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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

REVIEW // HILL DROP RECORDS - WE CAN BE FRIENDS

2009-10-20T13:56:00.006+01:00

Having listened to this showcase of the Hill Drop Records current roster I am in two minds. On the one hand I admire the efforts of this small independent label based in rural Wiltshire in promoting the talents of such a diverse collection of new and original new music. On the other hand none of these tracks are as ground-breakingly original as they would like to think they are.
For instance the opening track by Neiad is an instrumental minimalist psychedelia track featuring the obligatory backwards samples, very much indebted to the original pioneers of the psychedelic sound in the late 60’s and early 70’s. Much in the same vein is the final track, March of the Union’s Afterford. When listened to on repeat it gives the whole compilation an unfortunate cyclical feeling like you’ve just been travelling in a large pointless circle for the last 45 minutes or so. Even the standout tracks for me on this album such as Oliver Wilde’s Say Good Luck and Zoe Meade’s Sonnet of London are very much rooted in the traditions of the folk genre from the late 60’s and 70’s, along the lines of Neil Young’s early ouput.

Unfortunately despite the obvious talent in evidence in terms of both musicianship and production, the claims of being so superior to their more mainstream peers simply for, in my opinion, referencing slightly more obscure genres of the past than the current clutch of chart topping charlatans is a bit irritating. For those seeking an antidote to the retro rebels among today’s mainstream acts will possibly derive some pleasure from the slightly more unusual and surreal sounds being offered from Hill Drop Records. For those after something a truly groundbreaking and worth getting excited about, best look for it elsewhere.

By Adam Tolladay

Rating: 5/10
www.myspace.com/hilldroprecords

REVIEW // JOE PERNICE - IT FEELS SO GOOD WHEN I STOP

2009-10-20T13:45:00.007+01:00

It’s somewhat difficult to know where to start with this latest album by veteran musician Joe Pernice. It Feels So Good When I Stop is a collection of cover songs to accompany Pernice’s debut novel of the same name which was released this summer by Riverhead Books. Prior to penning his first literary work Pernice has enjoyed a long career on the alternative scene in America, having released several albums from the mid-‘90s onwards on Seattle’s Sub Pop label under the moniker the Scud Mountain Boys, and more recently The Pernice Brothers, as well as solo efforts on his own Ashmont label.

The book has been compared to Nick Hornby’s famous coming-of-age tale High Fidelity. It is the ‘story of a deeply flawed but irrepressibly likeable hero stumbling towards adulthood, learning about heartbreak and redemption and struggling to love on his own terms’. Like High Fidelity, Pernice admits that while the book is not actually about music per-se, but that music is an important element which can be enjoyed in it’s own right. This soundtrack album, as one would expect features songs which appear or are referenced in the novel itself as well as spoken extracts giving the context of some of the tracks.

Pernice covers a range of 60’s pop songs through to 70’s country and rock covers in his own gentle folk rock style, not unlike The Lemonheads in some respects. Having not been able to track down all the original tracks I cannot comment on the quality of the covers, but what is clear is Pernice’s skill as a competent musician is given room shine as he takes on a whole range of artists from Del Shannon to Julie Andrews & Dick Van Dyke. Notable tracks for me include the charming rendition of ‘I’m Your Puppet’ originally by James and Bobby Purify and sublime 60’s pop classic ‘Go To Pieces’ originally by Del Shannon.

While this is hardly a contender for album of the year, this novel soundtrack certainly serves as a neat introduction to Joe Pernice’s latest literary efforts as well as his previous musical output, revealing a highly skilled multi-talented individual.

By Adam Tolladay

Label: One Little Indian
Website: www.joepernice.com
Rating: 8/10

REVIEW // BIFFY CLYRO - THAT GOLDEN RULE

2009-10-20T13:36:00.006+01:00

For me, Biffy Clyro have always been one of those bands who have existed on the periphery of my musical view of the world without ever managing to fully force their way into my main focus before. Their particular brand of metal influenced heavy celtic rock has never held any particular appeal for me. So I was some what surprised by the first single from their upcoming album, Only Revolutions, for several reasons.
First, it is their fifth studio album in the past seven years, which reveals an enduring popularity which I had been previously unaware of – perhaps now is the time to sit up and take notice in case I’ve been missing out on something all years. Secondly, I was surprised to find I actually quite enjoyed this track. There’s something immediately endearing about listening to a band do what they do best. For Biffy Clyro that’s always been the huge sounding, guitar-driven rock song.

‘That Golden Rule’ provides everything we’ve come to expect from this Scottish trio over the years and more. The first half of the song is dominated by menacing waves of guitars and drums mixed the lilting melancholy of Simon Neil’s vocals, and gives this song a double edged hook. The second half swaps vocals for angry strings with more than a nod towards Led Zep’s classic ‘Kashmir’. While I may not be quite ready to rush out and purchase their back catalogue tomorrow, I am certainly impressed by Biffy Clyro’s latest efforts, and if ‘That Golden Rule’ is indicative of the rest of Only Revolutions, it should definitely be worth a listen to for both discerning music lovers and confirmed fans alike when it's released in November.

