REVIEWS

Wire: Live in London, CBGBs


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Die Liveaufnahmen der englischen Postpunk-Band Wire waren und sind eine exquisite Affäre: Nach Document & Eyewitness, Turns & Strokes, Behind The Curtain folgen nun Aufnahmen vom Roxy im April 77 bzw. CBGB vom July 78. Wire waren einzigartig. Jedes ihrer drei Original-Alben aus den späten Siebzigern beinhaltete eine enorme Weiterentwicklung. Die Trennung 1980 war schmerzhaft, aber auch durch den Umstand bestimmt, dass ihre damalige Plattenfirma nicht zufrieden war mit den Umsatzzahlen. Wie langweilig und kurzsichtig, nicht? Postpunk ohne Wire? Undenkbar. Die Live-Doppel-CD hier dokumentiert den frühen Verlauf ihrer Entwicklung. Vom absolut straight, vertrackt und cool gespielten Punk hin zu den experimentellen Nummern wie I Am The Fly auf Chairs Missing. There`s something strange going on tonight, there`s something I don´t understand quite right. :: Wire: Live in London, CBGBs - PinkFlag/Cargo


pe 23 Nov 06


Of Montreal: Hissing Fauna, Are You the Destroyer?

of montrealof montrealOf Montreal: Hissing Fauna, Are You the Destroyer? - Polyvinyl/Cargo :: After hearing a pop song 2-3 times, I almost always find myself singing along, whether I liked it or not. Catchy choruses and hooks are the hallmarks of first-rate pop, but while I spent a couple of hours with their newest release, Hissing Fauna, of Montreal’s brand of so deemed electro-pop failed to leave me humming. Previous albums, while heavily synthesized, featured a gentle awareness of 60s rock with Beach Boysian vocals and occasional appearances of psychedelic guitar and organ sounds. The press release for Hissing Fauna, however, promised a tumult-induced change in of Montreal’s Kevin Barnes’ writing style. Supposedly more sensitive and autobiographical, the result is songs that are less than compelling, lyrics that are emotionlessly matter of fact (often sung in a Freddie Mercury style falsetto) and his seemingly complex synth compositions meander self-indulgently, ultimately failing to provide significant climaxes and strolling their way into pop-pedestrianism. Gone are the 60s references in favor an almost complete transition to “indie disco.” With the rise of “New Rave,” and the evident buoyancy of the ironic-indie-dance-crooner genre, Barnes just may be on to something. Oh and be warned, funky bass lines strut all over these tracks.


pkj 20 Nov 06


Of Montreal: The Sunlandic Twins
Of MontrealOf MontrealOf Montreal: The Sunlandic Twins - The Track & Field Organization /Cargo :: This is less annoying than I remember of Montreal seeming other times I've listened to them. At times it sounds like an excellent 1950s garage rock band until the synthesizers kick in... Others it sounds like a disco-era B-side, and still others it sounds like the backgroung music for a McDonalds commercial. The lyrics seem fairly interesting and original, from what I can discern and the production is an original and excellent fit. Most people who like indie-pop already know that of Montreal are a hallmark of the genre, so if you're into ambitious, catchy and creative song structure and a guy singing in a nasal voice over upbeat synthesizer parts, this is probably a good bet. This is by far their best material that I've heard, but I feel like it's too late for me to really get into something like this.

ck 04 Nov 06


Alexkid: Caracol

alexkidalexkidThis is reminescent of music played in quasi-futuristic restaurants and elevators around the world. And that island paradise where college kids go on spring break to party. The vibe can change from frail to fresh, from song to atmosphere. And (en)during the dance anthems... breakdowns kick hard to get the dance floor pumped, and when it snaps back, a slight variation occurs giving the track new life. Perfect soundtrack to the background of life. The tracks with vocals sound like Outhud imitating Bjork wearing a Catpower t-shirt. Or just straight Outhud. :: Alexkid: Caracol - F Communications/Pias/RoughTrade


ds 03 Nov 06