Broadcast: Canal Plus, DVBS. Tracklist:

No tracklist.

Download via

http://www.newmixes.com

Tricky nos muestra que los años no pasan en valde, ni para el triphop ni para el, Seguro "knowle west boy" ya no es un "vulnerable" y mucho menos sera el mejor trabajo de su carrera, pero vale escucharlo. El disco podria dividirse a la mitad, la primera mucho mas rockera y la segunda mas apegada al tricky que todos conocemos o que creemos conocer, por que a este tipo de musicos nadie los conoce.

Pareciera que se esta poniendo de moda que los musicos de triphop quieran dejar de hacer triphop y sin embargo nos estan entregando el mejor triphop que podemos escuchar, el triphop que llega al limite.

http://rapidshare.com/files/129932754/BCAD.rar.html

Grandi ritorni #1
Dummy, il disco dei Portishead del '94 che li ha portati al successo, non mi è mai paiciuto troppo. Troppo pulito raffinato etereo, troppo elegante. Quasi quasi preferivo l'altro masterpiece del triphop, Mezzanine dei Massive Attack... E' stato quindi un faticoso ma piacevole esercizio di formattazione mentale ascoltare il terzo album del gruppo e restarne stregato. Mi piacciono gli eventi che stravolgono un punto di vista, un convincimento.
Resta il fatto che Third è molto diverso dai lavori precedenti, non nei contenuti e nella struttura o modalità di realizzazione: si tratta sempre dell'elettronica di Geoff Barrow e Adrian Utley strutturata su una base folk chitarristica e sulla voce di Beth Gibbons. Ma se in Dummy la voce era elegante, malinconica ma pulita e l'elettronica raffinava e addensava un sound lieve ma pieno, qui la voce è una crisalide algida e scavata, fragile secchezza al limite del frangersi, le macchine sottraggono, scavano, martellano, essenzializzano, sporcano. Il risultato è un sound essenziale, ritmico, abrasivo e travolgente nella sua ondata fredda di malinconia, ma non c'è spuma e cristallo su questo mare, è il pesante e gelido Mare del Nord, ossidiana oleosa.
Si comincia con Silence, paradossalmente iniziato da una voce recitante in portoghese e un lungo intro elettronico con spruzzi di voce; Hunter continua a pulsare sotto la voce più dolce ma frammentaria, con qualche passaggio accelerato che non stravolge un ritmo lentissimo; il ritmo cambia con Nylon Smile, quasi tribale ondeggiante; si respira un po' con la quasi acustica e chitarristica (fino al crescendo finale) The rip; quindi si torna su pulsazioni sempre più metalliche, claustrofobiche affannate nell'enfatica Plastic e nella sistematica Carry on. Vicinia l soffocamento, giusto in tempo arriva un'altra pausa con la chitarrina e la voce spettrale di Deep Water, niente di rassicurante comunque, nonostante i coretti che spuntano ogni tanto. Machine Gun esplode di nuovo in un beat pesantissimo che fa tremare le budella, sembra di entrare gradualmente in un cantiere portuale dove una sirena sia rimasta impigliata. Small è un crescendo molto complesso e coinvolgendo che rascina verso la sperimentale e ipnotica Magic Doors; l'epilogo Threads tocca apici di angoscia e intensità veramente notevoli, pur avendo una struttura più semplice. Gli ultimi minuti sono rumori e voci spettrali perse in lontananza, nel fragore delle onde, naufragi insignificanti.
L'insieme è molto omogeneo nelle atmosfere, musica da ascoltare la sera, per dare un senso alla propria inquietudine.

Portishead - Third (Universal 2008 )
profMau
1. Silence
2. Hunter
3. Nylon Smile
4. The Rip
5. Plastic
6. We Carry On
7. Deep Water
8. Machine Gun
9. Small
10. Magic Doors
11. Threads

I promise this isn't turning into a music blog, but Portishead's Third is one of the few albums that actually ignited any passion within me this year, and this song gave me goosebumps on first listen. I saw the video for the first time tonight, and thought it bizarre and beautiful, and so, wanted to share.

Also, I thought I'd throw in a link to the rather wonderful Radiohead cover of the above, for your enjoyment...

Whispered trip hop

Tricky apparently loathes the term trip-hop to describe his music, but I would say it's the best way to describe the music. It is more rounded and full than most trip-hop encompassing quite a lot of singing and guitar, in with the whispered rapping style and low-fi segments of the album.

