albums |
articles | contact |
events | gig reviews |
interviews | links |
mp3s |
singles
albums - january 2009 | ||
![]() |
Jesse Malin – On Your Sleeve (One Little Indian) Jesse Malin is apparently some seminal New Yorker. Jesse Malin apparently,
at the age of sixteen, invented punk. So why then, am I listening
to Jesse Malin put in the worst version of Fairytale of New York ever?
Seriously, Malin’s version is the only think that gives Ronan Keating
the right to sleep at night. These are some of the most shocking cover versions I have ever had to weep through, mainly because nearly every one is originally a classic. Do you Remember Rock and Roll Radio will have you shoving pencils into your eyes, as a way of forcing yourself to disconnect rock and roll from this mess of a song. Me and Julio Down by the School Yard is a cover of so little discernable reason to been brought into existence, I was convinced that it hadn’t been, and that I’d made the whole thing up as a way of spiting myself. Worst of all, yes, it gets that way, is his ‘version’ of Neil Young’s Looking for Love. An embarrassing cod soul version of a song I’m sure has never done anything to Malin. Why do you hate these songs so, Jesse? Then there’s Jesse Malin himself, stood on the back cover in some cool record shop, looking like the cunt Richard Ashcroft would never dare to be. The inner sleeve reveals Malin’s reasons for covering each and every song, which reads like the defence of some Nazi war criminal. Actually, that’s not true. It reads like the ramblings of some self important moron, who’s convinced himself that he’s the most insightful human being since Robert Kilroy Silk opened his sly little mouth. The only positive from this whole sorry musical affair is that it
makes Bryan Ferry’s recent output seem somehow credible. And remember
all, for every shit cover, there’s the original waiting for an apology. Sean Gregson |
|
![]() |
Night Marchers – See You In Magic“Mummy, what happens to rock and rollers when they go to heaven?” Sean Gregson |
|
Tangtype – TangtypeShut up and let me... no, this isn’t the first in a very short line of Ting Tings covers acts. Instead, I present you with the glorious Belgian duo that is Tangtype. I am in love with Tangtype. I want to love them even more than I do. They’ve got these sounds, these waves, these tiny little moments of beauty. Then there’s the vocals, which are the best moments of the Cocteau Twins and Portishead. Tangtype sound like they’ve been produced by a man named David P. Spector-Lynch. What impresses most, is that Tangtype never fall into pretentiousness,
they never let the idea down. There’s no experiment for its own sake.
Instead, each song feels crafted, as if every millisecond has been
accounted for. This is headphone music. This is shut up and pay attention
music. Tangtype are really quite good. Sean Gregson |
||
The Gay Blades – Oh Shot (Something In Construction)The first track, which shares the forthcoming album's title, oozes groove. It's almost a blend of every Kings of Leon era, with the potential to rock every pair of socks from New York to New Delhi. Its bouncy beats get you strutting and ducking, and there's an enormous sense of fun without crossing the border into immaturity. It's worth listening to a few times, once you get over the fact that the song mainly consists of verse and riff. A significant lack of distinctive chorus lets the track down; although thinking outside the box is encouraged, there's a reason people still use boxes. There's a slip of paper tucked in this album sampler, which promises great things. I hear talk of QOTSA and White Stripes, but can't find the evidence. And all in all it makes for an anticlimax. The remaining three tracks have had the oomph removed. Yes there's pace but I have no urge whatsoever to move any of my appendages, unless you count reaching for the skip track button. There's something very similar to We Are Scientists earliest material. And how many people know of their earliest stuff? Exactly. It's indie, it's a bit wonky, but it's everything I've heard before.
