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singles -
april 2007
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'Soothsayer' sounds like it could be a track
from The Music with its familiar 'The People'-esque guitar riff, while
'Broken Needles' and 'Cold Light Of Day' both sound like Kasabian album
tracks. Usually I'd be wary of comparing a band to someone the band
themselves list as one of their main influences, it can often be dismissed
as lazy journalism, but if someone played one of these last 2 tracks to me
and asked me who it was then my first two guesses would be that I was either
listening to Kasabian or a Kasabian tribute band.
I can imagine Royal Vendetta giving a good show live and if you like either
of the bands mentioned above then check them out and see what you think, but
if you're after a new sound or a fresh approach to a crowded genre then on
the evidence of these 3 tracks you'd be better off looking elsewhere.
Jam |
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I’ll admit, my first thought on female-fronted
Obsessive Compulsive was ‘Christ, not some more misunderstood gloomy goth
kids’. Yeah, it’s a little shallow, but the caption on their album sleeve
‘We prefer outcasts’ kind of encouraged me, (85,000 hits on MySpace? That’s
a lot of outcasts). And that was before I’d even heard “The Corpses Of
Thought.”
But behind the purple dreads and sulky looks is a band
with an E.P. to be proud of. Kelii has a good set of raspy vocals on her,
and strong intelligent lyrics that rather than bitching about their dark
souls, starts in on nihilism, such as ‘In your eyes I writhe in blood and
death and demons!’ redeeming themselves with chants of ‘God-shaped hole’
over dark & dirty guitar riffs. After all, it’s only the E.P so watch this
space (or void, whatever those crazy outcasts are calling it these days).
Willa C |
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Does anyone remember Trapt?
Yeah, I wish I didn’t either.
LAP- or LifeAmongPeople brought back some deja vu, only
a little better and that’s what makes them more disappointing at the same
time. The E.P sounds as if it was half-decent posthardcore played through
bulletproof glass. The vocals sound like they were recorded on the other
side of the room, and just about when you think ‘oh..oh..OH its getting
tougher!’ the moment is lost and it sounds weak and distorted again. If this
is the future of British music as it claim then screw it, I’m moving abroad
to louder places.
Willa C |
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It’s been a long time since Oberst was making scratchy
home recordings in his basement with an acoustic guitar, but in Four Winds
he seems to have definitely brought himself back to folk music which was
always a steady vein in his music, but disappeared towards the later albums
under layers of experimentation. However, there is some of that on this
album too. Oberst is back with the ever-changing lineup of his band Bright
Eyes, now including members of Rilo Kiley, Sleater Kinney, Tortoise and Now
it’s Overhead as well as solo artist Ben Kweller, and just as diverse a
selection of instruments: banjos, violins, guitars and piano all appearing
in a perfectly structured and uplifting song.
It is best compared with Bruce Springsteens ‘The Pete
Seger Sessions’ album. Where I’m Wide Awake It’s Morning was described as
‘the NYC album’, Four Winds has been described as yet to appear on the
‘travelling America album’ Cassadaga, to be released on April 9. It’s not
quite country, and it’s not quite folk and with Oberst’s pensive lyrics and
shaky voice it all becomes a harmony that captures the middle-America feel
that is quickly showing Oberst as rival to Tim Kasher (of Cursive and
Slowdown Virginia!) for the crown of the Omaha music scene.
Willa C |
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As though hewn from the same block as My Chemical
Romance, Saosin hardly trail blaze a new path in post hardcore. But what
they do they do rather well and 'Voices' is a fully committed voyage which
hurtles through catchy pop choruses and darker verse interludes.
watch video to 'Voices'
www.saosin.com
SB |
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'Fountainhead' is a rock beast (as
well as a rather good book by Ayn Rand - seek it out punters). There is a
swirling mass of Doctor Who style noise around the driving guitar and key
chords which temporarily verges dangerously close on glam rock before
rounding back into more hospitable waters. And the guitarist is Chris Gentry
(of Menswear fame). Weird eh?
