2011 October Archive - BAMM.TV

Archive for October, 2011

BAMMsterdam Review: dEUS – Keep You Close

Posted on: October 17th, 2011 by Jasper van der Put No Comments

dEUS are a rare breed of legend in their native Belgium. They’ve been the authorative style icons in the Belgian rockscene for nearly two decades, creating an impressive slipstream of artists indebted to their alternative rock idiom. Meanwhile, the Antwerp-based outfit’s path has been riddled with stylistic turns, clashing ego’s, political engagement and artistic soulsearching, spread across five studio albums. While some argue that dEUS have reached their artistic peak at their jazzy/experimental 2nd album In A Bar, Under The Sea (1996), this third line-up is perchance the most solid and surely the longest running incarnation of the band. Having arrived in their late thirties, leading man Tom Barman and his compadres have lost little -if any- of their restless artistic vigour.

live performance (Pukkelpop Fesival 2008) of Instant Street (from The Ideal Crash (1999))

The coming about of dEUS’ sixth studio effort Keep You Close is a peculiar one. Their previous studio effort Vantage Point (2008) was criticised for containing too much abrasive, one-dimensional machismo and too little stunning songwriting. Despite such anthemic staples as The Architect and Slow, it was dense, industrial and distant. Simply put: it was cooler than it was honest. The band declared they recognised it should be the other way around. As such, Keep You Close is an attempt at rekindling the intimacy and immediacy they used to emanate. Moreover, it’s also the first album that was written entirely by dEUS as a group, abandoning Barman’s songwriter-pieces in favour of collaborative works.

live performance (Lowlands Festival 2011) of The Architect (from Vantage Point (2008))

These changes are felt throughout the album. The organic key-driven productions are a breath of fresh air, with a more laidback and loose atmosphere than any other dEUS album. Barman’s voice is calm and supple here, quite a relief from the aggreviated groans and shouting heard on Vantage Point. Of course there are plenty of raging outbursts left, but these seem to be less about ego-play and more like Barman actually has something to get off his chest. Dark Sets In and Twice (We Survive) have a particularly heartfelt delivery. This is enforced in a great way by the appearance of none other than Greg Dulli (ex-Afghan Whigs, Twilight Singers) as guest-vocalist on these pieces, his bone chilling outcries a perfect match for Barman’s gravely baritone.

official videoclip for Constant Now

But in the end the group efforts pay off most on Keep You Close. Leadsingle Constant Now encourages you to shout along to the standout vocal of bassist Alan Gevaert in the chorus, while the marimba-infected Ghosts sees the entire gang singing as one. Whereas many past dEUS staples revolve around dialogue and contrast between the vocalists, this time around they achieve a solid uniformity-in-variety. dEUS still contains very different characters with their own unique traits (insert culthero/leadguitarist Mauro Pawlowski), but they’re all thoroughly focused on their collective output. There are hardly any standout bits here that can be attributed to any one member of the group.

a live performance (Berlin Festival 2011) of Ghosts

Keep You Close is a clear statement about dEUS in 2011 BC. It’s one of their most cohesive efforts, with very clear artistic outlining from start to finish. The intimacy they were shooting for is very well represented here. Don’t mistake dEUS for a borderline popact, though. They’ve maintained a proper balance between the catchy sing-alongs and the chorus-free spoken-word bits (End Of Romance) or the long-spanning epic stuff (Easy). Will it please their old school fans? Probably not, but then again most of them made their minds up long ago. The music lovers whom have no problem giving a new dEUS record a spin can feast their ears on an inviting, nine song collection with an appeal that stretches well beyond the first dozen listens.

Interested in the recording process of Keep You Close ? Check out this short documentary below!

Friday Roundup

Posted on: October 14th, 2011 by bammtv No Comments

Here’s the digital music and media stories capturing BAMM’s attention this week:

– This new iPhone gadget (you might have heard of it) is a great little package … unless you happen to live in the UK.

– Speaking of which, check out this ‘unique’ selection of ‘helpful’ answers from Apple’s new Siri interface.

