Reviews: Chromatics – Night Drive “Portland, Oregano” 7/10 This release is a long way from the band's early experiments with clattering punk type music and is an altogether more elegant and refined affair. All current Italians Do It Better releases are tricky to obtain but all are worth the pursuit, and this is no exception. Like a shyer Glass Candy (or G/L/A/S/S/C/A/N/D/Y, if you like), this album runs with the glacial-disco or nu-disco template but is a different beast to its showier sister. Johnny Jewel plays in both bands so the crossover is substantial, and the breathless, disinterested and sexy vocals are certainly a theme across the two records, but 'Night Drive' is entirely more laid back - one for the after show. 'In The City' is my personal highlight, part wistful, lazy-beat lament, part atmospheric, slow-burning driving (in all its senses) anthem, though some will see the Kate Bush cover 'Running Up That Hill' as the peak, I feel it one step too far toward unforgivable kitsch. As unlikely a place as Portland is for an 80s Italian Disco revival, I can but only commend the results. Tapes ‘n Tapes – Walk It Off “But a short walk from Harvard Square” 7/10 There is a reason that these fellows are Pitchfork darlings and it is due to their entirely alternative, jittery and literate line of indie classics. On a first listen, this album seems to pale in comparison to 2006's excellent Americana-laced, lo-fi and skittish indie masterpiece ‘The Loon’. However, repeated listens allow a carefully crafted album of similar material to develop, and the catchier numbers such as 'Conquest and 'Le Ruse' cement themselves as heavy rotators for singing along to absent mindedly. What it does lack is one killer tune, such as the Harvard Square name-checking 'Insistor' from ‘The Loon’, and may be a touch too long to pay due homage to the adage of leaving the listener wanting more, but as an ensemble it sure hits the mark, and makes for an album as compelling as that debut. File under chin-stroking and knowing-glances. The Old Romantic Killer Band – The Swan With Two Necks “Neckst Please” 6/10 Save for the lamentably awful ‘Your Girlfriend Is A Drug Addict’, I’d have awarded this album higher marks, as for the most part is passes rather pleasingly, seeping its classic, bluesy-rock influences as it goes. The track in question however is so rage-inspiringly grating that I just couldn’t let it slide. Its near-spoken word delivery, trite story and victims aren’t-we-all consequence, twinned with very average guitar-smithery together embody all that is bad about an age when no matter the music, it finds an audience. A shame really because the rest of this enjoyable, but not ground breaking, bluesy-country flecked alt. rock ticks a lot of boxes. Quiet-loud - check, vocal nods (if there can be such things) to artists named Howlin’ - check, and a wall of what I assume is plaid-filled noise married with acoustic anecdotes - check. The greatest issue with this release is that ultimately, no matter how badly you squint, Sheffield isn’t Louisiana and as a result it all just kinda floats on by immemorably. Scarlett Johansson – Anywhere I Lay My Head “Jolly folly” 7/10 This is a difficult album to review objectively as one camp is so strong in their condemnation of Johansson’s ‘sacrilegious assault’ in covering this collection of tracks by Mr. Tom Waits. True, without him, this album wouldn’t exist, and true, what is the need for this album when ‘perfection’ already exists in the shape of the original. However, it is my opinion that nothing is ever perfect and variety is healthy so I gave Ms. Johansson the benefit of the doubt and furthermore a spin or two more than was strictly necessary. What struck me first was her curiously deep voice, and then man-of-the-moment Dave Sitek’s (of TV on the Radio production amongst many others) lavish overproduction, which at times drowns out poor Scarlett. But that all said, this album inspired in me a renewed desire to sample the original, with whom I am not here to make comparison. Surely, it can only be a good thing when a cover alerts new listeners to a quality artist not yet amongst their collection, particularly when the motive is not ready cash. And, in this example, I think it great that a credible actress has delivered because few others could deliver such a credible homage. Whimsy of the influential it may be, but for once, it’s a pleasure to share. This is an album of easy listening, dreamy indie music, perfect for most occasions needing of inoffensive, unadventurous but unobvious background stylings. And it is very stylish, and also pleasantly comforting. The titular track, Fannin Street and Falling Down are rousing highlights that catch the ear, though why an instrumental (‘Fawn’) starts a covers record I am very unsure! Perhaps Mr. Sitek drowned her out completely, which songbird she isn’t, shame it would be. This grand folly of a record may yet stand proud in the grounds of Mr. Wait’s gravel-drive estate.