SB |
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Plucked from the mighty Sub-Pop label by
KIDS, Band of Horses' 'Funeral' has a delicate quality, in the main due to
Ben Bridwell's fragile vocals, while maintaining a stadium filling,
shoe-gazing pomp. Like a some kind of grandiose therapy session.
www.bandofhorses.com
SB |
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This sounds a bit like a cleaned up
version of a Napoleon IIIrd track. The percussion is a bit warped, squelchy
and scratchy, the vocals are terse, if not strained and the layers of
interesting loops and samples are substituted with a string section and
backing singers. It alludes to wards lost grandeur, like a rusting seaside
pier. Fans of Ed Harcourt will lap this sound up too.
www.cherryghost.co.uk
SB |
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It's with a
heavy heart I have to report that yet another band has reformed no doubt to
cash in on the current insatiable appetite of the record buying public. On
the plus side, J Mascis and friends have kind of been fiddling around the
whole time in the background with solo stuff and this is maybe alluded to in
a not very subtle way in the song title. They still have their guitars
turned up VERY loud, they still verge on the self indulgent with their
occasionally over-elaborate guitar breaks but then that is what Dinosaur Jr
fans have always bought into. 'Been There All the Time' won't disappoint.
http://dinosaurjr.com
SB |
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Hello hello? Sounds like Texan riffmasters The
Sword have gate crashed the recording session for Pearl jam's 'Even Flow'
and laid a shitload of extra guitar tracks over it. That is until The Sword
pummel their way out the studio by the sheer ferocity of their axemongous
Sabbathy assault. This is ball breaking metal of the heaviest type.
www.myspace.com/thesword
SB |
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Better known for her work
with other artists (Scissor Sisters, Nick Cave, Rufus Wainwright etc),
'Flushed Chest' comes from the ludicrously successful debut album 'Real
Life'. It's gentle and sincere with a warm brass section and demure
delivery. Best served in a smoky bar with lashings of whisky.
SB |
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Try convincing the British public
that the Artic Lorries are (dare I say it?) somewhat overrated. Believe me
you’d win more friends by denying the Holocaust. Still, “Brianstorm” wins my
vote through sheer power alone, charging straight at your eardrums like the
Four Horsemen, and promising a more successful return to the spotlight than
The Strokes managed a few years back.
Watch the video to 'Brainstorm'
www.arcticmonkeys.com
Will Columbine
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See past the slightly ropey
band name and 'Three Cliffs bay' delivers what may well be one of the
highlights of the year so far. The vocals tremor almost nervously over the
light touch of a keyboard melody before the guitars wax up in the production
towards a swirling white noise before abating and waning back to a near
inaudible whisper, like the waves washing on the beach of the bay in the
song title. Mesmerisingly David Lynchian.
SB |
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Apparently we have Blu Cantrell to
thank for encouraging Miss Knight to pursue her musical dream, so she’s
definitely due a Chinese burn next time I bump into her. Imagine this
scenario if you will…Mel C accidentally swallows a Vocoder before deciding
to get all Jamiroquai on our asses, and “Rock My World” is the bastard
offspring. It will go down a storm in cheesy nightclubs, trust me.
www.fifthelement.biz
Will Columbine |
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There can’t be many duos able to
conjure up as joyous a racket as The Acutes. It’s good to see that, since
reviewing their last single, they’ve still got more energy than they know
what to do with, although “Set On You” is a rather one-dimensional effort.
It seems they’ve saved all their ideas for ‘mini psychedelic opera’
“Rumba”…”, which is certainly better but won’t have Pete Townshend looking
nervously over his shoulder any time soon.
www.myspace.com/theacutes
Will Columbine |
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Anyone remember a band called
January? Well, The High Wire sound a lot like them…shoegazing with a country
influence, a dash of Mercury Rev and a sprinkle of Spiritualized. It has to
be said that the gospel-lite “You Don’t Know What I Know” is a tad
over-derivative of Jason Pierce’s mob, but the truly gorgeous boy/girl
harmonies on the title track easily make this my single of the month, even
before I’ve heard the competition.
www.thehighwire.net
Will Columbine |
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I love the fact that Silver Sun
don’t even try and disguise the fact that they’re a bunch of gawky power-pop
pervs. Buy this single and you get two prime slices of rawk riffery from
their current LP “Dad’s Weird Dream” (the best being “See Me in My Dreams”
which almost manages to out-Weezer their US counterpart), as well as some
smutty and amusing sleeve-notes. My advice, however, remains the same – buy
the first album and have done with it.
www.silver-sun.co.uk
Will Columbine |
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A collection of remixes isn’t going
to be the first port of call for newcomers to Junior Boys world (there’s a
clue in the title), but the first two tracks, “In the Morning” and “Like a
Child”, come straight off the album. The former sounds like Daft Punk
holding court at an acid-house rave, whilst track 2 is like a less
pop-orientated, more chilled Hot Chip, which, I suppose, makes them Cold
Chip.
