Chimpomatic

Magic Markers

Balf Quarry

Drag City

Continuing on nicely from the swirling shit puddle that 2007's Boss left us in, Elisa Ambrogio and Pete Nolan dish out the next installment. As you'd expect form this duo, Balf Quarry is an awkward dose of sonic psychosis that has the ability to soak into you like freezing drizzle or square up for a some more direct combat. Like crack cocaine, it isn't pleasant but it's addictive.

With minimal input they manage to erect these insurmountable walls of noise that shake with tempting vulnerability but stand proud with a strength that is baffling. And cutting through all this is Ambrogio's voice. It can tick by in monotone simplicity like on 7/23 or it can howl like a possessed Karen O on Jerks. The whole thing creeks with lo fi charm as homemade surfaces are used to coax out minimal tapping beats, guitars swirl and cry with little sense or order. Like Ambrogio's vocals the texture can, from track to track, recede deep into the distance creating ghostly chills that blow around her isolated voice or instantly swell to fill the room and envelope the vocals like a merciless storm. With Scott Colburn at the helm whose production credits include Animal Collective this light and dark noise texture becomes the crooked wire coat hanger on which this record hangs it's success. With such bare bones for a framework the melody that is stretched over as some sort of skin can sometimes thin out to near collapse but it's always in view and with the exception of The Ricercar Of Dr. Clara Haber it remains the thread on which much of this is tied. There's a lot of this about at the moment so it's important to recognise the honest shit puddles when you step in one, and this is just the ticket.

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5th May 2009 - Add Comment - Tweet

Doves

Kingdom of Rust

EMI

The other day, while shopping in Asda I found my self humming along to Elbow's On A Day Like This which was playing on what I presume was Asda FM and it got me thinking: surely this is when you know you've made it, when your artistic creations filter down to Asda level. Hell, I even heard that song playing in the Rovers on Corrie. This has been a long time coming for Elbow and it couldn't have happened to a better band or with a better album than The Seldom Seen Kid. I've always thought that Doves occupy a similar musical space to Elbow and have always curiously escaped the dizzy heights of Asda. Why bands like Coldplay have rocketed to star status with songs a fraction as good as Doves will forever escape me. By all accounts, based on the work they've put out so far, Doves should be one of the biggest bands in the world.

They're certainly one of the most steady bands performing today. Since their debut in 2000 they've delivered three strong albums full of stadium filling sounds that seem to have been born with the great ease. And yet we don't read about Jimi Goodwin's love exploits in the pages of Grazia. They're the Ryan Giggs of rock if you like - and with the fourth installment, Kingdom Of Rust, they should be getting the golden boot.

The first three songs on Kingdom Of Rust are Doves past, present and future and they're three of the best songs this band has ever produced. Choosing Jetstream as the opening song is a clear statement that the past five years since Some Cities haven't been wasted and Doves have certainly grown. It's a slow building, synth-heavy opener that swells to embrace Doves' previous Sub Sub qualities and levels out to a full-on techno-driven bullet train of a song. The title track is pretty much all you want from a Doves track - Goodwin's vocals riding atop a gently growing wave of delicate guitar work and euphoric melodies. Every one of their albums has one of these songs, the kind that make you want to throw your arms high in the air, The Cedar Room, There Goes The Fear and Black And White Town all had this and Kingdom Of Rust continues the tradition majestically. The Outsiders sees this band emerging from the last five years of silence with a new outlook, a darkly brooding tension and a refreshed muscular intention. Built around a relentless Krautrock rhythm it takes all of the past work and moulds it all into a seriously powerful sound that shows that this band may not have Asda FM knocking but they're not about to start trying to catch their ear. Emerging from the tinkling majesty of the previous track, The Outsiders drops its shoulder and drives forward into this driving, bass-heavy sound. To have a frontman playing bass really positions Goodwin as the central figure here. His ragged vocals are the sound of this band, but more notably than ever, his bass forms the throbbing vein of many of the best songs.

Though the album doesn't quite match the impact of the three-pronged opening assault it is never short of highlights. From 10.03's instrumental grunge breakdown that smashes Goodwin's astral first half to Compulsion's awkward 80's beat-fest, right through to House Of Mirrors ragged and endlessly pounding anthem, Kingdom Of Rust oozes great songs. It's a Doves album through and through, but things have changed. They've been watching the past five years but still do their own thing. It's hard to say that Doves haven't tasted the success they deserve when you see them playing to heaving crowds at Glastonbury - but somehow they haven't and this album is unlikely to change - that but in the shadow cast by that success there's room to take your time with your albums and come out with a stunning piece of work.

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1st May 2009 - Add Comment - Tweet

Doom

Born Like This

Lex

He may have dropped the 'MF' form his name but the metal face is most definitely back behind the mask with his first album in years. In his absence the expectation has grown to mammoth proportions. The Mouse And The Mask elevated his status to stellar and with its success Doom was primed for something huge. So he goes to ground. The last time he did this was after the demise of KMD and the death of his brother, emerging as the masked villain he is today. His emergence here is less drastic, but things have definitely changed.

There are of course the usual cartoon related samples peppering htis album but naming the album after Charles Bukowski's 'Dinosauria, We' and including a lengthy sample from the man himself shows a new seriousness breathing a cold breeze through the record. It's still as comic as ever but there is a renewed malevolence creeping in and Bukowski's input on Cellz sends an apocalyptic shiver down the middle of the album.

But for all the time underground this is not the album I expected to break the silence. His name is more focused and so is his rhymes. Born Like This is not a blasting trumpet heralding the return of the king, instead its power is almost unrecognised on first listen, but it soaks itself in slowly and after spending some quality time with this record it stands up as some of his best work since Madvillainy. Production duties are shared between Doom himself, Madlib and the awesome Jake One. There's some resurrected beats by Dilla including the much used Lightworks and a three year-old collaboration with Ghostface. But with all these heavyweights onboard Born Like This is very understated. Bass is used sparingly on the beats and Doom's rhymes plod methodically with deeper gravel tones than usual.

It's nothing new to see a Doom album scattered with short, sharp tracks and the result of this unifies the album into an entity that needs to be heard as a whole to be fully appreciated. The three standout cuts for me are the darkly booming Ballskin with its sinister melody; Rap Ambush which features an impressive boom/clap beat where Doom tells of an insurgent attack on enemy forces, sending wave after wave of R.P.G's - Rhyme Propelled Grenades; the other choice cut is That's That, a tight rhyme over a sweetly melancholic clarinet tune that also ends with some Doom singing which really shouldn't be allowed. It's not all good though, there's some pretty weak moments like the clumsy Supervillainz, the slightly weary Lightworks and the tiresome homophobic content on Batty-Boys, where the constant references to gay superheroes may well be clever but get boring quite quickly.

