In layman's terms: A blog about music, by Luke Slater and James Welbourn.

16 July 2008

Laymar: In Strange Lines And Distances



Laymar: In Strange Lines And Distances, released 14/06/2008 on TV Records

Manchester post-rock trio Laymar’s debut full-length, In Strange Lines and Distances, is not quite apocalyptic; it’s simply not raucous and chaotic enough to be labelled as a soundtrack to armageddon. Instead, it lies somewhere between the chaos of the planet’s destruction and the eternal nothingness that follows. A soundtrack to a journey down the River Styx is essentially what it is; a 46-minute hellish boat ride with an ending that simply has to be delayed, lest death become us before reaching Hades.

Seven tracks comprise In Strange Lines…, though it definitely has the feeling of an extended single track, so well does it melt together as each chapter of complex instrumental texture weaves its way elaborately and seamlessly into the next. It is difficult to isolate any tracks because of this; they must to be heard in context, and digested in one sitting to appreciate the nuances and subtleties. Each track renders a landscape of despair through near-perfectly placed electronic bleep-and-click beats which are reminiscent of a less-frenzied 65daysofstatic, combined with distant-sounding and ethereal guitars, and ambient, as well as lurching, basslines.

The album, at times, bears an atmospheric resemblance to iLiKETRAiNS, albeit minus the earnestly foreboding vocals, though perhaps that little bit more sinister for it. Enough variation in tone, texture, and disposition is offered by Laymar to keep ears pricked, and this is done without straying from the overarching themes of isolation and desolation which so permeate In Strange Lines…; from the nine-minute opus that is ‘Juvenile Whole Life’ in which the despair ratchets up slowly and incrementally, to the solemnly serene ‘Rec #3’, where the hushed bawls of an infant in are somehow both uncomforting yet eternally hopeful. The climax, ‘Swords’, is 19 minutes of piano-driven crescendo which morphs from a gentle, swaying passage into the unashamedly brutal, but sadly too brief, chunk of the record. Somehow, though, it’s not brutal enough, and its duration is decidedly too short.

Whilst In Strange Lines… triumphs in consistency, it fails in meandering a little too placidly for a little too long, failing to kick on from the initial promise of opener ‘Rec #4’, and with a texture which is, in parts, slightly watery. If there is any criticism aside from the death metal-like album art, it’s that the ferrymen through the Styx, Laymar, are guilty of almost perfectly creating tension through an array of reverb soaked guitars and an atmosphere so ripe for the fatal blow it’s unsettling, but just, narrowly failing to deliver it. That apart, In Strange Lines and Distances succeeds in leaving a feeling of loneliness, gloom and hopelessness for hours after and is a mightily promising debut.

7/10


[Taken from Drowned in Sound]

9 July 2008

The Dawn Chorus: The Big Adventure


The Dawn Chorus: The Big Adventure, released 14/04/2008 on Jelly Maid Music

It’s not that this album is boring. Well, actually, it is, but not massively. But kind of. Not completely, but in parts, and too many parts. Middling is a word which sums up the majority of Hampshire country-tinged outfit The Dawn ChorusThe Big Adventure; somewhat of a misnomer for an album which turns out to be more akin to a leisurely Sunday drive in the Mondeo estate to a rural craft fair on some country estate than any grandiose journey, as advertised.

The tracks are, thankfully, more interesting and fulfilling than their titles would suggest. ‘Come On Home’, ‘I Can Be Anything’ and ‘The Hope Will Kill Us’ all hint heavily towards a landscape of blandness and grey upon grey for miles around. The reality, however, shows only a little more of the spectrum than the myriad shades of grey which are daubed in The Dawn Chorus’ titling.

The Big Adventure Pt 1’ opens the album reminiscently of Billy Bragg on Mermaid Avenue, but lacking the eternally endearing estuary English enunciation. It’s amazing that words appearing to be uttered so earnestly can produce such a lack of feeling. ‘The Big Adventure Pt 2’ surprisingly follows straight after part the first, and continues where part the first left off in terms of banality and false advertising as it gets stuck in heavy traffic, somewhere nondescript, en route to The Big Adventure. Things finally do get moving though, on ‘The Hope Will Kill Us’: a more raucous jaunt which almost induces a foot tap, and features one of those anthemic sing-along choruses that would, possibly, beg audience participation if played live.

Thankfully, The Big Adventure is somewhat of a grower; both in terms of repeated listens and also the fact that it every track is an improvement on the previous, but it’s just not enough. ‘Summer of 99’ saunters steadily into something more substantial than anything it succeeds, whilst ‘Fractured City’ is a jolly-good jovial country-rock number with shades of Wilco present, but it’s all too little, too late, to create any optimism in what the rest of The Big Adventure has to offer.

The Big Adventure is not a bad album; in fact it’s perfectly listenable and has its bright points, though they are far too few and far between. It has some nice touches: sleekly multi-tracked vocals, a few delicate strings here and there, and a bit of brass which manages to liven up proceedings a tad. But these are all just too superficial. Regrettably, the vast majority of The Big Adventure is forgettable far too soon, akin to a rain-soaked bank holiday family day-trip to the coast and, despite some promise in certain cuts, it doesn’t actually garner any feeling that isn’t sheer ambivalence. This is an adventure certainly not worth booking holiday for, and a bit of a washout.


5/10

[Taken from Drowned in Sound]

5 July 2008

DiScover: An interview with Jacob Golden...