TripleAre - 08/01/09 A new direction and experiment for me - I have started to review the albums that I have been listening to during a particular week, and to pick a favourite from amongst them - the record of the week (RotW). The RotW will not always be a new release, but precedence will be given to the newer releases for reasons explained below. These reviews are partly product of my innate interest in review and critique, but also due to my fascination-cum-obsession with good quality music of most genres. Furthermore, there are some sites, local and international, to which I will be submitting the same material, in the hope of finding favour and being given industry freebies in exchange - we can all dream! It is for this reason that preference will be given to newer releases. I will award each album a score out of 10 too for good measure. Oh and it's called TripleAre for Rob's Record Reviews. So the inaugral RotW goes to ... drum roll please ... Tom Waits - Real Gone. Well done, sir. Take a bow. Record of the Week: Tom Waits – Real Gone “Wait No More” 8/10 This album is my first foray into the expansive catalogue of Mr Waits, and it is one that is not without success. This gravel-voiced troubadour has been with us collectively since the 70s but has escaped all but the most fervent of radars, certainly mine, but those that he has graced revere him cultishly. After a spot of research, I discovered this album is not entirely representative of the entire catalogue, and for the first time avoids his trademark piano. Where the album does fit with the template is with the rich pedigree of blues history, which drips from every over-gravelled syllable. I also read of his jazz influences, which are less evident, but nevertheless still very much present. What is a new direction for this chameleonic artist, is the scratching and near beat-boxing of opening track ‘Top of the Hill’, which I have seen reviewed as equal parts the best and worst thing you’ll ever hear. I think I’d favour some middle ground on this occasion, and declare it interesting, at the very least. Where Waits succeeds, he does so strongly. ‘Hoist That Rag’ is angry, political and rather ear-catching, and for the most part ‘Sins of My Father’ is an excellent drawl through singer-songwriting, albeit unforgivably long at nearly eleven minutes. As any salt-worthy writer knows, lyrics are important and luckily, Waits knows it better than most. His prosaic gymnastics are very easy on the ear, although are perhaps not at their best during the spoken word ‘Circus’ which may be one indulgence too far for my taste. It is clear with this snapshot that Waits is an artist worth the attention of those with more than a passing interest in music, and particular singer-songwriting, but at to whether he’s everyone’s cup of tea the jury is officially out. Of the little I know, comparison could be made to that other chameleon Sir. Nick Cave (surely due). Both sing wisely, laconically and at depths Cousteau feared, but more crucially, neither seem scared to experiment, and when you get more hit than miss as you do here, I for one, judge the man and album an overwhelming success. Other Reviews: Metallica – Ride The Lightening “Welcome Thunder!” 8/10 Approximately 6 months ago, I identified a massive Metallica size hole in my collection. This was quickly rectified after speaking with a lifelong fan, and purchases were duly made in the shape of Ride The Lightening and Master of Puppets. And what a 6 months since! Armchair metal fan as I am, I enjoy the odd speaker-shake of Maiden, a spin of year-zero Sabbath and slight dalliances with Tool’s heavier material as much as the next man. However, what I was not expecting was just how amazing the two Metallica numbers I picked up were going to be. It would be a peculiar world in which a metaphor consisting of metal could blow something away, but it is in this landscape I find myself. I shall never be sold to the genre, but will forever be a happy slave to her peaks within. They do not get better. Powerful and exciting. DFA presents Supersoul Recordings - Nobody Knows Anything “Supersold” 7/10 I approached this compilation as a natural progression from Mr. DFA James Murphy’s LCD Soundsystem, and with a love of his previous compilations, such as the numbered, eponymous releases, particularly #2, for those that care. I was not however familiar with any of the artists here present, which is due to their belonging to Supersoul, a trendy German outfit and established house of electronic beats. As such, the sound is different from what I initially expected, noticeably more techno-y, less funky and less identifiably DFA-y. The looped beats are in places over-laid with complimentary vocals, which never dive into the cheesy realm of popular dance music, and this is a very good thing. The seamless tracks evoke an understandable, trance-like state in the listener, who must be prepared to accept repeated listens to get the most out of this ride and state, unless of course, that listener has an already attuned German-ear for the genre (ein Ohr, if you will). I am reliably informed this collection is reminiscent of early-to-mid 90s B12 recordings and/or similar ambient techno, though the small sections of vocals do deviate from that blueprint, but not detractingly. This is a boundary pushing collection, but not for the music itself, rather for the every-day listener. As above, I approached the collection in the same way that some others will. Out of indie, I learned to like LCD, and from them associated DFA artists. And, this is one step further. It could yet be seen as a crossover album, like The Field achieved in 2007, with their excellent ambient techno ‘From Here We Go Sublime’ that reached over to the (relative) masses, far further than many of their contemporaries manage. I’d like to think so because this is not a challenging album, far from it, it is in fact quite rewarding and is certainly better now on its sixth spin than the first. So, here’s to Supersoul, here’s to DFA, together, making the world a more rounded and adventurous place.
