Reykjavík Grapevine - 12.08.2011, Blaðsíða 31

Reykjavík Grapevine - 12.08.2011, Blaðsíða 31
31 The Reykjavík Grapevine Issue 12 — 2011 www.jswatch.com / www.gilbert.is Probably the world’s smallest watch manufacturer Master Watchmaker Gilbert Ó. Guðjónsson The Viking Tavern In Reykjavík restaurant & bar VÍKINGAKRÁIN - HAFNARSTRÆTI - TEL+ 354 861 7712 WWW.VIKINGAKRAIN.IS Let’s talk Iceland The history of Iceland in one funny hour shown every day at 8pm Viking market Handmade Icelandic design for sale outside open when the weather allows Music | Live Review The Vintage Caravan Daníel Ágúst The Vintage Caravan thevintage The Drift danielagust Dillon bar has found its new princes Compelling to generation after generation Things are actually starting to look rather healthy in the Icelandic hard- core scene right now. With the Grange Hill grindcore of Logn and the slightly bleak worldview of World Narcosis coming at you like a procession of gobby meerkat, we now have the goodtime counterpoint of Manslaugh- ter’s debut album. Made up of the scrag ends of Muck, Plastic Gods and Catarpil- larmenn, they’ve tightened and refocused their sound a bit since their split 7” with Logn. Forcing their doom metal and crossover thrash together means a sound baby that sounds half like Municipal Waste/Asshole Parade and half like tweaking Celestine (not a bad thing really). And with song titles that veer from nihilistic (‘Facial Birth’, ‘Reject Confor- mity’) with the puerile (‘MILF’, ‘Beer (It’s What’s For Dinner)), this is one of the more cathartically dumb releases I’ve heard this year. Yes there’s gallons of piss and venom, but they’d much rather have a party at the end of the day. This is the album to listen to when you want to, in the words of Henry Rollins, ‘Fuck on the floor and break shit! ’ - BOB CLUNESS Start this album on track 7—‘Don't Let Your Dreams Go’—which will tell you everything you need to know about the style, approach, personality and proper-rock-song attitude of the now- veterans. It's an early-70s long-hair Zeppish rocker with a satisfying hint of desperation about it and the lyrics speak for themselves. And with a little bit more guitar hysterics and vocals it could be the White Stripes quite easily. Not that they want to be; the whole point is that this is classic rock played timelessly by a bunch of longhairs who've made a few bad decisions in their career but very few, on this evidence, in songcraft. Check out Nothing Can Go Wrong for a perfect example. It's a niftily-controlled album of prog-tinted hard rock in a just-pre NWOBHM sense—something like Samson circa 1981. This is an LP which isway, way better than the band name. - JOE SHOOMAN Manslaughter Deep Jimi and the Zep Creams FUCK LIFE CHOOSE DEATH thevintage Better When We're Dead deepjimi GRRRRRAAAAAAGH!!!! Hear that tribal roar! It ain't pastiche when you believe in it People will often give a bunch of kids that play wholly derivative genre music a free ride if they play said genre music well. And this applies wholly to The Vintage Caravan. Now the thing is, their self titled album sounds really good. The pro- duction gives their music an edge and attack that you really don’t get with other bands, say Deep Jimi and the Zep Creams. The guitars squall, the drums clatter and the bass punches. But the actual music they play, which is heavy blues rock, has already been played to death a million times before, in a million different iterations over many, many decades. But as I said, they play this schlock really well so most people won’t care. Perfect for those dads who complain that you don’t hear any ‘real music’ nowadays. - BOB CLUNESS Blues doesn't get the appreciation it deserves. But if Daníel Águst has got anything to do with it, that's gonna change, cowboy. And though the form itself is based round familiar chords and licks, in the hands of someone with something to say and the skills with which to say it that self-same an- chor allows a great amount of contem- porary context. Check the title track— country blues with an irresistibly insistent synth line blubbing around a live-and-lifeforce age-old-tale. Else- where, Falling In Lust has more than a hint of Nick Cave about matters, and the epic Snowlake is The Who as produced by the mighty Alabama 3. Give us a collaboration with em please Mr. Á? An idea of the continued mo- tivation to create comes across very strongly in Yeah, Yeah, Yeah, which despite some worryingly-Mobyish moments is a cracking celebration of music and possibilities. Okay, mean- while there is an end-of-night hazy squashy out-of-mind piece with all the claustrophobia of self-searching and the release of the same through love. Such subjects are of course timeless; it's how they're delivered that's what makes them continue to be compelling to generation after generation. - JOE SHOOMAN
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