To come back after this long under the weight of so much expectation with an album as restrained and focused as this can only be applauded. Doom reestablishes himself as one of the most intelligently gifted MCs around and the downplayed nature of this record only serves to allow his fans space to marvel at the intricacies of each expertly dropped word.

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30th Apr 2009 - Add Comment - Tweet

Metric

Fantasies

The forum of a Chimpomatic review is one that I’ve already used to declare my love for Emily Haines; an ardour born of her anthems as a Broken Social Scene-ster and the achingly beautiful collection of songs on solo project ‘Knives Don’t Have Your Back’. I did however add the caveat that I wished at times the ice maiden might lighten up a touch and with Metric, the third of her musical trinity, she has deigned to do just that; to magical effect.

Like any long term relationship I feared that the passion may be waning and that the fire may just be dying out on first listen to Fantasies; Metric’s first full length album in 4 years. I confess to initially being a little on the miffed and disappointed side. Gripes included; occasionally the lyrics border on hectoring, song progression can feel slightly formulaic (taught tights starts like an a bow being pulled back raising to urgency and then arrow release) the veneer of over polished production threatens to muffle some numbers and the odd tune sounds like they’d been penned for the more intimate and vulnerable solo set only to be shoe-horned into a full band run out with an air of forced bravado. Its not that the criticisms are no longer legitimate it’s just that they are irrelevant and over thought. If one dissects a frog then one also kills it.

A few more listens and the passion roars just as fiercely as it ever did; like wondering how you could have ever thought that the girl next door was ever anything other than absolutely beautiful. As Emily implores ‘watch out cupid’ - the arrow has been shot. The merits of Fantasies, after a fair hearing, blow away any reservations. ‘Stadium Love’ is a manifesto for world domination warning U2 to vacate the stage. ‘Blindness’ is the sound of an Indie Queen on top of her game. I defy anyone not to hear ‘Help I’m Alive’ and not hum it endlessly for the following few days while ‘Sick Muse’ just soars; there’s no other way to describe it.

An ear for a melody, choppy New Wave riffs, hooky synths, no frills powerhouse drumming and a voice that has lived and is still alive all marry together to create a perfect harmony. Love, like faith, grows stronger when tested and I’m still in love with Emily Haines.

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29th Apr 2009 - Add Comment - Tweet

The Pinkmountaintops

Outside Love

Jagjaguwar

While best described as a Black Mountain side-project, Pink Mountaintops' debut record in fact preceded that of Black Mountain - but with the epic, note-perfect release of 2007's In The Future, Black Mountain is now firmly established as the main project, while Pink Mountaintops retains a distinctly more casual vibe, blending laid-back, bluesy riffs, with campfire vocals and the occasional burst of lo-fi disco rock.

Opener Axis: Thrones of Love is Pink Mountaintops-plus and sets the tone for much of the record with its slow pace, big drums and mellow harmonies. As expected, this is a more developed release than the previous two Pink Mountiantops records - and much as In The Future expanded Black Mountain's sound and pushed them into a new league, Outside Love attempts to do the same. The songs are bigger, more polished and more produced - while still eschewing that note-perfect precision of In The Future, instead opting for a more laid-back affair - more along the country-honk lines of Sticky Fingers than the technical perfection of Van Halen. It's also a good ten minutes longer than either of the previous Pink Mountaintops records - at a whopping 43 minutes.

With the band's higher profile comes a more extensive roster of guests on the record and guest spots are provided here for Godspeed You! Black Emperor's Sophie Trudeau, Jackie O Motherfucker's Josh Stevenson and Superconductor's Keith Parry amongst others. However, it's Black Mountain regular Amber Webber who makes the most notable contribution here - adding her atmospheric vocals to the excellent While We Were Dreaming, which recalls her own Lightning Dust album. Title track Outside Love is one notable disappointment on the record, promising much but never quite delivering, with the lumbering guest vocals from sunnO)))'s Jesse Sykes dragging it down. Luckily the damage is quickly repaired by album stand-out, I Thank You which builds on all the band's strengths, recalling Exile On Main St-era Stones and channeling the aforementioned country-honk in just the right places. The Gayest Of Sunbeams offers a break from the honkytonk and heads back into the disco-rock territory that the band explored with the likes of Bad Boogie Ballin' or more recent single Single Life, before the epic finale of Closer To Heaven.

Make no mistake, this is a great record that is a major move forward from the band's previous efforts, but it's missing that magic ingredient that lifted Black Mountain from 'great' to 'unmissable', and for that I can't help but feel mildly disappointed. Of course, this should come as no surprise in the context of The Pinkmountaintops' previous efforts and in fact even follows the step-up attitude that lifted the Black Mountain mothership's recent masterpiece up ahead of their prior work.

Outside Love was never going to topple In The Future from the throne and it has no intention of trying. This is a totally different beast and on its own terms it's another very successful effort.

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28th Apr 2009 - Add Comment - Tweet

X-Men Origins: Wolverine

(dir. Gavin Hood)

Fox

Another does-what-it-says-on-the-tin Marvel outing. It's Wolverine, and the story of how he got to be Wolverine. You know he won't die in the process because he made it all the way to X-Men 3: The Crap Stand, so there's no need to worry about any of the scrapes he gets into along the way. Anyone you've heard of from the others will also make it, with a good chance that any newbies we encounter along the way won't. If you can get over that, it's fine.

As in the other films, Hugh Jackman's early Clint charm pulls the whole thing along. He's got the chops and the sideburns, the claws and the cigars, and enough personality to make the film work. There are long passages where this is totally all you need, and it's quite fun seeing him acquire his jacket and chat about his life-long love of motorbikes etc.

It's efficient stuff, ably directed by Gavid Hood (Tsotsi, Rendition) until the obligatory blow-out ending - another one that suffers from the "hang on bad guys, just wait there while I do this thing over here for a moment and um, yes, ok, I'm ready for you to come and fight again now" syndrome that affects so many of these films. It's fine for them to ask us to believe in a chap with a metal skeleton and super-insta-healing and all that, but really, it sucks when films fall apart with basic lapses in logic. We get all the way to Stryker's evil scientist hideout - but then there's no-one there with him apart from some lab coat henchlady - he's in the US Army! Come on! Where's all his super secret soldiers or whatever?! 

