NOIZEMAKESENEMIES.CO.UK

THE WELCOME COMMITTEE - CONVERSATIONS AND MYTHS

2009-03-30T16:51:00.002+01:00

So who are (the) Welcome Committee? Some may be familiar with Joe Shergold and Ken Canham having seen them take part in Orange’s Unsigned Act competition.
This fact wasn’t inspiring; these competitions inspiring nothing much more than easily consumable crap for the masses. That said, having heard some of their earlier work – melodic, acoustic folk mixed with a tinge of Baret-esque chord progression and quirky, humorous lyrics, galvanised with a decidedly more summery sound overall than that of the former Libertine – I can’t say I was particularly disgusted. On the contrary.

Originally a solo project of Shergold’s, Canham joined and the intention was of achieving a more ambitious sound. This new EP, consisting of three tracks, veers away slightly from the folk pop stylings of old. As seems to be the norm lately, synths are introduced along with a more electric sound, plus the addition of a drummer. These changes see the band striking out into the indie pop arena. Although, musically at least, this new recording retains limited similarity to its predecessor, lyrically there are still moments that evoke interest. For example the bitter closing to ‘Let’s hear it for the subjects’ and the chorus of ‘Land and sea’ but even then it’s not particularly original. There’s something a bit American teen rom-com sounding here, maybe a support slot for one of the bands on the OC beckons.

So, credit has to be given for trying something new. However, although a different sound has been hit upon, it’s debatable whether it’s a better sound.

By James Green

Rating: 5/10
Format: EP
Label: Unsigned
Release Date: Out Now
www.myspace.com/thewelcomecommittee

NEW NOIZE MAKERS: JESSE QUIN & THE METS – DEMO REVIEW

2009-03-30T16:47:00.001+01:00

Hiding on the peripheries of the recent renaissance that folk music in this county has been enjoying of late is a little known group of London based musicians known as Jesse Quin & The Mets. On paper Mr Quin’s credentials look superb, having previously been a member of both Noah and the Whale and Laura Marling’s band.
Despite this live performances have been few and far between, as well as recorded output it would seem. This CD I have to review features 3 tracks available to download from Rawrip.com (follow the link off their MySpace page) but having had a look there it would seem there is no official release forthcoming just yet.

Jesse Quin & The Mets offer up some delightful soothing folk pop songs. The opening track is a mid tempo ballad complete with gentle string and piano accompaniment. His vocal delivery puts me in mind of a more folky Kings of Leon. Lyrically it may not be the most impressive thing you’ve ever heard, the opening line being a somewhat predictable rhyming couplet along the lines of “Switch on the morning news / Seems like the whole world’s got the blues”, but it’s nonetheless the enjoyable. The second track, The Race starts off slowly, again with more of the same achingly predictable lyrical compositions. However half way through the song really comes alive with female backing chorus and a subtle disco-esque drum beat with a few catchy hand claps thrown in for good measure. To round things off is a nice bit of catchy finger picking guitar along the lines of Get Cape. Wear Cape. Fly on the final track Sirens in the City.

Overall an enjoyable effort for first batch of recorded material, look out for more to come from this band in the future.

By Adam Tolladay

Rating: 6/10
Format: Demo
Label: Unsigned
www.myspace.com/jessequinandthemets

CAST OF THE CAPITAL – PASSING THE HORSE / STONE BREAKING

2009-03-30T16:28:00.001+01:00

Just like the appearance of the sun after almost surrendering to the idea that torrential rain and icy temperatures is set to be an every day occurrence, Cast Of The Capital induce an uplifting summery feeling that instantly makes you more optimistic and content with the world.
If the Aberdeen foursome’s main intention was to spread happiness to all then they have certainly succeeded. Their desire to imitate sunny American pop rock is evident in these two little numbers and the influences of bands such as The Shins and Rogue Wave shine through. With their guitar tinklings and laid back vocals, Cast Of The Capital are sure to be a band that bring back memories of summer every time they’re listened to.

By Devon Bianchi

Rating: 8/10
Format: Single
Label: Unsigned
www.myspace.com/castofthecapital

SECRET ARCHIVES OF THE VATICAN – REMEMBERING MACHINE

2009-03-08T10:55:00.000Z

Secret Archives have been around for a while now and they’re still going strong with their ninth release “Remembering Machine”. With more interesting noises and instruments, it’s another album which tells a fascinating story of a journey to the four corners of the musical world.
The album starts with a dubstep / electronica tune which sounds very processed (but in a good way) and uses samples sounding very much like an astronaut talking to his friends as he bobs around in his space suit, looking back at the world. The song makes you feel as if you’re that astronaut, tranquil and relaxed. Every so often there will be a note from a bass synth which will rumble through your very existence.

“Stainless Steel Cat” (track 2) keeps with the dubstep theme but sounds more tense and is slightly faster. Secret Archives start to bring in more instruments and their unique sound of East/West fusion is brought back, but not enough.

