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Review // Twilight Sad @ Scala, London

2009-11-19T11:17:00.001Z

Halloween approaches. London prepares for costume-led homage to the darker arts. More vim and vigour, perhaps, these last couple of years, for such things.
Even three quarters full, Scala has faded grandeur. The terrazzo tiled stairway, high vaulted ceilings and oak stage in the main room, a fitting venue for Glasgow’s Twilight Sad, back in London after a long tour schedule, and much hyped year.

In the 6 months since the Shoreditch muso-fast, Stag and Dagger (see earlier Noize review), their venues are bigger, crowds more knowledgeable, and the band themselves seem more confident, less “just off the streets of Glasgow”, their performance more poised.

Reflection of the Television, is first up, in a set list mixing songs from follow-up album Forget the Night Ahead (darker songs, shorter titles), and classics from their debut album, such as And She Would Darken the Memory and Talking With Fireworks. Most notably perhaps, That Room, is perfectly paced for the wet and windy autumnal night, with its haunting piano-led melodic pace.

The slow build of pounding drums and tormented vocals, to swelling but distorted reverb-laden guitars. is almost disabling at times. It’s a sonic assault that leaves the watching, appreciative crowds in a trancelike state. But before you know it, the end has come and gone, and the band has vanished from the stage. No encore.

The crowd hesitate, unsure the spell has been released, before ponderously wandering away, dazed but not confused, minds returning to matters of importance (where to buy vampire teeth and witches hats).

By Simon Owen

REVIEW // THE HUSH NOW - CONSTELLATIONS

2009-11-15T16:45:00.010Z

Quiet right away! This record is called 'Constellations' and it's the second album from upcoming but shockingly named Bostonians, The Hush Now. Their sound is laid back melodic indie rock and it's built on low-fi guitar riffs with keyboards adding extra colour. The over-riding emphasis, however, is on the vocals of frontman Noel Kelly.
The bands strength lies in their ability to write a decent chorus, of which there's a few examples scattered around the album. The stand out track is new single 'Hoping and Waiting', which after a Lightning Seeds style intro, gives way to a bass-driven verse before culminating into a crowd-pleasing sing-along chorus. Track 3 is more intense and sounds like the Foo Fighters 'Everlong', but it loses it's power after a strong intro.

There's occasional interesting flashes of the band trying to do something, such as the brass section on 'Thorns' and the mandolin intro on 'Fireflies', but most of the songs tend to drift by lacking any edge. The sickly sickly vocals aren't helped with every line seemingly overdubbed multiple times giving the impression of a barbershop quartet. Maybe the singer lacks confidence in his voice?

There's a certain charm about The Hush Now but there's ingredients missing.

By Alex Telfer

Rating: 4/10
Format: Album
Label: Unsigned
www.myspace.com/thehushnow

REVIEW // BIFFY CLYRO + MANCHESTER ORCHESTRA, BELFAST

2009-11-11T10:23:00.007Z

Tonight is a night of epic sounds in Belfast. The mighty Biffy Clyro have returned once again to their throng of Northern Irish fans who have never waned in their hunger for all things Biffy.
Tonight’s show is no different with the odd Scottish flag even making an appearance in the audience to support the trio. But firstly, Manchester Orchestra are making their debut in this venue and have some high standards to meet in order to impress this audience of herculean proportions and expectations.

Like many great bands Manchester Orchestra were born out of frustration with their surroundings. Originating in the suburbs of Atlanta, Georgia, part of America’s southern “bible belt” a young and disillusioned Andy Hull began assembling what would become Manchester Orchestra after finding inspiration in The Smiths and Morrissey’s solo work. Thankfully, Manchester Orchestra are no watered-down Morrissey- Marr coagulation but have developed a sound fresher than most acts today could boast. Hull’s voice pulses with rage and scorn yet manages to stay free of mindless screaming. Tracks such “I’ve Got Friends” and “Pride” build themselves from melodic beginnings into anguish-ridden choruses with steeley soundscapes underneath. “The River” takes a quieter turn for the four-piece but the intensity never wanes. A stellar live performance who captivated a large and unfamiliar audience.

There is no doubt that Biffy Clyro are a seamless line-up who have repeatedly shown non-believers why they are an immense asset to British music and certainly one of the best in current times. However, they seem a little off their usual high standards tonight. Everything begins well as they dive straight in and start stomping out the tracks its’ fair to say the first ten to fifteen rows if people have been reduced to a sweaty mass of limbs and bodies. Tracks from their biggest selling album to date “Puzzle” get huge crowd reactions, especially “Living Is A Problem..”, “ Saturday Superhouse”, “Get Fucked Stud” and “Now I’m Everyone”. Their new album “Only Revolutions” contributes to their set with current single “The Captain” and the previously released “Mountains”. “Mountains” is one of the more impressive points of the set as is the punchy and gripping “That Golden Rule”. “The Captain” seems out of place in this set as it proves to be a disappointing point of the show simply because it isn’t in the high lofts of their other material and doesn’t seem to maximise their high degree of performance that is usually delivered so effortlessly. After the standard end to the show they return of screams for more and seem to go be going through the motions once more. Biffy Clyro are such a hugely talented band and are one of the best when it comes to live performance but perhaps this new album just doesn’t translate to the stage as well as previous material or maybe it was just an off night. Regardless, I won’t be giving up on them yet.

By Sara Irvine

REVIEW // MICKEY GANG - HORSES CAN'T DANCE

2009-11-09T22:04:00.000Z

Two detached vomiting heads. It's a delightful image, isn't it? Well, Brazilian band Mickey Gang think so anyway. And so it is that this image adorns the artwork for the single "Horses Can't Dance". I suppose it was easier than a picture of a horse failing to do the Macarena.
"Horses Can't Dance" is an electro-pop dance track complete with retro 80s synths and relentless beats. You?ll find it nestling beside the Bloodhound Gang's "Mammals" in the International Library of Indie-Dance Music.

There's not much to be said about it really. It is what it is - a fun dance track where the lyrics were probably an after thought ("Horses can't dance, but you find yourself someone new"). Then again, if you were looking for an emotionally engaging set of lyrics, it's unlikely that you would be listening to this anyway.