The opening track was exciting. The rest, quite frankly, isn't. It
probably would sound a whole lot better with that first track removed,
because otherwise you're left comparing everything to what you've
heard previously. It's a shame. Thom Curtis |
||
![]() |
Shrag – Shrag (Where It's At Is Where You Are)Apparently, this ten track CD is a collection of songs put out over
five 7" singles. I've never heard any of the singles, and I'm
quite thankful. Thom Curtis |
|
![]() |
So Shush - s/tA duo, from Manchester? Shades of the Tings thought I. With influences
stretching across 60s garage punk, 70s prog and innumerable 80s obscurities,
Carole and Ian Shush are indie scene veterans who know what they like
and, while some of their influences are obvious and apparent, are
quite deftly producing music which, given their combination of influences
and experience has a unique charm entirely of its own, something that
is often missing in todays pop world. Jon Gordon |
|
![]() |
Ivan Campo - 'Super 7'The badge says it all: 'Ivan Campo'. Stars of Italian TV, Shepherds
Bush Empire and BBC6. And there's a reason. The badge is black lettering
on white background. The seven songs on this mini-album are, each
of them, mini-epics of love, and loss, and love again, redemption
and chord changes made all the more effective by Ivan Campo's resolutely
laid-back jazzy acoustics. Jon Gordon |
|
![]() |
Nick Butcher - 'Bee Removal' (Hometapes)Nick Butcher is a Portland, Oregon based sound collagist and also
a keen apiarist, which is the proper name for a professional bee keeper
(I knew that - Ed.) Bees, as we all know, are sometimes difficult.
Yes, they make honey, but they also guard this jealously with their
stings, and American bees are often larger and bit more nervous than
your average British bumble. So, Nick Butcher has recorded some relaxing
anbient soundscapes with which to lull his bees into a state approaching
torpor, during which he can safely remove honeycombs from his hives
without resorting to chemicals, and also obviating the need for gloves
and a mask. Jon Gordon |
|
![]() |
Russian Circles – StationIt’s possible to have repeating phrases and build atmosphere rather
than cause boredom. It’s possible to build a song around repetition
and create something textured and interesting. It’s possible, but
rare. This 6 track (but at over 17 minutes not swift) album is crammed
with ideas, texture and great songs. They’ve succeeded in creating
something to listen to all the way through. Station is all ideas and
skill transformed into something you want to listen to rather than
compliment. The music moves in waves, movements even. Where music
like this can so often be self-indulgent, it’s pretty compelling.
I’d love to see them live. This is no longer a CD I’ve reviewed, it’s
one I own. Christopher Carney |
|
![]() |
William – Self in FictionDespite sounding like a whole bunch of off-kilter art-punk bands,
William maintain a charm in their own right. Track 2 suggests a tendency
to go on for too long. But that’s about it. And it’s still a good
song. Just remember though: If you can’t end the song, just stop.
Really. Other than that, things are good. This is a catchy, clever
and fun. Not brainless fun though, but not mired in thought. Aperture
(track 7) is great: bass driven and eager and also slight and restrained,
fragile even. In fact, from track 7 this album stops being a good
album and becomes great. Shame it took so long. Self in Fiction is
a good album though, full of life and thought – In a way Fugazi were
continually capable of being. If they can stray from the formula and
sound adhered to throughout this record they could become dearly loved.
