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singles -
june 2007
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Usually music goes in cycles. If you
subscribe to Factory Records’ supremo Tony Wilson’s theory, it happens every
thirteen years, which is why acid house took so long to arrive after punk.
But what I want to know is why loads of bands are suddenly ‘The something’
again? I thought we left that back in 2002 where it belonged? Seriously,
it’s these kinds of questions that keep me awake at night.
Anyway, no matter. Liverpool’s The
Wombats (you see? Can’t get my head around it) have come a long way in a
minute time-frame, which would usually mean there’s a large hype engine
behind them. But no, they appear to have made it on merit, since ‘Kill The
Director’ is a cracker. Less than three minutes to invade every cell in your
body with Futureheads-style glee, it’s so sweet you could take it on a
mountaineering expedition for sustenance. “This is no Bridget Jones,”
screams lead singer Matthew Murphy at the song’s climax. I still have no
idea what it’s in reference to, but it sounds ace. However far “The” Wombats
get, they’ll have deserved it.
www.myspace.com/thewombatsuk
Chris Stanley |
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Being from the Black Country, we
don’t really have ‘scenes,’ more bands that will play gigs if we ask them
nicely. You see, we West Midlands natives get a bit suspicious of hype and
stuff, because there’s very little about where we live to big up. We get
especially restless when so-called “London folk” tell us what we should and
shouldn’t like. Take it from me – the less we hear about the “New Cross
scene”, the better.0
Pull Tiger Tail are part of this
hyped area, which apparently isn’t all that great. But behind all the
bluster, they’re actually pretty good. ‘Hurricanes’ is a nice whip of a
single, not as catchy as something like ‘Let’s Lightning’ or as cutting as
‘Mr 100 Percent’ but still miles above what others are producing. Grab onto
their tail while you can, ‘cos they’re going all the way. Away from New
Cross, at least.
www.myspace.com/pulltigertail
www.pulltigertail.com
Chris Stanley |
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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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The opening of this sounds like the Clangers before a rather irritating
electro punk squeaking noise begins to dominate. I say noise, it could have
been Caroline Martial's voice. Frenchies Kap Bambino certainly look exciting
live judging by the press pack pictures but this single sounds like a
brainstorming session involving Fisher Price toys. Hard going.
www.myspace.com/kapbambino
SB |
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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 Columine |
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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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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
Will Columbine |
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Rotary Ten like to mix up influences
from both sides of the pond. They do that judder-y Libertines thing, but
their guitarist can’t decide whether he wants to be Johnny Marr or try and
get all subversive with his delay pedal like he’s auditioning for Explosions
in the Sky. Surprisingly the contents of such a melting pot don’t taste as
foul as you’d think, although I can’t remember for the life of me how any of
the songs go once the CD stops a-spinning.
www.rotaryten.co.uk
Will Columbine |
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Another bastard child of the
post-Libertines era, Rob McCulloch’s “Golden Boy” is (and I quote) “an 18
carat offering from the indie/rock genius who’s proving to a priceless gem
in the industry’s crown”. At this point I feel compelled to ask, why not 24
carat? Is it because young Rob is still honing his craft and will surely
reach the pinnacle of song-writing perfection in due course? Or perhaps it’s
down to the fact that there’s nothing here to contend with yer average Kooks
b-side. Now I understand why Rob looks so nervous in his picture.
Will Columbine |
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The London new wave scene is hardly that new anymore and The Mighty Roars
are only adding to an already crowded shelf in HMV. ''Wish Everything' is a
slightly surprising departure and sounds like it is about to turn into the
Kinks' 'Lola' at any moment. Very forgettable.
SB |
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The second of four EPs to be released by Leeds' Authors of Malicious Code
sees the band clearly growing in confidence and delivering a really
professional performance. There's hints of Biffy Clyro and Placebo about
this. AOMC seem to play well within themselves and I mean this in a good way
- there's always a temptation to throw everything into a promo EP but these
excesses have been eschewed in favour of a rigorous pair of songs that are
tight, dynamic and definitely build on the right direction from Part One.
www.myspace.com/aomc
SB |
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Lau's Kris Drever is a busy boy - when he's not finishing up his own solo
album he's adding the primary parts to Lau's sound. 'Butcher Boy' is a
faintly morbid folk song with a distinctly celtic vibe to it, not least due
to Drever's Caledonian intonations. The fellow musicians Martin Green and
Aidan O'Rourke provide a rich tapestry of accordian and fiddle that weaves
more than just a rich cloth of backing music. Perfect music to accompany a
gentle ramble through the Cairngorms.
