Album Review: The DFA Remixes - Chapter

BlackPlastic still believes the DFA to be one of the most exciting record labels in existence, not to mention the supreme production talents of the duo themselves. It is therefore with somewhat bated breath that the first CD in a two part collection of remixes by the pair was opened up and slid into the CD player in the car.

Little present here is likely to shock much. If you have been a fan of the DFA for long you are likely to have heard, if not own, most of this already. For example the album opens with the wondefully snappy 'Deceptacon' by Le Tigre, at one point ubiquitous but still welcome here since the full, un-edited and un-mixed version is somewhat harder to come by.

Probably the best thing on here and almost certainly the track you are least likely to have is Blues Explosion's 'Mars Arizona'. A dubby, blues-y, punk-y mess of a track. Frantic keys stab away whilst the vocalist (presumably John Spencer?) freaks out to an increasingly acidic backing. If Arizona was on Mars, it would sound like this.

The Chemical Brother's 'The Boxer' gets sedated, slowed down to a hypnotic, druggy slab of psychedelia. The collaboration / remix with Soulwax, 'Another Excuse' (originally a b-side to the re-release of NY Excuse and then featured again on Nite Versions) is pure punk-trance, a best an absolute fucking riot, at worst the worst headache you've ever had - avoid listening to this with a hangover.

The DFA remix of Radio 4's 'Dance To The Underground' is probably better known than the original, jerky keys and fuzzy basslines mixing with snappy drums to great effect, although it is a shame more of the vocal couldn't have made it through.

Terminal fashion botherers, Fischerspooner have one last dance on he DFA with 'Emerge'. If you haven't ever heard the DFA remix of 'Emerge' then you're in for a bit of a treat - much more spun out and organic sounding it is somewhat like being in someone's head whilst they suffer from a bout of paranoia. It lacks the all out pop-sensibilities of the original but is rather great nonetheless.

The remix of 'Dare' by The Gorillaz seems to go on for days. Somehow Shaun Ryder managed to survive the mix and the production is rougher so he actually sounds more at home. Halfway through this becomes full-on acid heaven, freeing itself from any silly constraints that involve a remix having to sound anything like the original.

Metro Area's 'Orange Alert' has been everywhere, and Metro Area are ace so if you don't know this, don't admit it. BlackPlastic has to admit that it actually feels there are several tracks on the Metro Area LP that outshine this, particularly 'Caught Up', but 'Orange Alert' is in keeping with the DFA's style. Everything is slightly disjointed, lush live basslines chugging along supporting some lovely synths and a wicked high-hat.

Hot Chip's '(Just Like We) Breakdown' is as good as Hot Chip are, in other words, fantastic. Vocals are obscurred and then eventually deemed unessecary altogether as this does what it says and offers a superb synth and live drums breakdown. A fitting close to the album.

Overall the only problem with this album is the amount of it you may already have. If that doesn't represent a problem then tuck in because frankly, this is worth getting even if it is for nothing more than 'Mars Arizona'.

Single Review: Imogen Heap - Goodnight and Go

Imogen Heap seems set to become a household name. She has already seen tracks included in The O.C., a Cadbury's advert and, as part of Frou Frou, Shrek 2 and the lovely Garden State. When considered in conjunction with a very popular My Space profile it would appear that Imogen has got some hefty marketing behind her.

Sadly they seem to have missed their biggest trick, following its use during pivotal moments in the second series of the O.C. demand for previous single 'Hide and Seek' was incredibly high. The matter was further helped by some serious backing by Radio 1. For some reason the single did not get a release beyond iTunes for some time and to make matters worse the album, Speak for Yourself, was virtually impossible to get hold of in the normal retail chains. Virgin Megastore and HMV seemed to look bemused when they were asked about it.

'Goodnight and Go' is fairly typical of Imogen Heap or Frou Frou, if you don't know what that means then BlackPlastic would suggest some slightly experimental electronic production used to create very accesible, pop-sounding music. Skipping beats (actually the first two words of the song) and clicks combine with warm, mildly ethereal sounds to create a nice atmosphere while Heap sings about the apple of her eye.

It is difficult to describe what makes Imogen Heap's work so much more enjoyable than some of her contemporaries, but she just seems to be much more willing to mess with things. 'Goodnight and Go' sounds like Beth Orton getting freaky with BT whilst falling out of a plane very slowly.

Heap's marketing obviously bears no reflection on her music, but BlackPlastic finds it amazing that record labels seem to continuously stumble when it comes to making those artists with potentially huge commercial appeal crossover. Someone like Imogen Heap or Gemma Hayes could easily find themselves on coffee table accross the country next to Dido CDs, whilst still actually being good, yet the record labels appear to not care, preferring to pump budget into the next X-Factor winner that's bound to flop after one album.