Liev Shrieber is a decent foil as Sabretooth (although all he and Wolverine seem to do is run at each other every 20 minutes or so); Danny Houston makes a decent Colonel Stryker and there are various other mutants along the way to please Marvel fanboys: Gambit (magic cards), The Blob (super blobby dude), Bolt (power over lightbulbs - played by Lost refugee Dominic Monaghan), Deadpool (chatty assassin), John Wraith (played by will.i.am - seems to be a bit like Nightcrawler except with a cowboy hat) etc etc.  

It's nowhere near as lame as X3, and is all fairly entertaining, but it's hard not to wonder when we're going to get a whole new set of characters or worlds to get into, rather than fleshing out long-established franchises.

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27th Apr 2009 - Add Comment - Tweet

The Horrors

Primary Colours

XL Recordings

What The Horrors first album Strange House alluded to and what Primary Colours only serves to confirm is that The Horrors are in essence a pastiche band - begging, borrowing and stealing from rock n roll’s history and then repackaging and re-releasing. Re-invention should not be considered a criticism, but you could easily have expected Primary Colours to be more of the same, a method Oasis have been executing for well over 15 years. In fact, Primary Colours is very different to its predecessor, slower, measured - and where Strange House took the Goth punk of The Cramps and blended it with the sixties psychedelic weirdness of acts such as Screaming Lord Such, the influences running through this LP are altogether different.

On hearing the introduction of opening track Mirror Image, your first reaction may be that you’ve been given the wrong album. Where are the gothic organ sounds and sixties surf bass-lines? Here you’ll hear phasing, pitch-bending distortion; and may assume you have been handed a lost My Bloody Valentine album in error. Vocalist Farris Badawan’s first appearance confirms it’s the right record - but even then his performance resembles Brett Anderson with slightly larger testicles; gone is the aggressive scowl that dominates Strange House. Unfortunately this doesn’t end with the first track and while the My Bloody Valentine motif runs through most of the album, this is unfortunately no Loveless. More like a cheap market version of MBV, doing remixes of other bands: The Cure on Mirror Image, The Psychedelic Furs on Primary Colours, or Siouxsie and the Banshees on I Can’t Control Myself.

What is lacking from Primary Colours is the energy, the aggression, the uncontained vocals and the simple but effective musicianship of Strange House. No band has an obligation to be defined by genre and it would be wrong to demand it (although I‘m tempted to say any band employing the Madchester drum break employed in Do You Remember has no right to call themselves The Horrors, EMF yes, The Charlatans maybe, The Horrors no). What disappoints most is, while they were never going to be the most original band, they were at least unique. Strange House wasn’t perfect, but it was different and refreshing, best of all it sounded like the antithesis to the entire rolling basslined, high-keyed anthems that were and are still dominating the current music scene. If Strange House was The Horrors as mavericks, this is The Horrors falling back into line - if Brandon Flowers sung Scarlet Fields, it could easily be a Killers track (remixed by the counterfeit My Bloody Valentine of course).

This is not to make Primary Colours sound like an obituary, because there are some undoubted highlights. New Ice Age, despite the over production retains its energy, I Only Think Of You is strong enough to survive the Boards Of Canada treatment and the production on I Can’t Control Myself works well. Best of all is Sea Within A Sea, the epic 8 minute closer which starts like Joy Division’s No Love Lost and ends like Portisheads The Rip (unsurprising, as Portishead’s Geoff Barrow co-produces the album).

Where Strange House compelled you to throw yourself into the mosh pit, Primary Colours encourages you to stand at the back and listen with your arms firmly folded. Some may consider this progress but it could easily alienate many existing fans. It will probably get 9/10 from the NME and be described as The Horrors ‘maturing’, if that’s true it’s them reaching adolescence, talented but unsure, full of doubt and overly influenced by their friends. Somewhere there’s a great band trying to get out, but this album leaves you confused as to whether they’re a studio or live band. At some point they’re going to have to make that decision.

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27th Apr 2009 - Add Comment - Tweet

In The Loop

(dir. Armando Iannucci)

"To walk the road of peace, sometimes we need to be ready to climb the mountain of conflict..."

Great big screen translation of TV's The Thick Of It's TV (aka Yes, Minister? Fuck The Fuck Off). The mighty Peter Capaldi returns as Malcom Tucker, the spin doctor's spin doctor in a transatlantic tale of dodgy dossiers and chicken-arsed political manoeuvres that bites into the whole Iraq build-up in a scarily convincing way. MP Tom Hollander's ambiguous statements about the possibility of war land him in trouble as he finds himself being courted by hawks and doves on either side of the Atlantic, with predictably disastrous results. 

This is a brilliant take on the madness of our modern political world, with all the usual suspects back from the TV show (some in slightly different roles which is a bit confusing, but fine after a while), and the added bonus of James Gandolfini in his first post-Sopranos role as a US army general caught up in the Washington political flak. Watch out for a decent Steve Coogan cameo too as a pissed-off area man back in the UK trying to get his wall fixed. 

It's packed with so many great one-liners and inventive insults that you start out trying to remember them all to use in conversation later, until the sheer volume of them forces you to give up and to just sit back and enjoy the barrage of language at its fullest. It's also worth pointing out that this is a British film that's not a geezer heist, a shitcom with a punfull title or written by Jane Austen.  

Giving it 4****s here in honour of the outstanding contributions to the art of swearing - it's ****ing great.  

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27th Apr 2009 - Add Comment - Tweet

Brakes

Touchdown

Fat Cat

Brakes have come a long way since their gloriously ramshackled 2005 debut Give Blood. It lurched from one genre to the next with many songs coming in at well under the 2 minute mark. It was like a sonic sketch pad. Throughout the following Beatific Visions they added more meat to these bones and now they are certainly a mightier beast. The obvious change is that only 3 of the songs here are under 2 minutes and none beat the 7 second record held by the debut. But thankfully this change is merely cosmetic and though each song is longer the sentiment is still pretty much the same.

Thematically this album is as disparate as ever with each song appearing to have been born out of absolute circumstance. Delirious recording hours seems to have provided the setting for the crazy Don't Take Me To Space (Man) while Do You Feel The Same was recorded at the time of the financial crash when everyone was predicting the end of capitalism. So I guess what I'm saying is that much of this album is made up of ideas that seemed good at the time, and on the whole they were and still are.

