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SINGLES: FEBRUARY 2012
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Sport Of Kings
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Logic House EP
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SCILABS RECORDS 12.12.11 How best to describe Sport of Kings? Well they’re part The Shins with a horn section, electric wibbles courtesy of a moog synthesiser and layered vocals in a Beach Boys style. His concoction brings about the product of feel-good tunes that only music featuring a xylophone could hope to achieve. “Free Jazz” is a bouncy, jolly affair that segues between three different tunes and time signatures. ”1964” salutes ‘all veterans of the DVD format wars’ and again jumps from one song into another, while maintaining the central ‘back in 1964’ motif. “Preface” would actually suit being at the beginning of this set of tracks, but its extended instrumental serves as another string to Logic House’s bow. The “There’s Some Histories”, the weakest of the set, but still enjoyable for the feel of the music alone. This EP may only be five tracks (one of which is a pointless remix that sounds like the original), but the variety within each track makes it feel like you’re listening to an entire album. And it’s just so damn jolly! Excellent value for money, looking forward to the full album. www.sportofkingsrock.com |
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Dick Venom & The Terrortones
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Rockin' Rollin' Vampire Man / Stickypants Trance
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JAILHOUSE MORGUE RECORDS 27.2.12 Dick would really really REALLY like to be in The Cramps – this is practically his audition disc for Lux Interior’s job. He’s a vampire man, wears sunglasses at night and wears his leather trousers so much that they’re sticky. Yuk! A classic rock and roll trick of hoisting yourself on your own self-belief and self-created legends, Dick and his Terrortones are somewhere between the concepts of Psychobilly and the sound of hard rock. It’s a grand sound but not as in-yer-face as Dick probably wants to be. I think he was aiming at garage but got rock with some muffling; a bit more aggro and this’d be a winner. We just don’t want to think about them live, waving those sticky trousers around…… www.dickvenom.com |
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Wasted Sinners
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Unleashed & Dangerous EP
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Online 12.12.11 There is a significant amount of truth to the phrase ‘enjoy the simple things in life', a cool beer on a hot summers day (remember those?), the feel of an old leather jacket and no nonsense rock music played with attitude and gusto. This is exactly where Wasted Sinners come from, their EP ‘Unleashed and Dangerous’ is a no holds barred epitaph to everything that good about rock, take a large chunk of Crue, add the attitude of GnR and a liberal sprinkling of bluesy rock and you arrive at the Wasted Sinners sound. Opening the EP, ‘Fakeness’ has a ‘looks could kill’ beat to it but with the bands own take and sound with the vocals really shining through. ‘One Night’ continues in the same vein, providing the listener with an insight into the bands influences increasing the tempo to pogo-ing proportions. Slowing down to deliver ‘Questions’ showcases the bands ability to deliver gritty realism on a track oozing power and attitude and for me is the stand out track of the album. ‘I Want More’ delves into the trappings of being a musician and an insatiable thirst for more of the same and who can blame them. As the EP closes, ‘I’m Falling’ has an almost circumspect attitude to it but I get the feeling that the band couldn't sign off without one last blast and this is perfectly delivered in the form of ‘Drug and Angels’. There is a refreshing aspect to the Wasted Sinners sound, you know where you stand. Even band names like Roxx, Dude Rock and Peter Sin leave the listener under no illusions as to what it to be expected. If I have a gripe it’s that the sound quality of the CD is poor but this could be down to my ears not recovering from a Thin Lizzy gig. And Wasted Sinners fit easily into the category as the Irish heroes is so much as they deliver music with passion and desire that should see then rise amongst their peers. www.wastedsinners.com |
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Skarlett Riot
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Villain EP
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Online 19.3.12 2012 is shaping up to be a cracking year, Spring already has 3 notable highpoints, Lizzy in York, 3 Doors Down in Manchester and Shinedown hitting Leeds. The expectation of the last gig is heightened by who Shinedown are taking on the road with them, Halestorm, a female fronted Philadelphia rock back that to my delight, I stumbled across last year. So, to compare yourself to my newfound audible infatuation, is setting the bar almost unrealistically high but Scunthorpe’s Skarlett Riot get pretty darn close with Villain, a truly epic release. With limited space and time to get your sound across, any EP release has to hit hard and fast and the opening track ‘Party Hard’ does exactly that, delivering a tight, punchy sound full of rock riffs and dynamic vocals. It’s clearly evident from this track and the band has honed their talents for the live stage and ‘Party Hard’ should get even the hardest crowd’s blood pumping. ‘Read My Lips’ is the closest-to-Halestorm track on the album and for the highlight of the EP, oozing attitude, aggression and power that marks this band out as having something special. The opening guitars rasps have an Offspring feel to it and a sound so tight that it proves this band mean business. ‘You’re The Enemy’ continues in the same vain but with a darker undertone in the lyrics and Villain completes the EP, the opening drum beat just screams for the volume to be cranked up, which leads into another gloriously dark noise that blows you away with its intensity. My copy came with two extra tracks including a censored version of Read My Lips which seemed to have lost something in its radio edit, blanking out lyrics seemed to reduce the intensity but this is a very minor point when you consider how great the original was. The other bonus track is ‘Take It All’ and allows the guitars to take centre stage with a great opening and sublime solo. I’m conscious about the repetition of comparisons of Skarlett Riot to Halestorm in this review but it’s for two good reasons, firstly you should always aim high in anything you do and Skarlett Riot have achieved this with Villain, which is a remarkable feat when you consider that this is just a taste of what is to come. The second? Well you should always know where the competition is coming from, so Haley watch out, the stakes have just been raised, there is a new noise coming your way and it’s coming from Scunthorpe. 2012 has another highlight to add to the list in the form of Skarlett Riot. www.reverbnation.com/skarlettriotuk |
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Stay Okay!
