Love At Death Beach

When I first listened to these abrasive Sheffield-based go-getters, I was left dumbfounded. Speechless. Mainman Chris Presland’s cathartic vocal style was slightly overwrought and occasionally awkward, but exuded an energy and emotion which I’ve rarely heard. I warn you. Have your tissues at the ready. Be ready to cry in both fear and awe simultaneously.

Their giddy ramshackles will seem to nod toward The Maccabees at times, yet as if shrouded in a heavier Post-Hardcoresque mist, maintaining a raw edge emblematic of the grunge era. Not forgetting the aforementioned vocal strains, which at their bursting apexes are vaguely reminiscent of Xiu Xiu‘s Jamie Stewart and his tear-jerking utterances.

‘Reginald’ is indicative of this band’s beguiling idiosyncracies. As is ‘Household Necromancy’, a math-rock freakout that would make even Minus The Bear jealous. Listen and download here:

Originally published @ Sucking Lemons.

Live: Janelle Monae / Cocknbullkid, Bristol Academy, 24.2.11

There is an elite contingent of artists who pride themselves on exuding their emotions through the immensity of their sound. There are some who are naturally crafted performers, apt and able to put on (and pull off) stonking live spectacles. Others are less showy in the flesh, and refine their skills, channelling them via outrageous, so-called ‘concept’ albums. Some renegades do the double, however. Janelle Monae is one. Read more about her little renditions later.

For first up is Cocknbullkid, who soars onto the stage wearing a Native American-esque garment around her neck. Showcasing a soothing, sherbetty voice, supported by a tight five-piece band, she rattles through 3-minute pop gem after 3-minute pop gem. Numbers such as recent single ‘Hold On To Your Misery’ are manufactured, motown-influenced slices of pop of the highest order. It’s beyond me why she hasn’t sold more records. Maybe it’s the frankly quite infantile nature of the lyrics and the rhythm – she elicits handclaps and a few funny wiggles in a Jackson 5 kinda vibe. Perhaps we as a nation are now too sophisticated? Who knows. 

The band are almost distracted on several occasions by Bristol mega-gig-fan ‘Big Jeff’, who in fact attends a gig here nearly every night. He stands at six foot-something, right at the front, headbanging riotously, his shaggy blonde mop waving everywhere. The backing singer finds it particularly amusing.

But now another peculiar man steps up in a top hat, sliding ghostly over the stage floor like a possessed circus ringleader. ‘Good Evening’ he says, subsequently introducing the show in a round about way. To our amazement a huge screen illuminates at the back of the stage. Monae’s face appears like it does on the TheArchAndroid sleeve, announcing to us the dystopic sci-fi setting which the aforementioned album depicted so well. 'Suite II Overture' plays as the band come on. They are followed by three hooded nuns, one of which, we presume, is Janelle Monae.  

The band launch into 'Dance Or Die', a Lauryn Hill-esque hiphop-meets-pure-pop bonanza. Saul Williams' voice is heard and Monae sings under her cloak for the duration, her unveiling coming towards the end as she appears like an evil, cackling clown. The band is one of the tightest I’ve seen, and they manage to keep it up even whilst dancing frenziedly and relentlessly.

They initially move chronologically (tracklist-wise), the next tunes, 'Faster' and 'Locked Inside', sounding like the energetic Beyonce-lite number ones that they never became, but should have. Her flutteringly soulful voice is sublime.

Monae and most of the band then depart, mysteriously leaving the guitarist alone, resembling Andre 3000 but as if left on the streets for weeks, and wearing a suit. He plays a minute-long solo, before Monae returns to perform ‘Smile’, off 2007’s Metropolis: Suite I (The Chase) EP. The bare backing allows her voice to strive. And it simply can’t be put into words how awe-inspiring the vocal performance is. It is otherworldly, spine-tingling… That's the best I can do.

Her ensuing theatrics are what I was really rambling on about in the first paragraph. It's the pulling out of the stops, the concentration and the stamina which are key. Monae ticks all the boxes. She reminds me of a modern day Grace Jones - the props (e.g. in an elongated, progged out version of the chilled 'Mushrooms & Roses', out comes a canvas, on which she paints before us a bird, a face, a squiggly line and an 'I Love You' message, naturally), the incessant costume changes (for whom she has people to help), the backing singers (who dance maniacally, at one point impersonating zombies) and the ability the weave all these obtrusive splurges together, still maintaining an overriding musicality and amazing voice.