Musically things have leveled out slightly. We don't get the stark contrast of bluegrass country jutting up against hard as nails punk ferocity as much as we did on the debut. It's more like country-rock dovetailing into punk-rock. With ex Delgado Paul Savage behind the production desk Touchdown is a more consistent rock record. The songs are perfectly formed ideas with everything you'd want from a rock song. Opener Two Shocks is the perfect example. It's slow to build and then with expert timing unveils itself to you with profound muscle unlike anything delivered by this band before. It's an opener that makes you step back and admire proudly the grownup standing in front of you. The same can be said for Crush On You and Oh! Forever. Looking at these three you just want to say patronizingly, "Haven't you guys grown, I've known you since you were this long."

There are still ample indications that this band hasn't totally matured, the best being Red Rag. The joint shortest at 1.33 minutes this song has all the snarl of previous 30 second sucker punches but borrows much from its older brothers that surround it here and plays out as a hard piece of feral rock. It's probably the best moment on the record and one that makes me glance back to the good ol' days of fun loving punk sketch books. Touchdown still possesses all these eccentricities but with all its mightier, stronger and better songs I can't help feeling the loss of something special. It's ever so slightly duller than before, but at the same time way better. Go figure.

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24th Apr 2009 - Add Comment - Tweet

The Walkmen

You & Me

Fierce Panda

"When I used to go out I knew everyone I saw / Now I go out alone, if I go out at all" so sang front Walkman Hamilton Leithauser on ‘The Rat’, which along with ‘Little House of Savages’ was the other ‘Hit’ from ‘Bows and Arrows’, the New York Five Piece’s second album  released in 2004. Well the good news for Hamilton, four years and 2 and a bit albums later (2006’s Hundred Miles Off was followed by a cover album of John Lennon and Harry Nillson’s 1974 Pussy Cats) is that he seems to have found some significant company to which to devote plenty of material from their latest ‘You & Me’ (the title of which could be a giveaway, the album itself certainly was, with proceeds from the first two weeks of digital sales going straight to The Memorial Sloan-Kettering Cancer centre in New York).  The even better news for the rest of us, is that this already great band just keep getting better.

“You know I’d never leave you and that’s just how it is” (On the Water), 
“I tell you I love you and my heart’s in the strangest place, that’s how it started and that’s how it ends” (In the New Year)
“You are the morning and I am the night” (Canadian Girl)

Are just a select few of the lyrical bouquets presented by Leithauser, as beautifully gift-wrapped as ever by the vintage instruments favoured by the band.  Ok, ’You & Me’ has actually been out for the best part of a year, but as past releases have proved, there really is no point rushing into conclusions on a Walkmen record, once in, it’s going to stay with you for a long time, maturing with every listen.  Take ‘Seven Years of Holidays’ for example, there, amongst the reverbed guitar and sparse-distant drums, lies the subtlest of string sections - quietly elevating this previously unassuming track up into the favourites after the twenty-something listen.

But picking favourites from ‘You & Me’ is a fairly pointless exercise, whereas 'Bows and Arrows' and ‘A Hundred Miles Off’  had their clear and immediate standouts, ‘You & Me’ is built up of fourteen parts to make a devastatingly beautiful whole.  For me they are up there with The National as America’s standout band at the moment, if sensitive, thoughtful, intelligent, rocking tunes is what you are after.  6 months in, I’m still waiting for a different album to come along and knock it from its heavily repeated listen perch.  Great Stuff.

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#chimpovich

23rd Apr 2009 - Add Comment - Tweet

The Veils

Sun Gangs

Rough Trade

After having seen Finn Andrews perform with his unassuming ensemble at a small east end pub not so long ago it's pretty hard not to get excited about a forthcoming release by The Veils. 2006's Nux Vomica came out of nowhere and blew my mind with its ferocious intensity. It was raw when it needed to be but as smooth as silk at other times and running through it all was such profound yet compellingly humble songwriting. Sun Gangs inevitably possesses all these qualities and is a worthy followup indeed.

Described by Finn as "a very modern mixture of prayers, love letters and personal record keeping," Sun Gangs is the natural progression after Nux Vomica. It's less wild definitely and more mature as a result. And yet with maturity can often come a bloated beast, but it has resisted the temptation to grow beyond all recognition of it's past. It is epic though, and more so than Nux. The Letter with its soaring central guitar chord hints at where this record could have gone, but it's the vision of Finn that one assumes keeps this from straying into dangerous Coldplay territory and instead it remains genuinely rousing.

The quote from Finn at the start of the last paragraph says much about this writer and the work he produces. It's real and honest and delivered with such humility. This can all be seen at the live shows - as Finn stands awkwardly at the front, profoundly flattered by the very presence of the crowd in front of him and then with the first note he recedes into a zone all his own and emerges as if in a room all alone. One of the elements that makes this band stand out form others that sit in a similar genre is the varied gradation of sonic tone that is covered throughout the record's progression. They can express such unsettling intimacy on songs like the title track - as Finn, accompanied only by a piano can drip his words from his mouth right into your ear, like it was only meant for you. He can then turn on you on songs like Killed By The Boom which recollects the nasty side of this band last seen on songs like Not Yet on Nux Vomica. Instead of dripping, Finn spits every word in your face on this song with screeching guitars and hard drum action. He also says of this song which tells the tale of a mysterious character of slightly ill repute that it is "possibly about The Wire's Omar Little." I think I can speak for my colleagues here at Chimpomatic when I say, that's all the information I need.

Three Sisters channels all this aggression into a slick and damn near perfect two and a half minutes of breakneck pop, with ukulele up front and bass and lead guitar in twin formation either side it's a formidable attack and is electrifying. As it slams on the breaks abruptly it makes room for The House She Lived In which shows Finn's undying romantic side. All of this is then thrown skyward when we hear Larkspur. This is by far the longest song here and shows a side of this band that is not only unlike any other we've seen in the other songs but one that hasn't shown its head in their whole career. This is where we see the maturity of Finn after the success of Nux Vomica. This song opens up the ribcage of his sound to expose a dauntingly cavernous and hollow interior that goes on for way further than your eyes or ears can fathom. With limited lyrics it simply sits back and watches you sweat in all this space as it slowly closes in around you. When you think it's all going to explode and launch into driving guitar bliss, it does the opposite, it recedes and reveals yet more hidden chambers. It's torturous in its resistance but utterly brilliant and enough evidence alone of Finns talent and the ground that he and his band have covered since Nux Vomica.

In short Sun Gangs may not have such stand alone gems as Advice For Young Mothers To Be or Jesus For The Jugular but as a whole plays out with consistent quality and maturity. It's got it all, love, faith, life death and the fear of all the above and is presented in a package that's impossible not to believe.

