Copy Haho

“The opening track on Copy Haho’s self-titled debut, Factory Floor, is a glorious, euphoric start. The first line “I’m feeling bitter but I dunno what I’m bitter ‘bout”, seems a coquettish confession and there’s something a little charming about the delivery”
You can read my review of Copy Haho’s amazing debut album here, on Goldflakepaint.

Yeah, Yeah

Dylan Moran

Yeah, Yeah

Dylan Moran is perhaps most well known for his comedy series Black Books, which he wrote and starred in, as misanthropic bookshop owner, Bernard Black. For several years his talent for stand-up has been one of the hidden highlights of British comedy. Shunning panel shows, Moran is not quite a household name - unless you happen to be in a house with excellent taste in comedy, in which case the mention of his name is likely to release a torrent of compliments about this Irish comedian. On top of this, he's appeared in many films, the brilliant dark comedy of 'A Film With Me In It' (one of my favourite films, everyone should go and watch it immediately) and as unrecognisably different characters in 'Shaun of the Dead' and 'Run Fat Boy Run'. Clearly broadly talented (he's also writing a book) his stand-up is a real treat.

Looking around me, the audience members are from a variety of different demographics; largely it seems young students, but also some middle aged ex- students. It is perhaps a cliché to say that the atmosphere at the Bristol Hippodrome is one of palpable excitement, yet the hold Dylan Moran has on his fans is evident.

The stage is the same set up as on Moran's previous tours, a chair, a table with a wine glass, a screen with his drawings projected on and a microphone. As he walks on stage we all cheer, smiling, he waves and grabs the microphone; the loud "hello!" causes the audience to suddenly fall quiet, expectantly.

Clearly at ease, he begins. Everything he says immediately feels fresh and as though it's just occurring to him - joking about Bristol being a great place because it feels like it's "run by 23 year old Rastafarians", and his knowledge of the area and its stereotypes, traditions and habits is refreshing, he clearly knows where he is.

Moran tackles similar subjects to his past comedy shows. Middle age, love, youth, ageing, death, sex, politics and society in general, all fall prey to his razor sharp observations. It never once becomes a rant, his voice rises at times, increasing in volume until it seems that he can't possibly be following a pre-written script, he must be making it up on the spot....and then, with a disarming grin, he almost starts to whisper, as the previous point links beautifully to his theme. His bizarre analogies and quotable comparisons on DVD are certainly funny, but the clinical atmosphere of a recorded live show makes them seem perhaps less brilliant. Live however, it's clear that this humour is genuine, nothing he says is there to make us laugh for the sake of it, and every sentence carries a hidden weight.

Which brings me onto my favourite thing about Dylan Moran: he jokes about women and men, and not always in a particularly complementary way. He asks the audience with a small frown "who wrote Frankenstein?" and it's difficult to be sure if he's really forgotten, or is just making us feel more involved (the latter being more likely). The quick echoed reply of "Mary Shelley" perhaps proving something about the type of people that enjoy his comedy. This leads him onto a routine in which he compares men to The Creature and women to Dr Frankenstein/Mary Shelley. Such a comparison could easily alienate either all the men, or all the women in the audience but at the bottom of it all, a question remains about our society and the roles of gender within it. Not the easiest thing to do in comedy without being 'offensive'. It's unbelievably uplifting to spend about two hours in the power of such an intelligent comedian, and at no point feel uncomfortable, particularly when he by no means steers away from topics that could lead to offence. Instead, his disarming charm and perfect delivery mean that the audience are completely within his power and as it ends, it feels like barely ten minutes have gone past.

He ends saying, "the thing is....I don't know what the thing is" , apologizing for not having any more to say, although whether that's because he has forgotten to say something, or because the audience are so clearly hungry for more, is difficult to say, he wanders off with another wave, glass of wine in hand, leaving a projection of his unusual and amusing drawings and one of his silhouette alone on the stage.

Fight Like Apes - The Body of Christ and the Legs of Tina Turner

Fight Like Apes - The Body Of Christ and the Legs of Tina Turner

I’ve been a fan of Fight Like Apes for a while now; their first album ‘Fight Like Apes and the Mystery of the Golden Medallion’ was one of my favourites of 2008. Its mixture of synth hooks, fuzzy guitars and lead singer May Kay’s wonderful ability to switch from huskily whispering her words to screaming. It’s endearing, enjoyable - and there’s something sincere about them that makes the refrain of “and did you fuck her? and did you stick things up her?” (from ‘Digifucker’) enjoyable for more than its barefaced rudeness.

So when I discovered they had another album due out, I wasn’t really sure what to think…the energy from their first album might well have petered out by now, three years after their first full album. Luckily, however, Fight Like Apes far from disappoint.

