Chimney sweeping wont even enter your mind when you think of California; the states sun baked roofs surely don’t need fires and if they do chimneys are near extinct. Still this is what you could find one of the states best up-and-coming bands doing, now is not the time to find them though as the much-hyped DIY act Crystal Antlers are kicking into their first European tour.
Excitement is high as for the majority of the band this is a first trip to Europe, Scotland seems to hold some significance as like so many American’s they believe they have a distant Scottish heritage. Evidence of this heritage is pretty well hidden, drummer Kevin Stuart’s shocked reaction to gulping from a can of Tennents provides evidence of this. The band arrived in Glasgow for the first time on the back of four nights in London where I am assured there was no Dick Van Dyke-esque rooftop dancing, but playing to near sold out shows every night.
The Long Beach act find tonight’s gig just as highly anticipated as the London shows with the venue having to stop selling tickets early in fear of an overflow. Appearing an unorthodox mix with appearances as varied as their part time job is rare but the band are linked together through their fussy, funk enthused punk sound. After the sound check I caught up with frontman Jonny Bell to chat about the new album, Bad Brains, Pitchfork, and ‘the dying trade’ of chimney sweeping.
This is your first European tour and for the majority of the band a first visit to Europe. Is there anywhere you are particularly excited about visiting or playing in while you’re here?
We were all really excited to come to Glasgow as some of us have Scottish heritage, at least we think. Kevin (Stuart, drummer) defiantly does. Our manager Phil and our friend Michael, who’s making a movie with us, have been to Europe hundreds of times but have never been to Glasgow.
Have you managed to see much of Glasgow?
We’ve only been here about four hours, (laughs) all we’ve really managed to see is the hotel and the rain. We went into a shopping centre; it wasn’t much different from ones in America. We generally don’t get to see much more than the venue when we are on tour; we’ll get the occasional night off but not tonight, hopefully we’ll get to see more when we come back after the album is released.
On the subject of the new album Tentacles is due out in shortly. It has been said to ‘detail the fragmentation of nature and its destruction from humankind’, is this a theme behind the record?
I think that was just something in a press release, I don’t really know where they got that from. The album has a lot of the same elements that were on our EP. It has a kind of loose feeling, but with a lot of parts that are more concise, and we have a lot of ‘noise’ sections that were worked out is specific ways to sound like noise, but they’re not. It’s a progression from the EP overall, there are more vocals and the writing process was a lot more collaborative.
Everyone seems to be struggling to nail down an accurate description of your sound. You’ve been described as various crossovers of styles, or random genres that seem to have been thrown together. How would you describe your sound and influence?
I try not to describe our sound; I’m not really going for something specific. As for our influences, all of us were in punk bands; we come from a real punk background. Damian (Edwards aka Sexual Chocolate, percussion) and Andrew (King, guitar) played with H.R. from Bad Brains so there is a lot of punk influence. We tried to expand on that. Myself, I was really into old soul music, Miami ‘60's type stuff.
I wanted to touch on the promotion the band has been receiving from Pitchfork. What is your perspective on the promotion they give to bands like yourselves, and what affect it has?
It’s pretty amazing how much affect and power they have over the music industry. It’s particularly interesting to us, as none of us had ever heard of Pitchfork when they reviewed the EP, it was up in their best new music section, we had no idea what that meant. At that point we didn’t have a label or distribution, it was all done through mail order with my house as the return mailing address, all the CDs were hand made. Then we were reviewed on Pitchfork and I had to spend pretty much the next week making CDs and shipping them out. So, yes it was good for us as it all expanded from there, but it does seem kind of unrealistic and unfair to a lot of bands. Also, a lot of the bands they champion I don’t necessarily agree with.
Finally just to clear something up, I read that three of you met while you were chimney sweeps, is this true or a complete myth?
Well, we didn’t meet as chimney sweeps but we did all work as chimney sweeps. I suppose it is a pretty rare thing to do, especially in California, it’s a dying trade in a way. I actually still work as a chimney sweep when I’m not touring.
You’ll have heard all the Mary Poppins jokes then?
(laughs) well the company we worked for was actually called Chim Chimney. So, (laughs) yes!
Saturday 31 January 2009
Thursday 1 January 2009
Best of 2008
10.
