There’s an unfortunate drone that fills Heaven tonight. I think it’s the sound of people who don’t want to be there, people who’ve acquired a ticket because of their contacts. Local Natives don’t deserve it, and to their credit, they don’t let it get to them. This is probably the biggest UK show they’ve played so far, and they’re not about to let it fall on deaf ears. The chatter can persist, but this Californian five piece will fight it ten times harder.
We’re lucky in the UK to have caught this stream four months early. Local Natives’ debut Gorilla Manor was released here in November last year, but has only just hit their home country’s shelves two weeks ago. It’s little wonder they want to treat us. And treat us they do.
They’re one of those bands that simply come alive on stage. All of a sudden, the four-prong vocal harmonies are smack bang in your face, the ad hoc percussion is jumping from all four walls, and the lead-heavy guitars pound you from right in front. These Californians leave no stone unturned; they destroy their one-album back catalogue, making the most of their multi-instrumentalism through gems such as Airplanes, Wide Eyes and Cubism Dream.
They’ve learned early how to suspend an audience too. As if Sun Hands wasn’t an emphatic enough finish, their return to stage with “our friend Paul” on trumpet gave us an even more resounding Stranger Things.
The mumblers might have been audible tonight, but fortunately they were drowned out by a band on the road to bigger and better things. If you missed out, look for them on 15th June at Shepherds Bush Empire.
Tuesday, 2 March 2010
Monday, 1 March 2010
An extravagant return
I’m sitting here wondering how many multi-disc albums have really ever warranted their multiplicity. Smashing Pumpkins’ Mellon Collie and the Infinite Sadness immediately stands to attention. That was the perfect execution of a vision: two discs with distinct moods and sounds complementing each other to form a united front under a common theme. There are of course others, but I’m not here to dwell on the past.
Music, the way we listen to it and the way we relate to it, is ever-changing. The thing about listening to it on MP3 players these days is that there’s no natural break in the running of an album. When you hit play, the music keeps going until you hit stop; there’s no need to get up and swap sides or exchange discs. Maybe I’m missing the point; maybe I’m guilty of being part of a generation that doesn’t appreciate how music should be listened to. Nonetheless, I feel it’s harder than ever to pull off a multi-disc album.
Left waiting
We haven’t heard anything significant from Joanna Newsom in four years. She left us inescapably smitten after the gorgeous 2006 release Ys, then all but disappeared, taking from us her gentle and delicate, but equally eccentric, song writing. Those of us anxious to be engulfed again were left floundering. I thought her resurfacing would be nothing short of spectacular, but now she’s back, I don’t quite know where to turn.
Have One On Me is a three-disc epic that simply bombards you with her four years of absence. As a result we have to work our way through 18 tracks before we can fall head over heels again. Unfortunately, it’s simply too much work. The restraint an artist shows in paring down their work to the best tracks they can muster is half the art of making a great album. Sometimes, though, they fall foul of their own egos and refuse to believe that we can do without any of their work. I can’t help but feel this is one of those occasions.
There are elements of delight within these three discs. Tracks such as Kingfisher, Autumn and Go Long retain the simplicity and charm that Joanna Newsom and her harp execute so effortlessly, while In California shows her to still be capable of inspiration and intensity. But to expect us to patiently navigate through so much after four years of waiting? I’m afraid that’s just a little too egotistical.
Fortunately, on stage artists need to show more restraint and hand pick the songs that best suit the mood, venue and audience of a live show. I’m in no doubt that the Royal Festival Hall on 11-12 May will be treated to an evening of exceptional poise and measured prestige. Let’s hope so, because something needs to justify this extravagant album.
Music, the way we listen to it and the way we relate to it, is ever-changing. The thing about listening to it on MP3 players these days is that there’s no natural break in the running of an album. When you hit play, the music keeps going until you hit stop; there’s no need to get up and swap sides or exchange discs. Maybe I’m missing the point; maybe I’m guilty of being part of a generation that doesn’t appreciate how music should be listened to. Nonetheless, I feel it’s harder than ever to pull off a multi-disc album.
