|
|
singles - february 2006
|
|
|
|
|
|
|
|
|
|
Central Services have something to do with Math and
Physics Club – I forget what now, but the fact is they’re just as good.
Imagine the skiffle pop of MAPC combined with the laid back melancholy pop
of The Young Tradition and you have Central Services.
Not that it’s all Nick Drake round these parts, you’ll
also hear a Farfisa and come Butterflies of Love-esque retro pop. All in
all, a most enjoyable jaunt.
Sam Metcalf |
|
|
|
|
|
My, how Domino have changed. I remember when it was all
Flying Saucer Attack and fields. Now you have fashion rockers like Test
Icicles. This is pretty much generic indie rock. There sounds like there’s
an awful lot of effort going on here for very little gain. One for the
haircuts and cut off leggings in the audience, I think.
Sam Metcalf |
|
|
|
 |
Well we've all heard W.A.S. by now and know pretty much what to expect.
This single is no different - tight angular beat driven riffs and catchy
sing along choruses. And if it ain't broke, don't fix it. A good tune but
not really comparable with earlier singles 'The Great Escape' and 'Nobody
Move Nobody Get Hurt', it should keep the punters happy until a new album
appears.
www.wearescientists.com
SB |
|
|
|
|
|
Of course The Young Knives were doing the old
son-of-Jam judder-pop long before Franz Ferdinand and the rest of them came
along. So perhaps now if the perfect time for them to make a comeback. ‘Here
Comes the Rumour Mill’ is particularly charming in a very new wave kinda
way. It’s no way near as desperate as the Kaiser Monkeys, nor as instantly
graceless. It rattles along in a very old school way, with hints of Elastica
thrown in for extra thrills. It’s rather pleasing to have them back, I have
to say.
Sam Metcalf |
|
|
|
|
|
As the name would suggest, an electro stylee Dubstar meets Hiem via
Scotland type affair which is entirely ace with retro hand claps, lo-fi
beats but with more than an air of glamour. Kaye's distorted vocals on 'Boy
Don't Bother' give it just a touch of edginess to keep the pop melodies at
bay. A lovely bleepy start to the month.
www.electroluvs.com
SB |
|
|
|
 |
Not the axe wielding ex-Jane's Addiction guitarist but shockingly bad MOR
toss. Note to self: never trust mystical landscape/folksy hippy chick
imagery combined with Celtic typeface on front covers. High Wind? Total guff
more like.
www.halorecords.co.uk
SB |
|
|
|
|
|
Those who can’t is the song I’ve been waiting for to
kick all that boring indie shite up the arse for good. It starts off with a
robot-disco dancing nightmare that spins out of control and explodes into a
propulsive indie vampire fuzz racket! With its cramps style glamorous vocals
and dissonant guitars, its just art-zombie rock in a jar!
If this song gets the attention it deserves, I can just
see all the rake thin, skinny suited indie kids running to the dance floor,
po-going out of control to this sleazy sexy horror show…I’ll see you on the
dance floor.
Simon Hambrook |
|
|
|
 |
Jesus wept...I'm not sure who Halo Records' target demographic is but I
can almost certainly guarantee it is not the readership of tasty. Perhaps it
is used as therapy in psychiatric wards to calm frayed nerves. Have we not
moved on from Crystal Gayle in the last 30 years? In fact I prefer Crystal
Gayle.
www.halorecords.co.uk
SB |
|
|
|
 |
With perfect timing, TEAM enter the fray to provide the antidote to all
this MOR crap. 'Guilty Language of Gossip' is a lurching delta blues
infused, swaggering anthem which creeps up on with the all the stealth of
George Galloway in a red catsuit. Not an obvious choice of single at all,
this is a pretty uncompromising track and will struggle to get any airplay I
would have thought.
By contrast 'One Side of the Conversation' is a rasping, drop-tuned head
fuck of a song which just keeps smashing you in the face, leaving you
bloodied and bruised before coming back for more with a steepling power
outro that has to be heard live to be believed. Yes!
www.teamtm.co.uk
SB |
|
|
|
|
|
This is an unremarkable piece of
average rock music from yet another glum bunch of black clad New Yorkians.
