Monday 17 November 2008, 11:34 | By

Single Review: Fat Freddys Drop – Pull The Catch (Kartel)

Single Reviews

Fat Freddys Drop

New Zealand may be more famous for Hobbits, the Finn brothers and folk comedy duos than beat-heavy, jazz-tinged reggae that drips in hip-hop influences, but Fat Freddys Drop (that missing apostrophe is their fault, not mine) offer up a single that may force you to reconsider that. If you notice it, that is. Conceived on a fishing trip in the idyllic South Island of their home country, ‘Pull The Catch’ bobs back and forth naturally, with a relaxed tone and lazy brass to match the sun-washed setting. There’s a monotony to this though, and it’s hard to see where the hook is, mainly because the pace rarely picks up. Oh, and the vocals are all too easy to lose interest in. Its self-indulgence may appeal to fishermen on lazy days in New Zealand, but I suspect few people in other settings would care. TM

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 17 November 2008, 11:33 | By

Single Review: Duffy – Rain On Your Parade (Polydor)

Single Reviews

Duffy

The blue-eyed soul songstress is back with yet another Lulu-esque track – big on the strings, big on the vocals, and big on the “I ain’t never gonna let you hurt me again, ya hear?!” lyrics. Pairing up again with songwriting partner Steve Brooker (who was behind Duffy’s previous massive hit ‘Mercy’), the Welsh singer returns to vintage form. Which does make part of me wonder if there’s a bit of a fixed formula to a good Duffy track, making her a bit of a one trick pony. ‘Rain On Your Parade’ definitely sticks to that formula – the beat is achingly familiar throughout. But then again it’s a good formula, and therefore a good trick to have. Let’s not forget just how good a song ‘Mercy’ actually was – ‘Rain On Your Parade’ may sound extremely comparable, but that means it’s a well crafted and well sung pop song that is only destined to do well in the charts. TW

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 17 November 2008, 11:29 | By

Single Review: Dr Slagglebury – Tuc Into The Tar! (Crash Records)

Single Reviews

Dr Slagglebury

Dr Slaggleberry are the kind of math-rockish stoner metal-hardcore band that you don’t mind your chumpy friend who is too old to go to Reading but loves the metal too much playing in the car. There’s weird time signatures and a little bit of Butthole Surfers meets Mastodon guitar love. I thought it was going to be more scary and weird, but they are probably fearsome live. Recorded live for John Kennedy’s Xfm X-posure show, it has a charming low quality edge that brings charm to the vociferous fret attack and hardcore drums. The best song is ‘Tails Of The Blind Donkey’ which jumps around like a hyper kid – like the hyper kids of Rolo Tomassi, perhaps – making growl riffage over rhythm changes, but which then has a chilled out bit (low point alert) that it follows up with even harder stupid riffs. Clever, but wilfully dumb; nonetheless, quite good. PG

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 17 November 2008, 11:19 | By

Single Review: Conor Oberst – I Don’t Want To Die (In The Hospital) (Wichita)

Single Reviews

Conor Oberst

Conor Oberst, the man with his fingers in seemingly all of the Americana alt-country pies, is perhaps best known for his (veteran) emo-kid friendly folk shenanigans with his Nebraska-based band Bright Eyes. His newest project, Conor Oberst & The Mystic Valley Band, is his long-awaited return to solo work after thirteen years, and lo-and-behold, our pale little indie kid of old has gone all Johnny Cash on us. Not that the vintage country sound was ever lost on Oberst’s previous work, but with ‘I Don’t Want To Die (In The Hospital)’ it is more focused than ever before, with a distinct punchy piano melody that sounds a hell of a lot like pal M. Ward’s bluegrass-tinted work. Catchy and ironically cheery, this self-confessed “jailbreak song” is a definite shout-along piece of mastery that perfectly showcases Oberst’s unique, warbling vocals and ability to prove himself as the chameleon king of US indie. TW

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 17 November 2008, 11:17 | By

Single Review: Asobi Seksu – Me & Mary (One Little Indian)

