. Somebody's Calling Me is a bit tedious and lead single Drunk Girls (which just sounds like a lazy attempt to prick up the ears of radio listeners) is a touch thin. Having said that, along with I Can Change it's really the only conceivable choice they've got in terms of releases, when every other song here averages out at seven minutes. But when you're surrounded by such quality it seems darn-right picky to pinpoint these as weaknesses. It's a pretty rare thing when you get an album that I clearly haven't enjoyed as much as the predecessor that's so good there's really no reason to mark it any lower. (Having said that Sound Of Silver should really have been 4.5)

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#BC

17th May 2010 - Add Comment - Tweet

The National

High Violet

4AD

Stumbling across Alligator in Fopp on a non-descript weekday afternoon in 2005 worked out to be one of the sweetest and unexpected musical highlights of the past ten years. Since then, this Brooklyn band has consistently honored that experience by confidently building on Alligator's success. 2007's Boxer raised the bar to heights that even Alligator rarely hinted at - and so, expectation was swollen and bloated beyond the humble proportions that this band cultivate. Since Boxer the Dessner brothers have proved themselves to be quite a creative force in today's industry putting out the Dark Was The Night and Long Count projects, so with all that added experience High Violet was set to be stellar.

I have to admit though to feelings of disappointment throughout many of the initial listens here. Boxer's rich soundscapes and widescreen ambition seemed to have been compromised in favor of a much more low key sound. Matt Berninger's dichotomous writing can lift you up on "A wingspan unbelievable" with confessions of inadequacy and insecurity but here seemed to fall short of those heights and feel more content to leave you wallowing. The pace also hints at this redirection of vision. Boxer was a drummers album and High Violet rarely exploits this aspect to the same extent.

But to cut a long story short, now I bloody love it. I must have had it on repeat constantly for the last week and this new direction has seeped into my soul and to this day refuses to release me. I guess a good way to describe High Violet is in depth rather than height. While Boxer could often soar, these songs bury deep and take you to much darker places and all with the same tools. The same rich pallet is employed here as it swirls and builds with intricate subtlety around Berninger's baritone hum. Having their own studio and the gift of time afforded them space to obsess over every minute of this record, but instead of suffocating under these conditions it thrives - and it takes a skilled group of musicians with enough self awareness to achieve such a result. Speaking about their approach to High Violet, Aaron Dessner says "Matt expressed a desire to hear things that "sounded like hot tar. Or loose wool." This goes some way to describe the finished product that is High Violet. Songs like Sorrow and A Little Faith drip out with such thickness that given a decent pair of headphones it's quite easy to lose yourself in their density. Anyone's Ghost and Afraid Of Everyone are hollow depictions of loneliness and isolation, while Bloodbuzz Ohio continues where the Boxer heights left us.

Seeing them on their tour of Boxer I was quite worried to witness the bloated endings that seemed to have been tacked on to most of the songs. At the tail and of the vocals the Dessners' would step forth tho the front of the stage and elevate each song to a Wilco like frenzy of feverish guitars, and it really didn't suit their style. High Violet opener Terrible Love does this too but I am very pleased to see the restraint that this album shows and it never does it again. Given their astonishing rise this band would be forgiven for letting some of it go to their heads but this record shows this not to be the case. It is a work of admirable restraint yet progressive enough to honor the memory of what's gone before.

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13th May 2010 - Add Comment - Tweet

Hot Tub Time Machine

(dir. Steve Pink)

"It must be some kind of... hot tub... time machine" Craig Robinson deadpans to the camera when he and his buddies find themselves in a ski lodge in 1986. That's about the depth of the plot in this wilfully stupid comedy. Which is what makes it work. It feels like a film where they came up with a title that they liked, and then wrote backwards around it. There's the odd bit of psychological depth - dudes aren't happy with assholes they've grown up to be, could this be a chance to fix the mistakes of the past? - but it's all buried in a pacy round of 80s gags and puke jokes. Lots of 80s ski bunny action too if you've ever wondered what life was like up on the slopes then. (Bonus fact - it was shot in Fernie, Canada, and looks a lot like certain other Chimp-friendly destinations.)

John Cusack trades off his 80s persona, taking every chance to diss the decade (all "Reagan and Aids") - although it's weird having some kid play the 80s version of him as we all know exactly what he looked like. Rob Corddry plays a similar pissed-off/manic role to the one he had in What Happens In Vegas; Clark Duke is Cusack's nephew experiencing the 80s for the first time (what? no wi-fi?); Craig Robinson is funny when checking out his Kid N Play boxcut.

