THEATRE ROYAL – New material / split release
Long-time LOUD HORIZON favourites THEATRE ROYAL are set to release ‘Katherine’s Sleeping’ as part of a vinyl-only split 7″ release with Kids Unique on 27/02/2012.
And here it is …….nice one lads!
VIC GODARD & SUBWAY SECT: ‘We Come As Aliens.’
The observant reader will notice that this review is filed under the ‘Punk Albums’ category. Perhaps that’s just through sentiment on my part, as back in the day VIC GODARD & SUBWAY SECT were always regarded as such, although more along the lines of being ‘different’ and ‘quirky’ as opposed to being overtly anarchic.
Over the years, the definition of the genre ‘Punk’ has been diluted to the extent that anyone wanting to appear ‘edgy’ but still ‘cool’ will try to cash in on the longevity of the tag. However Vic Godard was in on the inception of the punk movement and so this is where he belongs.
‘We Come As Aliens’ is the first release of new material from Vic since 2002 and may be regarded more as ‘lounge punk’ rather than the conventional form. But what it may lack in terms of the generic punk aggression, it more than makes up for with some clever lyrics and variety of influences that are integrated within the album’s forty-five minutes.
For the most part, Vic’s vocals are like a gentle snarl; flat, droned and mono-toned to the point of occasionally sounding disinterested. Which of course is just not the case, but it all adds to the inherent charm of the album.
Most of the songs on ‘We Come As Aliens’ have been evolving since the mid 1990s and several will be familiar to those who have seen Vic and Subway Sect play live. Opening track ‘Best Album’ is one of them. It sort of sets the mood for what’s to follow – mellow deep sounding backing harmonies supporting Vic’s lighter lead. Its hook is quite instant as it meanders along in a kind of Northern Soul style. ‘Take Over’ features a Sixties style guitar riff in the fashion of Needles and Pins’ by The Searchers. In fact, many of the songs incorporate that ‘tinny’ guitar sound, augmented in this case by some discordant solos and shouts.
‘Back In The Community’ seems to call for a return to a more simple, friendly and conscientious society while ‘Same Plan’ is a wonderfully chirpy, (possibly Latin American styled?) song with great backing in which he expresses his cynicism at some of politicians’ ‘plans’ for improvement, proving that the old punk ethos still burns deeply!
‘If We’d’ve’ sounds like chucking out time at your local boozer, especially during the ‘da da da da-da’ chorus. (Can I detect a little Beatles influence creeping n just before the chorus?) There then follows a song that Vic has apparently wanted to record since 1977! Francoise Hardy’s ‘Et Meme’ may appear a strange choice, but even though it’s sung in French it certainly doesn’t seem out of place here. ‘Rhododendron Town’ dares you not to sing along, before ‘That Train’ draws heavily from Gospel and blues influences. It’s one of the best, actually.
‘Somewhere In The World’ has definite Punk tendencies, and could quite easily have been one of Vic’s songs from the tail end of the Seventies. This one’s got the missing ‘aggression’ I mentioned earlier – and real ‘attitude’ to boot!
‘Ne’er’ is apparently the oldest track of the thirteen. Vic’s vocals take a rather plaintive turn on this one – for me, possibly the least ‘instant’ of all the tracks as it happens. ‘Out Of Our Zone’ is heavier in mood than the others, and quite melancholy sounding. ‘Life In The Distance’ however lifts the atmosphere and musically harks back to the Pub Rock days of the late Seventies, with its distinct R’n’B feel.
By his own confession, closing track ‘Music Of A Werewolf’ is “a step outside what I’ve done before.” It has a slow rumba dance groove, with gently swirling vocals. Yeah – different.
In a way, I think you could draw comparison between Vic Godard & Subway Sect and Jonathan Richman and the Modern Lovers. Both play a sort of stripped back, quirky style of punk based music, with neither afraid of incorporating other diverse influences.
That in my book is good enough recommendation for checking out this album. I think you’ll be pleasantly surprised.
(Released through Overground on 11th October 2010)
(8.5 / 10)
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The
ROCKBURN: ‘Red Dress’ EP
Bellshill (don’t call it Glasgow!) four-piece band ROCKBURN play a melodic, driven brand of Rock, based on the ‘Classic Rock’ of days gone by, but with an added modern twist.
That the ‘modern twist’ on the lead track, ‘Red Dress’ takes the riff recently (in the scheme of things) made popular by Kasabian on their ‘Shoot The Runner’ track is a little obvious, but none-the-less OK by me! It gives the song a great, bouncy feel and with the slightly rasping vocals, pounding drums and nice little guitar solo, it has all the components of a classic Rock song. Perhaps however, it slightly outstays its welcome at four and a half minutes? Three and a half would have sufficed, I think.
I say this because unfortunately the second track, ‘Night On Fire’ sounds to the uneducated ear, remarkably similar to its predecessor! That means listening to the same riff, beat and vocal style (different lyrics, if course!) for a total of eight consecutive minutes. Slightly disappointing.
However, ROCKBURN quickly retrieve the situation with what is possibly the best track of the five, ‘Beautiful Morning.’ The pace is dropped and the volume turned down for the most part, but this one has a kind of chirpy blues feel with a really hooky chorus. There are some lush, warm female vocals around mid-song. It’s different, and quite radio friendly, I would have thought.
Actually, had I been choosing the track order, I’d have had ‘Beautiful Morning’ and the following ‘The Last Stop,’ as the lead songs. The latter has a stomping, acoustic Country / Western Rock sound, and is ideally suited to vocalist Stephen Baxter’s delivery. It would certainly rival the former as the best to showcase the band, I feel.
But I guess ROCKBURN really consider themselves more of a hard rock band, and this is maybe backed up by the completion of the EP with their version of Free’s ‘Wishing Well.’ It doesn’t stray too far from the original in fairness, but you’d have to question the validity of adding this to the EP. I mean, it’s one of THE Classic Rock songs of all time… and you’re just not going to improve on it. In fact, you’re only holding yourself out for judgement that will inevitably lead to comparison. OK – a ‘cover’ like could be pulled off in a ‘live’ environment, but I think I’d have steered clear of committing it to record.
Overall however, this is a decent rock EP and worth checking out.
(Released on a download basis from October 11th 2010)
(7.5 / 10)
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THE INVASION OF… : ‘The Invasion Of…’
Hmmmm! I get the impression that I’m going to made feel guilty for not really ‘getting’ the vibe of this mini album, the eponymous debut from THE INVASION OF…
See, this five piece band is being touted partly on the basis that it is the new project of The Libertines’ / Dirty Pretty Things drummer, Gary Powell. So I feel I should really like it – in the same way as I should really have liked / like The Libertines. But I’m one of those cantankerous little bastards that tend to shy away from music force-fed by The Press as being the ‘coolest’ and ‘hippest’ around. And so The Libertines kind of passed me by, really.
What I’m getting at here is that if this six-track album were handed to me with absolutely no ‘history’ attached to it, I would have played it a couple of times, found nothing that absolutely set it apart from many others, written a brief review and filed the CD away.
However, give the situation in which I now find myself, I have played it umpteen times ….and unfortunately still not found anything that would set it apart (least of all ‘absolutely’) from a plethora of other bands / albums.
OK, there’s certainly nothing wrong with it, but it just doesn’t grab me at all. Even the recruitment of vocalist Robin Coombes of acclaimed UK hip hop group, Taskforce doesn’t make it shine any brighter.
With the exception of the very short penultimate track ‘In Like Voodoo’ (at less than two minutes) it’s all a bit too sedate for me. This particular track however, rocks big time with a tinge of punk attitude thrown in for good measure. And in fact, the closing track ‘Devilish Ways’ also treads a similar, if a little more pedestrian path.
