NOIZEMAKESENEMIES.CO.UK

REVIEW // SKINT AND DEMORALISED - RED LIPSTICK

2009-07-15T23:18:00.001+01:00

Skint and Demoralised are made up of Matt Abbott, a twenty-year-old spoken word lyricist from Wakefield, alongside producer MiNi dOg who provides the beats to accompany Abbot’s endearing Northern twang.
Their debut single, ‘Red Lipstick’, is a quirky three minute ode to a schoolboy crush that Abbott found via his misspent social networking youth. A girl whose delightfully low maintenance attitude to life (liking no more than “Red lipstick/ Fish and chips/ Orange juice/ And trips to the seaside”) prompted Matt to put pen to paper to celebrate this seemingly rare find.

Whilst, this debut single might not have all the hard hitting erudite accuracy of partnerships such as Dan Le Sac vs Scroobius Pip, Abbott’s innate likeability seems to gloss over that as his singing voice, not unlike Richard Archer (of Hard Fi), bounces over the upbeat chorus of ‘Red Lipstick’.

This lack of depth to the debut single is also by no means illustrative of Skint and Demoralised’s other work, which delves into the social conscious; with Abbott’s vocal disapproval of the BNP and their election in his hometown and his back catalogue of work with Love Music Hate Racism.

Having played Glastonbury and with Bestival, Latitude, Reading and Wireless all to come, as well as a debut album due in October which is likely to be a better representation of the duo’s capabilities, Skint and Demoralised look set to make their mark this year, even if ‘Red Lipstick’ does not showcase the depths of the pair as much as fans may have liked. Abbott looks set for success, and it couldn’t happen to someone anymore down-to-earth or likeable.

By Laura Routledge

Label: Mercury
Rating: 7/10

REVIEW // KID BRITISH - OUR HOUSE IS DADLESS

2009-07-15T23:14:00.003+01:00

“You hold a better conversation / When born in grimey locations / And that’s where you'll find my crib / In the same area where the alkies live”
Kid British, on the surface, appear to be a sort of collective Jamie T meets the Jeremy Kyle generation with this ska pop concoction of social commentary. Of course, chucking in seemingly unnecessary nouns such as “crib” and “beef” to culminate some sort of street credibility to their Five-like rapping over a Madness sample.

That is, before you look a bit deeper. The above description of a band such as the Ting Tings, which, for all of their lyrical ineptitude and lack of credence, still strive to be taken seriously as a band screeching “They call me Stacey”, but the refreshing quality of Kid British is that they understand their pigeonhole and seemingly embrace it.

Describing themselves as having the “feel good factor”, Kid British are a four-piece that aren’t taking themselves too seriously, which is something of a sought after trait as all too often musicians morph into self indulgent clichés all about the ‘vibe’ and ‘getting the message out there’ whilst losing themselves in the aura of celebrity.

Don’t get me wrong. Kid British will by no means be everyone’s cup of tea; with the very quintessential use of the “Our House” sample, no doubt irritating ‘serious’ music fans everywhere. But in a sense, the very love hate quality of this upbeat outfit highlights the underlying pretension of the music industry.

If you’re sick of the same clichés of musicians feeling hard done by and like the sound of a tongue-in-cheek Blazin’ Squad version of Jamie T, overlooking the cheesiness of Kid British’s debut single, they may be a welcome bit of variety to play lists over our dreary British Summer.

By Laura Routledge

Release Date: Out Now
Label: Mercury
Rating: 6/10

REVIEW // BLACK DANIEL - HEAR COMES CAESAR / I LOVE YOU BUT DON'T TOUCH ME 'COS YOU'RE SICK

2009-07-15T22:59:00.001+01:00

Summer is here and so are the exponents of polished, over-produced Euro-dance anthems and sickly-sweet pop with guitars to soundtrack it along with beaches in the videos.
So is Swine Flu. It's hard to know what is more infectious. The swine sniffles or the first two tracks by Black Daniel.