Will Columbine |
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Unklejam have been branded as somewhat unclassifiable,
an exciting new sound. But then isn’t everyone these days? These tracks do
very little to prove their blurb right. Points are knocked in the first
track Luv Ya, for the continual use of that oh-so inspiring lyric “shake it
girl like it’s your birthday”. More points off for the hugely tired call and
response- “let me hear ya scream!” (probably works better live guys), and
some unsavoury grunting noises. Not worth shaking anything to.
Cry sits along side the slightly higher end of the R n
B/soul scale, with some warm full vocals and nice use of saxophone.
From this EP it seems instead of creating something
new, Unklejam have merely mushed a load of already existing genres together
and created some fairly middle of the road stuff. Pleasant enough to listen
to if you enjoy a bit of Justin Timberlake, Amerie et al and shaking it like
it’s your birthday from time to time, but not anything to get excited
about.
Watch video to 'Love
Ya'
www.myspace.com/unklejam
Catriona Boyle |
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I sniff a hit here. Dragonette have that star quality that sees bands
plucked from obscurity and catapulted to their own festival headlining slot.
Not that Dragonette were that obscure to start with - singer Martina has
already had a hit single guesting on Bassment Jaxx's 'Take Me back to Your
House' and they will soon be touring with the Sugar Babes.
But is it any good? Well, actually yes - the track is electro glitch with
the vocals sporadically veering off and getting mangled up in a distorted
mix with the synths - pretty nifty. If anything it is a bit over-produced to
pander to a pop market - the choruses are so clean and sanitary that you
could eat your pot noodle off them. Tie will tell what else Dragonette have
in the locker but I for one, hope they don't go down the boring pop route.
www.dragonette.ca
SB |
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Proving that less is more, the Duloks knock out a midget gem of pop (in
every respect given their diminutive stature) with just a bit of simple
keyboard and haphazard drum beats. Even the vocals sounds like they were
recorded down one of those bean-tin telephone's that your dad makes you when
you are a kid because he doesn't want to stump up the cash for a proper
walkie talkie set. What? Was that just me?
Their press photo showing them looking like 70s porn stars in gym kit and
their general willingness to dress up in the name of putting on a good show
belie the fact that they sound quite serious on record. Not sure if that was
deliberate but I can't see them as the happy go lucky party girls that
everyone is talking about. They are, however, very good.
www.theduloks.com
SB |
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For all their harpsichords, echo-on, echo-off production, reverse guitars
and general tinkling percussion, it is still impossible for Soft Hearted
Scientists to make the seven minutes of Siberia seem anything but a bit
repetitive. It's all a bit hairy and folky and there is definitely no need
for an instrumental version as well.
www.softheartedscientists.com
SB |
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I don't know what has got in The Scare's pants to make them wax lyrical
about our dear winged mammal friends but it may be the same thing that has
them powering out of the speakers in a INXS go metal kind of way. Which
makes sense because they come from Australia. It's all good power chord and
smashing drums stuff. Did you know that many bats have to hang upside down
so that they have enough time to flap in order to fly and if they fall to
the ground they may never be able to get airborne again? Fact.
SB |
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I think The Low Miffs may be a little bit too smart for their own good.
The constantly shifting time patterns of 'Earl Grey' might be technically
pretty clever but they make it damn hard to listen to. They also plateau off
during the main guitar chorusy bit which actually makes it sound as though
it is slowing down - surely not the desired effect. It's a bit Bryan Ferry
does rock opera too - I'm not convinced.
www.thelowmiffs.com
SB |
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Only a metal band could name themselves after the worst nuclear incident
in US history. 'Cimarron Street' is a typically low-slung guitar chugathon
that never lets you get your breath between hatcheting up the riffs and
drums. 'The Rising' is a a bit more brooding and low key...initially.
There's a beautiful richness to what sounds like a strummed bass that
reverbs out of the speakers before vocalist Tony Harvey annihilates the
relative serenity with a cathartic roar. Yikes.
www.threemileisland.net
www.myspace.com/threemileislanduk
SB |
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Breed 77 seem to knock out singles as quickly as I eat Jaffa cakes (and
that's damn quick I'll have you know). And this may be the single too far -
a lumbering soft rock, lighter waving affair that may explain Breed 77's
success in the German charts. Add to this a shocking cover version of The
Cranberries' 'Zombie' and this makes one scary package.
