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| Tuesday, 25 November 2008 00:12 |
 Carsick CarsCARSICK CARS (Tenzenmen/Fuse) Beijing may not seem like the most fertile ground for new wave indie bands, but that looks likely to change. Regional neighbour Japan has been exporting their musical talent for many years, but China’s arts scene is only now making itself heard. Carsick Cars is the second group to be featured as part of Tenzenmen’s ‘Maybe Mars Series’, a showcase of China’s emerging underground music scene. This trio of 20-somethings owe much of their aesthetic to groups like The Velvet Underground, The Replacements, The Jesus and Mary Chain, and Sonic Youth (with whom they toured Europe last year). The vocals, in Mandarin and English, are occasionally relegated to the background in favour of layered guitar washes and heavy bass riffs. This may sound like ground well-tread, but you’ve never heard it like this before. 3 ½ out of 5  FordlandiaJOHANN JOHANNSSON (4AD/Remote Control) After a series of obscure but widely cherished releases, Jóhann Jóhannsson garnered a comparatively large following with the release of 2006’s IBM 1401, A User’s Manual. Seemingly as an afterthought, Jóhannsson has declared IBM the first in a trilogy of works based around technology. Fordlandia is the second instalment. Jóhannsson is a neo-classical composer, crafting orchestral pieces around dark electronic soundscapes. His work is sparse and contemplative. Compared to IBM, Fordlandia has a more intimate feel, often utilising smaller ensembles or isolated instruments. There is also less emphasis on strings, with piano, organ, brass and chorus being used prominently. As with all of Jóhannsson’s work to date, Fordlandia is a truly remarkable aural experience. 4 ½ out of 5  Berlin: Live at St. Ann's WarehouseLOU REED (Matador/Remote Control) 1973’s Berlin is widely considered to be either Lou Reed’s greatest masterpiece, or his most self-indulgent folly. When it emerged that Sharon Jones and Antony were going to be backing singers in the band Reed assembled to perform the album live in 2006, naysayers attributed it to his ego. What they failed to recognise, and soon found out, was that Reed had found a way to make the album sound better than it ever had. The theatrical nature of Berlin makes it perfect for the stage. The ensemble is outstanding, and Reed sounds uncharacteristically enthusiastic. Whether you loved or hated the original album, it is worth revisiting in this new context. Also check out the concert film directed by Julian Schnabel and superbly shot by Ellen Kuras. 4 out of 5 |