Opinions; they’re like arseholes ey? Everyone has one and these days, everybody’s a critic. It has become increasingly important when making music, that a band or artist keep it fresh.
It used to be that music was a privilege whereas today it has become almost an expectation. It’s this saturation of the musical market that has forced bands to get up off their backsides and discover new ways to tickle their listener’s ear drums.
A change of direction is almost mandatory now. It used to be that there would be uproar over an artist changing their musical bearings. Recall if you will the brouhaha that surrounded Bob Dylan’s decision to switch from acoustic to electric at the Newport festival in ‘65?
The 50 year veteran alienated a large section of his fans, who felt he’d turned his back on the American Folk Revival he’d help to spearhead.
There’s a thin line between acclaim and scorn when shifting musical penchants. Invariably, you’re always going to have somebody who gets their knickers in a twist because they don’t agree with the path you’ve chosen to take as an artist.
There is a hatful of contemporary bands that have changed their musical penchants of late. Yeah Yeah Yeahs, Arctic Monkeys and Outkast have all wandered off the beaten track. However, I’m going to focus on The Horrors and Kings of Leon.
These two examples are instances of how to, in my opinion, both successfully and unsuccessfully wander a new path.
The Horrors first album, Strange House, was met with mixed reviews. Songs like ‘Count in Fives’ and ‘Sheena Is a Parasite’ were pretty decent, but on the whole the album was mediocre garage punk from a group of lads who seemed as though they were trying too hard.
So off went The Horrors, looking for that change in direction that would see them receive the adulation they always seemed intelligent and committed enough to achieve.
Ditching their garage punk roots as if they would give them HIV, they instead opted for a dark synth hugging juggernaut. The album sounded like the bastard love child of Joy Division and Human League, with Nick Cave’s heroin addiction thrown in as the feckless uncle of the whole sordid affair.
I recall being told I just had to listen to their single, Sea Within A Sea, and so it was with trepidation that I gave it a blast. I was blown away. It was eight minutes long, it was by The Horrors, the vocals sounded a bit too Ian Curtis-ey and by all accounts I should of hated it; but I loved it.
The formula was perfect and seemed to suit the band to a tee. Gone was the forced, laboured appeal of the first LP. It was replaced by a look and sound that demonstrated that love him or loathe him; Farris Badwan was born for this kind of thing.
Speaking of forcing something, allow me to move on to my next example of a change in direction. Some of you will cry “blasphemy,” some of you won’t; but at the end of the day I’ve grown to be incredibly disappointed with KoL’s 4th album.
For me, they could do no wrong. Youth & Young Manhood is still one of my favourite albums and whilst some said they’d “sold out” with 3rd LP Because of the Times, I believe now it may very well turn out to be their opus.
However, after moving past the original excitement that they had a new album out, I began to discover that my love affair with the band may very well be heading for an annulment.
“But they’re both the same, stadium fused albums,” I hear you cry.
Wrong. The success of Because of the Times lay in its musicianship, whereas the downfall of Only by the Night is that it seems to have disappeared altogether. Instead it has been replaced by an over reliance on Caleb’s goose bump inducing voice.
I just feel that OBTN sounds rushed and in some instances the production is what lets it down. For instance, when I hear ‘Notion’ or ‘Seventeen’ I don’t think “yeah mate” I think “hmmm, I wonder what’s on sale at ASDA this Christmas?”
KoL have always been this ornery bunch of Texans who enjoyed women, whiskey and weed. You always gained a sense of who they were on their albums and it was easy to connect with that. Now they seem more distanced than ever and that’s just bobbins. It really is.
I know eventually every band has to ‘grow up’ and that’s fine by me. Both The Rolling Stones and Bob Dylan have managed to do this whilst retaining the essence that made us love them in the first place.
In conclusion, I’m left pondering how exactly can an artist change direction, yet still stay faithful to what it was that endeared them to their fans in the first place? In the end I think the answer is simple. So long as they stay devoted to who they are, the rest will come naturally.
Keith Richards said “when I’m on-stage I don’t think, I feel.” That’s what music is, its instinct and it’s what you know. That’s how we’re able to connect with it. It’s a raw form of catharsis that is almost unrivalled and to listeners it’s obvious if it’s real or forced.
Monday 19 October 2009
My my Mr. Wolf, what great potential you have...
There’s something about folk music that just tantalizes people. What, exactly, is difficult to pinpoint. Maybe it’s because, when executed properly, it sounds lovely. Maybe it’s because it evokes memories of hippie protests and fonder times. Maybe it’s because Bob Dylan is that fucking good.
Whatever it is, the mere mention of a band being ‘folk’ is enough to peak people’s interest. It’s even better when they’re actually decent. So it is we come to Kurran and The Wolfnotes, even if their music isn’t exactly folk in its truest sense.
They’re a London based five-piece that make music that seems far too advanced for such a nubile band, and will soon stand alongside Rachel & The Unthanks, Johnny Flynn and Mumford & Sons as being responsible for reviving British Folk.
‘What A Bitch’ is their first single and it’s plain to see why. Of the three songs on their MySpace it encompasses the most genres and embraces that ‘indie’ sound more so than the other two; not that that is necessarily a bad thing. It has a great canter to it and is the kind of song that wouldn’t have been out of place on a Johnny Cash album.
However, whereas Cash’s voice was beautifully deep and macabre, Kurran’s is rather cherubic and lends an air of vulnerability to lyrics that can at times, be quite laddish and cocksure.
‘Your Four Limbs’ is a harmony driven acoustic treat that contains wistful lyrical delights such as “and how I long for your four limbs/and long to sleep amongst there bends.”
Despite the song sounding heartfelt it is quite clever and conniving in its make-up. With his soft vocals, just like The xx, Kurran manages to mask the notion that he’s basically just after getting his end away. The fact that he sounds vulnerable when doing so is a brilliant ruse and makes it all the more Machiavellian.
‘Better By The Minute’ is a clever ditty that, to be honest, Caleb Followill would love to write. Kurran demonstrates swagger and cockiness with lyrics like “there are still some songs that can stir your soul/and if I play one now then she takes me home/because with a tongue this sharp I don’t sleep alone.”
The band has a fantastic blend and they’ve certainly hit the proverbial nail on the head with what they’ve released on MySpace so far. They’re currently touring with Ex-Lovers at the minute so get off your backsides and have a gander yourself.
http://www.myspace.com/kurranandthewolfnotes
Whatever it is, the mere mention of a band being ‘folk’ is enough to peak people’s interest. It’s even better when they’re actually decent. So it is we come to Kurran and The Wolfnotes, even if their music isn’t exactly folk in its truest sense.
They’re a London based five-piece that make music that seems far too advanced for such a nubile band, and will soon stand alongside Rachel & The Unthanks, Johnny Flynn and Mumford & Sons as being responsible for reviving British Folk.
‘What A Bitch’ is their first single and it’s plain to see why. Of the three songs on their MySpace it encompasses the most genres and embraces that ‘indie’ sound more so than the other two; not that that is necessarily a bad thing. It has a great canter to it and is the kind of song that wouldn’t have been out of place on a Johnny Cash album.
However, whereas Cash’s voice was beautifully deep and macabre, Kurran’s is rather cherubic and lends an air of vulnerability to lyrics that can at times, be quite laddish and cocksure.
‘Your Four Limbs’ is a harmony driven acoustic treat that contains wistful lyrical delights such as “and how I long for your four limbs/and long to sleep amongst there bends.”
