So Radiohead decide not to renew their contract with EMI and instead decide to release their latest album, In Rainbows, firstly as a download from their website, then as a physical release on XL Records (The vinyl is fucking sweet I have to say). So, somewhat predictably, EMI are cashing in. First off, they reissued all the EMI era CDs just in time for last christmas, but with neither bonus tracks, nor prior consultation with the band (Both of which would have been a nice touch). In the very near future, EMI are gonna re-release these same albums on vinyl (please make it tasty 180gm, please). In between these re-issues, EMI decided to do a best of, in both CD and DVD formats. The CD is not essential if yr a fan already, tho will be handy for those who didn't buy the albums or just need to plug a few gaps. What excited me most when these were announced was the DVD, which features all the videos from their EMI era singles. A few years back, Radiohead released a DVD called 7 TV Commercials, which only had the videos from The Bends and OK Computer, so having videos from before and after the period covered on that DVD was very appealing.
The early videos, while not suffering from the over familiarity of the Bends/OK Computer era vids, are fairly basic affairs. That said, Stop Whispering is a hilariously over wrought effort, the over-riding impression you get is "this is a band who wants to be massive." Non-album single "Pop Is Dead" features singer Thom Yorke being carried around in a glass coffin, tho both the video and the song suffer from not being very good.
Things start to pick up somewhat when you reach the Bends and OK Computer videos, the videos getting more adventurous. Good to see that the original "High and Dry" video was included, as it was barely shown once the US version was made.
Post OK Computer, the band went on a bit of a media anti-blitz, hence no videos for Kid A. EMI could've included the "blip-verts" but chose not to, which is a slight disappointment. The other disappointment is the lack of extras, no commentaries or anything like that. You could blame EMI, but looking at previous Radiohead DVDs, and you tend to find that "extras" cupboards are bare, so this not a new thing.
Things are restored from Amnesiac onwards, tho the videos tend to be interesting ideas for videos rather than actually being any good. That said, there are exceptions. Knives Out is a wonderful Gondry directed vid, while There There from 2003 album Hail To The Thief has an enchanting children's story book gone oh so wrong. Also worthy of a mention is the video for Push Pulk / Spinning Plates, which is basically porn fro animation nerds.
Some great videos here, but overall a somewhat disappointing release.
www.radiohead.com
Saturday, August 23, 2008
Tuesday, August 12, 2008
I was so happy, I didn't feel like me
When the Arctic Monkeys burst onto the scene a few years back in a blaze of CDRs and Myspace hype, there were those of us who were prepared to write them off before hearing a note of their music. But alas, rather than being shite like I'd hoped, they were brilliant, reminding me of John Cooper Clarke and The Fall. Two brilliant albums and a Dizzee Rascal collaboration later and its time for the Arctics lead singer, Alex Turner, to spread his wings into those most dangerous of areas, the side project zone.
So we get The Last Shadow Puppets, where Alex is joined by his good buddy Miles Kane, from The Rascals. Together, they've recorded an album called The Age Of The Understatement, released by Domino Records, also home to the Arctic Monkeys and Franz Ferdinand amongst others.
By rights, this album should suck great big donkey balls, the song writers from 2 hip young bands thinking the world needs to hear songs that weren't good enough for their main bands, or maybe trying on some new musical stylings and running with it, no matter how poorly they fit them. But no, as an album, it actually stands up. The songs remind me of those late 60s spy movie theme songs, as well as the early solo work of Scott Walker. Having heard sweet naff all of from the Rascals, I'm not sure what influences Kane is bringing to the party, but in a lot of these songs you can hear that slightly surf guitar twang that sometimes comes through in Turners playing on the Arctics.
First up on the album, you get the two singles (The Age of The Understatement, and Standing Next To Me), which set the tone nicely for the album, reminiscent of the past without making the fatal error of falling into pastiche. If I was to make one complaint, its that, while their voices work together really well, they at time blend a little too well and it can be a bit hard to distinguish who is singing what.
