Sunday, 22 July 2012

Blogging like it's 2012

More parsimonious readers may have noted the absence of posts in the past couple of years. Your intrepid correspondent was rather engaged in securing the old immigration/employment status and diving into the rabbit-hole that is purchasing vinyl, and thus tragically unable to share his nuanced views on current matters musical with a highly restricted sample of the world (hi Mum!). But fear not, material/political concerns somewhat provisionally assuaged, I have returned to bother Chinese spambots once more, only this time, in honor of the bloke wot inspired this, I'm going to be sharing mainly my obsessions in the form of certain damaged physical  (the world was all physical in the olden days, kids) discs and what they represent. Coming soon: british folk/american primitive guitar; Thee Oh My Fucking God I Love Thee Oh Sees, progressive Metal?, Not Not Fun, Records My Parents Owned and possible a wee bit more...

Thursday, 7 July 2011

3/20 Dr. Dre- Detox


Would love to give this a write up, 'cept it keeps getting pushed back. Maybe next year...

Wednesday, 6 July 2011

2/20 Panda Bear- Tomboy

Alright, dalliance number two in wur quest to assess 'the' releases of 2011 and evaluate their rights to status-signifying inverted commas.

First off, full disclosure, I hate, hated Merriweather Post Pavilion. I thought it was a big jump away from everything that made Animal Collective interesting, towards the bland summery vibes of a Williamsburg frozen yogurt joint. For those who disagree, you can probably see where this is headed- go get this record, all I ask is you get some Black Moth Super Rainbow at the same time. Trust me.

For those still reading- cheers for that- here comes some nyumphing. See, Tomboy is probably the most frustrating record I've listened to in a long time. The production is immaculate, creating a kind of resonance usually found in choral music. Tracks build and shimmer in a way that must have taken an awful lot of talent and time to achieve.

Problem being, all that effort seems to have gone in to making as nice an album as possible. There's none of the tension which the title or the cover suggests to be found anywhere. In fact, you could probably play this to your grannie without her objecting, or perhaps even noticing the pleasant burbling vocals that lunge between the incomprehensible and the inane.

Ultimately, mulch is mulch.


Thursday, 23 June 2011

1/20 Kode9 & The Spaceape- Black Sun

Kicking off my sporadic analysis of the 20 records wot Fact reckons are the most anticipated of this calendar year, at number one (sans bullet): Kode9 & The Spaceape's second full-length.

Now it might just be the fact that he too is a supplanted weegie, but I've always really enjoyed Kode9's stuff- seeing him spin a year or two back with Flying Lotus was a particular treat. He clearly knows his stuff theory/production-wise (if that's your bag) but also knows his way around a good banger.

I can't say the same about The Spaceape unfortunately, who I've always suspected owes his success more to his ability to whisper very earnestly than to MC proper. Por lo general, hushed stoner paranoia can yield some interesting lyrical results (see Tricky, et al.) but unfortunately the Spaceape's lyrics have a tendency to sound more teenage than tortured.

See for example, 'Am I' which opens with the execrable 'I am a killer with a gun shooting rounds of inspiration?' and toddles along in pretty much the same vein for the rest of the track. It's not all bad, but those kind of moments lead to a grimace that tends to only wane during the instrumental sections- like the brilliant title track.

Overall, it's not a wholly disappointing experience, but I am left with the nagging wonder of what Kode9 might be able to do if he could just let his style roam across an album without having to worry about buffeting a vocalist.


Thursday, 2 June 2011