Indeed, if she's Grace Jones, then her bassist and drummer make up a sublime rhythm section, like a de-reggified, funkier Sly & Robbie. Their pulses are integrated preeningly, and they are evidently enjoying themselves; they always have huge smiles and dance like madmen.

The unsurprising highlights come via the hits: Cold War and Tightrope. The academy floor shakes and hands flail. I have never seen this many people simultaneously enjoying themselves. It is sheer mania. 'Whether you're high or low, you gotta tip on the tightrope', Monae sings, and people move with her, up and down. 'What's your marital status?', one audience member shouts. 

A hysteric ending comes courtesy of the riff-dominated 'Come Alive (War of the Roses)'. By now her already incredible hair has been transformed to a Sideshow Bob-esque 'do'. She shrieks, and the crowd shrieks back. At one point (God knows what was happening) she manages to get the entire audience to sit down on the floor (which, by the way, is beer-stricken, and very, very cramped.) That's adulation for you, adulation which is most definitely warranted. For tonight we bear witness to the greatest solo artist in the world, adored by everyone in the room: a marvel soon to be adored by the entire universe.

Cocknbullkid 6/10

Janelle Monae 10/10

Some nice fella captured the tophatted man, the visuals, 'Dance Or Die', 'Faster' and 'Locked Inside' on tape, uploading it all onto youtube:

Beat Connection 'Silver Screen' Video

Here's an official video for Beat Connection's 'Silver Screen'. I featured these Seattle noiseniks a few weeks ago purely because I loved this song so much. Its video has a kind of hazy, psychedelic pseudo-reality thing going on, which suits the music perfectly. Think hypnagogic pop in video form. Single's out on Monday. Buy buy buy.

Summer Camp 'I Want You'

Ditching their ex-prevalent fuzz for sheer glibness, Summer Camp's twee-pop has been revitalised. It's only been half a year or so since the Young EP was released, but this new sound is much more straightforward, much more macabre. Get ready for synths, electronic kickdrums and alluring vocals. Jeremy Warmsley and Elizabeth Sankey have finally found their métier: writing damn slick, damn dark ditties. Download it here:

Oberhofer 'Away From You' Live

You may remember me banging on about Brooklyn's Oberhofer back in January. I described this tune with the following words: 'brash garage sounds akin to Girls, rather ostentatious (but irresistible) whistling and their compression under a sheen of summery haziness combine to make these guys sound like Jonathan Pierce & co. (The Drums), but beef-ified and lo-fi-ified.'

Well, those may have been pretty silly words. But to sum up, they're true talent. I just got e-mailed this, a session for NY website Breakthru Radio, and it really encapsulates the band's power and charisma whilst playing live. Check out that infernal might @ 1.20 onwards.

Here are some studio scraps, including a good observation from the lead singer that he himself resembles Nick Jonas! It's true!

Live: Brother, ARU, 21.2.11

'And so, Brother come on stage. The lead singer looks about twelve, the rest of the band, a bit older. The drummer seems like a genuine guy. Launching into ‘New Year’s Day’ with utterly faux swagger, the guys bore the room from the outset.... the band have a structured formula: puerile lyricism, 20 second guitar solos, bit’a cocky banter in between and an underlying aim to sound like a celestial (*ahem*) amalgam of Shed Seven’s and Toploader’s extensive back catalogues.'

2/10

Read what else I had to say on Sucking Lemons

Deradoorian 'Marichka'

Bitte Orca was the album which first introduced me to Dirty Projectors. I became obsessed. Their intriguing, idiosyncratic style fused odd time signatures with fluttering harmonies. I liked it because it was so novel, so peerless.

A couple of years ago, under her apt moniker, 'Deradoorian', their introverted multi-instrumentalist/vocalist Angel Deradoorian emerged into the limelight as a solo artist. This year she steps out once again. 'Marichka' is less complex than most of TDPs' work, but just as compelling. It has a kinda primal, psychedelic semblance about it. Out on 7" already, it's a split release with Albert Mccloud (artwork below). The single was co-produced by Avey Tare of Animal Collective (whose ATP festival at Butlin's she plays this May).

