Chimpomatic

Pearl Jam

O2, London

With relatively few UK gigs under their belts, it's always nice to have Pearl Jam in town. Assuming they aren't one of your most hated bands, of course.  As noted by the band, their first UK gig was at The Borderline in '92 - and they were often described as being 'full of energy'. Probably because they "only played eight songs" - a long way from tonight's three-hour-plus show in front of a packed house. So packed, that Eddie Vedder wisely hypnotized the crowd into taking a unified three steps back about four songs in, reminding everyone of why they were away from Europe for so long before.

With the band maturing gracefully, and the Ten reissue garnering such nostalgic praise, it's hard not to suspect that Pearl Jam may be winding things down somewhat. Tracks from imminent new release Backspacer didn't make much impact, while the set was packed with often overlooked tracks from the earliest (four) albums.

Surprise opener Release was a highlight, plus plenty of favourites from Vitalogy, the spine-tingling Footsteps, personal favourite Light Years - as well as obligatory singalongs Black and Betterman, plus the rousing encore of Crazy Mary.

While you might expect the enormodome proportions of the O2/Millenium Dome to make for a stale atmosphere, with the right band it makes for an exuberant party vibe. We're all here to see Pearl Jam, but with the beer stand so easy to get to you'd be foolish to pull the usual trick of backing up your toilet breaks to the end. And so evolves a new dilemma: where to take your break. With so many favourites flowing easily it's a tough descision, especially when unknown newer songs provoke a mass exodus/bigger queues. Like choosing which kid to throw out the boat first, I went with Rats, while BC chose lesser known b-side I Got ID and CJ bizarrely chose Elderly Woman Behind The Counter In A Small Town. At least he was back quick.

If you hate them, you hate them, but if you love them you'll wish you had been there for a typically roof-raising performance from the definite 'grunge' (ha!) rockers.

Setlist:
Release
Animal
Corduroy
Why Go
Elderly Woman Behind The Counter In A Small Town
Immortality
The Fixer
Even Flow
I Got I.D.
Rats (with a bit of Michael Jackson' Ben)
Got Some
Whipping
Light Years
Insignificance
Black
Life Wasted
Blood (with a bit of Atomic Dog)

Supersonic
Hail Hail
Footsteps
Love, Reign O'er Me
Do The Evolution
Alive

Better Man (with a bit of Save It For Later)
Crazy Mary
Leaving Here
Porch
Yellow Ledbetter

I've put the best part of the setlist into a Spotify playlist here.

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#CSF

19th Aug 2009 - 2 comments - Add Comment - Tweet

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The Vaselines

Enter The Vaselines

Sub Pop

Talking to a friend about cover versions, he said that his pal always preferred the first version of the song he heard rather than the first one recorded. Anguished, he told how his chum maintained that Jamie Cullum did a better version of High and Dry than Radiohead. With the ‘first past the lughole’ preference in mind, I was intrigued to listen to this aggregate collection of the Vaselines – ‘Enter The Vaselines’. Would the original versions of the late 80’s Scot indie band be better than the versions I knew by Messer’s Cobain, Novoselic and Grohl?

Kurt Cobain (from Aberdeen, USA) was a big fan of the Vaselines (from Glasgow, Scotland). So much so, that he is alleged to have described founder members Eugene Kelly and Frances McKee as his "most favourite songwriters in the whole world”. Which might explain why Nirvana released three Vaseline songs: "Molly's Lips” and "Son of a Gun" on 1992’s Incesticide and the more widely known "Jesus Doesn't Want Me for a Sunbeam" on the MTV Unplugged album.

Of course it’s unfair to talk about The Vaselines only in terms of being the band wot Kurt liked (which, I’ll confess, I seem to do in this review). However, it seems clear that the loud applause from the Grungemeister has been central in widening their fan base and in encouraging Sub Pop to re-release all their stuff…again (In 1992 Sub Pop packaged up just the two EP’s and the album).

This time the Seattle label has gone the whole way with this deluxe remastered album as it once again contains all the music ever released by the band, but is rounded off with some demos and two live sets recorded in Bristol and London. The two EP’s ‘Son of Gun’ and ‘Dying For It’ were originally on sale in 1987 and 1988, while their only album - ‘Dum-Dum’ - was originally released the week the band broke up in 1989. (Though they did reform - for the first time - to open the bill when Nirvana played Scotland in 1990).

So. A word to the wise: listening to the 36 songs in one sitting is hard work. Hearing three versions of “Son of a Gun” and “The Day I Was A Horse” is tough going (though I was happily humming the former for the rest of the day). The whole thing is much more agreeable when broken down into it's composite bits - with the looseness and humour of the live shows making them the most enjoyable slices.

With strong hints of a Velvet Underground drone, at their best the raw sound delivers catchy pieces of punk pop. However, it does feel a bit one-dimensional and, while it might simply be due to familiarity, I think Cobain picked out the best tunes (with the exception of the horse song). As for the battle of versions: It’s a close run thing, but I think Nirvana just edge it. The songs on Incesticide have more power and pedals, while the Vaselines lose vital points for the squeaky toy that needlessly appears on the EP version of ‘Mollys Lips’.