In fact, we suspect that some of these pig colds have been cases of mistaken diagnosis. It's understandable when the artwork to Black Daniel's double A-side single features one of the very beasts in question while one of the songs has been dubbed, 'I Love You But Don't Touch Me 'Cos You're Sick'.

Instead of being laid low by highly infectious little bugs it seems some suffers have in fact been floored by the grimy, sexy, heavy hitting bassline of 'Here Comes Caesar'. This is the kind of thing sub-woofers we built for.

In stark contrast to the electronic euphoria is 'I Love You But...', a spaced-out indie number. Black Daniel have been on tour with Kasabian in the past and there's certainly an early Kasabian-esque hint in the track's vocals and a touch of Mudhoney with clean guitars strumming over paper-over-a-comb type fuzz and restless, upbeat drums.

With a 6Music and Radio 1 single of the week, plus the seal of approval from Art Brut already under their belt, this should be the beginning of something beautiful for the three to five assorted folks that are Black Daniel (one of which goes by the name Lamik2000 - which just reminds us of 15peter20 - but we'll gloss over that bit).

By Stephen Milnes

Label: Dustbowl Records
Release Date: 20th July 2009

REVIEW // THE RAKES – THAT’S THE REASON

2009-07-15T22:40:00.001+01:00

When it comes to The Rakes, most music fans are of the school of thought that Alan Donohoe and co have struggled to produce anything great since their debut ‘Capture / Release.’
Still, if there’s anything worth paying attention to at all on album numero trois, ‘Klang’, it’s this. A short, sharp slice of pop-punk, ‘That’s The Reason’ is catchy enough, but it takes their trademark wiry guitars and twitchy vocals and... well, does nothing with them. The formula is hackneyed, and by the sound of Donohoe’s wearied vocals even the band themselves seem to be tiring of it. Safe and dull.

By Sophie Thomsett

Rating: 5/10
Format: Single
Label: Co-op
www.myspace.com/therakes

REVIEW // KID HARPOON – STEALING CARS

2009-07-06T22:08:00.000+01:00

A long term lover of Kid Harpoon I firmly believe that he deserves recognition for his impassioned talent and innovative music. Unfortunately that often means diluting the concentrated genius we have come to expect.
Stealing Cars is much more mainstream that previous offerings, and just doesn’t offer the same depth of quirkiness. It can’t be because the topic is not one Tom has experience of – as anyone who has listened to Kid Harpoon knows, the lyrics are homegrown, and as anyone who knows Tom’s home area of Medway knows, it’s a bit pikey.

This is not to say that Stealing Cars is a rapid departure. The same flexing rhythms of guitar cradle the summery soft vocals and the animated melodies continue to be beguiling. However, it just lacks the impact of his other material – the pounding end of Riverside still releases more endorphins than any amount of Ecstasy. Definitely a nod towards the charts (there’s even a La Roux et al esque 80s style synths crescendo), hopefully Stealing Cars will grab people and drive them straight into Kid Harpoon’s box, where there is a wealth of good music to find and good times to have.

By Francesca Baker

Rating: 6/10
Release Date: Out Now
Format: Single
Label: XL

REVIEW // CHERBOURG - INTO THE DARK

2009-07-06T22:07:00.001+01:00

Cherbourg sound as though they have the weight of the world on their shoulders – the sort of mates you go to the pub with who are exhausting to talk to because they’re. Just. So. Serious.
But that said, you always end up going with them – “Into The Dark”, the band’s second EP, is actually a very engaging listen, beautifully crafted and with the sort of lyrics that are poignant without losing a certain conciseness.

