coming back to lay it down

Its been a while, but I didn’t think it would be this topic that would get me going…

When I was in Melbourne at the beginning of the year, this wonderful opening act before That One Guy and True Live was this incredible, soulful, talented singer called Paris Wells. I duly bought her EP at the show, and was amazed and disappointed that the clear stand out song from her set was the sexy, massive, saucy club number “Dat Du Dat”. Her debut EP was ok, but I was wanting to be first in on getting jiggy across my worlds with everyone else jumping on the bandwagon, and watching the ride begin.

So it was with great pleasure I managed to spy an ad for her upcoming album, and it announced that the first single was indeed that wonderment of “Dat Du Dat”. And in my excitement to procure said song, I have been having a bit of a hard time. First, I went to her myspace site, which informed me that I could get it from iTunes, but as every discerning music lover knows, that paying for DRM infested 128kb mp3’s that rarely actually gives any money to the artists is like stabbing yourself repeatedly in the eyeball with a pin. Its probably not fatal, but there are wayyyyy better activities to perform before resorting to that.

So off to her actual website we go, and whilst its nicely made, its not finished. That said, apparently I can get the cd tomorrow. I want the mp3’s (preferably an option for flac as well) now. So off to her label’s website. Which is decidedly unfinished. But launching any second now.

So back to google it was to find if anyone is selling the song who isn’t iTunes. No. But this review.

It takes just one listen the songs on Melbourne chanteuse Paris Wells’ MySpace page to realise she (or her powers that be) made a terrible error in releasing Dat Du Dat as a single.

Paris’ oeuvre is firmly in the soulful trip hoppiness of acts like Morcheeba. Her vocals drip lovingly over proceedings like Beth Gibbons on uppers. Yet this song with its almost annoyingly nonsensical chorus is smack bang in the middle of the realm of forgettable dance-pop. Although it would probably be lapped up by the Nova set.

Paris Wells is definitely one to look out for if you’re a fan of soulful funkiness, but Dat Du Dat is probably not the best starting point.

Hey, Stephen Bissett, you are so so so wrong. The only part you have right is that this will be enjoyed by a wide and maybe not necessarily discerning audience. But just because something is pop, doesn’t make it a mistake. The song is hot. Its both a radio banger, a saucy dancefloor number and more to the point, is completely and utterly the centrepiece of everything that Paris Wells is all about – sassy, empowered, vulnerable and stunning.  I know I am biased by context, having actually seen her play before, and perform this song etc. That trumps you and your bias of ‘having heard radio dance pop before and hating on it’. So consider yourself told.

Anyway. As it stands I’m listening to it on her myspace site, as I cant seem to find it anywhere else. Dear Ms Wells, I want to buy your song, yet cannot without crippling how it will sound.  Please fix this.

And when the next wave is the last wave

A girlfriend and I were having a quiet Sunday in. Well, as quiet as can be expected around this part of the world, in this stage of our lives. We were both fairly fragile from the night before, so we had settled on getting DVD’s and eating pizza, smoking far too many cigarettes and having a giggle. Anyway, you need to know that, because it will give you an indication of why we hired This Is England, a critically acclaimed movie, produced (at least in part) by Warp Records. Because there is very few things as enjoyable as a remakably confrontational, disturbing or messed up film to make one feel far less fagile.

Shane Meadows directs this beautifully shot look inside the Thatcher-era small town rise of the National Front white power movement, with the central charachter being a little boy who’s father had died in the Falklands War. Its cute, rough, ugly and bright all at the same time but the bit that made me melt into a warm, gooey mess was a scene at the beginning of the film, where the little boy was getting montaged about bullying or something like that, and the guitar from Gravenhurst’s “Nicole” slide in. And as we get emotioned away by the fantastic collection of shots of the English towns of the 80’s, I start breathing the words ” Oh, Nicole! From the moment we met we let it get out of control”

Gravenhurst is really special. His first album on Warp was a tweaked collection of gorgeous accoustic songs – well, gorgeous until you actually hear what he has to say. And then it hits you – this man has the most amazing sense of impending doom! A spine and heart shattering finality to his psyche. But sung in such a lullaby way that you just cant help but drift happily to sleep. Adding band members, and amplifiers, for Fire In Distant Buildings, the sprawling, addictive morbidity and loathing gets swept along by truimphant guitars, rolicking drums and really driving passionate music. So it was great pleasure to find out that a new Gravenhurst album has come out. I’d suggest you go and listen to it right now (and buy it if you want). As that is what I will be doing all week.