Lil Wayne
Tha Carter III
(Cash Money)
The biggest selling album of the year seldom means greatness but Lil Wayne’s latest offering is certainly deserving of all the units sold. The self-proclaimed ‘best rapper alive’ put the work in to get his name around, countless guest appearances, and an endless collection of mix-tapes helped keep bloggers pages filled. Yet the New Orleans born MC has topped it all, C3 is remarkable as the eccentric Wayne brings all his tricks to the table producing his best work so far. It seems Wayne is justifying the bold brags he spits in both his lyrics and personal life some nine years after his debut.
9.
Vampire Weekend
Vampire Weekend
(XL)
Tipped as one of the hottest prospects for 2008 Vampire Weekend set the bar high early on. In their self-titled debut the well-educated New York kids give nods to African pop, much like influence David Byrne had before them. But the band doesn’t outwardly wear their influences; they appear a preppy easily dismissible indie band. However, it is how these ideas and influences are used which makes VW shine. The album dazzles with pop sensibilities, a happy uncomplicated listen that will keep you coming back for more. VW’s bright sunny feel makes it the ideal summer record, leaving a feeling that it came a little too early.
8.
Portishead
Third
(Mercury)
Portishead’s return was almost as unexpected as it proved refreshing eleven years after their last release. Arguably the elite of trip-hop’s return comes long after the death of the scene they led. The Bristol trio have obviously seen this happen, and while Third holds slight similarities to past work the majority is left smartly back in 1997. Gone are the heavily moody trips instead a pacier almost psychedelic feel is left. The recognisable feature of Beth Gibbons’ inspired quiver is almost the only resemblance. Still the stunning weirdness Portishead always had remains but this time it comes in a somehow starker reality than a decade ago.
7.
Atlas Sound
Let The Blind Lead Those Who Can See But Cannot Feel
(Kranky)
It has been a packed year for Bradford Cox; his bands third LP, countless blogged demos, and his solo debut. Cox sees Let The Blind… as his psychedelic dream but it is easy to see Atlas Sound as a deeper impression of his personal self. Cox’s band Deerhunter carry a powerful impression, but there is something awkwardly personal about this record. Wondrous eerie stories told through disturbed isolated lyrics that could be easily linked to Cox’s illness ridden past. Still, as Atlas Sound, Cox has created a superbly distinctive minor pop record full of ambient instrumentals and cool haunting psychedelica that could complete some estranged dream.
6.
The Bug
London Zoo
(Ninja Tune)
Noise artisan Kevin Martin has been kicking about the UK dance underground for a good time; during this time he has varied his projects through many subgenres. Martin’s latest release under alias The Bug finds him drawing these subcultures together more than ever before. London Zoo, his second album as The Bug, finds Martin drawing plenty from current British dance movements, merging them in with his own dancehall mastery effectively drawing British dub directly into the 21st century. Yet Martin cannot take all the accolades as he called on a wealth of vocal talent for this record, however it was him who marshalled this to create possibly his most accessible work to date.
5.
TV On the Radio
Dear Science,
(4AD)
As one of the years most eagerly awaited albums Dear Science, does not let down, TV On the Radio have produced another outstanding effort in follow up to 2006’s Return to Cookie Mountain. In Dear Science, they have released as optimistic a record as will be heard this year, an album hugely varied in style and sound. TVOTR make their cautiousness about gaining huge popularity clear through dark stories and their never immediate catchiness. Despite this Dear Science, holds down musical and production excellence with notes of joy managing to break through, adding to the appeal of one of the most exciting indie rock bands of recent times.
4.
No Age
Nouns
(Sub Pop)
The L.A. duo took a more ambitious route to follow up last years Weirdo Rippers, and it has paid off emphatically, as Nouns sees No Age break more accessible ground than ever before. Lead single ‘Eraser’ being the biggest example of this complete with its frenzied chirping guitar introduction. The tracks have changed from the riff driven debut in favour of a more coherent thoughtful sound, with the band still managing to keep the droney appeal that won over their initial audience. Simultaneously they are crafting minor vocal hooks behind the constant sound barrage that will keep their audience interested and continue to attract new fans.
3.
Hercules and Love Affair
Hercules and Love Affair
(DFA)
New York’s Hercules and Love Affair have not only produced one of best DFA LPs to date but have also paved a possible mainstream disco revival. Andrew Butler and Antony (and the Johnsons) Hegarty have shaped a lush, camp masterpiece in which a mixture of vintage styles, strong lyrics and plenty of imagination have been used to create as unique a dance album as you will hear this year. Yes, H&LA owe a debt to the ‘70’s/’80’s disco scene but this release should not leave them pigeon holed by their references. Slight pacing issues are instantly forgiven, as there are more than enough tracks to fill any forward thinking dance floor within this gem of a record.