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Time To Grow EP
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Online 16.1.12 This is the debut EP from Irish quartet, Stay Okay! Whilst this didn’t get me all hot under the collar, it does show some potential – things just need tightening. They sound like a less polished version of American emo luvvies, The Academy Is... . Now, you could argue that the market is saturated enough with such acts and, to be honest, I think it is. However, that is just me being an old stick in the mud and if the kids like it (which I suspect that they will), then who am I to argue. Let’s just hope they don’t apply their name to their music and merely remain ok. www.facebook.com/stayokay |
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Witness The Fall
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An End To The Darkness EP
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Online 5.3.12 Originally formed in 2007, Witness the Fall were spawned from a small local music scene. They were apparently tired of bands who toed the line and therefore they formed “to create something extreme, uncompromising and brutally honest.” If that means loud, raw, massively metal and full of roaring vocals then this is a pretty accurate description. It’s powerful and energetic. I have no idea what they are “singing” most of the time but I can still nod (or bang) my head in appreciation. One for all you metalheads out there. www.facebook.com/witnessthefall |
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Karl Phillips & The Midnight Ramblers
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DANGEROUS EP
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MEDICAL RECORDS 5.12.11 OOOOOH. I LIKE. This sounds like it should be part of the Kidulthood soundtrack. Now, I may not say this often enough but I like UK based grimey hip hop/ dubstep/ drum and bass and all such things that a 31 year old professional should not like. Sorry mum. The opening track, 'Dangerous', has enough beat and bass to sink a ship. A-MA-ZING. The following tracks do not disappoint either. I want to hear more. A true sign that I like what I hear is when I recommend an artist to someone else. My boyfriend is a DJ so expect to hear this coming at you in Sarf London soon kids! www.karlphillips.co.uk |
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The King Cheetah
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MUSEUM OF TOLERANCE EP
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CLEARCUT RECORDS/ WESTERN OUTPOST 5.12.11 It's rare a band get me nodding my head and tapping my feet from the off, but this LA based trio managed this easily. Opening title track, 'Museum of Tolerance' set the tone of this EP perfectly. It is raw, gritty and (is this the right word?!) dirty! Yep, that's right, it's downright dirty. Not in a sexy way, but in the way that proper rock music should be. '5th of Ten' is equally as dark. It is angry and forceful but in a positive way (if that is possible). This trio hail originally from East London and the UK sound is prominent throughout - it is refreshing to actually hear a band based in LA not succumb to the stereotypical US notion of what 'rock' should sound like. Closing track 'Victoria in Reverse' is a far slower number, but equally as raw and is a fitting closing track fro this EP. This band is the potential antidote to the influx of stylised music that emanates from the US. It won't be to everyone's taste - I reckon it will appeal more to the old skool rockers out there. Either way, I enjoyed it and would quite like to hear more please. Like right now. www.thekingcheetah.com |
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Ourfamous Dead
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I AM HUMAN EP
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Self released digitally 14.11.11 C’mon, guys, what a terrible name. Guaranteed to upset spell checkers, bamboozle Google and make your release hard to find. This metallic quintet have been gigging round small venues in Leeds (The Well, Escobar) for a year since moving from West Cumbria. They have picked up a number of support slots and finally test the waters with a digital EP on iTunes, Amazon, etc. They’re a young band and their influences are obvious (think Enter Shikari) but the energy is real and potential is there in spades. Opening track, Rate My Hate, has double-speed drumming and a pop-punk accessibility under the shouty exterior. The second track, Untitled, has a good old fashioned call and response structure that makes it exciting alongside some accelerando. Track four, Untitled Part Two, has nice rippling synths and a real pacey pop-punk vibe – all the effects and mannerisms of something much heavier, applied in the service of pop-punk tunes. It’s an effective and chart-friendly combination. www.facebook.com/ourfamousdead |
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Pinkunoizu
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PEEP EP
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FULL TIME HOBBY 7.11.11 Modern day psychedelicists, Pinknoizu, love lo-fi, pink noise (natch!), messing about in the studio and jamming. They take the results of studio jams and make loops or edit down to make trippy sonic mantras. Time Is Like A Melody cycles round and round, sounding like a quiet moment on The Grateful Dead’s Anthem Of The Sun or side five of The Clash’s Sandinista. The second track is more from the same pot and sits nicely with modern-day folktronica. Third track, Dairy Queen is over ten minutes long and drifts around between floating song, snatches of traditional melodies, shards of noise and buzzing, humming electronics in a long form that doesn’t even go near verse-chorus-verse-chorus. It’s a trippy journey that shows potential for an engaging album somewhere down the line. www.fulltimehobby.co.uk |
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City of Glass
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THE DIVING BELL EP
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UN-FAMOUS RECORDS 5.9.11 City of Glass live partially in retro; their sound is such that it requires classification in terms of ‘90s dance music as well as alongside their modern-day counterparts. So what we find are elements of euphoric dance and trance coupled with the pop-driven jaunty guitars and drums of Two Door Cinema Club and the like. Despite being merely a four tracker, there are clear A- and B-sides to “The Diving Bell EP”. The first two songs are from the band’s forthcoming album, due out in early 2012, and sound more like finished products. The B-Sides, tracks three and four, are a little lacking and require a bit more work though. “Sticks and Stones” offers a light dance beat underneath a guitar hook that instantly catches the attention. The vocals are a little ‘80s electro. “Tourist” is a different beast altogether. With a thumping bassline, it segues into full-on synths before breaking down to simple vocals with charming lyrics, including the excellent line ‘I could feel it from a childhood story in my dreams.’ Effective B-Sides “Little Shadows” and “Control” are more musically experimental but show signs of City of Glass’s album being a strong, varied one. A strong offering to whet the appetite, with two excellent album tracks promising great things for the band. www.cityofglassmusic.com |
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Beyond Dreams of Grandeur
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BEYOND DREAMS OF GRANDEUR EP