DiScover: Jacob Golden

Sacramento-born singer-songwriter Jacob Golden released his debut album Hallelujah World way back in 2002, but turned his back on music soon afterwards. It took a move to Portland, Oregon and the taking up of a full time job to convince him to return to music; the result is Revenge Songs, a record tinged with hope, sadness and Golden’s fragile words, released in October last year.

Since then he’s had his music feature on The O.C. and has appeared alongside Liza Minnelli and Sheryl Crow on Later…with Jools Holland. Not bad, really, for an artist whose ‘comeback’ album was recorded partly in a car park.




Revenge Songs is an obviously stark album title. Are the songs largely influenced by personal experience?

Yes. As a writer I'm of the school of writing about what you know. Music for me has always been about making sense of the world. There's been a lot of times in life where songs and music have been the thing that’s kept me going whether it was listening to Radiohead, early R.E.M., Daniel Johnston and the great thing about songwriting is it allows me to find a bit of personal catharsis. I don't sit down and say I'm going to write about this relationship per se; it's more like I live my life and these words and melodies bubble up from my unconscious like little snapshots of my experiences, and then I sort of string them together in a way that rings true to my ears.

Video: On A Saturday


After releasing Hallelujah World in 2002 you moved and started a full time job in Portland. When was the point where you realised you had to return to music?

I moved to Portland and was nursing a broken heart for quite a while. I had always felt a pretty full-on calling to make music, and to travel, and the things that I had dreamed about as a boy. At that point, after not really getting a reaction from my first album, I was very sad and I needed to completely clear my head of the whole thing. When I lived in Portland, no one knew me as a singer or knew anything of my past. I had a ‘normal’ job and I didn't sing or write songs for a year. At that point I started to really get into artists like Four Tet, Caribou, Aphex Twin, and Susumu Yokota and was excited about the idea of expressing emotions in music without words. I set up a studio in the basement where I lived, rented an old piano and slowly began to write again. After about a year I was ready to start travelling again and rather then spend months agonising over little details in the studio I did the opposite and started to take a much more documentary approach to recording and writing. I started to play little living room shows and moved around the States quite a bit. After a while I realised I had a collection of songs that I felt good about putting out there.

You’ve often eschewed recording in studios and opted for more ambient and unconventional settings, such as subterranean car parks and concrete art galleries. What do these places offer that a standard studio can’t?
I'm always on the hunt for interesting spaces. I like rooms that have a certain character, and when you put up a microphone there is an emotional resonance to the space. I’ve recorded in proper studios and sometimes that can be great because it's such a controlled environment – whatever you put into it is what you get back. It can be a real challenge recording outside, as the whole world around becomes part of the sound; having a roommate come home in the middle of a take or being chased off by a security guard while trying to record in a car park can be a tad frustrating, but sometimes you end up capturing something spontaneous and unpredictable.

Video: Out Come The Wolves

Are there any definite influences on the album? For me there’s a likeness, in parts, with Elliott Smith.
I have immense respect for Elliott Smith. I'm sure like a lot of songwriters he's weaved his way into my art. On this album I was really infatuated with ‘60s and ‘70s production; the warmth and the space in those records are very inspiring to me. I was listening to artists like Them, Big Star, America, The Zombies, and newer stuff like Songs of Green Pheasant and Joanna Newsom, albums that have an emotional tone to the record. I was also recording and producing The Battle of Land and Sea's record at that time, and that sort of timeless quality that's unconcerned with "will this work on the radio?" was a great mood to swim around in.

You played South By Southwest for the first time earlier this year, how was that? Did you manage to catch many shows when not performing?
To be honest I felt SXSW as whole to be quite overwhelming and overblown. There is a band playing in every little corner, most trying to be louder and cooler then the next, and there seems to be a very ugly quality to that whole "please sign me!" sort of thing. I did get out to The Black Keys and they were really great. Saw a bit of Kimya Dawson, but couldn't really hear her over the noise. My favourite experience was playing a show with M. Ward and Jim James at a church. It was pretty much the perfect environment for me. Allowing me to get very dynamic, and it really attracted a very ‘listening’ audience, which is best for me. I really enjoyed M. Ward’s set too. He really brings a great deal of integrity to his music and apparently couldn’t really give a fuck about the commercial side of things.

Was performing on Later… with artists like Liza Minnelli weird? Had you ever seen any Later… in the States at all?
Playing on Later… was a real honour and a completely surreal experience. I've watched Later… on my visits to the UK and have seen some fantastic performances on the show over the years. There really is nothing like it in the States. Our TV is so much more commercially minded that you would never have Radiohead and Mary J Blige on the same show. I think it's wonderful to mix it up like that. The show I was on was no exception. Playing next to Hot Chip, Liza Minnelli and Sheryl Crow... It was really like a cool and fucked-up dream. God bless the BBC!

You’ve played a few shows in the UK this year, and you sing “I want to sit and watch the girls in Soho Square, I fell in love so many times just sitting there” on ‘On A Saturday’. Is there a place in the UK which holds a place in your heart?
I still enjoy the rush of London, but as I've travelled more around the country I’ve learned to really appreciate the little out-of-the-way towns and country roads that still have that ‘Old English’ quality, before the shopping malls and chain restaurants that seem to be a nasty import from my country. The Lake District and anywhere you can get a pint of real local ale is good for me.

You sing “‘If I Had A Hammer’ was my mother’s favourite song” on ‘Pretend’. Did your parents influence your musical upbringing at all?
I remember my mum used to play The Mamas and The Papas records a lot at home. There was a lot of great old vinyl in the house and I distinctly remember the smell of pot smoke in the air and people strumming guitars. ‘If I Had A Hammer’ was one of the three songs she requested to be played at her funeral. She was a great woman and is a huge influence on why I make music and why I aim to do something a little bit less than typical with my life.

