Home Blog Page 1240

Calla – Televise

0

While fellow New Yorkers Interpol wrestle similar sonic demons with grace and profundity, Calla's third album favours artifice over aptitude, every dark, meandering art-rock dirge bulging with superfluous effects and studiously ambiguous lyrics. Only "Pete The Killer" impresses, largely because its bittersweet, Sundays-style guitars see the trio temporarily eschew their glum self-importance for the sweet chime of pomp-free art-pop. Ultimately, Calla lack the melodic muscle and conviction sufficient to suggest they're anything more than the emperor's new worry beads.

While fellow New Yorkers Interpol wrestle similar sonic demons with grace and profundity, Calla’s third album favours artifice over aptitude, every dark, meandering art-rock dirge bulging with superfluous effects and studiously ambiguous lyrics. Only “Pete The Killer” impresses, largely because its bittersweet, Sundays-style guitars see the trio temporarily eschew their glum self-importance for the sweet chime of pomp-free art-pop.

Ultimately, Calla lack the melodic muscle and conviction sufficient to suggest they’re anything more than the emperor’s new worry beads.

Junior Senior – D-D-Don’t Stop The Music

0

The persistent pursuit of an explosive climax and the dancefloor epiphany can be exhausting. But beneath their knowing camp and tongue-in-cheek theatrics, Junior Senior have a wealth of references to pull it off. With the surf guitar riffs of "C'mon" through B52's-style freak-outs, Kid Creole And The Coconuts craziness, Stones raunch, Sweet-ish bubblegum and as many elements of garage punk as garage house, their hedonistic sex-dance anthems go down a treat. Fancy "a good time, all the time"? You could do a lot worse.

The persistent pursuit of an explosive climax and the dancefloor epiphany can be exhausting. But beneath their knowing camp and tongue-in-cheek theatrics, Junior Senior have a wealth of references to pull it off. With the surf guitar riffs of “C’mon” through B52’s-style freak-outs, Kid Creole And The Coconuts craziness, Stones raunch, Sweet-ish bubblegum and as many elements of garage punk as garage house, their hedonistic sex-dance anthems go down a treat. Fancy “a good time, all the time”? You could do a lot worse.

Short Cuts

0

New York's premier abstract hip hop label goes west to enlist Murs of California's Living Legends crew, whose angsty lyrics and pained delivery makes for a taxing hour's listening. Some moments of sheer brilliance ("Gods Work") help lighten the gloom.

New York’s premier abstract hip hop label goes west to enlist Murs of California’s Living Legends crew, whose angsty lyrics and pained delivery makes for a taxing hour’s listening. Some moments of sheer brilliance (“Gods Work”) help lighten the gloom.

Cass McCombs – Not The Way

0

The skimpy biog for New York-based McCombs reveals diverse allegiances with Will Oldham, the Anti-Folk movement led by The Moldy Peaches, and art-metallers Oxes. Of these, the Oldham connection is most revealing, if only because both have clearly studied the odd Dylan record. McCombs isn't quite that predictable, though, since his singer-songwriter routine often fuses with pleasingly lethargic psychedelia, especially on "Opium Flower". He also has a nice trick of being at once plaintive and undemonstrative, so that this debut mini album resembles Galaxie 500 as much as all the usual alt.folk touchstones.

The skimpy biog for New York-based McCombs reveals diverse allegiances with Will Oldham, the Anti-Folk movement led by The Moldy Peaches, and art-metallers Oxes. Of these, the Oldham connection is most revealing, if only because both have clearly studied the odd Dylan record. McCombs isn’t quite that predictable, though, since his singer-songwriter routine often fuses with pleasingly lethargic psychedelia, especially on “Opium Flower”. He also has a nice trick of being at once plaintive and undemonstrative, so that this debut mini album resembles Galaxie 500 as much as all the usual alt.folk touchstones.

