NOIZEMAKESENEMIES.CO.UK

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 // 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 // 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 // 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 // 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 // Q-TIP - KAMAAL THE ABSTRACT

2009-10-09T18:07:00.008+01:00

Kamaal the Abstract’s background story isn’t an interesting one unfortunately. Former A Tribe Called Quest member Kamaal Ibn John ‘Q-Tip’ Fareed produced an album in 2001 that he felt was a forward-thinking, avant-garde, expressive record. His record company Arista, looking for a successful follow-up to Tip’s debut solo album Amplified – which reached Number 4 in the Billboard R&B and Hip Hop Charts – disagreed, and Kamaal the Abstract was shelved. Long lost, gathering dust; never to see the light of day... until now! Etc etc.
Feelin’ begins the record promisingly enough, with an initial rapped verse addressing racial prejudice and expressing a desire to overcome such boundaries. A percussive chorus follows, before Feelin’ dips into an extended organ solo, which entirely destroys any momentum it had built up. At just over a minute in, the listener is already being challenged to question what a hip-hop album should sound like; the only answer so far is ‘not like this’. Feelin’ eventually reveals itself to be heavily soul-influenced, with the rest of the track dedicated to the repetition of a single mantra over a recycling chord sequence. Do You Dig U begins with a soft keyboard and trailing drum sound which recalls The Neptunes’ production on Señorita by Justin Timberlake. Q-Tip softly sings over toy keyboards that chime uneasily before an extended solo once more breaks up the tracks flow prematurely, this time from... er, jazz flute. Possibly not played by Ron Burgundy; in fact it’s no less than a former Miles Davis bandmember, Gary Thomas. The feel is loose and funky, with processed guitars at times grinding away in the background over the flighty lyrics and woodwind. Such an improvised feel isn’t really conducive to an immediate or encompassing listening experience, and Do You Dig U eventually feels more like Thomas’ jam than Q-Tip’s. A soulish feel is continued with A Million Times, featuring the album’s most solid beat so far, which establishes itself beneath a soft R&B guitar riff and ad-libbing organ. Then four minutes later it finishes, essentially; that’s how anonymous it is.

Blue Girl begins with lounge piano before the bass kicks in alongside another paper thin beat. Remastered and remixed though it may be, the sound quality of Kamaal the Abstract really leaves something to be desired. It possesses neither the depth necessary to fully realise its jazz aspects, nor the low end and big beats to impress a hip-hop audience. Blue Girl may have been something special, but it eschews utilising its interesting riff shifts for yet more jazz soloing, this time on piano. Then again, just as you think everything’s over, Tip comes hustling back in after a gradually fade-out with some rhyming that would’ve been more than welcome over the song’s entirety. Barely in Love probably wouldn’t be out of place on a Gnarls Barkley record, its percussive stomp the most R&B-inflected track so far. This unabashed pop is followed by unashamed East Coast hip-hop Heels, representing Kamaal the Abstract’s section of straightforward, enjoyable paydirt. In an excellent turn of track sequencing, Abstractionisms is situated straight after, beginning mostly rapped before being consumed by its jazz roots as Doppler Effect organs are heard as if played from passing cars. Kenny Garret, another Miles Davis bandmember plays with the scales around the army bugle call ‘Assembly’, in a manner similar to John Coltrane jamming around the arrangement of My Favourite Things. This is arguably the area where Q-Tip’s experimentation is easiest to palate, and benefits from a much more definite structure; where other tracks seem to float along aimlessly, Abstractionisms is focussed and cogent. The Disney movie interlude Caring follows in an annoyingly terrible turn of track sequencing which again disintegrates any momentum Kamaal had built up. Even If It Is So ends the LP proper with a flourish, ahead of two bonus tracks. OutKast are loosely recalled in Even If It Is So’s chanted central motif and funky beats, even if the simple piano chords and brass section are more indebted to soul. The two bonus tracks are along the same soul/R&B-lite lines, with Make It Work introducing a more straightforwardly hip-hop aesthetic, with Tip truly showing what he can conjure on the mic, “I’m not concentrating on character assassination, or the influx of money from negotiation, You’re listening to one of the last lights glowing, who can hit a sharp left but can keep shit going”.

