Album Review: Hard For Justice - Bronnt Industries Kapital

As Get Physical's latest artist album release, BlackPlastic was a little moist about hearing Bronnt Industries Kapital's third album, Hard For Justice. The sticker on the cover likened it to lots of post-punk bands we like from the first time round, in a room, at the same time.

But the sticker was kind of wrong, because Hard For Justice isn't much like Joy Division at all. Okay, it does have some moody bass work and stripped back, mechanical percussion and post-punk's penchant for experimentalism but this is hardly Just Another Maxïmo Park.

Over the course of its eight tracks, Hard For Justice packs in, erm, zero vocals. None. What it does have however is more ideas than you can shake a stick at. There are ambient moments, brief touches of chiptune, real instruments, synthesizers and a under-current of sleek, minimal kraut-rock that permeates the whole thing. Best of all, 'European Male' sounds like a death threat from someone who, like, really means it - just listen to the bubbling-underneath-seething-rage and the brass. Yes, brass. Brass that sounds not shit, but amazing, as if stolen from a David McCallum track.

The experimentation displayed over the handful of tracks here ensures Hard For Justice will keep giving over the coming months and proves that Get Physical are truly beginning to deliver artist albums proper, straying from just releasing discs from their known artists.

Available from Amazon.co.uk on CD , LP  and MP3 .

BP x

Album Review / MP3: More - Double Dagger

BlackPlastic doesn't really like 'metal' anymore. Maybe once, but not anymore.

Some records, however, get lumped into this genre and yet transcend them. Test Icicles violent punk metal may have taken inspiration from metal bands but it also took inspiration from grime and disco. Similarly, Death From Above 1979's only album often got classed as metal but it did much more.

The same is true of Double Dagger's latest album, More.  Double Dagger's third album, it was created in an abandoned office on the fifth floor of a building housing Baltimore's Current Gallery (an artist run gallery and studio space). With everything above the third floor in a state of disrepair the band had to run cables out of the windows and down to the lower floors to power their mics and instruments and they relied on ceiling tiles and cubicle dividers to create soundproofing whilst the band's drummer, Denny Bowen, set up the drums in a separate room but then knocked a hole through the wall so the band could still see each other.

Less than glamorous the conditions may have been but they did enable a longer recording time and, with the inclusion of a few cheap microphones, gave the recording a fantastically rough and distorted sound. Combining metal with the stripped back minimalist percussion and basslines of early post-punk, the experimentalism of the Pixies and vocals that sound like Hold Steady's Craig Finn on a rampage, Double Dagger are the hardcore metal band BlackPlastic can like.

And that's because beyond the initial abrasiveness there is an ear for melody that transforms these songs. Just check the chorus of 'No Allies' - the vocals may try and shout you down but the hooks are irrestibly catchy. There's a lovely clash of sounds on this album and it's like listening to a metal album made by someone who just can't help but make catchy tunes - again this is demonstrated perfectly by the spoken intro and punchy chorus of 'The Lie/The Truth'.

Don't be put off by the shouts and the labels. A single listen to More proves that Double Dagger have made an album that achieves much more than anything by any band concerned with genres could - it might be hardcore, it might be noisy pop... BlackPlastic doesn't care, it's just awesome.

We have a copy of 'The Lie/The Truth' available to download here (right click, save as) - if you like it check out the album. More is released on 3 May on Thrill Jockey. Pre-order from Amazon.co.uk on CD or LP .

BP x

Album Review: Fabric 45 - various mixed by Claude VonStroke

Claude VonStroke has something of an identity problem. His breakthrough track 'Who's Afraid Of Detroit', with it's spooky, spacious take on minimal and Detroit techno, was met with pretty much universal acclaim. It was the kind of track any DJ could get away with dropping. Yet whilst VonStroke's 'The Whistler' managed to garner a certain degree of attention it certainly didn't achieve the same level of acclaim.

