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singles -
february 2007
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A driving beat. A pumping bass-line.
A razor-sharp guitar riff semi-cribbed from The Beatles “Hey Bulldog”. All
that’s stopping this from being one killer tune is a catchy vocal melody.
But, lest we forget, this is Clinic and they don’t do that sort of thing, so
we’ll just have to make do with the sound of a man trying to sing with his
jaw wired shut.
Watch the video to 'If
I Could Read Your Mind'
Will Columbine |
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I don’t recall having reviewed many
Soul or R&B records during my time at Tasty, and if I have they obviously
weren’t good enough to commit to memory. Matti Roots dishes up some
perfectly serviceable, laid-back “vibez” but nothing that I’m going to
remember once the CD goes in the bin. In fact, I could probably leave it
playing on a loop and not notice for at least a week.
Will Columbine |
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I like the way that The Sugars
attempt to pay homage to the music of a (long) bygone era with this, a sort
of swing version of the Monster Mash. I like the way they try to be
different and don’t get caught up in current fads. If only the actual song
in question was halfway decent then we’d be onto a winner. B-side “Serenade”
is a slow number and slightly more appealing, but still not a million miles
away from No Doubt.
www.myspace.com/thesugars
Will Columbine |
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There's a real spate of crap names
among young bands these days and I Was a Cub Scout are guilty as sin. Thank
heavens their music more than makes up for any, well, I couldn't possibly
skirt around this one; lousy ideas for band names.
IWACS' electronic effervescing
throughout both 'Pink Squares' and 'Teenage Skin' is a joy to behold. They
could have been a capable guitar-heavy emo/ punk angst band, but thankfully
they chose to go electronic with keyboards and synths as main instrument,
opposed to falling in line with the slightly more insipid electric guitar
movements.
It's noteworthy that at the time of
this single release, both Todd Marriott and William Bowerman were only
seventeen years old. In five years, they'll only be twenty-two and Lord
knows how accomplished they'll be. I'd tell you to go check them out without
hesitation, but I think they'll likely get to you first.
Alex Clark |
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And what a strange world it is too. An apparent obsession with Andy
Kershaw, the words 'world wide web', childrens' TV show theme tunes and a
bunch of loops and silliness that would make Vic and Bob look straight-laced
are wrapped together in 6 tracks of supreme electronic frivolity.
Mr Kershaw takes centre stage with opener 'Ramblin' Andy' and lists
various place names over the top of a rather infectious squeezebox sample.
The city of Ougadougou deserves particular credit during this effort. There
is a brief interlude of Holst in 'Tempus Trumus' before the theme from
Trumpton kicks in. A kind of warped 'the essence of time meets childrens'
television' discourse.
Some of the loops in 'Bored of techno/Can't Speak Now' are a bit raggedy
and jump around a bit too much for my liking and what sounds simply like a
bunch of Andy Kershaw's shows chopped and mixed back into each other on
'Real Jungle High Intro' actually is just that. But the Ep ends on a real
high with 'Real Jungle High' proper, quite literally a braying, pulsating
masterpiece that if it hadn't been prefixed by the rest of the bizarreness
on this record would have quite happily sat on a Fat Boy Slim album.
www.listenwithsarah.org
SB |
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You’d
think that this band had a fetish for leather jackets looking at the photo
on their press release; they all look like generic ‘indie boys’ and their
music to is just that. As much as that is a bad thing, the Pigeon Detectives
make it explosive and their music ultimately is brilliant live and
definitely pulls in the crowds. To be proclaimed the hottest new band by The
Sun and the NME, I advise you proceed with caution but if you like your
indie music energetic and sweaty then Pigeon Detectives will be a refreshing
change. There’s songs on the single which also show a very good depth and
array of songs from the punchy ‘Romantic Type’ to the Hope Of The States-esque
‘Let’s Go’ and mellower ‘Mislead’ Don’t judge them on first appearances.
www.thepigeondetectives.com
Gareth Ludkin
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I was around during the 80s and trust me, it wasn't that good. Tracey Thorn
was also around in the 80s as lead singer with Everything but the Girl but
she had most success with Massive Attack as guest vocalist on 'Protection'.