But more of this would become dull. Track 10 has a hidden track…It’s
pretty. Christopher Carney |
|
![]() |
Various: Stay In the Box 2 – Matchbox Recordings samplerI love sampler CDs. This’ll be 39 or so reviews! Epic! Everyone submits 1 song and I judge them on it. In no more than 10 lines! Box 1 Box 2 Christopher Carney |
|
![]() |
Paula Wolfe – Lemon (Sib Records)Paula Wolfe supposedly ‘challenges the female singe/songwriter stereotype’. After one listen to Lemon, it’s clear for the word ‘challenges’ read ‘whole-heartedly reinforces’. Album opener How Can I? is a dull diatribe about how rubbish women are, directed at the poor long- suffering men, and is, to be blunt, rather pathetic. Sadly it doesn’t pick up after that, mid-tempo, acoustic-plucked,
middle-of-the-road ballads about how tough it is being a woman, but
not really doing anything about it. Courtney Love, anyone? Catriona Boyle |
|
![]() |
Shirley Lee – Shirley Lee (Missing Page)Shirley Lee (that’s Mr not Ms) is the front man of Spearmint, who are apparently a cult indie band. The name rings a bell, but that might just be the Polos. Cult indeed. This album certainly has that slightly dated but comforting old-school indie sound about it. Think The Lightening Seeds meets Pulp with a Badly Drawn Boy voice and you’re somewhere close. Come On Feel The Lemonheads is a wistful, wee small hours of the morning track. Short but sweet, and definitely a charmer. In a time when being indie means how tight your jeans are and how
long your fringe is, this is a welcome blast from the past and a timely
reminder of how unpretentious and uncomplicated indie music used to
be. Catriona Boyle |
|
![]() |
Miranda Lee Richards – Light Of X (Nettwerk)There’s a lot of cutesy, folksy-pop female singer-songwriters around at the moment, and most of them appear to be following the same instruction manual. Luckily though, Light Of X appears to have some real sincerity behind it, and it definitely not cast from anyone else’s mould. Subtle and low-key, this certainly isn’t a Hoxton-hipster album, but one that needs a few concentrated listens to be appreciated fully. The song writing skills are finely honed, and it’s clear that this is Richards’ second album, experience is most certainly on her side. Lifeboat is ethereal and wistful, with the echoey slide guitar and overlapping vocals giving the sense that this song almost comes from another dimension, a slightly unsettling feeling that it’s not quite in the same room as you. Miranda Lee Richards also manages to nail a hint of country in her sound, without it sounding too contrived clichéd, which is no mean feat. Savorin’ Your Smile is the perfect example, with just the right amount of country (think Jenny Lewis not Dolly Parton) and pop. Early November is a definite stand out of the album, combining Richards’
dulcet tones with menacing guitar chords, which are smoothed away
in the chorus, leaving a vulnerable song in a hard casing. A heartfelt album that definitely deserves your attention. Catriona Boyle |
|
![]() |
A Camp – Colonia (Reveal Records)Remember The Cardigans? They were cracking weren’t they. And let’s face it, side projects are never quite as good as the real deal. So A Camp, featuring Nina Persson from The Cardigans, have got a lot to live up to. It’s clear Ms Persson is actually a damn fine musician, and not just the pretty face behind The Cardigans. Revealing a deeper, more mature sounding voice, Colonia sees her vocals take centre stage, with an edgy, world weary sound. This album sounds like its set in a Narnian-esque fantasy land – all ethereal synths, floating trumpets, quivering strings and babbling brooks. At the same time the lyrics drag it into the present day with late night parties and broken marriages. The Cardigans this isn’t, but a far more grown up, complex sound
with smatterings of that perfect pop sound. Catriona Boyle |
|
![]() |
The Trews – No Time For Later (Edel Records)There’s a lot of good music coming out of Canada at the moment. Finally. And this album has been financially support by the Government of Canada. So it must be good. Handpicked by the government themselves to fly the flag for Canada amongst a sea of other very good flags. Well who said governments know anything about music anyway. This is dad-rock at its finest – they’ve toured with Status Quo for goodness sake, and they’re making no apologies for it. Embellished riffs, a country twang, and songs about girls, cars and guns. Hold Me In Your Arms has a touch of the Audioslave about it – big riffs and little else but Chris Cornell style vocals Taken with a pinch of salt this is a pretty fun album, and I’m sure
they can get themselves a lucrative contract with GuitarHero if Status
Quo don’t want them on their next tour. Catriona Boyle |
|
![]() |
Steve Cradock – The Kundalini Target (Moseley Shoals Records)Writing about this album is like trying to write about broccoli. It’s just a bit bland really isn’t it. Although at least it’s got the added bonus of being good for you, and being that lovely green colour. The Kundalini Target is neither green nor good for you, but it is bland and Kundalini does sound a bit like broccoli. There’s nothing to report here – jangly acoustic, some off-key vocals and some dubious lyrics that we’ve all heard before. In fact there’s a sense of that with all of the songs – there’s something disconcertingly familiar about them. Perhaps Steve Cradock has completely ripped off someone else, or perhaps his songs are just that simple, who knows. Blander that broccoli, and just in case you weren’t convinced, Paul
