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singles -
may 2007
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This is a heavy yet melodic romp of glammy-gothy-punk
inspired metal. Influences are easy to spot, with much similarities vocally
and otherwise to Marilyn Manson et al and even a more subtle nod toward the
Wildhearts, judging by the riffs and catchiness of the track. From the
opening static noise to the the OTT shrieking of 'BORRREEDD' this is
reminiscent to tons of the 'nu metal' bands so popular several years ago,
but minus the rap vocals and bad dress sense. As much as the format has been
used, I like this track and it's provocatively good. An unchallenging single
but a fun listen: an uncomplicated party track that should go down well at
alternative club nights.
Watch video to 'Where
Would You Rather Be?'
Ruth Holmes |
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The exuberance and enthusiasm that
the Ackleys approach their music with, combined with their youth (according
to the press release two of their number are high school seniors, two are in
college. I assume this makes them young, I've no idea not being familiar
with intricacies of the North American educational system) means I don't
think I can bring myself to say what I honestly think of this EP. Morally it
would be akin to telling a young child that Santa Claus does not exist
before relieving oneself on its presents. Or kicking the Andrex puppy to
death for cash. I don't think I would want being nasty about the Ackleys
weighing on my conscience.
With that in mind I will confine
myself to saying that 'Forget Forget, Derive Derive' isn't exactly to my
taste. In my opinion the infectious indie-punk that The Ackleys churn out
with such evident glee is at best unremarkable at worst actually grating.
But to ears rather less jaded than mine this sort of catchy upbeat
songwriting could be the perfect soundtrack to a summers day. However the
bottom line is that I can imagine every single song on 'Forget Forget,
Derive Derive' being played on 'The OC'. If you think that's a good thing
then The Ackleys may well be the band for you. That would however make you a
prick. That's not being nasty to the band, rather the people who listen to
them. Tenuous I know, but at least I'll be able to sleep at night.
Michael Pearson |
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This is emo. That may be an insult or a compliment,
depending on your personal viewpoint, but either way, it has to be said. The
title is a dead giveaway, for a start. Now I have got that obstacle over
with, though, it's actually quite alright. There is nothing particularly
original about this but it's melodic and catchy, without having that
god-awful cringe factor bands such as Fall Out Boy and My Chemical Romance
undoubtedly possess. Actually..wait. Unfortunately the lyrics are cheesy as
hell and ruin the credibility the song might otherwise have had. Overall
though it's a good track, well produced and dynamically interesting.
Radio-friendly but not totally mind numbing.
watch video to 'The
Kill'
Ruth Holmes |
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Ground Unicorn Horn are one of an
ever expanding number of bands featuring Justin Pearson of The Locust, Holy
Molar and Head Wound City, amongst others. I’m very keen on all the
aforementioned bands, but they aren’t a million miles apart in terms of the
sound they pursue. As much as I enjoy spasmodic, deranged hardcore there’s
got to be a limit how many bands playing very similar music one man can be
in without boredom setting in. I’m off the opinion he should branch out into
other genres. My suggestions would be skiffle or improv-reggae.
Anyway perhaps it would be wise to
discuss this specific release instead of simply grumbling in such an
unfocussed fashion. As well as Pearson, Ground Unicorn Horn also contains a
member of Moving Units, a member of The Plot To Blow Up The Eiffel Tower and
a member of Friends Forever. The make up of the group gives a fair
indication of their musical endeavours. The first of the two tracks, ‘Damn I
Wish I Was Fat’, begins with a clipped, off-kilter guitar riff that is
repeated cyclically throughout the song, becoming more substantial as the
track progresses. The second track, ‘Someone Better Suck This Thing’, is
more akin to Pearson’s Locust. Frantic, stabbing keyboards are very much at
the fore although their sound is considerably more focussed than the
comparison to The Locust suggests. In fact the best way of describing Ground
Unicorn Horn would be a scratchy post-punk version of The Locust. An
appealing prospect to any right thinking person.
Michael Pearson |
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Beginning in a manner
not dissimilar to the opening bars of Pulp's 'Common People', The Outside
Royalty's five-track EP merges distinctly 'olde-world' strings and textures
with new world sensibilities.
Hailing from Pittsburgh, this sextet moved to London late last year to
further their career and, on the evidence of this fine record, may discover
their leap of faith is repaid handsomely by an enthusiastic British public.
Following the bright chorus of opening track 'Falling (Part 2)', which
combines orchestral tones with subtle moments of electronica, the mood
shifts to a darker, more gothic tone for 'Voice Beneath the Rubble' where
duelling violins and melancholic vocals successfully create an atmosphere of
gloom, before the final line offers a glimmer of hope on what is billed as a
'saga of the soul'. Next track 'Three, Two, of One' is driven by rolling
drums and fuzzy riffs before 'My Constitution' gives a punk edge to the
proceedings.
The EP closes with a fine rendition of Eleanor Rigby which, while retaining
the violins and structure of arguably Paul McCartney's finest hour, injects
fresh energy and a few bombastic drums on the chorus. Conveying the sadness
of the lyrics with aplomb, Adam Billing manages the near impossible: pulling
off a Beatles cover that could stand up beside the original.
