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| albums - may 2008 | ||
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Petter & The Pix - Easily Tricked (Gung Ho)Every few years, an album reaches these shores from Scandinavia, one which
somehow defines a crucial moment in the Danish/Swedish/Norwegian/Finnish
music scene and which causes a few ripples in our own grimy fashion-led
English puddle. And most recently that album was Peter Bjorn & John's
'Writer's Block' which with its dipsy eccentricity and innovative production
was, as anyone who has whistled along to 'Young Folks' will agree, a
collection of songs of a far above the ordinary quality and a quite
remarkable piece of craftmaship, from Stockholm . Not everyone in Sweden
appears to agree though, and 'Easily Tricked' contains all the hallmarks of
an expensive whinge at the expense of 2007s SXSW star turn. Sort of 'How Do
You Sleep' - era Lennon, 9 tracks of it, and entirely in English. |
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12 Gauge Alliance - Conspire To ConcludeI’m confused. A lack of a track list and actually at first no real idea of who this band was, made this one a bit of a kafuffle. A quick search on the Google with the few brief words written on the CD brought me to 12 Gauge Alliance from South Wales. My confusion continued when I decided to start what I could only call Track 1. A collection of electro beats with no vocals in its 3 minutes plus playing time that had seemingly been put on there by the producer “so they can be a bit like Enter Shikari” gave no insight into what 12GA are here to do. Track 2 (which I later found out was called Without Arms – then how do you play 12 Gauge Alliance?) shed some more light though. Sounding somewhere between Funeral For A Friend’s first EPs and The Dillinger Escape Plan towards the end of the song gave me my initial thoughts as to what their influences were. Track 3 sees the return of the electro again…a tad early for an interlude? I got to the point where I couldn’t stand not having track names anymore so I searched for a track list. The album is now called Conspire To Conclude and I found four tracks on their MySpace…such as the aforementioned Without Arms. Girls, Guns and Wild nights (never a good combination) however is what got me listening properly. A sung introduction for the first quarter of the song lulled me into a false sense of security before a sudden scream brings in a raging beast of a breakdown. Which was niiice. The rest of the album carries on along
the same lines though, your typical Noughties Metal fare, broken up by
occasional electro and melodic moments with nothing sadly to separate 12
Gauge Alliance from the rest of the fringe straightening, black clothed
pack. Chris Sharpe |
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Danava - Unonou (Kemado)As a responsible reviewer, you must be warned not to listen to this album under the following circumstances; by yourself, late at night, or whilst under the influence of any mind-altering substances. But DO listen to it! From the Elfman-esque second half of “Where Beauty & Terror Dance”, through the electro-synth opening and choral refrain of “The Emerald Snow of Sleep”, to the gaudy decadence of the album artwork itself, Danava’s “Unonou” is at once frighteningly vast and immensely enjoyable. A baroque-tinged behemoth soaked in the absinthe of Ozzy’s wildest days and then sandblasted with desert winds whipped up by stoner legends Kyuss, Danava are actually four human beings and not doyens of another planet, as it might appear. Hailing from Oregon via Illinois quartet Danava are, by their own admission, relishing the opportunity to experiment with this, their second album. As with the aforementioned tracks, there really is no dip in form or obvious weak points on any of the seven tracks here. “As High Or A Low” adds a strangulated horn section to the mix and pulls of the closest thing to a single but the farthest thing from a typical Danava sound. The ferocious mid-section of “Spinning Temple Shifting” pummels at the senses with planet-sized riffs and the only respite comes with the epochal, crypt-dwelling organ of “Down From A Cloud…” but even that bursts forth in to brain-mashing outro that should be classed as Category B at the very least. Sounding like Led Zeppelin’s “Achilles Last Stand”, closer “One Mind Gone Separate Ways” brings about the moment of realisation that this album is something special, a thirteen minute tour de force that should be played to alien beings when they ask what rock music is – they might implode at the sheer speed of the drumming, the quality of the searing solos or scratch their five heads at the inclusion of more horns, but hey, they asked! “Unonou” is a refreshing counterpoint
to all the manufactured, meticulously-planned rock that litters the music
scene today. It thrives on being unclassifiable and positively forces its
way out of any pigeon hole it is placed in. It doesn’t sound like Kyuss at
jazz class. It doesn’t sound like Ozzy fronting Rocket from the Crypt. It
couldn’t even be said that this would have been the album Black Sabbath would
have made had they been from the dusty deserts of Nevada rather than the
Midlands. It is quite simply stunning. Stuart Bowen |
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New Found Glory / International Superheroes of Hardcore - Tip of the Iceberg/Takin’ it ova (Bridge Nine)People thought it was very strange when New Found Glory
and Bridge Nine records teamed up, but based on the evidence of this E.P it
is a partnership made in heaven. The pop punk legends have once again
produced the goods with six very catchy pop punk anthems but also a ‘posie’
hardcore spin on their music. It is almost as if New Found Glory have grown
musically, abandoning a little of their old fun -loving music and instead