SB |
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I'd read the previous tasty review of
Ebb's album
Loona before slottig in this disc so was ready for the torrent of
clicks and blips which awaited. Which is a pity because that meant it took
me about 4 minutes to work out the the CD was skipping uncontrollably
before ejecting itself from the drawer. Sorry - you can always have a
listen on Myspace...
www.myspace.com/ebbmusic
www.ebbmusic.com
SB |
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Not another schmaltzy love song but a potted history of the artist's
passion for voyeurism apparently - ooh I say. Seems like Ms Wilde has
managed to splice two fine influences in the form of Siouxsie and the
Banshees and The Soho Dolls in her sordid little voyage through dirty
electro pop. Fine stuff and a cool press release fro Emms Publicity too -
like a page ripped from a diary. Wouldn't want to be Andre Wilde's neighbour
though.
www.myspace.com/awildeone
SB |
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Gunning for Goliath do not waste any time in announcing their intentions
with this EP as the double kicked bass drum seems to break in before the
play button is even pressed. This is frantic, frenetic stuff (though it does
go a bit Sabbathy towards the end).
Melodic metal or post hardcore - you decide. It all becomes a bit samey
due to the intense pace. There are snippets in 'Murder and Paradise' where
the band actually dares not to hit the drums and riff at a million miles an
hour and this breathes life into the track where others seem to suffocate
under the weight of the sheer wattage spilling out of the speakers. But if
you like getting deafened at gigs then this will be right up your street.
www.myspace.com/gunningforgoliath
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Not some kind of new urbane street speak but a gently lilting,
near-spoken word journey through modern Scottish life courtesy of singer Tom
Murray and his band of musicians on piano, bass and fiddle. The story
telling is clever, such as 'Oor Wullie's Baldy' but the jazzy keys and
soporific bass and strings of 'What if Cliff' make this all a little bit too
gentle for me.
http://dumbinstrument.com
SB |
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'The Shipping
Forecast' is one of those tracks that dances perilously close to the edge of
being so choppy and elaborate that it runs the risk of becoming unlistenable.
Some parts are math rock, augmented by slicing cellos, others are chock full
of intricate fiddly guitar fills and skits. The rhythms do little to smooth
out these rough diamonds but here the crystal clear vocals step in to
lubricate the whole thing and balance is restored.
www.myspace.com/grammatics
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With a funky bass track and competent
musicianship throughout this dainty number, Marsha Swanson knocks out
another radio friendly ditty that would grace any early evening TV show.
Swanson's vocals sometimes sound a bit too soaring and reedy for this
subdued track but the airy vocal harmony at the end of the song makes up for
it.
www.marshaswanson.co.uk
SB |
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'Still Number One' is like a case study in music that
bores me silly. Asinine riffing, gruff 'earnest' vocals and a bloody
annoying sing along chorus that is so clearly geared to the mass audience in
a Kaiser Chief style 'whooooaaaa' chorus that you'd need to be deaf not to
miss it (thankfully). 'Bicycle Thief' starts off promisingly with a kind of
shambolic Charlatans vibe before deteriorating to the same hackneyed rock n
roll as 'Still number One. Will be big in the US no doubt.
www.myspace.com/exileparade
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Being one half of Orbital has its advantages
- attracting guest singers being one. Step up to the mic non other than The
Cure's Robert Smith. In between back combing his hair and applying lippy
badly, Smith delivers a pretty strong performance though I'm sure he is
recycling old Cure lyrics from Disintegration.
As well as a mighty 7 remixes of 'Please' there's an exclusive non-album
track in 'Old School Tie' which is OK - very Orbital as you might expect. In
fairness this release is not up to the standard of 'Patchwork Guilt' but
would make a decent album filler.
www.myspace.com/paulhartnollmusic
Download 'Please' for free from
http://www.blinque.co.uk/paulhartnoll
SB |
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A heady mix of prog
rock and dubby reggae bass sounds is a bold move by Sister Mary Elephant.
This track sounds very 'urban' if you get my drift - like it was spawned in
some south London lock-up. I can picture the video now - shot among the high
rises and tumble down concrete pedestrian precincts...
I was sure I was going to hate this, even up until writing the last
paragraph of the review -but there's something a little bit special about
the disillusionment and misery mixed with the upbeat reggae. Promising
stuff.