So it will come as no surprise that it’s moody, it’s brooding with it’s
mediocrity protruding. After a fairly weak dribble of a title track, we are
treated to an acoustic yawn along entitled ‘Contras Los Vampiros’, in which
the vocals are so hushed, the delivery so delicate it could pass you by.
Having said that, the third track is an alternative take on the first, which
is better but not by a great deal. Despite this, the track goes someway to
show that Calla are a more than competent group who are able to reinterpret
their material to good effect. After listening to this several times and
finding that it doesn’t get anymore interesting, it dawned on me that I’d
probably never listen to it ever again.
H.H Thornville |
|
|
|
 |
Hands and Fingers is the handy work (if you'll forgive the pun) of
Stephen Hitchen who has put together three tracks of sparse electronic beats
and squelches much in the vein of 'I Care Because You Do' Aphex Twin. By
that I mean pretty accessible and melodic but with a definite melancholic
under current. 'We Are Already Here' pulsates through 5 minutes of divine
twinkling keys and warping beats whereas '7 or 22' is a strangely lo-fi yet
disco friendly number. It's hard to fault this EP so I recommend you check
it out.
www.handsandfingers.info
SB |
|
|
|
|
|
Not normally on a single do I play 17 seconds of the
track then rewind it back again and again just to hear the most fierce
guitar distorted noise ever! So I’m guessing by the time I’ve written this
review I’m going to be on the net joining The Violets mailing list, going to
all there gigs and bugging them to be my friend on myspace…
Any way, when I let the track play in full, it forms
into an indie punk dream. Lene Lovich’s vocals jump up and down and rip
through ‘Descend’, making you want to get up and pogo along with her. This
is equally followed by a thumping drum beat and a sharp guitar racket which
pretty much sounds like he’s torturing it for doing something insanely
wrong. It’s chilling stuff.
The B–side, ‘Carnival’ could have easily been a hot
contender for an A-side, starting with a minute of delayed spooky guitar
riffs that’s supported by a marching drum beat. Your just waiting for a
blinding chorus to come in and they don’t let you down because this guitar
fuelled noise twists into head glittering punk rock brilliance. Clever
lyrics, awesome guitars and pounding drumming, excellent… now what’s their
web address?
Simon Hambrook
|
|
|
|
 |
Start spreading the news...oh, sorry. Nope it's Melbourne-based noisenik
Jaed mithering our eardrums again with another Hole-a-like single. As last
month, not the worst but a bit too earnest to take seriously. She should get
back to Anson's Corner or chill out in Lou and Harold's cafe for a bit.
SB |
|
|
|
|
|
Although originally I though this was something to do with 1990's WWF
wrestlers a quick listen quickly betrays this suspicion as incorrect. I
always find it difficult to review music which is definitely designed to be
heard over a massive sound system in a club rather than over a pair of PC
speakers and this is no exception. I still really like it though and it's
not a million miles away from sounding like Fluke's funkier moments. So if
it sounds good in my spare room where I'm surrounded by a stack of drying
washing and an incomplete Tax return then I'm guessing it will do the
business in the clubs too.
www.olmetorecords.com
SB |
|
|
|
|
|
This London based band make a nice noise, very nice
indeed. On these two tracks (Third track unfortunately wouldn’t play) things
start slowly, before building up to a steady, dreamy, slightly melancholy
sound that perfectly contemplates these dark evenings. Track two romps
along, again, after slow beginnings, but becomes a song full of gusto and
force. This is wonderfully paced and assured song writing.
Ron Beasley |
|
|
|
|
|
‘In This Chair’ is extra special. It combines the
highest level of musicianship, intelligent lyrics and impeccable production
with an invigorating vibe. Matthew Whitaker has the most beautiful voice
with a very pure and silky tone. As if this wasn’t enough, the B-sides on
the single are equally as charming and could easily be singles in their own
right. ‘Boring Job’ is just as catchy and I am completely in love with the
more chilled ‘Acoustic Night’. The latter in particular makes me daydream
about wearing a posh frock in a smoky jazz den, sipping cocktails. I find it
tricky trying to label WhiskyCats in terms of genre; they seem to fuse
Latin, Jazz and an acoustic Joni-esque modal element effortlessly, resulting
in aural perfection. Their cover artwork is pretty impressive too. I really
have to see these guys live, ASAP – they sparkle. This kind of single is why
repeat buttons on stereos were invented. Stunning.
