|
|
singles -
october 2007
|
|
|
|
|
|
|
|
|
|
'Underworld return with the soundtrack to the summer' reads the press
release. Erm, if I'm not mistaken this is released on the 8th October so
they may have missed the boat on that one. Similarly comparing it to the
likes of 'Born Slippy' and 'Rez' is futile - this single is far more akin to
the more laid back, cerebral style exhibited by Underworld on 'dubnobasswithmyheadman'
- no rabble rousing ranting chorus of 'lager lager lager' top be heard here.
The bass line is pulsating and the trademark vocals are put through a ringer
of effects. The overall effect? Very ambient. As are the various remixes.
But Underworld have always tapped into a completely different scene from
that inhabited by their more famous Trainspotting soundtrack. 'Crocodile'
continues the where the album 'Beaucoup Fish' left off.
Watch the video to 'Crocodile'
www.underworldlive.com
SB |
|
|
|
| |
This dazzling double A-side single from NYC's Les Savy Fav marks the
release of 'Let's Stay Friends'
, the band's first album for 6 years. 'What Would Wolves Do?' starts off
gentle, melodious guitars jangling away in a vaguely Strokesian fashion
while endearingly strange lyrics about 'huffing the sky into our mouths' and
'drinking the oceans' conjour up some interestingly surreal images. Anyway,
it turns out that they are just messing about with the hushed tones and
restraint as the guitars explode into life almost half way through, the
singer spitting defiance and vengeance, seemingly upon the entire world.
Almost as suddenly as it arrived, the loudness is gone, the song is back to
its jangly guitars, and the singer is impersonating a howling wolf ( 'Aaaaa-Whooooo')
- I mean, what more can you ask for?
'The Year Before The Year 2000' (or '1999' as I prefer to call it - not the
Prince one though) follows a similar quiet-loud-quiet pattern to 'What Would
Wolves Do?' but doesn't quite equal it's skewed brilliance. Nevertheless, it
is still a great track in its own right, achieving that magic combination of
boisterousness and tight riffs packed with melody.
So, what would wolves do? Buy the album, of course.
http://www.myspace.com/lessavyfav
Tony Robinson |
| |
|
|
|
A bit of an unexpected pleasant surprise as 'Something Got You' sounds a
lot more like White Lines era Massive Attack than their normal pot pourri
mix of genres. Simple but bassy keys and a beautiful voice are it has and
all it needs.
watch video to 'Something
Got You'
Ian Anderson |
| |
|
|
|
Weird - I could have sworn I'd already reviewed this last month...no
matter. Laura Marling is damaged sounding young thing with a lark-like voice
that dances around her earthy lyrics. The guitars on 'Night Terror' remind
me strongly of David Thomas Broughton - all skewed and awkward with all the
mistakes left in and all the better for it. It's a strong song and leads on
nicely to the title track which is a lilting folky number which is all too
easy to slip past after the sombre tone of 'Night Terror'. Worth watching
now before she starts selling out the NEC arena.
SB |
| |
|
|
|
A perfect man meets machine (if you forgive the pun) electro pop with
dirty guitars and warped loops. Does sound a lot like Garbage or maybe even
Curve circa 'Come Clean' - this in itself makes me think it might sound a
bit dated but I like both those other bands so sod it - I'm giving it a
thumbs up as the ending sounds like a gang of youths swinging hammers in a
tin can factory.
SB |
| |
|
|
|
Keep playing, keep playing. Dammit, stop doing that stop start thing all
through the verse. I can see where the comparisons with Fugazi come from but
I could not imagine the the F-Men ever making such a polished record - this
production is far too slick to sound like east coast hardcore. That said,
there are some excellent ideas going on, particularly in B-side 'Fire Come
Soon' which is dynamically genius. I'm cautiously excited about the album
(as long as I don't see a press shot of the band sporting 'hair cuts').
SB |
| |
|
|
|
This is For Real? 'For Real' - that's what Richie Manic carved into his
own arm in blood with a razor blade - and even that wasn't really for real
(damn good PR stunt though). I'm sorry - I just don't get this radio-ready
stuff - it all sounds little better than McFly to me.
