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Live Review: Euphoria Audio

info@leedsmusicscene.net (Tom Keighley) — Sun, 06 Dec 2009 13:27:20 +0000

The Wakefield four piece take to the HiFi stage with an air of confidence. And with a sound as accomplished as they evidently have got, they can afford to look self assured. Euphoria Audio play the kind of larger than life pop-rock that is unashamedly banging at the door of arena and stadium shows. Highly accessible, they play big catchy guitar music that takes its cues from the monolithic heights of U2 and Aerosmith. There's certainly little to suggest a more modest Wakefield background.

The image and performance has been nailed down with particular attention to detail, and it looks as though the band need not think twice about what they're doing. They slip effortlessly into a swaggering nonchalance that could stand up beside any guitar heroes. The front man is perhaps their best asset, and does his job of delivering sturdy vocals while looking as casual as you like in his pacing of the stage. The guitar is grounded on classic riff based manoeuvres, kept simple enough to give them the pop edge but with a little bit of crunchy bite to lean on the rock side.

A vast sound is achieved, and they're blasting HiFi at full capacity. With such a polished presentation, there isn't much to give Euphoria Audio away as an unsigned act. Their commercial approach may not be the most original, but you can't argue with their thorough commitment to it.

This article can be read online at www.leedsmusicscene.net/article/11549/.

Read more about the featured bands: Euphoria Audio.

Read more from this author: Tom Keighley.

Live Review: Motorhead + Girlschool

info@leedsmusicscene.net (Chris Audsley) — Sun, 06 Dec 2009 13:19:45 +0000

The thought of watching influential bands The Damned and Motorhead on one bill was the catalyst for both myself and friend James to enthusiastically dash up to the O2 one lunchtime to invest in a pair of tickets.

We had an idea of what to expect. Songs at a million miles an hour and played at a thousand decibels. Thankfully we weren't disappointed.

Walking into the O2 Academy we knew that we'd struck gold as soon as we saw the wall of Marshall amplifiers. In an era where a small amp miked up is often preferred, it was refreshing to see that in their opinion the only way to play is to have several thousand watts blasting through your backside.

The lights dimmed, the police sirens kicked in and lead guitarist for Girlschool, Jax Chambers, strolled on to the stage bashing out a rocking riff. Celebrating over thirty years together, the leather clad Girlschool played a tight set that included their classic 'Race With The Devil'.

The Damned were up next. Dave Vanion, dressed in all black and wearing sunglasses, asked 'Is she really going out with him?' before the instantly recognisable drum beats of 'New Rose' blasted out. An instant crowd pleaser. Captain Sensible, at his energetic best, danced around at the side of the stage like he was performing it for the first time.

There was plenty of attitude from a band that helped start the punk revolution in the late 70's. The set list was great, including a track from their new album. Even the over the top guitar solos, ironically one of things punk was against, were class and fitted like a glove. The highlights included the fabulous 'Neat, Neat, Neat' and powerful versions of 'Love Song' and 'Eloise'.

To finish off their excellent forty-five minutes, the band ripped through a mesmerizing version of 'Smash It Up'. As the band walked off the stage Sensible took the opportunity to play his 1982 number one 'Happy Talk'. To the amusement of everyone this sparked a mock argument with a roadie, who got kicked up the backside before picking Sensible up and carrying him off the stage mid-song.

The stage was now getting set for Motorhead. The Damned's drape was pulled down to reveal a Motorhead coat of arms and Lemmy's 'Murder One' amp, at home in the middle of the stage.

The crowd could sense that things were about to start. Sure enough, the dominant figure of Lemmy, with trademark Rickenbacker bass, walked onto the stage with his fists pumping, firing up the crowd. He kept it simple. 'We're Motorhead and we play rock 'n' roll' and it was straight into 'Iron Fist'.

Even at sixty three, Lemmy still has plenty of fire and enthusiasm for the band and the music that he formed in 1975. His husky voice is still as powerful as it ever was,and he's true entertainer, even if he doesn't move that much. Throughout the gig Lemmy was well supported by guitarist Phil Campbell and drummer Mikkey Dee, who never missed an opportunity to lean over his kit and throw his arms in the air demanding the audience give them more. It's clear to see why they still have sell out tours.

After three ear piercing songs that almost made my head explode Campbell asked if it was loud enough. Unfortunately we were in the minority who thought it was. Lemmy got straight to the point, 'sound man, they want it louder. Turn it up.' They did.

