review

Single Review: Paris - Friendly Fires

Barely two weeks in and one of 2008's most promising acts is already delivering nuggets of gold like this... For those not aware, Friendly Fires, like Foals (yes the 'The' is officially over) trade in indie anthems that sound like dance music: previously 'On Board' sounded like Jamie Principle's glittering house anthem 'Your Love' if it got a bit lary on the dance floor of you local fleapit and, as if in attempt to spoil journalists' ability to use such an analogy they went and covered 'Your Love' on one of their other EPs.

'Paris' has a chorus made of glitter and glow in the dark stars. It is being allowed to stay up on a school night. It is the promise of things and it is the sound of indie loved-up.

BlackPlastic never much cared for rave in its original form and if The Klaxons are Nu-Rave then Friendly Fires must be Nu-House.

Welcome to 2008, please check your old favourite band at the door.

BP x

Album Review: DJ Kicks - Booka Shade


Just like buses good DJ-Kicks albums are known to come in threes. Possibly. And as such it is with little surprise then to which BlackPlastic responded to the news that the latest installment, hot on the heels of Got Chip's still-on-heavy-rotation effort, is from Germany's kings of minimal, Booka Shade.

Unsurprisingly the mix on offer here is an entirely different kettle of fish. For every left turn on Hot Chip's album Booka Shade instead illustrate a smooth, considered blend.

Which is not to say there are no suprises... There are. Take Heaven 17's 'Geisha Boys and Temple Girls'. Or Yazoo's 'Situation' for that matter, coming as it does out of the paranoid fog of Booka Shade's own 'Estoril' sounding like a combination of Yello's 'Oh Yeah' and 'No Way Back' by The Adonis. It's just that these tracks are still blended in to the whole and maintain the constant, contemplative mood.

It is this contemplative mood that at one point threatens to ruin, and then saves the same mix. In the middle third a slight over-abundance of icey electro and moody minimal-techno tracks almost make things too melanchollic... The John Carpenter track, 'Arrival at the Library', overlaid with the vocals to Mlle Caro & Franck Garcia's 'Far Away' is a case in point.

Yet whenever things are in danger of getting too formulaic, or blue, or spikey the mix subtle moves off in another direction. Take Brigitte Bardot's 'Contact'. Just as it becomes too much it (somewhat begrudgingly) gives in to Booka Shade's 'Numbers'. And what a track to give in to...

Every DJ Kicks album features an original composition from the DJ and, as their first vocal track, 'Numbers' (much like Hot Chip's shimmering 'My Piano' before it) is a bit special. A moody yet slinky request for your phone digits, 'Numbers' is a love song that is not about the person being propositioned, but surely some other individual... The one that makes the vocalist want to forget. And it's contemplative again, but this time in a refreshing way. Add some strings and you've got something you'd be only too happy to pick-up on the rebound.

Of equal brilliance is Hot Chip's newly released remix of Matthew Dear's already brilliant 'Don & Sherri' (sorry, there is a theme here... It's that Hot Chip are awesome). The original maybe a wonky IDM freak-out, equal parts love-song, stalker anthem and onslaught of creepy paranoia wrapped up into a pop song package. Hot Chip pick it up and run with it and you soon have a bitter-sweet anthem and the lyrics take on numerous hidden depths as Alexis opines the lines 'How could I let you forget me when you don't even know me already?' Hot Chip's take on this song is so good, all naked vocals and twinkling melodic synth stabs, that it is an absolute no-brainer why Booka Shade passed up on label-mates M.A.N.D.Y.'s mix in favour of it here.

'Don & Sherri' and the Matthew Dear LP Asa Breed deserve their own posts they are that good. But rest-assured that as Richard Hawley's 'Last Orders' gets called you will have found much to like here. Booka Shade put in a fine effort here, convincing of their historical knowledge and programming (DJ speak for sequencing) skills. Here's hoping for bus number three.

Album Review: Fabriclive 36 - James Murphy and Pat Mahoney



When the kids all ran up to BlackPlastic last month, excitedly asking "What's the new Fabric album like, the one mixed by James Murphy and Pat Mahoney from LCD Soundsystem?" BP didn't know what to say. Other than "Bloody Royal Mail" that is.

Having digested it several times over it can now be summarised thusly: It is somewhat camp, warm, bubbly in places and fairly unpredictable. Opening and closing with Peter Gordon & the Love of Life Orchestra was a good move, with 'Beginning of the Heartbreak' rapidly evolving from a throbbing, strutting piece of kraut rock to a rocking disco loved-up on pills type 'BlackPlastic, THIS is your life' moment.

No review can do this type of mix justice as, just like The Glimmers' recent Eskimo V, there are too many left hand turns to account for. Still, Baby Oliver's 'Prime Time' is probably about riding on the Back To The Future time-travelling train back to the year 1976 and Donald Byrd offers up warm Dad-friendly hedonistic disco-house to get the feet tapping on 'Love Has Come Around'.