Here’s an editable spotify playlist of some covers and the originals. See if you can last more than the 40 seconds I managed of Jamie Cullum. 

#Music
#Locochimpo

8th May 2009 - Add Comment - Tweet

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Bonnie 'Prince' Billy With Harem Scarem and Alex Neilson

Is It The Sea?

Domino

‘They’re really great live…’ people often insist, when I appear unconvinced by their particular musical offering. It is true that a live recording often reveals the real character of a band; there is an immediacy which can lift the music above an album template. There is always the risk, though, that a live performance can expose the over-produced limitations of a band’s music.
No one could ever accuse Bonnie Prince Billy of being ‘over produced’ and Is It The Sea? confirms his natural habitat as the stage rather than the studio. This is a brilliant record which bears witness to one night on BPB’s 2006 tour of Scotland and Ireland. He is joined by Edinburgh’s Harem Scarem on close harmonies, fiddle, flute, banjo and accordion and Glasgow’s Alex Nielson on drums and percussion. Much of the vitality of this recording comes from the contribution which these collaborators have to make. The highland lilt of their fiddle, accordion and flute accompaniments give BPB’s primal tales of love and loss, a real sense of depth. Their harmonies are always pure and direct; there is no great elaboration, only a mainlining of the musical heritage that BPB's revised American folk stems from.

Particular high points include Birch Ballad, a mesmeric Is It The Sea and an increasingly demented version of Cursed Sleep. In the act of performance many of the songs have been turned and twisted from immediately recognizable favourites.

Billie’s music has always carried a kind of medieval foreboding which is dramatically amplified here. In the case of Molly Bawn, the song’s minor key and archaic language are given an extra twist of Celtic wailing. The result is that the balladic tradition from which this song springs, appears alive and well in the hands of Bonnie Prince Billie.

There is a real authenticity to these recordings and a genuine fervour in the audience’s response. We are as far removed from the boot-tapping folksiness of American country as is possible. Instead the backdrop to these performances is that of a European heritage, an aural culture where tales were passed from generation to generation by firelight. Bonnie Prince Billie has appeared to us in many different guises but on Is it the Sea? he is at his most convincing as a kind of musical emigrant brought back to his roots.

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#LG

19th Oct 2008 - Add Comment - Tweet

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Bowerbirds

Hymns For A Dark Horse

Dead Oceans

In their original incarnation, Bowerbirds were a duo consisting of guitarist and principal songwriter Phil Moore and accomplished painter Beth Tacular (great name) assuming accordion and percussion duties. Before the recording of their debut album, Hymns For A Dark Horse, they were joined by Mark Paulson who has added vital instrumental layering to their compositions, bringing piano, violin and added percussion to the band. This album was originally released in 2007 on Burly Time Records but is given a rerun this August with added tracks by the Jagjaguar affiliate Dead Oceans. Currently on tour with Bon Iver, Bowerbirds continue the gentle wave of grass-roots American folk that is warming hearts across the globe.

An unassuming Hooves nudges this record into the light as it emerges quiet and lonely. The accordion provides glimmers of warmth until the multiple vocals arrive for the chorus. All these elements are exploited to greater effect on the following track. In Our Talons assumes a brisker pace with homemade drums click-clacking in the distant background and the rising voices lifting the song to its climax of "No, you're not alone." Dark Horse's violins soar with gentle melancholic sunshine like kind words spoken to a broken heart.

It's the group harmonies that provide the essential ingredient on this album. Moore's solo vocals have an easy croon to them but it's when he is joined by what sounds like more than 2 more voices that each song is lifted from simple singer/songwriter outpourings to majestic pieces of heartfelt beauty. Musically each song relies on two main factors, the whispering accordion that faithfully accompanies each vocal journey, and secondly it's the DIY drum beats that follow behind. As if being played with sticks on the kitchen table, this makeshift beat provides the record with its earthy rawness and as they seem to come from way back in the distance they provide a hollow element to the sound. The inevitable reaction that takes place when this emptiness is filled by the gathering vocal harmonies is the ultimate success of the record.

The comparisons to the aforementioned Bon Iver come not simply through the record company they are both associated with, but from an obvious ethos that surrounds the music they create and the life they live outside of this music. Moore and Tacular live in an Airstream trailer on a quiet plot of land on the outskirts of Raleigh in North Carolina and it's this sort of organic, rural and simple way of life that permeates every second of this record. It informs its unpretentious wishes and helps deliver on its honest expression. There are differences of course: Bon Iver aims to conjure a greater sense of loneliness and does it with dazzling effect. Hymns isn't so dazzling and Moore's voice lacks the captivation of Justin Vernon's and when left alone for too long can slip into a mediocre folk sound. Album closer Matchstick Maker illustrates this tendency to tread water. With no obvious centre to the song it can drift along in an unfocused haze as if guided by Adem. But thankfully for us this seldom happens and the result is a work of real beauty. Jagjaguar and it's affiliated labels are providing the backbone to this years top releases and while Bowerbirds may not leap from the pile like some of the others, it resides near the top of the heap as a band clearly in love with their craft.