Like most bands that have been around for so many years, the set contained favourites like 'Be My Baby', 'Metropolis', 'Killed By Death' before finishing off with 'Bomber'. And also, being one of the architects of metal stereo types, the obligatory drum and guitar solos were included.

Both were good fun, and were kept at just the right the length. As we all know, too long and it just becomes boring.

The encore started with an acoustic blues tune. While the combination of Motorhead and acoustic may be surprising, the song title, 'Whorehouse Blues' isn't. The song featured a mean harmonica solo from Lemmy and Dee keeping things going on rhythm guitar and percussion. Then it was 'Ace of Spades'. Lemmy mumbled something along the lines of 'bloody hell not this one', but along with finale 'Overkill' these are the songs that have made them famous. Both songs were superb and it was great watching the band perform one of Metal's true classics.

Once 'Overkill' had finished, Lemmy hit his bass a dozen times before propping it against his amp and turning all the settings to full. Even though my hearing had already shot, the feedback still went through my skull. But did I care? Of course I didn't.

This article can be read online at www.leedsmusicscene.net/article/11548/.

Read more about the featured bands: Motorhead, Girlschool, The Damned.

Read more from this author: Chris Audsley.

Live Review: Filthy Dukes + O. Children

info@leedsmusicscene.net (Richard Sykes) — Sun, 06 Dec 2009 13:15:33 +0000

First on to the Nation of Shopkeepers' low-slung stage are O. Children. The band start playing then enormous frontman Gauthier strolls on, his size equalled only by the depth of his voice - imagine if Barry White had been tutored by Ian Curtis while standing on his shoulders and you come somewhere close. Likened to Bauhaus and early goth-rockers, this is a fair comparison but they certainly have their own identity which isn't all doom and gloom - Ace Breasts for example being an amusing ode to (as you probably guessed) breasts. That and Dead Disco Dancer were possibly the standout tracks for me in a tight (if brief) set - give them what they came for and leave them wanting more is the order of the day here.

The Nation then goes from fairly well populated to rammed with a sea of bouncing heads for the arrival of London's Filthy Dukes. They came fresh (and very well rehearsed) from various festivals (Leeds, Glastonbury, Beatherder and Creamfields to name a few) this Summer and at the end of a mini live tour. Sadly the evening's lubrication has mostly wiped the set order from my memory but they played all of their recent (and excellent) album (Nonsense in the Dark) in an hour-long set that seemed to fly by. They show that you don't need moving platforms, 200K light shows and to charge 40 quid a ticket to be able to knock your metaphorical socks off; throwing themselves headlong into their bouncy 80s-electro-synth-pop and looking as though they are having as much fun as the crowd. Tearing through Nonsense in the Dark, Messages and This Rhythm amongst others and ending with a roof-raising version of Tupac Robot Club Rock they certainly live up to everything and more I remember from seeing them in a field with a big soundsystem - don't be surprised if the next time they come to Leeds it's in a far larger venue as they deserve to be BIG.

Full credit to No Bones for putting on this show at Nation - it might seem a slightly odd choice to put the 2 bands on together as they don't have much musically in common but that is the beauty of these small gigs in Leeds - there doesn't have to be a flow of identical sound throughout the night and it will have introduced some people to new and different music which can only be a good thing.

This article can be read online at www.leedsmusicscene.net/article/11547/.

Read more about the featured bands: Filthy Dukes, O. Children.

Read more from this author: Richard Sykes.

Live Review: Alt Track + Shaheen + Mr Gary C

info@leedsmusicscene.net (Tom Keighley) — Sun, 06 Dec 2009 13:11:55 +0000

Three acts for the 360 Club this evening. The first of which is local, one man show Mr Gary C with a battery of Van Morrison inclined, jazzy pop numbers to entertain the audience with. Perhaps the smartest looking act to have graced the 360 Club yet, Gary sports a waistcoat, and even dons a trilby towards the end of the set. His performance is slick to match. Between numbers Gary's charming charisma comes forth, and it is clear that this guy loves performing his material. This comes through not just in his intermittent patter but in the nature of the songs as well. Most are upbeat and playful, and get a great reception. A slip up on the final number, through backing track troubles, is a shame but Gary seems to have won the favour of the crowd tonight regardless.