“Before Beauty” is the track which really portrays their unique sound, and you can understand why they’ve been going so long after listening to it. If dubstep was created in India it would sound like this. The title track “Remembering Machine” sounds as if it we written in India whilst playing Mario.

However, that fine blend can’t be found too much on this album. It’s either a dubstep song with a bit of sampling, or a processed Indian raga. The album is very slow as well; Secret Archives seem to concentrate a lot on dubstep in this album, which brings the tempo down. For those with short attention spans it isn’t good and it makes you wonder what happened to the diversity of their previous album “Babylon Halt”.

On the whole it’s a very chilled out album. Very listenable, original and it is quite diverse, but being brought out in the shadow of Babylon Halt may not have been the best idea, as it is a lot less loud and in your face. Still, it’s not at all bad and definitely worth a listen.

By Josh Charig

Rating: 7/10
Format: Album
Release Date: Out Now
Label: Unsigned
www.myspace.com/secretarchives
www.brokendrumrecords.com

SWALLOWING SHOTGUNS – SWALLOWING SHOTGUNS EP

2009-02-25T10:36:00.002Z

Half of all modern rock bands seem to originate from Brighton as it increasingly churns out professional musicians. To really stand out in that scene requires something very special, and this is where Swallowing Shotguns comes in. Heavy metal at its very best.
The first song, “Need to Breathe”, is reminiscent of the classic ’80s metal sound, very “Kill ’Em All” and “Reign in Blood”. However it’s a lot more refined, catchy and ear friendly than the Metallica and Slayer classics. The start is a pulsating chugging rhythm which in itself makes you sweat with excitement before the bulk of the song, or even E.P., has started. The intro gives way to a softer guitar rhythm thumping away in the background, lead guitar filling the gaps with bits of riffs, and the aggressive vocals of Bob Tett, taking over where the guitar left off. The choruses will have you singing along, waving your devil horns in the air and checking out this band’s myspace to see when they are next playing in a venue near you.

Swallowing Shotguns aren’t afraid to get technical either. Track two, “A Complete Lie”, demonstrates their knowledge of the fret board as they employ their lead guitarist, Jo Ti, to add melodies on top of the pounding rhythm and solo over more exotic scales. There are also some guitar harmonies for good measure.

Modern metal has become too hardcore or too emo. Shotguns are bringing back what’s best about the genre: no screaming, no unnecessary zombie looking face paint, no songs about being dumped. Just pure music.

“Need to Breathe” has already become a classic on the Brighton scene and the release of their first E.P. will raise their profile dramatically. This is a must have E.P. for all rock and metal fans out there.

By Josh Charig

Rating: 10/10
Format: EP
Release Date: TBC
Label: Self Release
www.myspace.com/swallowingshotguns

IRVINE – RAISING WEATHERED SAILS

2009-02-11T11:03:00.001Z

It’s true that brothers Bob and Chris Thorpe have a certain fervour for rock music and they clearly put their heart and soul into their new EP but it’s all rather...generic. If you’ve heard Incubus, Lost Prophets, Funeral For A Friend or any other band that falls into the emo / rock / metal genre then you’ve pretty much heard Irvine.
They are a band who, for me, bring back memories of being involuntarily caught up in sweaty mosh-pits between teenagers whose spiked chokers and black nail varnish made them feel invincible.

Behind the facade, Irvine are obviously talented guys making music in a style about which they feel passionate,but after fighting my way through the distortion, progressions and general noise I was too exhausted to try and work out what any of it meant.

By Devon Bianchi

Rating: 5/10
Format: EP
Release Date: Out Now
Label: Unsigned
www.myspace.com/irvineband

THE MELOPHOBICS – ACR SESSIONS

2009-01-17T21:57:00.001Z

Raw, powerful and hard hitting, The Melophobics are a punk band that echoes the sounds of Iggy Pop and The Sex Pistols. Their E.P., “ACR Sessions”, makes you want to get up and head bang about the place, waving your devil horns in the air.
The first song “Do You Know What I Mean” is a highly energetic riff based rock n’ roll punk song that sounds like it was pulled from “Never Mind The Bollocks”. Yet it maintains originality using catchy riffs, a modern amp sound on the guitars and vocal harmonies.

The other tracks are similar enough to retain the right amount of consistency yet each song is a somewhat new creation. The Melophobics utilise their lead guitarist to add a solo here and a series of screechy chords there which gives each song its own unique hook.

The Melophobics are an original band who put the kick back into music. Their ACR Sessions E.P. only makes you want them to bring out an album of the same material.

