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2007-10-22
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PRINZHORN DANCE SCHOOL
PRINZHORN DANCE SCHOOL
DFA
ROCK
Freshly signed to the label with the Midas touch, Prinzhorn Dance School are an interesting case in point for the argument that ‘less is more’. A stripped back approach to traditional rock music has undoubtedly benefited such artists as The White Stripes (an immediate reference point for this ‘nomadic’ UK three-piece), but can the same be said for a group who claim to not be a band, but just “enjoy the sound of hitting things”? An obvious love for raw, natural sound is evident in this intriguing LP, as demonstrated in the three-note bassline of album opener ‘Black Bunker’. With Tobin Prinz’s refrain of “You’re in the black bunker,” the distant, echoing tom-tom and dusty production (courtesy of DFA honcho’s James Murphy and Tim Goldsworthy), making for what sounds like a highly personal recording. Despite the organic simplicity of each track, what Prinzhorn Dance School excel in is the depiction of a uniquely British lifestyle, such as the description of the “Five-piece soul band / But nobody’s drinking / The car park is full,” at the centre of Hamworthy Sports and Leisure Centre. However, this isn’t teenagers on dancefloors coupled with pounding punk drums, in the vein of say The Arctic Monkeys, but a more sombre, almost surreal approach, that takes in the soulful lo-fi of ‘Spaceman In Your Garden’, as well as the creeping, jagged funk of ‘Don’t Talk To Strangers’. Whilst the basic set-up may become tiresome to listeners expecting complicated structure and production techniques, the beauty of this record is the very human heart at the centre of its focus. At times it sounds like the band could just be playing in a corner of your local pub, which I imagine is a perfect place to see them. And, with rumours of remixes by LCD Soundsystem to follow, this fantastic album could be taken to the dancefloors as well. |
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2007-10-22
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MR J MEDEIROS
OF GODS AND GIRLS
RAWKUS
HIP HOP
Either the stress caused by the unfamiliar sensation of liking an album as much as the new L.Man joint has blown your hapless reviewer four years into the past, or Rawkus need a new A&R man. Listening to this, it’s like Blackstar never happened. We’ve done the whole Mos Def thing, Common fell off years ago, no-one buys The Roots records any more, and even the three of you who bought Talib Kweli’s ‘Reflection Eternal’ are nodding in agreement right now. I’m sure this kind of backpacking nonsense still has an audience, but they’re all students at Bristol University who wear corduroy and flip-flops, and they’re probably called Samuel. The record has telephone skits on it for fuck’s sake! And later on, he raps about his Mum! Unless you are Notorious BIG or Jay-Z, you are explicitly forbidden to do this. Luckily for J “stranger to fun” Medeiros, Pigeon John shows up on ‘Money’, and injects a fat wad of the humour, surrealism and energy that you’d expect from PJ. In fact, download ‘Money’, it’s pretty hot. Then go and buy a Pigeon John album. He’s a sorely underrated rapper, completely overlooked in the UK. Samuel probably has PJ’s album, but that’s because goddamn backpackers are such commodity-completist assholes. Even then, Samuel only has it on a burned CD-R because he’s fighting the system by stealing music. And you just know he’s got some of his art college friends to draw a graffiti-style cover for the sleeve. The fucking bell-end. |
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2007-10-22
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L.MAN
NEW AGE ARMY
LOVEDOUGH
HIP HOP
Ever since L.Dot came on the scene with fellow N Dubs soldier and equally exciting talent, Narstie, he’s attracted positive attention from just about everyone and their Tim Westwoods. ‘Impatiently Waiting’, the first mixtape, gave a taste of what L Dot was capable of, and thankfully, he seems to be living up to those expectations. It’s really exciting to hear hungry MCs, and goddammit, L.Man tangibly wants it. This is proper raw UK hip-hop - it has transcended grime and put away its childish things. Even though L Dot has no doubt had a small taste of success, it hasn’t spoiled him. Yet. Let’s hope it doesn’t, because the most disappointing aspect of another Famous White Rapper (TM) was when he stopped being hungry and started whining about how much being famous sucked ass. Heed this warning, L Dot, and you shall go far. A minor criticism is his tendency to recycle bars across tracks, and annoyingly, he does this when guesting on posse cuts as well. To date, there’s been little evidence of any freestyling ability whatsoever, and the repetition (especially when guesting) is worrying. But he’s young, and proliferation will come with age. His written ability can’t be slighted. The rhymes are technically proficient, and the subject matter is delivered with conviction not seen since Skinnyman – it’s no accident that Skinny appears on this mixtape, and if these two ever make an album together, it’s gonna be unmissable. If you’ve been sleeping on L.Man, then it’s time to stop. Period. |
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2007-10-22
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GOODBOOKS
CONTROL
COLUMBIA
INDIE POP
Over the past five years pop music has experienced something of resurgence - gone are the days when being labelled pop meant death to any credibility. Musicians such as James Murphy and Hot Chip have made it fine to be popular and alternative at the same time. Four piece GoodBooks – consisting of Max Cooke (vox/guitars), Christopher Porter (bass), JP Duncan (keys) and Leo Von Bulow-Quirk (drums) – certainly agree that there is happiness and integrity in pop music. The band has recently built a steady buzz for their brand of rock music with electronic flourishes. Similar to Hot Chip, GoodBooks craft songs which are melodic and ponderous yet utterly uplifting at the same time. Imagine The Wedding Present collaborating with Röyksoppand you’re half way there. Now they’re ready to deliver debut album ‘Control.’ Featured are the recent singles; ‘Passchendaele,’(a heartfelt electronic ballad about a father and son dieing in consecutive World Wars), ‘Leni,’(undulating late night funk bounding into a vibrant pop tune) and ‘The Illness,’ (a krautrock inspired mix of cow bells, bass, synths and storming vocals). ‘Control’ is certainly an accomplished debut LP. Rousing, crowd pleasing anthems mix with complex, intelligent song-writing to frame Cooke’s hushed yet melodic vocal. The inclusion of synthesisers on this album - sometimes an unwise move in rock music - is handled very intelligently. Duncan maintains a skilful balance with the choppy guitars so the more dance led numbers – ‘Alice,’ ‘Good Life Salesmen,’ ‘The Curse of Saul’ – don’t steer GoodBooks too far from being a guitar pop group (albeit an alternative one). This well crafted record certainly marks GoodBooks out as one to watch for the future. |
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