Live Review: Red Bull Music Academy presents 12x12

Following our recent competition BlackPlastic figured we better taste the pudding with Red Bull's 12x12 event at the Scala.

Be under no illusion - this was a made for TV production with a line up designed to present the maximum number of photo opportunities. Not that the line up wasn’t worthy or even good, but the whole concept, designed to celebrate London’s dance culture, in many ways missed the point. 12 DJs and producers each playing their biggest hit for 12 minutes with more photographers in attendance than punters makes for a strange vibe and ironically, something unlike any London club night over the last 20 years of nights that we were there to celebrate.

Forgive us for being churlish, we’re sure it looked great in the trade press and the event’s corporate veneer did mean we had unprecedented access to the stars. It also made for some compulsively bizarre viewing, MJ Cole gurning his way through an MP3 of 'Sincere' stands out - twelve minutes just about saved by the bizarreness and Cole having Nero's rather more contemporary dubstep remix of the track to fall back on.

Arthur Baker was a ubiquitous presence throughout the Scala for personal photo-ops but when he played Planet Rock you remembered why this clash of German electro and funk was so epoch-making. Martyn Ware predictably played 'Temptation', unpredictably, he played a version with a 90s Euro-dance beat and sang over the top. Just as the embarrassment got too much, like your dad doing karaoke, he saved it by playing his stylish, 80s ballad 'Let Me Go', and that shows what a good song 'Let Me Go' is.

Despite all the pretence, it was the drum and bass DJs who stole the show for the crowd by playing jump-up greatest hits sets with the night’s genuine highlight coming when Ms Dynamite joined Zinc on stage for a rip-snorting p.a. of 'Wile Out'.

We suppose 12x12 proved that the most important element of any night is something that all the DJs and crates of Red Bull in the world can’t make up for, something that Russ Abbott presciently referred to as ‘atmosphere.’

BP x

Album Review: ...And Then We Saw Land - Tunng

Tunng's new album greets listeners like a long lost friend coming in and giving you a big romantic passionate kiss. ...And Then We Saw Land's opening track 'Hustle' is so infectious that offering it upfront without the listener having put in any effort whatsoever feels like a treat akin to early payday in December.

The problem with early pay is that it leaves you feeling short-changed in January as the weeks drag on. BlackPlastic wouldn't go so far as to acuse Tunng of giving us the same feeling but the tone and pace of the album innevitably dips from this heady start.

Yet ...And Then We Saw Land is a lovely piece of melodic folk music that manages to contain electronic flourishes and reflects elements of anti-folk in it's lo-fi feel and the likes of múm in its playfulness. And when it works it really bloody works: 'The Roadside', for example, features a fantastic wandering, almost meandering introduction and builds in a lovely cinematic fashion.

So Tunng's album is by no means a mixed bag - it just has some good bits and some utterly sublime bits, like on that album opener or the stop-start rhymic vocals of 'Sashimi'. ...And Then We Saw Land is a grand day out of a record. A joyful, joyful experience - it feels like a car journey at the beginning of a holiday.

Download 'Don't Look Down Or Back' on MP3 by Tunng, taken from ...And Then We Saw Land [right click, save as].

BP x

...And Then We Saw Land is out on tomorrow, available from Amazon.co.uk on CD, LP and MP3 [affiliate links].

EP Review: Burn and Rise - Panic Girl

The press release postulates that Burn And Rise, Panic Girl's debut EP, offers a distinctive hybrid of trip-hop meets electronica.

On the whole it is right. BlackPlastic is not entirely sure how distinctive such a combination is but we would be lying if we didn't agree that the result is catchy.  The attention given to detail and something of the overall melancholic vibe to the record actually remind BlackPlastic of some of the more memorable offerings that came out of the progressive house rebirth back in the early noughties - the vocal tracks here being specifically reminiscent of Satoshi Tomiie's collaborations with Kelli Ali on 2000's Full Lick.

The difference is that Panic Girl's EP is much slower and sounds much more organic than any tech house and, to be honest, the variety and production flourishes stand Burn And Rise far apart from any of the staid, dull efforts that often get categorised as a mixture of trip-hop and electronica. At its best, as on the peaceful, zen-like 'Hide And Seek' Panic Girl is clearly excellent - the track boasts a wonderfully global feeling sound, and despite Panic Girl hailing from Germany the track feels equal parts east and west.

Check out the video to 'Burn And Rise', directed by award winning director Reza Dolatabadi, above. Burn And Rise the EP is out next Thursday 25 February on shadybrain.

BP x

Single Review: Shark's Tooth - Archie Bronson Outfit

The Archie Bronson Outfit's new track, taken from the forthcoming Coconut album (out 1 March), is exactly the kind of scratchy alienating music BlackPlastic hopes is playing when we finally lose the plot and the fine thread that keeps the world the right way up snaps.

It's angst then, but the best kind of angst - artsy and well dressed. With a wall of distorted guitar-work 'Shark's Tooth' manages to create a sound that actually feels like the serrated edge of its namesake.

The forthcoming album is produced by ex-DFA (yes, ex) darling Tim Goldsworthy. Judging by this effort it is likely to be a big departure from his work with Hercules & Love Affair and Cut Copy into the realm of jerky guitar post-punk. Which makes BlackPlastic excited. If it is all as good as this then it will be a significant achievement for both band a knob-twiddler.

Check it out the Ferry Gouw directed video above and, even better, head over to the Archie Bronson Outfit website to download the MP3 for free.  The 7" is out on Monday.

BP x

Album Review: Boca Negra - Chicago Underground Duo

Boca Negra - it evokes foreign places, exoticism and, meaning "black mouth" evokes feelings of infinity (it apparently represents an endless consumption of information). And Chicago Underground Duo sound like they should have made house music back when house was a place not a genre.

They don't, however. But Boca Negra is no less exciting for that fact. Instead it is just too damn cool, Chicago Underground Duo's sounds creating an effortless yet sophisticated and ultimately considered melange.

Chicago Underground Duo's album is ultimately a free-jazz-folk-music affair. Yet if, as they say, writing about music is as stupid as dancing about architecture then you could argue that assigning a genre to music like this feels as ridiculous as skydiving about partical physics.

What there is no argument over is the fact that Boca Negra is a beautiful record. Whether soothing, as on the refined and soulful 'Vergence', or obtuse, funky and playful as on 'Spy On The Floor' it is a shattered picture frame of enticing images. In some respects it is a collection of mood pieces but played with such aplomb, such attention to detail that it sounds like the soundtrack to the best movie you have never seen.

Boca Negra is a cinematic album and it is at its best when full of the space and exposed, broken rhythms as on 'Lauging With The Sun'. Like much great instramental music different people will feel different things from listening to Chicago Underground Duo: BlackPlastic feels a sense of wonderment.

BP x

Preview Chicago Underground Duo's Boca Negra by downloading the MP3 of 'Spy On The Floor' [right click, save as].

Boca Negra is out now on Thrill Jockey, available from Amazon.co.uk on CD and LP [affiliate links].