reviews
nities for this lady to shine further. Big. JA I’d like to think that Saving Aimee are taking The Byg Deal features 22 tracks from a late
the piss with their “You say Saving, I say Aimee” 60s/early 70s French label, Byg, who released
ESPERS *** intro, which (I hope) mimics the terminally records by Vangelis, Gong, Art Ensemble Of
III (Wichita) shite X Factor laughing stock, DJ Talent. Not Chicago and Brigitte Fontaine, plus tons of bands
An aptly-titled third album of original material
that it matters, as what follows is 10 tracks of I’ve never heard of. This kinda stuff was about as
albums
from the Philadelphia folkists, III marries the
sub-McFly tosh that close as you got to anarchism on wax at the time;
spring morning clarity of Meg Baird’s vocals to
gave me a brainache just the sleevenotes heavily reference the ’68 Paris
globules of psych-fuzz instrumentation. How-
wondering who their riots, as well they might. Prog flutes, downer blues
ARCHITEQ
market can possibly be. and a band (who are actually ace) called Banana
****
ever, while the perils of café-bar conservatism
Falsetto leanings are Moon. Gong also feature on Celestial Mass,
Gold + Green (Tirk)
are largely staved off by these interjections of
sonic strangeness, the second half of III does
probably thanks to Jus- which is a bunch of rare and not-rare songs with a
This is a really promising debut release from
occasionally drift near to the territory of faint
tin Hawkins’ production, space theme. It goes whoosh a lot and sometimes
London-based Scotsman Sam Annand, who
inconsequentiality. But the tribal drum-powered
but if you really want to sounds like a bong – sorry, a ‘hubble-bubble pipe’
knows how to layer decent downtempo elec-
Colony delivers a stirring finish, with that track
indulge you can see them supporting Fightstar – being chugged on. With Sun Ra, Magma and
tronica. Ranging in beats and a range of guest
achieving a symphonic excellence unmatched
soon. RH Chrome Hoof on board, it’s definitely authentically
vocals, the phrase trip-hop could be coined at
anywhere else on the record. PM
freakbearded-out fare, but not as magically rare
a push but wouldn’t really cover the range of
TEITUR ** as much of this label’s output – indeed, several of
instrumentation in the mix which includes some
THE FEELIES
All My Mistakes (A&G) the tracks are from past FK releases. Soundway,
great live bass, strings and keys. Single Birds Of
Crazy Rhythms **** Romantic, but won’t ruffle
a label from Brighton, perform a similar task
Prey was well received last year and is included
The Good Earth *** (both Domino) any feathers. Far out folk,
to FK, but concentrating on unreleased, lost or
here, along with a dub version. RH
otherwise unattainable music from the Third
The latest band to benefit from Domino’s gener-
in that the music was
World. Ghana Special – beautifully packaged,
ASOBI SEKSU
created in the troubador’s
****
ous approach to their stack of indie cash, New
remote homeland on the Faroe Islands. Sorrow-
like most of their product – concentrates on
Acoustic At Olympic Studios (One Little
Jersey’s Feelies took the Velvet Underground
ful, scoring broken hearts with a shadowy edge
highlife, the horn-and-guitar-heavy music of
Indian)
and Jonathan Richman as starting points and
(broadly) celebration that is Ghana’s chief musi-
ran with them into jangly, proto-college rock
of bitterness over regret, and creating lyrically
Indie-pop/shoegazers
cal gift to the planet. The 34 tracks hone in on
territories. Crazy Rhythms, from 1980, is the
limited chamber-pop soppiness. Two previous
Asobi Seksu offer up an
the 70s, when the genre was absorbing jazz and
killer here, with its antsy, aggravated strumming
albums have gained Teitur some success back in
album of acoustic ver-
rock influences with gusto, and bang the party
and jittery nerd-cool vocals, and whose man-
Denmark, but not in the UK. Marketable to moth-
sions of their own tracks
on the greyest October morn. Slade, you may or
nered guitar workouts clearly caught the ear
ers in a David Gray kinda way, but unlikely to be
spanning all three of their
may not know, were a raw and un-chartworthy
of the Pixies’ David Lovering. 1985’s The Good
third time lucky for the singer. SW
previous albums, also
product of the hard rock underground before
Earth, co-produced by Peter Buck of obvious
including some B-sides
morphing into the nation’s favourite glam jesters;
fans REM, is a little more, uh, mature, but still
VARIOUS ***
and a cover of Suzanne by Hope Sandoval). The
a DJ describes them as “the skinhead set” while
retains a lot of warmth in its fey, paisley-shirted
Mutations 3.0 (Mutate)
tunes chosen here sound much more minimal
talking over the first song on this double disc of
noodlings. WS Masquerading as an EP, this 10-track latest
stripped of their fuzzy, shimmering guitars
BBC recordings made between ‘69 and ‘72. It’s not
offering from Mutate is an enjoyable blend of
but they also become, shockingly, even more
all ‘eavy, bordering on rock’n’roll pastiche as we
THE GUNS *** sparse techno, gnarly breaks and tough house.