[Taken from Drowned In Sound]

Darren Hayman and Jack Hayter play Hefner songs @ The 100 Club, London

Darren Hayman/Jack Hayter @ 100 Club, London, June 14th


Darren Hayman playing a set comprised entirely of Hefner songs is a big deal, not just to myself, but to the few hundred others who descend upon a bustling 100 Club tonight. It presents a decidedly rare opportunity to see Hayman doing what he does best, the songs of Hefner; the self depreciating songs about masturbation, failed propositions to blind girls, and various ‘hymns’ dedicated to alcohol, and coffee, amongst other things. Okay, so there’s been various solo releases and other projects since Hefner’s de-facto split, such as the The French, and most recently the bluegrass quartet, Hayman, Watkins, Trout & Lee; but, Hefner are, well, Hefner… and to most fans, Hayman simply is Hefner; the heartbroken voice and lyrical lynchpin behind ‘Britain’s Largest Small Band 1996-2002’. Chuck in Jack Hayter for good measure and you’re halfway to the real thing.

The expectation and eagerness has been mounting to a level that is almost as unhealthy as some of Hayman’s lyrical content, so much so that even the mere sight of this indie geek god in relatively close proximity to the stage creates a pronounced rise in the gleeful anticipation. Unfortunately for those, like myself, who view Hayman as eternally bespectacled, the temperature inside means that this is a strictly ‘glasses off’ show. Illusions: not quite shattered.

Things open with a trio of Hefner’s more subdued tracks comprising just Hayman on guitar and vocals, with Hayter working the lap steel guitar; a combination which pulls upon many nostalgic heartstrings present tonight, as if Hayman’s voice on its own wasn’t enough. As soon as Hayman utters the lamentful opening lines “Don’t start me on the rum…” from ‘The Hymn For The Alcohol’, almost nobody -certainly nobody who actually knows the lyrics - can resist, at the very least understatedly, singing along. The on-stage banter is predictably jovial with Hayman and Hayter, who “love Hefner, love playing Hefner songs together, but are not Hefner”, understandably happy to be playing their most well-known material to such a favourable crowd.

The two former Hefner men are soon joined by two-thirds of The Wave Pictures, Franic and Jonny, who take up residence on the rhythm section as the tone turns buoyant. Hayman, as ever, awkwardly wields his guitar to the bouncy, bass-driven ‘The Hymn For The Cigarettes’ and the disgustingly frank ‘Hello Kitten’; seeing, and hearing, hordes of people, male and female, sing along to “I’m gonna make myself go blind tonight” is a surreal, but at all times delightful, experience. With The Fidelity Wars’ recent extended and expanded re-release, it is no surprise to hear so much of it on show, as over half of it is tonight.

To list many more highlights in any kind of detail would border on excess, as nearly every song is a gem, but ‘The Sad Witch’ sees Hayman’s voice pushed to its limit, and things are finally, after a slew of sing-alongs, rounded off with ‘A Hymn For The Postal Service’, where Hayman’s remorseful and painfully fragile voice carries as much weight as it ever has. The only negative of the whole performance: Hayman sporting a The French t-shirt. Bad form indeed, but it’s a minor offence which I’m sure most will overlook tonight.




9/10

[Taken from Drowned in Sound]


The Fly Tour @ Bedford Esquires

Tubelord, Ox.Eagle.Lion.Man, Johnny Foreigner @ Bedford Esquires, June 7th

And so, the ten weary and worn souls that make up Kingston’s Tubelord, black-clad doom merchants Ox.Eagle.Lion.Man, and the seemingly perpetually on-the-road Johnny Foreigner move onto the final date of the 2008 Fly tour after presenting their musical wares in Edinburgh, Leicester, Royal Tunbridge Wells and now a ‘not-as-busy-as-one-might-hope’ Bedford.

Tubelord, long haired and fronted by a pipe-thin bespectacled bottle-blonde boy, offer up feverish, jagged and choppy guitar riffs that aren’t far from Biffy Clyro. By all accounts, the heavy-soft-heavy / fast-slow-fast shtick is done well; not so well to warrant a full-on sing-along (though the few who know the words do) but enough to whet the appetite and tempt those toes into a tap or two. It’d be a bit of a push to label them in the ‘emo’ category as there is more to them musically than just the wailing atlanticised pronunciations. The best is saved ‘til last with‘Feed Me A Box Of Words’ being the highlight, incorporating some group chanting, more of those heavy-soft-heavy dynamics, layered melodies as well as a particularly remorseful melodica solo along the way. As is uttered on ‘Half Man Half Amazing’, “everything’s alright”.

Ox. Eagle.Lion.Man are an entirely different proposition to the other acts on the bill, and play music that is barely suited to this balmy evening and more suited to the depressing depths of some decaying hovel. Though Esquires might not be decaying, this dingy, dark, converted 19th Century chapel supplies an apt backdrop for the melodramatic proclamations of lead man Fred MacPherson, supported by legs as slender as the mic-stands with which he plies his trade. Suitably suited, all in black, OELM make music for manic-depressives and during the theatrical‘Fatherhood’ MacPherson writhes to the beat of his own drums earnestly with slight hints of The Birthday Party in his accompaniment. ‘The Drowned And The Saved’ ranges from the funereal to the frantic, with as much of a guitar solo as there will be tonight, descends, laced with overdrive and reverb into the darkness. Some witty fellow insists on heckling with “Are you Morrissey!?”in between tracks, but no, not even close.

