When Hot Chip performed in Manchester on their joint-header tour with LCD Soundsystem, the two bands joined forces at the end of the show for a cover of the Alessi Brothers’ breezy, soft-rock gem, “Seabird”. A couple of years later, a British trio called Vondelpark, with a vocalist whose brotherly mumble resembles that of Joe Goddard, have released their debut album, Seabed, which evokes a rather similar mood. Continue reading
Snow brings a bundle of emotions wrapped up in pillows of fragile beauty. The stillness of the garden, as flakes come to rest, silently, upon the lawn. The feeling of limbo, either stranded in the house or resorting to the lazy predictability of fireside conversations with comfortable friends in the pub. The lack of adventurousness, pitted against stirrings of the heart bereft of an adequate outlet. The realisation that the blank white mass will turn to mucky slush and glistening films of ice. Such is the stuff of a wintry playlist. Continue reading
“I’ve always hated the harpsichord, it reminds me of a sewing machine.” — John Cage
I went abroad. And on my travels, improbably, the subject of the harpsichord came up in conversation with a friend. The harpsichord. Mainstay of Bach’s œuvre; acoustic precursor to Stevie Wonder’s fruity Clavinet; humble plucker of strings mated to a keyboard. The friend was not best pleased. Continue reading
Like the chopped-up, mutilated Stars and Stripes on the cover, the opening track of Tortoise‘s magnum opus Standards plays out like another screwed-around American institution. If “Seneca” makes you think back to Hendrix shredding “The Star Spangled Banner” out of his Stratocaster, you’re not alone. This is truly post-rock’s national anthem, and it rocks harder than the fifty years of popular music Standards mashes up, put together.
…And then it slithers. If the guttural first two minutes weren’t enough to shock you out of the hermetic world of TNT, what follows is a bracing and thrilling journey through breakbeat, jazz, blues, the space rock of Joe Meek, even the harpsichord-rooted world of baroque. Continue reading
I’m not going to do a list of my favourite songs of 2009 because that would be boring and unoriginal, and chances are you’ve probably read about the exact same songs in a million other places. Instead, here’s my playlist containing fifteen album tracks, none of which were released as singles, which I notched up on my bedpost as having loved dearly over the course of the year. When you’ve read through it all, you can also feel their brilliance as nature intended, by hopping over to the superconnected playlist I’ve made over on Spotify (though the Tortoise track will be absent because their oeuvre is not yet available). Continue reading
UPDATE: Grab a convenient playlist featuring two key tracks from (almost) all of the albums featured here.
2009 has been a year when I’ve taken stock of a fair bit of older music – thank Spotify for that! – which might explain my profligacy in terms of listening to some really highly-regarded new albums. Nonetheless, in the last few weeks I’ve clawed back lost ground and taken the opportunity to investigate the hype surrounding some of this year’s gems.
In the interests of economy, I’m only listing my fifteen favourite albums; there were plenty of others that I enjoyed, but couldn’t justify adding to this list. So, as well as the albums listed below, do please go and have a listen to wonderful albums like Doves‘ triumphant Kingdom Of Rust, The Cribs‘ Johnny Marr-enhanced Ignore The Ignorant, and Atlas Sound‘s mesmerising Logos. But without further ado, and a bit more explanation where necessary, here are my offerings: Continue reading
It’s taken me two years of searching and disappointment, but today I finally came into the ownership of Antibalas’s 2007 album, Security, an event that has also coincided with me finally discovering the meaning of the New York collective’s name: Antibalas is Spanish for “bulletproof”, which, in many ways, is pretty much anathema to how their music sounds. Here is a troupe of post-Fela-Kuti-styled musicians whose contributions to other records (Return To Cookie Mountain, Antidotes) never fail to get mentioned, but whose self-contained output has frequently passed under the radar. Who can forget the dissonant slabs of brass on Foals songs like “The French Open” and “Cassius”? Would TV On The Radio’s “Golden Age” be half the joyous celebration without the rousing brass arrangement? In short, Antibalas’ guest slots on other records have been universally crucial to the success of these records. So why hasn’t anyone really heard their music?