beautiful – if that’s possible – and the result is
get into Slade’s chart era, but demonstrates that
With The Guns (Lodge) The former’s input comes from the likes of label
a collection of songs that sound like they were
their claims of ear-bleeding live excess weren’t
head Unique 3, while more upfront beats mani-
always meant to be this way. EG
Welsh boys The Guns are all hot air. Similarly, and as Irvine Welsh notes on
a fast paced, energetic
fest themselves through Christian Woodyatt’s
the back cover of this double-disc reissue of Mad-
BRAKES
Banjaxx. Unmixed and also represented
***
heavy rock (with a touch ness’ debut 1979 album, this is pretty much the
internationally by Berlin’s Auddie and Mumbai’s
Rock Is Dodelijk (FatCat)
of roll) four-piece. last time the allegedy Nutty Boys really sounded
They’ve toured with
Bibhaus, it’s an hour well spent in the company
Twenty tracks of real
like the Jamaican ska that was their sound’s
Lostprophets, which may
of established and contemporary talent with
live-sounding scuzz-rock,
foundation (their song The Prince is named in
give you some idea of
more than just the status quo to offer. RH
as is the band’s wish:
tribute to Prince Buster). Of course, the spectre of
their style (especially vocally). The album has
not poor quality, you
music hall and Small Faces-type British pop looms
some pretty catchy tunes with easy-to-sing-along
understand, but having
equally. Madness’ influence might be pernicious,
to choruses and for the most part, you can see
enjoyed bootlegs before,
but this is a milestone worth owning. Some songs
where all the hype has come from. Overall, the
they wanted that sound
on The Best Of Space – which comprises 14 selec-
record isn’t hugely original but it is danceable
blast rather than the polish that makes some live
tions from this late-70s French synth ensemble,
and will probably get you bopping around your
recordings quell a little. Made up of British Sea
and as such nothing featuring Cerys Matthews’
living room. EG
Power and Electric Soft Parade members of old
guest vocals – were not inaccurately compared
and recorded in Cologne and a hometown show
to Abba by other Buzz staff. I put it to you – them
HERITAGE ORCHESTRA FEAT DJ YODA
in Brighton, the energy spewed up on Don’t Take
– that crossbreeding Abba with cosmic disco and
***
Me To Space (Man) and Cease And Desist has
prototypical synthpop, as happens here, equals
G Prokofiev Concerto For Turntables &
to be heard. JE
a step forward for humanity. They sold 12 million
Orchestra (Nonclassical) records between 1977 and 1981, you know. To
COSMO JARVIS ****
It takes a brave person to fuse classical orches-
people for whom punk was for other people. And
Cosmo Jarvis (Wall Of Sound)
tration with hip-hop turntablism, but then DJ
so to our last archival trip, into the studios of
Yoda’s never been the timid type. For the most
London duo Shut Up And Dance. How The East
There aren’t many of us
part, this collaboration with Gabriel Prokofiev
Was Won’s three CDs feature selections from as
who could’ve articulately
and the Heritage Orchestra is a grating mash-up
recently as 2007, where we find PJ & Smiley offer-
laid down our every want
VARIOUS ***
of strings, scratching and dirty beats. Mood mu-
ing a ravey take on nu-skool breaks, but you need
and whim at 19, but
The Byg Deal (Finders Keepers)
sic it’s not and it won’t be topping Classic FM’s
this for their first fruits, be they their early, raw
Devonshire dude Jarvis
charts anytime soon, but if you can get past the
VARIOUS *** riffs on Public Enemy, their soulful explorations
isn’t shy when it comes to
sometimes almost impenetrably random melodic
Celestial Mass (Finders Keepers) in early hardcore or their part in inventing jungle
sharing his experiences
wanderings you’ll be rewarded with a tour de VARIOUS *****
with their Ragga Twins productions. NG
and talents. Two discs flit between ukulele
force of musical innovation. MC Ghana Special (Soundway)
terrace chants and shady suburban problems, pic: MADNESS
all delivered with a cheeky panache that’s more
SLADE ***
OX ****
honest lad than mockney tosser. Some tracks
Live At The BBC (Salvo)
Burnout (Weewerk)
are a tad too long, but all are inspired and vent
MADNESS ****
confusion on birds, booze and the option of
Singer, songwriter and record shop owner Mark
One Step Beyond (Salvo)
washing one’s balls. RH
Browning is back with more glorious, aching
Americana from Canada. Stoner soundscapes
SPACE ****
ENVY ***
sing out. Seven world-weary, Wilco-meets-Spring-
The Best Of (Nang)
Set Yourself On Fire (StopStart)
steen songs about being strung out, stolen gui- SHUT UP AND DANCE ****
tars, hangovers, prom queens, diners, road trips How The East Was Won 1989-2009
If you like bashment, grime and related Brit-ur-
and a revisit to Miss Idaho; picking up where his (Shut Up And Dance)
ban genres, you’re gonna love this. Manchester
rather excellent 2006 album American Lo Fi left
female MC Envy is one of the most exciting UK
Basically, I hoarded a bunch of sweet-lookin’
off. Standout Unknown Legend, also the band’s
talents out there in any genre at the moment.
albums for myself this month and then realised
favourite track, indicates that, luckily, Ox show
With some tight synth-based production coming
that they were all compilations of old stuff, so
no signs of burning out before their time. Get to
from Medasyn, this 15-tracker makes you wake
decided to squish ‘em all together. Although it
know them. SW
up from the outset of the blazing first track. It
wouldn’t be fair, I could blame Finders Keepers for
would be nice to hear a bit more varied produc-
this mentality – they dig out such a fearful volume
SAVING AIMEE *
tion but I’m sure there will be plenty of opportu-
of hyper-obscuro oldies that prolonged exposure
We’re The Good Guys (Hey You!)
stops you caring about keeping up with the times.
BUZZ 48
NOVEMBER 2009.indd 48 28/10/09 10:38:41
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