Earlier this year Soulwax unleashed the glorious live CD / DVD / Documentary Part of the Weekend Never Dies and it is very difficult not to view and critique A Cross the Universe, itself a live DVD and Documentary / Film, in the same context. And if you do you are left with a far more two dimensional experience: unlike the Soulwax documentary the Justice 'film' is deliberately obtuse. So much so in fact that you will probably feel you know less about the Gallic duo when it is finished than when it began.
Part of the Weekend was an insightful peek into a band that became part of a scene with no name, their influences, their peers and those they have themselves inspired, not to mention life on the road when on a (very) long tour. A Cross the Universe is exclusively a look at the last of these elements and whereas the Soulwax package featured live recordings here there are no full length tracks, just snippets. There is no real insight beyond an anecdotal look at just how weird it is to be a pair of young musicians thrust into fame in a foreign land and at times BlackPlastic was genuinely unsure whether the content on screen was genuine or scripted.
This last fact is probably particularly telling. Real or not, A Cross the Universe is a commentary not on THIS band, but a commentary on being in bands in general and the bizarre and twisted life it leads to. If nothing else, this DVD goes someway to explaining how you end up like Ozzy Osbourne.
So is it any good? BlackPlastic genuinely has no idea.
The CD is a little easier to comment on. You may or may not be aware of the recent controversy surrounding a photo that appeared to show Justice 'playing live' despite that fact their equipment was not plugged in. In good nature the band joked about performing 'unplugged' and argued that the error was noticed when the particular piece of equipment failed to work and there are indeed later shots from the evening that show the equipment with power. This in itself is evidence of the barmyness of being on tour - the fact that such a thing could go unnoticed for long enough that photographic evidence survives.
It also raises a question over whether the recording here is anything more than a studio tweaked version of Cross played to an audience. But it is important to remember that this doesn't actually matter. Firstly because the act of listening to a recorded 'live' event in your home is stupid anyway and secondly because live electronic music is often about little more than spectacle. With none of the vocalists present, what Justice are delivering is the shared experience of enjoying their music with like-minded individuals and, to be honest, putting Cross on shuffle in a big room would work almost as well.
So the tracks are suitably adjusted and there are a couple of re-edits for the die hard fans but the main point off this recording is the audible excitement of the crowd as they cheer and join in. The audio quality is questionable and in BlackPlastic's opinion it isn't as consistent a set as the Soulwax one on Part of the Weekend but there is still enough here to keep you going until the follow up to Cross.
BP x
Five Non-Electronic Albums of the Year
Lists of the year are lame, everyone knows it and yet everyone loves reading and writing them. Given that there is very little else to right about at this time of year it makes sense to take the time to take stock.
2008 has been, without doubt, a vintage year for music. The number of fantastic albums released within the first few months is testament to that, especially when the pace didn't let up all year.
This is the first of four separate lists - generally BlackPlastic concerns itself with electronic music but there have been some fantastic releases outside of this area. Here are the five best non-electronic albums from 2008:
5. Dear Science - TV On The Radio
BlackPlastic is still not sure this trumps Return To Cookie Mountain but what is does do is snap, crackle and pop with sheer verve and ambition. Cookie Mountain may win out on emotional depth and angsty retribution but Dear Science is a sign of the times bill board for a generation's confusion at the state of the world. This is a celebration of our times - the problems may seem insurmountable but our achievements also seem to be getting greater every day.
4. Stay Positive - The Hold Steady
Like a rowdy night on the sauce The Hold Steady's 2008 release is an exciting and heady rush that feels like you just don't care any more. Never less than thoroughly charming Stay Positive is like the badly behaved friend that everyone seems to find too endearing to ever get offended by. This record is an absolute ball with the emotional journey of a buddy-movie-road-trip. Grab yourself some ice 'n' bourbon and slam this on the jukebox.
3. Falling Off The Lavender Bridge -Lightspeed Champion
Fresh out of the energetic yet nihilistic Test Icicles, Dev Hynes was left directionless and drifting. Lavender Bridge is the sound of recovery and growth. A fantastically timeless record that mixes a mature-yet-contemporary country sound with lyrics that reference crunk. A record to be hung-over and to feel sorry for yourself to.
2. Twenty One - Mystery Jets
Destined to top this list right up until the last month or so when the actual number one won over BlackPlastic's heart, Twenty One is still a fantastic record. From the opening air-raid siren of Hideaway to the closing piano refrain of the ghost track (the source of the album's title) and its Joy Division referencing lyrics ("even Love Will Tear Us Apart don't ease the pain" - what a line) there is never a dull moment.