Left waiting
We haven’t heard anything significant from Joanna Newsom in four years. She left us inescapably smitten after the gorgeous 2006 release Ys, then all but disappeared, taking from us her gentle and delicate, but equally eccentric, song writing. Those of us anxious to be engulfed again were left floundering. I thought her resurfacing would be nothing short of spectacular, but now she’s back, I don’t quite know where to turn.
Have One On Me is a three-disc epic that simply bombards you with her four years of absence. As a result we have to work our way through 18 tracks before we can fall head over heels again. Unfortunately, it’s simply too much work. The restraint an artist shows in paring down their work to the best tracks they can muster is half the art of making a great album. Sometimes, though, they fall foul of their own egos and refuse to believe that we can do without any of their work. I can’t help but feel this is one of those occasions.
There are elements of delight within these three discs. Tracks such as Kingfisher, Autumn and Go Long retain the simplicity and charm that Joanna Newsom and her harp execute so effortlessly, while In California shows her to still be capable of inspiration and intensity. But to expect us to patiently navigate through so much after four years of waiting? I’m afraid that’s just a little too egotistical.
Fortunately, on stage artists need to show more restraint and hand pick the songs that best suit the mood, venue and audience of a live show. I’m in no doubt that the Royal Festival Hall on 11-12 May will be treated to an evening of exceptional poise and measured prestige. Let’s hope so, because something needs to justify this extravagant album.
Thursday, 11 February 2010
Start as you mean to go on
It’s nice to see the new year get off to a good start, to be able to fill your ears with new releases unburdened by the expectation of Christmas sales. If January is anything to go by, this year London will be awash with intelligent, crafty new sounds and old favourites finding new form.
Here’s what I’m listening to and why:
• Japandroids’ new album Post-Nothing revels in intense, lo-fi guitars, distorted to just the right level; rough enough to keep them unpretentious and fresh, slick enough to reveal an undercurrent of classic guitar riffing. The key to this album is that strong melodies and catchy choruses keep it accessible. They’re supporting the album with a show at the ICA on February 23rd. It won’t disappoint.
• Husky Recue come back with their third album, Ship of Light. These tracks challenge and test you with fresh beats and innovative sounds, while comforting and consoling you with the familiar vocals of Reeta-Leena Korhola. How this band has managed to stay predominantly under the radar to date is unfathomable, but equally beneficial for those in the know. Islington Academy hosts them on March 5th. Do it before the rest realise what they’re missing out on.
• Tindersticks fly the flag for the stalwarts with Falling Down a Mountain. It’s a business-as-usual release from the Nottingham legends, lacking the showpieces that graced their previous album, The Hungry Saw, and with a couple of questionable inclusions. Nonetheless, there’s something reassuring about knowing there are bands out there that can just keep on producing. They’re one of those bands that will always have an aura to them live – March 24th at Shepherds Bush Empire will no doubt be the same.
• Fanfarlo’s Reservoir is a resounding debut, rich with horns and explosive percussion. It takes from all that’s currently popular, capitalising on the overwhelming penchant to have three or four vocalists harmonising through a barrage of instrumentation. Despite the activity, they make it work. To see it live would, no doubt, be a pleasure. If you were lucky enough to catch them with Jesca Hoop in Bristol on Tuesday, more power to you. If not, get to the ULU tonight (12th February) for what will surely be a blinder.
On another note, RIP Alexander McQueen. If our musicians can be as out there and boundary pushing as he was, we’re in for a great future.
Here’s what I’m listening to and why:
• Japandroids’ new album Post-Nothing revels in intense, lo-fi guitars, distorted to just the right level; rough enough to keep them unpretentious and fresh, slick enough to reveal an undercurrent of classic guitar riffing. The key to this album is that strong melodies and catchy choruses keep it accessible. They’re supporting the album with a show at the ICA on February 23rd. It won’t disappoint.
• Husky Recue come back with their third album, Ship of Light. These tracks challenge and test you with fresh beats and innovative sounds, while comforting and consoling you with the familiar vocals of Reeta-Leena Korhola. How this band has managed to stay predominantly under the radar to date is unfathomable, but equally beneficial for those in the know. Islington Academy hosts them on March 5th. Do it before the rest realise what they’re missing out on.
