Jim O'Rourke - 'All Kinds of People ~Love Burt Bacharach' (2010)

1. Close To You
2. Always Something There To Remind Me
3. Anonymous Phone Call
4. After The Fox
5. You’ll Never Get To Heaven
6. Do You Know The Way To San Jose
7. Don’t Make Me Over
8. Raindrops Keep Fallin’ On My Head
9. I Say A Little Prayer
10. Trains And Boats And Planes
11. Walk On By

Jim O’Rourke is an extremely underrated talent; a diverse and inventive musician that it is quite difficult to pin down. His work veers from quaint folk, to beautiful instrumental – then off in the direction of laptop beats and albums containing only one song (2009’s “The Visitor” consisting of only one 38 minute track that had to be listened to in full). His works usually require a certain degree of patience, but the rewards are usually more than worth it. “All Kinds of People ~Love Burt Bacharach~” then is one of O’Rourke’s more accessible listens, mainly because you’ll have heard many of these songs before. A tribute album to the songwriting legend, “All Kinds of People...” sees O’Rourke cover 11 pieces of Bacharach’s more famous numbers with guests including Sonic Youth’s Thurston Moore and former Bacharach collaborator, Donna Taylor.

“All Kinds of People...” generally goes down smooth. The original source material has been handled here with due respect, there are no 10 minute instrumental wig outs, and “Raindrops Keep Fallin’ On My Head” has not been transformed into an obscure acoustic folk number. Opening track “Close To You” gives the album a good opening; It’s a number you’re likely to be familiar with and it’s also one of the better covers on here. “All Kinds of People....” was recorded in Japan, and as such, many of the guest vocalists on here are of Eastern origin. I don’t know much of Haruomi Hosono’s background, but for a 67 year old he has an impressively smooth voice on “Close To You”; perfect for upping the croon factor.

There isn’t much wrong with the instrumentation here, the aforementioned opening track is a brilliantly upbeat piano ballad, “Raindrops Keep Fallin’ On My Head” manages to sound something more than just a romcom soundtrack courtesy of steel drums, “Walk On By” maintains the soulfulness of the original number without becoming bogged down in itself. Where “All Kinds of People ~Love Burt Bacharach~” fails down is on its’ questionable vocal performances, and a few numbers that are unfortunately, quite forgettable. I don’t care that “After the Fox” was written as a soundtrack to a children’s film, it’s still completely daft. The old guy singing in it just sounds like he’s coughing up over himself for most of the song. It’s quite funny, but for all the wrong reasons. “You’ll Never Get To Heaven” and “Don’t Make Me Over” are guilty of the former forgettable-ness charges, whilst “Say A Little Prayer For Me” is frustrating; gentle lounge piano and acoustic guitar are ruined when it gets to that chorus, which was just not meant to be sang in a Japanese accent. I also don’t care if you’re namechecked in one of The Flaming Lips' more famous songs, (The vocalist here is that Yoshimi) quit ruining perfectly lovely songs. It’s especially annoying being one of the catchier moments on the album, but it really is ruined somewhat.

It’s ok though. Just listen to “Do You Know the Way to San Jose”, and tell me that’s not beautiful. It’s definitely the strongest moment on here, getting the mix of instrumentation and vocals just right, Kahimi Karie’s (?) vocals lending this quieter number an air of fragility. By the time the cascading pianos and wistful trumpets come in, you’ll be sold.


“All Kinds of People ~Love Burt Bacharach~” is far from an essential listen, then, but it’s one of those ones that you can get behind, despite its flaws. The songs remain brilliant, and O’Rourke’s touches in playing all the instruments (save for the drums- left to Wilco’s Glen Kotche) are subtle and thankfully not overpowering of the original material. So give “All Kinds of People...” a listen. You’ll be surprised how many Burt Bacharach songs you’ve heard of.

Scuba - 'Triangulation' (2010)

1. Descent

2. Latch

3. Three Sided Shape

4. Minerals

5. On Deck

6. Before

7. Tracers

8. You Got Me

9. So You Think You're Special

10. Heavy Machinery

11. Glance

12. Lights Out

Paul Rose has been steadily moving to the forefront of dubstep over the course of the past decade. Since founding Hotflush recordings in 2003, Rose’s label has seen the rise of several electronic stars such as Untold, Vex’d, and local underground hero Boxcutter. The killer trio of Hotflush however has got to be Scuba, (Rose) Mount Kimbie and crossover dubstep poster boy, Joy Orbison. If you are ever in the unsettling position of being stuck in a conversation with a dubstep fanatic, they’ll probably be quick to point out that the M.O. of Hotflush artists is usually to lean towards the ambient, atmospheric end of dubstep. It makes Triangulation a relaxing listen; If the term dubstep sends you running for the door, think Burial, not some wobbly crap that the chavs are listening to (I can almost feel the red dot of a purist’s sniper rifle on my head). The reason I reference Burial (apart from the fact that he’s very, very good) is that there are a lot of people doing this sort of stuff badly. With dubstep a genre that only has about 50 albums but literally thousands of single releases, it takes a while to sift through for quality. Paul Rose’s second full length release as Scuba however, is more than up to scratch.