Thanks to Spotify, I can confirm that the band’s first three albums are really tremendous works, even if none of them are terribly original or groundbreaking. Of particular note is 2002’s Talkatif, which channels the spirit of Fela Kuti, Tony Allen and Parliament through… a well-tuned photocopier. All three albums are enormous fun, but I always get the sense I’m listening to a really competent tribute band as opposed to being witness to an exciting new stage in the development of Afro-beat.
Luckily, Security does much to address these concerns, thanks in part to the exciting production of Tortoise frontman John McEntire, who brings to the band a renewed sense of experimentation and a willingness to break out of genre conventions. Security couldn’t begin in much weirder circumstances: like the loping, demented love child of Foals, Tortoise and Stockhausen, the opener, “Beaten Metal”, is exactly that. Showers of alien, metallic percussion rain down on a snake-like bassline, competing all the while with torrents of dissonant brass textures. Keyboards and clavinets that sound tortured and angry flutter in and out of the tight, busy beat. The effect is at once disarming, otherworldly and actually quite good fun once you get past the initial scary-factor.
“The exciting production of Tortoise frontman John McEntire brings to the band a renewed sense of experimentation and a willingness to break out of genre conventions.”
After this somewhat chilling opening blow, Security settles into a familiar, yet subtly improved, formula, with the two lengthy jams, “Filibuster X” and “Sanctuary”, cleverly shoved in at the front to create an overall balance to the album, tempered as they are by the more concise second half. The first of these, “Filibuster X”, is the more frantic, with amusing call-and-response vocals and intentionally messy trills of organ and saxophone. “Sanctuary” is more sultry and leisurely in pace, with ample room for meandering solos and beautifully measured guitar work.
And then comes Security’s second secret weapon – a second half that is unexpected in its direction, and, if anything, even more rewarding. “Hilo” continues where “Sanctuary” left off in terms of tempo, but the two songs could not have more different moods. Where “Sanctuary” was resolved and, for want of a better word, happy, “Hilo” is far more humid and frustrated. Clavinets ping off each other in each channel; rich and lush synthesisers cast a slightly ominous sparkle; the vocals are more mournful and bleak. As a reference point, imagine the Gorillaz song, “Every Planet We Reach Is Dead”, re-imagined by In A Silent Way-era Miles Davis. The two songs share a sense of dread and paranoia, conveyed through a musical form that is typically spirited and rousing—it’s a bit like The Specials, maybe. The next song, “War Hero”, has been circulating through my iTunes library ever since the album was originally released, and the intervening two years have done nothing to change my opinion of it – it’s the truest idea of a collaboration between the older style of Antibalas with Tortoise circa-TNT. Drums real and artificial ricochet off the walls; keyboards and buzzing synths swap riffs and melodies; by the end, it sounds like bits of Abraxas are being implanted into a Brooklyn block party.
“Clavinets ping off each other in each channel; rich and lush synthesisers cast a slightly ominous sparkle; the vocals are more mournful and bleak.”
The final pair of songs are great summaries of the album as a whole. “I.C.E.” oscillates and shifts between Jaga Jazzist-style atmospherics and humid jazz; “Age” slows down to a crawl that is almost too sluggish: as a wash of reverb from the percussion threatens to drown out everything, excitable whooshing synths provide a modern counterpoint to the New Orleans funeral jazz stylings of the brass and guitar.
Ultimately, Security still isn’t quite the original and break-out piece of music I’d hoped it would be, but that’s not for want of trying. Musically, it never fails to excite, or at least evoke some kind of strong passion, but it still gets out of its comfort zone frustratingly rarely. That twenty-five minutes of it are still devoted to Talkatif-style jams do little to dispel the preconception that Antibalas are still thoroughly in awe of their progenitors. Nevertheless, when Security does do things a little differently, it succeeds so outrageously that you wonder why they don’t mess with the formula more often. Very often, you can see the influence of John McEntire struggling to do more than add some sonic bells and whistles, when what you really dream of – a full-blooded Tortoise-Antibalas hybrid – is only manifest on a few occasions. When it does so, it gets it spot on – the end of the album is right up there, on a par with TNT’s “Everglade”. I was left with a slightly false emotion of enjoyment – I loved every minute of it, without being challenged as often as I’d like. But have no doubts – it’s a lot of fun, and it’s certainly less of an imitation product than one might have feared given Antibalas’s previous output. Be sure to track it down. If you can.
