I said to myself that there should be less David Byrne / Talking Heads stuff on this blog, but then he keeps releasing really good new stuff in obscure places and I feel a responsibility to provide a conduit for it. Okay, it's not as if he's really unknown and needs the help, but I can't help it. Blame him not me.
First up, is a duet with Brazilian genius Tom Zé on his new album Estudando A Bossa. Unfortunately this album is only available in Brazil, so you can either buy it on eBay, or steal it off the Internet:
Secondly is his participation in the N.A.S.A. album. It's not too surprising to find him on the album, as it does feature half of the people who have ever released a record. In the world. This track also features Chuck D, Ras Congo, Seu Jorge, Z-Trip, the Outhere Brothers, John Lennon, Alvin and the Chipmunks, Miles Davis, Chaka Demus and the Everton football squad of 1984.
Thirdly, he's on backing vocals on a new track by the Dirty Projectors. It's on the new Red Hot Aids charity album, which I would obviously beseech you to buy. But here's a taster:
Preamble - So around the time of Britpop it was decided, in a board room somewhere, that indie music was to become the new pop, and in the last decade or so, the distinction between guitar bands and popular bands ceased to exist. And, as it has seemed to me that British indie rock has been god awful since that day, I have subsequently looked to the other side of the Atlantic to provide me with my guitar based pleasures. There have been a few, well, very few exceptions to this rule, most notably for me are Super Furry Animals and Franz Ferdinand (who are the last really good English indie band? Discuss). The former weld indie pop sensibities with 60's psychedelia, folk, electronica and anything else that happens to be lying around. Franz Ferdinand are a different proposition. Their early stuff was thought of as part of the whole new post punk movement, but unlike their peers Bloc Party and the Futureheads, they had the ability to combine this aesthetic with the dynamic of 70's pop-rock, your Bowies, Bolans and Ferrys. Seeing them live was more akin to witnessing Ziggy Stardust (without the wardrobe) then Gang Of Four, undoubtedly, because while they used some of the latter's sonic effects, it was the formers swagger and bravado that made them so captivating.
So I'm very interested in this new album, because by the third album the hipsters have decided that you are no good no matter what you record, and the public are seemingly losing interest in British rock, and who can blame them when the best that could be mustered was Razorlight. But I get the feeling that Franz Ferdinand are not too worried about clinging on to past glories, and more concerned with making a great record. I hope they have.
Track 1 - The single, Ulysses, kicks things off. It's got a really nice synth sound, and lalala singalong chorus, so it was a good choice of first single I think. You know it's them instantly too, they have developed their own sound which of course means that eventually they will have to reinvent themselves. Or split up.
Track 2, Turn It On, has another of my favourite things in pop music, distant group backing vocals. Listen to it and see what I mean. More nice synths and a yeah yeah yeah chorus.
Track 3, No You Girls, remember folks, that this is a pop record, so don't go digging around here for lyrical depths and references to Can, it's all about waving your hands, guitar solos, and singing along. Don't be deceived by their sharp suits and skinny ties, their Guardian columns, and definitely by their age. This is a terrific glam rock stompathong.
Track 4, Send Him Away, is slower and vocally reminds me of the Mama's and Papa's for some reason. There's some excellent production here too.
Track 5, Twilight Omens, is a bit spooky, and a million miles away from the bland indie pop that dribbles out of the rest of the British isles on a regular basis. Is that a banjo I can hear?
Track 6, Bite Hard, begins as a ballad. Just Alex and a piano. Then, bang, here comes the pop. When that decision to make indie the new pop was made, this is what they should have insisted upon. Dynamic, sexy, catchy and fun, inspired by David Bowie, as great a pop star as ever existed.
Track 7, What She Came For. The production on this album is superb. It's crisp and tough. The quality of the drumming, the character of Alex's voice, the guitar hooks, and the synth squeals are emphasised and add to the songs, which were pretty good to begin with.
Track 8, Live Alone. I guess some people will criticise this album for being samey, and it's true to say that there isn't much variety from one track to another. However, this has to be a minor complaint, when you consider how good the songs are. This is one of the weaker songs thus far, and still I can imagine myself singing along at a gig like someone half my age.
Track 9, Can't Stop The Feeling, shows the influence of dance music on the album. It has a bizarre hook straight from some kind of crunky Turkish electro (anyone wishing to capitalise on this new genre should feel free), and a killer bassline, straight from the disco. God I love a killer bassline, they get me every time.
Track 10, Lucid Dreams, stands out because it's nearly 8 minutes long, breaking their 3 minute rule (the next longest track is 3:52). He just mentioned Istanbul, so maybe I was right about that Turkish influence. So far, this track is another indie pop winner, over a pretty juddering electro background. It's a fine combination, and I'm keen to see where it's going to keep going after the 3:52 mark.
