Today we spoke to the lovely Tyra Hammond on the release of the new Opensouls album ‘Standing in the Rain’, our Jukebox Banger of the week was Kanye West’s massive hit ‘Jesus Walks’ and the hour of pleasure got into a bit of shoegazing….as seen below..Peace! MZA xoxo
Primal Scream – Higher than the Sun – Screamedelica
PJ Harvey – Angelene – Is this Desire
The Charlatans – My beautiful friend – The Charlatans UK
Patti Smith – Gloria – Horses
New Order – True Faith – Substance 1987
Unkle – In a State – Never Never Land
The Cure – A Forest – Mixed Up
Joy Division – Love will Tear us apart – Substance
On U Sound – Bronski Beat mash up – 12′ EP…….
Here’s the play list for the Constant Good Times hour. Awesome-as!
Yeasayer – Tightrope
Tiddabades – Romance Dance
The Mint Chicks – Hot On Your Heels
Winter Palace – Feathers
Radiohead – These Are My Twisted Words
Ruby Suns – Give Advice
Having a Baby (Liam/Lawrence/Connan/EJ) – Havin’ A Baby
Los Campesinos! – We Are Beautfiul, We Are Doomed
Metronomy – Heartbreaker
The Smith Westerns – Girl In Love
Here We Go Magic – I Just Want To See You Underwater
It has always been a strange footnote at the bottom of music history, the subtle fact that too many New Zealand bands disappear over to the Great Oz, end up staying and they never return, coupled with the horrible knowledge that tragically few Australian bands come to play shows in New Zealand. That doesn’t stop great music from entering the country in disc form, though. Hailing from Victoria (that’s the Victoria over the ‘”ducchh”, not to be confused with Pretoria, that’s in a different continent) and comprising of some rather sweet-looking ladies, Beaches have managed to squeeze out a fantastically rough debut mushed together out of a deliciously sweet pop ideology smothered in fuzz and a distinctively Australian style of riot-grrrl awesomeness (never sussed out how many r’s are meant to be in grrrl, my apologies), it verges oh-so-very-close on self-indulgence but steps on the right side of that line; a line too often crossed, in my opinion.
Their self-titled debut opens with the minuteandahalf fuzz-out ‘Two Days Passed By’, squeezing 60’s psychedelia with surf and shitgaze and it sets the standard for the rest of the record. Although largely instrumental, the euphoric moments come when a nameless set of voices lets loose their ghostly majesty swimming underneath tracks like ‘Sandy’ and ‘The Rip’. The guitars swoon and drone, screech and throttle, all backed by chaotically simple drum beats, thrown together in a veritable melting-pot of genres that are almost too many to list. It’s fair to say that Sonic Youth’s most blissed-out moments were key in inspiring this record but the sheer brutality and density of songs like ‘Vikings’ make the whole trip worthwhile. The sheer sonic infinity of the first half of the record is simply stunning to say the least, most songs turning in to sound collages by the 3rd minute.
Something struck me while writing this review: it’s awfully hard to write about a band whose songs predominantly sound the same, but are equally fantastic. They all bristle with menace and a late-80’s no-wave don’tgiveafuck sensibility; similarly impressive seeing as Beaches is entirely made up of females (yeah, see, the Sonic Youth reference isn’t wholly unjustified). Verging on lo-fi, questionably close to the post-punk revival happening at the moment, and treading the same footpath as many before them, Beaches ultimately deliver on what is essentially one song, broken in to twelve parts with different names. But seriously, who gives a fuck-andahalf about the politics of it when they make noise this utterly thrilling.