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#BC

31st Jul 2008 - Add Comment - Tweet

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Soe'za

7 Obstacles

Gringo

Of late it seems that any music that has really caught my imagination and got me all excited (in the way that only good new music can) has tended to have been shipped across from America or Canada. Seemingly most of the new British Made bands rising to the top seem to follow the same unremarkable formula. However, happen as it gives me great pleasure to say that this sterling album from Soe’za has only been and gone and been made by a large bunch of fertile minded people from the South West of England.

Judging by their stats the band get two thumbs up from me: 7 or 8 people (since seeing Broken Social Scene live again I’m convinced that more is more), two drummers (name me a bad band who has two drummers), a pleasant blend of his’n’her vocals (harmonious), a cello (hello), the usual bass and guitars (check), and – best of all – a French Horn that rounds the sound marvellously (nice brass).

The album has a vital and urgent intensity throughout (shown best on ‘Don’t Bother Coming Home’) which is nicely balanced by a couple of warming instrumentals with the French Horn taking centre stage. They’ve been compared to Fugazi and Deerhoof, but if that means nothing to you then what you’re looking at / listening to is, simply put, your Alternative-Art-Rock-Improv-Noisy-Punk-Indie-Post-Hardcore genre. Which sounds a lot better than it reads.

Now then, I’ll admit that I don’t always pay close attention to lyrics (I can easily like a great tune with poor lyrics, but great lyrics over a rubbish tune might well pass me by), but some of the pleasantly odd rants and rambles did stand out here. Such as on ‘Any Road’: “Peering through the glass / there is an old dear / scrutinising the cream cakes / how long will they last?”. Sadly they never reveal the sell by date, but happily there are several more moments of bizarre lyrics which, with the occasional hint of that West Country lilt, they ably pull it off where others might not.

7 Obstacles confirms that brass is underrated and underused and that there are some really interesting British bands out there drawing up their own musical blueprints. All told, happen as I think this album is tip-top and one of the most interesting I’ve heard for some time.

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#Locochimpo

25th Jun 2008 - Add Comment - Tweet

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Radiohead

In Rainbows (Disc 2)

If you were expecting this addition to the most talked about record of the year to be to In Rainbows what Amnesiac was to Kid A you will be slightly disappointed. This is 8 songs but only 26 minutes long and serves as a worthy accompaniment to the original record. It differs both in pace and mood to In Rainbows and seems more like preparatory sketches after being dazzled by the finished painting. They don't have the same level of rich production, they are of a much more relaxed tempo and lack the same breadth of direction that their counterparts have. Having said that they manage to take all the uncharacteristic warmth of In Rainbows and turn it inward to the more haunting and desolate place we are used to seeing this band.

Where the first disc ends this one picks up with the opening Mk1's solemn piano chords echoing Video Tape. Many of these songs use the piano to create the sombre mood that dominates this record and with the help of soaring strings like on Go Slowly, Amnesiac's Pyramid Song becomes the main comparison for the first half of the album. It's not until Up On The Ladder that the mood shifts. This is a lip-curling rumble of a song that plods along full of tension on the minimal beat and deep guitar and though it threatens to explode it exercises merciless restraint and just fades away. The explosion is left for the following song. A crowd favorite at last years live shows Bangers And Mash is the muscle behind this record. Grinding guitars and Yorke's frenzied vocals lift the tempo at a vital point and as it all collapses in a heap of exhaustion the dust settles on the sublime closer 4 Minute Warning. It's a cavernous and empty song with the vocals brought right forward to an intimate closeness. It finishes this mini album off in the manner by which it started. Sedate and withdrawn, these songs are the less approachable and introvert cousin of the first record and actually have more in common with the haunting and empty feel of Kid A or Amnesiac than any of the more recent songs.

Having lived with In Rainbows for some time now it is emerging as one of the most complete Radiohead albums to date and for that reason it's hard to add anything to this. But this second disc avoids the 'add on' feel and shows us the darker underbelly of its predecessor. The disc comes with a generous helping of Stanley Donwood in the form of more than 60 digital artworks and even more behind the scenes band photos. The whole disc box is a treat to explore and really reignites the lost art of the record sleeve. The throwaway nature of the albums initial release is reversed with this exquisite packaging and elaborate presentation. It will probable go away into the cupboard now but will be something to treasure none the less.

#Music
#BC

12th Dec 2007 - Add Comment - Tweet

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Wilco

Sky Blue Sky 'Tour Edition' EP

Nonesuch

Following the format they have used for a couple of recent albums, Wilco are re-releasing their Sky Blue Sky album (read the original review here) as a 'tour edition', featuring a 5 track bonus disc. Rather than pulling a fast one over the early adopters however, those who have already purchased the album should be able to pop the disc in the computer and access the tracks for download from Wilco World.  (Coming soon for UK readers apparently).