Act number two is Shaheen, who is accompanied by a percussionist. Understated and unassailably cool, Shaheen gives the crowd an intimate performance of her soulful, stripped down urban stylings. The set up is whispery guitar picking from Shaheen and minimal drumming techniques on Djembay and another type of drum we're informed off, but the exotic name slips my mind. It works particularly well and primes the audience for soft harmonies and her astonishingly good vocals. There's certainly hip hop influences at play, but it is altogether more sparse and bare. Something particularly genuine and innocent about the performance keeps everyone riveted to the stage as Shaheen allows the music to talk. Indisputably one of the most graciously refined sets at 360.

With their hands on tonight's top spot, Alt Track are another two piece and look keen on the challenge. I've got to say straight up that these spritely young lads stole the show. It may not have been the biggest crowd at 360, but in no way did they let this hamper a fiercely energetic show, and they nailed the bottom line of it, good solid fun. Their sound is brave; an uncompromising sonic arsenal of drum and bass breaks, thunderous rock guitar and rap. Darting between guitars and laptops the dynamic duo don't shy away from taking the club floor for a more upfront, engaging performance, perhaps showing an affinity for hardcore punk acts . They seep confidence and have obviously honed their live craft on a level above most other unsigned acts. Nice to see a politically aware band as well, proving there is still room for music with a brain attached amongst the detritus of mindless toss. A band deserving of some recognition.

This article can be read online at www.leedsmusicscene.net/article/11546/.

Read more about the featured bands: Alt Track, Shaheen, Mr Gary C.

Read more from this author: Tom Keighley.

Live Review: Propagandhi + Protest The Hero + Strike Anywhere + The Final Crisis

info@leedsmusicscene.net (Karl Steel) — Sun, 06 Dec 2009 13:06:33 +0000

This was an unusual pairing for this Canadian double-header: a veteran political punk band, and a modern progressive metalcore band without a political bone in their collective body.

Rios was full to bursting to witness one of punk's truest heroes in Propagandhi, and one of metal's rising stars in Protest The Hero. Each band had brought in a large number of fans of their own, but judging by the complete shift from stage to bar between the two, there wasn't many who had come to see both.

The opening act, Leeds' hardcore metal outfit The Final Crisis, were the sort of band that could easily fit in as support to either. Technically proficient, with breakdowns and shouty vocals in abundance, their slick performance was decent enough to help half an hour pass as the masses made their way through the doors. Sadly though, the lack of memorable tunes means that that is where they are likely to stay.

Next up were Strike Anywhere, an American punk band that easily won over the crowd with their energetic performance. Their striking resemblance to the headliners meant that there were plenty of fans in attendance to help sing the catchy choruses as frontman Thomas Barnett's voice started to desert him towards the end of the set. Most of the people in the venue knew all the words to their most popular hit To The World, which provided one of the biggest sing-alongs of the night.

As the punk crowd joined the gigantic queues at the bar, the younger members of the audience took to the floor to welcome probably the biggest metal band in Canada at the moment (unless you consider Nickelback a metal band). Protest The Hero packed out Rios the last time they were here back in February, and they have had a number one album in their home country with latest album, Fortress. This time, as a support band, their setlist was much more truncated, featuring songs only from that album.

There were definitely some who had been prepared to hate their brand of fiddly technical metal, but as they launched into opener Bloodmeat, fists were pumping and fans from the front to the back were doing most of the work for the slightly inebriated frontman, Rody Walker. Thundering their way through singles Sequoia Throne and Spoils, the shortened set was over all too soon. Although they clearly won over some new fans, it was clear that the majority were here to see the headline act.

Punk has kind of lost its way over the last decade. Turn on a music channel, and any punk chart is plagued by pop bands such as Fall Out Boy and Bowling For Soup, bands with as much in common with punk forefathers Black Flag and The Damned as Britney Spears or Westlife. Canadian veterans Propagandhi are one of the last bastions of punk, with their furious riffs and political rebellion in every lyric.

The opener, Supporting Caste, title track from their latest album, represents everything that has made this band great over the previous 20 years or so, and quickly whipped the crowd into a frenzy. There was a good mix, with old favourite Nation States sitting side-by-side with the more modern Bringer of Greater Things.

There was rarely a deviation from the fast, no-frills guitar-work that characterises the genre. That is until the band returned for an encore with Clive Jones of 1970s satanic rock band Black Widow playing the flute. After a bizarre version of their notorious hit, Come To The Sabbat, it was back to the rock, closing the set with recent hit Dear Coach's Corner and Anti-Manifesto from their 1993 debut album.

If this gig proved anything, it proved that punk rock is still alive and well, regardless of what you might see on your TV.