Seeing Johnny Foreigner (who, one way or another, have managed to find time to record their debut album) in the flesh is always an assault on the auditory canals, and each time, they become more chaotic, though perhaps it’s just a little too chaotic tonight. Certainly, no favours are done by the PA, which, at this ear-splitting volume, leaves Alexei’s trademark Tourette’s style delivery of unintelligible words a little lost in the mire. ‘The End And Everything After’ is very much each musical component fighting for the same sound waves, but the melodic American drawl-inflected ‘Eyes Wide Terrified’ proves Johnny Foreigner are no one-trick-ponies. The banter is humorous, though such a year Johnny Foreigner have had it’s not surprising they’re a little bewildered with Alexei stating “This is a new song…actually, it’s not new anymore…er…this is a song”. ‘Suicide Pact, Yeah?’ is a barrage of brutality with Kelly’s piercing shrieks; but it’s a beautiful brutality.

It finishes in a surreal manner with Alexei, Kelly and Junior being joined by members of Tubelord, morphing into a six-piece; suddenly the number of sticksmen doubles, and a triumvirate of guitars emerges whilst Junior ups-sticks to take up backing vocals, culminating in a sound that is potent; like a freight train de-railing through your ears, ending with just enough time for Alexei to catch his breath, and the crowd theirs.


Tubelord 6/10

Ox.Eagle.Lion.Man 8/10

Johnny Foreigner 7/10

[Taken from Drowned In Sound]

Metronomy @ Bedford Esquires

Metronomy @ Bedford Esquires, Thu. 5th June
Recreating the sound of electronica live can go two ways: it can either be enhanced to the point of euphoria, where the audience, performers and venue become one in beautiful musical bliss, or the intricacies and nuances which are so pronounced on record can never be recalled live, leaving a very hollow feeling.

There is, as per usual, absolutely nothing doing with the support acts, who range from mildly mediocre to decidedly desperate. It would, however, be a massive crime not to include a few words on the two-piece electro-emo outfit Dream Sequence, who are, quite easily, the worst thing to permeate my eardrums since some Frenchman stitched a cat to his shoulder last year and became an entry for Eurovision. They sort of sound like Linkin Park vs Jay Z on Collision Course, but infinitely worse, indescribably so. Included tonight: an epically emo-tinged cover of Spandau Ballet’s ‘Gold’, several amusingly unfortunate crashes of the laptop (take note: when this happens 20 seconds in, it’s probably a sign), an Ibiza emo-dance ‘anthem’ and the peculiar sight of the lead singer seemingly trying to lose his sight by staring into the stage lights pre-performance. Absolutely bizarre…

Metronomy live are a different proposition to Metronomy on record. Utilising a more conventional set-up than might be imagined - guitar, bass, saxophone and melodica, as well as the more expected plethora of FX, drum machines and, naturally, a laptop. Poorly choreographed hand salutes and what could be very loosely termed as dance moves make an appearance; they aren’t entirely necessary, much like the push lights which hang from their necks over black t-shirts, but somehow, it works.

Showcasing as much material from 2006’s Pip Paine (Pay The £5000 You Owe) as from their soon-to-be-released full length Nights Out, Metronomy can sometimes sound like a hotchpotch of unusual effects and beats thrown together arbitrarily, slightly reminiscent instrumentally of Devo; but when it all fits together, which is by no means all the time, it just sounds right. This much is blindingly obvious from the off when ‘My Heart Rate Rapid’ opens, metronomically enough, at 130bpm or so with a brilliantly casual bassline pitched against ear-piercingly sharp synthesised wails. On ‘Radio Ladio’ Joseph Mount’s vocals are the epitome of laidback cool, and it’s safe to say there can’t be much which sounds so cheap and yet so great, before things take a turn into Nintendo-nightmare land with ‘Let’s Have A Party’; cue much rigid, robotic move-busting from Metronomy’s mainman, Mr Mount.

The barrage of effects, processed vocals and countless other phasers and sequencers (which often sounds like several ‘80s sci-fi soundtracks all playing in unison) can be a tad overwhelming and faintly repetitive at times, leading to a sense of sonic confusion, but a welcome change of tone and pace is offered by the melodica-led ‘Black Eye/Burnt Thumb’ and the Kraftwerk-like ‘Back On The Motorway’. Those present are teased into near electro orgasm by a thumping and vigorous rendition of the punky, power-chord driven ‘Roobard and Custard’ theme tune-esque ‘You Could Easily Have Me’. Cue even more robotic dancing, this time from the adoring revellers.

Sure enough, Pip Paine… might have been inconsistently good, with not enough emphasis on the melodic, but in the flesh Metronomy provide a soundtrack which overwhelms, and places you within the music, actually feeling it rather than simply hearing it.


8/10


[Taken from Drowned In Sound]

23 April 2008

Wild Beasts @ Bedford Esquires [17.4.2008]

Wild Beasts @ Bedford Esquires, April 17th

Mint cake and, erm, three quarters of British Sea Power are probably the two most noteworthy exports of Kendal, but Wild Beasts could soon be added to that very short list. Playing to what could only be described, euphemistically, as a “select audience” (Esquires must’ve been busier than this when Los Campesinos! did their soundcheck…), Wild Beasts certainly aren’t the epitome of ‘indie cool’. Virtuoso vocalist Hayden Thorpe plays his guitar at a near neck-strangling height and sports trousers jacked up with braces to ankle level whilst wearing a pencil thin, barely visible moustache above his top lip. Wiry guitarist Benny has a perfectly sculpted angular quiff and the now seldom seen turtle neck. When you sound like Wild Beasts do, such sartorial matters are utterly insignificant.