changing more towards music with a message. If New Found Glory’s die hard
fans were worried that by joining a hardcore record label they would lose
their identity, then they need not worry as this is New Found Glory at their
best. Creating songs you can sing and dance along to, they are showing that
underneath there is still a lot of the fun loving band that they have always
been. The difference in the ’new’ New Found Glory is that they have
introduced us to their alter egos -The International Superheroes of
Hardcore. Fronted by New Found Glory guitarist Chad Gilbert, The
International Superheroes of Hardcore tackle issues of what is wrong with
the music scene today but with a comical twist on their songs. The twelve
song onslaught only lasts roughly fifteen minutes but once you have heard
it, you will want to listen to it again and again. With fast pace trashing
hardcore punk riffs, gang vocals and in your face lyrics, it’s hard to
believe that it IS New Found Glory producing this type of music. With tracks
like ‘Fashion Show’, ‘Superhero sellouts’ and ‘Madball’s got our back’ it is
truly a very good hardcore album. The comical lyrics, however, make you
think that the band didn’t really intend it to be taken too seriously. This
two disc album is, in my view, a must buy, offering pop punk and hardcore
mixed into one purchase. It is a great addition to any fans of Bridge Nine’s
work and New Found Glory have shown they are the silly kings of fun loving
pop punk music. If the fate of the world is ever in trouble, we will always
have The International Superheroes of Hardcore. Tim Birkbeck |
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Various: Something In Construction presents - Building With Strings (Something In Construction)I like compilations. Always have done. Two things about them: 1) I get to hear some often quite interesting new bands & 2) those bands often select their best work, particularly when, as on this example, there are 19 tracks to choose from, and none of the bands (with the exception of Loney Dear, whom I only know by name) are anyone I've ever heard of. So on the CD player it went. Surprisingly, the first track is also the weakest song on the album. Plushgun might aim to emulate the headier days of the Britpop 90s but 'Just Impolite' is a bit of a damp squib, a speedy techno blip which doesn't really emulate much at all. What an introduction for Christian Silva though, his 'Great To Begin' has the intro that SIC shied away from using as their opener : 'drank the mini-bar dry/learned to look at the sky' intones Silva over scorching artbeat guitars, a tale of a lost weekend he doesn't regret much. Four or five tracks down the line and some worthwhile moments begin to emerge. Sambassadeurs 'Final Say' is swaying swirling power ballad. Twin Thousands 'Like You A Lot' recalls St Etienne at their most anthemic. Emmy The Greats 'Gabriel' is a sincerely touchingly heartfelt folk strum. The Boats 'Scenic Gorges' is a chaotic howl of inner city mischief. I couldn't commit myself to one overall favourite track. This is partly down to the fact that the Alvin Band, Young Husband, and Other Passengers are all working in a similar field. That of the Epic Ballad, songs which clock in at over five minutes and whose grandiose ambitions are matched with the kind of overbearing production which very often either falls flat or blows out entirely. 'Tijuana', 'French Grammar', and 'A Room, A Canvas' are all of then equally superb pieces of work: the first is a lush soundscape that recalls Beefheart jamming with the Beach Boys : the second a thoughfully poised crash of baby grand powerchords: the third, a menacing drumbeat that builds into an overwhelming crescendo of furious guitar noise, while still managing to sound like a ballad. There are ten or so other tracks, of varying styles, lengths and
instrumentation. Making yourself heard takes something nowadays. Something
In Construction will gain some satisfaction from their present roster of
bands and musicians, I'm more than certain. |
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Phil Campbell – After The Garden (Blacklist Records)Ah Mr Campbell, we meet again. My first meeting with Mr Campbell took place in a transsexual pole dancing club in Soho. I would like to clarify that neither him nor I were pole dancing. And neither of us are transsexual, as a far as I know. But the moral of the story is that the pole dancing club was a great venue for a gig, but Phil Campbell ruined said gig a bit with his whiny Paulo Nutini brand diet indie rock. And at least Paulo doesn’t try and hide his lovely Scottish accent. After The Garden is a collection of lo-tempo, slightly jangly, indulgently introspective somewhat tepid songs. Inoffensive and ear-friendly yes, inspiring, stirring, or life-changing, no. I assume the title of the first track, No Love Songs, is intended to be ironic, because the rest of the album is nothing but. Occasionally there’s a glimmer of something deeper than a puddle, and whilst Isn’t She Beautiful is a little schmaltzy, the emotion seems real. Let’s hope the strip club rubbed off on him a bit and
he spices things up a little for his next offering. Catriona Boyle |
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Thea Gilmore – Liejacker (Fruitcake Music)Thea has been bubbling under for quite some time, and despite being one of Radio 2’s late night favourites has never really broken through. Which is a shame, because she’s actually bloody brilliant. She possess what many female singer/songwriters are lacking – honesty, intelligence, and suitcases of talent. She’s not flashy or gimmicky, she doesn’t date someone in a band and she doesn’t dye her hair every two weeks. She is the ultimate breath of fresh air. Her lilting tones, combined with understated, simple accompaniment with just the right amount of sass sees her sit alongside veterans like Suzanne Vega and Linda Thompson. Black Letter is a driving track without, but without being overpowering and maintaining subtlety. The fuller chorus contrast the emotion in the verses, and she hits the nail that with KT Tunstall is constantly struggling to, with ease and grace. Sometimes beautiful and haunting (Dance in New York) and sometimes most certainly a women scorned (Roll On), Liejacker is almost Thea’s coming of age album. Everything she’s done previously all comes together on this record, and it feels as though it’s an album she believes in. If this doesn’t get on Wogan’s playlist then there’s
