Album Review: In The Grace Of Your Love - The Rapture

It has been five years since The Rapture's last album and, with the exception of the gloriously funky Timbaland produced 'No Sex For Ben', ages since we heard anything new from Luke Jenner and the band.

The Rapture were one of the first artists to release anything through DFA as a label and were certainly first to release a full album in the form of the DFA produced dark and strung-out yet funky Echoes. It was an album that helped plunge post-punk into the limelight.

But a lot has changed since then. Bassist and vocalist Matty Safer has left the band, they have left and then returned to the label that first broke them and most significantly Jenner's mother sadly tragically suicide, with Jenner having his first child and converting to Catholicism shortly after and.

You can feel the impact of these events on In the Grace of Your Love. Whilst previous album Pieces of the People we Love was carefree and celebratory - a collection of songs about parties, cars and music itself - this feels much more grounded and grown-up. With Jenner's father depicted on the cover seemingly effortlessly standing on a surfboard as he rides a wave it feels like The Rapture are in the same pose - willing themselves to land the moves without seeming to break a sweat.

On the whole they manage it. The album is bookended by polar opposite tracks. Opener 'Sail Away' is ballsy, almost arrogant, as Jenner rides the wave of emotion that the rest of us are seemingly excluded from. Musically it's strident, with soaring keys and a vocal that just feels like a continuous chorus. But it feels a million miles from the relative sophistication of Echoes. Whilst the latter was full of references to Gang of Four 'Sail Away' feels like U2 covered by the Killers. It comes off like a confusing compromise.

If the opener is a million miles from the Rapture we fell in love with then the closing track, 'It Takes Time to be a Man' is equally distant but in another direction. A ballad that sees Jenner openly making his moves whilst simultaneously demonstrating his sensitive side, it's punctuated with a surfer rock baseline, jazz keys and brass. For all the change it is a much more welcome entry into the band's catalogue than 'Sail Away' and packs the kind of album closing gravitas that benefitted the Yeah Yeah Yeahs' 'Maps' on their debut.

Elsewhere things are a bit less contentious. Much of In the Grace of Your Love feels midway between the darker first album and funk of Pieces of the People we Love. 'Miss You' is typically of this - the verses stripped back to little more than a thick drum beat and heavy bass. It feels like a contemporary re-imagining of the Rolling Stones track of the same name, desperation seeping from Jenner's vocals. 'How Deep Is Your Love' takes proto-house and rebuilds it around a brass heavy punk funk number.

'Come Back to Me' is one of the best songs on this record, it's song structure seemingly an inverse of the established norm of starting quiet and building to a crescendo. With a looping, dubby start based around a twisted accordion sound it pulls a handbrake turn halfway through into a dark and foreboding re-imagining of what you have just heard, a minimal house conclusion that works by emphasising an alienated longing for something, anything.

After the partied excess of their last album In the Grace... feels reigned in, but in doing so I can't help but feel that The Rapture have tempered their creativity. Echoes felt packed with ideas and songs the band needed to get out. At times In the Grace of Your Love feels a little bit like that album cover - coasting along with little evidence of the effort that making this album must have taken, particularly given the tumultuous period the band have been through.

BP x

In the Grace of Your Love is out now on DFA, available from Amazon.co.uk on CD, LP and MP3 [affiliate links].

Album Review: W - Planningtorock

It's been a while since I've heard an album this good. Planningtorock, or Janine Rostron to her parents, seems to have become something of a sensation over the past few months with her sophomore album creating a bit of a storm. Rostron is the the kind of artist I overhear in a record store and then go to check out only to find I've already downloaded three songs from a selection of blogs. Which isn't to say I'm cool - just that she must have had particularly good write-ups for me to download something without hearing of her first.

Well it turns out that Planningtorock more than deserves those write-ups. W is as a complete an album as you could hope for, drawing the listener in gently and then refusing the let go. The opening tracks come are seductive, at first ballsy and brash ('Doorway', with a full-on, strutting bass line) before becoming isolated and nervy (’The One'). Over the course of the album Rostron gradually winds the screws and it becomes clear just how much she has to offer.

The thing is: W is what people try and pretend good pop music is. Take everything Beyoncé ever released and it wouldn't touch this, simply because Planningtorock actually has the ideas and passion that a multi-million-dollar marketing budget promise but can't deliver. Check 'Manifesto' - if Beyoncé had released it people would be falling at their feet. Built on slices of samba rhythm and boasting a melt-in-the-mouth break in the middle, it challenges and rewards in ways that a Major Lazer sampling hit single only has wet dreams about.