SB |
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Apparently Zebedy Rays 'put on the most
exciting shows the city has ever seen'. A proud boast until you realise the
city they are talking about is Worcester. Says it all really. You can hear
the quality of each band member in 'The NHS' without them ever really
gelling together which is a pity.
'Home Sweet Home' seems to lurch into existence before settling into a
slightly more edgy rhythm. But still the parts are disparate and not
combining in a very melodic way. Could be the production - sounds a bit like
the engineer fell asleep and accidentally pushed all the sliders up to max
on every channel. Fortunately 'Night Owl', aside from its heavy bass line,
is a little bit more varied and builds up a bright tension through its
gathering guitar lines. But again it never really takes off despite the band
obviously really going for it by the end. A case of could do better.
www.myspace.com/zebedyrays
SB |
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Imagine The Streets' Mike
Skinner has stumbled into a smokey jazz-blues bar in New York. He's drunk,
he's politically active and he's pissed off. It shouldn't work, the tootling
sax and the gently insistent cymbal with the spare piano parts every so
often - all backing the spoken word delivery. But it does and it sounds
pretty cool. Pity about the ending which just dwindles away disappointingly
but otherwise very interesting.
www.thetribunes.org
SB |
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Blimey - I'm obviously not down
with the kids. Or at least a lot grumpier than the kids. Comrade Catriona
managed to find the positives in Aeon Spoke's
album review
but to me it just sounds like a bunch of miserable whingey sods who have
penned together a tune around the chorus for 'I'd Do Anything for Love' by
Meatloaf without any of the passion. I'm sure they are singing about
something very poignant but this is so dreary I just can't be bothered to
listen.
www.aeonspoke.com
SB |
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Did you know Ash have been on the
go for 14 years? 14 years! Amazing really. And this single sees a return to
the original threepiece since Charlotte Hatherley jumped ship. there seems
to be a rekindled sense of fun and urgency in the bouncing bass line of Ash
- more Muse than moody. The chorus is a little bit Kooksy, proving that Ash
are down with the kids too. Good solid stuff.
www.ash-official.com
SB |
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Cow bell - check? Slashy guitars - check? Chacka chacka beat - check.
Goodbooks tick all the right boxes to get into the NME but there's also a
really pleasant languid quality to the vocals which is refreshingly laid
back in comparison to lots of the current crop of try hards. A tricksy
layered vocal harmony towards the end throws up another pleasant surprise
leaving an overwhelmingly warm sensation in the cockles.
www.ilovegoodbooks.com
SB |
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The frenetic guitar work on Playground seems to carry this single almost
single handedly - axeman Dan Sheridan must have strong hands because the
pace never relents. In comparison, the beats sound a tad boxy and the vocals
are a little vague. But then some would say they are cool and understated -
all about different tastes in the end innit?
B-side 'Porco Dio Schweinenhund' is much more interesting - with the
sporadic bass lines working with the rotary guitar riffs and minimal vocals
which possess a slight fey Molokoness. This tracks showcases a second string
to the bow of William and will certainly get me perking up my ears for
future releases.
www.myspace.com/williamtheband
SB |
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Indie popsters par excellence produce 3 minute pop gem? Correct. Tingly
guitars and regional accents ('She's Got You Hoy') dished up on layers of
lovely harmonies. Timed for the long, warm days of summer perfectly.
www.mumm-ra.com
SB |
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A scuzzed up grouchy sounding remix that pulsates on a solid bed of
electro beats and bleeps, 'What is this Feeling' seems elevated somewhat
above the standard crowd of Stone Roses/Primal Scream copyists. Not sure if
the original mix would have been quite as uplifting but this makes a for a
very nifty little electro rock track - a bit like some of Stereo MCs' more
adventurous work.
www.thesessions.co.uk
SB |
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There's a whole mix of stuff here that in combination should sound bloody
awful and at times it does. East 17, The Streets, Hard-Fi, a happy house
piano line - need I go on? But occasionally it all clicks together and works
- the pre-chorus sounds really committed and aggressive (a la Leicester's
Tired Irie). Time to concentrate on less croonage and more tunage.
www.originalcast.co.uk
SB |
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This sounds like it was recorded in the backroom of a speakeasy - all
collusion, nods and winks, a turn of phrase here a tip of the hat there. The
strings are uncomfortable and the vibraphone/theremin only adds to the
uneasiness. Quirky would be a generous description. 'Problems with Exits'
continues the mood of Victorian parlour music before CSS inject some much
needed funkability and listener-friendly grooves over the top. It's a true
triumph of the remix to really work with the vocal part and nurture it
through quite a dancey track as though it was always conceived as one.
www.themules.co.uk
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Don't be fooled by the Blondie-ish opening to this track - The Envelopes
soon veer off in a completely different direction circling Talking Heads and
swerving dangerously close to Men at Work. 'Party' pairs some simple shaka
beats with an percussive guitar riff and 'Gouge Away' sounding bass line.