Cursive – The Ugly Organ

0

This is a very odd album. Lyrics chronicling masturbation and murder with music that is a freaky hybrid of The Cure's goth whimsy and Fugazi's serrated aggression. While slightly bombastic and overwrought, Tim Kasher's tremulous narratives steer this largely compelling album into the territory of fellow-Nebraskan Conor Oberst aka Bright Eyes. Incredibly, prog-rock scales are united with fairground organs ("Butcher Song"), but Grette Cohn's scraping cello is revelatory and their kinetic force sees them through.

This is a very odd album. Lyrics chronicling masturbation and murder with music that is a freaky hybrid of The Cure’s goth whimsy and Fugazi’s serrated aggression. While slightly bombastic and overwrought, Tim Kasher’s tremulous narratives steer this largely compelling album into the territory of fellow-Nebraskan Conor Oberst aka Bright Eyes. Incredibly, prog-rock scales are united with fairground organs (“Butcher Song”), but Grette Cohn’s scraping cello is revelatory and their kinetic force sees them through.

Fat Truckers

0

Wrongly lumped in with the electroclash brigade last year, Fat Truckers utilise quasi-Glitter Band beats with whirring synths and snarling Mark E Smith-style vocal barks. Old singles "Teenage Daughter" and the astonishing krautrock meets rockabilly surge of "Superbike" retain their blazing intensity. And "Roxy's", presumably named after the Sheffield night-spot owned by the infamous Barry Noble, is a marvel of tumbling arcade game analogues and pristine Kraftwerk syncopation. Unfortunately, the ideas do eventually run dry. "Anorexic Robot" and the A&R-baiting "I Love You Son" are slovenly punk-synth dirges. Still, with Add N To [X]'s future in doubt, they could fill a micro-gap in the market.

Wrongly lumped in with the electroclash brigade last year, Fat Truckers utilise quasi-Glitter Band beats with whirring synths and snarling Mark E Smith-style vocal barks. Old singles “Teenage Daughter” and the astonishing krautrock meets rockabilly surge of “Superbike” retain their blazing intensity. And “Roxy’s”, presumably named after the Sheffield night-spot owned by the infamous Barry Noble, is a marvel of tumbling arcade game analogues and pristine Kraftwerk syncopation. Unfortunately, the ideas do eventually run dry. “Anorexic Robot” and the A&R-baiting “I Love You Son” are slovenly punk-synth dirges. Still, with Add N To [X]’s future in doubt, they could fill a micro-gap in the market.

Nicolai Dunger – Tranquil Isolation

0

Dunger, a Swedish ex-footballer, crept onto the radar a couple of years ago when he toured with an admiring Mercury Rev and released the heady Soul Rush, an unusually fruitful grapple with the legacies of Van Morrison and Tim Buckley. Those influences are still apparent in Dunger's throaty and supple vocals. On his excellent third album, however, the music is stripped back to a kind of easy-going, rumbustious folk blues, fitting given the notable participation of Bonnie 'Prince' Billy. Maybe this time Sweden's current rock'n'roll cachet will bring Dunger (whose debut featured Soundtrack Of Our Lives) closer to the acclaim he deserves.

Dunger, a Swedish ex-footballer, crept onto the radar a couple of years ago when he toured with an admiring Mercury Rev and released the heady Soul Rush, an unusually fruitful grapple with the legacies of Van Morrison and Tim Buckley. Those influences are still apparent in Dunger’s throaty and supple vocals. On his excellent third album, however, the music is stripped back to a kind of easy-going, rumbustious folk blues, fitting given the notable participation of Bonnie ‘Prince’ Billy. Maybe this time Sweden’s current rock’n’roll cachet will bring Dunger (whose debut featured Soundtrack Of Our Lives) closer to the acclaim he deserves.

Moloko – Statues

0

Seven years ago Moloko asked us Do You Like My Tight Sweater? On Statues, singer Roisin Murphy reprises that raunchy look with a cold water snap and two pints of lager. Hard to categorise as ever, Moloko's milky club anthems pop along with a zip, oodles of programmed orchestration and enough melody to cross the divide between chart and cool. Murphy and Mark Brydon have expanded their deadly duo ambitions, adding substance to charm on "Cannot Contain This" and the hypnotic moods of the title track. With a Timo Maas remix waiting to 'do a "Sing It Back" on the single "Familiar Feeling", this will be one of the spring collection's favourite outfits.