There are some very contrasting styles, the very slow, minimalist and poetic Joseph, is closely followed followed by a guitar, and keyboard led C'mon Baby and the loud hip-hop shoutings of Council Estate. This contrast of styles creates a nice blend of colours, but doesn't stray to far from the original objectives.

As well as variants to the left and to the right as far as style, there's also a vertical shift between the light and dark, as far as the tone of the music. There are some very chilling pieces on the album, the most note worthy being Past Mistake, which send lightning bolts down my spine and nearly caused me to jump out of the window. One of the happier songs, Slow, is about dancing, how much happier could you be?

The album, slots together quite well, all of the pieces fit together smoothly and the finished product is quite wholesome and rather enjoyable.

Listen to this album: While hanging upside down

Rating: 80

Extracts from 'Joseph', 'C'mon Baby', 'Slow' and 'Far Away'
[audio http://bumchickens.googlepages.com/tricky.mp3]

'Council Estate'

Portishead - The Rip (official video)

10. Cat Power - Jukebox

Verre van haar beste plaat, coveralbum, met toch weer enkele fantastische bewerkingen van Chan Marshall. Topsong: Metal Heart.

9. Sigur Rós - Með Suð í Eyrum við Spilum Endalaust

Niet zo sterk als hun grote drie studioplaten maar het blijft Sigur Rós uiteraard. Hoog niveau over de gehele lijn, al staat er geen wereldnummer op. Topsong: Ára Bátur.

8. dEUS - Vantage Point

Stap vooruit na Pocket Revolution. Ik ben geen dEUSprediker maar vind het wel verwonderlijk dat ze niet groter zijn in het buitenland. En ik geloof niet in het antwoord dat ze niet goed genoeg zijn. Omdat ze van België komen? Is Soulwax niet het tegendeel aan het bewijzen? Of wordt dat succesverhaal verbloemd? Enfin, Vantage Point is echt een sterke plaat. Topsong: Eternal Woman.

7. Madrugada - Madrugada

Misschien wel het beste wat ze ooit op een plaat hebben gekregen. Hopelijk niet hun laatste. Topsong: Whatever Happened to You?

6. This Will Destroy You - This Will Destroy You

Een van de betere van de nieuwe postrockbands. Vrij klassiek, met leuke toevoeging van elektronica. Topsong: A Three-Legged Workhorse.

5. My Brightest Diamond - A Thousand Shark's Teeth

Tweede plaat van Shara Worden en tweede fantastische. Valt wat terug op het einde maar biedt enkele fantastisch mooie momenten. Topsong: Black & Costaud.

4. Girls In Hawaii - Plan Your Escape

Jawel, een Belgisch album op plaats vier. Hun debuut was al een openbaring. Dit is zelfs nog iets sterker. Wellicht mijn favoriete Belgische band. Topsong: Shades of Time.

3. A Silver Mt. Zion - 13 Blues for Thirteen Moons

Het is geen Godspeed maar het komt in de buurt. Van het beste dat postrock te bieden heeft. Topsong: Blindblindblind.

2. Bon Iver - For Emma, Forever Ago

Dé nieuwkomer van het jaar, toch wel. De droom van elke singer/singwriter. Topsong: The Wolves (Act I & II).

1. Portishead - Third

En ik was dan nog niet zo'n grote Portisheadfan, maar dit is zeer straf. Mocht wel na 11 jaar wachten. Topsong: The Rip.

I Monster (2001)

Tatam!

Wallace Collection (1968 )

aaaaaaaaand please check the read more, you'll have a surprise

Portishead (1994)

Tricky (1995)

Tatam!

Isaac Hayes (1971)

Gunter Kallmann Choir (1970)

Claude François (1969)

Lupe Fiasco feat. Jill Scott (2006)

If you're answer was Swan Lake, you were right!

Y no es que la tipa en cuestión sea un coco, pero tampoco se trataba de subirla al olimpo de las mujeres más bellas del rock. Yo respondí que la rockera más morbosa de la actualidad era mi adorada Juliette Lewis. Que no me cansaba de ver sus vídeos en Youtube y que sus discos no son maravillas, que no descubren nada nuevo en el rock, pero se escuchan bien y me entretienen más que trabajos de oportunistas como Arcade Fire, Maximo Park, Kaiser Chiefs o los Libertines/Babyshambles del subnormal de Pete Doherty.

Luego mencionó a una tal Sharin Foo, de The Raveonettes. No le repliqué. Había escuchado el disco, pero no había visto foto alguna de la tal Sharin. Sólo puedo decir de ella: bien, aceptable. A continuación Amanda Palmer de The Dresden Dolls, Mira Aroyo de Ladytron y Meg White, la tetuda mitad de los White Stripes, hermanísima del genio Jack White.

