Jónsi & Alex - Riceboy Sleeps

Year of Release: 2009

Label: XL

Genre: Post-Rock / Ambient

Music: 3

Sound: 3.5
Format Reviewed:CD 

LISTEN to the COMPLETE album on MYSPACE

I'm a firm believer that your physical surroundings have a significant impact on your creative output.  Just take a look at Iceland - which is volcanically and geologically active, resulting in a topographically diverse island, comprised of mountains, sand fields, and glaciers that dramatically flow out to sea - and it's not a surpise it's spawned such artists as Björk, Sigur Ros and Amiina just to name a few.

Björk's dedication to her friend and homeland, Jóga is a shining example of this influence and is reflected in both the music and more directly in the video clip.

Rugged...

Raw...

But Incredibly Beautiful

Iceland @ Eurovision - Not So Much

"Riceboy Sleeps", is a musical collaboration between Sigur Rós' guitarist and vocalist, Jón 'Jónsi' Þór Birgisson and his romantic partner, Alex Somers who is responsible for much of the stunning art and graphic design of Sigur Rós' albums.

The album opens with what I find an ominously titled track, "Happiness", that runs just over 9 minutes.  It features the beautiful string work of the minimalist quartet Amiina and creates a beautiful soundscape that is sparse and distant, much like the terrain of their homeland.

The second track "Atlas Song", makes innovative and haunting use of the Kópavogsdætur choir.  Now is probably a good time to mention that this album is devoid of Jónsi's unique voice, that features so prominently in the music of Sigur Rós.  It is entirely an instrumental album, recorded with acoustic instruments, bleeped and tweaked in post-production.

The sound of the album is immediately Sigur Rós but at the same time it is not - think Post-Rock minus the Rock component.  This release really is an ambient work that could almost stray into contemporary classical but lacks the technical strengths that a purist would demand. 

After 3 songs in (and 27 minutes), I was starting to feel underwhelmed by the ambient soundscape that was being presented.  Whilst, each individual track is undeniably beautiful the resulting album is unfortunately less than the sum of its parts.  Each track starts to sound like the one before and the beautiful textures that are first evoked fail to evolve like the rich and varied landscape of Iceland.

"Riceboy Sleeps" - 67 minutes of this

I find this album difficult to listen to in its entirety, which is unfortunate, as I think it is undeniably put together by a gifted group of musicians and collaborators.  I believe that this album is actually meant to accompany the art work included in their 52 page wordless picture book that was released in 2006 and this would make a lot more sense.  However, this only makes me wonder as to why this album was released separate from it's respective artwork 3 years later.  Odd.


So it's not a standout album and I thought perhaps I could salvage it as a sleeping aid and drift away to it's dream-like sound.  Unfortunately for me, this is not possible as for some strange reason - in spite of this being an ambient soundscape recording - it is LOUD, so loud I found myself listening to it which the remote in hand to constantly adjust the volume. I guess that's the element that puts the Rock back into Post-Rock.

"Riceboy Sleeps" Bookcover.  For suggested use with album.

Easy Star All-Stars

Today I'll be reviewing 3 albums by the Easy Star All-Stars, who are a band primarily known for their 'reinvented' reggae cover albums. 

a happy, diverse looking bunch

With titles such as Dub Side of the Moon, Radiodread and Easy Star's Lonely Hearts Club Band you might expect some classic albums with perhaps more than a touch of Reggae - and right you would be.

Pink Floyd's "Dark Side of the Moon", Radiohead's "OK Computer" and The Beatles' Sgt. Pepper's Lonely Hearts Club Band - mess with such classics at your own peril.  Now when musicians start to meddle in this territory it's more than just your average cover.  These are full albums and it would seem they've set themselves up for ridicule, or at worst complete and utter failure.  At the very least it may prove a little difficult to take them seriously. 