'I'm Yr Man' is a woman being more Mick Jagger than Mick himself, the persistent drum beat hammering into you skull like a nagging naughty thought you just can't put away. Is Janine dreaming of what she wants or what she wishes she was. Or, more likely, just exemplifying the contradictory needy arrogance at the heart of the male ego? Probably all three.

And if 'I'm Yr Man' is a modern twist on cock rock then 'Living It Out' is disco re-imagined - a thunderous statement of intent. As Planningtorock sings about "Living it up, living it down, living it in, living it out" she sounds unstoppable. "My head's on fire", she wails: that familiar feeling of the pursuit of hedonism at the expense of rationality.

W is an album of nooks and crannies, ideas and ideals, promises and revelations. Constantly leaving you guessing what is next, it rewards in a way I haven't experienced all year.

BP x

W is out now on DFA, available from Amazon.co.uk on CD, LP and MP3 [affiliate links].

Album Review: Holy Ghost! - Holy Ghost!

When duo Nick Millhiser and Alex Frankel first unleashed 'Hold On' upon the world as Holy Ghost! I was a little bit awestruck. It is pretty much the perfect modern house record - a nod to label mates LCD Soundsystem in the rock song structure and snappy, live sounding percussion combined with a brilliantly restrained shuffling bassline and synth combo that managed to turn up just as Italo was tipping over. Even the lyrics somehow manage to transcend what are actually pretty conventional sentiments - some how the formulaic "Hold on, hold tight" chorus felt edgy when pressed up against that killer couplet: "I love this city but I hate my job".

For me nothing else the duo have done has quite lived up to that moment. The Static On The Wire EP had some moments - the catchy if slightly sterile track it takes it's name for starters, however it was second single 'I Will Come Back' (also on that EP) that really suggested there was more to come.

Here we are then, some four years on from 'Hold On'. Whilst that track appears here alongside 'Static On The Wire', 'I Will Come Back' is sadly only notable by its absence. It's a peculiar omission given that this album is just ten tracks long, clocking in at under fifty minutes. Regardless - what you have is a solid selection of vocal house tracks that more-or-less all hit the mark. 'Dot It Again' opens things on an even footing with a serviceable if risk-averse number - it is undoubtedly Holy Ghost! at their most commercial.

It is the album's middle that delivers though. The exposed sound of the vocals on 'Hold My Breath' when the melody all but completely drops away, the lyrics pushed out with a rapid insistence as though the singer is all to conscious they are running out of time. An ode to label mate and friend Jerry Fuchs, 'Jam For Jerry' is the perfect bittersweet electro-pop record. The vocals betray a certain guilty feeling at Fuchs' untimely death - "I've got the feeling I've done / something half wrong / it surrounds me, it drowns me in it". Paired with an undeniably sparkly melody it feels like the sound of the party going on whilst everyone there struggles to come to terms with what has happened and the result sounds like pure New Order: I'm unhappy but I'm still dancing

From there the album flows in to 'Hold On', and then on to 'Slow Motion', which stands out with it's drum-heavy breaks before closing on 'Static On The Wire' and 'Some Children'. The latter incorporating a chorus of children singing that feels like it aims to add a bit of soul but sadly just over complicates things - the duo are at their best when stripped back and left to their own devices.

As a debut this proves Holy Ghost! Are more than just a one hit wonder. Four years in the making means it suffers slightly from the burden of expectation though and I can't help but with there was just a bit more to discover here.

BP x

Holy Ghost! is out now on DFA, available from Amazon.co.uk on CD, LP and MP3 [affiliate links].

Album Review: From The Cradle To The Rave - Shit Robot

BlackPlastic has appreciated the work of Shit Robot since their track 'Wrong Galaxy' appeared on Radio Slave's rather excellent Creature Of The Night compilation back in 2007.

Back then 'Wrong Galaxy' felt like a breath of fresh air - proper techno done properly at a time when dance music was obsessed with being anything it wasn't. Electroclash, post-punk, rock music - all were greatly incorporated into tracks that worked on the dance floor, but sometimes less is more. And in essence From The Cradle To The Rave delivers on the promise of that first single.

Notably absent though it may be, 'Wrong Galaxy' is a demonstration of Shit Robot alter-ego Marcus Lambkin's approach to music. And so when album opener 'Tuff Enuff' turns up with it's functional, driving bass line, spoken vocals and minimal synth washes it is clear that this album will leave you wanting more, not less.

There are a couple of moments that may fail to live up to the heights that Shit Robot can sometimes achieve - 'I Found Love' feels unnecessary, particularly compared to the imagination demonstrated on previous singles 'I Gotta Feeling' or the dizzying 'Simple Things (Work It Out)'.

'Simple Things' itself remains the best thing Shit Robot have released - a track so perfectly formed that it simply never gets old, the perfect combination of classic techno and house where the real innovation comes from nothing but the bloody-minded quality of the thing.

