Dananananaykroyd - Glasgow ABC October 29th

Apologies it's a wee bit late. Well actually really late.  Still, here it is.

“For a band called Dananananaykroyd we’ve done more than we ever expected or possibly even intended and we’ve enjoyed nearly every step of the way.”  It was with these words back in September that Dananananaykroyd announced they were to split, meaning the UK tour they had penciled in would be their last.  The beginning of the end, so to speak was in Glasgow, the band’s hometown and setting of countless classic Dananananaykroyd gigs.

Things began in far from ideal fashion as less than two minutes into the band 's opener E Numbers, a faulty guitar threatened to ruin the evening.  While repairs were carried out we were treated a glimpse of a possible post Dananananaykroyd career path in the form of some stand up comedy from lead singer Calum Gunn before eventually, normal service was resumed.  The band themselves were on great form, laughing, joking and generally having, what looked like, a complete blast.  The crowd were slightly more subdued, particularly for a Saturday night in Glasgow, and had to be coaxed into life but that that didn’t take too long.  A Dananananaykroyd gig always has been very much an interactive experience; Gunn and fellow lead Singer John Baillie Jr at one point spend some time getting to know their audience by hugging the vast majority of the front row, they even descend into the crowd for one number, and that’s before we’ve even started on the mass kneel down, with virtually everyone in the crowd joining the band in kneeling before jumping to life as the first chords kicked in, mosh pits and some particularly enthusiastic dancing followed.

As gimmicky as this all sounds, I can assure it’s not.  Crowd interaction has always been an important aspect of the Dananananaykroyd live package and they do it tonight, as usual better than just about everyone else out there.  This would obviously matter very little if the music wasn’t up to scratch, but of course it is.  Playing a mixture of songs from both records, they delivered a wonderful set, every song bursting with energy and enthusiasm. Although the mix wasn’t quite perfect resulting in a few tracks becoming a mass of indistinguishable (if still brilliant) noise.  It’s a minor criticism of an otherwise excellent performance.

With only one thing left to do, the band introduce Some Dresses and invite the audience to participate in what will be the last ever Scottish wall of cuddles.  The sight of hundreds  of people who do not know each other from Adam, running at each other before embracing never ever gets old and tonight particularly it really is a beautiful sight.  And just like that, as the lights came up the sobering realisation that for most, this was the last time they would ever witness such a spectacle.  Thanks for the memories Dananananaykroyd, you will be sorely missed.

The National - Edinburgh Corn Exchange 23.08.11

Apologies that this is nearly two months late.  I did write it only a matter of days after the gig but forgot about it, and only found it when I was tidying up my computer today.  Enjoy.

The National frontman Matt Berninger begins with a simple “hello” before the band kick things off with the tender Runaway from last year’s High Violet.  Within seconds we were already in raised neck hairs and goosebumps territory.  From then onward the band had the sold out audience eating out of the palms of their hands, each track receiving an almost euphoric response.  The National themselves seem genuinely humbled by the reaction, it’s their first time playing Edinburgh and Berninger sounds sincere and genuine when he tells the crowd it’s been a privilege.

Like any National show, picking highlights is a nearly impossible task.  Such is the richness of their back catalogue they could play a set comprising entirely of b-sides and album tracks, and their devoted fan base would still sing along to every word.  As it was, the band played eight songs that would be replaced by the time they played in Glasgow 24 hours later.  The point is there are few bands on the planet today with as many good tracks to draw from for a live performance as The National and tonight just when you think the band have reached their pinnacle each track eclipses the one before.

From the compelling drums and horn riff of Bloodbuzz Ohio to the epic, percussion heavy Squalor Victoria, even Available from 2003’s Sad Songs For Dirty Lovers and Wasp Nest from 2004’s Cherry Tree EP sound as if they were written with stadiums in mind.  The band finish with Fake Empire, sounding as joyous and perfect as ever.

During the encore Berninger continues with his traditional disappearing act during Mr November, however instead of diving head first into the crowd, climbing a speaker stack and dislodging a roof tile was the order of the day.  “By the way, there’s a dead body up there”, and as the tracks reaches it’s crescendo with Berninger screaming “I’m Mr November I won’t fuck us over” even if there was, I think few would care such was the intensity and quality of the performance.

Terrible Love follows before a stunning unplugged version of Vanderlyle Crybaby Geeks, complete with mass audience sing along, ends what has been yet another remarkable and unforgettable performance from the finest band on the planet today.

