Carla J Easton - Impossible Stuff

If you are a regular or semi-regular reader of my blog then you'll already know of my sisters creative talents through the songs she has written and recorded with her bands Futuristic Retro Champions and TeenCanteen and her first solo album Homemade Lemonade that she released under the guise of Ette.

Carla is now stepping out as an official solo artist after a particularly productive couple of years that included the aforementioned Homemade Lemonade album, the Say It All With A Kiss LP and the Sirens EP with TeenCanteen, as well as videos, festivals and sessions

There have been collaborations with Belle and Sebastian - a co-write and lead vocal on Best Friend and with Kirsty Law on The Iron Railing, a writing retreat at the Banff Arts Centre in Canada and then a return trip to record the album with Howard Bilerman, who produced Arcade Fire's seminal Funeral LP, on production duties. Oh and she is making a documentary on Scottish girl groups, curated a night at the Edinburgh Arts Festival and I'm pretty sure I've missed something. Oh yeah, she has 6-songs recorded that might be on her next album plus a couple left over from Canada.

In short it has been fantastic to see my wee sister so creative and productive and receiving excellent support from all over the world. Her 2 visits to Canada in 2017 were, in her own words, 'life changing'. On a writing retreat at the Banff Arts Centre, she bloomed and was promptly invited back to record an album.

And so on to the album Impossible Stuff  . I originally started writing a blog on it last October when I first heard it, then deleted it, rewrote some, scrapped it, started it, left it ...... and finally decided just to go with what I have! So here is a short review, some of the videos released over the last year and links to other reviews and interviews. There has been a fantastic response to the album. I'm super proud of my wee sis. And there is a lot more to come from her!

Check the video for Dreamers On The Run (above), the opening track, with Carla representing Scotland at the Eurovision) opens the album. It's under 2-minutes long but there is a lot packed in. The song floats and flows, Fats Kaplin on violin is stunning and there is a strong Celtic melody and tone.

The title track is exceptionally melodic and playful with Carla utilising the talents of friends she made in Canada at the Banff Arts Centre. There are strings, crashing drums, a beautiful piano solo and then a build up to a glorious racket that starts at 2 minutes 12 seconds and brings in a choir and what sounds like every instrument Carla's friends could get their hands on. It sounds amazing! Check the video recorded with talented friends within 3-days of returning from Canada.

Impossible things just to hear your heart sing

Oh I'd do anything for you

Impossible stuff just to feel your love

Oh I'd do anything for you

Lights In The Dark was the first single to be released from the album back at the start of the year. Carla tells a story and her lyrics paint a picture, the 80's drum beat sounds cool and it's one of my favourite vocals from the album.

You can just take my heart

You can just pull me apart

I'm searching for the lights in the dark

Meet Me In Paris has a nice psychedelic tinge to it courtesy of some sitar action, the melody, feel and urgency in the song makes an immediate impact. Melodies pour out of my wee sister, almost literally on Never Had the Words, the vocal melody just tumbles out and doesn't stop, its a real favourite.

Next is second single Wanting What I Can't Have. I remember Carla sending me the demo that she recorded at our Mum's house and her being really proud of it, describing it as a little Primal Scream-esque. It's an epic, particularly good live.

The album spins from Carole King inspired numbers, to 80's drum machines and synths, to Spector-esque walls of sound, to stomping pop and Milk and Honey (video below) merges the last two.

Things slow down for Girl from Before, a late 50's/early 60's inspired ballad with soaring strings and at one point it seems like the vocal melodies are just going to keep building, before slowing back down. There is some stunning guitar playing towards the end.

Then Vagabond, the oldest song on the album and originally a b-side to the TeenCanteen 7-inch You're Still Mine, is rerecorded and it is just gorgeous. Here is a live version Carla recored with TeenCanteen.

The album ends with the Harrison produced by Spector Lullaby. All Things Must Pass is a favourite album of Carla's and I know she listened to it a lot en route to Canada. This is a spine tingler, the guitar solo is stunning.

Impossible Stuff delivers more on every listen, the quality shines through. Melodies are everywhere, the playing and production is exquisite, there is real heart on sleeve soul, playfulness and the sound of someone in the zone with a studio, producer, engineer and musicians who believe in her and can create the sounds from here head.