In a bizarre about turn, Thorn sounds like she has managed to reclaim some
genuine 80s synths and drum patterns along with big production and as a
result 'Out of the Woods' could be 20 years old. Horrific thoughts of
teenage spots and doing outdoor PE lessons clad only in nipple chafing
airtex t-shirts come flooding back...
watch the video to 'It's
All True'
SB |
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They certainly haven’t
lost their punch and dare I say it, they’ve mellowed, if only just a bit,
less shouting more clarity and overall a nice song. For a change it’s also a
song with a title, so you might even remember the title of if rather than
the one that goes raar, raar, raar. The Forward Russia Bravado however has
worn thin with me. Their music in places could do with a bit more substance
in my opinion. Apart from in a few places you will all recognize this as
Forward Russia, this single isn’t taking them in any new direction it’s just
a bit tighter and a bit neater.
Gareth Ludkin
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An assured and impressive effort from Tripped and Falling who managed to
combine enough parts Biffy Clyro with enough parts Deftones to produce a
near perfect err, metal cake. And they are also the second most exciting
export from Trinidad and Tobago (after Brian Lara obviously) - I certainly
would not have guessed that. Give them a chance (as long as they skip the
schmaltzy b-sides like 'Bleed Victoria'
www.trippedandfalling.com
SB |
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It’s icy enough outside without The Knife sticking the…
err… knife in. ‘Marble House’ is the sort of cool ugly kids like me can only
dream about. Beautiful children, and let’s face it there’s a lot of them
about at the moment, will no doubt love this with a passion, and have their
hair cut like the band.
I can hear Abba playing the songs of Ladytron. I don’t
dislike it…
Watch video to 'Marble
House'
www.myspace.com/theknife
Sam Metcalf |
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A fuzzy electro slash and burn set to a ragga beat may not sound like a
recipe for success but there is enough twinkly bits and cow bell bashing by
New York's shy child to drag 'Drop the Phone' kicking and screaming out of
the speakers.
'Down on Yourself' is a slightly more orthodox electro track in a
Numanesque stylee, at pace. I suspect a Shy Child gig would be a hot and
sweaty place to be.
www.myspace.com/shychildmusic
watch the video to 'Drop
the Phone'
SB |
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It’s a bit earnest, isn’t it? Bit safe. Bit meat and
two veg. Bit Ford Mondeo. Bit golf. Bit beige drummer. Bit The Feeling. Bit
shit, really.
Sam Metcalf |
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Gravel voiced rockabilly with punk rock overtones anyone? It's a rich
broth of musical soup and I think that a chunk of uncooked 'Where are
You Now' has got lodged somewhere in my gullet. Heimlich!
www.sixnationstate.co.uk
SB |
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The Violets love their Siouxsie Sioux. And there’s
nothing wrong with that. This is a punky, spunky, edgy Long Blondes type of
thing, but, hopefully without the preening and prancing and daft clothes. If
new goff is to be the new thing, then I hope that The Violets are at the
forefront, hiding in the shades. There’s enough here to bring mystery back
to modern music. Time to get dark.
Watch the video to 'Foreo'
Sam Metcalf |
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Despite the annoying caps/non-caps gimmick of the EP title this is top
notch indie guitar pop. Just the right amount of light and dark, a perfect
splashing of twinkly guitars from Spearmint guitarist Jim, a gorgeous mix of
girl-boy vocals (especially on 'Primary Colours') and an insistent beat that
refuses to let you stray far fro the stereo while it is on. Not a million
miles from what Luxembourg are doing but a little less camp. We like.
www.telley.co.uk
SB |
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More goff! See icy shards of guitar, sharp female
vocals hidden well down in the mix, glum bass. It’s all here, and it’s
making me want to hide myself in my bedroom and not speak to my Dad for
three weeks. I feel young again. Hurrah.
This is pretty good, as it goes. If you like your music
downbeat, then you’ll heart Love of Diagrams. Time to not get happy.
Sam Metcalf |
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Breathy synth patterns and glamorous sounding female vocals in this
electro pop offering from Manchester based Dead Wasps. They're not trying to
be too clever nor overly cool and in so doing manage to put together a moody
and understated track that is really quite good.
www.deadwasps.co.uk
SB |
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The saviour of guitar music, according to Ricky Wilson.