After the obligatory local support bands, playing almost entirely to their friends, the time for Wild Beasts to do their thing cannot come soon enough. As set-opener ‘Vigil’ kicks in via a slinky bassline, Thorpe stands pigeon-toed and switches so effortlessly between a gravelly growl and unfaltering falsetto.

Rather unfortunately for all involved, the crowd of twenty something twenty-somethings disperses to the edges, which leaves the performance feeling less like a gig and more like an open band practice. Not ones to be fazed, they rip through the spree of amusing lyrical wordplay that is ‘Assembly’. Thorpe wails operatically, “My top’s off, I’m a goose pimpled god / I’ll quiver the jellies of every heavy and every bully that I might cross” to a faint tinkling of the ivories, whilst bassist Tom’s tenor tones prove the perfect partner for Thorpe’s falsetto.

‘Brave Bulging Buoyant Clairvoyants’ is without a doubt the highlight, in which Thorpe changes hastily between absolute orgasmic vocal ecstasy and brief infantile bawls while rhythm guitarist Benny pecks his neck like a chicken in time with an incessantly struck woodblock. The few scattered souls present are as appreciative as the band is apologetically thankful between tracks. The ethereal ‘Please Sir’, ‘Woebegone Wanderers’ and the surreal duet between Thorpe and Fleming that is ‘The Old Dog’ are all of a less chaotic disposition and they certainly wouldn’t sound out of place in the West End. Not that out of place, anyway. Similar could be said for the set finale, the more minimalist ‘Cheerio’, no more so than during the chanted chorus of “Cheerio chaps, cheerio” which is strangely reminiscent of Vera Lynn’s ‘We’ll Meet Again’.

There certainly can’t be many bands quite like Wild Beasts, with such peculiar lyrical content that isn’t a million miles from Morrissey, and it is nigh on impossible to place them into any sort of identifiable genre. It’s understandable why Wild Beasts aren’t everyone’s brew of choice, and Thorpe’s voice may be as grating to some as astounding to others, but, despite the Beasts’ best efforts, the lack of turnout leaves this a much more tame affair than it otherwise may have been.


7/10


[Review taken from Drowned In Sound]

7 April 2008

April Reviews...an absolute shedload.

Angus and Julia Stone: A Book Like This (31.3.2008 on Flock)

The spectre of middle of the road blandness is one which sadly looms over much of today’s music, especially in the genre of folk. Now, artists like Newsom, who exude originality and innovation from every avenue, aren’t too common. It’s precisely because they are so outlandish yet still brilliant that they are held in such high regard. There are some artists who push the benchmark to extremes, and those who are happy to lie safely within the boundaries. Sadly, Antipodean brother and sister duo Angus & Julia Stone fit into the latter category.

It’s not that 'A Book Like This' is a bad album, in fact it’s quite nice. But nice isn’t necessarily a good thing, in this case it’s a euphemism for uninspiring. Aptly enough, part of this album was recorded in the living room of a front man from a band who were very nice indeed; Travis. The remainder was recorded in the basement of the home of their mother, whose niceness is yet unknown.

Throughout 'A Book Like This', the better moments come from the throat of Julia, whose childlike voice is somewhat reminiscent of early Joanna Newsom and that other sibling-folk duo, CocoRosie. Angus’ voice just doesn’t carry enough clout. As the album opener 'The Beast' bounces along, it’s just begging for a more distinctive voice, something a little less neutral, not necessarily a Condon, but something infinitely more raw and rasping than Angus can provide.

The production, partly done by Fran Healy, is unerringly first-rate throughout, with some pleasantly twee glockenspiels appearing on 'Hollywood', where Julia offers an endearing vocal performance, despite some slightly cliché lyrical content. A harmonica solo is thrown in on Angus led 'Just A Boy', which is one of those old fashioned tales of love. The poignant 'Silver Coin' has a steam engine like drumbeat which keeps the track chugging along at a steady pace, but by the time the carefree 'Stranger' appears, you feel this album has only just left the station.

There are tracks on here which are much darker in mood, reminiscent in so many ways of Damien Rice’s 'O', none more so than the title track, where some dramatic acoustic work is backed by a prominently sombre string section. Penultimate track 'Another Day' has more than a hint of Beirut; from the waltzing piano to the slow, slurring brass, something which adds a much needed extra dimension to 'A Book Like This'.

'Horse and Cart', the album finale, is a four-and-a-half minute swagger towards the finish line, which sees an all too brief clarinet solo, as well as some bright and breezy group whistling and hand clapping on display. On the whole, 'A Book Like This' is not a bad effort from Angus & Julia Stone, but it takes far too long to get into gear. The opening four or five tracks are just too nondescript and innocuous to provoke much of a reaction. Thankfully, the album improves remarkably as it progresses, particularly when the mood changes for more melancholic. There’s enough promise in 'A Book Like This' for us to hope that Angus & Julia can fulfil their potential, and not be consigned to the endless scrap heap of folk-rock dullards.


6/10

[Review taken from Gigwise]


iLiKETRAiNS: We Go Hunting (21.4.08 on Beggars Banquet)

Annoyingly titled post-rockers from Leeds in song about historical event shocker. Or not. iLiKETRAiNS’ music thankfully does not suffer despite their oddly styled name (just which part do you emphasise?!) or unusual lyrical subject matter. With vocals that are so broadly and profoundly delivered, songs about anything other than The Great Fire of London and the assassination of Spencer Perceval would seem, well, a little bit insincere.