The National played:

Runaway 

Anyone's Ghost 

Secret Meeting 

Baby, We'll Be Fine 

Bloodbuzz Ohio 

Slow Show 

Squalor Victoria 

Afraid of Everyone 

Conversation 16 

Son 

Wasp Nest 

Available/Cardinal Song 

Sorrow 

Apartment Story 

Lucky You 

England 

Fake Empire 

Encore:

Santa Clara 

Mr. November 

Terrible Love 

Vanderlyle Crybaby Geeks

Mr November complete with roof destruction:

Youth Lagoon - The Year Of Hibernation

Two posts within a week, who would have thought it.  I'll be honest I've been off work sick for the past couple of days, and I'm quickly running out of TV to watch and the flat is looking immaculate, thanks to my new found status as a domestic god.  With no TV or housework to catch up on, I went a bit mental catching up with a backlog of new(ish) music, and on the back of a glowing review from Pitchfork as well as just about every other music publication going, I got my hands on the debut LP from Trevor Powers who operates under the moniker of Youth Lagoon.

I'm going to keep this brief, as my sinuses feel like they're going to explode (feeling sorry for myself? Aye just a bit) but it's fair to say that The Year Of Hibernation is a fairly stunning piece of work.  After only a handful of listens, I'm already completely immersed in it.  For all the gorgeous and serene arrangements and catchy melodies, this a record born from anxiety and worry,  "When I was 17, my mother said to me, don't stop imagining/the day that you do is the day that you die"he sings on "Seventeen".  Lyrically it's powerful and astute throughout and the contrast of Powers' many insecurities and the upbeat, dreamy arrangements is the key to the record's success.

I also thought I would help Powers' cause of trying to get across, that despite what some reviews have said the record wasn't actually recorded in his bedroom:

"I've been trying to make this clear for months in interviews, but to those who still don't know, this album wasn't recorded in my bedroom, but at a close friend's house. I wrote all the songs and crafted them in my bedroom. But the album was recorded at my good friend Jeremy Park's home studio. He is a dear friend of mine and an excellent engineer ♥"

Regardless of where the record was born, Youth Lagoon has created a nostalgic, emotional and beautiful debut record.

Youth Lagoon - Cannons

The Year Of Hibernation is out now. Get it from Amazon with this handy wee link.

RIP Dananananaykroyd

So aye as usual sorry I've not done this for a while. However the demise of one of the most refreshing, original and best bands to come out of Scotland for years has prompted me into action.  The magnificent Dananananaykroyd today announced their split via their Facebook page and had this to say:


"We all still love each other very much. For a band called Dananananaykroyd we've done more than we ever expected or possibly even intended and we've enjoyed nearly every step of the way. We're very keen at the same time to make sure we're never compromising or giving anything less than 100% and at this juncture of our collective lives, it makes sense to go out with a bang - which is exactly what this tour will be."

I first saw them nearly five years ago and instantly fell in love with their unique brand of 'fight pop' to coin their own self-mocking genre.  I saw them a few more times over the past five years and whatever the venue or occasion they were always consistently amazing.  To this day they remain one of the most enjoyable bands I have ever had the privilege of seeing.  The band leave behind two fantastic albums, one of the best EP's of the past decade as well as a few singles.  Their last tour begins in Bristol on October 12, so aye if you've never seen them this is your last chance - DAE IT!  ABC for me please.  The tour concludes in Newcastle on November 12.

Frightened Rabbit - A Frightened Rabbit EP

Apologies again for my lack of any sort of chat for the last few weeks.  I've been on my holibags though so give me a break.  Sweden and London were incredible and I'm off to New York tomorrow so no complaints really.  To come back and be welcomed by a new EP from Frabbit was a bit of a treat.  Due to the fact I need to actually pack for crossing the Atlantic, I'll keep this very, very brief.  It's incredible.  Here is my highlight from it, Fuck This Place featuring Tracyanne Campbell From Camera Obscura.  The band play New York twice when I'm there and they're both conveniently sold out.  I'm hoping some kind New York tout is willing to accept a reasonable sum for a ticket though and I get to catch the lads in the Big Apple.

Frightened Rabbit - Fuck This Place (Featuring Tracyanne Campbell From Camera Obscura) by ListenBeforeYouBuy

We Were Promised Jetpacks - WWPJ 1

We Were Promised Jetpacks today revealed a teaser of what we can expect from their second LP, due out later this year.  The video, simply titled WWPJ 1, is a mere one minute and five seconds in length, and contains live footage from their adventures Stateside as well as an agonising snippet of a track from album number two.  The album is currently penciled in for release in the Autumn and the quality of this teaser, has ensured this will be rather long wait.

The Rapture - How Deep Is Your Love?

The Rapture are back, to yet again slay dancefloors across the world. How Deep Is Your Love? may have been five years in the making but after just one listen, I'm firmly of the opinion it was worth every minute.  Utterly incredible.  This will soundtrack your summer.