Overall, I think it comes across as a rather ‘grunge’ influenced piece, with (and I’ll probably get slaughtered for this) a touch of a reggae feel mingling in with opening track, ‘The Invasion Of Venice.’ However, vocalist Robin sounds kind of bored on this one, his voice rather mono-toned, and consequently the result is a rather ‘flat’ track, when potentially it could have offered so much more.
‘Delusional,’ picks up the pace a bit and where the previous number was sort of ‘reggae-grunge’ this one sounds more ‘jazz-grunge.’ Interesting concepts (or at least ‘interpretations’ on my part) and again, it’s an ‘OK’ track, but lacking that killer hook that the listener could buy into. Nice drumming, though if that’s any consolation!
‘Memories,’ is slower again – pleasant background music of a heavier variety, the vocals being a lot more expressive and varied on this one. ‘Romantic Podantic’ builds in intensity throughout, and again leans on the heavier sound, as it prepares the listener for the best track of the six – the afore-mentioned ‘In Like Voodoo.’
Maybe I’m being a bit harsh? It’s certainly worth a listen, but for me it fails to hit the spot. Sorry!
(Released through 25 Hour Convenience Records – ‘373’ on 4th October 2010)
(7/10)
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SHRAG: ‘Life! Death! Prizes!’
Last year’s debut album from Brighton band SHRAG was one of my favourite releases of the year, and still remains one of the most frequently played on my I-Pod. But for any band, so we’re told, their follow-up album is the most difficult to make – and especially so when their first was so strong and well received. So how would SHRAG shape up with ‘Life! Death! Prizes!’?
Pretty darned well, I’m happy to say!
Initial thoughts were that the five-piece (two girls, three lads) had ‘grown up’ in a sense. The songs show a greater sense of maturity and depth. There also seems to be more of a darker edge to several of the tracks, and less of the almost flippant but cleverly funny lyrics of the debut.
And indeed that may well be the case, but it should be borne in mind that the earlier album was ostensibly built around a collection of the band’s five earlier singles – and that actually fifty percent of ‘Life! Death! Prizes!’ was already written.
(So ‘bang’ goes that little theory, then!)
Opening track ‘A Certain Violence’ exhibits that slightly manic, darker side. The guitars are flat out from start to finish, while the deep bass line and combination of girl / boy vocals with a frantic shouted female line laying over the top of it all evoke memories of The B52s. ‘Stubborn Or Bust’ also heavily relies on a prominent bass-line to drive the song along, but as with the vast majority of their songs it is the dual vocal combination of Helen King and Stephanie Goodman that steal the show.
As if to illustrate this, ‘Their Stats’ slows the pace and leaves more room for the vocals that are always sung in the band’s local dialect – glottal stops and all. ‘Tights In August’ has a bit more of a Sixties feel to it throughout the verses, although when the contrasting, deep male vocals enter it sort of morphs into a bit more of an Eighties electro sound.
The next three tracks are arguably the strongest of the twelve. ‘Ghosts Before Breakfast,’ is pretty fast and furious, with girly shout-back vocals heavy on the chorus. ‘The Habit Creep’ is probably my favourite. Slow and moody, it leans on the slightly eerie and creepy side. The spoken female vocals over the top of the dark bass line erupt in a bit of a fury at the point of the chorus. (But it still sounds kinda cute!) ‘Rabbit Kids’ (video below) reverts back to the bouncy and chirpy type of song that was more prominent on the earlier album. There is a sort of child-like innocence about the vocal delivery (as with several other songs on the album) and this is what now really defines the sound of SHRAG.
‘Faux-Coda’ has an Eighties electro feel (I think it’s the change to one of the lads taking on lead vocal that makes it thus.) ‘When We Go Courting’ is a zippy little guitar / synth based number with a hooky chorus and danceable beats before ‘Furnishings’ slows things down considerably. If there is ever a point at a SHRAG gig where the crowd hold up cigarette lighters / backlit mobile phones (perish the thought!) then this is it. The song sort of rises and falls in beautifully undulating waves of anthemic verse. The bass-line in ‘More Than Mornings’ is fast and furious… kind of like some of The Fall’s work, before final track (and the longest on the album) ‘Coda’ closes out with girl / boy vocal combinations, breaking down into a, well …. coda, I guess, that incorporates a prolonged piece by a string section. It’s a grand (as in ‘big’) finish, but a little surprising, given what’s gone before.
I know the band love experimenting with new songs and methods, so maybe it’s the realisation of the need to expand their sound that led to ‘Coda.’ Maybe we can expect a gradual / subtle change in direction on album number three? Good on them, I say!
Would it be fair to compare ‘Life! Death! Prizes!’ with their debut album? Probably not, since there is a good deal of difference in the song types. But for what it’s worth, although it perhaps lacks some of the urgency and (obviously) ‘surprise’ factor, I think this one stands up to their first… and you know how much I loved that one.
(Released through Where It’s At Is Where You Are on 4th October 2010)
(8.5 / 10)
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DD/MM/YYYY: ‘Black Square’
Ha! Every now and then an album comes along that really defies conventional description. ‘Black Square’ is one of them, which probably quite pleases Toronto five-piece DD/MM/YYYY. (The band explain the origins f their name thus: “We didn’t want a name we had to stick to, so we chose a name that would change for the date of each show. This proved too ridiculous and confusing, so we made it simple by referencing DD/MM/YYYY.)
Broadly speaking, this album which is the band’s UK debut although it was released in their home country and elsewhere in 2009, could be termed as ‘artrock.’ It’s unconventional, quirky, experimental and nicely discordant in places. And there is a healthy variation of styles within the twelve tracks and thirty-five minutes of the album.
‘Black Square’ opens with the clattering drums and distant, echo-inflected shouts of ‘Bronzage.’ It doesn’t stop to draw breath, but simply bulldozes its way through almost four minutes of really busy music with gang-shouts and wails. Great start!
‘No Life’ continues in much the same vein, with discordant guitars, off kilter drums and shout / response type vocals that remind me a little of London based French band Underground Railroad. Then, as if to prove their unpredictability, without any warning the controlled aggressive sound of ‘No Life’ morphs into the downbeat and quiet, introspective ‘They.’ It’s a big mood change alright!
Then we come back on track with ‘Infinity Skull Cube’ (see video below) which mixes scuzzy synth sounds with hooky guitar and a rhythm that more or less defies logic…. but works so well! Then comes a minute of electronic whine under the guise of ‘My Glasses’ which could actually just be the intro to the following track, ‘Birdtown.’ (You’re not going to get into any comfortable rhythm listening to this album!)
‘Birdtown’ is actually an instrumental that starts out with a deep, resonating synth sound before being joined by some partially discordant horns. It has more of a jazz feel to it than the rest of the album, and instantly I was reminded of the track ‘Birdland’ by Weather Report, from many moons ago. The two don’t necessarily sound the same but there are definite parallels.
There is perhaps a little cohesion to the planning of the track-listing after all, as ‘Sirius’ has a bit of a spazz jazz ring to it – all kinda free-form and at first listen, all over the place! ‘Lismer’ is a fierce, menacing and threatening instrumental, leaning heavily on the synth and powerful drums. ‘Real Eyes’ adds frantic vocals (not the sing-a-long kind, in case you were wondering) to a completely freaked out backing, while ‘$50,000 Guitar Head’ again features the by now familiar and integral time changes, augmented by some sporadic Zappa / Beefheart styled vocals.
‘I’m Still In The Wall’ is one of my favourites. The guitar hook is repetitive to the point of overshadowing everything else, but the drumming and electronic blips and bleeps together with the distorted shouts / vocal make this a really interesting and enjoyable three and a half minutes.