Meanwhile, blasted out through the speakers on indie night at the Student Union, "Horses Can?t Dance" will become a different beast – at home in its natural habitat. Imagine what The Strokes might have been if they'd got themselves a couple of keyboards (or just listen to Julian Casablancas' new single) and you?ll get the idea.

B-Side, "With Love, Prince" provides more of the same - to the point that the synth parts are pretty much identical to the lead track. Lyrics are equally un-navigable ("You got the power in your kiss/kiss me and I will know what it is"). Once again though, this barely matters. These songs are all about energy and dancing and pounding beats. It's entirely forgettable, but fun while it lasts.

By Stephen Milnes

Rating: 6/10
Format: Single
Label: 50 Bones
www.myspace.com/mickeygang

REVIEW // DAN EDELSTYN AND THE ORCHESTRA OF CARDBOARD - GERMANS IN SPACE

2009-11-09T21:58:00.002Z

Anybody who performs a set with an orchestra made out of cardboard always needs a second look. Yes. That?s right. An orchestra made out of cardboard. I told you that you?d need a second look. Dan Edelstyn performs alongside his Orchestra of Cardboard under the bizarrely self explanatory title of "Dan Edelstyn and the Orchestra of Cardboard". As you might imagine from the name alone, his music (or rather their music - let us not underestimate the contributions of artists formerly known as corn flake packets) is quirky, to say the least.
It's the natural successor to David Bowie, Beck and The Beta Band, with a splash of Flight of the Conchords. As with those acts, in Edelstyn's music anything could happen. And so, within the space of just a two track single ("Germans in Space") we are plunged from the celestial heights of Germans exploring the final frontier ("Germans in Space") to the seedy depths of Jack the Ripper prowling the East End of London ("Psycho Town").

The lead track may require further reading: it considers Edelstyn's fascination with German scientists fleeing the Holocaust and pursuing their dreams of space exploration. It?s delivered in an appropriately spaced-out tone and is full of peace, love and understanding: "from the spaceship view/cruelties give way to blue and green".

"Psycho Town" meanwhile is a snarling, prowling beast. The opening lines of "Trip to Soho/Peeping Tom/Girls, Girls, Girls" come complete with a sinister, lock-up-your-daughters voice. It's difficult to believe that the two tracks come from the same person.

In just one single, Edelstyn has demonstrated a broad stylistic range that is at once exciting and unnerving. Predicting the next song's contents would be utterly futile. As to a whole album, I'm not sure my, brain can cope with that. But for a man with a willing cardboard orchestra under his baton - well, anything is possible.

By Stephen Milnes

Rating: 7/10
Format: Single
Label: Blang
www.myspace.com/danedelstyn

REVIEW // STEPHEN DUFFY AND THE LILAC TIME: MEMORY AND DESIRE

2009-11-09T21:56:00.001Z

My own introduction to the work of Stephen Duffy was thanks to the short-lived supergroup, Me Me Me. It consisted of the aforementioned Duffy alongside Blur's Alex James and Elastica's Justin Welch.
Their one and only single, "Hanging Around" is completely of its time: a blast of bright, mindless bubble-gum Brit-Pop optimism. Britain was cool again, "Country House" had beaten "Roll With It" and Tony (the
Messiah) Blair would be riding into town to sweep away the gloom. Ah, those were the days.

By contrast, "Memory and Desire: 30 Years in the Wilderness with Stephen Duffy and the Lilac Time" is a far more sedate, introverted affair covering three of Duffy's music making decades, both on his own and in bands.

It's a bit of a stodgy affair, really: 36 tracks of fairly similar sounding whimsy: by no means unpleasant, but far from awe inspiring. It prompts the inevitable question: who is this best of for, exactly?

Thirty-six songs on a greatest hits album is a mammoth project by anyone's standards. Such compilations are usually there to act as an introduction to the uninitiated or a brief précis for someone who can't quite be bothered with the back catalogue. For such uncommitted, musical lightweights (or people with lives, as the opposing view might have it) a double album like this doesn't quite do the trick.

It would, of course, be a different story if we were talking about a double-album greatest hits collection of Dylan, Springsteen or The Rolling Stones. Each of these artists (and many other less famous artists) have a wide ranging back catalogue of hits and near misses that would sustain a listener?s interest. Sadly, the same cannot be said of Stephen Duffy.

At the other end of the spectrum, any truly devoted fan of Duffy and his prolific output is likely to have most or all of the songs here. The only conclusion that can be reached is that "Memory and Desire: 30 Years in the Wilderness with Stephen Duffy and the Lilac Time" (even the album?s name is prohibitively long) is for Duffy completists. And I'm not really sure how many of them there could be. This said, there is much to like here. Given a more tightly arranged retrospective (with maybe twelve or so tracks), the great moments would be given greater prominence. Momentum would be maintained, gained even, rather than simply lost.

"Julie Christie", with its wide eyed dreams and aspirations, set against a backdrop of grim realism ("You left drama school/for shop floor restless/not by design") is one such example of the poetic poignancy Duffy can bring to a song.

Elsewhere, "Grey Skies and Work Things", "Back in the Car Park?" and "Black Velvet" further prove Duffy's abilities. The latter comes with four-part harmonies and perfect cadences of which even Bach would be
proud

The songs in general are simple, but elegant affairs: love songs with lyrics about everyday lives being led in every day ways. There are holiday postcards, trips to the cinema and homes set up in squats. As the songs proceed, the traces of Duffy's more recent influence on Robbie Williams (Duffy has co-produced and co-written with Stoke's most famous export) can easily be seen.

There is nothing particularly wrong with any of these songs. It's simply the sheer volume of them that is so off-putting. Less is, apparently more. Conversely, as Stephen Duffy demonstrates here, more is definitely less. Which is a shame.

By Stephen Milnes

Rating: 6/10
Format: Album
Label: Universal
www.myspace.com/stephenduffyandthelilactime

REVIEW // CHASE AND STATUS @ SOLUS, CARDIFF

2009-11-02T15:25:00.008Z

Dance music has always been a very physical thing. Think about, it’s in the name – dance music should, obviously, make you dance. The same goes for all its sub-genres, sub-sub-genres, meta-genres etc, etc – not least drum ‘n bass and it’s darker younger brother, dubstep.
Chase and Status were the forerunners in such genres when they released their debut album More Than A Lot earlier this year, and this evening they had every intention of making the live experience a very physical one.