• Tindersticks fly the flag for the stalwarts with Falling Down a Mountain. It’s a business-as-usual release from the Nottingham legends, lacking the showpieces that graced their previous album, The Hungry Saw, and with a couple of questionable inclusions. Nonetheless, there’s something reassuring about knowing there are bands out there that can just keep on producing. They’re one of those bands that will always have an aura to them live – March 24th at Shepherds Bush Empire will no doubt be the same.
• Fanfarlo’s Reservoir is a resounding debut, rich with horns and explosive percussion. It takes from all that’s currently popular, capitalising on the overwhelming penchant to have three or four vocalists harmonising through a barrage of instrumentation. Despite the activity, they make it work. To see it live would, no doubt, be a pleasure. If you were lucky enough to catch them with Jesca Hoop in Bristol on Tuesday, more power to you. If not, get to the ULU tonight (12th February) for what will surely be a blinder.
On another note, RIP Alexander McQueen. If our musicians can be as out there and boundary pushing as he was, we’re in for a great future.
Thursday, 7 January 2010
Top ten 2009 - The Rest!
I missed the cut-off point! So here are the final four in my top ten of 2009 in a snapshot:
- Beirut, March of the Zapotec
- The Low Anthem, Oh My God, Charlie Darwin
- A Mountain of One, Institute of Joy
- Florence and the Machine, Lungs
So there it is - 2009 in a nutshell. Apologies for the anticlimactic finish. I hope it elicited some reaction. Some albums are in there because they defined the sound of the year, some are in there because they stretched the boundaries of imagination, some are in there because they simply continue to excel at creating great music. All of them are in there because the music is evocative and beautiful in its own way. Let's hope 2010 is just as fruitful.
- Beirut, March of the Zapotec
- The Low Anthem, Oh My God, Charlie Darwin
- A Mountain of One, Institute of Joy
- Florence and the Machine, Lungs
So there it is - 2009 in a nutshell. Apologies for the anticlimactic finish. I hope it elicited some reaction. Some albums are in there because they defined the sound of the year, some are in there because they stretched the boundaries of imagination, some are in there because they simply continue to excel at creating great music. All of them are in there because the music is evocative and beautiful in its own way. Let's hope 2010 is just as fruitful.
Tuesday, 29 December 2009
Top ten 2009 - Local Natives, Gorilla Manor
When a new band emerges, there’s always a tendency to define their music with those that have come before. The intense harmonies and vibrant, summery beats of Local Natives’ debut have drawn comparisons with Fleet Foxes, Vampire Weekend and other buzz bands of the past two years. All are valid, but what differentiates this Californian five-piece from the others is the feeling of collectiveness that exudes from Gorilla Manor.
The album is named after the house they shared together in Orange County and the result is a group of gifted young musicians who are clearly comfortable with each other’s musicianship. There’s a natural camaraderie to these songs, but the simple percussive extras and harmonious wails add personal moments throughout, giving Local Natives a vibrancy and uniqueness that so many of their peers lack. Yes, it’s poppy. Yes, it’s a summertime album. But from time to time it helps to feel rejuvenated.
What to listen out for.
Wide Eyes, Sun Hands, Cubism
When to listen to it.
Lying in hammock with a beer and some sunshine
Will we hear them again?
Local Natives’ stated intention is to avoid being a buzz band. Their acclaim from appearances at Austin’s South by South West festival earlier this year lifted them dangerously close to that status, however. They would do well to remain low-key for a while and build up a critical following before backing up Gorilla Manor with another of its ilk.
http://www.youtube.com/watch?v=QuljnrCfBNw
The album is named after the house they shared together in Orange County and the result is a group of gifted young musicians who are clearly comfortable with each other’s musicianship. There’s a natural camaraderie to these songs, but the simple percussive extras and harmonious wails add personal moments throughout, giving Local Natives a vibrancy and uniqueness that so many of their peers lack. Yes, it’s poppy. Yes, it’s a summertime album. But from time to time it helps to feel rejuvenated.
What to listen out for.
Wide Eyes, Sun Hands, Cubism
When to listen to it.
Lying in hammock with a beer and some sunshine
Will we hear them again?