By Josh Charig

Rating: 9/10
Format: E.P.
Release date: TBC
Label: Unsigned
www.myspace.com/themelophobics

SAFE 2 SAY - 3 SIDES TO EVERY STORY

2009-01-17T21:42:00.003Z

If books are not to be judged by their cover, then so it follows that bands shouldn't be judged by their names. Even if they are names so fucking ridiculous that they make you want to snap the CD in half and force feed it to a hapless stranger. Names that are so preposterously shit that they make David Beckham look like a master of the English diction. This is an X-Factor name, something Simon Cowell would dream up in a hopeless attempt to get 'down with da kidz'.
Thankfully, the most important part of this three track EP (ie. the music), doesn't sound like it's likely to end up on Saturday night TV any time soon. Mostly, it's a melodic cocktail of distorted guitars, double-kick drumbeats and wailing vocals, complete with cheeky Scottish twinge (most notably in the sedate verses of 'Little Miss Chevious').

'The Fall' kicks things off at pace, running through a few different ideas before meeting its end, but never really getting going. 'Little Miss Chevious' sounds like early Biffy Clyro, only with slightly out of tune vocals, and closer 'Ashes for Lashes' is a disappointingly simple up-and-down tune that sounds like a band running out of ideas.

Musically speaking, it's tight and well executed, and the production, although clearly low-budget, is nice and raw. It's just that the three tunes here don't really possess a comfortable sound of their own, nor do they shoulder enough energy to make them exciting. Shame.

By Rob Dand

Rating: 5/10
Format: 3 Track EP
Release Date: Out Now
Label: Unsigned
www.myspace.com/safe2saymusic

LITTLE DEATH - UNTITLED

2008-11-14T14:30:00.004Z

Little Death are a band of international heritage with members hailing from Canada, the US and Egypt. Their new mini-album is set for release on 17th November and remains untitled. Yes that’s right, not self-titled… untitled! Album titles are so passé and anyway, the band will let you call it whatever the hell you want, so let your creative juices flow and get scribbling on the CD case.
The album starts off gently with ‘The Slow Yes’. A track beginning with a sultry bassline which embeds itself so deep that on next play I swear I’ve heard it a hundred times before. The song gradually builds and with the addition of some husky vocals and ghostly guitars, eventually soars off into the stratosphere.

The pace of the album gathers speed with ‘New Faith’, a track which has a slight hint of Mew about it, and begins with pounding drums and a driving melody, adding layer upon layer until the vocals kick in and soothe away my troubles. The shouty vocals at the front end of ‘Baby Can You Dig Your Man’ give way to one of the catchiest choruses I’ve heard this year and ‘Safe in Sound’ manages to successfully combine cacophonous thrash with a beautiful melody, while kicking into a stomping rhythm. Little Death’s feedback-smothered brilliance really reveals itself on final track ‘Broken Hill’ which interlaces gentle, heart-wrenching vocals with swirling guitar noise-riffery, which leaves me with a huge smile on my face.

Little Death remind me of the good old British bands of days gone by, before Britpop took over and every band needed 2 guitarists having a wire battle with each other over 30 pedals each. They make melody and rhythm the focus of their songs and in doing so create music which makes you want to actually use the ‘repeat’ function button.

Review by Jade Dali

Format: 6 track mini-album
Rating:9/10
Release Date: 17/11/08
Label: Unsigned
www.myspace.com/lovelittledeath

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OF THE I - BALANCE INSTARS

2008-10-26T19:54:00.001Z

After finally deciding on an album title, London based British/Swedish band Of The I have released their debut full-length. When I say it’s an album of long tracks that blend together into one long soundscape rather than a collection of individual songs, then you’re probably thinking this is another entry into the box marked ‘prog’. There’s a certain amount of truth in that, but this is a much more exciting and interesting album than might be expected from lazy pigeonholing.

In this age of digital consumption of music in mp3 format, I’m not a huge fan of the ‘blending’ approach to album mixing, but Of The I do something much more innovative. Each song has an ‘ending’ that then develops into a shorter transitional piece of music between the individual tracks. These 30-60 second transitional pieces are very interesting in their own right and add to the overall experience of listening to the album rather than being annoying distractions. However this is an album that is definitely best listened to as a whole rather than as individual songs.

The prog-rock credentials of this band are established early with a short track ‘Entrance’ that blends seamlessly into 7 ½ minute track ‘Cold’ with it’s heavy riffs and bouncing drums. This track also highlights one of the key features of the Of The I sound. Throughout the album there is a consistent and interesting use of syncopation in both the vocals and rhythm section. This might be prog, but it’s prog that’s grown up and developed.

This pattern of heavy riffs and syncopation is so consistent in the album that when ‘Instars’ starts with an acoustic guitar riff it’s a little bit confusing. The syncopation becomes clearer in the tracks 8 minute running time, but the overall feel is closer to trip-hop than rock, to the extent that there are distorted vocal samples in the mix that would seem more at home in an electronica number. Taken in isolation this could easily be part of an entirely different album, but it fits perfectly into the collective sound of the album.