Let's Not Get Carried away was already available as a bonus track for iTunes customers and like pub rocker The Thanks I Get, it's less detailed arrangement and performence don't quite fit the same tone as the finished Sky Blue Sky album.

One True Vine was previously issued with the Either Way single and is a more downbeat affair, taking it's cues from 60's Motown and the positive thinking mentality of Wilco hero Bill Fay. It's short and sweet, but makes for the EP's highlight.

The live version of Impossible Germany is a polarised rendition of the album track, with the more downbeat opening section serving to enhance the vitality of the live guitar work, while Hate It Here works well as a question and response jam that could easily have come from a 70's Band album. With the overly serious sound of the album version absent, the instruments play back and forth off each other nicely and again Nels Cline's great guitar work steals the show.

As with the tour edition of A Ghost Is Born, these songs definitely fall into the category of bonus tracks and as such should not be considered in the same context as the album proper - which may have received some relatively luke-warm reviews but certainly works as a cohesive, focused work. Having said that, you won't really be listening to this as a self sufficient work either. It's major success is to serve as a reminder that Wilco are a great live band and Sky Blue Sky is a great album, perhaps unfairly overshadowed by it's elder relatives.

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29th Nov 2007 - Add Comment - Tweet

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Underworld

Oblivion with Bells

Vital

Hurray for techno! It's a least twenty years old now by most reckoning, and rather lazily speaking, Underworld are the best known UK exponents of this genre thanks largely to the success of Born Slippy and it's immaculate placement in the movie of Trainspotting. And a curious position they hold - leaning very much towards the progressive side of things, but thankfully never straying down Rue de Eurotrance - they've always had a somewhat melancholy edge to their music which has meant they can sound a little too serious for that post-clubbing meltdown in the sofa at home.

Their new album delivers a similar experience to Secondtoughestintheinfants (2nd "proper album") - a very solid record which will give Underworld fans what they want. Opening tracks Crocodile and Beautiful Burnout are classic Underworld, before things take a bit more of a housey turn with Holding the Moth - which puts me in mind of the Music For Freaks label. Ring Road is a new take on Karl Hyde's streamofconciousness approach, and Boy Boy Boy sounds like the most original thing here, after which the whole album winds down in pace.

Overall though, this record is unlikely to win very many new fans given that dance music is not as mainstream as it was the last time Underworld released an album. It doesn't mean this album is any the worse for that - in fact it's rather good - but as exponents of a 20 year old musical form which is starting to feel (gasp!) a bit retro, Rick Smith and Karl Hyde may well find themselves classed as underground once more.

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#HarrisPilton

13th Oct 2007 - Add Comment - Tweet

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Melvins / Big Business / A Purge of Dissidents

The Fillmore, NYC / Luna Lounge, Brooklyn

Two gigs in close proximity for America's best kept secret, the mighty Melvins - bang in the middle of a short North American tour. Taking a similar approach to the show that was brought to Europe earlier this year, the Melvins have their own built in support act - Big Business. As a bonus, the shows were opened by a series of sick psychedelic animations called "a purge of dissidents".

Having toured exhaustively through 2006 and 2007, the Melvins have returned with a revamped set which includes some new takes on old material. Opening up with It's Shoved and a bizarre cover version of the Beatles' I Wanna Hold Your Hand (each of which last about 2 minutes) the band chunks into Civilised Worm from last year's magnificent album A Senile Animal. They follow with a brace of unreleased tracks including the brilliant Suicide in Progress. However, it's when they play Lizzy from seminal album Houdini that the crowd really starts responding and the band themselves seem to pick up the energy levels.

Some of the usual crowd pleasing favourites have been dropped in favour of tracks from the Eggnog and Lysol albums - With Teeth sounding particularly fine in it's revitalised form, but the fast medley of tracks from Senile Animal is what really gets the fans moving - the middle of the dancefloor turning into a churning mass of pogoing and moshing. The pace slackens off towards the end of the set, with Mechanical Bride demonstrating just how dark and sludgy they can be (and folks, I mean that in a really good way), before closing with another classic Melvins cover version of Alice Cooper's Ballad of Dwight Fry.

The band seems in quite a serious mood on these dates (with the exception of Jarred Warren, who insists to the crowd that his T-shirt does not depict a Unicorn - it's a "fantasy horse"), but the playing is tight and the fans are very happy. A line of more than 100 people turned away from the sold-out Brooklyn date gives you an idea of the loyal following this band inspires... most of them just hung around outside the gig until the show was finished, just on the off chance they might get in.