Final track ‘Digital Haircut’ has some stilted shout / response dual vocals over the top of the seemingly random (but obviously not) backing.
I was a big fan of Captain Beefheart back in the day. This is nothing like the old Captain, but it’s as unsettling, weird and strange. It’s also pretty darned good!
(Released –in the UK – through Invada on 27th September 2010)
(8/10)
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Ha!
R*E*P*E*A*T presents: ‘Love Music Hate Racism’ EP
So – here’s the deal: I’m Scottish and very proud of my genetically modified short arms and long pockets. But even I would willingly shell out more than the paltry £2.50 being asked for this superb compilation.
This nineteen-track CD is being sold as a ’10 way split single’ for the price of an EP, with any profits being donated to the LOVE MUSIC, HATE RACISM cause. It takes the form of two tracks from each of nine bands and one from another who apparently forgot to record a second! All the bands come from the Norwich / Cambridge and London areas and could generically be broadly classed as ‘punk.’
There really isn’t a weak track on the CD, although I do think those from Greg McDonald (www.myspace.com/gregmcdonalduk ) sound a little out of place. His first contribution, ‘A Little Strange’ showcases a kind of punk attitude in his voice and the song rocks along nicely…. but seems a little too ‘conventional’ compared to most of the other tracks. Certainly, his second song, ‘Reclaim The Night’ is the better of the two, with its anthemic chorus building into a pseudo stadium rocker that then takes on a more punk based rhythm for the closing thirty seconds.
For me, the highlights are the female fronted bands – or at least those that strongly feature female vocals, Micropenis (www.myspace.com/ilovemicropenis ) perhaps being my favourite…. but only just! They are a boy / girl duo, dealing in sleazy, quirky and minimalist punk, with vocalist Louise speaking the vocals and sounding a little like Poly Styrene. Songs with titles such as ‘Secretarial Elite’ and ‘Supermarket Suicide’ timed at one and a half and two half minutes respectively are just bound to catch your attention!
Fever Fever (www.myspace.com/feverfevertheband) are the guilty party with regard to the singular contribution. They seriously compete for the best track on the album (sorry, ‘EP’) with ‘Who Asked You?’ This two girl / one lad combo play a furious blend of scuzzed-up guitar riffs, thrashed drums and yelped, short, sharp vocals. Their most recent release was deemed ‘Single Of The Month’ in Artrocker magazine and they have been building support from all who hear them. (I look forward to seeing them up here in Glasgow shortly.)
Oh shit! Glory Glory (www.myspace.com/glorygloryband1) could also be added to my list of ‘new favourite bands!’ They too follow the boy / girl formula and possibly have potentially a more commercially accessible sound to them. At points they sound to me like Glasgow’s Astral Planes, who for the past two years have been one of my ‘tips’ for greater things. Kunk (www.myspace.com/kunk) have been around for several / many years and now incorporate Hannah Veale on vocals and with her sharing such duties the band at least in the chorus to ‘Attack! Attack!’ remind me of Canadian band YOU SAY PARTY!
And Feedback (www.myspace.com/feedback665): I can’t leave them out. They are not female fronted, but (no offence, lads) sound a little like they are what with them being only 13 / 14 year olds! Like OUTL4W before them, they have so much potential with their more pop-punk brand of music.
Popular Workshop should need little introduction; Hyman Roth have a harder edge about them; The Shills have featured very positively on previous pages of this site – perhaps in its older format and Ten City Nation, whose current single (actually the two tracks on this compilation) are reviewed elsewhere on this site: all these bands have quality tracks on this compilation…… but no female-led vocals as far as I can make out!
This compilation should be obtainable from many independent record shops throughout the UK, but failing that, it can be bought direct from www.repeatfanzine.co.uk for £2.50.
Go get it!
(10/10)
This isn’t the Micropenis track on the album, but I’ve posted it to show off my (well, one of my several) favourite new band!
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So –
SHe’S HiT / JACOB YATES & THE PEARLY GATE LOCK PICKERS: ‘Re:peater’ / ‘Can’t Stop.’
It doesn’t come a lot better than this: two of Glasgow’s (no – make that Scotland’s) finest emerging bands on a split 7” vinyl single. Two bands of contrasting styles and sounds; two bands, two sides – no sub-quality, ‘didn’t make the album’ filler ‘b-side’ here.
Let’s take SHe’S HiT first, since this is the first official release on their own label.
SHe’S HiT are now a five-piece, having somewhat increased their profile in 2010 by not only playing support slots to The Dead Weather, Eighties Matchbox B-Line Disaster and Crocodiles, but also by the recruitment of Scott Paterson (guitarist with Sons and Daughters) on bass.
‘Re:Peater’ is loud and brash enough to warrant being issued with an ASBO before it’s even removed from the record sleeve! The bass line and tribally thumped drums pound throughout, laying a solid foundation for the incessant, shrill, shredded guitar that leaves the listener a lasting impression of the song by means of ringing ears. Vocalist Div’s more so narrates the song than sings it. Like a Northern John Cooper Clarke, his slightly nasal delivery is fuzzed up with gentle reverb.
There are so many influences at work within this exciting and vibrant track. Think along the likes of Jesus and Mary Chain, Suicide and The Cramps, all with a touch of the NY No Wave attitude and heading down to the beach for a surfing holiday.
JACOB YATES AND THE PEARLY GATE LOCK PICKERS are also from Glasgow – although from much of their music you’d be forgiven for thinking otherwise. ‘Can’t Stop’ conjures images, for me at least, of America’s Deep South, with steaming everglades and evangelical zealots preaching ‘the word.’ Jacob’s growled and gravelly vocals have that kind maddened feel about them. You certainly wouldn’t think of messin’!
In fact the whole song, musical backing included exudes severe attitude. The beat is infectious as it stomps its message right through your head. A kind of ‘swamp stomp’ if you like.
There’s a feel of Dan Sartain about this track, but I think the beauty of JACOB YATES AND THE PEARLY GATE LOCK PICKERS lies in their ability to create an atmosphere and paint such vivid images with their music. It’s also bloody good fun!
Like I say, it doesn’t get much better than this.
(Released through RE:PEATER RECORDS on 18th October 2010)
(10 / 10)
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TEN CITY NATION: ‘Hidden Shallows’ / ‘The Air Is On Fire.’
As an introduction to the work of Bury St. Edmunds power trio, this double-A-side single release certainly serves its purpose. As a commercial venture though, I’m not so sure since both tracks are also available on the ‘Love Music, Hate Racism’ EP to be released the following week through the same R*E*P*E*A*T Records label, along with seventeen other tracks – at about ninety pence more than the cost of downloading these two tracks directly.
But then, I’m just a cynical old sod! (Actually, the EP was conceived and put together by TEN CITY NATION guitarist, Seymour and the head of the label, so they obviously know a whole lot better than me!)
Anyway – the music: ‘Hidden Shadows’ is a good, solid (if a little uninspiring) indie-type rocker. Searing slices of guitar hooks permeate the track as it makes its determined and heads-down, blinkered trek across the three and a half minutes. The vocals are a bit mono-toned and consequently lack a bit of expression that could have lifted the song. Don’t get me wrong, it’s a decent enough track, but having heard so many great reports and reviews of TEN CITY NATION prior to playing the CD, I have to confess to expecting more.
I know this a ‘double-A-side’ release, and that one track must obviously precede the other, but personally I would have had ‘The Air Is On Fire’ as the lead. This one I think has the variation and attitude that is missing from ‘Hidden Shallows.’ If I were to suggest that it reminds me of early U2, it’s meant as a big compliment.