2.
Fleet Foxes
Fleet Foxes/Sun Giant EP
(Sub Pop)
Somewhat of a buzz was surrounding Fleet Foxes even before their debut EP hit iTunes libraries. The excitement surrounding the band became justified as soon as you put these records on and enter into the wondrous world of Fleet Foxes. The Seattle five-piece has crafted a beautiful pop record with a strong folk feel combined with near perfect harmonies, which could appeal to almost any age group. The harmonies are possibly the main focal point as the record acts as a vehicle for the bands vocal talents, especially those of Robin Pecknold, who gloriously leads the Foxes. Collectively Fleet Foxes have created something original and timeless that could have easily come from west coast America in the ‘60’s, rather than from a bunch of 20-somethings in 2008.
1.
Deerhunter
Microcastle/Weird Era Cont.
(Kranky)
While Bradford Cox takes almost full credit for earlier mentioned Atlas Sound, on this his full bands third LP the band are as much accountable as himself. Undoubtedly he will carry the most of the credit, he stands out as the leader of Deerhunter and his seemingly constant stream of quality new material justify every plaudit he receives.
The Atlas Sound debut carried an almost personal feel; Microcastle however is more a retreat from the frustrations of personal life. The album feels more like it belongs to the listener than Cox’s own Atlas Sound. It takes the listener on a dreamy, emotional journey kicking off on a high and ending with crashing feeling of anger.
The second disk, Weird Era Cont. supposedly a set of b-sides, is almost as emphatic as the album itself. It does not fit together quite as well but is fierce and focused, containing tracks that could easily be considered some of the bands best. Weird Era Cont. adds to this set and the superb catalogue Deerhunter have created, leaving them credited with two superb albums within the year, and three for Cox himself.
In this 2xCD set Deerhunter do hold debts to the occasional influence, Cox’s ‘50’s/’60’s pop leaning are often sited but they are less obvious here than on earlier releases. Nonetheless, for every piece of nostalgia there is equal originality moulding together to create one of the most stunning albums of 2008.
Lil Wayne
Tha Carter III
(Cash Money)
The biggest selling album of the year seldom means greatness but Lil Wayne’s latest offering is certainly deserving of all the units sold. The self-proclaimed ‘best rapper alive’ put the work in to get his name around, countless guest appearances, and an endless collection of mix-tapes helped keep bloggers pages filled. Yet the New Orleans born MC has topped it all, C3 is remarkable as the eccentric Wayne brings all his tricks to the table producing his best work so far. It seems Wayne is justifying the bold brags he spits in both his lyrics and personal life some nine years after his debut.
9.
Vampire Weekend
Vampire Weekend
(XL)
Tipped as one of the hottest prospects for 2008 Vampire Weekend set the bar high early on. In their self-titled debut the well-educated New York kids give nods to African pop, much like influence David Byrne had before them. But the band doesn’t outwardly wear their influences; they appear a preppy easily dismissible indie band. However, it is how these ideas and influences are used which makes VW shine. The album dazzles with pop sensibilities, a happy uncomplicated listen that will keep you coming back for more. VW’s bright sunny feel makes it the ideal summer record, leaving a feeling that it came a little too early.
8.
Portishead
Third
(Mercury)
Portishead’s return was almost as unexpected as it proved refreshing eleven years after their last release. Arguably the elite of trip-hop’s return comes long after the death of the scene they led. The Bristol trio have obviously seen this happen, and while Third holds slight similarities to past work the majority is left smartly back in 1997. Gone are the heavily moody trips instead a pacier almost psychedelic feel is left. The recognisable feature of Beth Gibbons’ inspired quiver is almost the only resemblance. Still the stunning weirdness Portishead always had remains but this time it comes in a somehow starker reality than a decade ago.
7.
Atlas Sound
Let The Blind Lead Those Who Can See But Cannot Feel
(Kranky)
It has been a packed year for Bradford Cox; his bands third LP, countless blogged demos, and his solo debut. Cox sees Let The Blind… as his psychedelic dream but it is easy to see Atlas Sound as a deeper impression of his personal self. Cox’s band Deerhunter carry a powerful impression, but there is something awkwardly personal about this record. Wondrous eerie stories told through disturbed isolated lyrics that could be easily linked to Cox’s illness ridden past. Still, as Atlas Sound, Cox has created a superbly distinctive minor pop record full of ambient instrumentals and cool haunting psychedelica that could complete some estranged dream.