Salvo con esta última (como podéis comprobar en esta foto, por dos razones obvias), no pude meter baza, no las había visto. Y me parecía una locura la conversación. Entonces empezó la polémica, y pasamos del rock actual a cualquier rockera de la historia. A cada nombre que iba sugiriendo, yo le espetaba otro en la cara.

A Shirley Manson (de Garbage) le esperaba otra pelirroja más perturbadora, Poison Ivy de The Cramps. Cuando mencionó a Nina Persson de los suecos Cardigans, yo le lancé el nombre de la rubia más famosa del punk neoyorkino, Debbie Harry de Blondie. Kate Jackson de The Long Blondes fue la siguiente, a lo que respondí con Joan Jett. Siguió extrambóticamente con Beth Gibbons de Portishead y Kathleen Hanna líder de Le Tigre y antes de Bikini Kill. Mi contraataque fue Gwen Stefani de No Doubt, y la diosa de los 80 Lita Ford, Cherie Currie o cualquiera del resto de las Runaways.

Está claro que mi amigo es un salido. Propuso a Donita Sparks, Siouxsie, PJ Harvey, Courtney Love (¡¡¡¿Courtney Love?!!! Por favoooor!!!!), Sheryl Crow, Christina Rosenvinge, Kim Deal (ex-Pixies, ahora The Breeders), una tal Gwenna de un grupillo llamado The Pipettes…

Me abrumó con un montón de nombres más, de los que ahora sólo recuerdo los que he puesto aquí. Por mi parte surgieron otros tantos, aunque sólo me dio la razón en dos de ellos: Wendy James (de Transvision Vamp) y Grace Slick (de Jefferson Airplane). Entiendo que para gustos están los colores, y la verdad desconocía esta faceta de depravado de mi amigo (¡¡¡¿Courtney Love?!!!, ¡¡¡¿Christina Rosenvinge?!!!), pero me alegra que nos pusiéramos de acuerdo en esos dos nombres. Y que además los pusiéramos en lo más alto de la lista.

Tras media hora de discusión sobre los atributos (no sólo musicales) de cada una, comenzamos a discutir sobre quién debía ser la primera. ¿Grace o Wendy? ¿Wendy o Grace? Lo dejamos en tablas. Esa discusión eran palabras mayores.

Fourteen years later, Prince is 50 and mild-mannered as ever, Kurt Cobain is a fading memory and the closest Ace of Base gets to commercial exposure is in, umm, fitness commercials. Portishead, meanwhile, has just released their third disc (Third) -- and the lyrical shades of gray aren't getting any brighter. "I'm worn out," Gibbons confesses on album closer "Threads": "Thinking of why I'm always so unsure." Times changes, evidently; people don't.

Now 43, Gibbons still leads the world's most cerebral trip-hop trio with her wavering, ever-paranoid vocals. Hers is one of the most forward-thinking minds in electronic music, albeit bogged down by insecurity and psychological pain -- no doubt the impetus behind Portishead's decade-long break from the music scene after 1997's eponymous Portishead. But alongside Geoff Barrow and Adrian Utley's collective knack for finding the darkest notes on any keyboard, she's crafted 50 minutes of intricate, Hitchcockian pop for the Third set: music that would divide a nation quicker than unite it, which makes its recording turf -- Berlin -- quite fitting. Eerily inventive, Third is faithful to lo-fidelity and exploitive of minor-key harmonies. Put simplest, it's the sound of being unsound. And it's the best thing to come from a band that's never met a critic who actually had something critical to say.

What makes the disc a classic, however, is the way it works as an album. Opener "Silence" introduces one of Portishead's two styles on the CD: cinematic, psychadelic electronica. There's a time signature trick, an uncomfortably abrupt ending and a bass line not far removed from that epic, five-note Close Encounters theme -- but what makes the track so remarkable is how tight Portishead sounds as a band. Throughout five minutes the trio never loses grip on its central spy riff, content to explore the melodrama in three instruments instead of layering on the synthesizers. There's even a cowbell, but I'd wager it's keeping the fever as opposed to curing it -- what with lines like Gibbons' thesis: "Wounded and afraid," she sings only to clarify. "Inside my head."

