The Saint
Sound
Watoto brings Concert of Hope
Hannah Phillips on the Watoto Childrens Choir at Holy Trinity Church
Everyone knows Hakuna Matata means No Worries, but over 400 people filled Holy Trinity Church last Tuesday to hear a slightly different message from the Watoto Childrens Choir. Hakuna Waikata Sa Jesu, they chanted as they danced to a blend of gospel, soul, and African rhythms at their Concert of Hope. It means theres no one like Jesus, and as they shared their incredible stories and songs, members of the audience could not have left without feeling the same.
Between songs, we heard stories from different children in the choir, all of whom have lost one or both parents to AIDS or war. They stood before us, however, with smiles on their faces, proclaiming their hope in the future because of what Jesus has done for them and how Watoto has changed their lives.
Watoto, meaning Children, is a Ugandan-based charity established by Gary and Marilyn Skinner in 1984 to provide holistic, residential care for orphaned and vulnerable children. Their mission is to Rescue a Child, Raise a Leader, and Rebuild a Nation, and each year, they send six different choirs around the world to share this message of hope for Uganda.
This year, Watoto was the nominated charity for FS:X thanks to Marketing and Advertising team member, Laura Fisher, who introduced the choir to the audience on Tuesday: Never before have I seen more passionate, talented, joyful and gifted young childrenit is the most true testament to what Watoto are doing.
Though free, the concert raised an incredible £1140.03 for Watoto (not including money raised by the fashion show in February). But for FS, said Laura, Watoto has become more than simply a pound signits an opportunity to share in their causeSpending the day with them was an honour, and I was brought to tears as I listened to the voices of 22 orphans echo off the ancient church walls. It was a moment I will never forget.
After the show, my flatmate and I had the amazing blessing of hosting three of the kids at our flat. We played games, made a fort, and played on the beach with them in the morning. For everything we did (which wasnt much!), they said: Thank you, Auntie, for the juice; may God bless you.
Despite everything theyve experienced, they still inspired all of us with their incredible energy and sincerity. I am not forgotten, was one of their songs: I am not forgotten because God knows my name!and they will certainly not be soon forgotten here in St Andrews!
For more information about Watoto, to buy a CD, or to make a donation, please visit www.watoto.com
Hunting Animals
Mark Hopkins loves to party at a rich dude's house and Al Bell is a kid on the run
LCD Soundsystem
This Is Happening
(DFA 2010)
Well, he's back. LCD Soundsystems sole member James Murphy has spent the last decade teaching the world that being ten years older than almost every other hip band, and wearing pretty much the same outfit at every performance is no barrier to greatness. It is difficult to overstate his impact on modern popular music; without him, it is highly likely that all of the dance rock bands of the last decade would have remained niche interests. Back in the early noughties indie rock was a toss up between garage rock and strumalong pop, both of which are entirely pleasant, but difficult to dance to. LCD Soundsystems early singles and his production work with Tim Goldsworthy under the DFA moniker for acts like The Rapture channelled Gang of Four and Liquid Liquid, bringing funk back into indie rock. Honing his craft, Murphy has got better with each release, culminating in 2007s amazing Sound of Silver. His new album continues in much the same vein, and will certainly please his fans.
The album opens strongly, with the incredible Dance Yourself Clean. Over a dense but understated drum pattern and lovely bass Murphy speak-sings a gentle paean to friendship, stopping occasionally to harmonize with the backing singers and to bust out an 8-bit synth solo, until the 3-minute mark, when the big drums kick in, and it goes crazy. Its a great moment, and the song sums up all thats best about LCD Soundsystem, the ability to imbue a dance track with genuine humanity, and to make great musical moments look effortless. Unfortunately, the next track Drunk Girls pretty much sums up everything wrong with LCD Soundsystem. Very much in the mould of other lead singles, like North American Scum, that have blighted previous LCD albums, it starts off mildly entertaining, but quickly becomes incredibly grating. The other weakest track on the album You Wanted a Hit is just a bit dull, but at nine minutes long, it breaks up the momentum of the album. Apart from that, though, its all hits.
Those who felt like Sound of Silver was missing the frantic workouts of the early years will be especially pleased with One Touch and Pow Pow, two epic funk numbers full of knotty basslines, synths, cowbells and call and response vocals, and are certain to be bananas live. But its on the big emotional numbers that Murphy really shines; All I Want and Home are both lovely, bittersweet numbers, and are patient and rewarding in a way that only Murphy seems to be able to produce, and that is really the best thing about the album; although he has not explored much new territory, when it all comes together, there are still very few who can make music as satisfying and lovable as LCD Soundsystem.
- Charlie Jubb
Caribou
Swim
(Merge/City Slang 2010)
Some music has the gift of leaving a content and faintly dim grin on your face. This particular release had me smiling gormless in anticipation. With Swim, which came out on the 19th April, Caribou has pulled off making a situational album again, much to his credit in a completely innovative way. Dan Snaiths previous works tended to work along a similar line of fuzzy real instrumentation and electronic momentum. Then his last album, Andorra turned life into a shoegaze swirl; Swim takes Andorra to clubland.
I spent the last month obsessively replaying the opening, single free track available on the artists official website. Odessa marries an eighties-tinged beat, bass line, keyboards rhythm guitar with a remarkably creepy video. The latter might ruin your first impression: it conjured blurred memories of Muscovite lairs with snakes lazing on bars. Sun is probably the most reminiscent of the previous album, though the single word uttered in echoes through the song is infused with a colourful, hazy build-up of rhythms and synthesised nudges. Kaili never settles into a steady beat Dan Snaiths wispy voice cuts the keyboards which brought back dire 90s radio where conspicuously white tribal beach music slipped into aerobics tracks, with the added horns and erratic percussion. In Found out the drifting vocals and trademark in-between tone of Caribous keyboards, is interspersed with six repetitive guitar notes for a transition to the instrumental Bowls, my personal favourite: an incredibly clever percussion trip on, as the title indicates, hollow receptacles variously filled with water, bells, keyboard drones and bass. The next track takes up tinny percussion and adds the catchy chorus of Leave House to the fray. Deadelus electronic collages sprung to mind more than once. Hannibal really digs out the war horns on a repetitive beat, musing synthesiser, and closing distant whispers. The shortest song by far, Lalibela embodies Swim, a fantasy club in an aquarium, or alternatively, that claustrophobic combination of crowded dark rooms, couches and very loud music. Jamelia closes on a radio-friendly note.
Situational music may become clear in the way Caribou seems to effortlessly combine pop and electronic plasticity with an almost DIY, everyday note for what makes wonderful entertainment.
- Martha Mcarey
More from Reviews