simply no justice in the world. Catriona Boyle |
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5ive - Hesperus5ive (not to be confused with the 90’s boy band) are an ambient rock two piece who have managed to produce a mesmerising sound. By only having a guitar and drums as the main features of the band they have followed other successful ambient bands such as Isis, Pelican and Bossk in creating a very heavy sound with very limited resources. Many people find music like this hard to get into as it doesn’t have any lyrics to carry it, but in this case lyrics would ruin the majestic sound that 5ive have managed to produce. With each song lasting several minutes (shortest track
being 2:08) this seven track masterpiece comes to a close with an epic 12
minute track which is just a joy to listen to. Guitarist Ben Carr shows
what beautiful noises he can make with his guitar and being equally matched
by drummer Charlie Harrold, they really are a two piece who compliment each
other perfectly to make this brilliant album. If you are unfamiliar with the
ambient scene, then I would definitely recommend 5ive as a starting point,
being neither soft nor too extreme. If you are a fan of bands like Isis and
Pelican and are waiting for the next band to appear on the radar, then look
no further than 5ive. Tim Birkbeck |
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Clinic – Do It! (Domino Recording)Opening with a sprightly majestic harpsichord sequence, Clinic intrigue you into listening beyond ten seconds, by which time you've lost interest in waiting around for a point to skip, and leave it on. Clever. Soon we find ourselves amidst a crunchy rock riff. When the Kula Shaker-esque vocals kick in, we're beautifully entangled in an all together decent song, "Memories." It doesn't rock your socks off but it doesn't put you to sleep. Good though. Track two, "Tomorrow," remains upbeat and rhythmic, but is more of an acoustic number. I mean yeah bass and drums are still there but you've got acoustic guitars, a harmonica, and all altogether raw country sound. And so the album continues to produce similar music, with the exception of "Free Not Free," which, although it opens with a rock-tastic lick, turns into crazy lounge music; and "Shopping Bag," which sounds like it should be a Libertines demo. There are so many genres going on in this album, I'm well past fingers and toes and i'm not quite in the mood to acknowledge twenty-one. But it's truly mental. So my initial thoughts of Kula Shaker Mk2 have just been blown out the water. Although even they went through that funny stage. Undecided.
It's really
good though, I rate it. I wouldn't rave about it to my friends and make them
sit down and listen to a song in absolute glory just to absorb every decibel
of beauty, but I wouldn't switch it off if they walked in. Thom Curtis |
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Tokyo Police Club – Elephant Shell (Memphis Industries)Tokyo Police Club got the world's attention with "Citizens of Tomorrow," which let's be fair, was awesome. And if you didn't like it, that doesn't matter. This is brilliant. The vocal tone is the only thing that confirms you're listening to Tokyo Police Club. Without that, you'd have no idea; this sound is fairly different from the first album, and it's incredible, it really is. A collection of catchy upbeat tracks, with crisp indie plucks and heavier rocky dabbles spliced between. Occasional synth/keyboard/percussive twinkle subtly beneath the guitars, which are flawless. To name stand-out tracks is difficult, as every single one is verging on phenominal. But "Graves" certainly rocks my socks, with its simple synth riff and pacey rock wonderment. "Tessellate" and "Juno" too, they're crackers. The album slows down for a mere two songs; and even
they aren't particularly slow. The energy is maintained throughout, and by
the time "The Baskervilles" draws to a sudden halt, you're worn out. There's
a real feel-good atmosphere with this album, I can perfectly visualise
chilling out in the sunshine with this on. Good times. Thom Curtis |
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Lights. Action! - All Eyes To The Morning Sun (Xtra Mile)To start with, there is no need for a band name as bad as this. Sure, there may be a few silly ones out there at the moment, but at least they're fun. Fun is something L.A! could definitely do with. Expanses of synthetic keys and odd vocal effects battle against plucky guitars and informed drums. This is one time in a while where a basic Rock 'n' Roll line up of guitar, bass, drums and singer would probably be more appreciative of the music. Here the less is more rule could apply itself well. The decent use of electronics such as the bleeps at the start of 'Story of a Broken Boy' could have easily been added in the studio during production without their sound being bloated with One Night Only styled stadium-humping keys the rest of the time. But it's unfair to only criticise the keyboard player here. Vocalist Patrick Currier could, in time, be a voice of a new Kerrang! generation. At the moment the lyrics offer themselves flat, often decent couplets are ruined by one clichéd line. But I'm sure a lot of their fans will forgive them just this once. 'Hide and Seek' could've been a surprising mind expanding highlight of L.A!'s almost debut. Unluckily the huge organ sound (which is produced well by Adele's man in the studio Richard Wilkinson) takes over the first minute into a uncombable mix as voice is plastered over in a disgusting vocoder which smothers any naturals emotions which were put over this record in the first place (responsibility of producer, Richard Wilkinson). Lights. Action! have potential, but as we know, we'll