If you’re jumping into Triangulation without any previous experience of the genre, Burial is your best reference point. On the other hand, dubstep aficionados will already know that Scuba is like a more dancefloor friendly 2562 or Shackleton, albeit an extremely wapped out dancefloor. Stark, atmospheric electronics are the order of the day, opening track 'Descent' lures the listener in before the bleak two-step of 'Latch' takes over, and as with the entire album you better hope your speakers are up to the job of this bass. 'Three Sided Shape' is the Hotflush sound encapsulated into one song, merging slow burning synths and garage drums to create that late night, 3am sound that Mr. Will Bevan does so well.

Rose can go heavy as well. 'On Deck' is almost a house number, a steady menacing synth and wicked drums coming together with great effect, whilst 'Tracers' is a brilliantly realised dubby/techno piece.

Special mention has to go to, 'So You Think You’re Special'. A great tune in earnest, it’s like club music for the walk home afterwards; not quite a comedown, not quite a tune to get you up to the dancefloor in the first place. Its heartfelt loop will echo in your ears for days to follow, 'Here you’ll find the one/ Here in the sun'.

If you take the time to listen to Triangulation, I recommend you listen to it as a whole. Another word of advice is this: This is sparse, electronic music. If your everyday listening is Bloc Party, Foals, The National, etc...then Triangulation might not immediately be your new favourite album. Take it for what it is; a subtly complex electronic album that is best enjoyed late at night. When the speech is starting to slur and it’s time to think about going home- that’s when to stick on Triangulation.

LCD Soundsystem - 'This is Happening' (2010)

1. Dance Yrself Clean
2. Drunk Girls
3. One Touch
4. All I Want
5. I Can Change
6. You Wanted a Hit
7. Pow Pow
8. Somebody's Calling Me
9. Home

The king of cowbell is back with his third, and supposedly final, studio LP 'This is Happening'. LCD Soundsystem, one man music producer slash performer James Murphy, burst onto the alternative dance scene back in 2005 with his self-titled LP, released on Murphy's own co-owned DFA Records label. Since then Murphy has been involved with many other artists, in various capacities, such as Hot Chip, !!! (chk chk chk) and early stars of the DFA Label, The Juan Maclean.

So, 'This is Happening'. Only 9 songs to carry the weight for 65 final LCD minutes. This is quite the task, but anyone who is a fan of the previous self-titled and 'Sound of Silver' albums knows exactly what they are going to be in store for.

The album opens with 'Dance Yrself Clean' (yes, that is how it is spelt). Just like 'Get Innocuous' starts on the previous LP, we are treated to a long drawn out introduction mixing some simple beats, synth and of course cowbell! When the song kicks in we get the sound we have been waiting for, and are most familiar with. Big electro beat, lots of synth and Murphy singing up his lungs. Single 'Drunk Girls' is up next, and like previous opening singles from the other LP's tends to be one of the weaker tunes from the album. A nice dancey tune very reminiscent of 'Daft Punk Is Playing At My House' but definitely, to this reviewer, the poorer side of the LCD sound. 'One Touch' brings back the feel of the first album, helped with the contributions on the track from The Juan Maclean members. Samples are a rife on this one providing a space age penetrating beat throughout. 'All I Want' is one of the best tracks from the album and seems to bring out the more indie side to LCD. Long strung out guitar, and less hasty vocals, along with some excellent keyboard/synth solos (which you don't ever expect) make this a hit just like 'All My Friends' did before. We are transported back to the late 80's with the sound we hear on 'I Can Change'. A slow electro tune with deep drawn out vocals throughout. A nice beat keeps it going but without the big beat heard earlier on. 'You Wanted A Hit' seems to be a mix of everything LCD are about. Keys, big beat, guitar, bass and progressing towards moments of sheer mental noise throughout the track, where keys and samples go crazy for periods. The song incorporates all the sounds we are used to hearing throughout the album. 'Pow Pow' feels like 'Losing My Edge' has been taken off the first LP, shaken about and put onto this one. It's a decent tune but nothing of great impact on the album. The penultimate song on the album is 'Somebody's Calling Me'. For me the weakest song on the album and of little significance I feel apart from effectively being the opener for the best track on the album, 'Home'. For me the best has been left to the very end, if this is indeed the end, of all the LCD Soundsystem works. A fast keyboard intro, lots of cowbell and beats build this one up and up until the wonderful bass line comes in. Carried throughout with samples and Murphy's vocals at his best make this the perfect send off and probably my track of 2010 so far. Basically this song needs to be heard so I shall say no more. I still feel there is a touch of Talking Heads 'Naive Melody' in it, but not sure if anyone else believes me.

