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REVIEW // BLITZEN TRAPPER - BLACK RIVER KILLER EP

2009-10-30T21:53:00.002Z

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

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

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

By David Hall

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

REVIEW // GET BACK GUINOZZI! – LOW FILES TROPICAL

2009-10-30T20:50:00.002Z

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

By Sophie Williams

Rating: 7/10
Label: Fatcat

Review // Spiral Stairs - Stolen Pills

2009-10-29T19:50:00.003Z

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

By Vanessa Banks.

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

REVIEW // BIFFY CLYRO - THAT GOLDEN RULE

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

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

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

By Adam Tolladay

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

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

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

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

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

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

By Laura Routledge

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

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

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

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

By Laura Routledge

Rating: 8/10

www.myspace.com/thepainsofbeingpureatheart

REVIEW // KING CHARLES – LOVE LUST / MR. FLICK

2009-09-29T19:44:00.002+01:00

Like most others young artists of value, King Charles resists easy categorisations. Not so adventurous for improvising raucous and shrieking dissonances, he remains firm among the lines but with a pinch of oddity, demonstrating an eclectic and composite temperament in order to superimpose one idea onto another.
Hence, if 'Time Of Eternity / Beating Hearts' – the previous rewarding double single – maliciously flirted between captivating cello-psych waves and delicate folk flavours in Donovan style, these two new tracks show further shots of primary rock grammar. 'Love lust' wears 'popular' clothes, similar to a sing-song just broken by strong guitar irruptions and characterized by a good vocal performance.

A more consistently heavy guitar-drums combination introduces 'Mr. Flick, a true jump back to the early seventies, Hammond organ included. At first, King Charles's vocals almost evoke Ozzy Osbourne's voice at that time, before crashing into a misleading rap. A star is born? Perhaps.

By Sergio Manghina

www.myspace.com/kingcharlesuk

REVIEW // VOLUNTARILY BUTLER SCHEME - TRADING THINGS IN EP

2009-09-29T19:13:00.000+01:00

/If you were broccoli, I would turn vegetarian for you/ Yes, possibly more fitting to the lacking lyrical prowess of the likes of the Jonas Brothers, but there is something, as much as your natural instincts will fight it, quite unavoidably endearing about Rob Jones’ soft vocals and twee pop melodies.

The one-man-band’s EP hosts all the sunshine exuding Indie chirp of the early works of Noah and The Whale and latter tracks contain poignant lyrics like: /My heart’s too bored to beat without you here/ effortlessly encapsulating the dim gloom of a broken heart over a typically upbeat backing ditty that is almost, structurally, similar to the likes of The Beatles.

Final track ‘Vending Machine’ also stores the same buoyant atmospherics as the previous but a sort of lo-fi distortion over the tracks, manipulating Rob’s delicate vocals with a harder edge, a welcomed darker shade is also contributed.

Whilst at a glance, the EP stands quite forgettable amongst the plethora of exiting releases of 2009, there is something likeable about The Voluntary Butler Scheme that culminates in a cloud of intrigue around Rob and his future releases.

By Laura Routledge

Rating: 6/10
www.myspace.com/thevoluntarybutlerscheme

REVIEW // CAROLINA LIAR - I’M NOT OVER

2009-09-29T19:10:00.001+01:00

Writing about radio rock is like producing a critical appraisal of a Scud missile. Admittedly, it’s faultless in its design, perfectly manufactured towards its purpose, but said purpose fills you with so much despair and disgust that it renders all notions of good and bad absurdly redundant, leaving you in a state of severe existential desperation.

Well, maybe that’s a bit fierce, and, unlike a Scud missile, I’m Not Over probably won’t lead to the destruction of a children’s hospital in central Baghdad, but it’s nevertheless unashamedly commercial, demanding that it be slapped onto any trainer advert, American teen drama soundtrack or summer festival highlight montage in a ten-metre radius. A weapon of mass production.

By Joe Barton

Rating: 5/10
Format: Single
Label: Atlantic

REVIEW // THE XX – BASIC SPACE

2009-09-10T00:17:00.000+01:00

Drawing on influences as widespread as The Cure and Aaliyah, south London cool kids The XX make super chilled indie with more than a touch of soul. ‘Basic Space’ is no exception – Oliver and Romy’s silky, husky vocals reverberate in a call and answer over stabbing synths and a loose, low bass line.
An odd kind of love song ‘Basic Space’s arrangement is minimalistic and a little melancholic, yet features breathy, alluring lines like ‘I think I’m losing where you end and I begin’, hinting that there is something a little warmer to be found below The XX’s icy exterior.