VonStroke, or Barclay Crenshaw to give him his proper name, started making hip-hop and got into house and techno after being forced to write the soundtrack for a documentary he helped make on superstar DJs. Unable to afford to license music from the DJs themselves VonStroke and his fellow collaborators on the film wrote and made all the music themselves, replicating the style of each DJ. Given his background, a lack of identity is perhaps a little understandable - he has neither managed to create a great artist album nor is he regarded as a truly great DJ. A least not yet.

Because Fabric 46 is actually a pretty consistent and coherent mix. Odd, given VonStroke's history and his own assertion that this mix deliberately a mixture of styles. It's a testament to the sequencing then that the likes of the sleazy Detroit Grand Pubahs' 'Big Onion' manage to sit in a mix that also dabbles in strings (in the fantastic instrumental dub of Kiki's 'Immortal') and contains touches of jazz (Robag Whrume's tech-house 'Guppipepitsche') and the intelligent noodling of two Stimming tracks.  Claude has deliberately twisted this mix in on itself and chopped the tracks up to the point where the whole thing flows.

Fabric 46 is another tech-house mix and whilst it is varied Claude VonStroke hasn't exactly torn up the rule book here. What he has done however is construct a mix that progresses and does far more and with more consistency than many others could do within the confines of the genres visited throughout the album.

BP x

Album Review: Fantasies - Metric

BlackPlastic had something else chalked in for a review today but this suited the current mood better.

And that's because Metric's latest proves that they still create the perfect soundtrack to a grey day. Fantasies is moody and aggravated and still hasn't quite forgiven you yet. Fantasies is rainy days and skivey days spent in strange places. Fantasies is not knowing the answers, not knowing the solutions. Fantasies may be the solution or may just be another part of the problem.

As an album it might be Metric's most sophisticated yet. It is certainly more measured and consistent, but it also has some of their biggest single songs. 'Help I'm Alive', with its insistent beat and soaring chorus is fantastically conflicted and the break, where it drops to just the bass and vocal, is glorious. Other highlights come in the ugly truth of 'Gold Guns Girls' and closing track 'Stadium Rock', with the former sounding like a friend telling you the ugly truth from which you have long hidden whilst the latter calls Yeah Yeah Yeahs to mind with its squawks and Nick Zinner-esque guitar work.

If BlackPlastic is going to spend an afternoon battered and bruised it can't think of a better album to soundtrack it. Fantasies sounds like the brutal honesty of someone who can do nothing but tell the truth, and sometimes we all need a bit of humble pie.

BP x

Released on 27 April 2009, available from Amazon.co.uk on CD and MP3

Album Review: Kitsuné Tabloid - Various selected by Phoenix

In a departure for Kitsuné this is neither remotely dance related nor mixed. It is a compilation in the classic sense, as Phoenix select a range of songs - almost all of which are at least ten years old (usually more) - that they love and that inspire them.

Being the well mannered possessors of catholic taste that they are, Phoenix's first compilation is a considered, methodical and, most of all, utterly beautiful affair. From the opening strains of Kiss' 'Love Theme From Kiss' the latest Kitsuné Tabloid (Digitalism provided the first) is like losing yourself in a good book. It's a journey full of texture and detail and feeling beyond that which should be provided by a mere Tabloid.

As you might expect from Phoenix the overall sound oozes intelligent sensuality. The sublime 'Rise Above' from The Dirty Projectors is a case in point - unbelievably for an artist that specializes in covering Black Flag records they have never heard it is a gorgeous piece of folk music with the kind of falsetto vocals that will soon have you making a fool of yourself when no-one is watching.

Pretty much every track is a highlight - whilst Elvis Costello & The Attractions' morose 'Shipbuilding', Urge Overkill's 'Stull (Part One)', Irma Thomas' 'It's Raining' and Lou Reed's stunning 'Street Hassle' stick in BlackPlastic's head but there are plenty more gems here. Oh, and of course Tangerine Dream's 'Love On A Real Train' is always gorgeous as well.

Phoenix have described this album as selfish - it's just what they would make for themselves. What's great is that in the hands of the right person, the selfish album they make for themslves is the most interesting. It's autobiographical and it's genuine.

BP x

Available on Amazon.co.uk on CD (not available on MP3 yet as far as BlackPlastic knows, plus the artwork is lovely).