Good Stuff Released 20th September 2010:
Janelle Monae – "Cold War"
First things first, I must just announce that I absolutely love Janelle Monae, and I implore those of you that haven’t encountered her music yet to listen/watch the video below, and then check out her back catalogue. For you R&B heads, she is a beautiful young lady who offers a cool, slick package, with excellent guest stars, and fantastic vocals. For you scoffing rockists out there, she offers real R&B, with fantastic and diverse instrumentation and arrangements; complex, vibrant and innovative timbres and that all-important authenticity. To labour a point, Monae is pure talent, processed in an organically enjoyable and accessible manner. "Cold War" is no different, fulfilling all these labels and determinates. It is heartfelt and passionate, and demonstrates Monae’s formidable vocal talent. The song lyrics and Monae’s delivery are so powerful and focused that the vocals could be completed acapella, but thank God they aren’t, because the instrumentation here is diverse and in my humble opinion, precisely fantastic. Up-to-date synth timbres, well placed percussion and backing harmonies, upbeat/minor key juxaposition-ing, a nice old skool guitar solo, and top-notch production.
Summer Camp – "Around the Moon"
OMG I love Summer Camp! I have to say that nine times out of ten I love everything that Moshi Moshi records release, but Summer Camp are particularly special when it comes to instrumentation and production. The timbres on this song are beyond diverse, marvellously synth orientated and just cool. This is the post-modern sound of now, cool kids. The synth bass is a special personal favourite, so thick, rich and rounded. The lyrics are really sweet and touching too; positive and uplifting, especially as Summer Camp are partners in love as well as music. Cannot wait for the album to come out!
The Wombats – "Tokyo (Vampires and Wolves)"
Ok so yes, the The Wombats are very pop, lets not pretend they’re not, but just because they are pop doesn’t mean they are bad. They make light-hearted indie pop, which is very enjoyable to listen to, and this new track from their impending second album does not disappoint. This track sounds very similar to their previous stuff; with a recognisable vocal style and pronunciation, track build-up, and their trademark distorted bass sound. Various synths are still thrown into the mix in abundance, and the lyrical content continues to be OK; very good in a pop context. Not bad at all.
Monday, 20 September 2010
Wednesday, 15 September 2010
MORE THAN THE MUSIC POST (ALBUM REVIEW): Stereolab - Not Music
Not Music is Stereolab’s tenth full-length studio album, which is curiously due for release within the depths of the group’s current, self-imposed musical hiatus. Recorded in late 2007, this album was created during the sessions that spawned the group’s most recent release, 2008’s Chemical Chords. Interestingly, however, although these two most recent offerings from the group emerged within the same creative origins, Not Music really breaks away from the band’s typical fair, presenting darker, synth-laden edges and fresher rhythms, as well as the light, upbeat, lounge inspired qualities for which Stereolab are known and loved; indeed, a number of tracks would not feel entirely out of place in a Stella Artois commercial or in one of the Pink Panther movies.
Laetitia Sadier’s restrained yet rolling French pronunciation and delicate vocal timbre fits perfectly within this aesthetic. Her lyrics are not always discernable (though they are quite interesting when they are) and her voice is often used purely for these instrumental and stylistic qualities. The group’s instrumental abilities throughout this album are of a high quality, as is the crisp production. It is rhythmically interesting, with a high ratio of drum machine patterns, which lends many of the tracks a cool, post-modern edge.
The album does not display as much guitar action as previous Stereolab releases – it is not even distinguishable on a number of tracks – although there is a varied and interesting mixture of instruments on display, including a fair bit of brass, some strings, and a lot of tuned percussion. The standout area of instrumentation of the whole album, however, is the proliferation and variety of synths on offer. Some have a fresh, post-modern, dream-pop inspired quality similar to the works of hip Brooklyn outfits such as Au Revoir Simone or Savoir Adore; others sound beyond analogue, with thick, heavy, sci-fi inspired sounds. Silver Sands (Emperor Machine Mix) especially sounds like something Vangelis forget to put in the Blade Runner soundtrack – completely different from the original, quaint mix of the track from Chemical Chords.
Throughout Not Music there appears to be an awful lot of direct influences (and influencees), from a huge variety of areas; from Krautrock to post-rock, 1960s Euro-pop to electronica. However, Stereolab are the ultimate post-modern mixers, and what could have turned into one huge sonic mess has actually evolved into what I feel is their most interesting and current release to date.
See this review at More Than The Music:http://www.morethanthemusic.co.uk/album-reviews/stereolab-not-music/
Laetitia Sadier’s restrained yet rolling French pronunciation and delicate vocal timbre fits perfectly within this aesthetic. Her lyrics are not always discernable (though they are quite interesting when they are) and her voice is often used purely for these instrumental and stylistic qualities. The group’s instrumental abilities throughout this album are of a high quality, as is the crisp production. It is rhythmically interesting, with a high ratio of drum machine patterns, which lends many of the tracks a cool, post-modern edge.