By Sophie Thomsett

Rating: 8/10
Format: Single
Label: Young Turks
www.myspace.com/thexx

REVIEW // MEW – NO MORE STORIES EP

2009-09-06T15:59:00.000+01:00

What is eccentric is not always likeable and not necessarily good for that matter. In the case of No More Stories, eccentricity is of a beguiling and captivating nature. With each song sounding unlike anything else you have heard before and yet evoking a certain abstract familiarity, MEW present an unconventional piece of sonic eloquence.
Introducing Palace Players stands out for me as the most memorable piece in this. As its distorted intro elegantly leads into a melodic ballad, listening to it is an enjoyable experience.

The title No More Stories was inspired to singer Jonas Bjerre by the loss of stories he used to hear as a child and maybe the inspiration contributes to making the tracks in the EP so anachronistic and unobservant of linear or conceptual acoustic story telling. Like thoughts in a stream of consciousness, the songs swing form deepest melancholia into joyful bliss, and I like this a lot.

By Liza Adebisi

Rating: 8/10
Format: EP
Release Date: Out Now
Label: Columbia
www.mewsite.com
www.myspace.com/mew

REVIEW // MAYER HAWTHORNE - JUST AIN’T GONNA WORK OUT

2009-09-02T22:30:00.001+01:00

What a bastard. Not only is he dumping her, but he’s doing so through ‘Just Ain’t Gonna Work Out’, a song so ridiculously wonderful that it will make her fall deeper and deeper into the unfathomable well of love. I wanted to write this review without using the word croon, but dammit, Mayer Hawthorne is just so good that he’s even made crooning cool.
Opening with some smooth talking, the 29 year old’s buttery vocals carry the essence of the song backed up by slow beats, tell tale signs of a youth spent tuned into the soul and jazz radio stations of Detroit. Delivered with sophistication and elegance ‘Just Ain’t Gonna Work Out’ is an intimate caress of a track.

I was thinking how this is what Mark Ronson would want to sound like if he could write his own songs rather than just steal other people’s, when an investigation of Mayer’s Myspace revealed that Mark Ronson is a fan, professing Mr Hawthorne to be ‘fucking brilliant’ on his East Village radio show. Well what do you know.

Full of temptations for the album ‘A Strange Arrangement’ ‘Just Ain’t Workin Out’ is a song of hazy mornings and tear filled evenings, warm sunshine and long roads ahead.

Signed to Stones Throw Records, Mayer Hawthorne combines the hip hop and soul that the label is renowned for. There’s no denying that the words vintage and retro will be bandied about, but Mayer’s talent is in sounding fresh and blinded by the new dawn. In his pillaging and borrowing from the past he has created an excited future of music.

Oh yeah, and it’s been pressed on heart shaped red vinyl. Cute.

By Francesca Baker

REVIEW // CASIO KIDS - FINN BIKKJEN

2009-09-02T22:22:00.001+01:00

Moshi Moshi aren’t renowned for following the pack, and Casio Kids are no exception. Appropriately appellative, Casio Kids do indeed sound like a bunch of children sitting on a malfunctioning calculator whilst picking up an Early Learning Centre guitar and flicking a light switch on and off.
Cleverly, despite the chaos, Finn BikkJen does end in a perfect state of equipoise – it’s just a shame that the journey isn’t really worth it. Of limited appeal, Casio Kids use the same electronic formula and frantic indie beats as Hot Chip and the Foals, but their songs have a fraction of the appeal.

Hailing from Norway, this is what I imagine all their songs written in the summer to sound like. Whilst the 6 months dark and dirge gives birth to Scandanavia’s infamous metal scene, the effect of 6 months of sunshine on Casio Kids is songs that sound like a bust up between vitamin D and serotonin.

The songs are instinctive and suggest a creative persona, but the repetitiveness and irritating bleeps more than outweigh the redeeming features.

Off button I think.