Maybe the promotional bumf would like us to believe that Q-Tip’s record label got cold feet over releasing Kamaal the Abstract because it was so wildly ahead of its time. But if anything, the juxtaposition of hip-hop and jazz coming down too heavily upon the side of jazz, was more than likely the culprit. In 2009, hip-hop has stepped up its game; to paraphrase Jay-Z, in this century hip-hop has switched up its flow. It has become an intertextual affair, as if the practice of sampling hadn’t rendered it so already. Just this year we have been spoilt for choice with a range of diverse-sounding rap albums, incorporating many different styles and genres. Unless you’ve been living in a wi-fi proof box, you can’t fail to have noticed Jay-Z ‘s latest The Blueprint 3, a typically multimedia affair. Closer to home we find our very own Speech Debelle, who – suspiciously leftfield as her victory was – didn’t win the Mercury Music Prize for nothing. Speech manages to combine hip-hop and jazz far more seamlessly, excitingly and moreover effectively than even the most successful of Q-Tip’s tracks. One suspects the simple truth is that Kamaal the Abstract was anything truly groundbreaking at the time, and it certainly isn’t anything special now.

What Q-Tip has attempted is worthy of applause; but as bravely experimental as Kamaal may be, it’s bewilderingly uncommercial, and the more one listens to it the greater the impression becomes that Arista may have got it right first time around. Frankly, aside from odd people who buy music at Starbucks, it’s pretty hard to imagine who would actually buy this record. Jazz fans would find Kamaal far too lightweight and would probably baulk at the prospect of rapping, as little as there is here. Similarly, the lack of hustle and flow will alienate hip-hop fans – probably beyond retrieval – and the jazz aspects surely won’t appeal. I can’t pretend to be a leading authority on hip-hop; to tell the truth, I really don’t listen to very much of it. So when this album came round for me to review, I really wasn’t sure how to approach it. But in hindsight I needn’t have worried; I know a boring album when I hear one, and I’m afraid at least half of Kamaal the Abstract is just that.

By David Hall

Rating: 5/10
Format: Album
Label: RCA
www.myspace.com/qtip

REVIEW // MATISYAHU - LIGHT

2009-09-29T19:40:00.002+01:00

On Silence, the serene closing track of Light, Matisyahu softly repeats the refrain “it’s so heavy”, which nicely sums up the effect of the preceding 12 songs. If the First Law of the Musical Universe is that the track that sounds the most exciting is also the one with the most trivial lyrics, then hearing weighty intonations over breaks and wobbles is nothing short of astounding.

Darkness Into Light, for example, is less a smorgasbord than an All You Can Eat (nu metal guitars, beatboxing, toasting, klaxons, bass drops, tolling bells), but, rather than eclecticism, it’s the presence of a unique voice that actually has something to say that commands the listener’s attention.

Smash Lies, with its twitchy dance hall beats and finely wrought rhyme schemes symbolises a link with earlier material, whereas I Will Be Light, For You, and One Day represent potential mainstream success. On the latter, Matisyahu evokes the ghost of Bob Marley, not only thanks to a chord progression lifted from No Woman No Cry, but also because of its potential for crossover appeal. Don’t miss this.

By Joe Barton

Rating: 8/10
Label: Epic
www.matisyahuworld.com

REVIEW // CHARLOTTE HATHERLY - NEW WORLDS

2009-09-29T19:36:00.000+01:00

Charlotte Hatherly spent her formative years as erstwhile axewoman of Ash, so it’s unsurprising that her solo career has seen an outburst of repressed song writing pizzazz. However, you can’t produce a great album with passion alone, which shows on underwhelming tracks like Alexander and New Worlds.

That said, Hatherly’s talents shine through on charmingly eccentric Little Saraha and Colours, both of which featuring the kind of asymmetrical post-punkery that would make Maximo Park proud. Whilst it’s less polished than the pop-rock of the her ex-band (although I’m sure she’s long since become sick of comparisons), there’s still enough flickers of potential to keep the listener’s interest in this girl.