Stream it on Pitchfork.

Live: British Sea Power / Bo Ningen @ The Junction, Cambridge 20.2.11

 

Tonight Bo Ningen awaken the spirits, diabolically thrashing at their guitars, squalling shrilly at them for 30 minutes straight. Sheer noise and power on stage does not always work, but these London-based Japanese goths skillfully pull it off this evening, hectically crushing our eardrums.

Their appearance is captivating enough; they look like a Black Sabbath tribute group lifted straight out of the 70s. Their black locks cover their faces, drooping down below their waists. Some members wear male Kimono-like garments.

I would label their demonic, innovative style as goth/psychedelic/punk/death/whathaveyou with the key underlying motif to deafen their onlookers. Sonically, their set encapsulates post-rock-esque riffage, heavy metallic chords, a prevalent grunge-tinged funk bass aspect (this stands out in the 8-minute 'Kage'), swathes of reverb and maniacal disintegrations. Indeed the latter are rife, and the epitome comes in the closer (God knows what it was called) in which the drummer stands, thwacks his kit at 1000s of bpm, bassist/vocalist Taigen circles his guitar around his head like a deranged baseball player, another guitarist flails his guitar lead, it all culminating in the band wilting and melting into the stage. Top class entertainment, I'd say.

All this abrasion is in stark contrast to their grateful crowd communications interspersed throughout the set: 'Thank yooo', they coo repeatedly.

9/10

I remember the last time I saw British Sea Power most vividly. They were my favourite band, Do You Like Rock Music? was my favourite album and this in turn became my favourite gig. It was way back in October 2008, at this very venue. They came equipped with a hefty mascot (a bear), tonnes of foliage to bedeck the stage and a couple of air raid sirens. The point is: BSP made a staggering effort and put on a hell of a show as a result.

This time they are bear-less, but just as momentous. A huge screen displays visuals throughout and once again, flags are hung, twigs are stacked on Marshalls and entwined round microphones. Black and white footage plays on the backdrop and a multi-coloured horse mystically spins (the same horse as on the recent album sleeve). The six members subsequently traipse on stage to a near full-house, and begin what will be a retrospective, career-encompassing set.

They open with the blaring 'Who's in Control', the rampant intro off Valhalla Dancehall, immediately drawing us in. What with the crowd comprising many students, and this of course being the protest-hub that is Cambridge, lines like 'I wish protesting was sexy on a Saturday night' seem rather appropriate.

From then on we get the best of The Decline of..., 'Carrion', 'Fear of Drowning', 'Something Wicked' and 'Do You Remember?' sounding as sprightly as ever, Noble's fierce energy on lead guitar permeating the lot. Open Season is represented via its mellower moments, 'The Land Beyond' and 'Oh Larsen B', the latter a global warming plea that eschews politics and exudes humour: Larsen B is lead singer Yan's 'favourite coastal antarctic shelf' apparently.

BSP are always criticised for not interacting with the crowd enough. But tonight they refute the allegations. Noble dangles his microphone in the mosh pit on occasion, new violist Abi provokes handclapping and the majority of setlist includes chants that directly involve the audience. New song 'Luna' is a triumphal example- 'So go forth Luna, go forth' - as is 'No Lucifer' - simply, and hooliganisticly 'easy! easy! easy! easy!'.

The highlight comes in 'The Great Skua'. In one word you could describe it as 'epic'. There is no other way to do it. Its post-rock-lite ascension of whooshing guitars fits the celestial movie backdrop of flying puffins like a key in a lock. Stunning.

There are some lulls, however. New electronics pervade on a few older songs and dampen their usual raw aesthetic, and newbie 'Mongk II' doesn't work as well in the flesh as it does on record. But as an overall performance, it seems BSP are still on superfine form. Closing with their 2005 breakthrough, 'It Ended on an Oily Stage', they assert their new position as a national institution, no longer some obscure, nature-obsessed niche.

9/10

Week #8: Mazes / Psychologist

On first glance London-based Mancs Mazes seem like just another one of those garage bands, you know the type, abundantly blog-lauded, evidently overlooked and as a result, banged on and on about. Indeed, this does all hold for Mazes, but something else sets these animalistic rock stalwarts rocketing way ahead of the rest of pack.