First off, they have taken the brave move to tour with a live band – full drums and a guitar whenever the song requires.

Secondly, by the very nature of the kind of music they make, it was impossible not the move. The bass-lines were so loud and intense that they went through you like a puppeteers stings – with every drop, wob and sub, the crowd surged and bounced like they couldn’t help it.

They slammed their way through all the album favourites plus the single Pieces and new single End Credits – which both feature the vocals of Plan B, who made a surprise appearance this evening. They also rocked out the awesome remix of Nneka’s Heartbeat, with full-blown electric guitars.

This kind of music is revolutionising the industry, and Chase and Status are revolutionaising the way it’s played. Tonight was no exception, and they continue to assert themselves as leaders of the pack.

By Josie Allchin

Chase and Status new single 'End Credits' is available to buy and download now

REVIEW // THE CHAPMAN FAMILY @ PLUG, SHEFFIELD

2009-11-01T15:15:00.002Z

Having featured on the BBC’s Introducing stage at Glastonbury and supporting the 80’s electro diva La Roux on the NME Radar Tour, The Chapman Family have certainly got a lot of people talking. If not only for the blood and sweat dripping encounters alone, which many of the cult fan base will already have experienced. The fiery foursome kick start their Virgins tour with support from; ketamine kim and Jack and The Beanstalk, at Sheffield’s Plug.
A mere 5 minutes after the 7.30 opening time the first of tonight’s support acts emerged. As the crowd was very sparse at this time, their entrance onto the stage merited little to no reaction. The five piece ‘Ketamine Kim,’ eventually after some time, launched into their first song. It was evident from almost the first guitar chord ‘Ketamine Kim’ are doing what The Libertines and many followers have done years before. Scatty guitar playing, fast drumbeats, and a distinctly average singer. It also came with weak backing vocals from the female keyboardist, and, putting the icing on a badly baked cake – corny jokes from the lead vocalist that even your best friend wouldn’t humour. In essence, this band aren’t awful, just fresh and inventive idea’s wouldn’t go a miss, to be able to create their own unique sound.

After a swift turn around, in which it enabled me, and many others for that fact, to buy an extortionate pint of larger from the bar, Jack and The Beanstalks took to the stage for another go at impressing the exceedingly muted crowd. They too, sporting a very dirty and unclear sound – similar to the previous bands attempts. However, this time, the inventive melodies and complex drumbeats featured where the latter bands had collapsed. The quirky and original idea’s in the tracks merited the credit they deserved from the ever – warming crowd. The overall charisma and stage presence of the band was almost a heartfelt disaster, with minimal movement and speech throughout the entirety of the set. The timings also, were poorly judged, with the beginnings of a song in the making, they quickly realised that time had surpassed, and sheepishly departed with a mumble of “Thanks, We’re Jack and The Beanstalks” under their breath. I’m sure many of tonight’s crowd felt the same empathy that I did for them.

The Chapman Family saunter casually onto stage, only to be greeted by a rapturous reception from tonight’s sparkly populated venue. With the introduction “Hello, We’re the Chapman Family” over in a matter of seconds, they launch whole heartedly into the first number. Lonesome screeching guitars, aided with powerful baritone vocals, create a build up that raises the hairs on your entire body. After a minute of musical bliss, ‘Hear Them Marching’ explodes into a noisy uncontrolled mess, which, for the majority attending, was the calling card they needed to go crazy.

With the best charisma of the night, and sufficient space to move around, the energy and passion – filled show is infectious. This, compiled with, strong and powerful music made for a close and sweaty encounter – for both parties. Launching into ‘Kids’ the party on stage, really begins – with hard hitting drums and fast paced melodies it gets the band diving around, the bassist and vocalist feeding of one another’s movements, creating a close and humid atmosphere. The music creates a superior mix of styles, the double bass on drums answers for the metal fans, and vocals – think Futureheads, speaks volumes for the Indie lovers. Completing a night of reasonable success, The Chapman Family conclude the night with new song ‘Million Dollars’. Bassist, Pop Chapman, informs the crowd “If you like Liberty X, You’ll like this song”, rather ironically it sounded nothing like Liberty X and no one laughed at his joke. Other then some awful jokes and a tough crowd to please, The Chapman Family gave a fantastic performance and some smiling faces were caught leaving. If your idea of a fabulous night is a mass of people in a sweaty mess, many of them intoxicated – go and see The Chapman Family, they will not disappoint.

By Ben Gilligan.

REVIEW // NANCY ELIZABETH - WROUGHT IRON

2009-11-01T14:49:00.002Z

“Wrought Iron” is Nancy Elizabeth’s second album. A spectral tale narrated by a folk motive. Reminiscent of PJ Harvey’s “White Chalk”, I thought, this long play is an introspective journey into solitude. The same solitude that has been a reliable source of inspiration for many works by Nancy Elizabeth up until now.
Her first album “Battle & Victory” released in 2007 was produced in a 17th Century cottage in the remote Welsh countryside, and a village hall outside Manchester. The songs in “Wrought Iron” have also ripened far from the urban life, in the fertile ground of the Aragon region in Spain and the Faroe Islands, to be later recorded in North Wales.

The album is therefore a product of the artist’s intense reflection and intimacy, to which you are introduced by the exquisitely instrumental “Cairns”. This track opens with a delicate piano sobbing its way through a sad and captivating melody. As the music plays on, it becomes even more involving. The arrangement in the single “Feet of Courage” is of particular charm, as its clattering and isolated percussions accompany Nancy Elizabeth’s husky yet mellifluous vocals to a ghostly and out-of-this-world effect. The sense of alienation and loneliness becomes clearer, deeper and bleaker in the “Lay Low” lyrics and as she sings “I felt so scared and stranger than everyone”, she must know being away from everyone and everything has certainly paid off.

Caring, patient and attentive as the artisan who forges and welds his Wrought Iron piece, Nancy Elizabeth has created a refined example of sonic craft.