Then comes "Hunter," and a muted drumhead announces Portishead's other side -- delicate, acoustic balladry. The song itself is an achievement in contextualization, managing to incorporate elements that evoke Black Sabbath ("Iron Man"), Radiohead ("You and Whose Army?") and even Bjork (check the title) at once. The percussion, meanwhile, is an exercise in coloring outside the lines: Barrow strays subtly from perfect tempo, denying his listener the effortless convenience of a computerized beat. The result is jarring once established, and the band maintains it until the album's end -- regardless of the instruments used to keep time. (Third is primarily a percussive album, as a matter of fact; you'll hear organic, earthy tones from a gamut of trinkets by its fiftieth minute.)

Drums aside, Beth Gibbons is the wandering star of this show. Her performance has been accurately described as 'mental' -- meaning both contemplative and borderline unstable -- and she manages to tie every song back to the shortcomings of her psyche. There's brief existentialism ("I don't know who I'm meant to be/I guess it's just the person that I am," a gem from "Magic Doors") and self-deprecation ("I don't know what I've done to deserve you," from "Nylon Rip"), but few words are wasted on politics or passion. Even a bout of feminism on "Small" ("You're just a man/Hoping to score...") ends in personal pity: "...Just like me." It's nothing short of amazing how much Gibbons can sing about herself when she doesn't even know who she is.

Third, however, is twice musically what it is literarily. "Small," the album's best, makes an eery switch from cello-assisted escapist music to proggy psychadelia that would make Iron Butterfly blush. First single "Machine Gun," a seeming slice of socialist realism, rides a reverb-heavy rifle beat all the way to its chilling finale -- when two synthesizers duet on forty seconds of Soviet pop. "Nylon Smile" and sister song "Magic Doors," meanwhile, are composed almost entirely of stray noises, and the latter's approximation of Eastern funk is a real treat. In truth, nothing here misses: "The Rip" (see below) is pretty as Simon & Garfunkel, macabre as Pink Floyd; "Deep Water" takes a barbershop quartet 20,000 leagues deep; and "Plastic" proves the power of stagnant horns. Even the oddly exuberant, overly-electronic march of "We Carry On" turns into a vicious sonic shark attack midway through. Better yet? It's original title was "Peaches."

It's fitting, then, that Gibbons' coup de grace arrives atop the crashing electric waves of "Threads": "Where do I go?" she asks in Third's closing minutes. Maybe it's a rhetorical question, maybe it's a question whose answer is a question. But for the time being, it's a whole lot simpler than if Gibbons asked herself "Who am I?" -- and, after all, she just spent a whole album doing exactly that. You'll delight in her efforts.

Mes proches vous le diront, j’ai toujours été quelqu’un qui aimait fabuler les fables.

C’est pourquoi je prends un bref instant de votre temps si précieux pour vous rappelez que cette saison que vous appelez été, ce soleil flamboyant et la chaleur accablante qu’il dégage ne sont pas des raisons pour se la couler douce en gambadant dans les champs à la recherche de jeunes pucelles sur lesquelles on aimerait butiner.  Non mais à vous regarder allez, on dirait que la vie n’est qu’une succession de vices et viceries.

Que neni! Car si vous chantiez tout l’été, vous vous trouverez fort dépourvu lorsque minus fourteen degrees sera venu.

and what else déja? haaa c'est vrai:

Dansez maintenant.

Datassette – Minus Fourteen (mp3)
[audio=http://basementbeatz.files.wordpress.com/2008/07/datassette-02-minus-fourteen.mp3]

En extra, son remix de The Rip des Portishead.

Portishead – The Rip (Datassette Remix) (mp3)
[audio=http://basementbeatz.files.wordpress.com/2008/07/datassette_vs_portishead-the_rip.mp3]

Datassette Myspace
Datassette Website
Datassette Mixes
Datassette Remixes

In keeping up with my quarter year list for Q1, I present my official quarter year list for Q2 (April - June). You'll notice Maths + English on this list, as I've stated that I am officially counting this as a 2008 release (came out digitally in '07, as well as officially in the UK). You may also notice Coldplay's #2 spot (deal with it), and as hard as it was to leave off The Black Keys release, these titles just stood out to me a bit more in the past couple of months.

1. Portishead Third
2. Coldplay Viva La Vida or Death and All His Friends
3. Lil Wayne Tha Carter III
4. Sigur Ros Meo Suo i Eyrum Vio Spilum Endalaust
5. Santogold Santogold
6. Duffy Rockferry
7. N.E.R.D. Seeing Sounds
8. The Cool Kids The Bake Sale
9. Dizzee Rascal Maths + English
10. Jim Noir Jim Noir

Single of the Week: Those Dancing Days – Run Run
Inevitably, as the year goes on, I'm bound to keep giving Singles of the Week to bands I like that are producing more of the same great stuff. There are a lot of singles out this week, and a lot them are kind of OK. This one's pretty good, so it wins. Previous single Hitten was so titled because it's the Swedish for 'The Hit'. Which is kind of appropriate, as this doesn't really scale the same dizzy heights. However, it is still a great example of accomplished, mature pop music from a bunch of young 'uns.

