Author: Joseph James

Buried Treasure: How To Destroy Angels – Is Your Love strong Enough?

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Buried Treasure is a semi-regular feature that explores some hidden musical gems – the rare and forgotten B-sides, covers, hidden tracks, live versions and alternative takes that deserve some recognition.

I met Trent Reznor last year.

It was the day after the Nine Inch Nails/Queens of the Stoneage double bill. I was sitting in the departure lounge at Christchurch Airport waiting for my flight back to Wellington. A child in the same room was making a weird noise that sounded like a whistle crossed with a scream. Of course I looked up to see what the strange sound was.

And then I saw who the kid’s dad was. It was Trent Reznor. There was no way I could mistake it – his face was on all the Nine Inch Nails posters I’d had on my bedroom room as a teenager.

I nervously approached him.

“Uh. Excuse me”.

Trent looked up at me with a steely stare. “Yeah?”

“Are.. are you Trent Reznor?”

“Yeah”.

“Cool…”

He didn’t roll his eyes, but he really should have.

I tried to save myself from looking like too much of a dick. “I was at the show last night. It was awesome.”

Trent looked a bit pissed off. “Thanks. Hey, I’m going to spend some time with my family, OK?” He shook my hand and walked off.

Maybe I shouldn’t have interrupted his family time, but I think I would have regretted it if I had thrown away the chance to meet one of my musical heroes.

Trent Reznor is the gothic poster boy for industrial music. He didn’t start it, but he was responsible for bringing it into the mainstream. Name any angsty alternative-metal from the 90’s onwards and Reznor is likely to be an influence.

In 2009 Reznor announced that NIN were finishing up. He started working on other projects. How To Destroy Angels was one project, fronted by his wife, Mariqueen Maandig. And following up from his acclaimed soundtrack to the video game Quake, Reznor co-wrote the scores to some David Fincher films along with Atticus Ross: The Social Network, The Girl With The Dragon Tattoo, and Gone Girl.

The Buried Treasure track I’m writing about today is ‘Is Your Love Strong Enough?’ by How To Destroy Angels, from The Girl With The Dragon Tattoo soundtrack.

I’ve never even watched TGWTDT – I didn’t expect the English speaking remake to be any better than the original. But I did buy the soundtrack, because I liked the work Reznor did on The Social Network. The music is eerie and unsettling – suiting the mood of a David Finch film. It’s not something I listen to often – it’s three albums worth of creepy background music – except for two songs. One is a cover of Led Zepplin’s ‘Immigrant Song’, featuring Karen O from The Yeah Yeah Yeahs, the other is a Bryan Ferry cover by HTDA.

The cover is ethereal like the original, but with less of a 80’s power ballad feel. This automatically makes the cover an improvement. Maandig’s vocals are the highlight of the song – strong and haunting. Reznor also adds some backing vocals to the mix. Both have powerful voices and they contrast nicely. The song is brooding and builds up slowly. The glitchy electronic sounds are inevitable when you consider the artists’ industrial backgrounds, and the blips and beeps add colour to otherwise stark reverberating keyboards.

I read that Maandig came and sang some HTDA songs during the NIN set in Auckland on the same tour I went to. I wish that she’d done the same in Christchurch.

Joseph James

Album Review: Silversun Pickups – Better Nature

Silversun Pickups Better Nature cover
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Better Nature is Californian quartet Silversun Pickups’ fourth album, the follow-up to 2012’s superb Neck of the Woods.

They’ve always written brilliant dreamy shoegaze songs with a hint of danger, but never managed to receive much attention in New Zealand. New World supermarkets started to use ‘Lazy Eye’ in their advertisements a few years ago, but I still see Silversun Pickups as an underrated indie secret. Better Nature is more energetic than the previous albums, hinting that it may prove to be the break through album in New Zealand.

(Clockwise from L-R): Joe Lester (keyboards), Nikki Monninger (bass), Christopher Guanlao (drums), Brian Aubert (guitar, vocals). Credit: Rebekkah Drake

(Clockwise from L-R): Joe Lester (keyboards), Nikki Monninger (bass), Christopher Guanlao (drums), Brian Aubert (guitar, vocals). Credit: Rebekkah Drake

The titular opening track ‘Cradle (Better Nature)’ is more explosive than I had expected from the band based on their earlier output. I realised something different was up at the songs halfway point, when the choral chant of “Better! Nature!” launches into a raunchy guitar solo. The previously shy shoegaze sound has turned frantic and demands the listener’s attention, while still retaining the attractive fuzziness. Second song ‘Connection’ follows up just as strong.