The Rapture - How Deep Is Your Love by DFA Records

Beyonce - Halo (How To Dress Well Refix)

This has been kicking about for a few weeks, but I only got round to giving it a spin yesterday.  My love and adoration for How To Dress Well is well known, Love Remains was undoubtedly one of the best records released last year and Tom Krell has gone and done it again, giving Beyonce's smash Halo the How To Dress Well treatment.  One of the best things I've heard all year.  Guilty pleasure no longer.

Beyonce - Halo (How To Dress Well Refix)

Nicola Roberts - Beat Of My Drum

It's always the quiet ones...  It's taken a while but the best one from Girls Aloud has finally released her debut single and it's an absolute monster.  It sounds a bit like We Are Your Friends would have done if Justice had got M.I.A to do some mad, addictive chants over the beat.  Diplo's percussion-heavy production is spot on and a ridiculously cool video always helps.  Cheryl take note; this is how you make a pop song.


Beat Of My Drum is out now and the album Cinderella Eyes is to follow some time in the autumn and will feature collaborations with Metronomy as well as Mr Blackberry, Diplo himself.

Stag and Dagger 2011

I may as well begin the same way I begin most of my posts, by apologising for taking so long to actually write one.  This time blame the exciting world of Corporate Pensions i.e. my job which has taken up most of my time over the past few weeks.  However last Saturday I got myself through to Glasgow for Stag and Dagger, which has been an annual fixture in the city for the last few years.  The concept is simple; collect your wrist band and you then have access to a smattering of venues spread across the city centre to see as many bands as you want/can.  Despite this freedom, I went completely against the whole spirit of the thing by staying in one venue all night, terrible I know.  However anyone that was in the West of Scotland on Saturday night will perhaps empathise with this decision.  It was the sort of night that Scotland does best; rainy, windy and just generally utterly miserable.

So I decided I’d set up camp in The Art School to avoid the elements.  First up in the downstairs Vic Bar were the wonderful Conquering Animal Sound.  Who, despite starting pretty much before the doors even opened were, brilliant.  I’ve seen them three times now and every time I’m amazed at how they mange to create such beautiful and haunting music from such a weird selection of loops and samples.  Mesmerising.

CONQUERING ANIMAL SOUND - Maschine by Gizeh

I then made the short journey up the stairs to the main stage in the building to catch a bit of Ghostpoet.  I was going in blind to this one, but left rather impressed by Obaro Ejimiwe.  His sound is tricky to pin down but chuck Mike Skinner, Roots Manuva, Gil Scott Heron and Maxi Jazz from Faithless in a blender and you’re probably nearly there.  His delivery on Saturday was versatile and accomplished, his lyrics and wordplay razor sharp and the live guitar and drums added a bit of extra oomph to proceedings as well.

Ghostpoet - Cash & Carry Me Home (feat. Kano) by ghostpoet

Up next was Toro y Moi.  Chaz Bundick and co’s spaced out, summery, lush synth-pop could not be more far removed from the dark and dreich setting that was Glasgow on Saturday night. However tracks like ‘New Beat’ were rapturously received by the crowd. and reminded us Scots what Summer is meant to sound like.

Toro Y Moi - New Beat by thesubs-blog

Prior to headliners Sons And Daughters, Edinburgh’s Broken Records take the stage to a criminally small crowd.  They take no notice, and storm through a typically epic set.  Jamie Sutherland’s vocals soaring over the raw, powerful and exuberant instrumentation the band are renowned for.  Every time I see Broken Records I come away confused as to why the band aren’t a great deal bigger and more popular than they actually are and as last track Slow Parade reaches it’s glorious crescendo a similar feeling washes over me.  They really are a brilliant band and deserve the mainstream success that many were tipping for them years ago.  Keep plugging away please lads.  For my sake and everyone else with a half decent taste in music.
  

The venue filled up quickly for Sons And Daughters and after a sweaty wait, the quartet emerged and launched into material from new record Mirror Mirror.  Personally I have never quite understood why some bands insist on playing mostly unheard new material at gigs, especially festival shows and this was my feeling towards Sons And Daughters set on Saturday.  As intense and stylish as the tracks were I felt they lacked some of the substance that previous Sons And Daughters material has had.  However I feel unable to pass too much judgment as I had to leave after only a few tracks to catch my bus back through to the Edinburgh and with that Stag and Dagger was over for another year.  Due to my early departure I've no idea if they played this or not, but it's once of my favourite songs of all time, so any excuse.

While I did enjoy it, the shocking weather really didn’t help and constricted me and I presume a lot of others to the one venue, giving it the feeling of an average gig as opposed to a festival.  Elsewhere apparently Yuck, Kurt Vile, Warpaint and presumably countless other artists treated the soaking citizens of Glasgow to some cracking sets.