Well, he clearly knows fuck all. This is appallingly bland, and manages to
feature the worst guitar solo in the history of pop music.
If The Twang are the future, I’m gonna start listening
to George Formby and declare the year to be 1940.
Sam Metcalf |
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A whole A4 sheet of press quotes about their album and still no room for
good old tasty's comments? Well fair enough I suppose seeing as we have also
missed this single release date of February 12th. Suffice to say two tracks
of wanton brilliance, particularly 'The Battle...' which is fast becoming
one of my favourite songs ever. Gorgeous quirky Swedish nu-folk music with
just a tinge of disco-pop - what's not to like?
SB |
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I’d had high hopes for these Nottingham types, and when
they’re good they sound a little bit like Lardpony, and that’s a wonderful
thing. But they very quickly slip into – oddly – Ned’s Atomic Dustbin
territory. ‘One more night and I’ll be on tour’, goes the refrain. With The
Senseless Things, perhaps?
Sam Metcalf |
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Blimey, this is a bit lo-fi - I could hardly hear anything even with my
trusty Sony headphones turned up (well, you know - you've got to give the
neighbours a break sometimes). A slightly louder volume uncovers the secrets
of Great Bear - less is more during the verses with a spartan guitar hook
that is only grudgingly embellished in the choruses with a bit of a vocal
harmony. B-side 'Fingertips' has a much greater rock and roll swagger about
it, reminiscent of the Scaramanga Six. I'm not sure there's enough here to
get me waving an autograph book in their faces but I'd gladly spend an
evening have my ears bashed at one of their gigs.
www.myspace.com/greatbeartheband
SB |
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This is a jolly old romp through what I have just
coined as ‘drunk music’. I can just picture playing a good game of dominoes
to this in the pub, and, despite the second track here sounding a little bit
like Gomez, I give it the Metcalf seal of approval.
Sam Metcalf |
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Allison and Catherine Pierce display a winsome charm with their very
individual style of gypsy folk while still maintaining an impressively
complete and charming song writing offensive. Their voices work beautifully
together and the fast pace of 'Stick and Stones' has just a tinge of dark
bitterness that stops them sounding like a sugar coated cliche.
www.thepiercesmusic.com
SB |
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The Mimi return with another track of writhing sexiness
that has this writer gagging to see them at their tasty event in April.
‘Dorothy Millette’ reminds me a little of mid-eighties
Fall with Brix on vocals, and features a cute rockabillyesque guitar line
that sounds oddly contemporary.
Could this be Screaming Mimi’s year? Let’s hope so.
Sam Metcalf |
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If eve rthere was a band at the height of its powers then biffy clyro
must be that cliche. Nicely put by Kerrang!, 'Without hype, fuss or fanfare,
Biffy Clyro have emerged as one of Britain's most popular bands'. 'Saturday
Superhouse' utilises all of their trademark dynamic tricks and even throws
in a few cunning studio tricks like the bells and synths in the central
bridge to bump up the dropped guitars and powerhouse drums.
www.biffyclyro.com
SB |
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Since
releasing her Behave E.P., Charlotte seems to have undergone a voice
transplant. The rough edges have been smoothed, the growl softened, and all
that’s left is a sickly sweet pop voice. Sadly though, this just isn’t
Charlotte, apart from the occasional Ash-esque guitar riff on B Side Sister
Universe. I Want You To Know is a bright and breezy pop song with a catchy
chorus and clap along moments, and given the right promotion could be a big
hit. Those expecting great things from her will be disappointed though.
http://www.charlottehatherley.com
Catriona Boyle
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I'm sure I've heard this before. You know, maybe 7 or 8 years ago. Ocean
Colour Scene? The Bluetones? I don't know but I do know that it is not a
whole crazy new sound invented by the kids in Bexhill. Nice enough jingly
guitars, vocal harmonies and an off-kilter bridge but for god sake NME - get
over hyping everything up like someone has invented a new form of
pollution-free energy or something.
www.mumm-ra.com
SB |
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Online record store Juno may be 10 years old but they have finally taken
the step of starting their own label. This first release sees the classic
dance track (apparently - I'm feeling a little bit of my comfort zone here)
'In the Trees' re-worked by Carl Craig. It's nearly 9 minutes of pulsing,
sawing beats overlaid with some strings and synths. It's actually a lot
better than I describe it but I'm suffering a bit of trance fatigue this
month. Have a listen yourself at Juno Records.