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UNSIGNED 12.9.11 Beyond Dreams of Grandeur’s eponymous debut EP has been described by some as “melodic hardcore”. Between you and me, that’s just a different way of saying emo / alt metal – a genre that the industry seems to be saturated with at the moment. Despite the generic sound, this isn’t a bad effort from this young band from Birmingham. There actually are some rather melodic moments – ‘A Palm Crossed With Silver’ and ‘The World Loves An Underdog’ - and the guitar work throughout is pretty tight, the bass and drums driving the tunes to a crescendo. It’s pretty hard to make a judgement on a new band when a showcase EP is released – they try and show a certain amount of diversity so it’s hard to fully imagine what their own style would be on a full length album. That said, they fit into a certain genre of music so I can’t see them ever diversifying fully or moving too far away from the angsty, emo sound so I can probably guess what future recordings would sound like. One for the kids now Fightstar are no more. www.myspace.com/beyonddreamsofgrandeur |
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Kong / Shield Your Eyes / Tank / Castrovalva
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BREW SPLIT 10”
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BREW RECORDS 18.7.11 There’s only going to be 300 of these, pressed on orange vinyl to burn your eyes. So run to your record shop now. Or just download it…… Kong are crazy and angry and their two-minute opener gets us in the mood. Sadly Shield Your Eyes’ Jessica is not a cover of the Allman Brothers classic, famed of Top Gear. Instead it is a splashy, messy song that has the endearing quality of sounding like it was recorded at home. Don’t take that as a bad thing – it is one of those rare records that sounds like it was recorded in a room, not an anonymous studio. It’s scruffy but endearing. Tank (typing their full name gets this page filtered out by too many net-nannies) are a Leeds legend and this – NWONWOBH (New Wave Of New Wave Of British Heavy?) is as fabulous as ever. Ever impulsive riffing is underpinned by the non-stop drumming. The noise they make as a duo is astonishing and the noise of the combo bass / standard string guitar makes them unique. There is no message here – just a riffing rip-it-up. Castrovalva are epoch making live and many turn up just in case they self-immolate or explode with energy. In Our Prime gives you an idea why. Another sampler of the prime of the current heavy noise scene. www.brewrecords.net |
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Gentle Mystics
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SPIRALLING BREEZE
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EMERGING SPECIES 6.6.11 Cabaret-hip-hop-gypsy-swing-dub from the Gentle Mystics makes for a unique single. The voice is the thing that grabbed me – a proper cabaret characterisation – then the Eastern European folk tune. That’s before the snatch of hip-hop, swinging inflection and, finally, the dubbed up, horn-driven ending. Clocking in at 6 minutes long, Gentle Mystics have packed in an album worth of quality ideas. “B-side”, Mushroom 30,000, isn’t the remix of internet meme Badger Badger Badger Mushroom but has the same maddened heightened reality. Insistent repetitive beats and trippy concepts add up to another strange experience. I’m looking forward to hearing what they might do with an album-length of time to play with. www.gentlemystics.com |
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Rough Fields
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YOU AS YOU
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BOMB SHOP 8.8.11 If you mention Stockhausen in a press release you get my interest. I was immersed in a week of the German contrarian’s music at the annual unlikely-situated Huddersfield Contemporary Music Festival. So was James Birchall, the alter ego of Rough Fields, who studied composition there. He doesn’t sound, of course, at all like Stockhausen or any of the visiting composers but I can hear elements of modern composition like the ringing effect and electronic manipulation in the A-side. This is lo-fi but lo-fi that has been pummelled and twisted down from the clarity of the digital world. Voices, drums, walking bass, cymbals are mashed, squashed, pureed and pressed into this slab of interesting noise. Noise that would be better stretched and developed over 20 minutes rather than 5. B-side, Abu Dhabi, is heavy enough on the bass to drive your neighbours potty whilst giving you a headache. We liked his last single, Watery Fable, though we had no time to feature it. An interesting composer, crossing classical and alternative divides. www.roughfields.org |
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In Fear of Olive
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ALL WE CAN DO IS WONDER EP
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WIRE-SOUND 13.6.11 The problem when an artist from a more marginal genre makes a massive commercial breakthrough is that every record company exec starts throwing multi-million pound record contracts at anything vaguely similar sounding that they can find. Hence the current desperation to discover the next Mumford and Sons from the folk-rock field; whether that artist is actually any good or not seems to be an irrelevance. You feel that South Yorkshire based In Fear of Olive are one of the many pawns in this music business battle for your bucks. Endorsed by none other than Richard Hawley they started out as a trio before the magnificently named multi-instrumentalist Arv Teeroovengadum completed the line-up last year. The question is can they stand out from the multitude of bands like that will now be saturating the scene. Well - the four tracks on this EP offer a promising taster. Opener ‘I’m Sure They’ll Fall’ is a raucous jangle, and ‘Led Me Astray’ sounds remarkably like Mumford and Sons – the one they did acapella style at The Brit Awards annual shindig. ‘Peace of Mind’ is a jaunty number with some nice slide guitar work. The best track though is probably the final one – the brooding, intense ‘The Only Way is Down’. You feel that with the right backing and a slice of luck that they can manage to stand out from the crowd. Ironically the only thing that might now hold them back is some sort of backlash from the public, that unfairly just dismisses them as ‘Just another Mumford and Sons’ but let’s hope not. www.infearofolive.co.uk |
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Le Reno Amps
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CONSTRUCTION EP
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ARMELLODIE RECORDS 11.7.11 When I reviewed Le Reno Amps’ “Appetite” album back in April, I commended the band for making a record of differing tracks that stood out from one another, but questioned whether they were running short of inspiration in the later tracks, as the songs became a bit simple and lacked enthusiasm. Well, they’ve obviously found a bit more to write about as, hot off the back of this album, they’ve released a six-track EP of new material as a companion. I’m not sure whether it’s necessary though… Something else I noted when reviewing “Appetite” was that the band weren’t afraid of trying new sounds, which is very much what we experience here. Of the five full-grown tracks (penultimate track “When I’m 6/4” is essentially an interlude), none sound even remotely alike. Lead track “God Loves A Trier”, for example, is a straight-forward modern punk offering in the style of Green Day. Its spiky, driving rhythm and accompanying vocals stand out as having more attitude than the album. Immediately following this is the contrasting “Had It Enough”, which sounds like it was lifted straight from Brendan Benson’s “Lapalco” album. The tracks in the middle are yet again unremarkable, although “A Song About Loss” probably ranks third best on the EP for its infectious beat. The best track of the EP honour is shared between first and last, as the beautiful acoustic “North & South” melts a small hole in my heart. Again, it’s totally different to its brothers, and this contrast makes it all the better. Le Reno Amps have yet again proven they have the versatility to make great – and contrasting – songs, but we’re once again left with a 50/50 split between enjoyable and ignorable tracks. www.lerenoamps.com |
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The Beekeepers
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QUEEN BEE