By Joe Barton

Rating: 5/10
Format: Album
Release Date: 19/10/09
Label: Little Sister
www.myspace.com/charlottehatherlyofficial

REVIEW // THE CRIBS – IGNORE THE IGNORANT

2009-09-10T00:46:00.001+01:00

It’s a sign of the times that The Cribs have chosen to make us writers listen to their latest offering via t’internet using a host of passwords and codes, rather than dishing out copies. But this is a band who have spent the past eight years grafting their way through a turbulent industry, throwing off scenesters and unscrupulous music journalists, and ‘Ignore The Ignorant’ is something definitely worth safeguarding.
As everyone in the indiesphere knows by now, album number four sees The Jarman brothers enlisting help from a fourth member, ex-Smiths guitarist and to be frank, legend, Johnny Marr. But let’s be clear about this. ‘Ignore The Ignorant’ ain’t a Smiths revival. Johnny Marr hasn’t taken over. And this sure wasn’t a cynical move to save The Cribs career – their last album ‘Men’s Needs, Women’s Needs, Whatever’ was their most successful to date. His slick, jangly guitar slides in surprisingly effortlessly next to Ryan’s trademark Yorkshire growl and their off kilter tunes. It feels right, as if he’s been there all along. Call him Johnny Jarman if you like.

Still, The Cribs’ sound is anything but static. Whilst there’s still a touch of ‘angry young men’ defiance about them, with title track ‘Ignore The Ignorant’s declaration ‘I’m throwing England to the dogs’ and the ‘Hey Scenesters!’ style tirade against fakery, ‘Victim of Mass Production’ on which Ryan booms mischievously, ‘we’ll never say goodbye/cos we weren’t supposed to be here anyway’, ‘Ignore The Ignorant’ also has some incredibly soft moments. The slow-burning ‘City of Bugs’ is perhaps their most interesting track, as hushed vocals in a Lou Reedesque dry drawl weave around slow, whiny guitars – a far cry from the fast paced, furious rants that filled first two albums ‘The Cribs’ and ‘The New Fellas.’ Or the beautifully tender ‘Save Your Secrets’, which chimes, whispers and fades out, unrecognisable from the cacophonous, thrashing endings they used to be so fond of.

Now that Oasis have disbanded and Arctic Monkeys have gone all hairy, American and boring on us, many are asking where Brit Rock’s next heirs will come from. Open your eyes, The Cribs have been standing here all along. This time, they’re ready.

By Sophie Thomsett

Rating: 8/10
Format: Album
Label: Wichita
Release Date: 07/09/09
www.myspace.com/thecribs

REVIEW // JAPANDROIDS – POST-NOTHING

2009-09-10T00:44:00.000+01:00

Not since fellow Canadians Death From Above 1979 emerged ripping and screaming their way through the musical landscape have we been amazed to find two people could make this much noise. But whilst fast paced fuzzzz punk is usually brainless, in the lobotomised, drugged up vein of Lovvers or No Age, there is something a little more pensive about Japandroids than their peers.
Their arrangements are ramshackle, and each track is immersed in swathes of fuzz, though not to hide flaws – Japandroids use distortion as if it were just another instrument – but beneath all this lies a kind of vulnerability, an uneasiness. Take opener ‘The Boys Are Leaving Town’, which they fly into, arms flailing, drums frantically beaten, guitars thrashed, but all pinned together by the call and answer ‘will we find our way back home?’ and the distant reply ‘I don’t know.’

Because underneath its ‘we can shout louder than you’ bravado, ‘Post-Nothing’ is an album about uncertainty. The same idea is echoed through ‘Young Hearts Spark Fire’ on which the boys boom ‘We used to dream/Now we worry about dying.’ It seems Japandroids don’t want to grow up, and so their songs drip with a perpetual teenage angst, endearing on some tracks, but not so easy to put up on others, like the spiteful rejection rant of ‘Heart Sweats.’ Still, ‘Post-Nothing’ brims with energy and a youthful punk spirit it’s hard to resist.

By Sophie Thomsett

Rating: 7/10
Format: Album
Release Date: 07/09/09
Label: Polyvinyl
www.myspace.com/japandroids

REVIEW // MAGIC WANDS – MAGIC, LOVE AND DREAMS EP

2009-09-10T00:19:00.001+01:00

Carrying on the Jack and Meg White are-they-or-aren’t-they tradition, Nashville duo Magic Wands comprise of Chris and Dexy Valentine, who operate in an odd maybe brother/sister maybe couple fashion. But even if they’re not in love with each other, Magic Wands are certainly drawing on smouldering desires from somewhere.
Their budget synth- pop recalls Semifinalists in sound, but lyrically they have more in common with the notoriously lewd Peaches, as Dexy purrs ‘take my hand/sex me up/gimme all your teenage love’ on ode to adolescent lust ‘Teenage Love’, whilst on opener ‘Kiss Me Dead’ synthetic, glacial grooves and Jesus and Mary Chain style fuzz underpin fiery boy-girl vocals that ooze sexual chemistry.