– James Donaldson
Hey Yall! Today 2 homegrown albums dropped…Fly my Pretties ‘A Story’ complete with DVD and Opensouls ‘Standing in the Rain’..we spoke with the lovely Lisa Tomlins about FMP and next Monday have the pleasure of chatting to Opensouls diva Tyra Hammond. Todays hour of pleasure was bought to you by Lovesongs…this is the playlist…have a lovely week…MZA xx
Jukebox Banger of the week: The Beatles
‘Eleanor Rigby’ -Revolver
The Cure – Lovesong – Mixed Up
New Order – Bizzare Love Triangle -Substance 1987
Dandy Warhols – Bohemian like me – 13 tales of Urban Bohemia
Pet Shop Boys – Love comes quickly – Please
Tom Waits/Bette Midler – Never Talk to Strangers – Bounced Checks
Massive Attack – One Love – Blue Lines
Yazoo – Only You – Upstairs At Erics
The Roots – You Got me – The beginners guide to the Roots Vol 1
Outkast – Miss Jackson – 12″ single
Brianjonestown Massacre – Open Heart Surgery – Tepid Peppermint Tea Party
Today on the show, I had a chat with James Duncan, and Brad from Brand New Math. I also spoke with Nick and Sarah from EMJ, and we played Crystalised by The XX
Animal Collective – What Would I Want Sky
Brand New Math – Idiot Savant
Magic Kids – Hey Boy
Magic Kids – Good to Be
The Brunettes – Red Rollerskates
Beck – Gamma Ray
The Ribbon – Basement House
Volcano Choir – Island, IS
Metronomy – On Dancefloors
Kim K – The Sky is Falling (Creatures of the Night)
Turntablism is the art of manipulating sounds and creating music using phonograph turntables and a DJ mixer. The word ‘turntablist’ was coined in 1995 by DJ Babu to describe the difference between a DJ who just plays records, and one who performs by touching and moving the records, stylus and mixer to manipulate sound. The new term co-occurred with a resurgence of the art of hip hop style DJing in the 1990s.
Tracklisting for the hour of pleasure….
Cut Chemist – Motivational Speaker – The Audience is Listening
Rob Swift – Dope on Plastic – The Ablist
Coldcut – More Beats and Pieces – Zen Cuts
J5 – Swing Set – Quality Control
Mixmaster Mike, Grandmaster DXT, Rob Swift, Q Bert – Rockit
DJ Shadow – Organ Donor/Midnight in a Perfect World – Entroducing
Rob Swift – Im Leaving – The Ablist
The Herbaliser – Mission Improbable
Jean Grae – Love Song – Attack of the Attacking Things
The Doors – The End – Weird Scenes inside the Goldmine/Soundtrack to Apocolypse Now…
Sounds Of The Universe
Rock’n’roll has always mixed with the darker and more dangerous sides of life; sex, alcohol, drugs and so on, and to be fair we’ve lost a large number of icons to these said vices: Hendrix, Cobain, Morrison, Bonham etc. But has drugs and alcohol had a part to play in electronica? Silly question really, electronica being a horrible throwback to late-90’s post-rave hedonism, but nobody told Depeche Mode. In their mid-80’s heyday they were the epitome of dark and twisted synthesised post-punk, head honcho Martin Gore’s drug-fuelled antics being splayed over the tabloids almost as fast as their records were selling. 2005’s Playing The Angel saw a return to the darkly influential Depeche Mode of old, sans-drugs but still pouting the same heady resonance, but their latest effort – Sounds Of The Universe – is still desperately mining the same self-flagellating, guyliner-wearing innuendo that unfortunately just does not wash in this era of self-flagellating, guyliner-wearing innuendo that is cringing inconsistently in the charts.
Angst used to be such a rare thing, until Nirvana started to whore the phrase in the early 90’s, but try turn on the Top 40 these days and you either get 1) Gangsters with their jeans around their ankles semi-rapping about being “in your pussy” (there goes my extensive Afroman knowledge) or 2) EMI manufactured pubescent-targeted schlock about how tough life is, how your girlfriend dumped you, or how you might in fact be gay. Gore and co-writer David Gahan seem darned if they aren’t going to exploit this to the best/worse of their ability, just glance over the track titles: ‘Corrupt’, ‘Hole To Feed’, ‘In Chains’ and the list goes on, spewing self-absorbed depression everywhere. And just like a horrible infomercial, there’s more! Gore insists on breathing all over these songs (as opposed to singing) with a melodramatic stupidity that just becomes simply unbearable, and lets be honest; we can all probably guess what the lyrical subject matter is just from the song titles. Sonically speaking, the album pulls every which way possible, from the mechanical whirring of opener ‘In Chains’ to the almost-shoegaze indulgence of ‘Come Back’, complete with ethereal glockenspiel. They’ve taken a leaf out of their replacements’ book too, tracks like ‘Fragile Tension’ and ‘Miles Away/The Truth Is’ bristling with Crystal Castlesish fuzzed-out 8-bit kitsch.
Although they borrow from their ‘contemporaries’ stylish noir feeling, the fact of the matter is that Depeche Mode come across as Snow Patrol toting vintage synthesizers. The angst and melodrama, not to mention the sheer lack of imagination, swamps this record and you can’t help but feel let down. Maybe this was their plan all along? Make a record that would disappoint all, leaving everyone sad and lonely so they would come back and listen to it again for comfort’s sake? Maybe. It could be that I’m just being cynical…