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that doesn't den! the band's impact in
the least.
Clinic's ability to stay true to its
trademark minimal essentialism.
yet still achieve such deep, palpable
moodiness is a true marvel This is an
album that knows the value ot tudicious
placement, capturing the full effect of
even simple elements like a lonely har
monica here or a primitive guitar echo
there. Purposeful, optimizing gestures
like these prove Clinic's incredibly
accomplished concept of rawness
Moreover, the band makes sure the
record is dusted with plenty of patina
by dragging its thick rock through the
rich soils of spaghetti Western scores,
psych, surf and Stax-style soul.
Fairly consistent throughout is that
Velvet Underground influence which
permeates the largely spacious songs
like opium smoke rolling across the
badlands. Apart from the bashed-out.
feverish urgency of "Shopping Bag,"
the narcosis is more meticulously
rationed and atmospheric.
Highlights include the big. studly
swagger of cuts like “Memories" and
The Witch ‘ Also exceptional is “High
Coin" a funereal. Coyofe-esque march
that burns w.th foreboding inevitabil
ity The nicely unpredictable "Free Not
Free' is a gorgeous, drifting slab o!
70s soul that's occasionally rapen with
brie! stabs of dire, razorblade guitars
that come seemingly from nowhere As
only Clime can do. fhe desert-tripping
rattlesnake psychedelia o' Do It! *
lentdiabie. original outstanding
Bac le-rliiij
DOES IT OFFEND
YOO, YEAH?
You Hove No Idea What You
Are Getting Yourself Into
AlmostGold Recordings
First impressions last. So. it's all
the more crucial to start by saying this
band is better than its name Actually,
since that moniker smokes the pole
so much (The Guardian even crowned
them "Worst Band Name' in 2007),
let's say that again: this band does not
suck At least, the debut album doesn't.
With an approach that bridges '80s
indie rock and ‘00s dance music, these
Brits are well-versed in the hybridized
Madchester heritage. Their aesthetic
thumps with the maior signitiers of
today's dance floors and all the de
rigueur DaK Punkisms that implies.
But most dance acts do not, and often
should not. attempt actual songs.
DIOYY. however, proves to be the
exception, executing many fully vocal
songs convincingly. They're prone to
moments ot abject lyrical stupidity
(“Let's Make Out'), but their name and
song titles should ve already tipped
you off that these lads have no busi
ness handling language In the way ol
sound though, they're solid, showing
keen aptitude in melody, pacing and
construction
Of the highlights. 'We Are
Rockstars' packs everything a prime
time dance cut should power, simplic
ity and contrast The dense, buzzing
storm clouds ot stomping acid insanity
part occasionally and drop into a pimp-
smooth robo-disco break. It's such
an obvious banger that DJ Steve Aoki
couldn't resist putting it on his debut
mix album Also excellent is "Epic
Last Seng." an electro-coated, melodic
indie-rock song that has a chorus so
soaring that it'll draw anyone wearing
skinny jeans out on the floor With this
auspicious lirst step. DIOYY makes a
credible bid to become the next huge
party band.
Bao Le-Huu
THESE NEW
PURITANS
Beat Pyramid
Domino
Beat Pyramids pulsating sense ot
urgency creates the sense that you're
caught in the midst of a British heist
film as though some anonymous
henchman might snipe you down at
any moment We re being watched by
e»pe-‘!s.* the unsuspechng listener is
warned as the album's cautionary tone
progresses
Golden. Barnett's dehuma? zed delivery
calls attention to the alienating aspects
ol technocracy and projects weir
broader social context, w.thou! giving
then a name.
Given such a wealth of bravado for
a group just old enough to perform in
the UK's Southend pub circuit, These
New Puritans possess a keen musical
instinct, and an occultist obsession
with numerology cryptic enough to
put Coltrane to shame .Track names
like ‘Intmityytinifni' are written in
retrograde with Arabic subtitles, while
the album itself can be played cycli
cally without interruption. Yet, what
comes across as infatuation is. in
actuality, a cheeky 'way ol overslating
that objects are only given meaning
to the extent that humans ascribe to
them—"This music is symbolic/ This
music is weightless.’ we’re reminded
in Wu-Tang-inspired 'Swords ot
Truth.' Taken this way, “numbers in
the back ol our eyelids,' are given to
signify the mind's subjective inner-eye
Descriptive rather than prescriptive, the
lyrics seek to evoke a mocking sense ot
paranoia, mirroring a society that has
become excessively concerned with
the purely quantitative and ostensibly
meaningless
Ryan Monahan
THE BRIAN JONESTOWN
MASSACRE
My Bloody Underground
A Records
In terms of impact fhe work of
this neo-psych band and the me f cu-
rial personality of its frontman. Anton
Newcombe. have long been headed lor
a photo finish
Newcombe s obvious latent is
always in danger of being eclipsed by
his seil-stirr^d drama But after several
years of much needed quiet BJM is
tack with lucky album number 13
Superstition aside, applying ^lerences
ip me two greatest shoegaze bands
r * tne entire rock canon jMy Bloody
tta tt isteif •
*,•. titanic forefathers repiesen', but
this am t the work of a chump either
With influences that are nothing if
not obvious, no one looks to BJM to
change the language of music No.
mood is what this band otters And m
this effort, it's served up nice and thick
The fuzzy, suffocating waves and dark,
shuttling breakbeat in Who Cares
Why" slather on the sex’/ narcosis in
lecherous proportions “Golden-Frost"
is raw. bashed-out rock and roll trying
to slay alloat in a roiling sea of para
noia. The lonely maiesty ol "Darkwave
Driver/ Big Drill Car" rides a sonorous
surt guitar over layers ot white noise
The tracks aren't so much songs as
they are transporting auditory trips
Sprawling and atmospheric, it's a lurid
brand of medicated impressionism
that hypnotizes through halt-lidded
repetition, deep grooves and a swirl
ing. anxiety-ridden sense of perpetual
motion.
Welcome back. Anton Now just
keep your mouth shut and stick to the
music
Bao Le-Huu
MMs Top 10 Spins This Week
1. Fuck Buttons—Street Homsing
2. Exceptor—Debt Dept
3. Stephen Malkmus and the Ticks—Real Emotional
Trash
4. Destroyer— Trouble in Dreams
5. Meic Stevens—Gwymon
6. Evangelista—Hello, Voyager
7. Valet—Naked Acid
8. Thee Oh Sees—The Masters Bedroom is Worth
Spending a Night In
9. Cloud Cult—feet Good Ghosts (Tea-Partying through
Tornadoes)
10. Sleepy Horses—Somewhere Out West, Lonesome for
You
Rankings are based on Radio 200 charts as reported to CMJ.
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NEWS & FEATURES I CALENDAR I MOVIES I A&E I MUSIC I COMICS & ADVICE I CLASSIFIEDS
APRIL 16, 2008 ■ FLAGPOLE.COM 35