Impossible Stuff has been getting a lot of attention and people are saying some lovely things! In addition to airplay and sessions, here are some links to review and interviews, including a cracking track-by-track interview Carla did with The Skinny. You can buy the vinyl from Olive Grove Records and it should be in Monorail, Assai and Love Music.

The Skinny track by track

The List

Record of the Day - Milk and Honey 

Sunday Post 

Sounds Like Blog

The Fountain

Louder Than War

The Music Brewery

Arcade Fire at Glasgow Hydro

Emmmm WOW!

Arcade Fire slayed Glasgow tonight, making a compelling (water tight!) case for being the best band on planet earth. They were funny, brave, adventurous, euphoric, energetic, exciting and just utterly sensational.

The band were playing 'in the round'. Using a boxing ring as a stage - who needs a massive stage? They immediately made the cavernous Hydro fell more intimate and they had a few more tricks up their sleeves than that!

The lights dropped and Arcade Fire made their way through the crowd like boxers, entering triumphantly and setting off into Everything Now, the lead single from their latest album. They immediately hit their groove and led the song in the first of many, many sing-a-long moments.

The 9-piece (at times more) band were literally bouncing off each other in the ring/on the stage. Win Butler was on little mini stages/boxes like he was up on the ropes after winning a boxing game and he drenched himself in water for effect.

The power and impact of Arcade Fire was delivered with full force and relish by a band delighted to be back in Glasgow, a city that they acknowledged had given them so much support over the years.

Does any other band of this size have as much fun? Arcade Fire have been inviting special guests on stage throughout their tour and as they were in Glasgow it was one of the city's favourite sons, Jim Kerr from Simple Minds, who strolled into the boxing ring (by this point the ropes had been removed to make it even more intimate) and performed a glorious Don't You Forget About Me.

The crowd didn't need any encouragement, but this just moved things up yet another gear! How do you follow that? Well with Keep The Car Running, one of my personal favourites from the band. I just love the flow and the groove and the hooks and developments.

The whole 2-hour+ set was a delight, but Sprawl II into Reflektor was sensational. The light show (see above) was incredible and Arcade Fire turned the Hydro into a massive disco. The band were truly brilliant, surging and soaring. At one stage smoke billowed from the front of the ring and it appeared as if the band were actually on fire - they were!

Neighbourhood #3 (Power Out) blazed a trail, a beautiful fragile We Don't Deserve Love showed a different side to the band and then Arcade Fire delivered a sucker punch (had to get a boxing pun in) with Wake Up complete with their support band on stage. Band and audience united in a way that the Hydro is unlikely to have witnessed before as arms were in the air and everyone was singing with all their hearts.

The band exited as they had left, through the crowd with the brass band playing Bowie's Rebel Rebel.

Come back to Glasgow soon!

Static Union live

Static Union are a very young band making a bit of noise around Glasgow just now; stemming from a buzz around live shows, demos and their debut single Turn Out The Lights.

They launched the single with a show at a packed out Audio in Glasgow. I couldn't make it by my friend Alan was raving about it afterwards so I asked him to write a guest blog. It sounds like a belter and I hope to see the band play in the near future.

Static Union live at Audio in Glasgow

Guest review by Alan Clarke

Static Union are Glasgow's next bright thing and making waves on a busy Friday night in the city. When a group of friends turn the corner to walk down Midland Street to see them at Audio, my initial thought is there's been an accident on the street as a crowd gathers the now derelict entrance to The Arches. It transpires the throng are waiting to get into the tight confines of Audio with the four members of the band about to take the stage in a few minutes. I previously saw this band supporting Holy Esque in December 2015 but clearly things are progressing in terms of interest in the band.

The band played a tight, melodic set at the St Luke's support gig over a year ago but the performance in Audio exhibited a maturity in both their stage craft and song-writing which has been honed through a busy year of gigging.

The gig tonight is to launch their debut single Turn Out The Lights and the band hit the stage to the excitable sell-out crowd and pull no punches with the new single as the set opener. The band cite their influences as The National, Arcade Fire, Radiohead, Joy Division and early U2. Their debut is a statement of intent with its incessant guitar hook somehow echoing Bodysnatchers from In Rainbows and bouncing off the vibe and clever time changes of early Artic Monkeys.