'We Go Hunting' may only be 3:25 long, but it needs to be longer. Full of the characteristic cathedral like ambience which so marks iLiKETRAiNS sound, this track moves from a sorrowful opening to a harrowing chorus and is laced with talk of demons; which is unsurprising for a track about the Salem Witch Trials.

Guy Bannister’s vocal style does verge on the outrageous at times, but his dark tones are perfect for iLiKETRAiNS’ sinister and gloomy choruses.

The chorus itself falls into a black-hole of misery, where the lyrics “If the demons divide, the demons will conquer/if you give them an inch, they’ll take a mile” are sung so mournfully it’s scary.

'We Go Hunting' is simply begging to be extended with an extra verse or two, another interlude, an interminably long outro perhaps, but sadly none of these happen and it fades out at 3:25, much to my disappointment. That said, if you buy only one Salem Witch Trial themed single this year, this should be it.

7/10

[Review taken from Audioscribbler]


Essie Jain: We Made This Ourselves (31.3.2008 on Ba Da Bing)


Listening to New York based English songstress Essie Jain’s debut album, 'We Made This Ourselves', you are unlikely to be blown away by a powerful and coruscating virtuoso vocal performance, simply because there isn’t one here. Nor are you likely to be hit by grand orchestration, because you’ll only find chamber-folk minimalist styling. The beauty of 'We Made This Ourselves' is in the simplicity of the arrangements; it uses only the number of instruments it needs to use, no more, no less.

Opening track 'Glory' gives a real taste of what this album is about. With not much more present than Jain’s soft, soothing vocals and a sparsely strummed acoustic guitar for accompaniment, this track is beautifully bare. From the moment the opening lines of “How I will rise up from the waters where I’ve drowned” emerge, 'Glory' floats for four minutes like a feather on the stillest of country streams. Haze sees Jain’s evocative vocals multi-tracked hauntingly, culminating in the brass-backed crescendo of a chorus where Jain proclaims “I am right behind you” over and over, almost forcefully, until it rather unexpectedly ends.

Jain’s vocals are certainly distinctive, almost operatic in some places, and smoke-thin in texture. Every lyric is sung sincerely and unhurriedly, no more evident in 'Sailor', where the lament laden backing is provided by a solemnly played string section, which proves the perfect partner for Jain’s melancholic lyrical matter throughout much of the album.

'Disgrace' offers a welcome change of disposition from Jain, being somewhat more upbeat musically, with some neat percussion provided by the prolific former Dirty Three drummer, Jim White. Despite the change for a more musically jovial tone, Jain helplessly proclaims that she “can’t help but think it’s all our fault, can’t help but wait for the lightning bolt”.

Perhaps the standout track on the album, 'Loaded', Jain offers yet more delicately delivered words, on a track which ends on a powerful emotional note with the promises “I will drag you, I will hold you, I will pull you, I will slide you, I will leave you on the stair”.

'We Made This Ourselves' is a record which fits together superbly, up until the detuned finale of 'No Mistake', in which a slide guitar creeps in so quietly it is almost unnoticed. It is a debut which should quietly announce Essie Jain to the world, with an album which is as beautifully simple as it is simply beautiful.


8/10

[Review taken from Audioscribbler]


28 March 2008

More reviews...28/3/2008

The Seal Cub Clubbing Club: May (24.3.2008 on Boon[e] Recordings)

Before listening to the amusingly named Seal Cub Clubbing Club, you do wonder whether this band is going to be a waste of a great name. Thankfully though, the Merseyside five-piece appear not to be one of those artists where the name is undeniably better than the music.

‘May’ starts abruptly but quietly enough with melodic but near unintelligible vocals backed by the softest of delicate drum beats and wolf-like howls of “yahooooo”. The track then spirals into a combination of yet more incoherent frenetic ramblings, high pitched vocals verging on falsetto set against a fast-paced rock solid rhythm section, reminiscent of iForward Russia!. It all ends with some seriously potent rock riffage before fading out to the same delicate “yahoos” which permeate the intro. Backed by the haunting and sparse 'Tin Drum' as a B-side, The Seal Cub Clubbing Club may have a mouthful of a jokey name, but their music is far from laughable.


7/10

[Review taken from Gigwise]

The Whip: X Marks Destination (24.3.2008 on Southern Fried Records)

The Whip are one of those bands which you'll probably either love or hate. Or love to hate. Or just hate.

If you're into your electro-pop-dance acts, the chances are you might like the Manchester quartet, with influences ranging from the Madchester scene but with some much more gloomy and dark musical elements. If though, you are easily irritated by silly synthesisers and bands who appear to just use effects seemingly at random then you'll probably rather flog yourself with a cat-o-nine tails than listen to this.

Album opener
'Trash' kicks off proceedings with a kick drum beat followed by some seriously sinister fuzz-bass and plenty of electronic percussion marked with metronomic precision. The track then builds to a climatic chorus in which lead man Bruce Carter proclaims "I wanna be trash!" with ultra raw coolness.

Sadly though it's downhill fast from there as
'Frustration' is just far, far too heavy on the synth and is probably two and a half decades too late.

'Fire' is a better effort though, a dirtier and grimier booming bass driven track, a style which definitely suits The Whip, and my ears, better.

'Save My Soul' and 'Sirens' are two of the blandest most boring tracks imaginable which meander aimlessly and 'Divebomb' is just five minutes 39 of interminable arbitrary electronic noise which is probably the electro equivalent of heavy metal self indulgence.

