I've recently returned from a short break during which I did not access my emails at all, an experience that I found very liberating. That is until I returned home and had to wade through over 200 of the things.
While I was away, the actor James Gandolfini passed away at the ridiculously young age of 51 (RIP James), and it appears that I have been missing a superb new French drama which is being shown in the UK on Channel 4. Appropriately, it is called 'The Returned'.
Thanks to the wonders of 'catch-up', I am in the process of doing just that and have watched the first two episodes.
Billed as a supernatural thriller, the plot concerns a group of school children who are killed when their coach veers off the road into an alpine ravine. Their grieving families attend meetings to help them to come to terms with their loss, but while one such meeting is taking place four years after the tragic event, one of the children, Camille Seguret, returns home claiming that she woke alone in the mountains, hence her being an hour late.
I will reveal no more of the plot but suffice to say there are a number of questions left unanswered at this stage. Various characters come and go and appear to have their own issues. An old man (Mr Costa) takes his own life. A small boy (Victor) suddenly shows up and we learn that he has played some part in the coach accident. I suspect that this series will keep me enthralled and guessing right to the very end.
What I find particularly appealing is the way the whole programme is presented. Obviously there is a strong plot and a good script but these are augmented by some wonderful cinematography and an atmospheric soundtrack (from Mogwai). I look forward to more episodes and wonder if this series may eventually join the ranks of the TV greats of the past, 'The Wire', 'The West Wing', 'The Killing' and, to briefly return to the theme of James Gandolfini, 'The Sopranos'.
I have no idea how to begin to categorise this album. It sure isn't rock music, but then again, nor is it jazz, folk, blues, pop or any other musical genre you may care to mention. Yet, it is not totally unique for though it may seem lazy to make this comparison, the comparison has to be made, with the superb album, 'Laughing Stock', by Talk Talk. Another reference point may be the US band, Swans though I confess I am less familiar with their work.
If you happen to be familiar with the 2010 album 'Hidden' by These New Puritans, you will have heard hints of what was to come. Yet, 'Field of Reeds' is a very different beast, utilising far less by way of rhythms than its predecessor, which if anything, slightly overdid the percussive effects somewhat. Not that this album is without rhythm or percussion. It is just done in a more subtle way.
The nine tracks on the album are divided into three suites of three pieces each. I am only aware of that because of the way they are grouped together on the album sleeve. Frankly each piece stands up in it's own right and I don't think it matters in which order you hear these pieces of music - notice that I am avoiding the word 'songs'.
The first track, 'This Guy's In Love With You' begins with muted, stately piano chords then a female voice enters though appears to be coming from a hundred miles away. I suspect this may be new addition to the band, Elisa Rodrigues who adds a subtle dimension to this album. There are shades of early Bjork in the vocal effects but the horns and later strings bring the Talk Talk classic to mind. It is mesmerising and beautiful.
The album is not without its memorable hooks as can be heard in the second track, 'Fragment Two' where the piano begins with a repeated pattern that soon worms it's way into your subconscious. It stops to be replaced by graceful strings, then returns once more.
If you are big into lyrics, this album might leave you feeling slightly frustrated, as like Mark Hollis of Talk Talk, Jack Barnett cannot be described as a classic singer. Often mumbled, the words in any event appear to be abstract to say the least. Yet they fit perfectly with the music and the overall feel of the album.
Another hook occurs during track four, the ten minute long 'V (Island Song)', where after a ponderous opening, a brief piano section lays down the main theme. It is gone in a flash but somehow remains in your mind and thankfully soon returns to become the main part of the song. Joined by bass and wonderful percussion, the whole thing becomes quite funky. Eventually only the percussion remains but gradually voices and organ fade in to take us to the finale. It is an astonishing piece of music.
'Organ Eternal' has the next catchy hook played from the outset by organ and piano with subtle bass parts. The theme is joined by glockenspiel and strange shrieks come at you from all directions. Suddenly everything stops and sweeping strings take over anchored by brooding cello.
There are some reviewers who have branded this as pretentious tosh, or words to that effect. Others hail it as a work of genius. I fall into the latter category. Throughout, this album offers glorious melodies, and an aural landscape that is so broad that you hear something new each time you play it, especially through headphones.
Frankly, I can't stop playing it.
Postscript:
I'm being visited by my son over the coming weekend and then I'm off for a short holiday.
Hopefully I will see you back here again later in June.
I have previously seen Neil Young live on two occasions. Both were different but superb in their own way. As a great performer and with a vast repertoire of songs, I'm not sure this guy can put on a bad show. So, on the day of this concert, I felt my excitement rising as we drew nearer to showtime.