Weller does additional vocals on half of the album. Catriona Boyle |
|
![]() |
My Drug Hell - '2' (forthesakeofthesong) 10 years in preparation, Leicester's premier garage punk retro re-stylists
turn in a sharply crafted collection of r'n'b stompers, each track
given a dryly echo-free underproduction which enables the guitars
and drums of Tim Briffa, David Preston and Sebastian Kellig to sound
exactly as they do live, with none of that fancy reverb or delay stuff
getting between the bands equipment and their speakers. Jon Gordon |
|
![]() |
Burning Codes - s/t (Coded Recordings)I haven't yet discovered whether Paul Archer is in fact related to
Snow Patrol's Iain Archer. Paul Archer did contribute vocals to five
tracks on the Patrol's 'Eyes Open' album, although whether they are
brothers, cousins, or if it's just one of these coincidences that
they share a surname isn't entirely clear from the info on the accompanying
press pack. |
|
![]() |
Lights Action – Welcome To The Cold New World (Colt Signals)First things first. The second track “Battle For Lovers” is available as a free download on February 18th , for one day only. Do your music collection a favour, and see that you grab a copy. After a patchy opening track “Moscow” that oozed ambiguity and left the rest of the album open to go absolutely anywhere, Lights Action have fallen on their feet and delivered some clean, tight music. There are some really deep tracks on the album, “Young Scarlett Young” features particularly rich string textures, along with a piano, and regular band set up. The pace fluctuates throughout the record, maintaining interest and evoking all kinds of emotion. But I'm certainly enjoying it. You'll like this, if you like alt rock, (and also some of those
bands whose genre I'm unsure of these days; as I'm scared to mention
the word “scene,” but Story of the Year are a shining example. I'm
not saying they sound alike, although there is a song called “Until
The Day I Die,” All in all, Lights Action have the sophisticated alternative rock
sound, similar to that of A Silent Film, but with a subtle cheesey
crust. I can't quite put my finger on it. It's close to being one
of the best things I've heard in a while, but not close enough to
be overlooked. Although all the songs aren't unforgettable, they're
certainly very good. Well written, and expertly executed. Thom Curtis |
|
![]() |
Diplo – Decent Work for Decent Pay, Collected Works Volume OneHe’s the friend the cool kids want (current mates list includes M.I.A., Santogold and Spank Rock.) The man born as Wes Pentz is the guy which you’d also want remixing your track. He’d probably make anything in the charts at the moment reek with credibility and, essentially, the kinds of beats likely to make any crowd in the world go fookin’ mental. This collection of five years work (four original tracks, eleven remixes and additional downloadable MP3s) brings an accessible collection from what is the tasteful music fan’s Tim Westwood. The ‘Paper Planes’ remix brings longevity to the M.I.A. pop hit, Kano’s ‘Reload It’ is also brought back to life with the help of Diplo’s seemingly wizard fingers. Over the CD only the Bloc Party and Peter Bjorn & John remixes fall flat. Flat, in this context, equal most DJs high points. Diplo is perhaps most notable for bringing ‘Baile Funk’ to the forefront of hip-pop, the genre which before said M.I.A. and Santogold feature in their sound. The Brazilian genre from the depth of Rio’s hardest parties, which probably make most nights in British towns seem like a retirement camp, is everywhere on these productions. His included original tracks show his penchant for the sound best. For fans of dance music, this is a must-buy for the New Year. Diplo
is hot property, and with this early collection showing what he’s
already done, the pace is set to ‘full throttle’ and Mr Pentz is sure
to continue to make great techno, cross-over tunes. And then remix
them. Nick Burman |
|
The Gentlemen - album samplerHailing from Sheffield, this four-piece do little to change the ‘northern rock sound’ cliché. At least this act takes themselves a little less seriously than many other collectives. Recent single ‘Push Back’ is pretty much a Britpop stomper. This is good for the first few listens, a dumb two minutes. The following tracks take some more interesting turns, though the song structures are so over-used already that you can practically hear the roadies setting up the token mini-organ for the climax of ‘I’m not Leaving.’ Front man Nicholas Noble has a strong voice which carries the tunes suitably. This album sampler contains songs which never go over the four minute mark, so that’s one rule of writing a good pop song they’ve followed. Certain parts sound quite mainstream in a ‘handsome men sing love songs’ kind of way. Hopefully they’ll stick with the lo-fi artwork covering the promo CD (their name engraved in red in a swirly font), yet they could do with getting a bit louder in places. The two years they claim to have spent playing endless sold-out gigs in their hometown might have got them in a rut whereby they don’t want to change their sound, but they’ve over practiced these current ones. A decent collection which will no doubt get a few people interested.