Frontman Sean McGarvey is clearly enjoying himself from the start as he reaches out to the crowd who are clearly well up for it tonight. Liam Adams is one half of a super-tight rhythm section, reminding me of Graham Coxon in the early Blur years (if Coxon had played the bass that its!) and with drummer Cameron Angus, the clever tempo change at the end of each chorus as heads bobbing involuntarily around the venue.

Lead guitarist James Harker bosses the other side of the stage, either throwing off funky guitar lines in the brilliant Accelerator or (in my own favourite song of the evening) showing his versatility in playing synth in the second song Last Of Our Kind. This song didn't feature at the St Luke's gig and is the first real sign to me of the evolving maturity of a still young band. If you love Joy Division/early New Order or remember the excitement when the Stone Roses fused electronica seamlessly with proper guitar pop, then you will dig The Last Of Our Kind. as they then launch into the driving groove of Accelerator to complete a very strong opening trio of songs, our wee gang at the back of the hall found ourselves doing that looking at each other, grinning and nodding things...we were thinking lets enjoy this moment as they could/should be massive.

Sean clearly enjoys being stage centre and when he grasps the mic stand to sing the intro of Distant Memory, a new dimension again not previously on show is revealed. He is clearly a proficient guitarist but as he wrings the mic, the guitar is sidelined and the drama of the song shines through. The influence of Matt Berlinger's stage craft in The National strikes me as he sings and I'd personally encourage him to do it more.

I allow myself a wry smile as the band break into You Wish. The poppies elements of some of the bands sound is replaced by a riff that recalls Robby Krueger at his best. It seems very apt to have the ghost of The Doors evoked when America is in the midst of a crisis not seen since Jim Morrison taunted the Nixon White House and the FBI in 1969. The band coast through their impeccable set and after closing with Losing Yourself, they give into the crowd's demands and return to the stage for a second joyous rendition other debut single.  Watch a live video HERE

Watch this space....

Introducing Flash Talk

On Saturday night Lynn and I ventured into Faktory in Byres Road to see the relaunch of Flash Talk, one of the most promising new bands on the Scottish music scene.

The band had issued some teasers in early 2013, posting a couple of DIY videos that ripped scenes from classic films to tie in with their widescreen cinematic sounds. They then disappeared as quickly as they arrived, bunkering down to record an album so they were ready to fly when they launch for real in 2014.

The 5-piece opened with the incredible 'Synthesise', which, as the title might suggest, is full of huge synths and also the best guitar riffs I've heard in a while. The band are impeccably tight, yet loose with it.

'Synthesise, when I'm feeling down you sympathise'

The song breaks down beautifully at the end and there are some 3-piece harmonies for the section. 'Woah-oh, every time you touch me' section.

'Automatic' follows and takes influences from Bowie through to Kraftwerk. There is another killer breakdown towards the end.

'Automatic when I needed you, automatic when I needed you…..'

'Miracle' slows things down, all moody synths, allowing the singers stunning vocals to take centre stage. The 3-piece harmonies lift the song along with huge synths for the chorus.

The 5-piece (vocals, guitar, bass, synths and drums) play other songs that they don't introduce. One contains a section 'everybody light a fuse' and is pure brilliance. There are glances of recognition among the people in the room that they you don't come across a band like this very often.

'Land Of The Lost Cause' sears and soars. Singer Stephen Farrell has a voice that you don't get to experience very often - capable of delicate whispers, strong enough to take songs and melodies to exceptional levels. 

Hooks, soaring choruses, stunning breakdowns and exceptional musicianship -keep an eye out for Flash Talk in 2014.

Albums of 2013

I have bought and enjoyed a good number of albums in 2013, probably quite a bit more than last year.

I've only just discovered the Kurt Vile album and I have still to buy John Grant and Jon Hopkins.

I'll no doubt discover a few gems released in the last 12-months further down the line, but for the time being, here are my top 10;

Big Inner by Matthew E White
I blogged about this back in February and described it as 'poetic, beautiful, hushed, thoughtful and the playing, singing and production is just outstanding'. Nothing has changed other than the fact I have just fallen further in love with it. A work of beauty.

It's Not About War by Chris Grant
Recorded in his garage on an £80 laptop, this album contains some of the best songwriting and love songs that I have heard in a long time. Grant has complete confidence in his skills and songs and it shows. 'I Am The One' and 'Like A 45' are just stunning.