The Outside Royalty's EP is available through
www.myspace.com/theoutsideroyalty
Chris McCague |
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There's so many things to love about this record, not least that it is
packaged a beautiful flock envelope emblazened with the band in fabric. Then
traditional music pummels its way out of the speakers for the duration of
its short lifespan, all snarling, fuzzy, punk glam with more than a hint of
the Lydon-esque to the vocals. There's also the funfair haunted house
organ music drifting in and out, seemingly of its own volition.
This is then upstaged by the obscurely named 'I Took the Teeth from the
Tiger' which is remarkable in my mind for having a chorus sounding uncannily
like Christian Slater in the Austin Powers movie. name-dropping aside, it is
another example of a band who have more energy than busload of kids supping
Lucozade in a Duracell factory. The Ape Drape Escape are to be feared and
revered.
www.theapedrapeescape.co.uk
SB |
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In 2005, Paul
R (aka Moses and the Burning Bush) from Austin, Texas made a decision to
never play music with humans again. The result is this six-track record
created with his own vocals, guitar and two samplers.
I do hope that Paul reconsiders his decision as it seems that the lack of
real-life accompaniment has strangled his creativity. There are some
intriguing textures to be found amongst the dark, grinding guitars,
including sounds akin to dripping taps on closer 'The Reincarnation of John
Wilkes Booth' and train whistles on 'Hubert Humphrey'. It must also be said
that the industrial strength beats of 'I Want This to End' make this a good
song with which to dance the robot.
However, most of these tracks are at least a minute longer than they need to
be and the monochrome textures begin to wear towards the end. The
purposefully out-of-key vocals have been heavily distorted throughout -
think Damon Albarn on the verses to Gorillaz's 'Feel Good Inc' tuned down an
octave or two and put through a spin cycle.
Even washing machine programs have their moments of calm and Paul should
consider introducing a few quieter elements to emphasise the length and
depth of his many shadows.
www.myspace.com/mosesandtheburningbush
Chris McCague |
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The debut 10-track EP (where I come from, we call that
an “album”, lads) from the famous Leicester rockers Retroscopic blasts ten
tonnes of titanic aural madness straight at your eardrums and tries to make
you fall over and beg for mercy. It’s outstanding…nah, only joking. One of
them is actually from Derby.
Personally, I blame LostProphets. It’s because of them,
and their ninja-dragon-train-shouting-at-buildings crap that this kind of
shash gets released. What is it about crap places that make you want to
produce head-down anthemic punk with shouting bearded cretins over the top
of it? Corby had Raging Speedhorn, Glamorgan’s got The Automatic. Like the
city that spawned them, Retroscopic are destined to flirt with relegation in
the second division until their inevitable demise.
The songs aren’t bad, although they’re mainly tuneless,
but that’s just it. There’s nothing to set them apart from their
contemporaries. In an age where we’re exposed to more music than ever before
in more medias than we can cope with, Retroscopic are going to have to
improve dramatically in a minute space of time to justify an album proper.
‘You’ll Like Us In Three Years,’ the release declares.
Well, I doubt I’ll have heard of Retroscopic in three years, and the big
question is this: Why will I care in three years time, when I couldn’t give
a toss now? I guess it’s just one of those age-old riddles…
www.myspace.com/retroscopic
Chris Stanley |
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Since their early tentative outings on the 'Mind the Sprawl' EP a couple
of year's ago, Hush the Many have grown not only in stature as a band (to
the point where label Fandango are releasing this EP), but also, you get the
impression, as a band comfortable and confident in their sound and
abilities.
From 'Mind the Sprawl', it was always 'Song of a Page' which made the
most arresting impression, proving Hush the Many were more than just another
acoustic band with some nice boy-girl vocals. It's poignant therefore that
'Song of the Page' should be the first single released and it has been
beefed up in the last couple of years so that all of the quirky, staccato
vocals that seem to wildly stagger and hang off the rhythm entirely at their
own free will are now joined by a seriously menacing drum part, a caustic
grinding guitar section and sharper string accompaniment - truly
mesmerising.
All this off kilter, Bowie-esque folk psychedelia is offset by the
wholesome beauty of 'In Bloom', recorded live at the End of the Road
festival 2006. Nima's fragile vocals are perfectly accompanied by Alex's
rich, pure voice which is enough to make anyone's heart melt. This really is
a quite a special release and one which you should acquire immediately.
www.hushthemany.com
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The old producers to turn recording
artists theme. And this is as scary as it gets. Like an amalgam of Diana
Ross, Justin Timberlake and Trent Reznor - Muddyloop's falsetto vocals
warble away in an electro groove stylee over a competent if dated
soundtrack. I'll pass on this one thank you.
www.muddyloop.com
SB |
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Well this is Breed 77
re-releasing some tracks from their first three albums in their native
tongue, which is apparently Spanish, despite the fact that they hail from
Gibraltar, a British outpost dammit. Unsurprisingly for a band from
Gibraltar, they specialise in rock but have been unafraid to absorb other
local influences, Moorish, Flamenco etc into their very particular brand of
music. I am still uncertain whether I would classify myself as a fan but I
certainly admire their determination and commitment to pursue what is a
genre defying sound. on the other hand, other than the change of lingo, this
mimi-album will probably only be one for die-hard Breed 77 fans.