Ironically, and as is so often the case, the same could be said of the true stand-out track of the album. ‘Between Being & Ego’ comes as close to being an instrumental track as it can without actually being one. In the whole track there are only 8 words forming one lyric that is repeated at strategic points throughout the song. As far as music goes this is a trippy, slow moving number that comes across as Explosions In The Sky jamming with Muse. This is a master-class in complex, interesting yet low-key musicianship.

If you’re willing to make this journey with Of The I then you will be richly rewarded, but if the spectre of prog puts you off with its meandering, meaningless history, it’s your loss. This is a much harder, sharper edged prog than the bands of yesteryear. Perhaps it’s the sabre to Yes’s epee.

‘Balance Instars’ is self released and available direct from the band and soon to be on download stores. The download version will be about 7 minutes shorter as they will take out the transitional pieces. The best of both worlds really.

By Colin Gazeley – Ourobouros Podcast

Label: Unsigned
www.ofthei.com

BURGUNDY – THE TRIANGLE EP

2008-10-11T14:03:00.003+01:00

Following on from a succession of storming gigs North London/South Kent Power Pop trio Burgundy have channelled some of their energy into the studio and come away with a 3 track EP. Burgundy have been together a little under 6 months but have already carved themselves a place within the local music scene and a reputation as a force to be reckoned with.

While vocalist/guitarist Gary Ptaszek possesses a literal Post Hardcore influence from the short lived Contain&Destroy he also has a portfolio of self penned material that up until that point had only seen the light of day in his solo acoustic sets. Yet once joining with Gary and Dan Tinsley, the former rhythm section of The Frequency, Ptaszek’s work finally reached its optimum potential: the result was Burgundy.

Stylistically they draw from a broad range of contemporary influences, most notably Incubus, Queens of the Stone Age, Reuben and Biffy Clyro. As a consequence the songs tend to be textured and full of rich detail whilst exhibiting a good economy of sonic dynamics, as opposed to a constant tour de force or shoe gazing monotony. Instead the songs switch on and off, from clean to distorted, from melodic to pure energy, never staying at one level and never becoming stale or formulaic.

“Burgundy”, the track from which the band take their name, could be seen as a manifesto for their sound: starting off gently with a brooding melody before jumping straight into an explosion of crashing power chords ,falling back into soft melodies and suddenly leaping up again. Inevitably the song rises up again to a wall of distortion while Ptaszek’s vocals oscillate from gentle serenades to guttural roars. The rhythm is like a metronome of purposely missed beats with the occasional guitar over dub that thickens up the sound, finally overflowing into a cascade of screams and energetically slashed notes before fading into the same melody it started with. The transition to the heavy sound is so gradual and well put together that you do not even realise it takes place are despite the contrast between the Hardcoresque choruses and the fragile, gentle beginning.

“Previously Unknown” has an evident Biffy Clyro influence, featuring almost Jazz riffs that climb up and fall down the fret boards to stop-start beats, while the powerful vocals lift into euphoric choruses, almost reminiscent of The Cure at times, with the twinkling melodies and oscillating crooned vocals. The drums on point as the track finally lifts into another climatic barrage of sound, once again dropping away into sparse and haunting riffs, fading to black.

“Carnival Festival” has a decidedly more upbeat feel from its outset, bright chords strummed out when the drums and bass join, shifting between sparse verses and crashing epic choruses. It is a lament over friendships that were lost and yet rekindled; offering solace in the darkest hours, quit simply a celebration of good friends in bad times, set to a rolling wave of sound. Every so often the guitar drops off leaving the rhythm section to carry the song, showing the underlying strength of the trio, the solidarity of their musical foundation: tempo changes, soaring vocals, shimmering guitar tones, growling bass and a climatic end.

Burgundy’s EP is a powerful first effort and certainly an indication of greater things to come from a group that have achieved so much thus far, despite how brief their time together has been.

By Dann Gaymer

Label: Unsigned

www.myspace.com/burgundythetriangle

EXLOVERS: DEMOS

2008-10-04T15:26:00.001+01:00

Neither good nor bad. Happy nor sad. Exlovers aren’t…ermm…anything worth noting. Folkish, quiet indie guitar and snare drum driven numbers. If they stay this quiet throughout the whole of their career even The Who’s mammoth Isle of Wight PA couldn’t make this collection travel across any crowd with emphasis.

Maybe it’s because their self-production leads them to be shy but I can hear two decent voices waiting to rise out and over of the guitar – maybe even some decent lyrics. But I couldn’t make them out.

By Nick Burman

www.myspace.com/weareexlovers

CATS: FOR: PERU – 'I:AM:THE:O'

2008-10-03T21:41:00.001+01:00

Much more than “another promising band from Sheffield” ! Cats: For: Peru achieve the aim at the first try - with surprising ease- garnering moods, flavours and smells from (past and present) Brit avant rock. I:am:the:O is a brilliant construction built on different levels, a perfect mechanism of evolved rock, successfully trapped between the angry of metal- growl and some rhythmical complexities that reminds me no less than Canterburian sounds.