It’s the same Silversun Pickups sounds that you know – crisp drums, throbbing bass, ethereal fuzzy guitar and atmospheric synths. But this time it’s a case of more. More variety, more attitude, more wild and unkempt. Frontman Brian Aubert even looks more wild. Watch the video of their last video clip (Cannibal) and compare his appearance to the ‘Nightlight’ video and you’ll see what I mean.

Better Nature features loads of interesting sounds and tones, lurking almost into industrial territory at times. For example, ‘Friendly Fires’ reminds me of soundtrack work that the album’s mixer Alan Moulder has done alongside Nine Inch Nail’s Trent Reznor in the past. It begins with threatening throbbing bass that evokes a tense thriller scene, before the introduction of chirpy keys reminiscent of Jay Z’s “New York State of Mind”. The cut out chorus sung a capella over hand claps adds to the eerie feel..

Lead single ‘Nightlight’ also has a lot of similar elements to Nine Inch Nail’s ‘Hand That Feeds’. It’s not as upbeat, but the distinctive drumming, moody bass, and victorious chorus make it a perfect synth pop anthem.

(WARNING the above video contains violence and nudity.)

It’s impressive that the band can keep their familiar signature sound and still write songs that sound different. You can tell that they’ve made an effort to prevent the songs all sounding the same. Many start strong and unique, before slowly reverting back to the usual fuzzy sound. And there are so many strange outros that don’t match their respective songs. Clinky slow xylophones, a child singing, and odd vocals all feature in outros that seem out of place, in attempt to mix things up.

‘Pins & Needles’ is my personal favourite, featuring a groovy swagger thanks to slide guitar before returning to the familiar infectious fuzzy sound. The guitar solo is a ripper too, with some delicious tones. ‘Tapedeck’ has lovely resonating marimba or vibraphone playing over a dancy syncopated beat and dripping with odd sounds that allude to industrial music. The expansive slow chorus sounds odd juxtaposed against the driven verses, but it works. Bassist Nikki Monninger takes over lead vocal duties in the echoed chorus of ‘Circadian Rhythm (Last Dance)’ and her voice is so good it’s a wonder that she didn’t feature more prominently throughout the album.

Better Nature is great – both recognisable and fresh. It’s more dangerous and wild than the previous albums, with the same brilliant aspects that made them so good. It’s not as dreamy anymore, but the dark new urgency makes for more exciting music.

Silversun Pickups:         Website         Facebook           Twitter         Instagram           YouTube

Joseph James

Film Review: Everest

Everest
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Everest is a true story centred around Kiwi mountaineer Rob Hall (Jason Clarke) who guided a group to summit Mt Everest alongside other groups in 1996. It is based on the autobiographical book Left for Dead: My Journey Home from Everest, by Beck Weathers (Josh Brolin), one of the characters in the film.

Hall’s wife Jan Arnold (played by Kiera Knightly in the film) lives in my home town of Nelson. She came and gave a talk to my year group when I was in high school, so I had a fair idea about what the plot would involve. This didn’t spoil anything though, because I was still kept on the edge of my seat throughout.

Willing climbers have paid Hall and his company Adventure Consultants to guide them to the summit of Everest and back, based on his reputation for success and safety. There are also two other groups who are attempting the same during the two week window: a selfish South African group, and Mountain Madness, led by Scott Fisher (Jake Gyllenhaal). The overcrowding at base camp causes some complications, but as Fischer points out, it’s not a matter of the three groups competing against each other, but rather a matter of every person competing against the mountain.

We get to know the key characters, their motivations, their weaknesses. Hall has a pregnant wife back in New Zealand. Weathers is a rich American who pursues mountaineering to avoid depression. Doug Hansen (John Hawkes) wants to prove that an Average Joe is capable of extraordinary things. Yasuko Namba (Naoko Mori) has climbed six of the Seven Summits (the highest peak of each continent), and seeks to complete the set. We watch with abated breath as the climbers all seek to accomplish a common goal: to summit Everest and survive to tell the tale.

