Poliça are back, with this beautifully warped piece, Driving. It’s taken from their new album, When We Stay Alive.
Here’s a slightly unusual collaboration – new from Poliça & Stargaze is the album Music for the Long Emergency. Here’s The Long Emergency:
It took Leftfield sixteen years to return with Alternative Light Source. In the 1990s, the duo of Neil Barnes and Paul Daley released just two albums, but their dark and exotic electronic dance music was both unique and enormously influential. They skipped an entire decade, before returning in 2010, now without Daley but with a score of guest vocalists instead, and toured for a couple of years before eventually returning with new material in 2015.
The third album opens with a brilliant robotic vocal from Tunde Adebimpe, on the track Bad Radio. It’s fantastic. The huge warping bass and eccentric synth sounds have echoes of Leftism (1995) and Rhythm and Stealth (1999), while at the same time sounding new and contemporary – and also very catchy.
Second track Universal Everything, with Georgia Barnes providing some other-worldly vocals, is simply banging. It’s a huge club piece, deeper and darker than anything on the first two albums, but still with a bit of an unusual twist.
Channy Leaneagh from Poliça turns up to deliver the vocal on Bilocation. It’s rhythmic and hypnotic, not unlike the last single from the second album, Swords. Then for perhaps one of the oddest tracks on here, Sleaford Mods turn up to deliver the exceptional Head and Shoulders, a bizarre poetic piece full of obscure words and even odder concepts, but one which comes together brilliantly.
Nearing the halfway point of the album, most of the collaborations are complete. A simple arpeggiator melody drives Dark Matters, referencing some of Leftfield‘s pre-Leftism material, and before Channy Leaneagh turns up again for another oddity, Little Fish, which bounces along with an almost contemporary rave feel for six minutes, and that theme continues with Storms End, the instrumental track which follows.
Leftfield always have something unexpected up their sleeves, and so the title track Alternative Light Source opens with a gentle strummed acoustic guitar riff, and although it gets big, it never really builds into anything too enormous. Honestly it’s a welcome break from the banging beats which have characterised the album up to now.
If you approach this album expecting to be rocked in the way the previous two albums changed your world, you might be disappointed – this might even be a better album for people who have never heard any Leftfield before – but it does have a sound of its own, and it’s unique in the way that Leftfield always were. It does have its low points though – Shaker Obsession is fine, but far from special, but prudently this album only has ten tracks, so you never really get bored, and this is the penultimate one anyway, so you should really know what this album is all about by now.
Alternative Light Source closes with the adorable Levitate for You, with Ofei. It’s deep and downtempo, and honestly I’d have loved a few more tracks like this. But what do I know? This is a great way to close the album, even if it comes on its own.
With a reputation as solid as Leftfield‘s, a lot of people were inevitably going to be disappointed by this album, but honestly it’s a strong comeback, and it does leave you hoping for more. If you want to stick with the two era-defining albums from the 1990s, that’s your choice too, but I’d definitely recommend the third one too.
You can find Alternative Light Source at all major retailers.
Here’s a particularly fine video from Poliça‘s new album United Crushers, which came out this weekend. This is Wedding:
This was a highlight from just before Christmas, which crops up this week on the blog due to some rather complicated reasons. Poliça‘s latest single is the rather sweet Spilling Lines.
American indie-rock-electro-band-with-a-Slavic-name Poliça are back this week with their second album Shulamith. This is the lead single Tiff, a song about everyone’s favourite image file format, and featuring help from someone called Justin Vernon:
A nice surprise just a couple of weeks after arriving in South-East Asia was the arrival of the Laneway Festival last weekend in Singapore. Since practically everybody I asked seemed to be going along, and since the lineup was pretty strong, it seemed rude not to join them. The audience was largely non-Singaporean and largely the kind of people who are a bit too cool for pop, but it made for a great day out in the heat of the almost equatorial January sun.
Frustratingly the slightly shambolic queue for ticket collection left me unable to catch most of the wonderful Kings of Convenience, although the strength of their closer I’d Rather Dance with You was still notable compared to some of the bands who would follow. Another definite highlight was seeing Erlend Øye turn up at the end of the night dancing like a maniac to Gotye, but I’d really have liked to be able to say more about how good their performance was.
Minnesota’s Polica followed with an excellent set of tracks which I’m only unable to recommend since I’d never heard any of them before. Their debut album is out already and definitely seemed worth checking out, with shades of Portishead or Goldfrapp.
The slightly strange order and selection of the lineup reared its ugly head very early on as Cloud Nothings turned up and were absolutely and inconceivably dreadful. The punk / metal band screamed their way through an awful 45 minutes or so, although it’s difficult to know whether they could actually tell, given how poor their drummer seems to be at keeping time.