The Pixies references are no doubt emphasised by the boy-girl vocals but you
get the strong feeling that we may have stumbled into a heavy influence on
Envelopes.
www.myspace.com/envelopes
watch the video to 'Smoke
in the desert...'
SB |
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I was so damn sure fromt he name that this was going to be a metal fest
that I almost got a new tattoo especially for it. And I probably should have
got one because the three and a half minutes of sheer joyous pop that
spouted forth would easily have soothed any pain away. It's a slow guitary
start but then the simple organ sounds kick in a the whole kaboodle boils up
like an over-heated pan of milk. It's playful and catchy and all the better
for being DIY and a little bit rough around the edges production wise.
Proving it's no fluke 'Overdraft Blues' is more leftfield but equally
creative with a wobbly bass sound, a keyboard line and a guitar line that
acts as the beat and extra bassline. I know it sounds weird - it is but it's
bloody clever too. Who'd have thought such exciting things would come from
Whitstable?
www.thepsychoticreaction.co.uk
SB |
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Quite an in your face title and an unfeasibly harsh sound that jars and
scrapes pseudo industrial sounds against more poppy electro beats. This is
more Nine Inch Nails than Numan, more Front 242 than Fischerspooner. In fact
'Hearts at Stake' is very 'Pretty Hate Machine' era NIN - vulnerable and
threatening at the same time. It's a style and an approach I like but, like
me, it's a bit dated. More of a theatrical curiosity in crumbing old
auditorium than feature film at the latest Odeon, there is a certain tragic
poetic grandeur to this.
www.myspace.com/astariel
SB |
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The third single from Lamontagne's album 'Trouble' and thankfully not a
cover version of the Dolly Parton track. It feels a bit like a third single
too though - Lamontagne's trademark vocals come through but aren't really
tested that much, the resurgent themes of desperation, rejection and
redemption reappear and let's be honest - he's good but Damien Rice is just
a little bit better at writing songs isn't he?
www.raylamontagne.com
SB |
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I'm feeling a little guilty about liking 'No Ordinary Girl'. It's a bit
too slickly produced, the cover art is a bit too artificial and air brushed
and Marie Miller sounds a little bit too much like a manufactured pop diva
in the press release, but this can't hide the fact that it's a pretty catchy
track. But B-side 'How Do I get There' sounds like it came straight off TMF
and goes to show that although appearances can be deceptive, often they
really do tell the tale.
www.myspace.com/mariemillermusic
SB |
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Although hailing from our supposed new hotbed of musical culture,
Stateless are about as far removed from everything else which comes out of
Leeds as it is possible to be. Swirling atmospheric trip hop akin to DJ
Shadow, soulful and complete with real strings and a real sense of grandeur,
'Exit' seems destined to be the track which takes Stateless to a wider
audience. Stateless are certainly a welcome variation on the otherwise indie
guitar dominated Leeds scene and on this showing there's no reason they
shouldn't mither ears on a much bigger stage.
www.statelessonline.co.uk
SB |
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Another day, another singer songwriter. Jenny Bailey and her band may
have put together some tracks with a lot of personal feeling and experience
here but starting with 'Don't Cry Now Michael' and continuing with 'Hey Now'
these ballady, piano based tunes are just mighty dull. These songs possess a
dreariness that would be hard to achieve if you were actually trying to -
and I don't say that just to sound cruel or clever. There's just absolutely
no spark here and I'm left feeling a bit depressed after listening.
SB |
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I'm not sure this EP shouldn't come with a health warning as I suspect
any prolonged listening to Silicon Vultures would probably end up in hearing
problems and possibly mental health issues. Delaney Jae's vocals (in the
loosest sense of the word) are impressively abrasive and do nothing to blunt
the aggressive slashes of scuzzy guitars and scratchy synths. Unsurprisingly
at times this leads to some parts sounding a bit malformed, like a
dysfunctional teenager of angsty rage. Occasionally it all comes together
nicely in a fiery, fearsome ball of sonic fury that will give you
nightmares. But most of the time it is somewhere between the two extremes -
neither particularly well conceived but not hideously disjointed either.
www.siliconvultures.com
SB |
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Good grief - this sounds like a 90s supergroup caught in the recording
studio. 'In the Way' starts the trend, being only two letters different from
the Chili Peppers album 'By the Way' and sounds remarkably like the Chili's
'Shallow Be Thy name' from 'One Hot Minute' - all popping bass and scratchy
guitars.