New single 'Most Days' is a rollicking little anthem, only 1.47 from start to finish, yet one of the most compelling and effectual little vagabonds I've heard in yonks. Barre chords and melodious backing vocals conjure up a 90s punk-era thing - think Green Day via some modernities, say, Cloud Nothings and The Black Lips. It's incredibly catchy too; the lyrics have infused themselves in my brain tissue. Congrats guys, you've sneakily snaked your way around Huw's 'generic, distortion-laden garage band radar'. And in style.

 

Secondly I introduce Psychologist, the latest signing to Not Even Records, a Moshi Moshi-offshoot, who creates downbeat, piano-based, berceaux-esque jams, the perfect exemplar being 'Come in Waves'. Love-fuelled emotion and a minimalistic mindset combine to create an extraordinarily beautiful little tune. Immerse yourself in its outlandish splendour. My spine hasn't tingled as much as it did whilst listening to this since the first time I saw Patrick Watson live. And I was only listening to this through my crappy little computer speakers. Says it all really.

He recorded his debut EP, 'Waves Of OK', in just one day at St Matthias Parish Church in London, where he will be showcasing the new release live with a twelve-strong choir on Wednesday 16th March.

The video for 'Come in Waves' (dir. Iain Woods) (below) features his twin brother, in case you were wondering.

Jessie Ware & Sampha 'Valentine'

Sleak, soulful, sherbetty, saccharine. Sweet. All the S words. This is a neat little minimalist soul tune, kind of post-dubstep-esque, and very thematic. I particularly like the way they skilfully alternate the vocal duties, layering them over an off-kilter backdrop of bells and beats, chopped and spliced.

But it feels like a snippet. A mere snippet. Its intricate, slender structure meander around us about 1.5 times before its abrupt conclusion, which is a shame because it's all so utterly lovely. I suppose we'll just have to put up with that, and muster up the energy to press repeat more often. Honest to God, you won't be able to resist it.

First class video too. Bare bones like the music.

Timber Timbre 'Black Water'

Canada's Timber Timbre are ornamental, likeable and write damn memorable tunes. Take this splendiferous slice of laid back folk, for instance. 'Black Water' is a folk/blues ballad like you've never heard before. They precisely fuse fuzzy, Beach House-esque organs, tinkling keys and horn jingles interspersed here and there, somehow making it all work. Their delectable, spookily melancholic aesthetic is once again epitomised; 'I nee-eed some sunshine', they repeat, warbling the lyrics to form a trippy summer aura.

It's the first single taken from their forthcoming LP, Creep On Creepin' On, released on April 5th, on Arts & Crafts. I warn you, or rather, inform you: don't be surprised if they sell mountains of records, and come back next summer to headline all our festivals. Just like Bon Iver was the cult hero of 2008, and Beach House's popularity escalated almost mystically over the course of 2010, big things are due for Timber Timbre in 2011.

Week #7: Eagulls / Brokenchord / Pål Moddi Knutsen

Aside from the fact Eagulls have one of the best band names in the world, like, of all time, there's nothing much that can be said apart from that they are acutely scary. Their reverb stricken guitars and visceral vocal style, backed up by their super-colossal songsmithery are about as punchy and ferocious as you get in 2011. Think P*ssed Jeans' raucous tendencies toned down a little, infused with No Age's fabulous rawness. This is 'Council Flat Blues':

Brokenchord befuddles me and leaves me dizzy. His tunes encompass bass-heavy synths, complex rhythms and perfectly integrated samples, forming swirling maelstroms fusing electronic phunk and tronica. As part of the post-dubstep aftermath, the Lithuanian DJ is currently making waves across Europe. His unique brand of IDM is at once trippy, melodious and retrospective: just check out those 808 beats! Below is a hazy combo of two of his finest jams, 'A Girl Of 13 Summers' and 'Orion', both of which elicit a sweltering summer setting. Love 'em.