The National - Exile Vilify

My relationship with computer games pretty much ended, ironically enough when I shelled out a stupid amount of money on an X-box 360 a few years ago.  Pound per play is definitely a brutally depressing statistic.  If I was still into video games at all, I would probably be aware of some game called Portal 2 which has just been released and is apparently quite a big deal.  The only reason I do care is that The National have recorded a brand new song specially for the game, entitled Exile Vilify.  The song is predictably brilliant, and for anyone that is into games apparently Portal 2 isn’t bad either.

The National - Exile Vilify by the beat farm

Happy (belated) Record Store Day!

Saturday was a good day for music geeks all over the world, as the fourth annual Record Store Day presented the record buying public with a chance to purchase a wide range of special releases from artists such as Radiohead, The White Stripes, The Clash,  Lady Gaga, Foo Fighters, Gorillaz and countless more.  My “plan” (the inverted commas will be explained shortly) for the day was to get up early, hotfoot my way up to Avalanche, get myself a few limited releases then catch a set from Frightened Rabbit.  Inevitably this was not the way it turned out and after queuing for the best part of nearly forty five minutes for a chance to buy some records, my laziness and hunger levels dissuaded me from waiting in another horrendous queue for a chance to catch Frabbit.  The fact I missed one of my favourite bands in a really intimate setting was obviously a bit of a pain, but I’ve seen them twenty odd times before, I’ll without a shadow of doubt see them again, and the lunch I went on to have instead was fairly incredible.

Frabbit then got themselves through to Glasgow, and on this occasion I am gutted I wasn’t at Mono a few hours later to witness James Graham of The Twilight Sad join Frightened Rabbit for a version of Be Less Rude, which by all accounts was rather special.

As for what I actually bought, I chose, after much deliberation, the Franz Ferdinand covers 12”, the Interpol Try It On Remix 12”, the Edwyn Collins and The Drums 7” and my personal favourite, The Twilight Sad and Frightened Rabbit split cassette.  I could have spent a truly stupid amount of money but I’m pretty happy with my purchases.

The Franz EP features an all star cast trying their hand at covering some Franz Ferdinand numbers, the obvious highlight being a fantastic version of Live Alone by Debbie Harry and Franz themselves.  LCD Soundsystem, Stephen Merritt, ESG and Peaches are the others to contribute. 

  

Debbie Harry - Live Alone (Franz Ferdinand Cover) by Cautyright

The mix Salem have done of Try It On, is the most engaging track Interpol have been involved in for a while and is the highlight of the EP.  The other mixes from Banjo Or Freakout and Ikonika however are both definitely worth checking out.

Interpol - Try It On (Salem Remix) by Vitalic Noise

In Your Eyes by Edwyn Collins & The Drums is from Collins' seventh solo album 'Losing Sleep' - which also features Franz Ferdinand's Alex Kapranos and Nick McCarthy, Johnny Marr, and The Cribs' Ryan Jarman - released back in September of last year.  The track itself sees Collins and The Drums compliment each other perfectly, creating a catchy and rather beautiful four minute pop gem.

HVN219 Edwyn Collins and The Drums - In Your Eyes by heavenlyrecordings

The Twilight Sad and Frightened Rabbit cassette is an essential listen, for fans of either band and features very early, previously unheard material from both artists.  It really is fascinating to hear the roots of two of my favourite bands, and as raw and rough around the edges as the material is, it clearly displays the potential that both artists would go on to fulfill.

I hope everyone got some equally great releases and had a nice wee day into the mix.  Until next year!

RIP LCD Soundsystem.

James Berry/Gigwise

Last night (April 2^nd) one of the greatest bands of the past ten years, LCD Soundsystem played their final gig to a packed out Madison Square Garden.  Those lucky enough to get a ticket were treated to set of nearly three and a half hours featuring 29 songs, (including performances of tracks from 45:33 that have rarely been performed live) 2 encores and a guest appearance from several members of Arcade Fire.  I quite often get gig jealously but seldom has it ever been this bad; I really, really wish I was in NY last night to witness LCD bow out in style.

I can’t really remember the first time I heard an LCD Soundystem song, but I’ll admit it was probably a lot later than many, round about the time of the release of their self titled debut album in 2005.  I remember buying the record and although I was impressed with it, back then I was still fairly reluctant to truly embrace electronic music.  However the more I listened to it and became immersed in it, I finally began to realise that good music could have a lot more to it, than just a couple of guitars, a bass and some drums.  Although pre-LCD I had dappled in some electronic music, this release marked the first time I had fallen in love with a record that was a lot more electronically focused than anything I had previously loved.

