This time last year, I bored you all to death with my fifteen favourite albums of 2009. At the time, I suggested my list was not very useful because I had spent much of the year catching up on older music thanks to Spotify.
A year on, plus ça change. A friend told me he was surprised to see Fleetwood Mac extremely high on the list of most-listened to music on Spotify. I told him I was probably the reason behind this.
Nevertheless, for (non)completists’ sake, I shall persist with this probably pointless exercise. It might give you some weird insight into my warped tastes, at least.
Because I don’t wish to look like a slacker, you can also expect me to publish a list with albums I will get round to listening to in the near future. Continue reading Under-informed profligacy – Favourite Albums of 2010
“Is anyone out there wasting their lives
On booze and drugs and husbands and wives and making money?”
Grinderman 2 isn’t that dissimilar, thematically, from Nick Cave‘s day job – there’s a fair bit of religion, and a preoccupation with hedonistic perils, among other things. Musically, however, it’s unafraid to stretch out a bit: “Evil” is the sludgiest bit of stoner rock-cum-death metal I’ve ever heard Cave wail over, and the dissonant jazz squalls on “Worm Tamer” are left untouched by maracas. Perhaps the closest the album gets to the brooding balladry of, say, The Boatman’s Call, or the non-garage rock portions of Dig, Lazarus, Dig!!!, is “When My Baby Comes”.
After an opening trio of swaggering, dirty blues, such respite is welcome, especially when it comes draped in mandolin adornments and boasts an opening passage with a close resemblance, dare I say it, to “Night of the Lotus Eaters”. Lucky, then, that “When My Baby Comes” also boasts one of Cave’s finest (and novel) choruses, which eventually erupts into a second half that’s substantially different. As in, the string arrangement is swept upwards into a frenzied shriek, the mandolin totally vanishes, and the predominant instrumentation comes from a howling lead guitar piercing through a filthy, groaning bassline.
Towards the end, all this madness is swallowed up into a fog of creepy FX, but only temporarily, because then the bass kicks in again with hurricane-like force for a desperate coda overlaid with a similarly impassioned vocal arrangement.
I’ve already listened to this one song at least five times today, and there’s still a good eight hours of it left.
Always good to see Nick Cave’s 9-to-5 office hours paying dividend, whichever outlet from which it may emerge. Grinderman’s eponymous first album was a lecherous riot and a blessed offering to Onan. This time round, the primates are out and the wolfman is in, as evidenced by artwork and lyrics currently doing the rounds.
None of this can prepare you, however, for the hungry, visceral power of lead single, “Heathen Child”, which is best heard in conjunction with its John Hillcoat-directed video. Warning: this video is nothing like The Road. Consistently hilarious in its lyrics (“She don’t care about Allah – she is the Allah”) and bursting with Warren Ellis’ typically squalling noisemakers, “Heathen Child” is a seething, slithering mountain of MENACE, and it’s out to get you, personally.
She’s sitting in the bathtub, sucking her thumb…
Oh, and did I mention there’s a special version of the song (entitled “Super Heathen Child”, because Nick Cave doesn’t care about looking ridiculous) engorged with a guitar solo from Mr. Robert Fripp?
The album, Grinderman 2, is out on September 13th. Prepare for a snarling monster of bluesy madness that makes Jack White’s chimerical side-projects look like Fisher Price nursery rhymes.