In Dan Weiss’s review of Interpol frontman Paul Bank’s forthcoming solo single, “The Fun That We Have”, the writer suggests that while “All the guys fall for the languid Turn On The Bright Lights … the girls I know tend to prefer the blockier Antics.” I may be the exception to the rule, in that I feel there’s a compelling case for suggesting that Antics is the superior album; indeed, that it may be one of those albums that I irrationally associate with ‘perfection’. Other such albums have included, over the years, Tortoise’s TNT, Amon Tobin’s Supermodified, and Massive Attack’s Mezzanine. To this list, I believe we can add Antics, because it succeeds in continuing the importance of mood and atmosphere that Interpol established on their debut, while attaching greater importance on the quality of the songwriting.
Turn On The Bright Lights is an alarmingly accomplished debut: from the very off, its echoey, jangling guitar signal a kind of reflective anxiety and unease that never lets up. Through the elegiac swooning of NYC and the slightly malevolent swagger of PDA, the intricate interplay of guitars provides the ideal counterpoint to the locked-in tautness of the rhythm section. The emotional centre of the album, Hands Away, with its beautiful swells of orchestral slush, is book-ended by two tightly-wound pop songs in Say Hello To Angels and Obstacle 2. The second half of the album finds the band a little in the wilderness, meandering through Stella… and Roland seemingly on autopilot, relying on atmospherics to succeed any boredom. Finally, in the closing brace of The New and Leif Erikson, the band secure their foothold once more with a pair of gorgeous, engaging epics that take unexpected turns and dives. The album is a delicious journey, and I’ve probably done little so far to dispel this suggestion. But, crucially, for me, it provides too few highlights. Taken as a whole, it’s an extremely successful portrait of a city, a culture, a social class. Taken apart, it only really contains one standout track – The New – and the overriding impression of a band reaching out far beyond their limits (which is undoubtedly a good thing) is more than anything else a product of the album’s interstitial outros. Collectively, it’s epic. Singularly, it’s just really good.
Antics, by contrast, announces itself in a considerably more upbeat fashion, with the organ-led swell of Next Exit, and proceeds, over the course of 42 minutes, to never put a foot wrong on the individual level of the song, and indeed the overall texture of the album. It’s both an album of singles, and a single body of an album. The structure and pacing of Turn On The Bright Lights was a loose-limbed thing; Antics follows a much more interesting pattern: the first side consists mainly of snappy, bright pop songs, broken only by the wandering beauty of Take You On A Cruise; the second side, beginning with Not Even Jail, is far more adventurous, with a series of far-reaching performances brought momentarily back to earth by the brief C’mere. As on its predecessor, Antics closes with a stunning couple, with the maximal arrangement of Length Of Love leading beautifully into A Time To Be So Small, which appears to depict a father-and-son argument taking place in a boat, from the point of view of a sea urchin, watching the dispute from the ocean beneath said boat. This is fascinating, far-out stuff, and it’s extraordinary how we never feel a sense of ridicule at being stretched so much by what superficially appears to be a four-piece straight-up post-punk revival.
The reason I think Antics is the better album, then, is because when it sticks to the pop formula, it gets better returns than before, and, when the band take off their dancing shoes and put on their thinking caps, the album’s exploratory epics put just as much experimentation and texture into each song as Turn On The Bright Lights achieved on the whole album. That’s not a criticism of Turn On The Bright Lights, more a satisfying reflection on just how accomplished Antics is. Of particular importance are Take You On A Cruise and Public Pervert. On the former, mournful, bleating pails of guitar and feedback lead masterfully into a an almost mantra-like passage of whispered chanting; on the latter, a simple arpeggiated bassline combines with lilting, tremolo guitar work to set up a raging beast of a song that captures perfectly the feeling of the lyrical refrain “So swoon baby, starry night…” It’s a rare moment of emotional unity on an album otherwise populated by unsettling and macabre imagery, as in the closer’s chorus of “cadaverous mobs”.
Antics is very much the kind of album that, when it recedes into silence at the end, one wants nothing more than to conjure it into being again. It manages to assert a continuous instrumental virtuosity that never ceases to surprise, which, combined with the best collection of lyrics Paul Banks has committed to tape, breaks surprising ground given the band’s sparse set-up. More so than its predecessor, it succeeds not only in the big picture, but also in the minutiæ, and for this, it remains one of the most pristinely unhindered albums I own. I wouldn’t change a single thing.