– The most realistic guitar video game yet hits a stumbling block.

– Google to take on the world of music retail.

– Impassioned nostalgia on the band t-shirt from The Guardian.

– You’ll be able to stream the new album from Florence And The Machine before the official release date. Which is nice.

– New biopic to depict the last days of The Beatles.

– Who exactly are the most overrated lyricists in rock?

BAMM Legends: Sufjan Stevens

Posted on: October 13th, 2011 by bammtv 2 Comments

Just an occasional feature in which we celebrate artists we love …

You know you’re dealing with a talented musician when a collection of their outtakes and discarded studio sessions is better than most people’s ‘proper’ albums – such was the case with Sufjan Steven’s ‘The Avalanche’ (2006), which comprised entirely of cutting-room floor moments from album-of-the-2000s contender ‘Come On Feel The Illinois’ (2005). And ‘The Avalanche’ isn’t exactly short on material either, clocking in at 21 songs. In short, Sufjan Stevens is one of those rare artists who combines both artistic excellence with constant, unfettered productivity.

Exactly how prolific is he? So much that, when he jokily announced a plan to write an album based on each of the 50 US states (a neat promotional stunt), lots and lots of people actually believed him. Why couldn’t Sufjan achieve this? they reasoned. It would only take him until the age of, say, 80. No big deal for someone who churns out material so consistently. And who wouldn’t want to hear more quality stuff along the likes of ‘Michigan’ (2003) or the above-mentioned ‘Illinois’?

The thing is – as awesome as this project would be – Stevens has a lot more to him than that. While his ‘geographical concept albums’ (including 2009’s ‘The BQE’, a celebration of the Brooklyn-Queens Expressway) are great fun, there are lots more themes to his work: wistful Americana, the folly of youth, alienation and identity and – perhaps most remarkably – a spiritual element that never feels cloying or tacked-on. And while there’s been a few misfires along the way (most recent album ‘The Age Of Adz’ has its moments, but Stevens has set the bar so high it seemed to fall short) his body of work is one of the most remarkable of any artist in recent memory.

Here’s a few highlights:

Here’s Episode Three Of BAMM’s Global Scene: London

Posted on: October 13th, 2011 by bammtv No Comments

London is one of the most vibrant and exciting cities on Earth, and that’s why we thought it would be the ideal location for the first season of BAMM’S Global Scene. It’s our ambitious goal (you know us by now, ambitious is what we do best) to connect with the musicians, promoters, organizers and fans sustaining the emerging music scenes in cities around the world, and mould a collection of snapshots of what it’s like to be a musician, inhabiting a unique place and time.

In episode three – which you can see above – we look at the fusion of genres and ideas that create the various ‘sounds’ of London. Enjoy!

The BAMM App – Another Sneak Peek!

Posted on: October 12th, 2011 by bammtv No Comments

We’ve been teasing you like enigmatic burlesque dancers* regarding our upcoming BAMM App – and with good reason too, as you’re going to want to get your hands on this baby as soon as it drops. We’ll have more concrete details for you soon, but – until then – here’s another sneak peek which should whet your appetite even further. Are you ready for a whole new era of music discovery?

*Please note: this is merely an analogy. Staff have long been banned from burlesque dancing in the BAMM TV office. We know that San Francisco is a free-and-easy kinda place, but we had to draw the line somewhere.

Exclusive BAMM TV Interview: Bocafloja

Posted on: October 11th, 2011 by bammtv No Comments

It’s not every day a living legend stops by your workplace, so the BAMM crew were understandably thrilled when Mexico City hip-hop icon Bocafloja (along with collaborators Aha, Flavi, and Cambio) treated us to a killer performance recently. That’s not all, however – the guys also took some time out to chat with BAMM’s very own Sonia Pina about the nature of collectivity, the inspirational Quilombo project, artistic evolution and his relocation to the United States. In an age where so much mainstream rap revolves around little more than footwear promotion, Bocafloja’s fusion of musical and political activism is a breath of fresh air. See for yourself.

BAMM Says: Listen to the new M83 album for free … right now!

