Animal Collective - Painting With Review

Animal Collective have always been at their best when their music is at its most accessible.  The quality of Strawberry Jam and Merriweather Post Pavilion emanates from the expertly measured blend of pop and oddball quirks, like the steam from a psychedelic mushroom soup.  “FloriDada” met every aspect of this criteria, and raised my expectations exponentially.  The harmonised vocals and surf pop euphoria captured whatever ethereal magic The Beach Boys left behind after Pet Sounds was created.  Unfortunately the following single from Painting With, “Lying in the Grass”, was tedious and lacking in both exhilarating pop appeal or eccentricity of any kind, and my expectations levelled out. 

Upon listening to the album in full, I found a disappointing number of tracks had adopted the same kind of banal sluggishness of “Lying in the Grass”, in particular “Hocus Pocus”, which may well have sampled the former’s instrumental composition entirely, given how interchangeable they are. 

“The Burglars” is a welcome shift in tempo, with Noah Lennox’s percussion patterns adding a thrilling drive to the instrumental.  “Natural Selection” is easily the highlight of the album, drenched in the kind of oddball pop sensibility that Stephen Merritt would be proud of, and an instantly memorable chord progression.

“Bagels in Kiev” generally steers the album in a more ambient direction, and is all the more melodically rewarding for it.  The lyrical references to Kiev and biblical allegory leave the song sounding more like a rejected Vampire Weekend b-side however, and in all it suffers from the same kind of dreariness as much of the rest of the album. 

The distorted synth bassline and swift drum machines make “On Delay” an enjoyable respite from the general tedium of the surrounding songs, and “Golden Gal” is a genuinely touching and ear worming love song. 

For the most part, “Painting With” is disappointing, at least in terms of accessibility.  There are a couple of gems on here however, and “Golden Gal”, “FloriDada” and “Natural Selection” are fantastic songs.  But the general sparseness of the mostly synthetic instrumentals results in a shallowness that hangs over the album.  I can only recommend you stream the singles from this album.

Charlie McCartney

Death Grips - Hot Head - Track Review

Reviewing anything by Death Grips is a difficult task. Are they good? Are they bad? Are they music?

A new track from the only group to stretch LCD Soundsystem's definition of a breakup even further and a typical jutted out release from the group that stretch what it means to create music for commercial release.

 

Presumably the first single from their upcoming album "Bottomless Pit" the track "Hot head" unsurprisingly does not see the band explore some latin soul. Death Grips know exactly what they are great at which is making the undisputed most unique, innovative and exciting music out today.

 

This track has a couple of elements in its stramash that on the third or fourth listen show you how great they are if you weren't already aware. That guitar which weaves its way through this track coupled with the oscillating beat throughout create a sound which challenges and battles with the crass, foreboding vocals of MC Ride.

 

There is however a bit of a same old feel from this track. It would be even more exciting to see them expand their horizons even further, sure MC Ride will sound like a homeless man screaming at society and the music will sound like a synthesiser getting kicked down a flight of stairs but that doesn't mean that there couldnt also be something else occuring. Although saying this I really don't know if I want something else from Death Grips. They are a constant and before their branch of mayhem is discovered by the genre of music that so desperately needs a shot in the arm from hearing it (cough...metal...cough) I would be so happy to see them ride their glorious chaotic wave.

 

So to answer my questions, are they good? Yeah of course. Are they bad? Probably that as well yes. Are they music? Who gives a fuck?

 

Dominic Allan.

Blackstar - In Memory of David Bowie

Any attempt to critique “Blackstar” seems futile at this point.  Even if it were flawed in any way, the scope of the metaphorical and symbolic message renders all other points moot.  “Blackstar” is the 26^th and final album by arguably the most influential artist the world has ever seen, David Bowie. 

Transcending genre, gender and often even physical form, Bowie was a chameleon in every sense of the word, with every new skin being as enigmatic as the last.  His final form on “Blackstar”, that of a tortured artist facing the end is the heart wrenching and harrowing yet.  Every track is laden with intricate indications and signs, so much so that listeners will be deciphering its hidden messages for years to come.  The esoteric instrumental outro of the title track to the broken finality of “I Can’t Give Everything Away”, Bowie shows he clearly believed he had something to prove.  Unwilling to rest on 25 utterly game changing stellar albums, he provided a masterpiece from his deathbed.

There aren’t many relevant descriptions I can make of “Blackstar” and merely thanking David Bowie for everything he has done for humanity seems insufficient.  While the world will be a bleaker place without him, I wish him all the best on whichever plain of existence he has chosen to inhabit from now on.

Charlie McCartney

Sunn 0))) - Kannon Review

2009’s “Monoliths and Dimensions” was a bristling mire of tortured strings and shuddering guitar.  There wasn’t a moment of respite from the constant sense of imminent doom, making it a draining experience that stripped you of every emotion but intense depression and fear of the impending cosmic horror that was about to befall humanity.  As much as I respect them for achieving this level

of emotional involvement and physical interaction, I can’t say I was exactly “looking forward” to Sunn 0)))’s latest project “Kannon”.

The first track “Kannon Pt. 1” begins with a rather hopeful ambient tone, one far less distorted and dense than I was expecting.  However the droning guitar eventually creeps into the instrumental, dousing it in nihilistic atmosphere.  The creaking growling vocals instil the same sense of dread that “Monoliths and Dimensions” did, as they slink in and out of coherence, always lurking somewhere in the depths of the gnarled morass.  The song essentially never shifts in tone or pitch, there are no moments in which the listener breaks the surface of the instrumental, and this is perhaps its main problem.  

Bands like Deafheavan are able to keep a consistent tone whilst exploring other means of delivering it, whether that be through vibrant shoegaze and dream pop sections or otherwise.  Sunn 0))) generally don’t offer anything remotely deviating from the slow droning doom metal they’ve become so accustomed to. 