I seem to be starting every post nowadays with “Just a quick update to say…” so here comes another one.
My hands are somewhat tied, musically, at present, owing to an overload/guilt trip about actually getting down to some revision. Predictably, I’ve spent the entire year slavishly scribbling down notes without really understanding what was going on. Consequently, I should now have my face firmly held to the grindstone.
While I revise, I do however like to listen to music. Usually I favour stuff with a strong rhythmic element – LCD Soundsystem, Hercules & Love Affair, Prinzhorn Dance School, Portishead, Massive Attack – but I also find myself working more productively with instrumental post rock, which has the effect of letting me “leave the phenomenal world, and enter into the sublime.” Albums like Explosions In The Sky’s Those Who Tell The Truth Will Die, Those Who Tell The Truth Will Live Forever and Tortoise’s landmark TNT are ideal for this purpose, as are most of M83’s albums.
When I’m not revising, I’ve also been exploring the depths of Spotify, and have had the following albums of frequent rotation:
The Decemberists – The Hazards Of Love
Yeah Yeah Yeahs – It’s Blitz!
Konono No. 1 – Congotronics
Amadou & Mariam – Welcome To Mali
Antibalas – Talkatif
John Rutter – Gloria
Various – Nigeria 70: Lagos Jump
Antony & The Johnsons – The Crying Light
Beck – Sea Change
Doves – Kingdom Of Rust
Robert Wyatt – Comicopera
Hockey Night – Keep Guessin’
All of which I can heartily endorse. Certainly if you’re in the UK, you’ve no excuse not to get swallowed up by Spotify, because anyone can sign up.
Some songs are impressive throughout, while others ramp up the tension and build-up before unleashing a climactic killer moment. Sometimes, I yearn for a particular song just to hear that singular moment, when all the individual units of the track coalesce and lock in to reach an apex. Occasionally, I’ll even get this craving while listening to another song – in these instances, I am liable to forget what the desired song was by the time the previous one has finished, and I then spend several minutes scrolling through my library, in search of the elusive high.
About 3:20 into !!!’s Heart Of Hearts, the synced-up groove of whirring guitars, groaning keys and raw, ecstatic vocals lock into a repeated cry of “For a heart of, heart of, heart of, heart of hearts”, set to a snappy motorik beat and astonishingly pulsating bass. Suddenly, the whole contraption comes to a dramatic, pounding halt. A second later, all hell breaks loose, sonically, as the instruments bounce back in, but with ten times the soul and vigour. It’s a pretty spectacular event.
Elbow’s stunning Crawling With Idiot begins in a very low-key manner, with Guy Garvey’s breathy, sensual vocals set to a trickling piano chord sequence and a delicate guitar figure, alongside a subtle waltz time signature. Gradually, electronic burbles and coo-ing backing harmonies enter the fray, creating an oppressive, claustrophobic tone. Finally, at 2:45, a jarringly harsh guitar line drones in, gradually, bringing the song to a wonderfully chilling climax, as the sweetness of the vocals contrasts with triumphant organ and that unsettling guitar. And then the song ebbs away, gently, into bleak nothingness.
Far from being one of the characteristically long epics on the TNT album, Tortoise’s The Equator is an under-four-minute long diversion, travelling along languid guitar work and a fidgety, twitching beat. Halfway through, at about 2:00, a yearning, soaring guitar figure is cut across by a supernova of a whooshing sound, which leads into a gorgeous segment of the song, where the soothing synth wash in the background is complemented by finger-lickingly funky guitar strumming.
The Coral have a cunning habit of letting 60s-sounding psychedelic pop songs wander into spazzed-out freakouts, and Come Home is a prime example. A jazzy groove is strumming along fairly ordinarily; the vocalist is singing sweetly about magic and myths and sitting by the fire, when suddenly, a reverb-heavy guitar breakdown segues into a organ-led vamp. Gothic sounding vocals loom forebodingly; the jerky guitar piledrives in angrily; the drums get more chaotic; a searing lead synth whistles dissonantly. How very romantic.
4:00 into Blur’s epic album closer, Essex Dogs, after a passage of portentous reminiscence and messing around with a whammy pedal, emerges a torrent of freeform noise rock experimentation and some of Coxon’s finest guitar work. It’s a visceral, guttural thrill that can’t easily be topped.