Despite the song sounding heartfelt it is quite clever and conniving in its make-up. With his soft vocals, just like The xx, Kurran manages to mask the notion that he’s basically just after getting his end away. The fact that he sounds vulnerable when doing so is a brilliant ruse and makes it all the more Machiavellian.
‘Better By The Minute’ is a clever ditty that, to be honest, Caleb Followill would love to write. Kurran demonstrates swagger and cockiness with lyrics like “there are still some songs that can stir your soul/and if I play one now then she takes me home/because with a tongue this sharp I don’t sleep alone.”
The band has a fantastic blend and they’ve certainly hit the proverbial nail on the head with what they’ve released on MySpace so far. They’re currently touring with Ex-Lovers at the minute so get off your backsides and have a gander yourself.
http://www.myspace.com/kurranandthewolfnotes
Beauty on wax...
In life, there are many things that can be labelled as ‘beautiful’. Gaudi’s Sagrada Familia church, F. Scott’s The Great Gatsby and Natasha Khan all spring to mind.
Music is beautiful too, usually. 'Straight to Hell' by The Clash, 'Hurt' by Johnny Cash and 'It Aint Me Babe' by Bob Dylan are all songs I’d describe as “beautiful,” but in terms of contemporary offerings I’m hard pushed to be truly moved by a piece of music.
This is where The xx enter the fray, with their debut album ‘XX’ set to warm the hearts of listeners the world over. Singer Romy Madley Croft and bassist/co-vocalist Oliver Sim have known each other since nursery, which is touching in its own right.
Their close bond is as clear as Japanese rain when recounting the music they make. Songs like ‘VCR’ and ‘Heart Skipped a Beat’ are lovely little limericks that lighten even the blackest of pin sized hearts.
The xx are a foursome though, Baria Queshi is sublimely refrained on ‘Shelter’, with Jamie Smith’s production giving the song all the subtleties and nuances of a real life relationship that most other producers struggle to master.
The song is beautiful, simply beautiful. Madley-Croft is endearing to boot with her soft vocals asking her scorned lover “Maybe I had said/something that was wrong/can I make it better/with the lights turned on?”
Juvenile thinkers will assume she’s being a naughty lady, but there is something more wholesome about the statement when coming from Madley-Croft, as opposed to say, Lovefoxx.
Morrissey famously declared that “shyness is nice” and The xx are definitely subscribers to this philosophy. Unlike most writers who woefully scratch at the surface of honest intimacy and wishful lamentation, The xx simply say how they feel, yet they say it with a sincere sway that resonates with their listeners.
The album closes on ‘Stars’, with the pianos and Sim’s dulcet tones making Coldplay’s ‘Fix You’ sound more akin to ‘Raw Power’ by The Stooges in comparison. This is how reflective pop music should be done.
Almost sinfully though, their cover of Teardrops by Womack & Womack is not on the album. The guitars are masterfully at work on this one and I strongly recommend you search it out.
So, in a world of Baby P’s and pig germs, let’s be grateful for acts like The xx. They’re able to remind us that, when it wants to be, this existence can be rather lovely.
Music is beautiful too, usually. 'Straight to Hell' by The Clash, 'Hurt' by Johnny Cash and 'It Aint Me Babe' by Bob Dylan are all songs I’d describe as “beautiful,” but in terms of contemporary offerings I’m hard pushed to be truly moved by a piece of music.
This is where The xx enter the fray, with their debut album ‘XX’ set to warm the hearts of listeners the world over. Singer Romy Madley Croft and bassist/co-vocalist Oliver Sim have known each other since nursery, which is touching in its own right.
Their close bond is as clear as Japanese rain when recounting the music they make. Songs like ‘VCR’ and ‘Heart Skipped a Beat’ are lovely little limericks that lighten even the blackest of pin sized hearts.
The xx are a foursome though, Baria Queshi is sublimely refrained on ‘Shelter’, with Jamie Smith’s production giving the song all the subtleties and nuances of a real life relationship that most other producers struggle to master.
The song is beautiful, simply beautiful. Madley-Croft is endearing to boot with her soft vocals asking her scorned lover “Maybe I had said/something that was wrong/can I make it better/with the lights turned on?”
Juvenile thinkers will assume she’s being a naughty lady, but there is something more wholesome about the statement when coming from Madley-Croft, as opposed to say, Lovefoxx.
Morrissey famously declared that “shyness is nice” and The xx are definitely subscribers to this philosophy. Unlike most writers who woefully scratch at the surface of honest intimacy and wishful lamentation, The xx simply say how they feel, yet they say it with a sincere sway that resonates with their listeners.
The album closes on ‘Stars’, with the pianos and Sim’s dulcet tones making Coldplay’s ‘Fix You’ sound more akin to ‘Raw Power’ by The Stooges in comparison. This is how reflective pop music should be done.
Almost sinfully though, their cover of Teardrops by Womack & Womack is not on the album. The guitars are masterfully at work on this one and I strongly recommend you search it out.
So, in a world of Baby P’s and pig germs, let’s be grateful for acts like The xx. They’re able to remind us that, when it wants to be, this existence can be rather lovely.
Monday 10 August 2009
Teenage Kicks...
It’s been almost 30 years since Ian Curtis echoed “Here are the young men/Well where have they been?”
As the air raid intro of ‘Hideaway’ rings out, it’s obvious that most of them are in the crowd for Mystery Jets’ performance for the Manchester International Festival.
The reason for that is because the gigs promoters – XOX & Same Teens – have decided to only open their doors for people aged 15-19.
This lovely little stroke of genius has seen Clint Boon declare this as “the most important night for Manchester music since The Sex Pistols played at the Free Trade Hall in 1976.” Bold words indeed.
The march of the teenagers is in full effect as the band segues into ‘Half in Love with Elizabeth’.
By the time the familiar beginnings of the aptly titled ‘Young Love’ begin to blanket a rapturous audience it’s obvious that with their 2nd LP, the Erol Alkan/Stephen Street produced Twenty One, they’ve earned a greater degree of exposure to a younger demographic.
It also portrays a band that is not afraid to take the necessary measures needed to move up to the next echelon of music.
Midway through the gig, the bass of Kai Fish stands tall as ‘Hand Me Down’ is introduced. However, by the end of the song any doubters who dared believe this Twickenham based foursome weren’t an ensemble piece are silenced.
The keyboards sound like something you’d hear from a B-movie take on ‘Invasion of the Body Snatchers’ and perfectly suite Blaine Harrison’s vocals.
Half way through the song William Rees rips into the audience with his guitar and it’s all capped off by some excellent showmanship from drummer Kapil Trivedi. The song is easily the highlight of the night and leaves the crowd breathless and reaching for the free bottles of water as the heat kicks up a notch.
‘Two Doors Down’ and ‘Behind the Bunhouse’ bring an end to the sweaty set, leaving the teenagers to seek their kicks in the form of fresh Mancunian air as they reflect on a unique gig that catered only for them.
3 1/2 out of 5
As the air raid intro of ‘Hideaway’ rings out, it’s obvious that most of them are in the crowd for Mystery Jets’ performance for the Manchester International Festival.
The reason for that is because the gigs promoters – XOX & Same Teens – have decided to only open their doors for people aged 15-19.
This lovely little stroke of genius has seen Clint Boon declare this as “the most important night for Manchester music since The Sex Pistols played at the Free Trade Hall in 1976.” Bold words indeed.
The march of the teenagers is in full effect as the band segues into ‘Half in Love with Elizabeth’.