From an atmospheric beginning with a ‘click’ sounding bass line being sprinkled with a light but haunting guitar and quietly moody vocals, it erupts into bouncing and rocking chorus before dropping back down again to the initial level. This is repeated a few times throughout the six minute duration with the guitar becoming ever more fuzzed and prominent. I can imagine this being a bit of a showstopper when played live, encouraging wild movement down at the front!
(Released through R*E*P*E*A*T Records on 20th September 2010)
(7.5 / 10)
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As an
DINOSAUR PILE-UP: ‘Mona Lisa.’
Leeds trio DINOSAUR PILE-UP return with an absolute rocking single ahead of their debut album ‘Growing Pains’ being released in early October.
‘Mona Lisa’ in the words of vocalist / guitarist Matt Bigland, is about “..having no money, no time, living on instant noodles, with no heating.” Something that many of us can identify with, and not just students!
The song starts quietly but soon erupts into a driving guitar piece that sees the vocal duties initially undertaken by Matt alone in a sort of husky, light growled fashion. The sound overall is really full and meaty as the song races along at fair lick.
The choruses are instantly hooky, and will no doubt engender much air punching and singing in a ‘live’ environment. Actually come to think of it, the whole song is going to have kids up and down the country jumping around their bedrooms and on their beds much in the same way as the nutters in that video for Feeder’s ‘Just A Day’!
This one is really gonna get inside your head… in a good way. OK, so some are going to make reference to early Foo Fighters, but hey – if you’re going to be mentioned in the same couple of lines as Feeder and Foo Fighters, the only thing wrong is that your band is that the name doesn’t start with an ‘F.’
Wouldn’t it be so good to have a rock / alternative song in the charts for once? Just to prove that there is more to music than sterile, prefabricated and regurgitated urban stuff?
‘Mona Lisa’ is of the quality to shift enough copy to perhaps make it happen.
(Released through Friends Vs Records on 27th September 2010)
(9/10)
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Leeds
THE POSIES: ‘Blood / Candy.’
Everyone knows THE POSIES, right? Everyone knows that the band formed during the late Eighties in Seattle; that their cross-pollination brand of pop and rock is the antithesis of the music that the city was to become famed for; that they have developed a massive cult following and garnered much critical acclaim.
‘Everyone,’ that is, apart from me perhaps. I had always been aware of the name of course, but it made me think of them being like an effeminate punk band and so I never made any effort to check them out!
I say this because it means that I was able to listen to this album without any real prejudice. Without gauging against their earlier accomplishments; judge it as a ‘one off,’ in effect.
And I was pleasantly surprised. I mean, I’m not exactly kicking myself at missing out on all their earlier work, but ‘Blood / Candy’ is a heady mix of soft, alternative rock songs and harmony drenched summery sounds.
The initial three tracks feature guest vocalists, the first of these being Hugh Cornwell of The Stranglers fame. On first listen, I thought ‘Plastic Paperbacks’ didn’t really fit in with the rest of the album. It’s a good deal darker than the others, with a bit of a musical growl. And it’s probably not typical of the remaining eleven tracks, but one of the best none the less.
‘The Glitter Prize’ features Kay Hanley(Letters To Cleo) and ‘Licences To Hide’ has Lisa Lobsinger (Broken Social Scene) on vocals. The latter slows the tempo a shade and is a bit more dramatic in its delivery, but both are probably more along the lines of what fans of The Posies would expect.
‘So Caroline’ picks up the pace again and reminds me a little of early Teenage Fanclub with it’s light, fresh harmonies and driving acoustic guitar. ’Take Care Of Yourself’ is a rousing sing-a-long track, before ‘Cleopatra Street’ starts quietly and develops into a gentle stomp. The chorus really makes this one of the most infectious songs on the album.
‘For The Ashes’ is more of a downbeat ballad. It’s a bit more austere, but still quite captivating in its own little way. ‘Accidental Architecture’ has for me at least, a bit of a Sixties feel with a touch of The Beatles influence, ‘She’s Coming Down Again’ has a bit of an anthemic feel about it with a rousing chorus. ‘Notion 99’ has my favoured handclaps adding to the depth of the rhythm. It’s a gentle little rocker, with a slightly more ‘mean’ sound to it than the other songs.
‘Holiday Hours’ kind of drifted over me – nice melodic, background music, while the final track ‘Enewetak’ (the shortest amongst the forty-two minutes of ‘Blood / Candy’) probably sums up what The Posies are all about – gently bouncing melodic rock with lush harmonies.
(Released through RYKO on 27th September 2010)
(7.5 / 10)
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FOXY SHAZAM: ‘Oh Lord.’
WOW! Something different!
This is completely ‘over the top’ but it’s so infectious and fun, you can’t help but love it!
FOXY SHAZAM are a sextet from Cincinnati with a leaning towards Rock ‘n’ Soul, and a propensity to put a smile on the face of all who hear them. They have been around since 2004, but are shortly to release their eponymous debut ‘major label’ album, with this preceded by their first UK single, ‘Oh Lord.’
The opening horns are slightly misleading (this is neither a Yorkshire Brass band competition nor a Church ceremony) and the song quickly explodes into a riot of posing, strutting and theatrical vocals. The piano and horns combine brilliantly with the guitars as lead singer Eric belts out the vocals like Justin Hawkins would should his voice ever break. The sound is really full and busy, with lots going on and the gang vocals through the choruses are quite irresistible.
There is the occasional terrible temptation to break into Scouting For Girls’ ‘She’s So Lovely’ and there’s also a slightly dodgy brief link where Eric resorts to whistling, but I guess that’s the beauty of FOXY SHAZAM ….. they quite obviously just don’t give a stuff for protocol. So they are forgiven!
It’s all so very dramatic and exciting. Think of the brilliant Los Angeles band, The Blood Arm. Maybe a bit more on the ‘camp’ side, perhaps!
I tell you what… if it were Mika singing this one, it would be all over daytime radio.
FOXY SHAZAM deserve the same attention!
(Released through Sire Records on 27th September 2010)
(9.5/10)
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MOTHER MOTHER: ‘Body Of Years’
I get the impression that Vancouver’s MOTHER MOTHER didn’t set out to be ‘different’ with this single…. they simply set out to be ‘good!’ This is a quality release, albeit with a slight sort of ‘retro’ feel about it.
It’s hard to describe, but both ‘Body Of Years,’ and the b-side, ‘Touch Up’ are really solid songs. There’s a certain depth about the sound, and a confidence of delivery. Both are direct and assured, with a warmth about them.
The lead track opens with a steady beat and bass line in a sort of Police mode, but as soon as Molly and Jasmin’s dual vocal harmonies kick in the song takes on its own identity. Their tone is velvety with one in a lower register that the other. Despite both playing keys / synth and have understated but sturdy backing by the three lads, Ryan, Jeremy and Ali, there are thankfully only fleeting flickers of Eighties electro filtering through as they bring that slight ‘retro’ feel into the present.
‘Touch Up’ also starts out with a similar bass line and initially sounds like the intro to a Gary Moore song! But again, it builds into something completely different to what may be initially expected. Partly I guess because of the female vocal harmonies and partly because of the subject matter (touching up make-up) I can’t get away from the thought of early Go Go’s. Musically there is a resemblance to a sort of ‘darker’ version of the Californian all-girl band of the Eighties, while the lyrics invoke memories of the artwork to their ‘Beauty and The Beat’ album.
(Released through Last Gang Records on 20th September 2010)
(8.5 / 10)
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I get
DUNGEN: ‘Skit I Allt’
This is the sixth album from Sweden’s DUNGEN and as main man / producer / arranger / singer Gustav Ejstes almost reluctantly concedes, “….yes, perhaps it’s a summation of all the records.” Which perhaps then explains why it is difficult to slot this particular album neatly into any specific genre or category.