Firstly we experienced a rambunctious garage freakout, then we sustained a sublime synthesized escapade, but now I let us move onto a soothing acoustic paean, courtesy of Pål Moddi Knutsen, aka Moddi, who hails from Senja (an island in the far North of Norway). Deluged in soporific splendour, this is a downtempo, lullaby-esque, folk tune. Set inside his intricate guitar plucks and occasional interjected strings, Moddi's delicate vocals nestle perfectly, forming an emotional entity akin to early Damien Rice. Having recorded this and many other fantastic songs with prolific Icelandic producer Valgeir sigurdsson (Bjork, Bonnie 'Prince' Billy - both whose music Moddi's now and again resembles), he will formally release his full-length debut, Floriography, on these shores this Spring. I for one am exceedingly excited.

Five anomalies at the Brit Awards 2011

What this man doing? Why was he even there? And presenting an award!? This was ridiculous, harebrained, and should never happen again.

James Corden opened up proceedings by introducing us to the new Vivienne Westwood-endorsed Brit Award design. It apparently held some magical capability to combat climate change, which Corden was like so totally supporting and that. Later on in the evening, whilst in discussion with Cee-Lo Green, Mr Corden blatantly condoned Green's private plane shenanigans. You plonker.

You may have noticed hoards of riot police invade the stage during Take That's and and Plan B's performances. Now I'm not sure if you're the kind of person who likes watching policemen in full dress, shields and all, fighting some agitated rioters doing a silly dance routine, but I'm not. I mean violence isn't all that cool either, and when it involves completely shrouding the stage and detracting our attention from the (okay, slightly awful) music, it's just really pointless.

Finally, I am going to be forever distressed that The National are the most hardworking, genre-defying and consistently sublime act of the last decade, yet were awarded only five seconds mention this evening, and lost out in the International Breakthrough category to none other than.....

This puerile and wretched little soul. What a stinker.

Interview w/ Grimes

Last year a Montreal-based artist emerged 'on the scene' as one of the most innovative and ethereal acts around. She released two albums to much acclaim, each brimming with spectral, synth-laden soundscapes compounded by her own, entirely unique vocal sound. Well, she goes under the pseudonym Grimes and I recently asked her some questions. This was her second ever interview:

Hi Grimes. How are you?
Good.

Who is behind the moniker, 'Grimes'?
I guess my real name is Claire Boucher but I really hate it because it sounds dorky or something… or boring.  I just graduated from college and I want an adventure, so hence this project. 

Do you do all the instrumentation yourself?
I do all my instrumentation - though it is mostly synthesizers.  I also use a violin and a ukulele occasionally.

What is your most trusty piece of kit?
The most trusty thing I have is my Juno-G synth.  I'm really worried I'm going to break it one day...

How would you describe your music to those uninformed readers of Mane Shakin' Folk?
Goth, experimental and chorale influenced pop with a strong focus on vocals and production that focusses on the lower frequencies. 

What inspired you not only to release two albums last year, but to upload them as free downloads as well?
I just feel like music should be free, and people will get it for free anyway if they want it.  If they want to donate they can, but they should pay what they feel the album is worth.  I would make it anyway, regardless of whether or not people heard it.  So it should be free. 

You recently supported How To Dress Well on his Canadian tour - how was that?
REALLY cool.  He is an amazing person, way too smart.  If anything I just really enjoyed making friends with him, but he also gave me some really good pointers.  I learned a lot from his set. 

So, what's hot in 2011 for Grimes? Are there any particular records you are enjoying at the moment?
I am loving this dungeon family record called "even in Darkness." It's basically an outcast side-project and it's just phenomenal.  Really experimental, especially with vocals.  Really tight R&B harmonies but with a gospel soul influence over crazy beats and the production is impeccable.  But I'm making it sound more boring than it is.  They use kraftwerk samples and stuff too.  Totally totally love that album.

Download her Halfaxa LP for free here (or if you're feeling altruistic, you can support her by making a donation alongside the download).

Weregild by Grimes:

Hunters 'Deadbeat'

Deftly mingling Sonic Youth's sheer might with some similarly abrasive boy/girl harmonies, Brooklyn noiseniks Hunters are resurrecting grunge with a tribalistic, authoritarian swagger in 2011. Their recent eponymous EP, Hunters, which you can stream below, is inexplicably (and noisily) celestial. Alongside Yuck et al, it seems the grunge revival really is arising all over the globe.