www.fazeaction.com
www.juno.co.uk
SB |
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Blimey - this sounds like The Rapture meets Josh Wink meets Carl Cox
meets Black Grape. Indie guitar electro rock but with much more emphasis on
the electro than the most other bands at the moment. This is what makes it
stand out from a very large crowd - a bit like Orbital playing around with a
Rickenbacker.
www.myspace.com/getshakes
SB |
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So Jackson Analogue have parted from Island records over 'creative
differences' and this is the first of their new releases. It's got a joyous
rock n roll ballsiness about it, leather jackets, beer stained floors and
gravelly voiced Eddie Vedder vocal that harks of yesteryear. In fact the
B-side 'All Alone (kill me)' sounds an awful lot like Pearl Jam - therein
lies your greatest strength and greatest weakness Jackson Analogue.
www.jacksonanalogue.com
SB |
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This kicks off sounding like a thousand other angular guitar tracks and
briefly threatens to contort into a rasping searing beast of screaming and
progressively agitated guitar. But then it doesn't really and ends up
sounding like a folk song being sung by Europe. Which is kind of cool in its
own way.
www.myspace.com/soundslikeviolence
SB |
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After the first EP 'Mothers, Sisters, Daughters & Wives' I expected great
things from Voxtrot. Although the bitter-sweet vibe is still present,
'Trouble' and 'Your Biggest Fan' just end up sounding a little bit loungey,
a little bit camp with quite a lot of self satisfied nurdling.
http://www.myspace.com/voxtrot
SB |
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The first release from Dance to the radio not from a band based in Leeds
comes from Germans Sometree. Hmmm, 'Hands and Arrows' sounds a bit like a
cross between Radiohead and Redjetson to me - not a bad place to come from
but not really pulling all the right levers in my mechanical music
appreciation mind.
www.sometree.de
SB |
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The title track to this EP sounds a bit like Fun Lovin Criminals' 'Scooby
Snacks' and FLC were all classically trained musicians so praise indeed.
There's also a hint of They Might Be Giants and REM about the command of
delivery in these three minute pop songs. 'Diane Your a Ghost' is a
particular gem - with a lush guitar sound and wibbly sound effect which
sounds like it was lifted off a Tarentino film- great stuff.
www.myspace.com/thebacharakfightclub
SB |
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Another post electro-clash/nu-rave/indie synth/fill in current
description here band, Ejectorseat lean heavily on the synth sound and less
on the guitars but very much benefit from the current insatiable appetite of
the likes of NME and Radio 1 for this sort of thing. Another one for the
pretty-well-done-but-hardly-ground-breaking filing tray.
www.myspace.com/ejectorseatband
SB |
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It's funny how being immersed in the current crop of NME/MySpace media
savvy bands day in day out can make a metal band sound refreshing. There are
some great riffs, nice chugging guitars and nifty soloing on display and
Furyon have a whiff of Alice in Chains about them. The band claim that one
of their gig experiences involves 'a shit load of balls' - not sure that is
something I'd like to get involved with but you get the impression they
aren't that bothered that people will think they are untrendy metal
dinosaurs. They also have particularly nice hair in the press shot which
must have been taken in some kind of wind tunnel. But it is easy to forget
all this midway through 'The one' which explodes with a fearsome, impressive
breakdown.
www.sparklepromotions.com/furyon
SB |
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Named after Ray Bradbury's novel about a dystopian society where citizens
only learn via the television, F451 start off sounding like men on a
mission. 'W are Youth' has a driving guitar and bass riff which carries
things along at a suitably nihilistic pace but the vocals really drag things
down - mainly because they are mixed too high but also because they are just
a bit over-egged and annoying.
www.sparklepromtions.com/f451
SB |
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Just a few seconds into the opening, with the frenetic
synth bouncing through your headphones, if you close your eyes real tight
and think real hard you might just about remember that this time last year,
Enter Shikari were a well-kept secret of the underground, playing a show
near you every other week for roughly the price of the bus fare it’d take to
get there. It’s hard to think that this is the same band headlined a sold
out the Astoria last November without ever being signed.