More 80s cameos from Crispin Glover (aka George McFly) and Chevy Chase as the possibly mystic hot tub repair man. Nice nods throughout - Bowie skiing on MTV ads, Scritti Politti sounding great (I'm ready for the greatest hits coming out soon), and some ski patrol lunks freaking themselves out over some Red Dawn-style commie paranoia.

Could do without the homophobic panic that runs through a lot of these mindless slacker comedies though, and if you think about it too hard, the ending isn't really a total win, but hey, this isn't a Brief History Of Time, it's a Hot Tub Time Machine. 

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#chimp71

28th Apr 2010 - Add Comment - Tweet

He's Just Not That Into You

Well-paced group rom-com that may touch on a few home truths....

#JustWatched
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24th Apr 2010

The Losers

(dir. Sylvain White)

Hardass team of US army dudes get caught out on a secret mission to kill some narcos in South America. The first of many (many) explosions in this film leaves everyone thinking they're dead but (just like the A-Team) they're not. Revenge time! Hot chick from Avatar arrives, sans blue body paint. Beats up team leader for a bit, sets hotel room on fire, woah hang on, not only is she totally hot AND tough - she's ALSO on their side. Let's team up to kill the evil mastermind who's totally framed us all. And blow some more stuff up.

In the comic which this is based on, this story plays out in entertaining fashion. Here it's ok... but just all seems so... thin. Shot after shot is in slow motion, with everyone wearing shades and looking TOUGH. Then you get some bits where it's in that beer ad slow/FAST/slow style that makes the whole film feel like a trailer for itself. 

On the upside, you can sort of imagine them all being in a better film with a script that has a little more depth and a little less unwarranted belief in its own amazing sense of coolness; Jeffrey Dean Morgan (The Comedian in Watchmen) is fine, Idris (I AM STRINGER BELL) Elba is credible and Chris (not that one) Evans has a few funny motormouth moments. But it all feels pretty generic and stupid, and the final action scene (SPOILER ALERT it's BLOW STUFF UP slow/FAST/slow BOOM BOOM BOOM mwah ha ha now you will see my real plan/ no wait!/ we've totally got you in our sights/ woah it's a set-up/ no! argh! BANG gotcha repeat to comedy final scene etc etc) isn't really all that exciting at all. 

One to read, not watch.

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#chimp71

21st Apr 2010 - Add Comment - Tweet

Cutter's Way

Confusing, pretentious and wholly inadequate 80's 'detective' movie with Jeff Bridges..

Halliwell says: Heavy-going melodrama which tries very hard to be something more than a thriller, and manages only to imply that the world stinks; so it might as well have stuck to Philip Marlowe.

#JustWatched
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#CSF
#Halliwell

26th Mar 2010

Kick-Ass

(dir. Matthew Vaughan)

V enjoyable superhero flick that does exactly what it says on the tin. Adapted from the comic by Mark Millar and John Romita Jr, it follows the adventured of Dave Lizewski (Aaron Johnson) a high school fanboy who asks a simple question and then follows it to its logical conclusion: why hasn't anyone tried being a superhero?

After a few half-assed encounters with some low-level street thugs (basically involving him having his ass-kicked), his scuba-suited antics get picked up on YouTube and he becomes something of a local hero. This brings him to the attention of a far more organised duo - Hit Girl and Big Daddy (Nicholas Cage on great form) - who show him (and us) what real-life vigilantism would actually look like - basically, some unhinged people running around with a lot of guns and weapons.

The action is fast-paced, the nods to comic books on form without being overbearing (one flashback scene all told with comic panels is brilliant), and the dialogue a deft balance between hilarious and daft. Aaron Johnson (last seen as the young John Lennon in Nowhere Boy) is an engaging lead, Christopher Mintz-Plasse (aka McLovin in Superbad) has a good sense of comic timing, and it's always good to have Nic Cage in a role where you don't hate him for not being as good as he used to be. 12 year old powerhouse Hit Girl is a force of nature too, she gets some of the best lines, and this could easily be a breakout role for Chloë Moretz.

Chuck in the odd disarmingly moving scene, some gore-packed fights and a plot that keeps just the right side of almost-believable, and it's a winner. Totally not suitable for kids though, will be interesting to see how well it does without an underage superhero audience packing it out (although, let's face it, there are probably more than enough grown-up superhero fans around these days...). 