http://www.lau-music.co.uk
SB |
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Opening with a vocal that sounds like a
whining cat is never going to win me over. We have plenty of acts to do this
for us - Lily Allen, Amy Winehouse etc. Though it does seem that Heather
Greene's day job does share another of Winehouse's passions - she is a
whisky taster for the Scotch Malt Whisky Society. I'm sure there are plenty
more Winehouse jokes available in there somewhere. Either way, this is not
for me.
www.heathergreen.com
SB |
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Remember Koopa? the first unsigned
band to make it into the 'Official' Top 40 UK chart? No, thought not. 'One
Off Song for the Summer' follows the template of 'Blag, Steal & Borrow' -
light hearted teeny indie rock. Didn't do McFly any harm I suppose but it's
certainly not going widen their appeal to post GCSE listeners.
www.myspace.com/koopa
SB |
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Is this crap single half hour or something?
Chorused guitars, vocal harmonies, drum patterns tighter than a gnats arse -
there's no room for any invention here between the obligatory guitar solo
and general rock posturing. Soul sapping - ejected mid-solo.
SB |
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Single 'Tracy' has not really
changed in my eyes since I reviewed it in
December 2006 - it's still very good and it saves me typing away all
over again. So onto 'Futurist Suit' which swaggers between synths and
slashing guitar with Caz singing about 'dreaming in orange and green' -
their sartorial colours of choice. Once again, incredibly self assured and
silkily produced - have a listen and I defy you not to just wobble gently in
your seat in a way you might think is funky (but actually makes you look
like you have sat on something unpleasant.)
www.myspace.com/thisisfuckingbrilliant
SB |
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I can only tell you about the first three songs of Secretly Soulmates'
forthcoming EP because the other two tracks have yet to be recorded.
However, it is a safe bet that both tunes will contain a combination of
pounding drums, dark guitar riffs and death-rattle vocals, much like the
three un-mastered tracks on offer to this reviewer.
At the best moments, these songs recall A Perfect Circle with shifting drum
patterns and textures, whilst the title track 'Sky of Steel' builds nicely
from its relatively calm breakdown back to full-mosh mode. But at times
these tracks struggle to escape the cliches of the genre and sound like
everything else on Kerrang's playlist. It will be up to Scunthorpe's
metallers to decide if this offering, when it arrives, is sufficiently
'post-hardcore' for their tastes.
www.myspace.com/secretlysoulmates
Chris McCague |
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Claire Odlum, aka Odi, has conjured a marvellously edgy trio of expertly
crafted folk-rock songs for her debut release. Odi's warm, soulful voice
achieves the rare feat of sounding instantly familiar whilst retaining
something distinct from the rest of the pack. The chromatic notes she sings
on the line 'I will never forget your face' on the B-side 'Mariposa' are at
once both haunting and brilliant and will have the likes of Gemma Hayes
shaking her head in admiration.
The first track 'Crawl' is the single and rightly so for it is a strong,
muscular tune using gritty electric guitars to frame Odi's winning voice
perfectly. Very, very promising. More please.
www.odimusic.co.uk
Chris McCague |
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The opening track from their self titled album,
'Lihkolaš' demonstrates all of the beautiful qualities that make
Adjágas so special. The timeless Sami song writing skills that seem to
create a round in this track are both spartan yet warming at the same time -
undoubtedly a handy quality if you live in the Arctic circle.
www.everrecords.com
SB |
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You have no doubt already seen the posters and probably the video which
seems to be getting an unhealthy amount of airplay on TV at the moment. I'm
hoping this is supposed to be tongue in cheek but it just sounds a bit
unwholesome and misogynistic to me. Don't get me wrong -I'm not some kind of
bra burning feminist. But these lyrics sound like they could have come out
of the mouths of the dickheads who have been on Shipwrecked for last 5
months. And that is why it will be a hit. Youth of today and all that...
watch the video to 'The
Girls'
www.myspace.com/calvinharristv
SB |
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When you listen to this track you can instantly tell
its Air, with the synths, bass and rolling piano. ‘Mer du Japon’ directly
translates to ‘Sea of Japan’. That’s the limit of my French skills but
despite not understanding the other lyrics, I really like this tune. It’s a
chilled track that puts you in a summery mood with the sound of lapping
waves, but the potential’s there for some harder remixes. I haven’t heard
anything by Air for a while, but this track is certainly encouraging so I’d
be tempted to check out the album its taken from ‘Pocket Symphony’.