Catherine Porteous |
|
|
|
 |
Yup, the Domino production line continues and this time introduces us to
a new genre completely. R&D anyone? No, not research and development but
Rhythm and Dada apparently. I'm not sure a deliberate irrationality,
anarchy, and cynicism and the rejection of laws of beauty and social
organization are necessarily important in music. Sounds like a PR spin to
post-rationalise and trumpet the band's sound.
Which is a shame because these three tracks do more than enough to gain
merit in their own right (that of pure musicality) without having to resort
to pseudo intellectual clap-trap. 'In the Shadow of Love' is a great bluesey
piece and the title track would out-stomp both Gary Glitter and Adam Ant at
any psychiatric convention. Oh dear, I think I may have over exerted
myself with long words - I need a lie down...
www.archiebronsonoutfit.co.uk
SB |
|
|
|
|
|
Technically, The Bloom are decent musicians, but
there’s something about this EP that is a tad disappointing. I enjoy the
first few bars of each track but I get really irritated with the vocals
(which I can’t understand a word of) that constantly switch between a kind
of scat style and screeching thing. I do like the Hammond on ‘Soup’ and the
tune ends with a pleasant bit of guitar. ‘Bless the funk’ starts nicely with
a catchy bass/guitar riff, and the initial synth sounds are quite creative
but the bridge doesn’t really… erm… bridge anything together smoothly. The
trumpet and strings synths that are used later on in the track are quite
horrific. ‘Aphrodesia’ has more promise and the piano is good in places. I
was quite impressed with the ambitious ending and all those triplets. ‘Mind
Those Busy Roads’ is probably the best track on the EP, with its creative
use of panning and its ‘Shaft’ style wah-wah effect pedal, but I really
can’t tolerate the screeching. ‘Rinsing Boots’ shows that the band have
promise but they lack in some much-needed panache.
Catherine Porteous |
|
|
|
 |
It's not often that of the hundreds of CDs we get sent that one instantly
makes us sit up and say fuck me, this is good. So step up You Slut! as
within minutes of this EP hitting the stereo rapid-fire emails were winging
their way between various tasty hacks looking to spread the word of Derby's
best kept secret.
It was recently our pleasure to put on a gig featuring some of the finest
intelligent / precision / prog / insert genre rock bands around the UK
including That Fucking Tank, Eiger and Lords. Take all the best parts of
these bands and mix in a bit of Oxes (on speed) and you have yourself one
dirty slut of a band. The danger I find with this type of music
is that it can get a bit too intellectual and disappear up its own arse at
times, like bad jazz. This is where Grit Eyed and Greasy Tailed is way above
the competition - it really keeps the human element and actually sounds like it is meant to danced to and
enjoyed. Extremely listenable and extremely fucking good. Go listen.
www.youslut.co.uk
SB |
|
|
|
|
|
Oh god, not another wispy Radiohead
meets Keane, with cello
and bad poetry? Yes.
Have they added the cello and string
sections to induce and reinforce the emotional back bone of the lyrics and
music? Yes.
Do they employ the use of a large
drum sound and soaring synths laden with reverb to build giant crescendos
taking the emphasis away from their mediocre talents? Yes.
Does the last song remind you of U2?
Yes
Am I a bastard? Yes.
Can you polish up a hard poo? I
hope so.
Pete Williams |
|
|
|
 |
The Domino bandwagon rolls on, consuming all music with any vaguely punk,
or post punk leanings. This double single sees them reaping the benefits
from releasing two tracks recorded in Peel Sessions in 1980. And it's
amazing how fresh sounding Fire engines still seem. Or is it that a lot of
modern new wave is just yearning to be retro? Hmmm...
Either a fast, frantic lurch through the 80's Scottish post punk scene.
SB |
|
|
|
|
|
These Australians are raw. I put
this single on my stereo then went for my morning shit. Through the ceiling
and the walls I could here a little bit of “At the Drive in” in there music.
Not as complex but the same kind of energetic approach and the shouting
singer could easily be from the blood brothers. I don’t know how far this
band's going to get but hopefully they’ll make it over to England and
hopefully they’ll be more about the music than the look.
The last track on this single is
like the Doors with Jane’s Addiction, playing to a select group of friends
in a sex den. But better.