Local Natives’ stated intention is to avoid being a buzz band. Their acclaim from appearances at Austin’s South by South West festival earlier this year lifted them dangerously close to that status, however. They would do well to remain low-key for a while and build up a critical following before backing up Gorilla Manor with another of its ilk.
http://www.youtube.com/watch?v=QuljnrCfBNw
Sunday, 20 December 2009
Top ten 2009 - The Mummers, Tale to Tell
Once you hear this album, it comes as little surprise to find out that it was recorded in a tree house studio near Brighton, where 20 or so musicians spent two years climbing a ladder to access the equipment that would immortalise their expanse of orchestral contraptions. The subsequent abundance of sounds conjures up images of a travelling troupe holding court in front of whoever would listen. It’s not a coincidence, then, that they were christened The Mummers by their two lynchpins – vocalist Raissa Khan-Panni and musician Mark Horwood.
Tale to Tell’s orchestral nonsense creates a carnival atmosphere, with Khan-Panni’s sumptuous vocals and lyrical daydreams keeping this album melodic and approachable. It’s a bold, eclectic and vibrant romp that avoids alienating its audience. Expect to be transported to a world of make believe, but in a way that keeps you grounded. It’s good, eccentric fun.
What to listen out for.
March of the Dawn, Tale to Tell, Teardropsfall
When to listen to it.
Without wanting to mocks its brilliance, this should be the arrival music for any fancy dress party.
Will we hear them again?
Sadly, the treehouse studio that was home to this album also saw Horwood hang himself in September this year. I hope Khan-Panni manages to return to a studio, but her history as a musician seems to be an ill-fated one, and Horwood's untimely death will no doubt make it hard for her to come back.
http://www.youtube.com/watch?v=_UMMu_KBRy8
Tale to Tell’s orchestral nonsense creates a carnival atmosphere, with Khan-Panni’s sumptuous vocals and lyrical daydreams keeping this album melodic and approachable. It’s a bold, eclectic and vibrant romp that avoids alienating its audience. Expect to be transported to a world of make believe, but in a way that keeps you grounded. It’s good, eccentric fun.
What to listen out for.
March of the Dawn, Tale to Tell, Teardropsfall
When to listen to it.
Without wanting to mocks its brilliance, this should be the arrival music for any fancy dress party.
Will we hear them again?
Sadly, the treehouse studio that was home to this album also saw Horwood hang himself in September this year. I hope Khan-Panni manages to return to a studio, but her history as a musician seems to be an ill-fated one, and Horwood's untimely death will no doubt make it hard for her to come back.
http://www.youtube.com/watch?v=_UMMu_KBRy8
Sunday, 13 December 2009
Top ten 2009 - Bill Callahan, Sometimes I Wish We Were an Eagle
Bill Callahan has one of the most distinctive voices in folk. Even if you don’t know the name, the chances are his bare, almost banal, vocals will sound familiar. Nearly 20 years after he released his first album as Smog, Callahan maintains the individuality that has brought him so much success, even having done away with his former moniker for his two latest releases.
It’s as though Callahan’s found honesty in his song writing. When you listen to this album, you feel like he’s taking you by the hand and walking you through his past as he pauses to reflect. His rhymes remain impossible, his music is still eccentric, but somehow it’s more accessible than ever. These imperfections continue to define Callahan and make everything he does exquisite.
What to listen out for.
Jim Cain, Eid Ma Clack Shaw, Rococo Zephyr
When to listen to it.
Maybe over an intimate dinner.
Will we hear them again?
Callahan has song writing in his blood. I imagine he can’t go a day without putting a lyric to a melody. We’ve had 20 years of his work, and I expect we’ll have 20 more.
http://www.youtube.com/watch?v=KTmzYfzuidw
It’s as though Callahan’s found honesty in his song writing. When you listen to this album, you feel like he’s taking you by the hand and walking you through his past as he pauses to reflect. His rhymes remain impossible, his music is still eccentric, but somehow it’s more accessible than ever. These imperfections continue to define Callahan and make everything he does exquisite.
What to listen out for.
Jim Cain, Eid Ma Clack Shaw, Rococo Zephyr
When to listen to it.
Maybe over an intimate dinner.
Will we hear them again?
Callahan has song writing in his blood. I imagine he can’t go a day without putting a lyric to a melody. We’ve had 20 years of his work, and I expect we’ll have 20 more.
http://www.youtube.com/watch?v=KTmzYfzuidw
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