Year of Release: 2003

Label: Easy Star

Genre: Reggae / Dub

Music:4.5

Sound: 4
Format Reviewed:LP

LISTEN

Much to my surprise this is a brilliant album.  When I first listened to this record, I didn't know what I was listening to (I was given a burned CD that said "Dub Side of the Moon".  My elated response 10 minutes later was that this was pure fucking genius.  I now own the re-released coloured 180g vinyl, which is not really my thing but if you're into that, it's a nice mellow yellow.

Speak to Me / Breath (In The Air) opens with the same pulsating beat that fades in at the start of  Dark Side with the moon with a few choice additions:  distant percussion, Rastafarian mutterings and what I was quite sure was the sound of a bong being smoked.

This album concept works from start to finish, recapturing the same feel of original but successfully reworking what is originally already wonderful with reggae, dub and even drum and bass without losing the quality of the source. 

I can't bring myself to give a 5 - even though I really enjoy this album and it is musically sound.  However, I can't help but feel as though it's some sort of joke and perhaps it is (the start of Money, the sound of the cash register is replaced by the sound of a lighter and the smoking of a bong), but the result is thoroughly enjoyable.

Year of Release: 2006

Label: Easy Star

Genre: Reggae / Dub

Music: 3.5

Sound: 4
Format Reviewed:CD

LISTEN

I bought this one the basis of Dub Side of the Moon.  Think about it  for a moment:  Radiohead's OK Computer then think Reggae - not exactly a match made in heaven is it?

This concept doesn't work as well as in their debut, however the results are interesting and quite listenable.

Whilst, I have no hesitation in recommending Dub Side, I really do feel in order to enjoy Radiodread, you have to be a fan of both Radiohead and Reggae/Dub.

A curiosity and something to have in the collection if you're a fan.

Year of Release: 2009

Label: Easy Star

Genre: Reggae / Dub

Music: 1

Sound: 3
Format Reviewed:CD


LISTEN

Sometimes when I get lazy, I don't actively seek out new and innovative music and hope the artists that I already do know of, will keep it fresh for me.  This isn't always the case.

I saw this CD in a 2nd hand store for a few dollars and thought, "What can it hurt?".  Oh it hurts... it hurts so bad.

If you haven't heard the Easy Star All-Stars but give some thought to the concept of "reggafication" of choice classic albums from the 60s, 70s and 90s, you might get the feeling that the result will be not only be sub-par but at best, it will be cheesy and at worst, be an abomination compared to the original.  Lonely Hearts Dub Band is the manifestation of all your worst fears (mine at least)

Now I'm no purist (actually that's a lie - I am).  But this is an awful album.  When I decided to review this, I thought I'd get this one record out for another listen.  What ensued was firstly a search for it - as I couldn't remember where I had stashed it - followed by my cringing, the skipping of tracks and finally the ejection of the disc.

Nothing works here - maybe "Fixing A Hole" because of it's original rhythm but that's it.  I can't even bring myself to listen to it.  The production seems to take a turn for the worse or perhaps it's just the recapturing of the less than lush sound of Sgt. Pepper, but that's being generous and giving them the benefit of doubt.

Think of the most touristy place in the Caribbean with all it's cliches and forced sense of fun then put this album on and you'll magically be transported there. 

Their next release is due in 2011 and I hope it's not a continuation of this disturbing trend.

G-Stone Master Series No. 1 - Peter Kruder - Private Collection

Year of Release: 2009

Label: G-Stone

Genre: Various - Downtempo Electronica / Contemporary Classical-Alternative / Ambient -Progressive Rock / Jazz

Music: 5

Sound: 4.5
Format Reviewed:CD 

This is a compilation by Peter Kruder - one half of the renowned K&D (Kruder and Dorfmeister), composer, DJ, record 'digger' and music aficionado.

Presented in a classy looking silver and black box and subtitled with, "Classics From My Living Room and Bedroom", this immediately stood out in the record store and beckoned to me. 

Kruder prefaces the album with:

"This compilation is about, a collection that spans my entire life searching for music that makes a difference, sounds unique and ultimately provides a huge and ever growing inspiration to whatever I did and still do on my own path of music making".  

