Portfolio of published work from Middle Boop Mag Catherine Elliott – contributor
2012
Lana Del Rey – 'Born to Die' (Interscope) Words: Catherine Elliott
The hype, the hate, those lips, the self titled “Gangster Nancy Sinatra” had a lot live up with this debut album. After ‘Video Games’ became an unlikely viral success many greatly anticipated what this interesting character would do next. She’s the daughter of a millionaire oil merchant from Lake Placid New York. The album (in its good parts) gives an insight into this world; its orchestral, atmospheric elements twinned with her descriptive lyrics conjure up stories in your mind’s eye. It’s like a soundtrack to a lavish but ever tragic 60’s gangster movie, starring Lana Del Rey as the ultimate Femme Fatale. ‘Born to Die’ is a grandeur track about her childhood realisation of mortality. When she initially approached record labels she was turned away and told that her music was creepy and weird. That’s what sets Del Rey apart, she is freakishly beautiful, but tells dark stories of sadness and insecurity; you wonder how someone this beautiful and privileged could be so desperately unhappy. Hold that thought. ‘Off to the Races’ tells the tale of a sugar daddy and their dysfunctional and toxic relationship, “He loves me with every beat of his cocaine heart.” It’s addictive. There are tinges of madness in each line, a clear highlight of the album. ‘Blue Jeans’ isn’t a favourite; the chorus bares strong resemblance to Kate Bush’s vocal style but overall it’s a little dull. The stunning ‘Video Games’ has twinkling harps and piano keys with heartbreaking lyrics, one of the best singles to come out of last year. ‘Diet Mountain Dew’ takes us into a more poppy domain, but its upper class pop music, it’s trashy and classy all at once. “Let’s take Jesus of the dashboard; he’s got too much on his mind.” The chorus is infectious. ‘National Anthem’ is an obvious ploy at a political statement; it teases us with the idea of the American dream, and then rips it up in a sugar coated kind of way. “Money is the reason we exist, everybody knows it it’s a fact, kiss kiss.” It’s floaty and summery but is narrated with chilling lyrics. ‘Radio’ is nice, but is just more of the same formula. The album peaks and troughs throughout, but crashes spectacularly at ‘Carmen’ and sadly doesn’t recover. I thought to myself, enough is enough now. This reverts back to my previous point, in reality could Del Rey really be this troubled, or is it all just manufactured? It becomes rather self indulgent and unbelievable. This is only her first album and do you know what, I don’t think it pretends to be anything other than a new take on pop music, it’s fresh and enthralling. Her authenticity is what has caused much the backlash but you wouldn’t see for instance, Flo Rida getting this much stick for not really be from Florida? You get my point. Let’s just see what her second album has to offer, and then we can figure out if she is the ‘one trick pony’ her critics have labelled her. Five standout tracks and for many including myself, the perfect antidote to the soulless Katy Perry/ Rihanna- esque pop stars of our times is definitely something worth praising.
Bonobo - ‘Black Sands Remixed’ (Ninja Tune) Words: Catherine Elliott
Bonobo is one of Ninja Tune’s most flourishing artists, ‘Black Sands’ was released back in 2010, receiving worldwide acclaim and being named as the album of his career. The remix album welcomes a number of likeminded musicians and producers to rework this ambient masterpiece. Boasting appearances from Banks, Mark Pritchard and Machine Drum, some have spiced up the more chilled out, liquid tracks and transformed them into potential dance floor fillers; others have been stripped back and distorted to create a more experimental sound than the original. ‘Prelude’ (Lapulux Finger on the Tape remix) takes us to a more spacey, futuristic and strung out place, with hints of chill step. ‘The Keeper’, remixed by Banks, sounds darker with heavier percussion, it works. He’s utilised one of the best tracks from ‘Black Sands’ and given it an electro spin, arguably one of the best remixes on the album. ‘Kiara’ has been mixed by Cosmin TRG – I really like this rework, its imaginative with a dirty sounding bass line. This would sound amazing live; it’s expansive and chaotic in parts, with a host of different elements skilfully woven together. I really didn’t think the original could get much better. ‘Eyes down’, perhaps the best track from ‘Black Sands’ appears four times, which is rather a lot. The first remix by Floating Points stretches out the original and breaks the down the wispy voice of Andreya Triana, it’s a blessing to the ears. The ARP 101 remix gives us a drudgy baseline, sounding garage like in parts, there are also vague hints of trance. Now this is an interesting one, ‘Eyes down’ feat Dels is really quite something, reminiscent of Ghostpoet, he gives the track an urban edge, it does seem ill placed on the album, but is welcomed. ‘All In Forms’ appears twice, its first appearance is the Falty DL Remix. He’s taken one of the more up-tempo tracks and distorted the lyrics. It’s very experimental and dream like in parts with powerful synths. ‘Ghostship’ is a track that didn’t make it onto the original album, and what a gem, trip hop at its finest. ‘Stay The Same’ (Mark Pritchard Remix) is another highlight, it’s extremely emotive and atmospheric, he did add a weird riff which I’m not sure works, it feels as if it’s just been clumsily placed underneath the original track. ‘Eyesdown’ (Machine Drum Remix) is a complete overhaul of the original, he’s made it his own, its trippy, a bit too trippy for most I think. All In Forms (Mike Slott Remix) gives us a Brazilian sounding drumbeat, but not much else has changed. ‘Stay The Same’ (Blue Daisy 'Not Quite the Same' Remix) is broken and echoey with a thudding bass line. ‘Brace Brace’ is a bonus track from ‘Black Sands’, more of that classic ambient sound, it lacks lyrics but each note instantly resonates with your soul, a skill that Bonobo has down to a T. The last track, Black Sands (Duke Dumont's 'Grains of Sand' Reconstruction Edit) has been given an epic, almost finale sounding vibe, similar to some of the M83’s recent work. This album is varied, and interesting, a real treat for Bonobo fans. It has been produced exceptionally well. There are moments of intricate delicacy and moments of complete chaos, it is a real grower, so give it a few listens, you will love it by the end.