SB |
| |
|
|
|
Sorry to piss on someone's parade but this single has shocking
production. It sounds like music played by gobby oiks on their mobile phone
on the back seat of the bus. Well, if gobby oiks played blood curdling metal
instead of incessant happy hardcore. Singer Leigh sounds very angry about
something too. A scary prospect.
www.myspace.com/ourdyingconcept
SB |
| |
|
 |
Now this is much chunkier production altogether giving the guitars real
grunt and warbly toned singer Darroh Sudderth's vocals a much needed touch
of gentleness (apart for during his impressive Patton-esque rant in the
bridge). It's still melodic hardcore toss though. Dance of the manatee? A
manatee? A small aquatic be-flippered mammal akin to a dugong? Bizarre
choice of song material...
watch the video to 'Dance
of the Manatee'
www.fairtomidland.com
SB |
|
|
|
|
I know it's a download only single and the quality might have suffered as
a result but if I had to describe the Zebedy rays in one word it would be 'snarey'.
Then I'd have to use a load more words to explain that I meant that all I
could hear was lashings of clattery snare drum which got a bit annoying
after the first 20 seconds. But then it is supposed to be clatterpop. For me
it's too staccato and disjointed to enjoy that much.
www.littlehellfire.co.uk
SB |
| |
|
|
|
Country and Western: the marmite of genres. With such a
polarizing effect it could probably counteract the melting of the Arctic
icecaps, Its fair to say that most people have fairly strong opinions on the
subject. The Redlands Palamino Company fall into the less-offensive side,
that the likes of Uncle Tupelo or Ryan Adams used to reside in. 'She is
yours' is actually rather pleasant, sitting somewhere between the Pixies'
'Here comes your man' and the Dixie Chicks, (which although I've contrived
because it rhymes, isn’t too far from the truth) and even rocks out properly
at the end. The rest of the EP, sadly, starts to stray a bit too far into AM
ballad territory and might be a little bit too vanilla for some people,
still, the leads track is a cool, little jangly pop song that’s definitely
worth a listen.
Andy Glynn |
|
|
|
|
Instantly forgettable lo-fi indie-pop fare. I mean, if you can't get
excited about it yourself then how am I supposed to? The vocals sound like
they were performed after a hearty dose of Night Nurse. One interesting
point of note - it's written about ruining a long term relationship by
having 'accidental sex'. The mind boggles with images of haphazard
penetrations of passing strangers while trying to get on the tube each
morning.
www.radiorebels.net
SB |
| |
|
 |
Highly impressive stuff from the mysterious Mr Fogg who knocks up all his
tracks at home then gets them performed by a full band when playing live.
Similar in production style to some of the Brainlove releases of late
(Napoleon IIIrd, Pagan Wanderer Lu) and London's Alan MX, 'Seciov' is like a
lo-fi new rave with an attention to detail in the intricate electronic parts
and sensitive vocals. 'Black Heart' is gluey, bouncey B-side sounding like
it was crafted for a Nintendo console. Me likey.
watch video to 'Seciov'
www |
| |
|
| |
The Lazarus Plot last release was called 'Doesn't Change a Thing'. With
this titled 'Always the Same' there has to be room for some lazy
journalistic pun somewhere. Sorry to disappoint but I'm too bored by this
piano driven balladeering to even bother punning. Move along.
www.myspace.com/lazarusplotmusic
SB |
| |
|
|
|
Angular Recording Corporation have their niche and they stick to it. I've
also got a soft spot for nouveau goths The Violets and this is their best
track yet. I can see the comparisons with Bowie's 'Fashion' in the
production but The Violets use of synths and various grumbling ethereal
rumbles slashes right across the track in satisfyingly discordant way.
Aceicles.
www.myspace.com/thevioletsuk
SB |
| |
|
|
|
What the devil's name is this nonsense. Sounding like a cross between
Eurovision pop and Electric Six, it seems that Bloodhound Gang's lyrical
prowess has not advanced much past tittering teenager level. Apparently it
has a funny remake of Chris Isaak's 'Wicked Game' video. but apart from this
potential limited brief light relief (no pun intended) I wouldn't recommend
this to anyone.
www.myspace.com/bloodhoundgang
SB |
| |
|
|
|
Scratch by name, scratchy by nature as the guitars scrape gratifyingly
through this chirpy little track. I think I detect a Bowie influence as
'Numbers' sounds a bit like 'Suffragette City' and other Ziggy era stuff.
