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Friday, 9 September 2011

Film – The Panic In Needle Park (Special Edition)


THE PANIC IN NEEDLE PARK (Special Edition)
Second Sight

Banned at the time of its original theatrical release in the UK because of its frank depiction of heroin addiction on the streets of contemporary New York, former fashion photographer Jerry Schatzberg's
1971 feature remains something of an unsung landmark of American cinema of the early ’70s not least because it features the first major screen role of one Al Pacino which directly led to the latter being
offered his career-defining role in The Godfather by Francis Ford Coppola.

Located at the junction of Broadway and 72nd St, the Needle Park of the title (otherwise known as Verdi Square or Sherman Square) was at the time an infamous junkie hang out on the west side of Manhattan and the film unflinchingly captures the seedy, hand to mouth world of Bobby (Al Pacino), his girlfriend (Kitty Winn) and their coterie of small time hustlers all desperate to score their next fix. Based on the novel of the same name by James Mills, entirely shot on real locations, captured in muted hues by cinematographer Adam Holender (previously responsidle for the cinematography on an equally epochal
New York feature – John Sclesinger's Midnight Cowboy) and with the absence of a musical score only accentuating the film's gritty documentary flavour, The Panic In Needle Park opens the window on a
long gone down at heel New York of cheap hotels, dingy apartment buildings, fast food joints and pawn shops also familiar from such seminal New York films as The French Connection, Shaft and Mean
Streets.

Unrelentingly bleak the tale of Bobby and Helen's descent into hell may well be but the remarkable performances from both Pacino whose edgy intensity lights up the screen and the equally superb Kitty Winn whose performance won her the best actress award at the ’71 Cannes Film Festival (where the film was also nominated for the Palme D'Or) make for truly compelling cinema.

This special edition DVD release comes with two documentaries – Panic In The Streets Of New York and Writing In Needle Park which feature revealing interviews with director Jerry Schatzberg (apparently Robert DeNiro was also considered for the role of Bobby), cinematographer Adam Holender and screenwiter Joan Didion respectively.
Grahame Bent




Record Review – Cave 'Neverendless'


CAVE
Neverendless
Drag City 

Cave’s third album sees them rigidly adhere to the Neu! motorik template to create a listenable, if flawed, work. Across five long tracks they pair space rock with drone-y flourishes to enliven the largely instrumental jams.

Krautish inspiration isn’t the only thing present here though, with hints of slacker-style riffing, Stereolab-type pop influences and noise-rock outbursts. Underpinning the band’s sound is incredibly metronomic drum work played with a precision that makes you first assume they employ a German cyborg on sticks duty.

Much of the album is deliberately repetitive though many of the riffs just aren’t good enough to stand up to such tactics and quickly become tedious. This isn’t a bad collection of songs; it just lacks any spark to truly take it into the higher realms. All in all this makes for a pleasant diversion rather than the head-spinning trip the band presumably intended.
Austin Matthews

Record Reviews – Sungrazer 'Mirador'


SUNGRAZER
Mirador
Elektrohasch

Dutch trio Sungrazer are clearly a band in the thrall of ’90s stoner godheads Kyuss and various other desert deities, though that doesn’t make the fearsome noise they conjure up on second longplayer, Mirador, any the less exciting.

Packed full of great riffs, particularly on opener ‘Wild Goose’ and instrumental, ‘Octo’, the record also takes numerous exhilarating sidesteps into psychedelia, particularly on the 13-minute opus, ‘Behind’. Here the pummelling riffs are but part of an epic sweep of effects laden guitars conjuring up a particular evocative maelstrom of sound. The vocals are slightly monotonously delivered throughout the album – though fit in perfectly with the overall low-slung menacing mood present on every track.

There’s nothing especially original about this album, but who really cares when your head’s nodding to the rollercoaster riffing and monstrous drumming. Complementing this boisterousness, the quieter passages are hypnotic in their painstaking beauty. Perfect music for both mind and body.
Austin Matthews

Record Review – Piney Gir 'Geronimo'


PINEY GIR
Geronimo!
Damaged Goods

Kansas City's exiled contemporary queen of the heartland returns with
album number five. Recorded in Hollywood far from her adopted homeland in the UK and produced by Rob Campanello of The Brian Jonestown Massacre, Geronimo! sees Piney stepping out without her regular accompanists The Country Roadshow with backing instead provided by a pool of musicians including members of Brian Wilson's band. With its wide range of detectable influences and its finely worked abundance of style Geronimo! feels like a latterday relative of the sort of mid-late ’60s female singer songwriter albums that might have once upon a time seen the light of day on labels like A&M, Liberty or Buddha.

While it's Piney's engaging vocal presence that first grabs the listener by the arm Geronimo! broadens the scope from her justly celebrated country roots by incoporating a more eclectic approach as demonstrated in the contrasting moods of the album's 13 tracks. This at times eccentric jigsaw of sources and
references includes at various points echoes of Jackie DeShannon ('Outta Sight'), what sounds like a previously unreleased backing track from Captain Beefheart & The Magic Band's Safe As Milk
sessions ('Here's Looking At You'), what could pass for Astrud Gilberto lounging out with the forementioned Magic Band ('The Longest Day Of Spring') and the unmistakable chiming resonnance of The Byrds ('WouldYou Be There'). And so it continues on the lovelorn balladry of 'The Gift' and 'Stay
Sweet' the former complete with an exhuberant brass section to the fore on the outro, 'River Song' – a revamped hoedown seasoned with lively flourishes of fiddle and accordion which includes the self-effacing line 'I'm just a girl from Kansas City' and the jaunty 'Let's Get Silly' which gallops along like a runaway square dance.

