Album Review: Dance Mother - Telepathe

Listening to Telepathe's début album is like being mugged by a group of cute 16 year old girls. The sound of candy-floss vocals cussing and spaced-out ambience with a malicious edge becomes strangely alluring by the album's close.

Production by David Sitek (Yeah Yeah Yeahs and TV On The Radio) gives 'Dance Mother' a clear edge and it is always refreshing to hear Sitek's sound applied to different musical styles. Telepathe make loose, cosmic disco influenced electronic music with female vocals reminiscent of the cute yelps of Architecture In Helsinki, only spray painted jet black.

The result is an album with bags of atmosphere. Defined by space more than anything, it is effortlessly contemporary yet sounds like it will age well, refusing to be compounded by anything as rigid as time. With reflections of the African rhythms vibe everyone thought was the next big thing last year, Dance Mother captures the same feeling of nature and water that Foals' début did (also originally to be produced by Sitek before his mix was abandoned).

At it's best 'Dance Mother' feels like the reclamation of urban society by nature. The beautiful 'In Your Line' sounds like an abandoned warehouse becoming slowly overrun by nature, rain tearing down the roof above and vines gradually pulling down the walls.

Available on Amazon.co.uk on CDand MP3.

BP x

Album Review: Immolate Yourself - Telefon Tel Aviv

Taking elements of post-rock, the sounds of early M83 and late Ulrich Schnauss - plus maybe even a pinch of mid-career BT - Telefon Tel Aviv snuck out their new album 'Immolate Yourself' a few weeks back.

BlackPlastic may have only just got around to commenting but Telefon Tel Aviv just might have gone and made the best straight up electronic album in a while. The strength here is really in the polish and attention to detail - the ambient melodies could easily have missed their mark if it wasn't for the layers of distortion and punchy drums that refuse to become enveloped in sound - each beat and stutter, each fragment of sound adds texture and detail.

With the rhythmic touches of breaks, the melodies of ambient house and the production quality of the best minimal techno 'Immolate Yourself' feels like a photographic image that literally stands up off the page.

The result is pretty glorious. The opening Birds lures the listener into an album that never gives up and whilst they know better than to stray too far from the template there is enough variety - in the 80s sheen and bubbling bass of Helen of Troy for example - to keep things interesting. Yet most of all it is the feelings Telefon Tel Aviv convey in their music that stays with the listener after 'Immolate Yourself' has drawn to a close.

Intelligent, emotive and modest.

Available on Amazon.co.uk here.

BP x

Album Review: Farewell Good Night's Sleep - Lay Low

Sometimes BlackPlastic goes off-piste. Electronic music may be our bread and butter yet there are occasional albums that fail to fall into this genre yet still deserve some attention.

Lay Low is Icelandic singer Lovisa Elisabet Sigrunardottir and Farewell Good Night's Sleep is her first album to be released in the UK (but her second album proper). Recorded and produced by Liam Watson, who has previously worked with The White Stripes, it smacks of the same laid back laziness of fellow Icelander Emiliana Torrini but with added Jazz. Fact: BlackPlastic loves laziness and BlackPlastic loves jazz.

Not much happens on Farewell Good Night's Sleep: if you want to level criticism at it then that's your best bet. Other than that Lay Low has crafted a joyful, gently strumming album that sounds like it should be the soundtrack to a road trip buddy movie involving lots of drinking and aging. It feels like sipping whisky and holding a cigar whilst dancing in the dark. It's moody yet playful, considered and understated.

Farewell Good Night's Sleep: an excursion you don't want to come home from.

Download the MP3 of Last Time Around (right click, save as).  'Farewell Good Night's Sleep' is released on 9 March.  Available to pre-order at Amazon on CDand in MP3.

BP x

Album Review: Walking On A Dream - Empire of the Sun

As one of last year's biggest acts that BlackPlastic never even mentioned MGMT came to represent the founders of a new sub-genre of nu-rave rock. BlackPlastic has no idea what you would call this genre, but the combination of falsetto vocals, 80s melodies and the kind of filtered disco vibes that would make Daft Punk proud that feature on Empire of the Sun's début ensure it is in this pigeon-hole they will end up.

As a bit of background Empire of the Sun is The Sleepy Jackson's Luke Steele and Pnau's Nick Littlemoore and, somewhat predictably, they're Australian.

And, a bit like their contemporaries MGMT, as an album 'Walking On A Dream' is kind-of mixed. There are no bad tracks, it's just that the album feels uneven. The whole album has a appropriately dream-like feel, particularly the juxtaposition of the soaring melodies (if totally undecipherable lyrics) of Delta Bay's chorus with it's rambling verse, but just as Kids and Electric Feel towered over MGMT's debut, nothing bar the hip-hop influenced Swordfish Hotkiss Night and the 80s ballad Without You, comes close to this album's highlight. And chances are you've already heard it, because title track and first single Walking On A Dream has been all over the radio already.

Justified, without doubt, because it's totally beautifully wonderful. Taking the chord progression from Tracy Chapman's Fast Car and melding it to a ray of sunshine, Corona on the beach and ride on a golf buggy it is just a little glorious tight sexy holiday of a funk-soul record.  The rest of the album may retain this sexy and youthful manner but it simply doesn't scale the same heights.

BP x

Available at Amazon on CDand in MP3.

Album Review: Polly Scattergood - Polly Scattergood

Coming on with all the effortless unforgiving intimacy of a friend that has seen you change more than you realize, Polly Scattergood does for female singer-song-writing what a shot of Jack Daniels does to Coke.  Sweet it may be, but there's darkness here.

If you want lazy comparisons then Scattergood's début has the strong uncompromising femininity of PJ Harvey, the creativity of Kate Bush and the unhinged beauty of mid-career Radiohead. Far more important is the delivery, which throughout the course of the album varies from the good to the sublime.

Fluctuating from fragile yet doused in misplaced aggression (I Hate The Way) to curious and hopeful (Unforgiving Arms) Scattergood is able to perform vocals with a greater breadth and depth than anyone BlackPlastic has heard in far too long. There is a certain a level of sophistication that ensures the angst on display never veers close to anything as crass and needing as a Alanis Morisette record, yet the songs nevertheless display an unashamed accessibility - just listen to the rubber ball bouncing guitar line and hand-claps of Please Don't Touch.

And here's the thing. What makes this album good is not just Scattergood's ambitious vocal delivery and experimental songwriting - it's the backing provided by a producer not content to take the backseat. When the combination really delivers the result is pretty astounding - album highlight Nitrogen Pink carries Scattergood's vocals on a runaway mine-train of fuzzy melodic distortion like My Bloody Valentine on Top Of The Pops. The glorious crescendo of the building rhythm track feels like you are being dragged along by an out of control horse and cart. If this is a taste of her future work it's a ride BlackPlastic is more than happy to take.

Released on Mute on 9 March 2009. To pre-order on Amazon.co.uk click here .

BP x