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JALAPENO RECORDS 4.7.11 When I reviewed The Beekeepers’ “Apiculture” album last month, the track I picked as my standout was “Queen Bee” which, fortuitously, is the band’s next single (don’t you love how these things work out?!). And what better way to package a single from a dubstep/electro artist than to get it remixed – seven times?! First, a glance back at the single itself. Featuring local rapper Mystro, the Queen in question is making things tricky for our leading man and making demands that he doesn’t agree with. So far, so The Streets. Backing this is a combination of dubstep and hip-hop that I find infectious and that can’t be played loud enough. So we have hot vocals + strong beats. What could we want to change? Well, everything judging by these variations on the theme. Some of the remixes work better than others; the Dr Rubberfunk version is an indie/rock imagining, similar to what you would hear if somebody covered the song in Radio 1’s Live Lounge. As an alternative take, this is by far the best on this EP. The Neon Steve version, on the other hand, takes an age to get going and focuses solely on the central refrain, so it gets tired very quickly. The Parker remix effectively takes the track to another level of dubstep, making it similar, but distinct, to the original and, in direct contrast, the Hint version takes the track back to 90s dance/rave very well indeed. An excellent track with some effective reworkings. www.myspace.com/thebeekeepersuk |
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The Pigeon Detectives
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DONE IN SECRET
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DANCE TO THE RADIO 4.4.11 ‘Done In Secret’ is the first release from the new album ‘Up, Guards And At ‘Em’ by The Pigeon Detective and their first release since 2008 and the extended break doesn’t seem to have done them any harm at all, returning with their signature commercial rock sound of easy on the ear riffs and distinct regional accented vocals. ‘Done In Secret’ is just about complete as it can be, uplifting backing track (that works on the instrumental version), Billy Bragg-style thought provoking lyrics and a repetitive chorus line makes this a return to form for this West Yorkshire five piece that should see a welcome return to the music scene. www.thepigeondetectives.com |
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XisForEyes
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INSIDIOUS EXISTENTIALISM
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ITUNES/AMAZON 25.4.11 Intense, brutal music seems to be on the rise, as the music industry becomes more fragmented opportunities for independent releases on the fringes on the musical genres can emerge, delivering a quality product with limited resources and exposure. XisForEyes seem to have exploited this opportunity with the release of Insidious Existentialism, an EP that is aggressive as it is powerful for a band just starting out, the DeathCore tag is ideally suited to this release. Insidious Existentialism is a five track offering at the extreme end of the scale and most would say that there is little musical ability on show but the appeal of this type of music is on the increase with more and more bands and styles emerging to satisfy the needs of a whole new generation of metal heads looking for a sound that emits an intensity like no other. Ultimately XisForEyes is not for me so I asked a ‘Core-loving mate of mine what he thought that they weren’t in the same league as Whitechapel or Annotations of an Autopsy they had a decent sound and that they should really excel in the live environment. Their sound reminded me of a local band that broke in my youth, ‘Acid Reign’ who brought us a sound that we could associate with and make our own and this is something that XisForEyes should aspire to and they should do very nicely indeed. www.myspace.com/ukxisforeyes |
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Flash Fiktion
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CAPSULES OF SUN EP
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SPLIT RECORDS 4.4.11 This three piece outfit describes their sound as “an eclectic mix... flamboyant melodies with Cuban beats dressed in electro look. Music that will make you jump up and down”. That pretty much sums it up to be honest. This four track EP opens with ‘Capsules of Sun’ an explosive synth filled track driven by Cuban beats. Harmonised throughout, this is the perfect track for summer. Second track ‘Mo Ping Pong’ is reminiscent of an Eels or a Beck track in parts (or is that just me?). Either way, it works. On Track 3, ‘Capsules of Sun’ gets remixed by Is Tropical, removing the Cuban beats. A remix of Flash Fiktion’s debut track ‘Leni’ is the closer to this EP. Totally different from the original – slower, bassier, dirtier. Flash Fiktion has an eclectic style that works for them. And I like it. http://www.myspace.com/flashfiktion |
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Something Beginning with L
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THE LISTED BUILDING EP
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ARMELLODIE RECORDS 11.4.11 The press info that came with this EP described this trio as “maudlin”. I would definitely agree, and not in a positive way. Throughout this 4 track EP I was waiting for some momentum to kick in and for something, anything, to happen. There was no drive. No real passion. Yes, I know it is whimsical and quiet and chimey but there should be some passion! Yes, the vocals are ethereal and beautiful and melancholy but there is something missing. I can’t imagine getting excited about this band. I feel mean saying that about this band whilst they sing quietly and sweetly. It’s like kicking a puppy, but I can’t get excited about something that is lacking. Sorry Fido. www.myspace.com/somethingbeginningwithl |
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HAYABUSA
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Evil Is Not That Laid Back
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MIDGE BITTEN RECORDS 24.1.2011 To me, a Hayabusa is a 1300cc two wheel noise machine produced in the land of the rising sun but musically, the reference isn’t too far from a good definition of the band that shares the name. ‘Evil Is Not That Laid Back’ has a very unique sound that is new to my ears, a real mixture of loud aggressive repetitive guitar noise with accompanying vocals that I can only compare to System Of a Down in its uniqueness. It’s a blast of aggressive, rhythmic sounding noise that uses both electronic and more traditional techniques to get the point across. Originality is clearly present on the single from this trio of alternative noisesmiths and in doing something different that gives Hayabusa an edge that should put them in a good standing as they hit the road in 2001 in support of this release. www.myspace.com/hayabusaband |
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JOHNNY GET THE GUN
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Never Far from What We Know
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SELF-RELEASED 24.1.2011 Johnny Get the Gun are a quartet from Essex. Created in 2007, this band have had 3 years to formulate and cultivate their own sound – combining melodic vocals with driving guitars and occasional funky beats. Hooks and energy galore, this is a damn good EP!! My little head immediately started bobbing upon hearing the first track ‘God As It Gets’. ‘Hills and Knives’ is riff laden with a Muse esque chorus. ‘Lead hearts’ is my favourite track. The funky bassline and powerladen vocals sucked me in. ‘In The Middle’ is poppier and bouncier, but still jam packed with guitars. Closing track ‘Take It’ showcases singer Wayne Lightowler’s vocals, opening with quieter guitars, enabling us to hear the depth and rich quality of his voice. This is an impressive EP. Sure, there are elements that need finer tuning, but perfection comes with experience. This band have swagger. And I want to see more. www.myspace.com/johnnygetthegun |
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ABOVE THE UNDERGROUND