By Sophie Thomsett

Rating: 8/10
Format: EP
www.myspace.com/themagicwands

REVIEW // MARIACHI EL BRONX - MARIACHI EL BRONX

2009-09-10T00:15:00.000+01:00

Most people have heard of The Bronx and what they do. For those that don't, they play kick ass rock 'n' roll anthems made to be played loud and fast. It's like the riffs of RFTC meets the grit of Black Flag. Utterly awesome, but by its own admission, a limited formula.
Despite this, they aren't a band to make the same record twice. Hence this, 'El Bronx'. Ditching the circle pits and singalongs of their intense live show for the dusty world of mariachi music might not seem like the most obvious of choices, but in truth it makes perfect sense. Coming from California, and having grown up surrounded by pockets of Mexican culture, mariachi is as much a part of the band as punk rock is, and it's for this reason that 'Mariachi El Bronx' thankfully never once feels like a novelty record.

Lead single 'Cell Mates' sets the tone well, introducing each aspect of the mariachi sound. In place of Caughthran's throaty yell is a characteristically rough-edged yet surprisingly tuneful croon. Joby J Ford's powerchords are replaced by a variety of traditional Mariachi instruments, including some impressive and often uncharacteristically subtle horn and string arrangements. From here, the album twists and turns through its highlights, the upbeat 'Litigation', the dancey 'Silver or Lead' and the sombre 'Holy'.

It might be too lighthearted for some, and for others it might feel like Mariachi 101, but this is a breezy, carefree record made from the heart that's only fault is that it drops a little too late for summer. Whether music made on the dusty streets of Mexican cities can translate to the gloom of an incoming Devonian autumn remains to be seen. Sum it up in one word? Fun.

By Rob Dand

Rating: 7/10
Label: Wichita

REVIEW // AUGUST BURNS RED - CONSTELLATIONS

2009-09-10T00:10:00.000+01:00

Metalcore has had its fair share of success stories in recent years. The more recently developed commercial arm of this once feral and underground of genres has produced the dubious delights of Bullet For My Valentine, early Avenged Sevenfold, Atreyu, Killswitch Engage, Trivium et al. At the very least, bands like those permeate the pop charts with some flashes of genuine technical ability and encourage the kids to follow suit, but regardless, metalcore is in danger of becoming a stagnant genre.
Constellations' is the third full length from Pennsylvania's August Burns Red. Kicking off with the pacy 'Thirty and Seven', we're thrust headlong into an album chock full of palm muted riffage, twiddly lead lines and, of course, plenty of mosh parts for the kids. Disappointingly, 'Existence' is an almost identical beast, and the galloping drum beat becomes familiar in later tunes 'Indonesia' and 'Paradox'. The 6-minute 'Meridian' offers a change of pace, but fails to really make use of its extended time and serves only as a breather before the speed picks back up again with 'Rationalist'.

Maybe my ears aren't refined enough to pick apart the difference, but if this record really is filled with "fearless innovation" and "an innate near-classical songwriting style", then I sure as hell missed it. Admittedly, the drums sound phenomenal, there are a few pretty well-timed breakdowns (although there's an average of about 124 per song), and although the riffs are suitably melodic (and certainly sound well above my ability level), there's very little stands between this and a slightly more aggressive Killswitch Engage. A few unexpected moments, like the interlude in 'Ocean of Apathy', and the changing time signatures in 'Marianas Trench', add a touch of variety, and to be fair, do succeed in mixing things up a little before diving back into mediocrity. All the ingredients are here, and as such, fans of metalcore might accept it as an enjoyable genre piece, but 'Constellations' is little more.