Louise Butler |
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I was looking forward to listening to this track. I’d
not heard of Dragonette before but their My Space page describes them as
electro pop. The track starts off quite promising with a filthy bassline,
but it never really gets going and the vocal ‘I say yes when I oughta say
no’, gets repetitive and boring. I was expecting something more from the
Trophy Twins 24 mix but wasn’t impressed. There’s nothing new or interesting
here either.
I wouldn’t write off Dragonette completely as I like
the electro elements to their sound, I just don’t think they’ve got this
track quite right. I’m optimistic that their other stuff might have
something more to offer.
www.dragonette.ca
www.myspace.com/dragonetteband
watch the video to 'I
Get Around'
Louise Butler |
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Peg sounds a lot like what over diluted Ribena would
sound like, if over diluted Ribena was a song. Weak, weak, and weak. The
lyrics are embarrassingly juvenile, the bass line sounds like it’s been done
on an Early Learning Centre keyboard (and not in a cool way), and there
don’t seem to have been any actual instruments used. Throw it away and start
again.
www.nerinapallot.com
Catriona Boyle |
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Split singles - a weird concept if you ask me. But you aren't asking me,
you want to know what they sound like. Well, I'm pleased to report that
Johnny Foreigner sound very nice indeed, all twinkly cascading guitars and
lively boy girl vocal repartee. Absolutely smashing on a summer evening like
today. Remind me a bit of the magnificent Buen Chico actually.
Sadly I'm not so fond of Sunset Cinema Club who have a staccato,
disjointed, yelpy, shouty, slightly dub punk sound that frankly makes my
ears hurt. Then things get really incestuous with each band covering a song
by the other and I really begin to lose the plot. The only constant is
Sunset Cinema Club who still make my ears hurt though.
www.myscape.com/johnnyforeigner
www.myspace.com/sunsetcinemaclub
SB |
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It appears I had a somewhat delusional impression of
these guys, i.e. I though they were alright. Turns out I was a bit wrong
there. Shooting Star is an over sincere, watery, piano driven balled,
featuring some slightly hard to reach vocals for lead singer Chris Wall.
Isn’t one Keane enough?
www.air-traffic.co.uk
Watch video clip to 'Shooting
Star'
Catriona Boyle |
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I may be off the track here and just not 'getting it' but this sounds
like sub-meatloaf piano-driven power ballad pop drivel. Maybe others would
call it 'anthemic' and 'moving'. I don't. It is lumbering tosh.
www.cherryghost.co.uk
SB |
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The opening drum beat sounds a lot like the opening
drums to that Spiller song Sophie Ellis-Bexter did guest vocals on many a
summer ago. At least that song had a catchy chorus. The vocals get a bit
interesting halfway through the first remix (or Rmx as the cool kids write
it) as they have a lilting far away quality which juxtaposes nicely with the
synths. If less is more Lekiddo must be the greatest artist alive, as these
tracks are definitely minimalistic. Perhaps this is stuff is cutting edge,
and I’m just missing the point. However, my ears have been in no way
delighted, challenged, or even vaguely amused.
www.myspace.com/lekiddo
Catriona Boyle |
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I love the band name and they look fun too - all dressed in matching
hoodies on the press release. They sound like an early Pop Will Eat Itself
- all youthful exuberance, layered guitars, massed vocals and simple
chords. 'Disco Siberia' will not help them win a Novello award but it is 3
minutes of energetic punk pop fun.
www.swound.co.uk
SB |
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McSweeney’s vocals are a glorious mish mash of current
folk singers like Richard Thompson, and older protest singers like Pete
Seger, as well as his own musical stylings. Postcards is a rousing song with
rich lyrics, and a nice loud/quiet/loud balance. It’s hard to not been drawn
in by McSweeny’s emotion and subtle simplicity. B-side My Design is a bit of
a toe-tapper with country influences and a takes an interesting twist with a
breakdown in the middle eight followed by a soaring ending. Cracking stuff.
www.myspace.com/neilmcsweeney
Catriona Boyle |
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How the devil did this make its way into the Tasty mailbag? Someone
nominated for a Mobo Best R'n'B male - not the stuff of your average indie
zine is it? But despite suffering the standard heartfelt r'n'b vocal
affectations which see James warbling away like every other singer in his
genre, their is a slightly dark undercurrent to the song and the
composition. Which there should be - it is about the genocide in Rwanda. I'm
not sure I'd buy it but it hasn't completely offended me.
www.natejames.com
SB |
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The simple yet incredibly effective percussion drives
this track, one of the more folk influenced songs from Findlay Brown’s
brilliant album, Separated by the Sea. Findlay’s vocal take on a more
traditional, folky feel, and the backing vocals add depth to the simple
acoustic instrumentation. Findaly’s cover of the Jesus and the Mary Chain’s
Just Like Honey is the real treat on this CD. The track is stripped bare,
with just an acoustic guitar, Findlay, and some otherworldly backing vocals.