'This is Happening', for me, is a great great album. It feels like a compilation of what the group have done over the years and tidied it all up for one last listening pleasure. I don't think there are as many live 'anthems' as such like 'All My Friends' and 'Get Innocuous' but with songs like 'Home', 'One Touch' and 'All I Want' on this one I know I am happy enough. I think we will continue to hear lots of Murphy's work over the upcoming years as the man has made quite an impact on the scene and will continue to do so whilst steering his DFA records. For now it's good day, and a big thank you, to LCD for the great tunes they have provided our ears with!

J Dilla - ‘Donuts’ (2006)

If you like swing, funk, soul and a bit of hip hop then look no further than Donuts by J Dilla. Mixed in the same ilk as Girltalk, 31 tracks all seamlessly blended into one lovely head bopping moment you’ll appreciate it all the way. Unfortunately Dilla died in 2006 at the age of 32 and so this is his last work but by gee he has done an excellent job by bringing old skool beats up to date with samples from James Brown, Kool and the Gang and the Jackson 5. Ill not do an in-depth review as each song only lasts about a minute or so, my recommendation is that you hire an open top Cadillac drive through New York in the summer with one of the fire hydrants going off in the background and you’ll know what I mean.

Holy Fuck - 'Latin' (2010)

1. One
2. Red Lights

3. Latin America
4. Stay Lit
5. Silva & Grimes
6. SHT MTN
7. Stilletos
8. Lucky
9. Pigs


Toronto’s Holy Fuck have quite a status among music nerds, in part down to their tunes and partly because of their mesmerising live performances. Having personally seen them perform live I can say that it is not an experience you’re likely to forget.

But another reason that people seem to like them is due to their status, where they fall on the music snobs’ radar. It starts with that band you saw supporting your mate’s side project in the pub last week at the bottom, and ends with Radiohead/Animal Collective/Your personal great of choice at the top. Holy Fuck have always seemed to float around the small-medium band mark, always gaining appreciation and adulation from anyone that listens to them or sees them live. They’re a likeable band because of this, but it’s also frustrating that with Latin, their third full length release, they show no signs of declaring themselves electronic heavyweights.

Confusingly, Latin gets off to a strong start. The looming, epic opener of “1MD” genuinely does make you sit back and take stock; it’s certainly not what I thought the first track on the new Holy Fuck album would be like. Instrumental save for a few sinister voices the track builds and builds to an unsettling climax, and just when the noise seems overwhelming, it slides seamlessly into album highlight “Red Lights”, surely the funkiest thing to be released so far this year. Sporting a fiendishly addictive bassline and the kind of off kilter electronics you would associate with the band, it’s the closest Holy Fuck will ever come to writing a song to party to. It’s surprising then that the next track, “Latin America”, was picked to be the first single. It’s not a bad song, but it is quintessentially Holy Fuck. It’s hardly the track you would pick to get your fans psyched up about your return from a three year absence, nor is it the track you’d release as a single to make any new ones. Piano and synth combine to produce the kind of “Experimental” track that your parents could probably get behind.

Throughout the album the bass is the star of the show, skilfully played by...the guy with the beard. Is it? I’m not even sure. I know one of them has a beard. I’m just about sure that there are four of them. One of the big barriers keeping these guys back from the big leagues is a serious lack of personality. I’m not suggesting for a second that we should be advocating style over substance, but come on, there has to be some style, or else it’s boring as holy fuck (pun intended). Granted communicating some sort of personality is going to be harder with largely instrumental music, but their image of faceless wannabe Ocean’s 11 soundtrackers isn’t helped by the likes of “Silvia & Grimes”, offering some instruments, played quite well. “SHT MTN” offers contrast at least, electronics crunching and grinding alongside a robotic vocal to haunting effect. The only other song worth mentioning is the grand “Lucky”, somehow managing to sound inoffensive yet epic at the same time.

Latin is an ok album. There are a few tracks that deserve your attention and without trying to sound condescending, it does make great background music. It’s not going to change the world, but there’s not necessarily anything wrong with that and another spin of “Red Lights” is always good to brighten up your day, it’s just a tad frustrating that after a six year career Holy Fuck show no reason why they should be considered as anything other than a great live band.