Lead singer Andrew Davis’s voice is flowing and honey-like, not unlike Snow Patrol’s Gary Lightbody. The melodies are often somber but easy to listen to – hearty and sincere, with brilliant, soaring violins scattered throughout the tracks. The fourth track, “Shine” takes on a lovely folk sound – soft and warming, it is gentle while still retaining substance. If only they would hurry up and release something longer…

By Josie Allchin

Rating: 8/10
Format: EP
Release Date: Out Now
Label: Chess Club
www.myspace.co.uk/cherbourgmusic

REVIEW // THE VOLUNTARY BUTLER SCHEME - TABASCO SOLE

2009-07-06T22:03:00.002+01:00

It is hard to imagine a musician whose music, never mind one song can cover everything from hip hop, jaunty geeky pop, Motown, folk and indie. For 23 year old Rob Jones, this is what his music is about. Tabasco Sole is a song for the summer and has a somewhat nostalgic feel to it. With hints of the Beach Boys, The Beatles, this utterly playful song is what this financially depressed world needs right now to lift the mood.
Also featured is equally as chirpy song ‘Split’, a remix of ‘Tabasco Sole’ by Akira The Don and a very unique cover of the 1980s classic, ‘Together in Electric Dreams’. This EP is a brilliant teaser for VBS’s debut album due for release at the end of August. Hopefully, the album will also be as delightful as expected and Rob Jones keeps his Hot Club De Paris crossed with what other have called a Jackson 5 style beat.

By Lilly Roberts

Rating: 7/10
Format: EP
Release Date: 20/07/09
Label: Split

REVIEW // VIOLENS - VLNS EP RMX

2009-07-06T22:01:00.001+01:00

The latest import from the ever trendy NYC scene is Violens. They have recently released a limited edition 7" in June on Chess Club records and announced they have secured a coveted support slot with the NME scene's current favourites, White Lies, on their extensive UK tour in November. Following on from theses successes Violens have treated fans to a free digital 4 track remix EP entitled VLNS RMX EP.
It features the recent single Lightning Lightning, as well as three remixes by other electronically inclined artists including South America's premier psychedelic infused electronica, MGMT. The first track, Lightning Lightning, is by far the strongest. It's an epic sounding, tambourine shaking psychedelic infused indie dance track which puts me in mind of Kasabian, but minus their distinctive British charm which has proved so successful for them in recent years. While it may be a strongest track of the quartet, it still too much swagger not enough substance for my liking.

The next track is the excitingly titled Violent Sensation Descending, remixed by the now defunct Lansing-Dreiden, with whom some members of the band cut their teeth on the scene. Despite its title, the track is gentler, brooding electronica, which stands in contrast to the pomp and swagger of the previous track. MGMT's effort, Doomed, is an even more laid back affair, with brush beaten drums throughout and vocals mixed as if there are coming from down the hall in another studio somewhere.

Finally the EP is rounded out by Already Olso as mixed Philadelphia popsters the Lilys vs Red Coles. It's a much more upbeat track than the middle two, more reminiscent of classics '80s pop such as Duran Duran or Spandau Ballet, but without the heart and soul of a genuine pop band.

I'll be honest that this band don't do a lot for me personally, but expect their public profile to rise quite rapidly in the near future as they become exposed to the more fashionable end of the music scene.

By Adam Tolladay

Rating: 4/10
Format: EP
Release Date: Out Now
www.violens.net

REVIEW // REGINA SPEKTOR - LAUGHING WITH

2009-07-06T21:55:00.002+01:00

With a name as ethereal as Spektor this lady has the ability to seep into your soul and incite emotion.
Regina Spektor seems to me to be one of those people who can see a dash of colour or a blade of grass and go into raving rhapsodies or deep depressions, the smallest of everyday situations speaking spiralling gothic narratives and being draped in swathes of vocal velvet.

‘Laughing With’ explicitly joins those existentialist dots and is a bewitching musical comment on the universal simultaneous independence and dependence the human race has with the idea of God.

Lacking the cascading intensity of other tracks from ‘Far’ this is a disarming track, daedal in what it says rather than being intricately congested.

The whole song is of an all encompassing mood, speaking of God and humanity, being plaintive and elegiac, whilst life affirming, this spectral song has within it the roots of future happiness.