All good in my book.
www.myspace.com/thescratch
SB |
| |
|
| |
The eternal is getting older good or bad debate put to a vaudevillian
stompathon of a guitar hook until feel like you may have aged 5 years
listening to it. A definite love-it or hate-it track which definitely did
not need an instrumental on the B-side.
www.12stonetoddler.com
SB |
| |
|
|
|
Great record label name, terrible song title. Meba mix nicely laid back
breakbeats and hip-hop rhythms into a well balanced chill out kind of sound.
Shame then that every time I hear the vocals I think of Elkie Brooks, Elaine
Page and other large-lunged stage divas of the past - it's just a bit too
clinically sung and warbling for my tastes.
www.myspace.com/mebabubble
SB |
| |
|
|
|
I keep hearing great things about Oceansize - the future of British shoe
gaze, alt-rock pioneers etc. But I'm afraid that to my unaccustomed ear this
is just a bit, well, dull. It's got that typical Chris Sheldon sound - all
smoothly produced but with all the rawness and passion stripped out. In fact
it sounds just like Biffy Clyro but without the tunes. Soz.
watch the video to 'Unfamiliar'
www.oceansize.co.uk
SB |
|
|
|
 |
The world of the psychedelic nursery rhyme was how a wise man once
described the previous Tunng single 'Bricks'. And this oompah beat led feast
is little different, incorporating rattles, whistles and even a cuckoo clock
at one point to augment the fairytale quality of the vocals.
watch video to 'Bullets'
www.tunng.co.uk
SB |
|
|
|
|
|
As a rule, I hate reviewing bands just by describing which other bands
they sound like. 'Tis lazy, methinks. However, dear reader, you must forgive
me for making an exception in this case. You see, SixNationState sound so
much like The Coral it is a little bit scary. Well, not scary exactly… I
wasn't actually scared or anything… it's just a bit, well, weird.
To be fair, of the three tracks on this release, the lead track probably
sounds the least like our aforementioned scouse friends. 'We Could Be Happy'
is a jangle-pop barrel of sweetness which is incredibly difficult to
dislike, but just as difficult to truly love. Generic lyrics abound - 'we
could be happy, if we try / we could be happy, yeah you and I' - it's not
going to win the Most Profound Lyrics Of The Year Award (even if one
existed, which it doesn't, sadly). It is hugely radio-friendly, although the
tune probably isn't quite memorable enough to lodge itself in the listener's
head.
We are deep into The Coral territory with second track '1,2,3,4'. When I say
The Coral, I mean the slightly unhinged early version of the band, y'know,
all sea shanties and general insanity, la. Revealingly, SixNationState
appear more comfortable with this sound than the rather bland MOR of the
lead track. 'Got it right, got it wrong' follows a similar path to '1,2,3,4'
- rollicking rockabilly propelled by spiralling guitars and the persistent
gravelly bark of lead singer Gerry.
So, what have we learnt here? Well, looking beyond the Coral-isms, the
atrocious band name, and the vapid lyrics of the lead track, I think
SixNationState (arrrggghh, that name!) have shown a glimpse of real talent
and invention here which could develop into something much more enticing in
the future.
http://www.myspace.com/sixnationstatetheband
Watch the video to 'We
Could be Happy'
Tony Robinson |
|
|
|
|
|
The Old House is a name I’m trying to pull from the back of my memory.
They are a band I vaguely can recall and have not heard from for quite some
time, the reason behind this is a two year break made by the band to focus
on more important things than rock and roll like families. But now this
Wakefield outfit is well and truly back, with pop, rock music which is
incredibly enjoyable, chorus vocals a plenty the band make music which must
be great live. The Old House may be old but their music is fresh and fiery.
Their two year break seems to have been a great idea. This single is
testament to a great, and underappreciated band worth listening too.
Gareth Ludkin |
|
|
|
|
|
These two songs on one piece of 7” vinyl are explosive, raucous, blues
rock and roll. Lil’ Lost Lou uses blues harps and a slice of punk to great
effect in a bouncy, energetic song. The bands debut single is a great
bedfellow to the similar blues punk rock sound of Paul Hawkins, also his
debut. ‘The Evil Thoughts’ is the name of the track and the drunken out of
tune vocals are abrasive but suit the melody. Limited to 200 specially
numbered editions this spilt 7” is in short supply. Country, tinged with
blues, punk and rock and roll. Who’d have thought it would work so well?
