So, how was 2013 for you? The Riot Squad have had a brilliant year bringing you the best in contemporary music wherever we find it. Allan, John, Klare and Louie have reviewed some exceptional live and recorded music throughout the year and we all thank you for reading our reviews and looking at our photos. We couldn’t resist this opportunity to remind you of some of the artists we reviewed for the first time in 2013.
We saw live performances by the Emile Gerber Band (which became Stoneface Travellers), Henrik Freischlader, Josephine, Marcus Bonfanti (solo and with his band), The Kennedys, Federal Charm (twice), Black Casino & The Ghost, Coco and the Butterfields (several times), The Dirt Tracks, Carrie Rodriguez, Aynsley Lister, Civil Protection, Wheatus, Dean Owens and Zoe Schwarz Blue Commotion. Quite a selection, really.
We reviewed albums and singles by Henrik Freischlader, Marcus Bonfanti, Sally Shapiro, Tomorrow’s World, Black Casino & The Ghost, Jimmy Livingstone, Austra, Tess of the Circle, Aynsley Lister, The Nyco Project, The Dirt Tracks, Nadine Shah, Sullivn, Radio (in my) Head, Tal National, Layla Zoe, Kinver, Au Revoir Simone, DENA, Hartebeest, Polly Scattergood, Glasser, Annie, Emika and John Grant and probably a few others as well. Along the way we had some great fun and met some lovely people; you all know who you are, and we’re hoping to meet most of you again this year.
Looking forward to 2014, we’re hoping for more of the same. The review copies are already coming in and it’s starting to look pretty good already. Over the next few weeks, we’ll be sharing some of our predictions for 2014 from the Riot Squad and possibly from a few guest contributors as well. And, while we’re on the subject of guest contributions, many thanks to Aynsley Lister, Steve Jenner, Marcus Bonfanti and Billie Ray Martin for their contributions to our High Fives feature last year.
It’s a bit of a contrast with the last gig I reviewed. That was in a shiny new purpose-built venue in London and this is in Henry’s Cellar Bar in Edinburgh which has a capacity of about a hundred if everyone breathes in at the same time. This was a flying visit to have a look at Modern Misfortune, an Edinburgh/Glasgow-based band comprising Amber Milne (vocals), Andrew Mortimer (guitar), Adam Wier (bass), Euan Thompson (guitar and vocal) and our own Edinburgh correspondent Louie Anderson (drums).
Although this was a whistle-stop visit to see Modern Misfortune, I have to say something about The Phlegm after hearing the second half of their set. Most of what I heard was passable psychobilly (including a cover of “Blue Suede Shoes”), but the set closer was a storming surfpunk version of the Surfaris’ 1963 instrumental “Wipeout” which got the crowd dancing, smiling or both.
It was a difficult act to follow, but Modern Misfortune opened with their live favourite “Disheartened” and grabbed the audience from the start of the set. Playing spiky, punky guitar-based pop with female vocals invites comparisons with late seventies punk legends The Rezillos, and that’s pretty close to the mark with some of the material. The band play the originals “Cry Witch” and “Zugzwang Detente” from their current EP/mini album plus “How to Lie”, “Nothing Left to Receive” and “B Young” and 1 seventies cover. The original material is strong and delivered convincingly although not without a few problems. Playing at this level, monitor mix is always going to be difficult and the lead and backing vocals seemed to struggle to stay in tune at times.
The seventies cover showed Modern Misfortune at their very best as they tackled the Buzzcocks’ “Ever Fallen in Love…” with tremendous energy as a straight copy initially before sliding into a Hendrix/Pink Floyd-inspired breakdown and back into the song structure again for the ending. It got the crowd moving, particularly the ones who loved it first time round (me included), and left them in the right mood for the final song.
There was a lot to like in this live performance, particularly the strength of the songs and the way bass, drums and lead guitar worked together. The lead and backing vocals were a bit ragged at times (which, to be air, I’ve heard from bands that have played together for years) and using two guitars felt a little over the top at times. There’s definitely musical talent there and if it doesn’t break through in the guise of Modern Misfortune, it’s going to break through somewhere else.
I think this is a first for the Riot Squad. I probably shouldn’t be surprised that two of our contributors wanted to review this album. Instead of choosing one or the other, we thought it would be great to publish both reviews. They come at the subject from different directions and experiences but the conclusions are… well you can read that for yourself.