The vocals are perhaps the one redeeming feature of
'X Marks Destination', but the production and poor use of electronic instruments just overpowers everything else on this album, and it's hard to find any other creditable features, no matter how hard you look.

3/10

[Review taken from The Scene @ Beds on Sunday]

24 February 2008

As many of you might know, I can sometimes have a bit of a short fuse, and it doesn't take much for me to get incensed about something! One such incident came whilst watching Top Gear, featuring Simon Cowell. Now, I'm not going to devote much time to the odious little s**t, but to cut a long story short, he was banging on to Clarkson about how his taste in music was exemplary, and how his job was really hard. Has he never watched his own show? It revolves around him telling a group of karaoke singers how good/bad/terrible they are, and if he does happen to think they are good, then they might one day get to release an album of Westlife covers. I honestly don't know how I would cope with such a hard job as that - but I'm sure a swim in my pool full of money would calm me down.

Well thats enough talk about Cowell - even thinking about his ridiculous haircut gets me riled. I've developed a bit of an obsession with the KLF this week folks, I don't know where its come from but I think the fact that Bill Drummond fired blanks into the audience at the 1992 BRIT awards, and then subsequently retired from the music industry might have something to do with it! The KLF have made some house music that I actually like - for educational purposes see the album 'The White Room' for all the big hits. They also did an excellent chill out album called, er, 'Chill Out', which sounds exceelent at 4am!

In other news this week, my award for 'Most Irritating Band on the Planet (currently) goes to the Feeling - I'm just happy if I can go through a day without having to listen to them on the radio, or see an advert for their shitty album!

A short rant this week, but I'll be back soon with more scathing criticism. I'll leave you with my playlist.

James Welbourn - 'All bound for mu-mu land.'

Playlist (Band/Song/Album)

The KLF - Justified and Ancient - The White Room
Madness - Michael Caine - Keep Moving
Miles Davis - Mystery - Doo Bop
Zero 7 - Destiny - Simple Things
The Cure - Fire In Cairo - Three Imaginary Boys
Kyuss - 50 Million Year Trip - Blues for the Red Sun
The Buzzcocks - Raison D'Etre - Singles Going Steady
Stevie Wonder - I Don't Know Why (I Love You) - For Once in My Life
The Descendents - Tony Age - Milo Goes to College
PJ Harvey - Good Fortune - Stories From the City, Stories From the Sea

18 February 2008

Los Campesinos!, Johnny Foreigner, Sparky Deathcap @ Bedford Esquires, 12/2/2008

The atmosphere in Esquires is sober with anticipation both before and after the reverb-and delay laden performance of Sparky Deathcap, whose raw and remorseful vocals are delivered to a crowd who clearly warm to his howls and finger-picked electric folk as the set progresses. His creative use of a sampler did seem to leave some members of the crowd a little nonplussed, however. Sparky howls and bawls his way through a set of melancholic numbers, reminiscent of Will Oldham’s incarnation as Palace Music on Arise Therefore, though you get the feeling that he feels slightly out of place on this bill.

Frenzied just isn’t a strong enough word to describe Birmingham trio Johnny Foreigner’s music. Chaotic comes close. Manic? You’re getting there…Los Campesinos! May be the seven-piece on the bill tonight, but as soon as Champagne Girls I Have Known” bursts from the PA, you hear a band whose sound is far more raucous and ear-blowingly powerful than from your average three-piece. Johnny Foreigner are far from average though.

Bassist Kelly, who tonight looks akin to a rock ‘n’ roll little red riding hood, and frenetic front-man Alexei exchange vocals like two kids warring in the playground, while drummer Junior provides near flawless fast-paced stick-work from the back.

“Sofacore” provides a climax to this startlingly energetic set as Alexei’s guitar is flayed around as freely as his fringe, Junior ups the tempo on the skins, and Kelly is Deal-esque on bass. Another typically trademark whirlwind performance from Johnny Foreigner tonight, which feels like it’s over as soon as it’s started, but one which is loaded with tonnes of substance and promise.


The minute stage leaves Los Campesinos! looking slightly like a bizarre identity parade, with guitarists Neil and Tom morphing into Siamese twins joined at the hip, and everyone else finding space wherever they can.


You wonder how well the Los Campesinos! sound will translate live, using a melodica and glockenspiel in their heavily layered compositions, but, except for some vocals being on the quiet side, the sound is pretty much bang on. The delivery of each clink and frenetically uttered lyric is as tight as the duck’s proverbial with barely a beat out of place.

Lead-man Gareth’s performance is as sharp as his haircut as they scamper through “Broken Heartbeats Sound Like Breakbeats” and then merrily skip through “Please Don’t Tell Me To Do The Math(s)” and “Death To Los Campesinos!” to the delight of the crowd, who handclap and finger snap their way along gleefully.

“You! Me! Dancing!” is a six-and-a-half-minute opus with a chorus that switches between excitable exclamations and the most regretful lyrics about dancing since George Michael sang about his guilty, rhythmless feet. Los Campesinos!’ impressive performance climaxes with the brilliant “... And We Exhale And Roll Our Eyes In Unison” before launching into an hyperactive rendition of “Sweet Dreams, Sweet Cheeks” which has the crowd in a chorus of even more handclaps and some excitable moves on the dance floor.


No sign of an encore, but Los Campesinos!’ creative variety of indie-pop leaves me, unable to resist at the very least joyfully whistling their infectious choruses as I exit onto the streets. On the back of this performance this may be the last time they play
Bedford, but I think we’ll be seeing a lot more of Los Campesinos! in the future.