By the time Sound Of Silver was released in 2007 I can safely say my taste in music was a lot more developed and refined than it has been back in 2005.  I distinctly remember the first time I listened to it, even after one spin I could already truly appreciate what an incredible, landmark piece of music the band had created.  To this day it is one of my favourite records of all time and it contains my favourite song of all time, the nostalgic, poignant and utterly stunning All My Friends.  I find it impossible to put into words how much I love this track, it has the rare quality of sounding utterly perfect no matter the setting or situation. Also with every passing year, I as move further away from my teens gradually approaching the dreaded quarter century before the even more dreaded 30, lyrically it becomes even more poignant:

‘It's a song written by a middle-ager that looks back upon the kinds of simple momentary glories it's likely soundtracking this summer: hanging out, joking around, escaping into flings, and dancing on drug.’

http://www.slate.com/id/2170298/

The above article sums up the song far better than I ever could so please give it a read, but James Murphy and friends I thank you from the bottom of my heart for crafting the finest piece of music I have heard so far in my life.  I have spent a lot of time heaping praise on just one track, but as it’s my favourite of all time I hope you can forgive me. 

All My Friends aside, Sound Of Silver is an absolutely brilliant record; touching, heartfelt, fun and thrilling, an extraordinary achievement.

My love affair with the band continued last year when I finally got to see them live, ( I did have tickets for another gig back in 2007 but a chance encounter with a bottle cap and the hospital trip that followed fucked that one up) and the release of their third LP This Is Happening.  The gig itself was at the best venue in the world (that’s official by the way) the Barrowlands in Glasgow, and is one of the best concerts I’ve ever had the pleasure of attending.  After a remarkable set, the band finished on All My Friends and finally seeing it live is probably one of the most euphoric, emotional and unforgettable moments of my life so far.

I have just gone back and re-read everything I’ve written so far and I’m struck even myself at how much LCD Soundsystem have meant to me over the past few years, but I have meant every word.  The band have helped soundtrack my life over the past five or six years and released some consistently great music along the way.  I highly doubt anyone from the band will ever read this, but if so, thanks for the memories.

RIP LCD.  

Stray Kites, Josh T. Pearson, Comodo and more.

Last week I received a very nice E-mail from a band called Stray Kites, a two-piece ‘stationed in but not restricted to Ashburn, Virginia, America, Earth’ comprising of Max Detrich and Junior Roseboro.  The e-mail was short and sweet, alerting me to the existence of the band and a suggestion I check them out.  I’m glad I did.  Their music is self-recorded and self-released (everything is free so absolutely no excuses not to check them out) and most importantly rather good.  The duo released their debut record One Day, Earth Time earlier last year and are currently working on their second LP Mieux will be released later this year.  The two tracks the band have already made available from the record, All Is Well and Misanthrope suggest we are in for a bit of a treat with their second release.  They are both incredibly charming pop gems; addictive, buoyant and guaranteed to put a smile on your face.  While folk and acoustic influences are evident, they are clearly not adverse to making a bit of noise once in a while.  I have high hopes for album number two.

All songs are available as free downloads from Stray Kites’s bandcamp:

http://straykites.bandcamp.com/

I’ve also been listening to Last Of The Country Gentlemen by Josh T. Pearson a great deal this week.  Formerly of Texan psychedelic rockers Lift to Experience, it has taken the best part of a decade for a solo release from Pearson but I can safely say it has been worth the wait.  Last Of The Country Gentlemen is absolutely stunning, and one of the most beautiful records I’ve heard in years.  Lyrically it’s dark, gut wrenching stuff; dealing with heartbreak and infidelity in brutally honest detail.  His gorgeous guitar work the perfect accompaniment resulting in an incredibly intimate and fragile record that will resonate with anyone who has ever suffered heart break or loss.  The best thing released this year by a country mile.  Stunning.

‘Honeymoon’s Great! Wish You Were Her’ thirteen minutes of utter beauty.

Following on from Carnivals last week another one of the Sucking Lemons lads, Oli Shilling has made his debut EP under the Comodo alias available as a free download via bandcamp.  Dark, atmospheric and ever so slightly eerie To The Sun EP is a pretty wonderful debut release.

To The Sun is available here:

http://comodo.bandcamp.com/

Thom Yorke, Burial and Four Tet’s collaboration hit the net last week and is obviously amazing.  With such a cast, it was inevitable but nonetheless the two tracks are both brilliant.

Elsewhere The Kills new record is rather good, despite the hype The Vaccines have managed to put together a solid and very listenable debut release and I’ve gone back to Aerogramme and Arab Strap.  I’m still so bitter I never got to see either of these two live and think I always will be till the day I die.

This is the best song ever written by the way.

Till next time...

Evenings, strokes, submarines and more.

Until a few hours ago I had never heard of Evenings AKA Nathan Broaddus.  I am incredibly glad this has now been rectified, via a tip off from another Sucking Lemons writer.  His debut release North Dorm EP has been available since last year (for free via his bandcamp, link to follow) and is a truly mesmerising and stunning piece of electronic music.  His music contains an eclectic collection of sounds; a fusion of dreamy synths, delicate beats and an abstract selection of beeps, bleeps and other utterly entrancing noise.