By Adam Tolladay

Rating: 7/10
Label: 14th Floor
www.myspace.com/biffyclyro

REVIEW // GENERAL FIASCO + THE ONLOOKERS + THE RINGING TREE + THE LITTLE HYDES @ 02 ACADEMY, LIVERPOOL

2009-10-14T13:13:00.010+01:00

Being the first band on is usually a trial. Standard procedure is an empty room scarce with people who’ve never heard you before and are killing time at the bar until the headliners arrive. Surprisingly, The Little Hydes have not received this reception at all and with good reason: a mere two songs into their set its clear that they’re young but oh-so talented and should have probably been put higher up the bill.
Their songs are ragged and folksy without coming off like Pete Doherty wanna-be warblers. I’d certainly keep an ear to the ground for what this young group come up with next as quite frankly they stole the show from their fellow support acts, it’s a shame there wasn’t a bigger crowd there to see them.

The Ringing Tree are a local five piece and sound a bit like Kasabian’s angry older brother impersonating Oasis. Their set is well thought-out but the vocalist (who is listed as TBA on their myspace) is a little over zealous in his singing. By this I mean what is suppose to be a song filled with passion and emotion sometimes comes across as more of a mixed-up yell. There is certainly talent here though which is evident as the set progresses and they show their skills in captivating the crowd.

The second four piece of the night are The Onlookers who project a tight image and appear to have been playing together for a long time from their performance tonight. The tune-age is pretty standard Indie but they do have a certain appeal that is hard to identify. Their set was well received by the audience and they certainly deserved all praise coming their way. Future releases could definitely prove an exciting listen.

General Fiasco arrive to a compact, emphatic crowd who seem eager to see the boys do what they do best. They open with a well-known hit “Something Sometime” which is a good showcase for lead singer Owen’s crystal voice which stands strong with light backing until the chorus punches in. They continue with a new song called “Dancing with Girls” which is likely to be featured on their upcoming debut album due for release in January. If it’s any indication of the album, you can expect jaunty up beat riffs with pounding drums and a purposeful voice upfront. “We are the foolish” is their current single being touted by Zane Lowe and for good reason. It sounds almost made for radio with it’s hook ridden lines and emphatic shouts but translates itself to the live scene just as well. Owen is left by his band mates as he takes up an acoustic guitar to perform another new track “Sinking Ships”. Despite the lyrical message and guitar mastery the song is another testament to the quality of his voice and the quiet confidence he possesses onstage. The energy surges back into the room as his band mates re-join him onstage for the rockier “Desert Hearts” followed closely by the older “Maybe I’m a Little Bit Strange”. The show comes to an end all too fast but they save two older favourites for last “Rebel Get By” and “Ever So Shy” with its exploding chorus and catchy lyrics. Although this was a small show, the quality of their music shone through brightly in the absence of gimics or egos which is something you can’t say for many bands these days. If you like your music honest yet exciting General Fiasco are the band for you.

By Sara Irvine

REVIEW // LULU & THE LAMPSHADES - FEET TO THE SKY

2009-10-14T13:02:00.009+01:00

Lulu & The Lampshades are a quirky playful brand of folk pop with a wholly loveable musical style that is both rich in fun and highly addictive melodies.
Their debut single “Feet to the Sky” reveals their desire to escape. To take a gutsy spontaneous step back from everything that is familiar and throw themselves into the unknown; something that the joining of sweet indie melody tunes with poignant, smart lyrics like /Shake me from the things I think me whole/ leave the listener wishing that they could runaway with them too.

With glottal stops aplenty, their informal narrative talking-meets-singing vocal style bounces along upbeat backing in a way that instantly draws likely comparisons to Laura Marling, Those Dancing Days and most notably, Peggy Sue and The Pirates, the latter of which they have frequently shared a stage with.

As the cooler nights draw in, Lulu & The Lampshades’ quirky style of sunshine folk alongside handclapping and sharp lyrics, bring welcomed warmth to ears all over London Town this Autumn, not to mention a great deal of anticipation for the follow up from this exciting new band.

By Laura Routledge

Rating: 8/10
Release Date: 18/10/09
www.myspace.com/helouisamusic

REVIEW // THE PAINS OF BEING PURE OF HEART - COME SATURDAY

2009-10-14T12:50:00.008+01:00

/All I know is that you’re perfect right now/ As Kip Berman’s soft vocals purr over the lo-fi pop guitar strings, the sheer vulnerability in The Pains of Being Pure at Heart is unavoidably endearing. As their heartfelt lyrics, bulging with teenage angst, ride the waves of their own personal brand of noise pop, the collision of juxtaposing extremes seem to justify the buzz that has surrounded this New York four-piece so far this year.
‘Come Saturday’ has a harsher feel than previously release tracks, with its highly distorted guitar input at times overpowering the trademark fragility of Kip’s vocals. Yet the track stands strong with their influences of The Ramones prevailing and undertones reminiscent of The Cure. But it is the subtleties in the track that make it so appealing. The intoxicating combination of dirty pop rock with the twee innocence of lyrics like /you don’t have to dress to please/ perhaps undress for me/ make it clear that these are set to be exciting times for The Pains of Being Pure at Heart. And rightly so.

By Laura Routledge

Rating: 8/10

www.myspace.com/thepainsofbeingpureatheart