Daft Punk are an act with nothing to prove. Given the amount of work that’s gone into “Random Access Memories” it’s easy to think otherwise but when you consider how the world fell at their feet upon the announcement of the album and the success its pre-release single, “Get Lucky”, achieved it’s fair to say it’s become clear that they’ve earned their place in the sub-consciousness of today’s pop world. Everything surrounding this new album almost allows it, in some people’s minds, to transcend the notion that the new release can be considered simply that: an album, which after all is all we’ve received here. Many bands whose status grows to the heights of an act like Daft Punk’s feel the need to use a new release to reignite the world’s passion for them, they craft a new statement defining their existence and remind everyone why they’re even here to begin with but here that’s not the case. With “Random Access Memories”, Daft Punk are simply paying tribute to the music that inspired them and the world and reminding people why we love it so. This album’s not about them, it’s about something much bigger and that’s nice.
This is most clear on the third track, “Giorgio by Moroder”, featuring a monologue from the almost-synonymous producer detailing his early music career. It begins as less of a piece of music, more a vocalised autobiography punctuated by a backing instrumental, however it evolves into a huge-sounding clash of Daft Punk’s usual electro-house sounds and a live orchestra, featuring rather explosive drumming. This song is where Daft Punk’s motive behind the creation of this album is most prevalent and obvious and is actually very exciting. It’s one of the moments where it feels like the duo truly deserve the status they’ve garnered over the years, at once displaying their skills at creating both futuristic and boundary-pushing musical landscapes and producing something an listener can relate to and enjoy. However these moments are actually few and far between. That’s not to say the rest of the album is bad by any means, although there is a lot of filler, just that much of it seems dwarfed by the ambition and scale of some tracks.
For example when you consider “Touch”, a sprawling eight-minute epic featuring Paul Williams on vocals which seems to try and explore all kinds of musical styles, including both the sounds of music halls from the 40s and string-laden power ballads, and compare it with something as simple as “The Game of Love”, a smooth, funky, soulful, robot-voiced jam that Daft Punk fans will be very used to by now, it feels like a lot more care and thought has gone into the tracks featuring the rather impressive list of collaborators. The duo’s solo tracks suffer and pale in comparison, feeling like bridges over the gaps between collaborations. Often it seems like extraordinary measures have been made just to distinguish them, like the bizarre Disney-esque fanfare pinned to the start of “Beyond”.
However it is these collaborations which save the record so the focus they’ve received is understandable (or perhaps the converse is true). Personal highlights include the irresistible Julian Calasblancas-featuring “Instant Crush”. His vocals are run through pitch-shift software which makes him sound like a falsetto version of one of Daft Punk’s own robot voices. The catchy, rhythmic runs in the chorus are nearly the most memorable moment on the album. “Doin’ It Right”, featuring Panda Bear from Animal Collective, is by far the simplest track here and is gorgeous. It is literally just AnCo vs. Daft Punk with the collaborator singing over a spine-tingling ascending robot vocal loop with very little else interfering. Nile Rodgers’ presence is made very clear, with his signature staccato guitar licks gliding infectiously over three tracks, including of course the full album version of the previously heard “Get Lucky” which now flows properly and feels fully formed in its extended album version.
The most consistent thing on “Random Access Memories” is the meticulous production values, ensuring that every track at least sounds meaningful and organic. Every instrument is crisp and warm, with overall soundscapes feeling very spacious yet united. Daft Punk often seem to try and recall the sound of seventies disco, free it up, give it a cleaner quality with more room to breathe and mix it up with their own unique feel, all the while pushing everything in a new direction. It’s a very sincere venture and elements which feel borrowed rarely seem to act as a crutch.
“Random Access Memories” is a pleasing but flawed album. When you strip away the notions of this release acting as a movement or an event and look at what is displayed front to back on a disc, what’s here is largely enjoyable; not consistently but the highs remind us why Daft Punk are now so highly-revered. While nothing is as instant or probably as memorable as hits of old like “One More Time”, several tracks here do deserve to be remembered and the overall product is very warm, it’s just that the duo’s sights seem to get distracted along the way. If you go in listening to this as you would any old album then there’s enjoyment to be had to a degree. If you fancy believing the promises made that this is the new best album ever, please calm down.
Louie Anderson (3 stars)
The best thing to do with an album is just listen to it; I’ve been doing this for 35 years now and can testify to its effectiveness. In the small, market town that I grew up in, I visited the tiny, local independent record shop almost every day for at least 2 months after school and Saturday mornings, waiting for Grace Jones’ “Nightclubbing” album to appear. The 2 staff, sick to the back teeth of seeing me , weren’t exactly sure when it was going to be released; it didn’t seem to be confirmed anywhere and then one day, there it was, this mysterious, magical disc. No inner sleeve notes, no guest producers or artists, no media assault and no idea how it would sound. I almost certainly ran home and then consumed every second of this amazing record, it helped me deal with the problems of being an outsider and influenced me in ways that I certainly didn’t understand then. It has since become an album that is considered a classic, a glimpse into the future which still doesn’t sound dated now and the house band of Sly and Robbie and the late Alex Sadkin (collectively known as the Compass Point All Stars), the ultimate in session musicians, are now stars in their own right. I can’t imagine what it would like if this album were to be released today. The hype that would be attached to it would probably break the internet.