This is even more evident analysing an entire poker of tracks by this unsigned group, where is not so difficult to find changes of musical times and interesting chippings and unravelling of the sonic weft. They are already mature for further ambitious goals - I am sure of it – yet avoiding any kind of compromise and simplification.

By Sergio Manghina

Format: Single
Rating: 9/10
Label: Unsigned
www.myspace.com/catsforperu

THE CATHODE RAY SYNDROME - ARGH

2008-10-03T18:11:00.001+01:00

The Cathode Ray Syndrome (or CRS) contains four members, hailing respectively from London, Cambridge and Brighton, and who “meet in person only to play famously shambolic gigs” (according to the MySpace). The band’s third proper release, E.P. ‘Argh’ (a title as non-verbal as their music), sounds like an education in post-rock or noise-rock, specialising in guitar-and-rhythm-section instrumentals with ceaselessly unpredictable chord changes and riffs. The guitars are sometimes reminiscent of Jonny Greenwood from Radiohead’s frenzied Telecaster attacks, and the stop-start rhythm playing is at times hard driving, while at other times slows to a deceptive lull.

CRS are also undeniably difficult to review, although they are recommended listening for their highly immersive, almost hypnotic quality. Their tracks are essentially mood pieces – ambient and brooding, while still retaining the dynamics and momentum of experimental rock songwriting. Whether or not the outfit will endure in this instrumental incarnation remains to be seen. It is possible that a singer will be required for CRS to gain any kind of mainstream success, but to hear the band in their present awe-inspiring and compromise-free form, check out the MySpace.

By Ryan Daff

Format: EP
Rating: 8/10
Label: Unsigned
www.myspace.com/thecathoderaysyndrome

Banjo Or Freakout - Demos

2008-09-13T18:33:00.002+01:00

Every once in a while an artist comes along and you realise you’ve discovered what should be the next big thing before anyone else knows about it. A one man atmospheric mission, Alessio Natalizia produces music both imaginative and mesmerising using a vast array of instruments and eclectic styles and thoroughly warrants public attention.
It’s difficult to draw comparisons to current bands, but the multi-layered dreamy nature prompts resembles Atlanta based band Deerhunter. Unbelievably, this talented man has not yet been signed to a label; plus, he gives away most of his music for free via his personally updated blog site. His revolutionary approach is something to be applauded but who knows how long it’ll stay that way. Make sure you listen to him now, before the secret gets out.

By Heather Minto

www.banjoorfreakout.blogspot.com
www.myspace.com/banjoorfreakout

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Andy Zipf - 'Nothing’s Wrong'

2008-09-01T23:21:00.003+01:00

"Nothing’s Wrong" by Washington, D.C. based musician Andy Zipf is for campfires and coffee houses. It’s a cozy acoustic performance by one of the greatest self-promoters in the biz. He could come across as meager with his tones full of longing, but he doesn’t.
He tells dreamtales with manicured determination. Zipf (drop the ‘p’ when pronouncing his name) stays close to his audience with seductive vocalizing. With his tender voice he can get away with lines like, "Keep holding on when hope is gone." The song will find a closed part of your heart and open it. I won’t encourage him to continue this intimate affair much further, though. He’ll find greater success by releasing some snakes among the orchids.

By Scott Petty

Label: Keep On!
www.myspace.com/andyzipf

Dead Letter Office – 'Chairkickers / The Comeback Kid'

2008-08-25T01:48:00.003+01:00

All too often, press releases churn out the same old drivel. Stock phrases like 'epic' and 'life-affirming' leap at you from the page, as every publication under the sun makes a vain attempt to cover the bases and attach themselves to any potential 'next big things'. In fact, I'm quite often convinced I'm reading the same shit that someone else spouted off a month or two before.
Paragraphs and paragraphs of seemingly endless praise drag on and on until you realise you've learnt nothing whatsoever about the band you're supposed to be reviewing, other than that their music is apparently good enough to raise the dead, solve every imaginable world hunger crisis and save the drowning polar bears all at once.

Of course, I digress. It's not the PR blurb that I'm reviewing. After a little research, it becomes apparent that Dead Letter Office are a British band specialising in melodic guitar-based pop music, with the occasional dollop of synths and keys. This AA side release is being heralded as their best work to date by various sources, and has allegedly attracted substantial interest from a clutch of majors. And why wouldn't it? 'Chairkickers' has a hum-along, fist-in-the-air kind of chorus with some sickly sweet synth arrangements drizzled over the top of a driving guitar line. The rhythm just invites you to tap your foot, and the vocals are nothing short of impressive. 'The Comeback Kid' follows suit, with a drumbeat that skips along playfully beside a powerful bassline, and the anthemic chorus benefits from a little added aggression that 'Chairkickers' could have done with.