Side one continues with the slightly less frantic The Chamber, a nice change of pace from the earlier songs which almost threaten to overtake themselves at points, before Only The Truth rounds out side one, with a brilliant stop start arrangement. Listening to the album on vinyl (which I did), its apparent that Turner and Kane were thinking into terms of having two sides to fill, rather than a CD. This is a good thing (though not having listened to the album on CD, I'm not sure if sequencing works on that format as well), given that bands these days seem to think less in terms of "An Album" as opposed to "A collection of songs." While this can be a subtle art, a well sequenced album is a joy to listen to and its great to see bands not thinking "Oh well, who cares what order we put these songs into, they're just gonna put it on their I-Pods anyways."
My Mistakes Were Made For You opens up the 2nd side, a lovely song that reminds me of Shirley Bassey, who the Arctic covered at Glasto in 2007 (She rules in case you were wondering), before Black Plant changes things up again, some what jarringly with its angular arrangement and stabby synth action, quite possibly my favourite song on the album, if I had to pick a favourite (and I don't really wanna, so there).
The album finishes on a somewhat understated note with Time Has Come Again, all acoustic guitars and soothing vocals.
A top effort from these lads. Apparently, the are about tour this album throughout the UK with an orchestra, which I would love to see, but I doubt they'll bring it to little ol' NZ (tho one can only hope)
www.theageoftheunderstatement.com
So we get The Last Shadow Puppets, where Alex is joined by his good buddy Miles Kane, from The Rascals. Together, they've recorded an album called The Age Of The Understatement, released by Domino Records, also home to the Arctic Monkeys and Franz Ferdinand amongst others.
By rights, this album should suck great big donkey balls, the song writers from 2 hip young bands thinking the world needs to hear songs that weren't good enough for their main bands, or maybe trying on some new musical stylings and running with it, no matter how poorly they fit them. But no, as an album, it actually stands up. The songs remind me of those late 60s spy movie theme songs, as well as the early solo work of Scott Walker. Having heard sweet naff all of from the Rascals, I'm not sure what influences Kane is bringing to the party, but in a lot of these songs you can hear that slightly surf guitar twang that sometimes comes through in Turners playing on the Arctics.
First up on the album, you get the two singles (The Age of The Understatement, and Standing Next To Me), which set the tone nicely for the album, reminiscent of the past without making the fatal error of falling into pastiche. If I was to make one complaint, its that, while their voices work together really well, they at time blend a little too well and it can be a bit hard to distinguish who is singing what.
Side one continues with the slightly less frantic The Chamber, a nice change of pace from the earlier songs which almost threaten to overtake themselves at points, before Only The Truth rounds out side one, with a brilliant stop start arrangement. Listening to the album on vinyl (which I did), its apparent that Turner and Kane were thinking into terms of having two sides to fill, rather than a CD. This is a good thing (though not having listened to the album on CD, I'm not sure if sequencing works on that format as well), given that bands these days seem to think less in terms of "An Album" as opposed to "A collection of songs." While this can be a subtle art, a well sequenced album is a joy to listen to and its great to see bands not thinking "Oh well, who cares what order we put these songs into, they're just gonna put it on their I-Pods anyways."
My Mistakes Were Made For You opens up the 2nd side, a lovely song that reminds me of Shirley Bassey, who the Arctic covered at Glasto in 2007 (She rules in case you were wondering), before Black Plant changes things up again, some what jarringly with its angular arrangement and stabby synth action, quite possibly my favourite song on the album, if I had to pick a favourite (and I don't really wanna, so there).
The album finishes on a somewhat understated note with Time Has Come Again, all acoustic guitars and soothing vocals.
A top effort from these lads. Apparently, the are about tour this album throughout the UK with an orchestra, which I would love to see, but I doubt they'll bring it to little ol' NZ (tho one can only hope)
www.theageoftheunderstatement.com
Monday, August 11, 2008
Why Put The Body Where The Body Don't Wanna Go!!!!!!!!!!!!!!!!!!!