By Francesca Baker

REVIEW // THE SLY-TONES – THE SLY-TONES EP

2009-09-02T22:14:00.000+01:00

Whilst most bands try to have an edge that sets them apart, the Sly-Tones push the boundaries of eccentricity so far back that the Joker could pass for a middle aged accountant. Their music is influenced by the more strange bands around and their aesthetic is a cross of circus characters and 1940’s London.
Their eponymously named E.P. is a demonstration of how creative a band can be with music. In an age of catchy synth-pop-three-chord-songs (not that synth-pop is bad, of course); the Sly-Tones make use of every musical technique available with the upmost style and suave manner. Gritty vocals with a resonator guitar and pianos supported by dirty yet funky bass lines feel solid like Hadrian’s Wall as they play odd time signatures, tempo changes and tracks that are no less odysseys than music. “Run Rabbit Run” manages to open the E.P. with a sense of confusion and for the the rest of the disc you’re left with the feeling of waking up in the middle of a secret cult ritual that involves blood and nudity.

For something very different, out of the ordinary yet still very appealing and listenable then the Sly-Tones are for you. Their E.P. is just as entertaining as their equally eccentric and entertaining live shows.

By Josh Charig

Rating: 8/10
Format: E.P
Release Date: Out Now
Label: Unsigned
www.myspace.com/slytones

REVIEW // FLAMBOYANT BELLA - GET A REACTION

2009-09-02T22:12:00.000+01:00

Fun and frivolous, Flamboyant Bella’s proposition is like their name, all polka dots and pop. Unfortunately new single Get A Reaction tries to get in on the 80s disco revival of Little Boots, Ladyhawke et al, but manages to sound like Kate Nash doing bad karaoke.
The song’s not bad, and the lyrics have moved on from the simplicity of Absolutely Wankered, but still seems unlikely to extend Flambo’s appeal to anyone not aged 13-17, and not a MySpace aficionado. Album filler rather than floor filler.

By Francesca Baker

Format: Single
Release Date: 21/09/09

REVIEW // SWANTON BOMBS - DOOM

2009-08-30T02:06:00.001+01:00

Finally, opportunity is knocking at the door for this Essex duo comprising guitarist-singer Dominic McGuinness and Brendan Heaney on drums. After stumbling upon their few previous works, I became a sincere estimator of this band and I was waiting for further signs of their undeniable talent.
Punctually, 'Doom', arrives to confirm my feelings about Swanton Bombs. A great, great song cemented with flaming guitar chords, robust drums and wisely refined with a natural born rock voice - hence a bit ungraceful - kneaded with punk sweat and moderate rage against the world. Brief as a sigh and forceful as a blow.

If indeed this single contains the entire program-data of next announced album, they are walking the right trail.

By Sergio Manghina

Rating: 9/10
Format: Single
Release Date: 26/10/09
Label: Young and Lost Club

REVIEW // YOUNG REBEL SET – IF I WAS

2009-08-29T22:07:00.001+01:00

Every now and then I hear a song that actually makes me smile, and that I’d listen to of my own accord, rather than struggling through for reviewing purposes, while hating the world for allowing the creation of such sounds. The latest single by Young Rebel Set is in the former category, If I Was is so simple and heartwarming that you can’t help but like it even if you hate everything else.
Opening with bright acoustic guitars, the song builds as it progresses, adding tambourines, drums , bass and electric guitars all while keeping the same simple feel with a slightly country tinge. It’s the lyrics that really make the song stand out, really, it’s typical sappy love song stuff, but coupled with the ever so slightly out of tune vocals it just seems so innocent and unpretentious that it’s hard not to like.

The B sides, Down The Line and Billy Died are much the same, with Down The Line featuring American country music rhythms and melodies, coupled with modern indie vocal delivery all blended together into a snappy pop track that’s as infectious as swine flu.

If you’re looking for some well written pop-rock music without any complicated arrangements and frills, Young Rebel Set could be the band for you.

By Rob Barker

Rating: 7/10
Format: Single
Label: Unsigned
www.myspace.com/youngrebelset

REVIEW // HAUNTS – LOVE IS BLIND

2009-08-29T21:25:00.002+01:00

After a couple of listens, you’ll be singing along to the chorus of ‘Love Is Blind’, and swaying side to side during the verses, I can guarantee it. Why? Because Haunts are bringing us one of the most catchy singles for quite a while.
The vocals of Banks (no other name given, very mysterious) are like velvet, drawling and charismatic, and the instrumentation fits perfectly with the vocals. Also on their EP release are remixes of two other songs, ‘Black Eyed Girl’ and ‘Underground’. The former is a dirty electro romp with fantastic echoed backing vocals of ‘Black Eyed Girl’, and it sounds ever so IAMX. ‘Underground’ is a much slower effort, with a bit of a trip-hop influence, very in the style of Massive Attack. Having said that, the rapping in the verses really doesn’t seem to work, Banks should stick with the singing. Finally, there is a remix of ‘Love Is Blind’ and a demo version of it.

