Chip off the old block

I really don’t know what to make of Hot Chip. When I first heard “And I Was a boy from School” I thought I had found my new electronic music gods (if gods can be quirky geeks). With 2008’s “Made in the dark” I was sure the band had ‘come of age’ and that such a strong album would open doors. I even heard ‘Ready for the floor’ played on mainstream, daytime radio; heady days.

“One Life Stand” was good, but didn’t move them on either artistically or commercially; it sounded less cohesive and left me feeling a tad disappointed. Alexis Taylor’s solo album stunk higher than a kipper left out in the sun and anything labelled “Hot Chip Remix” is best approached with caution (but never as bad as a Caribou remix admittedly).

Thus I feared their latest offering “In Our Heads” could signal Hot Chip’s slide down the league of mediocrity into the relegation slots Simian Mobile Disco are intent on inhabiting. But the opening track “Motion Sickness” soon dispels the fear that the album is a complete loss. Alexis’s reassuring vocal floats over a kind of electronic soul track that is both eclectic and mesmerising (they even manage to throw in some 303 style acid riffs). The house tinged “How Do You Do?” sounds like it has been beamed in from 1988 via a Mylo remix. There is a smattering of duff tracks whose inclusion makes me wonder if their presence is simply to offer a blinding contrast to wonderful songs such as “Flutes” and the truly sublime “Let Me Be Him”. So a mixed bag, but ultimately one worth investing both time and money into.

It seems Hot Chip albums will never be consistent, but the highs far out weigh the lows. It will just take their record companies longer to generate that retrospective “Best of” compilation.

I came across a cache of old photos (well CD's actually)

The sheer volume of music I own means that sometimes I forget what I have. This might sound a bit strange, but it also means when you dig out a dusty CD box you can find a hidden treasure.

Whilst digging through The Beatles back catalogue, I unearthed a CD that I remember buying (for the confusing sum of £12.79) from an MVC store (remember them?) back in the 1990’s. Beck’s “Odelay” was purchased because I liked “Devils Haircut” I think, or maybe I was confused and thought “Loser” was on it; I don’t remember. However, I do remember not taking a liking to the album much and after playing it once or twice it went into storage for 16 years.

I decided to rip “Odelay” onto my hard drive and check it out; I’m glad I did. Maybe I have fallen behind massively (yes, I know I have) but this album sounds really fresh and contemporary to me. The majority of the tracks are interesting in their arrangements but there is also a greater depth to the song writing than the sampled loops and random noises might suggest. Tracks such as “Jackass” and “Hotwax” are surprisingly catchy and stand up to repeated listening. “The New Pollution” “Devils Haircut” were obvious stand out tracks / singles which are complimented by the more experimental sounds of “Where it’s at” and “Derelict”. Unfortunately Beck shifts into a poor pastiche of The Beastie Boys on occasions (“Novocaine” especially), but when you consider the album is produced by The Dust Brothers its no surprise. On the whole I’m really glad I unearthed this CD and recommend you revisit it should you own it.

Simian Mobile Disco do it again

Never has the phrase "Throw the baby out with the dish water" been so aptly displayed than in the recent output of Simian Mobile Disco. 

OK I get the whole 'change of direction' mid career crisis their extensive DJ sets have brought about; but why forget the tunes? The first two albums we full of cutting edge electronica coupled with slightly more pop orientated vocal work that made for a varied and entertaining package. 

This new album 'Unpatterns' is another techno driven dirge that doesn't really go anywhere. Like last years 'Delicacies' offering, this new album lacks the innovation of Underworld and has none of the melody of The Chemical Brothers work. This album's focus is so tightly set on the dance floor that its entertainment value is somewhat limited. Don't get me wrong, I love listening to dance music in all kinds of environments, just not dull boring dance music.

CD Rot

A few weeks ago I wrote about the idea of buying music largely as mp3's rather than in any physical format. I am failing miserably in this endeavour as the ever growing pile of amazon packages my postman is delivering testify. 

 

Now, the idiocy of my expanding CD collection is no longer solely limited to lack of space. I have begun to encounter the first incidence of what I think is CD rot in my collection. On opening up an Eurythmics CD I must have bought sometime in the late 80's, I noticed it had a distinct brown/copper tinge that I do not remember it having. I can find no pictures of the actual CD of this release on the net and am slowly convinced it is succumbing to bronzing. The disc does have a tendency to produce read errors but is also scratched a little so I can't identify if the problem is the scratches or the presumed bronzing. 

Either way the CD is easily replaced and is not especially significant. However, if one day I open up the cupboard and find a few hundred CD's unreadable and brown, I am not going to be impressed. If these discs are bronzing because of a known manufacturing error should the record company not offer us recompense? Faulty workmanship of any other sort would demand redress.