Because it's the summer, and I'm feeling kind, I've decided to stick to reviewing songs I actually like. Or at least find interesting.  Away with the bad vibes! The rest of the week's good/ok/interesting releases are available with a simple click below...

Portishead – The Rip (12”) [YouTube]
About as different from previous Third-cut Machine Gun as is possible. When you drag out words like 'haunting' in refeference to Portishead, you start suggesting that what you're dealing with is some sort of Dummy-retread, but, aside from Beth's voice, it has little in common with old Portishead, either. It's great. Not really a strong single choice, but a beautiful track.

Born Ruffians – Hummingbird [YouTube]
I reviewed this back in March, and kinda liked it. It's now coming around again, thanks to a prominent position in a current tv ad. It's still pretty good, and worth another listen.

Cajun Dance Party - The Colourful Life [YouTube]
Slightly formulaic indie bunch, saved only by adding a touch of glamour to proceedings. Here mainly because the video is very pretty. It looks like what you'd see if you were driving at night while wearing heart-shaped contact lenses.

Christopher D Ashley - Sugar Coated Lies (12”) [YouTube]
London electro-ish bloke on Rob da Bank's Sunday Best label. Seedy, slightly alluring potential in there, but doesn't quite go anywhere and ends up a little bit on the bland side.

Come On Gang! - Wheels [MySpace]
Edinburgh indie-pop types with a pleasantly tuneful little ditty. Doesn't exactly fix itself in your mind, but shows plenty promise.

Displacements – Down & Out [YouTube]
Resolutely traditional, but quite catchy, guitar pop from Leicester four-piece.

Dizzee Rascal feat Calvin Harris & Chrome – Dance Wiv Me [YouTube]
Currently your Number One, of course. It's OK, but a bit too much of Calvin's input here, and not a patch on most of Dizzee's stuff. Only average.

Hercules & Love Affair – You Belong [YouTube]
A bit too tasteful, not enough Antony, and not as good as 'Blind.' Alright though.

Innercity Pirates – Cockney Sparra [YouTube]
Better than its title would suggest, this is kind of a cute little thing. Stretches even my twee-tolerance though.

Junkie XL – Cities In Dust [YouTube - audio only]
Girl-fronted stomp-along electro floorfiller. Much better than that Elvis remix. Yeah!

Kitty Daisy & Lewis - Going Up The Country [YouTube]
Three girls, all under 18, making music that sounds like it was made about 70 years ago. Strange, but sort of good.

Last Shadow Puppets – Standing Next To Me [YouTube]
More pleasant Scott Walkerisms from Alex Turner and The Other One. No tanks in this video though, just sixties love.

Metronomy - Holiday [YouTube]
More weirdness from the less pop version of Hot Chip. Better live than on record; diverting still.

N.E.R.D – Everybody Nose [YouTube]
Still not really back on top form, Pharrell's clearly just messing around here. It's fun though.

Sharleen Spiteri - All The Times I Cried [YouTube]
Trying to hitch a ride on Duffy's coat-tails, and doing it pretty well. Certainly less offensive than most of Texas's output.

thecocknbullkid - On My Own Again [YouTube]
...is Hackney one-woman band Anita Blay. This is quirky, subtle, interesting stuff. Doesn't have quite the kick it needs, though.

Underworld - Ring Road [YouTube]
Seemingly Karl Hyde deciding he sort of wants to be The Streets. Not really very Underworld.

The Shortwave Set – Replica sun machine

Seduced by the alethiometeresque cover, but disappointed by the frequency with which the wan, characterless vocals of Andrew Pettitt displace the considerably more elegant singing of Ulrika Bjornse.  Danger Mouse production?  Check.  Van Dyke Parks string arrangements?  Check.  Tunes?  Mostly.  ‘Glitches ‘n’ bugs’, ‘Distant daze’ and ‘No social’ stand out.

Elbow – The seldom seen kid

In the last couple of years Elbow’s records have been surreptitiously stealing their way to the centre of my listening world.  This confirms their place there with its high musicality and wry humour.  Guy Garvey’s songs are lugubrious and beautiful, even managing to reanimate the corny image of the mirrorball.