To purchase 'Goodnight and Go' on Amazon when it is released on 8 May click here.

To purchase 'Goodnight and Go' on iTunes click below:

Album review: Yeah Yeah Yeahs - Show Your Bones

When the Yeah Yeah Yeahs burst back onto the seen in 2002 with their Yeah Yeah Yeahs EP they seemed like a breath of fresh air and, for once, the debut LP, Fever to Tell, lived up to the hype.

Back from the wilderness, Show Your Bones is a flag-waving, assertive follow. Whilst Karen O.'s trademark cat-screams may be a thing of the past, this is an album that somehow manages to sound more like the Yeah Yeah Yeahs.

Opener (and pre-released iTunes exclusive) 'Gold Lion' could almost be called formulaic, yet it sounds fresher than anything any of their contemporaries have managed since Fever to Tell. It also sounds like the soundtrack for an iPod advert. 'Way Out' is more angular, with Nick Zinner's guitars leading the way forward.

One of Show Your Bones' highlights has to be 'Phenomena'. Hip hop inspired guitar riffs mix with Karen's calls - "Something like a phe-nom-ena baby, you're something like a phenomena" - to create pop gold. This is balls-out, cards down aggressiveness and BlackPlastic can't help but love every second of it.

The band have taken a more electronic sound with this album and it is on 'Cheated Hearts' that this is most evident. Here the band carve out a mellower route, more in the vein of Fever To Tell's 'Y Control' and when Karen sings "Sometimes I think I'm bigger than the sound" you can't help but believe her. 'Warrior' is perhaps Show Your Bones' pinnacle, O. singing about her unique personality whilst the song builds to a crescendo.

Show Your Bones is probably never going to be as universally loved as Fever To Tell. It isn't as open or as distinctive. You have to work at it. Perhaps worst of all, it doesn't contain 'Maps', and the closest moments here just can't match that level of emotional honesty. But stick with it and you will surely start to see this album's appeal. It is aggressive, it knows what it fucking wants and it doesn't care if you like it. It is the Yeah Yeah Yeahs. Enjoy.

To purchase Show Your Bones on Amazon click here.

To purchase Show Your Bones on iTunes click below:

Single Review: Demeter - Addict

Demeter serve up 'Addict', a slice of angsty pop for the waster generation.

'Addict' is actually quite enjoyable, sounding almost exactly like a cross between early Garbage (before they became their own namesake) and The Cardigans. The lead singer does her best to convince us she's, like, really messed up, spitting out self-deprecating lyrics over a distorted melody. This may not change your life, but it's much more enjoyable than The Artic Monkeys.

B-sides 'Venus' and 'Under Your Spell' offer more of the same, but with less Garbage, more Cardigans. Demeter have definately got something to offer, but the whole 'alt' attitude comes off as a little tired in this day and age.

To purchase 'Addict' on Amazon, click here.

To purchase 'Addict' on iTunes, click below:

April Song of the Month...

BlackPlastic has been catching some rays (despite the complete lack of tan) in Barcelona, so we're running a bit late with song of the month. So sue me.

This month's song is Munk's 'Kick Out The Chairs'. Featuring, as all the best songs do, James Murphy and Nancy Wang on vocal duties, 'Kick Out The Chairs' is a post-punk riot featuring completely inane vocals ("Kick out the chairs, motherfuckers! Kick out the chairs! We are all custom made!"). I have no real idea what it is about but it is impossible to stop singing or thinking about it once it has seeped into your sub-consciousness. What's more, there's a lush little breakdown around the three minute mark with punchy-as-fuck drums that nicely sets off the rest of the tune.

BlackPlastic originally heard 'Kick Out The Chairs' when it was posted on Fluxblog.org some time ago, so we cannot take all the credit. The reason it's getting a head-nod now is that it seems to have found it's way into my head a lot more recently than it ever did in the past. What's more, whilst in Barcelona I stumbled upon a lush record shop called cd drome, if you go there (or Madrid, where I believe they have a sister store) check it out. Inside I found a cool little compilation of Gomma artists mixed by Munk, featuring a cool WhoMadeWho version of this tune. Come back in a bit and I'll have a full album review and cover this mix in a bit more detail...

To purchase the Munk album Aperitivo, featuring the original version of 'Kick Out The Chairs', on Amazon click here.

To Purchase the Gomma compilation album, Gommagang Volume 3, featuring the WhoMadeWho version on Amazon click here.

Purchase 'Kick Out The Chairs' on iTunes (it's only 79p remember... Take the risk!) click here: