The Cold Cut

I couldn't handle a 'hot out of the screening room' review of The Dark Knight. I'm still unsure how the collected press managed to draft up honest reviews of the film mere minutes after walking out of the press screenings. Maybe I was too wrapped up in all the pre-release hype that surrounded this film, but regardless, that hype was not left unjustified.

The Dark Knight, as a cinematic spectacle, is unmatched by any blockbuster of the last ten years (my movie-going period). It is also the most emotionally draining piece of culture that I have ever being exposed to. I felt like a shell of my former self as we walked out of the cinema, physically exhausted by the ever-changing merry-go-round of emotions that the film conjured in me.

The only place to start is the hype. The buzz surrounding this film has been fever-pitch since Commissioner Gordon handed over the Joker card to our caped crusader as the credits rolled for Batman Begins. In that card, Christopher Nolan sent an obvious signal that whilst he wasn't committed to a sequel, Batman was officially reborn, and ready for a franchise if the world was ready for it. And we were.

Cinema is, by the law of averages, a lonely experience. Sure, we go in pairs, threes or more, but ultimately, sitting in a dark room watching a screen is an anti-social experience. So, why do we do it? For the reaction. And if you are looking for a provoking film, look no further. At my birthday dinner I was quite happy to argue with my parents that as a cinematic experience, this is the pinnacle. For two hours.

The Dark Knight is probably not the best movie ever. It would be hard to argue that it is a complete masterpiece, as there are a few limited flaws. And yet, as a complete package, there is nothing out there that even comes close to this as a piece of cinema. The film itself has obviously connected with audiences the world over, and most average people that you speak to would happily place this film in their top 5 of all time. The $300 million in 10 days (amongst a host of other amazing records) alongside a never-ending series of 5 star reviews mean that The Dark Knight will never be forgotten.

Christopher Nolan has a dilemma to deal with. Where do you go from this? Whilst his previous films have all been brilliant, this huge level of commercial success has never factored into his equation, and yet these kind of figures will have changed that. The Prestige was a commercial hit, debuting at #1 in the US and garnering Academy Award nominations. And yet if you mentioned it, most people wouldn't bat an eyelid. The Dark Knight is not that film.

The film is centered around a host of characters who are all totally inhabited by the actors. Christian Bale will no doubt be under-appreciated as Bruce Wayne, although he is the foundation of this film, holding the meandering plot together. Maggie Gyllenhaal reinvents Rachel Dawes, taking over from Katie Holmes and thankfully erasing her annoying turn in Batman Begins from my memory. Then we have the 'white knight' to Batman's 'dark knight'- Harvey Dent. Aaron Eckhart is another success story, using the talent he has to burn and creating an interesting character arc for Harvey. We care about him, and that is the crucial aspect- that whilst Two Face does appear in this film, we are still aware that he and Harvey are the same person, regardless of whats going on underneath that exterior. Commisioner Gordon has an expanded role in this sequel, and Gary Oldman is once again stellar, with the rest of the cast also providing interesting foils for the leads.

And finally I am brought to Heath Ledger. Heath, Heath, Heath. This performance is far bigger than him. It's far bigger than this film. It's bigger than the hype surrounding it. This film has reinvented the concept of a villain. The Joker is a villain for the modern era, killing and creating havoc purely because he wants to. There are no motives- evidence in the fact that his back story continually changes, and the 'wanna know how I got these scars?' question pops up a few times, each time with a different answer. We have all heard the buzz surrounding Ledger's widely supported Oscar nomination, and it is founded. And yet, most of the buzz suggests a nomination for Best Supporting Actor. In actuality, The Joker is the lead role, carrying this film, his presence never absent.

This last fact is down to the fact that Gotham City plays a much bigger role second time around. The shots of Christian Bale standing alone on some of the city's skyscrapers are truly breathtaking, and although I didn't see the film in IMAX, I am almost certain that these visuals would be even more impressive on the larger screens. And through Gotham's presence and destruction, The Joker is effectively never off screen. He orchestrates the destruction which plagues the city- cause and effect.

There are some places where this film experiences slight mis-steps. Whilst the first film felt relatively (and that is a huge 'relatively') grounded in terms of realistic technology, The Dark Knight moves away from this approach. Whilst the Batpod is one of the coolest pieces of automotive technology to ever grace the screen, the circumstances in which this transition is made are a little far-fetched. And in the closing moments of the film, a certain piece of equipment almost burst the bubble of Gotham's believable world which had been built so well. Finally, Christian Bale over does the gruff voice a little bit. And that's it.

So, The Dark Knight. Finally, a film by Christopher Nolan that saw the public realisation of his talent. A film that features many revelations- Heath Ledger's terrible passing, and outstanding performance. A film which may finally unseat Titanic. A viral phenomena. And most importantly, a brilliant film. A film that deserves to be remembered, in our hearts and in the record books. The Dark Knight. Where next?

Update: Links changed!

Santogold- I'm A Lady (Diplo Mix ft. Amanda Blank) (Link 2)
Santogold- Les Artistes (XXXchange Mix ft. Movado) (Link 2)
Richie Spice And Ratatat- Marijuana (Link 2)

You may have heard of Diplo and Santogold's new mega collaboration mix-tape 'Top Ranking'. I was late on the uptake (that changed, and fast), and if you still haven't got a clue, remove yourself from under that rock, and please Google it asap.

This tape is 'so hot right now', mostly down to it's ambition. Sprawling over 75 minutes, this is stacked full of rarities, with delectable names to boot. Does 'Santogold- Creator (Mumdance Mix ft Jammer, Badness, Chronik Rage, Slikman & Tempz)' float your boat?

'Top Ranking' is almost impossible to 'review' as such, due to its pure size and density. The majority of songs feature at least one artist (disregarding both Santogold and Diplo) if not three. I've listened to the tape in it's entirety a few times, and I will say this: if you love either Diplo or Santogold, this is an essential buy. However, to give you a track by track review of this mammoth tape would probably keep me glued to my computer for the best part of a week. Instead, take it as a whole- a whole that is absolutely incredible.

We get three completely new tracks from Santogold, and finally a musical meeting has been arranged between M.I.A. and Santi. They don't disappoint (see here for full coverage of 'Get It Up'), and I could easily see a Diplo/Santogold/M.I.A. tape coming out in the future -if M.I.A. continues with music, that is. And whilst I'm not fond of the constant comparisons between the two, this tape blurs the line between them. Diplo has worked with M.I.A. before on her Piracy Funds Terrorism tape- which was pretty much identical in concept.

The comparisons, however, are besides the point- Santogold and Diplo are the ones in the spotlight, not M.I.A. and Santi. They really are an unstoppable combination: Santogold is already one of the most inventive artists around at the moment, and Diplo never fails to accentuate and expand her sound even further. This tape has something for everyone, and pretty much every genre under the sun finds its way somewhere onto the 35 tracks. This tape is off the wall, absolutely insane and worth every penny. Cop it.

The tape is being released on Diplo's label Mad Decent. It's a steal at $9.00- purchase it from the Mad Decent store. The tracklisting is as follows:

01 "Dub Selection Intro"
02 Three 6 Mafia: "Late Night" (Unstoppable Mix)
03 Santogold: "Shuv It" (Disco D Blend) [exclusive]
04 Santogold: "I'm a Lady" (Diplo Mix ft. Amanda Blank) [exclusive]
05 Sir Mix-A-Lot: "Posse on Broadway"
06 Santogold: "Lights Out" (Diplo's Panda Bear Mix) [exclusive]
07 Aretha Franklin: "Save Me"
08 Devo: "Be Stiff"
09 B-52's: "Mesopotamia"
10 Gerri and the Holograms: "Gerri and the Holograms"
11 Santogold: "Anne" (Switch Mix) [exclusive]
12 Santogold: "L.E.S. Artistes" (XXXchange Mix ft. Movado)
13 Cutty Ranks: "Dutty Six Pack" [exclusive]
14 Santogold: "Find a Way" (Graeme and Switch Mix ft. Kid Cudi) / Lunar Camel [exclusive]
15 Richie Spice x Ratatat: "Marijuana"
16 Desmond Dekker: "007 (Shanty Town)"
17 Santogold: "Guns of Brooklyn" [exclusive]
18 Dixie Cups: "Iko Iko"
19 Tony Matterhorn: "Big Belly Guns" [exclusive]
20 Santogold: "Get It Up" (Radioclit mix ft. MIA & Gorilla Zoe) [exclusive]
21 "Mark Ronson in Studio"
22 Trouble Andrew: "Run - Hide"
23 Sister Nancy: "Pigeon Rock"
24 Nora Dean: "Barbwire"
25 Shinehead: "Know How Fe Chat"
26 The Clash: "Ghetto Defendant"
27 Warrior Queen: "Check It"
28 Santogold x Benga: "Unstoppable / Night Dub" [exclusive]
29 Shawty Lo x Skream: "Dey Know / Stagger"
30 Santogold: "Creator" (Mumdance Mix ft. Jammer, Badness, Chronik Rage, Slikman & Tempz) [exclusive]
31 Xray: "Turbulence Dubplate" (Starstruck Diplo Mix) [exclusive]
32 Barrington Levy: "Send a Moses"
33 Prince Jazzbo: "Ital Corner"
34 Santogold: "Icarus" [exclusive]
35 Santogold x Diplo: "Right Brigade" (hidden track) [exclusive]

Update- Empire, Joblo and a few other sites have cottoned on to the 'new terminator model'. In the time it took me to write this, it appears loads of people have freeze-framed! View a trailer analysis.

Films, Films, Films.zip (Link 2)

Well- here we are. As requested, welcome to The Cold Cut summer movie extravaganza. It's actually a lot more exciting than it sounds. I'm going to take you on a chronological journey through what will be remembered as one of the biggest summer movie seasons ever. And as this is inherently a music blog, you can take breaks and download some of the great tracks people are feeling at the moment. Enjoy, comment, relax. I may be updating as I go along.

Common ft. Pharrell- Announcement (Dirty)

Before I get started on my summer movie round-up, I would first like to point something out. I'm sure many of you will have seen the Terminator: Salvation trailer by now, and it looks promising. The teaser is hard to take in because of the way it was put together- a gritty live news shooting style-, but if you take a frame by frame of the 1080p trailer (download here) you come across some interesting details. First of all, we get a clear shot of what appears to be a new Terminator... a prototype we haven't seen before (click through for a huge version). Yes, that does appear to be a rather large chaingun. Scary.

The same robot (or a similar one) can be seen again a few seconds later, as a victim climbs upwards, presumably to escape. I guessed from the glowing red eyes.

Anyway, I'm not aware of anyone else pointing this out, and there's a lot riding on this film if a new trilogy is to be spawned from it. The teaser trailer is intriguing, showing off some daylight shots (which have been mostly left out of the franchise, until now) and Christian Bale, who brings guaranteed excellence to a film- he seems to have this innate ability to make any movie completely watchable- Equilibrium anyone? McG might not be the obvious choice for director, but perhaps this is the kind of big-budget vehicle that a failing director needs? He seems to be going for the right vibe, and it looks as if the events of T3 have been wiped from the world's history (now if only we could do the same), perhaps tying in the time-travelling concept of the recent TV series? If anyone with some knowledge could shed some light on this idea I would be appreciative.

Discuss: Terminator: Salvation... Will it be any good?

The Hold Steady- Constructive Summer

As summer movie season's go, 2008 will go down as one of the most intense. The quality of films hasn't been considerably superior (and in some cases- cough*The Love Guru*cough- so painfully sub-par) but the pure volume of films that warrant an 'I want to see that' reaction is greater than ever before.

Perhaps it's down to the industries perfection of cutting a trailer? Hancock came across as a completely different film in the previews, and even films like Meet The Spartans managed to float at the box office by placing all their 'funny' jokes in the trailers. Maybe we are too impressionable? I know the feeling I had when the Iron Man trailer opened: 'No gang signs... just joking, throw it up!'. We were sold!

Immuzikation- Whoa, Yerr A Joke!

The season kicked off much earlier than usual, with Marvel's heavily tipped Iron Man opening on May 2. As origin stories go, Iron Man was uncharacteristically fun, largely due to Robert Downey Jr's complete domination of the film and part of Tony Stark. There are some moments -the pole slowly rising up in the plane, the closing line 'You know what... I am Iron Man'- that you simply won't see anywhere else in any other superhero film.

In a recent interview, he explained his unusual commercial choice of a superhero film because he 'wanted more than five people to see his film'. He really got his wish. I was one of the millions of satisfied people who forked out for admission, and Iron Man was the first summer movie to take over $300 million domestically. Those kind of figures were a huge boost for the newly independent Marvel Studio's, and they followed it up a month later with The Incredible Hulk. Whilst not quite as enjoyable, the casting was still incredibly inspired, and the film went on to $225 million worldwide, the final figures no doubt pulled down by memories of Ang Lee's 2003 version of the Hulk. Regardless, a strong commercial one-two, no?

Coldplay vs Nas- If I Viva La Vida (Starters Remix)

Indiana Jones And The Kingdom Of The Crystal Skull. Enjoyable, and well... that's about it for me. I wasn't really expecting the second coming or anything along those lines, and Indy fulfilled my expectations. So, basically, if you went in with high hopes, you might have been disappointed. The one thing I took from it is that Shia LaBeouf is one of the shining stars of our generation: he will be as big, if not bigger, than Hanks and the Cruiser were in their prime. And that homage at the end, with the hat flying by... he may just have another franchise at his feet. Whilst we're on Shia, watch the trailer for Eagle Eye if you haven't already.

Discuss: Shia LaBeouf... soon to be a real household name?

Then came Wanted. Thus far it's my favourite film of the summer, and this is mostly down to good old Timur Bekambetov. I've watched both Night Watch and Day Watch, and whilst they're a little kooky you cannot deny that the guy has an eye for a perfect shot. Wanted proved that Timur arguably works better in English than Russian, bound by the acceptable laws of Western films, and the box office complied- Wanted 2 and Kick Ass (another Mark Millar series) are already in the works. Even bound by the rules, Timur completely reinterpreted many institutions of modern action- half of the action sequences in Wanted featured stuff that I had never seen before, from bending bullets and guns to catching weapons out of mid-air. It reminded many of watching The Matrix for the first time.

Coldplay- Death Will Never Conquer (more on this one soon)

And finally, Hancock. It was always going to be amazing, or... rubbish. It was the latter, and yet something saved this film. Although it was a convoluted mess, one thing shone through. Will Smith. Or giving credit where it's due, Will Smith and Jason Bateman. Their relationship and character's were just too strong for the script and other character's to match. I get the feeling that Peter Berg was aware of that and adjusted the script around that core premise, as an original screenplay of 'Tonight, He Comes' wouldn't have worked around that genuine joe/alcoholic superhero dynamic. It worked... Berg toned down the violence and sexual aspects of the original storyline to retain a PG-13 rating, and the film has already made over $300 million worldwide.

Fortunately, the future is bright. My two most anticipated releases are still to come- Wall-E and, of course, The Dark Knight. Two 10/10 films, without a shadow of a doubt. First things first, Wall-E. This film is a testament to the ability of the talented guys at Pixar. More so than any other studio, they produce consistently moving films, and Wall-E is no different. The buzz is huge, with statements like 'Stanton and co. can produce emotions from two animated robots than most directors can't coax out of their leading actors'. That sort of praise shouldn't be taken lightly!

And then, The Dark Knight. Everything I can say about this film has already been covered. Never before have I seen this kind of hype, and early reviews say it's justified. As well as being the best comic book film ever, we all hope The Dark Knight will never be forgotten. It deserves to break records, and it has- even before it has opened, The Dark Knight has set a record for the most screens playing... 4366 (see here). That figure lays a very strong foundation for some box-office records- we shall see what the 3 day figures hold after the weekend!

Lily Allen- Guess Who Batman (Fuck You Very Much)

I am so unbelievably excited about this film, and I really hope that it goes down as a classic. In some ways, The Dark Knight was almost destined to be huge- the viral marketing campaign is a work of genius, Christopher Nolan has produced a handful of brilliant films (but no masterpiece- until now) and the production of this film is an amazing story in itself. And Heath, well... it deeply saddens me that he cannot be here to witness the finished product, but I hope it is how he envisaged it. A posthumous Oscar would be a fitting reward for such a performance. R.I.P.

Discuss: Seen The Dark Knight? Is it the film of summer 2008? IMAX or standard cinema- is there a huge difference?

T.I.- No Matter What

So, that wraps up the movie season thus far. Before you leave, I really suggest you watch the new Watchmen trailer a couple of times. It's truly incredible. I haven't read the comics, but after this I'm really considering it; it appears that Zack Snyder has understood what's realistically required of him as the director of such a monument. He just gets the fans. After seeing this, I feel fairly confident predicting a masterpiece of sorts. The trailer is unlike anything I've ever seen- Snyder is able to show random footage and it still sends my jaw to the floor... it's that beautiful and wonderfully realised.



View a high definition version of the trailer over at Apple.com

More so than any other musician of the last two decades, Beck Hansen has never been comfortable in his own skin... He is driven by an obsession to continually reinvent himself between albums and tours. It's a dilemma which has garnered him tags of 'the most idiosyncratic musician alive' and 'alternative', coupled with his challenging, engaging and occasionally perfect music.

Beck- Modern Guilt (Link 2)

'The Information', his last release, was deemed underwhelming and was unsurprisingly compared (as all Beck's album's are) to the seminal masterpiece that is 'Odelay'. It came up short, and 'Guero' suffered the same fate. 'Modern Guilt' is a return to form, with regards to a high quality finish across all the songs- that's not to suggest that this album is singular in its approach... instead, it flits between speeds, styles and focus, and Dangermouse has obviously enjoyed the chance to work with a new vocalist: whereas Cee-Lo can make any lyric seem interesting, Beck must have presented more of a challenge, one that he has not shied from.

Beck's albums always resist classification, and every time he's anywhere near to being cornered he simply moves on. Each and every album in his repetoire rips on those that have come before it, and whilst his last few albums haven't converted his experience into enjoyable music, 'Modern Guilt' has come good . Musically, I think this is his most complete selection of songs since 'Sea Change', and only falls just short of that milestone.

'Chemtrails' was the first single taken from the album, premiering on Zane Lowe's Radio 1 show. As his most haunting single ever, it displays that even Beck realised that he has deviated from his usual standards over the last few years. 'Gamma Ray', however, as a more upbeat potential single, was more likely to catch the press' collective eye. It evokes feelings of psychedelia and is more reminiscent of his earlier albums.

Beck- Gamma Ray (Link 2)

Dangermouse as producer is an inspired choice, and he recreates the eerie setting of ''St Elsewhere' with ease. Beck also seems determined to create something entirely new, and the result is slightly subdued, dominated by the sounds on the lower end of the register. Look no further than 'Volcano' for proof of this.

I liked 'The Information', not least for it's album artwork (or initial lack of) and seeing Beck really test his abilities as he wished. It wasn't captivating or enjoyable for long periods of time, but there were some moments of brilliance across its sprawling 61 minutes. And again, here some of the electronic elements have seeped into his conscience, notably on 'Youthless'. Notably, the album's numbers don't stack up- at 31 minutes, it's far too short, and Beck could have compromised with a few more songs. The large majority of the ten songs top out at 3 minutes, with the shortest- 'Walls'- lasting a mere 2 minutes 22 seconds. Unfortunately, it's an intensely enjoyable song, and was most likely murdered in the editing studio.

Beck- Youthless (Link 2)

'Modern Guilt' isn't perfect. The last ten years have seen Hansen become more involved in the experimental concepts of his music and progressively less interested in the performance (hence the distracting puppet show on his 'Cellphone's Dead' tour). 'Modern Guilt' is more consistently enjoyable than his last two albums, and in achieving this, Beck may have had to curb his experimental enthusiasm. Whether this loss is manifested in his live efforts instead remains to be seen. Neglecting this, 'Modern Guilt' is a more than passable stepping stone onto Beck's next endeavour.

'Modern Guilt' can be purchased from Amazon.

Coldplay- Violet Hill (Link 2) (Link 3)

My initial reaction to this song was a resounding 'hmmm'. My fears weren't entirely misplaced. Coldplay haven't stepped too far astray, but 'Violet Hill' isn't quite good enough to justify a 3 year absence. The band, however, have not lost their radio friendly roots. My brother found himself humming the tune a mere 5 minutes after listening to the song.

Many people have drawn Oasis comparisons, mostly due to the vocals and newly beefed up backing section. Piano, however, runs the show- kicking in 40 seconds in (after a resounding drone), the keys power this song through to its finish. The lyrics are weak: 'I wanna be a soldier who a captain on some sinking ship would stow far below. If you love me, won’t you let me know?', but all in all, 'Violet Hill' is a nice introduction to the new album.

Even though I'm slightly dissapointed, I'm happy to have them back. However, with this (and the shoddy album cover), Coldplay have become a little less untouchable.
The song is available free for one week only: head over to the band's slightly pretentious website to download it.

'Viva La Vida' has been brought forward and will now be released on June 12!

Rating: 7/10- A steady album, sadly let down by three songs.

The Long Blondes- Century (Link 2) (Link 3)
The Long Blondes- Guilt (Link 2) (Link 3)

On my first listen of The Long Blondes 'Couples' I actually mouthed some unmentionable things. I absolutely adored 'Someone To Drive You Home', and simply put, this doesn't hit the mark, at least not on its first spin. In the two years between their debut and 'Couples', their music has certainly lost a little of 'STDYH's magic, replaced by a passion for experimentation, and the sweet taste of progression. This isn't a failure by any means, but it also isn't the follow up we were expecting.

In short, they've attempted to go punk (truly, this time around). Simply put, their music is no longer punk (more a blend of electro-indie), nor is their image (updated from berets and striped tights to civvies), but their delivery most certainly is: even now, they're still learning to play their instruments, but there are clear signs of advancement, musically... when the band formed, Screech, the drummer, didn't even own a set or know the difference between a high hat and a snare. And don't even get me onto Emma Chaplin- their live shows are shambolic because Dorian is playing both lead and rhythm!

I really wanted this album to be superior to their debut. The outlook was promising: 'Century' is a song that just sits in the back of your head, invading your space with its wonky guitars and harmonies. If I had to take a single positive from this album, it would be the obvious improvement of Kate Jackson's vocals- her progress is easy to see on the single. Next came 'Guilt', probably the stand-out, which also happens to be a demo from their early days. It's an obvious choice for their next single. Another high point comes quickly in the form of the title track. But then disaster strikes. Three songs, all of which are... well, shit... They lose all the momentum gained over the first three tracks, and its as if 'Couples' never got going.

Exhibit A- 'I Liked The Boys'- jarring is an apt description. Exhibit B- 'Here Comes The Serious Bit'- Kate has a great voice. Occasionally it goes wrong... imagine that flat note at the end of 'Heaven Help The New Girl', extended over an entire song. And finally, Exhibit C- 'Round The Hairpin'- This has so much potential, but is painfully underdeveloped. And so ends the trifecta.

The band do some serious groundwork over the next few tracks, making up for lost momentum. 'Too Clever By Half' sees Jackson adopt a pitch perfect falsetto, then 'Nostalgia', which I found strangely emotional. The finale, 'I'm Going To Hell', is a dramatic affair, with Jackson proclaiming 'I'm going to hell so I might as well make it worth my while.' All things accounted for, the album ends on a high, but I couldn't forget those three songs. I've returned time and time again (I've had this album for 3 weeks now), but they still don't sit well with me.

'Couples' is a very difficult album; one of the hardest I've come across, and this isn't going to work in their favour. I didn't truly appreciate half the songs until at least 6 or 7 listens, which is a real downer; however, they do take on depth with time. After repeated listenings, it transforms into a solid album, but it is this initially steep gradient which may be 'Couples' undoing, commercially at least.

'Someone To Drive You Home' really delivered, and still holds a place as one of my favourite debuts of all time. It had that lyrical punch and could soundtrack any situation: you could focus on it, or just let the songs slip past. 'Couples', whilst occasionally superior, is an album that requires your utmost attention at all times, and is let down by the presence of three rubbish songs. I really wanted to love it, and the signs led me to believe I would: Erol Alkan's pre-album mixes were great ('Fulwood Babylon' is amazing), but his impact on this album has been detrimental. I'm not quite sure why, either, given he also produced Mystery Jets '21', which is excellent, and an expansion of their sound. On 'Couples', though, his usually stellar work is lacking, and the album occasionally suffers.

Still, taking into account the highs and the lows, this isn't a trainwreck of a second album. The Long Blondes have shown their hand: progression and experimentation are serious factors in their future. All in all, 'Couples' is a nice album to keep us tied over until they do something truly groundbreaking, and live up the hype.

'Couples' can be purchased here

Rating: 8/10
Truly rewarding experimentation from the Eel Pie Island troop...

Mystery Jets- Hideaway
Mystery Jets- Half In Love With Elizabeth

After the dulcet tones of 'Young Love', '21' might come as a surprise. Firstly, we weren't expecting air raid sirens as the instrument to herald its arrival, on 'Hideaway', the opening track. Secondly, for some, the fact that the quality of 'Young Love' is translated across to the album might be unexpected- from the beginning, this is already superior to their ramshackle debut, 'Making Dens'.

The Mystery Jets are not an ordinary band... their formation, appearance, music- everything has that strong sense of individuality about it. How did they come to be? Under the tutelage of Henry Harrison, lead singer Blaine's father, the band developed their brand of progressive rock as young teenagers. It was this style of music that made up 'Making Dens', unfortunately eclipsed by releases from London scenesters Jamie T and The Maccabees. It is also this style of music which is lacking on '21', but its absence is hardly noticeable. The departure of Henry was a likely catalyst. His exit, however, has left a wide open space for youthful exuberance, and in essence, that is what '21' is all about. It should be noted that whilst Henry has stopped performing live with the band, he still contributes to the live process.

Second time around, the band have taken a completely different direction: 'Young Love' made things clear- no overbearing percussion, no prog elements, and no lead singer? Yes, for the first time, Will (guitarist), stepped forward to sing lead. And does a bloody good job if you ask me. Aided by Laura Marling (who happens to be everywhere nowadays), this song is close to pop perfection, and set things up nicely for '21's arrival.

Erol Alkan's presence is felt all the way through the record, and he has done a much better job here than on the new Long Blondes album, 'Couples' (review due some time soon). The prog has been mostly discarded, but Alkan has instead coaxed out some great pop songs: this album has much more widespread appeal, and might see the band finally capitalise on their talent. Songs such as 'Half In Love With Elizabeth' and 'Flakes' are not as simple as they seem, and Blaine's vocals slide easily into place.

Whilst some will be quick to herald this album as 'good' or 'bad', it's really much more than that. On '21', we see huge signs of progression, and the prospect of what comes next is actually more exciting than the album itself. However, if I had to condense it into a sentence, this album is all about a young band with a shed-load of talent, and finally some room to breath. Once again, Mystery Jets have surprised us all...

'21' can be purchased here...

Rating: 9/10- A Frenchkiss debut that the duo should be unashamadly proud of.

The Dodos- Red And Purple
The Dodos- The Season

The aim of this blog is not to be totally ahead of the curve; I'm not (and I hope you aren't) counting points. Sometimes, though, I can't help but resist shouting out 'I found them!'. I have been harking on about The Dodos for ages and it is with a sense of joy that we see them reach a pinnacle (an 8.5 from Pitchfork- No shit!). 'Visiter', their second and best album yet, is receiving great reviews across the board and their recent live shows have been nothing short of incredible.

'Visiter' is the first album that clearly illustrates the undiluted talent that The Dodos possess. On 14 varied tracks, Meric Long and Logan Kroeber make a brave rush for victory, recently having mastered their brand of folk-punk. Lets be honest, who needs a bassist when you can write music this wonderfully complex?

Logan Kroeber's drumming is crucial throughout the record, holding the songs together with a rhythmic appreciation far beyond his peers. One of the most skillful drummers in music at the moment, he honed his talent through years in a prog-metal band. Meric Long is a hero for the ages, with a dry lyrical talent and a voice that fits the folky feel, in both the more intense songs ('Red And Purple', 'Winter') and the low key interludes ('Walking', 'Eyelids'). He fluctuates between frantic picking or intense strumming, and both Long and Kroeber are modest in displaying their huge instrumental talents.

The album is long and twisting, with the duo squeezing every last drop of creativity out of their songs. Often extending into four (never boring) minutes, the music is complex and diverse. 'Jodi' is the song that most clearly illustrates this, stretching for 6 minutes, yet switching between keys and moods, and beating 'Fools' as the best song on the album. 'Visiter' was recorded in an unusual fashion, with songs being played as they would live, and the drums, guitar and vocals were taped together, to mimic their now infamous live sound. The resultant album is full of vitality and intensity, and throughout it is blatantly obvious that the duo are enjoying themselves. Admittedly, they are at their best when moving along at a steady pace, and I found myself beginning to lose interest in the lulls.

'Visiter' is one of the albums of the year, and must have Frenchkiss records feeling proud of themselves. Alongside an alumni that includes Les Savy Favs and The Hold Steady, The Dodos don't appear outclassed in the slightest. In fact, those bands might have felt the heat turn up a bit given the quality of 'Visiter'. This is an album that should be cherished, and will no doubt survive rediscovery for many years to come.

Rating: Another album full of dark soul songs.... sure to divide

Things are beginning to look up- I chanced upon a copy of 'The Odd Couple' for review. Enjoy, and make sure you buy the album, now released on, and digitally today.

The quality of 'St. Elsewhere'- as an album- was eclipsed by the shining brilliance of 'Crazy', and to a lesser extent, 'Smily Faces'. In some ways, it's in Gnarls Barkley's best interest that 'Run' isn't an earth-shaking single. Rather than purely focussing on the songs individually, I hope that people will take a long look at this album as a whole. However, my review will take the opposite approach, breaking this album down into the sum of its parts, in chronological order. Needless to say, they are all just small pieces of the puzzle. Let's begin:

NB- Ratings from 1 to 10. 1 is unlistenable, 5 is mediocre, 10 a song that will complete you. Highly recommended songs come with links...

Charity Case- Essentially a sped up version of 'The Boogie Monster' with some extra bells on, they really run with the idea, adding dense swarms of 'oohs', 'aahs' and assorted harmonies. 9/10

Who's Gonna Save My Soul- ?uestlove wanted to leak this one, and not without reason. Its one of the few moments where Dangermouse sits back and lets Cee-Lo flesh out the song, and its a high point (low in terms of mood). The soul influences run free... 9/10

Going On- A few nice ingredients: hand claps... the gentle squeling of guitars. Both discarded half way through for a session of call-and-response. 8/10

Run- It was never going to match 'Crazy'. The expectation obviously didn't bother Cee-Lo and Dangermouse, and why should it? After all, who needs to worry when they can reel off songs like this: jaunty, bubbly pop, stuffed into a frantic 3 minutes. Still, when stacked up against the other strongest songs on the album, its surprisingly comes off looking almost average. 8/10

Would Be Killer- The song opens with the cocking of a gun. Unusual for Gnarls. However, it develops into much more than that, and Cee-Lo shows his versatility, morphing his usual bellow into a subdued whisper. 8/10

Open Book- The song is strongly influenced by the slightly disarming beat. Even Dangermouse makes mistakes, and this is one of the few. The beat doesn't allow the song to get off the ground. 6/10

Whatever- The pair embrace their inner child, with Cee-Lo behaving like a brat, having a tantrum. The lyrics point towards the thought of being a loner, and they have fun embracing the character. 7/10
"Said fuck me, well fuck you too
I know it sounds real sad but its true
Being alone is nothing new"

Suprise- What have we here? A soul song evoking thoughts of the Wild West? It really shouldn't work, but once again, they pull it off, if not purely through the sheer force of Cee-Lo's conviction. 8/10

No Time Soon- In essence a ballad, but Dangermouse moves into new territory with electronic bleeps and synthesised sounds. 9/10

She Knows- A throwback with a serious 60/70s vibe. It's passable, but not great. 6/10

Blind Mary- An oddball. Beginning with the hypnotic sounds of a carnival, it develops into a lolloping ode to Mary, the blind girl who can't see Cee-Lo, and must instead opt for his inner workings. Verging on filler. 6/10

Neighbours- A passionate tune. Bongo drums, variety, and Cee-Lo. Enough to carry a song. 8/10

A Little Better- Drama, and lots of it. Lyrically the strongest song on the album, Cee-Lo sounds like a tortured soul, veering straight into the cordoned off area reserved for the blues. 9/10

Taken as it should be- an album- 'The Odd Couple' acquits itself admirably. Just as with 'St. Elsewhere', the production is ambitious and very occasionally overreaching, but Cee-Lo's voice is always there to fall back on. However, I can already see it dividing- there are some really great moments, and a few songs that bomb, but overall this is another brilliant album from the collaboration, and its more than enough to keep me coming back for more. The more shallow members of the critique might damn this album purely for the lack of 'Crazy', but in doing so, they will be ignoring one of the albums of 2008.

The release date of 'The Odd Couple' was brought forward to today. Buy it now.

Rating: A masterful blend of the floor-fillers and ballads which made them popular

On the first spin, its blatantly clear that 'Made In The Dark' is not 'The Warning Mk. 2'. Split into two distinctive halves, the band tend towards heavier electronics on their dance tracks, and have really become masters at their clincher, the pop-balled. Opening with banging club anthem 'Out At The Pictures', this song sets an upbeat mood for the first half of the album, and the pace never really lets up, only gradually tailing off towards the end. However, there are a few reprieves, such as album closer 'In The Privacy Of Our Love', 'We're Looking For a Lot of Love', 'Whistle For The Will', and the title track, where the band showcase their fully developed skills with the down-tempo songs. These aren't throwaways, and are key to this album- without them, it just wouldn't work.

This is an ambitious third release- 13 tracks long, with most tracks easily breaking the 4 minute mark. However, the length isn't an issue- all the songs here feel as if they've been given room to breath, and the band's success has obviously given them the confidence to stretch their creative license. Take 'Hold On', for example, a potential third single, which, at 6 minutes long, might be pushing the envelope. Not quite- consumed by a serious groove, this mammoth tune just keeps going and going, layering vocals and synths right to the loopy ending, full of 'beeps', 'bloops', and yes, you guessed it, 'bops'. Even more ridiculous is the fact that this high-point was recorded live in a single take. Ridiculous!

In Alexis Taylor, you have a soul-tinged, distinctive front-man, and he really is the heart and soul of this band, and this album. I'm not playing down the other member's (and Joe Goddard's, in particular) contributions, but Alexis is obviously crazy, different, and exceptionally talented. In another life, I could easily imagine him giving in to his soul roots.

Designed to make you move, this is an album half-full of songs mimicking the bliss of 'Over And Over' and yes, they match its quality. Track 2, 'Shake A Fist', complete with Todd Rundgren sample and mid song breakdown, is still my favourite Hot Chip song to date. Next came 'Ready For The Floor', a beefed up 'And I Was A Boy From School', with the required harmonies, discordant backing and weird video (see bottom of post)- a perfect choice for the first single

Hot Chip are a great live band, but I found myself wanting for more after my last experience; I saw them at Lowlands 2006, and I felt the set lacked upbeat songs... I am confidently informed that their recent performances bear no resemblance to the days of old. Whereas back then slower ballads such as 'Colours' toned down the mood, their live set now is said to be full of more upbeat tracks from the new album, which is a definite move in the right direction.

Hot Chip are never going to be a band dominated by expectation- the pressure was great, but with 'Made In The Dark', they've produced an album superior to 'The Warning', with many more standouts tracks, and a truck load of potential, unexpected singles. Each new Hot Chip album has been better than the last, and its no coincidence that on this, the best yet, they have fully embraced their quirky, intelligent and distinguishing characteristics.

Hot Chip- Out At The Pictures
Hot Chip- Hold On

'Made In The Dark' is out on February 4th, and can be purchased here

Rating: A charming, almost perfect debut

Dev Hynes is a pretty special person. You might say I'm jumping the gun here, but on the evidence of Test Icicles and his new Lightspeed Champion album, he's not going anywhere other than up. In reference to the title, given the multi-genre nature of Test Icicles and his acoustic pop/folk solo project, Lightspeed Champion, Dev is one of the first artists to succeed in so many different genres, and also make such a big musical turnaround.

I remember when Test Icicles first graced the Radar section of NME, and I clearly recall reading an article in which Dev was accused of spending too much time on MySpace. The page was headed by an image of the three, with Dev holding a fluorescent pink guitar. Incidentally, the article prompted me to check Test Icicles out, and whilst I wasn't massively impressed by the band (other than a couple of ace songs), the premise was intriguing. His Test Icicles band-mates may have been right about his MySpace obsession, but even back then, he had the right idea. Even now, Dev regularly writes and updates his Lightspeed Champion blog, a great read. He obviously understands the importance of web media- something I really respect- and even commented on one of my posts about him (what a legend!), see here.

'Falling Off The Lavender Bridge' is one of the first great albums of 2008, and really warrants no complaints. From start to finish, I really couldn't find any glaring issues or emissions, and for Dev, this album is a brilliant introduction, complete and showing much potential on his part. In time, he may develop into one of the 'great' British songwriters.

On the 12 songs here, Devonte seriously flexes his lyrical muscles, with some witty, quirky and compelling verses. 'Galaxy Of The Lost', wrapped up as a sweet pop song, caused me to almost fall off my chair when the line "as we kiss, and I'm sick in your mouth" popped up. These surprising moments are oft repeated, such as on the 10 minute 'Midnight Surprise', which features the lyrics:
“I’m waiting in silence
And cloaking my violence
You, almost encourage
My happiness, but I know best
Wake up, smell the semen”
Epic and meandering, 'Midnight Surprise', the 2nd single, starts off tender, and builds, builds and builds to a rollicking finale. Most of the lyrics on this album are universally accessible, but there are a few exceptions to this:
"Come over
I just got the new O.C.
And if they can sort their problems out
Why can't I get out the house?"

Kudos must go to the backing band, comprised of some big names (in their own right), including Emmy The Great and Florence (of Florence And The Machine). However, there have been some unjustified claims that the backing vocals make the tracks, and I just want to clear these up. If you cut the production, backing and guest vocals out, leaving only Dev and his guitar, it would still be Lightspeed Champion.

The only reason this album doesn't achieve a perfect rating is the simple fact that one of my favourite songs, 'Waiting Game', was left off the album. Regardless, the 12 tracks on this album are all worthy of their selection, other than the slightly misfiring 'Salty Water'... The ones to check out if you're short of time are 'Everyone I Know Is Listening To Crunk', completely effortless brilliance, and 'Dry Lips', a song simply about the last time Dev had a hangover. Sounds basic, but the simplicity and honesty make it stand out...

Test-Icicles fans may be surprised and -possibly- outraged by 'Falling Off The Lavender Bridge'. I challenge you, listen to 'For Screening Purposes Only' followed by Lightspeed Champion's debut, and try and find a musician who has undergone a bigger transformation than Dev. In the short time between bands, he has regrouped and undergone a huge change of musical direction. His history as a Test Icicle will make his (now guaranteed) rise to the top of the folk/pop ladder one of the most unlikely to occur, in the history of music. There isn't anyone around at the moment with this level of talent, and more worthy of success. Good luck with it Dev, and keep the music coming...