In the end though, a bit straight-up indie for today’s adolescents.
Nick Burman |
||
![]() |
The Qemists – Join the QOpening track, ‘Stompbox’ stars off as a bass heavy, siren calling drum’n’bass’n’U2 (with some screamo in there, for good measure.) It’s much the same as, if not identical, to the earlier Pendulum material. Drum’n’Bass based rock bands have made an explosion within the two respective scenes, and as an externality of that, Drum’n’Bass itself has rocketed to the top of the population’s popular dance music format. So the first track is all well and good, then ‘Lost Weekend’ is like a Metallica mash-up. The Kano featured ‘Dem Na Like Me’ is perhaps one of the best ‘club bangers’ on this LP. The production is top and the flow is perfectly formed to get a crowd bouncing. Bands such as Pendulum, and last years Chase and Status’ rise to critical acclaim, has put the cross-over sound right in the thick of it. The Qemists are no doubt a crowd favourite, and within all the tracks on ‘Join the Q’ the sound has been mastered. Every trick in the book ticked off and a host of samples have been mashed up and thrown in for good measure. As the genre goes, it’s pretty mainstream, but there’s enough interesting bleeps and squelches to win over the techno/electro fraternity also. ‘Soundface’ features beat-boxer Beardyman in the best high-octane one minute thirty on the record. Finale to the LP is ‘The Perfect High’. A blatant abuse of the bands
power to master in one of the most hyper and preposterous openings
to a Drum’n’Bass track I’ve ever heard. Imagine half a minute of ‘cloud’
sounds and a silly, gospel vocal over the top. It works, and to me
no other genre would really be able to get away with it. The Qesmists
in their current state are as good as Pendulum were when their debut
was released. Whether they’ll follow the same path and end up being
rejected by the scene which current bares them, only to be shunted
to the centre of the music landscape, is yet to be seen. All I know
is; when ‘The Perfect High’ drives back into the ‘cloud’ sound effect
and ends in fireworks, there’ll be a lot of happy faces. Nick Burman |
|
![]() |
Monkey Fighters - Key Rights Of Men
Tim Birkbeck |
|
![]() |
Spencer McGarry Season - Episode 1Episode 1 is the debut album, and the first (he says) in a stylistically-linked
six album cycle, from Cardiff-based singer-songwriter Spencer McGarry
– er – Season. For a new artist this may seem overly-ambitious (or
even presumptuous given the current music industry climate), and with
a backlog of 60 songs in the pipeline left over from previous band
The Room Orchestra surely the sensible approach would have been to
take the ten best and craft the highest quality debut possible. But
Spencer McGarry is obviously keen to avoid labels such as “idiosyncratic”
or perhaps even “eclectic”, and so for the benefit, or detriment,
of Episode 1 he has cast himself as a 60’s mod-pop influenced three-piece,
whose strengths lie in a tight soulful rhythm section, inventive song-titles
and playful lyrics, and a melodic bite reminiscent of XTC. |
|
|