Seven years ago Moloko asked us Do You Like My Tight Sweater? On Statues, singer Roisin Murphy reprises that raunchy look with a cold water snap and two pints of lager. Hard to categorise as ever, Moloko’s milky club anthems pop along with a zip, oodles of programmed orchestration and enough melody to cross the divide between chart and cool. Murphy and Mark Brydon have expanded their deadly duo ambitions, adding substance to charm on “Cannot Contain This” and the hypnotic moods of the title track. With a Timo Maas remix waiting to ‘do a “Sing It Back” on the single “Familiar Feeling”, this will be one of the spring collection’s favourite outfits.

Wayne Kramer – Adult World

0

"With my great big amp I will rule the world," he croaks, and being Wayne Kramer?the man who put the kick in Kick Out The Jams and the cocaine-dealing martyr canonised in The Clash's "Jail Guitar Doors"?he means it. Marching to a power-stodge two-step similar to Neil Young's sublime Mirror Ball, Adult World is as thick on sincere, sharp songwriting as it is on squealing licks. Alongside the politically-charged "Love, Fidel" and "Sundays In Saigon", Kramer's beatnik-jazz diversion "Nelson Algren Stopped By" is a riveting surprise.

“With my great big amp I will rule the world,” he croaks, and being Wayne Kramer?the man who put the kick in Kick Out The Jams and the cocaine-dealing martyr canonised in The Clash’s “Jail Guitar Doors”?he means it. Marching to a power-stodge two-step similar to Neil Young’s sublime Mirror Ball, Adult World is as thick on sincere, sharp songwriting as it is on squealing licks. Alongside the politically-charged “Love, Fidel” and “Sundays In Saigon”, Kramer’s beatnik-jazz diversion “Nelson Algren Stopped By” is a riveting surprise.

Going To California

0

Loud, it seems, is the new loud. Back in 2001, when Turin Brakes released The Optimist LP and were bracketed with the "New Acoustic Movement", it would have been inconceivable for them to have been invited onto a show like Born Sloppy, trying to make themselves heard above Sara Cox and her lairy sub-Chris Evans circus. But that's exactly what they did last month. Ether Song, their new album, was recorded in two weeks in California with Beck/Air/Supergrass producer Tony Hoffer. However, this amounts to more than a commercially expedient attempt to amplify themselves in the musical marketplace. Ether Song merely brings to the surface all the volatility and emotional charge that was inherent in their work. Exposure to Los Angeles has certainly impacted on their music?there's a Southern-fried, sun-dried air about Ether Song in the slide guitars of "Self-Help", which threaten to drift off into "Freebird" mode, or the laid-back, electric keyboard licks of "Full Of Stars". Yet their music is characterised by a quiet desperation in the face of life's vicissitudes that is very English. Rain is a recurring motif, with even the occasional hurricane, as (human) nature does its worst. "Average Man" and "Self-Help" are excellent songs about mid-life crises, though presumably Turin Brakes are too young for such things. The first encapsulates that horrible moment of epiphany when a demon whispers to you that whatever you thought you might make of yourself, it ain't going to happen now. The narrator of "Self-Help", meanwhile, is in such a state that he has to talk himself through life one step at a time: "Tell yourself you're not in it for the money...". By "Panic Attack", things have reached crisis point. The single, "Pain Killer", is as ecstatic as "Self-Help" is distraught, as bracing as the summer shower that strikes in its chorus. Finally, "Little Brother" and "Rain City" paint more settled and evocative pictures, after the best and worst is over. A tug of war between demons and angels, Ether Song is an album of ups and downs?but its standards remain uniformly high.

Loud, it seems, is the new loud. Back in 2001, when Turin Brakes released The Optimist LP and were bracketed with the “New Acoustic Movement”, it would have been inconceivable for them to have been invited onto a show like Born Sloppy, trying to make themselves heard above Sara Cox and her lairy sub-Chris Evans circus. But that’s exactly what they did last month. Ether Song, their new album, was recorded in two weeks in California with Beck/Air/Supergrass producer Tony Hoffer. However, this amounts to more than a commercially expedient attempt to amplify themselves in the musical marketplace. Ether Song merely brings to the surface all the volatility and emotional charge that was inherent in their work.