So, the conclusive proof that I spend too much time here has arrived; I had a wf.org dream. Most of the main players from the site were there. Some of you I know what you look like, or atleast claim to look like, others less so. I wanted therefore to equally apologise for using you in my subconcious and superimposing some faces onto some, but also to thank you for making me feel so welcome in there too. The jist was that I was watching some rock concert when one member, who knew me but not the other way round I apologise, said "come on, they're all over here". And lo, it turns out I'd stumbled into a wf.org convention. And there, there was Torana on stage giving backing singing (rock-yelps) in a fetching red number of all things. Cog was there, always the father figure, ensuring e/o was having fun. After the show, this select crowd went for something to eat, some beers and a laugh. Particular mention to Heather and maia, who both know how to party. Daft I know, but I woke both bemused and happy. One step closer to the asylum, but smiling all the way. So, joint apologies for using you in my subconscious w/o your permission, but equally, thanks for making it a great time!
Today I sit one-eyed at the computer after having painfully removed, with the aid of but an unsterilised needle, a stye-like white deposit from under my eye. Evidently this hurt and continues to do so; hence I am one eyed for the time being. This is the not the first time I have performed this 'operation' on myself and I am thus confident that all has gone well and that shortly the slight inflammation will subdue. The pain is new though This I attribute to me never having removed one of these things from so near to the eye. I waited until I was alone to do this today because the wielding of needles so close to the eye can unnerve some people and by extension they may then unnerve me, which would not be helpful when wielding a needle close to the eye. Through these meandering thoughts you can see the benefits of me having waited to be alone. There was no need to remove this item. It was not unsightly, did not affect my self esteem, was in no way painful (pre-op) and caused no offence of any sort. So why do it? Another I'd had earlier this year just sort of went away, or fell off. I don't know. This got me to thinking about preening, which I attribute today's act to. I am not a particularly vain individual though like to look as nice as I can, in the sphere of the way I like to look i.e. within my own parameters. This stye-like blemish, though causing no harm, was still a blemish and one that needn't remain. It was a little like tidying one's own appearance, albeit a strange way of doing so. This got me to thinking, would more people tidy themselves if they had the means? A 'do-it-yourself' nose job perhaps, just add alcohol. Liposuction tools available in the local hardware store repleat with some sort of weekly biohazard cum refuse collection. Would this rampant vanity and consumerism be seen as some sort of distophia or would this behaviour be seen as commendable? Does it smack of celebrity culture, or is an extension of rationale and natural selection? Who knows - just thought I'd share my afternoon musings once more with you.
Blogs? I have never read nor written one. I imagine the point is to spew forth one's thoughts and emotions in the pretence that virtual reality is a better reality. This of course for some is true and that is equal parts pleasing and equal parts sad. This magnificent tool of computer and internet when twinned and married together is an all embracing concept. The fact that is does bring genuine happiness to people is great, be that in cathartic blog form or through other (respectable) means. Of course however one cannot compare virtual reality with reality as the two are mutually exclusive. Is it not sad that people also do have to find happiness in the virtual reality? Does that not make it a virtual happiness, which could be read a pseudo or unreal happiness? Anyway I plan to go home after work this evening as is normal and get back to work on my entry for the strong contest for which ironically I feel I have a strong premise. The problem is however just that. I have a premise. I have issues with being able to complete. This is not because I don't plan out my writing, rather that I am never happy with what I produce. That, and that I have decided to stray from my regular first person narrative and try third person which proves difficult. This is of course not a surprise because in the same way that we innately use our left or right hands predominantly (most of us), we choose that which is easiest. It is easier for a river to meander than go straight. It will do just that. It is easier for me to write first person narrative thus that is what I've been doing for the last 14 years or so. I don't really count the 10 years before that as conscious writing, rather repetition of what I had seen or read at that time. Like using my left hand to write would be, writing third person is tough to make sound credible. I guess only time will tell whether my toil will have been worth it. As I said above a blog could and I imagine is in many cases an act of catharsis. Thus I thank myself for reading.