(# 358) Patti Smith
- Banga (2012)
I know that so many people idolise Patti’s early albums such
as Horses and Easter. I do too but also
maintain that the albums she has released since her comeback, especially Gone
Again and Gung Ho, are just as strong. Banga
might very well prove to be the best of any album save for Horses. It is an immaculately produced and sounding album;
her voice in particular has never sounded better and the rough edges smoothed
to no detrimental effect. Amerigo is an intriguing
opener which gives way to the wonderful April Fool. The next two tracks are laments for the
victims for the Japanese tsumanui (Fuji-San) and Amy Winehouse (This Is The
Girl) and the remainder ploughs familiar themes. I’m not sure everything works (especially the
10 minute Constantine’s Dream, which appears to lack something I just can’t
just seem to put my finger on) and it ends on an odd note with a cover of Neil
Young’s After The Gold Rush dominated by the voices of her children. But these do not detract from what is a major
work.
(# 359) Boris – New Album
(2011)
Boris is a Japanese three piece that usually plays a loud,
brutal and uncompromising form of droney rock that resulted in their being signed
up by US label Southern Lord, the home of supreme noise merchants Sun O))). This might be the closest thing the band will
ever release to a commercial album. That
is, of course, depends on your definition of commercial as on this album, the
band appears to put away most of their own inspiration in favour of tracks that
seemingly borrow from other acts. These include
Dinosaur Jr (the seeming inspiration for opening track Flare), Smashing
Pumpkins (Luna) and a sped up Depeche Mode (Jackson Head). Pardon? vaguely hints at Funkadelic’s Maggot Brain.
At home, and with very little on offer on TV, I opt for
another DVD, this time going with:
(Audio Visual 9)
Drive-By Truckers – The Dirty South Tour. Live At The 40 Watt (2005)
This is a fairly straight forward rendering of the first two
shows that started their Dirt South Tour on 27 & 28 August 2004. One of the attractions of the DVD is that it
allows me to look inside one of America’s mythical band rooms, The 40 Watt Club
in Athens, Georgia, a venue often associated with the early years of R.E.M.
(Once again, all the DVD reveals is just how similar are most of these venues.) Naturally a fair chunk of the then new album is
played. Indeed, the first five tracks
from that album are the first five tracks on this. Given the band’s reputation as a fearsome
live act, it comes as little surprise to find that the power behind these performances
renders the studio album irrelevant. The
only drawbacks to the DVD are the insertion of talking pieces to band members
between a number of tracks which disrupts the natural flow. In addition, the encore portion is separate
from the main set and even the Play All feature doesn’t link them
together.
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