have to wait until the album proper to see whether they deliver. They'll be
early-teen emo's knocking down their door if they don't... Nick Burman |
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Various Artists - The Purple CollectionThe Purple Collection is a
showcase of local bands from Taunton. I can imagine some of these bands
thrashing around and rocking out in yr Taunton Fine Ale establishment, but
the idea of recording them to conquer the world... well, it didn't work out
the best. Highlights include Royal Males' valiant take on slightly complex
(well, complex guitar lines) indie rock and OMGPhil's attempt give us music
derived from sweet little computer bleeps. Yet, um, a few of the songs (and
there really aren't that many) do sound like they're leading with a vocalist
who wants to be in a slightly humorous indie rock band, but can't do better
than, um, The Enemy, or whoever is doing lad rock boringly this month. Which
is a little harsh, because nothing here is that offensive. Maybe some of
these bands could benefit from a real swish digital recording studio (!!),
and maybe some don't deserve that chance, but The Purple Collection,
although frankly dull in places, tries hard enough to be categorised
semi-fun, and there are good ideas and "right hearts" in places. Phil Coales |
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Sebadoh - Bubble & Scrape (Domino)Poor Sebadoh. They came out of the early 90s alt-rock
scene but never really achieved the crossover success of the Flaming Lips,
or the cult status of Pavement or Guided by Voices. Just as well for
nostalgia then, because to coincide with their 'Don't Look Back' gig, (where
bands play one of their classic albums in its entirety) Bubble & Scrape's
been reissued. Sebadoh were always best-known for their lo-fi production and
it stands out here, giving the tracks a real warm, tape hiss-y sound. Opener
'Soul and Fire' gives you a good idea of what to expect, Lou Barlow's
introspective vocals purring over a fuzzy drone. Amid these songs theres the
odd schizoid noise-fest, which, while they don't really add anything, do
give the album a bit of variety. Theres a nice touch of psychedelica too.
Lou sings about 'Sweet college girls & friends with fleas' on Fantastic
Disaster and other songs come across like a teenage garage band from the
50s, bashing away for dear life. If theres one weakness to this album, its
that the sheer amount of material on it (the original 17 now bumped up to
32) makes it come across as a bit unfocused, and the bonus tracks aren't
really anything special. Still, the original album's a lost classic which
deserves a second chance.
Andy Glynn |
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Half Man Half Biscuit - CSI AmblesideIts customary for a HMHB review to start with something about the 'funny lyrics', and while thats not wrong, it seems a bit unfair that they're forever destined to be filed next to Weird Al Yankovic in the annals of rock. Alex Turner writes a song about a hooker and suddenly hes a fucking poet? No this is social commentary, my friend. The dull, the mundane, Primark FM - thats Britain. Never mind the comedy, this is our greatest band, period. Regulars will know the drill by now; Nigel Blackwell unleashes his bile on the ills of modern life. Subjects this time round include, middle class yoghurt-weaver types, the numerous places a fluorescent vest will get you into for free, and the girl's names that songwriters have unfairly ignored. 'All of our songs sound the same,' he cries on 'Lord Hereford's Knob' before launching into a medley of old tunes. A lesser band might call that 'Meta'. But thats kind of the point isn't it? They might not be the most original band, certainly not the hardest working and this probably isn't even one of their best albums, but I can't imagine ever having this much fun listening to Santogold or whoever the the new flavour of the month is. Perhaps I'm just getting old? 'In the heart of darkness, there are no hassle-free
cabinets' Andy Glynn |
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The Thirst – On the Brink (Wooden Records)Despite the copious name dropping in the press release (Ronnie Woods’ and Pete Doherty), this band are actually someone worth gossiping about. Mixing reggae, rock, ska and indie, The Thirst are strong competitors to the Maccabees/ Cajun Dance Party brand. The guitars are tight, clean and delivered with a lot more care than most, the drums are subtle but definitely presence, and the lyrics are the witty observational type that made everyone fall in love with Alex Turner. The complex rhythm and tempo changes on Ready To Move will have you reaching for the rewind button whilst your brain attempts to catch up with what just happened. Brazen and confident, On The Brink has bucket loads of
swagger for any album let alone a debut. It needs a second listen to fully
appreciate the humorous lyrics, but the music alone will grab you by the
scruff of the neck on the first play. Catriona Boyle |