By Francesca Baker

Rating: 8/10
Format: Single
Label: Sire
Release Date: Out Now

REVIEW // EUGENE MCGUINNESS – WENDY WONDERS

2009-07-06T21:51:00.002+01:00

There is no doubt that ‘Wendy Wonders’ is a sweet-sounding song. It’s easy on the ear, it has a catchy melody and it flows well. Not at all ‘in-your-face’ and at the same time, it doesn’t slip through your eardrums without you noticing.
It’s a happy medium. Though there isn’t that much more to it. A simple tune that will make you smile, but it most certainly isn’t something that will send shivers down your spine. Though McGuinness’ voice is warm and smooth like honey and drips over the quite, calming instrumentation and it is an enjoyable listen.

What’s surprising about this release is the two exclusive B-side tracks. The first is a surprisingly good cover of the Ramones’ song ‘Judy Is A Punk’, which is completely different from the single itself. His voice works well against the braying guitars and fast-paced tempo. Then again we are treated to a complete shift in style with his acoustic cover of the Coral’s track ‘Jacqueline’, which is extremely well-suited to his voice and is an admirable attempt at an already lovely song.

The collection of songs on this single release are without a doubt showcasing some definite potential from Eugene McGuinness. ‘Wendy Wonders’ is the third single taken from his self-titled debut album released last year.

By Vanessa Banks

Rating: 6/10
Format: Single
Release Date: Out Now
Label: Domino
www.myspace.com/eugenemcguinness85

REVIEW // HERITAGE CENTRE - I WILL PROTECT YOU

2009-07-06T21:48:00.002+01:00

Hailing from the Dublin, home of Irish rock 'n' roll; spring the latest fresh-faced Irish indie pop sensations, the quaintly named Heritage Centre. This hard working band has already released a single at the tail end of last year as well as an EP, The City, The Tree and The Fox, in February. They are now following up the success of these releases with a new single entitled 'I Will Protect You’.
While their website claims comparison to such luminaries as Weezer and Blur, I don't hear it myself. For me, Heritage Centre's sound is more reminiscent of the guitar-driven indie rock of Idlewild, only more Irish, obviously.

The title track opens with a crunchy guitar teamed with a charming melodic line over the top, with some what wishy-washy mid-90s Brit pop-esque fayre about angels falling from grace, which reminds me Idlewild's more recent radio friendly efforts. The second track, Whatever, has a slightly rawer edge, yet still retains an unmistakeable pop tone, more like Idlewild's earlier 100 Broken Windows era. While not as radio friendly as the preceding track, it is certainly more endearing; I believe the gritty sentiment more than the first track. With the added dimension of piano the third track, You Are Something, sounds more like the quirky pop of Duke Special, with just a hint of toned down Strokes-style lead guitar. Finally there is a radio edit of the title track, which simply feels like an unnecessary inclusion for the sake of completeness.

Overall, an enjoyable if somewhat lacklustre affair, which doesn't encourage me play it over and over again, though I could be persuaded to check out their future releases. Expect a second EP and their debut full-length effort to follow later this year.

By Adam Tolladay

Rating: 6/10
Format: Single
Label: Inactive
Release Date: Out Now
www.myspace.com/heritagecentre

REVIEW // SUGAR CRISIS - WE ARE HERE TO SAVE YOU

2009-07-06T21:45:00.001+01:00

You know what I think when I listen to S-Club 7? Other than, kill me now or, who hates me enough to play this at me, I think S-Club 7 need more synths, well now a band has come along to solve that problem for me, oh joy.
With such pure lyrical genius as “You’ll have a ball, drink alcohol, we’ll sing and dance, just take a chance.” You know this record’s going to be so sugary you’ll develop diabetes as soon as it reaches your ears.

Musically (which is probably what I’m meant to be reviewing here) the record is simple keyboards and male / female vocal harmonies, the kind you hear on cheery straight to video Disney movies or bad kid’s TV shows, essentially they’re the same thing, but you get the idea.

I just don’t think I live the right kind of life for this record to have a use. If you: go to the beach and have not so wild parties, play volleyball, cavort in the sea, have sing-alongs and maybe a food fight happens now and then where someone ends up with a cream pie on their face but they find it funny anyway and then everyone laughs, then maybe you could play this song at those events, otherwise, I’d give it a miss.