After a couple of years mourning after the anouncement of McLusky's demise, I was pretty darn excited when a good friend of mine played me a song called adeadenemyalwayssmellsgood by Future Of The Left. Why would I be excited???? Well, apart from the fact that its a fucking great song, it features 2 former members of McLusky, as well as the bassist from Jarcrew. Now I'm even happier, cos I've managed to pick up their debut album, Curses, on Too Pure.
Their sound is pretty much identical to that of McLusky's, tho on some songs (including 2nd(?) single Manchasm), the put the guitar away, and replace it with some synth action, while the final track, The Contrarian, features piano, which was apparently controversial in some of the more lunk headed corners of McLusky's fan base.
As well as retaining the signature McLusky sound (punky and nasty in the best way possible), they also retain lead singer Andy Falkous's way with a nasty sarcastic lyric and some great song titles (personal fav. Real Men Hunt In Packs).
If you were a fan of McLusky, you wont be disapointed with this album, as it's all that was great about Mclusky, only better. Check their website www.futureoftheleft.com and their myspace (there is a link form their website), which is worth it alone for some very funny blog posts from Andy Falkous.
Their sound is pretty much identical to that of McLusky's, tho on some songs (including 2nd(?) single Manchasm), the put the guitar away, and replace it with some synth action, while the final track, The Contrarian, features piano, which was apparently controversial in some of the more lunk headed corners of McLusky's fan base.
As well as retaining the signature McLusky sound (punky and nasty in the best way possible), they also retain lead singer Andy Falkous's way with a nasty sarcastic lyric and some great song titles (personal fav. Real Men Hunt In Packs).
If you were a fan of McLusky, you wont be disapointed with this album, as it's all that was great about Mclusky, only better. Check their website www.futureoftheleft.com and their myspace (there is a link form their website), which is worth it alone for some very funny blog posts from Andy Falkous.
This Raver Must Be On His Best Behavior
Sam F. Scott from Wellington indie legends Phoenix Foundation has just released his 2nd solo album with the Bunnies On Ponies, Straight Answer Machine, on Loop Recordings Aot(ear)oa. And what an album, full of songs similar to Phoenix Foundation, tho much less proggy and more understated, Pavement-esque in parts to these ears.
Much like his live band, Scott utilises some pretty well known Wellington indie types to good effect on this album, including Tom Watson and Craig Terris from Cassette, Julia Deans from Fur Patrol, Age Prior, as well as the co-production skills of Lee Prebble.
Stand out tunes include first single Llewellyn (featuring some tasty backwards guitar action), the ukulele led Black Mark, instrumental live fav Moist People (Tom Watson on trumpet!!!!!!), tho my personal favourite Raver On Probation, which features some very humourous lyrics from Sam, helped by Prebble and Prior.
Overall, a very good album, one that I would've fit into the Flying Nun catelogue in the mid 80s with no problems at all, and one that deserves to be heard far and wide. Hope fully he can carry his song writing purple patch from this and the last Phoenix Foundation album over to the next Phoenix Foundation album. If so, it will be a cracker! But until then, buy this album and crank it.
Much like his live band, Scott utilises some pretty well known Wellington indie types to good effect on this album, including Tom Watson and Craig Terris from Cassette, Julia Deans from Fur Patrol, Age Prior, as well as the co-production skills of Lee Prebble.
Stand out tunes include first single Llewellyn (featuring some tasty backwards guitar action), the ukulele led Black Mark, instrumental live fav Moist People (Tom Watson on trumpet!!!!!!), tho my personal favourite Raver On Probation, which features some very humourous lyrics from Sam, helped by Prebble and Prior.
Overall, a very good album, one that I would've fit into the Flying Nun catelogue in the mid 80s with no problems at all, and one that deserves to be heard far and wide. Hope fully he can carry his song writing purple patch from this and the last Phoenix Foundation album over to the next Phoenix Foundation album. If so, it will be a cracker! But until then, buy this album and crank it.