The one constant running through DUNGEN for the past ten years and five albums is ‘change’ itself as the band and its music have evolved to what we hear today. It’s no surprise really that ‘Skit I Allt’ then is an eclectic mix of dreamlike melodies, psychedelic fazes and light sprinklings of jazz.
It’s an interesting listen, I’ll give it that. Opening with the rumble of ‘surf guitar’ and very quickly overlaid with the willowy sound of a flute, ‘Vara Snabb’ immediately lays the ground-rules for the listener – expect the unexpected. This is a very relaxed opening to the album, as the sound rolls in and out, up and down like the lap of a gentle change in the tide. Nice, but maybe not the most exciting!
‘Min Enda Van’ starts out with piano and handclaps…. always a good sign. The vocals and flute join in. Again, pleasant but a bit too much of the ‘shoegaze’ feel coming through for me. You can’t knock it – there are many bands (mainly foreign, it has to be said) visiting my home town who play this kind of dreamy pop and their shows are always well attended / sold out.
‘Brallor’ however, picks up the pace and grabs my attention. The stomping beat and distorted, angry little guitar riffs contrast with the vocals that this time has female harmonies. ‘Soda’ washes over very pleasantly with the flute and guitar quietly laying out some little jazz lines in the background.
But now we come to the colossus that is ‘Hogdalstoppen.’ Undoubtedly the best track on the album, this is a real psychedelic freak out! Apparently, the songs on the album take inspiration from the surroundings around where they were created and ‘Hogdalstoppen’ is named after a massive junkyard near to Gustav’s flat. This is one song that will surely be a mainstay in the band’s live set. From a hushed piano beginning, it quietly shows signs of eruption with some fuzzed-up guitar and rolling drums. (Actually, the drumming throughout the album is pretty excellent, but at its most formidable on this track where Johan Holmegard seems to almost adopt the role of ‘lead’ drummer!) Anyway, with about two minutes of the four or so remaining, the noise drops briefly and the guitar becomes the focus of the track (it’s an instrumental) although Johan fights his corner very well. It soon fills with a cacophony of crashing cymbals and guitar feedback as it builds into a solid wall of noise.
I like this track… can you tell?
Title track ‘Skit I Allt’ (which loosely translated means ‘fuck it – just go do it!) has a beautiful summery feel to it. It’s a mid tempo song, not too ‘flowery’ and could adapt well to being used as the theme tune to some American TV series.
‘Barnan Undrar’ is again light and airy, before ‘Blandband’ has an almost Oriental feel about the piano playing. Then again, it sometimes feels there are Country influences at play. It’s even got the handclaps again. It’s an excellent combination of styles / influences.
Although the final two tracks tended to drift over me without leaving any lasting impression, I would say that this is an album well worth a listen. And ‘listen’ is what you would probably have to do. It really (politely and gently) commands you attention for maximum effect.
‘Skit I Allt,’ is probably not aimed at a listening audience as shallow and basic in their choice of music as this reviewer, however there’s no denying it’s pretty damn classy!
(Released through Subliminal Sounds on 20th September 2010)
(8/10)
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This is
DREAMEND: ‘My Old Brittle Bones’
DREAMEND is in essence Ryan Graveface, the sole proprietor and employee of Chicago’s Graveface Records, and part time guitarist for psychedelic oddballs, Black Moth Super Rainbow. Touted as ‘dreampop / psychfolk’ this single is offered up as a taster for the new album ‘So I Ate Myself, Bite by Bite’ which is due for release in the UK come early November.
And you know what…? Despite the use of the dreaded ‘f’ word in the description of the musical genre, this is a great little song!
From a very quiet opening, the acoustic guitar picks up the volume with a shuffling rhythm as Ryan’s vocals break in. These are layered initially with lovely harmonies before the song briefly drops back again towards its hushed beginnings. Then, with slightly less than two minutes remaining of the four, the song bursts open with a “Hah!” and the sound instantly becomes fuller with female backing vocals and distorted handclaps (they do it for me every time!) vying with the hooked line of the glockenspiel.
Dare I say ‘My Old Brittle Bones’ has echoes of Arcade Fire about it? As a one-off track, it also reminds me of another Canadian band, Islands.
Not bad reference points, I would suggest, should any be needed.
(Released through Memphis Industries on 20th September 2010)
(8.5 / 10)
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NOSFERATU D2: ‘Nosferatu D2′
Actually – I’ve just noticed that this album is really entitled: ‘ We’re Gonna Walk Around This City With Our Headphones On To Block Out The Noise,’ but I’m buggered if I’m going to keep writing that lot out!
NOSFERATU D2 are two brothers from Croydon – Ben Parker (vocals / guitar) and Adam parker (drums.) Or at least they were NOSFERATU D2 until they decided in 2007 that the band ‘project’ didn’t carry the same excitement as it did when they first started gigging back in 2005. This then, is the ‘album that never was,’ the ‘lost’ album that was never released during the band’s lifetime, but has now seen light of day thanks to the enthusiasm of the Audio Antihero label.
And that my friends, probably explains why although the majority of this album is exciting and interesting, it never the less has a slightly ‘dated’ feel about it. A few years ago, this may well have been an innovative arrangement – something fresh and different. But now, some three years or so after the band ceased to be, much of this style of music has been… well, heard before.
Certainly, NOSFERATU D2 garnered some fantastically positive reviews from many people ‘in the know’ back then. Credible musicians from the likes of Art Brut and Los Campesinos added their endorsements to the support of Radio 1’s Huw Stephens and XFM’s John Kennedy, both of whom gave the band airplay.
The album itself, I can’t help but feel, opens and closes very strongly, but somehow loses itself in the mid-tracks. Opener, ‘Broken Tamagotchi,’ stands the test of time and would surely merit airplay these days. It’s fast of tempo, with Ben’s guitar getting threshed quite discordantly while Adam frantically beats the skin off his snare as Ben delivers the vocals in a quirky and off kilter manner.
Oh – the vocals. The lyrics. Yeah – in general, they’re kind of introspective, reflecting some rather depressing thoughts, but at the same time (well, sometimes) with a wry sense of humour and acceptance of the inevitable!
Second up is ‘Footnote,’ which sees the pace maintained and the vocals sung / spoken in Ben’s colloquial tones, but contrasting the rather morbid nature of the words!
‘Colonel Parker’ starts out slowly but picks up midway, and although the lyrics have more of a light-hearted and self-deprecating tone, this for me at least heralds the point in the album where the songs lose the impact of the opening two.
In fact, I’d say it’s not until ‘The Mojo Top 100’ at track seven, that my attention was properly re-captured – probably because of the increased vibrancy and more innovative delivery. ‘Springsteen,’ has a dark edge to the backing while Ben rants and raves like a maniac about what’s happening to his hometown.
The penultimate track must rank as having one of the longest titles ….ever: ‘We’ll Play The Power Of Love By Frankie Goes to Hollywood a Thousand Times Tonight,’ is a great track. I have no idea what it’s about really, but the throbbing instrumental that kind of overlays the vocals is dark and moody. And a little spooky. And with lines like: ‘It’s alright when all of your friends are Goths, ‘cause some of them might honestly believe you’ll come back and talk to them. It’s nonsense, but it’s comforting to hear,’ it’s just got to be a winner!
Final track ‘It’s Christmas Time (For God’s Sake)’ sees Ben really pissed off and in full-on, cynical, depressed mood! Lovely stuff!
It’s a shame that we’ve had to wait so long to hear this album / band, but while there appears a lack of direction mid-album, it – and they – are well worth checking out. I’m sure you’ll find they were / are the template for some of today’s current crop.
