Style Inspirations #4: A Clockwork Orange

Yes, I know. There is nothing remotely glamorous or stylish about violence. I also know that if Anthony Burgess's characters inhabited our world and not the world of the Korova Milk Bar, they would be snotty-nosed, tracksuit-wearing hoodies and unsightly as well as a menace.

The classic Clockwork Orange look is more to do with Stanley Kubrick and his design team than Burgess's writing, but there are similar themes - for instance, the all-white look and the single false eyelash do not appear in the novel.

To grab yourself a bit of droog style: monochrome, old-fashioned accessories such as braces and hats, flip horrorshow boots for kicking. I'd leave the codpieces out though.

Music on Monday: Part Zwei. School of Seven Bells - Disconnect From Desire review

School of Seven Bells release their much-awaited second album, Disconnect From Desire, on the 13th of July. Being the generous sorts they are, they are allowing listeners to stream the entire album from their site, for the price of an email address. I have done this and can now report back with an album review, which I will present in the form of five bullet points, because there's not much of Monday left and I should go to bed, to be quite honest.

1. It has ten tracks, but they are all quite long and meld into each other a little, so it doesn't feel short at all. Each song has a couple of changes of direction, as well.

2. My first impression is that it is much more electronically-based than the first record, with an almost dancey feel to the songs towards the middle of the album, such as Dust Devil.

3. The non-remix version of Windstorm opens the album, and it's one of the most kinetic tracks on there. It'll be a lot of people's favourite.

4. Towards the end, there is a darker feel. Joviann, the sixth song, is quite sombre and early-80s-dreamy, with a Jesus and Mary Chain influence. The next song, Camarilla, sounds a bit like an electronic sea shanty.

5. As ever, the vocals are beautifully strong throughout, with Alejandra and Claudia sounding crystal-clear over the layered, scuffed music. We even get to hear Benjamin on back-ups.

The album is out on Full Time Hobby in the UK. The band are touring the UK very soon - more on that later.

Music on Monday: Part Eins. Crystal Ball time...

A little while ago, I blogged about Tennis, and predicted that they would feature in the Guardian newspaper's New Band of the Day feature within one month.
Well, I was right.

So, as I look into my musical crystal ball, who can I predict will grace the hallowed pages of New Band of the Day in the next month?

My money is on Sweet Bulbs. They've been gathering a fair bit of blog buzz in the past month or so, up to and including a mention on Pitchfork. I heard them first on the Pelly Twins blog.

Sweet Bulbs are "Michael, Inna, Jack, Ray and sometimes Alex". Inna is the singer, I'm not sure what the others do, but one of them plays drums standing up. They're from Brooklyn, they've not been going for very long and they play the sort of sweet-voiced, fuzzed-up garage pop made, well, popular by the Vivian Girls and the Dum Dum Girls. With Sweet Bulbs, however, there's always a tinge of melancholy underneath their blurry harmonies: the stand-up drummer is not the only nod to The Jesus and Mary Chain and the Velvet Underground.

Springstung is their stand-out track. You can listen to a demo of it on the band's Myspace, or download it from Pelly Twins or Pitchfork.

Olafur Arnalds: and they have escaped the weight of darkness. Bridgewater Hall, Manchester. 1st July 2010

This was not the ordinary kind of gig that gets reviewed on RWL. Icelandic pianist and composer of delicate, haunting soundscapes, Olafur Arnalds, was in Manchester to play a new, orchestral re-working of his latest album, ...and they have escaped the weight of darkness. This was to be my first classical concert, as the bill also included a Jonny Greenwood (of Radiohead fame) composition, a new piece by Avner Dorman, a contemporary classical composer of whom I had never heard, and a performance of Igor Stravinsky's Rite of Spring. The conductor for the evening was Andre de Ridder.

The Bridgewater Hall is a surprisingly friendly venue, spacious, with comfortable seats and nice toilets. Okay, architectural review over. After a selection of Radiohead songs reworked by the Loudon Piano Quintet in the lobby, which I did not catch, the evening opened with Popcorn Superhet Receiver, a 2005 piece by Jonny Greenwood. Jonny himself did not perform; I'm not sure if he was even present. Popcorn is inspired by white noise and the interplay between car engine noises and tape players on long journeys in Jonny's childhood. It is a wavering, sliding, quite subtle piece, performed by a string ensemble. The ranks of violins meshing over the top of one another creates a convincing, yet musical impression of white noise, and the piece builds to a pleasant crescendo.

The second performance was Spices, Perfumes, Toxins!, a new work by Avner Dorman for orchestra and percussion, in three parts. It is said to be inspired by the three titular substances, and influenced by the sounds and rhythms of the Near and Middle East.The percussion was provided by the DYAD Percussion Duo, who both moved between marimba, drums and orchestral percussion throughout the piece. Each movement became more dramatic and frenetic, culminating in a huge, cacophonous climax. The Eastern rhythms were hypnotic and the contribution of the marimbas put me in mind of more organic electronica I've listened to before, like Four Tet.
The percussion duo were really rather special, and were excellent performers as well as wonderfully intense musicians. They rightly received massive applause.