But only just as the magazines started taking notice,
everyone was bumming bands like The Klaxons or ShitDisco and some bloke in
an ironic D.A.R.E. tshirt and tight white trousers over at NME thought ‘wait..this
band uses electro too!’ and Enter Shikari found themselves swallowed into
the nu-rave fluorescent blackhole.
‘Anything Can Happen In The Next Half Hour’ kicks off
with vocals over a synthesizer beats that builds up and then spits out some
crunching guitars and then growling starts. Any band can pick a synthesizer
and scream over it, mixing Nintendo noises with guitar beatdowns. But Enter
Shikari always guaranteed a good live show. Think Horse: The Band mixed with
Funeral For a Friend and a glowstick. At an Enter Shikari show you would get
the best part of metal-show mosh mixed with a few minutes of delirious
raving, while frontman Rou howled and did backflips over the synth machine.
Nice.
But it’s not one of their best songs, and I kept
turning the volume up hoping to get just a bit of that live kick they
deliver. Unfortunately for Enter Shikari, all the excitement of their unique
live show doesn’t translate onto recording and they just end up sounding
like another band with a synth.
www.entershikari.com
Watch the video to 'Anything
Can Happen'
Willa C |
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Sweet Jesus - it's not for me to say whether synth violin, metal riffs,
sea shantying and ska/reggae beats are a good combination (in any order, let
alone all in one song). Maybe there's a gap in the market seeing as it has
been a while since the Levellers camper van last rumbled into town.
Actually, no - it is for me to say whether or not it is a good thing. And it
is not, absolutely not.
www.myspace.com/makeitbetterlater
SB |
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For a band brandishing a full rhythm section and guitars, Bonse have
managed to make everything in 'Shoot Me' sound artificially sampled which is
a bit odd. It's a bit of an enigma, definitely sounding more like a dance
floor filler than indie fare with it's drop out effects and ascending riffs.
But for all that, not entirely displeasing either. If I was Darren Bonse I'd
fully dispose of the band and keep all those royalties to myself.
www.bonse.co.uk
SB |
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'Snowfight the City Centre are a band uninterested in riding the
latest wave of new wave or jumping on whatever bandwagon is limping through
the mags to get themselves noticed' reads the press release. That's right -
they just manage to do it naturally and sound so hackneyed that I find it
difficult to write anything of interest about this track at all other than
it sounds a bit like U2.
SB |
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Love Ends Disaster! don't tend to do things by the book. Here chiming
bells eventually give way to ascending and descending guitar riffs and
military drumming style finale. Song structures are hard to pick out -
there's no verse chorus verse formula here. I don't think it is as strong as
'Faster Faster' EP but it's good to see that some bands are still willing to
try new ideas and take a chance.
www.loveendsdisaster.co.uk
SB |
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Rapidly following up the sublime debut album 'Baby Machine', 'Of National
Importance' sees Bradford misanthropes really give free range to Steve's
power house drumming. Double-A side 'The Mother Position' is equally
as good and unbelievably even more threatening and sinister. It's reassuring
to see such rugged single mindedness flourish and maybe 2007 will be the
year that This Et Al join some of West Yorkshire's somewhat less substantial
acts in the national spotlight.
www.thisetal.com
Watch the video to 'Of
National Importance'
SB |
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What starts promisingly with some choppy Biffy style
guitars and pace changes gently settles into a tried and tested rock
formula. Like wearing a pair of comfortable slippers - it might be practical
but it's never going to turn anybody on.
www.sparklepromotions.com/joysurrender
SB |
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As the name might suggest, The Stopmotion Men
are heavily influenced by film and try to combine projections with as any of
their shows as possible. In 'Attention', there's also the added historical
resonance of the heavy piano playing, kind of harking back to the days of
silent movies and the pianist trying to keep pace with the film. The music
itself is truly epic with pianos and guitars driving away over the top of
Geraint Connors' unmistakably Vedder-esque vocals.