SPARKY DEATHCAP 7/10

JOHNNY FOREIGNER 8/10

LOS CAMPESINOS! 9/10

[Review taken from Drowned in Sound]

7 February 2008

Lightspeed Champion @ Bedford Esquires 2/2/2008

Luke


Lightspeed Champion @ Bedford Esquires

2nd February 2008

£6

In the week where he was plastered on the cover of the NME and appeared as panellist on Nevermind The Buzzcocks, you’d be forgiven for assuming that being chased through the streets of Bedford whilst outside a popular Portuguese themed chicken restaurant was clear evidence of Dev Hynes’,(aka Lightspeed Champion) rapid rise to stardom. However, as would have become startlingly obvious to Dev and his backing band, they weren’t after a picture with the ex-Test Icicle, or even an autograph…

Though Hynes’ fame has not quite hit the levels of being chased around town centres by screaming, adoring adolescents, his all-round appeal is clear to see with a few members of the sell out crowd wearing deerstalkers in tribute, something which amuses Hynes when he spots them being waved in his direction from among the masses.

Hynes certainly cuts an unusual figure as he walks out onto the tiny Esquires stage, complete with a harmonica, used live for the first time, despite his fears that an association would be made with politics and protest songs.

The set opens with the melancholic yet melodic “Salty Water”, working as a prelude to the four- minute crescendo that is “Dry Lips”. By the time Hynes wails “Tell her I give up” the crowd are bopping along. It is at this point that the harmonica is discarded from Hynes’ musical accoutrements, putting to bed any hopes or fears of Dylan’s “Blowin’ In The Wind” appearing in tonight’s setlist.

“Galaxies of the Lost” produces what is as close to a “lighters in the air” (or should it be camera-phones in the air nowadays?!) moment as you’re likely to get tonight, though it does fall short of getting every member of the crowd to sing along and wave their arms in the air, sadly.

Hynes sweeps through the set with real purpose, playing almost exclusively tracks off the album, though the time is taken to air a new track to the crowd, amusingly written from the perspective of a Brazilian hooker. The set ends with the ten-minute epic “Midnight Surprise”, which builds block by block until it reaches a self-proclaimed “Gary Barlow moment” half way through, with Hynes lamenting lyrically, with just a keyboard for support. A colossal conclusion follows, featuring a feedback laden guitar solo and a frantic fiddler seemingly in danger of self-decapitation from his bow.


I’m not sure how many encores will be played on Lightspeed Champion’s first headline tour, but the crowd tonight wants one, though they don’t seem entirely certain that they’ll get one, but they carry on nonetheless. Hynes eventually returns to the stage, unsure of what to play. The harmonica hasn’t made a return, so “Blowin’ in the Wind” still looks out of the question. An apology is made in advance about butchering the song about to be played, but you almost feel a collective grin grow on the faces of the crowd as he belts out Weezer’s “Buddy Holly”. He may not look like Buddy Holly, and the violinist looks nothing like Mary Tyler Moore, but quite frankly, with a performance like tonight backing up a solid debut album, I don’t care about that.


8/10


[Review taken from Drowned in Sound]

4 February 2008

Pink Bloody Floyd

James

Welcome to mine and Luke's blog, where we chat general shit about music old and new, and what has really narked us about the music scene in the recent past. I can't speak for Mr Slater, but during my posts there will be much reference to how much of a knob I think Paul Weller is, along with general hope that Sting will finally realise that he should never make another record, and should also apologise for his back catalogue. Personally, I think he should apologise for that sickening bit at the end of the 'Rise and Fall' video where he touches Craig David, but I digress.......

The subject of today's discussion is Pink Floyd. Now, for me, they are one of the most overrated bands in history, what with their 13 minute songs and their general overuse of the effects pedal. I will begrudgingly admit that they have had their moments; the Syd Barrett era, and the only song I like, 'Great Gig In The Sky' (which incidentally showcased the talents of Clare Torry rather than the Floyders), but in the main the songs were overlong and signified for me all that was wrong with prog.

The worrying thing for me is that I am being overwhelmed by Pink Floyd fans. I can't take it anymore - my arguments are falling on deaf ears! I would actually prefer to tan my own testicles than have to listen to a single minute of 'Shine On You Crazy Diamond' - for me it really is that bad! For anyone who is unsure of whether they like Pink Floyd, just listen to 'Division Bell' - that should put you off for good.

In other news, Lincoln played host to the Cribs tonight at the Engine Shed. To quote the words of Noel Gallagher's apology to Damon Albarn and Alex James after the 'AIDS' affair, "whilst not being a fan of their work, I wish them a long and happy life." As you can probably tell, I'm not a Cribs fan. Neither am I a fan of the Kooks, another band due to play my home city very soon. Needless to say, I won't be going to see the grammatically challenged, curly-haired public-school knobjockeys when they play, however this is a sign that Lincoln is getting big acts. I just wish it would get some big acts that I like! I feel like I'm being punished for buying that Alanis Morrisette album when I was 12 by being forced to listen to an eternity of middle of the road indie bands. Hopefully Boards of Canada will answer my call and play Lincoln soon....

Finally, one more feature that we aim to do as part of the posts is a daily playlist. This will comprise of the artist/song/album. Hopefully we will BOTH provide one! Here is todays, and thanks for listening. Until next time....

ARTIST SONG ALBUM
Radiohead Nude In Rainbows
Youngblood Brass Band Culture:Envy:War Culture:Envy:War
Madness Bed and Breakfast Man One Step Beyond
The Shins Australia Wincing the
Night Away
Charlie Rich Behind Closed Doors Behind Closed Doors