The Alexis Taylor guest spot on 'Losing My Patience' is great and 'Take 'Em Up', featuring Nancy Whang, is even better - a slick slice of eighties-pop sheen. Things round out with previous single 'Triumph!!!' and frankly it's an appropriate name and an appropriate conclusion.

Cradle To The Rave succeeds because it is so focused - compared to much of DFA's output this is remarkably straight forward house music, but it is all the better for that fact.

BP x

From The Cradle To The Rave is out now on DFA, available from Amazon.co.uk on CD, LP and MP3 [affiliate links].

Comment: That's Cool, But Can You Make It More Sh*t?

The DFA have recently completed a retrospective of all of their designed materials at the Tom Dunne Gallery in Sidney entitled That's Cool, But Can You Make It More Sh*t? Which is aces.

Sadly BlackPlastic didn't get to go, it being on the other side of the world, and it is already over but this video gives a little insight into the awesomeness that was it.

The look of the DFA output has always been pretty much consistently superb and it is perhaps symbolic of the attention to detail that the people behind the label have - something that generally comes through in the music. BlackPlastic would argue that this approach has defined what we would consider some of the very best labels (Factory and Output, for example) - it particularly comes through in the way that the releases on all of these labels generally fit together visually and yet still stand apart on their own.

On the video James Murphy mentions his intentions to release a book - here is hoping that happens at some point.

BP x

Album Review: If You Know What's Good For Ya!! - Woolfy

Woolfy's first album (as Woolfy vs. Projections) totally passed BlackPlastic by and if the fanfare that greeted this release, If Ya Know What's Good For Ya!!, is anything to go by then it's no surprise. Released on DFA/Rong with very little marketing (just why can't DFA send emails to their fans, huh?) last month Woolfy don't even seem to have had much coverage from the blogging world.

Which is a shame because If You Know What's Good For Ya!! is pretty bloody good as it happens. With a sound that perfectly encapsulates the two labels collaborating on its release - the slightly tongue-in-cheek, indie dance of Rong and the gritty rocker chic of DFA all in one package.

Whilst there are a couple of tracks that fail to standout this is generally down to the quality of everything else on offer. The sleazy garage funk of opening track 'The Warehouse' sets the pace nicely and it is clear from the off that this isn't an album made for the dancefloor, it's made for the grimey come down afterwards or sun-baked afternoons laying in the park.

And the pace doesn't really let up - 'Oh Missy' is all angular gutars and yelped vocals and whilst the progressive sounds of cosmic disco on 'Loa The Disco' break the run of catchy vocal tracks you can't really deny its quality.

If Ya Know What's Good For Ya!! is actually at its best when it is serving up more contemplative numbers. The dreamlike 'Looking Glass' sounds like MGMT collaborating with the Chemical Brothers on one of those blissed out numbers they normally get Beth Orton in for towards the end of the album. The result is very striking. Equally brilliant is the battered and bruised 'Sonic Monday', with the vocalist capturing Bernard Sumner's stilted delivery on New Order's 'Temptation'. It's a track that sounds so hot you could stick it on and work on your tan.

So it may not be grabbing headlines but If Ya Know What's Good For Ya you'll grab this. Ahem. Sorry.  But seriously, don't sleep on Woolfy.

BP x

Album Review: The Future Will Come - The Juan Maclean

With the exception of LCD Soundsystem's Sound of Silver BlackPlastic's favourite DFA album ever is the Juan Maclean's glorious Less Than Human. An ode to the robot it is a glorious body of work that culminates in one of BlackPlastic's favourite ever songs - the delicate electronic anthem, 'Dance With Me'.

The Future Will Come, however, is a different beast. Jettisoning some of the introspection of the previous album this takes a lot of cues from various types of 80s popular music. The Juan Maclean is the alter ego of John Maclean and, with his partner in crime Nancy Whang (who is also part of LCD Soundsystem), he has clearly taken a lot of inspiration from the Human League's Dare! for this album.  Not only are nearly all the tracks on this album vocal duets but John even sounds just like Phil Oakey at several points. John has stated that until working on the vocals for this album with Nancy he didn't like anything in the Human League's catalogue after their transformation once the girls joined, preferring the early 'Being Boiled' era, but that he really began to appreciate it once work on The Future Will Come began and this new found fondness really shows.

So the sound is generally very different from the first album but it isn't a inspirationless re-tread of another act's material either - the vocals are much more prominent but there is still a lot of experimentation going on with the music. Only 'New Bot' really recalls any of the clinical nature of Less Than Human. It's a somewhat appropriate likeness given the title of the song but even this fades away as the chorus kicks in and John and Nancy's League-esque vocal sparring begins.