That is quite the goal and it is certainly heads above the majority of after hours / late night / "chill-out" inspired DJ/Musician mixes, even two of the better ones that come to mind - "Back To Mine" and "Late Night Tales", which are still hit and miss affairs (and will review at a later date).

From my experience, these mixes tend to fall into the following broad categories:

   1. Nowhere; poorly mixed, randomly sequenced and with no sense of progression
   2. Average; usually lazily mixed without any care, average to good sequencing, good music.  Unfortunately the mix detracts from the album
   3. Memorable;  a mix that takes you on a journey from start to finish, excellent track selection, something you emerge from affected for the better.

This mix falls into the latter.   As a DJ myself, I'm very critical of these compilations - a mix should be a journey, it should be more than the sum of it's parts, otherwise it's a pointless exercise.  

Thankfully, this album delivers with an eclectic selection of 17 sublime tracks selected from Kruder's personal collection of over 35,000 pieces of vinyl (many of which are out of print and available only on vinyl and I suspect one or two not available anywhere else but his record shelves).  

In spite of the varied nature of artists, the feel of the mix is perfect - very much a testament to his ability and music sense.  The selection is really beyond any sort of genre classification and mirrors my own belief that good music is just good music, no matter the genre.

Within the sturdy cardboard box are 17 CD sized cards, with some photos and a very personal explanation of why he has chosen each track, what it evokes in him and what it means to him.  The following is my favourite "story" from the notes for the track "Three Girls by Stargard":

"I was in Zurich with Rainer Truby and Alexander Barck from Jazzanova to play at a club and the day after the gig we all went record shopping.  I always love to go shopping with two supa pros like this.  After finding a couple of records that were ok but not amazing, Rainer came over to me and with the words "I think you might like that" handed me this record.  I put it on the turntable and was just blown away.  Tripped out space funk with great vocals and a far out production.  Rainer Truby is one of those record diggers that have a sixth sense.  I was once walking down a street with him in Rio de Janerio when he abruptly stopped.  We were standing in front of a huge shopping mall and he urged me to go in with him because he felt the presence of a record store.  Hidden away of course in the farthest corner of the mall we found one.  Underneath CD racks with the commercial bull of today - huge crates of old Brazilian records.  I bought about fifty albums of stuff that you would only see in the racks of serious collectors.  So whenever now Truby says follow me, I just shut up and do so..."

The mix opens with "The Rainbow" from the forgotten classic Talk Talk album Spirit of Eden, which is one of my favourite albums of all time.  He says that when he open a set with this track it "sets the mood for all that was to come", and indeed it does.

Whilst listening to the album, it is clear the amount of effort he has gone to in sharing this music;  each track is a unique element in the picture he paints.  My personal highlights include tracks by Milt Jackson with The Ray Brown Big Band, Tom Waits, Craig Armstrong and what he saves for last, Rokia Traore's "Mariama".  He says that whenever he needs to check out a sound system, he uses this track and it tells him everything.    I just went and had another listen to it on my system and I do believe he is correct.

What I love most album this album is that it is an engaging, intimate affair;  I sit down, put the music on, get out the notes and it's like Kruder's there talking me through each song, smoking a fat joint and telling me why he loves the track that has just come on.

He has also replicated one of the most endearing qualities of vinyl within a CD format - compelling art work and liner notes, which is something that I feel is not done enough anymore.


On that note, let me take you back to to a time when cassettes ruled, CDs were new and vinyl was all but forgotten.  When I was barely a teenager, I'd jump on my bicycle and ride to my friend's place down the road to enthusiastically bring him my weekly hip-hop finds on casette.  We'd sit down all afternoon in his living room listening to my freshly dubbed music, whilst his old man lay on the couch watching horse racing);  These are some of my most treasured memories and whenever I hear one of those songs on those cassettes, I'm transported back to a time when people shared music and the appreciate went deep.   

