Classic Pop

Wolfgang Amadeus Phoenix
Phoenix
V2, 2009
4.5 stars

As all albums worth their salt seem to do these days, Wolfgang Amadeus Phoenix made its way around the internet months before its official release. Whether that’s a bad thing is hard to say, but the fact that some of my somewhat musically-highbrow friends (you know who you are) are still singing “dancing, in La Rhone” – a misinterpretation of the words to Fences (“fences, in a row”) – to this day, speaks volumes for both the broad appeal and longevity of this album. Put simply, this album is catchy as hell, and is destined to rack up plays on commercial and independent radio alike. The French hipsters band have taken the tight, poppy tunefulness of 2006’s equally-good It’s Never Been Like That and cranked-up the synth, enlisting the mixing skills of French house duo Cassius’ Philippe Zdar. The way these guys use the repetition of a single note or chord is brilliant, creating a kind of sonic canvas for them to layer up, bend or break completely. Right off the bat, the bouncy Lisztomania and keyboard-driven 1901 are probably the most-likeable tunes on a disc that’s full of them, but if there’s one complaint for this album, it’s that it’s too short – at 37 minutes it makes a strong case for the ‘loop all’ button.

Artwork: C+
A bit too cutesy for my liking. Possibly a little bit too much pink? They've really taken the 'bubblegum Mozart' thing and run with it.

Published in mX, Thursday May 28, 2009.

Is An Island

Veckatimest
Grizzly Bear
Warp, 2009
5 stars

I know, it’s only May, and I’m breaking all sorts of unwritten “album reviewer” rules by doing this, but I’m going to say it: Veckatimest is the album of 2009. Grizzly Bear have hinted at big things for a few years now (2006’s Yellow House was good but not great), but Veckatimest exceeds all expectations, with the band pushing their sound beyond experimental rock deep into something pastoral, sophisticated and lush to which a genre such as “rock” or “indie” just doesn’t do justice. The most obvious reference for the uninitiated is Fleet Foxes’ brilliant self-titled debut of last year – take that album, but shake it up and make it that little bit deeper and you’re about as close as you’ll get to Veckatimest. It’s beautiful but challenging, with intricate details rewarding repeat listens over and over. Rich and thoroughly musical, with a big avant-folk heart, there’s little point singling out individual songs for praise as they’re all equally deserving, and play so perfectly as a whole. The sun-drenched, poppy numbers stand out immediately (Ready, Able’s slow-building, churning bassline and eventual shimmering release is something to behold, and Cheerleader’s stuttered guitar and steady plonk is impossible to resist), but the more subtle, restrained ones, such as album closer Foreground, are just as striking. The four boys’ vocal harmonies are at times reminiscent of ’70s AM rock, but even that pidgeonhole doesn’t fit. Unlike the uninhabited Massachusetts island for which it’s named, Veckatimest is going to require more than a bridge to get on top of in 2009.

Artwork: B
The kaleidascopic mosaic featured on the album's cover is the perfect representation of the band's bright, colourful but organic and hand-fashioned sound. The text is a bit clumsy though.

Published in mX, Thursday May 21, 2009.

Waking From Night Terrors

Primary Colours
The Horrors
XL, 2009
4 stars

The My Bloody Valentine influence may be popping up everywhere at the moment, but most wouldn’t have expected it to stretch to British garage ghouls The Horrors’ newie. Then again, the band’s entire image circa Strange House had more than a hint of clever, ‘of the moment’ pretension about it, so the thought of them following the late-noughties shoegaze bent is hardly a surprise. The thing is, because of their cleverly-constructed image, people didn’t see these guys as much more than fodder for an NME “saviors or British rock” covershot. It’s understandable - you see five blokes dressed up like the cast of The Corpse Bride and your opinion is pretty much locked-in before the CD is even in the player. Well, whatever your pre-conceived idea may be of these guys, forget it. If Primary Colours says one thing it’s that these guys are, first and foremost, a solid, well-educated band. Primary Colours sees the gruesome fivesome add a bunch of new sounds and ideas to their predominantly monochrome palette – think The Birthday Party’s dark punk mixed with Interpol’s more Joy Division-ish moments and Ride’s lush, washy walls of guitar noise. Strange, but it works beautifully. Faris Badwan’s newly-found singing voice is a revelation, and when Sea Within A Sea’s kraut beat and echoey guitars morph into a blissed-out synth loop it’s a drastic transition from the dark, abrasive shriek of Sheena Is A Parasite. Primary Colours is an exciting, thrilling turn for this band, and one that only serves to whet the appetite for whatever they come up with next.

Artwork: B
These guys (or their producers) have ticked all the shoegaze boxes with the design of this album. Out-of-focus photography (ala Loveless) - tick. Cheap and cheerful text treatment - tick. Thing is, with the cover image being predominantly dark (low light and no flash - always a recipe for blurry shots), it still has a bit of the gothy feel to it.

Published in mX, Thursday May 21, 2009.

Weird Family

Set 'Em Wild, Set 'Em Free
Akron/Family
Dead Oceans, 2009
4 stars

Akron/Family are an American three-piece, unknown by most but, for those in the know, known for the unknown. Their past releases and choice in touring partners have seen them labelled more-or-less as a freak-folk band, but with the release of Set ‘Em Wild, Set ‘Em Free they’re definitely going to need a bigger sticker. The hypnotic, acoustic folk they’re known for is still there, but it wanders into groovy psychadelica, Afro-beat and taut guitar rock – in the case of opening cut Everyone Is Guilty, all in the space of one six minute song. Elsewhere the strummed/picked guitar on The Alps & Their Orange Evergreen and title track Set ‘Em Free is blended with slide guitar, warm vocal harmonies and hushed wind instruments – from the outset it’s clear that these multi-instrumentalists don’t buy into the ‘guitar/bass/drums’ model. The mood throughout is sunlit and upbeat, with more than one guitar-driven “yes!” moment - it’s an unashamedly confident and optimistic album overall. The vibe is infections too – a handy thing in these troubled times. The bankers may be running for the hills, but it’s nice to know the hippies are still dancing in their loungerooms.

Artwork: A
A messed-up American folk album with a messed-up American flag on the cover - it's perfect.

Published in mX, Thursday May 14, 2009.

From The Back Of The Fridge

Early Output 1996-1998
Fridge
Temporary Residence, 2009
3.5 stars

The material found on Early Output was, as the title says, recorded over a decade ago, and the time since has seen the band and its members all but master this particular brand of experimental, electronic-flecked instrumental music. With Early Output, long-time fans of Fridge, or those of offshoots Fout Tet and Adem, will relish the opportunity to hear where it all started. For the most part this compilation is an impressive, assured production, with only a few moments where it falls into the familiar post-rock traps of self-indulgence, daggy electronica and meandering nothingness. That’s not to say that meandering experimental music is without value – 15-minute Anglepoised is a blessed-out epic with a drum machine spine, reminiscent of some of the nicer moments on 2007’s The Sun LP. Real instrumentation (guitar, bass, drums and the occasional string) forms the basis for the majority of tracks, with the members’ experimental tendencies explored in fractured drumbeats, skewed hooks and unexpected (but still pretty) electronic flourishes. Today these guys are amongst Britain’s most inventive musical talents – Early Output proves they always were.

Published in mX, Thursday May 7, 2009.