By Rob Dand

Rating: 5/10
Label: Hassle
Release Date: 14/09/09

REVIEW // INME - HERALD MOTH

2009-09-10T00:07:00.000+01:00

Credit to InMe for still releasing records. I remember back in '03 when 'Overgrown Eden' dropped. It wasn't amazing, but a couple of tunes on there ('Neptune' and 'Crushed Like Fruit') are two songs that I think of whenever I remember taking my GCSEs and my first year at college. I was young and angry, so we InMe. I hadn't discovered hardcore yet, so their simple, nasal grunge-pop helped plug a gap. 'Herald Moth' gives me a chance to spy on an ex-lover and see how far (or not) they have come.
Opener 'You Won't Hear From Me Again' is certainly a far cry from the feral shouting of their debut. The guitars are a little more technical, and there's certainly been a lot more time spent on ading further instrumentation. 'Belief Revival' has an almost spacey quality to it, but the half-assed breakdown really doesn't fit. Sadly it's something the band seem to enjoy - there are a fair amount of lazy riffs that wouldn't feel out of place on a generic metalcore album. The variety comes in the form of 'All Terrain Vehicle', the token ballad on the record, and the spatterings of electronic ambience that do actually work quite well.

Sadly for every moment they've thought carefully about pushing ahead with their sound, there are another two (and that's being generous) that disappoint. The insipid 'Single of the Weak', in which MacPherson asks the unintentionally ironic question 'What's that shit on the radio?', and the yawn-inducing 'I Will Honour You' are perfect examples of such.

In a way, it's a shame to give it a low score, because it's obvious to anyone that they've put a decent amount of effort into experimenting with their sound, but even their now rather cliched and naive-sounding debut trumps this. The bottom line is - it's just not that interesting.

By Rob Dand

Rating: 3/10
Label: Graphite
Release Date: 14/09/09

REVIEW // ARCTIC MONKEYS – HUMBUG

2009-09-06T15:24:00.001+01:00

Not only guitar, bass and drums under the sky of the Mojave Desert. On their third full-length release, this time recorded in California with Josh Homme, Arctic Monkeys work with the proper file and fine glass-paper, smoothing a protruding punk corner here and scraping some garage incrustation there.
Now, Alex Turner and friends seem to pursue an anchorless sound, far from home – in all senses – almost running away from a threatening fall-out, dangerous collateral effect of their incredible success all around the world. As much as trying to avoid the concrete risk of repeating the previous steps again and again, trapped inside the same winning formula.

So, Humbug opens with a slightly 'Morricone-style' couple of songs, 'My Propeller' and 'Crying Lightning', firsts of several high points of this disc and significant visit ticket of a new adventurous course, vocal style and vibrato/tremolo guitar effects included. Two brilliant examples of top music handicraft, both perfectly drawn above some cadenced and pursuing rhythmic trajectories.

After the surprising heavyness – a bit stoner – of 'Dangerous Animals', the following 'Secret Door' unveils another unexpected scenery, an irresistible folky refrain sewed with care, intertwining some captivating prog-rock threads. However, it remains an isolated episode, only partially retaken on 'Cornerstone' and also on the final track 'The Jeweller's Hands', in curious juxtaposition with the harshness of 'Potion Approaching' and 'Pretty Visitors', which connect the dots with the recent past.

Solemn like a gothic image, 'Dance Little Liar' is the true masterwork of this album. Shades of fascinating western-noir-psychedelia twirl the ballad, with its poisoning deceits, encumbering whatever possibility of escape from this atmospheric mood, forced between the lightly distorted singer's voice that spills bitter words on warm sand and certain reverberating guitar chords grappled like a blind to the last remnants of light.

Humbug balances turnabouts, reversals and contrasts in equal measure, resulting an excellent transition-work, where each piece gives notice of the whole composition, also ensuring enjoyment and meditation.

By Sergio Manghina

REVIEW // FABRIC LIVE 47: TODDLA T

2009-09-02T22:40:00.000+01:00

Tom Bell, aka Toddla T, has had a whirl wind time of it over the last two years. After being plucked from relative obscurity to produce tracks on Roots Manuva’s last album, he has been catapulted into the eye of the mainstream with a debut album “Skanky Skanky”, and this, the latest offering to the Fabric Live series; surely a sign to any Dj that you’ve ‘made it’.
Hailing from Sheffield, and a rich and varied musical and cultural heritage, Toddla T pays homage to the city’s past with the opening song, a reworking of Human League’s ‘Love Action’ by Philly. A beautiful, laid back, dub sided remix that works perfectly in setting the tone for what’s to come and reflecting Toddla’s eclectic taste in music – which is unfortunately lacking in the rest of the mix. The first clutch of songs work as any should on a mix of this kind, they’re slow, they warm you up and they give you a flavour of what’s to come. The mixing is pretty straight forward overall and the songs blend nicely into one another, gaining pace steadily as the mix progresses. There are some stand out tracks still, early on, namely the remix of Fill Up Mi Portion by Toddla T ft Mr Versatile, ft African Boy & Batty Rymer, which picks up the pace whilst keeping a laid back feel and dub riddim. However, two tracks later he drops a heavy D’n’B track out of the blue, neither mixing it inventively or maintaining any links to a heavily dub influenced start, and as a result, it throws the mix out of kilter and feels almost as a half thought.