Gareth Ludkin |
|
|
|
|
|
Nice is a word we are discouraged to use but I can find no others to
describe TD Lind. His music and this single is a bit too clean. A bit too
sterilised. Melodically there are some catchy riffs but it just makes me
feel a little sick.
Ballads are dead in my opinion, nice for your gran or your mum perhaps but
it just isn’t new, it’s not exciting, it’s just playing it safe. ‘Falling’
is basically a fairly standard inoffensive ballad-esque song, we’ve all seen
it before. Come on TD Lind get with it get hip and happening.
Gareth Ludkin |
| |
|
|
|
That looks a bit like a maths equation up there doesn't it? All slashes,
letters and numbers. And if you thought that quadratic equations were scary,
wait until you hear this mob. Lending heavily on the likes of Faith No More,
these three tracks are pretty impressive. loads of chugging guitars, gutsy
vocals and a refreshing light touch of synths that stop things getting a bit
too rawk. It's not ground-breaking but it is as good as anyone else doing
this kind of music.
www.32-a.co.uk
SB |
| |
|
|
|
Every time you listen to a Stillman track and think it is just going to
descend into another schmaltzy ballad or MOR tunage he catches you out by
doing something unexpected and wonderful. In this case the guitars and the
finger-picked banjo work together beautifully with the scratchy drum pattern
outro. Polished and clever.
www.stillman.mu
SB |
| |
|
|
|
Nothing of a departure for our erstwhile group from
1981. They still sound like Gary Numan fronting Tenpole Tudor. And the
lyrics are pretty awful, as the band despair at the state of the nation
just seven years into a new century. Methinks they’re part of the problem,
not the cure. Or even The Cure, who they probably listen to every night.
Sam Metcalf |
| |
|
|
|
Some kind of Alice Cooper tribute perhaps? This is a leaden lump of a
single that justifies Zico Chain's place as favourite new band in the hearts
of Slash and Duff from Guns n Roses.
www.zicochain.com
Watch video to 'Where
Would You Rather Be?'
SB |
| |
|
| |
Anguished vocals alert! Remember that gig you went to
in the school hall one lunchtime, only to turn right around because the
vocalist was singing a completely different song to the one the band were
playing. They were probably Driveby Argument, who make songwriting a
depressing mixture of hard work and nonsense. Poor, to say the least.
Sam Metcalf |
| |
|
|
|
Seems that everyone is falling over themselves to heap praise on Cage the
elephant judging by the weekly deluge of emails about them in my inbox. I
really can't see where all the comparisons with Rage Against the machine or
Led Zep come from by listening to this single - sounds more like a cross
between Reef and The Vines to me. Would be lapped up by the buffoons who
used to frequent the studio in Chris Evans' TFI Friday.
Listen to 'Free
Love'
Listen to B-side 'Tiny
Little Robots'
www.myspace.com/cagetheelephant
SB |
| |
|
|
|
I find it remarkable that bands are still busy playing
covers of the first Libertines album, and even more remarkable that One
Little Indian think they can fool everyone that this kind of dull shite is
anything remarkable. I’ve got my passion and creativity in my left testicle
than Stalkers have in their entire bodies. And I’m a girl.
Sam Metcalf |
| |
|
|
|
Noisy blighters these LR Rockets. All edgy guitars, frenetic singing and
general hullaballoo. Chipped off the same block as The Ape Drape Escape and
then galvanised in something a little bit punky. The fact that the two
tracks are barely distinguishable does count as a bit of a black mark
against them though.
www.myspace.com/lrrockets
SB |
| |
|
|
|
I was expecting to hate this, but it’s not so bad, in a
big, bad brutal way. I’d much rather listen to this than bloody Stalkers,
and the singer sounds like he eats gravel for breakfast. I admire that in a
man. Never judge what you think is a fuck-awful nu-rave record by its cover,
is the motto here.