SB |
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Voxtrot are a band for those young
folks unsullied by the traumas of the world, unashamedly cheery pop,
expertly crafty and in 'Blood Red Blood' even incorporating a jazzy
breakdown with crazy saxophone. The fact that Austin's finest sound almost
identical on the b-side 'New Love' may be cause for early concern but
otherwise exemplary pop-picking.
www.voxtrot.net
SB |
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Corinne Bailey
Rae used to live downstairs from a mate of mine in a terraced house in
Leeds, disturbing her at all hours of the day with her (admittedly well
played) music. Now she is mithering Detroit legend Amp Fiddler in a track
that lends more than a little to the Star Wars theme from Mos Eisley
Cantina. This is something that the artists openly reference in their video
for the track and shouldn't detract that is quite a lovely tootley, summery
ragtime number where any vocal excesses are kept firmly in check and the
backing band are given full range of their impressive skills. I must be
going soft.
www.ampfiddler.com
watch the video to 'If
I Don't' |
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maybe my speakers are broken
(or maybe my ears) but this 4 track EP sounds a bit weedy to me. The guitars
sound a bit forced, like someone just learning to play and cranking out a
succession of leaden riffs in a proggy manner. That is until the third track
'T.W.A., by which time the opening heralds much greater promise - there are
some samples introduced to flesh out the sound and the bass line finally
bounces along with a bit of energy rather than lurching along with the
guitars. But it is 6 minutes long and the lounge style break at the 3/4 mark
does not make the time pass any quicker. I don't think it is self absorbed
but maybe ill conceived. Beautiful artwork though.
www.thecrucible.biz
SB |
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Stop sniggering at the back. A
rock-pop mammoth the likes of which has not been seen since, ooh Dollar in
the Eurovision Song contest? What supposedly is about getting on with things
after a previous singer left the band just sounds like a big bitchfest to
me. And a bitch fest set to a god awful backing track at that. Therapy would
probably have been cheaper to pay for than releasing a single and I can't
see Kinky Durakee (stop sniggering again) recouping many costs through sales
with this effort. Awful ending too - sounds like someone forced the shitty
synth down a plug hole.
www.kinkydurakee.com
SB |
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Do I what? Certainly not, especially to
this vocoded electronic tosh.
SB |
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Caravan is a beautiful whispy single
which perfectly blends Nordic mystery with a more continental chic sound.
There's even room for a little bit of beguiling slide guitar.
B-side 'Shadow Run' is even more hypnotic with its droning, pulsating
intro minimally accompanied by a footstep percussion which eventually gives
way to a heartbeat sound. haunting spoken word lyrics of the like used in
'West End Girls' by the Pet Shop Boys make this a very eerie and entrancing
listen.
www.husky-rescue.com
watch video for 'Caravan'
SB |
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Has it started yet? Is it going to
get going in a second? Hmmm, seems not. All the warbling chorus heralds is a
noise like a Sioux indian war cry and the studio produced backing music
might as well come from a karaoke machine. Uninspiring would be a kind
description.
SB |
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First impressions of this EP - tinny. Which is a shame. Otherwise Dear
Superstar exude confidence and creativity (though whether this is misplaced
will be down to your own point of view). There's a disturbing amount of
comparisons with Motley Crue from many reviewers though DS are clearly a bit
heavier than your standard hair rock. Good riffs, if a little unoriginal and
solid song writing but we really must move on...
www.dearsuperstar.co.uk
SB |
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I'm guessing that Shit and Shine may be struggling to get any radio
airplay with this one. But it's bloody great! The track fades in as a wall
of ear bleeding anarchic drums and thunderous bass over a general distorted
growl and is only interspersed with a few vocal yelps and guitar tones. Yet
slowly but surely patterns (I'd baulk from the word 'tunes') begin to
develop and the ear becomes accustomed to the onslaught.
There's a major shift around the 7 minute mark where the noise is
temporarily dropped out in the mix before returning to do some real cortex
damage. There are some space effect pick slides and other production
drop-outs but the insistent theme is the demonic drum pattern so it is
fitting that the 28 minute track (yes, you read correctly) concludes in a
fury of distorted snare sounds. Seeing this live must be quite something.
Formidable.
www.noisestar.co.uk
SB |
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Can Biffy do any wrong? Well this slightly crass title may be a start.
And the intro to the track is like incidental music to a rock opera - all
string and guitar complete with choral accompaniment. The more familiar
sounds of Biffy Clyro that surface after 90 seconds make the intro even more
extraordinary. Another solid effort from Ayr's finest though those strings
do mean it lends itself to a Bond-esque grandeur. An early audition piece
for the next film perhaps?
www.biffyclyro.com
SB |
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Nice name. Architects of Victory open their EP with in 'Old Nick', a
snarling beast of guitar trills and pummelled chugging power chords. The
quieter bridges only serve to accentuate the sheer volume of the choruses
though at nearly 6 minutes long maybe this is a little bit too epic.
