review

Album Review: Latin - Holy Fuck

The start of Holy Fuck's new album sounds like big things happening. '1MD' opens the album on a building crescendo of distorted melodies. It is initially calm but it quickly becomes apparent that this is merely the calm before the storm.

And a storm it is: 'Red Lights' barrel-rolls in like a professional hit man, slinky bass lines and snappy drums painting the sky. And it's obvious that Holy Fuck continue to create a kind of music that many try to make but few succeed in delivering.

There are echoes of Gang Gang Dance, !!! and others here but no-one manages to create quite the same psychedelic acid trip and make it sound so real. Latin is an album that builds to a fever pitch - midpoint track 'Silva & Grimes' is rabid driving music for thunderstorms, incessant and rapid fire and faster than anything that precedes it. It feels like a kind of climax on first listen but that's only because you don't know what is still to come.

'SHT MTN' is low-slung, squealing and industrial and then 'Stilettos' is pedal-to-the-metal-with-the-top-down. Closing on 'P.I.G.S.' only increases the sense of bewilderment. This is mechanical art-rock for destroying cities. A solid groove builds and eventually hits a melodic breakdown midway through before heading stratospheric. This is music for space, not puny-Earth - it sounds like an ode to the majestically uncontrollable power of the Saturn V. This is being strapped to five-megatons of explosives and flicking the match.

Latin is not just a selection of fantastic tunes, it's a epic journey sandwiched into 40-minutes.

BP x

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

Album Review: The Thorns Of Love - Antoni Maiovvi

The follow up to Antoni Maiovvi's eponymous release The Thorns Of Love is short, at six tracks or forty-minutes, particularly for an electronic album. But that just makes it feel that much sweeter.

The Thorns Of Love could be described as cosmic disco, but it's a bit more than that. Opener 'This Is The Beast' may well fit that bill, with shades of Jean Micheal Jarre and Tangerine Dream, but 'The Sigh From The Sky Was A Lie' feels as much post-punk as disco - a warm mix of Italo and New Order style synth and bass-work. And it works pretty damn well.

And the album gets only more varied as it progresses. 'Treason' is a solo piano piece and packs an emotional punch whilst forming a key centre point for the album. Finally things close on 'Horsehead Blues', a muted, dubby trip into Antoni Maiovvi's head with vocals that sound like Bowie going through an emotional breakdown, it's Joy Division forced to go on holiday to Ibiza, but not in the suddenly blissed-out sense that New Order achieved on Technique.

The contrast between tracks is stark, leaving the listener unsure of what to expect next, and as a result The Thorns Of Love is a brief yet engaging, emotional ride.

BP x

The Thorns Of Love is out now on Caravan, available from Amazon.co.uk on CD, MP3 and LP [affiliate links].

Album Review: Fabric 52 - various mixed by Optimo (Espacio)

Fabric 52 delivers. Optimo have long been heralded as innovators and legends and their mix albums have always been good. But good isn't always enough.

This is better. From the angry Soft Cell-esque 'Lady Shave' Fabric 52 feels like it falls through the door without so much as a glance in your direction. A drunken adolescence of a record, it is quite happy being self-obsessed and arrogantly unaware of your thoughts or feelings. It sounds like it would go on playing itself even if you tried to stop it.

Optimo have made a thrilling, wobbly, bubbling, acid-washed, squelchy set full of reverb and trouble and doubt. Whilst previous Optimo efforts may have been distracted and deliberately eclectic (How To Kill The DJ Part Two, anyone?) Fabric 52 proves they can work a groove.

This is an album that progresses through several themes and styles but knits things together closely enough that the joins aren't even visible. Even the anthemic 'Don't Call' from Desire is disguised beneath bleeps, rhythmic stabs and shouts - letting the track ride into town on Oni Ayhun's 'OAR003-B' is a stroke of genius and successfully transforms the track. It's one of those rare moments where a mix between a couple of tracks makes something completely new and manages to improve on the original. It's really that good.

Fabric 52 really feels like an important album. Sometimes mix albums are able to point to the future far better than an album from one individual act can. The dark, spiralling acid trip of Optimo's set feels like just such an article. As on the tripped out mish-mash of Nakion's 'Heartbit' and Xex's 'Heartbeat' that closes the album, this is a fantastic collaboration between the past and the future.

BP x

Fabric 52 is out now, available from Amazon.co.uk on CD and MP3 [affiliate links].

Album Review: DJ Kicks - various mixed by the Juan Maclean

BlackPlastic was going to start this review with a preamble about the diminished relevance of the DJ mix CD and the evolution of dance music as a consumable medium. But instead we shall simply say: the mix CD is fucked, but the Juan Maclean apparently couldn't care less.

In approaching his outing in the DJ Kicks series good old John Maclean has kept things simple: this is a straight forward set mixed on vinyl with no digital effects and it is something of a revelation.

The DFA's strength as a record label stems from it's non-myopic view of music. Nothing is too far away to be considered ripe for re-imagining or re-contextualisation. The Juan Maclean's artist albums embody that sense of natural curiosity and this mix album, despite featuring largely recent tracks, wears its heart on it's sleeve. This is house music and it is as simple as that.

It is therefore a testament to Maclean's mixing and sequencing skills that this mix just feels so fault free and timeless. And there are some excellent moments. Ian Breno's Dub of The Juan Maclean's hit 'Happy House' (here 'Feliz Casa') melts into Still Going's fantastic 'Spaghetti Circus'. Ao's 'Take Me' sidles up to Rick Williams' 'Get On Up!!' like there isn't twenty-odd years between them and Jeeday's 'Like A Child' is both haunting and driving at once.

The closing quarter only elevates things further - from Danny Howell's 'Laid Out' through Shit Robot's 'Simple Things (Work It Out)', the token new Juan Maclean cut 'Feel So Good' and a final visit to 'Get On Up!!' before closing on the so-laid-back-it's-stopped-breathing Frankel's Rhodes Workout version of 'Happy House'. This is house music for now, the summer, forever. Intelligent, beautiful and funky.

BP x

DJ Kicks - The Juan Maclean is out now on !K7, available from Amazon.co.uk on CD, LP and MP3.

Live Review: She & Him @ Koko, 7 May 2010

To call the crowd at last week's She & Him gig at Koko in London 'fanboys' would only be wide-of-the-mark insofar that there seemed to be just as many girls looking to declare their love for lead singer (and Hollywood star) Zooey Deschanel as their were boys.

Fan-people, then. And inevitably it is possible to feel slightly alienated in such a crowd, particularly when ever second of silence is instantly filled with an offer to impregnate a member of the band, yet She & Him were both able to rise above it. Things may not have started perfectly - Deschanel spent virtually no time interacting with the audience between numbers and the nature of their catalogue means the best was bound to come towards the end, but as the duo warmed up and Zooey opened up the songs began to speak for themselves.

Interestingly the performance had several levels of performance - a full band with two backing singers, the full band without the extra singers and finally just Deschanel and M. Ward.  The differing levels helped make the event flow through what is otherwise a set of songs that are similar in styles but the gig was undoubtedly at its best when stripped back to just Ward and Deschanel with performances of 'You Really Got a Hold On Me' and the duo's cover of Screamin' Jay Hawkins' 'I Put A Spell On You', both of which enraptured the audience - especially the latter's extremely long notes from Zooey.

A performance that veered from enjoyable to, at times, thrilling.

BP x