This is just 100% electro now. Very Justice. No vocals at all, this is pretty admirable stuff. Actually reminds me of when the Super Furry's The Man Dont' Give... collapses into a techno frenzy. As an electro fan, I'm very impressed, but I'm not sure what the rockists will make of it. The criticism of repetition can no longer be leveled, that's for sure.
Track 11, Dream Again, calms us down after our rave nation exploits, a bit like when the Flaming Lips put one of those lovely instrumentals in the middle of their albums, but more pop. It even has a theremin in it. It's a bit like Susan's House by the Eels.
Track 12, Katherine Kiss Me, is the first acoustic lead track and the albums closer. A tale of romance in a sordid environment, it's a fine song and shows that Franz Ferdinand know how to write a pop song, in all it's various guises.
Post-amble. I think this album is very, very good, possibly their best. You're going to hear these tracks around, and when you do, be grateful that you are listening to something which is so much fun, instead of all that mediocrity that pervades our lives. Hat's off, says I. Franz Ferdinand - Ulysses (Beyond The Wizards Sleeve Remix)
Prelude: There's been a buzz around this new Animal Collective album for a while now, and I have to say I am expecting big things from it. I thought their last two releases were very fine, and they have been improving year on year. Here goes:
Track one - Mmm, dense and spooky. In comes a lighter melody. It reminds me immediately of old Mercury Rev, as they always do. This is a very good thing. Great, loud drumming and distant spacey vocals is always a winner.
Track two follows straight on from track one without any audible spaces, I hope the whole album does that. There are lots of vocal tracks here, all singing different things, just like the end of by the Beach Boys. It creates that wonderful effect of feeling underwater, and of being surrounded by the sound. Sorry if that sounds a bit new age, but it's true.
Track three - As, primarily, a fan of popular music it's thrilling when a band as experimental as Animal Collective marry their amazing sonics to pop songs. It's what they are doing here. Layers of sound and dense and loud drums are coupled with hooks and harmonies. This is exciting me.
Track four is See You On The Other Side era Mercury Rev, but with a singalong chorus. It's backed with a driving electronic pulse. Damn, this is funky, and could make me dance about like an old hippy, all arms swirling and bendy legged. What a beautiful sight that would be.
Track five begins like an amazing pinball machine. This is the first slow-jam, and it's real pretty, with multilayered distorted strummy guitars and echoey vocals.
Track six. I'd love to hear someone to a cover of this. Underneath all of these layers is a really pretty song, possibly quite romantic by the sounds of it. The chorus is particularly lovely. These were not adjectives I was expecting to use.
Track seven. So you may have noticed some recurring themes here. Density, multi layered vocals, distortion, catchy melodies, loud drums, early to mid period Mercury Rev. These themes are repeated throughout the album (thus far), but that shouldn't be taken as a negative thing, that's the Animal Collective SoundTM and I love it.
Track eight has got a popping sound in it that is identical to the new message noise in Yahoo messenger. I'd like to think that this is some sort of elaborate ruse to wind up anyone listening on a computer. It worked on me.
This repetition I mentioned before means that this is one of those 'proper' albums that need to be listened to all the way through, from beginning to end, without any interruption if you want the full experience. That said, I'm just going to make a cup of tea.
Track nine. Ahhh, that's better. I've just realised that that popping noise was, in actual fact, Facebook messenger and I am silly. Sorry. This is the track with the strongest vocals, which have impressed me throughout. Characterful and unique.
Track ten. I was lucky enough to see Animal Collective in 2003. It was just Avey Tare and Panda Bear, at their first ever UK show, and just a pair of acoustic guitars. They were amazing as you can see below:
Track eleven. I feel fortunate to have watched them grow from that to now. They have advanced their sound with every record, twisting, adding new dimensions, never standing still, constantly challenging themselves and their audience. This final track is magnificent, continuing the feeling that this is a very satisfying sonic experience, just like our parents listening to Kraftwerk's Autobahn echo around their living room. Play it out and play it loud. Fantastic.
Two things that are customary at this time of year: new years resolutions and best of lists. For me these two things are colliding this year. My resolution is to listen to less music, and listen to it more often. Because it is ridiculously easy to acquire new music, I seem to have been on a one man mission to listen to every new release by any band or artist who has even the remotest chance of being interesting, and while in theory it sounds great, what has happened in practice is that I never listen to an album more than once. I also never get to listen to any old music. It's become frankly stupid, and needs to stop.
Subsequently, how can I list my albums of the year? I haven't had time to develop a relationship with any of them, to fall in love or become tired of them. But I do know these things:
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