By the time the familiar beginnings of the aptly titled ‘Young Love’ begin to blanket a rapturous audience it’s obvious that with their 2nd LP, the Erol Alkan/Stephen Street produced Twenty One, they’ve earned a greater degree of exposure to a younger demographic.
It also portrays a band that is not afraid to take the necessary measures needed to move up to the next echelon of music.
Midway through the gig, the bass of Kai Fish stands tall as ‘Hand Me Down’ is introduced. However, by the end of the song any doubters who dared believe this Twickenham based foursome weren’t an ensemble piece are silenced.
The keyboards sound like something you’d hear from a B-movie take on ‘Invasion of the Body Snatchers’ and perfectly suite Blaine Harrison’s vocals.
Half way through the song William Rees rips into the audience with his guitar and it’s all capped off by some excellent showmanship from drummer Kapil Trivedi. The song is easily the highlight of the night and leaves the crowd breathless and reaching for the free bottles of water as the heat kicks up a notch.
‘Two Doors Down’ and ‘Behind the Bunhouse’ bring an end to the sweaty set, leaving the teenagers to seek their kicks in the form of fresh Mancunian air as they reflect on a unique gig that catered only for them.
3 1/2 out of 5
Monday 29 June 2009
Bradford Cox Interview
Deerhunter are an ambient punk band from Atlanta. Bradford Cox is the lead singer of aforementioned band. We decided to go down to Deaf Institute and interview the man before Deerhunter’s gig for Now Wave, y’know, because they make bitchin’ music and what not.
JG: Is it important to be able to lose yourself in something as emotionally raw as music?
BC: I think so. I think it would help probably to vent emotions that people tend to suppress, so I would say yes.
JG: Do you think music is a good platform for honesty?
BC: I would replace the word ‘honesty’ with cathartic. Sometimes there’s no truth or falsehood, it’s more just raw. Honesty tends to relate to translation, whereas catharsis is just like, explosions.
JG: In today’s industry what current recording artists do you think set a good example to both new bands and bands trying to carve a path?
BC: That’s a good question, let me think on it. Er, I don’t know. I have so many different ideas about that. Sometimes I’m really into independents then other times I understand the need for distribution and there are several bands that have challenged the conventional approaches to that sort of thing. I don’t know that there’s a single band that I would say have laid the path for me.
JG: What is it about making music that you love the most?
BC: That’s hard to pinpoint, I mean I love everything about it. Music is such a primordial thing for me; it’s the most basic part of my existence.
JG: Do you think it’s important to be wholly serious about music, or do you think it’s better to be more open to jest?
BC: Oh definitely, I’d be the first to laugh at certain jokes, you know? I don’t think you can take yourself too seriously.
JG: Does your music possess a lot of private jokes?
BC: I mean I think more references, but yeah I think there’s a sense of humour there. In the artwork you know? There can be references. Sometimes they’re not even conscious, sometimes I realise later.
JG: What’s your favourite flavour ice cream?
BC: I don’t like sweets, isn’t that weird? I’ll occasionally have a little taste of something. My Mom didn’t really raise me to like sweets that much. If I had to choose I’d probably say a generic flavour like Cookies & Cream.
JG: When it comes to Atlanta, the city is able to boast a rich musical heritage, what is it about the city that enables it to birth so many popular musicians?
BC: Probably cheap rent. And a lack of competition. A lot of the time when you go to bigger cities it’s really competitive and people don’t really get to form their own identity ‘cause they’re competing with other bands.
JG: You mentioned the lack of “competition” then, are there any bands from Atlanta that you would recommend to our readers?
BC: There’s a band called The Balkans that are great, they’re real young, they’re still in high school. They have a great sound though.
JG: If you had the opportunity to spend the day with Jimi Hendrix or Jim Morrison, which would it be?
BC: Jimi Hendrix.
JG: Why?
BC: He’s not Jim Morrison. The only thing he ever did that was worth a shit was ‘Spanish Caravan’. He’s kind of like a skeezy beaver Jim Morrison. Couldn’t I just hang out with Neil Young instead?
JG: Finally, what are your thoughts on the weather over here?
BC: Interesting you should ask. I was just talking today about how much I hate the weather over here. I don’t understand why this geographical location hasn’t been vacated for sunnier climates. I hope that doesn’t make me sound rude?
To be fair to Bradford, the weather is shit over here. Deerhunter’s music is not. The man says it’s “quite OK” for me to stay and hang out backstage, but tells me he’s going to take a quick nap. I take that as my cue to leave and meander back up Oxford Road cursing the raindrops as they soak me to the bone, wishing that I’d taken Bradford up on his offer.
JG: Is it important to be able to lose yourself in something as emotionally raw as music?
BC: I think so. I think it would help probably to vent emotions that people tend to suppress, so I would say yes.
JG: Do you think music is a good platform for honesty?
BC: I would replace the word ‘honesty’ with cathartic. Sometimes there’s no truth or falsehood, it’s more just raw. Honesty tends to relate to translation, whereas catharsis is just like, explosions.
JG: In today’s industry what current recording artists do you think set a good example to both new bands and bands trying to carve a path?
BC: That’s a good question, let me think on it. Er, I don’t know. I have so many different ideas about that. Sometimes I’m really into independents then other times I understand the need for distribution and there are several bands that have challenged the conventional approaches to that sort of thing. I don’t know that there’s a single band that I would say have laid the path for me.
JG: What is it about making music that you love the most?
BC: That’s hard to pinpoint, I mean I love everything about it. Music is such a primordial thing for me; it’s the most basic part of my existence.
JG: Do you think it’s important to be wholly serious about music, or do you think it’s better to be more open to jest?
BC: Oh definitely, I’d be the first to laugh at certain jokes, you know? I don’t think you can take yourself too seriously.
JG: Does your music possess a lot of private jokes?
BC: I mean I think more references, but yeah I think there’s a sense of humour there. In the artwork you know? There can be references. Sometimes they’re not even conscious, sometimes I realise later.
JG: What’s your favourite flavour ice cream?
BC: I don’t like sweets, isn’t that weird? I’ll occasionally have a little taste of something. My Mom didn’t really raise me to like sweets that much. If I had to choose I’d probably say a generic flavour like Cookies & Cream.
JG: When it comes to Atlanta, the city is able to boast a rich musical heritage, what is it about the city that enables it to birth so many popular musicians?
BC: Probably cheap rent. And a lack of competition. A lot of the time when you go to bigger cities it’s really competitive and people don’t really get to form their own identity ‘cause they’re competing with other bands.
JG: You mentioned the lack of “competition” then, are there any bands from Atlanta that you would recommend to our readers?
BC: There’s a band called The Balkans that are great, they’re real young, they’re still in high school. They have a great sound though.
JG: If you had the opportunity to spend the day with Jimi Hendrix or Jim Morrison, which would it be?
BC: Jimi Hendrix.
JG: Why?
BC: He’s not Jim Morrison. The only thing he ever did that was worth a shit was ‘Spanish Caravan’. He’s kind of like a skeezy beaver Jim Morrison. Couldn’t I just hang out with Neil Young instead?
JG: Finally, what are your thoughts on the weather over here?
BC: Interesting you should ask. I was just talking today about how much I hate the weather over here. I don’t understand why this geographical location hasn’t been vacated for sunnier climates. I hope that doesn’t make me sound rude?
To be fair to Bradford, the weather is shit over here. Deerhunter’s music is not. The man says it’s “quite OK” for me to stay and hang out backstage, but tells me he’s going to take a quick nap. I take that as my cue to leave and meander back up Oxford Road cursing the raindrops as they soak me to the bone, wishing that I’d taken Bradford up on his offer.