The album does not display as much guitar action as previous Stereolab releases – it is not even distinguishable on a number of tracks – although there is a varied and interesting mixture of instruments on display, including a fair bit of brass, some strings, and a lot of tuned percussion. The standout area of instrumentation of the whole album, however, is the proliferation and variety of synths on offer. Some have a fresh, post-modern, dream-pop inspired quality similar to the works of hip Brooklyn outfits such as Au Revoir Simone or Savoir Adore; others sound beyond analogue, with thick, heavy, sci-fi inspired sounds. Silver Sands (Emperor Machine Mix) especially sounds like something Vangelis forget to put in the Blade Runner soundtrack – completely different from the original, quaint mix of the track from Chemical Chords.
Throughout Not Music there appears to be an awful lot of direct influences (and influencees), from a huge variety of areas; from Krautrock to post-rock, 1960s Euro-pop to electronica. However, Stereolab are the ultimate post-modern mixers, and what could have turned into one huge sonic mess has actually evolved into what I feel is their most interesting and current release to date.
See this review at More Than The Music:http://www.morethanthemusic.co.uk/album-reviews/stereolab-not-music/
Wednesday, 8 September 2010
HERE COMES EVERYONE POST: Notes on Offset - A New Style of Festival
First impressions of Offset are striking, curious and quaint. This tiny festival, with probably less than 500 tents in the camp site, and with a short five minute walk from end to end, is a wonderful harbour of eclecticism and individuality. The site is situated in the haven that is Hainault Country Park, and is filled with beautifully hip, young people, with marvellously inventive clothing that just reeks originality. There is a vintage fair with a purchasable selection, and a good variety of food from independent (that buzzword again) sellers – you certainly won’t find a £6 hog roast or a warm pint of watered-down Carling here. But for me something that is noticeably different at Offset in comparison to other festivals is the friendly, laid back atmosphere. Everyone is polite, and there is no aggression to speak of, and whilst everyone is here to have a good time, listening to the music is the main reason why they are here. Ultimately the music steals the show, with the best and coolest new music on offer throughout the whole of the UK festival programme.
The music is very diverse, from the mad genre collage of Chrome Hoof, to the aggressive shredding of Pulled Apart By Horses, and the awesome electricity of Caribou. There are a few big names; 80s Matchbox B-Line Disaster, The Mystery Jets and Atari Teenage Riot in particular spring to mind; but the big thing here at Offset is the promotion and circulation of unsigned, or small label bands, always with a lot of talent. There are five indoor tents focusing on more low-key bands. From this selection, there is a lot of emerging talent on offer, but bands I found particularly striking were Conan Moccasin, within their precise musicianship and interesting grooves, and Blue On Blue, whose cool collectivity and intriguing riffs are almost guaranteed to be a mainstream success. Within these tents the sound was very loud at times, and some of the engineering was a bit slap-dash, but on the whole the experience within these festival microcosms was mostly sound.
The atmosphere on the main-stage was great too, developing in intensity throughout the day, from mellow, grass-sitting spectatorship in the afternoon to mosh-pit mentalists by the dawning of Atari. Monotonix were predictably a highlight, with wild stage antics that drove right into the crowd for the majority of the performance, and 80s Matchbox were notable for the sheer adrenalin of their performance.
I can truly recommend Offset Festival; it is a marvellous place to spend a weekend. My only slight bugbear was the under-representation of women in the festival line-up, especially considering so much of the audience was female. This issue can often be true however of any festival line-up, and certainly didn’t actually mar my enjoyment of the weekend. Some ultimately, the best fun I have had at a festival in ages. Bien Offset, Bien.
The music is very diverse, from the mad genre collage of Chrome Hoof, to the aggressive shredding of Pulled Apart By Horses, and the awesome electricity of Caribou. There are a few big names; 80s Matchbox B-Line Disaster, The Mystery Jets and Atari Teenage Riot in particular spring to mind; but the big thing here at Offset is the promotion and circulation of unsigned, or small label bands, always with a lot of talent. There are five indoor tents focusing on more low-key bands. From this selection, there is a lot of emerging talent on offer, but bands I found particularly striking were Conan Moccasin, within their precise musicianship and interesting grooves, and Blue On Blue, whose cool collectivity and intriguing riffs are almost guaranteed to be a mainstream success. Within these tents the sound was very loud at times, and some of the engineering was a bit slap-dash, but on the whole the experience within these festival microcosms was mostly sound.
The atmosphere on the main-stage was great too, developing in intensity throughout the day, from mellow, grass-sitting spectatorship in the afternoon to mosh-pit mentalists by the dawning of Atari. Monotonix were predictably a highlight, with wild stage antics that drove right into the crowd for the majority of the performance, and 80s Matchbox were notable for the sheer adrenalin of their performance.
I can truly recommend Offset Festival; it is a marvellous place to spend a weekend. My only slight bugbear was the under-representation of women in the festival line-up, especially considering so much of the audience was female. This issue can often be true however of any festival line-up, and certainly didn’t actually mar my enjoyment of the weekend. Some ultimately, the best fun I have had at a festival in ages. Bien Offset, Bien.
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