North Dorm available here: http://evenings.bandcamp.com/

More new Strokes stuff has surfaced over the past couple of weeks, none of which has struck me as being particularly amazing.  However saying that, Under Cover Of Darkness didn’t really hook me immediately so it’s early days.

The Strokes – Machu Picchu: http://www.mediafire.com/?kzd0gnmvu311cy3

Submarine a new film directed by Richard Ayoade (Moss of IT Crowd fame) comes out next week and Alex Turner was the man entrusted with the soundtrack for the film and has come up with the rather good Submarine EP which is released on Monday.  Anyone fearing he would suffer without his monkeys fear not, it’s brilliant.  Lyrically of course it’s completely perfect and the arrangements, from guitars to keys to drums provide a fitting backdrop for Turner to hammer home yet again how disgustingly talented he actually is.

Turner’s soundtrack is released via Domino Records on March 14^th and the film follows on March 18^th. 

^{Elsewhere I’ve been hammering A Weekend In The City (perfect, perfect record)}

the debut EP from Samuel Howard AKA Halls which is available to download here for a pound and will definitely be the best pound you spend this week: http://hallsmusic.net/album/halls-ep

Mavi Kara an EP by Carnivals AKA Stew Green which goes one one better and is free from here:
http://carnivals.bandcamp.com/

and finally I’ve gone back to Love Remains by How To Dress Well.  It’s still flawless.  

All Apologies

So aye for the few amongst you who regularly check my blog with bated breath for updates, then I can only sincerely apologise for my general shitness in not writing for ages.  Thankfully I imagine this is such a small figure that I needn’t worry too much.  I think it’s only appropriate before going any further to post the following video, in wake of the mighty Hoops pumping Rangers and the fact it’s maybe the best thing I’ve ever seen on Youtube.  Funny and touching in equal measure, it’s incredible.

Apart from videos of Thai children singing Celtic orientated covers of Depeche Mode I’ve been listening to a lot of great stuff over the past few weeks.  Conquering Animal Sound certainly fall into this category.  I got a hold of their debut LP a few weeks ago and it’s been on repeat ever since.  Read my thoughts on this truly great duo in a brief article I wrote for Sucking Lemons:

http://suckinglemons.co.uk/2011/02/19/conquering-animal-sound/

Like everyone else with a remotely decent taste in music, I obviously been gripped by Radiohead fever and I’m impressed by new record The King Of Limbs.  While not a huge move away from In Rainbows in terms of sound, nonetheless it’s pretty bloody good.  It’s also got me going back to old Radiohead records, so here are a couple of classics from Thom and co.

Despite the fact Edinburgh’s Letters have only released their debut single last week and have thus far played just one gig I’ve found myself listening to the aforementioned single rather a lot recently.  Both tracks from their double A-Side release, Grand National and Pipe Dreams are just a bit brilliant.  Anyone that is familiar with my musical tastes will be aware of my weakness when it comes to bands who sing in their own wonderful, distinct Scottish accent and Letters are such a band.  Vocalist Mikey Ferguson’s Scottish brogue is soft and earnest on both tracks, throw in some distorted guitars, heavy drums and a Cello (which adds further layers and textures to an already massive sound) and you have, in my eyes, a couple of rather wonderful tracks.  The band only formed in the winter of 2010 so it’s obviously very early days, but judging by these two tracks we may be hearing a lot more from this lot.

Double A-Side Grand National/Pipe Dreams is available as a free download on the band’s website:

http://www.wewriteletters.co.uk/music/

Elsewhere, the Jamie XX and Gil Scott-Heron album is pretty incredible (my review of which will be appearing on Sucking Lemons soon), Mogwai’s latest is a triumph, Steffi’s LP Yours & Mine is a wonderful slice of deep house and I’ve been listening to Pet Sounds a lot longing for the summer.  Till next time...

Exit Music (For A Film)

The other day I watched Blue Valentine and was blown away by the film’s music, which was scored by Brooklyn band Grizzly Bear and also features songs written and performed by lead Ryan Gosling.  

While the film was good, particularly Gosling and Oscar nominated Michelle Williams’ performances it was the music that for me stuck out.  The film itself is a dark and bleak look at the deterioration of a once seemingly prefect relationship.  It genuinely is one of the most depressing and uncomfortable to watch films I’ve seen in some time and part of the reason for that is the music.  Grizzly Bear’s soundtrack does an incredible job of making an already emotional and heartfelt movie feel even more poignant.  The point I’m (poorly) trying to make is how important is a good soundtrack or musical score to the success of a film?  Can the success in terms of how good a film is depend on the choice and placing of certain tracks or pieces of music?  For me the answer is unquestionably yes.

