Archives for July 2016

3 new albums from The Avalanches, DJ Shadow and Blood Orange.

The Avalanches' Wildflower.

The Avalanches’ Wildflower.

The Avalanches released their debut album Since I Left You in 2000, and its kaleidoscopic mix of sunny samples moulded to infectious groves saw it rightly heralded as one of the albums of the decade. Wildflower is their belated sequel. So why has it taken 16 years to arrive?

Well for one thing, the even larger number of samples they needed for their second record took over 5 years for clearance. Then the five Australian DJs became two, and are now two plus one. Then their record label went belly up, and one of them developed a life threatening, debilitating illness.

avalanches-since-i-left-you1The good news is, and not withstanding the wait, Wildflower feels like the completely natural next step after Since I Left You. As you’d expect, a slew of guest vocalists have joined the party now, with Jonathan Donahue of Mercury Rev, David Berman of Silver Jews, Warren Ellis and Father John Misty bobbing up and down in the sea of meticulously layered sounds.

A few people have grumbled that it’s too recognizably a new Avalanches album, and that they haven’t evolved enough. But that’s always the fate of the avant garde. What begins as weird and aggressively off-putting quickly becomes acceptable and then the norm. This is even more obviously the case with DJ Shadow.

DJ Shadow's The Mountain Will Fall.

DJ Shadow’s The Mountain Will Fall.

The new album, his fifth, is called The Mountain Will Fall, and like the previous couple it’s gone largely un-noticed. That’s because the hype that his debut album Endtroducing generated in 1996 was bound to be followed by something of an inevitable backlash. And once again, as I wrote earlier on his previous albums here, this is most unfair.

Unsurprisingly, this is a much darker and more brooding affair than the Avalanches’ album, but it suffers from the same, unjust criticism. How can this sound so recognizably like a n other DJ Shadow album? Shouldn’t he have moved on?

The point is, what he and then the Avalanches were doing was not some sort of passing fad. Effectively, they’d mined a new art form.

Beyonce's Lemonade.

Beyonce’s Lemonade.

The instrumental hiphop that he pioneered was manufactured by piecing together samples from other records and from all sorts of disparate eras and genres, and piecing them together to form a gloriously coherent and formidable soundscape.

The trouble is, nowadays that’s how all albums are put together, from the obscure fringes to the mainstream centre. By mining as many diverse sources as possible, in every area of an albums creation. There are over 72 writers on Beyoncé’s new album, the excellent Lemonade, and over 2,000 individuals are credited with having contributed to it.

Blood Orange's Freetown Sound.

Blood Orange’s Freetown Sound.

A perfect example of which is Freetown Sound, the new album from Blood Orange. In many ways, it’s a relatively conventional album on the funkier, RnB side of soul, from a British artist who’s taken four or five albums to finally find his voice, which he has done here in spades.

But each of the tracks are bookended by samples and film clips that give the album and each of the tracks a decidedly political edge. So that on the one hand, it has a much more contemporary feel to it than either of the above, but on the other, it never could have been made the way that it was, or have ended up sounding the way that it does, without the pioneering work done by the likes of Shadow in days of yore.

Digging for gold, Josh Davies aka Shadow is rumoured to own over 60,000 LPs.

Digging for gold, Josh Davies aka Shadow is rumoured to own over 60,000 LPs.

Though not quite as good as some critics would have you believe, Freetown Sound is nonetheless a serious album, and gets an 8.8 from Pitchfork here, while The Mountain Will Fall gets an unjustly skimpy 6.6 here, which isn’t really fair on either count. They more properly merit about 8.0 each – Wildflower gets an 8.5 here.

What all three albums represent is the fruits of a lifetime of hard work from serious musicians for whom music is not so much a choice as it is a compulsion. And for whom, and thanks to whom, making an album the old way simply isn’t an option any more.

You can see the video for DJ Shadow’s The Mountain Will Fall here, the lead single Augustine from Blood Orange here, and you can hear The Avalanches’ Colours here– the video for the single Frankie Sinatra is pants, which is a shame, as the song itself is impossibly catchy.

Sign up for a subscription right or below, and I shall keep you posted every month on All the Very Best and Worst in Film, Television and Music.

Subscribe here for regular updates. And get your FREE GIFT of the first 2 chapters of my book, A Brief History Of Man.

A trip down the Amazon with “Embrace of the Serpent”.

Embrace of the Serpent.

Embrace of the Serpent.

This is the third film from Columbian film maker Ciro Guerra and it won the main prize in the Directors’ Fortnight at Cannes last year, but it really ought to have been invited to be screened there in the competition proper. And it only lost out on the Oscar for Best Foreign Language Film to Hungary’s Son of Saul – which, quite correctly given the subject matter, was so harrowing it was almost unwatchable.

Embrace of the Serpent is a fictionalized marrying of the twin journeys into the heart of Amazonia that were embarked upon in the first half of the twentieth century. The first was made by the German ethnologist Theodor Koch-Grunberg in 1909, and the second in 1940 by the American Richard Evans Schultes, who is considered to be the father of ethnobotany, the study of the relationship between peoples and their plants.

We begin with the German who turns in desperation to a shaman, the haughty Karamakate, to relieve him of the delirium he is danger of slipping into.

the-new-film-embrace-of-the-serpent-conjures-a-forgotten-indigenous-vision-of-the-amazon-1452186262-crop_mobileBut Karamakate has seen his land destroyed and his people decimated by the white man and his insatiable appetite for rubber, and for whatever else he can the rape the forest of. And he only very reluctantly agrees to be their guide.

Thirty years later, and the American Schultes is retracing the German’s steps in search of a wonder plant the latter is supposed to have discovered in the course of that first trip.

Shot ravishingly in black and white, the film has been described by many as hallucinogenic, but dream-like would be a more accurate description of the mood and atmosphere it evokes. Everything that happens is connected to what happened before and to what happens after, and there are reasons for the things that happen, and yet somehow events don’t unfold in the way that you would expect them to.

2001: A Space Odyssey.

2001: A Space Odyssey.

It’s as if classical, Newtonian causality had been suspended and been replaced by a higher logic that we’ve yet to have explained to us. You know it must all make sense, you’re just not quite sure how.

Of course, it’s not hard to see why people might resort to describing it as hallucinogenic. Very briefly and for barely a minute, the film bursts into colour in a badly misjudged attempt to imagine what the trip Schultes has gone on might look and feel like after imbibing of a local concoction – Schultes would later go on to write a famous book on LSD in 1979 with Albert Hofmann, the man who discovered it in 1938.

The fourth and final section of 2001 takes flight.

The fourth and final section of 2001 takes flight.

But it’s impossible to watch these experiments in colour and not think of what Kubrick did in much the same way for 22 glorious minutes in the final and genuinely psychedelic section of 2001: A Space Odyssey – which I reviewed earlier here.

That brief mis-step apart, Embrace of the Serpent is at times a majestic, at others an eerily haunting film that covers much the same territory as Conrad’s Heart of Darkness, but from the other end of the barrel of the gun. The conclusion is the same, but the journey getting there is a more isolated and therefore a more contemplative experience.

And the cacophony of chaos that that journey reveals is produced not by the machines of war, but by a jungle teaming with a life that’s being casually butchered by the white men manning the guns, and approaching from beyond the trees.

You can see the trailer for Embrace of the Serpent here.

Sign up for a subscription right or below, and I shall keep you posted every month on All the Very Best and Worst in Film, Television and Music!

Subscribe here for regular updates. And get your FREE GIFT of the first 2 chapters of my book, A Brief History Of Man.