This seemed a good time to go and investigate what else the festival had to offer, but sadly the merchandise stall was a pretty paltry offering, and the drinks were pricey. Most disappointing was the decision to only stock Fiji water at S$5 for a tiny bottle, complete with a rather insulting message on the label about how sustainable the water was. Because of course shipping tiny bottles of water seven hours across the ocean and selling them at exorbitant prices is much better for the environment than providing, say for argument, a tap.
Fortunately Divine Fits turned up to prevent the mid-afternoon heat from making things any worse. Pleasant enough, the three-piece indie supergroup (apparently, anyway – nobody I asked seemed to have heard of any of them) worked their way through the set before passing the baton over to the much better Of Monsters and Men. Typically Icelandic (I.e. slightly bonkers) and oddly named, they were a wonderful antidote to the sun and some of the dross and dullness which had preceded them.
Japandroids, on the other hand, were a bit of a disappointment. Someone asked me beforehand whether I thought they might sing in Japanese, but sadly they turned out to be neither Japanese nor as electro as their name appeared to suggest. So another set of dull “alternative rock” followed.
The day was growing late and it had already struck most people that the set order was odd in the extreme. Removing Cloud Nothings would have been a good start, but even the bands who were there should really have been reshuffled into a more sensible order. Kings of Convenience may have seemed a nice chilled out opener, but as the most accomplished act on the bill, they really should have had higher billing, and the headline act was, as we shall see, perhaps not the best choice.
The act who followed was a pleasant surprise. Nicholas Jaar turns out to be an excellent chillout dance act with some excellent moments in his set, although sadly by this stage the sunburn and the hours spent out in the sun were starting to get to me, so I ended up sleeping through a good chunk of Kimbra‘s set. What I did see was unfortunately pretty dull. Having turned up as Cinderella, she proceeded to play tracks that largely sounded like Gwen Stefani but rockier, and sadly that’s about all there was to say.
As the sun went down behind Marina Bay Sands, Real Estate turned up with a set that was generally strong but fairly forgettable. British media favourites Alt-J followed, good and consistently interesting, but also a little underwhelming. Having walked off after a couple of minutes due to sound problems, they finally returned to finish their set, but I wonder if perhaps the audience needed something a little stronger at this point.
Fortunately, we got it. The big surprise for me was Yeasayer, whom I think I’d managed not to come across previously, and who were truly exceptional. Catchy experimental hit followed hit, and you’ll be either pleased or disappointed to hear that I’ll definitely be keeping an eye on them from the safety of this blog in the future.
Bat for Lashes was up next, and followed in style with another excellent set, although much of the audience showed their colour by remaining seated for her and then crowding en masse to the stage for the subsequent act Tame Impala.
As an act who had clearly listened to rather more Status Quo in their time than is really healthy, they were, for the most part, fairly dull, but they clearly knew what they were doing for all of that. Feels Like We Only Go Backwards was a particular highlight.
Whether because of the late night shutdown of the city’s Metro system or because people thought they were a bit too cool for the decidedly mainstream headliner who followed, it was really disappointing to see large parts of the crowd exiting at this point, leaving Gotye with slightly post-apocalyptic fields of litter for much of his audience. Perhaps choosing a headliner who had more than one hit to his name outside of Belgium and Australia might have helped.
But Gotye was, of course, excellent. Rippling with humour, great videos, a plethora of different instruments, and a huge array of great songs, it was never going to be anything else. And having long since learnt the lesson of getting his tracks in the right order, Somebody That I Used to Know was among the last. All told, his set was definitely the best of the lot, and he was entirely justified as the headliner – it’s just a shame that the crowd didn’t agree.
To my amusement, what followed was an excellent piece of organised chaos, as the crowds surged out of the site to find that all the public transport had shut down. The entire shopping centre at the Marina was suddenly filled with slightly lost music fans entering from all directions, and none of them entirely sure where they were going. Alongside them, we pushed out into the streets of Singapore and gradually dispersed into the night.
All told, Laneway was an excellent little one-day festival. It was a long day, and a hot one, with generally a good variety of bands, even if they were in an odd order. The decision to charge such high prices for drinks in such a dangerously sunny environment was a shame, but so was the rather unnecessary confiscation of umbrellas at the entrance. But those are quibbles which can easily be fixed. The music was the main thing, and I’m happy to say I discovered some great bands there, even if I was characteristically late to the party with a couple of them…
After Singapore St. Jerome’s Laneway Festival was already in Auckland on Monday, and continues around Australia over the next couple of weeks, visiting Brisbane, Sydney and Melbourne this weekend, and then Adelaide and Perth the following week.