Posted on: October 10th, 2011 by bammtv No Comments

Double albums can sometimes be a daunting prospect. Sure, they allow for an increased amount of artistic exploration over an elongated stretch of time, but this opportunity can also nestle side-by-side with rampant self-indulgence. Maybe it’s a permanent cultural hangover from the prog-rock excesses of the ’70s (gatefold vinyl covers featuring Lord Of The Rings-style panoramas remain a chilling sight) but the ‘double album’ concept can still seem an off-putting one.

We can assure you, however, that this isn’t the case with M83’s latest electronic masterwork ‘Hurry Up, We’re Dreaming’, released via Mute Records on October 18th. It’s already been trailed by the single ‘Midnight City,’ which is very, very awesome indeed …

Oh yeah. Eighties saxophone.

If you haven’t heard of M83, here’s a quick primer: they’re the French electro-dream-pop brainchild of one Anthony Gonzalez, and have been recording/releasing solidly for a decade now. ‘Hurry Up …’ is the 6th M83 album, and arguably the one which best solidifies Gonzalez’s artistic vision.

This isn’t to say that his earlier work has been on the shabby side. 2003’s ‘Dead Cities, Red Seas and Lost Ghosts’ arguably stands alongside My Bloody Valentine’s ‘Loveless’ in terms of swaying ambience, 2005’s ‘Before The Dawn Heals Us’ featured one of the singles of the decade in the shape of ‘Teen Angst’, and 2008’s ‘Saturdays=Youth’ was the best soundtrack ‘The Breakfast Club’ never had.

Want some highlights? Take a look:

“It’s mainly about dreams,” Gonzalez has remarked of his new album, “how every one is different, how you dream differently when you’re a kid, a teenager, or an adult.” If you feel like setting off on a flight of fancy, BAMM assures you you could do a lot worse than pick up a copy.

Still not convinced? Well, then, you can listen to the whole thing, streamed in full ahead of release, right here at M83’s official site.

BAMMsterdam Review: Awkward I – Everything On Wheels

Posted on: October 7th, 2011 by Jasper van der Put No Comments

album cover art

label: Excelsior Recordings

What does it take for a misunderstood, slightly whimsical songwriting genius to be recognised? Following his 2009 debut “I Really Should Whisper”, Awkward I (alias Djurre de Haan) was widely recognised as a talent of sorts that could go a long way in the (global) indiefolk scene. His mix of folk-song craftsmanship with bleak-romantic perspective and a healthy dose of pop sensibilities took him around Northern Europe and the United States, but failed to deliver him mainstream acknowledgement. He is established alright – thanks in part to his association with Alamo Race Track- but only just. For all the admiration he gets from his peers and connaisseurs, the larger audience just doesn’t seem to get his work.

Sophomore release “Everything On Wheels” does nothing to discard Awkward I’s wayward persona and bleak world view, but does so in a grander, more extravert manner. Recorded in several sessions with Excelsior Recordings’ producer-in-residence Frans Hagenaars, the album keeps the spotlight firmly on De Haan’s breathy vocals and crafty guitartunes, while creating a richer musical environment for him to prosper. There’s Beatles-esk string arrangements, hefty drum barrages and plenty of mandolines to go around. Songs such as Let’s Get Ready To Die, Hannah Hung Heavy and leadsingle/titlesong Everything On Wheels are little gems of folk-pop brilliance, striking a perfect balance between accessibility and depth. We also see some first steps towards more experimental songwriting, in the odd pair Your Oxygen Mask I & II. In part I, the drums and guitars duel in rhythmic patterns as De Haan sings of suffocation in a eerily calm voice, while part II seems like a church-hymn mourning a loss… it implies ‘murder’ without saying it in a very Hitchcock-like manner.