By Rob Barker

Rating: 3/10
Format: Single
Label: Weekender
Release Date: Out Now

REVIEW // THOMAS DYBDAHL – THOMAS DYBDAHL

2009-07-06T21:42:00.000+01:00

Apparently a collation of tracks from his previous four albums, this self-titled EP from Norwegian singer-songwriter Thomas Dybdahl which precedes his debut release of an album in the UK on September 7th, is intended to act as an introduction to his work.
Coming across more American than Scandinavian, this snapshot of former releases begins much like Mark Lanegan and Isobel Campbell’s latest collaboration but develops into something much more forgettable. Whiny more than powerful, this does nothing but ensure most will ignore the imminent album release rather than buy it.

By Gemma Elliott

Rating: 4/10
Format: EP
Release Date: 13/07/09
Label: Last Suppa

REVIEW // THE XCERTS - JUST GO HOME

2009-07-06T21:40:00.001+01:00

Just Go Home by The Xcerts follows the release of their critically acclaimed debut album In The Cold Wind We Smile, which saw the band garnered in praise from journalists, DJs and musical peers alike with their raw, energetic and impassioned melodies.
Much hype seems to be emanating from the young Scots but while their emo-pop, bouncy melodies and anthemic choruses may be engaging it’s not particularly fresh or exciting. The band wears their influences on their sleeves but they do do this much in the way a war veteran wears a cross of valour. With Pride. You can especially hear the influences of Idlewild and Biffy Clyro in their music. This perhaps has as much to do with the fact they recorded with Idlewild producer Dave Eringa. If any of these bands push your buttons you will probably like Xcerts.

By James Green

Rating: 5/10
Format: Single
Release Date: Out Now
Label: Xtramile
www.myspace.com/thexcerts

REVIEW // RISE AGAINST – HERO OF WAR

2009-07-06T21:36:00.001+01:00

Ever since the relative success of 'Swing Life Away', from the band's major label debut back in '04, Rise Against have dusted off their acoustic guitars at every opportunity, in the vein hope of garnering a similar amount of praise/respect/cash. 'Roadside' featured on 'The Sufferer and the Witness'. Latest full length 'Appeal to Reason' has this, 'Hero of War'.
It's a similar effort, a polished ballad that suffers from being too simplistic both musically and lyrically to make any real statement about the murky topic it tries to cover. Besides that, anyone who's been into punk rock for more than ten minutes will treat their politics with a degree of scepticism (after all, Universal Music are bound to be foaming at the mouth over the prospect of tapping into the lucrative anti-war dollar).

If you liked the last Green Day album, or if you yearn for Nickleback to make an anti-war song, then this is the track for you. Otherwise, do yourself a favour and do your own political research rather than listen to this watered-down drivel.

By Rob Dand

REVIEW // NEW EDUCATION - ANOTHER MIRACLE

2009-07-06T21:33:00.000+01:00

Singing about the sun or the stars is a common subject for songwriters. These astral objects obviously influence the creative genes and they've also inspired the chorus of Another Miracle, the new single from Midlands based band New Education.
'The day breaks, the sun shines on my face... another miracle'. Its an upbeat and refreshingly optimistic attitude that gives me an image of the singer waking up, opening the curtains and looking out onto the glorious Stoke skyline.

This is four minutes of passionate indie rock. An opening of loud guitars and drums give way to a softer verse while front-man Ryan Dooley sets the scene before the anthemic big chorus. There's a nice melodic guitar line but musically there's not much build up of emotion and most of the attention is on the vocals. Dooley has a solid but unremarkable voice and it tends to come across as a little monotone at times. Also the chorus melody isn't emphatic enough to capture mass attention.

This song is a solid effort but it doesn't quite reach the soaring call to arms the band was aiming for.