I’ve been listening to Daft Punk’s fourth album proper, ”Random Access Memories”, on and off during the last week; on headphones, on my stereo at home, on my iPad. I’ve heard it in some of the few remaining record shops in central London and in a couple of bars, blaring out. It is without doubt an album that is ambitious, outrageous and gorgeous sounding, but try if you can to turn down the noise of the hype, the incredible marketing campaign which still hasn’t given us a full video for one song but has turned this album, by a band who were merely popular before but now appear to be reinvented as ‘iconic’, into a full blown event. It’s even been claimed that these two French men who are never seen without their robot heads, have rescued dance music from something; I’m not sure what exactly. This is all of course quite amazing, but what is it you can actually hear? You just need to try and listen.
Nile Rodgers is one of the two men, the other being the late Bernard Edwards, responsible for The Chic Organisiation, words that my still make my heart beat a little bit faster when I see them. Chic made their own intelligent, beautiful and sometimes euphoric, sometimes sad dance records and Rodgers and Edwards, along with their own session band and singers, went on to produce other artists such as Sister Sledge, Diana Ross, David Bowie and Deborah Harry. Rodgers plays guitar on this album, most predominantly on the first track released from the album, “Get Lucky” and this song has really struck a chord with music buyers such is its immediate, enormous success; with Pharrell Williams’ falsetto, it has a strong melody line and its lyrical optimism is welcomed in what is globally, a pretty bleak time. Compared to the Chic canon of hits how would this one measure up? Well, it’s not “Good Times”, “Le Freak” or “I Want Your Love”. Lyrically, structurally and rhythmically “Get Lucky” would be a minor Chic record, more reminiscent of their 80’s work where a looser, less urgent and less staccato sound came to the fore and their success began to wane. “Lose Yourself To Dance” is not “Lost in Music;, Rodgers’ guitar, when it appears after the false start, is still so beautiful and so fluid but the song plods and is a good example of repetition not working although it can be a key component to some great dance music. Maybe I shouldn’t be drawing parallels between these two songs to Chic compositions but surely that’s what Daft Punk have tried to recreate here? Harking back to a time where music, dance music in particular, was more organic, soulful and, somewhat ironically for two men who have never been seen without their robot helmets glued to their heads, human. It would be their own fault if comparisons are made.
“I Feel Love” is not a song, it’s a place which Giorgio Moroder, record producer extraordinaire, and disco goddess and his most accomplished muse, Donna Summer, built together in 1977, took residence in and have never left; people still get lost in it and will continue to. Play it now and it still sounds like it’s from the future; its other-worldliness and beauty intact. Moroder himself explains how he came to make music on the second most audacious track here called “Giorgio by Moroder” and it’s one of the few tracks where, like “I Feel Love”, something happens in your brain which makes it respond to what it can hear in a very visceral way, a physical urge to react, with the last third of this nine minute opus in particular being a complete oral riot and making me grin like a crazy fool. An amazing bass line, synth hook, scratching effects, strings, live drums and an energy that is not matched again here and, despite the structure of the song, which is more like a suite and is very in keeping with Moroder’s more ambitious work (the original sixteen minute version of “McArthur Park”), this still sounds like a Daft Punk record, the aims of this album being very much achieved here.
“Touch” is a silly, show-off mess of a show tune, not a good show tune but a pretentious, overblown, rock-opera cheesy one made up of four different parts playing over eight minutes. The most divisive track on “RAM”, it has a full orchestra and a choir and is the only time you will hear a female voice albeit one blended with other vocals during the album’s seventy-five minute running time. This is one of the main flaws regarding the decisions made by Daft Punk in their choice of collaborators. Here’s the list in full; Pharrell Williams, Nile Rodgers, Paul Williams, Giorgio Moroder, Chilly Gonzales, DJ Falcon, Todd Edwards, Panda Bear and Julian Casablancas from The Strokes. A complete boys club then and it’s an odd decision to exclude any kind of female presence when the genre which is being honoured, or being paid tribute to here, was one where the female vocalist was key, a generation of women who had almost dysfunctional levels of intimacy with the producer and who went on to record seminal pieces of work. No sign of that here though but Pharrell Williams, to his credit, has already, quite rightly, put Madonna’s name forward.