Friday 12 June 2009
The chrome might be 'on it', but Telepathe miss by a hairs breadth...
When it comes to forming an avant electro pop duo, it would seem Telepathe have all the right ingredients. They’re both pretty sassy ladies from Brooklyn. They even managed to snare themselves Michael Sitek as a collaborator on debut album ‘Dance Mother’. Oh, and one of them is called Busy Ganges. Slick.
So why when watching Telepathe live does it feel like something’s missing? It’s certainly not the venue, The Deaf Institute is one of the few places in Manchester you can routinely rely on not to cock up a band’s performances with poor sound quality or a tepid atmosphere.
Maybe it’s the fact that the lights were turned right down, I assume to ‘create a mood’. All it did was see to it that you struggle to see the band thus making it very difficult to develop a rapport with their performance.
It borders on frustrating, because the band themselves have some brilliant tunes. ‘Chrome’s On It’ is a joy to watch live, with the drum machines and the rumble from the bass even causing the optics at the bar to topple over.
‘In Your Line’ is one of the stand-out tracks on the album, and that too transfers over to the live performance. Ganges and her band-mate Melissa Livaudais’ almost lackadaisical vocal delivery is a blessing on this track. The military drums saunter along hand in hand with the girls’ lyrics.
Not many people are aware of the decibel measuring device in the top right corner of the main hall at The Deaf Institute, yet for this performance it seemed to be the only consistent performer, with its levels perpetually in the red.
Unfortunately for Telepathe that wasn’t a good thing, as the performance at times was just a load of riff-raff and carried no real substance or weight.
On the track ‘Can’t Stand It’, the pair repeats “Oh you know it could be so much better”. This was a case of life imitating art. Telepathe certainly aren’t a million miles from being a fantastic act, both on wax and live, but when it comes to the latter some fine tuning is required.
Obviously we're trying to save a bit on energy these days, but surely it can't hurt to turn the lights up; or even on.
3 out of 5
So why when watching Telepathe live does it feel like something’s missing? It’s certainly not the venue, The Deaf Institute is one of the few places in Manchester you can routinely rely on not to cock up a band’s performances with poor sound quality or a tepid atmosphere.
Maybe it’s the fact that the lights were turned right down, I assume to ‘create a mood’. All it did was see to it that you struggle to see the band thus making it very difficult to develop a rapport with their performance.
It borders on frustrating, because the band themselves have some brilliant tunes. ‘Chrome’s On It’ is a joy to watch live, with the drum machines and the rumble from the bass even causing the optics at the bar to topple over.
‘In Your Line’ is one of the stand-out tracks on the album, and that too transfers over to the live performance. Ganges and her band-mate Melissa Livaudais’ almost lackadaisical vocal delivery is a blessing on this track. The military drums saunter along hand in hand with the girls’ lyrics.
Not many people are aware of the decibel measuring device in the top right corner of the main hall at The Deaf Institute, yet for this performance it seemed to be the only consistent performer, with its levels perpetually in the red.
Unfortunately for Telepathe that wasn’t a good thing, as the performance at times was just a load of riff-raff and carried no real substance or weight.
On the track ‘Can’t Stand It’, the pair repeats “Oh you know it could be so much better”. This was a case of life imitating art. Telepathe certainly aren’t a million miles from being a fantastic act, both on wax and live, but when it comes to the latter some fine tuning is required.
Obviously we're trying to save a bit on energy these days, but surely it can't hurt to turn the lights up; or even on.
3 out of 5
Wednesday 10 June 2009
Some Say They Walk Alone
When it comes to The Horrors, it’s just as easy to dwell on the band’s controversial nature as it is their music. Seeing as it's all well documented we’ll just brush past it and in doing so focus on what was a brilliant live performance.
The band have ventured off into brave new worlds with 2nd LP Primary Colours, moving with gusto away from their garage punk roots and swanning into realms more akin to Nick Cave, Joy Division and The Human League.
The subterranean setting of Manchester’s Ruby Lounge couldn’t be more suited to their vampiric, hungover look. As they glide into ‘Mirror’s Image’ Farris Badwan flies forward, intending to drag the bewildered onlookers into his strange experimental world.
In keeping with the 2nd album, ‘Three Decades’ is next and catapults the rollercoaster down deeper, picking up torque in the process.
‘Sheena Is A Parasite’ and ‘Count In Fives’ also rear their spiky heads, appeasing those who’ve appreciated The Horrors open-minded approach to music since 1st LP Strange House.
‘Who Can Say’ is definitely the highlight of the evening. Farris’ ominous poise really brings the song to life. He utters “then I kissed her, with a kiss that could only mean goodbye” with a conviction that adds real authority to his words.
‘Sea Within A Sea’ gets a great response from a crowd who are so drenched with sweat they look as if they themselves have been for a dip with Ariel and chums. The bass line ushers the audience along as Farris’ vocals haunt their ears.
The song is very introspective. “Some say we walk alone” laments Farris, describing how he and his band “march into the sea” whilst others “stay firmly rooted in the shallows”.
The Horrors have definitely put themselves ahead of the curve with their 2nd album. Tonight’s performance demonstrates that the transition from studio to stage will be a seamless one. So let’s forget about all the accoutrement that comes with the band and focus on their music, because it definitely warrants acclaim.
4 out of 5
The band have ventured off into brave new worlds with 2nd LP Primary Colours, moving with gusto away from their garage punk roots and swanning into realms more akin to Nick Cave, Joy Division and The Human League.
The subterranean setting of Manchester’s Ruby Lounge couldn’t be more suited to their vampiric, hungover look. As they glide into ‘Mirror’s Image’ Farris Badwan flies forward, intending to drag the bewildered onlookers into his strange experimental world.
In keeping with the 2nd album, ‘Three Decades’ is next and catapults the rollercoaster down deeper, picking up torque in the process.
‘Sheena Is A Parasite’ and ‘Count In Fives’ also rear their spiky heads, appeasing those who’ve appreciated The Horrors open-minded approach to music since 1st LP Strange House.
‘Who Can Say’ is definitely the highlight of the evening. Farris’ ominous poise really brings the song to life. He utters “then I kissed her, with a kiss that could only mean goodbye” with a conviction that adds real authority to his words.
‘Sea Within A Sea’ gets a great response from a crowd who are so drenched with sweat they look as if they themselves have been for a dip with Ariel and chums. The bass line ushers the audience along as Farris’ vocals haunt their ears.
The song is very introspective. “Some say we walk alone” laments Farris, describing how he and his band “march into the sea” whilst others “stay firmly rooted in the shallows”.
The Horrors have definitely put themselves ahead of the curve with their 2nd album. Tonight’s performance demonstrates that the transition from studio to stage will be a seamless one. So let’s forget about all the accoutrement that comes with the band and focus on their music, because it definitely warrants acclaim.
4 out of 5
Monday 18 May 2009
BBC Lost Knives review...
There are many pitfalls that can threaten to clip the wings of a fledgling band. Tonight, it seems, the musical gods are itching to throw a whole gaggle of them at the newly named Lost Knives.
Through no fault of their own, after only seven weeks in existence, the band has had to change their name. Taking that into account, they would be forgiven for throwing a hissy fit when stepping foot onstage 90 minutes after they were originally supposed to.
“Cheers for waiting for so long,” says joint vocalist Steven Mcinerney. The venue is unfairly empty, meaning the apology is heard by not nearly enough people. Oh well, their loss.
Ever the optimists, they proceed to press on and incinerate the humble gathering with ‘Cold Morning’. Joe Craig is the gentile assassin on the drums, rasping the skins with unassuming enormity.