Arguably saving her best for last Piney signs off with the hauntingly reflective 'Say Goodbye'. It's a tailor made album closer which somehow along the way manages to press into service what sounds like a
passing Mariachi band as the song builds towards its final melancholic climax. Now if a patchwork of styles like this isn't motivation enough to make you want to listen up it's difficult to figure out exactly
what will.

All things considered, with its sophisticated performances and the sheer inventiveness of the songwriting Geronimo! captures the personality of a quite extraordinary girl from Kansas City. Pine on Piney! Pine on!
Grahame Bent

Record Review – The Perishers 'All These Years'


THE PERISHERS
All These Years
Head Records 

Fancy some infectious, well-crafted, indie-pop? Your luck’s in – tonight we’re gonna party like it’s 1989! From the opening notes of 'Spectre', it’s obvious that the long, long wait for this London-based outfit’s third album has been well rewarded. These are songs to put a smile on your face and spring in your step. If you’re looking for something daringly experimental, then continue your search elsewhere – these boys have spent the past two albums in the laboratory and have come up with a formula that works beautifully – which, I suppose, makes this a peer review. There’s the hugely enjoyable no-nonsense, heads-down indie of 'I’ll Deny', 'Springfield' and 'You’ll Never Learn To Leave It Alone', the latter with a solo that wouldn’t sound out of place on a J Mascis album. So far, so good. Then, on 'Mean Old Man', the engaing pop sensibility that The Perishers share with the likes of Teenage Fanclub  meets a rawer groove to superb effect, with powerful drums underpinning guitars that make the blood rush and the spirits soar. The title track showcases a lighter side, allowing the note-perfect harmonies to combine with a melody so infectious it should be in quarantine while 'Two Parter' is a title that could have been dreamt up by the Ronseal marketing department it’s so apt. The first half of this song is textbook jangly indie, a bit hushed, a bit hesitant, before the guitars kick in and the song flies to an optimistic conclusion. All this and, in 'White Skies', the sort of perfect-pop of which Ian Brodie would be proud. Interestingly, an early Perishers video saw the band win over a crowd of OAPs. There’s more than a grain of truth here – this is unashamedly broad music that could, and should, be loved by everyone.
Barnaby Harsent

Record Review – P.G. Six 'Starry Mind'


P. G. SIX
Starry Mind
Drag City 

Pat Gubler returns from a four-year hiatus with one of his strongest outings, one that finds him moving further astray from his folky, acoustic beginnings into heavier, Crazy Horse-like territory. ‘January’ wanders aimlessly around some tasty (electric) guitar picking, while ‘Letter’ continues the stoned, lost-in-the-desert vibe reminiscent of Black Sun Ensemble. But at its heart, Starry Mind is a bloodshot-eyed, thousand yard stare into the sun setting over vast Western wastelands. Lyrics are at a minimum, allowing the band to concentrate on lengthy instrumental jams that have a distinct West Coast ’60s aroma. Fans of Country Joe, Quicksilver, even the Dead will be right at home within these comfy grooves.

‘Days Hang Heavy’ is the closest thing to their vintage recordings, a mellow little acoustic number fondly recalling their Fairport-cum-Pentangle folky roots, and ‘Talk Me Down’ is pure country-rock with strains of Pure Prairie League, New Riders, and Sweetheart-era Byrds along for the ride. ‘Crooked Way’ takes too long to get moving (think of Crosby’s ‘What Are Their Names’) but the eventual wah-wah fest excites while it mesmerizes, and dreamy closer ‘This Song’ drowns your sorrows in a pint of rot gut and port. It’s always a treat to hear established acts challenging themselves to move in new directions when the bag they’re in has been so successful, and I think both fans a newbies alike will enjoy what Pat and company have to offer this time around.
Jeff Penczak

Record Review – The Broken Vinyl Club 'The Broken Vinyl Club'


THE BROKEN VINYL CLUB 
The Broken Vinyl Club
Acid Jazz

I was very much anticipating this debut release and am happy to report I don’t feel let down. The Cardiff-based quartet moved from See Monkey Do Monkey to Acid Jazz earlier this year, Alan McGee and Liam Gallagher have both been singing their praises… and you can immediately hear why. The main ingredients here are clattering Arctic Monkeys-style guitars, baggy and Britpop organs, Beatles harmonies, country-rock rhythms, and Coral-style arrangements. A heady mix indeed. 

Opener 'Every Inch' reminds me of fellow Acid Jazzers The Moons, mixing the ’60s with the ’90s. The perennial talk of another Britpop period might just be on the mark! 'Hiding From The Truth' is a twisting piece of drama that hints at The Doors,  'One Way Street' is very good slice of psychedelic Britrock with honeyed harmonising that had me cooing with delight, whilst 'She’s Tired' is simply gorgeous: like The Zombies/the Pretties at their most whimsical. The single 'I Want You Girl' sounds like all those Liverpudlian Byrds acolytes (Shack, Stands) – all joyous rhythms and warm vocals. By the time the album closes country-rockers 'Spin Around' and 'Brave Captain' have sailed into view, the former containing a luscious solo cementing it’s brilliance. With the qualities on display here in this walk through the gardens of the past you definitely should fork out for this. And with a little more time and a bit more original thought their second album should seem them fly even higher.
Phil Istine