Gotye - 'Making Mirrors' (Eleven Records) Words: Catherine Elliott
Gotye – pronounced Go-ti-ay is a Belgian born, Melbourne dwelling, one man band who’s already made a couple of albums. He has finally grabbed the world’s attention with his single ‘Somebody That I Used to Know’ which peaked in the U.K charts at number one. There is something magical about his voice and his musical arrangements which he creates with vintage instruments. He sounds like Sting mixed with Peter Gabriel. His cut and paste electronica is minimalistic and experimental but less “out there” than his previous work, which has subsequently broadened his appeal. Gotye has really honed in on his sound and filled a void within the music industry; there are no current male soloists to speak of at the moment, none of this calibre anyway. The title track ‘Making Mirrors’ is a beautiful intro which left me excited for the rest of the album. ‘Easy Way Out’ is feel- good poppy/electro track. ‘Somebody I Used to Know’ is beautiful in its simplicity, with vocals from Kimbra. ‘Eyes wide open’ is my favourite track, with its 80’s sounding, galloping drum beat and commanding chorus. Each track sounds different from the last, and so the album never gets boring. ‘Smoke and Mirrors’ is moody and atmospheric. ‘State Of the Art’ is a weird one but I admire his versatility. ‘I Feel Better’ is a blast of motown. Gotye offers up a smorgasbord of sounds and genres and is what I would call a musical maverick, his love for music translates beautifully on this record and I believe there’s a track for everyone’s taste. What will yours be?
The Futureheads – ‘Rant’ (Nul Records) Words: Catherine Elliott
On the realisation that Rant, The Futureheads fifth album is a cappela - just four burley northern ‘blokes’ singing Barbershop style to The Black Eyed Pea’s ‘Meet Me Halfway’ amongst other covers, I was perplexed...but intrigued nonetheless. According to a recent press statement from the band, “A Futureheads fan who doesn’t get Rant, is not a Futureheads fan.” We all know to take comments like that with a generous pinch of salt, Oh yes of course the fault must lie with me, because I’m obviously not a real fan. Snore. Nevertheless,... (long pause), why not? How inventive, having always been noted as forward thinkers as a band per se, what better way to shock and create hype than to deliver something completely unexpected, a concept that leads to curiosity- a stunt album. What they have created is irritating in parts (Meet Me Halfway) and glorious in others (The No.1 Song In Heaven, cover of Sparks). The idea for a Barbershop style album came after they covered Kelis’s ‘Acappella’, for Radio Ones’ Live Lounge Sessions. This appears on the album. ‘Meantime’ is another highlight. ‘Rant’ is not going to go down as a stone wall classic by any stretch, but nonetheless it’s a record worth having in the collection. I don’t foresee it reining the album charts throughout the year, but it will serve as a reminder to those who have ever liked The Futureheads. I hope that their next album will be a little more refined. To me it just seems quite clumsy, and like a bit of a joke, which after the full 35 minutes, gets rather tiresome. However, what you do have is a pleasant album, and definitely worth a spin.