'Fake Your Death' carries with it equal dynamism but perhaps a touch more
pomp - like a cross between The Hellset Orchestra and Muse. I'm sure that
some people will have trouble with the likeness of Connors' voice to the
Pearl Jam front man but as long as he is not deliberately trying to mimic
that sound then I say fair play. These songs are masterfully well written,
delivered with real purpose and surely destined to be venue fillers.
www.myspace.com/stopmotionmen
SB |
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Ah yes, this is a massive improvement on The
Ripps last outing with 'Vandals'. Lovely punchy bass playing, guitars sawing
across it and background whooping and cat noises. Tres bien.
www.myspace.com/theripps
Watch the video to 'Loco'
SB |
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Radio Luxembourg,
much like their moniker, are like a sound from another age. A happy,
brighter age where people wear primary colours and gaze lovingly at puppy
dogs. The beautiful vocal harmonies laced with crazed synths and crisp
percussion work unerringly well. I did think they were suffering from a
speech impediment until I realised some of the lyrics were in Welsh, but the
lovely crumpy brass section in the title track made me forget all that.
Beguiling.
www.myspace.com/radiolux
SB |
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Made up of the dismembered parts of The
Beta Band, The Aliens are so psychedelic retro kitsch that they have managed
to pull the wool over everyone's eyes and become uber-fashionable. 'Setting
Sun' drips electric organ, oozes clattery valve guitar and has a fabulous
vocal outro. Still can't help but feel it would be more at home as
incidental music on BBC's 'Life on Mars' though.
www.thealiens.co.uk
watch the video to 'Setting
Sun'
SB |
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After only a few listens this irresistibly catchy single becomes
engrained in your brain. ‘Your Excellency’ delivers simplistic catchy hooks
and you find yourself singing along to their basic raw riffs. The Total Drop
Sound is fresh, and hook ridden with pop punk tendencies, which are
brilliantly reminiscent but perfectly inventive. Mixing old sounds with new
Total Drop will prove to be a brilliant success in years to come. Snakes and
Ladders have again triumphed with another great find. 4/5
Gareth Ludkin |
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A record for the clubs, this isn’t music which I particularly enjoy. It’s
a kind of R‘n’B, break beat song and if you listen, it really offers little
more than layered vocals on top of a repetitive beat, ok for the first few
seconds, but a bland affair after that. I’m sure there’s an audience out
there but it’s not my kind of thing. 0/5
Gareth Ludkin |
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This is an interesting single. This is a brave attempt to make popular
music more than it is already, infusing, classical, folk and jazz genres
together into songs with would not sound out of place in a film score or
theatre stage. Their performance encases much more than just a musical
performance. It use film, painting, dance, sound instillations and
avant-garde costumes. The music is certainly more at home on stage but it
does not do badly converting to CD. A nice listen in context and a
collaboration I would have to have seen and heard more about before jumping
on board with their orchestral, jazzy folk music. 3/5
http://www.myspace.com/theirrepressibles
Gareth Ludkin |
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yuk!!……it sounds like it’s straight out of the 80’s cheesy pop genre.
Comparable with Jamiroqui it’s not worth a second listen. Again a record I’m
sure there’s an audience for but you won’t find me there.
Watch the video to 'Ridin'
Gareth Ludkin |
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The last single I heard from South Central I condemned expressively. It
was drab, repetitive and plain awful but surprisingly this new offering is
much more entertaining, aggressive, upfront and ear splitting this record
would go down a storm at your local indie rave. ‘Castle Of Heroes’ is the
stand out track and holds up the rest of the EP, which does not really
follow suit. It is clearly a record for a night out not a night in or your
personal collection.
Gareth Ludkin |
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Onion, a well known delight for the taste buds, perfect with hot-dogs and
an underrated vegetable in my book. However, onions (the vegetable) can
often be much of a hit and miss affair. Onions (the band) however neither
makes me cry or leaves me wondering just whether choosing onions with my
sausage was a big mistake. Onions (the band) deliver jazzy pop indie guitar
ditties, little ska riffs and up lifting tempos. This Manchester three piece
create music that is fun and a delight to listen to. Each song through this
EP is bouncy, tasty, a welcome addition to your musical pallet and
definitely worth a listen, brilliant stuff and a favourite new band for
myself. Find out more about Chris, Martin and James at
www.myspace.com/onionstheband 3.5/5
Gareth Ludkin |
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I think this may be the
straw the broke the camel's back in terms of ending my brief but heartfelt
toleration of The Answer. Yet another Marlboro/Jim Beam/leather trouser
fuelled rock and roll tribute that, and I'm sorry to break this to you kids,
is not an amazing new sound, but sounds like an earnest Aerosmith cover.