The song is incredibly bold for a new band, yet there is nothing green about Lost Knives or front-man George Agan, the harbinger in the long black coat.
During their first outing, ‘Solstice’ almost fell apart. As the klaxon intro rings out, there is no trace of nervousness this time round. Mcinerney shines, swaying to and fro, completely lost in the moment. As the song closes, his voice strains, demonstrating a hunger not heard round these parts since ‘Stay Young’. This is so far removed from the laddish Gallagher brothers though; it’s more like The Strokes meets Guillermo Del Toro
We’re treated to new song ‘Nothing Relents’ next, with Will Clutton breaking out bass lines that would make Peter Hook grin like a Cheshire cat.
‘Out of Touch’ closes and is a beastly tune. It lulls in the middle, building up to a crescendo and injecting the kind of anticipation that would cause Alfred Hitchcock to sweat.
It’s remarkable to see how much they have improved since their first gig. If they carry on this way, they won’t be “our little secret” for much longer.
3 1/4 out of 5
Through no fault of their own, after only seven weeks in existence, the band has had to change their name. Taking that into account, they would be forgiven for throwing a hissy fit when stepping foot onstage 90 minutes after they were originally supposed to.
“Cheers for waiting for so long,” says joint vocalist Steven Mcinerney. The venue is unfairly empty, meaning the apology is heard by not nearly enough people. Oh well, their loss.
Ever the optimists, they proceed to press on and incinerate the humble gathering with ‘Cold Morning’. Joe Craig is the gentile assassin on the drums, rasping the skins with unassuming enormity.
The song is incredibly bold for a new band, yet there is nothing green about Lost Knives or front-man George Agan, the harbinger in the long black coat.
During their first outing, ‘Solstice’ almost fell apart. As the klaxon intro rings out, there is no trace of nervousness this time round. Mcinerney shines, swaying to and fro, completely lost in the moment. As the song closes, his voice strains, demonstrating a hunger not heard round these parts since ‘Stay Young’. This is so far removed from the laddish Gallagher brothers though; it’s more like The Strokes meets Guillermo Del Toro
We’re treated to new song ‘Nothing Relents’ next, with Will Clutton breaking out bass lines that would make Peter Hook grin like a Cheshire cat.
‘Out of Touch’ closes and is a beastly tune. It lulls in the middle, building up to a crescendo and injecting the kind of anticipation that would cause Alfred Hitchcock to sweat.
It’s remarkable to see how much they have improved since their first gig. If they carry on this way, they won’t be “our little secret” for much longer.
3 1/4 out of 5
Young Pretenders or Genuine Contenders?
With the weekend's boxing in mind, it'd be quite apt to compare the Ruby Lounge to Manny Pacquiao - both are small, compact little offerings, yet both certainly know how to punch above their weight.
Unfortunately for local band The Sticks, they, like Ricky Hatton, didn't really offer much. At best, they sound like a prickly Los Campesinos, although more often than not, their music seems better used as filler on a Kate Nash album.
Luckily, the next band on are definitely not also-rans. Baddies have acquired quite the reputation in their short existence and are tipped as contenders for 2009.
Stepping onto the stage in matching attire, similarities to The Hives are there to be seen. This comparison doesn’t end with aesthetics, as vocalist/guitarist Michael Webster channels his inner Howlin’ Pelle, whilst Juicebox-like guitars bang away during second song, Open One Eye.
Battleships portrays an incredibly tight band as the Southend natives break out bars that could dupe you into thinking you’d come to see an edgy B-52’s tribute act.
The set closes on Holler For My Holiday, demonstrating a passion most would struggle to muster in front of such a non-partisan crowd. In a time of synths and 80’s gimmicks, it’s nice to see four honest lads need only their instruments and wits to put on a good show.
Speaking of a good show, next up are Airship. These four messrs have been harkened to the the Pixies, but they’re less world-weary than that.
The kick drum reverberates around the venue for Spirit Party. Its bassline chips away at the audience and is perfectly juxtaposed by guitar riffs that hammer them. It’s a warm, Arcade Fire-laced song.
They close on Algebra, with front man Elliott Williams displaying amazing clarity. The song possesses that innate ability to lift the spirits, despite its borderline lethargic rhythms.
On tonight's showing, both Baddies and Airships are destined for popular, justified acclaim and might even make title contenders; The Sticks, on the other hand, were left floored in the first round and have lessons still to learn.
Unfortunately for local band The Sticks, they, like Ricky Hatton, didn't really offer much. At best, they sound like a prickly Los Campesinos, although more often than not, their music seems better used as filler on a Kate Nash album.
Luckily, the next band on are definitely not also-rans. Baddies have acquired quite the reputation in their short existence and are tipped as contenders for 2009.
Stepping onto the stage in matching attire, similarities to The Hives are there to be seen. This comparison doesn’t end with aesthetics, as vocalist/guitarist Michael Webster channels his inner Howlin’ Pelle, whilst Juicebox-like guitars bang away during second song, Open One Eye.
Battleships portrays an incredibly tight band as the Southend natives break out bars that could dupe you into thinking you’d come to see an edgy B-52’s tribute act.
The set closes on Holler For My Holiday, demonstrating a passion most would struggle to muster in front of such a non-partisan crowd. In a time of synths and 80’s gimmicks, it’s nice to see four honest lads need only their instruments and wits to put on a good show.
Speaking of a good show, next up are Airship. These four messrs have been harkened to the the Pixies, but they’re less world-weary than that.
The kick drum reverberates around the venue for Spirit Party. Its bassline chips away at the audience and is perfectly juxtaposed by guitar riffs that hammer them. It’s a warm, Arcade Fire-laced song.
They close on Algebra, with front man Elliott Williams displaying amazing clarity. The song possesses that innate ability to lift the spirits, despite its borderline lethargic rhythms.
On tonight's showing, both Baddies and Airships are destined for popular, justified acclaim and might even make title contenders; The Sticks, on the other hand, were left floored in the first round and have lessons still to learn.
Sunday 10 May 2009
Lost Knives alternative review...
They’ve gone from Hot to Lost; pretty soon they’ll be discovered too…
You’re a seven week old band, playing your 2nd gig. What scenarios would you prefer to avoid? Having to change your name due to the fear of being sued? Falling foul of piss poor scheduling, seeing to it that you take the stage 90 minutes later than expected? Finding out your backing singer is Michelle McManus, who is stoned, hallucinating and thinks you’re actually a cheeseburger?
OK, so the final scenario is a little ridiculous. The first two unfortunately, have happened to the newly named Lost Knives.
You wouldn’t have guessed it judging by tonight’s performance. To say it was flawless would be to lie. There were problems, an errant plectrum and a snapped guitar string almost scuppered things, but all in all this was a tighter display than their first, nervous outing two weeks ago.
‘Cold Morning’ opens the set, introducing the band. Specifically front-man George Agan. His long black coat and lethargic movements liken him to a manic doctor from an old B-movie. The tune itself is laced with samples, dark riffs and sternum shaking drums.
‘Solstice’ informs those who don’t know, this band has two singers. Lead guitarist Steven Mcinerney demonstrates he isn’t a one trick pony with this epic undertaking. The song has real passion in it and shows a great deal of hunger.
Will Clutton demonstrates the ability to bash out a cracking bass line on ‘Nothing Relents’, which is quite apt given the ridiculously cool performance turned in earlier by Whitest Boy Alive’s Marcin Oz.