Exposure to Los Angeles has certainly impacted on their music?there’s a Southern-fried, sun-dried air about Ether Song in the slide guitars of “Self-Help”, which threaten to drift off into “Freebird” mode, or the laid-back, electric keyboard licks of “Full Of Stars”. Yet their music is characterised by a quiet desperation in the face of life’s vicissitudes that is very English. Rain is a recurring motif, with even the occasional hurricane, as (human) nature does its worst.

“Average Man” and “Self-Help” are excellent songs about mid-life crises, though presumably Turin Brakes are too young for such things. The first encapsulates that horrible moment of epiphany when a demon whispers to you that whatever you thought you might make of yourself, it ain’t going to happen now. The narrator of “Self-Help”, meanwhile, is in such a state that he has to talk himself through life one step at a time: “Tell yourself you’re not in it for the money…”. By “Panic Attack”, things have reached crisis point.

The single, “Pain Killer”, is as ecstatic as “Self-Help” is distraught, as bracing as the summer shower that strikes in its chorus. Finally, “Little Brother” and “Rain City” paint more settled and evocative pictures, after the best and worst is over. A tug of war between demons and angels, Ether Song is an album of ups and downs?but its standards remain uniformly high.

Stephen Jones – Almost Cured Of Sadness

0

Fame didn't sit easy with the recalcitrant Stephen Jones. These days he writes books, tinkers with electronica and makes music inspired by the Mexican Day Of The Dead and the lure of advertising. The phrase 'maybe he should get out more' is met head-on in "Keys To The Brain" and the typically trenchant "Jesus Freaks And Candy Asses". Meanwhile, on "Radio's Been Thinking Again", Jones acts like a sponge, except the quirky musical liquid is never the same on its way out. A neat adjunct to the Badly Drawn philosophy.

Fame didn’t sit easy with the recalcitrant Stephen Jones. These days he writes books, tinkers with electronica and makes music inspired by the Mexican Day Of The Dead and the lure of advertising. The phrase ‘maybe he should get out more’ is met head-on in “Keys To The Brain” and the typically trenchant “Jesus Freaks And Candy Asses”. Meanwhile, on “Radio’s Been Thinking Again”, Jones acts like a sponge, except the quirky musical liquid is never the same on its way out.

A neat adjunct to the Badly Drawn philosophy.

Return Of The Grievous Angel

0
Just about to hit 36, Evan Griffith Dando, the mild Bostonian, is more likely to throw a tea party these days than crack open another bottle of Russia's finest. In the process of rehabilitation?to life, mostly?the original King Of The Slackers, who rose to prominence thanks to classic hard pop discs...

Just about to hit 36, Evan Griffith Dando, the mild Bostonian, is more likely to throw a tea party these days than crack open another bottle of Russia’s finest. In the process of rehabilitation?to life, mostly?the original King Of The Slackers, who rose to prominence thanks to classic hard pop discs like Hate Your Friends (the Lemonheads’ 1987 debut), Lovey (1990) and breakthrough album It’s A Shame About Ray (1992), decided not to “join that stupid club”

Serge Gainsbourg – Initials SG—The Ultimate Best Of

0
By steering clear of his controversial 'Nazi rock' period, 1984's scandalously fab "Lemon Incest" and the epic "Cargo Culte" from 1971's Histoire De Melody Nelson (arguably his most influential seven minutes on record), this can never deliver its titular promise even if it is the first Serge comp to...