'1914' is a confidently slow track that slowly but surely breathes
life. And it seems they have stolen all of Dear Superstar's bass - it spills
out of the speakers like sonic boom. Not that this is just a pure doomathon.
There are layers of vocals and skilled build of guitars that is very
reminiscent of Alice in Chains work. Again though, 5 minutes plus may be a
bit over the top.
Final track 'Hate to Love' seems to bring together the themes from the
preceding two tracks but for me in a rather unsatisfactory way, like the
band are trying to ride more than one horse at once. They have so much to
offer in both of the first two tracks that there seems little point in
fudging the two together in a third. This shouldn't sound over-critical -
Architects of Victory are definitely worth checking out.
www.myspace.com/architectsofvictory
SB |
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A rather epic track from a band so early on in their
career, To Conquer is a bit of a beast, building into a huge sound in the
guitar heavy instrumental section. Although the vocals leave a bit to be
desired, with song writing skills like this Samsa are on the way up. B-side
Another Night is a more gentle affair that they probably could have tried a
little harder on.
Catriona Boyle |
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Not sure this shouldn't be in
the albums section - it has got 9 tracks after all - but seeing as there are
4 mixes of the same song we'll just about slip it in as an EP. 'Crazy Nasty'
kicks things off with CC doing a credible Britney Spears impression from
'Toxic' but actually sounding like she might actually be a little bit dirty
instead of just plain loopy like Spears.
The original mix of 'So Shiok' is quite dizzying with a range of sounds
and influences - think Aphex Twin's 'Phloam', Sheep on Drugs, Frankie Goes
to Hollywood...they're all in there. And it is not as cheesey as this may
sounds - CC continually distorts and contorts the vocals through a mirage of
effects to keep it light and fresh. I also like the K.O. star remix which is
seriously dark and hams up the percussion side of things while snarling its
way through 5 minutes worth of, essentially, industrial pop. The DJ Saiba
remix by comparison is quite horrible - happy hardcore/rave at ten million
bpm.
'Thaw' is a completely different proposition - an instrumental based
around keyboards and synths and goes to complete what is a pretty impressive
set of songs from CC Sound Factory. That does sounds a bit like C&C Music
Factory though doesn't it?
www.ccsoundfactory.com
SB |
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What Am I Fighting For sounds a bit like a Jamrioquai
single but with slightly better vocals. A looped bassline with three notes,
some ooh-ing and aah-ing , some tinny guitar and fairly little else.
However, if that’s all you’re expecting then you won’t be disappointed.
www.unklejam.co.uk
Watch video to 'What
Am I Fighting For'
Catriona Boyle |
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Hmm, sounds a bit like a Simple Minds album
track. Never really gets going apart from an old school outro which isn't a
great start for the first song of an EP. Mind you - people buy Snow Patrol
albums in their hundreds.
The second is at least a bit more upbeat and features a nice cossacky
guitar line and completes the effect with sing along 'hey's in the chorus.
then the chorussed guitar solo breaks in and you begin to get the impression
that this is written more to satisfy the bands own musical curiosity than
give anyone outside any enjoyment. But wait! There is a big finale complete
with more eastern European vibes and before you know it you'll be eating
pickled beetroot and drinking vodka for breakfast.
It's a crowded genre and that makes it tough to get noticed. Much of this
EP is mundane. However there are glimpses here of something which sparks the
imagination a little more than the run of the mill indie guitar band so
stick with it.
www.starchambermusic.com
SB |
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The Countryside is indeed rather reminiscent of being
in the countryside. One is reminded of a happy farmer with rosy cheeks
wearing dungarees going about his business by the jaunty rhythm and
whistling. I’m off to buy a farm…
watch the video to 'In
the Countryside'
Catriona Boyle |
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I've just about had my fill
already this month of bands who do nothing to inspire any kind of reaction
at all. 3 tracks of this jingly stuff with a singer who doesn't sound like
he is that bothered about singing in a band or not and I'm beginning to nod
off. Going for the tried and tested repeat the same lyric ad nauseum
throughout the song technique does nothing to rouse me from slumber. Pass
me the Pro Plus.
www.strangemutantvirus.com
SB |
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I should have known something was up when the sleeve
smelt a bit funny. And so does the music, metaphorically speaking. While
there aren’t any glaringly obvious mistakes on Big Bang or Are You Hot
Enough? after listening to both tracks at least three times, I’m really not
sure I can tell you anything about them. There’s some guitars, some pretty
strong female vocals, but apart from that, it was a fairly forgettable
experience. Unlike the smell of the sleeve, they didn’t linger.
Catriona Boyle |
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Seems for once the band lives up to the hype.