The beat of the remix is good, and the vocals fit well with it, but I feel like it takes away from the title track a little. The demo is much better, slightly muffled and sounding like it has been recorded in one go, with Banks doing a little introduction of the song, it’s different from the properly recorded single but still enjoyable, with some brilliant synth moments in it. The ‘Love Is Blind’ EP is definitely worth checking out, though you might find yourself skipping some tracks.

By Vanessa Banks

Rating: 7/10
Format: EP
Release date: 03/08/09
Label: Black
www.myspace.com/haunts

REVIEW // GULLICH – GULLICH

2009-08-27T22:35:00.000+01:00

Gullich really isn’t one of the most attractive band names, it just sounds unpleasant, fortunately, the band’s name reflects their music, which is just as bad.
Instrumentally the album isn’t bad, not wonderful, just fairly standard rock fare, overdriven (if not slightly fizzy) guitars backed up by rhythmic drums and bass feature on every track, making the album somewhat samey, but not terrible, until their singer opens his mouth. Out of tune is an understatement, especially when it comes to vocal harmonies, at times the vocals induce ear holding and shuddering, causing actual physical discomfort.

Some of the tracks certainly are ambitious and even well performed, Girl Scouts of Japan revolves around a great tapping guitar lick backed by soft strings, and is by far the best track on the album, although that may be because it’s also the album’s only instrumental.

It’s quite clear that the album is a home recording, the sound quality could be better and at times it’s quite poorly mixed, with the vocals often being drowned out by the guitars and the whole thing sounding horribly toppy.

Overall, there are much better albums out there, and while the instrumentation is good at times, it’s just not good enough, especially when those terrible vocals are put over the top.

By Rob Barker

Rating: 4/10
Format: Mini-Album
Label: Pay For The Piano
www.myspace.com/gullich

REVIEW // JACK PEÑATE – PULL MY HEART AWAY

2009-08-27T22:31:00.002+01:00

If you fondly remember Jack Peñate’s music as upbeat, almost ska like indie-pop with a tinge of cheery 60s nostalgia then the latest single, Pull My Heart Away will most likely be a disappointment.

All signs of happiness or joy are gone, replaced with echo drenched guitars and vocals with a mournful tone, if you imagine The Cure as being quite a bad band with less creativity, you have how this Jack Peñate song sounds.

In terms of production the song is a success, every sound cuts through perfectly, from the sweeping choral “oohs” to vocal chants and distant reverberating guitars, but the song lacks drive, playing on but never seeming like it’s reaching a destination, or even trying to.

Lyrically Pull My Heart Away is typical slow indie introspection, with Peñate singing “And I’ll know that nobody’s listening and that’s easy for me… and it’s better for you.” At least there’s an element of truthfulness in the words, because honestly, it’s easier for everybody to just not listen to this mediocre track.

By Rob Barker

Rating: 3/10
Format: Single
Label: XL
www.jackpenate.com

REVIEW // FEVER RAY - TRIANGLE WALKS

2009-08-27T01:43:00.000+01:00

Fever Ray, or Karin Dreijer Andersson is one half of dark alternative electro outfit The Knife, who this summer has embarked on her career as a solo artist – releasing her self-titled debut album from which Triangle Walks is the third single.
However, first impressions dictate that there is very little difference between the two, and any variation is extraordinarily subtle. But this is no bad thing, and after several listens it’s clear that these subtle differences ensure that the record comes into its own.

Her voice still remains the uncomfortable glassy warble that we can hear on The Knife, the atmosphere is still dark and lyrically it’s still baffling – but somehow the song as a whole feels a lot smoother, the beats are a lot less spiky and a familiar dance rhythm creeps into the background. To those familiar with The Knife, it’s disarmingly listenable, and an album that I hope will be a definite grower.