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#chimp71

23rd Mar 2010 - 2 comments - Add Comment - Tweet

Nik Bartsch's Ronin

ICA, London

The ICA - a different kind of ambience to some of the gigs I've frequented of late.  What a cultured group of individuals are to be found snuggling in this cozy nook just up the road from her maj. OK, so no one jumps around when the band finish a number, but on the positive side I won't go home wearing half a pint of Red Bull like I did at Les Claypool on monday night. So the ICA gets a thumbs up from me (but not the person who'd written the graffiti in the Gents - it read "You Bourgeois Cunt". There you go Banksy, that's how you do it).

Anyway. I digress.

Nik Bartsch has a musical mission and it's all about the crosstalk of rhythms. Ronin is one of his two bands, (the other is called Mobile) both of which share material and some members. Referred to by the ICA as "Zen-Funk" , it's a Jazz textured Steve Reich style experiment in rhythmic interplay, perhaps even more accurately called Math-Jazz. Anyway, before you all get visions of Howard Moon doing that Jazz face, it's important to understand that this band has a solid groove. The band play figures or riffs, patterns and pulses, but no wig-out solos or smug chords. The drummer might be playing in a different time signature to the piano, but a third rhythmic strand from the percussionist might lock them together in a new weird way that somehow makes your feet move.

Using acoustic instruments, plus electric bass, and some deftly applied reverb and delay, the band introduce musical patterns gradually, letting them take root in your head before something else joins in. Woodwind player Shaa creates mighty rasps from a contrabass clarinet, and smooth round tones from an alto sax. Bartsch himself is a very active player for a minimalist - confining his minimalism to the notes and figures played, but constantly plunging into the guts of the piano to mute the strings, pluck them and strum them with a drum-stick. In fact the whole band have this approach - to get maximum variety of tonal sound from the repeating figures (and keeping it funky).

The band really seemed to enjoy themselves - they had a nice crisp sound and were warmly received by the crowd. Absolutely recommended - next time they visit, be sure to check 'em out.

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#Gig
#HarrisPilton

15th Mar 2010 - Add Comment - Tweet

Terminator 2

Dated, but still bombastic sequel, with that awesome Arnie-isn't-the-bad guy twist to kick things off.

#JustWatched
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#CSF

28th Feb 2010

Duplicity

Disappointing, tricksy corporate espionage rom-com from Tony Gilroy. More Oceans 11 that Michael Clayton.

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#CSF

23rd Feb 2010

Yeasayer

Odd Blood

Mute

I diligently prepared for this review of Yeasayer's new album 'Odd Blood' by re-listening to their debut 'All Hour Cymbals'. The Chimp in charge assigned that disc a mediocre 2.5 stars. Unfair I think, since it struck me as an upbeat collection of songs - melody driven, varied and full of eclectic, instrumental experimentation... otherwise described as ‘World Music’ overtones. The last three tracks in that album are particularly strong and Chimpomatic signed off the review with; 'It's hard to say where this band will take their sound next but they will be worth keeping an eye on.'

So it was with some anticipation and an ear-full of growing acclaim that I clicked 'Play' on 'Odd Blood''. 5 tracks later, however, I found myself nodding in agreement to the lyrics of 'O.N.E.'; 'You don't move me anymore... I can't take it anymore'. What the hell happened?

Where 'All Hour Cymbals’ was rich in sound, layering a broad range of instruments and vocal harmonies to create songs that had real originality, 'Odd Blood' has gone through the looking glass into a strange world of bland electro-pop.

The first three tracks passed by entirely unremarkably until I sat up with a jolt during 'I Fear', convinced that Dave Gahan had suddenly joined the band. It's a 'Stars in their eyes' moment as the vocal impersonation of Depeche Mode's lead singer comes amplified by the tune's looping synthesizer/ electronica clamour.

For a band that can be so musically inventive the numbing dullness of the lyrics on 'Odd Blood' provide even greater consternation. 'Don't give up one me I won't give up on you'... 'Control me like you used to... I like it when you lose control', stand out as particularly inane. Yeasayer, however, clearly don’t agree and make endless repetitions of said self-lobotomising lyrics, integral elements of their songs.

By track 7, 'Rome', the Depeche Mode influence cedes way to the Scissor Sisters. With a chorus of testicle crunching altos; 'It's just a matter of time/ There's no mistaking that!' the album lurches on towards electro-mash-up oblivion. There is some relief in the closing track where some of the old lyricism returns but it’s too little too late.

Thank god for bands that won't be pinned down and Yeasayer's energy is undeniable and laudable. There's no reason that 'Odd blood' should echo the character of their debut album but having seen where this band has taken its sound next I'm not sure I'll be keeping an eye on them after all.

#Music
#LG

3rd Feb 2010 - 2 comments - Add Comment - Tweet