After a couple of refreshing pints in The Trent House, we made our way towards the venue to catch the opening act, Los Lobos who I must confess were superb. Indeed I can't remember the last time I enjoyed a support act as much.
Boffins in white coats quickly cleared the stage and began setting up for the main act. The familiar giant Fender speakers flanked the drum kit and as the huge covers were hoisted into the air, the famous giant microphone was lowered into place. Amid much theatrical gesticulating from the boffins, Billy Talbot, Ralph Molina, Frank 'Pedro' Sampedro and Neil Young ambled onto the stage to join the crew in a line as the British national anthem was played. I suspect that this must have been to recognise the fact that this was the first UK date of the current European tour. Then the band launched into 'Love and Only Love'.
The first five songs of the tour have remained constant and so it proved to be in Newcastle so I was looking forward to hearing a 'new' song, 'Hole in the Sky'. And a great song it turned out to be. Young then donned an acoustic guitar to perform 'Comes a Time' followed by Bob Dylan's 'Blowin' in the Wind'. At the piano he then performed another unreleased song, 'Singer Without a Song'.
If you read this blog regularly, you will know that I am not a huge fan of Young's latest album, 'Psychedelic Pill', so I was pleased to learn that he was only playing three songs from that record. Fortunately these proved to be my favourites from the album. An additional treat was the inclusion of 'Surfer Joe and Moe the Sleaze' from the 'Re-Ac-Tor' album. Then before we knew it, the band were playing their encore, 'Rockin' in the Free World'.
I know there were some among my group of friends who felt that the band needed to learn how to end a song. Of course they were unfamiliar with the Crazy Horse penchant for taking five minutes or more to close a song with repeated guitar chords and howls of feedback. It's called rock and roll and according to Young, it will never die.
For you completists out there, here is the full setlist.
1. Love and Only Love
2. Powderfinger
3. Psychedelic Pill
4. Walk Like a Giant
5. Hole in the Sky
6. Comes a Time
7. Blowin' in the Wind
8. Singer Without a Song
9. Ramada Inn
10. Cinnamon Girl
11. F*!#in' Up
12. Surfer Joe and Moe the Sleaze
13. Mr Soul
14. Hey Hey, My My (Into the Black)
15. Rockin' in the Free World.
I reported in early April that the author Iain Banks had terminal cancer and I have learned today of his untimely death at the age of 59.
I believe that the world has been robbed of a great writing talent, but happily he has left a great legacy of works for us all to enjoy in the future.
Rest in peace Iain.
Last week I enjoyed a couple of beers with a former work colleague who kindly passed on to me a couple of albums that I was unfamiliar with.
The first of these was 'The Day The Earth Met The Rocket From The Tombs' by The Rocket From The Tombs, a protopunk incarnation of Pere Ubu. The album was released in 2002 and features a collection of live performances and demos recorded during the short lifetime of the band between 1974 and 1975. Among the tracks are early versions of the Ubu classics '30 Seconds Over Tokyo', 'Life Stinks' and 'Final Solution', though they are heavier and more raucous than the Ubu versions.
The other album was 'Music To Eat' by The Hampton Grease Band. This is a double album dating from 1971 and has gone down in history as being the second worst selling record in the Columbia catalogue. (The worst selling album was the Maharishi Mahesh yoga instructional record). Despite the poor sales, the album has a great deal of merit and on listening to it, I can appreciate why the band were compared to Frank Zappa, Captain Beefheart and Pere Ubu.
If you should find a copy and enjoy some avant garde rock music, then I suggest you give it a spin.
I am not a fan of the rather soulless music of most of the electronic bands of the 1980's. However, one band always seemed to stand out for me as being something rather different. They were Talk Talk.
With each album they seemed to become more progressive and less commercial and this trend culminated in their final two albums, 'Spirit of Eden'
and 'Laughing Stock'
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This latter album in particular was a totally non-commercial venture that incorporated elements of folk, prog-rock, pastoral jazz and contemporary classical music within six improvised pieces. Both albums were utterly compelling and in my view, totally sublime.
So, on a rail journey to London last week, I was intrigued to read a review of the forthcoming third album from These New Puritans. Entitled 'Field of Reeds' the reviewer compared the sound of the album to the aforementioned releases by Talk Talk. It is not released until next week (June 10th) but live streams can currently be found on various internet sites. I decided I had to give one a listen and I was suitably impressed. Impressed enough to put in an advance order for the CD.
No doubt I will be writing at more length on this subject in the weeks to come. Meanwhile you can currently hear the album on this site:
http://www.guardian.co.uk/music/musicblog/2013/may/30/these-new-puritans-popandrock
Also I cannot recommend the above albums by Talk Talk highly enough. Try to give them a listen if you can.
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