My blog upon release in October declared; 'It's Not About War is a fucking beautiful album. Chris Grant sings from the very bottom of his heart, the passion and truth in his vocals match the open and honest lyrics.'

Reflektor by Arcade Fire
An outstanding album, what would you want from one of the world's best and most ambitious bands? Some production by James Murphy? Check. Bowie backing you up? Check, a wide range of songs across a sprawling double album that lets the band explore their talent and sound? Check. Brilliant. Their show at the Barrowland will stay with me for a long, long time.

A Bad Wind Blows In My Heart by Bill Ryder Jones

Contemplative, gentle, melodic, rustic, homely, dreamy, lovely… this is a rather gorgeous album. 

Slow Summits by The Pastels
I don't think any band sound as comfortable with their sound as The Pastels. It's just so…them. They produce pop gems and glorious laid back grooves and just run with them. The joyous indie pop rush of 'Check My Heart' is glorious while 'Summer Rain' shuffles and flows.

The Next Day by David Bowie
This album was a surprise in many ways. The secrecy surrounding it created an almighty buzz, the songs offered great depth for the listener to delve into. Bowie was on form, sounding great and producing some outstanding material; reflective at times, biting at others.

Random Access Memories by Daft Punk
Could it live up to the hype? Well that would be difficult as the hype was incredible and the success of 'Get Lucky' probably overshadowed the album. However if you wanted some robots to make an album in 2013 then Random Access Memories delivered the goods; wildly eclectic and crazily addictive.

Understated by Edwyn Collins
A very soulful album; stomping at times, tugging at the heart strings at other. Edwyn's show at the ABC in the spring was a delight and his recent show at Mono was incredible. An artist who keeps on giving and long may that continue.

Kingdom Of Wires by Kevin Harper
A stunning self released solo album by one of Scotland's best songwriters. Kev's solo performance at King Tut's back in the summer was exceptional. The album sees Kev wear his heart on his sleeve and bare his soul. The guitar playing is sensational, echoing the Foo Fighters and classic American indie bands.

The Bones Of What You Believe by Chvrches
Hyped beyond belief, could Chvrches deliver? They certainly could. This is what I wrote in my blog review in September;

'The Bones Of What You Believe' is a fascinating album, extremely polished pop on the surface, often with darker, menacing undertones. The production is crystal clear, staying clear of the trap that many modern acts fall into - that of over-production. The songs have space to breath, there are hooks galore with synths (lots of them) beats and bass combining in a glorious manner and Lauren Mayberry's vocals are delicious; sweet at times, capable of anger, revenge, hurt and heartfelt emotion at others.

I listened to the album for the first time in a month or so this week and it actually sounds better. If anything I overplayed this when it came out. I am currently kicking myself for not buying tickets for their Barrowland show in March.

My songs of 2013

Here are some of the songs that have been released in 2013 that I have particularly enjoyed. I hope you do too.

There are tens of thousands of songs that have been released this year that I haven't heard. If you have any songs you think I should check out then please tweet me. You'll get an idea of my taste from below.

I've probably forgotten a couple, but here we go...

I Am The One by Chris Grant
Absolutely beautiful song. Number one in another universe. You can imagine people wetting themselves if Chris Martin had written it. Not on YouTube as yet.

Reflektor by Arcade Fire
The kind of music you want from one of the biggest bands in the world in the year 2013. Produced by James Murphy and featuring backing vocals by Bowie - ambitious in sound, texture and performance.

Too Bad (That's Sad) by Edwyn Collins
Northern Soul style stomper that had me hooked on first listen. Collins ABC show in the spring was a delight.

Royals by Lorde
Original and exceptional. The production on this is simply exquisite, the lyrics and melody sublime.

Will You Love Me by Matthew E White
Big Inner floored me when it was released back in January, it is such a warm and gorgeous album. This is lazily lovely.

Honey by TeenCanteen
'Honey' combines Spector with the Velvets and C86 indie to make everyone smile.

Get Lucky by Daft Punk
Quite enough has been written about this song. Great though!

Forever by Vigo Thieves
The 'Heart and Soul Pt II' EP was incredible, all 3 songs off it are in my songs of the year. 'Forever' remains my favourite as it just soars to places other bands can only dream of reaching.

