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CDs of the week
Evening Standard 16.05.08
Imperfect: The Ting Tings's We Started Nothing
Green Day: Foxboro Hot Tubs's Stop, Drop and Roll
More to come: Bon Iver's For Emma, Forever Ago
Flawless: Tom Richards Orchestra's Smoke and Mirrors
Personal: Debashish Bhattacharya's Calcutta Chronicles
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POP
THE TING TINGS
We Started Nothing (Columbia)
***
In many ways this boy/girl duo from Salford have a lot to recommend them. Their manifesto, were they to have one, would proclaim the merits of modern British pop unhitched to any bandwagon. The songs are simple and direct, guitars and drums in perfect harmony. And there is the voice of Katie White, who has plenty of attitude. Great DJ is the perfect catchy opener. In spirit, the Ting Tings recall early Talking Heads, Blondie and the B-52s. After the initial heady rush, certain imperfections become apparent, such as a certain derivative quality, which will have you guessing the golden oldie. Promise as yet unfulfilled.
PETE CLARK
FOXBORO HOT TUBS
Stop Drop and Roll (Warner Bros)
***
Green Day's career-reviving 2004 album, American Idiot, saw the punk trio take themselves more seriously and saved them from obscurity. So it's a surprise to see them back under a pseudonym, making retro, carefree garage rock that is fun but nothing more. There's Sixties-style organ on Sally and Ruby Room, echoes of The Kinks' Tired of Waiting for You on Red Tide, and the jangle of a beefed-up Smiths on Mother Mary. Billie Joe Armstrong's familiar blocked-nose vocals mean this is still unmistakably his band. It's an enjoyable half-hour but fans must wait for the next proper Green Day album for more substance.
DAVID SMYTH
BON IVER
For Emma, Forever Ago (4AD)
****
Allegedly mostly recorded in his father's Wisconsin log cabin, For Emma, Forever Ago is the debut of one Justin Vernon, whose nom-de-disc is a bastardisation of the French for “good winter”. Vernon's sound is too rich for the backwoods — there's whooping, handclaps, multi-layered vocals and, on For Emma, trumpet. His songwriting lacks the depth of Ray LaMontagne but he's on to something with these tales of elusive love. He's at his most appealing on Blindsided, where acoustic guitar meets bereft lyrics (“I'm crippled and slow”) and the haunting melody Van Morrison used to deploy. There's more and better to come, hopefully.
JOHN AIZLEWOOD
JAZZ
TOM RICHARDS ORCHESTRA
Smoke and Mirrors (Candid)
****
This gentle 21-piece giant offers a reality check to the free-form chancers and global-mix fashionistas on the contemporary scene. These creamy, flawless brass ensembles, those lustrous soloists, including flautist Gareth Lockrane, trumpeter Robbie Robson and pianist Gwilym Simcock, represent the scholarly side of British jazz. No uncouth freakouts or dissonant nonsense. Jamie Cullum sings one number but Richards, with his quality arrangements and elegant soprano and tenor-sax solos, is the star. Indeed his entire supporting cast are destined to monopolise London's radio, TV and recording studios for decades to come.
JACK MASSARIK
WORLD
DEBASHISH BHATTACHARYA
Calcutta Chronicles (World Music Network)
*****
India isn't perhaps the place you'd look for a guitar talent. But Kolkata's Debashish Bhattacharya is one, and this solo album features music personally connected to him, often reflecting his city's artistic, multicultural aspects. There's a Roma-inspired track (Gypsy Anandi), a moving homage to the holy Ganges (Ganga Kinare) and Hindi/ Muslim fusion (Sufi Bhakti). He plays slide guitar, an instrument introduced to the city by legendary Hawaiian guitarist Tau Moe in the 1920s but Indianised by adding resonating strings and drone strings. Bhattacharya comes to the City of London Festival in July.
SIMON BROUGHTON
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