When I look back, it's clear to me that the act of sharing the music forged a deeper connection not only between us but to the music to which we have now poured our memories and emotions into.  Years from now, the only memories people will have of the music is of when they sat at their desk and downloaded it from iTunes.

Now Peter Kruder has been kind enough to invite us into his home and share his music - please don't say no.


Stray Observations (borrowed from The A.V. Club) gleaned from the notes: 

P.Kruder: 

• once could not bear to listen to guitars
• presumably, likes to wear white pants (God bless Europeans!)
• includes a new "Peace Orchestra" track, and explains how he lost interest in making downtempo tracks.  It also gives some explanation to me of the housey-dance-shake yer ass-shit fest that the Kruder and Dorfmeister show in Melbourne, Australia degraded into.
• features a track by Jan Hammer - composer for Miami Vice Theme and Beverly Hills Cop
• doesn't usually check out world music sections in record stores

Linda Bruner - Songs For A Friend

Year of Release: 2010

Label: Numero / Numerphon

Genre: Folk

Music: 4

Sound: 3
Format Reviewed:LP


LISTEN

This is another gem accidentally discovered by the stand-up people at Numero.  Recorded around 1970 in the back of Nielson's Music Store, Rockford Illinois aka Nowheresville, this is the only known solo recording of Linda Bruner (She also provides vocals on Numero's Pisces: A Lovely Sight released this year and I'm sure I'll review at a later date).

The record is presented in it's original context - transferred from tape with hiss, talking in between and other imperfections. It was never intended to be released and there are only 6 tracks, with the opening track - ampted informally titled "Song Linda Wrote Herself" - being the only original composition.  

Accompanied only by Pisces guitarist, Jim Krein's accoustic, Linda's haunting voice cries out from the American Midwest, full of pain, loneliness and yet strength and hope;  the fragility of her delivery is tempered with inner strength, both products of what I can only assume comes with the difficulty of her 17 year old life, of which she was at the time of recording.

For me the highlight of this album is Linda's cover of The Beatles "Don't Let Me Down", which I think she unintentionally fills with meaning far beyond the lyrics;  I often remark to doubting friends that the beautifully simplistic of the music of the Beatles betrays their true genius.  As evidence, I ask them to recall an instance in which in a covered version of their music is superior to the original and their response is usually an um or and ah or a maybe.  Is Linda's delivery better than John's.  Quite possibly.  It certainly hits harder.


Songs For A Friend, documents Linda's raw gifts and we can only wonder what she may have gone on to given the chance.  We learn that following the mishandling of her debut release, she became disillusioned and abandoned hope of a career in music and subsequently dropped off the map.  The last news of her is that she's currently on the run for some fraudulent checking scheme.  We know nothing of the years in between, nor after.


I feel this is an important release not because of the music, but in what it captures;  like a photograph it captures a fleeting moment in time, of circumstances and of people we know little about.  

As I listen to the music, I find myself staring at the cover - Linda is resting her chin in her hands, her unkept hair covering her face and on the back she's standing unpretentiously on the back in a simple floral dress.  I can't help but wonder if this is really the girl that I'm listening to laying her heart out there so completely, with such dignity.  But before I can wonder any further, the recording comes to an abrupt ending -  like any dreams Linda Bruner may have had.

Serge Gainsbourg - Histoire de Melody Nelson

Year of Release: 2008 (Re-release) /1971

Label: Phillips / Mercury / Universal

Genre: Psychedelic Pop / Rock

Music:5

Sound:4
Format Reviewed:LP (180g)


LISTEN

Serge Gainsbourgh - where to start?  Perhaps Wikipedia. 

He's one of those artists that many people have heard of but may not necessarily be familiar with his work.  It even seems that the man has become bigger than the music which is not entirely a surprise given his provocative inclinations  If you are familiar with it, then you're no stranger to this album.

Something happened in the 60s (understatement much?) but I make particular reference to the mind of Serge.  His music and being is very french - provocative, progressive and highly artistic without being overly self-conscious.  I like to think that the best of Gallic culture was the driving force that shaped his musical progression rather than a plethora of drugs, but to be honest, it's probably a combination of both.