An absolute heartbreaker.
www.myspace.com/findlaybrown
Catriona Boyle |
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A bit of a mouthful of a name for a band who sound not unlike the Divine
Comedy. I swear at times it was like Neil Hannon and Bono having a vocal
sparring match. That said, quite a pleasing little indie pop, almost
Smithsian number that is timed to be released the same day as Tony Blair
leaves Downing Street. Lines like 'We don't believe any more of your lies'
and 'don't trust politicians' are hardly going to inspire any revolutionary
fervour - they are such a theme du jour, but at least the sentiment is in
the right place.
www.myspace.com/theirheartswerefullofspring
SB |
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Due to the obvious grammatical errors, fact that Tiga
sounds a lot like Mika, and that the press release uses the word ‘fabulous’
to describe Jake Shears from the Scissor Sisters, I find listening to this
with an open mind a bit of a challenge. Much to my surprise though, it’s
quite good. The lyrics, although naturally one dimension, are quite fun, as
is the funky bassline and hook filled synths. There’s even an opportunity
for a little hand clap. The Tocadisco remix ruins the fun slightly, and
appears to have the sound of a bus stopping half way through. It’s also
twice as long as the other remixes, which is a few more minutes than I can
stomach.
It won’t change your life, but with all the factors
against it, it could have been a lot worse.
Watch 'You
Gonna Want Me'
Catriona Boyle |
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Hmm, not sure what to make of this. inspiration from the press release
only confuses further as it sees the band inexplicably posing for a
photograph knee-deep in a lake somewhere. It's enigmatic innit? Like those
Echo and the Bunnymen covers. I digress.
'Hit the Ground Running' is a slow piano-led ballad that keeps a tight
grip on any instrumental excesses to allow the oodles of schmaltzy sentiment
to ooze through. Not entirely a bad thing in my book - have a plan and see
it through. I guess there's quite an appetite for this sort of thing so the
fact that the song lacks any real hook should not be too much of a problem.
'Wolves and Ravens' is a world apart with it's chacka-boom guitar,
warehouse recorded drums and disconnected backing vocals (which would be
better off being scrapped altogether). Not good.
www.superkings.org
SB |
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There seems to be a bit of a revival of lounge music at
the moment, with the likes of Mr Hudson getting a bit of attention. The
Nextmen, sadly aren’t quite cool enough for longue music. They’re more front
room or sitting room music. Also there’s been a bit of a cock up with the
tracklisting on the CD so I’m not quite sure what’s going on. The
instrumental version of Let It Roll has a lot of vocals on and mentions the
word Concentrate, which is the name track two, which turned out to be an
instrumental version of track one. Still with me? All of this is fairly
irrelevant anway, as aside from Let It Roll, which features some quality
vocals, there’s little else to get excited about in the other three tracks.
www.nextmen.com
Catriona Boyle |
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Oh good grief. I was quite a fan of Black Strobe's debut single 'Shining
Bright Star' but this is terrible. A cover of Bo Diddley's classic, what
strives to be an electronic rockabilly masterpiece sounds more like the
Glitterband. Thank christ there are some decent remixes included on the CD
and also a fantastically sneering and warped techno bonus track 'Pins and
Needles'. Just scrap the radio edit of 'I'm a man' and release the rest of
it would be my advice.
SB |
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Well, I don’t know much about Willy Mason but this song
was a good introduction. It has a gorgeous melodic acoustic guitar rift,
with piano overtones and a strong bassline. Surprisingly, KT Tunstall also
does vocals on this track, just on the chorus, but her voice contrasts well
to the deep tones of Willy Mason. Definitely a tune worth a listen.
www.willymason.com
Watch the video to 'We
Can Be Strong'
Louise Butler |
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It's not often you can say that a band seems to have created a completely
new sound so congratulations to twentysixfeet who have fused a drum and bass
breakbeat, techno bleeps and beats, guitars which sound like they are being
chain sawed to pieces with disturbing haunted vocals.