Pete Williams |
|
|
|
 |
My first exposure to Gemma Hayes (if you can rid yourselves of the image
of me in a flasher mac) and I'm left firmly in two minds. She has a fine
voice, capable of extracting the emotion from the most anodyne of tracks.
And she will need it because this track to me is nothing more than
Carpenters-esque easy listening.
www.gemmahayes.co.uk
SB
|
|
|
|
|
|
I've had this CD knocking around some time and given it a fair few
listens but there is always something a little bit unsettling about it. I'm
not sure if it's the weirdo vocals or the unexpected key changes. Or the
tingly guitars or the B-movie sound effects...
There's a touch of The Adams Family about a couple of the tracks for the
above reasons. But there reaches a point where it begins to grate a bit,
mid-way through 'True / False' actually. It's one thing to want to try new
things and show them off to people, it's another to force them down your
throat. 'End of History' offers a brief melancholy respite and change of
direction. Some good ideas here in general but a bit of race-tuning needed.
www.weyesyouno.com
SB |
|
|
|
|
|
It's getting late and time to turn in with a good book but Letters and
Colours offer up something interesting here to keep the sleep at bay.
There's something definitely dark about this with more than a touch of late
70's bleakness a la Echo and the Bunnymen or Joy Division. There is a big
nod to Ian Curtis in the drone-like vocals and the minimal production ethic
brings back those good old Factory years.
www.myspace.com/letterscolours
SB |
|
|
|
 |
A re-release from Revolver which provides yet Manchester references.
Vintage Roses while they still had some boyish charm and weren't trying to
kill each other. It sounds like a look towards a hopeful future compared
with the darker days of the 70's before. It also marks the seminal rock 'n'
roll moment of the band going into the Revolver offices and throwing paint
around.
Yeah, so it's a back catalogue release but it is definitely a
collectible. Two versions of Sally Cinnamon, 'Here It Comes', 'All Across
the Sands', a DVD of the video, rare artwork and a free poster make this a
must have for any Roses fans.
www.revolver-records.com
SB |
|
|
|
|
|
This debut from Theoretical Girl is as minimal as
electro art pop can get. It is dominated by a sharp repetitive guitar that
bends around a dark bass line and of course a drum machine – it wouldn’t be
an electro pop triumph without one. Topped off with her saintly voice you
cant really ask for more, that’s until you listen to B side’s ‘Theoretical
Girl’.
Over in two minutes , it shifts from an angelic voice
to a distorted brooding tone. I kind of think this song should have been the
demo’s A side. The guitars and bass lines are as twisting and dark as ever,
but the lyrics are far more in touch with Theoretical Girl herself “I am
theoretical girl/I don’t exist in physical world.”
A very good promo indeed, maybe the wrong way round
though.
Simon Hambrook |
|
|
|
 |
A rather splendid effort here from US four piece Why? It's rather like
what it would be like to be shut in a lift with Beck, They Might Be Giants
and Brian Wilson. Frontman Yoni Wolf has some great lyrics which get heavy
prominence in both the music, the packaging and a fantastic video featuring
disturbing man meets dog type hound cartoons very reminiscent of Joel
Veitch's work at
www.rathergood.com. This is instelf should be enough to buy the single
Rubber Traits.
www.anticon.com
SB |
|
|
|
 |
Although this CD was actually produced in 2004 it is still well worth a
listen. A rather bleak electronica interspersed with disembodied vocals and
a trusty Speak n Spell sample kicks things off on 'Lost Now' which, at 6
minutes long, is probably two minutes longer than necessary.
If you can withstand the moribund atmosphere a little longer, 'Fell Into
an Etch' introduces some interesting beat samples that seem to appear out of
nowhere and wrap around the minimalist whooshes and bleeps. It's not until
'Kill the Cold' where some very unexpected acoustic guitar makes an
appearance that any sense of warmth surfaces. Which is no bad thing. But a
'hidden' track at the end is always a bad thing, who wants to wait through
30 seconds of silence?
www.drycounty.org
SB |
|
|
|
 |
Loving the graphics and the EP title here lads. But for a band describing
themselves as 'sonically charged rock n roll' this just sounds a bit lacking
in energy and dynamism. It may be the unflinchingly unremitting vocals or
just a poor quality recording but this whole EP just sounds a bit wishy
washy and fails to really get me engaged throughout the 20 minutes duration.
www.deadnextdoor.co.uk
SB |
|
|
|
|
|
The Sailplanes start this 4 track E.P in kind of a
ropey way. With a rather annoying guitar effect that doesn’t really fit the
sound at all for most of the first track ‘Sideways on’. A sort of
disgruntled bird noise?? All in all, the guitars can get edgy and sometimes
romantic. When listening to it over and over again you still feel that it
could have been a lot more in your face, but the music is stripped to the
bare minimum from the art rock sound that it has been described of.