By Liza Adebisi

Rating: 8/10
Label: The Leaf Label
www.nancyelizabeth.co.uk
www.myspace.com/nancyelizabethcunliffe

REVIEW // HEALTH - GET COLOUR

2009-10-30T22:45:00.002Z

This band really excited me the first time I heard the intro to first track: 'In Heat', they reminded me of 65 Days of static with an electro slant and I was forced to turn the volume way up. Not only that but they have worked with a great electro band, Crystal Castles and even opened up for Nine Inch Nails in 2008. Their music is a concoction of powerful drumming, meaty guitars with some industrial and electro influences thrown in for good measure. However, as the album went on, I found my initial excitement fading slightly as the tracks inevitably melded into one. Ever so slightly same-y I wondered if Health were a one trick electrical pony.
The general theme of the album seems to be to focus on the instruments over vocals (which by the way sound a tad like a robot-ghost, if such a thing exists...). The band themselves have described the role of the lyrics as being "purposely kept vague for the listener" which is very true, and in this case it does work as the instrumentals in here totally steal the spotlight. They are bold, and at times brutal, which isn't surprising when you look at certain song names: 'Die Slow', 'Death+' and 'Eat Flesh', but oddly the most jarring song of the album was 'Nice Girls' which sounded more like a battle cry. The whole thing takes you on a bit of a manic journey to some dark, surreal places- some of which I appreciated, some of which made my head hurt.

As the journey continued with me sitting in the back seat a little confused as to whether or not I loved this band , the second to last song kicked in and eased my troubles. 'We are Water' is the most melodic and "soft" song which three quarters of the way in pauses for breath... then turns a completely different direction. This song showed the essential versatility I was hunting for which continued to show itself in the form of the final track, 'In Violet'. The only shame was that it took them that long to show it!

Overall I love what they are trying to do and anyone who likes their electro with balls will enjoy this. I’m going to keep my ear to the ground on this one and wait to see what their next album sounds like, because it could be genius.

By Kat Nicholls

www.myspace.com/healthmusic

REVIEW // THE PASTELS / TENNISCOATS – TWO SUNSETS

2009-10-30T22:38:00.003Z

A collaboration between the two bands prove to be a big success. Two Sunsets has been in the making for the past couple of years with the two bands crafting a beautiful and simplistic album. When The Pastels and Tenniscoats decided to collaborate, Tenniscoats already had a track which was later to become the album title. The gentle tone of ‘Two Sunsets’ makes you feel as if you’re in a dream world, relaxed and far away from your worries and troubles. The only bands I can really compare them to are Arcade Fire and Sigur Ros – they too let the music do the talking showing vulnerability within a song.
Another highlight is the cover of Jesus and Mary Chain’s ‘About You’ with the clever use of soft guitar sounds along with silky vocals giving you that warm feeling inside. They’re not just musicians, these bands are clever using these beautiful sounds in a casual and intimate way.

Last song on the CD is ‘Start Slowly So We Sound Like A Loch’ makes you feel sad that the album is about to end – it’s almost as if the song is sending you to sleep with it’s deep calming words – there’s nothing wrong with that of course!

Altogether i’m impressed with the collaboration and would urge you to listen to some of these stunning tracks. Two Sunsets explores the idea behind melody and shows that singing isn’t everything. Brilliant.

By Sophie Williams

REVIEW // LOW LOW LOW LA LA LA LOVE LOVE LOVE – FEELS, FEATHERS, BOG AND BEES

2009-10-30T22:16:00.002Z

At first glance, Low Low Low La La La Love Love Love donot seem to be a band who fit the mould. For a start, their unnecessarily long, nine-letter name poses a string of inconveniences (would ‘Low Low Low’ not have been enough? Or even ‘Low La Love’?) and in addition to this, the tracklist for their third album seems to be a collection of words and numbers arbitrarily allocated to each song just so that you have no idea what refers to what.
Tracks two and three are named ‘Blackbird 1’ and ‘Blackbird 3’ respectively whereas ‘Blackbird 2’ does not appear until track nine; ‘Document 19’ is the opening track and ‘Document 15’ makes an appearance as track eight. I imagine myself attempting to conduct an intellectual musical conversation about this band: “Have you heard the new album by La La La Love Love Love…No, that’s not right…Low Low Low Love Love Love…No…Low Low Low La La La Love Love Love? Anyway, I really like track two – ‘Blackbird 2’, I think it’s called. Or is it ‘Blackbird 3’? Or even ‘Blackbird 1’…” Whether the band – whom I will refer to as LLLLLLLLL to prevent this article from being ten times longer than it needs to be – just fancy being awkwardly artistic or whether there is a significant reason for all this confusion, I do not know, but they say never judge a book by its cover…

Feels, Feathers, Bog and Bees begins with a melancholic ‘Document 19’, which is a melodic mixture of tambourines, violins, glockenspiels and lulling vocals. Personally, I would normally expect to find this kind of track as the token epic song at the end of an album when all the excitement has come to aclose and you are left with a massive climax before silence and then the hidden track. However, LLLLLLLLL’s first offering of the album is still quite enjoyable, despite creating a rather bleak beginning.

Things start to pick up pretty quickly and ‘Blackbird 3’ is a gorgeous little track beginning with a mysteriously beautiful glockenspiel melody and ending with a minimalistic acoustic guitar. Additionally, ‘Where’re You Goin’?’ is one of the album’s standout tracks; one of the few you could actually find yourself singing along to, it is an upbeat, more conventional folk pop song.

Other prominent tracks include the big and bold ‘Document 13’ and, contrary to my idea of a typical ultimate track, ‘Bored Of The Stood Life’, which leaves the listener with optimism and unanswered questions – ‘Could it be that bad to let go of that?’

All in all, if you wade through the enigma that surrounds LLLLLLLLL, there lies a talented band who excel in producing tracks which are both thought-provoking and soothing.