By steering clear of his controversial ‘Nazi rock’ period, 1984’s scandalously fab “Lemon Incest” and the epic “Cargo Culte” from 1971’s Histoire De Melody Nelson (arguably his most influential seven minutes on record), this can never deliver its titular promise even if it is the first Serge comp to bear an English sleevenote. Still, Gainsbourg virgins new to his erotic pop art should find “69 Ann

Spandau Ballet – True

0

Recorded at Nassau's Compass Point studio, True gave Spandau a brief taste of US success. With the ubiquitous title track signalling a change from the thrift-shop electronic funk of their first two albums, Gary Kemp established his credentials as a craftsman of MOR soul. But Tony Hadley's mannered vocal highlighted the lack of substance in the pallid "Pleasure", the crass "Code Of Love" and the glutinous "Gold". This ungenerous reissue is just the original album supplemented by home video footage from the recording sessions, but the music still sounds lame.

Recorded at Nassau’s Compass Point studio, True gave Spandau a brief taste of US success. With the ubiquitous title track signalling a change from the thrift-shop electronic funk of their first two albums, Gary Kemp established his credentials as a craftsman of MOR soul. But Tony Hadley’s mannered vocal highlighted the lack of substance in the pallid “Pleasure”, the crass “Code Of Love” and the glutinous “Gold”. This ungenerous reissue is just the original album supplemented by home video footage from the recording sessions, but the music still sounds lame.

Gorky’s Zygotic Mynci – Various Artists

0

Various Artists RADIO CRYMI PLAYLIST VOL 1 1988-1998 ANKST Rating Star No longer the harsh psychedelic Celtic oddballs they used to be, 20 arrives as an opportune reflection on Gorky's' more eccentric origins, rounding up their first six Ankst singles from 1994-96. Check "12 Impressionistic Soundscapes"?like Pink Floyd's Ummagumma with a slice of acid-infused barra brith on top. Gorky's inevitably appear again on Ankst's own Radio Crymi retrospective, a handsome two-CD set also boasting collectable Welsh rarebits from Super Furry Animals, Catatonia and Peel darlings Datblygu.

Various Artists

RADIO CRYMI PLAYLIST VOL 1 1988-1998

ANKST

Rating Star

No longer the harsh psychedelic Celtic oddballs they used to be, 20 arrives as an opportune reflection on Gorky’s’ more eccentric origins, rounding up their first six Ankst singles from 1994-96. Check “12 Impressionistic Soundscapes”?like Pink Floyd’s Ummagumma with a slice of acid-infused barra brith on top.

Gorky’s inevitably appear again on Ankst’s own Radio Crymi retrospective, a handsome two-CD set also boasting collectable Welsh rarebits from Super Furry Animals, Catatonia and Peel darlings Datblygu.

Miaow – When It All Comes Down

0

Championed in Smiths-era indiedom by the very paper she wrote for, former NME hack Cath Carroll's Miaow built their cult upon just three EPs before disbanding. Though nothing eclipses this anthology's title track?1987's jangle-tastic Factory single with its blissful Tyrolean yodel and glam hand claps?its supplementary Peel sessions, demos and Carroll's Steve Albini-assisted homage to Elvis' "King Creole" are enough to validate much of that distant, nepotistic praise.

Championed in Smiths-era indiedom by the very paper she wrote for, former NME hack Cath Carroll’s Miaow built their cult upon just three EPs before disbanding. Though nothing eclipses this anthology’s title track?1987’s jangle-tastic Factory single with its blissful Tyrolean yodel and glam hand claps?its supplementary Peel sessions, demos and Carroll’s Steve Albini-assisted homage to Elvis’ “King Creole” are enough to validate much of that distant, nepotistic praise.

Department S – Sub-Stance

0

With NYC's bright new hopes (Liars, Yeah Yeah Yeahs) openly worshipping at the altar of scratchy early-'80s UK punk-funk (PiL, Gang Of Four), it now seems doubly outrageous that Department S were denied the release of this like-minded debut at the time?"Whatever Happened To The Blues" alone is 20 years ahead of Radio 4. An even greater shame that singer Vaughan Toulouse (who died of AIDS in 1991) isn't around to savour the overdue recognition this should grant him.

With NYC’s bright new hopes (Liars, Yeah Yeah Yeahs) openly worshipping at the altar of scratchy early-’80s UK punk-funk (PiL, Gang Of Four), it now seems doubly outrageous that Department S were denied the release of this like-minded debut at the time?”Whatever Happened To The Blues” alone is 20 years ahead of Radio 4. An even greater shame that singer Vaughan Toulouse (who died of AIDS in 1991) isn’t around to savour the overdue recognition this should grant him.