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The Fight We Won
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SELF-RELEASED 24.1.2011 Opening track, ’Something for the Weekend’, began with synths, which given recent offerings that I have reviewed, filled me with dread at the thought of listening to the rest of the EP. Luckily, they were replaced relatively quickly with heavier guitars and drums so my fears were waylaid. Well, partially. On this track at least. Above the Underground are Will Kirkman on vocals and guitar, Al Kirkman on guitar, Nick Barlow on bass, Joey Everson on keys, and Brandon Icely on drums. They formed in 2008, and had their debut EP out by the end of 2009 – this is their follow up. First impressions of this EP is that the band would probably be rather good live, well, that is if they put the same amount of energy into their live shows as they have on this EP. It is feel good punky pop. Think Blink 182, The Academy is. Occasionally they throw in heavier riffs à la Funeral for a Friend styley or try and use basslines similar to acts such a Pendulum. ATU have a generic sound, in that they have a tried and tested sound that will no doubt be popular with emo loving teens across the country. The EP didn’t thrill me, but nor did it leave me with a nasty taste in my mouth. The vocals are fine, the musicianship is fine, and the sound is fine. But that’s just it. I prefer music that makes me want to rave about it. Damn, I even like it when I hate something so much it makes me rant – at least I feel something. This just didn’t do it for me. Sorry. I would probably see them live though. Yeah shoot me, I am a hypocrite!! www.myspace.com/abovetheundergroundmusic |
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JAPANESE VOYEURS
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Milk Teeth
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FICTION 29.11.2010 ‘Milk Teeth’ is the latest release from Japanese Voyeurs’ debut album ‘Yolk’. Angry – tick. Air of grunge nostalgia – tick. Female vocalist – tick. Powerhouse guitar riffs – tick. All the things that usually endear me to a band, but I’m not 100% sure this time. That said, whilst this track isn’t perfect (at times it sounds like they are trying too hard to perfect a sound that should be coming naturally, which almost makes it rather contrived) the potential of this London based quintet screams at you. I actually preferred B side ‘Godzilla’ to ‘Milk Teeth’, simple yet heavy guitars and catchy rhythm. Whilst I wasn’t blown away by the single, I was intrigued and will reserve final judgement until their debut album is released early next year. www.myspace.com/japanesevoyeurs |
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GORILLAZ FEATURING DALEY
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Doncamatic
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PARLOPHONE RECORDS 22.11.2010 ‘Doncamatic’ is not the type of sing I would have expected Albarn and co. to have created. It’s a pop song – rather different from what people would normally associate with Gorillaz. Their latest collaborator, Daley, is a vocalist from Manchester who is fresh on the music scene. The catchy, electronic beats are still there. Mad Daley’s androgynous yet soothing vocals drive the song on – though probably aren’t used to their full potential. Whilst not a bad offering from the band, it didn’t excite me as previous works have. I was happy to listen to it, but it isn’t one of the tracks on the album that I would automatically flick to. If this was recorded by another group I would probably love it. Trouble is, I have come to expect more from Gorillaz. That said the fact that they’re still going strong and surprising people with their sound 12 years on from their creation, is a bloody achievement!! gorillaz.com |
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YOUNG GUNS
:
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Weight Of The World
”
LIVE FOREVER 01.11.2010 When I reviewed the debut album release from the Young Guns ‘All our Kings are Dead’, I wrongly assumed that the band were a more established act rather than debutants and ‘Weight of the world’, the 3rd single release of the album shows why. The upbeat temp of the single provides the listener with 4 minutes 10 seconds of hypnotic rock noise, with all the hooks required to stand out in the new rock genre championed by the Likes of the Lost Prophets and Danko Jones, who Young Guns will be supporting in December. The single has been tweaked slightly from the album version but there is no real differences and improves marginally on the excellent original. Initially, I didn’t warm to the Young Guns when listening to their album but take ‘Weight Of The World’ in isolation and its strengths really stand out, maybe it’s time to revisit the bands full length offering as I clearly missed something first time round. If the Kerrang-reading youf of today still buy singles, then this should definitely be on their Christmas shopping list. www.myspace.com/youngguns |
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THE LIAISON
:
“
Start From Scratch
”
SELF-RELEASED 17.01.2011 The five piece hail from Surrey and are Simon Harvey on vocals, Alex Coombes and Ben Avis on guitar and vocals, Josh Manley on bass and vocals and Joe Weldon on Drums. This debut EP was recorded with John Mitchell who has worked with the likes of Funeral for a Friend, Enter Shikari and You Me At Six. If Mitchell wanted to ensure the same sound as the acts he has worked with in the past, then he has definitely succeeded. The opening of ‘It’s So Clear’ could have come from Funeral for a Friend’s 2003 album, Casually Dressed and Deep in Conversation. It has stomping guitars, laden with riffs and driven by a pounding drum bass. The vocals are soaring and harmonised. “Can We Still be Friends” is more of the same starting at a slower tempo, before crescendoing into the main track. Title track ‘Start From Scratch’ doesn’t start from scratch at all and has the same familiar feel as the other tracks. ‘Road Trip’ opens with some funky beats and I was hopeful that they had pulled something new out of the bag but, alas, no. That said, it was my favourite track. Without having seen what The Liaison look like I reckon I can hazard a pretty god guess from just listening to this EP. I imagine they’re all reasonably attractive, with perfectly coiffed indie boy hair (styled to look like they have made no effort at all with it, obvs), with skate shoes (maybe Vans rather than Converse), jeans, t-shirts and probably a checked shirt or even a polo shirt thrown in for good measure. Oh, and maybe a beanie or some other form of hat too. And let’s not forget the festival wristbands. Go on, google them. Am I right? Thought so, and even if I am not, I bet they still look like they are dressed in some form of “indie” uniform. Anyway, my point is that The Liaison are your stereotypical emo band that will appeal to a very particular market (a pretty lucrative one at that, so don’t knock it). They use tried and tested formulas from the likes of Paramore and Funeral for a Friend, but never quite hit the spot for me. Maybe I am getting old.…. www.myspace.com/theliaisonuk |
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SYD MATTERS
:
“
Hi Life
”
BECAUSE MUSIC 29.11.2010 Matters are a Parisian 5 piece, fronted by Jonathan Morali. The track is wistful, melancholic, nostalgic, opening with simple piano chords backed by a faint drum beat. Morali’s voice then floats in to join the chords which have also been accompanied by a simple and repetitive melody. This is nothing new or exciting. Harmony soaked vocals, acoustic guitar based track, confusing lyrics with little meaning – all part of the how to guide to writing a folk based indie tune in the noughties. Trouble is, whilst this is not a bad effort, there are artists and bands who do it better – but hey, this is only a single and maybe the album (due for release in early 2011) will surprise me. I hope so. www.sydmatters.com |
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THE BRUTE CHORUS
:
“
Could This Be Love?