This article can be read online at www.leedsmusicscene.net/article/11545/.

Read more about the featured bands: Propagandhi, Protest The Hero, Strike Anywhere, The Final Crisis.

Interview: The Hickey Underworld

info@leedsmusicscene.net (Jessica Thornsby) — Sun, 06 Dec 2009 11:25:40 +0000

For those who've yet to pick up a copy of your self-titled debut, how would you describe your sound?

We've been compared to Fugazi, Nirvana and The Strokes, which I can kind of understand, but also to U2 and Keane - bands we have no affinity with whatsoever!

Can you give us a brief run-through of The Hickey Underworld story so far?

Younes (lead singer of The Hickey Underworld) and me went to high school together, and we have been playing in various bands since we were about thirteen years old.

Jimmy, formerly a hardcore drummer, joined us in 2005, which is when we decided to name ourselves The Hickey Underworld.

In 2006, we won HUMO's Rock Rally, a big Belgian rock contest, which is where Bent Van Looy from Das Pop saw us play, and suggested to produce our debut album.

Last year, our single 'Future Words' got a lot of airplay on Studio Brussels, the biggest alternative radio station in Belgium, and things have been going uphill for us since then.

If you had to recommend one The Hickey Underworld song to someone who's never heard of you guys before, which song would it be, and why?

'Mystery Bruise', maybe? Because it's only three minutes long, and it's both melodic and aggressive, which is always a sweet combination.

The artwork that accompanies your music seems particularly important to you. Why is that? Have you got a specific message you're trying to get across? Or do you think musicians need to go the extra mile now that music fans can borrow and burn a CD to their iPod, or listen to songs on YouTube?

We just wanted to create a world for the listener to get lost in while listening to our music. A colourful, violent, sexy and occasionally very silly world! The artwork gives the album a more epic feel, we think: hopefully, the listener gets the feeling he's been taken on some kind of mystical journey.

The artwork that accompanies your single and album releases is really detailed, with pictures inside pictures, and loads of symbols. Are there any messages hidden in the artwork?

The artwork was done by a very talented friend of ours, called Gerard Leysen. You can see more of his work at www.afreux.be. I'm pretty sure there's stuff hidden in there that we don't even know about!

Did you have specific requirements for the artwork, or did you give the artist free reign?

Actually, we spent a few months brainstorming with Gerard, until he got everything just right. I think we made him draw more than ten different temples before we saw one we thought was perfect.

Let's talk about the video for 'Blonde Fire'. It's kind of disturbing! Is there a censored or alternative version? Or aren't you garnering for television airtime?

There is no censored of alternative version, nor would we allow one to be made. If you give TV channels more than one option, they'll always go for the safer one, so it's better to stick to your ground. And who cares about TV, anyway? We always thought the video would do well on the internet, which it did.

Do you think having a controversial video - resulting in people having to go out of their way to find said video - ultimately creates more interest in the band, than a video that's non-controversial, but receives extensive airplay?

Maybe so. It's certainly the kind of video we would go look for if someone told us about it! But it wasn't really meant to be controversial or shocking; we just wanted something other than the usual "four guys pretending to play their song in front of the camera" video.

Has there been any particularly over-the-top, outraged reactions to the video? I notice it's still available on YouTube, with just a Parental Advisory banner in the title.

It's still available on YouTube, yes, although I'm pretty sure they'll take it down soon! It's amazing how many people have seen it already, and who. Kanye West even posted it on his blog - which was pretty cool! As did Tom Kaulitz from Tokio Hotel; not so cool.

Was the concept or any of the imagery your idea? And how would you describe the concept behind the 'Blonde Fire' video?

The concept was dreamt up entirely by the director, Joe Vanhoutteghem. We only suggested little things, like the painting in the background, which appears in all our videos. Joe says he was mainly inspired by the first line from the song, which is: "Don't let me walk out the door".

Next to the video to 'Blonde Fire', the psychedelic, party-themed video for 'Mystery Bruise' looks all sweetness and light - why are they so radically different?

They were made by two VERY different directors! Actually, there was a much darker, more narrative-based video planned for 'Mystery Bruise', but when that one fell apart, we just decided to invite some friends over and have a good time. But we like 'em both: they show two very different sides of the band.

You're named after a song by obscure post-hardcore band Nation of Ulysses - I take it you're big fans of the band? What is it about Nation of Ulysses that you find so appealing?