Simon Hambrook |
|
|
|
 |
Jack hammer drumming, Molkovisms a plenty, rising guitar
scales...everything you would expect from a Placebo record really. Which you
could look at in two ways - if you are a fan you would not be disappointed,
if you are looking for something new and fresh sounding then you're better
looking elsewhere. And absolutely no need for an instrumental version unless
you run a karaoke club.
SB |
|
|
|
 |
The first of a double EP by London-based Mandala sees what could be
labelled modern folk though definitely with a traditional slant and
utilising a large range of instrumentation and musicians. These
multi-layered arrangements vary from the competent to the sublime and would
make a fine instrumental release on their own.
When the vocals do appear (which is increasingly sparingly as the EP
progresses) I am not totally convinced by them. Although both the male and
female parts are proficiently performed they have the overall effect of
pushing the music beyond melodic folk and more towards a lounge bar fantasy
sound. In fact listen to the title music to Hotel Babylon on the BBC for an
idea. But this should not detract from the overall effect. I think there
maybe more to come from Mandala if they could harness the vocal in a way
that really complements the other sounds.
www.withinmandala.com
SB |
|
|
|
 |
More tech noir from Ireland, this time in the form of Queen Kong. Not a
great name but the content more than makes up for any shortcomings at the
christening. What appears a a four track demo actually includes 4 videos and
also another 20 MP3s by the band, representing their full recorded output.
Ambitious stuff.
As is the music. I couldn't quite work out why Queen Kong wished 'Kraftwerk
were a Mike Patten scam all along'. I mean, who wants to see German electro
bods drinking piss from their own shoe? But after a couple of tracks the
analogy makes more sense. The fusion of that precise and cold electronic
sound with a more human element to form a complete visceral entity that
rocks, especially during 'Death Threat'. But there is a poppier finale with
'So Brand New' which could be a real club hit (if you go to very strange
clubs). Excellent stuff.
www.myspace.com/qk
SB |
|
|
|
|
|
Nope, I don’t know who L7 are, or used to be. Neither
do I remember a certain member throwing her bloody tampon into a crowd…hmmm
could it be because you sucked?
So I’m not really bothered what Jennifer ‘Precious’
Finch is doing these days. But for everyone else’s interest she’s singing
and playing the guitar in ‘The Shocker’ well when I say singing, I mean
whining like she’s got two plugs stuck up her nose.
All in all…with the pointless lyrics and dodgy 80’s
metal riffs and not to mention the lairy biker boy/girl shouting, it sounds
like they all signed up for a Motley Crue tribute band.
Simon Hambrook |
|
|
|
 |
Ah, I see by adding the 'Ms.' rather than 'Miss' Bubba Sparxxx has
avoided being sexist...errr, well sort of. If you don't count singing about
booty dancing (which I understand is all the rage with the young folk and
not actually sexist at all). You wouldn't get it down at Gullivers in
Grimsby I can tell you...
Does include a couple of 'edits' (note: not mixes, but edits) including a
really bizarre 'Explicit a capella' edit. Or put another way, the album
track minus music - amazingly generous.
www.bubbasparxxx.com
SB |
|
|
|
 |
This could not be any more removed from Mr Sparxxx above. The most gentle
work of an already pretty gentle band, 'Be Gentle With Me' is all banjo and
chime bells with a lovely falsetto chorus that sounds like a sing along at
closing time in a Dublin pub.
www.theboyleastlikelyto.co.uk
SB |
|
|
|
|
|
More bleepy earnest disco rock from Iceland via be-y-fronted middle aged
sex gods Trabant. It's a bit of a niche market that Trabant are trying to
sell to but I suppose they are very good at what they do. It is a full on
rock n roll attack complete with a guy on decks throwing in some mixes and
samples. I don't think there'll be any Tom Jones style knicker wetting but
good fun all the same.
