Friday 29 January 2010

Audio Journal by MJA Smith : 01/02/2010

Go to: My Other Blog :: Documentary Evidence :: twitter.com/mjasmith

I find myself struggling to think what to write about this time around.

I suppose I could write about the new Nitzer Ebb compilation, In Order, which was released a couple of weeks back as an iTunes exclusive. Nitzer Ebb were exponents of a type of music which was often described as 'industrial' but was more accurately described as 'electronic body music'; effectively, it was a very aggressive form of synth pop as espoused by the likes of Front 242, Cubanate and early Die Krupps; Nitzer Ebb, from Chelmsford in Essex, were lumped into the same bracket, though they derived more influence from their more successful Essex brethren, Depeche Mode, whose Alan Wilder produced their seminal 1991 album Ebbhead. They released one more album (Big Hit), before imploding, finally getting back together last year for a tour and a new album, Industrial Complex. In Order was an attempt by their former label (Mute) to compile a huge chunk of their B-sides and remixes into one mammoth 60-track download-only compilation.

Nitzer Ebb 'In Order' sleeve image

Listening to that this week is one of the principal reasons for not knowing what to write. With 60 tracks to digest, it took me pretty much the whole of the week just to get through it. Suffice to say, it's brilliant, but I was a fan already and so was inevitably very biased. I'll spare you a track-by-track account of its highlights, but few tracks have – for me – come close to the incandescent rage of the live version of 'Getting Closer' from the 'Godhead' single.

I could also mention the new single from New York's White Rabbits, 'Percussion Gun'. This is a track that needs to be heard to be believed, and I've attempted to describe why this song and this band are so exciting in my small Documentary Evidence review. Cick here to go there. Once again, it highlights the seemingly infinite number of bands to emerge from the New York / Brooklyn / Jersey area. As someone said, go to Brooklyn Heights and throw a stone in the air, and chances are it'll hit someone in a sleek and essential band from the area.

White Rabbits 'Percussion Gun' sleeve image

Both of these things aside, probably the best thing to grace these ears in the last week or so was equally the most unexpected. My friend and colleague Martyn found ourselves in Heidelberg, Germany on a work trip, and decided to head out for dinner in the town. We chanced upon an excellent little traditional pub, wherein, over beers and authentically rustic German fare we enjoyed pianist Rudi's versions of German standards and the odd Broadway show tune to appease we tourists, all delivered with pomp and aplomb at the pub's old upright Joanna. Of course, you had to be there, and the music is almost entirely indivisible from the setting and the experience, but take it from me, it was brilliant. Read more about Roter Ochse here.

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Saturday 16 January 2010

Audio Journal by MJA Smith : 18/01/2010

Go to: My Other Blog :: Documentary Evidence :: twitter.com/mjasmith

I was originally going to write about the CDs I was given for Christmas, but someone told me that they were fed up with me writing about David Byrne, Ryan Adams and Sonic Youth's Thurston Moore. Plus I'm keeping the comments on the excellent new Githead album (Landing) and the compilation of Nick Cave and Warren Ellis film scores (White Lunar) I was given by Santa for the Documentary Evidence website.

Instead I'll write about Contra, the follow up to Vampire Weekend's eponymously-titled album. The teaser track 'Horchata', which was given away free last year and which opens the album, provides a clue to the overall sound of Contra – odd little rhythms, elliptical lyrics, African percussion sounds deftly-deployed synths and sweeping strings. It's certainly a positive progression on Vampire Weekend, and certainly avoids any of the second-album hang-ups that beleaguer lots of heavily-hyped bands. Lead vocalist Ezra Koenig masterfully delivers his David Byrne-esque (whoops) lyrics with an occasional lilting edge that comes close to Paul Simon.

Vampire Weekend 'Contra'

My personal favourite track is 'Giving Up The Gun', which has a shimmery, luminescent summery feel to its bold pop strokes; but it also embodies my only criticism of this album. It's not its genre-defying musical skittishness; after all their New York musical contemporaries like MGMT and Dirty Projectors, and forebears like Talking Heads (whoops again), have made it their sound business to restlessly hop around the musical landscape like they own the entire sonic spectrum. No, it's more the fact that this album is far, far too optimistic and fuzzily warm for this time of year. As criticisms go, I guess that's not bad. On the strength of Contra, 2010 is going to be a vintage year for music.

Back in the summer I mentioned a New Jersey band called Real Estate, whose 'Fake Blues' single was on heavy rotation for a good few weeks on my iPod. Real Estate's debut album was released by the low-key Woodsist toward the back end of the year, and was perhaps a couple of months late in coming since, like Contra, Real Estate is way too cheerful for the bleak weather we're having here in the UK.

Real Estate 'Real Estate'

Best described as a more lo-fi Fleet Foxes, Real Estate combine brushed cymbal-heavy percussion with delicate filigree guitar sections and the sort of dreamy melodic hooks that makes the whole alt. folk axis so appealing right now. Martin Courtney's vocals are delivered with an air of cursory, otherworldly detachment on songs like the opener 'Beach Comber', while instrumental tracks like 'Atlantic City' propel themselves forward with some of the most innocently beguiling guitar sections you'll probably ever hear.

The same can not be said for Pat Metheny's ominously-named Zero Tolerance For Silence, an album whose title probably passes the fabled Ronseal test in saying all you really need to know about what's contained on the five tracks here. For me, this out-of-print 1994 album has a near-mythical status. I first borrowed the CD from my local library, and was initially attracted neither by Metheny's guitar dexterity nor his vast and prolific back catalogue. It was two things – the photograph of a neon striplight on the sleeve (don't ask me why; it just appealed) and a typically enthusiastic display of gushing praise by Thurston Moore (whoops; I swear that wasn't planned) on a sticker afixed to the case.

Pat Metheny 'Zero Tolerance For Silence'

Zero Tolerance For Silence is a challenging listen from the off. Metheny, a jazz guitarist by trade, here delivers five tracks that have much in common with Sonic Youthers Moore (that just keeps happening!) and Lee Ranaldo's excursions into free improv the world over. When I first heard it in 1994, I wasn't ready for the ear-shredding sonic onslaught that Metheny conjures from his electric guitars, and so I never made a recording. Since then my musical tastes have broadened ('worsened'?) and I have tried to track this down for the best part of a decade. Essential music for anyone interested in the locus between total punk anarchy and free jazz.

And look Neil, I didn't mention Ryan Adams once. Oh, actually...

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