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#HarrisPilton

9th Oct 2007 - 3 comments - Add Comment - Tweet

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Broken Social Scene

Scala, London

Lynchpin of Canada's sprawling Broken Social Scene, described as indie's wu tang clan, Kevin Drew is a man who evidently has an aversion to pressure. In many ways this mindset has been the essence of the groups burgeoning reputation; but also perhaps provides an explanation as to why BSS have, thus far, failed to progress from a committed cult following and into the mainstream. The reluctance of Drew and co-founder Brendan Canning to seek the limelight is at the root of the collective's organic and diverse sound that invites contribution from a variety of Scene associates and members. BSS are a democracy of stars not a dictatorship or an autocracy. Shorn of the girls (Feist, Emily Haines and Amy Millan) and the brass 'blasters', tonight was very much the Drew show and initially suspicions were that he might not be able to step up to the plate.

Arriving on stage with one hand in his pocket and the other gripping a beer Drew made a little speech which reeked of 'getting excuses in early'. "Stop apologising" he was told by a particularly vocal heckler when observing that 'life is full of pressure. You get out of bed you feel pressure. You cook a meal you feel pressure. There's pressure to get the girl. There's pressure at work. So how about tonight we play free of pressure". Politely requesting the crowd's indulgence he explained the point of tonight's gig was to showcase and trial songs from the forthcoming album 'Broken Social Scene present's Kevin Drew's... Spirit if'. It wasn't the most auspicious start; akin to turning up to see your favourite footy team only to find out that some of the star names had been left on the bench and the rest would actually be playing rugby.

For a man with such a passionate fan base Drew's insecurity was surprising and as it turns out completely unfounded. As promised we were served up songs penned by Drew but interupted by seven of the Scene's stalwarts. Eschewing some of their tendencies towards ambience, balladry or electronica; opener 'Lucky Ones', with three guitars variously take the lead, was a statement of intent. Tonight was about rock. Continuing the earlier theme 'Farewell to the Pressure Kids' cranked up the volume before synth was finally allowed to rear it's head on 'Safety Grip'. Reviving previous obsessions with songs from love's outsiders the gig really kicked in with 'Too Beautiful to Fuck'; a tale of listening to people through hotel walls. Singalong for the fans came in the form of 'Backed Out on the Cocks' which the crowd enthusiastically embraced. Good as his word Drew continued to deliver more new tunes all of which showed potential. Much as it would be marvelous if it were otherwise it just can't be denied that nothing hits the spot in the same way as songs that have already been taken to the heart. After an hour or so the crowd were becoming slightly restless.

Buoyed by the mainly positive reception given to the new material the pressure now seemed to be off so that Drew and the boys began to relax. Rewarding the followers for their patience they stomped through 'Super-Connected'; just one of the winners the crowd had come in hope of hearing. Now on a roll 'Major Label Debut' was rattled through giving a delicate tune a new bouncy feel. Such was the reaction of the congregation to hearing the sermon that they'd yearned for from the cult leader there was still a nagging feeling that this was what the Broken Social scene can really deliver. There was a prevailing sense that tonight's show could have been something really special. Closing the set Drew was reconciled with his most fervent heckler inviting him onto the stage to waltz through the closing of 'Lover's Spit' a song so lush it could have filled the Royal Albert Hall several times over let alone a sweaty Scala. Revitalised by the crowd's enthusiasm for old favourites and now well and truly warmed up the Scene didn't want to vacate the stage but had to confess they had nothing more rehearsed. A quick conference was held to find out who knew how to play what while Brendan Canning stepped forward to point out; 'we're not going to cure any diseases tonight but we'll try to play you a song'. And what a song it was with 'Cause=Time' elevated to a tour de force.

All bode's well for the 'Spirit If' project and in fairness the Scala performance was a success but ultimately the sense was that this was a taster of what could have been. My own regret at illness forcing me to miss out on a performance last year of the whole BSS ensemble was only deepened. To slightly miss-paraphrase Smokey Robinson, sometimes a taste of honey can be worse than none at all.

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#Gig
#Muxloe

10th Sep 2007 - Add Comment - Tweet

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Jeffrey Lewis

12 Crass Songs

It’s been a good week for record label PR and a bad one for Chimp research, following from Muxloe’s Young Marble Giants admission, I had penned the following review based upon the first few listens of Jeffrey Lewis’ 12 Crass Songs:

Jeffrey Lewis began life as a beatnik, or at least his parents were, a lifestyle choice that deemed comic books and blues records more suitable entertainment than that old Hippy’s foe: Television. Lewis took that early absence in his life personally it seems, as TV is one of several targets in the sights of his nasally-voiced shotgun on new album 12 Crass Songs. 

Before becoming a musician and a member of New York’s anti-folk movement (the power and anger of punk via acoustic guitar) Lewis drew (aha) on his upbringing to become an underground comic book artist. The sparse/direct style of comic books runs through 12 Crass Songs; it’s a wall-to-wall bunch of blunt, angry self-effacement - delivered like a crude black and white sketch through minimal music and Lewis’ talking/singing.

12 Crass Songs doesn’t let up. Nothing is spared as various tones of grey are added to the bleak portrait of the western world today. The human race is the first in the firing line on End Result “I’m part of the race that kills for possessions, part of the race that’s wiping itself out” On I Ain’t Thick, Lewis has his daggers drawn for that old villain 'The Man' who uses TV/Sarah Jessica Parker, consumerism and even history books, to keep the masses downtrodden, but Lewis ain’t having that y’all.