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#BC

21st Apr 2009 - Add Comment - Tweet

Akron/Family

Set 'Em Wild, Set 'Em Free

Dead Oceans

‘Set ‘Em Wild, Set ‘Em Free’ is Akron/Family’s follow up to 2007’s well received ‘Love Is Simple’ and their first self produced album and as a three-piece, after the departure of founding member Ryan Vanderhoof.

In the past, whilst having their obvious strengths, they have been somewhat of a demanding listen, requiring a little time and patience. Not so, with ‘Set ‘Em Wild, Set ‘Em Free’, which is by far their most accessible and immediate collection of songs to date.

So what has changed? Well, they seem to have markedly extended their record collection but rather than being swamped by their influences, they have breathed new life and freshness into their sound. The most notable aspect is the Ali Farka Toure-like guitar parts on ‘They Will Appear’ and the beautiful ‘River’.

Meanwhile, the excellent ‘Creatures’ bizarrely sounds like it could have come off Massive Attack’s ‘Mezzanine’. Whilst the trippy ‘Many Ghosts’ could sit seamlessly on Radiohead’s ‘Amnesiac’. The title track falls back into more conventional Neil Young-style territory, but the trick they managed to pull off brilliantly, is that it all sits together seamlessly and coherently.

The only (very minor) gripe is that when they do rock out, on ‘Gravelly Mountains Of The Moon’ and ‘MBF’, rather than being rousing it simply jars the ear.

It’s turning into a good year already: another very, very good record.

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#marmot

17th Apr 2009 - Add Comment - Tweet

Wooden Shjips

Dos

Holy Mountain

What a treat it is to sink your teeth into a new record by this San Francisco quartet. Dos is only their second full length creation, but already it feels like the band have reformed in order to bring us this due to the drip-feed stream of limited edition and self released nuggets that have circulated since their initial conception. Everything from their artwork to their uncompromisingly mesmeric sound give this band a cult tinge and Dos, more than anything they've ever done, is utterly self-indulgent bliss.

Things have changed slightly since their Vol. 1 release. The songs have got lighter and less abrasive. Their means of attack has shifted away from the long drawn out bludgeoning of songs like Shrinking Moon to a more gentle form of intoxication. The result is the same and each of the five tracks here glistens with an effervescent cool that is simply captivating. Motorbike and For So Long act as concise warm up songs with their repetitive swirling, narcotic rhythm threatening to stretch out endlessly. But that is left to Down By The Sea, a song that certainly shows that these guys can still go the distance. There are certain things you expect from certain bands and an eleven-minuter is this bands USP. After the first few minutes of this song you can almost hear it adjust its seat, shift up into a steady gear and kick back for the long haul. It rides endlessly on the same gentle rhythm but it's Eric "Ripley" Johnson's swirling guitar that does the hard work. He sounds like he's got an army of The Edges behind him as he coaxes superhuman sounds out of his instrument. They duck and dive in and out of the beat, fading to a slushy grumble sometimes then lifting to euphoric heights, but once they emerge off the back of the already submerged vocals in minute 2 they never stop until the whole song gasps its last mighty breath. It's pure muscle and one that makes the measly 6 minute Aquarian Time seem like a cool breeze. Thankfully the mightiest has been saved for last and as Fallin' stretches out for just short of eleven and a half minutes, another cruise control moment sets in. It's less muscular than Down By The Sea and is based around Nash Whalen's swirlingly, hypnotizing organ. It brings the album to quite a gentle close but as with most of this bands work it is so addictive you just want to start again.

I think Dos captures this addiction more succinctly than the other releases. It eases off the pummeling but still maintains the intensity. From the opening note you are submerged in minimal and unconditional psychedelia that makes no pretenses as to its influences but with stamina that leaves most other bands for dust they stretch out way beyond these reference points to a place all their own.

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#BC

14th Apr 2009 - Add Comment - Tweet

The Insider

(dir. Michael Mann)

Touchstone

After an unfair dismissal from his scientist job at a big tobacco company, Jeffrey Wigand (Russell Crowe) intends to honor his confidentiality agreement - until the company's bullying tactics compel him to speak to 60 Minutes producer Lowell Bergman (Al Pacino).

Then: Something of a departure for shootout specialist Michael Mann, The Insider blended a great script, fantastic cinematography and superb acting. Al Pacino puts in the kind of shouting-free performance that is now a distant memory, while Russell Crowe was nominated for an Oscar for his submerged portrayal of the troubled protagonist.

Now: There might be little action in the conventional Michael Mann sense, but that doesn't mean he can't expertly draw suspense out of the smallest details - a child having a dust reaction, a conversation by fax. While it may be short on guns, this film has been described as "Mann's most fully realised work" - and it is perhaps his most flawless.

As usual with Mann's movies, the scale of this film is almost undefinable. There's never any question of sets, or repeated locations and no scene is anything short of measured and perfect. A house-bound scene where Pacino arranges the West's first interview with Hezbollah ends in him opening the curtains to reveal a wide shot of a middle eastern city. A windscreen wiper, a slow-motion golf ball. Every shot is perfectly considered, building up the intense pressure and unique atmosphere - helped in great part by the excellent music.

So, cigarettes are bad for you? No shit, but when the actual facts come out in the interview you will be shocked - as well as saddened by the tangible cost of telling the truth.

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#CSF

10th Apr 2009 - Add Comment - Tweet

Crystal Antlers

Tentacles

Touch & Go

Hot on the heals of the re-release of their debut EP this California band drop their first full length Tentacles and as expected it's a longer, more drawn out sucker-punch. Their fierce brand of psych punk enjoys the space that a full album allows and benefits greatly from opening their sound up with instrumental compositions that take the whole twisted ship even more skyward than the previous EP already did.

But that's not to say that they shuffle their feet here. They may have more time to play with but Tentacles is just as intense, if not more so than the EP. Jonny Bell's razor shredding vocals form the backbone of this sound as they scape their grubby nails down every surface of this music. The ultimate success of Crystal Antlers is their ability to wring every drop of melody out of the sopping rags of their swirling, claustrophobic compositions. Your ears are crying no but your heart is riding the endless wave of noise.