‘Out of Touch’ rounds things off with its eerie percussion and driven drums; the latter supplied by Joe Craig. These chaps are more than just a guitar band; the different samples and contraptions add another layer and definitely serve to separate them from some of the tripe on the radio. Expect to hear more from them in the future.
You’re a seven week old band, playing your 2nd gig. What scenarios would you prefer to avoid? Having to change your name due to the fear of being sued? Falling foul of piss poor scheduling, seeing to it that you take the stage 90 minutes later than expected? Finding out your backing singer is Michelle McManus, who is stoned, hallucinating and thinks you’re actually a cheeseburger?
OK, so the final scenario is a little ridiculous. The first two unfortunately, have happened to the newly named Lost Knives.
You wouldn’t have guessed it judging by tonight’s performance. To say it was flawless would be to lie. There were problems, an errant plectrum and a snapped guitar string almost scuppered things, but all in all this was a tighter display than their first, nervous outing two weeks ago.
‘Cold Morning’ opens the set, introducing the band. Specifically front-man George Agan. His long black coat and lethargic movements liken him to a manic doctor from an old B-movie. The tune itself is laced with samples, dark riffs and sternum shaking drums.
‘Solstice’ informs those who don’t know, this band has two singers. Lead guitarist Steven Mcinerney demonstrates he isn’t a one trick pony with this epic undertaking. The song has real passion in it and shows a great deal of hunger.
Will Clutton demonstrates the ability to bash out a cracking bass line on ‘Nothing Relents’, which is quite apt given the ridiculously cool performance turned in earlier by Whitest Boy Alive’s Marcin Oz.
‘Out of Touch’ rounds things off with its eerie percussion and driven drums; the latter supplied by Joe Craig. These chaps are more than just a guitar band; the different samples and contraptions add another layer and definitely serve to separate them from some of the tripe on the radio. Expect to hear more from them in the future.
Thursday 23 April 2009
Bicycle Thieves are an indie five piece formed in November 2008. Their role call reads like this:
Tom Hammersley – Lead vocalist/Guitar
Ash Hopkins – Backing vocalist/Guitar
James “Jimmy” Feltham – Guitar
Jim Reynolds – Bass
Nick Pickering – Drums
Today’s port of call is Liverpool, the band’s base of operations. These two wheeled tea leaves are gaining momentum quicker than Lance Armstrong riding downhill. Steve Lamacq believes ‘Stop to Start’ is a “juggernaut of a track”. As we ‘effing love music, Dork mooched to Liverpool to interview them;
Is the band’s name from the Italian film, or the Pale Fountains song?
James: It’s the film, and the fact that Ash had his bike nicked the day we named the band.
What was the 1st album/single you ever purchased?
Jim: I think it was Baddiel and Skinner with ‘Three Lions’ in ’96.
James: Album wise, mine was Definitely Maybe, but I did buy Run-DMC’s single ‘It’s Like That’.
Being based in Liverpool, do you feel pressured by the cities musical heritage?
James: Obviously, you respect the band’s that have come before you, but you have pressure with every city. Liverpool it’s The Beatles, Manchester it’s Oasis, London it’s the Libertines.
Jim: In Wolverhampton you have Slade
James: You’ve just got to get on with it, you know?
When it comes to writing music, where do you draw your influences from?
Tom: Personal experience really, with a bit of romanticism thrown in. One of the songs is about when my mate hit me in the face, but that would only go so far, you have to add some depth really, and make it a big tongue in cheek.
Do you feel pressured by the industry attention you’ve been receiving?
Nick: Every step up seems very natural, it’s all come in its stride. I don’t think it’s beyond anyone what we’re doing.
Ash: I think the thing is we haven’t put any pressure on ourselves; we haven’t set ourselves a fixed template or anything.
Nick: I think it’s good as well that we’re up here, we can just get on with it like. It might be different if we were in London say.
If you could play any festival, which would you choose?
Unified response: Glastonbury.
If you were given the choice of headlining Glastonbury, or pulling Heidi Klum twice a week for the rest of your life, which would you choose?
Nick: If you told people you were ‘gonna headline Glasto, people would believe you. If you said you’d pulled Heidi Klum nobody would.
Jim: You might be able to do a duet with Seal though if Heidi Klum took a shine to you
With the magazine being called Dork, were any of you dorks in school?
Nick: I still am a dork mate. My bedroom hasn’t changed since I was six, I’ll leave you with that.
At that point, a mysterious character named Paul wanders over. The band tells me to “ask Paul a question about Bicycle Thieves”.
What colour best sums up Bicycle Thieves music?
Paul: Soiled Pink.
The band breaks into raucous laughter. I’m left feeling slightly bemused by what just happened and Paul saunters off to enlighten some other unsuspecting soul. Give ‘em a listen, then thank me later.
Tom Hammersley – Lead vocalist/Guitar
Ash Hopkins – Backing vocalist/Guitar
James “Jimmy” Feltham – Guitar
Jim Reynolds – Bass
Nick Pickering – Drums
Today’s port of call is Liverpool, the band’s base of operations. These two wheeled tea leaves are gaining momentum quicker than Lance Armstrong riding downhill. Steve Lamacq believes ‘Stop to Start’ is a “juggernaut of a track”. As we ‘effing love music, Dork mooched to Liverpool to interview them;
Is the band’s name from the Italian film, or the Pale Fountains song?
James: It’s the film, and the fact that Ash had his bike nicked the day we named the band.
What was the 1st album/single you ever purchased?
Jim: I think it was Baddiel and Skinner with ‘Three Lions’ in ’96.
James: Album wise, mine was Definitely Maybe, but I did buy Run-DMC’s single ‘It’s Like That’.
Being based in Liverpool, do you feel pressured by the cities musical heritage?
James: Obviously, you respect the band’s that have come before you, but you have pressure with every city. Liverpool it’s The Beatles, Manchester it’s Oasis, London it’s the Libertines.
Jim: In Wolverhampton you have Slade
James: You’ve just got to get on with it, you know?
When it comes to writing music, where do you draw your influences from?
Tom: Personal experience really, with a bit of romanticism thrown in. One of the songs is about when my mate hit me in the face, but that would only go so far, you have to add some depth really, and make it a big tongue in cheek.
Do you feel pressured by the industry attention you’ve been receiving?
Nick: Every step up seems very natural, it’s all come in its stride. I don’t think it’s beyond anyone what we’re doing.
Ash: I think the thing is we haven’t put any pressure on ourselves; we haven’t set ourselves a fixed template or anything.
Nick: I think it’s good as well that we’re up here, we can just get on with it like. It might be different if we were in London say.
If you could play any festival, which would you choose?
Unified response: Glastonbury.
If you were given the choice of headlining Glastonbury, or pulling Heidi Klum twice a week for the rest of your life, which would you choose?
Nick: If you told people you were ‘gonna headline Glasto, people would believe you. If you said you’d pulled Heidi Klum nobody would.
Jim: You might be able to do a duet with Seal though if Heidi Klum took a shine to you
With the magazine being called Dork, were any of you dorks in school?
Nick: I still am a dork mate. My bedroom hasn’t changed since I was six, I’ll leave you with that.
At that point, a mysterious character named Paul wanders over. The band tells me to “ask Paul a question about Bicycle Thieves”.
What colour best sums up Bicycle Thieves music?
Paul: Soiled Pink.
The band breaks into raucous laughter. I’m left feeling slightly bemused by what just happened and Paul saunters off to enlighten some other unsuspecting soul. Give ‘em a listen, then thank me later.
Tuesday 14 April 2009
Bleeding Ears & Deaf Institutes...