Whilst a blown hard drive may wipe out my music collection, I can at least make multiple copies of my music to offer some sort of safety net. If my CD's rot and become unplayable I am stuffed. This digital collection idea makes increasing sense. Anyway must go. Postman is at the door with a package from amazon.

VCMG "Ssss"

Forming one of the greatest British bands back in the early eighties obviously wasn’t enough for Vince Clarke and Martin Gore. 30 years on they have decided to bury their differences and try again. Anyone with even as little as a passing interest in electronic music should have been eagerly awaiting the release of the VCMG album “Ssss”. So now it’s here what are we to make of it?

Well, despite having two of the greatest writers of pop songs this country has ever produced in the group, VCMG have gone down the ‘techno’ route. But it’s definitely techno with Depeche Mode DNA. Comparisons with “Speak & Spell” are a little wide of the mark, but there is liberal use of some wonderful analogue synth sounds that hark back to he early days of their careers and draw on their shared history and love of synthesizers.

I found the first single “Spock” a moderately entertaining slab of minimal techno that didn’t hold my interest for long. Yet in the context of the album the track sits nicely alongside its counterparts and sounds a much better prospect. There are some good tracks on the album with stand outs such as “Skip this track” and “Windup Robot” proving that these pop pioneers know just how to get us dancing.

This is my kind of techno – bright, mid tempo, funky, evolving and electro-pop tinged. Highly recommended to even none DM/Erasure fans.

CD's - what are they good for?

About 5 years ago I threw away a wheelie bin full of CD’s. I had listened to them once and had no intention of listening to any of them again (you know “Eskimos and Egypt” “Spacehog” - shit like that). I needed to slim down my collection as I had moved house and didn’t have as much storage. It turned out to be a painless process and I have never thought “Oohhh where is that ‘Phil Collins Hits’ CD?” only to find it has been binned. I don’t regret anything – so why do I find it so hard to swap to digital music and let go of the rest my CD’s?

I keep a back up drive of my MP3’s as I’m worried that should my hard drive die, I will loose all of my music. Yet, I know I always have the back up of the CD’s. But each of the boxes in my spare room contains around 50 CD’s. There are 27 boxes - so that’s about 1350 CD’s (I have sold/thrown away/given away about as many in recent years too). That’s a lot of weight and storage space for a ‘back up for a back up’. It’s ridiculous.

Increasingly I am realising that the CD’s might be a 'back up' for a lot of my music, but there is an increasing amount  which I only own in digital download format. Sometimes this is because I have no choice and the music is only available as a download, sometimes it is out of choice, but I am becoming increasingly comfortable with the idea that music doesn’t have to come on a black or silver disc. I never play my CD’s or vinyl anymore and only use them as a source to rip. I play music from my phone via Bluetooth in my car and home; I use last.fm on my Xbox and play MP3’s constantly from my PC. Thus, it is totally illogical that I continue to buy music in physical formats.

I am trying hard to give up physical releases and weaning myself off by only buying digital downloads of artists who are new to me (such as Chairlift’s “Something” this week) and sticking to physical releases for artists I love and consider myself a collector of (Pet Shop Boys, Nine Inch Nails etc etc). I hope I can stay on the path to CD sobriety; my spare room is small enough as it is and I really don’t want to have to throw away that Sven Vath CD – oh no, hold on a minute……..

In time?

Until recently I always thought it was pretty easy to play in time with a sequencer. Since acquiring an electric guitar I have realised it is in fact, not that easy. Yet syncopation or just plain ‘playing out of time’ drives me mad.

Nowhere is the difficult nature of playing in time with a sequencer more painfully illustrated than on records made in the late 70’s. Take ‘Beat the clock’ by Sparks – you an almost hear the drummer cursing the producer (the inimitable Giorgio Moroder) as he frantically tries to keep up with the pulsating bass sequence. I always cringe at the timing on Gary Numan / Tubeway Army records such as “Me! I disconnect from you” and especially “We are so fragile” where the poor drummer stands no change until the guitar comes in to cover the millisecond variations in timing which sound so wrong.

 

Of course Mike Oldfield couldn’t stand things being out of time either and even went as far as re-recording “Tubular Bells” so that it was quantized. But would “Replicas” sound as good if it were re-recorded? Well “Tubular Bells 2003” would suggest some bits would sound better and others not.

Personally I would love it if the multi track was stuck in pro-tools and quantized. I can hear some people saying “Oh noooooooo, that’s takes away from its charm and naivety” or “It’s the only human element in an electronic recording and adds something”. Well no, sorry, it just spoils it. And whilst yes, I now appreciate that it’s hard to play along to a click track or sequencer, it doesn’t mean I want to listen to it.