SB |
|
|
|
|
|
I like vodka. I have a particular penchant for Absolut. I also may
possess a Lenny Kravitz CD somewhere (we all have our skeletons in the
closet). But this I find a very disturbing trend. An artist releasing a
track which is (if you believe the media guff) 'intended to form the artists
interpretation of the Absolut brand'. Or, put another way, 'we're going to
piggy-back our brand on an already well known artist in order to invade an
otherwise untarnished media. Shame on you Mr Kravitz. Shame on you Mr
Absolut.
www.absolutkravitz.com
SB |
|
|
|
 |
The latest Hardkandy single features the popular vocal skills of Terry
Callier who must have fitted this recording in between his latest Massive
Attack effort. An even slower tempo ballad type number than 'Three Days'
this single has the added bonus (if you look at it that way) of no less than
7 remixes of the same track. The basic radio edit is a pretty solid acoustic
guitar/vocal version but a couple of the remixes are pretty good too - the 'Hardkandy
Rerub' version somehow manages to inject a bit of a Madchester swagger into
what would seem to be a completely inappropriate song for that treatment.
It's not going to set the world on fire but for a single, over 36 minutes of
music is pretty good value at least.
www.hardkandy.co.uk
SB |
|
|
|
 |
I'm not sure I really get The Spinto Band but this quirky single with
B-movie samples and a electric flamenco-ish guitar is quite pleasing for a
Saturday morning. There's even some ELO sounding harmonies knocking around -
most harmonious!
www.spintoband.com
SB |
|
|
|
|
|
Oh no. It’s funky. And there’s a bit of jazz. This is
possibly the worst record I’ve heard in years. And I’ve listened to some
shit, believe me. My ears have started bleeding.
Sam Metcalf |
|
|
|
 |
A strange combination of songs here - 'Want to Know' is a kind of melodic
happy go lucky indie to invoke summer days, swallows diving, the thwack of
leather on willow, you get the picture...
By contrast, 'Pound For Pound' is a dirty, scuzzy, Euro-electro beat fest
spilling over with Moogisms and squelchy bass. Definitely my favourite of
the two on this release which, as Gilly Goulding may say about a well
picked Pinot Noir, the CD is a good all rounder.
www.thefreelancehellraiser.com
SB |
|
|
|
|
|
More new wave sounds, this time from Humanzi, who
mangle their guitars like a bastard on the title track, before going all
late-Joy Division on ‘Out on a Wire’. ‘Fix the Cracks’ is so tense it might
have a breakdown in the queue at Asda before some misplaced synths get in
the way and calm it all down. The other two tracks are pretty poor to be
honest, but Humanzi have displayed that they might just stand alone from the
other guitar wielding indie sluts trying to get into the charts at the
moment. Wll done to them.
Sam Metcalf |
|
|
|
 |
Never ones to pass up on cashing in on any breaking news or media mêlée,
Domino see fit to release 'All The Young Children ON Smack' - a very lo-fi
number featuring just a gruelling drum beat with a rambled vocal over the
top. Probably not the commercial appeal of Arctic Monkeys but look out for
Domino's next headline grabbers - 'All Lib Dems are Gay', 'Price of Gas
Through the Roof' and 'Evil Muslim Cleric Jailed for Looking a Bit Shifty'.
www.televisionpersonalities.co.uk
watch
video (.wmv file)
SB |
|
|
|
|
|
Start. Stop. Start. Stop. Yeah, yeah., yeah. I like
this more than other Maximo Park songs, it has to be said. It reminds me
slightly of 17 Seconds-era Cure, but with some Depeche Mode keyboards. So,
you know the drill by now. Unfortunately, the nice northern accent seems to
have disappeared, but you can’t have everything from your nu-new wavers
these days, it seems.
Sam Metcalf |
|
|
|
 |
San Diego's Mighty Six Sixty release this inoffensive guitar indie single
which is heavily influenced by The Smiths I the guitar part with long
ringing notes dancing across the comparatively moribund vocals.
Flip side 'Northern Border' adds a few samples for a bit of variation but
fails to get out of the mainstream indie crooning niche.