Evans The Death - 'Evans The Death' (Fortuna POP!) Words: Catherine Elliott
Evans The Death are a five-piece outfit from London have put together an impressive self-titled debut, here. Dan (guitar and vocals), “We're very proud of it and glad we paid little or no attention to what is currently fashionable in music," this rings true as the record unfolds. It’s not Avantgarde by any means, but they’ve created music that they enjoy to perform. This element makes the record sound authentic, as if it’s come from somewhere real. Opener ‘Bo Diddley’ shows off vocalist Katherine’s range beautifully; ‘Catch Your Cold’ opens with, “I’m afraid of getting a job, I’m afraid of next doors dog.” There are “twee” elements in her vocals, but in a nice way. There are similarities with Beth Constantino where her vocals compliment the angular guitars perfectly in a summery and warm way. Single, ‘Telling Lies’ has a remarkable guitar solo in the middle of the song. ‘Morning Voice’ is melancholy and then transcends into a rocky domain. The lyrics remain intelligent and easy to empathise. I find it irritating when I love a song, but can’t really sing along as it’s hard to distinguish the lyrics. ‘Threads’ implicates a juxtaposition of noise and teenage-angst; an instant standout track. ‘What’s in Your Pocket’ is another highlight. ‘Wet Blanket’, to me is reminiscent of The Stone Roses intro to ‘I Wanna Be Adored’ while ‘You’re joking’ has sixties sounding guitars, and is a mellow lid placed on an extraordinary debut. Evans The Death is both lyrically and musically strong and a brilliant post-punk effort. The kind of abstract but everyday vocals that are present in early Maccabees, appear throughout. It’s imaginative, but still easily relatable. It is a concise record; no track more than three minutes long. There are no faux pas or boring moments; It’s a very pleasant and catchy effort from a band that I’m excited to hear more from.
Oberhofer- ‘Time Capsules II ‘ (Glassnote) Words: Catherine Elliott
Oberhofer is a band made up of four musicians, three of which are fundamentally minions (meant in the politest sense) to Brad Oberhofer,sole lyricist and clear victim of a severe case of teenage heartbreak. After their EP – ‘oOOoOOo’ was released back in 2010, they became one of The Hype Machines most blogged about artists, but remained puzzlingly unsigned until they were picked up by independent record label Glassnote and this is their stunning debut. Brad is sickeningly only 19 and originally from Tacoma, but is currently residing in Washington DC studying, wait for it... music! ‘HEART’ is titled aptly, it opens with a nostalgic classical piano piece that sounds like an intro to your favourite childhood film –each key tugging at those heartstrings. This is emotionally charged music - and not for anyone without romantic persuasion. There are hints of Animal Collective/Local Natives, a very promising beginning to the record. ‘Landline’ is another standout moment. It sounds like what The Drums always tried so hard to achieve, but never quite mastered. ‘Away Frm U’ is rich in heart on sleeves lyrics, but then so is the entire album. You wallow with Brad in his heartbreak, but it remains light and soothing. ‘Yr Face’ embodies his childlike innocence and susceptibility to angst only a nineteen year old can feel, “When I saw your face, I knew I was in love right away.” ‘Gold’ conjures up the image of driving down the freeway (let’s pretend were in California, it makes for better imagery than say – Slough) with the wind in your hair in an open top car, summer funnelled into 4.21 minutes. Brad and his love for elongated O’s and his strong vocal style are nothing other than dazzling throughout the album. The other tracks do merge into each other, but this is not a criticism. It’s a hazy blur of sunny keys, riffs and tones, a melancholy but bright creation. This would make for the perfect ‘lie on your bed and listen to on a wet Sunday afternoon’ album. It’s an ode to a lost love and I hope it receives the kudos and recognition it so rightly deserves.
Hot Chip - 'In Our Heads' (Domino Records) Words: Catherine Elliott
Very obviously one of the most greatly anticipated albums of 2012, Hot Chipare back with their fifth studio album, 'In Our Heads'. After finishing off their three album deal with EMI, the band have swapped labels to Domino which is made up of friends and supporters. Those classic overtones of happiness that ring true in Hot Chips previous material are still apparent on their new album – but they have embodied a more expansive sound. Various members of Hot Chip have been involved in a range of side projects over the past few years with Two Bears and Joe Goddard coming into his own recently with his solo material, receiving the band further notoriety and recognition. Opener ‘Motion Sickness’ is happy and bouncy. Alexis Taylors illustrious vocal style provides that instantly recognisable Hot Chip sound, and the track sours into electro splendour with a simple four bar loop. According to Joe Goddard, “We’ve tried to make something joyful and alive.” They’ve cracked it. ‘How Do You Do’s’ layered vocals are uplifting and catchy and ‘Don’t Deny Your Heart’ highlights some wonderful falsetto vocals, continuing to keep the record on track for an enriching journey. Touches of RnB trickle through ‘Look at Where You Are’, there is a rather comical part of the song with a collection of O’ing but it is undoubtedly very catchy. ‘These Chains’ is an absolute highlight, and needs no more explanation than twinkling electronic brilliance. They have reached that comfortable stage in their careers where gimmicks and trends don’t even come into question; luckily what they create naturally is still incredibly relevant and sounds exceptionally good. The immense thing about Hot Chip is that they produce music that is emotive. So often dance as a genre takes us to a catchy domain – but it lacks meaning and sometimes emotion. Loop patterns and bass line hooks are albeit catchy, but Hot Chip manage to bring the whole shebang to everything they do - funk, emotion and bass. This for me, is enough to keep this album spinning on repeat for the foreseeable future.