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Rosabella Gregory – UncoveredAnyone remember Michelle Branch from a few years back? She had that annoying song with the piano riff that as a.) a little bit too easy to copy, considering she was supposedly a prodigious piano player and b.) so catchy it was probably constructed in a laboratory? Well after Ms Branch disappeared back into obscurity, the onslaught of copycats began – female singers who wrote their own song, played their own instruments, and didn’t pander to their management quite as much as their counterpart pop puppets. It seems Rosabella Gregory is a few years too late. She plays the piano (not particularly well), she sings about whatever happens to be floating around her head (mainly boys) and her voice could do with a little post-production work, but clearly hasn’t had it. If you can make it past the sappiness, and somewhat Mariah Carey influenced first track, Still, then you won’t make it much further. Track 2, India/China beings almost identically to still, and continues in the same vein. Lyrically, it also has a whiff of the Kate Nash’s about it: “I jump in a taxi, I’m on my way home/The dog’s pleased to see me, and mum’s on the phone.”. Undoubtedly its suppose to be ironic, but falls miles short. The piano playing is flashy in a way that requires
little talent, and the songs are mundane and shallow. Certainly not worth
uncovering. Catriona Boyle |
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Essie Jain - We Made This Ourselves (The Leaf Label)I wasn't sure what to expect from this debut album by New York based
England-born Jain, and still don't know if it matched with what I am now
listening to. Opening track Glory draws you right in close to her. It is
simply beautiful, and works away to spark the imagination through invented
and remembered film sequences with equal measures of whimsy and youthful
optimistic love. Jain's vocals are warm and welcoming and backed almost
exclusively by a simple line on the acoustic guitar. A similar thing happens
with the second track, but this time with piano. And then, in come the
harmonies and counter lines and a hint of brass. The song progresses and
swells and becomes triumphant, the brass come forward, the piano is more
pronounced, and Jain sings beautifully with herself. Thom Corah |
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The Loose Salute – Tuned To Love (Heavenly Recordings)This album was already looking promising thanks to its lovely cover which sports a rainbow. (Yes I know... covers... judging... but I’m usually right). Luckily the album does little to persuade me otherwise with it’s airy, lo-fi, indie-pop tunes. Perhaps somewhat over-indulgent in nostalgia at times (Photographs and Tickets), The Loose Salute are a slice from the same loaf as Belle and Sebastian, Boy Least Likely Too, and perhaps the Byrds. Easy on the ears and the mind, their classic melodies and hooks will have you floating away for no apparent reason. The Loose Salute are a little bit like a digestive
biscuit – nice enough, dependable enough, but no exciting cream filled
centre. Catriona Boyle |
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Anäis Mitchell – Hymns for the Exiled (Righteous Babe Records)Firstly I’d like you to take a moment to appreciate the two dots above the ‘a’ in Anäis, which is spent a fair amount of time trying to find. And make no mistake, I only did it because Anäis herself has taken the time to make a sublime album. 1984 is a brilliantly innovative cross between the tune of Prince’s 1999 and references to George Orwell’s 1984, resulting in the line: ‘we’re going to party like its 1984’. Who said disco couldn’t be intelligent. It’s a simply made album, recorded in a barn with just
guitar and vocals, making it charming, quaint, and quintessentially folk.
However, Hymns for the Exiled goes a little deeper than your average folk
album – more Joni Mitchell than Fairport Convention, and Anäis displays the
singing and songwriting skills of someone a lot older than her relatively
few years. Loveliness not to be taken lightly. Catriona Boyle |
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The Vines – The Best Of (Heavenly Records)The Vines appear to have a bit of a cult status that mainly stems from Arctic Monkeys claiming the band was their inspiration. Think how good Arctic Monkeys would be if they’d have a decent band to look up to. At 17 tracks, taken from only 3 albums, this is a rather lengthy ‘best of’, 12 would’ve been more than sufficient for us to appreciate their ability to occasionally write a good riff, scream a bit, and generally play a bit of garage rock. Get Free, Ride and Highly Evolved are the Vines at their finest, and hit all the right spots – this is why Alex Turner and co formed a band. Past about track 5 though, it’s all down hill. They pull out the ballads, the Nirvana-sound-alikes, and the songs Craig Nicholls wrote whilst going through ‘that breakdown’. The Vines’ cult status also stems from the fact that
they made 3 albums, in very quick succession, and then disappeared in a puff
of somewhat heartbreaking smoke. But with their fourth album in the
pipeline, perhaps the band will return to actually earn their status. Catriona Boyle |
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The Details - Draw A Distance, Draw A Border (Parliament of Trees)Hailing from one of the colder places in the giant icebox that is Canada,
The Details are on a mission to make you feel all warm and fuzzy wuzzy
inside. True, they are a fully-fledged alternative rock band much of the
time on this debut LP; assured and tight to boot. But they can do that cozy,
sensitive, slow-burner type of song too, which might land them a gig on any
one of a dozen Hollywood or US TV soundtracks. Five or six tracks here would
work as the 'fade to black' number for House or ER or, well, anything on HBO
really. Chris McCague |
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Bayard Russell - "Selftitled" (independent)Using little more than a laptop, keyboard and the odd real instrument,
Bayard Russell has single-handedly cobbled together a rather charming, lo-fi
collection of folk-electronic tunes, most likely at his Mom's house. The