”
TAPE RECORDS 19.04.10 Rockabilly? We love The Brute Chorus and this single brings us rockabilly that lets them chant the words like a beat poem before the words start messing with the rhythm and beats are dropped to fit, while the bass burbles underneath. A swooning fall into the middle of the song only accentuates the return of the swing and thud. Previously famous for pretentiousness, energetic stagecraft and self-belief, The Brute Chorus bring a sexual energy into the studio that steps it up a level. Following from their debut album, a live one (how’s that for swagger?), this gets the vibe by being recorded in a village hall. There’s a creepy edge, it being like one of those ‘boyfriend dying tragically’ songs that had a vogue in the sixties. In this case, a lad is dying in an ambulance, hallucinating he is rushing to his lass as his heart beats fast for other reasons than love. A class act. www.myspace.com/thebrutechorus |
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CLUB SMITH
:
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The Loss EP
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ALL SORTED RECORDS 8.03.10 As vulnerable as The Maccabees, with the hooting choruses of The Automatic and big indie tunes, Club Smith are on a roll here. Declamatory vocals as dark as The Editors ride on lighter harmonies and songs build into gently smouldering heaps. “You can never say this love was wrong”, they tell us in Courtyard and it’s really serious and really catchy, with a chorus figure that hooks you in, while the burping keys will keep the indie-clubbing crowd rocking back and forth. No Friend Of Mine has a stamping beat and ooo-ooo-ooo chorus and I can picture the front row at the gig getting squished as they pump the air and hoot along. There are aspects of every popular band of the last 5 years here, combined in a way that’s organic and makes me feel like I’ve known these songs since forever after a couple of listens. The four songs here have a dark post-adolescent seriousness allied to hooks that scream ‘catchy’ and it’s a winning combo. www.clubsmith.co.uk |
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NEON CIRCUS
:
“
Future Disco
”
JACKET POCKET RECORDS 18.01.10 This new four track EP from Leicester electronic duo Neon Circus released on Jacket Pocket records (not jacket potato records as I had misread) treads the same path as the laconic yet danceable style of James Murphy’s LCD Soundsystem. Lead track ‘Future Disco’ is a huge shiny floor filler, and is also included in two other remix guises - one of which sounds so much like LCD Soundsystem’s ‘On Repeat’ that it’s practically the same song. The other track ‘Carry The Weight’ is more of a blissed out groove, building through a few minutes of lascivious instrumental before some spoken word dirty talk adds to the sexual tension. This is a very promising release; which should appeal greatly to the indie-dance crossover market - apologies for sound like some sort of record company exec. www.myspace.com/neoncircusmusic |
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DETACHMENTS
:
“
Circles
”
THISISNOTANEXIT Out now Is it conceivable that there are no original ways of making music left to explore? This band sound like numerous other bands around such as Editors and White Lies – who in turn sound like Interpol, who in turn were heavily influenced by Joy Division, where the original idea for this kind of doom-laden rock was first formulated some 30-odd years ago. And by the way, I do actually like this kind of stuff – but it is difficult to do with any semblance of originality. This is the band’s third single and lead track ‘Circles’ is a stabbing, jerky four minutes of icy post-punk misery, and cleverly titled back-up track ‘H.A.L.’ (or ‘Heard A Lie’) throbs along like a Cure b-side from 1982. So overall it’s kind of satisfactory but bound to induce a ‘heard it all before’ reaction. www.myspace.com/detachments |
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ISOLATED ATOMS
:
“
Tell Me What I Want
”
WEEKENDER RECORDS 01.02.10 As if to firmly ram the point home the review for this single could just read ‘as above’ as another bunch of Joy Division copyists launch their assault on our senses. The press blurb name-checks none other than Peter Hook as a fan. The two tracks on offer are fairly indistinguishable from each other, and provide some basic ‘Goth-rock by numbers’ – anxious nasally vocals, driving bass, jarring guitar slashes and lyrics about paranoia and negative emotions. If you’re happy just to hear the same thing over and over again then dig in. If however, you feel starved of inventive, original material or pop music with new vibrant ideas then your hunger is set to continue unabated. www.myspace.com/isolatedatoms |
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REVENGINE
:
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Plan Your Escape EP
”
SELF RELEASED Out now Once again, Scandinavia spits outs another band that makes you wonder what they put in the water over there to churn out a seamless endless supplier of competent musicians, I guess Finniish TV is nothing to shout about. Revengine seem to be very schizophrenic when it comes to what genre they wish to fill as their sound moves freely between Rock and Metal. The EP starts with ‘Given It all’ complete with Maiden-esque air raid sirens with its roots rock sound and a touch of Mike Patton on the vocals. This is followed by ‘Treason’ which takes on a far more aggressive note with its harder rhythm section and darker lyrics. Just as you are coming to terms with the sound the band has chosen, ‘Live the Moment’ and takes a completely different turn with an initial melodic feel and slower pace. The range of influences continues on ‘Fear Me’ which it’s aggressive attitude, through the melodrama of ‘die for you’, finishing with an up tempo ‘Turn To Stone’. Revengine are as tight and capable as many higher profile groups I’ve come across and the fact they are releasing quality of this EP without any backing or support of a label or producer only make this release even more impressive. www.revengineband.com |
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MAEVEN
:
“
Girl In Blue
”
LOCK JAW RECORDS Out now It’s a very short and sweet single release this one, only one track on offer is ‘Girl in Blue’ and first listen it reminds me little of the Cure Track ‘Burn’ from The Crow only with a female twist, Maeven being an all female three piece. It’s an upbeat track that takes its riffs and attitude from punk and is a good sign of things to come if other offerings are the same, a heady mix of female vocals, metal riffs and a whole lot of attitude. A short and sweet release deserves a short and sweet review, it’s good, really good! Job done on both counts. |
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LE RENO AMPS
:
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The Stand Off EP
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DRIFT RECORDS 21.09.09 According to the press release accompanying this EP Scotland’s Le Reno Amps fuse an eclectic blend of Teenage Fanclub and Johnny Cash. Given that they are two of my favourite artists I listened with some expectation and no little trepidation. There’s a contrasting style between the four tracks on this EP - first two are a bit of a guitar chugathon – slightly comedy-country riff-heavy stompers, with witty drawled lyrics. The last two tracks take a more laid back approach – simple, floaty acoustic melodies and gruff yet sweet vocal harmonies. Although taken at face value this EP is good fun, ultimately they don’t have the great tunes to emulate the Fannies, or the level of gravitas that an artist like Johnny Cash can impart on an audience. |
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THE SAW DOCTORS
:
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She Loves Me EP