Giorgio by Moroder by Daft Punk
The synths and the groove in this song when it kicks in are glorious.

Stoned and Starving by Parquet Courts
Raw catchy punky guitar pop a-la The Strokes circa 'Is This It'. In fact it is even rawer.

Foresight by Nevada Base
Slightly deranged sounding synths, tribal drums start the song before funky bass kicks in and the lyrics and vocals sound paranoid. 'all the science that we know will be in vain'.

The Stars Are Out Tonight by David Bowie
A mighty return from Bowie. This was a standout for me.

It Starts And Ends With You by Suede
Suede returned in magnificent fashion with this single, up with their best work. Their show at the Barrowland in October was nothing short of sensational.

Check My Heart by The Pastels
Glorious warm summery guitar pop with a video to match.

He Took You in His Arms by Bill Ryder-Jones
From a rather gorgeous album. This is all kinds of dreamy goodness.

2013 by Primal Scream
Sounding as vital as anything they have ever produced.

Strong by London Grammar
Just beautiful.

Summer Rain by The Pastels
Slow Summits by The Pastels is one of my albums of 2013. They sound more comfortable with themselves and their music than most artists. This is just pure Pastel-ism.

The Mother We Share by Chvrches
2013 was quite a year for Chvrches. This is just superb, crystal clear production, nice hooks in the verses and a chorus that flows superbly. Synths are beautiful.

Sore Tummy by Paws featuring Alice Costelloe
I wish Paws would write more stuff like this. Catchy as f**k.

One Of These Days by Matthew E White
'Big Inner' is an album that I will return to for a long time, songs like this are the reason. A special talent.

Big Love by Matthew E White
The song that introduced me to the talented Mr White. Echoes of the Beta Band. A real groove.

Stroh 80 by Casual Sex
The debut single by the Glasgow band is pure pop with echoes of Orange Juice and Franz Ferdinand. A delight.

It's You by Chris Grant
Grant's album is stunning, it really hasn't received the press it deserves. Just listen to this for a love song. Beautiful.

24 Hours (Night Time My Time)
My friend Craig introduced me to Sky Ferreira last year and to this song just last week. It is brilliant pop music that you can just escape into. '24-hours we still have time, 24-hours you're still mine' the chorus flows superbly.

The Perfect Life by Moby with Wayne Coyne
Moby cutting about with Wayne from Flaming Lips dressed up as Mexicans on LSD? That caught my attention. The song is brilliant too!

Kingdom of Wires by Kevin Harper
The title track of Kevin's debut solo album is brilliant. Building slowly and movingly into crashing guitars. Link HERE as for some reason I can't post the video on here.

I Love It by Icona Pop featuring Charlie XCX
Released in 2012 but I only discovered it this year and it was everywhere. Absolutely incredible joyful punky pop.

Thursday by Pet Shop Boys
Pet Shop Boys are still creating brilliant pop music.

Best Song Ever - One Direction
OK take the piss if you like, but I think this is brilliant pop music. A 2013 update on The Beatles 'I Saw Her Standing There' taking in a bit of The Who along the way, just full of great hooks. And how many songwriters kicked themselves for not nabbing that title first?

Fade Into You by J Mascis
J Mascis from Dinosaur Jr covers this classic from Mazzy Star. Suitably dreamy and gorgeous.

We Sink by Chvrches
My fave from their debut album. Pop with a raw edge.

Baby Blue by Badfinger

OK this was released a long time ago, but it received the kiss of life courtesy of the series finale of Breaking Bad - perfect choice.

You've Got Me Wondering Now - Parquet Courts
I'm squeezing another one in for Parquet Courts as this is just brilliant, raw and catchy sounding like they just don't give a fuck. 'I thought I knew a thing or two about the blues but you've got me wondering now.'

Arcade Fire at Glasgow Barrowland, Friday 15th November 2013

Guest blogger - Dave Taylor 

When Arcade Fire announced they had a new album coming out, you expected them to tour it. Such is their pull, The Hydro or The SECC would seem like logical venues, but when the news broke that they were playing 2 nights at The Barrowlands under the pseudonym of The Reflektors, you just knew it was going to be a special night.