result has far more soul than you might expect, but suffers from a
hit-and-miss approach to synth programming and vocals that seem reluctant to
ease out of first gear. Chris McCague |
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The Ladybug Transistor – Can’t Wait Another Day (Fortuna Pop!)It’d be wrong to say that it’s very “late 90’s”. This type of music: good pop, made by guitar bands, has been around for a long time on either side of that period. It is the music of bands who love Terry Hall, The Lightning Seeds, Lloyd Cole…only, in this case…not as good. I’m well bored. In trying to become “in every sense classic” (this is the stated aim on the promo) they have become, in every sense, dull. I don’t know what they sounded like before. I hope better, although that suggests that some fans are going to be disappointed. There are too many long outros that repeat a line, or a chorus. There just aren’t enough ideas per song. They start, keep going, don’t change and then outro for interminable periods. So Blind is OK, but it’s the 9th track. With guest appearances from Architecture in Helsinki,
Aislers Set, The Clientele, Kevin Barker, Heather McIntosh and Jens Lekman
this could have been something very good and the problem isn’t too many
cooks, it’s not enough ideas. Instead it is, at best, something nice for
existing fans of this kind of thing (although they will very get bored
eventually). This isn’t very good. Christopher Carney |
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The Wave Pictures - Instant Coffee Baby (Moshi Moshi)It's a well-trodden path, that of the folksily eccentric and mildly
acerbic social commentator. Starting with Ray Davies, this particular strain
of singer-songwriting can include many greats and lesser-knowns - names such
as Weller, Cocker, Gedge, and now, David Tattersall? The Wave Picture's main
songwriter is clearly intent on taking a place amongst some very well
established luminaries, and 'Instant Coffee Baby' is the sound of stops
being pulled, of mantles being claimed, of inner suburbia unwinding after a
mildly neurotic day at the call centre. Xylophones and horn sections
optional. |
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Royworld - SamplerI just can’t say ‘no’ to cheesy, melodramatic pop music; so, it’s a big ‘yes’ to Royworld. Also, I think I may have started a love affair with Rod Futrille’s voice, which I can’t say is something that happens frequently: it’s the peculiar - even non-sexy - growling that does it for me. It started when ‘Man in the Machine’ was released earlier this year, and, now I have five more songs complete with Rod’s endearing vocal idiosyncrasies to ponder over. Fortunately for Royworld, it is precisely this tool that saves this London four-piece from the endless pool of similarity that many artists in the indie genre slip effortlessly into. The song-writing has a meticulous intensity. With
songs, such as, ‘Elasticity’ exploring getting older against your will, the
slow-moving and poetic ‘Wish Ourselves Away’ and panic-driven track,
‘Brakes’, which breaks the trend with its acoustic guitar sounds and its
epic plea for control in amongst its melodic success. Royworld have balanced
‘cheese’ in their piano-driven songs to, cheekily, stand under the indie
umbrella. However, once the novelty of Rod’s voice has worn a little (if
such a thing is possible?!), the songs lack variation. Nevertheless,
Royworld have proven that their ability to write decent pop songs propels
them into the busy music marketplace armed with melodic shields and
outlandish vocal defence. Jenny Williams |
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Joey Negro and the Sunburst Band - Moving with the ShakersIt’s times like these that, dangerously, I think that platform boots and killer flares are a good idea. As soon as the funk kicks in, I’m there: in the disco zone. But this album isn’t that generic: here, funk goes to the seaside. Songs such as ‘Shabadowah’ have an ambiance reminiscent of Joey Negro’s mainstream success with Jakatta’s ‘American Dream’: funk is blended with more contemporary Ibiza sounds. It complements the funk-disco vibe well, offering some satisfying variation. David Bowie’s ‘Fashion’ gets a funk-lift in track 5 (although I do have a bee in my bonnet about artists covering David Bowie: he is a master after all). ‘Sitting on Top of the World’ is brilliant. It’s opening has some vocal chanting (a sort of cool and hip version of Adiemus). They get all soulful on us in ‘Put a Lyric In It’, with an irresistible guitar riff and ‘Movin’ With The Shakers’, with its ebbing and flowing strings and melody, fills me with an overwhelming desire to be on a beach with pina colada in hand – and I don’t even like sunbathing! Not many albums have seventeen tracks and there is probably a reason why: the album could probably have been condensed into about ten radio edits. Instead, they’ve kept in some instrumental focussed interludes, like, ‘Monterey’, ‘Journey to the Sun’ and, the self-explanatory track, ‘Free Bass’. But it works, offering a more engaging listen and some funk-tastic (sorry – couldn’t resist) instrumental solos. Perhaps, more of the electronic interludes within the tracks would’ve developed the album too. So, don’t be afraid to embrace the boogie. From disco
dance floor to Ibiza chill-out sounds, you can’t help but move with the
Shakers; no one can be sad listening to this sun-bursting band. I’m feeling
better already. Jenny Williams |
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Jackdaw 4 – Bipolar Diversions – Not Lame RecordingsToday I have decided to structure my
review like a Jackdaw4 record or maybe it will end up confused and
bewildering like pretty much every track on the album perhaps it might come
across like a Jack Kerouac excerpt but devoid of his amazing talents there