DeVotchKa – A mad and faithful telling

Romany Mexican indie with Greek or Klezmer undertones, anyone?  Not forgetting occasional forays into chamber and oompah band territories?  Singer Nick Urata looks like a roughed-up cross between Clooney and Morrissey.  One song – ‘The clockwise witness’ – is truly great, throwing off excessive stylistic colouring for an affecting shade of blue.

Carl Craig – Sessions

How long it’s been since I was lost in niteklub rhythm.  For all that Craig is a master of dancefloor dynamics, Sessions ultimately feels relentless, at home or in car.  It’s a relief when the end is near and the unpredictable rhythms of ‘Bug in the bass bin’ take hold.

Four Tet – Ringer

A river whose flow is as relentless as Sessions, but out of the current more is going on.  I wish I had more time to relax into ‘Swimmer’’s patterns; fretted less about the time Kieran Hebden takes to develop his swirls and eddies.  Moments of life that won’t come again.

Neon Neon – Stainless style

After the Rhys-Boom Bip collaboration on Blue eyed in the red room, and Gruff’s loveable Candylion, a disappointment.  In evoking the worst aspects of the eighties, it’s loud, shiny, and as attractive as the boxy lines of the De Lorean car.  But ‘I lust u’ achieves a  Depeche Mode-esque melancholy.

Colin Meloy – Colin Meloy sings live

Just occasionally in these solo performances, Colin Meloy is one note short of a melody.  Otherwise he conveys the best of the Decemberists – as well as Shirley Collins and the Smiths – with songwriter’s conviction, stand-up comedy and helpings of the ‘campfire singalong’ spirit that he declares he is aiming for.

The Last Shadow Puppets – The age of the understatement

The chief northern monkey and his best mate perform a Dukes of Stratosphearic take on Scott Walker (and indeed Brel through Scott’s distorting mirror); in their turtleneck sweaters they’re photo-fit go-getters.  The result is a noirish existential beat group and the second of many reinventions Alex Turner may yet perform.

Goldfrapp – Seventh tree

I lost interest between Black cherry and the insistently decadent electro of Supernature.  Fortunately the duo are aware of the benefits of reinvention and return; Seventh tree is closest in spirit to Felt mountain but with added folk sensibility and pop nous.  ‘Little bird’ floats and ‘Caravan girl’ drives along.

British Sea Power – Do you like rock music?

Like Open season, this is eight-tenths of the way to greatness; if I were eighteen and at my first Glastonbury, I would wave my flag to it.  But it’s as rock as the substance you’d mine were you to tunnel into Mount Blanc, and for me that remains a problem.

Paul Weller – 22 dreams

Press would have you believe that Weller has suddenly emerged from a lengthy spell in rock purgatory.  Truth is he rediscovered his touch over the two preceding sets; you could not get more pastoral than ‘Pan’ on As is now.  22 dreams expands the lightness in familiar and fresh directions.

Portishead – Third

Top bombing from Barrow, Gibbons and Utley.  The avant-garde attack of the electronics is reminiscent of New Order discovering synthesisers.  Next time Portishead can worry less about making it impossible for anyone to countenance putting them on as dinner party listening; this is music with which to greet the apocalypse.

Robert Forster – The evangelist

The healing power of song – I’m so glad RF rediscovered it.  But how could the tone be anything other than elegiac, with fragments of Grant’s last songs among Robert’s lyrical responses to his death.  As we hear those last tunes, Robert sings ‘it was melody he loved most of all’.

Their third LP, cleverly titled LP3 (Hey! Yeah! I get it! Exactly like Portishead did earlier this year when their third album was called Third! Exactly the same! Sooo clever! Ha ha! Cleverness!), is thankfully a progression, and if you like midtempo electronic music, I have a hard time seeing why you wouldn't like this album.  As opposed to being just guitar-onica, this uses more straight techno influences as well as some latin spice thrown in ("Shempi" could come from a Kinky album, if it was a little faster and a little softer).  I mean, two of the tracks are Spanish words, for chrissakes.  But really, none of these terms apply to every track on the album, and I think that's the biggest step for Ratatat: a more varied approach.  Classics, and even Ratatat to an extent, was downright boring because it was so one-note.  This keeps it varied.