Already criminally overlooked in most end of year lists this album has it all - whether the emotional gravitas of 'Flakes' or the sheer pop ambition (not to mention the best use of a saxophone in years) of 'Two Doors Down', Twenty One is a glorious record that is destined to age like fine wine. A proof not just of producer Erol Alkan's ability but also that Mystery Jets are one of this country's finest.
1. For Emma, Forever Ago - Bon Iver
One of those records that it was all too easy to miss at the time it is now getting some of the attention it deserves. The basic facts everyone seems to love to repeat:
- The band name would mean 'good winter' in french if it was spelt correctly.
- This is actually a chap called Justin Vernon.
- The album is the result of Vernon's break-up with the eponymous Emma and his previous band.
- The sound that ensues is what happened following this breakdown, a bout of sickness and a winter in a log cabin in Wisconsin.
Now that the above is out of the way, here is what is important: This record is absurdly beautiful, in a 'clinging to the edge of this spinning chunk of rock as we hurtle through space' type way - just listen to the thrum that builds in 'Creature Fear', it sounds like life itself.
It's difficult to do the songs on this short little record justice because the sound of this album transcends anything that can be put into words - For Emma, Forever Ago is all the longing and regret that gets pushed down in our daily lives erupting like rainbow coloured magma on a background of snow and ice. It is the perfect soundtrack to winter days. It is the soundtrack to nights on the bourbon with the fire raging. It is the words BlackPlastic would never be able to find to convey what goes on behind these eyes.
This is probably not just the best record this year, but one of the best records this decade.
Comment: Teen Creep - James Kane
Twin Peaks' Agent Dale Cooper advised his partner on the show, Sheriff Truman, that you should give yourself one treat a day, even if that treat is just a real cup of coffee. It's a mantra BlackPlastic tries to stick to and today, dear readers, you can start living the life of glory that I do by downloading James Kane's glorious Teen Creep mix from fellow blogger Kitsune Noir.
Aside from a couple of ever so slightly rough transitions the only criticism that could be levelled at this mix is that it is too damn short. In less than 40 minutes you will have taken in some recent destined-to-be-classics (Appaloosa) and some genuine-classics (Roy Parker Jr.'s 'Ghost Busters' or Prince's 'Erotic City') and the result is always pleasingly consistent. This mix has an electronic dream-like vibe throughout that really is fantastic so go and check it out.
James also has some more music and remixes (some of the tracks on this mix have felt his loving touch already) over on his MySpace and at his site and I would recommend checking them out.
BP x
News: Sony World Photography Awards
BlackPlastic is a obviously a big music fan but when not rocking out to some heavily distorted electro you just might find a camera in our hands and a finger on the shutter release because photography is one of our favourite things.
Why this divergence from our usual coverage? Just to tell you that Sony have launched their second annual World Photography Awards and where is gets interesting is the face that there is a music category so any of you that are fans of capturing music visually might want to consider entering. The competition culminates in a week long exhibition event in Cannes between 14-19 April - the Festival @ The Sony World Photography Awards.
There is both a professional and amateur category and you can enter here. One rule to be aware of - the photo must have been taken in 2008.
To give you some inspiration this is the photo BlackPlastic is considering submitting, taken at Simian Mobile Disco's live set at Field Day it encapsulates the volume / pleasure ratio that the duo managed to establish in their fairly ruthless set over the summer:

For further inspiration, last year's winners in the music category (Professional first, then Amateur):
© Eduard Meltzer, courtesy of Sony World Photography Awards 2008
© Kerry Grainger, courtesy of Sony World Photography Awards 2008
The closing date is 31 December 2008 so get uploading if you fancy a shot at winning!
BP x
Video: Feelings Have Changed - The New Sins
BlackPlastic has a big wobbly crush on The New Sins. Spin off side project from New Young Pony Club's Lou Hayter, first single 'It Doesn't Work Like That' quickly demonstrated where the talent is in NYPC whilst simultaneously bettering their entire first album in 3:13.
'Feelings Have Changed' has the same post-feminist self-assurance and another great 80s video. It benefits from space and poise. BlackPlastic says it too often but this is what pop music should be - it sounds like pure extravagance, and Hayter manages to be the shiny gift you know you just haven't been good enough for this Christmas.
Stop drip feeding these releases please - three songs a year is not enough.
BP x