(Released through Audio Antihero and out now – September 2010)
(7.5 / 10)
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BENJAMIN SHAW: ‘I Got The Pox, The Pox Is What I Got’ EP
BENJAMIN SHAW is a Northern lad. From Blackpool in fact, and that by definition means he has been genetically wired with a dry and sometimes self-deprecating sense of humour. He will also, by definition, ‘tell it how it is’ and will doubtless call a spade a feckin’ shovel!
Following a period of ‘particular awfulness’ (his words) he married and buggered off to Australia for a while, from where you would not unnaturally think that he’d return with (at the very least) the quality of self assuredness and confidence to add to his ‘Northern’ attributes. Possibly a slightly dangerous combination, some might say.
But no – judging by the six tracks on BENJAMIN’S ‘I Got The Pox, The Pox Is What I Got’ EP, the ‘Northern’ traits still hold sway over those of the southern hemisphere.
It would perhaps too easy to dismiss these songs as ‘miserablist’ but they’re certainly not ones to have dancing around your bedroom like a loon. They do have a certain charm and a propensity to draw out the listener’s sympathy for BENJAMIN as he delivers his lyrics in a rather plaintive manner.
The lyrics themselves are a strange mix of that dry humour, bitterness and pathos – sometimes all within the same song, like ‘The Carpeteer’ – and in the main are accompanied simply by BENJAMIN’S acoustic guitar. Musically, the mood is distinctly downbeat, with the exception of ‘When I Fell Over In The City,’ which has a nice, quick delivery and lovely harmonies wrapped around the chorus of ‘There’s a fine line between talent and me.’
‘2,000 Sentinels’ is again of the ‘slow’ nature, but like on another couple of occasions, BENJAMIN employs some electronic gadgetry in the introduction and this time the base is centred on a harpsichord sounding piano line. The chorus, or at least the end line or so, sounds similar to The Sensational Alex Harvey Band’s ‘Tomorrow Belongs To Me,’ though that probably doesn’t mean much to anyone else!
Actually, although I don’t generally ‘do’ downbeat styled music, this track is really pleasant and interesting…. One that I’d certainly play again / add to my I-Tunes playlist.
However if I’m honest, even though there are many people who are going to love this brand of music – and I’ve seen many reviews that concur with that point – I found it all a bit too much of an adventure into endurance. But you’ve got to hand it to the lad, his rather perverse sense of humour shines through all the evident pain.
BENJAMIN SHAW – ‘coming at you like a wet duffel-coat.’ (His words!)
(Released through Audio Antihero and out now – September 2010)
(7/10)
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HOUDINI: ‘Smokers Cough’
HOUDINI are a three-piece alternative / rock band from…. you know what? I don’t know! I can’t see anything on the My Space page or website that says where they’re from. I’m guessing from the South East of England (Maidstone, maybe?) gauging from the gigs they play.
I do know though, that two of the three members also play in a band called Hexicon, who released a great single called ‘Something Strange Beneath The Stars,’ at the start of the year. So there’s a bit of pedigree here that should make ‘Smokers Cough’ a decent listen.
And it doesn’t disappoint. Driven along by a thumping bass-line that sounds like a slowed down interpretation of that on ‘Out Of Control’ from Rancid’s ‘Indestructible’ album (honest ….go check it!) it has a sort of threatening edge to it, whilst retaining that ‘danceable’ bounce. The vocals are slightly distorted in parts, but the backing and chorus are strong and concise and the mix of the two styles works well, injecting a little variation and keeping things fresh.
‘B-side,’ ‘Treading Water,’ is not quite so ‘in your face.’ It’s a bit more laid back in the delivery and I think the intention was probably to make this a bit more melodic, generally. However, the result is that it loses the urgency and vibrancy of the lead track and while still quite definitely ‘OK,’ it offers nothing different to a plethora of other bands out there.
Still, from what’s on offer here, I think HOUDINI are worth checking out and with this single being made available as a FREE DOWNLOAD by the band, then why not head over to their My Space page at www.myspace.com/houdinisaur and check it out?
(Released through Haircut Records and out now – August 2010)
(7/10)
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THE CANDLE THIEVES: ‘Happiness Blues’ EP
This distinctly lo-fi duo from Peterborough has had a year of contrasts so far in 2010. In between dates playing in the pubs, front-rooms, kitchens and back gardens of their fans, THE CANDLE THIEVES have also had high profile US support slots for The Scissor Sisters, David Gray and even My Chemical Romance!
In fact, this EP is the result of their writing while on their US travels, although lead track ‘The Sunshine Song,’ is taken from their debut album ‘Sunshine & Other Misfortunes’ that was released in the spring of this year.
Certainly, on listening to that particular track for the first time it’is easy to see why such luminary headliners were keen to have them on board – although I have to concede, I find the My Chemical Romance support a little strange. But then, I guess it shows just how the music of THE CANDLE THIEVES transgresses musical genres- assuming of course that they didn’t get ‘glassed’ off stage by the emo giants’ fans!
‘The Sunshine Song’ features that interminable drum machine beat, but the lads can be forgiven because it actually works in this context as the song is led by Scott’s perky Casio keyboard and warm, infectious vocals. The song has a nice little bounce about it, with such a hooky chorus, and distant sounding handclaps, which are always a winner with this reviewer. It’s quirky and almost child-like and most importantly…. fun.
‘Annabelle’s Song’ brings the mood down a touch. The sombre piano introduction is supplemented by a light, almost choral backing before Scott takes the lead, his voice operating in a higher range this time. It’s a lovely, harmonious little song – quite dreamy, but there’s a familiarity about this song, though I’m buggered if I can think what it is!
‘Paper Aeroplanes’ gives a lead ‘role’ to the glockenspiel as it dances over the top of the Casio, before the soft vocals kick in with a ‘Da da da’ refrain. The singing itself sees the voices distorted and hushed, which works really well whilst weirdly and rather randomly, as the song nears the end it seems like there is some traditional, stereotypical Chinese music lurking beneath the surface! (I would also say that this particular track sounds a lot like Barn Owl, a band here in Glasgow.)
Final track ‘Balloon #2’ is more downbeat, but again with beautiful harmonies and backed in the main by the piano. This is a really atmospheric track – a ‘grower’ – and one that showcases these guys as credible songwriters, with more up their sleeves than just ‘quirky.’
(Released through Carnival Town Records on 13th September 2010)
(8/10)
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This
HARPER SIMON: ‘Berkeley Girl.’
You gotta hand it to singer / songwriter HARPER SIMON, he sure knows how to put together a lovely little tune.
I defy anyone, no matter whether they are into their punk, rock, metal – whatever, not to be caught up in the willowy harmonies and lightly picked acoustic guitar of ‘Berkeley Girl.’ I tried so hard to dislike this, but quite honestly just couldn’t think of one single reason why I should. I don’t think I can even say with any conviction that ‘this is not a track I’d personally choose to play,’ – because in all likelihood I’m going to return to this CD time and again.
(Damn my honesty!)
That the song itself has (at least to a philistine like me) distinct echoes of Simon and Garfunkel, yet still sounds contemporary, but distant from the dreaded ‘twee’ label, is decent recommendation for starters. The vocals are nice and relaxed and the whole song has a really warm and cosy, comforting feel to it.
There’s not much more I can say. Nice!
(Released through [PIAS] Recordings on 13th September 2010)
(8/10)
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SLEEPY SUN: ‘Marina.’
SLEEPY SUN typically play a heady mix of psyche / stoner / space rock and heavy blues, and so it’s no real surprise then that their songs tend to last a good bit more than the conventional and accepted three minute ‘norm’ for daytime radio airplay. Which from a purely selfish perspective is good as the temptation towards commercialism will be avoided, but from a band point of view is probably a tad discouraging as their music will not be heard by as many people as it merits.