There are four, maybe five, tracks which have the trademark, sad robot vocoder sound or are completely instrumental. They noodle and doodle around a bit, electronic keyboards and soft rock guitar, quite beautifully arranged and played but seem created to fulfil the cliché of music made for the background, something that their previous output could not be accused of. Julian Casablancas’ very heavily treated vocals probably get the best actual song on here with the sombre, minor key “Instant Crush” and the minimal, electro jolt of “Doing It Right” with a bright, white Panda Bear vocal recalls a lesser “Digital Love”. The choppy chords on the opening track, “Give Life Back to Music Again”, again featuring Rodgers and his magic guitar, bring back memories of and sound a lot like Oliver Cheatham’s “Get Down It’s Saturday Night”, nice but hardly inspired or original.
I have had a long term love affair with Daft Punk’s 2001 album, “Discovery”. It samples Barry Manilow (an early clue maybe?) and features at least four incredible songs which will contribute in helping to define a decade in music and culture generally. “RAM” announced itself loudly and long before its actual arrival and now it’s here it feels underwhelming and is nostalgic, clinical, and occasionally brilliant and will be a musical trainspotter of a certain age’s treasure trove. I’ve been guilty of indulging that part of me in this review. Giorgio Moroder speaks about his desire of wanting to create the sound of the future here, something he achieved with little fanfare, a bit like Grace, and this is what “Discovery” sounded like to a lot of people when it appeared some 12 years ago. The fact that it influenced pop (and r’n’b, which ended up becoming the new pop) to the extent that it did is still unbelievable; it sounded so underground, so consigned to a club! And this album is apparently a reaction to the further progression of commercial dance music labelled EDM (electronic dance music), which Daft Punk vocally dislike but are of course partly, and probably quite a large part, responsible for. Instead of looking to the future though, the duo now seem content to swoon over the past, a decision that will excite many I’m sure but in terms of their own evolution, it’s hard to hear anything that hasn’t been heard many times before. It’s clear though that the ultimate message being conveyed with “RAM” is that by aligning themselves with two of the best, most prolific and important dance producers and writers of our time, Daft Punk also consider themselves part of that gang too; only time can tell. Ask Giorgio, he’ll tell you.
John Preston (3 stars)
Poor Palma Violets. They didn’t do anything. All they’ve done is exist and make music like anyone else would but thanks to a certain publisher’s mild obsession everyone has gone to listen to them expecting the best thing since that last best thing, whatever the hell that was. Do not get me wrong, they are a good band who have released a fine album but that’s all they’ve released. It’s fine, guys.
The first thing to take note of when listening through “180” for the first time is the choice of opening track. You may spend your time listening through it thinking the same thing as me: “this is still a great song. Can’t wait to see what else they’ve got to offer”. Unfortunately, you may be similarly disappointed as this song pretty much represents the most exciting point of the album as well as introducing virtually every trick in their writing and performance book. If one vague listen through this album is all you have to go by for this band, you won’t remember a thing you’ve heard. You’re going to have heard a lot of the same, none of which is hugely memorable. I could even write out the general formula for virtually every song on the album but that would ruin absolutely any fun to be had here (and also be horrifically tedious).
This is not to say that once you’ve heard one Palma Violets song you’ve heard them all; there are some interesting deviations from the loose, swampy mid-tempo numbers that make up most of the album. “Johnny Bagga’ Donuts” stands as a fun, swinging, stop-starty beach-resort tune that sounds like its structure could have been written about fifty years prior. They even throw the odd rhythmic curveball here and there throughout the record, suddenly shifting between half- full- and double-time and throwing around the tempo of songs however they fancy.
The loose, swampy factor remains a constant however. The main differences in sound you’re going to hear resides in the organ parts which one might argue give Palma Violets their sound. It sounds at once both ancient and refreshing. On “Tom the Drum” it sounds like an early song The Band may have recorded; gooey, deep and warm. A lot of the rest of the time, it’s very much what you’d expect to hear walking down a sunny pier in the 1940s.
Other than the lyrics there is very little else to talk about concerning this album. Even then, lyrics are a sparse resource on “180”. The intro of “Last of the Summer Wine“‘ ends at about 1:44 and instrumental sections are rife elsewhere too. This isn’t a bad thing; the lyrics are more often than not clichés that have been repeated to the point of losing any meaning (they even go as far to sing “all you need is love” at one point). It’s just that the instrumental passages aren’t all that interesting either. At least they’re making the music they want to make, which is ultimately what needs to be said here.
It may sound like I don’t like this album which isn’t true. Like I said before, it’s fine. There are genuinely good songs here and there but I do hope any hyped-up publishers or even fans don’t get too riled up about this one because somehow it’ll be Palma Violets themselves who are to blame regardless of the fact that they’re simply releasing some decent music they’ve written and enjoy. I’m sure the cry of “fucking brilliant!” on “Tom the Drum” confirms that. Just listen to this record with no context and you might have a lovely time.