"Brulée" has a bit of a Margaritaville tinge, if you can believe it.  "Mumtaz Khan" has some definite Middle Eastern and Indian influence, with a smidge of Reggae thrown in.  I really think Ratatat is at the top of its game here; its influence-mixing is really great to hear, but that's the one problem I have with Ratatat that I don't think is possible to fix.  Even at what I think is their peak, they're not good enough to rise above their influences, which is really the mark of a great band.  Though their sound is unique, it's really on more of a horizontal level, as in, using influences to be different on the same level, than on a vertical level, which is using influences to create something that goes beyond.

I think this is as good as Ratatat gets, which is very good, but not great.  But hey guys, prove me wrong with LP4 (which is actually the fucking name of the next fucking album, completely fucking serious), why don't you?

Mixplosiv
The Spirit of Ray
(Ray Charles - Hit the Road Jack + ZZ Top - La Grange + Norman Greenbaum - Spirit in the Sky)
VERY GOOD AND WORTH LISTENING TO!

[audio http://www.dblondin.com/movies/TheSpiritofRay.mp3]

Portishead
Glory Box

[audio http://www.fileden.com/files/2008/2/8/1747380/Portishead%20-%20Glory%20Box.mp3]

CCC
3 MC's and 4 Mods (The Who + Beastie Boys mash-up)

[audio http://www.btinternet.com/~chris.chrischris/ccc_3_MCs_and_4_Mods.mp3]

Portishead is already working on a 4th album. Obvious joke is obvious: "Maybe they'll call it Fourth."

David Lee Roth was saved by the Canadians. Yes, it's true. Ironically, Roth has an allergy to nuts.

Mashable has a sweet list of music-related websites up. Some of the mixtape sites are pretty cool, actually -- mixwit.com in particular.

Here's an example:

[mixwit_mixtape wid="63e5e6508a7bd5e605ed4e8c1f746ff1" pid="cab5ee82e69f64fad233c1e28e5967e5" un="Shoegazer" width="426" height="327" center="true"]

Secret Machines has a new CD in the works. Exciting! Good stuff.

Ever want to get drunk on a classy rapper's classy champagne? Lil Wayne now fulfills those wants. Not only is he going to make, I'm sure, great wine, but he's also a humanitarian. Kids, remember: Lil Wayne wants you to wear a condom.

Si para tener un nuevo trabajo de la banda, tuvimos  que esperar 10 años (que se dice pronto) ahora parece que a los integrantes de Portishead les ha gustado volver a producir un disco. Parece que las sensaciones que han tenido con este último trabajo y su (corta) gira han sido positivas, hasta el punto en que han declarado a la BBC 6 (radio inglesa, como no) que ya planean sacar su cuarto álbum de estudio.

Esta vez, no habrá qe esperar diez eternos años para volver a tener material nuevo de la banda, y realmente se agradece.

Web | Entrevista BBC 6

Web | Portishead

Ahora que ya han terminado la breve gira de presentación de Third, parece que el trío de Bristol ha decidido que esto de pasarse una década entre disco y disco no puede ser. Así que por ello dejan de tocar en directo, y empezarán a trabajar ya en el cuarto disco, como cuentan en Brooklyn Vegan. Y digo yo que si acaba siendo igual de bueno que su predecesor, elevará la leyenda de Portishead hasta límites insospechados. Aunque por ahora nos toca esperar y seguir escuchando en repeat el magnífico Third, claro...

- Portishead in working-on-new-album shocker
- Juana Molina to release her fifth album in October
- Polaris Music Prize shortlisted nominees announced
- All-star tribute to Judy Collins out in August
- Leonard Cohen's touring partner Sharon Robinson to release debut album
- Ladyfest Manchester 2008 fundraising compilation goes on sale
- Joanna Newsom and Feist immortalised in a children's activity book

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Perhaps buoyed by the astonishingly positive reception afforded to their comeback album, Third, Portishead have reportedly begun working on a follow-up. Speaking to BBC 6Music, guitarist Adrian Utley said the band were already "getting a bit of a plan together," adding that the limited touring behind Third was so that the band could focus on other projects and spend more time with their young families. His bandmate Geoff Barrow had already expressed a desire to write some new tunes in a blog posting in May; Beth Gibbons, as ever, has maintained a dignified silence on the matter.

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Our favourite Argentinian Juana Molina has announced details of her upcoming fifth album, Un Dia, due for release on October 6th through Domino Recordings. The album is said to forego the meandering field recordings of the brilliant Son for more rhythmic fare. Fans should get a taste of the new material when Molina heads over to the UK for the Electric Picnic festival in Ireland on August 30th and a special show at the Regents Park Open Air Theatre in London on August 31st.