Sam Metcalf |
| |
|
| |
Shit me - despite being a little bit uncharitable to these boys on their
previous releases (even if they did get into the charts - just shows what I
know) I now find myself toe tapping under the desk. 'The Crash' is chug-tastic
and all choppy all over the place, not dissimilar to Presidents of the
United States of America. There are some great guitar parts in this and the
only fault I can level are the namby pamby vocal harmonies in the chorus. I
suppose they are in there so they can continue to steal McFly's market. Or
it could just be that Koopa are growing up...
www.myspace.com/koopa
SB |
| |
|
| |
It seems to me that the darker and more brooding that Guile have got the
better and tighter their song writing has become. 'Love Around Here' is
nothing short of an epic - a psychedelic blues inspired romp of white noise
and slide guitar that evokes 'The End' by The Doors but chews it up and
spits it out blackened and gnarled. Backed with a more sinister and
intricate piece in 'The Horizon', Guile are getting scarily good- be afraid
listeners, but embrace that fear.
www.guilemusic.com
SB |
| |
|
 |
There's a naive charm to this little electro folk number from musical
collective Half Cousin. The remixes of 'The Absentee' (especially the Ingrid
Eto version) are very evocative of Hot Chip in their whimsical
instrumentation and gentle lilting vocals. I guarantee you'll feel all warm
and fuzzy after listening.
www.halfcousin.com
Watch the video to 'The
Absentee'
SB |
| |
|
|
|
Another Dashboard Confessional single, another slagging I'm afraid. I
don't go in for all this earnest singer songwriter nonsense and for all it's
jangly adolescent character, 'Thick as Thieves' leaves me suitably non-plussed.
There's also the small matter of some very intermittent booming drums during
the chorus that just sound weird - had me looking around tasty towers for
intruders knocking over my Tupperware collection it did.
Listen to 'Thick
as Thieves'
www.myspace.com/dashboardconfessional
SB |
|
|
 |
A few chums and myself were having a conversation about Mark Ronson only
last weekend and concluded that we could not work out exactly why he was so
popular or even what his supposed production genius was supposed to be.
Combine these dubious talents with rusty voiced skag-head Winehouse and the
the old adage about two negatives not making a positive becomes blatantly
obvious. May have Christmas sticking filler potential for Grandma (and
luckily for her she is already partially deaf).
Watch the making of the video to 'Valerie'
SB |
| |
|
 |
'Paperhouse' sounds extremely retro - like Echo and the Bunnymen or goth
from the 80's. But with a bit of twiddly keyboards type stuff. there's also
a bit of Frankie Goes to Hollywood in there - basically it's quite poppy and
a touch glam. I'd suggest the you skip the radio edit and album tracks and
head directly to the Ladytron remix which is far more satisfying with an
introduction of sci-fi type sound effects and electronic grating providing
an effective counter beat to the cumbersome drum pattern of the original.
www.myspace.com/thedeltafiasco
Watch the video to 'Paperhouse'
SB |
|
|
|
|
|
Despite performing that ridiculously catchy track in the 90s, if memory
serves me correctly Betty Boo also went on to have a pretty successful
writing career penning hits for Hear'Say and Girls Aloud (a dubious
achievement perhaps). Take off sees Miss Boo only providing the vocal track
to a bouncy pop song that will be a bigger hit in clubs than on the radio I
would have thought - quite a hard edge throbbing melody that may not be that
palatable over a bowl of Rice Crispies. It's likable enough but lacks a bit
of substance - better for dancing than listening to despite Boo's impressive
rappy vocals. Anyone else think she looks a bit like Carol Vorderman?
www.myspace.com/jackrokka
SB |
| |
|
|
|
I may be being harsh but 'Rhinemaidens' just sounds a bit dull. There's a
reasonably pleasing chacka chacka guitar riff at play but the drums are
incredibly formulaic and the vocals seriously underachieve and sound
disinterested for large periods of the song. Proficient enough but severely
in need of video's visual accompaniment to make any lasting impression.
watch video to 'Rhinemaidens'
www.theenvycorps.com
SB |
| |
|
| |
Horrible, horrible. From the opening ballady piano to the awkward guitar
parts this is loathsome. Elena sings 'I was learning to grow up' like it's
going to be her terminal breath. In fact she sings a lot of lines like that.
Except one towards the end of the track which is an ear splitting shriek.
