hot puppies

The whole of The Hot Puppies debut album, 'Under The Crooked Moon', is really great - arty, literate pop with nods to Blondie, Pulp and PJ Harvey - but the best song on the record, 'The Girl Who Was Too Beautiful', is just majestic, both musically and - particularly - lyrically. So I'll take a little time to admire the lyrics and the theme of the song, because I think it's quite special - a kind of short story of a song. It begins:

"Dear Mariella, I am 25.
I live alone.
I think I might have found love,
But I just don't know.
There's something wrong".

I'm a big fan of Mariella Frostrup and her no-nonsense relationship advice column in the Observer, so the first time I heard this song that's the bit that jumped out. That's pretty neat, I thought, a love song in the shape of a letter to an agony aunt.

The next few lines somehow somehow slipped by unnoticed for a while, but then I noticed them:

"Cause he has another love,
and she's been buried a year.
And there might be a passing resemblence,
but dear Mariella, how can I compare with the girl, with the girl, with the girl, with the girl
who was too beautiful?"

And all of a sudden the song is in a much darker place altogether. The protagonist, expertly voiced by the marvellous Bec Newman, is preocuppied with her partner's dead lover, and begins, despite the warnings of those close to her, to assume her predecessor's persona.

"And all my friends say that it's not right,
but I don't care, I'm gonna change my hair.
Cause he wants her.
And I just want somebody there."

The next verse raises the drama. The bit where Newman sings "Dear Mariellia / It's gone from bad to worse / It feels like I'm chasing a hearse / And now I'm even wearing her clothes / I feel like a ghost" is plain shocking. Worse still is to come.

"And just the other day, staring from across the street,
I think I might have seen her mother, but dear Mariella,
She didn't see me. Just a girl.
Just a girl, just a girl, just a girl who was too beautiful".

By the song's end, the by now wretched sounding Newman is almost totally subsumed, asking and threatening "would you wanna let go, like I wanna let go, and I need to let go?" and concluding, finally, "I am the girl who was too beautiful". It's a deliciously Hitchcockian theme, simultaneously dark, knowing and sexy, and brilliantly performed. The tune itself positively sizzles, bursting with tremendous melodies, keyboard riffs and it even briefly swoops into an indie-disco breakdown without breaking its stride.

Odd how so much press time has been expended on the (admittedly great) Long Blondes while the Hot Puppies are bubbling under - it was great to see Kate Jackson up near the top of the NME's supremely daft Cool List this year, but surely Bec Newman deserved a place too. Hopefully they'll be massive in 2007 - they deserve to be. Doubtless half of the blogs in my sidebar and starting to put together their yearly round-up lists, and I probably will soon too. And this is a serious contender for best single of the year.

DBC Pierre and the Aztecs

Don't get me wrong, I love Michael Palin's travel programmes - they do a superb job of chronicling distant lands in amazing insightful detail. But where, if you sent Michael Palin to Mexico and asked him to research the Aztecs, he would talk of feathered serpents and folk mythology with a very BBC sense of ironic detachment, it's a great pleasure to watch DBC Pierre deliver the same lines, the same portents of dread, dead straight to camera with reverent seriousness. Palin may return from the Himalayas enthused, but he doesn't come back possessed. Actually, Pierre looks possessed at the beginning of his journey, never mind the end, if only by Mexican firewater, but it makes his 'The Last Aztec', a channel 4 film which I caught repeated on More4 tonight, brilliantly enjoyable.

A lot of TV history seems intent on proving which civilisation was the best or the strongest or most civilised - Egypt or Greece, Roman or Aztec. Certainly any sense of journalistic impartiality is absent in Pierre's film - he points out that "while we as a culture were chucking shit out of windows into alleys in London, these people had drainage, they had courts, they were living off spring water and vegetables. While we were dying of the plague and scraping around in the grime, these folk were wandering like gods". He reveres the glorious and magical history of the Aztecs.

Again, unlike Palin or his fellow TV journalist contemporaries, Pierre refuses to conform to type. For a start it's quickly clear, through a combination of his appearance and his driving, that our host is absolutely trashed. In truth, despite the historical content, the film is really a gonzo road movie in which Pierre's passion takes centre stage as recalls his childhood in Mexico city, the stories that fuel his imagination, and explores his thesis that the heart of Aztec Mexico is still throbbing hard under the surface of the capital city.

And indeed it is, literally - wherever tears appear in the world's largest city, he shows us, the ruins of the Aztec empire are exposed, and we watch archaologists uncovering sacred grounds, the bodies of Aztec children and shards of Aztec stone. This most spectacular civilisation, Pierre reminds us, was carved by a stone age society. Indeed, without not only steel, but also without wheels. He finds the place, locked away behind an iron gate, where Cortes, the Spanish usurper, met Moctezuma first - he was welcomed not as an invader but as a God. Once more, Palin might film the spot through the gate. Not DBC Pierre - he just bribes a policeman and gets in that way.

So, allowed in as Gods, the Spanish took the Aztec Empire, and Moctezuma was stoned by his own people for letting them down. Pierre is intent on mourning the collapse of the civilisation which inspires him so. "There's only one way to get over the decline and collapse of an empire", he tells us sourly, sitting in a seedy bar. "And that's to get completely lashed ". He throws back a tequila, shaking his head, looking around. "I can't say it feels any better". So he has another.

Incensed, he decides to take the Palace back for the Aztecs. He is approached by a local, outside. "Do I want an official tour?", he says disdainfully, preparing to storm the place, "what the fuck is that?". He banters with the guard on the gate, but gets no further. By now, anyway, his misanthropy knows no bounds, so what does he do? He drinks lots more, he reminisces about a dead girlfriend and the centrality of death in the Mexican character, and goes out at night looking for fresh corpses. When he finds some, he takes photos. By now I am thinking this is surely one of the oddest bits of TV I've ever come across. Back in the daylight, pissed, he wanders into a church, lights up, and starts rambling about Dracula.

Mexico, he tells us, has dreamt up a unique cocktail of death-fascination, where the pre-Spanish culture of death worship has combined with the Christian concept of mortality. He asks a priest about it, making sure he mentions Christians ripping the hearts from still-living children in the process. Yet Aztec magic still holds sway, and as Pierre decides he wants to climb a mountain to find the resting place of Moctezuma, he realises that he had better have his soul cleansed first. He buys some dried hummingbirds, for starters. It will ward off curses, apparently.

The Sierra Madras mountains are his destination, a magical realm, and he starts his climb, intent on finding spirits, "secrets from the past", living remnants of the Aztec world, and gold. Most people, as he climbs, are too frightened to talk of the spirits. Pierre has been here before, actually, and he seems scared too - after all, he points out, "the last time I left this valley, many years ago, my life went hurtling into a downward spiral from which I've only just recovered". He keeps climbing anyway.

But, just in case, he sacrifices a couple of chickens first. By the time's that done, he's "as clean as a whistle", he says, "a poet". And he needs to be cleansed. "There are many things that happen to you, physically and emotionally", he says, "which leave a smudge". The bit where the first chicken is beheaded - with kitchen scissors - is horrifying. And after all that, standing in the swirling mist, Pierre is still too scared to climb the mountain. So he gets absolutely slaughtered again, then turns back: the gonzo journo who turns back! Give him another beer and he'll do it, I was shouting.

For all that, an exhilarating programme.

Hidden

Hidden, a marvellous French film about a couple, Juliette Binoche and Daniel Auteuil, who are tormented by an unknown stalker and a lost memory; the hidden past represents France's repressed memory of its colonial past - yet this is at its centre a heart-stopping and exciting thriller, and one of the best films I've seen in a long time.