At almost six and a half minutes in length, ‘Marina,’ certainly follows that ethos. This is the opening track on SLEEPY SUN’S current album, ‘Fever’ and is a perfect taster for those who have not yet experienced the sheer majesty that is the Californian band’s music.
For the initial four minutes or so, ‘Marina,’ is a soulful and almost pained song. Drenched in heavy blues, it is languid in its delivery but yet somehow still frightfully powerful. Bret and Rachael’s dual vocals intertwine beautifully, with the latter’s dulcet tones contrasting the haunting sound of Bret’s harmonica and the thunderous, crashing mood of the other instruments. Then, with about two and a half minutes remaining, the song breaks down into a pounding, tribal stomp, with ‘whoops’ and ‘hollers’ in the backing, before dropping back into a bit of a psychedelic fuzz and cascade of drums and searing guitars as it careers towards its conclusion.
‘Horses’ does not appear on either of the band’s albums. It is more even in tempo, and though still very Blues inspired it is probably more accessible to the casual listener, and at fractionally over four minutes may just appeal to some radio presenters who like to ‘discover’ new bands.
I’ve said it before…. I’ll say it again: SLEEPY SUN are set to be massive.
(Released through ATP Recordings on 6th September 2010)
(9/10)
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MOMO:TEMPO – ‘Sweetseeker’ EP
‘Dance music’ per se does nowt for me – all that ‘woo woo,’ ‘banging,’ and ‘’aving it large,’ processed beats and chill-out rooms! Load of bollox! Don’t get me started…..
But while this debut EP from ‘independent creative composer and producer,’ MOMO:TEMPO (aka Timo Peach) could broadly fall into the general ‘dance,’ category, it’s of a nature that will put a smile on the face of even a grumpy old cynic like me. There is an eclectic mix of influences at work on this thirty-minute EP that showcases the forthcoming debut album ‘The Golden Age Of Exploration,’ in an interesting fashion.
Lead track is the ‘Toffee Mix’ of ‘Sweetseeker.’ (Fortunately, the basic, original version is not available on this EP, otherwise I’d be boring you with my thoughts on re-mixes, and why they should only be considered if they actually add something of superior quality. And if they do, then why not just release the remix if it’s so much ‘better?’ And if it’s not as good as the original, then why bother? Uh oh…..I’m turning into my Dad……!)
Whatever – this track comes across in a sort of light-hearted manner, full of busy little bleeps mixed in with some funky sounding horns and vocals that are mixture of ‘camp’ and late Seventies chic.
The following track is over thirteen minutes in length and is actually a ‘Preview Mini Mix’ of the tracks on the previously mentioned debut album which has been slotted an autumn release. It’s a clever way of giving the listener a taster of what to expect…. and I think it works pretty well once you accept that it’s obviously not intended to all run together seaqmlessly. There are loads of different flavours (am I meant to say ‘flavas?’) on the album, quite obviously. From Seventies disco, to Eastern (Indian) vibes, through snippets of Drum ‘n’ Bass to slightly more austere, dramatic themes and then those funky horns of course – it’s all here.
There then follows another mix (this time the Harry Disco mix) of ‘Sweetseeker’ so I’ll just leave it at that, will I?
‘I Saw You Get On, Would You Like To Get Off,’ is next. Distorted spoken vocals and drum-machine styled ‘handclaps’ are the order of the day here. Mixed with a grimy, looped keyboard hook, it’s a bit of a mid-tempo floor-filler, I would think.
‘Al Hamdu Li Lah,’ closes the EP with a lovely shuffling type of rhythm and beat and infectious chorus. Again, the words are spoken, more in a hushed tone this time, while the horns add substance and pace. It sounds like some kind of ‘celebration’ song – a modern interpretation of some Middle Eastern party.
Now as you can probably guess, as an ageing Punk, I am no aficionado on this style of music. But if you push me for reference points, then I’d say think along the lines of Eighties electro types who didn’t seem to take themselves so seriously. Maybe the likes of Yello and Harold Faltermeyer, mixed in with the credibility of today’s Sonny J (he of ‘Disastro’ fame.)
I don’t know…. maybe that doesn’t do this EP justice?! I guess you’re just gonna have to search it out and judge for yourself.
I don’t think you’ll be disappointed, though.
(Released through Momo Creative on 13th September 2010)
(8/10)
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‘Dance music’ per se does nowt for me – all that ‘woo woo,’ ‘banging,’ and ‘’aving it large,’ processed beats and chill-out rooms! Load of bollox! Don’t get me started…..
But while this debut EP from ‘independent creative composer and producer,’ MOMO:TEMPO (aka Timo Peach) could broadly fall into the general ‘dance,’ category, it’s of a nature that will put a smile on the face of even a grumpy old cynic like me. There is an eclectic mix of influences at work on this thirty-minute EP that showcases the forthcoming debut album ‘The Golden Age Of Exploration,’ in an interesting fashion.
Lead track is the ‘Toffee Mix’ of ‘Sweetseeker.’ (Fortunately, the basic, original version is not available on this EP, otherwise I’d be boring you with my thoughts on re-mixes, and why they should only be considered if they actually add something of superior quality. And if they do, then why not just release the remix if it’s so much ‘better?’ And if it’s not as good as the original, then why bother? Uh oh…..I’m turning into my Dad……!)
Whatever – this track comes across in a sort of light-hearted manner, full of busy little bleeps mixed in with some funky sounding horns and vocals that are mixture of ‘camp’ and late Seventies chic.
The following track is over thirteen minutes in length and is actually a ‘Preview Mini Mix’ of the tracks on the previously mentioned debut album which has been slotted an autumn release. It’s a clever way of giving the listener a taster of what to expect…. and I think it works pretty well once you accept that it’s obviously not intended to all run together seaqmlessly. There are loads of different flavours (am I meant to say ‘flavas?’) on the album, quite obviously. From Seventies disco, to Eastern (Indian) vibes, through snippets of Drum ‘n’ Bass to slightly more austere, dramatic themes and then those funky horns of course – it’s all here.
There then follows another mix (this time the Harry Disco mix) of ‘Sweetseeker’ so I’ll just leave it at that, will I?
‘I Saw You Get On, Would You Like To Get Off,’ is next. Distorted spoken vocals and drum-machine styled ‘handclaps’ are the order of the day here. Mixed with a grimy, looped keyboard hook, it’s a bit of a mid-tempo floor-filler, I would think.
‘Al Hamdu Li Lah,’ closes the EP with a lovely shuffling type of rhythm and beat and infectious chorus. Again, the words are spoken, more in a hushed tone this time, while the horns add substance and pace. It sounds like some kind of ‘celebration’ song – a modern interpretation of some Middle Eastern party.
Now as you can probably guess, as an ageing Punk, I am no aficionado on this style of music. But if you push me for reference points, then I’d say think along the lines of Eighties electro types who didn’t seem to take themselves so seriously. Maybe the likes of Yello and Harold Faltermeyer, mixed in with the credibility of today’s Sonny J (he of ‘Disastro’ fame.)
I don’t know…. maybe that doesn’t do this EP justice?! I guess you’re just gonna have to search it out and judge for yourself.
I don’t think you’ll be disappointed, though.
(Released through Momo Creative on 13th September 2010)
(8/10)
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FRENCH FOR CARTRIDGE: ‘Liquorice’
Hitting on a unique and instantly identifiable sound must be pretty difficult these days, but FRENCH FOR CARTRIDGE (Catherine Kontz and Henri Vaxby) have certainly managed it with this, their debut album. Originally from Luxembourg and Scandinavia respectively, the duo met whilst studying at Goldsmiths in New Cross, London and have garnered rave reviews for both their earlier, 2006 album ‘Cases’ and also projects and work in their own names.