Just when you are considering the possibility that 'My Dead Organ' is a
masterpiece and twentysixfeet maybe be the saviours of rock music, 'Hejira'
brings us back to our senses. Not that it is a bad track. it's not bad, it's
actually quite good. But it definitely sits more comfortably in a pigeon
hole with the likes of 65 Days of Static and reminds us that not every track
is genre defying. Drags a little bit too - maybe they should bang in some
more breakbeats...
www.twentysixfeet.net
SB |
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With the dance influenced bassline accompanying her
airy vocals, Tracey Thorn immediately distances herself from Lilly Allen et
al with this low fi 80s sounding track. There is however little variation in
the track, mainly due to the lack of instruments, and the four minutes seem
longer than necessary for Raise the Roof. But it makes an interesting
listen, Thorn’s vocals are very easy on the ear, and it’s a breath of fresh
hair in a predominantly Cockney accent dominated sector.
www.traceythorn.com
Catriona Boyle |
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Although this has a few ingredients that might otherwise define it as
more Euro rock cheese than flying-V shaped block of Edam, 'Heartless Wreck'
is a fair stonker of a single. Simple, punchy guitars (ignore the 'White
Wedding' style pick slide intro), urgent choruses (ignore the Scorpions-like
intonations) and fantastic rhythm section arrangements (there's no need to
ignore anything here - they really are that good). That was a pleasant
surprise wasn't it?
www.myspace.com/soundslikeviolence
SB |
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Following in the finest Manchester traditions of glittering guitar
arrangements a la Marr, Polytechnic try to gloss over the fact that 'Won't
You Come Around?' doesn't really have much of a tune. Sadly no amount of
intricate guitar, 'ooh ooh oohs' and bobbling bass can disguise this fact.
Not to worry - I'm sure it won't stop NME from loving them.
www.wearepolytechnic.com
SB |
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With song titles like Victory of Ghosts and Our House
Fell Down (But Now We Can See The Stars), it’s not difficult to guess that
The Search Map are a little bit on the epic side. And this – the debut
three-track EP from the southern five piece – is a fine example of the sort
of music made by a new band with a great deal of ambition. With almost
sing-along choruses, their sound sits on the poppier side of post-rock, more
reminiscent of M83 or Hope of The States than any of the instrumental groups
(e.g Do Make Say Think, Godspeed You! Black Emperor). Not that that’s a
criticism by any means, as this EP is packed with the kind of creativity
that shows a band not content with leaving something merely alright. A good
example of this is the way that final track, Victory of Ghosts is a good
fairly standard epic indie-ish song, but is perfected with some avant-garde
Battles-esque beat-boxing.
This is very nice. Very nice indeed. And if they can
pull off what they do on record on stage, then they’ll be a very inviting
live proposition.
Patrick Dowson |
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The world’s a bit devoid of good old noisy jazz bands,
these days. And Mothguts do the “if Lightning Bolt were a jazz band and even
weirder” sort of thing very well. Mind you, it’s not easy to get into at
first, but once the flailing saxophone claws its way into your conscience,
there’s nothing you can do to get it out.
A flip of the vinyl later, you can find the even more
interestingly monikered Honey Ride Me a Goat. In my opinion at least, this
is even better. It’s the sort of music Don Caballero should be making
instead of the flawed-but-still-alright World Class Listening Problem, and
there is a significant amount of Damon Che’s Pennsylvania lot’s influence on
this side of the record. However HRMAG do put their own manic spin on
things, and keep you hooked for every single second that they’re playing.
Vinyl fans might be interested to know it’s on a red 12” limited to five
hundred copies. Well worth a tenner or however much it costs.
Patrick Dowson |
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Would you believe me if I said I'd just
written a rather long and impressive review of this when my PC crashed and
all was lost? Well it doesn't matter if you believe me or not, we like a bit
of The Whip here so I'll even make the effort to write a second review.
'Divebomb' will be familiar with anyone who has heard Kitsune's 'Maison
4' compilation and is a relatively simple arrangement of seemingly
disjointed synth parts that build and coalesce before finally arriving at
one glorious layered finale wall of techno sound. More in keeping with chic
French electro labels and acts than the more desolate German and
Scandinavian exponents of the electro art, The Whip are surely one of the
must see gigs of the summer.
www.myspace.com/thewhipmanchester
SB |
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Surely a contender for worst
band name of the month? Not only is scrim a horrible sounding word - it's a
little known fact that 'jute scrim' is a fabric type mesh that is used to
seal joints between plaster boards before they are skimmed. Consider your
lives enriched by this fact? Thought not.