Tentacles doesn't feel as demanding as its predecessor and that would be largely down to the fact that they have forty minutes. Songs like Your Spears and the title track encapsulate the raw power of this band with their crammed ferocity and sheer stamina but the majority of this record is way more palatable than before. Moments of breath and space are provided by songs like the opener Painless Sleep and later in the cavernous atmospherics of Vapor Trail. The rest is non stop 60's psychedelia with a razor sharp edge, in fact in a warped alternative universe Andrew would be a full on pop hit. Victor Rodriguez's organ forms the body of this narcotic shit storm that blows through the record and though the guitars squeal and wail throughout it's the melody that wrestles its way out of this twisted, living and breathing organism.

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#BC

8th Apr 2009 - Add Comment - Tweet

Themselves

theFREEhoudini Mixtape

Anticon

Ahead of this summer's comeback album CrownsDown Themselves have dropped this 39 minute mixtape and it's free to download. If you cast your mind back to when Real Madrid ruled the football world with their dream team line up, this mixtape would be the hip hop equivalent. Featuring contributions from a host of Anticon dudes like Yoni Wolf, Sole and Pedestrian plus hip hop's alternative elite like Buck 65, Aesop Rock, Slug and Busdriver. The whole thing is also tied up in a nice little bow by Odd Nosdam who mixes it all.

But despite all the se names it's the two main players that drive this and make it a non stop bullet train of beats and rhymes. Jel's beats are heavy and come at you like a techno storm. They swirl into each other morphing and changing organically according to the MC that has stepped up. Dose One steals the show as expected with his lightning tongue flickering with lyrical brilliance. The way they have both progressed their other band Subtle is a major influence here as multi layered compositions are constructed. Programmed beats mix with regular old school as Dose's vocals shape shift from being mumbled backing texture to his twisted pixie rhymes that dart out of the texture as gleaming bullets. The mixtape format gives it a nice old school feel and each MC comes into play with great fluidity. Buck 65 gets a gloriously booming beat to play with, Aesop's deep delivery sits perfectly with Dose's high pitched voice and as Nosdam brings in Yoni Wolf the cLOUDDEAD circle becomes complete for the first time in too long and it sure feels good.

It's been ten years since this group first emerged and six since their last record and this generous 39 minutes of perfect prose is a fine return to form. Featuring the 7 original members of the Anticon collective it really sums up this labels history and their current standing as one of hip hop's finest labels. The fact that this is free makes it irrisistable, like I needed any other reason to hear these boys play again.

You can download the whole thing here (for the next 90 85 days only!) or pay out for a limited CD version that features an extra 16 minutes of audio.

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#HHG

6th Apr 2009 - Add Comment - Tweet

Richard Swift

The Atlantic Ocean

Secretly Canadian

Firstly, I have to eat a little humble pie, for the lukewarm review of Richard Swift’s last album ‘Dressed Up For The Letdown’, which turned out to be something of a grower, sounding better and better with repeated plays.

After the unpolished garage rock of last years excellent ‘Richard Swift as Onasis’ comes his next album proper ‘The Atlantic Ocean’. Swift describes the sound as ‘Prince sitting in on John Lennon’s Plastic Ono Band’ and is actually a pretty good analogy of what’s going on here, especially on the title track and ‘The Original Thought.'

However Swift is far from a one trick pony and mixes up his influences nicely; the catchy ‘The First Time’ has a touch of the Wilco about it (Swift recorded the album in their loft after meeting Jeff Tweedy on Later With Jools Holland), where as the excellent ‘Bat Coma Motown’ is pure Harry Nilsson.

A slight disappointment is that many of the best songs here already appeared on last years ‘Ground Trouble Jaw’ EP. ‘A Song For Milton Feher’ manages to be insanely catchy after only couple of bars and the closing ‘Lady Luck’, points to where Swift might be going next. With simple and soulful motown style backing, Swift demonstrate a whole other unexplored side to his vocal range.

‘The Atlantic Ocean’ is utterly listenable and cements Swift as a talent to watch, it will be interesting to see where he goes now.

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#marmot

3rd Apr 2009 - Add Comment - Tweet

The Decemberists

The Hazards Of Love

Rough Trade

Since I first discovered this band I have been prepared to follow Captain Meloy and his magnificent vessel The Decemberists to anywhere they chose to take me. Particularly on their breakthrough album Picaresque and their (US) major label debut The Crane Wife the going wasn't always easy but endlessly rewarding. Having played the heart out of this latest offering I have arrived at a point beyond which I am not willing to follow.

The Hazards Of Love is a concept driven rock opera of sorts, inspired by a 60's recording by the same name and it's hard work to say the least. Don't get me wrong, Colin Meloy is incapable of writing anything that is devoid of rewards and there are plenty here but as a whole its sights are set way too firmly on ambition and not enough on song craft. Throughout its 17 tracks it attempts to tell the story of a fair maiden called Margaret who, after her abduction seems to be ravished by a shape-shifting demon. There's a jealous queen, a homicidal villain known as 'the rake' and a particularly disturbing tale where Meloy assumes the character of a child murderer taking out each of his kids one by one so he can be free again.

The Crane Wife marked a definite shift in the intentions of this band and I suppose an album such as this was always on the cards. After moving to a major label their sound grew to epic proportions and took their folk roots into rockier territory. This growth has come to a head with The Hazards Of Love. Running for just short of an hour each of the 17 songs blend seamlessly into one another creating a musical feel to the album. Melodies and choruses recur throughout the record which actually make you feel like you're listening to one huge bloated creation. Its ambition is beyond question but this continuous structure is tiresome.

The title track sets the scene of Margaret's temptation and subsequent abduction with typical Meloy delicacy. The first blend from this track into A Bower Scene marks the first indication that you are listening to something different from this band. Up tempo drums count it in and then after a vocal build you have the crunching weight of guitars. It's a hard rock belt in the face that you certainly weren't expecting and one that rears its mighty head more than once on this record. It makes room for the first guest spot on Won't Want For Love (Margaret In The Taiga), which features Lavender Diamond's Becky Stark. Playing the now pregnant Margaret, her sweet vocals breath blissful life and vulnerability into these hard riffs. The second of these guest appearance comes a little later with the riff-heavy The Wanting Comes In Waves. It features My Brightest Diamond's Shara Worden playing the part of the Queen bartering for the soul of Margaret's beloved WIlliam. This crazy theme is the last thing you think about as the teaming of thee two voices is a delight. This is by no means the only moment of such delight, they are plentiful and none so great as on Annan Water, a tense affair built on taught strumming that builds ever so slowly and then opens up and lets Meloy's vocals expand on a gentle organ breeze then dive back into the tension once more with expert ease.