After a miltary style operation to secure tickets (they sold out in 5 minutes), we could start looking forward to the show. The fact there was only 2 weeks from buying the tickets to the first night, seemed to heighten the anticipation and the sense of occasion, especially as the tickets stipulated formal attire or fancy dress were mandatory.

The Barrowlands when tweeting the stage times, hinted that there might be a wee surprise in store for those turning up early, so for the first time in years, we got there early and queued up. It was a magical sight seeing so many people in tuxedos and bow ties, clown suits, Super Mario, and even God was there. 

There were rumours that the band would come out and play a song to the crowd, sadly this didn’t happen, but when a stretched limo rolled, everyone waited with baited breath. A Mexican mariachi band came out, followed by the band, or at least people wearing paper mache heads of the band. Then the first couple of hundred fans, us included, got invited up to the ballroom to rehearse a choreographed routine to be played out during “We Exist”, it was quite a sight, a skeleton leading a couple of hundred dressed up Scots through a dance routine, not your normal gig!

There was a real buzz about the crowd, a sense that we were the lucky ones that managed to get tickets, knowing glances were exchanged between dressed up punters awaiting the bands arrival, the paper mache band danced with the crowd as the anticipation grew.

There was a large black curtain covering the stage with The Reflektors logo projected onto it. Around 2030, this dropped to reveal the band, all wearing masks. The set kicked off straight into the current single, Reflektor, then straight into Flashbulb Eyes. With Reflektor being the bands 4th studio album, they have a large back catalogue to pick from, next up was Neighbourhood #3 (Power Out) from 2004’s Funeral.

The set was loaded with songs from Reflektor, it’s a different sound from the band, with the influence of James Murphy being obvious, the new work has a great life and vibrancy to it and it works really well live, the crowd danced its way through You Already Know, We Exist, complete with the choreographed moves from earlier, It’s Never Over and Afterlife, complete with acapella intro, before they took us back to 2010’s The Suburbs with Sprawl II (Mountains Beyond Mountains), the older stuff was being lapped up by the crowd. 

Next up was Normal Person, where Butler suggested that if anyone fancied crowd surfing, the chorus would be a good time to do so, he wouldn’t have been disappointed as a few eager fans duely obliged. Next up, Win donned a huge paper mache head to rock through a cover of DEVO’s Uncontrollable Urge, then the set closed with Here Comes The Night Time, as the crowd danced as one to the Haitian grooves as glitter cannons exploded overhead.

After a short rest, the band were back on for the encore, first up was Haiti. Then Win announced that they had been saving this for a special occasion, before launching into Wake Up, the crowd went crazy for this one, it hadn’t been played at the previous two London shows or any of the warm up shows, and it sounded massive, the whole venue was dancing and bouncing as one. Fans could be heard singing it long into the night as we walked back to get our train.

The whole night was amazing, I’m not sure I’ve ever seen a better gig, but it wasn’t just a gig, it was an experience, the sense of occasion that built from the tickets going on sale, through the fancy dress shopping ensured this was never going to be just a gig, but a night I’ll never forget.

Full Set List
1. Reflektor
2. Flashbulb Eyes
3. Neighbourhood #3 (Power Out)
4. Joan of Arc
5. You Already Know
6. We Exist
7. It’s Never Over (Oh Orpheus)
8. Afterlife
9. Sprawl II (Mountains Beyond Mountains) 10. Normal Person
11. Uncontrollable Urge (DEVO cover)
12. Here Come The Night Time
Encore
13. Haiti
14. Wake Up 

Shut Up And Play The Hits - LCD Soundsystem

Last night Lynn and I enjoyed a rare midweek 'date' to the pictures, the lovely Glasgow Film Theatre, to see 'Shut Up And Play The Hits', a documentary about the end of LCD Soundsystem, centred around their final epic show at Madison Square Gardens.

We arrived at the GFT a full hour before the 8.40pm showing. With the knowledge that it was a sell-out we wanted to get a couple of drinks in the bar and good seats.

In the lead up to the main fetaure we were 'treated' to some 'live from the red carpet' footage from the premier in the Hackney Empire in London. A rather enthusiastic and annoying presented caught up with Al Doyle (Hot Chip and LCD), James from the Klaxons, the producers and some fans, some of whom must have been set up.

Anyway, eventually (and this may have been meant) we did get to the stage where the audience were thinking 'Shut Up And Play The Hits'. 