“Kannon Pt. 2” suffers from the same symptoms.  While these songs are certainly creative in their own way, variations of distorted droning over the same three or four chords for two albums now doesn’t constitute the kind of progression I’d hoped for.  “Kannon Pt. 3” is more of the same. 

It may be that my ear simply isn’t astute enough to decipher the intricate details that change throughout these songs.  But as far as I can tell, not only is “Kannon” a much shorter and less involving album than “Monoliths and Dimensions”, it’s also pretty much identical in the small amount that it does offer.  If you liked “Monoliths and Dimensions” then you’ll have no issue with “Kannon”, I would however only recommend that you stream it otherwise.

Charlie McCartney

Animal Collective - FloriDada (track review)

Perhaps the most important question to ask when informed about the existence of new Animal

Collective material, right after “Where can I find it?” is “Who was involved in creating it?”.  Throughout their extensive career their best material has been concocted by a certain variant of the collective.  The news that Avey Tare, Panda Bear and Geologist, the same line-up which produced the outstanding “Merriweather Post Pavilion”, would be the members involved in the creation of the new album only heightened my expectations.  And the new single “FloriDada” doesn’t disappoint.

It almost has more in common with the freak folk of “Sung Tongs”, another absolutely fantastic album, as the distorted voices collide and crash over one another in a bizarre vocal stew.  The overall accessibility of the tribal drums and bouncy effervescent samples are other aspects of “Sung Tongs” that couldn't be more welcome.  No one can take simplistic art-pop and paint it in outlandish psychedelia in the same way that Animal Collective can, and “FloriDada” is a testament to this.

It’s hard to pinpoint any one highlight of a track as infectiously catchy and utterly unique as this one.  Animal Collective have once again proven themselves to be perhaps one of the most creative bands in music, and while the new album “Painting With” might not set the musical world alight in quite the same way “Merriweather Post Pavilion” did, it’d be unfair to expect that level of genius from them every time they enter the studio.  I recommend that you download this song as soon as possible, as it needs to be heard.

Charlie McCartney 

David Bowie - Blackstar (track review)

I've never subscribed to the idea of anyone being exempt from criticism.  However, if there was ever a candidate for this prestigious honour, I can’t think of any more obvious than David Bowie.  

Boasting a career that spans decades and genres, as well as defining them, Bowie has remained as creative, culturally significant and subtly controversial as I feel it’s possible for a musician to be.  Fortunately, whether or not he should be exempted from criticism isn't an argument that needs to be discussed in this review, as “Blackstar” is absolutely astounding in its ambition and solid in its tone.

Bathed in Eastern sun, drenched in occult symbolism and twitching in syncopated discomfort, “Blackstar” may be the only 10 minute song that isn't long enough.  Bowie’s vocals are an unnaturally immaculate falsetto for a man of his age, and the harmonies only add to the nauseating sense of dread that accompanies the first several minutes of the track.  Hunky Dory era Bowie suddenly appears from the sandstorm to give the listener a brief respite, before the harmonies signal another plunge into the murky desert. 

The woodwind instruments play tormented, schizophrenic improvisations, along with the esoteric bleeping of some futuristic machine, probably the one that brought Bowie here from whatever desert planet inspired this absolutely glorious piece of Lovecraftian horror.  I can’t recommend this song highly enough, download it for yourself.

Charlie McCartney

F l o w e r b 0 y - RAVE II (track review)

Blossoming, layered electronic melodies open “RAVE II”, and there has clearly been serious work poured into making them as catchy and accessible as possible.  It works extremely well, even when
the glitched out drum machines threaten to briefly derail the tune.  This makes the gradual lapse into twisted carnival style horror all the more jarring, like being on a carousel that’s suddenly started to melt.  As abrasively experimental as this passage is, with its dissonant chords and esoteric beats, I imagine that was the intention, so it’s hard to criticise really.  And in all honesty it was an extremely creative section. 

The main tune briefly re-emerges from the gnarled foray, before relapsing into a slower and more discordant version of itself. 

If the main thing you desire from dance music is to make you dance, then the first minute and a half of F l o w e r b 0 y’s “RAVE II” has you covered, give it a download.  If you’re looking for the musical equivalent of a kaleidoscopic descent into madness and depression facilitated by the consumption of illegal drugs, then the rest of the song should please you immensely, you freak.  

Charlie McCartney

D.S.A - 5TRAXX - EP Review

Scummy records are an independent net label whos main goal is to release music of all genres, a highly admirable goal. Their most recent export is the "only" record by drum and bass - heavy noise - ambient group D.S.A. This EP hits hard from the start and this is a trend which continues throughout the record.

The first track S A T U R D A Y N I G H T T is an eccentric piece of electro. The beats are highly danceable and although the inclusion of the anime girls moans might be all in good fun I see it perhaps as a way to shield criticism to the records genuine elements of which there are many.

The second track is a bit more serious with an ambient Aphex Twin vibe. On this track the group show that they have real credibility and they show that they really do have good talents.

The 3rd and 4th tracks employ some real humouous elements parodying an over usage of violent samples in particularly rap music. The songs sound fresh throughout and over the whole EP none of the songs outstay their welcome, they introduce their ideas promptly and intelligently and at no point does the record get boring.

Also on the 4th track the female vocal sampling is to be particularly lauded. Certainly the most interesting part of the EP it was highly interesting and pleasurable.

This record is certainly highly interesting and although there is no need to totally lose comedic elements and they can add a certain something to the record with the talent on show at points there is no need to rely on it and use it as a shield.

You can get this album for free on band camp from the 14th of October and I would certainly recommend you do so.

Go on D.S.A, give us one more!

By Dominic Allan.