Lightspeed Champion- Everyone I Know Is Listening To Crunk
Lightspeed Champion- Midnight Surprise

'Falling Off The Lavender Bridge' can (and should be!) purchased here

It was pretty obvious at the end of 'Whatever People Say I Am, That's What I'm Not', that the Arctic Monkeys were going to have a really hard time topping the critical acclaim of their debut album. But needless to say, they went away for a year and a few months, and they have released a fantastically different album that defies the common mantra that 'second albums are always rubbish'. I can honestly say that this album is better than the first; Alex Turner's lyrics are as sharp as ever, and the skill of the band on their respective instruments have increased hugely. Matt Helders, the drummer, in particular has obviously been working hard; the drumming on this album is off the map. This is obvious on the excellent single and first track 'Brianstorm', which features the first real contribution from the new bassist, Nick O' Malley. This track is great, and seems to get better with every play: first impressions weren't great, but after a few plays, it matches 'I Bet You Look Good On The Dance Floor' for a first single, if being a lot heavier, meaner and faster.

The sound of the new album is more varied than their debut; there are much heavier tracks such as 'D Is For Dangerous', which has a rampaging joint vocal and rhythm between Turner and Helders, who has a good voice in his own right. These songs are contrasted by the more low-key songs like 'Only One Who Knows' which has only Turner's Vocal and Jamie Cook's accompanying guitar. The best song of the album, though, is 'Fluorescent Adolescent', a song which may be the 'Mardy Bum' of this album, a quieter song which still steals the album from the more 'exciting' tracks which include 'Teddy Picker' a loud, in your face track which suitably follows 'Brianstorm'. 'Teddy Picker' is about the celebrity of Hollywood; it seems like that this album focusses on the experiences this band has had since they were thrust into stardom. Whereas the first album focussed on the experiences they had in the Sheffield borough of High Green, this album is really the band, and Turner in particular, coming to turns with their new celebrity.

I have to say, I was worried that once all the hype surrounding the first album had died down and the internet distribution fad had died out, that the Arctic Monkeys would struggle to retain their audience. I'm really glad to see that they have written an excellent new album, which whilst different, wont change people's opinion that this is one of the best contemporary guitar bands the UK has ever seen.

Here is one of the great song off this album, Teddy Picker. If you like it, head over to iTunes or Play.com to get the album.

Arctic Monkeys- Teddy Picker

Patrick Wolf is, I suppose, someone that you could call odd. You only have to take a look at the album artwork below to deduce that he is not your average person, or at least someone with an extremely warped fashion sense. But this doesn't really matter; as his 3rd album, The Magic Position, is amazing.

I recently copied my Dad's CD onto my ipod out of curiosity, and I wasn't really expecting to like it. I suppose I was being a bit superficial, though 'you can't judge a book by it's cover', i suppose. The album is very unique and different, much like Patrick's dress sense; Wolf prides himself on the fact that he has never reached for a guitar, and i don't think I could compare the album, or its sound, to anything else barring Bjork, Kate Bush and other "weird" artists. The album follows the opener, Overture, with the title track, which is the happiest point on the album. The next song, Accident And Emergency, has heavy beats and sounds experimental. This is my favourite, and was the first single off the album. The next section is made up of two songs, one which builds up to the next, Bluebells. There's a vcast on Amazon.com (follow link at the bottom of this post): i hope this live performance gives an indication of how good his voice is... The next few tracks are great, particularly Magpie, in which he is joined by a slightly disturbing female vocal.

The only negative aspect of this album is a completely wasted song called Secret Garden. I don't really know how to describe it other than continual white noise for two minutes. But I wont let that alter my review; on the whole, Patrick Wolf has constructed an excellent 13 tracks which will hopefully get him the recognition he deserves. Unfortunately, my brother has been going on about him since the release of his first album, Lycanthropy, and I think I will find myself giving his back-catalogue a listen. All in all, The Magic Position is an excellent album by a rare talent, and I give it 8 out of 10.

http://www.amazon.co.uk/Magic-Position-Patrick-Wolf/dp/B000LRY9WM/ref=pd_bbs_sr_1/203-1649282-4337547?ie=UTF8&s=music&qid=1175759941&sr=8-1

I was recently given a copy of the new Arcade Fire album, Neon Bible. They weren't particularly big before, despite having an excellent first album (Funeral), and after giving the best performance last year at Glastonbury. Anyway, they couldn't have followed it up in a better fashion: Neon Bible is different from the first album, in the fact that it is bigger, louder and better.

The album begins with "Black Mirror", a song which reminds us of their roots in Quebec: "un, deux, trois, le miroir noir", and builds up to "Keep The Car Running" which in my opinion, is the best song on this album... this band is unique; in their live performances, there is said to be no less than 11 people on stage at a time, and by the sounds of things, this carries through to their recorded stuff too. "Intervention", another key track, begins with an epic organ riff: sources said the band have learnt instruments such as the organ and lyre to create the sound they wanted to achieve, and it really works. Another key element of this album is the vastly improved voice of the frontman, Win Butler, which is heard in the quiter songs such as "Neon Bible". On the next song, "Black Wave/Bad Vibrations", his wife Regine Chassagne takes the lead; it is a credit to the band that there is not a member who falters in their contribution to this album.

Personally, one of my favourite tracks on this album is "No Cars Go"... this was a previous B-side which has been re-tooled for Neon Bible at the last minute. The fact that the band was going to discard such a track gives and idea of the quality of the music they create. In conclusion, I give this album 9 out of 10.