Planningtorock 'Doorway'

Planningtorock, aka Berlin-based experimentalist Jane Rostron, one time accomplice of the Knife and long time underground solo artist, has an awe-inspiring new album entitled W. Interweaving the blissful, the emotional and the minimalist, she envelops a whole load of genres as the album progresses and spits them out with passionate aplomb. 'Doorway', an upbeat, YACHT-meets-Fever Ray ditty, is the first single taken from the LP, and is the epitome of her transcendent, unworldly dreamscapes.

Grouplove review

The story goes that LA-based Grouplove met in Crete, as you do, latterly forming a band and then recording a self-titled EP. Since that record’s conception, the band have signed to Canvasback/Atlantic, spread their intriguing story and garnered rather a lot of hype….. But now is now and then is then, and upon repeated listens to the EP, I can now confirm to you that this uproarious five-track collection can only ratify and amplify the buzz surrounding them. These guys are hellions ready to flatten you with their monumental music. The songs are exudations of musical turbulence, rawness reminiscent of punk rock and vocals akin to Stephen Malkmus of Pavement.....

Read what else I had to say on Sucking Lemons.

Week #6: Jhameel / Jessica 6 / Lia Ices

San Fran-based Jhameel is a beguiling character. His sounds are fruitful and winsome, but his popularity unfortunately rather too depleted for my liking. There is something very wrong with this, you will probably agree. For this teen wunderkid is a master in the art of writing crooked odd-pop tunes, which are at the same time both melodious and a bit lopsided. 'The Human Condition' is my favourite: a mystical concotion harking back to Sufjan Stevens' earlier work, cross-faded into Dirty Projectors' wonky musical endeavours, with tinges of Mika's twisted pop. Like the sound of that? Well, you can download the whole friggin' album here. It's a corker.

Who cares if Hercules and Love Affair's second LP wasn't really up to scratch?... Because it seems their dark-disco spirit has been passed on as another idiosyncratic form, as Jessica 6, a trio based in Brooklyn who used to be a part of H&LA's live group. They're still purveying their own take on nu-disco, and their sounds are still clouded over with a rather macabre overtone - on paper this group seem to resemble their old posse almost preeningly. But just listen to 'White Horse' and you will discover something befuddlingly new altogether. We have lead singer Nomi Ruiz and her slightly alluring, slightly androgynous vox, some damn funky rhythms and a bewildering range of percussion twinks and synth swirls. It's fabulous stuff - expect great things from these dudes this year. Their full-length debut is out in May.

For fans of: anything old skool (Chic... Grace Jones...).

Like Joanna Newsom and Agnes Obel before her, Brooklyn's Lia Ices spook-infused folk is at once gentle, ethereal and illustrious. In fact, everything for which yours truly, Mane Shakin' Folk, stands for. The ability to captivate. The memorability. The geniality. Indeed, it's her saccharine vocals at the fore which really protrude and dominate, overshadowing the music. But with the added handclaps, the simplistic solo guitar chords and the mini string orchestra which enters as the song reaches its crescendo towards the end, this lovely musical backdrop only supports her marvellous vocal ability.

Yuck 'Holing Out' video

R.I.P. The White Stripes

Yesterday the entire music industry wept as the most compelling and important duo of all time called it quits. OK, we could all see it coming after that slightly off performance on Letterman the other year, and the group's ensuing silence, but it came out of the blue, or should I say, the blues. Haw, haw. But the fact is they've gone for good.

And so, what with them being so momentous and inspiring and that, influencing everyone from The Strokes to The Arctic Monkeys to Best Coast to The bleeding Black Keys, I thought I'd compile a list of my top five tunes from the W S' back catalogue:

5. JIMMY THE EXPLODER


4. YOU DON'T KNOW WHAT LOVE IS (YOU JUST DO AS YOU'RE TOLD)


3.HELLO OPERATOR


2. SCREWDRIVER


1. FELL IN LOVE WITH A GIRL

Win Win feat. Alexis Taylor

 
Win Win, moniker of Spank Rock's XXXchange, has uploaded a sublime new tune entitled 'Interleave'. Conjuring up a mystical space-pop soundscape, overlayed with both retrospective 808 synths and haunting vocals courtesy of Hot Chip's Alexis Taylor, the result is a sublime synth jam that ascends and descends before fading out, having seduced us greatly with its immaculate production. I want more.