We discovered their albums when we were about fifteen years old, which is always a very impressionable age. iTunes didn't exist yet, so Younes and I were always mail-ordering stuff from labels like Dischord, Quarterstick, Touch & Go, Southern, Alternative Tentacles. And the title The Hickey Underworld just sounded like the perfect band name: sexy and mysterious at the same time.

Your debut album was released in Belgium and Holland in March, but has only just been released in Europe. Is it less nerve-racking releasing an album that's already done well in your native country? Or are you nervous as to whether a European audience will "get it"? And does it feel like you're starting from scratch, despite already being known in Belgium and Holland?

I can't speak for the entire band, but I enjoy playing club shows much more than playing festivals. It's more intimate, and somehow more fitting for our kind of music. So it's actually a joy for me to play in front of 200, 300 people again. You do feel like you're starting from scratch sometimes when playing abroad, but that's actually a good thing: you have to work harder, which in turn makes the shows more intense.

Lyrically, your songs seem vague - what inspires your lyric-writing, and what themes do The Hickey Underworld typically cover?

From what I can tell, Younes' lyrics deal with the usual stuff: heartbreak, sex, frustration... he just likes to be a little more cryptic about it.

What's the music scene like over in Belgium? Are there any Belgium bands you'd recommend checking out?

Drums Are For Parades is a pretty cool band from Ghent: they play tuned-down sludge, very heavy. They're playing a few shows with the Masters of Reality soon, and Chris Goss is supposed to produce their next album. Also very good are Deadsets, from Antwerp: very dreamy, moody, melancholy music, with beautiful male/female harmonies.

Is your local music scene supportive of one another?

Sure. dEUS (probably the best-known Belgian band, after Soulwax, maybe) invited us to tour with them before our album was even released. And Das Pop, the band we're touring with now, were also the producers of our first album.

Have you been over to the UK before? And are there any UK tour dates in the pipe line?

We've played a few dates in London, though those gigs weren't terribly well attended, to be honest! We're coming back soon though, supporting Das Pop for one show, and possibly touring with the American band Dead Confederate.

And, finally, what does the next twelve months hold for the band?

Mainly playing abroad: we have gigs lined up in Holland (opening for Das Pop), Germany, France, England, Switzerland. Also, we hope to record our second album sometime around February.

This article can be read online at www.leedsmusicscene.net/article/11544/.

Read more about the featured bands: The Hickey Underworld.

Read more from this author: Jessica Thornsby.

Interview: Ingrid Michaelson

info@leedsmusicscene.net (Joseph C Seager) — Sun, 06 Dec 2009 11:14:03 +0000

Hello Ingrid Michaelson. Where are you currently?

I am in a hotel room in London.

How's 2009 going and gone as we come toward the end of it?

It has been a good year. I have been touring and writing. I put out my latest record. Many good things have happened.

How did the release of 'Everybody' go?

We reached number one on the iTunes charts which was surprising! It has been going so well.

Are you releasing any singles from the album?

The first single is "Maybe" and it will be released shortly [16th November 2009].

I love the artwork for the album. How did that come about?

I met an artist by the name of Mikey Please. In London actually. I told him a basic idea of what I wanted and he ran with it.

What's your favourite track from 'Everybody'?

'Are We There Yet'.

If people don't know what you and your music are about, how would you describe yourself?

Ugh. I don't like describing myself. I'm a girl who makes music. Is that ok?

How did you first come to music?

I took piano lessons from age 5 to 15. My father was always at the piano. I have had music in my life for as long as I can remember.

Who would you love to perform with, past or present?

Judy Garland. I adore her.

What are you currently listening to on your MP3 player?

Greg Laswell.

Best venue you've played?

Royal Albert Hall when I opened for Jason Mraz.

What do you miss the most when you're on the road touring?

My bed. My comfy, soft bed.

Some quick fire questions. Tea or coffee?

Tea.

Summer or winter?

Winter.

Eat in or take out?

Take out.

Marvel or DC?

Huh?

Mac or PC?

Mac.

Grey's Anatomy (where your song 'Keep Breathing' was used in the 2007 season finale) or Lost?

You can't ask me that!!

And finally, what's next on the agenda and onward into 2010?

Writing, recording and touring. That's my life!

Thanks Ingrid!

This article can be read online at www.leedsmusicscene.net/article/11543/.

Read more about the featured bands: Ingrid Michaelson.

Read more from this author: Joseph C Seager.