are times when it won’t certainly there is no time to stop and catch a
breath beautiful explosions of immaculately produced pop it’s a bit like
being on a rollercoaster there are times when this will work every new idea
must immediately be spliced into whatever previously existed Freddie Mercury
being bludgeoned by Mika exhilarating and slightly scary but being stuck on
a rollercoaster for forty minutes would make anyone feel sick. Ian Anderson |
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The Sword – “Gods of the Earth”Considering the sheer excellence of their debut album, a record that captivated from start to finish with its heavy melodies and riffs that felt both familiar yet fresh, The Sword could have romped home by simply doing the same thing all over again. Well, they sort of have…so how is has it come to pass that “Gods of the Earth” ends up being such a disappointment? The basic template – Sabbath meets ‘Lord of the Rings’ – remains intact occasionally bolstered with extra flourishes such as flamenco guitar (“The Sundering”, “To Take the Black”), yet the magic is somehow absent. To give them their due, The Sword
still know how to kick off a song in style – the earth-shaking drums at the
beginning of “The Frost Giant’s Daughter” and the spiralling guitar lead
that opens “Lords” are testament to that fact – but somehow the rest fail to
engage, much less provide an opportunity to reach for the air guitar. It’s
telling that the best tracks (“Fire Lances of the Ancient Hyperzephrians”,
“Maiden, Mother & Crone”) are the ones most reminiscent of past glories;
everything else just seems dull by comparison and, before you know it, the
final note has faded away without you really noticing or, dare I say, even
caring. Will Columbine |
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Cazals - What of Our FutureAh….Cazals…. Their catchy indie/dance/rock truly was what the doctor ordered. Yes, there are millions of other groups combining this mix at the moment, but very few seem to have created anything as infectious and catchy as Cazals. Their mix of dance and rock has won them friends in high places, none more so than Daft Punk, whom they supported earlier this year. And it seems that it wasn’t only Daft Punk whom they have impressed. Their label Kitsuné (Digitalism, Hot Chip) went out of their electronic comfort zone in order to sign them at the end of last year. With advert appearances for Sony Ericsson already under their belts, and an appearance in the new film ‘Beyond the Rave’ in the near future, surely the sky is the limit in terms of their success. Debut album ‘What of Our Future’ seems to echo this
recent surge to the heights of the industry. Its 40 minutes of indie –pop
brilliance with slight dance hints. On the first listen, this record could
be discarded as another average indie release, but when you listen further,
you seem to grasp the true initiative behind these songs. They are
structurally imaginative and complex yet it’s a thoroughly listenable
release. It’s depressing lyrically, yet joyful musically. It’s a profound,
almost confusing mix, yet Cazals seem to have got it nailed- it’s brilliant.
From start to finish, it’s a polished effort, expertly recorded and mixed by
the bands very own bassist, Martin Dubka. Previous releases ‘To Cut a Long
Story Short’, and ‘Life is Boring’ are highlights, but it is new single
‘Somebody, Somewhere’ that stands out from the bunch… a future anthem in
disguise? We can’t know for sure, but it is a slice of indie pop brilliance
none the less- easily danceable, easily one of my favourite songs of the
year so far. Furthermore, new material, such as ‘Comfortable Silence’
further strengthens my case for this album being one of the best debuts so
far this year. On a slight negative side, album closer, ‘Time of Our Lives’
is rather dull and uninspiring. Also, some of the lyrics are incredibly
bland, and sadly echo many other songs of the present time that continually
moan about British life. ‘Life is boring, can’t stand getting up in the
morning’. Come on guys, your not going down that path are you? Apart from
that, it’s a great album with four or five cracking songs and five or so
other really good ones…definitely not ground breaking or new as such, but
definitely worth a listen. Sean Phillips |
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El Perro del Mar – From the Valley to the Stars (Memphis Industries)El Perro del Mar’s album is a collection of light, uncluttered and
haunting songs. Many of the tracks focus on high, thick vocal harmonies
spread on top of an organ or a piano. While this minimal accompaniment and
the soft vocals create a pleasing sound, some of the songs do eventually
start to blur together. Instrumental songs ‘You Belong to the Sky Now’ and
‘Inside the Golden Egg’ do not seem to particularly add anything to the
album, and just seem to be repeating similar sounds heard elsewhere. Yasmin Prebble |
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The Laurel Collective - Feel Good Hits Of A Nuclear Winter' (Double Six)This time last year, the Laurel Collective held a total of nineteen
members. At the last count, it contained six. Shades of that Itunes advert,
the one with the enormous one-note electric orchestra. And, if that enormous
electric one note orchestra suddenly decided to perform a homage to System
Of A Down covering Hundred Reasons first album and remixed by Steve Hillage,
then the results might sound very like this 8-track opus from the ever
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Johnny Foreigner- Waited Up ‘til It Was LightAfter the success for their mini-album-Arcs Across the City which was
released last year, Johnny Foreigner are back, ready to wield their fun,
screamy, dirty rock once more. Production wise- It’s a more mature record,
yet Johnny Foreigner appear to have lost none of their original charm.