And what does 'I'm Your Face' mean? I'm afraid I can't risk my ears to
another listen to try and decipher the hidden subtext.
www.elenaonline.com
SB |
|
|
|
|
|
Like The Acutes but with a much needed injection of energy and melody,
The Deodates are a punk pop duo where the only sounds which accompany the
drums and guitar tend to be lovely static crackles and buzzes from mic leads
and the like. The two tracks here are pretty good but like other acts of
this type, an extended listen could cause lug-hole fatigue.
www.myspace.com/thedeodates
SB |
|
|
|
|
This is crisp and well produced as you would expect from a band that
comprises of members with quite a bit of experience under their belts. But
aside from an exciting squealy bridge part it's all a bit dry, like power
ballad driving music that you could imagine Alan Partridge thumping along on
his his steering wheel to.
www.luciusmusic.co.uk
SB |
| |
|
|
|
Despite the crappy title and a threatening mix of styles including 'jazz,
rock guitars and Eastern European vocals' there's something quite refreshing
about this track that appeals to me. Whether it's the whimsical way the
Prince style guitar solo gives way to a bleepy Casiotone melody, the near
industrial outro underpinned by soulful vocal or the percussion which sounds
like it was recorded under a waterfall, there's always something to keep
listening out to from start to finish of this track.
www.axisgallery.co.uk
SB |
|
|
|
|
|
A skint, emaciated beat, with some pared down strings
and dub stabs drive this latest offering from Black Ghosts along. The
vocals are strained and unable to harness enough power to change
sufficiently for the chorus, but this is still a cohesively put together
track which shows some potential and is suitably dark and atmospheric. A
remix by the Replicants which alters the vocals and places them lower in the
mix shows the Black Ghosts the way they should have done it in the first
place, putting greater emphasis on the lyrics by giving the song room to
breathe. Nice.
Ian Anderson |
| |
|
|
|
This is like, you know, pop music
isn't it? Just because it's set to a slightly quirkier than usual drum beat
with loads of horns sampled intermittently throughout, there is no
disguising this is basically r'n'b. I hate r'n'b.
www.elektrons.net
SB |
|
|
|
| |
Former singer in 90s "teen
punk" band Symposium follows April's "Burning Ideals" EP with a rock song
which is about supernatural personalities turning a man insane. Perhaps the
man is the aforementioned singer. "Time of the Wolf" is the b-side. The
title might further suggest Wojtek's insanity. Bloody hell, look, he's even
got cellos and accordions! Probably mental.
Evidence on the contrary: the guy's got a nice voice (apart from on "Time of
the Wolf", where he tries his best to sing like Dave Grohl without being too
obvious and ends up sounding stupid), nicely deranged song ideas and lyrics
(unfortunately not quite bordering on psychotic) and repetitive, meandering
messes of music to back him.
Whether or not he's mad, the single is a disappointment. He's got traces of
anger, of a storyteller and of excitement somewhere in him, but for some
reason he's writing fairytales for 14 year olds who like the Magic Numbers.
Phil Coales |
| |
|
|
|
My Icelandic isn't up to the standard it used to be but I don't need
to know what Sigur Ros are singing about to know that it creates a beautiful
sound. This does question the whole listening to the lyrics ethic if you can
simply listen to the sound the words make without understanding the context.
In fact if anything it helps to unclutter the music.
Anyway, 'Hljómand' is full of brushed
drums and rising and falling movements which gradually build. 'Starálfur'
on the other hand is a piano-driven ballad with a light touch of violin
dusting the piano and warm vocals. It's long at five and half minutes but
does not drag in the slightest. Just the soothing stuff I need after
listening to the Elektrons single.
www.sigur-ros.co.uk
SB |
| |
|
|
|
Another two-piece
guitar/drums outfit? Has the bass player's union gone on strike or
something? Fortunately the insistent mantra of 'I Wish I Was Someone Better'
is delivered with breathless vigour that makes you pity the band when they
have to play this live. maybe they should get together with The Deodates and
form a super-group?
www.bloodredshoes.co.uk
SB |
|
|
|
|
|
What a great description - you can see exactly
what the writer was thinking when they penned 'distorted pop' in the press
release. There's that unmissable hook quality about this but delivered with
a punchy, punky vibe that bridges the indie-pop divide. Bloody annoying
adolescent backing vocals going 'woo-woo' spoil the barnstorming finale to
the track. There's obvious comparisons with the likes of Idlewild (and not
just because both bands are Scottish) but didn't everyone start slagging
Idlewild off once they went a bit poppy? Food for thought.
www.myspace.com/xcerts
SB |
|
|
|
|
|
Big Linda are clearly well
connected. Apparently a mystery benefactor flew them to Antigua to record
some songs for free. They have songs in forthcoming films featuring Ewan
MacGregor and Christopher Ecclestone. And somehow thy manage to turn old
school rawk into an enjoyable experience.