“The setting is perfect, but I just don’t belong here” De Haan sings on the title track. This statement seems to point towards to very different things. On one end it’s about inspiration: Awkward I’s sense of displacement and, in some cases, sarcasm towards the world around him fuels his songwriting in a strong way. But, instead of wallowing in sorrow or remorse, Awkward I brings light and comfort to his gloomy songwriting universe. What De Haan probably didn’t mean to say, is about the production of Everyting On Wheels. Perfect settings don’t always make for perfect recordings. One could wonder about the potency of these songs when stripped of their thrills, enrichments and additifs. There are a few sparsely arranged tracks present (Sat Pretty Lips Pursed, The Unknown Character), and they stand out because of it. But overall these songs are less in-your-face than his ealier work, the edges softened to please a larger audience. It seems forced in a way.

Still, there’s no need to be nitty here: Everything On Wheels is a keeper. There are very few albums as uplifting and deeply melancholic at the same time, fusing the immediacy of pop with traditional folk and a depth all its own. Awkward I pulls it off in a grand manner. Here’s to hoping everyone else will have the same realisation, the second time around.

BAMM TV: Lael Neale & Trevor Garrod, ‘Monster’

Posted on: October 4th, 2011 by bammtv No Comments

We certainly like to mix things up here at BAMM. For every bombastic, balls-to-the-wall extravaganza we present (ever seen HOTTUB?), we’re also fond of heading the other way: showcasing ephemeral, beautiful and intimate acoustic sessions from artists we love. The above video falls squarely in the latter category – the stunning Lael Neale is accompanied by Tea Leaf Green’s Trevor Garrod in a sensational performance of ‘Monster’. Kick back for a few minutes and enjoy – you owe it to yourself.

Want to see these guys live? Course you do. And if you head on over to Jambands you can check out their upcoming November tour dates.

BAMMsterdam Review: Signe Tollefsen – Hayes

Posted on: October 3rd, 2011 by Jasper van der Put No Comments

label: Cavalier/V2

listen: Bandcamp

When Signe Tollefsen -artist in the ‘folk noir’ genre- released her first, self-titled record in 2009, she was already oozing talent left and right. It was all professionalism and radio-friendly Americana: Her voice was a force to be reckoned with, and songs such as King Of The Fire, It Smells Of You and Hooked became fan favorites. But the mystical quality that surrounds her on stage was a long way from this rather dry, straightforward record. On stage she a darker and much more intruiging artist was shining, right through the façade of professional folksinger.

You, Me And The Brewers, from Tollefsen’s debut album.

Now, the next step in her artistic process arrives. An intermediate EP collecting some favorite covers already hinted towards a different artistic pallette. “Hayes” is the next (big) step in Tollefsen’s process. The album was recorded in Eindhoven with long-time collaborator, producer Ralph Timmermans -of Mindpark fame-. It sees Tollefsen abandon her acoustic guitar, lick the wounds of a broken relationship and nourishing a new love. But most of all, Hayes is Tollefsen’s coming out as an artist beyond the confinements of genre and image. It’s a dark record, full of gritty guitars, whispers and groans, dissonant notes and sudden plot twists.

The opening duo of 85 MPH and Drunk Orchestra immediately set the tone for this record. The first with fiercely played strings and powerful percussion, the latter with heavy bluesrock idiom. Some songs at first seem to keep well within Tollefsen’s former folk-stature, but take a sharp left turn somewhere along the way, erupting in guitaristic violence or heavy drum barrages. Hayes is no muscular album however; Tollefsen’s softer side is equally appealling. Speak To Me is about as exciting as a woman whispering in your ear will get; enough to send a few shivers down your spine, for sure. On the other end of the spectre, Scared is a song that stand out in its honesty. More like a bedtime story than a bedroom-blues, it shows that despite the apparent maturity, there a still a few monsters in the closet left to be dealt with.kids inflatables

Hayes is a big step forward. It’s better written and arranged, artisticly superior and overall packing a much bigger punch than her previous work. Admittedly, it does lose some momentum in the second half, but that’s just a minor flaw. To say Tollefsen ‘has found her own voice’ is a risky endeavour, but even if Hayes is just a stepping stone towards finding herself than this implies even greater things lie on the horizon. Meanwhile, Hayes makes for an exciting listen that may take some getting used to for the long-time fans, but is well worth the time invested. Wonderful record.