Jamie T’s second album in two years is a punk, rap, pop and hardcore tour de force
London Blackheath Hall
For [a]Looper[/a]'s musical charms are actually far greater than those of the little scenarios that [B]David[/B] narrates like a U-rated [B]Aidan Moffat[/B] of [B]Arab Strap[/B]...
The odd tale of how Looper - Stuart David, his artist wife Karn, and his photographer brother Ronnie - came to be is told on 'Impossible Things #2': a girl called Karen starts writing to a boy she doesn't even know. He dubs her Wee Karn and seven years on they are man, wife and multimedia outfit. It's a charming yarn, if you vanquish all cynicism - and Looper are all about doing just that. What's remarkable, though, is that this modern-day fairy tale is buoyed along by crackling breakbeats, a flute loop, a quacking harmonica and a sticky-fingered sense of fun that infects the entire record.
For Looper's musical charms are actually far greater than those of the little scenarios that David narrates like a U-rated Aidan Moffat of Arab Strap. For all the appeal of the stories - the one about the moon landings being faked ('Dave The Moonman'), for instance, or the one about meeting Columbo ('Columbo's Car') - it's the deft beats, synth burbles and sampled loops underpinning them that inspire. This is a record in love with childhood, but its cheeky groove is often closer to the mash-up of big beat than it is to the fey gambol of Looper's precious ancestors, with 'Ballad Of Ray Suzuki', for example, sounding like Bentley Rhythm Ace in short trousers. 'Up A Tree' is a spaceboy's dream made real: the future, all shiny with buttons and things, brought down to earth, child-sized. It's hard to resist.
Character studies and ready melodies abound in the latest record by the Oxford quartet
A battle-like record where fear and dread rule
Another gripping Pedro Almodóvar mystery, full of vibrant visuals and emotional revelations
The Californian succeeds, once again, in exposing the ugliness of mankind. It’ll get under your skin