But I feel like I was promised more than that. Sure, there's definitely a little more experimentation in these songs than you'd find on most daytime radio shows, and it's obvious that the band have got not only technical ability but a real passion to put out something interesting and of creative value. But this is marketable creativity, easy to digest and easy to package and tag with the undeserved 'experimental' moniker. They've probably got a few radio-worthy singles in them, but for a band who promised me "sheer joy from start to finish", I don't think that's enough.

By Rob Dand

Release Date: 25/8/08
Label: Unsigned
www.myspace.com/deadletterofficeofficial

The Depths - 'The Death of British Export'

2008-08-21T23:03:00.001+01:00

In our Lord’s year of two thousand AD the term Punk held some foundation in the form of the Pop Punk and Garage bands which fared so well. Yet these genres soon morphed into forms that seemed to hold little relation to the roots of Punk: the British groups such has the Clash, The Sex Pistols and The Buzzcocks, the Detroit Godfathers; the MC5 and The Stooges, the NY groups such as The Ramones, The Voidiods and the might of The Heartbreakers,
Our Father,
Johnny Thunders,
Which art in CBGB's,
Hallowed be thy name,

With the rise of the Emo groups the term Punk suddenly seemed lost in a sea of bad hairdos and weepy song-writing about how hard is to get laid when you are a guy who wears make up. Meanwhile in the circles frequented by Indie bands the Punk mantle of aggressive simplicity was evidently present, yet the wit and raw power was seemingly absent, instead traded for radio friendly Pop about how great the 1980’s were.( Once again I am eagerly anticipating neon pink pop art Margaret Thatcher T-shirts reciting such timeless slogans as “THERE IS NO SUCH THING AS SOCIETY”). The potential for British music exhibiting basic Punk principles, (e.g. Attacking NME journalist on sight) did not look favorable and to be honest still looks quite bleak.

Enter The Depths, a three piece willing to address this issue in the only way possible: an angry head-on assault of guttural screams, unearthly feedback, break neck drum beats and teeth grinding bass lines. A tattered banner of tartan safety pinned to shredded rags of red, white and blue ready to be thrust into the faces of those who should dare think that the spirit of British Punk has died and become forgotten.

“The Death of British Export” is the first full length effort from the band and has all the strength of the first Joy Division record, the first offering from The Smiths or The Stranglers; that anxiety of a message that needs to be heard. However there were no pretensions in the making of this record, it was in fact recorded over a few months out the back of a pub, the finished record being the outcome of hours upon hours of weekend jams and hard graft at live shows; self recorded, produced and packaged a true DIY effort. Their influences range from At The Drive In to Johnny Cash to Ozric Tentacles, from Drum & Bass to Jazz to Motown. Such a blend of influences eventually creates what can only be described as Rock and Roll, though not in a contrived “we-want-to-sound-like-Aerosmith” kind of way.

The record itself plays out in as a stream of controlled chaos,;
“Avin’ It” is a nihilistic salute to living life to the max with that descending dark dystopian Punk vibe, almost Syd Barrettesque at times, twisting guitar parts with a bass line and back beat straight off a Stranglers record. “Sweet Summer” swings through a turbulent sway of feedback, ghostly vocals and bright lead guitar parts reminiscent of Joy Division, complete with a melodic bass riffs, falling into a Jack White style pitch shifted guitar solo. “Met The Devil” is one of those stand out tracks, beginning with a murky fretted to open fretted bass line stewing in a wall of distortion backed by a stark bass drum beat, while the vocals kick off as if sneered down a megaphone;
“Met the devil In a pub last night…”

It holds that real “fuck you” quality of the retro Oi! Punk groups like The Angelic Upstarts. It lifts into a moody waltz of wails, hard beats and dark melodies, The Devil is swaying towards you; his head is low, so much so that you can just about see his eyes peering up at you. The apocalypse is now; it is coming unto you and The Depths are providing the backing track. Quite fitting, seeing as we are talking about a band that was banned from Camden, yes, the entire district, for bad behavior. “Recluse” is a runaway train of Noise Rock stumbling around like a Dead Kennedy’s track, falling into a low almost Cool Jazz groove that suddenly gets thrown back in to a fray of violent screeches and screams.

“Systems a Liar” shows The Depths exploring more melodic place stalled somewhere between Joy Division, the Strokes and Biffy Clyro. The same energy is present but this time it is combined with an intelligent use of layers, an attempt at a more textured sound, taking enough ideas for 10 songs, putting them all into one and pulling it off. “Innocent Lies” had the kind of knock-your-teeth-out-and-keep-dancing energy usually reserved for the likes of Turbo Negro. With regards to “Concrete head” I defy anyone to listen to this song and not instantly develop a burning desire to purchase a keg of extra strong Kentish ale, as many fireworks as they can humanly carry, a convertible rental car and then head out into the country side on a high speed burn of atrocious destruction and mind bending mayhem. Finally “Taxi” appears to be an attempt to create a song that listeners can alternate their dancing to. Not that there would be much choice, in fact it would alternate between the Sid Vicious ‘pogo’ and the ‘Hardcore dance’ (e.g. Swinging legs high and fist low). The song catches it’s breath long enough to allow the listener a quick swig of their pint before The Depths explode one last time and ring out on the tortured guitar and thundering rumble of the bass.