By Josie Allchin

Rating: 7/10
Format: Single
Label: Rabid / Cooperative Music
www.myspace.com/feverray

REVIEW // CASSIUS - YOUTH SPEED CIGARETTES

2009-08-27T01:37:00.000+01:00

So here we have yet another average “indie dance” single ready to get those cool guys with their hair cut over one side and those thick framed glasses that don’t actually have lenses bopping at a Skins style house party. This almost Klaxons tribute lacks anything unique and like most songs that fit within this genre, its repetitiveness gets too much to handle and is annoying.
It also sounds as though Cassius want to have a sound like the great Simian Mobile Disco or even MSTRKRFT. This is a track that could have potential as a remix but sadly it fails to deliver something fresh and new to the music table.

Also featured is ‘Almost Cut My Hair’ a David Crosby cover. This should have been the single as it has more of a potential dance music vibe to it rather than kids in florescent feel. Maybe if this single had come out towards the end of 2006 it may have fitted in better but unfortunately for Cassius New-Rave will not be making a comeback any time soon.

By Lilly Roberts

Rating: 5/10
Format: Single
Label: Cassius Records

REVIEW // EZRA BANG AND HOT MACHINE - WHITE POWER / PUSSY GOT 9 LIVES

2009-08-27T01:29:00.001+01:00

Okay, let’s side-step the fact that Ezra Bang and Hot Machine sounds like the lovechild of cleaning agents and Gloria Estefan in the 80s, and get straight to the point – the music, though I struggle to call it such. Rap you’re either into or you’re not, simple as that. I myself am not a massive fan of the genre, though I can take it in small doses.
EBAHM have released two songs as a double A-side, and I have to say that the latter song ‘Pussy Got 9 Lives’ is a lot better than the first. It feels like they have taken the style of the older, more original-sounding hip-hop in the vein of N.W.A. and Public Enemy (who they incidentally supported on their 2008 UK tour), though they’ve injected a little electronic into the mix, which gives it that little bit more substance. However, there’s always a bad side to the good.

The first song on the release ‘White Power’ reminds me far too much of a certain band the Beastie Boys, with the incessant repeated shouting of the title, and occasional yelling. The same beat seems to reside through the entire track, which in the end starts to grate. A fair release, though I doubt we’ll be hearing either track on mainstream radio at any point.

By Vanessa Banks

Rating: 4/10
Format: Single
Label: Goldswine
www.myspace.com/wearehotmachine

REVIEW // THE TWILIGHT SAD - I BECAME A PROSTITUTE

2009-08-27T00:59:00.001+01:00

Like Gabriel (remember her?), James Allan from Glasvegas, is an artist who’s done exceedingly well for someone who wears sunglasses in the dark. If you wore sunglasses in the cinema, you’d instantly become a prick, but Allen wore them on-stage and got a mercury nomination. A-Well-done-to-him.
However, listening to The Twilight Sad’s new single “I became a…” is like looking into a crystal ball, and seeing Allen aged a “Kieth Richards” 66, playing in a shoegaze band having showered in a keg of Famous Grouse.

Making miserable slaggings about a prostitute he previously met, Allen is in-coherent to say the least, whilst his guitarists, filmed by Fightstar's drummer, make love to loop pedals in a distant, god-forsaken, church…

Apparently ahead of the game, The Twilight Sad and their Allen akin, James Graham, champion this scene/sound as a new “British noise”, but to be honest it’s left me grinning in anticipation for “Allen-Vegas and the Objectum-Sexual Choir Boy’s”.

Shame it’s not 2046, but I guess people will be playing saxo-key-tars by then… and they won’t be shit.

By Matt Riches

Rating: 4/10
Format: Single
Release Date: Out Now
Label: FatCat
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REVIEW // GHOSTLIGHT - BREATHING UNDERWATER

2009-08-27T00:53:00.003+01:00

Breathing Underwater is the new single from Ghostlight and it's about as far away from rock and roll as you can get. Somewhere between Keane and Snow Patrol it's a slow melancholy ballad with obligatory hopeful/uplifting chorus. There's lyrics about yearning, learning and changing and obviously chronicles a low point of a relationship.
The song breezes past like the draught from opening the back door. The music doesn't do anything of interest. The chorus isn't memorable and the whole thing lacks any edge at all.

The only use I can see for this is for accompanying a montage of equestrian highlights at the Commonwealth Games. However there's probably a girlfriend somewhere saying to her fiancée 'can this be our song'?

By Alex Telfer