I applaud whoever did the casting for this film. The collective acting talent is strong enough that I was able hear to attempts at the New Zealand accent without feeling compelled to cringe. It sounds petty, but it really is an achievement. The only other example of an actor capable of pulling this off (that I can think of) is Anthony Hopkins, who played Kiwi motorcycling legend Burt Munro in The World’s Fastest Indian.

And it’s not just acceptable accents that got noticed. The cast take us on an emotive ride that having us vicariously cheering one minute, and choking back tears the next.

This is certainly a film that shines in a cinema setting, doing justice to the vast scenery shots displayed across a big screen. The scale of the cluttered Nepalese cities and majestic icy peaks are breathtaking. It is nice to see some authenticity, with some of the filming having taken place in Nepal, with the rest being shot in the Italian alps and the UK.

Both triumphant and tragic, Everest tells a gripping tale that reels you in and displays the destructive power of both nature; and the power of the human spirit and will to survive.

Joseph James

Buried Treasure: Biffy Clyro – ’57’ (live at Wembley)

Biffy Clyro 57
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Buried Treasure is a semi-regular feature that explores some hidden musical gems – the rare and forgotten B-sides, covers, hidden tracks, live versions and alternative takes that deserve some recognition.

Biffy Clyro – ’57’ Live at Wembley

Biffy Clyro are my favourite band. Most of my friends are probably sick of how much I rave about them.

If I had to pick my favourite release of theirs it would have to be the Revolutions // Live at Wembley CD/DVD set. They have a lot of strong albums to pick from, but Revolutions collects most of their best material, and some of the live versions are better than the studio versions. I’ve used that DVD to convert many of my mates into Biffy believers.

BiffyClyroRevolutionsLiveAtWembleyBox '57'

The limited edition tin box set that I own is excessive. It came half full with confetti from the concert, along with a piece of wood from a smashed guitar, stickers, a poster, a copy of a diary from the tour manager, and the all important CD/DVD. It cost me an arm and a leg – paying the currency conversion fees and international postage – but I don’t regret it in the slightest.

The DVD includes 25 of Biffy Clyro’s best songs that they’d released at that point. Hard hitting rock anthems, emotional acoustic songs, sing-along ballads, and weird indescribable early eclectic stuff. Material from their most recent studio album, Only Revolutions, hadn’t changed much while transitioning from studio to live setting, but it was clear that some songs from their early days had evolved over time.

The best of these was the ’57’, from Biffy Clyro’s début album Blackened Sky.

’57’ is a companion piece to ’27’, another single from the album. It’s written in a typically Biffy unusual style, showcasing their penchant for mathy riffs with odd time signatures. For a three-piece band to work well, every member needs to be pretty capable on their instruments. This more than applies to Biffy Clyro, whose three members are all phenomenally gifted. They even split vocal duties in this song. ’57’ features aggressive grungy loud/soft dynamics, such as the quiet “do, do ,do” prechorus that leads into the explosive chorus.

BiffyClyroBlackenedSkyPurpleLP '57'

The debut album Blackened Sky, in lilac purple. This pressing also features nine B-sides on a second LP.

’57’ is a highlight of Blackened Sky, but the live version was so much more exciting and energetic, somehow rejuvenated. Maybe it’s because it was one of the first songs that the band recorded, giving them about 10 years to hone and improve it before they filmed it at Wembley. The infectious “HEY”s in the chorus work so much better with everyone in the crowd shouting it.

http://www.youtube.com/watch?v=_XuOTIIb4p4

Needless to say, I was over the moon when they played it at their first ever New Zealand show. It was certainly a highlight from an already outstanding set.

Usually studio recordings are better quality than live versions, because songs can be edited and touched up during production. Revolutions is a rare exception to that rule, with ’57’ being the most standout example. You can find live versions of songs that Biffy have written since Revolutions on Opposites: Live at Glasgow, but sadly the audio quality for the latter isn’t nearly as good.