Punk is not dead for The Depths are alive. Listen to them and remember what that word really means.

By Dann Gaymer

Release Date: 21/7/08
Label: Unsigned
www.myspace.com/thedepths1

Let’s Tea Party - 'Barcelona'

2008-08-13T20:04:00.002+01:00

Someone tap me on the shoulder and tell me what I’m not getting here. Am I getting too old? Do I just not get it? I disagree with all of the critics about this Bristol threesome. Let’s Tea Party’s latest record, “Barcelona,” is absurd, silly, cabaret, and its frontman sounds way too close to (gulp) Mika. For once, I am at a loss for words. I’m simply too stunned and confused to continue, but I must forge ahead and trek through the layers of this eyebrow raising song.
“Barcelona” is a wee bit jangle pop, and it’s rather scattered and delusional. A cow bell here, and is that finger-snapping over there? There’s way too much going on. The only somewhat enjoyable part about this single is the simple, catchy, shimmying string arrangements, which echo what most American roots rock jam band guitarists aim to perfect.

For the record, I fancy the single “Reptiles.” Maybe that’s the only song the other critics heard before labelling Let’s Tea Party the next big thing. But after listening to “Barcelona,” these guys certainly are not my cup of tea.

By Ryan Wood
Release Date: 19/7/08
Label: Syllabus
www.myspace.com/letsteaparty

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Nomad Jones - 'The TV Light' EP (unsigned review)

2008-07-17T20:41:00.002+01:00

The contemporary folk of solo artist Nomad Jones’s debut EP, brings to mind London’s Turin Brakes. Real name Damon, Nomad – by golly, his stage name is his first name backwards! I nearly missed that! – Jones often opts for loudly strummed acoustic guitars with an honest, busked-out quality in the bold chord changes he uses (recalling early David Gray or fellow Mancunian Stephen Fretwell).
But Jones’s songs (often ballads) are also brimming with tender pop hooks, represented well by some pinpoint-accurate production, which seems attentive to the level of detail that these songs require. Singer-songwriter Jones‘s high-register melancholy vocals are also highly evocative of Turin Brakes’s Olly Knights; but while Turin Brakes are primarily a duo, Jones handles vocals alone with only subtle female backing singing and lavish, but non-invasive cello and violin.

There are minor drums and bass on ‘The TV Light EP’, but whether session men, or Jones’s friends provide them (it’s not particularly technical playing), the calculated touches they provide are perfectly understated and fitting for Jones’s tender style, which is dominated by guitar or piano on all tracks here.

By Ryan Daff

Release Date: 14/07/2008
Label: Unsigned
www.myspace.com/nomadjones

My Amiga – Demos (unsigned review)

2008-07-11T00:47:00.001+01:00

Listening to My Amiga the cynic inside you may well scream ‘aargh it’s so chirpy’ and ‘stop with the fake American accents, please!’ Now shut your inner miserabilist out for a second, because here lies a set of ridiculously contagious pop songs.
It’s true there’s much to be dubious about, including influences so obvious they may as well call themselves Death Cab For The Cure, but their brand of euphoric indie-pop is also more infectious than pneumonic plague in a slum. ‘Thank Heavens For Little Victories’ is infantile Wombats let loose at playtime with a cowbell, whilst the bleep soaked ‘Tongue Ties and Alibis’ shows them to be rightful inheritors of I Was A Cub Scout’s synthemo throne.

Like a day at the fair My Amiga will leave you feeling ecstatically happy, but listen in small doses to avoid feeling like you’ve just had one too many bags of candyfloss. Those not a fan of the twee musings of Los Campesinos and The Wombats should stay well away. Everyone else, get ready to sing, dance and grin.

By Sophie Thomsett

www.myspace.com/myamiga

ultCult - demos (unsigned review)

2008-07-03T22:50:00.003+01:00

UltCult emerged in 2007 when two of its current members decided the music world was missing out on something different. Since doubling their numbers they’ve put together this dreamy 6-track demo of magical melodies.
Although the tracks don’t really stand alone, it seems suitable for them to blur the edges as it intensifies the fluid relaxation already apparent. Whispery vocals and chiming glockenspiels feature strongly giving a folksy feel with the addition of an accordion to boot.

They site influences such as Patrick Wolf and Cat Power which can be seen as the tracks progress and change tempos and tones. Overall an interesting release from an original group that could be giving Arcade Fire a run for their money in years to come.

