Ah, the curse of the second album. TPOBPAT’s debut album and early singles and EPs were pretty damn awesome. Then last year’s Belong album wasn’t up to the standards of the debut and it got qu
ite a kicking (OK it wasn’t as good, but it wasn’t the turkey that a lot of the reviews suggested).
Anyway, to coincide with a European tour over the next month or so, the band are releasing a new single, which couples two of their favourite songs ‘Jeremy’ by The Magnetic Fields and ‘My Life Is Wrong’ by
une of this year.. This is the accompanying album – 16 brand new songs inspired by the hours between midnight and 4am, by a cross section of Scottish musicians.
And when I say cross-section, it’s Ricky Ross (of Deacon Blue) on the same album as Wounded Knee, Errors on the same album as Rachel Sermanni, Eugene Kelly as Meursault. Lots of 17 Seconds favourites, Swimmer One and Emma Pollock were the first acts I ever interviewed for the blog, over five years ago. There’s a feature over at The Skinny which explains how it came together.
Stream it below, you can also download the Swimmer One track for free.
One of the finest things to drop onto the matt at 17 Seconds Towers in a long while is the forthcoming debut album from Bristol producer Stumbleine, who also records as one third of dubsteppers Swarms. There’s a glorious mixture of dubstep, hypnagogic pop and chillout here – the RIYL of the Cocteau Twins, Burial and Neon Indian is
I’ve featured Edinburgh’s Young Fathers on 17 Seconds before. Now it seems that the band’s profile is set to rise even higher with the news that they have signed to Anticon, the home of Why? and Doseone, amongst
Kayus Bankole, Graham Hastings, and Alloysious Massaquoi have been making music together since they were fourteen. Though they share a hometown with Stanley Odd, their music and overall sound is way different. Comparisons have been made with the Daisy AGe rappers
There’s a long-standing view of Nico as doomed heroin(e), producing records that make Closer and Pornography seem light-hearted by comparison, and almost too difficult to listen to. The reality is that -while the records may make for a disturbing and uneasy experience -there is also a dark, tragic beauty to the records. Even if she hadn’t died in the late 1980s (as the result of a brain hemorrhage, not heroin as is sometimes incorrectly believed), these albums would still bewitched and bewilder.
Much of the sound is domin
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ated by the harmonium, which defined the Nico sound from The Marble Index onwards (she didn’t care for the sound of her debut, Chelsea Girls). In addition, the production of John Cale and the musical contributions of Brian Eno and Phil Manzanera (then closely aligned with Roxy Music) make for an album that is far more intense than The Marble Index or
If ‘Janitor Of Lunacy,’ which opens Desertshore, is about The Rolling Stones’ Brian Jones (once her lover), then it’s the ghost of another lover, The Doors’ Jim Morrison, which haunts this record. ‘You Forgot To Answer’ tells of her misery trying to reach Morrison by ‘phone, only to discover he had died. And her reading of The Doors’ The End’ is a million miles away from the Doors’ original. If that is now -let’s face it-coloured by its’ use in Apocalypse Now, then Nico’s version is from an as yet unmade film, sung in a decaying German hotel, where Nick Cave serenades angels* and where Dirk Bogarde and Charlotte Rampling are trying to confront their hideous shared past through S&M.**
Another shadow hanging over the album is the inclusion of
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‘Da
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s Lied Der Deutschen,’ the German National Anthem. Nico does indeed sing the ‘uber alles’ verse -but interestingly, for those who worry about Nazi associations, this was usually dedicated in concert to Andreas Baader, leader of the Red Army Faction.
As well as the original album, there’s also Peel session versions of the tracks, and performances from London’s Rainbow in 1974. Listening to these straight after may be too intence for many, but there’s no doubt that these are not mere filler.
If the name Chvrches (and yes, it is pronounced ‘Churches’) is new to these pages, then I have featured the band members in different guises before.
The band were put together by Martin Doherty from the Twilight Sad, and Iain Cook, once of Aereogramme and now of the Unwinding Hours. The vocals come courtesy of Blue Sky Archives’ Lauren Mayberry.
Stream the video below. This reminds me of videos you used to see on The Chart Show back in the ’80s, when once every three weeks they would show the indie top ten and the vid
listen to. One of them is from the very nice man at Thrill Jockey. KABLAM! Just one blast of Golden Void is like putting your fingers in a wall socket. In a pleasant way, of course.
Very recently signed to Thrill Jockey, San Francisco’s Golden Void are vocalist/guitarist Isaiah Mitchell, organ player Camilla Saufley, bassist Aaron Morgan and drummer/moog Justin Pinkerton. If you think Tame Impala’s ‘Elephant’ is good, the first trac
k from the album ‘Golden Void’ blows it out of the water. Free to download below, this will quite possibly make your eyeballs melt (your ears will already have gone intergalactic).
Their self-titled debut album, which reportedly mixes ‘classic rock, blues and psych in their own unique style’ was rec
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nley, who has also worked with the likes of Trans Am and The Fucking Champs, at Lucky Cat Studios in San Francisco. To these ears it’s thrillingly primal, think prime Black Sabbath with extra
rs (ok, so one of them was a collection of re-workings, but substantially reworked, so we’ll count it), but Scott Walker is set to release another album, a mere six years after the last, 2006’s The Drift.
Entitled Bish Bosh, Walker started writing new material around 2009 (whilst also scoring the ROH 2’s Duet For One Voice ballet) recording it sporadically over the following three years. Bish Bosch is described as
being ‘a tauter but more colourful experience than The Drift, with greater emphasis on processed, abrasive guitars, digital keyboards and thick silences.’ (This means it is unlikely to be Scott 4 part 2, in other
Walker has worked with co-producer Peter Walsh and a regular core of musicians, Ian Thomas (drums), Hugh Burns (guitar), James Stevenson (guitar), Alasdair Malloy (percussion) and John Giblin (bass). Musical director Mark Warman also played a prominent role, both as condu
s. For tracks ‘SDSS1416+13B (Zercon, A Flagpole Sitter)’, ‘Dimple’ and ‘Corps de Blah’, Scott drafted in an orchestra, recording them in The Hall at Air Studios last November.
This is the tracklisting for Bish Bosh, released on 4AD on December 3:
1. ‘See You Don’t Bump His Head’
2. Corps De Blah
3. Phrasing
4. SDSS1416+13B (Zercon, A Flagpole Sitter)
5.
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Epizootics!
6. Dimple
7. Tar
8. Pilgrim
9. The Day The “Conducator” Died
This is ‘Clara’ from The Drift, releas
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ed on 4AD in 2006. Very good, very weird and not a little scary…
onkeys meeting on the East Coast of Scotland. Carter Damm are gigging and supported Bwani Junction at the newly re-opened Dalkeith Arts Centre last week (actually, I helped that happen. Yussss).
Carte
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r Damm are Jess (Drums and vocals), Charlie (Bass), John (Guitar and Vocals) and brothers Duncan (K
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eys and Vocals) and James (Guitar and Vocals). They received their first radio play on Fresh Air in Edinburgh last month (actually, that was me too) and they will
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hopefully get played in a helluva lot of other places. 95% of their material is their own.
Carter Damm have recorded a three track demo, and this track ‘Clowning’ is one of my favourite tracks this year. When venues won’t let people under eighteen play, or have those sodding daft ‘play to pay schemes’ bands like them suffer.