Systematic Death plays out like a comic book story, etching a sketch of Mr and Mrs Average America doomed to a life of misery, oppression and downright idiocy under the SYSTEM SYSTEM SYSTEM!

If he’s pissed at Sarah Jessica Parker, then imagine the ire Lewis reserves for Bush (I bet even Sarah Jessica Parker is pissed at him) and Mr. President’s policies, particularly his idea of defence, come under the penlike scalpel of Lewis. Even punk itself isn’t safe. Punk is Dead laments that the movement that once inspired Lewis and his contempories sold itself out “Punk is Dead. Punk is Dead. Just another cheap product for the consumer’s head”.

I would disagree however, what is punk other than getting a personal message out there by the most direct means possible (or is that DHL? (Corporate Fascists)). It’s easy to roll the eyes at another New York artist bitching about conspiracies and the like, but that’s exactly the fuel that feeds 12 Crass Songs. The world in 2007 is a mixed-up place of complacency and terror, artists that stick their head out, stare you in the eyes and point that out should be saluted. However, it surely wouldn’t detract from the message to add a splash of colour now and again, if only musically….

Then, like a tardy Colombo, I discovered that I had overlooked a vital piece of evidence; 12 Crass Songs is exactly that; 12 cover versions from late 70s/Early 80s English Anarchists Crass.  It’s depressing to think that 30 year old messages of protest and opposition still ring true and clear today, and strangely all of my thoughts were still valid - even though I refuse to believe that Sarah Jessica Parker was a key instrument in Thatcher’s oppression of Britain’s working classes.

#Music
#chimpovich

3rd Sep 2007 - 1 comments - Add Comment - Tweet

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16 Blocks

(dir. Richard Donner)

A cop with a shady past does everything it takes to get a witness in a police corruption case through 16 blocks to the courthouse, as a police force littered with corrupt officers try to stop them both.

Not bad by-the-numbers Bruce WIllis actioner, somewhat revolutionary for it's re-vitalisation of the freeze-frame ending.

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8th Aug 2007 - Add Comment - Tweet

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Pearl Jam

The Point, Dublin

Having seen Radiohead earlier this year, and with My Morning Jacket coming up in September and MC Hammer in done 1990 only Pearl Jam and Wilco remained as the pillars of my music taste yet to be seen live. Now, after one memorable night in Dublin, Wilco stand alone.

This could have gone either way, as I have been into this band since I was a kid and although I love the new album it rarely gets played when a Pearl Jam mood grips me - often losing out to such classics as Vitalogy or No Code. I was quite surprised to find myself at the front of a seething mass of frenzied fans as I thought it was just me, CSF and a few other Chimp affiliates that still followed this band. Apparently not. Even though the Dire Straits sounding Inside Job is far from being my favourite track on the new album I was very grateful to hear its slow steady build up as the opening track. Had a more anthemic opener been chosen I fear my rib cage would have collapsed under the pressure of 7000 foaming, sweaty fans. This calm intro didn't last long as the band began to race through a string of the best of the new stuff, with the mighty World Wide Suicide being a crowd favourite.

From then on the order of the day was 'hands-in-the-air-platoon-moment-classics,' and it was simply dazzling. Given To Fly had the fans in a blissful state of euphoria and the wonderfully extended version of Daughter was followed by the live favourite Better Man which saw Vedder's voice being drowned out by the swell of a 7000 strong sing along which couldn't help to send shivers down the spine. As if this wasn't enough the first act was brought to a climactic finish with the phenomenal Rear View Mirror, Pearl Jam's finest moment in my opinion. It's a pretty epic song at the best of times, the bands Bohemian Rhapsody if you will, but tonight it was extended beyond my wildest dreams. It dipped and soared and seemed as if it would never end until finally it burst into a climactic crescendo with every light in the house being called upon.

Two encores later and just about every classic you could possibly wish for (including a cover of Dublin favourite The Boys Are Back In Town by Thin Lizzy) and I was truly exhausted. Every time I was fortunate enough to catch a glimpse of Eddie Vedder through sweaty bodies and other peoples wet hair plastered across my face he looked to be having a really good time. Lots of banter with the crowd made us feel that this was an important night for him and the band as well as us, and after a lengthy rendition of Neil Young's Fuckin' Up Vedder thanked the crowd for welcoming them back after six years and humbly departed the stage.

It was clear to see the bands unity after 15 years of playing together as they often huddled together and jammed furiously, as if alone in this great hall. In true Donnington Monsters of Rock style they all stepped aside during Even Flow for a five minute Matt Cameron drum solo which was simply ossum. My only criticism was the shear size of the venue. I gave up fighting for my life while straining to see anything along time ago and even though it beats sitting it's far from ideal. Apart from that it was everything I expected and much, much more.