If somebody were to tell you that, for prolonged periods of time, Jimi Hendrix could often be found busking in Newcastle during the 60’s, I bet you’d call them a bare faced liar, no? Well, it’s true.
Historical tidbits aside, let’s move on to the matter at hand. Enter Detroit Social Club, a Geordie band making music that grasps onto the true spirit of the guitar, an instrument that Hendrix championed so viscerally.
If there’s one venue people love at the minute, it’s The Deaf Institute. By the time Sound of Guns (listen to the excellent ‘Collisions’) have finished warming up the onlookers, the venue is packed out. The proverbial grapevine has seen to it this band’s sterling live performances are not to be missed.
‘Sunshine People’ kicks things off, shaking the foundations. The stage is almost too small for the band to fit on. Front-man David Burn is a pretty big guy and he hulks over the crowd, dictating proceedings and holding sway.
In fact, it is Burn’s strong, husky vocals that appear destined to take this band places. He looks a bit like Guy Garvey, but with a stage presence more akin to My Morning Jacket’s Jim Jones.
“This one’s called Northern Man, and it’s for everyone, f**k the Southerners,” laughs Burn as he receives adulation from the predominately Mancunian crowd. The song has a big, carnal sound and it helps to cement DSC as one of the best live acts out there.
The set closes on ‘Forever Wonderland’, an absolute monster of a song. The guitar intro sounds like ‘Swamp Thing’ and as the drums kick in, for a moment the continental plateaus are bouncing. Burn yells “come on” and my how they have. The best thing to come out of Newcastle since Jimmy Nail.
4 out of 5
Historical tidbits aside, let’s move on to the matter at hand. Enter Detroit Social Club, a Geordie band making music that grasps onto the true spirit of the guitar, an instrument that Hendrix championed so viscerally.
If there’s one venue people love at the minute, it’s The Deaf Institute. By the time Sound of Guns (listen to the excellent ‘Collisions’) have finished warming up the onlookers, the venue is packed out. The proverbial grapevine has seen to it this band’s sterling live performances are not to be missed.
‘Sunshine People’ kicks things off, shaking the foundations. The stage is almost too small for the band to fit on. Front-man David Burn is a pretty big guy and he hulks over the crowd, dictating proceedings and holding sway.
In fact, it is Burn’s strong, husky vocals that appear destined to take this band places. He looks a bit like Guy Garvey, but with a stage presence more akin to My Morning Jacket’s Jim Jones.
“This one’s called Northern Man, and it’s for everyone, f**k the Southerners,” laughs Burn as he receives adulation from the predominately Mancunian crowd. The song has a big, carnal sound and it helps to cement DSC as one of the best live acts out there.
The set closes on ‘Forever Wonderland’, an absolute monster of a song. The guitar intro sounds like ‘Swamp Thing’ and as the drums kick in, for a moment the continental plateaus are bouncing. Burn yells “come on” and my how they have. The best thing to come out of Newcastle since Jimmy Nail.
4 out of 5
A Storm On The Vista...
“The next big thing.” How many times have you heard a band described as the next big thing? It’s getting boring.
So boring in fact that it could do more harm than good. People switch off because it’s become a cliché, as are many of the bands handed this moniker.
The Black Marquee is the latest band to be affixed with the old ball & chain. To their credit, they carry it well.
The set opens with the heavy, singular drum of ‘I’ll Sell You All’, and goes on to set an impending tone that lurks throughout. The Black Marquee are shoe gazers, there’s nothing flash to them. They, like My Bloody Valentine, let the music do the talking.
During ‘Allusion’, vocalist Steven Young picks up his guitar for the 1st time and wields it like a weapon. The song is one of the best they have and has a real ebb and flow to it.
‘Reverie’ is where the band’s psychedelic 60’s influence is most prominent, only thanks to Young’s swagger it feels more like an 80’s casuals youth in his Stone Island smacking you in the face than it does a free loving hippy.
The star of this band though is Jeff Wooton. His guitars are haemorrhage inducing walls of noise. This is a feller who skulked off to L.A. at 16 and ended up playing with Zoe Bonham, daughter to Zeppelin’s John Bonham. There are moments when he carries the band, although his shy on-stage demeanour suggests he would feel differently.
The Black Marquee are that thunderstorm on the horizon. A rumbling, menacing threat with the occasional flashes of lightning brilliance provided by Wooton. Like that storm on the horizon however, they never quite get going. There’s still some work to do for this lot, but make no mistake, you will know their names soon enough.
3 out of 5
So boring in fact that it could do more harm than good. People switch off because it’s become a cliché, as are many of the bands handed this moniker.
The Black Marquee is the latest band to be affixed with the old ball & chain. To their credit, they carry it well.
The set opens with the heavy, singular drum of ‘I’ll Sell You All’, and goes on to set an impending tone that lurks throughout. The Black Marquee are shoe gazers, there’s nothing flash to them. They, like My Bloody Valentine, let the music do the talking.
During ‘Allusion’, vocalist Steven Young picks up his guitar for the 1st time and wields it like a weapon. The song is one of the best they have and has a real ebb and flow to it.
‘Reverie’ is where the band’s psychedelic 60’s influence is most prominent, only thanks to Young’s swagger it feels more like an 80’s casuals youth in his Stone Island smacking you in the face than it does a free loving hippy.
The star of this band though is Jeff Wooton. His guitars are haemorrhage inducing walls of noise. This is a feller who skulked off to L.A. at 16 and ended up playing with Zoe Bonham, daughter to Zeppelin’s John Bonham. There are moments when he carries the band, although his shy on-stage demeanour suggests he would feel differently.
The Black Marquee are that thunderstorm on the horizon. A rumbling, menacing threat with the occasional flashes of lightning brilliance provided by Wooton. Like that storm on the horizon however, they never quite get going. There’s still some work to do for this lot, but make no mistake, you will know their names soon enough.
3 out of 5
The Queen Hath Returned...
For two years now, there has been a Karen O shaped hole in most people’s hearts. Well fear not followers of the Church of ‘O’, Yeah Yeah Yeahs are back with 3rd album ‘It’s Blitz!’. Thank fuck for that.
‘Zero’ opens proceedings, and reeks of danceability. The thrashing round your room doesn’t stop there though. No sooner have you finished readjusting whatever pictures adorn your wall than you are greeted with ‘Heads Will Roll’.
“Off with heads” states O with the air of a sexy medieval monarch, returning to behead any potential pretenders to her thrown.
‘It’s Blitz!’ slows down a bit after this, thank God. ‘Skeletons’ is a nice little number. Once it gets going, the song has a Celtic bagpipe feel to it, a bit like a Braveheart montage only without the bigoted Australian midget in a skirt, and no shit blue face paint.
‘Dull Life’ is the stand-out song on the album though. The intro is very MGMT. The track goes from strength to strength, with O’s presence kicking down doors.
It stands with ‘Maps’ and ‘Date With The Night’ as one of their great songs. In years to come ‘Dull Life’ will be the ground zero for a pandemic wave of sweaty clubbers who set foot on the dance-floor with the sole intention of kicking up a fuss.
Things are rounded off with ‘Little Shadow’, demonstrating the bands eye for a slower song. It’s a good way to bring things to a close, and feels like a nice warm hug. It never gets too sloppy though; this lot are far too slick to be sloppy.
The album is tinted with the current 80’s fad, although they never quite venture into that genre, keeping it strictly Yeah Yeah Yeahs. It has a fresh, experimental sound to it but O and them never lose sight of that which made us smitten in the first place. A truly great album.
