Track Reviews

Track Reviews: 30 April – 6 May 2012

We weren’t taken hostage last week. Our office furniture was not thrown from the windows (a contingency we cleverly planned for by virtue of not actually having an office), and neither did our plight spread across social media faster than Chris Brown takes the huff.

Just as well, for if we were, who amongst you would ever find the time to point out those hoes? *points*

Santigold Look At These Hoes
Indeed. Look at them. Filthy, aren’t they. Those are some dirty, filthy, well-used hoes.

Still. At least the soil is now properly tilled. Those furrows look awesome. Perfect. Coupled to all of this recent rain we’ve been having, it should be a marvellous, bumper year for our vegetables.

And it’s nice to see American pop stars sharing in the horticultural love.

Ty Segall Band – Wave Goodbye
We’re no strangers to tracks that assure to “melt your face”, but, funnily enough, our fugly mugs seem to retain their existing levels of misshapenness despite the promised facial rearrangement. It doesn’t even make a difference if we turn the volume to max and sit within a nose hair of the speakers: our jowls simply refuse to sink any further. Most of the time, anyway.

For Ty Segall Band, though, we may have to make an exception: Ty’s apocalyptic howling on Wave Goodbye – coupled with his band’s obliterating fuzz riffs and quake-inducing percussion – appears to have left our features on the wrong side of the fine line between distinguished and droopy. Well done, that man!

iamamiwhoami – Idle Hands
It isn’t Jonna Lee’s fault. But whenever we hear of this, her electronic music and multimedia project, regardless of the qualities of the product, the next 30 or so minutes will be taken up with bad Popeye impressions.

I yam what I yam and that’s all I yam. Yam I. I yam. Who yam. Ah-gug-gug-gug-gug-gug.

Regardless, Idle Hands is yet another glacial piece of electronica. Haunting. Beautiful. Pristine. If it was a coffee, it’d be a frappe. A GOLDfrappe. An ICED GOLDFRAPPE. We reckon she’s strong to the finish.

Bullion – It’s All In Sound
As far as about-faces go, this one from Bullion is a beauty. From Pet Sounds: In The Key Of Dee – a mash-up of Beach Boys‘ music and J Dilla‘s trademark production style – to his reinvention as something of a singer-songwriter, Londoner Nathan Jenkins has, as a lower league football manager might scream, mixed it up.

Not that It’s All In Sound, lifted from forthcoming EP Love Me Oh Please Love Me, is all scented candles, chunky knitwear and wispy moustaches. Jenkins seems to have retained the sort of street cred (do “kids” still say “street cred”?) enjoyed by former Young Turks associates The xx, and this effort sits nicely amid myriad styles, like Berlin electro-popper Pet‘s more sedate moments.

The Last Dinosaur – Grow
Now listen here, we were fairly sure – nay, certain – that the last dinosaur was actually Denver, a skateboarding Corythosaurus who knocked about with a bunch of multicultural California-based teens. That knowledge was bedrock to us. Bedrock.

As it turns out, The Last Dinosaur is actually Jamie Cameron and Luke Hayden – plus Rachel Lanskey on viola – and, instead of focusing on issues including conservation, ecology and friendship in a child-accessible fashion, they actually play music; music that doesn’t so much flirt with Iron & Wine territory as take it in a lingering lovers’ embrace for all the world to see. Smashing.

Cloud Nothings – Stay Useless
We’ll just come out and admit it: we can’t tell the difference between Cloud Nothings and Tokyo Police Club. If the two bands were a comedy act, they’d be the Chuckle Brothers. Cloud Nothings would be Paul and Tokyo Police Club would be Barry. Or vice-versa. To me, to you.

At any rate, Stay Useless is vintage Cloud Nothings/Tokyo Police Club. Strained vocal entreaties; raw, overdriven riffs; a punky demeanour that yelps, “I’m going to my room, and I DON’T want to be disturbed!” And the video? A thing of lo-fi, South Park-style splendour.

Jennifer Left Black Dog
Normally nothing causes us more rage than an impromptu round of whistling. Nothing. But somehow here, Jennifer Left has managed to take whistling, tie it up in an skiffle folk knees-up bundle and create something bizarrely marvellous.

Something that’s a bit like someone covering The Curse Of Millhaven from Nick Cave‘s Murder Ballads at a village fete in the 15th century.

Next week, assuming we’ve not been washed away on floodwaters: a Great Escape special, pre-empting all sorts of discoveries and long walks in that there Brighton. Yes, we’re in May already…

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