What's that? There actually is a cover of Aerosmith's 'Sweet Emotion' on
this record? I rest my case.
http://www.theanswer.ie
SB |
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Strikes me that some
people are just plain greedy. Aside from being one half of DFA, label head,
producer, remixer etc etc, James Murphy also has another string to his bow
in the form of LCD Soundsystem. His other projects mean that Murphy
has to keep fully in the zone at all times and 'North American Scum'
displays a perfect slice of pop zeitgeist with it's jerky nu-rave tones,
equally at home in the clubs or played live. Talented git.
www.lcdsoundsystem.net
watch the video to 'North
American Scum'
SB |
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Apart from sounding like an expensive chocolate,
the other overriding feeling I get when listening to this single by TD Lind
is based in my mother's record collection. There's something distinctly
Foreigner about the arrangements. 'Last Kiss' has an interesting eastern
European lilt over some fuzzy beats which are more interesting though and it
builds into a memorable climax of pan clanging percussion.
www.tdlind.com
SB |
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Fans of Badly Drawn Boy’s
earlier work won’t be disappointed with his latest offering, however, those
of you who were hoping for something new and exciting, will be. His
previous work casts no doubt on the fact that the man’s talented, both as a
composer and as a producer of memorable pop tunes, but this release inspires
no immediate feelings of, well….anything. Rather a comfortable listen which
may induce feelings of déjà vu.
Watch video to 'A
Journey from A to B'
www.badlydrawnboy.co.uk
Belinda Troup |
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Well here I am again, the Magic Numbers…
The latest offering from the second album is yet another pleasant,
radio-friendly, slice of pop that camouflages a darker tale about ended
love. The usual boxes are all ticked; a catchy guitar-driven melody with the
girls putting vocal meat onto Romeo’s lyrics about love soon to end. But I
can’t help thinking that this song is a formulistic, sleep walker of a track
released solely to please the masses. It is not exactly dangerous ground.
What we really want to see, is for them to step out of the second album
comfort zone and move away from the middle-ground of the UK indie scene and
produce something that challenges their quite obvious talent; instead of the
usual nods to the Beach boys and co. We want to see some gritty,
blues-drenched material that practically smells of hot, sweaty,
bourbon-fuelled nights on the Mississippi, that for those who have seen the
Magic Numbers play live, will all agree they are very capable of producing.
www.themagicnumbers.net
Watch the video to 'This
is a Song'
Steph Galbraith |
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A soporific, floating piano melody
peeks through, peeling away layers note by note, chord by chord, to reveal
ranks and echelons of crevasses, weaving in and out of a soothing and
seraphic musical density. Instrumentals build and breakdown embrace one
another with fluid correspondence, seamless and effortless. ‘Yuki’ unfolds
to flood the sonic space with heavy-hearted distance and pulsates with
flourishing spirit. This atmospheric dreamscape glides with whimsical
cloud-like features, with instrumental peaks and bellows with modest vocals,
seemingly batting gently behind veils of void. I can never confidently clear
the precise wording, the works of guitarist/vocalist/keyboardist Tom Evans
and guitarist/vocalist/keyboards/producer Lee J. Malcolm match the musical
vibrations, contributing to what develops like a pristine and intricate
mechanical operation, but still benignly organic and satisfyingly
triumphant.
In charge of drums/beats, Tim
Mitchell’s work genuinely shines in ‘Forever the Optimist.’ Martin Teff,
bass/guitar/synth, additionally excels in the second track, igniting an
anchor-like foundation that comfortably releases the tune into flight. A
percussive explosion, an obsessive line of cries and careful harmonies, it
whirls like a wary heat of haze, a smoky state of phantasmagoria. In force
to stew a slow build, it climaxes to exhale with ease without crashing and
burning. Vessels’ brand of post-rock ascends with weightless directness as
‘Yuki/Forever the Optimist’ embodies a winning openness of vivid character
that truly glows.
Rhyannon Rodriguez |
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A tingly pop-noir sensation is running through my headphones and into my
mind as The Oohlas mix equal parts shoegaze guitar indie with bubblegum pop.