‘Liquorice,’ is a collection of ten quirky and light songs spanning thirty-three minutes. Opening track is the former single release ‘Ooooh!’ – a song that gently, but forcibly throws both light and dark at the listener. One moment it’s all comforting and jolly with Catherine’s dulcet tones caressing and reassuring, and then come the threatening and rather menacing contrast of the link to the chorus, which in itself, with its simple ‘Pink, Yellow, Red and Green’ lyrics is slightly manic.
‘Loosening The Structures’ is like a warm, summery breeze with Henri taking on the lead vocal and Catherine providing a softly, almost whispered backing. But as with most of the album, it’s not just as straightforward as that and there is some lovely, banging, and discordant piano thrown in for good measure.
‘Twice As Nice’ has a gloriously ominous opening and again seems play light against dark with the soft vocal delivery vying with the more threatening instrumental interventions. ‘A Hundred And One,’ is undeniably a quite beautiful and moody song, but maybe lacking the spark and surprise element to be found on the rest of the album.
‘TV Dinner’ is probably my favourite. It’s quite brilliant in the manner of which it incorporates so many different styles, tempos and riffs within one song. There are lots of little ‘surprises’ encountered throughout its four and a half minutes and the mental, discordant piano playing over the top of the feverishly thumped drums is quite exquisite – in a noisy, brash sort of way.
‘Sitting And Reading’ sounds like some clockwork toy soldiers and cute little china dolls, clad in frilly, lace dresses but with psychopathic eyes have come alive in the dead of night and are having a ball at the toy funfair!
‘Picture Negative’ was the B-side to the earlier single release of ‘Ooooh!’ and relaxes the listener after the manic style of the previous track. It has a sort of film-score feel about it, with lovely little harmonies. The following ‘Two Feet In The Water,’ however, is the only disappointment for me on the album. Many would say it’s ‘beautiful’ and ‘atmospheric’ but of course I don’t ‘do’ that kind of music, and so would term it more of a ‘dirge’ and boring.’ Still – you can’t have it all, can you?
‘Little People’ sounds as you’d expect with that name. It’s chirpy, and bouncy with a nice little ‘zip’ of a guitar hook, while the final track, ‘Silhouettes,’ builds into something almost anthemic with it’s deep, heavy riff in the chorus and soft, melodic harmonies. If Coldplay were ‘cool’ then they may sound like this!
This album has previously been released on CD and digital formats and now celebrates its vinyl release. It’s probably one of the most ‘chic’ albums you’ll hear this year, and would be a wonderful addition to anyone’s vinyl collection.
(Released through Dinner With Daisy Records in vinyl format on 20th September 2010)
(9/10)
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CRIPPLED BLACK PHOENIX: ‘I, Vigilante’
OK – now I’m REALLY confused – but of that later!
I must concede to never having listened to CRIPPLED BLACK PHOENIX before, although I was pretty sure they must have some pedigree, otherwise they would not have been invited to contribute a song to the compilation of AC/DC covers that was issued in conjunction with the Classic Rock magazine a few months ago. (My copy of the CD had lain in the pile labelled ‘must listen to…’ beside the player for weeks!)
Having now listened several times to ‘I, Vigilante,’ the ‘pedigree,’ is quite obvious. It seems also that they have a bit of a reputation for producing goliath type tracks – huge on noise and long in (erm),…. length. The six tracks on this album for instance, run to around forty-eight and a half minutes.
And this is where the initial confusion sets in – the promo sleeve states only five tracks, whereas the Press sheet definitely states there are six. And the CD reader on both my laptop and CD player say here are six tracks. But more of that later!
Opening track ‘Troublemaker’ clocks in at eight and half minutes. Now, if there are two expressions I remember my parents repeating to me in my youth, they were that ‘time flies when you’re enjoying yourself,’ and that ‘time passes faster as you get older.’ So maybe it’s a bit of both, but this does not seem like an ’epic.’ It is, obviously, but the fact that it moves through several different ‘phases’ from start to conclusion almost makes it seem like several different, shorter tracks. Although in saying that, the component parts all seem to fit so effortlessly together.
Starting with a rather chilling spoken (presumably) movie soundtrack that ends with the Latin dictum ‘Lupus Pilum Mutat, Non Mentem’ (meaning ‘the wolf may change its fur, but not its nature’) CRIPPLED BLACK PHOENIX are presumably informing the listener that although this album may be slightly different from those previous, this is not to say that they are planning on a new direction altogether, or even indeed that the next album will be the same. In fact, there are plans for a more comprehensive, full-length album to be completed by the end of the year.
So from the soundtrack (?) intro, ‘Troublemaker’ expands into a heavy blues mood, with vocals washing over the sometimes haunting, sometimes threatening guitar – until a mood swing, with about three and a half minutes remaining changes the whole complexion of the song with a Kasabian (‘Shoot The Runner’) styled riff. There is some great playing over the top of the riff as the track reaches its zenith some two minutes later, before reverting to heavy blues feel to close.
‘We Forgotten Who We Are’ is a different beast altogether, with the emphasis on the piano leading the track into a fuller, more expansive sound some four minutes into the almost eleven minute effort. Of course, as is their want CBP take this and other songs to great heights before letting them drop and rescue them just before they crash and burn into the depths of your – (insert your preferred means of playing music here.)
In this case, the previous track merges seamlessly with the following ‘Fantastic Justice.’ This one sees the implementation of a horn section to supplement the little piano arpeggios, with some lovely whining, blues inspired guitar going on in the background.
‘Bastogne Blues,’ is the longest track on the album at twelve minutes. Again opening with spoken word – this time a veteran soldier recounting his experiences in the trenches and how his first ‘kill’ has affected him since – this song is a tribute to the WW2 veterans of the Battle Of The Bulge. It’s really quite a haunting track, this one. The guitar has a bit of added reverb, making it sound a little distant and empty, while the rhythm is again blues based. The use of a string section adds to the almost ‘widescreen’ images created by the song as it rises and falls of waves that seem possibly Scottish or Irish folk inspired. Whatever, the listener is left with the mental picture of cold, barren, windswept moors. Or I was, at least. Perhaps though, the repeated ‘hook’ if you can call it that, goes on too long?
‘Of A Lifetime,’ is the final track listed on the CD sleeve. The big blues-rock riffs and searing blues guitar open the track before some lovely, strong and soulful female vocals kick in. Now this is just pure showing off! So far there has been a wide variation of styles on this CD – even if I think most have an underlying Blues ‘influence’ – and now we have a more conventional Blues number! The guitar work is as good as the vocal, as it and the equally excellent drumming reach a crescendo. Possibly (just ‘possibly’ that is) this is my favourite track of the five.
Ah! – but the press sheet and the CD reader say there are six tracks! This is where I lose it. Maybe the band has this thing with the numbers five and six, for their My Space page lists six ‘misconceptions’ in their ‘Top Five Misconceptions’ of the band.
So…. track number six: anyone other than me remember a film from the Sixties called ‘Kelly’s Heroes?’ (Maybe it was very early Seventies – that’s not really the point.) The point is that the song ‘Burning Bridges’ from that film is included as track number six! Rather amazingly (some would say ‘sadly’) I recognised it straight away. However, I’m not sure if this version is by the original artists The Mike Curb Congregation, or CRIPPLED BLACK PHOENIX.
And whoever’s version it is, why is it on the CD? (Maybe it’s part of a general WW2 tribute, what with the inspiration behind ‘Bastogne Blues?’)
Regardless, this is a gem of an album. Intelligent and thoughtful rock that really does kick ass!
(Released through Invada Records on 6th September)
(10/10)
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