Apparently, the best way to organise a freakishly ice cold night in this fair city of ours is to put an All Blacks Test on at the stadium. Seriously, we've had two test matches in Wellington this year, and both nights have been great nights to be inside, in yr bed, under the covers, wearing every bit of clothing you own and watching yr breath freeze before your very eyes. That said, I still dragged myself and some pals to The Mighty Mighty on this cold July 5th to catch one of my favourite bands, The Situations, who were touring around with The Quick and The Dead, and The Transistors. Due to poor road conditions trapping all three bands on top of the Rimutakas for 3 or so hours, none of the bands actually made it to the venue until 11pm, so the night was gonna be a late one, and given the on road difficulties, you could've forgiven the bands for phoning it in, so to speak. But no, they all played blinders.
First up were the Quick and The Dead, a nuggets/british invasion influenced band from Auckland. The lead singer/guitarist was an energetic lad, playing the songs within an inch of their lives, while the rhythm section was totally rock solid. The only real criticism I had was that they under use the back vocals of the bass player, cos they worked really well when deployed.
I was very excited about checking out the Transistors, having heard nothing but praise for them and managing to miss their previous Wellington gigs. And boy were they worth the wait!!!!! Easily one of the most energetic bands I've seen, they sound like early Replacements (a fact hammered home when they covered Customer off the 'Mat brilliant 1st album, Sorry Ma, Forgot To Take Out The Trash). They played their thrashy little garagey Rock and Roll tunes with such force that at one point, the drummer had to play standing up having kicked his drum stool off the back of the stage. Seriously, these guys were sooooo good, I was wondering how The Situations were gonna top this.
I need not have worried, as always The Situtations kicked some serious ass. I mean, come on, I've seen these guys more than most bands and they always blow me away. Having spent x-mas/new years playing gigs in Europe, they were tight as. Didn't recognise many songs, this time they concentrated on new material. By the sounds of the new songs, the next album is gonna be a corker, tho we're not gonna hear them for a while, as while they've finished recording, the band are probably gonna sort out a european release before even thinking about releasing it here, which is sad for me as an fan, but great news to think that the band might actually get to release stuff overseas.
Three great sets from three great bands, on a night where the odds of this happening were slim to none.
Saturday, October 11, 2008
Where we goin'....................to the city.................ISTANBUL!!!!!!!!!!!!!!!!!!!!!
After a couple of years re-living the 80s touring with her old band The Pixies, Kim Deal is back with a new Breeders album. Mountain Battles (4AD), is the bands 4th album, and as per usual, the songs are varied as anything, tho on the whole, the album is popier than 2002s Title TK. The album opens strongly with Overglazed, which is all chiming, shoegazerish guitar action, absolutely stunning. Other album highlights include Walk It Off, which is catchy as hell with a sweat bass led groove, Here No More, a country-ish tune featuring some lovely Deal sister harmonies, and Istanbul, the closest to anything off Title TK, tho with a deceptively catchy chorus. Elsewhere, the quirkiness of some of the songs leave me a little cold. German Studies (sung in German) and Regalame Esta Noche (sung in Spanish) are both guilty of this, songs that are good rather than great, relatively inoffensive tunes.
Overall, another great album from the Deal sisters, I for one am hoping we don't have to wait another 5 years for the next album.
www.breedersdigest.com
Overall, another great album from the Deal sisters, I for one am hoping we don't have to wait another 5 years for the next album.
www.breedersdigest.com
"For a singer, he's a good guitarist"
It was a Thursday, May 15th, and some mates and I headed up to the San Fran Bathhouse to sample to sonic pleasures of HDU and Bachelorette. We arrived at 10pm sharp, and were rather surprised to hear that Bachelorette had already started, it being rare for a gig in Wellington to start much before 11. Bachelorette is one lass, a guitar, some keyboards and backing tapes, with a very cool stage set up consisting of a whole bunch of old school computer monitors displaying graphics that looked like the lines on a heart monitor thingy, very much like the cover to Joy Divisions Unknown Pleasures album. The better songs were the ones that were more keyboard led, tho overall, I really enjoyed Bachelorette and will one day get around to checking out the 2(?) she's released so far on Arch Hill Recordings.
After a very short wait, High Dependency Unit made their way onto the stage and immediately set about slaying the crowd with a set that I would describe as epic, loud and awesome. Fans of the somewhat more aggressive side of HDU (songs such as El True East, Visionson, and Schalblute) were in for slim pickings tonite, as HDU concentrated on some of their longer, driftier songs (Lull, etc). Now while I love a good HDU style rave up as much as the next guy, in a live setting, I prefer it when HDU play the longer tunes that give them a chance to stretch out a little, especially when they get to play through a PA system that is up to the task, something that hasn't always been the case when HDU have played the Bathhouse. This time around it was perfect. The one aggressive tune we got, Stupormodel from new album Metamathics, was a nice change of pace, even if the band messed it up the first time and had to start it again. Highlight of the set for me was The Nation Grid and Irma Vep, played one after the other much like on the new album, amazing, powerful and as beautiful live as they are on record. It was pretty much over on the stroke of midnight, good to see bands realizing that some(most) of their fans actually have to get up in the morning for work. A great set by a band that doesn't get out nearly enough. Awesome!!!
After a very short wait, High Dependency Unit made their way onto the stage and immediately set about slaying the crowd with a set that I would describe as epic, loud and awesome. Fans of the somewhat more aggressive side of HDU (songs such as El True East, Visionson, and Schalblute) were in for slim pickings tonite, as HDU concentrated on some of their longer, driftier songs (Lull, etc). Now while I love a good HDU style rave up as much as the next guy, in a live setting, I prefer it when HDU play the longer tunes that give them a chance to stretch out a little, especially when they get to play through a PA system that is up to the task, something that hasn't always been the case when HDU have played the Bathhouse. This time around it was perfect. The one aggressive tune we got, Stupormodel from new album Metamathics, was a nice change of pace, even if the band messed it up the first time and had to start it again. Highlight of the set for me was The Nation Grid and Irma Vep, played one after the other much like on the new album, amazing, powerful and as beautiful live as they are on record. It was pretty much over on the stroke of midnight, good to see bands realizing that some(most) of their fans actually have to get up in the morning for work. A great set by a band that doesn't get out nearly enough. Awesome!!!
Saturday, August 23, 2008
I wish I was special
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
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
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.
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