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25th Aug 2006 - 9 comments - Add Comment - Tweet

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United Sounds of ATP

Camber Sands Holiday Centre, Sussex

Before going to the All Tomorrow's Parties music festival (at Pontin's Holiday Camp) I wasn't sure what to expect - and leaving a few days later I'm still not sure what I made of it all. Staying in a chalet as opposed to a tent had it's obvious benefits, especially as the rain was fairly relentless the entire weekend - making those swimming trunks I packed optimistic at best. But the constant grey skies and rundown look to the place gave it an Apocalypse Now feel - a surrealness not lightened by having to negotiate 'Funland' to get to the bar (my funland). The winner of ATP however, is that it truly is all about the music. Each headlining act allowed to choose their favourite bands to play bill - so the opportunities to discover something new were high.

Day 1
So heading to stage 2 (downstairs) on the Friday and lifted by the news that Guinness was coming in at a reasonable £2.70 a pint, The Magik Markers were a good place to kick things off. I'd read a bit about this Hungarian/American three piece and was definitely loving the fact they only played two songs in their 40 minute set (I preferred track 1) allowing me to catch up with mates, whilst dipping in and out of their (at-times) fairly rocking jam sessions. I was told however, that Dead Meadow upstairs (stage 1 of 2) were awesome, with a particularly excellent drummer -a vital ingredient for any self-respecting rock band. So upstairs we went -happy with the fact you could walk to a fairly good spec in the crowd relatively hassle free. Broken Social Scene were excellent -the surprise package of the weekend. I'd heard the name, but didn't really know their sound - they reminded me a bit of Mercury Rev - how they would allow a euphoric brass section to creep up and get you grinning by the end of each song. Also, it's the sign of a great band when you are thinking 'There's no way they can top that tune' then halfway through the next you've already forgotten the previous one (if you know what I mean). We were also treated to an early glimpse of Friday's curator J. Mascis - with long grey hair, shades and adidas shell suit. The man is a hero. He came out for a bit of a guitar duel with Broken Social Scene. Odds were stacked heavily against BSS though, as J's guitar sounded like it was turned up to 14, drowning out allcomers. Still, that whetted the appetite for Dinosaur Jr. later. Next up, indie stalwarts Teenage Fanclub. Although they opened up with personal favourite 'Mudhoney' I thought I'd go and check out The Brian Jonestown Massacre instead. Shouldn't have bothered. I liked their music in Dig!, but they were a bit boring really. I guess I was as guilty as many others, down there for the 'Car Crash' effect - waiting to see if Anton Newcombe was going to crack and kick anyone in the head (he didn't). I was told that Teenage Fanclub were great though - fair play to those lads.

A drum kit flanked by 10 Marshall Stacks; Dinosaur Jr made their intentions clear from the off. They were extremely loud, but equally awesome. What happened to Lou Barlow? From nerdy Sebadoh boy, to some sort of pumped up uber-bassist - he easily promoted himself to Lead Bass in my fantasy super group. A fairly healthy split between Lou's and J's songs - with all the 'hits' in there, they are certainly a band I'd make every effort to see whenever they are in town. A blinding set to round off day one.

Day 2
The day started with a hair of the dog in the pub at twelve and ended 17 hours later being kicked out of the ATP disco. As a result, my memories of Saturday's bands are sketchy at best. The Fiery Furnaces were pretty good. Spoon reminded me of Wilco, but didn't really do enough to lift me out of my stuper. Main act Sleater Kinney were really good though (I think). They certainly rocked the house, with some powerful drumming being a prominent recollection. Worth checking out more of their stuff to plug those holes. Highlight of the day though has to be R Kelly's bizarre Hip-Hopera 'Trapped in the Closet' - showing on the ATP TV Channel (each headliner also gets to create a days schedule of TV). A 40 minute epic with R. Kelly lending his golden tones to the story of various dudes getting caught with each other's girlfriends and threatening to blow everyone away and shit. Was it for real? Who knows - but he did rhyme Bridget with Midget (the midget in question, was uncovered hiding in a cupboard by a policeman returning home early to his wife - bizarre indeed, but try and check it out).

Day 3
With the rain still coming down and the hangover a large one Sunday was always going to be about re-grouping. So, finding a spot on the back wall to nurse some beers was the order of the day (although this is obviously much more pleasant on a sunny last day of an outdoors festival, as opposed to an airtight bingo hall after a three day rock festival). To be fair to the bands, it was going to take something special to rouse me from that position. Aussie band The Drones had a good stab with their better than average pub-rock. The Decemberists were clearly a crowd favourite, reminding me a bit The Levellers, Placebo and the Polyphonic Spree - but not at all as bad as that sounds. They did manage to get the whole crowd to sit down for a quiet number (no problems for me) then getting them back up for a rousing finale. The lead singer of 70's style rock Dungen also played a flute. Then the highlight of the weekend, The Black Keys. Two songs in and I was up off my ass and into the crowd. The drum and guitar two piece played heavy blues and once again made me wonder what all the fuss is with the White Stripes. Following them was going to be extremely tough and so it proved for biggest disappointments The Shins. The band I was most looking forward to seeing, as I'm a great fan of both their albums, were let down by a number of circumstances. Following Black Keys, early sound troubles, being shy and too quiet. They almost lifted it a couple of times but not enough. Maybe I hit a wall, but I never thought I'd be walking out of The Shins early. That was that - some serious drinking and some damn fine bands. The music-first policy is clearly a winner, could do with a bit of sunshine though.