While all the guitar bands are writing rock music to dance to, Digitalism
are writing dance music to rock to. A lovingly tended gurgling synth line
oscillates and shifts throughout the song underpinning the otherwise weedy
indie boy vocals. i can't imagine falling in love with the track but it is
one of those you always get up and dance to without ever knowing what it is
called or who it is by.
www.thedigitalism.com
Watch the video to 'Pogo'
SB |
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Apart from committing the cardinal sin of not including
a track listing on the press release - everything else about The Kut sounds
pretty fantastic. A languid dubby bassline and squelchy drum pattern is
draped with sexy vocals and coarse slashes of guitar that send shivers down
your spine. It reminds me vaguely of long defunct Leeds act Bedlam Ago Go
and proves that sometimes it is much stronger to take things slow rather
than thrash out a track to get noticed. The other tracks are equally laid
back and equally pleasing though they do lack that rasping cutting edge of
'The Vision'.
www.myspace.com/thekutsgirlsrock
SB |
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Bad mouthing Dame Shirley Bassey wouldn’t just be bad
mouthing one rather ballsy Welsh lady, it would be bad mouthing an entire
generation, an institution, a part of British history. And I’m just not
prepared to do that. Luckily, I don’t need to. The original version of The
Living Tree is the Dame at her best. Wonderfully rich vocals, some rather
inappropriate lyrics for a lady of her age (‘sorry ass’ anyone?) and a bass
line that harks back to the day when Bond themes were good (as in when
Shirley Bassey was doing them).
I can however, bad mouth the four remixes. Now I know
these days Ms. Bassey makes her money from the success of the dance floor
filling remixes of her tracks. Which really is a shame because a.) the guys
that have done the remixes haven’t really tried very hard, and b.) the
original is far far superior.
The Superbass Extended Vocal Mix (what a mouthful)
adds a synth beat, a few flurries of strings here and there, and messes
about with the vocals a bit. Thrilling stuff. The better and more humorously
named Shaken & Stirred Club Mix is a little more interesting, although it’s
unrecognisable as a Shirley Bassey track until nearly 2 minutes in. With a
funk inspired bass line and more of a melody this track is able to stand on
its own rather than just a remix.
Stuart Critchon’s mix sounds rather too similar to a
Dido track. A floor emptier rather than a floor filler. And the Superbass
Vocal Remix lacks the ‘super’ somewhat.
Someone should really tell Dame Shirley that she
doesn’t need all this remix rubbish. There are plenty of people (and not
just octogenarians) that appreciate this lady’s talent without an
uninspiring drum loop in the background.
Watch the video to 'The
Living Tree'
www.myspace.com/shirleybassey
Catriona Boyle |
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God knows what the title is all about but you
won't have time to ponder it as Los Angeles based Killola throw all their
synths, squelching bass lines, yelping vocals and sonic kitchen sinks at
you. It's a total triumph as a high octane girl-trash rock song that leaves
you gasping for air.
All of which makes 'I Don't Know Who' seem like a superfluous add-on -
it's a bit like Gwen Stefani doing Nirvana's 'Heart Shaped Box'. In fact,
I'd go beyond Gwen Stefani - like Aqua doing 'Heart Shaped box' - and that
is not something that the world needs.
www.killola.com
SB |
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I've not been overly taken
with Mr Hudson's previous singles but 'Ask the DJ' more than hits the mark.
Their willingness to throw in too many different styles and use a who's who
of instruments on each song can leave a disjointed effect but this single is
held together with a jaunty, summery, lilting chorus that will have you
wobbling your head around in approval.
watch the video to 'Ask
the DJ'
www.mrhudsonandthelibrary.co.uk
SB |
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New York two-piece Shy Child are undeniably cool. An unusual combination
in being a keys and drums partnership, Nate Smith smacks the toms around
most capably while compadre Pete Cafarella forces compelling gurgling,
bleeping soundscapes out of his synths. 'Noise Won't Stop' is a great
seething mass of dancey energy with just a touch of Bhangra and funk.
B-side cause and effect is equally as good, if not better. it has all the
old school charm and glamour of electro with a cutting edge contemporary
feel. I'm hooked.
www.myspace.com/shychildmusic
SB |
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Do you see what they've done there? Only the same thing as at least three
other bands (according to Wikipedia). Fortunately the track is better than
the title - a bit like a rapid fire English take on Pearl Jam's 'Do the
Evolution'
B-side 'A Kind of Existence' is another gem - a tingly, icy instrumental
on very simple synths. It's bleak and atmospheric - like a Vangelis
soundtrack.
www.gabrielleswish.com
SB |
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there seems to be a bit of a theme at the moment for introducing Latina
and South American beats and vibes into dance music and Pepe Deluxe has
certainly done it in 'The Mischief of Cloud 6' which also combines quite a
pleasing retro atmos. Like a cross between the Doors, Come Dancing and
Santana.
www.pepedeluxe.com
SB |
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An accidental collaboration apparently. 'Let the Beats Roll' was
originally destined to be an instrumental before Audio Bullys front man
Franks poked his head round the studio door and asked to do some vocals over
the top. The results are a track that will be equally at home in the clubs
or blasting out the car stereo this summer. The old school whooping and the
squeaky synths are very acid house but Franks laid back delivery makes sure
this track doesn't remain the sole property of the glow-stick brigade.
watch the video to 'Let
the Beats Roll'
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Tobin Prinz and Suzi Horn seem to have re-created the sound of Room 19 -
the Music room at my old secondary school. With a rattly old drum and just a
spartan bass line they traipse out three minutes of raw but strangely
melodic recording.