6.
The Bug
London Zoo
(Ninja Tune)
Noise artisan Kevin Martin has been kicking about the UK dance underground for a good time; during this time he has varied his projects through many subgenres. Martin’s latest release under alias The Bug finds him drawing these subcultures together more than ever before. London Zoo, his second album as The Bug, finds Martin drawing plenty from current British dance movements, merging them in with his own dancehall mastery effectively drawing British dub directly into the 21st century. Yet Martin cannot take all the accolades as he called on a wealth of vocal talent for this record, however it was him who marshalled this to create possibly his most accessible work to date.
5.
TV On the Radio
Dear Science,
(4AD)
As one of the years most eagerly awaited albums Dear Science, does not let down, TV On the Radio have produced another outstanding effort in follow up to 2006’s Return to Cookie Mountain. In Dear Science, they have released as optimistic a record as will be heard this year, an album hugely varied in style and sound. TVOTR make their cautiousness about gaining huge popularity clear through dark stories and their never immediate catchiness. Despite this Dear Science, holds down musical and production excellence with notes of joy managing to break through, adding to the appeal of one of the most exciting indie rock bands of recent times.
4.
No Age
Nouns
(Sub Pop)
The L.A. duo took a more ambitious route to follow up last years Weirdo Rippers, and it has paid off emphatically, as Nouns sees No Age break more accessible ground than ever before. Lead single ‘Eraser’ being the biggest example of this complete with its frenzied chirping guitar introduction. The tracks have changed from the riff driven debut in favour of a more coherent thoughtful sound, with the band still managing to keep the droney appeal that won over their initial audience. Simultaneously they are crafting minor vocal hooks behind the constant sound barrage that will keep their audience interested and continue to attract new fans.
3.
Hercules and Love Affair
Hercules and Love Affair
(DFA)
New York’s Hercules and Love Affair have not only produced one of best DFA LPs to date but have also paved a possible mainstream disco revival. Andrew Butler and Antony (and the Johnsons) Hegarty have shaped a lush, camp masterpiece in which a mixture of vintage styles, strong lyrics and plenty of imagination have been used to create as unique a dance album as you will hear this year. Yes, H&LA owe a debt to the ‘70’s/’80’s disco scene but this release should not leave them pigeon holed by their references. Slight pacing issues are instantly forgiven, as there are more than enough tracks to fill any forward thinking dance floor within this gem of a record.
2.
Fleet Foxes
Fleet Foxes/Sun Giant EP
(Sub Pop)
Somewhat of a buzz was surrounding Fleet Foxes even before their debut EP hit iTunes libraries. The excitement surrounding the band became justified as soon as you put these records on and enter into the wondrous world of Fleet Foxes. The Seattle five-piece has crafted a beautiful pop record with a strong folk feel combined with near perfect harmonies, which could appeal to almost any age group. The harmonies are possibly the main focal point as the record acts as a vehicle for the bands vocal talents, especially those of Robin Pecknold, who gloriously leads the Foxes. Collectively Fleet Foxes have created something original and timeless that could have easily come from west coast America in the ‘60’s, rather than from a bunch of 20-somethings in 2008.
1.
Deerhunter
Microcastle/Weird Era Cont.
(Kranky)
While Bradford Cox takes almost full credit for earlier mentioned Atlas Sound, on this his full bands third LP the band are as much accountable as himself. Undoubtedly he will carry the most of the credit, he stands out as the leader of Deerhunter and his seemingly constant stream of quality new material justify every plaudit he receives.
The Atlas Sound debut carried an almost personal feel; Microcastle however is more a retreat from the frustrations of personal life. The album feels more like it belongs to the listener than Cox’s own Atlas Sound. It takes the listener on a dreamy, emotional journey kicking off on a high and ending with crashing feeling of anger.
The second disk, Weird Era Cont. supposedly a set of b-sides, is almost as emphatic as the album itself. It does not fit together quite as well but is fierce and focused, containing tracks that could easily be considered some of the bands best. Weird Era Cont. adds to this set and the superb catalogue Deerhunter have created, leaving them credited with two superb albums within the year, and three for Cox himself.
In this 2xCD set Deerhunter do hold debts to the occasional influence, Cox’s ‘50’s/’60’s pop leaning are often sited but they are less obvious here than on earlier releases. Nonetheless, for every piece of nostalgia there is equal originality moulding together to create one of the most stunning albums of 2008.
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