By Alex Telfer

Rating: 5/10
Format: Single
Label: Kids
Release Date: 13/07/09
www.myspace.com/neweducation

REVIEW // SWIMMING - PANTHALASSA

2009-07-06T21:30:00.001+01:00

Swimming are either ahead of the game or someway behind the times. It?s a bit difficult to tell really. As we are currently experiencing something of an 80s revival my calculations show that this band?s late 90s indie pop should be back in vogue by circa 2025. So we've got a little while to go yet.
But it would be a pity to write off a band just because they aren't playing the right synthesisers or using this month?s choice of distortion pedals. Swimming are an indie band with more energy than an Olympic pool full of Lucozade.

Their current single, Panthalassa features two original tracks along with a selection of remixes. The music comes straight from tail end of the last century. Comparisons could easily be made with Mansun, the too little heard Ultrasound and the practically unheard of Elcka.

The lyrics also capture something of the vibe of the late 90s, a halcyon pre-credit crunch era when the country had rid itself of a scandal ridden government and was looking forward to a new, hope filled era. If only we'd listened to Radiohead more.

Swimming's songs recapture the anything-is-possible attitude as brought to us by Oasis and a pack of Brit-rock hopefuls. And so Panthalassa is full of new beginnings, breaking free from a chrysalis and embracing a magical world. The song's name fittingly comes from the geological term to describe the ocean surrounding the Earth's single landmass before it broke up into the continents we know today.

Second track Crash the Current is full of hope too: You've been so low / I'll comfort you runs one lyric. The song is full to the brim with energy with talk of dynamite, crashes and big bangs.

The music here sounds almost foreign. There?s not much in the way of big, brash sounding bands out there at the moment. Kasabian continue to carry the torch for the Come and have a go if you think you?re hard enough? school of rock but its done with a bitter snarl instead of the hope found in the last decade.

In an era so obsessed with Coldplay-ish naval gazing and where-did-it-all-go-wrongs it makes for a change to hear a band who are still keen to play the mindless optimism card every once in a while.

The remaining tracks on the CD are remixes worthy of the era the band are recalling. There's the gritty, dirty sounding one (Zero Theory Remix), the high pitched, helium one (We Show Up on Radar Remix) and the remix that PiL could have done (Russian Linesman Remix).

In music, lyrics and remixes this band have managed to capture the optimism of a lost age that is, in truth, not that far behind us. I like my miserable music as much as the next Morrissey fan, but for someone whose introduction to pop music was Blur?s ?Country House? a couple more tracks like these every so often wouldn't go amiss.

By Stephen Morris

Rating: 8/10
Format: Single
Release Date: Out Now
Record Label: Colourschool
www.myspace.com/swimmingband

REVIEW // WAVE MACHINES – I GO I GO I GO

2009-07-06T21:24:00.001+01:00

To put it mildly, the latest single from Wave Machines is frankly just a little boring.
The majority of the keyboard has a slightly cheap sound, more like a seaside resort games arcade-style sound than the kind of thing you’d expect to come out of a DJ booth; this is especially noticeable as the song begins to wind down – there isn’t a particularly fantastic ending either, nothing to sum up the song in any way. The vocals are bland, with hardly any power in them and they don’t seem to contribute to the tune in any way.

You don’t find yourself grasping any of the vocals other than the simple chorus of ‘You stay so/I go I go I go’. Not particularly mind-reeling stuff. It sadly ends up sounding like a half-hearted electro pop song, with no sexy beats or catchy riffs to reel you in. Just.... okay.

By Vanessa Banks.

Rating: 2/10
Format: Single
Release Date: Out Now
Label: Neapolitan Recordings
www.myspace.com/mywavemachine

REVIEW // THIS IS RADIO FREEDOM – FAMILY MAN

2009-07-06T21:21:00.000+01:00

Although THIS IS RADIO FREEDOM have an awful name (after a quick research on MySpace, the name is meant to all be in capitals..), the single ‘Family Man’ is 3 minutes and 35 seconds of rich, sometimes retro instrumentation.
The combination of electronics and guitar sounds brilliant, and the vocals flow over the top of a pounding drum line perfectly, breathy at points yet still just as punchy as the music. It’s accompanied by an equally, if not more enjoyable remix done by Dan le Sac, which begins sounding just that little bit more raw and immediate with the slightly increased tempo; best turned up loud enough to make the walls shake.