While I can’t pinpoint the first time I noticed a song or a piece of music in a film, I think there is a good chance it was Tarantino related.  The man lives and breathes movies and is obsessed with even the tiniest little detail and for him the role of music in a film is crucial;

“To me, movies and music go hand in hand. When I'm writing a script, one of the first things I do is find the music I'm going to play for the opening sequence.”

I wholeheartedly agree.  Imagine some of those iconic scenes in his movies without music or a different song choice.  The opening scene to Reservoir Dogs without Little Green Bag, the torture scene without Stuck In The Middle With You.

Or take Pulp Fiction, John Travolta and Uma Thurman’s iconic dancing scene without Chuck Berry, or the OD scene without Urge Overkill.



The success of scenes like these, hinge on the song choice and a perfectionist like Tarantino is always going to get it right.  Even later in his career with the two Kill Bill films while I didn’t think the films themselves were a patch on the aforementioned titles; the soundtracks were again pretty much perfect.

Music makes a film what it is.  I have no idea how much time and effort goes into choosing/finding/recoding a song or piece of music to fit a certain scene and I can imagine it can often be a long and laborious process but it is something that needs to be right.  In so many of my favourite films, the soundtracks are absolutely crucial in complementing what is happening on screen.  This Is England just wouldn’t feel genuine without Dexys Midnight Runners, The Specials, Soft Cell etc.  Imagine some of the truly stunning scenes in Into The Wild without Eddie Vedder's crooning vocals in the background.  Ewan Mcgregor being chased down Princes Street without Lust For Life in the background in Trainspotting – unthinkable.  28 Days Later just wouldn’t be the same film without John Murphy’s tense and atmospheric score.  The sense of loneliness that comes across with the song choices in Lost In Translation is again utterly vital to the film’s success.  I could go on indefinitely but I won’t.

Anyway rant over, I’m away to try to continue to get over the spiral of depression that Blue Valentine has sent me into. 

So this is the new year...

So aye Happy New Year one and all, twenty-one days late not too bad I’d say.   I thought I’d make my first (proper, non list-related) entry of 2011, a summary of what I’ve been getting excited about and listening to in the past couple of weeks since ten became eleven.

First up is a young lad going by the name of Zoo Kid, the emphasis very much on the ‘young’.  Archy Marshall is the tender age of sixteen, and makes music far, far beyond his years.  Current single Out Getting Ribs is a bleak yet utterly beautiful pop song detailing the trials and tribulations of teenage life.  It’s a fairly sparse affair, just Marshall’s rough vocal over some echoey guitar, but he seems so sincere, passionate and genuine that nothing more is needed.  In terms of comparisons Billy Bragg and Jamie T. both come to mind and even at this early stage it is abundantly obvious that this young man has enough raw talent to potentially go on to be just as great as those aforementioned artists.

I first heard The Next Untouchable by the now defunct Cajun Dance Party years ago, I can’t really remember exactly when, 2005 or 2006 maybe?  Anyway the point was I was almost positive, from this one track alone that here was something rather special.  These youngsters would surely go on to be absolutely massive; everything about the track was utterly perfect.  

This obviously did not transpire, and although the one album they did release was actually rather good, they did not achieve the critical success that I was so sure was destined for them.  Anyway back to 2011 and the reason I’ve been rabbiting on about Cajun Dance Party is that two of the members are now in a new band who I am currently quite excited about.   Daniel and Max from CDP plus Japanese bassist Mariko Doi, New Jersey drummer Jonny Rogoff and Daniel’s younger sister Ilana make up Yuck.  Their sound is pretty far removed from CDP, think grunge/shoegaze/American bands of the 80’s and 90’s.  Sonic Youth, Pavement, Dinosaur Jr, My Bloody Valentine and Pixies all sound vaguely like influences but despite obviously having exquisite records collections, Yuck are not simply a band wanting to sound like they should have been around twenty years ago.  Ok they’re indebted to bands of yesteryear but these days who isn’t?  Their songs still manage to sound fresh and exciting; fuzzy guitars, addictive hooks, strong melodies and most importantly passion are all here in abundance so here’s hoping we have the pleasure of their company for slightly longer than Cajun Dance Party. 

I’ve also become obsessed, and obsessed is certainly the right word about a man called Sylvain Chauveau.  Since stumbling upon his 2007 record Nuage a couple of weeks ago, it has been played pretty much constantly.  His music is mostly minimal, ambient instrumental and electronic compositions which in all honesty are not really genres I’m particularly familiar with, but I was instantly struck by how beautiful the record was.  Thus far I have not had time to explore his back catalogue further (which includes an album released by the wonderful Fat Cat records), but Nuage is utterly astonishing.  I’ve posted a track from it below, but individual songs really do not do justice to just how gorgeous the record is.  It needs to be listened to from start to finish and I advise anyone with a working pair of ears to do so.