His works spans Jazz, Mambo, Longue, Reggae, Pop, (Kitsch, Ye Ye, Adult Contempory, Prog, Pop Art, Psyche), Disco, Rock, Calypso and other genres and sub-genres that I don't care to list - needless to say, it is extensive.

His music has featured such topics as, girls with lollipops (but was really about oral sex), the female orgasm, Nazis, reinterpreation of the French National Athem (raggae version of course) and a love affair with a 15 year old girl that develops when the owner of a Rolls-Royce collides with her bicycle, just to name a few.  He basically said what was on his mind and that just happened to be mostly concerned with sex.


This album is of the lolitaesque, sex tinged pyschedelic pop/rock nature and is widely considered as his finest effort (all 28 minutes of it) - something that I agree with.


As with any artist with a long list of work it is often difficult to know where to start.  I was first introduced to his work through Massive Attack's Karmacoma (Portishead Remix) with it's funky off-kilter bassline (provided by Herbie Flowers, who would next be heard in Lou Reed's Walk on the Wild Side) that is so prominent in the first and last tracks of Melody de Nelson.   

The fusion of elements is masterly;  Herbie's tripped out bassline, Serge's brooding spoken word, Jane Birkin providing the sulty vocals of the french chanteuse (also album cover model) and the orchestral and choir direction of Jean Claude Vannier.  

All these elements provide the basis of what is truly a classic album.  Nevermind that most of the time I don't know what the hell he's talking about (inspite of 4 years of learning French) or the fact he's probably mouthing sexual obscenities about a 15 year old lover (I get the feeling you can say anything in french and it doesn't sound rude or shocking).  It captures a perfect artistic moment, one that I believe Serge never recaptured or any other who has attempted to mimic this masterpiece.

Since this album I've explored his other works, but apart from this album I only own other of his albums (an early jazz record).  So more or less, my journey with Serge started with Histoire de Melody Nelson and ended with it, but it's still an amazing journey from start to finish.


Originally released in 1971 and not re-released until 1994, it is now available for future generations to enjoy with a number of quality reissues on CD and vinyl from 2007-2009.

Rodriguez - Cold Fact

Year of Release:  2009 (Re-release) / 1970

Label:  Light In The Attic

Genre: Pyschedelic Folk / Rock

Music: 3.5

Sound: 3.5
Format Reviewed: CD

 
LISTEN to Sugarman


The mysterious Rodriguez appears on the cover posed like some sort of floating 70's zen-gangster.   Like some sort of supermodel he needs no second name.


Originally released in 1970 on the Sussex label, "Cold Fact" has been released by Light in the Attic, a fine independant label that has brought us music from Saul Williams, Peanut Butter Wolf as well as a selection of re-releases from the 60s and 70s.


This debut record, along with his follow-up album was released in his native United States but he, along with his music, was forgotten along with the many other so called "Psychedelic" artists that came and went in the late 60s and 70s.


Whilst this record fell into what DJ Shadow calls "a pile of broken dreams", Jesus 'Sixto' Diaz Rodriguez put down his guitar and exchanged it for a shovel, working as a labourer and starting a family in his hometown of Detroit.

Whilst, this record didn't sell well in the United States, he slowly gained popularity in Australia, New Zealand and South Africa and in the latter nation, his record went platinum completely unbeknown to him.


Some 20 years later in the 90s, he was resurrected by the internet, where his daughter found his fame and myth on the web and let the world know that Rodriguez was alive and well and didn't die of a heroin overdose on stage - as was rumoured.  In 2009, propelled by growing underground fame, he set out on his first world tour.

"Sugar Man" features as the first track and is definitely the highlight. Chances are you've probably heard this song before and I have to admit I've been playing it around the clock. It took me about the 10 listens before I realised it is about a drug dealer, because its sweet, sweet sound is so infectious.  Other highlights for me include, "Hate Street Dialogue" and "Jane S Piddy".