There's some Reef-based stadium rock knocking about and the title track
not only sounds like Whale's 'Hobo Humpin' Slobo Babe' in name but also in
tone. You didn't really expect to get away with that did you? On the other
hand, despite it's obvious derivations from other bands, Humpin Mojo does
have some very funky riffs and there is a large amount of technical
proficiency at work on those fretboards. If I hadn't heard stuff like this
15 years ago I might have joined the hordes from Kerrang in voting Kingskin
Best Unsigned band.
SB |
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Myriad Creatures surprised me, I don’t know why really
but the songs were pretty good. Brisk guitar riffs and a nice all round
sound. They are however one of those bands that you can’t really find words
to describe them. I suppose more a bad than a good sign. I like it but
probably wouldn’t invest. I prefer music to be a bit edgier, with something
a bit different, maybe it’s just that I’ve forgot what a band sounds like
that doesn’t use synths. The vocals are really nice and their sound is
tight, nice to have on your mp3 player, jovial bus music perhaps? 2.5/5
Gareth Ludkin
www.myspace.com/funkyasfudgefanzine |
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The artwork looks like it’s been printed straight off
the computer and the music sounds like it’s been ripped straight from an
80’s cheese record. The beats/ synths leave a LOT to be desired, and it’s a
pretty amateurish attempt at music. I’ve heard far more inventive ‘please
hold’ music and my local sports centre plays better jingles!!! 0/5
Gareth Ludkin
www.myspace.com/funkyasfudgefanzine |
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Ouch! Well straight away the vocals are hurting my
delicate ear lobes, they clearly decided that lobbing a load of effects on
the vocals would make the songs better. But no they don’t. The majority of
the songs are fairly drab, repetitive occasions and lack imagination and
quality. Not a Fan. 1/5
Gareth Ludkin
www.myspace.com/funkyasfudgefanzine |
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There's still an awful lot of Six by Seven to guile but they
are beginning to really hone their own shoegazey style of indie rock. Stand
out track on this EP is the monumental 'Love Around Here' which marries up
droney reverbing guitars, world weary vocals and a clouting drum effort to
produce a spiralling Doors-like psychedelic hazey crescendo with a hint of
bluesiness. '140 Hurts' is a slow, dolefully bluesey track with a very
pleasing chord progression against the slide guitar and 'I Walk Alone' is
brooding, whisky fuelled rant against the wrongs of the world. It's opening
track 'Rock n Roll' which is a bit too, well rock n roll and suffers from
the noisy production qualities of Guile's early releases that provides the
only disappointment of the EP. So that's 3 out of 4, 75%, got to be a thumbs
up any way you look at it.
www.guilemusic.com
SB |
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Nottingham’s Niblett is renowned for being difficult,
and this comes through in her music. ‘Dinosaur Egg’ is remains resolutely
tricky – sort of like an even less accessible Polly Harvey – and is hardly
likely to get you out of your armchair. But I guess that’s not the point.
Niblett remains an enigma to me, I’m afraid. That’s not to say she won’t
have you rapt.
Sam Metcalf |
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There's a refreshing couldn't-give-a-damn
attitude about 'In the margin' as Stillman unself consciously wades through
faux harpsichord, synths and strings while the trusty theremin makes a
welcome, if otherworldy, return in the background. There's just something
intangible about Stillman which puts him outside the normal singer
songwriter bracket. Keep an eye out for him...
www.stillman.mu
SB |
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It seems The National have lost none of their dark
allure. Whilst the title track is pretty generic, the real star here is
‘Black Slate’, which is the best Tindersticks track I’ve heard for some
years. The National remain one of the most consistent bands around, and one
the most originally beautiful ones, too.
Sam Metcalf |
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This is, without doubt, one of the worst
tracks I've listened to this month - how disappointing. Pedestrian (and
walking with a stick at that) riffs provide the backdrop to the god awful
atonal vocals which growl their way through 3 minutes of my life which could
be better spent. Now if you'll excuse me I have dishes to wash.
www.therandommusic.com
SB |
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Currently the darlings of the indie-pop scene on both
sides of the Atlantic, Voxtrot are just a little bit too polished for me.