I'm not sure what the significance of 'Hamworthy Sports and Leisure
Centre' is but the formula is similar with Prinz and Horn's voices working
well off each other - like a non-rocking Victorian English Gentlemens Club.
It's hard to tell if this is very smart or just a couple of people who think
they are being very smart in using such a spartan technique. the decision
will ultimately be yours.
www.prinzhorn-dance-school.com
watch the video to 'Up!
Up! Up!'
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Deeply rhythmic, rich, guitars and tinkling ivories accompany singer
Craig Finn's grizzled vocals in a rampant no-holds-barred assault of epic
rock. If the idea of a Springsteen/Waits/Meatloaf supergroup makes you giddy
then purchase immediately. If not, then think about something far more
pleasant.
www.theholdsteady.com
Watch the video to 'Stuck
between Stations'
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'Weird Science' sounds like Daft Punk at their most edgy - all snarling
synths and electro squishiness. One of those tracks that you can only dance
to in jerky movements like a chicken. Oh right, that's just me is it? No
matter - dance I will as it is well nigh impossible not to get the feathers
strutting just a little to this one.
www.myspace.com/doesitoffendyou
Watch the video to 'Weird
Science'
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Having been a fan since the Pigeon Detectives were all
skinny ties, white shirts and playing in the Primrose, I’m maybe slightly
biased on this one. That said; I’m also adequately positioned for a bit of
that most established and ingrained of English traditions, pedestal
bashing.
The problem is, the sheer yelping delight of the record
smashes apart my longing to sneer at their ‘Ricky Wilson Recommends’
nametags.
The intro could have come straight from ‘Is This It’
and there’s no getting away from the obvious comparisons to the Strokes
sound back from when they could write a fresh tune.
The indolent vocals hide the lyrical simplicity leading
up to the tautly delivered swell of noise which briefly punctuates, before
the chorus breaks with abandon.
There’s potential for the track to get lost in the
middle with a meandering solo, but the thunderbolt intervenes again,
crashing in and relentlessly bringing the curtain down on this made for
radio slice of punk-pop.
The album lands at the end of the month and while I’m
Not Sorry won’t have those who have known the band for longest in a keener
state of anticipation, it might well enamour a whole new audience. A
perfectly judged release.
Watch the video to 'Wait
for Me'
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I don’t like this. If it had come out in 1996 people
wouldn’t have liked it then. The songs aren’t very good. I don’t want to
keep listening to it because I’ve heard it all more times than I’ve wanted
to already. Tepid, unimaginative, poorly executed indie-nonsense.
The last song is a 5:29 minute long acoustic plod. I
just can’t bear it.
These songs are awful. The singing is awful. Nothing is
good about these three songs.
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Holy crap - Mother Vulpine are serious. Slightly pompous titles apart,
they sounds like a seething, sneering beast of angular rock. There's some
splendid baggy guitars like local contemporaries This Et Al and intricate
slashes of tingling riffs that lacerate their way through the gut pummelling
power of the bassline in 'For a Friend...'.
To say Mother Vulpine have an urgency about them is an understatement;
'Keep Your Wits...' sees the vocals spat out in such a rush that they tumble
over and get swamped by the many layered swathes of guitar that accompany
the whole track. The exception is the ferociously restrained break-down
which prickles malcontent. Only downside I can see is the two tracks are
very similar to each other in sound - I had to constantly keep checking the
track listing to work out which one I was listening to. That aside, this is
a brutal statement of intent.
www.mothervulpine.com
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As masters of exactly this kind of sound, radio
friendly, accessible, party music, Groove Armada enter stage right with a
skank and shuffle. Flexing around a prodigious stabby bassline is the patois
patter of Stush. If you’ve heard MIA, then you’re there. Broken English,
shout outs, summer, a match made in heaven.
Simple breakbeats punctuated by yelps and squelches
give way to an infectious synth, “we jus’ dip.. go down”, and so it all
tumbles along.
This sounds fresh, for now, which is some achievement
when you consider how many times the formula has been trotted out. Its not
pushing things forward, but then, its not trying to either.
Calvin Harris brings his take on the GA sound, and it’s
the standout remix, alongside some limp drum and bass and general club
fodder.
Fire up the barbeque!
Watch the video to 'Get
Down'
www.groovearmada.com
Ian Anderson |
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This could not be further removed from Mother Vulpine but it still has
it's own special charm. Tim Ten yen is the self styled 'Sensational Singing
Salaryman', wearing his work suit on stage and writing unashamedly happy
music. This is basically Casiocore and there's more than an element of
Schmoof et al about this. A bit like Neil Hannon, but on a budget.
Single Reviews 2007
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This is the sound of a band with growing confidence in
their ability. There’s echoes of Trans Europe era Kraftwerk in the simple
but achingly addictive piano loop. Intertwining with cleverly produced beats
that pulsate and fade, melding with the rising guitars and building to a
cleanly executed chorus. Reminiscent of the Cure in their less myopic
moments, this is exuberance displayed without arrogance.
Executed cleanly and effortlessly, the slow burn
release of emotion of the full length version is lost in the concentrated
radio mix, but it remains a joyously captivating record.