He describes his own guitar playing as "average" - I would say simplistic. But there's beauty in his music and reminds me of a grittier Cat Stevens with his poignant lyrics and guitar chords telling the tale of the struggle.
 
However, as with Cat, it can all get a little monotonous, as musically there's not a lot of depth and both his message and delivery is not strong enough to propel this record as a 'classic'.  "Sugar Man" is essentially THE 'single' for the album and for good reason - is possesses the most distinct sound and promises so much.  Ultimately, the album doesn't build or progress from that first track - it's all nice but not amazing.  Perhaps I'd set my expectations too high or perhaps it's too much to ask for from an artist that was never given the chance to develop and refine his craft.

I don't really keep albums around where I only like a track or two but when I question this record's place in my collection, I hear Rodriguez's voice ring out,  "Sugarman, you're the answer, that makes my questions disappear..." and I stop analysing and just enjoy the music.

24 Carat Black - Gone Are The Promises of Yesterday

Year of Release:  2009

Label:  Numero

Genre:  Soul - Free Funk - Rare Groove

Music:  5

Sound:  5
Format Reviewed:  Vinyl
 
LISTEN  

There is a growing number of record labels out there and seem to be dedicated to digging up old long forgotten music, with Numero being one of the finest.

Numero Records is fast becoming one of my favourite record labels due to the zeal in which they go about their craft.  The amount of effort in which they go to is evident in the quality of the recordings, music, packaging but most of all, the amount of research they put into each and every release with seeming disregard to commercial success.

I couldn't ask for a better introduction to the label with 24 Carat Black - Gone...The Promises of Yesterday.   It's like a ghost of the 1970s come back to haunt with songs of tainted love. The tracks on this album were to form 24-Carat Black's sophomore effort following their debut, Ghetto: Misfortune's Wealth, a record that expresses the struggle of the coloured minorities and the cold reality in which they faced.  Feel-good it is not.

Ken Shipley writes in the liner notes that this was "an intimate follow-up album that no one in the world wanted to hear", as the famous Stax record label was coming to an end.  However, the tracks featured on this album pointed to what would surely have been a classic album, albeit still years after it's release.  Sometime the world's just not ready.

24-Carat Black was the brainchild of Dale Warren a certified prodigy - a gifted musician (violin, cello, piano), composer, songwriter, production engineer and orchestra conductor.  He dared to imagine a world where classical merged seamlessly with R&B and the success is not only evident in this album, but in his other works such as the string arrangement in the classic 12 minute long "Walk on by" performed by Isaac Hayes

This album sounds like nothing else I have heard.   Dale's composition has certainly developed from 24 Carat Black's debut album and built upon the sound of the opening track comprising emotive rolling classical piano.  This doesn't feel like a hybrid of classical and soul but something Dale has forged himself in the pursuit of furthering his art, because you don't do things like this for commercial success.

The album opens with "The Best of the Good Love Gone" and it seems like everyone in the band knows it, even Dale.  Princess Hearn (great name) provides the silky, ethereal vocals that soar gracefully over a liquid bass line.  The bass driven groove of the first track carries over into the second, with a guitar faint as a lingering scent another's flesh on your skin.

The most upbeat the album gets is track 3 "I Don't Love You", which is more defiance and denial than any sense of joy.

By the end of the album, the final track - "I Begin to Weep" - comes to a hush of distant beats, tears and funk bass, I feel like I'd come to the end of a beautiful, melancholic journey. Which is amazing since this is not an actual album, but rather 6 sensuous lush tracks that were salvaged from over 20 - all credit to Numero.   I'm left longing for more and can't help wonder what gems were lost when the tapes crumbled to pieces.

Behind every genius' dream is a wake of destruction and broken bodies; Behind Dale Warren, lay more than half his band who left before the sessions were complete, a 16 year old pregnant wife, subsequent broken marriage, alcoholism and an untimely death. But the legacy of his music remains and has been lovingly researched and put together for this issue. Follow that dream I say.