By Sara Irvine

www.myspace.com/ultcult

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Angel Pier - 'Bullet Holes & Broken Sectors EP' (unsigned review)

2008-06-23T20:19:00.001+01:00

Angel Pier is one of those unique bands that you really don’t come across very often. Quiet, unassuming, yet to the point, this EP is the perfect description of what happens when a couple of ex-Catholic schoolboys start to experiment with life, love and everything in-between and get caught up in all of the sentiment and emotion that goes on within the cycle of life.
After creating a bit of a stir back in March during the Canadian Music Week, the lads whom three parts hail from Ireland and one part from Canada, were invited back to perform as part of this year’s NXNE at the invitation of Canada’s premier recording label and distributors, the Maple Music ‘Fresh Obsessed’ Showcase.

Bullet Holes and Broken Sectors is their second EP to date close on the heels of their first release ‘Sacrifice’ and it features the standout track, Sprites. A third offering of Angel Pier is set to follow in the beginning of 2009.

Drawing on elements echoing the early days of the Stone Roses and the gentle persuasion of Thome Yorke, Angel Pier presents strong lyrical songwriting and emotionally charged vocals by front man Darraugh Nolan alongside a solid supporting cast comprised of Mark Colbert (drums), Lucas Paluch (Guitar) and Vinny Redmond (bass). This EP for Angel Pier and their growing fan base becomes another collection of worthwhile songs that demand listening to again and again if only for their sheer simplicity, beautiful melodies and sincere vocal qualities fused with pounding guitars and crashing drums.

‘Bullet Holes & Broken Sectors’ was the band’s first release and from it ‘Sprites’ is being released in July of this year. ‘Sacrifice’ their second EP is coming out on August 9th in Europe and August 31st in Canada and North America.

By Cheryl Hoar

Release Date: Out Now
Label: Unsigned
www.myspace.com/angelpier

PiP (A Poem in between People) - 'Very Little Fish EP' (unsigned review)

2008-06-21T18:15:00.001+01:00

PiP are a group of four poets (self-described as “four skinny black geeks and a ma’am”) who have performed with live musicians and DJs at a variety of London venues including the Tate Modern and 93 Feet East, and have already earned five-star reviews for their show, “PoeJazzi”, at the 2007 Edinburgh Fringe Festival. They are unsigned, but have received airplay on Xfm, BBC6 Music and Radio One.
Their self-styled concoction of “compelling poetry, spelling errors [and] lyrical dexterity” is difficult to review on musical merit alone, as, despite the obviously natural talents for wordplay and delivery on display here, this EP is a highly unusual (and that’s a good thing in this case) hybrid of rap and straightforward poetry recitals, often with only the bare minimum of musical accompaniment.

‘This Is London’’s observational rap (with jazz band backing) describes a dreary series of commutes rife with “rush hours and train delays / as rats race down elevators”, and “no one talks to no one ‘cos our lips are frozen”. As the track evolves to be more bittersweet than bitter, there are more hopeful descriptions of London as the opposite of “people trodden underfoot” - rather celebrating “the will of Londoners to thrive and strive against the grain”. The track’s effect is one of a sprawling, observational satire, which goes on to examine politics and racial stereotypes in London.

There is more satirizing of inner-city stereotypes on the funkier rap ‘Boogieman’, the eponymous villain of which “sometimes wears white, mostly black or brown skin […] he’s that ghost, that puff of smoke, that lump of fear that chokes your throat”. Meanwhile, ‘The Flight’ is a spoken word monologue masterfully delivered with minimal background instrumentation, describing a forty-year-old man on his deathbed dying from a tumour, surrounded by family and friends, and ruminating on past mistakes and successes – before seemingly dying by the track’s conclusion. The poignant track doubles as an ode to immigration: “I’ve been arrested, beaten, seized by police for no reason, always fleeing by my teeth’s skin / before leaving, coming to Heathrow, finding work, peace and love.” The track is a bold, stirring one, and I would recommend a visit to PiP’s MySpace page to give this highly original outfit a listen.

By Ryan Daff

Release Date: Out Now
Label: Unsigned
www.myspace.com/apoeminbetweenpeople

Kick Box Riot – 'Seeing Ghosts EP' (unsigned review)

2008-06-19T23:37:00.003+01:00

This fresh-faced Indie rock band; Kick Box Riot are at large with their debut mini-album ‘Seeing Ghosts’, which is exciting and definitely worth giving a listen, just to hear something new.

Although a few of the songs on this 6-track album are perfect party music, it is quite repetitive and for some reason doesn’t make me feel anxious to hear more, which I’m not sure why as the music is made up of all the key elements necessary to make a great song; bold guitars, good syncopated drum and bass patterns, however the vocals are too much like everything else in today’s Indie scene, with a generic accent and a pretty standard vocal. The vocalist tends to sound like he is in pain, or struggling with the melody he has given himself.

By Jamie Purdie

Release Date: Out Now
Label: Unsigned
www.myspace.com/kickboxriot

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