The pace quickens slightly, the intensity builds, but
there’s no rousing finale. Simply because there’s no need for one.
Watch the video to 'All
My Friends'
www.lcdsoundsystem.net
Ian Anderson |
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Mark E Smith, the erratic, quasi-genius, lends vocal
contributions to this debut from Von Sudenfed. A claustrophobic revival /
rehash of the once innovative stylings of Lo-Fidelity Allstarz, Smith’s
filtered vocals punctuate some flagging beats and uninspiring bass.
The song builds, breaks down nicely and promises a
rousing finale. An opportunity missed as it settles back into the mundanity
of the opening gambit.
Max Tundra’s cut-up style and intricate broken samples
on the remix work the vocals into a melodic accompaniment to clever synths.
Then, just as the malformed clattering starts to grate, the track is pinned
down by a rolling beat as it pounds to a satisfying climax. One for the
DJ’s.
The only other original offering, Hooloo Rock is a
pointless pastiche which says nothing at all.
www.myspace.com/vonsudenfed
Ian Anderson |
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Forgive the overtly twee title of this debut single
from Atomic Beat Records, because it’s ace. I don’t know how many of you are
au fait with Pete Green, but he was once in Birmingham twee-ers, The
Regulars, and has now been doing his own thing (sistah) for a few years.
‘Everything I Do…’ features the trademark Green
strumming and the unique, wry yet cute look at life that has made his live
shows such a success. Green’s beloved Grimsby Town get a look-in on the
b-side with the rather ace, ‘Ballad of Phil Jevons.’
Green’ll never be a superstar – his jumpers are way too
sensible for that - but it seems fitting somehow that his debut single is
also the virgin release from Atomic Beat. Cherish them both.
Sam Metcalf |
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It is my opinion that Pocketbooks are just about the
best group in England at this time, and ‘Cross the Line’ does nothing to
dispel this. Everything about Pocketbooks is perfect, from the obvious
world-weariness to the pretty, pretty music, to Emma Hall’s voice.
If anyone had seen Hall sing 18 months ago, they’d be
hard pressed to believe it’s the same person. On ‘Cross the Line’ her voice
makes the song; it’s wonderful.
I hope Pocketbooks get the recognition they deserve,
but it a perverse way I want them to be our secret forever, because they’re
very much our band. And those don’t come along too often.
Sam Metcalf |
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A supremely disappointing offering from X-Press 2 after their promising
previous single 'Kill 100'. This is sugary sweet horrible pseudo Euro-pop
that would not have been out of place at Eurovision itself. Doesn't matter
how many remixes you have if the track is rubbish in the first place. Back
to the drawing board.
www.xpress2.com
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Oh my word, this is rather wonderful. Imagine a summer
day spent playing football with your best mates, whilst your girlfriend says
you’re the best person in the world, even though you’ve just booted the ball
at her head. ‘Bad Decisions’ sounds like Pocketbooks covering a Kenny Rogers
song, whilst ‘Here and Elsewhere’ is probably even better than that, what
with its added melancholia. A super little single.
Sam Metcalf |
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Opening with 'Bukowski's Secret' kind of reminds me of whatever it was
George Bush was calling the start of the Iraq invasion - Operation Awe or
something wasn't it? I've checked the playing speed and it seems to be
correct which can only mean that it is the 6-piece Star27 who are hurtling
along at a million miles an hour with piano and vocals racing to see who can
complete each line first in an interesting effect.
It's like the nerves have settled by the time 'Soldier On Son' comes on,
altogether more composed and controlled and a good track as a result. The
rambling piano heavy melodies return in the final two tracks though and
along with interludes, bridges and time changes this makes things all a
little bit too busy. Maybe lopping out some of the excesses would improve
matters.
www.myspace.com/star27online
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Yikes. A MASSIVE riff bolts forth, followed by the sort
of voice not heard since Slayer went soft metal. Future of the Left may have
a great name, but this download only single is hardly the great leap forward
I’d been hoping. Do you see what I did there?
Sam Metcalf |
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Call me a stuffy old traditionalist if you will but 'Modern Man' sounds
like Gilbert & Sullivan-do-indie to me. I'm sure that there's HMS Pinafore
in that melody somewhere. And 'Up in the Air' has Gerry Rafferty style
saxophone interludes like in Baker Street - oh my god - this is like a tour
through the deepest darkest corners of my childhood - make it stop.
www.maddingcrowd.info
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I wasn’t expecting much, but Elvis Perkins has managed
to come up with some acoustic pop that’s as good as any of the guff that the
ATP-hordes are listening to these days. ‘All the Night Without Love’ sees
Perkins strumming away like a good ‘un, whilst his somewhat fragile voice
does its best Nick Drake impression. And that’d good enough for me.
Sam Metcalf |
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'My ex-boyfriend's girlfriend's got a gun'...with a statement of intent
like that you've got a lot to live up to. The Neutrinos manage to ladle on
the Pixies style deep rich bass and guitar sound and along with some
withering vocal harmonies, by George! The Neutrinos have themselves a hit.
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Welcome to later period Joy Division. Specifically the
song ‘Isolation’. Honestly, if Peter Hook wasn’t a big rich bugger already,
he could top his pension up by suing Dragons. It’s a bit embarrassing,
really.