The Future Will Come is not Less Than Human continued... then. Instead it is an evolution, a fantastic combination of many separate sounds and influences. From the opening 'The Simple Life' the League are there throughout much of this album but there is so much more. Next single 'One Day' mixes snappy vocals with lush Detroit techno - synthetic strings that recall 'Strings of Life' ride melody that sounds like it fell out of New Order's song book when they weren't looking. The result is rather special.

The album's two other highlights can be found in the form of last year's 'Happy House' and the epic midpoint provided by 'Tonight'.  If you haven't already heard it the former is an epic revisitation of pre-nineties house music which only gets better with subsequent listens.  It's an ode to music itself and the beautiful symbiotic relationship between a hot sunny day and the perfect song to dance to. 'Tonight' on the other hand recalls Less Than Human's 'Dance With Me' in terms of the level of emotion - it's a haunting piece and it helps provide much of The Future Will Come's emotional gravitas.

On The Future Will Come the Juan Maclean haven't just re-confirmed their abilities, they've moved the goal posts. This a much more human affair and it benefits from the added warmth.

Please buy, don't steal, this album.  It's available on Amazon.co.uk on CD , LP and MP3.

BP x

Juan Maclean-space / Official Site.

Five compilations of the year

Third of four in BlackPlastic's lists of 2008 and the focus for this one is on the best compilations and mixes of the year.

5. Top Ranking: A Diplo Dub

Diplo and Santogold's Top Ranking managed to do them both a disservice as it took Santogold's LP proper (produced by Diplo) and nabbed the best bits then pissed all over what remained. It was a trawl through some of the most exciting tracks of the past couple of years combined with some classics. Panda Bear AND Devo's 'Get Stiff' in the same mix? Yes please.

4. So Cosmic

2008 was all about the free online mix and by far the best of these was Cut Copy's So Cosmic. Okay, so technically this first hit the streets in 07 and we are beginning to sound like a broken record but it didn't appear online until 2008 and it is just. too. good. to. overlook. Beautiful.  And available here.

3. Cosmic Disco?! Cosmic Rock!!!

A big two-fingered salute to the myriad of Italo / Cosmic disco compilations out this year from Eskimo Recordings with Daniele Baldelli and Marco Dionig, Cosmic Rock was the real deal - a mix by someone that was there, unfettered by the desire to recontextual everything through modern eyes. Sure, at times it may have been cheesy but it was never anything other than awesome.

2. Fabric 41 mixed by Luciano

Sure, it may be little more than a Luciano DJ set commuted to CD but when the material an mixing is this good, who cares? The sublime breakdown into M83's 'Church' remains a highpoint of the year.

1. Notwave

Following the two remixes discs and a quiet period Notwace was a breath of fresh air from DFA. the concept itself was good - imagine what New York's experimental No Wave scene would have sounded like if it had never gone away - but the tunes were what made it. Every one not just different to anything else you'll hear on a compilation released in 2008 but sufficiently different from the rest of the album to make listening a joy.

BP x

Album Review: Notwave - Various

The DFA still effortlessly piss all over all other record labels in the cool stakes just like your best friend's cooler older brother did when you were eleven. No matter how much they try, no other label quite manages to nail the maturity combined with experimentalism of a DFA release. Notwave sees them team up with Rong Music to revisit the NY No-Wave scene of the late seventies...

...Only instead of peddling some cuts from thirty years ago we get a fresh batch from current artists. With the exception of a cut from James Chance and the Contortions, one of the bands actually present for the original movement, these bands are drawing inspiration from a scene that passed away years ago but the tracks themselves are all bang-up-to-date.

So you get some nice, spikey, angular rock like the muted 'Unwelcome Guest' from Quad Throw Salchow and Freshro's dark and sexualised cover of Spoon's 'I Turn My Camera On' that just make great, intelligent, pop records. Tim Love Lee turns in two mixes in the form of the free-falling 'No Search No Entry' by Striplight and Circuits' 'Pistols at Dawn'. The former sounds like Republica re imagined as a post-punk roller coaster whilst the later is a throbbing crescendo to a climatic vocal call that results in the record descending into a tribal rock breakdown. Both are utterly fantastic.

Notwave is the DFA's best compilation in ages, possibly ever. Streamlined and beautiful, it boasts a fantastic atmosphere that drags the listener through more sounds, places and genres than you could find in most entire record shops. From clipped dub workouts like Tussle's 'Elephants Meandering' to the dark and evil re imagining of the Peter Gunn theme that is Welcome Stranger's paranoid 'Smoke Machine', Notwave is never less than exhilarating.

BP x