Not Lost But Gone Before
Saturday saw the return of the Deal sisters and their band the Breeders, playing the San Fran Bath House like they did in early 2003. This time, they are here supporting their new album, Mountain Battles, and also seem to be the hottest ticket in town after their Auckland show had to be moved to a larger venue and the Welli gig selling out with about a week to go.
I arrived too late for the support act, not sure who they were so I'm not sure if I missed out on anything special.
Shortly after 10pm, The Breeders hit the stage to a fairly rapturous applause. For the slightly oldish (ie, those of us who were fans in the 90s), it was 1995 all over again. I was very happy when Huffer from their 2002 album Title TK got an airing 2 songs in. Divine Hammer was also delivered very early in the set. As well as plugging the new album, The Breeders played a large chunk of their first two albums Pod and Last Splash, tho not enough from Title TK for my liking (I only recognised one song, the previously mentioned Huffer, tho there may have been more). Apart from too few Title TK tunes, my only other complaint was that they didn't play German Studies or Istanbul from the new album. Mind you, that is only a minor quibble, as we got great versions of Walk It Off and Overglazed, which Kim pre-faced by telling us how when they opened their Cochella set with Overglazed, they fucked it up. They played it pretty damn good this time.
Biggest cheer of the night was received for Cannonball, no shock there really.
Then after what seem too soon, but in reality was about an hour and a half, The Breeders departed the stage for good. One of the best gigs of the year so far.
I arrived too late for the support act, not sure who they were so I'm not sure if I missed out on anything special.
Shortly after 10pm, The Breeders hit the stage to a fairly rapturous applause. For the slightly oldish (ie, those of us who were fans in the 90s), it was 1995 all over again. I was very happy when Huffer from their 2002 album Title TK got an airing 2 songs in. Divine Hammer was also delivered very early in the set. As well as plugging the new album, The Breeders played a large chunk of their first two albums Pod and Last Splash, tho not enough from Title TK for my liking (I only recognised one song, the previously mentioned Huffer, tho there may have been more). Apart from too few Title TK tunes, my only other complaint was that they didn't play German Studies or Istanbul from the new album. Mind you, that is only a minor quibble, as we got great versions of Walk It Off and Overglazed, which Kim pre-faced by telling us how when they opened their Cochella set with Overglazed, they fucked it up. They played it pretty damn good this time.
Biggest cheer of the night was received for Cannonball, no shock there really.
Then after what seem too soon, but in reality was about an hour and a half, The Breeders departed the stage for good. One of the best gigs of the year so far.
Saturday, August 9, 2008
One from the archives
So, I've not written on here for an age. Plenty of stuff to review, but I'm being a slack bastard (more stuff on the way soon, promise). And after getting a bollocking for not posting anything in ages (people check this thing regularly-shucks), I thought I'd dig back through the archives of old reviews I'd done. Not a large archive really, consisting as it does of this review, and only this review. BUT, there is a kinda funny story behind how I ended up reviewing The Mint Chicks in the late, lamented, Wellington gig guide The Package.
A good friend of mine was meant to do it, but right before it was due to be handed in, he had bugger all and emailed me for some help. I was at work and had 15 minutes to kill before quiting time, so it was head down, bum up and 15 minutes later I was clicking send. My friend liked what I'd written and submitted that to The Package under my name. What you are about to read is the un-editted version (The Package cut it down a bit, not too much, and sadly I no longer have a copy of that particular edition. Thankfully Spanky still had the email I sent him years after the fact, the gig taking place around April 2005. Cheers Spanky). Enjoy
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Missed the very opening act due to my cocktail holding my attention longer than expected (sorry to whoever you were), so turned up in time to check out This Night Creeps. Equal parts punkrawk and freejazz, they warmed up the crowd just nicely with a violent display of geetar noise (how they didn't kill anyone with their gat swinging is a mystery). Totally worth checking out again.