Previous singles ‘Our Bipolar Friends’ and ‘Sometimes, In the Bullring’
sound fresher, but still have that gritty, playful sound. What appeals most
to me about this album, is that Johnny Foreigner seem to be creating great
music and enjoying doing so, because they want to- a stark contrast to many
bands nowadays that seem to be in it simply for the fame and money. Where to
many guitarist and lead vocalist Alexei Berrow’s contribution may appear to
be a combination of out of tune screams and stabs at the guitar, it’s a
clever mix that adds edginess to Johnny Foreigner’s sound that is virtually
unheard of in this day and age. ‘Eyes Wide Terrified’ is the amazing song we
all made it out to be and ‘Salt, Pepa and Spinderella’ is an absolute gem.
It’s a great debut from a great band, and their energy from the live scene
has translated well onto record. My only reservation is that after 30
minutes of listening to Johnny Foreigner, I’m not really sure how much more
I can take. It’s an intense, in-your-face record right from the off, but
after a while I feel that you almost get slightly bored of the style, which
is a shame, because it’s great fun up to that point.
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Lowgold – Promise Lands (Goldhawk Recordings / Cooking Vinyl)We have been told many times never to judge a book by its cover. Lowgold
encourage us to disregard this: the cover of ‘Promise Lands’ depicts a city
half bathed in sunlight, and half covered by a heavy black cloud. This image
closely echoes the music the album contains, as the songs are contemplative
and mournful but seem to be underpinned by hope. Yasmin Prebble |
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dEUS - Vantage Point (V2)Belgians are famous for their Trappist ales, putting mayonnaise on their chips and giving the world Jean Claude van Damme. Perhaps now it’s time for one of their many emerging bands to cross from the sidelines to the mainstream. dEUS have been around in one form or another for two decades, and Vantage Point could reasonably be called their most accessible work yet. For reference points, think Captain Beefheart, Todd Rundgren, Frank Zappa Single Eternal Woman borders on “pop” with its major chords, hooky piano line and delicate harmonies. Oh Your God is radically different; abrasive How Soon Is Now era Johnny Marr guitar clashes with spoken-word vocals and some earnest thrashing of the skins. Favourite Game is altogether more radio friendly but still has a nice bluesy edge to it (Doves doing a QOTSA cover, anyone?) while The Architect is a confident stomp through the back catalogue of Roxy Music. Popular Culture is a suitably grand endpiece, complete with xylophone, strings and chords borrowed from mid-period Oasis. This album walks the right side of the
pretentious/spectacular tightrope that is prog-rock, and dEUS have done well
to avoid the temptation to follow Elbow down the route of lowest common
denominator, crowd pleasing MOR.
Chris Moffat |
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A Human - Third Hand Prophecy (Wall of Sound)Just because an album is hard to categorize doesn’t necessarily mean that
it’s good. The problem with A Human is that it can’t quite decide if it’s
dancefloor friendly electro or intelligent rock, and it ends up being a
strange muddle of the two. It’s not light and hooky enough to be great dance
music, but neither is it heavy enough to be Nick Cave-style rock. Chris Moffat |
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James Pants - Welcome (Stones Throw)James Pants is a strangely titled but hugely talented synth soul musician
from Texas, USA. Like Prince, Michael Jackson and a select group of artists
before him, he’s a multi-instrumentalist as well as a writer, able to swap
effortlessly between drums, keys, guitar and vocals. Chris Moffat |
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Alex Gomez - Outdoor Kitchen (Deltalectric)The Blues can seem like an impenetrable minefield to the average music
fan. On the one hand, we know it has produced some outstanding and
influential music (Robert Johnson, Muddy Waters, Howlin’ Wolf) and some
equally superb vocalists (Bessie Smith, Nina Simone), but at the same time
it’s one of those sacred things that cannot be criticised. Like religious
faith, Delia Smith or the Queen Mother, it’s beyond condemnation. An attack
on the blues is an attack on music itself. Chris Moffatt |
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