By Devon Bianchi

REVIEW // LEMONADE - LEMONADE

2009-10-30T22:07:00.002Z

When life gives you lemons, make lemonade! Lemonade (the album) is certainly made like this; with influences from grime, house, dub-step and dancehall music, this debut album is certainly unique. Opening track, ‘Big Weekend’ sounds exactly like a big weekend (well one with lots of booze, partying, sex drugs, rock and roll and all that jazz of course!), with strong beats, almost haunting vocals, on top of an undeniably techno beat that sounds like it would fit in upon trendy electro Parisian style. It is evident that this trio from Brooklyn are clearly musically talented and have a vast knowledge of the world; there is literally an influence from almost every culture on this six track album.
If you want a modern, trendy, new age album, this is definitely the one; with tracks that certainly defy boundaries and create atmospherics from another era. ‘Unreal’ is a track which has a distinct post punk bass line and simple rhythmic lyrics that fit in perfectly with the cymbal clashing dancehall beat, whilst ‘ Nasifon’ has strong bhangra sounds mixed in with the recurring electro house dance beat, creating a culturally mixing track. If you think all this sounds messy, then you’d be right! It is a mess, but somehow it’s a mess that just really works! It’s definitely worth a listen, if not just for the joy of a half an hour journey round the world on one big acid trip of techno house!

By Amber Brooker

www.myspace.com/bananasandecstasy

REVIEW // BLITZEN TRAPPER - BLACK RIVER KILLER EP

2009-10-30T21:53:00.002Z

Portland, Oregon is a Seattle-like hotbed of musical creativity, with The Decemberists, Modest Mouse, The Shins, Sleater-Kinney and Elliott Smith to alphabetically-name but a few all hailing from there. Joining such illustrious company are folktronica five-piece Blitzen Trapper, absorbing their Rose City locale and influences like northwest American couscous. Of their geographical bedfellows, The Shins are particularly channelled on the latest of Blitzen Trapper’s many mostly-free releases, the Black River Killer EP.
The title track is a typically bluesy narrative with a No Country for Old Men-style plotline. Black River Killer is a Bob Dylan-style tale of sin and unredemption, with a voice getting on for Dylan’s gravelly delivery. The guitar work is excellent, particularly the electric guitar that comes filtering through in stabs past the first chorus; they reek of Sgt. Pepper’s Reprise, disclosing early the heavy imprint of The Beatles upon the EP. Silver Moon’s harmonica line is poppy – verging on a Love Me Do-style motif – and revels in its bluesy hookishness. It dips into an unassuming verse, before seemingly realising its mistake, quickly followed as this section is by a second go with its main hook. As well as being very Beatles-y, Blitzen Trapper also come across as rather Shins-y; it could be argued you could barely sound like one without sounding like the other. Blitzen are most strongly reminiscent of The Shins kooky folkish moments, the feel of infiltration of analogue instruments by digital counterparts most worthy of comment. Going Down takes a slightly more electronic tact from its fiddly synth intro onwards, in which the lyric of “It’s loose lips sinking ships tonight” sounds like a typically James Mercerish turn, especially whilst synths burble around in the background as the track halts unexpectedly. For better or for worse it sounds a lot like MGMT’s Weekend Wars in its general pace and looped, spiralling keyboards. Words are abandoned Phantom Limb-style in favour of ‘oohs’ in a largely anonymous outro, which frankly is where the rot sets in for the Black River Killer EP.

Aside from a stammering lyrical metre reminiscent of Because, Shoulder Full of You is astoundingly dull. It brightens up very slightly in a wordless section of chorus-like function, but the lyrics deal exclusively in cliché; “Like a crow that’s lost its sight, like a day without a...” oh I really can’t be arsed it’s such a blatantly obvious and unoriginal rhyme. The dreadfully-named Preacher’s Sister’s Boy features a great synth line in another wordless chorus which just about manages to save the track from being a second non-event. It’s again Beatles-y in its brief, buoyantly poppish structure, but the seriously excellent chorus sounds abject in a track that’s completely forgettable. Black Rock mistakes dull and uneventful for low-key and moody, and although the rolling guitar riff is well-played, it fails entirely to stick in the mind. The track concludes even more briefly than Preacher’s Sister’s Boy, but without an upbeat hook to its name, it falls much flatter. Thankfully Big Black Bird fares far, far better, its classic rock guitar riff and squealing harmonica line supporting Eric Earley’s Paul McCartney-aping vocal, which is all pretty good fun. Big Black Bird however – with its strident southern rock riff and immediate vocals – feels slightly incongruous in the context of a largely subdued EP.

It’s potentially an interesting sound that Blitzen Trapper have themselves, vintage folk backed up by digital bleepings. Is this folk for the iPod generation? That’s kind of doubtful; ‘middle of the road’ sounds like a crushing criticism if incorrectly used, but is fairly accurate when applied to Blitzen Trapper. Yeah it’s folk with some electronica attached, but the electronic moments never truly sound integral to the tracks, more afterthoughts or embellishments. They’re most likely there to set Blitzen Trapper apart from the crowd (heavyweights such as Fleet Foxes, Wilco, Bright Eyes and so forth), but only succeed in sounding like keyboard preset sounds being played over fairly decent folk music, and so if anything detract from the overall experience. There is the niggling doubt that much of this will really hook in the mind; apart from the bookending tracks and one or two other moments, very little else is truly worthy of note.

By David Hall

Rating: 6 /10
Format: EP
Label: Sub Pop
www.myspace.com/blitzentrapper

REVIEW // SIMIAN MOBILE DISCO @ PLUG, SHEFFIELD

2009-10-30T21:22:00.001Z

When a gig involves many important looking boxes - well, amplifiers, mixer and synths, keys and many many wires, not forgetting lots of pretty whirly lights you know it'll be a cracker. Thus, Simian Mobile disco was one of those indeed. To further light up my little world, they started with 'Sleep Deprivation' a tune indeed, which created an instantly responsive and enthusiastic crowd. Not one foot wasn't a-tapping. One bloke infront even had a little strobe light on his phone at the ready, bless him.
They ran, hopped, ducked, tweaked, plugged and the suchlike with great art. The energy that those two James have is truly a gift. That and their electro pop musical talent. After a few more turbulent yet not so impressive ( simply because newer stuff from 'Temporary Pleasure' simply fails to please me personally, but ho hum) additional tracks, more goodness was released and the masterpieces such as 'Hustler' were pumped out which certainly marked a climax.