SB |
|
|
|
|
|
Good grief. I know this is supposed to sound all 70s
and everything, but this is sickly in the extreme. It sounds like a bad
Alvin Stardust singing the hits of Denim. Get it away from me. Immediately.
Else I’m telling Gary Glitter..
Sam Metcalf |
|
|
|
 |
Whereas the original version of 'Frustration' sounds like something akin
to a mundane New Order tribute band, thank the lord for the lovely
Performance characters who manage to whisk it up with a frenzied remix. The
remix knocks spots of the original in my eyes and could definitely lead to
me slowly vibrating back and forth in the staccato action I call dancing.
SB |
|
|
|
|
|
Ooh, you miserable buggers. Someone’s been listening to
Morrissey, and possibly copying his lyrics. This isn’t a bad thing, of
course, and ‘The Days…’ rattles along at a pleasant pace, and manages to
sneak around in your head for a fair while after you’ve first heard it. But
it also sounds a lot like ‘We Hate It When Our Friends Become Successful’,
and that wasn’t the best Morrissey single. I want to like this, but when
I’m going to see the real thing in April, it’s hard not to compare and
contrast. Sorry, like.
Sam Metcalf |
|
|
|
 |
I'm afraid the heartfelt crooning which I found objectionable on 'The
Tears of a Thousand Angels' seems to appear far more often and persistently
on this EP. Nothing wrong with the odd short blast and the music still has a
kind of sea shanty meets pub folk band feel. But there are definitely times
when it veers off into noodling jazz lounge bar territory which leaves me
noodling off for the skip button.
www.withinmandala.com
SB |
|
|
|
|
|
Ahh, a band, not a Mr/Mrs Ellenby. It's a kind of male/female combo thing
which produces not offensive ballady type acoustic songs with a sparingly
used bit of wistful harmonica. Bit too much 'yeah yeahing' for my taste -
sounds like Liz Young has fallen inside a tumble dryer at times.
www.ellenby.co.uk
SB |
|
|
|
|
|
For reasons best kept to herself, Little Fish is actually called Julia
Sophie. I think I prefer Julia Sophie. But either way, there is something of
interest here with a pared down production and vocal attack reminscent of
'Rid of Me' era PJ Harvey.
'Ashes' is a more lamenting tune but again the likeness to PJ Harvey
comes out in the vocals. Quite bleak and minimal with little other than
acoustic guitar ringing through this is quite a beautiful song but I would
like to hear Little Fish mixing up her volume/attack and adding a few more
mellow moments to really create an arresting contrast.
SB |
|
|
|
|
|
Uncompromising guitar parts, high in the mix are order of the day here.
Roping in some precise and quirky time changes further makes you sit up and
take notice. But I'm really not sure about the production - the vocals seem
too disembodied from the music and jar a bit.
But in general this demo is bristling with energy and ideas that a few
knob tweaks and slider nudges could weld into a wonderful thing.
www.rivaljoustas.co.uk
SB |
|
|
|
|
|
Possibly the best proper indie band to emerge over the
last six months, Envelopes follow up the cutesome ‘Sister in Love’ with the
even more cutesome ‘Free Jazz’. And if that doesn’t sound like your cup of
tea, then you’re very bastard wrong and should go and listen to some
grindcore, or whatever it is the longhairs are listening to today.
‘Free Jazz’ bounces out of the speakers, and reminds me
a little of Sugarcubes on their first album, especially with the
gobbledigook lyrics. There’s also bits of Bearsuit in there somewhere, and
some ace keyboards. All in all I want to hug it.
Sam Metcalf |
|
|
|
|
|
Bristol's best-loved trip hoppers seem to have taken time our from their
constant internal wranglings to pen this single featuring the velvety vocal
of Terry Callier. Pretty much standard Massive Attack fare really, soulful,
immaculately produced and very moody.
www.massiveattack.com
SB |
|
|
|
 |
Oh yes, Urban music eh? Frankly this stuff gives me a headache. Did make
laugh that the artists are named 'Jizzal Man', 'Parlae', 'Pimpin' and 'Buddie'
when in fact their real names are really Bernard, Maurice, Jamall and
Gerald. What would their mothers say? And another 'a capella' version which
is blatantly the album version without any backing track. Come on...
watch
video (.wmv file)
SB |
|
|
|
|