This flashes up at the start of the film and kind of sets the tone for the concert side of things; an epic celebration of the music and idealism of LCD Soundsystem during a 4-hour show to a sell-out crowd of 18,000 people at Madison Square Garden.

It is the party to end all parties, champage, special guests like Arcade Fire on backing vocals for 'North American Scum', balloons from the roof, music, dancing and romancing (some great footage of a couple lost in music and each other with a big kiss at one point).

The celebration side of things is balanced by the complete come-down captured in the immediate aftermath of the show. I loved the way that this was portrayed. We had Murphy waking up in his cool NYC loft apartment still wearing his shirt from the night before, cuddling his dog, taking his dog out for a piss, feeding his dog, shaving, listening to answer phone messages, riding the subway, going to his office and basically wondering what the hell he was going to do with his life.

This in itself was counter-balanced by footage of Murphy being interviewed by an extremely inquisitive American journalist. It worked exceptionally well with Murphy being equally humourous and extremely open about his thoughts and feelings.

 The concert footage is fantastic. The producers capture how cavernous the venue is, the roof looks like it is a giant space station, the crowd is vast, yet on stage LCD Soundsystem make it seem intimate by all grouping together surrounded by various banks of equipment.

'All My Friends' is dropped early doors to a round of applause by the audience. The footage from Madison Square Gardens slowly but surely becomes more euphoric as the party goes on; 'Movement' and 'Us and Them' capture the band merging punk, funk, techno, electro, garage and psych all at once - the beauty of LCD.

Footage cuts starkly and dramatically to post-concert dressing room scenes, to Murphy riding the subway or getting a car back to his flat gazing out at the New York skyline, the comedown setting in already.

In the interview we learn that Murphy is in his early 40's and wants to settle down and have kids. He is worried about the effect that touring has on him, stating that in the 2-years he didn't tour between 'Sound Of Silver' and 'This Is Happening' that he didn't get a single grey hair but as soon as he went on the road for the last time he started getting greyer and he wondered what this was doing to him on the inside.

We also learn of Murphy's satisfaction in practically everything LCD and DFA Records have recorded and released and that after 3 albums he wants to end on a high. He likes the fact that he is 'moderately successful', not overly successful/famous, he likes that he can walk his dog and ride the subway.

Some of the camera shots and positioning for the concert footage are incredible, different enough to make it original. So we have the brilliant footage of the mosh pit from directly above, cameras between amps and keyboards, in the crowd, in the photo pit....all capturing the experience.

'Losing My Edge' is predictably brilliant with Murphy also talking about how much it means to him and although people see humour in it, he was talking from the heart. He'd been playing The Stooges while high on E, mixing everything up from his considerable collection (some great shots of that in the flat scenes), now kids were coming up from behind and he was feeling threatened.

Murphy wanders from his office to the LCD storage space to check everything is in. This is probably my favourite scene in the movie, it tugs on the heartstrings. Murphy looks on at the equipment the band have built up, the thoughts running through his mind must have been similar to what were going through my mind. He was thinking of the memories, the music that has been made and played, the good times... and he cries.

This was the funeral scene, the realisation that the band had died. The concert had been the celebration. Murphy was now in mourning.

The film ends with LCD Soundsystem playing 'New York I Love You But You're Bringing Me Down' cutting to footage of the band having a dinner in a hip New York restaurant, drinking, sharing memories. 

Thanks for the memories James. I hope there is more to come.

 

 

Five for Friday - Part III

Arcade Fire are on of the most creative, passionate and talented bands out there.

David Bowie is still under-rated, partly because i think like Ziggy Stardust, he is from a different planet. The guy is a phenomenon. Bowie and Ronson on fire.

The re-issue of 'Exile On Main Street' has been on and off my stereo since it came out. This is an example of why. Sheer rock'n'roll.

LCD Soundsystem have been one of my favourite bands of recent times. James Murphy is coolness personified - elements of funk, soul, electro, techno, pop, garage...and anything else that takes his fancy are thrown together to create some spectacular results.

I've recently discovered the album 'Butterfly House' by The Coral. It is a beautiful album, lovingly crafted with tons of harmonies, hooks and some brilliant guitar work. The production is also stunning with elements of late 60's bands like Love a clear influence.