With the crowd champing at the bit, it was time for The Mint Chicks to tear the Indigo audience a new arsehole. Jeez, how good are these blokes, haven't seen a band this energetic in a long long time, an energy level that was met and raised by the crowd, with an enthusiastic mosh pit up front. The band played a large selection from their album, F**k The Golden Youth, as well as occasionally ripping into some older stuff off their previous EPs. And how!!!!!! Kody, the singer, has such a stage presence, I'd personally like to anoint him the Roger Daltrey its OK to like, twirling the microphone within an inch of its life. After an awesome version of "F**k The Golden Youth", the Mint Chicks retreated back stage, only to receive one of the more enthusiastic calls for an encore I've heard in a while. The band returned to the stage, and after a main set that featured songs that remind this scribe of the Ramones and the Buzzcocks, The Mint Chicks belted out two Ramones covers (Blitzkrieg Bop & Now I Wanna Sniff Some Glue) and a Buzzcocks cover (Even Fallen In Love). A couple more songs, a near beaning with a full water bottle (Cheers Kody), and it was all over. One of the best local gigs I've been to in a long time. Check these guys out next time they come to this city of ours (that goes for local lads This Night Creeps also).
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So there you have it. Reading through it again, I'm happy with my first attempt at gig reviewing, tho I was in need of a fact checker, as This Night Creeps were not from Wellington (I believe they were from Hamilton). Sadly they are no longer with us, having broken up in 2006. I got to see them once more, again at Indigo (cannot remember if it had changed its name yet), again opening for The Mint Chicks, who were touring their 2nd album, the blindingly brilliant Crazy? Yes! Dumb? No! album (that was another sweet a gig too, might write about that one someday too?)
A good friend of mine was meant to do it, but right before it was due to be handed in, he had bugger all and emailed me for some help. I was at work and had 15 minutes to kill before quiting time, so it was head down, bum up and 15 minutes later I was clicking send. My friend liked what I'd written and submitted that to The Package under my name. What you are about to read is the un-editted version (The Package cut it down a bit, not too much, and sadly I no longer have a copy of that particular edition. Thankfully Spanky still had the email I sent him years after the fact, the gig taking place around April 2005. Cheers Spanky). Enjoy
------------------------------------------------------------------------------------------
Missed the very opening act due to my cocktail holding my attention longer than expected (sorry to whoever you were), so turned up in time to check out This Night Creeps. Equal parts punkrawk and freejazz, they warmed up the crowd just nicely with a violent display of geetar noise (how they didn't kill anyone with their gat swinging is a mystery). Totally worth checking out again.
With the crowd champing at the bit, it was time for The Mint Chicks to tear the Indigo audience a new arsehole. Jeez, how good are these blokes, haven't seen a band this energetic in a long long time, an energy level that was met and raised by the crowd, with an enthusiastic mosh pit up front. The band played a large selection from their album, F**k The Golden Youth, as well as occasionally ripping into some older stuff off their previous EPs. And how!!!!!! Kody, the singer, has such a stage presence, I'd personally like to anoint him the Roger Daltrey its OK to like, twirling the microphone within an inch of its life. After an awesome version of "F**k The Golden Youth", the Mint Chicks retreated back stage, only to receive one of the more enthusiastic calls for an encore I've heard in a while. The band returned to the stage, and after a main set that featured songs that remind this scribe of the Ramones and the Buzzcocks, The Mint Chicks belted out two Ramones covers (Blitzkrieg Bop & Now I Wanna Sniff Some Glue) and a Buzzcocks cover (Even Fallen In Love). A couple more songs, a near beaning with a full water bottle (Cheers Kody), and it was all over. One of the best local gigs I've been to in a long time. Check these guys out next time they come to this city of ours (that goes for local lads This Night Creeps also).
------------------------------------------------------------------------------------------
So there you have it. Reading through it again, I'm happy with my first attempt at gig reviewing, tho I was in need of a fact checker, as This Night Creeps were not from Wellington (I believe they were from Hamilton). Sadly they are no longer with us, having broken up in 2006. I got to see them once more, again at Indigo (cannot remember if it had changed its name yet), again opening for The Mint Chicks, who were touring their 2nd album, the blindingly brilliant Crazy? Yes! Dumb? No! album (that was another sweet a gig too, might write about that one someday too?)
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