Scrim (the band) are all about rock however. Both tracks on this single
are really well produced and competently performed but lack that bit of
oomph to get me hooked - even the 30 second guitar solo (this surely is 'Old
School' eh?) seems a bit mechanical. I do really like the dropped tuning and
driving guitar in 'My Revolution' though - a bit reminiscent of Pearl Jam's
'Even Flow'. Plenty to work with on future releases.
SB
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Scrim - I take it back - you
do not have the worst name of the month. Phonic Rapture? Now that is pompous
- can the music live up to the name? Well, to be honest I'd say not. 'The
Arrow' is a bit of a lumbering bluesey rock song with funny electro bass
sound which cannot be masked by any amount of admittedly impressive guitar
licks, riffs and soloing. There is no drive to the track and the long drawn
our vocals only emphasise it's like of dynamism.
www.phonic-rapture.co.uk
SB |
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That's right - that really is the song title. And that's right - they really
are called Nifters. But don't worry - there will be no bloodshed caused by
this harmless euro rock outpouring. Admittedly I couldn't sing in Swedish
but Mats Larsson's vocals are unconvincing - I didn't even realise he was
singing in English until it got to the chorus. Verse, Chorus, Verse, Chorus,
bridge, key change, chorus. Rock by numbers. Nifters look quite scary though
so I'll pretend I actually really like it - honest.
SB |
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Well here's a
rather catchy little number dripping in a warped sample that would certainly
scare the children the song is supposed to be greeting. Heavily influenced
by the likes of Death in Vegas I would guess, there's a rather unexpected
clatter of bass and guitar midway through the track after you had probably
consigned yourself to thinking this was going to be an electro only number.
Short and not necessarily sweet but certainly a great way of getting rid of
unwanted trick or treaters around Halloween. I'm intrigued.
www.myspace.com/archiveofeverything
SB |
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A bursting riffmongous
drum clattering electro rock romp. Sounds like a News of the World headline.
It is unashamedly dated without a hint of irony which may be why it almost
works - a bit like the Emperor's new clothes scenario. But ultimately it's
just 80's pop innit?
SB |
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Boston-based power-poppers Guster have been around in one form or another
since the early nineties and are now on their fifth album ('Ganging Up On
The Sun') from which the single 'One Man Wrecking Machine' is taken.
I must admit, I took an instant dislike to the actual title of the track and
this was exacerbated when I heard the rather naff opening lines to the song
which involve time machines and the homecoming queen's pants. No, I'm not
making this up. However, putting these annoyances to one side, the track is
a bit of grower and actually quite decent methinks - a slow-burning ,
guitar-driven pop ballad offering a glowing, reflective look back at life
from the perspective of a pensive thirty-something. No need to bring
people's underwear into it though.
www.myspace.com/guster
Tony Robinson |
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Coventry threesome The Ripps release another energetic slab of punk-pop
from their debut album Long Live The Ripps. 'Holiday' is a tongue-in-cheek
indie homage to the summer, predictably involving beers, piers, and almighty
hangovers. Unoriginal subject matter yes, but the breakneck pace and
undeniable effervescent charm of the song would win over even the most
ardent of non-believers. As for the other tracks on the single, the remix
version of 'Holiday' is utterly pointless and unnecessary, whilst non-album
track 'Black Eye' is a punky effort with bags of perspiration but little in
the way of inspiration. The Ripps are certainly not going to change the
world, but with 'Holiday' they might just put a drunken smile on your face
this summer.
http://www.myspace.com/theripps
Watch the video to 'Holiday'
Tony Robinson |
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The packaging to this EP is a reviewer's dream - a double 7" gatefold
with extra card sheath, yum yum, all red and black and beautifully designed.
Are the tunes contained herein up to the promise of the outer? In glorious
remembrance of John Peel, I play side A "Chemistry" at the wrong speed and
actually prefer it to the right speed. The sign of a top tune, with Josh
Homme's trademark guitar squeals all over it. Side B "Morning Rage" is a
nice, fuzzed up overdriven and synth underlaid piece of prog punk, reminding
me a bit of Radiohead 10 years ago at times and at others, echoes of Mansun.
