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

Album Review: This Is Happening - LCD Soundsystem

All I want is your tears. Sometimes it's the spaces in between that define the thing.

It is fair to say that over the past ten years LCD Soundsystem have done much to define what 'rock music that makes you dance' is. Together with his collective, James Murphy has become a central spoke for a change in music that sees crowds of fans at concerts a mix of indie kids, ageing musos and clubbers all enjoying the same thing but for different reasons. And here, on the cusp of what may (or may not be) the last LCD Soundsystem album, it is worth contemplating what has been before. Take ten of the best LCD Soundsystem songs and listen to them and you would have a varied set of tracks that stands up to the catalogues of many far more prolific bands.

But sweeping all of this to one side, what is important is that This Is Happening is another beautiful record. LCD Soundsystem make songs that sit somewhere between so funny it hurts and so painful it's funny. A desperate attempt to be heard above everyone else in the room that evolves like a kid who needs the girl so bad that he chips off the lame to leave only the cool. And one thing is sure - James Murphy is still cooler than you.

Make no mistake - This Is Happening is a subtler album. Sound Of Silver got into thing with the building, growling 'Get Innocuous'. Here things are kicked off with a slacker rock James Murphy who sounds like he can barely be bothered to sing... At least, until the base kicks in at which point 'Dance Yrself Clean' transforms into awkward needy blissful electro. And yes, no vowels is still cooler than replacing the word 'you' with 'u'.

And say what you want (and Vice magazine did) - yes, 'Drunk Girls' sounds like 'White Light, White Heat', but isn't that the fucking point? And does it make it sound any less infectious? And are the lyrics ('drunk girls know that love's like an astronaut - it comes back but it's never the same') not genius? And is the hook not perfect? And if you see it live isn't it even better? Yes, yes, yes and yes (and yes). But more to the point, the lead single to Sound Of Silver was 'North American Scum' and BlackPlastic defies anyone to say that was a better single.  It isn't. And what does this prove? Vice magazine are a bunch of hipsters far more desperate than Murphy.

Much of what follows continues the trend from the sassy yet ultimately more constrained sound of LCD's first album proper (just the first disc) towards the more organic music of Sound Of Silver. Sadly nothing manages to scale the heights of 'Someone Great', 'All My Friends' or 'New York, I Love You' but the David Bowie's 'Heroes' does 'Here Come The Warm Jets' of 'All I Want' sure as hell gives it a shot.

Ultimately that is as good a sumation of This Is Happening as any. It may not have the three standout tracks of the last album but it has a greater artistic vision and a more consistent overall quality. Everything on here outshines the lesser tracks on Sound Of Silver and more importantly there is an apparent vision for the album. Where Sound Of Silver flitted from one genre to the next like a teenager playing with their parents' record collection This Is Happening basks in a warm organic glow that makes it sound much more timeless - whether it be on the warm disco grooves of 'I Can Change' or the tightly rhythmic 'You Wanted A Hit'. Sometimes it's the spaces in between that define the thing.

This Is Happening might not be perfect but it still manages to be more exciting and vital than almost anything else you will lay your hands on this year.

BP x

This Is Happening is out on EMI on 17 May, available for pre-order from Amazon.co.uk on CD, LP and MP3 [affiliate links].

Album Review: Hi-Hat Club (Volume Three): The Jazz Files - Dexter

Since its release back in 2001 (in the UK at least) the crazy cut up eccentricity of The Avalanches début album Since I Left You has been a firm favourite of BlackPlastic's every single summer. With each year that passes without a follow up album the likelihood of ever hearing more from the band wanes yet it still manages to be a hot topic and attracts plenty of speculation. The latest rumour is that we may indeed see a new album late this year. BlackPlastic will believe it when we actually hear it.

Dexter (or DJ Dexter if you prefer) has since officially left the band but is credited with having a signifcant influence on the band's sound.

And listening to Hi-Hat Club (Volume Three) that influence is obvious. Frankly if you are jonesing for a bit more Since I Left You then you will probably find a lot to like here. As the title suggests there is a jazz vibe that runs throughout the album, and the overall sound has a little more hip-hop and a bit less "kitchen sink", but ultimately for an Avalanches fan the sound is like slipping into an old comfy chair. The observant will even notice that some of the same old sample used by The Avalanches crop up here on 'Practice' but this time they feature an MCs' snippets alongside them, reflecting the different tone of Hi-Hat Club.

The ideas and samples come thick and fast - 'The Future' kicks off with an old radio programme opening before slamming down a hip-hop beat and some jazz keys. The magical pairing of these two elements is reminiscent of instrumental J Dilla but this being Dexter it all feels a little bit more 'turntablism' and less pure hip-hop.

Ultimately the album follows a similar pattern throughout - combinations of hip-hop beats and bassline, jazz samples and radio snippets fade in and out to create what feels like a continuous piece rather than a set of discrete songs.

Hi-Hat Club is not the eclectic party celebration album that Since I Left You was, its more focused nature meaning that it never scales the dizzy heights of that album. Yet it's still a compelling and interesting listen and a clear demonstration of Dexter's skill.

BP x

Hi-Hat Club (Volume Three): The Jazz Files is out now on Melting Pot Music, available from Amazon.co.uk on LP and MP3 [affiliate links].