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SHAMTOWN RECORDS Another bouncy slice of Irish folk-pop from the happiest band in the world, standing somewhere between The Levellers, The Ramones and a travelling showband. Hard to disagree with the sentiment that “wouldn’t life be such a bore, if we really knew for sure”. Nothing remarkable, yet full of a natural goodheartedness, though subjected to some strange phasing effects in production. Somewhere, on the band’s eternal tour, an audience is waving their arms and singing along, pints held aloft as Davy and Leo sing….. Some Hope – a tale of waiting for a call from a girlfriend veers a bit close to comedy, yet is made perfectly for live shows, where the band excel. A demo version of Lucky Boy rounds up the package – another punk-pop tinged bouncer. A video for a previous hit – About You Now is tagged on too. Look for this band on tour and get down there. The band is good, whether you know the songs or not but the star is the audience – the best natured audience you’ll meet in this country, ready to party with no pretension or aggro. |
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PAALMER
:
“
Old School
”
FM MANAGEMENT 28.9.09 This EP has hidden powers. How, you ask? Well, when I got home from work my 7 year old daughter and friend were listening to some god awful pop compilation (Yes, I did buy it for her, pester power is remorseless) on a nasty little karaoke machine with feedback that could shatter fillings. So I thought I’d shock them by giving them a taste of Old School, expecting the usual disdain that comes with the ‘Aw Dad’ but to my surprise they preceded to pogo and air guitar around the living room for the next 10 minutes, maybe there is salvation for today’s Youff. The band in question are Paalmer, a no nonsense three chord, three minute track , French punk band and the EP’s title couldn’t be more suited. For an recording that doesn’t attempt to break any new ground, it remarkably refreshing and even when the lyrics on ‘Sleep With You’ lose something in translation, this just adds to the appeal. The four tracks rattle though at a blistering pace and the whole disc is over in less than 10 minutes. With titles like ‘Punkrocker’, ‘I Believe’, the aforementioned ‘Sleep With You’ and the tribute ‘Ramones Fever’ it delivers nothing but endless frenetic attitude during its short existence. It’s been a while since the Anarchists has been displayed on an album cover and Paalmer rightly deserve the honour in all its punk glory. |
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CHEMICAL WIRE
:
“
Bees EP
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TBA 28.9.09 Smoothly riding at the outset, this trio play power-pop that, unfortunately flips into harder riffs mere seconds in. They seem a bit unclear as to where their music fits, making it hard to settle into a riff. The press release drops hints that they’d like to be seen as co-travellers with At The Drive In and The Pixies but both those bands are / were more monomaniacal. Chemical Wire seem to flip between genres – which I’d often laud but here, they just sound like they’re doing it for effect and can’t settle. The second track is more intense and fraught, sticking more to its guns and winning more attention. It switches between tight jerks and brief respites for a soaring chorus but leaving the whole wound up tight and full of restlessness. If they have more like that, they’ll be worth checking out when they tour the UK in spring. Chemical Wire come from Portugal and their appeal lies not a million miles from Biffy Clyro. Their sleeve has to come in for special mention – it is like a piece of limited edition art and might well be made out of a real bit of a chest X-Ray. Just don’t ask how they got them…….. |
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DINOSAUR JR
:
“
Pieces
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PIAS 21.9.09 Oh, yeah. Off the comeback album, Dinosaur Jr. are on a Neil Young trip this time, distorting the guitar and adding little two-note squeaks to the end of each line. That laconic alt.rock vocalese drifts behind, leaving the guitar attack as the main feature. A jittering solo will please the fans of air guitar, whilst the crunching effect of the whole will satisfy those with happy memories of the Dinos. Hey, copying Neil got Pearl Jam an album and some kudos. |
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CHICKENHAWK
:
“
A. Or Not?
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BREW RECORDS 9.9.09 For about 5 seconds this sounds like The Mars Volta. For about 5 seconds, that’s all. Then it is twenty times as loud and slightly dafter. Classic metal riffs are deployed to a deranged end, accompanying screams and drowned vocals with shards of fractured guitar lead poking out the top. It felt like I had dropped something heavy on my toe. Produced by Jason Sanderson, who has worked with the mighty Rolo Tomassi, this is as close to prog as the aforementioned volume-monkeys; i.e. not very close, just very wigged and out and sometimes twiddly. Confusion is the wave of the future and noise is the sound of Leeds this year. Alongside Pulled Apart By Horse, Castrovalva, and the seminal Bilge Pump, Chickenhawk are forcing a new and bewildering path in the Leeds music scene. |
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MOTION PICTURE SOUNDTRACK
:
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Departure EP
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END GAME 7.9.09 Music to sink into. All pounding drums and yearning vocals, pulling us up close to the lyrics so we can be told “I feel your kiss”. Do you, fella, do you? You’re winning me over….. Be still, my beating heart…… Motion Picture Soundtrack are making stadium rock – a bit of everything to please the masses. Only the masses ain’t here yet. Give ‘em time, they’re on their way. Drums – big and deep; melodies – slightly sad, slightly hopeful; vocals – keening and rising in purposefulness; lyrics - vague enough to mean anything to anyone but focussing on seeking and hoping. It’s a formula that’s worked for plenty and MPS have everything the others had (and they aren’t whining gets like Coldplay…..). (Stop banging on about how much you hate Coldplay. Ed.) |
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MOTION PICTURE SOUNDTRACK
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Departure EP
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END GAME 7.9.09 There are stacks of this sort of stuff about – intense, anthemic taking-itself-slightly-too-seriously indie rock. Now I like that kind of stuff personally, but it can be tricky to wheedle out the good stuff from the derivative. The stuff that has good songs at the core, bands that actually have some personality, and bands who really do believe in what they’re doing rather peddling doom-laden indie theatrics because a record exec thinks that sells well at the moment. The band’s name is perfectly selected to enhance the cinematic scope of the music. Crashing drums, distorted, driving guitar and front man Alastair Blackwood’s soaring melodies create a brooding intensity similar to that of the criminally underrated Puressence. This EP acts as a very promising 3 track sampler for this Canterbury four-piece’s upcoming debut album ‘The Shapes We Fear Are of Our Own’ due out this autumn. This kind of music does work better when it has chance to build over the course of an album, so I for one will be interested to hear more. |
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JOHN MCKEOWN
:
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Fade Away