Quite cleverly though, he has incorporated a few mash ups and, while not being familiar with all of the original tracks myself, I can say that they work within the mix and really show off Toddla T’s mixing/remixing capabilities. One of the fattest, fullest and all round sexiest bass lines I have ever heard comes in the form of Shake Aletti’s ‘The Way He Does’ (Toddla T remix ft Serocee) and this drives the mix forward again into a big, Bashy, Diplo, Bart B More and Bingo Players shaped mash up called Millionaire Bingo, made up of Bashy’s Who Wants To Be A Millionaire and Diplo’s remix of Get Up by Bingo Players. Which is good, but the Drums of Death track after is better. Full, round, resonant bass combined with a playful piano line and an MC chatting to you as if it’s a personal performance for you alone and that driving bass, makes this one of the stand out songs on the mix. A bit of Garage next from Alex Mills and the Whiteboy remix of Beyond Words carries on the theme of fully rounded bass lines and leads perfectly into Skream’s ‘Toddle T Special’ which absolutely, KILLS IT! It’s simple, 4x4 beat, squelchy bass, but Skream can do very little wrong, and he proves it here. This is class.

Everybody’s favourite new MC with a silly name and smooth voice, Tinchy Stryder makes a special guest appearance on Toddla T’s ‘Safe’ vs. Untold’s ‘Anaconda Safe’ thus resulting in ‘Anaconda Safe’. To be honest, coming from Skream, to this, is a bit of a let down, the pace has been taken right out and the MCing isn’t great, in fact, am I the only person in England who thinks his voice is a little annoying? But! Just as I’m losing faith, another little bit of genius is taking place in the shape of Busy Signal vs. Pulse X – Tic Toc (J Needles Driver Blend) with a bassline as sticky as the next track by, indeed, Sticky ft Lady Chann, ‘Sticky Situation’. The pace stays at a steady bob for the next three songs, and then Toddla T drops his first of two emotive/profound/sunrise moment when everybody is fucked and it’s time to leave the club and conversation moves on to political ramblings that just end up in agreement that division is stupid and ‘yeah, I really love you man!’ type songs. The first one, the Skream remix of ‘Rebel’ featuring Benjamin Zephinia & Joe Godard and the second is the Caspa remix of ‘I Remember’ by Deadmau5. And both, I must say, fit really well. Having Serocee plugging the album for just a little bit too long at the end of the penultimate track is a little unneeded but can be overlooked.

So there we have it, with a Fabric mix packed full of special guest appearances, exclusive remixes and tracks from a lot of the big names on the Urban scene at the moment, Tom Bell has delivered one hell of a mix. Toddla T it seems is here to stay.

By Jamie Rio

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

REVIEW // MOTION PICTURE SOUNDTRACK – DEPARTURE

2009-09-02T22:36:00.000+01:00

A storming introduction which doesn’t really give us time to stop and think until the song is nearly over, Motion Picture Soundtrack plough on and play like they are trying rip through tarmac. Still recording their debut album, but for some reason or another, painfully familiar, their music holds some of the same attributes. Rock music that at once, makes it ok for men to recognise emotions, but also discusses them very coherently and makes no excuse for their theatrics or melodrama.
Even though of a high standard – having recorded with literally some of the best producers and sound engineers in the world, people who have worked with Radiohead, Tool, RATM, Editors, The Stone Roses, to name but a few. This is epic rock and I can really appreciate the BIG, slightly supernatural soundscapes along the lines of ‘I Like Trains’, ‘My Bloody Valentine’ etc but for me the high pitched melodic wailing goes slightly over my head. However, fans of Muse with a softer side, this is definitely for you.

By Jamie Rio

Rating: 6/10
Format: EP
Release Date: 07/09/09
Label: End Game
www.myspace.com/mps