Sam Metcalf |
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Mesh 29? Sounds like some kind of building material to me. But it's not.
File firmly under foppish piano driven ballad rock a la Keane, Coldplay etc.
I'm sure they are nice guys but there is nothing of interest to be heard
here.
www.mesh29.com
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Ones to watch in 2007, apparently. To me, they sound
like they were watching Embrace support U2 in 2002 and haven’t moved on.
Utter shite.
Sam Metcalf |
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I'm assuming Drever is talking about the time of year the gypsies are
around and it is not a call to arms to scythe down a bunch of vagrants?
Either way, this is a thigh slapping summery song with boom chacka slap bass
and nice twiddly guitar bits. It does seem to circle a long time before ever
actually getting anywhere but certainly not unpleasant on the ears.
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This is most jaunty from Bjork. Instead of writing one
of those dull ambient borefests, she seems to have gone back to the pop.
Which is charming news. ‘Earth Intruders’ is a rhythmic romp through a
Creatures-esque nightmare soundtrack, with Bjork’s little rap in the refrain
sounding everso cute. You could never not like her, could you?
Sam Metcalf |
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Wow - this is lo-fi, even for the experimental Cherryade label. But even
though it sounds like it has been recorded on a dictaphone, 'I'm Your
Boyfriend Now' is a clever piece of cynicism about the nature of being in a
relationship. A deadpan mantra of demands from the male party such as 'you
will not talk too much, especially in the morning', 'we will talk about
wars, cars and football', 'I am your boyfriend now, say goodbye to your
mother' would be comical were it not for the slightly disturbing alien
background track. Quite brilliant.
EP 'fillers' 'Big Guns' and 'I hate Your Family' display a similar
fascination with lo-fi and simple song construction, though the former has a
grandiose quality due to big distorted drum sounds. If Tall Pony only get
three tracks out every three years then at least they are this good. I'll
leave you with this line from 'I Hate Your Family'...'You think you are
interesting and unusual but you're just thick'...amen to that.
www.myspace.com/tallpony
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Malin makes the transition full time to the new C&W
star with ‘Broken Radio’ which, whilst it might appeal to ageing Springsteen
fans, leaves me utterly cold. Why someone so young and attractive wants to
make such a limp penis of a song really is baffling.
Sam Metcalf |
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The Brazilian invasion continues
with this brightly coloured bunch of disco freaks that are obviously looking
to cash in on the popularity of their chums CSS. Indeed, their mates from
back home even give them a leg up in the form of a remix. Unfortunately,
it’s a million times catchier than the original. Oh dear.
www.myspace.com/bondedorole
watch video to 'Office
Boy'
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Yes, they’ve done it again! Released virtually the same
tune, I meant. With the best will in the world, The Chemical Brothers have
become largely redundant in modern terms. They can headline whatever
festival they like, they made obscene amounts of money from remixing and
greatest hits albums, and they’ve even had the piss ripped out of them by
Lucas and Walliams. What’s left?
I suppose anything they release might be of interest,
and Do It Again isn’t a bad tune, it’s just largely forgettable. Obscure
artist singing over the top of it? Check. 4/4 big beat tempo? Check. Kitchen
sink chucked in just in case? Triple check. Large arena tour off the back of
it? Inevitable.
This would have been mega in 1997, and you can’t
begrudge The Chemical Brothers that. They’re competent at what they do, and
loads of people like them. They’re just not vital, and when you’re trying to
get people to dance to your tunes, that’s something to be concerned about.
www.thechemicalbrothers.com
www.myspace.com/thechemicalbrothers
Chris Stanley |
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Is The RT Project aiming to be the
Belle & Sebastian of Leeds? Here we have four rustically charming forages
into the realm of chiming indie-pop; plenty of squeaking and slightly
out-of-tune acoustic guitars, hushed vocals and the odd trumpet here and
there. Very pretty stuff, and if these are just demos then their debut
single should be worth keeping an eye out for.
www.myspace.com/therosietaylorproject
Will Columbine |
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Bloody hell, you’ve got to wonder
what checklist Domino are working with when it comes to signing bands…how
exactly do you get from Arctic Monkeys to Justin Hawkins having his scrotum
mangled in a vice against a background of ineffectual rockabilly? I mean,
I’m all for musical diversity but I fail to see the logic. Still, says here
that Wild Beasts aren’t concerned with being part of a scene. Well, mission
accomplished, boys…now go and stand quietly in the corner.
www.myspace.com/wildbeasts
Will Columbine |
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Since reviewing their previous demo
last year, Spitfire Charlie seem to have moved on somewhat from merely
replicating what is currently popular in the charts, casting their nets a
little further influence-wise. The lineage of both tracks on this demo can
be easily traced back to The Buzzcocks with maybe a little Futureheads and
Bloc Party thrown in to keep it relevant. SC sound like a band that have a
lot of energy, chemistry and a top quality singer to boot, which means that,
even when the end result isn’t particularly original, you can’t help but
enjoy them.
www.myspace.com/spitfirecharlie
Will Columbine |
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