4 ½ out of 5
‘Zero’ opens proceedings, and reeks of danceability. The thrashing round your room doesn’t stop there though. No sooner have you finished readjusting whatever pictures adorn your wall than you are greeted with ‘Heads Will Roll’.
“Off with heads” states O with the air of a sexy medieval monarch, returning to behead any potential pretenders to her thrown.
‘It’s Blitz!’ slows down a bit after this, thank God. ‘Skeletons’ is a nice little number. Once it gets going, the song has a Celtic bagpipe feel to it, a bit like a Braveheart montage only without the bigoted Australian midget in a skirt, and no shit blue face paint.
‘Dull Life’ is the stand-out song on the album though. The intro is very MGMT. The track goes from strength to strength, with O’s presence kicking down doors.
It stands with ‘Maps’ and ‘Date With The Night’ as one of their great songs. In years to come ‘Dull Life’ will be the ground zero for a pandemic wave of sweaty clubbers who set foot on the dance-floor with the sole intention of kicking up a fuss.
Things are rounded off with ‘Little Shadow’, demonstrating the bands eye for a slower song. It’s a good way to bring things to a close, and feels like a nice warm hug. It never gets too sloppy though; this lot are far too slick to be sloppy.
The album is tinted with the current 80’s fad, although they never quite venture into that genre, keeping it strictly Yeah Yeah Yeahs. It has a fresh, experimental sound to it but O and them never lose sight of that which made us smitten in the first place. A truly great album.
4 ½ out of 5
Monday 9 March 2009
Large prospects, lost shoes and Little Boots.
Victoria Hesketh’s stage name ‘Little Boots’ is an ode to the naughty Roman emperor Caligula, and with performances like this her career should be as prestigious as his legacy.
It wasn’t all plain sailing though; her mother forgot to bring her shoes. I know right? The petite maiden was rescued thanks to social networking site Twitter, after a fan lent her a pair of size threes.
The nightmare didn’t stop there – a power out prematurely ended ‘Mathematics’. Ever the optimist, she powered through the electrical shortcomings by belting it out A Capella, with the crowd on backing vocals.
The Blackpool native recently topped the BBC’s Sound of 2009 list (previous winners include Adele and Corrine Bailey Rae) and with Kate Bush influenced songs and Human League covers it’s easy to see why.
The blonde siren maintains she wants to be as “big as Kylie” and the foundations have been firmly laid, with humdingers like ‘Stuck on Repeat’, ‘Meddle’ and Freddie Mercury cover ‘Love Kills’ whipping the audience into a mish-mash of flailing limbs and toothy grins.
There’s even an appearance from former Big Audio Dynamite vocalist and cult hero Don Letts. Big Audio Dynamite, for those who don’t know, was started by former Clash front man Mick Jones.
A hangover cleansing nap saw to it that I missed support act Everything Everything, but I strongly recommend you give those local boys a whirl. Big things indeed, on both counts.
4 out of 5.
It wasn’t all plain sailing though; her mother forgot to bring her shoes. I know right? The petite maiden was rescued thanks to social networking site Twitter, after a fan lent her a pair of size threes.
The nightmare didn’t stop there – a power out prematurely ended ‘Mathematics’. Ever the optimist, she powered through the electrical shortcomings by belting it out A Capella, with the crowd on backing vocals.
The Blackpool native recently topped the BBC’s Sound of 2009 list (previous winners include Adele and Corrine Bailey Rae) and with Kate Bush influenced songs and Human League covers it’s easy to see why.
The blonde siren maintains she wants to be as “big as Kylie” and the foundations have been firmly laid, with humdingers like ‘Stuck on Repeat’, ‘Meddle’ and Freddie Mercury cover ‘Love Kills’ whipping the audience into a mish-mash of flailing limbs and toothy grins.
There’s even an appearance from former Big Audio Dynamite vocalist and cult hero Don Letts. Big Audio Dynamite, for those who don’t know, was started by former Clash front man Mick Jones.
A hangover cleansing nap saw to it that I missed support act Everything Everything, but I strongly recommend you give those local boys a whirl. Big things indeed, on both counts.
4 out of 5.
You run with the devil.....
With their self-titled debut album these Seattle boys have become the incumbent band of modern America.
Fleet Foxes has received critical acclaim on both sides of the Atlantic since its release, acquiring Album of the Year billing with Mojo and Pitchfork. Yes it’s been out since June of last year but who gives a toss? Let’s celebrate it anyway.
Robin Pecknold’s crystal vocals intertwine seamlessly with the bands musicianship to create a beautiful, haunting listening experience.
Songs like ‘Tiger Mountain Peasant Song’ whisk you away to the dust lands of America with only a star filled sky as your duvet.
Whilst some of the production is quite ‘big’, it’s done so in a manner that retains the comfortable nature of the band’s songs. The album never gets lost in the epic grandeur Arcade Fire sometimes fall victim to.
The single ‘White Winter Hymnal’ is sure to please the masses with its playful rhythm evoking soft smiles all round.
Whilst most the album saunters along at a calm pace; songs like ‘Ragged Wood’ inject some swiftness into the whole affair, with Josh Tillman’s drums comfortably imbedded in the track. The wonderfully named Skyler Skjelset’s guitars provide the perfect chaperone to it all.
‘Your Protector’ is a gallivanting, frontier laced offering. Pecknold’s strong lyrics cause the listener to sit up and take notice as he sings “You run with devil.” Definitely a high point.
The album is perfect easy listening. On the closing track ‘Oliver James’, Robin Pecknold’s lyrics will leave a lasting print on your consciousness, and could very well be the soundtrack to your slumber for the foreseeable future.
Fleet Foxes has received critical acclaim on both sides of the Atlantic since its release, acquiring Album of the Year billing with Mojo and Pitchfork. Yes it’s been out since June of last year but who gives a toss? Let’s celebrate it anyway.
Robin Pecknold’s crystal vocals intertwine seamlessly with the bands musicianship to create a beautiful, haunting listening experience.
Songs like ‘Tiger Mountain Peasant Song’ whisk you away to the dust lands of America with only a star filled sky as your duvet.
Whilst some of the production is quite ‘big’, it’s done so in a manner that retains the comfortable nature of the band’s songs. The album never gets lost in the epic grandeur Arcade Fire sometimes fall victim to.
The single ‘White Winter Hymnal’ is sure to please the masses with its playful rhythm evoking soft smiles all round.
Whilst most the album saunters along at a calm pace; songs like ‘Ragged Wood’ inject some swiftness into the whole affair, with Josh Tillman’s drums comfortably imbedded in the track. The wonderfully named Skyler Skjelset’s guitars provide the perfect chaperone to it all.
‘Your Protector’ is a gallivanting, frontier laced offering. Pecknold’s strong lyrics cause the listener to sit up and take notice as he sings “You run with devil.” Definitely a high point.
The album is perfect easy listening. On the closing track ‘Oliver James’, Robin Pecknold’s lyrics will leave a lasting print on your consciousness, and could very well be the soundtrack to your slumber for the foreseeable future.
Penny For Your Thoughts?
Evening folks. Or morning depending on your current global whereabouts. My name as you can see, is Josh. I've decided to start a blog because I have an insatiable appetite for putting words into action, as do all other bloggers. Most chat s**t (my Mum will invariably read this), some don't. I'll try to rest comfortably in the latter, although if I continue I fear I may enter the realms of the former. I'll try and keep this updated as often as I can. My names Josh, and I like crumpets and Anchor butter. Inabit.
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