Good. Side C "Persons and Machinery" is dronefest musically that
Velvet/arcade fire fans would like, there's some sparse glockenspiel going
on, accompanied by sumptuous organ, oh, it's lovely. So lovely that I'm
going to play it again. yes, it's lovely still. And after another 6 listens,
it's the business. Side D's "Mayday" is a rousing, Glitterband of a stomper
and a pretty good way to close this collection. So James Lavelle, still
asking questions and spreading the collaborative effort. Buy this 'ere EP is
my advice.
Dave Procter |
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“If there’s such a thing as talent, then this lad shits
it,” said the agent of Marc Park, the Peter Kay creation who sang such
cheesy ballads as ‘African Tears’ and ‘Christmas 2000.’ Trouble is, I can’t
think of any other way to describe Alex Cornish, the young and prodigiously
talented Scottish singer-songwriter. He’s got a song on a film soundtrack,
runs his own label, plays loads of instruments, and makes beautiful music.
If there was a way of bottling potential, he’d never have to work again
after going to the loo in the morning.
This download-only single, recorded totally in
Cornish’s bedroom, is a lovely wash of strings and picked guitar, suggesting
the mournful lament of a lover staring out at the grey skies. It’s a
melancholy triumph, and Cornish is old beyond his years if this offering is
anything to go on. Sometimes, not all the time, but sometimes, the cream
rises to the top for a reason.
www.myspace.com/alexcornish
Chris Stanley |
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The rather drably-named Device release their debut UK single on the
fledgling Vashon Ferry label and kick things off with the excellent pounding
intro of lead track 'Essex County Line'. It's an intro which hints at great
things to come, but despite plenty of bluster, the track never delivers on
its initial promise. It's hard to escape the fact that 'Essex County Line'
is about a train ride around the south of England. Wooo-hooo!! Rock'n'roll
dudes!! Pleasantly anthemic, if slightly-overblown pop, for people with
little imagination and/or an obsession with train-journeys. It will probably
do very well.
Second track 'Sirens' is a more understated and affecting affair. A
well-crafted pop tune, it gently rolls around in an intelligent and
satisfying manner and, for me, would have made a better A-side than 'Essex
County Line'. They still manage to get in a mention of trains though.
They're obsessed!
Third and final track 'Angel of the South' is just dull, dull, dull and
despite several listens it has failed to lodge a single thought, image or
emotion in my brain. But, wait, no trains on this one! Maybe that's what
it's missing. Yeah, 'Railway-Rock' - it's the next big thing don't you know.
http://www.myspace.com/devicemusic
http://www.devicemusic.co.uk
Tony Robinson |
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I’ve heard only good things about Gallows. If Kerrang!
has them featured in every issue then they must be great..only kidding. But
seriously, all the articles featured photos of gingernut frontman Frank
Carter snarling and sweating and twatting someone in the head with a
microphone so I was happy for a chance to give them a good listen. For what
they’re made out to be, you’d expect something with more impact, not a
mediocre song with whining vocals in parts. Don’t believe the hype (read:
press release), it’s not hardcore. And it. is. not. punk. It’s boring. I’m
just happy I didn’t get the version with the Black Flag cover (remember
kids..WWHRD?)
Willa C |
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‘And Then You’ll Burst Into Flame’ is as much a
housewarming present from Staffordshire band Truckdriver Jnr as it is for
the new independent record label We Like Danger! At five songs long (the
opening track is a sampled intro) it becomes clear that this band is about
minimal vocals and structured sections of guitarwork and drumming. It’s
heavy and rides the very thin line between rhythmic and monotonous, but if
you like bands like Devil Sold His Soul you’ll know what I mean, and in that
case I recommend it to you. Keep an eye out not only for this band, but for
their label too. It’s more than a good start. Best tracks: ‘We are Men of
Action’ and ‘Pretty Black’.
Willa C |
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There’s few people who have a strong enough voice to
have unaccompanied parts on the first song of their first EP. Kris Morris is
certainly on of them though. Broken is a song to warm the coldest of hearts.
This EP is one of the most sincere and heartfelt
collection of songs I’ve heard in a while, and I’d challenge anyone not to
get something from it. The simple melancholic strumming of the acoustic
provides Kris will all the backing his voice needs.
Whilst its unfair to say there’s no honesty in music
these days (The View’s declaration of their unwashed clothes, Maximo Park’s
heart –on –sleeve relationship analysis) there’s only a few people who
actually go a little deeper, particularly into the not so pleasant things,
but Little Light articulates this perfectly.