After an interval, the orchestra reformed for Rite of Spring, a composition considered so shocking on its debut in 1913 that concert-goers walked out in fear and disgust. Telling the story of a pagan sacrifice, a young girl forced to dance herself to death for the gods, it still retains some of its ability to shock now. From innocent, pastoral beginnings, it soon becomes one of the most brutal classical works I have heard, all stabbing violins, lamenting woodwind and thunderous percussion. The RNCM Symphony Orchestra more than did it justice.

After another interval, during which the Bits&Pieces Big Band played some more loose-limbed free-jazz Radiohead covers, Olafur Arnalds took the stage. Looking somewhat nervous in jeans and a bow tie, he took his place at the piano and softly launched in to Thu ert solin. To begin with, it was hard to adjust to Olafur's spare, delicate piano playing after such dramatic precursors, but the ear sooned re-tuned. The first song combined wistful piano with melancholy strings, underpinned by subtle electronic pulses. The second song, Thu ert jordin, continued in the same vein, with rain effects washing over the end giving a pastoral feel. By the third song, Tunglith, the rest of the orchestra joined in, filling out the spaces in the original with warm brass and dabs of percussion.
As befitting an album tracing a journey from the sadness of Olafur's debut to a more uplifting place, the pace and volume, although never more than gentle, increased as the set went on. Towards the middle, the orchestra was joined by synthesized beats and more atmospheric weather effects, which made it impossible not to think of Olafur's homeland with its elemental climate. The stand-out song for me was Gleypa okkur, which begins as melancholy and brightens towards the end, playing piano off subtle strings and the mellow sound of a bass clarinet.
The final song, whose title I will not even try to type using this non-Nordic interface, ended in a beautiful, warm crescendo of percussion and brass, a truly uplifting place to end the journey. Both Olafur and the conductor, as well as the orchestra, received multiple rounds of applause.

This was the only date in the UK on this tour, and the only one with this combination of people and music, and I feel privileged to have been there.

A tiki shrine in central Manchester

New Music on Monday - 28 Degrees Taurus

It's a bit of a slow week for new releases so far, so I've decided to blog about a band who released their debut album last week. Here are five interesting things about 28 Degrees Taurus:

1. There are two permanent members, Karina (vocals and bass) and Jinsen (guitars and vocals), plus an ever-changing, Spinal Tap-esque turnover of drummers.

2. Their debut album, All The Stars In Your Eyes, is available to download from Bandcamp. The album took two years to produce, and the band raised the money for recording by auctioning off preorders, plus more expensive options such as a song written about you on the next album, or Jinsen coming round to cook dinner for you, in addition to your music.

3. Karina is from Brazil.

4. They describe their sound as "shoegaze/psychedelic/ambient" (not always in that order). They even dip their toes into more unfashionable proggy guitar effects and swirly riffs, but they do it with a great deal of charm and some spooky multi-tracked girl-boy vocals.

5. As well as the longer, more atmospheric songs, All The Stars In Your Eyes contains several sweet two-minute jangle-pop gems, with girly vocals by Karina.

Listen to an album track here:



Bandcamp
Myspace

Sounds of Summer

Yes, I know, the title of this post is a total cliche. However, fear not. There will be no Ibiza compilations or Festival Classics here. It's just a handy hook upon which to hang two lovely new bands I've found.

First up are Sun Airway, aka Jon and Patrick from Philadelphia, who I found on the Yvynyl blog, who described their song Waiting On You as "beachy delight and pop cotton candy". So far, so summery. This is a soundtrack to the summer of barbecue parties and drinking a nice glass of something in the evening, if such cool little tunes ever made it on to the stereo at barbecue parties, instead of the aforementioned Ibiza compilations and Festival Classics. The subtle laid-back hip-hop beat, the upbeat walking bassline, the hint of castanets, the laconic vocal - it all brings summer to mind. There's something quite lovely and poetic to the lyrics too, with the refrain about not going down gently making me think of Dylan Thomas and his good night.


The second summer band that have caught my eye lately is Tamaryn. At first, I wasn't sure whether Tamaryn was a she or a they, but it appears that Tamaryn is a they: singer Tamaryn and producer/instrumentalist Rex, who are from San Francisco. They have been catching coverage from pretty much everyone, but I'm giving the credit to Salad Fork, as I think I heard their song Sandstone there first.
Sandstone is a summer song of a completely different variety, a hazy, dreamy opus that brings to mind the fierce heat of a desert midday. Tamaryn's hushed, atmospheric vocals have been compared to Hope Sandoval's, which I feel is fair, although she is lower down in the mix than Hope was in Mazzy Star. The looped, treated guitars and insistent drums are as hypnotic as a desert mirage, to continue the analogy.

Listen to Sandstone on any number of MP3 blogs, or on Tamaryn's Myspace.

Sun Airway's Myspace is here.