They succeeded in maintaining full complete devoted attention throughout the entire gig with their astounding enigmatic music and damn good lights. No more can be said, it was simply, purely a brilliant set with not a fault to be found. Other than that the loos were too far away, resulting in missing a bit of a track.. gutting stuff. So, the moral of the story is that we all [should] heart Simian Mobile Disco.

By Peta Richards

REVIEW // THE BRUTE CHORUS - THE BRUTE CHORUS

2009-10-30T21:12:00.002Z

Recorded in one take in front of 300 fans, the bravery and proficiency of The Brute Chorus’ self titled debut calls for respect. It’s a shame then that the songs let them down. They are by no means poorly arranged or played, in fact quite the opposite, it’s just almost the half the dozen songs sound all too similar with a frantically strummed acoustic guitar and a thumping bass drum.
There’s touch of the Flogging Molly about them in their folk-rockish flourishes and Talking Heads, The Zutons, Jamie T, The Kooks and The Hoosiers at various points in their very slightly off-kilter guitar pop while the singer, James Steel, sounds like a little The Cure’s Robert Smith, which could go some way to explaining why The Brute Chorus sound quite so indistinguishable. With such a wide range of sounds hinted at, there’s a distinct lack discernible identity of their own.

Album opener Hercules offers quirky guitars, Grow Fins throws up some mildly exciting exuberance a la Guillemots and there’s a cluster of songs around two thirds of the way into the album that show all is not lost.

However, many songs are missing a kick of emotive power, there’s very little to raise the heartbeat or pull on the heartstrings. Eighth track The Cuckoo & The Stolen Heart is the one that stands up and make itself heard over the homogenous folk inflected pop rock that surrounds it but even then it’s simply the addition of female vocals that adds anything different.

What lets this debut album down is its pace. It feels much, much longer than the 48 minutes or so that it actually lasts. Songs, despite being a reasonably speedy tempo, drag on. The musicianship is good, the lyrics are pretty inventive, it just struggles to do anything of any real note. There’s no spark.

By Stephen Milnes

REVIEW // KEEGAN DEWITT - ISLANDS

2009-10-30T21:03:00.003Z

‘Islands’ is Keegan DeWitt’s official debut album. However, this native of Portland, Oregon has not been idle before this release, having been showcasing his talents as a film score composer (being nominated for the Independent Spirit Award) and performing as a songwriter in New York’s Lower East Side, where he has supported the likes of Rhett Miller and Roman Candle. However, ‘Islands’ marks his first attempt at breaking out all alone in the music scene, with no other artists to hide behind.
Now, the result of his intensely hard work is realised in a collection of 10 songs that are simple, sweet and perfectly sound tracked to warm summer nights, long walks in the country and whatever else your mind can conjure that makes you think of something entirely peaceful. The instrumental talent on ‘Islands’ is phenomenal, with lush instrumentation dipping and flowing in a colourful kaleidoscope around the jaunty piano, casually strummed guitars and DeWitt’s own vocals, pleasing in their warmth and ever so slightly husky, which really bring the songs to life.

Imagine slipping an arm around your lover’s waist whilst looking at the sunset during ‘Stormy Weather’, whereas the likes of ‘Come Celia’ is the literal sound of a spring in your step. ‘Walk Alone’ has a country-esque feel to it, with its swooning guitars and soft rolling drums. The album as whole seems to drift together with such ease, that you don’t seem to notice the track changing gaps. Even the track ‘Untitled’, at a mere 46 seconds is a snippet of pure loveliness. This melting together of songs however proves the album’s only real flaw; all the tracks are rather similar, of the same folksy, whimsical calibre. However, we can’t really fault DeWitt, he does whimsical folk at its best.

By Vanessa Banks

Rating: 7/10
Format: Album
Label: Izumi
www.myspace.com/keegandewittmusic

REVIEW // RADIO SLAVE - FABRIC 48

2009-10-30T20:58:00.001Z

In this latest of Fabric's mix series, Matt Edwards, here under the alias Radio Slave, presents a flawless showcase of the material that he's been featuring in his DJ sets.
The album opens with Michel Cleis' remix of Baeka's 'Right At It', its slow-burning percussion sliding effortlessly towards Radio Slave's own DDB. Here the tempo is stepped up, a relentless hi-hat forming the foundation around which vocals and the rest of the percussion build. The Spanish vocals on 'I Don't Need A Cure For This' create an atmosphere which is echoed in the trumpets of Brothers’ Vibe’s 'Platter Sugar' and in Michel Cleis’ ‘La Mezcla’ which has all the atmosphere of a carnival.

Alongside Radio Slave’s own creations, the compilation features tracks by artists signed to his own label, Redkids. These include Nina Kraviz’s minimalist ‘Pain In The Ass’, DJ Boola’s unsettling ‘Balada Redo’ and Daniel Sanchez’s sultry remix of Spencer Parker’s ‘My Heart’.

Edwards has succeeded in creating a hypnotic mix that is constantly shifting in tone and pace, with each track being allowed to develop fully.

By Ruth Thompson

Rating: 7/10
Format: Album
Label: Fabric
www.myspace.com/rekid

REVIEW // GET BACK GUINOZZI! – LOW FILES TROPICAL

2009-10-30T20:50:00.002Z

The first single from new band Get Back Guinozzi shows promising signs with it’s summer feel and quirky sounds. It’s slow relaxing feel and smooth guitar sounds and vocals along with jangling guitars and pitch shifting keyboard. The band take you back to the best parts of summer enjoying the sun. The five piece based between London and the south of France take their influences from Talking heads, Jonathan Richman and The Cure which is clearly evident in this track with it’s use of narrative making it completely individual.
If you get the chance, the band are touring this autumn to celebrate the release of debut album Carpet Madness – well worth a listen to.