I suggest we welcome ThiS IS RADIO FREEDOM with open arms and give them a big old squeeze to boot, this release is ridiculously catchy, not to mention euphoric.

By Vanessa Banks.

Rating: 9/10
Format: Single
Label: Sidewalk 7
www.myspace.com/thisisradiofreedom

REVIEW // LA ROUX - BULLETPROOF

2009-07-06T21:18:00.001+01:00

For a few months now La Roux has had quite an effect on pop music and has brought her somewhat unique sound onto the mainstream. With a quirky look and her own take on electro, 2009 has been a good year for the daughter of The Bill’s Sergeant June Ackland.
‘Bulletproof’ is a catchy, 1970s disco crossed with 1980s Electro. Think the attitude of Gloria Gaynor’s ‘I Will Survive’ with the slightest hint of Depeche Mode’s ‘I Just Can’t Get Enough’. But, it seems Elly Jackson’s vocals are very different to those on previous singles ‘Quicksand’ and ‘The Kill’. This of course is not a bad thing; it makes a change to high pitched wailings and ten second long “Ooh’s”. Although, compared to ‘The Kill’, ‘Bulletproof’ has better qualities and the whole song is like a pop-party with Sonic the Hedgehog style sound effects from start to finish.

Love or hate La Roux you cannot deny that you have sang along and danced to her songs in an indie disco this year or even a general nightclub and hear remix after remix. She has well and truly succeeded as becoming an anthem creator of this year. Yet in a few months she will become part of the group of performers who have become famous for their over played and overrated music such as Scouting for Girls, Kings of Leon, Duffy and Adele.

By Lilly Roberts

Format: Single
Rating: 4/10
Release Date: Out Now
Label: Polydor

REVIEW // DINOSAUR JR - OVER IT

2009-07-06T21:12:00.001+01:00

What is this? Seriously - what is this watered down, half-arsed attempt at a come back that I am listening to?
“Over It” has all the trademark Dinosaur JR sounds: distortion, gain turned up to max and too much feedback. But it just sounds so outdated – it baffles me as to who exactly would buy this and think it was “great new release”.

Over it? Yes, yes I am. Bah.

By Josie Allchin

Rating: 2/10
Format: Single
Release Date: Out Now
Label: PIAS
Release Date: Out Now
www.myspace.com/dinosaurjr

REVIEW // TIGERS THAT TALKED - BLACK HEART, BLUE EYES

2009-06-29T21:35:00.001+01:00

It’s not often that a first EP, released on an obscure label and distributed by a company I haven’t previously heard of, manages to astound me. A lot of releases, many of them a debut, can be good but not great, and indeed every now and again one is great.
‘Black Heart, Blue Eyes’ is more than that: the first EP from the Leeds-based folk rock quartet Tigers That Talked is sophisticated, understated and musically scrumptious.

There are aspects of similarity between Tigers That Talked and the pioneers of 2008’s initial anti-folk movement, but there is also something flawless and beautiful about their songs that really sets them apart from other artists, and demonstrates that they truly are something very special. This is a band overflowing with raw talent and natural creative flair; their songs are flawless and beautiful, with an impeccable lyrical ability and violins that take your breath away. Their whole sound has a spine-tingling uniqueness and breadth to it, and each song seems polished and purposeful in what I’d call an accidental capacity.

Tigers That Talked are pure indie folk goodness, and this four-track EP leaves you aching, wishing, begging for more. This is by far the best debut I’ve heard since the beginning of 2009, and I’ll be truly surprised if the Tigers aren’t the talk of the town by year’s end.