Narrative has always been at the forefront of Meloy's work. Never does his writing serve the role of mere love songs but are meticulously crafted out of antique language and expert turn of phrase. Picaresque's The Mariner's Revenge Song is one of Meloy's finest moments and shows his skill for telling a tale. The penultimate stroke on The Crane Wife lurched from one tempo to another with Led Zeppelin like confidence. In hindsight both these songs provide the blueprint for The Hazards Of Love and though many of these new songs stand equally as tall as these previous gems it's the album as a whole that I am critisising. I spend most of my time aching for a band to have the balls to stretch a song out beyond the 7 minute mark and after the first 3 songs of this record I thought my answer had come. But the constant musical stream and the convoluted and often utterly confusing narrative weigh this down and really start to grate after the half way mark. They always had a slightly fucked up Andrew Lloyd Webber feel to their creations but somehow managed to steer their ship away in time. This album embraces that side and it's infuriating as some songs in there own right are quite special, it's nearly impossible to find a fault to justify the mediocre score you see on the left. So on that note I stand here and watch this great ship sail off into the distance without me and quietly hope and pray that someday it will pass by here again and pick me up. I wish them well.

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#BC

30th Mar 2009 - Add Comment - Tweet

Swan Lake

Enemy Mine

Jagjaguwar

Comprised of members of Wolf Parade and The New Pornographers and originally operating under the name ‘Thunder Cloud’, Canada’s Swan Lake underwent a name change upon discovering their first choice was already taken (although not by Steven Segal who had already bagged ‘Thunderbox‘) and released a debut album, Beast Moans in 2006. So named, because its sound reminded band member Spencer Krug of  “…a bear dying in a tar pit.” Beast Moans was a mash-up of the trio’s very differing approach to song writing, layers of melodies and styles thrown into the mix to see what came out.

With new album Enemy Mine (Named after the 80's Science Fiction film starring Dennis Quaid) the band made a more concerted effort on tighter collaboration and although certainly more pleasant on the ear than an animal dying slowly, it is still in no great hurry to be taken home and cared for. Thanks largely to the spoken/sung style of other band member Daniel Bejar (Carey Mercer makes up the trio) Enemy Mine comes across as quite abrasive on first listen. It plays out like a collection of scenes from a musical. And a musical that takes itself quite seriously to boot. Which would be ok if any of the lyrics stood out and got you thinking, but on the first few listens it just sounds like a literary stream of consciousness, this from ‘Heartswam’ being my favourite so far:

“I was coming off something particularly strong, you had your gloves on, they looked fucking brutal”.

And I say so far, because I’m convinced Enemy Mine is going to get better. It’s three creators clearly didn’t make it to be picked up on the commute to work and put down with the coffee. There’s a lot more going on here than I can take in, during the few listens I’ve had - so I’m advancing it half a star in credit from its initial 2.5 score. It’s not an album I’m desperate to adopt, but neither is it one I’m ready to throw to the tarpits. Yet.

(As a side note, they originally were going to call the album ‘Before the Law’ after a Franz Kafka parable, but were tired of being constantly referred to as ‘literary’. I thought I’d help them out with this by lowering the brow a touch with name-checks to Steven Seagal and Dennis Quaid.)

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#chimpovich

27th Mar 2009 - Add Comment - Tweet

The Rank Deluxe

You Decide

Fat Cat

This album sounds like a great deal of work has gone into it; the songs are interesting, the instruments are all played nice and tight, and the production sounds really full and clear, but I have to confess I'm struggling with it because of the vocals. The Rank Deluxe offer up a confident and thoughtfully crafted album full of indie rock which should, by rights, gain them a lot of attention and maybe some airplay. Once again, it's the sound of early 80's post-punk which informs the band's sound, and in the Rank Deluxe's case the influence seems to be both The Ruts and The Beat (bands with a tad more intelligence and creativity than many of their counterparts). The guitar playing stands out - a tight and schooled American approach to indie rock along the lines of Albert Hammond Jr, and the rhythm section is totally on the case with snappy disco rhythms and reggae influenced basslines. So where does it all go wrong? For me, the stumbling block is the vocals - singers Richard Buchanan and Lewis Dyer have made the decision to sing in a resolutely cockney accent, which is no doubt their own speaking voices. They both have good powerful voices, excellent range and accuracy, but the upfront nature of the glottal-stops, flattened vowels and dropped H's detract in no small way from the band's music.

I'm sure it's an approach the band must be happy with - an unambiguous declaration that The Rank Deluxe are a London band - with colours nailed securely to the mast. This may win them some fans because singing in your own accent is somehow more "real" but could limit their appeal to audiences north of Watford, or on the other side of the Atlantic. Lyrically solid, musically adventurous and sonically charged, the album has few low-spots and works better on tracks like Innocence where the cockneyisms are less emphatic and more relaxed. Basically, this is what Hard-Fi would sound like if they were any good - and one or two listens will make your mind up. I won't be listening to it much, but I have found myself humming the melody of Doll Queue all week, so they must be doing something right.

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#HarrisPilton

24th Mar 2009 - Add Comment - Tweet

Condo Fucks

Fuckbook

Matador

You'd be forgiven for thinking that the new album by Connecticut trio Condo Fucks was a long lost demo from a band who's proper recordings sounded awesome, and actually you wouldn't be far wrong. That band is called Yo La Tengo and Fuckbook is basically their new album. Way back in 1997, in the liner notes of Yo La Tengo's I Can Hear The Heart Beating As One, was listed a tongue in cheek discography of oddly named Matador releases, Condo Fucks being among them. This led to quite a following of this mysterious garage punk band. Most of these releases became so rare and limited edition that most people never even heard them. Well they're back and though it's not really publicised as the new Yo La Tengo record the fact that Georgia Condo is the drummer, James McNew the bassist and Kid Condo on lead guitar and vocals and the the album's title itself is slightly reminiscent of Fakebook, Yo La Tengo's cover record of 1990 it's not difficult to work it out, oh, and did I mention that this is a cover record as well?

All that aside, Fuckbook is a triumph no matter who gets the credit. It's like a whole album of those gritty garage jams that crop up amid the blissed out numbers on a Yo La Tengo record. It borrows from the 60's and 70's for it's cover material taking songs from the Small Faces, The Kinks, The Beach Boys and Slade and forcing them all through a decrepit mincer. The main point to note here is the production quality, and before all you uptight Hunches fans start lining up in the car park with your knuckle dusters, I like it. It's gritty as hell with great fists of guitars and crashing drums being swamped in feedback and muffled chaos, the vocals are launched from the back of the room and often get totally buried in this onslaught of grimy mess. It's The Stooges, but hardcore.