Various Artists – Legend Of A Mind: The Underground Anthology

0

It should be ridiculous, and sure, many of the titles on this compendium of Brit-prog between 1968 and 1975 are hysterical ("McGuillicudie The Pusillanimous"?please!). But cut through the suffocating incense clouds and the pug-ugliness of the assembled rogue's gallery and there's some astonishing fare here. Disc 2 is especially great, featuring as it does the sub-Zeppelin delights of Clark-Hutchinson and Black Cat Bones, Room's ambitious bong-symphony "Cemetery Junction" and Human Beast's lovelorn hippie heartbreaker "Maybe Someday". Thank God for punk and all that, but did we really swap all this for Chelsea and Eater?

It should be ridiculous, and sure, many of the titles on this compendium of Brit-prog between 1968 and 1975 are hysterical (“McGuillicudie The Pusillanimous”?please!). But cut through the suffocating incense clouds and the pug-ugliness of the assembled rogue’s gallery and there’s some astonishing fare here. Disc 2 is especially great, featuring as it does the sub-Zeppelin delights of Clark-Hutchinson and Black Cat Bones, Room’s ambitious bong-symphony “Cemetery Junction” and Human Beast’s lovelorn hippie heartbreaker “Maybe Someday”. Thank God for punk and all that, but did we really swap all this for Chelsea and Eater?

Janis Joplin – The Essential Janis Joplin

0

Kicking off a year-long celebration of the doomed, hard-drinking rock'n'blues Port Arthur girl, this double pack chimes with a birthday celebration (she would have been 60 in January) which will see hordes of unreleased vault material. Mixing studio and stage favourites, including a remixed "Mercedes-Benz", Essential confirms Joplin's debt to the school of Bessie Smith and her love for a standard. "Summertime", the excellent "Me And Bobby McGee" and "Piece Of My Heart" still stand up/out, although the Janis wow factor has diminished over time. One for the Bay Area fanatic, perhaps.

Kicking off a year-long celebration of the doomed, hard-drinking rock’n’blues Port Arthur girl, this double pack chimes with a birthday celebration (she would have been 60 in January) which will see hordes of unreleased vault material. Mixing studio and stage favourites, including a remixed “Mercedes-Benz”, Essential confirms Joplin’s debt to the school of Bessie Smith and her love for a standard. “Summertime”, the excellent “Me And Bobby McGee” and “Piece Of My Heart” still stand up/out, although the Janis wow factor has diminished over time. One for the Bay Area fanatic, perhaps.

Sex’n’Sax Machine

0

For those still thinking Electric Six are hardcore, direct yourself immediately to this reissue of the two studio albums of NYC punk/funk saxophonist/singer James Chance, one of the most confrontational figures in the No Wave movement. Buy is the more 'purist' record: askew Beefheartian rhythms meet Ornette harmolodics topped with Chance's frustrated crooning. Off White was the more 'commercial' album. "Contort Yourself" from the first album is reworked and discofied by August Darnell (aka Kid Creole) to stunning effect. Hear in particular how, on the telephone sex duet with Lydia Lunch, "Stained Sheets", Chance's unstable masculinity surrenders blissfully to Lunch's feminisation of his noise.

For those still thinking Electric Six are hardcore, direct yourself immediately to this reissue of the two studio albums of NYC punk/funk saxophonist/singer James Chance, one of the most confrontational figures in the No Wave movement. Buy is the more ‘purist’ record: askew Beefheartian rhythms meet Ornette harmolodics topped with Chance’s frustrated crooning.

Off White was the more ‘commercial’ album. “Contort Yourself” from the first album is reworked and discofied by August Darnell (aka Kid Creole) to stunning effect. Hear in particular how, on the telephone sex duet with Lydia Lunch, “Stained Sheets”, Chance’s unstable masculinity surrenders blissfully to Lunch’s feminisation of his noise.