Why this man had to release his own EP is an absolute
mystery/travesty. Someone sign him. Now.
www.krismorris.com
Catriona Boyle |
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First used on an M & S ad at Christmas (and undoubtedly
did wonders for their sales figures) Dame Shirley’s cover of Pink’s Get The
Party Started sees a very very mediocre pop song transformed into a
melodramatic theme tune in the way only Dame Shirley can, and will leave you
saying Pink who? (if you weren’t already).
With the addition of her trademark cascading strings,
incredible voice, and cheeky sense of humour the song is given an air of
mystery, class and sparkle. Fabulous.
www.myspace.com/shirleybassey
Catriona Boyle |
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Her kicks off with a slightly disjointed rhythm, making
it a bit tricky to get in to. It’s pleasant enough though, with a quirky
Clap Your Hands Say Yeah feel. I’m Not Worried is a laid back track,
displays TD’s warm voice in a country influenced track which is far better
than the A side. Disco Beat strays even further into country with slide
guitar and muffled vocals. It seems that this is where TD Lind is most
comfortable, although is versatility makes for an interesting listen.
www.tdlind.com
Catriona Boyle |
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A lilting piano ballad with gentle vocals. It won’t
offend you, but it won’t bowl you over either.
Catriona Boyle |
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No, not quirky American popsters Fountains of Wayne,
but altogether slightly more serious ‘musical collective’ The Wayne
Foundation. The off beat ska chords in first track Friday Night Nation
seduce you into thinking maybe its not so bad… when what sounds like
Westwood kicks in with vocals about Smirnoff Ice and vomiting girls. And not
in a humorous Arctic Monkeys way either. Boring boring boring. Oh and
apparently the rhythm is ‘drunken reggae’ and not ska. Silly me. And what’s
this? They’ve used the exact same drunken rhythm in track two.
Don’t Want To Be A Daddy has a vocal style reminiscent
of The Streets honesty and attention to detail, but the faux strings in the
background and the boy band chorus ruins it.
Prick Tease is quite frankly vulgar and unnecessary,
and perhaps all the girls that won’t sleep with the singer have heard his
music. And the fact that it sounds a lot like Madness just makes my head
hurt.
There are plenty of people that do this better,
funnier, and with a little more class.
www.myspace.com/thewaynefoundation
Catriona Boyle |
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It’s so tempting to lay into little
old BC Camplight, deride him, say that you wished, Lord, that He’d Been on
Fire. But to do so would be an act of callous jealously. Unprovoked
assaults for no other reason than because frustration boiled in your belly
every time you picked up a guitar. Boiling and spluttering since, unblessed
of the talent bestowed upon this individual, you sound rubbish and he sounds
effortlessly cool.
Being cool, not easy. Being
brilliant at guitar doesn’t equal cool, look at Johnny Marr since he left
the Smiths. Being lyrically gifted doesn’t either, look at Craig David,
sorry, bad example. Switch that one around to ‘being vocally talented’ for
me. Thanks. You see, BC Camplight is all these things and you get the
impression he doesn’t need to try. If he made you a cup of tea, it would be
the best cup of tea you’d ever had, and he wouldn’t be able to tell you the
secret it would just always happen like that for him.
The title track is a haunting
melodic thing of beauty. Imagine early Gorky’s, performed while the band
were simultaneously high on LSD, visualising a perfect world and playing
through a magic filter that made them sound like late 60’s visionaries 13th
floor elevators. It’s just a lovely song. Backed up with two further
glorious offerings, The Hip and The Homeless and the joyous Say Tonto, I’m
off to actually pay for the album.
Ian Anderson |
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Super super heartfelt lead singer
Tim recently won a Brian Adams soundalike competition, beating both Ryan and
Brian Adams in the process. An amazing feat for one man, and a great
accomplishment I’m sure you’ll agree. So now, when Tim joins up with his
band Van Tramp, he loves to show the old dogs his new tricks. Showcasing his
emotional vocals and tingeing them with so much emotion that nobody could
deny that he had a very emotional voice, so full of emotion, it could almost
be, Brian Adams.
Beyond that though, there’s not a
whole lot to say about Van Tramp, except that they construct their songs
nicely and your dad would love them. Good luck to them, in an increasingly
crowded marketplace, it’s hard to sound like Brian Adams and not stand out.
Ian Anderson |
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