By Sophie Williams

Rating: 7/10
Label: Fatcat

REVIEW // GIRLS - ALBUM

2009-10-29T20:17:00.001Z

Calling an album “Album” is both highly new age and ultra trendy or rather dumb and big headed; though I would like to believe it is the former, as Girls are definitely a new age type of band.
Before this album was ever to be released there was already an immense amount of hype surrounding these guys from San Francisco; with a lead singer who as a child was wrapped up in a religious cult, (a factor which undeniably influenced the immense lyrics throughout the album) There is definitely a buzz about this band and it is evident from this album, but only to an extent; sure the songs are catchy but it is hard to deter from the obvious repetitiveness and rather whiny vocals.

Musically the album is good; most of the songs have a sunny feel to them with indie guitar riffs and upbeat pop sounds. However contrastingly, the songs are more emotive about losing girls, and other traumas of a daily hardship life. Songs such as “Laura” and “Lauren Marie” were obviously written amidst an unhappy breakup while songs such as “Ghost Town” and “Headache” are melodramatic melodies with an almost haunting sadness hidden in the beach style tunes. “Album” is an album which paints a clear picture of a troubled life but hides it well in catchy pop melodies. It is definitely worth a listen, even if it is just for the hype; and listening to the lyrics becomes almost heartbreaking.

By Amber Brooker

LABEL: TURNSTILE
www.myspace.com/girlssanfran

REVIEW // THOMAS DYBDAHL - THOMAS DYBDAHL

2009-10-29T20:13:00.001Z

Thomas Dybdahl's latest self-titled release brings together a selection of tracks from his previous four albums which have shot him to prominence in his native Norway, providing an introduction to his elegant song-writing.
Opener ‘From Grace’ is a heartfelt promise of love, while ‘Adelaide’ and ‘B A Part’ feel like reassuring conversations with an old friend. ‘All’s Not Lost’ is the reminiscence of wandering off track only to find unexpected hope in another person. Dybdahl is joined on ‘Dice’ by Silje Salmonson, their similarly breathy voices combining perfectly. ‘One Day You’ll Dance For Me New York City’ is introduced with a soulful and evocative saxophone phrase, and despite the seeming provocation of the title, the track is quiet and assured. Only on ‘I need love, baby, love, not trouble’ does Dybdahl move towards a confrontational tone, his voice gaining a harder edge as he vents bitterness and disappointment

Throughout, the instrumentation is deliberate and unobtrusive, allowing the listener to focus on Dybdahl’s intimate vocals. The tone is always sincere, and there is a warmth behind each song which pulls the listener in.

By Ruth Thompson

Rating: 8/10
Format: Album
Label: Last Suppa
www.myspace.com/tdybdahl

REVIEW // BAT FOR LASHES @ ROUNDHOUSE, LONDON

2009-10-29T20:01:00.004Z

For those who are not familiar with the name Bat For Lashes, I shall acquaint you with a little introduction. Comprised of front woman Natasha Khan and a changing band, which for some time has featured Charlotte Hatherley from Ash, Bat For Lashes’ sound has been described as ‘sci-fi folk’, often likened to Kate Bush, Bjork and Annie Lennox. The two albums that have been released to date, ‘Fur and Gold’ in 2006 and ‘Two Suns’ in 2009, were both nominated for the Mercury Prize but sadly didn’t win. Both albums have been at home on my iPod for some time now, and I’m not sure why the Bat For Lashes love isn’t more widespread yet, as there is nothing else quite like it.
I had never been to the Roundhouse before, and thought it was a great venue – it was as though someone had taken Shakespeare’s Globe Theatre and violently shoved it into the 21st Century...with a roof! A far cry from the usual box-like arenas, there was character, perfect for the quirky act it was hosting.

The support act, Yeasayer, a four-piece band from Brooklyn, were kind of unexpected, but really great! They played a set full of rolled up blazer sleeves and synthesizers straight from the eighties, and – knowingly or not – had the dance moves to match! The vocals were tight, and every song encouraged an appreciative nod of heads and stamp of feet from the audience.

After quite a lengthy wait, where we saw the set slowly coming to life with luminated landscapes of silhouetted trees and fairy lights, Natasha Khan and her band entered centre stage. Despite her tiny frame she owned the space and held attention in a way only a true performer can. She looked incredible in a leotard and leggings most women would have nightmares about, topped off with a sweeping gold-stranded cape, and obligatory glitter on her cheeks.

The set comprised a fairly equal mix of both albums, with ‘What’s A Girl To Do’ and ‘Pearl’s Dream’ being particular favourites amongst the audience. There were wind-machines, tambourines, maracas, and changing background effects galore to make the performance a real sensory delight. The main component that glued it all together, however, not allowing anyone’s attention to stray for even a moment, was Natasha’s faultless vocals. Something my friend said to me after her first couple of songs could not have been truer – ‘She sounds so much better live.’ Her voice is beautiful, always controlled, and seems to ring out almost effortlessly, even on the highest, most haunting notes. A true icon in the making!

Danielle Richardson
Photo by Shay Rowan - www.flickr.com/photos/25880052@N08

REVIEW // TYONDAI BRAXTON - CENTRAL MARKET

2009-10-29T19:52:00.003Z

For those of you who are unaware who this man is, he is the front man of Battles. And from now on, you should fully get the idea of that band out of your head. Because if Battles, and it’s collective members own external work, have demanded anything from themselves, it’s a challenge.
By all accounts, Tyondai Braxton’s solo work can seem enigmatic. His compositions have stemmed from his own history with music, starting with his father’s avant-garde jazz musicianships through to, yes, his own work with Battles. But his previous efforts have always seemed like a one-man artistic mission, an exercise in, well, self indulgence. A man sitting cross-legged strumming guitar chords and looping/effecting his vocals can become quite a chore for those with an uncleansed palette. ‘Central Market’, however, sees that love of loops and his own nous become fully realised, albeit with a little help from The Wordless Music Orchestra.

‘Opening Bell’ is a pretty apt title for the lead track of an album of such majestic leanings, and from the off the beautiful collision of sound that Braxton has the ability to create is flaunted. A playful piano sits in argument with its synthesised brethren, and this entwined sensibility runs it’s course throughout the track, before being sent to higher realms by it’s orchestra led counterparts. It’s crescendo culminates into ‘Uffe’s Workshop’, where the stabs of arpeggiated melodies rise and fall in tandem, like a constant stream of adrenalin waves rushing through your body, before the Reich baiting refrains of ‘The Duck and The Butcher’ bring you down into an anxious state of anticipation. All of this leaves you feeling staggered, bewildered, but completely enthralled and excited by its unpredictable nature. Like I said, don’t expect anything else.