Interview: Wavves

info@leedsmusicscene.net (Jennifer Morris) — Sun, 06 Dec 2009 10:53:33 +0000

As part of her Just A Minute video project, Jennifer Morris caught up with Wavves before their show at The Well in Leeds.

The newly-lined up Pitchfork favourites sat down for a bit of banter before their show at The Well and told us exactly how they roll, their re-try at a European tour and their quest to find out who exactly killed their motherfuckin' son.

This article can be read online at www.leedsmusicscene.net/article/11541/.

Read more about the featured bands: Wavves.

Read more from this author: Jennifer Morris.

CD Review: Night Herons - Night Herons

info@leedsmusicscene.net (Kathryn Holden) — Fri, 04 Dec 2009 15:26:51 +0000

If you like the sound of a band that channels the rock-soul sound of Gossip, the electro-falsetto of La Roux and the driving pop hooks of Blondie, then Leeds' very own Night Herons are definitely for you. The band are sticking to indie roots, but adding layers of Gary Numan-synths, mixing them with the deep, resonating, smoky voice of Clare Kelly to create something immensely difficult to achieve: a unique sound.

We are used to female voices being used to humanise and sex-up cold electro. We've seen it with Ladyhawke, Little Boots and more recently with the emerging Ellie Goulding. This EP shows Night Herons following in this tradition, but instead of just submitting to the electronic sound entirely, Night Herons still have a pounding rock edginess about them. 'Bury Your Head' kicks off a great trio of songs, hitting out hard with New Order-style synths and tight drums. The confidence of the band really shines through, not shying away from experimental middle-eights and big crescendos of exploding sound.

Of the songs on the EP, 'In Red' has the most first single potential. Swaying and moody with a big bass guitar driving the lyrics at first, the mood builds to a big pop rock refrain, kept from ever being too annoyingly or obviously commercial by its experimental layers of echoes, eerie organ-like sounds and jolty movements from verse to chorus. 'Systematic Error' shows the variety of influences absorbed by the band. Kelly's voice drifts over the chords with a knowing, soulful indulgence, while the underlying beats roll on with an almost reggae-like funk feel. Throw in a guitar solo and a synth-let-loose attack at the end, and you know you're onto a winner. This band have got a long way to go, but take serious notice of their name because hopefully 2010 will bring them more of the recognition and encouragement they deserve.

This article can be read online at www.leedsmusicscene.net/article/11539/.

Read more about the featured bands: Night Herons.

Read more from this author: Kathryn Holden.

CD Review: Codeine Velvet Club - Codeine Velvet Club

info@leedsmusicscene.net (Kathryn Holden) — Fri, 04 Dec 2009 14:47:23 +0000

What has Jon Lawler, lead singer of The Fratellis been up to of late? I'll tell you ... he's been collaborating with Glaswegian singer-songwriter Lou Hickey. The pair have tapped into the age old formula of boy with haggard drawl meets girl blessed with a voice of angelic candyfloss. I'm talking Shane MacGowan and Kirsty MacColl; I'm talking Mark Lanegan and Isobel Campbell; I'm talking Nick Cave and Kylie Minogue. Lawler and Hickey complement each other excellently. His characteristic strained Scots is charmingly sugar-coated by Hickey's gentler, feminine, Sandie Shaw-esque vocals. His voice is the Codeine, narcotic and numbing; hers is the velvet, silky and soft.

'Hollywood' kicks off with a suitably booming retro Christmas sound. There's definitely more than a splash of Wizard style saxophone and jingly percussion laid on here. A Christmas single to challenge the X-Factor dirge, please?! The record abounds with a 1960's big brassy orchestral production twinned with simple, timeless pop melodies. What's brilliant though is that cutting through the poptastic musicality is a hard satirical edge that tells tales of drunken binges, vanity, gambling and love affairs gone wrong.

Songs like 'The Black Roses' and 'Reste Avec Moi' have a sultry, sleazy bassy sway to them. It's the addition of the 'what recession?' orchestra that really brings class to the songs. The string sections, multilayered percussion and expert sax and trumpet blasts are what make this album sound like a nostalgic collection of Bond themes. And it's lyrics like, "pour some champagne and refrain from moving on" and "my love for you was endless like a full moon dead on the sea" that add to the dramatic, cinematic, indulgently extravagant feel of the record.

This article can be read online at www.leedsmusicscene.net/article/11538/.

Read more about the featured bands: Codeine Velvet Club.

Read more from this author: Kathryn Holden.