G.Q.'s 'Lies' is like Daft Punk 15 years too early, all twisted basslines and vocal snippets twisting around itself to create a wonderful musical collage. Still Going's 'Still Going Theme' marries lush minimal keyboards to large, echoing bass in one of the (slightly) more modern cuts included.

Fabriclive 36 is very much a product of love... At the times where it doesn't feature an excitedly loved-up vocal or a heart-stopping string riff you can rely on the fact that there'll be some obscure gem no-one you know has ever heard. This is real crate digging stuff and it has all been mixed though the first ever model of DJ mixes, giving the whole outing a very warm and analogue feel as the vinyl crackler and pops its way through the mix.

'I Feel Good Put Your Pants On' instructs the bouncy and damn funky Jackson Jones cut. Fabriclive 36 feels just like that... "Don't, don't... Please don't leave me!" cries closing the track. And you won't want to.

BP x

Album Review: Carnivalesque - Rubens


Carnivalesque marks the debut for Rubens - a combined project from Mark Flanagan and Gordon MacDermid - that sees the duo construct uplifting ambient electronic landscapes.

Reminiscent of other artists such as Ulrich Schnauss, Carnivalesque feels very much like an experimental electronic album, combining the emotional resonance of a Sigur Ros track for example with the technical approach of Four Tet. On album opener 'Vertical Hold' for example, melodies plucked out on acoustic guitars twist in and out of each other whilst a tight electronic beat pushes through to create an icy yet warm sound.

Second track and second single, 'Breaking Into Smile' nicely encapsulates the feeling of listening to Rubens with synths wash over a mixture of live and synthetic percussion to create a smile inducing record.

Whilst the record as a whole has a consistent theme, and this being a pure electronica album there are no vocals, there is no doubt that there is some emotional variety. Try comparing the opening track to 'Giraffe' and you'll find a far more downbeat Rubens apparent.

The production on display seems almost effortless - textures and layer upon layer combine with such ease that it is all too easy to overlook the substantial effort that must have gone into the compositions on offer. It is also refreshing to note that a variety of live instruments have been used to give the sound more depth.

Carnivalesque is undoubtedly an enjoyable record and the delicate textures and soundscapes create the perfect soundtrack to a cold winter's day. As an album it is at its most enjoyable when it departs slightly from the norm - the sheer head nodding joy of 'Vertical Hold', the considered close to the ten-minute 'Ferris Wheel' or the spacious closer 'After Now Is Next' all provide definite highlights - and as such it will be interesting to hear what the future holds if Rubens develop a broader focus whilst maintaining their apparent attention to detail.

Without doubt Carnivalesque makes a delicate and beautiful introduction to the world of Rubens.

Album review: Our Ill Wills - Shout Out Louds


Something known only as life has kept BlackPlastic somewhat busy over the past weeks, but fear not sweet friend... Never throughout that period were you forgotten and now you are welcomed back with big wide open arms and a tall drink. And what better soundtrack to celebrate this than the Shout Out Louds, who follow up 2005's oft-overlooked gloriously sweet debut, Howl Howl Gaff Gaff with album number two, Our Ill Wills.

Starting with the swaggering, summery, string drenched 'Tonight I Have To Leave It' Our Ill Wills instantly lifts the production values beyond its predecessor's slightly. What remains are the glorious pop songs - sweet, touching, sad and yet still capable of making BlackPlastic play air drums like no-one's watching. Somehow, even without the lyrics, the Shout Out Louds manage to sound like you feel, and 'Tonight I Have To Leave It' sounds like a mixture between running to the park to meet your first girlfriend and breaking up with someone for the first time.

Such an analogy does much to convey the sound displayed here even more than the last album. Many of the songs on offer manage to sound sad and yet remain uplifting. 'You Are Dreaming' is thick with sprinting rhythms and strings that manages to sound like a midnight swim whilst 'Suit Yourself' utilises space, giving the vocals enough room to breath and therefore creating something much lighter in contrast.

At a time where the likes of Arcade Fire, Modest Mouse and The Shins are all achieving mainstream success there can be no doubt that the Shout Out Louds could score a hit. Our Ill Wills, peppered with flourishes that will enthrall the listener deserves every bit as much attention. Take 'Impossible' for example, with its muted guitar at the start that becomes enveloped in a wall of sound before everything dies down halfway through to let it all begin again. As the drums begin to kick back in beneath the strings around the five minute mark it becomes apparent the Shout Out Louds have created a near-seven-minute epic along the way. Or check out how 'South Africa' sounds just like a summer evening's bike ride. Want more power-pop ballads? 'Time Left For Love' has got pop by the bucket-full, with a clap-along rhythm section and a chorus distilled from MDMA.

Closing on the seven-and-a-half minute distortion heavy workout 'Hard Rain', which, unsurprisingly, sounds just like a rainy day that brings the floods, Our Ill Wills just might be the sweetest thing you hear this year. Don't let this pass you by.