As undoubted centre piece of the compositional work comes to an end in the form of ‘Platinum Rows’, the phantasmagorical imagery at play is rife and needing to be bookended. The payful side of matters now needs to come to a formative (and narrative) end, and so the album twists into it’s futuristic metamorphosis. All of a sudden, there are chords. There’s singing. Yes it may seem like Lostprophets have somehow invaded as ‘J. City’ changes tack into a pseudo-nu-metal ramble. Twist and turns in it’s distortion lead to the first real point of confusion within it’s repetitive barrier, before the drones of ‘Dead Strings’ ease you down into a placid state of disorientation and give you one final spin dry come the end. Where have I been taken? Where am I now? What. The. Fuck. Just. Happened? Mr. Braxton: mission, accomplished.

Referencing for such a contemporary and original opus is a really difficult thing to do; especially with a lack of knowledge of something comparatively far afield as ‘Central Market’. It’s contemporary classical musical with an accessible tweak, forgodssake, so all too often the elements of ‘haut couture’ can become too prevalent with such an artistic piece of work and make such work difficult to communicate with. ‘Pretentiousness’ is a word that could be haphazardly tossed its way. But Braxton has succeeded in translating his complex thought process into something thrilling, emotive and, ultimately, comprehensive. Instrumental music conjuring imagery is, also, something that has permeated a fair few of my reviews; it’s something I see covering a plain of the territory of such music. But this time, with ‘Central Market’, such aesthetic qualities do actually require a level of individual objectivity I cannot do justice to. It’s impressionist, it’s conceptual, but more than any artistic superlative, it’s fucking brilliant.

Open to interpretation is the turn of phrase that seems most applicable, but that interpretation, hopefully, will be nothing but positive. If there was any justice in the world (thank you Lemar!), then that challenge is something you should all head long into.

By William Grant

Review // Spiral Stairs - Stolen Pills

2009-10-29T19:50:00.003Z

Spiral Stairs is the re-incarnation of Scott Kannberg, formerly of Pavement and Preston School Of Industry, and ‘Stolen Pills’ is the first single to be taken from his debut solo album ‘The Real Feel’.
Acting as the album opener, it immediately breaks through any pre-conceptions you might have had, with a groove and style all of its own. It reeks of surf and garage (not a bad thing in case you were wondering), sounding like a less manic Black Lips, and without the multiple vocals. Kannberg’s vocals fit perfectly, sliding in and out of a production that almost sounds like it has been recorded in his garage with a bunch of best mates, high on beer and sunshine. A couple of listens to this most promising debut single and you’ll be boogalooing and air-guitaring with the best of them.

By Vanessa Banks.

Rating: 8/10
Format: Single
Label: Domino
www.myspace.com/prestonschool

REVIEW // DOES IT OFFEND YOU, YEAH? @ Sala Razzmatazz, Barcelona

2009-10-21T15:38:00.006+01:00

The fashion for bands having utterly stupid names seemed to reach a zenith sometime around late 2007. Following such gems as ‘Test Icicles’ and ‘Shit Disco’, ‘Does It Offend You, Yeah?’ scaled new heights in sheer pretentiousness. Thankfully, their music didn’t.
With a unique take on disco-dance indie punk-rock, the Reading based five-piece sold bundles and toured the world. Hell, even America liked them. Whether most people knew, or even cared about fate’s role in their choice of nomenclature (if you really wanna know, google it) was open to debate, but one thing was sure: they could rock out.

Fast forward to October 2009. DIOY,Y? were in town to road test new material and whip up a frenzy prior to the 2010 release of their second album. A late start in the main room at uber-club Razzmatazz has been a nemesis to many, but as the clock ticked past 3am, the gathered hordes were packed in tight and the air positively cackled with anticipation. Have no doubt, this was an event.

Bounding onto the stage, frontman James Rushent seemed determined not to rest on his laurels. “Are you ready?” he screamed, before grabbing the mic and launching into ‘With A Heavy Heart’. The robotic beat and one-note bassline had heads-a-nodding and hands-a-clapping, and the addition of synth and guitar to the chorus even saw bouts of moshing. ‘Weird Science’, whose sample heavy basis worked surprisingly smoothly live, had James utilising a second, effects-laden mic, and without even pausing for breath, new song ‘Over Your Shoulder’ was upon us. Like a storm of electronic noise with bassist Chloe Deveaux at the centre, it hinted at possible new sonic directions. Think Muse mixed with Daft Punk, on crack. Turned up to 11.

The angular art-rock guitar of ‘Doomed Now’ sounded particularly good, drawing knowledgeable approval, before fan favourite ‘Battle Royale’ loomed into view. With Dan and Matty working their bank of synths for all it was worth, the thumping drum beat turned the front row into a sea of thrashing arms and legs. Paean to love and infidelity ‘Let’s Make Out’ had James leaning out over the crowd screaming, “Too many legs under the table, too many reasons for trouble!” A super-hyper-speed version of ‘Attack Of The 60ft Lesbian’ was followed by another newbie, ‘Monkeys’, a guitar and bass-heavy number with a central refrain of “Eat my shit, suck my dick.” Ironically, or perhaps deliberately, radio friendly unit-shifter ‘Dawn Of The Dead’ was up next, although it sounded a little flat and uninspiring, especially considering what had come before.

Perhaps they were saving themselves for the finale. “This is the last one. Thanks for coming, nice one” ushered in the familiar opening riff of ‘We Are Rockstars’. Cue pandemonium. The moshing down front was mimicked on stage, with James and Dan bouncing all over and drummer Rob beating his kit to within an inch of its life. You almost felt sorry for the DJs who were up next. Having departed looking satisfied with their efforts, it will be interesting to see if their second long player will continue in the vain of the new material, or be more of the same. For the answer to that question, we’ll have to wait. As for the other, well, does it? Yeah mate, it does. But I fucking love it.

By Derek Robertson