The first single, Hoo Ha Henry maintains the sense of comedy FLA are renowned for, particularly through their use of samples, but it manages this without losing the quality of the song. The contrast of the ‘traditional views’ in these samples and the attitude of Fight Like Apes makes for even more enjoyable listening. The same technique is used to great effect on the next track ‘Pull Off Your Arms and Let’s Play In Your Blood’ which I’ve already seen quoted in several reviews: the line “my well read friends inform me that I was a cunt” seems to be striking a chord with people.

‘Thank God You Weren’t Thirsty (Lightbulb)’ is a brief pause, it’s a genuinely beautiful track and May Kay does something a little different with her voice, making it softer. She begs, “my heart is all grey, please, please stay away, from anyone’s heart or their brain…would that be okay?” and even after the screams and almost indistinguishable swear words towards the end (well, it is Fight Like Apes, let’s not get too sentimental) there’s something tender here and another side is shown. A welcome change from the anger and elements of triviality normally seen, not a criticism as they do it well, but it would certainly be interesting to see them try this on a couple more tracks.

On ‘Poached Eggs’ (released before the album as a free download as well) FLA are masking their rudeness and behaving with more subtlety (but only a little bit). May Kay’s coquettish way of singing “I’m sorry for being so incredibly gay, the day you spilt your poached efforts, all over my duvet” means it takes a couple of listens to be certain what she’s singing about. . ‘Indie Monster’ gifts another lyrical gem, the repetition of “you look like a hairstyle” and ‘Ice Cream Apple Fuck’ sums up the band’s approach simply, with the line “I will not take your shit”

’The Body Of Christ…’ is a glorious mix of Riot Grrl, pop, punk, humour and authenticity. It’s messy at times, but that adds to its charm and there’s a little more cohesion than on the first album. Its difficult to shake the feeling that no matter how you feel, Fight Like Apes like what they’ve done and (I’m hoping at least) will continue to do what they do, and frankly won’t give a damn.

Rachael Jensen Leaves Parenthetical Girls

In a post on their website it has been revealed that Rachael Jensen has left Parenthetical Girls to “pursure a higher education”.

Zac Pennington said that she is “in many ways the heart of the thing called Parenthetical Girls” but the band also “continues in many ways stronger than it has ever been, with new stock and new excitement”.

For me, Parenthetical Girls are a band I hear and get this overwhelming urge to go and tell someone just how really really amazingly great they are, (normally with that slightly giddy grasp of grammar) and while this is certainly sad news, the fact that they will be continuing to make music is always exciting. I’m already curious to see what will be next for them.

Dove Hounds

http://www.dovehounds.com/

After a productive year: releasing a new album as Former Ghosts, touring in support of that album with Xiu Xiu and Zola Jesus, and another tour of Europe coming up, you might expect Freddy Ruppert to be feeling like taking a break...apparently not.

The two tracks on this website seem to have more in common with This Song Is A Mess But So Am I than Former Ghosts. Ruppert's vocals aren't hidden behind any synthesizers or distortion (perhaps the only slight criticism of Former Ghosts I've ever really had), allowing his distinctive and emotional voice the prominence it deserves. These tracks feel raw and clear - every sound is audible, Ruppert’s talent for communicating the most painful (and personal) emotions through his music clearly has not diminished.

With an album only planned for release, and the intriguing possibility of Freddy Ruppert starting a small (vinyl only) label it looks like patience is going to be necessary before anything more is heard from Dove Hounds.

Xiu Xiu Interview...

Link to Tumblr

A little teaser for my interview with Jamie Stewart of Xiu Xiu.


EDIT:
The full interview can now be listened to here: Link to Tumblr

Jack Hayter - Sucky Tart

The first track, 'I Stole The Cutty Sark' contrasts traditional sea-shanty style vocals with discord and unusual instrumentation effectively, managing to tread the line between 'folk' and 'alternative' without becoming dull. 'A Doll's House' is lyrically smart and humorous; "he's got her head in his lap, but her body's in the corner of another room. It's not what it seems...'. The image this creates at first is surreal, but Jack Hayter makes it seem a deeply personal emotional tale.

'A Simple Song' and 'Jacquie I Won't Mind' are pleasant and again emotionally literate. On the evidence of this EP, Hayter's lyrics have a knack for making you think one thing, which is then later revealed as something more. This makes it feel quite touching and personal, as in 'A Doll's House', "It's not what it seems...'cos what it seems is, they're living in a Doll's House". His refreshing blend of sounds and influences make 'Sucky Tart' is a pleasant listen.

Available to order from Audio Antihero on 31/01/2011