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Brian Jonestown Massacre
Musique De Film Imaginé
Anton Newcombe takes a leaf out
of the Europhile book of Broadcast
and Cat’s Eyes for his latest BJM
opus, the first to be recorded
in his new home studio base in
Berlin. As suggested by the title,
it’s essentially a soundtrack to an
imaginary French film from the '50s
and'60s, consisting mainly of proggy
instrumental passages, heavy on
the mellotron and strings. The pick
of the bunch is Elle S'échappe,
which rides along on a faintly funky
psychedelic groove; better still are
the two vocal tracks, which feature
the talents of actress Asia Argento
and French chanteuse SoKo, and
suggests Newcombe has also been
soaking up a lot of Serge Gainsbourg
of late. John Ferguson
Django Django
Born Under Saturn
It's fair to assume that Django Django's
feet are yet to touch the ground since
their elevation to 2012's darlings of the
indie rock frontier. The evidence is in
chapter two: a whooshing and bubbling
astral trip of an album seemingly
formed though an act of creative
condensation somewhere in the synth-
pop stratosphere. Lyrically, Vincent Neff
has had his head in the clouds from
the outset, while the polyrhythmic
weirdness that first tweaked our
attention remain a trademark. All
oddball synth textures and off-kilter
metrical challenges considered, this is a
weird enough twist on the old second
album cliché about the never-ending
road to uphold Django Django's rep as
one of the UK's exports.
Michael Dwyer
Unknown Mortal Orchestra
Multi-Love
Ruban Nielson's gift for a melodic twist coupled with
lyrics which say something hasn't deserted him; if
anything it has deepened and become more soulful
and nuanced on this collection, which refers to
Prince-style soul (the opener I Can't Keep Checking
My Phone), deep funk (the brittle danceable pop of
Like Acid Rain) and dreamy falsetto pop (the title track). There's also broody
balladry (the Bacharach-style horn embellishments on Necessary Evil, a
standout with its slightly disturbing organ and abrasive guitar part) and much
more. What keeps this diversity coherent is the funky bottom end, Nielson's
effortless vocal delivery which often sounds intimate (or annoyed), and the
pop economy of these nine, discrete songs. The notable exception to the
brevity is the seven minute Puzzles which pushes the listener into interesting
areas, from its acoustic framing to schizophrenic funk-rock and increasingly
angry tone, then back. The spirit of classic Prince and 70s jazz-funk haunts
much of this music (no bad thing) but Nielson/UMO twist them into
something their own, a kind of musically literate white-boy pop-rock, with its
feet on the dancefloor and stars in its slightly jaded eyes.
Graham Reid
Graham Reid on interesting albums you may have missed.
For more reviews and interviews by Graham Reid see
Skip Spence
Oar
Spence started out as a guitarist in Quicksilver
Messenger Service, then was the drummer
in the first version of Jefferson Airplane and
became guitarist/co-founder of Moby Grape.
Quite some SanFran psych-rock career in just
three years, but as it unravelled through LSD and
psychosis he recorded this bent and disturbing
solo outing which catalogues his descent.
Also Spinning
Hound Dog Taylor and
the House Rockers
Hound Dog Taylor and the House Rockers
Chicago blues rarely sounded as raw and vital
as on this session where the singer/guitarist did
what was essentially his club gig in the studio.
Essential and electrifying blues, and the album
that founded Alligator Records.
Diana Ross
Diana
By the time of this album Ross' star was in
decline after her classic Supremes-soul period,
but this brought her back with funk and smart
dance-pop ( I'm Coming Out). Find the 2003 deluxe
edition because it has the original recordings with
Chic's Nile Rodgers and Bernie Edwards which
Motown rejected.
My Morning Jacket The Waterfall
This seventh album from the feel-good maestros delves even
further into the Christopher Cross landscapes of wind-in-the-hair
abandon and boating shoes. Not a bad thing, no matter how
dangerously close to a feeling of religious righteousness it skates
(opener,Believe, a case in point). Jim James is on a mission, plain and simple:
cement a legacy of songs to last the test of time, evoking James Taylor, Glen
Campbell, et al; the type of stuff truck drivers listen to when sad, and lovers enjoy
when smitten. It’s working. Chris Murray
Howling Sacred Ground
Aussie folktronica artist Ry X and German producer Frank
Wiedemann, who first collaborated back in 2012 on the viral
dance hit The Howling, have reunited for a full album under the
appropriate moniker of Howling. Like Ry X’s other dance side
project The Acid, Sacred Ground sets his plaintive tenor against a
backdrop of spectral beats and drowsy electronica. Although it occasionally drifts
into almost Coldplay territory (particularly on the opening piano-led balladSigns)
for the most part the duo serve up a stylish platter of quietly intoxicating grooves,
like the sleek yacht rock of Stole The Night and a pleasingly punchier reworking of
their 2013 collaboration Shortline. John Ferguson
48 MAY 2015 JB Hi-Fi
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