Still listening to MBDTF quite a lot goes without saying really.  The Nicki Minaj album has grown on me quite a lot in the last few weeks and Esben And The Witch’s debut album is a really interesting listen which leads me to my final point.  I have reviewed the Esben... album for a rather excellent wee blog called Sucking Lemons which I thoroughly recommend checking out.

 http://suckinglemons.co.uk/

Best Albums of 2010

Well that's my top tracks of 2010 done and dusted, and before I move on, I don't think it would be quite right to conclude my coverage of last year without a quick rundown of my favourite albums of 2010.  I'm not going to bother with a quick summary of each record, due mainly to time constraints.  If I go down that avenue 2011 will be half way through and I'll still be ranting on about My Beautiful Dark Twisted Fantasy.  And yes that man Kanye West has done the double.  Just like in the tracks feature, genuinely no other record came close to Kanye's masterpiece.  In every sense of the word My Beautiful Dark Twisted Fantasy is as near to perfection as it's possible to get.  Truly an astonishing record, and one that could not only change hip-hop forever but also just pop music in general.  But yeah I'll stick to my guns and leave it there because I genuinely could go on and write paragraph after paragraph about MBDTF.  Kanye aside 2010 was another great year for albums and finalising  my top twenty was quite tricky but this is what i ended up going for.  Enjoy!

1) Kanye West - My Beautiful Dark Twisted Fantasy

2) Zola Jesus - Stridulum II

3) Big Boi - Sir Lucious Left Foot: The Son Of Chico Dusty

4) How To Dress Well - Love Remains

5)The National - High Violet

6) Frightened Rabbit - The Winter Of Mixed Drinks

7) Arcade Fire - The Suburbs

8) Beach Fossils - Beach Fossils

9) Forest Swords - Dagger Paths

10) Perfume Genius - Learning

11) Tokyo Police Club - Champ

12) Ariel Pink’s Haunted Graffiti - Before Today

13) Marc McGuire - Living With Yourself

14) Delorean - Subiza

15) Emeralds - Does It Look Like I’m Here?

16) Janelle Monae - The ArchAndroid

17) Caribou - Swim

18) Teebs - Ardour

19) Flying Lotus - Cosmogramma

20) Beach House - Teen Dream

Best Of 2010 4-1

4) Crystal Castles - Not In Love (feat. Robert Smith)

Not In Love (a cover of Platinum Blonde’s 1983 original) was originally on Crystal Castles second album which was released in early 2010.  The album version was one of the highlights of the record, but this version featuring Robert Smith is a massive improvement on a track that was pretty damn good to begin with.  The distortion and noise that one associates with the band is still here in abundance, just this time with the addition of Smith’s distinctive voice.  In terms of what his vocal brings to the track, as well as offering a nice alternative to Alice Glass’ original vocal take, and having lyrics that are actually decipherable (a rarity among the band’s back catalogue) most importantly it works magnificently well as a contrast to Crystal Castles sound.  They are renowned for making brutal, bleak, noisy and distorted pop music, but in this instance Smith’s vocal gives a new angle which to view the band from, calmer and more nostalgic, it is a very pleasant change and one which I would like to see than band explore further in the future.

3) Arcade Fire - Sprawl II (Mountains Beyond Mountains)

While admittedly it did take a while, I did grow to love Arcade Fire’s third LP The Suburbs.  While I found some of the tracks perhaps slightly harder to connect with than a lot of the band’s previous output, the first time I heard Sprawl II I instantly fell in love with it.  It was Arcade Fire but at the same time it wasn’t.  While managing to retain, the monumental, thrilling and epic feel of an Arcade Fire track a lot of the glorious, overblown strings traditionally associated with the band had been replaced by electronics.  Pulsing synths, more akin to a modern dance track than your typical Arcade Fire number, co-exist beautifully with Régine Chassagne’s gorgeous and uplifting vocal to produce one of the most engaging songs of the band’s career.

2) Robyn - Hang With Me

I still find it strange that Robyn isn’t one of the biggest pop stars in the world.  Hang With Me highlights my point perfectly.  An earlier acoustic version of the track appeared on Body Talk Part 1 before the track received a makeover for Body Talk Part Two.  Revitalised and rejuvenated with the addition of bubbling synths and energetic bass.  When you combine this with Robyn’s vocals which are as sweet, sugary and addictive as ever you get a rousing, energetic and emotional pop gem.

1) Kanye West (feat Pusha T) - Runaway

“Let's have a toast for the douchebags”

I’ll keep this brief, no song came close.  Runaway is epic, daring, bold and adventurous.  It’s funny and sad, it’s brutally honest and most of all it’s absolutely beautiful.  A complete triumph.  Kanye, I salute you.