 

Joseph James

Album Review: Gary Clark Jr – The Story of Sonny Boy Slim

Gary Clark Jr The Story of Sonny Boy Slim cover art
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I’ve seen Clark play on both his visits to NZ. The first time he opened for the Red Hot Chili Peppers at Vector Arena in 2013. It was only a four-song set, but it was enough to blow me away. When he came back to our shores earlier this year he proved once again that he is a musical force to be reckoned with.

There was never a question of whether The Story of Sonny Boy Slim was going to be good. Gary Clark Jr has the midas touch of the guitaring world. The question was whether he would be able to capture his sensational live energy on his sophomore studio full-length.

The problem was that his Black and Blu album wasn’t comparable to his stage sound. The dirty rawness got lost in the production. The songs were good, but didn’t allow the true brilliance to shine through.

Before I discuss the music, I must note that this album is visually stunning. I bought the 2LP gatefold vinyl and the art is great, with a contrasting colour scheme of red, yellow and black. The best aspect is side D, which features the scene from inside the gatefold laser-etched onto the disc.

Side D, with laser etchings of the picture from inside the gatefold

Side D, with laser etchings of the picture from inside the gatefold

Clark has taken more control over this second album. No co-writers are credited this time round. He also dominates with the instrumentation, playing bass, keyboards and drums as well as the expected vocals and guitar. This would suggest that the record could sound more clinical, having been recorded in so many separate takes. But it doesn’t. And kudos to Clark for having the ability to pull off the work that usually requires a full band. He roped in some mates to help out at times, including saxophone, horns, organ, piano, and flute to flesh out the sound.

The Story of Sonny Boy Slim is also a bit of a family affair. Clark’s fiance Nicole Trunfio and son Zion feature in the intro of ‘Hold On’, and his sisters Shawn and Savannah provide backing vocals on a three tracks.

Speaking of intros, the start of first track ‘The Healing’ has an odd little pre-amble that sounds like something Son House would sing. It’s not a strong introduction to the album, but it does foreshadow that this album is more of a nod to older styled blues.

‘Grinder’ is the designated crowd pleaser – the rock number with the obligatory guitar solos the whole way through. But The Story of Sonny Boy Slim is not an rock record (surprising, considering that the release date coincides with the commencement of a tour supporting rock titans Foo Fighters). Instead most of the songs sit back in the groove. This is the album that requires being in the moment. There’s no hurry. There doesn’t need to be.

Take, for example, ‘Star’. It has skanking guitar and falsetto singing riding upon a delicious bassline. It stays strong and steady the whole way through.

Some of the stand out tracks include ‘Hold On’ – a more ballsy song that features a horn mantra and squealing guitars; ‘Wings’ -which showcases Tameca Jones as the amazing guest vocalist who sings above the infectious syncopated snare patterns; and ‘Can’t Sleep’ – with more squealing guitars and a bouncing beat.

We hear nod’s to the inspirations from the past in the Motown-sounding ‘BYOB’, and the ho-down that is ‘Shake’ goes full-vintage with prominent slide guitar. Harmonica and organs and brass instruments all feature heavily throughout the album, too, giving a New Orleans flavour.

Final track ‘Down to Ride’ is like ‘You Saved Me’ version 2: the longer hazy extended jam. It takes me back to when I saw Clark play last, drinking in the soulful tunes in a hazy, dimly lit venue.

Clark is no longer the promising young guitarist from Austin who needs to impress and make a name for himself. He has proven himself already, so now he can sit back and play music for his own satisfaction. And taking a more personal approach may have reduced the sell-ability of the album, but it also lifted the overall quality and cohesiveness. He doesn’t need the co-writers, the producers or show-off songs. His songwriting is strong enough that he can let the music sell itself. This is an album designed as a whole, rather than a collection of singles.

Listen to ‘Church’ (featured above), a track that Clark previewed at his Wellington show earlier in the year. It’s nothing flashy. Hell, it’s straight up basic. But there’s something that I can’t quite pick that makes it utterly electrifying.

If you’re after the next Hendrix, then this album will disappoint. But if you are happy to settle for some stunning blues, saturated in a relaxed vibe and some thrilling instrumentation, then this will suffice. And of course the guitar playing is still brilliant.

Clark is Sonny Boy Slim. This is his autobiography. And it’s well worth a listen.

Joseph James