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BEATROUTE RECORDS 31.8.09 A soulful offering from McKeown, who appears to be making a living from battling adversity and coming out the other end steeped in thoughtful reflection. Apparently speaking to his own despair, the track takes a few listens to get into, but will ultimately leave you considering its message. Has the potential to be the next “Blower’s Daughter”, and may well start popping up at weddings and functions all over the land for those slow dances at the end. Easily on course to becoming the next Damien Rice. |
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PYTHIA
:
“
Sarah (Bury Her)
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GOLDEN AXE RECORDS 24.8.09 Dearie me. Dearie dearie me. Did the eighties and nineties never happen? This takes the sword and fantasy type nonsense of the early seventies and brings it up to date with chuntering big goth metal easy tempo stylings. All romantic like, Emily Alice Ovenden sings of a lost love she can never best because, well, how can you beat someone whose image is perfected by death. It’d be a heartbreaking theme it it weren’t SO BLEEDING OBVIOUS and allied with music so hackneyed (albeit well played). For travellers who’d like a glimpse into an alternate universe where tastes are, ahem, different. |
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VELVET STAR
:
“
Dirty Girl
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VELVET STAR 17.8.09 The promo was rather lovely – an all black CD, mocked up as vinyl. The opening riff was fine too and the rolling bass underneath had some class. The whole had a glam rock meets punk sound and a shine to the energy that is commendable. The vocalist has that slightly closed nasal quality of the classic rock vocalist posing as trash. The only thing letting them down is the sadly outdated lyrics. Guys, that kind of stuff was tired and dated in the seventies. Harness that energy to some better material and you’ll be an attractive package. Nothing new, mind, but energy and attitude’ll get you far. |
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PITCHBLEND
:
“
Celcius
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SUGARSHACK RECORDS 17.8.09 Soaring slowdive tunes and shimmering shoegaze guitars over a steadily mounting rock juggernaut beat – that’s one of my definitions of heaven. That’s why Pitchblend are a band I rate very highly. They step up and fill the shoes of My Vitriol whilst promising to fulfil the promise that the former failed to build on. The sound is portenteous, moody and hypnotic. It’s all a big climax, building to a bigger climax and is full of cathedral echoes, sadness, hope and grandeur. |
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GLISS
:
“
Morning Light
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CORDLESS / RYKODISC 3.8.09 How did we miss this one? A monster size pile up of shoe-gaze distorto guitar and Jesus And Mary Chain-type melody. The floating, half-buried vocals are on a par with Asobi Seksu and the nagging guitar figure has me pulling faces. It’s as light as Goldfrapp’s last feathery album and as heavy as My Bloody Valentine, whilst remaining as cool as a polar bear in sunglasses. Pile on the reverb, folks. |
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HUMANZI
:
“
Bass Balls
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KICK IN THE EYE / NOISEBOX / TUNECORE 3.8.09 Last heard of doing a credible impersonation of alientated and angular early eighties Gang Of Four followers, Humanzi are whacking out an amphetemine rampage across rock and roll, like Alan Vega’s Suicide being played by a gang with sulphate running neat through their veins. The singer declaims in an empty room while someone clangs industrial metalware. An incessant fuzztone guitar leads a frenzied rush of strangeness and fury. It’s all good stuff…. The second track is even stranger. Rinky-tink fairground / circus instrumentation is applied to fuzzy bass and creates a song ostensibly lyrically inviting but deeply menacing. I was very fond of Humanzi’s retro stylings but, with this release, the band have come into their own full grown maturity. Without losing the attitude. Seriously, icons like the Velvets would not be ashamed of something as “other” and yet as dirty as this. |
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THE ETTES
:
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Danger Is EP
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CORDLESS / RYKODISC 13.7.09 “Hey there, you’re a man. So you know everything” sing the sarcastic Ettes with attitude. It’s a proper little-girl-rock-and-roll voice accompanied by bare bass and drums. But what a bass! It’s like Seven Nation Army turned up louder. This three piece – 2 lasses and a lad are messed up garage rockers, making it loud and crude with a lot of heart. Track two is a sixties girl group pop tune….. taken out for a walk and bludgeoned till it fitted into a punk mould. There’s even a call and response chorus. I just love the way you can hear the guitar clipping in your ear – no Pro Tools here. Best name for a band in a long while. This channels the spirit and energy of The Cramps and is, if anything, even rawer. The noise is crude and in your face – desperately real. The live tracks are scarcely much rougher than the studio recordings and that’s high praise for the studio tracks – this music bleeds, hurts, stage-dives, spits in your face then turns on a sassy heel and wiggles. |
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COSMO JARVIS
:
“
Chapter 2
”
WALL OF SOUND 31.05.09 Cosmo Jarvis is a young multi-instrumentalist singer-songwriter who at the tender of just 19 has already written some 250 songs – mostly in his bedroom. This new EP has 3 of those songs plus a video – I forgot to mention he does his own videos as well. His style seems to be an amalgamation of Jamie T’s street-wise yet middle class white-boy rap and Daniel Johnston’s child-like simplistic innocence. Some of the lyrics are hilarious – lead tracks ‘Mel’s Song’ features the couplet ‘my duvet smells/but so would you/if you hadn’t washed/in as long as I haven’t’ – and I had to censor myself from quoting the next bit as it’s a family website. Despite the homemade feel the track also has a gloriously catchy chorus. The other two tracks have more of a downbeat disposition and are therefore not quite as immediate; but still have a certain naive charm. |
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PSEUDO NIPPON
:
“
Edamame Freakout EP
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ONE INCH BADGE 23.3.09 Many press releases deliriously proclaim the artist as the next greatest thing to hit the airwaves. This one is just hilariously delirious in general, as its complete gibberish. Example quote – ‘music is of hi kick and utter super joy for enter ears’ I’m assuming it’s just a bad translation from the original Japanese, but if that’s what it’s meant to say then I’ll have some of whatever Mr. Nippon’s press people are on. The music is even more utterly bonkers – all manic beeps, bashes, loops and bloops created using toy keyboards, and frenetic vocals in broken English. You can’t deny the insanely joyous enthusiasm on show, but it’s just a bit too mad for me. |
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SONS OF NOEL AND ADRIAN
:
“
Rivers EP
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ONE INCH BADGE 7.09 Hot on the heels of their critically lauded debut album comes this 3 track EP from Brighton based 12 piece folk collective Sons of Noel and Adrian. The intro to lead track ‘Black Side of The River’ is drenched in mournful strings before giving way to tenderly picked at acoustic guitar and vocals which are sombre and downbeat. The other two cuts ‘Big, Bad, Bold’ and ‘Leaving Mary’s Hand’ both follow a similar outline – desolate, delicate sounds which evoke the hypnotic melancholia of last year’s flavours of the moment Bon Iver and Fleet Foxes. Not exactly a laugh a minute but great if you enjoy a good wallow. |
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