However, with the line up of songs this approach works magnificently. It sounds like a band free of their usual day job and loving the anonymity of their disguise. It's apparently a recording of a secret rehearsal that took place last March and it sounds like it. From the opening butchering of the Small Faces Whatcha Gonna Do About It? they lurch from one song to the next counting each on in with hurried impatience. The disguise slips on their version of the Kinks' This Is Where I Belong. If Ira's vocals weren't so buried it would be very clear who is behind this record. The Beach Boys' Shut Down brings the mask back up to the face as it races through the surf rock cover with gleeful abandon. The Flamin' Groovies' Dog Meat is a magnificently chugging brut, with James McNew at the helm and the spirit of the era in which this song was originally recorded is evoked to great effect. The band crash their way through this song without a care in the world and the same can be said for most of this record, actually all of this record. It sounds like what happens when the teacher leaves the room or fails to turn up at all. Cast your minds back to that magical moment when it looks like the teacher has forgotten your class and this is what it sounds like. Since I'm Not Afraid Of You... I was feverishly awaiting the new Yo La Tengo record, I'm ok now.

#Music
#BC

20th Mar 2009 - Add Comment - Tweet

BLK JKS

Mystery EP

Secretly Canadian

After a year of critical acclaim in the UK and the US, South African art-rockers BLK JKS signed to label Secretly Canadian - who now offer The Mystery EP, a re-mastered and re-sequenced re-release, which was initially produced by the Secret Machines' Brandon Curtis.

These days 'Art Rock' seems to mean slightly erratic drums and having a couple of Paul Simon or Talking Heads albums in your CD collection, but it's a term that serves a purpose and provides a reference point to where these songs might fit in to the bigger picture. Less Vampire Weekend and more Brain Eno might narrow it down further, as the band's vocals ebb and flow around the music, becoming more of a sound than a lyric (see "Mystery"), adding another strand of subtle texture.

It's multi-layered and mysterious, and while there may be nothing new as such (Animal Collective and mid-80's INXS could provide further touchstones), there's a nice subtlety and atmosphere here - and the potential is obvious as things gain some focus on "Summertime", progressing nicely with a spiraling tune rising out of the experimental chaotic sounds. While there's not all that much to write home about at this point, this is ambitious stuff - which will hopefully distill down in the future to reap many rewards for the listener.

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#NM

19th Mar 2009 - Add Comment - Tweet

To Arms Etc

Corner Games

Bronzerat

Taking inspiration from Serge Gainsbourg's 1979 reggae album (don't ask) Aux Armes Et Caetera, To Arms Etc are fronted by Australian multi-instrumentalist Charles Campbell-Jones. Recorded over a prolonged period with a rotating array of guests and band members, Corner Games has a surprisingly cohesive sound.

A mish-mash of styles work well to support the consistent themes and atmosphere running through the album, as piano and xylophone run alongside luscious harmonies, giving the album a sound almost like an indie Coldplay, or a minimalised Flaming Lips. The combination of retro sounds and modern references (Little Domino) often seems insincere and smirking, hinting at deeper meaning beneath the surface.

The prominent piano work is the strength and weakness of the album's sound. When it's working well, it provides a foil for the abrupt lyrics - threatening to rock out at any moment (Super-Radiance) - but with lyrics this narrative in sound, the piano can also push the album into a feeling of theatre, or even the dreaded musical (Isinbayeve).

Ultimately it's the latter that wins out, and while there's plenty of pleasant enough listening here, there's little that really digs in for the long haul.

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#NM

18th Mar 2009 - Add Comment - Tweet

Yeah Yeah Yeahs

It's Blitz!

Fiction

It's quite easy to compare the progression of New York's Yeah Yeah Yeahs with the progression of modern warfare, shit I compare pretty much everything to war. Their stunning debut Fever To Tell saw them engaging in hand to hand combat, homemade shanks were used to gut the opponent or simply the pounding brut force of a bleeding fist. Show Your Bones saw them retreat from the battlefield and adopt a slightly less primal approach, whereas the latest offering It's Blitz! is modern warfare in all its polished glory. There are no ground troops just long range, expertly precise strikes. The brut force kills are now a 'mission accomplished' notice on a computer screen. But the result is always the same, victory.

The last we heard from these guys was in 2007 with the EP Is Is. Since then this short bundle of goodness has become my favored item in their impeccable back catalogue. It's Blitz! isn't quite the cavalry that I thought Is Is was calling but it's still a worthy 3rd roll of the dice and one that takes them into new and rich territory. Karren O's presence still remains steadfast at the centre of their sound but the ship on which she sails has taken a new turn. The minimal crunch of guitars and belting drums have been enshrouded in detailed production and a wealth of synthesizers. The emphasis isn't on power but on depth.

Opener Zero is a massive way to reintroduce themselves. With vocals dripping in echo Karen O is up close and personal with some of the slickest production this band has ever offered. This isn't surprising seeing as TV On The Radio's Dave Sitek is at the helm. Wave upon wave of synth carry this song in directions more suited to Alison Goldfrapp or even Blondie. It's driving power pop and it's quite surprising for this band. Show Your Bones always hinted at this direction but the change has finally arrived. While this is probably the biggest tune here the remaining high points come in more subtle ways. Their ferocity is often punctuated to great effect by their anti-ballads and Skeletons is one of their finest. With grand and distant drums building on an analogue ocean of synthesizers this song sees Karen at her most breathless. Runaway is certainly one of the standout moments on It's Blitz! Introduced with the gentle plink of an old piano Karen sounds lonely among such empty sonic space. With a rumble of strings she is soon joined by the sensitive rhythm and a full orchestra. It just rises and rises on this structure like a flock of migrating birds dancing and reveling in their euphoric freedom. It's loaded with melancholy and tinged with screeching violins but is an utter joy from start to finish.

It's Blitz! is a surprise indeed. It doesn't do what other Yeah Yeah Yeahs albums have always been there to do but isn't it special when a band start to perform other functions. It's the most sensual of their releases. At times it comes way too close to Killers territory for my liking but their front woman steers it away expertly. Her voice has always done things for me but on this record I could just swim in it. They have always flirted with synthesizers but their courage to embrace it here pays off and gives the record an old school charm without sounding retro. They've grown up since Fever To Tell, who'd of thought a woman who brought us such a guttural howl could stand before us on album closer Little Shadow and ask us "will you follow me?" with such monolithic siren beauty. It's stunning and needs to be experienced.

#Music
#BC

17th Mar 2009 - 3 comments - Add Comment - Tweet