‘Blood Red Blood’ reminds me of mid-period New Order… possibly ‘Face Up’.
Seems to me that Voxtrot need to come up with a killer album to justify the
hype, cos at the moment I’m remaining well on the fence.
Sam Metcalf |
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Having taken the slightly unusual step
for a metal band of relocating from Los Angeles to Bristol, Anemic sound
similarly directionless in 'Train to Hell'. Caught between the twin pulls of
radio friendly screamo and hard metal, 'Train to Hell' ends up just being
one of a million other ponderous guitar tracks from guys with nice hair and
eye make up. The chorus lacks any kind of punch and just ends up lumbering
along to form a rather unwieldy bridge to the next chorus when it should
really be soaring.
www.myspace.com/anemic
SB |
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Despite an initial knee jerk
reaction that brought back memories of having to listen to hours of the
dreaded Jamiroquai while at university (and listening under duress I might
add), 'Pay to Join' gladly did not turn out to be quite so awful. This brand
of soulful bass driven pop seems so much less self congratulatory than the
nonsense spewed by Jay Kay. But it does still remind me of cool cats doing
their funky pointy dancing shit and that is still a concern.
www.myspace.com/littlebarrie
SB |
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As long as you aren't
expecting any massively meaningful lyrics, you are familiar with the work of
Depeche Mode, Marilyn Manson and Nine Inch Nails and you like your industrio-pop
music with a tinge of danciness about it then you will not be disappointed.
And there's a massive 7 different mixes of this track on the single so you
will never get bored while you darn up all those pesky holes in your fishnet
fingerless gloves.
SB |
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It starts of with a Glitter Band drum beat. Blimey. And
then it does nowhere. This is a massive let down from a band that are – at
the very least – always interesting. This song just sort of meanders along
in an icy, post-punk way that ends up annoying rather than pleasing. It’s
like taking a gulp of tea and finding out it’s only lukewarm. Yes. That bad.
Sam Metcalf
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She likes the outdoors, does Polly. ‘The Woods’
mentions all sorts of wildlife, and is really quite beautiful in an
off-kilter acoustic way. And she has a lovely voice, too. Oh yeah, and she’s
very easy on the eye. Anyway, yes, this is GOOD.
Sam Metcalf |
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Quite why the world isn’t in raptures for this band by
now is beyond me, but they will be soon, I suppose. ‘Little Polveir’ is
named after a racehorse, of course, and builds on MSTU’s reputation as some
of the best songwriters around at the moment. The band’s ability to
seamlessly swap between uptempo guitar pop and melancholy acoustics remains
unchallenged, and this excellent new single simply reinforces that.
Wonderful stuff.
Sam Metcalf |
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A skimpy
little rockabilly number is always welcome, and ‘Sister Rosetta’ is no
exception, and it even includes a delightfully, noisy, trashy guitar in the
chorus. Like Joan Jett fronting The Cramps. And that sounds good, doesn’t
it?
Sam Metcalf
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This is a really good mix of upbeat sing-a-long
choruses, catchy melodies and simple beats. “Sheila” is one of the first
tunes ever written by Jamie, this is evident as it depicts a raw tale of
drunken tragedies with the simple but effective effort that a solo artist
can put in, before they become commercialised. The beat and bass continues
solidly throughout this track, but the raw lyrics stand out a mile, mixing
hip hop elements with pop and rap, but in an individualistic way.
www.jamie-t.com
Watch the video to 'Sheila'
Lid |
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I've tried, I really have. Even after about ten listens I'm still finding
this hard going. The 'Leader of the pack' drum intro, the Sigue Sigue
Sputnik vocals and the big ringing guitar lines are still rattling around in
my head but this sounds like the first attempt by a garage band to record
their rehearsal on a four track. there's a punk element and even a touch of
Ian Curtis unhingedness to some of the vocals but it is all a bit disjointed
for me.
www.myspace.com/orphanboyuk
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This is one good EP and not something that I would normally find myself
listening too. The Culprit mix up various guises of metal, screamo and
hardcore but in a coherent and melodic way that leans towards a poppy
Deftones. The production is top notched and the dropped guitars really
crunch through 'Blackball', more than ably supported by the harmonic joint
vocal parts that are actually sung, not just hollered. All three tracks are
bristling with invention and power.
www.theculprit.co.uk
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