Probably worth a 4, but the rain and my own laziness in not checking out other bands knocks it down a half.

Top 5
1. The Black Keys
2. Dinosaur Jr.
3. Broken Social Scene
4. R. Kelley
5. The Chappelle Show

Bottom 5
1. Rain
2. Hangover
3. Eating too many crisps
4. The smell of the main room Sunday night
5. The disappointing Shins.

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#chimpovich

26th May 2006 - 1 comments - Add Comment - Tweet

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Red Hot Chili Peppers

Stadium Arcadium

While Blood Sugar Sex Magic had some (I'd say 3) great songs, it's funky-monk overtones make it sound dated, recorded as John Frusciante say's "back when we were assholes". The Dave Navarro version of the band obviously sucked, but after Frusciante kicked his drug habit and crawled back to the Red Hot Chili Peppers things really started to take off. Californication had some great tracks, but was quickly overshadowed by version 2.0 - By The Way. Frusciante had found his sound, releasing the awesome solo albums To Record Only Water For Ten Days and Shadows Collide With People and clearly shaping the direction of the revitalised Chili Peppers. After another 6(!) solo albums from Frusciante last year - all peppered with great tracks - the promise of a new full-spec double RHCP album was good.

Things kick off well with single Dani California. Using all the best elements of the RHCP signature sound - catchy, stripped down, funky bass, roaring guitar solo - it sets the pace.... and the rest of the album carries on from there. All the same. Every song is good, most contain a bit of all of their styles and all are in the 3-5 minutes / 3.5-4.5 star range - and that is where the problem lies. While the album is apparently 'based' on the planets (Disc 1 Jupiter, Disc 2 Mars) there is no obvious theme or progression over the album and not much difference between the two discs. It becomes totally homogenized and just seems like a collection of 28 randomly sequenced good songs.

Torture Me is not one of the best, but it stands out for merely being a bit more punky. Strip My Mind threatens to be like a Frusciante solo track - but ends up being not as brave and falling back into line. Even the bass-funk workout tracks pull their socks up to be not nearly as bad as some of the 90's era stuff. The excellent Desecretion Smile and Animal Bar have so far floated to the top of the pile, although I'm sure more will grow on me if I give it time. 28 tracks is a lot of time though, and in the age of CD a double album is more like 120 minutes than The White Album's 90. The lyrics also take the score down a notch, as the band have never been that deep, and that doesn't change here. There's plenty of lyrics of the horny-coyotes-prowling-around-michigan variety.

Time will tell whether this becomes a sprawling masterpiece or self-indulgant monolith, but for a band who should have been at the peak of their powers it currently seems that they are on more of a plateau.

UPDATE: As of August 9th '06 I'm updating this to a 4. It's 80% genius, and the finale of Snow (Hey Oh) and Frusciante's scream at the end of Wet Sand are worth the price alone. It's only losing points for the length and lack of sequence, but is undoubtedly the closest thing to their masterpiece (to date).

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4th May 2006 - 2 comments - Add Comment - Tweet

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Pearl Jam

Pearl Jam

Pearl Jam have a knack of sounding like a muscle car cruising down an empty road in Montana. Masters of the key/pace change, they often shift up and down gears, speeding up and slowing down but always sticking to the road.

While Life Wasted and World Wide Suicide are great openers (except for the title "World Wide Suicide" - definitely a case for 'keep the title out of the lyrics') rocking all the shift change tricks, it's not until six songs in that we get a real change of style - with Parachutes. Similar in tone to the Stones' track of the same name, this great little number is much more in the vein of 1996's No Code.

Things get more more varied on what would have been side two in the vinyl days, with Gone being the gem on the album. It's Pearl Jam at their best, using a simple quiet start to build up the emotion and sound into an awesome wall of noise.

Army Reserve is one song that doesn't quite click, somehow sounding like the U2-style jangling guitar was written separately from the lyrics, but the album finishes with two excellent tracks. Come Home sounds like a cover of a lost classic by Smokey Robinson or Otis Redding and is the band at their best. Inside Job, written by guitarist Mike McCready, is a moody slow burner. Staying just the right side of Dire Straits, the song would fit well on a movie soundtrack and brings the album to a worthy close.

The album is definitely a democratic effort and the input of the entire band leans the sound down the more conventional end of the Pearl Jam spectrum - generally sounding more like Yield or Riot Act than Vitalogy or No Code. That's never a criticism with these guys however and although not as lyrical as some of their work it's a solid, thoroughly enjoyable rock album from a band totally assured of their craft.

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25th Apr 2006 - 2 comments - Add Comment - Tweet

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