For every sugary vocal line their is a slightly brooding change of key as
the guitars and bass bristle. They can be forgiven therefore for B-side
'From Me To You' which starts off sounding like a Sigue Sigue Sputnik cover
version.
www.theooohlas.com
SB |
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This is the fourth release from good shoes. The
southwest London four piece has their album in the pipeline at the moment
and this will be their last release. The single only needs to be listened to
once before you get into it, it wont be long before you will be singing the
words as Never Meant To Hurt You is a very catchy tune. The single is a
different style to their other releases such as all in my head, and they
have put two of their best songs as their b-sides ‘Valley Boy’ and
‘Saturday’. They have really got pop punk down to a tee, and this single
proves that they are not a band with one or two half decent songs as all
three songs are very strong. I would also try and listen out for a track
called Morden it’s a real catchy tune. This is a really good single that is
definitely worth buying, watch out for their album and UK tour.
Watch the video to 'Never
Meant to Hurt You'
Lewis Carter |
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It’s a refreshing change to hear a band that sounds off angrily about
important stuff, and makes sure to deliver it convincingly with loud riffs
and copious cymbals.
They sound like a straight-up rock band: Noisy, guitar-led, with all the
appropriate riffs and breaks, and lyrics that are half sung and half
shouted.
The sound might be one that most of us are familiar with, but it’s been a
while since new material of that ilk has emerged.
The title track, ‘Vote With Your Feet’, shows the most promise, but the
vocal style might have benefited from a different approach: The shouted
verses could have done with a bit more conviction, at times they did remind
me of a time when Brit Pop was the order of the day, which doesn’t suit the
busting riff that accompanies them.
Thankfully, they don’t fall into the same trap in the other two songs, which
are both similar in style, which in this context, is no bad thing.
With upcoming UK and European tours in April, Hinterland would be worth
seeing live just to hear the full force of their music.
Nick Wood |
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These guys are a talented, well-polished band, with good ideas that
produce well rounded songs.
‘Who Am I To You?’ opens with a cracking rhythm section which is
complemented by a strained-sounding, whiny lead guitar, and a powerful, loud
vocal sound - he’s got a voice with range on it.
Just as the song begins to decay towards the end, syncopated open hats kick
in, and it’s played out with a nutty funky sound that is an unexpected but
welcome twist.
‘Go Home’ introduces a piano sound you might initially associate with Keane,
but as soon as the vocals come in you know you’re in for something a bit
different, and sure enough, it culminates in a dramatic guitar driven
chorus.
Staying with guitars - the licks at the beginning of ‘Dylan’ are
reminiscent of something from Californication, which is no bad thing. The
laid-back Wurlitzer fuelled style of this song shows another side to Redmojo,
although the frustrated melancholy attitude of their music is still evident.
Their mature sound gives you the impression that Redmojo are a hard working
band, either that or they’re just dead jammy when it comes to arranging good
songs that sound like the complete package.
Although currently unsigned, Redmojo’s first album, due this spring, will be
something to look forward to.
Nick Wood |
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Sheffield, Sheffield, Sheffield. The
steel city really is a good place to be at the moment if you’re in an
up-and-coming band who sing about modern life for the working class. So
picking up this – the latest release on The Sheffield Phonographic
Corporation – it wouldn’t be a foolish preconception to expect it to be a
song about a so-called “real issue” like being mugged or the busses being
late. So prepare yourself to be surprised to find that when So Much For Love
starts it’s actually 90s-influenced guitar pop with brilliantly throwaway
lyrics, calling back to the days when Pulp, Suede and the Manic Street
Preachers ruled the indie charts.
In some respects, Slow Down
Tallahassee’s sound is more Wakefield than modern Sheffield, with obvious
comparisons to the West Yorkshire city’s flagship bands The Cribs and The
Research. This, however, is immaterial, because with verses and choruses
that snake into one another and a laidback vocal delivery above lovely
uncomplicated music, any pop-lover will have a smile on their face after the
3 minutes and 10 seconds of wry brilliance.
The B-sides continue in a similar
vein, with Candy summing up the sweetness of Slow Down Tallahassee’s sound.
If Slow Down Tallahassee keep on producing pop songs with the class that
they are doing now, it’ll be green lights all the way.
Patrick Dowson |
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