By Lauren Razavi

Rating 10/10
Format: EP
Release Date: Out Now
Label: Bad Sneakers
www.myspace.com/tigersthattalked

REVIEW // GIRLS - HELLHOLE RATRACE

2009-06-29T21:12:00.002+01:00

“I don’t want to cry my whole life through, I want to do some laughing too.” Got your attention? This is the innate attention grabbing nature of Girls, the San Fransisco duo who are as eye-catching as there are lyrically poignant.
Looking not too dissimilar to an American alternative of David Walliams and Matt Lucas, had they of entered some sort of surreal charity shopping and hair back-combing phase. Yet, Girls are inarguably very talented.

With their debut single “Hellhole Ratrace” crying out to listeners for some TLC and revealing the very human reluctance to get stuck in the monotony of a predictable life, Girls reach out to listeners and reveal a sort of vulnerability that is unavoidably endearing. Whilst, at just under seven minutes in length, the track does lean to the more self-indulgent and unnecessarily long, the eccentric nature of the band in many ways makes it seem more of a showpiece for their creativity rather than evidence of an inability to know when to shut up.

Sounding not unlike the new work of The Horrors with the similarities to Faris’ vocals, entwined with the sort of psychedelic noise rock that The Pixies enhanced endlessly, Girls appear to be the ballsy type of different that should be welcomed with open arms.

Touring with Los Campesinos! and The Pains of Being Pure at Heart throughout the Summer, keep an ear out for their debut LP later this year as if it’s as versatile and complex as this single; 2010 looks set to be a very exciting year for the eclectic duo and their fans.

By Laura Routledge

Rating:7/10
Format: Single
Release Date: 06/07/09
Label: Fantasytrashcan / Turnstile
www.myspace.com/girlssanfran

REVIEW // FLASHGUNS – MATCHING HEARTS, SIMILAR PARTS

2009-06-29T21:10:00.001+01:00

I feel strangely ambivalent about Flashguns' new EP Matching Hearts, Similar Parts. I don't think I should like them, and yet I find myself strangely taken in by opening track “I Don't Not Love You”, despite it's deliberately dumb title.
The music is hardly ground breaking, but interesting none the less; angry guitars shout the song's arrival, before being quickly subdued for the opening verse over a whispering drum roll, only to be unleashed again tenfold shortly afterwards. It's all straightforward verse/chorus/verse, but it's pretty catchy and nicely pulled off.

The following track is even more catchy, but this time to the point of irritation; clichéd jangly guitars and childish xylophone noises make for a poppy, rather dull-ish sound, which pairs badly with slightly silly lyrics like “got so close but no cigar”. The only thing that really drags them up here, and on the remaining couple of tracks, is the impassioned vocal style of singer Samuel Felix Johnston, who sounds refreshingly alive given the slightly hollow feel of the music.

Definitely worth checking out, particularly for “I Don't Not Love You”, but not a particularly dazzling band, or one likely to make huge waves on this effort.

By Steven Garrard

REVIEW // THE NEW 1920 - THE NEW 1920

2009-06-29T21:05:00.001+01:00

If you looking to write a fist in the air rock hit in the parlance of our times then you need a few key ingredients. A big riff. Angst ridden lyrics. Crashing drums. An instantly memorable chorus and a big guitar solo. Opening track of The New 1920's self titled debut EP, Come Around ticks these boxes (apart from the solo) and is a sure-fire mosh pit filler.
The rest of this EP can't quite main the same impact but there's still evidence of undoubted song writing ability with a keen grasp of dynamics that a lot of bands are oblivious to. Amber Gambler is youthful punky rock but still possesses a big sing-along chorus. Head For The Exit has a classic call and response chorus while Keep On is a pleasant but fairly throwaway acoustic number.

The New 1920 is the latest product from the production line that is the welsh rock scene. Their sound balances precariously on the edge of the generic American teen rock but there's enough passion and intelligent lyrics to hopefully propel them to make a decent album somewhere down the line.

By Alex Telfer

Rating: 6/10
Format: EP
Label: Different Smoke
Release Date: 20/07/09
www.myspace.com/thenew1920