Music / Padded Cell’s Night Must Fall
I usually steer clear of anything smelling of disco-breaks: the thought just bores me. But with Padded Cell’s new release, Night Must Fall, I see a bit of a U-turn on the horizon. There’s something really interesting going on here: it’s a cocktail of 80’s swank laced with woozy narcotic undertones and flecked with snappy drum loops: weird, undeniably dark and ominous, but nonetheless pretty damn satisfying. There’s no attempt to squeeze into the endless lines of disco artists queueing up for recognition: the group — formed from the ashes of Bronx Dog and Dirty Beatnik — have almost created a niche unto itself, filled with bursts of live instrumentation, marching beats and breaks, and a mature, but wild, swagger that can only be born out of a flat-out rejection of the oh so normal norm within the broader genre. Expect psychotic saxophones and chugging bass riffs walled in by a claustrophobic synth-rich backdrop: you’d get down to this on any dance floor.
Tagged: electronic music
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There’s ethnic tat, and there’s ethnic tat. On your first round-the-world trip, you’ll buy up the standard drapes, masks, bongs, drums, and so on. You’ll come back the proud bearer of rare and previously unseen items, before realising the exact same products are being sold in your local fairtrade shop. So on your next trip you’ll branch out a bit, and scoop up some lotions and spices you’re sure the organic market in town doesn’t sell. But it’s only when you mature to a higher level of foresight and gall that you’ll chance upon the pinnacle of ethnic tat: the Chairman Mao watch. On the last check it was still only available in China (or via mail order, but who wants that?), and therefore guarantees a genuine look of surprise and admiration upon unpacking your bags, for you must have traversed the mystical heights of the Himalayas and dodged the all-seeing eyes of the Communist Party to bring something of the other world back with you.
We asked Oakdale, California singer-songwriter Brett Dennen, who has one of the finest voices in contemporary pop-folk, about the humour whuch swirls amidst the brutal honesty of his lyrics, and whether he was generally a positive person by nature: ‘I’m weird. I can be laid back, and I can be stressed. I can be positive, and I can be cynical. I think generally, I am like everyone else. I want to love, and I want to be loved. I want to be happy and healthy, and I care about people. I care about the world. I want to be known for putting out a positive message I want to be a singer who inspires people to make the world better for everyone’. Some musicians stay strictly out of politics - you clearly beg to differ. Should those in the public eye be using their status to influence change? It’s really their choice. I think everyone who is in the public eye should use their status for something other than themselves, but it is their choice. I think the problem is that it is hard to speak your mind and heart. You write about politics, and people criticize you for it. It’s happened to me. You get put in a category. They call you a protest singer. Then you are stuck in a category. You may even get criticized for being too optimistic. I’d rather be criticized for being too optimistic, than being criticized for making bad music’.
Dr John’s The City That Care Forgot
Concept albums have always been a hit or miss affair, all too often to be taken with a pinch of salt. Some work brilliantly; many fall flat on their esoteric face. Dr John’s response to Hurricane Katrina is an intriguing album. Some is rousing, some depressing: it’s littered with political statements, perhaps too much at times but given it’s purpose the over-saturation isn’t surprising. In it, he teams up with ambassadors of blues such as Eric Clapton and Willie Nelson — artists who in the past have leant their name to issue-based music. You do get the feeling however that the collaborations are done for commercial appeal: there is something lacking from the original and distinctive Dr John. Regardless, its well worth a listen — there are very touching moments and solid protest songs to re-ignite in the world what three and a half years of other catastrophes may have covered up.
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Freelance designer Alex Trochut uses typography, illustration and a solid idea to create works that communicate to each brief. He states that he doesn’t want to choose a particular style but instead enjoys ‘expressing himself and communicating though the needs of every project’. And his formula has worked: his clients include The Guardian G2, Nike Football, and my pencil-case favourite, Faber and Faber.
These very sweet folks from Seattle supported Broken Social Scene on our last American dates of the Spirit IF tour. Although they haven’t quite hit their stride as a live outfit, the tunes from songwriter Grant Olsen have some very lovely moments that fall somewhere between Velvet Underground and The Everly Brothers. I think Arthur and Yu could take over from where Grandaddy left off, though with better songs. No offense to Grandaddy.
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DJ Spooky — That Subliminal Kid — is just about the deepest crate digger around, trawling the barrels of long-lost record stores for choice vinyl to spin in his wickedly dubby sets. He gave us the inside word last week on his eight favourite songs right now via our sister website, My Secret Playlist. This is what he had to say about Lee ‘Scratch’ Perry’s Panic in Babylon: ‘If there’s anything that the twenty-first century has told us, it’s that dub is the real original hip-hop. Lee Scratch even had to make it clear in 1965 by adding “Scratch” to his middle name. Take that, Grandmaster Flash!’ Read the rest of DJ Spooky’s Secret Playlist.
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