Although singer Rob Alder is likened to a young Jim Morrison I would say
Rainbow's Graham Bonnet is more likely. This is out and out leather
pant-wearing, mane-swinging Rock! Does sound a bit like a prog-rock
version of Reef though.
www.biglinda.co.uk
SB |
|
|
|
| |
There's a nice quirkiness going on here as the languid verse vocals play
against the frenetic breakbeats and horns in the choruses. But as soon as
anyone says 'break it down!' in a song I can't help but think of MC Hammer..
Come on, Weedy Time.
www.myspace.com/weedyfactory
SB |
| |
|
| |
Oh dear -despite escaping a slandering in the review of their last single
'By The Light' this time Nephwrack are going to get it. This is one of those
pompous slowy rock ballads that builds to a predictably noisy conclusion including some
kind of male choir harmony thing. A+ for squeezing in maximum rock cliches.
SB |
| |
|
 |
To say that Palladium are being pushed quite strongly is an
understatement - there's not a day goes by without some more Palladium news
hitting my inbox. 'High 5' sees them maintaining an 70's vibe while dealing
with what I think are some serious lyrics. It's a bit like listening to Leo
Sayer doing a press conference for Madeleine McCann's parents. Or maybe it
isn't - on a closer listen it may just be a straight forward 'I love
her and she loves me' kind of pop song. Sung by Leo Sayer.
Watch the video to 'High
Five'
www.myspace.com/palladiumofficial
SB |
|
|
|
| |
This entirely analogue recorded and mixed single will be unlike anything
else you will listen to. In 'We Become the Cloud' Aritomo's vocals wash over
the sections of guitar and flute, almost as though they are a ghost
recording or for another track entirely. This theme is developed further in
'The Circular Flower' which stops and starts, has interludes, has phases
where you think a new track has started and an unpleasant deep rumbling
section that is like I would imagine the KLF's sonic weapon to sound like.
All this with a distinctly oriental overtone. It's a rich sensual feast that
cannot be ignored.
www.myspace.com/aritomomusic
SB |
|
|
|
|
|
I am pretty sure this has got nothing to with Portugal's netmen Ricardo
or even his amusingly named understudy Quim. I'm also pretty sure that
Schizo Fun Addict love their Bossa Nova and Samba beats - this single reeks
of 1960's film scores and is a big leap from their previous releases such as
the monotonous 'Atom Spark Hotel'. But it still seems to go on forever and
no amount of Jane Schizo's stylised truncated vocal style or Roberto Muolo's
sumptuous trumpet can prevent it from feeling a bit overlong.
The B-sides are equally intriguing - a raucous and gloriously chaotic
cover version of an english folk song and a collaboration with Death of
Fashion which sounds like they have been listening to plenty of Jesus and
Mary Chain records.
www.schizofunaddict.com
SB |
| |
|
| |
Here's an EP steeped in plenty of classic 80's influences - Banshees,
Cure, Cult, JAMC, Bunnymen but still retaining a contemporary link with post
punk and new wave. There's a desolation about the sound of The Firm despite
a musical richness of effects and Ross Liddle's vocals which veer
successfully between Morrissey and Moyet. It's like a timebomb from 1985, a
real anachronism, but a successful one.
www.myspace.com/thefirmband
SB |
| |
|
|
|
Rebecca make little apology about rating Radiohead's 'OK Computer' album
highly and there is definitely a bit or borrowing going on here. The wicked
guitar hook leans heavily on Radiohead's 'Electioneering'. But this song is
crisp crisp crisp in it's own right. There's no slack to pick up as the
verse collides noisily into the theremin imbued chorus. Great to hear a band
going full pelt at recording their record and Rebecca pull it off
handsomely.
www.rebecca.info
SB |
| |
|
| |
|
|
|
|
| |
|
|
|
| |
|
| |
|
| |
|
|
|
|
|
|
|
|
|
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
|
|
|
|
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
|
|
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
|
|
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
|
|
|
| |
|
| |
|
| |
|
|
|
|
| |
|
|
|
|
| |
|
| |
|
| |
|
|
|
|
| |
|
|
|
|
| |
|
| |
|
| |
|
|
|
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
|
|
|
|
|
