Category: review

Cut Off Your Hands @ Al’s Bar 30/10/2008 [Review by Thom]

Posted on by Dr Hitchcock

 

Since their last show in Christchurch, Cut Off Your Hands (COYH) have become world famous. Well, nearly. Touring with Foals and Friendly fires is definitely a step toward householdnamism, and signing to over 15 record deals worldwide is just about enough to keep bic biros in business. However, despite touring endlessly around the globe (7 UK tours last year), the group still have their roots.

Last night’s show at Al’s bar was the first from COYH since their nationwide tour with So So Modern. Back then, the group had one EP under their collective belts, and played alongside a then fresh faced and unknown Bang! Bang! Eche! With the release of their debut full length, and a few thousand miles later, COYH were back, and more contemplative than before.

Gig openers ‘The Klap’ were quick to impress with buttoned down shirts, foot-stomp glamour, and an alarmingly large number of people singing to every word. Seeing as the band have almost built their entire look around looking surprised, last night seemed a fitting induction to their new life as the RDU golden children.

After minimal delay, COYH graced the stage opening with an energetic, yet muddy ‘Happy as can be’. A single obviously lost on old fans, yet, like oxygen to the new breed of punters. The song did introduce the band’s new ‘open stage’ policy, a concept usually more at home in real-estate. The crowd claimed the stage with prompting from frontman Nick, opening the stage to a plethora of John Travolta-esque public/self-conscious dancing. The band followed with Turn cold, their latest single and throwback to their early days, before drifting into semi-self indulgent ballad country. While making some ground in justifying the inclusion of these ‘slow’ songs on record, they did little to add to the set. During this dimmer escapade, the crowd left the stage leaving a lone Mark (Tiger Tones frontman) to hold the fort, tackling the singer Nick and knocking out leads. The group did finish strongly, however, with stirring renditions of You and I, Oh Girl and Eyes Closed.

While the gig lacked intensity at times, it is obvious that the group have toured extensively, and are a real unit on stage. While my mum in Auckland still struggles to come to terms with their graphic name, I get the feeling that the name ‘Cut Off Your Hands’ will be on the lips of more than just knife wielding cretins, quicker than you can say “come on stage so people can watch you dance.”

Ratatat – LP3 [Review by Sixtyten]

Posted on by Dr Hitchcock

Ratatat are back with their signature sound, and LP3 delivers the goods. This album ventures into more diverse territory than Classics, with a less rock based approach, as LP3 confidently flirts with different styles, world instruments and synths.

Instrumental albums have to work harder to maintain your interest. These songs are all short, but they include a multitude of instruments and samples so small details are revealed on repeat listens, meaning the music stays fresh. In true Ratatat style, the vibe is playful and fun. It gives you a simple childlike thrill. Imagine Boards of Canada playing Daft Punk’s Discovery album backed by a live Hawaiian lounge band and you’re getting close to the Ratatat sonic extravaganza. Epic hair-rock guitar melodies are churned out from what sounds like a Hot Licks 80s key-tar, and it always sounds like two or three instruments are being played both backwards and forwards simultaneously. If I had kids I’d be blowing their little minds with this shit at birthday parties like my parents did to me with the Beatles. Swooning keyboards over gentle glitch hop beats join with playschool melodies and snippets of wailing guitar; it’s how each song deviates slightly that adds to the flavour.

Mirando is immediately catchy. It blips and bleeps and grooves like a shambling gypsy circus, then rocks out a classic virtuoso solo straight from Ywangie Malmsteen’s school of rock. Shempi has a disco beat and swirling ABBA synths. Imperials employs harpsichord for maximum drama, a gurgling water sample and chugging 70s riffs, before it goes all ambient with violins. Dura kicks it with kooky Addams Family keyboards and a chugging muted guitar groove over bongos, before the compulsory solo busts in and swirls out backwards into the ether. Mumtaz Khan goes on an Arabic excursion with snake charmer bells and Tabla percussion, before a raunchy Van Halen solo! The album’s shorter songs are just as eccentric and catchy. Flynn has a bouncy reggae beat and a catchy use of “Oohs”. Gipsy Threat sounds like the soundtrack to a Laurel & Hardy slapstick routine, and Brulee has a chilled Hawaiian groove.

LP3 has no weak tracks, and it explores different styles all the while staying cohesive as a whole. It is a great mood enhancer, and my only gripe is that it’s too short!