Afternoon all! On this bitterly drab day in London, where the damp rots the window pane and the sky casts a mournful tone of colour into the room, the Carton is relieved of desolation by three wondrous interjections of musical fare.
The first is the prospect of two new Benoit and Sergio records, the most imminent of which is entitled “Where the Freaks Have No Name”. The Carton enjoys anything that makes a joke out of U2 (which is as easy as making a joke about Prince, Prince Harry, or the Fresh Prince) but this also has the added bonus of being an ace house track. The DC producers’ beat is of the type that makes your stomach go squiffy, while the woozy synths add to the seasickness. Add in some Tensnake-esque 80s phasers, and you have a pretty epic - if disorientating - jungular tune.
While the other two tracks are little more than vaguely interesting - “Day Residue” being de facto interesting due its complete and utter meandering wackness - B&S are also releasing another EP in late February called “Boy Trouble” on DFA.
"Boy Trouble" is quite a contrast to their previous work, and although Benoit is still moaning about girls - which B&S track wouldn’t? - it is a far more brazenly cheesy effort, with standard pop melodies and mentions of "Ferraris". This namedrop fits perfectly with the structural nod to some wretched 2007-2008 period electro house, but it is perhaps saved by its charm and lo-fi production, and the Visionquest remix (Seth Troxler/Lee Curtiss/Ryan Crosson/Shaun Reeves’ new label) adds a much-needed darker and more reflective element.
The release is given substance by previous tracks “Full Grown Man” and “What I’ve Lost”. I am eighteen months late on the latter, and this is a realization which causes immense sadness. “WIL” is simply that perfect life-soundtrack: the glimpse of love; the sunrisen-trip home; the clear-skied midday wonder; the last song at the disco; the tear-inducer.
It is able to give that immediate sense of importance by setting a “Sky and Sand”-esque cowbell beat to a cigarette-drenched distorted bassline, and it takes two minutes for clear and almost-spoken vocal to land. When it does, it seems wistful and prosaic, even though Benoit mutters little more than drug-induced melancholy: “places where I’ve loved/places where I’ve lost/places where I had the answers once”. But for this song, that meaninglessness is perfect. Because after hearing this tune late - late - at night as you search for the girl’s hand and take your coat, you don’t quite know what’s next, and you don’t know whether things will be as perfect as this again.
While barely anything could match “WIL”, “Full Grown Man” is nevertheless an alarmingly good tune. It rumbles along an 80s groove and evokes the decade’s cocaine and keyboard excesses. You can even sense a little Paul Simon in the vocal delivery and fx, which is a truly wonderful thing.
Bar news of this release, today has been a good day for two other reasons. Caribou has done an RA mix (http://www.residentadvisor.net/podcast-episode.aspx?id=246), which contains some “new ideas” under the name of ‘Daphni’. A quick browse has failed to elicit any downloadable/possible purchase material, but the second track on the mix, “Yes, I Know”, is absolutely stunning. A funk/soul sample, blaring horns and a thumping beat. If this ever makes general release, we’ll be dancing until 2026.
Finally, Nicolas Jaar’s record is OUT OUT OUT. I’ll be reviewing it later in the week, alongside Cut Copy (which is much better than I first thought) and Tim Hecker’s ‘Ravedeath, 1972’ (which is just as good as I first thought).
Stay tuned kids. WC x