Un Dia
01 Un Dia
02 Vive Solo
03 Lo Dejamos
04 Los Hongos de Marosa
05 Quien (Suite)
06 El Vestido
07 No Llama
08 Dar (Que Dificil)

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Basia Bulat, Stars, Kathleen Edwards and Black Mountain are among the ten Canadian acts shortlisted for the third annual Polaris Music Prize, the equivalent of our Mercury. The winner of the $20,000 prize money will be announced on September 29th. Caribou, Holy Fuck, Plants & Animals, Shad, Two Hours Traffic and The Weakerthans make up the rest of the numbers.

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Dolly Parton, Joan Baez, Chrissie Hynde, Shawn Colvin, Dar Williams, Amy Speace and The Webb Sisters and are among the 15 artists contributing to a new tribute to folk legend Judy Collins. Inspired by a casual compliment from Chrissie Hynde in which she revealed that Collins's ‘My Father' was among her top ten favourite songs, independent label Wildflower Records set about crafting the all-star tribute due out August 5th in the US. Leonard Cohen, an old friend of Collins, also makes an appearance, reciting the lyrics of her early song ‘Since You've Asked'. The full list of contributors looks a bit like this:

Born To The Breed: A Tribute To Judy Collins
01 Joan Baez - Since You've Asked
02 Jim Lauderdale - Easy Times
03 Dolly Parton - Fisherman Song
04 Chrissie Hynde - My Father
05 Shawn Colvin - Secret Gardens
06 Kenny White - Song For Martin
07 Amy Speace - Born To the Breed
08 Rufus Wainwright - Albatross
09 The Webb Sisters - Fortune Of Soldiers
10 Jimmy Webb - Fallow Way
11 Bernadette Peters - Trust Your Heart
12 Dar Williams - Holly Ann (The Weaver Song)
13 Ali Eskandarian - Song For Sarajevo
14 James Mudriczki (Puressence) - Che
15 Leonard Cohen - Since You've Asked (reprise/dialogue)

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Speaking of Leonard Cohen, his longtime musical partner Sharon Robinson is set to release her debut solo album, Everybody Knows, once she finishes touring with the venerable Mr Cohen at the end of November. Well, it may be sooner, we haven't quite been able to figure that out. As it happens the album is already available in the US, having been released at the beginning of June, but this isn't the US so this is still news, right?

Anyway, three of the songs were co-written with Leonard, including the title track (from his classic 1971 album I'm Your Man), ‘Summertime' (later recorded by both Diana Ross and Roberta Flack) and ‘Alexandra Leaving' from Robinson and Cohen's collaborative album Ten New Songs. Also included is Sharon's version of ‘The High Road', covered by Bettye Lavette on her brilliant album I've Got My Own Hell To Raise.

Everybody Knows
01 Invisible Tattoo
02 Party For The Lonely
03 Everybody Knows
04 The Train
05 Secondhand
06 Forever In A Kiss
07 The High Road
08 Sustenance
09 Alexandra Leaving
10 Summertime

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Bearsuit, Vile Vile Creatures, Penny Broadhurst and The Bobby McGees are among the acts featured on a new compilation released through Cherryade Music to raise funds for Ladyfest Manchester 2008. The three-day festival takes place at the Zion Arts Centre in Hulme at the beginning of November. Find out more here.

The tracklist in full:
01 Bearsuit - Chargr
02 Das Wanderlust - It'll Never Be Yours
03 Shrag - New Favourites
04 The Bobby McGees - Bumhead
05 Town Bike - Trouble Fuckin Rocks
06 The Lovely Eggs - I'm In Your Scene
07 Amy Pennington - Dirty L'il Secret
08 Blockshot - GPS
09 Penny Broadhurst - Team Leader [MinuteToWinIt edit]
10 Hotpants Romance - We Used To Meet
11 Kids Love Lies - Hex
12 Vile Vile Creatures - Break Like Bones
13 Violent Vickie - Knock You Out
14 The Seven Inches - Cashback
15 STeLLa PaCe - Luv Yr Self
16 Pianofingers - The Bone Palace

Available now at the Cherryade online shop for a mere £5.

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A design student from Huddersfield University has come up with a novel colouring/activity book based on images from the songs of some of our favourite indie rock stars, including Feist and the inimitable Joanna Newsom. Andy J Miller created the book as a potential fundraising idea for the HIV/AIDS charity (Red). At the moment these little beauties are prototypes only, i.e. you can't buy one, sorry. Pitchfork have some great scans though, if you want to take a closer look.

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Alan Pedder