Single Reviews

Asobi Seksu

Historically, New York City is one of the greatest places to find the best underground music scenes. It boasts Andy Warhol’s old haunt Studio 54 and has been the birthplace of a long list of brilliant and innovative bands, from The Velvet Underground to more recent outfits like The Yeah Yeah Yeahs and The Misshapes. And that’s before we mention the ongoing reproduction and conception of some of the best noise-rock bands of recent years. Asobi Seksu have been releasing for just four of those; their sound is reminiscent of The Cocteau Twins and similar to that of neighbouring NYC-based band Blonde Redhead. ‘Me & Mary’ is a smattering mix of noisy guitars and haunting vocals from frontwoman Yuki Chikudate, and is everything you would expect from a band who have near perfected the shoegaze sound of old. A little on the predictable side but pleasant to listen to nonetheless, this is a promising taster of the band’s third studio album which will be released next year. TW

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 17:02 | By

Eddy Says: Hello, What Am I Doing?

Eddy Says

Eddy Temple Morris

I love the Remix Update, it represents a true community (I look at it as a family) tied together by a deep love for the same kind of music, and I’m always very grateful that anybody listens to the show and/or likes what I do as a DJ/radio host or producer. So starting now, I will endevour to write a little something down in this space especially for you, on a weekly basis.

It could be a tip or a highlight of something on the show, or a bit of gossip (as soon as I hear the new Prodigy album for example, I’ll tell you about it), or a rant, or a biggup, or a preview of a gig or a festival or an answer to a question that I get asked a lot. Questions like “What happened to your show on MTV?”, “Will you do telly again?” and “Are you touring with Pendulum anytime soon?”

I’ll begin with one of these questions: “What’s going on with The Losers?”

Well, my production and remix partnership with Tom Bellamy – the pin-up one from the best looking band in indie rock ever, The Cooper Temple Clause – has blossomed into a debut album and a live show.

A few of you will have seen the first ever live show at this year’s Secret Garden – the Infadels present loved it and said they want to take us on tour! A few more of you may have seen us support Evil Nine’s excellent live show last week in Hoxton – we got some lovely feedback, thank you. There’s some more dates upcoming, details on which below.

We’re playing our cards close to our chest regards the album, and have not let any music get out, but the time is fast approaching when we feel able to slowly bleed some tracks out onto the internet, probably via www.myspace.com/losersuk – we just want to get the page looking sexy first (can anybody help us with this?).

Single one will be ‘No Man Is An Island’, basically one of those list songs, written in rhyme, going through all the “losers” we love. Losers, in the sense we use the word, are “beautiful losers”, the underdogs of the world, the opposite of that over eager, very American “we are winners, we are number 1” mentality. Losers are people who don’t have their lives and their happiness depend on the outcome, but are happy in the simple taking part.

I debuted the track a couple of weeks ago, late at night, when a nice student from Cheltenham requested the Midimidis Rhysmix – which i didn’t have – so I played the Losers track by way of an apology. The single will come with remixes by Utah Saints, Grum, and Tobias Doppelganger. Not sure what label yet, but watch this space.

Sorry to go on, hope you find this column in some way interesting. I’m sure the nice guys at CMU will love any feedback you give, I know I will.

Live, love, work, sleep, play, and create hard, and thanks again for keeping the faith.

Love and respect,
Eddy
x

Eddy Says from this edition of the CMU Remix Update.

READ MORE ABOUT: |

 

Monday 10 November 2008, 14:03 | By

EP Review: Violens – Violens EP (Deadly People)

Single Reviews

Violens

This is their very first EP, but already it’s obvious that Violens are wise beyond their years. With vocals that sound like The Shins doing their best Depeche Mode impression, and tracks that that embrace swirly sixties psychedelia whilst keeping a spring in their step, this four piece sit nicely between several very different genres, yet in doing so sound asserted as to their identity. Scuzzy guitars drive tight CS&N harmonies headlong into expansive choruses but the results always seem to be steered by obvious songwriting skill and confidence. It’s not hard to see why this band have been picked to support MGMT this month, their quirky indie-pop should sit nicely with fans of the headliners. ME

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 13:59 | By

EP Review: Styly Cee & Cappo – The H-Bomb EP (Son Records)

Single Reviews

Cappo

The Nottingham hip hop scene is one of the most under-appreciated music scenes in the UK and is long overdue some proper recognition as one of the most creative and innovative hubs of the genre in the world. As a rapper, Cappo is untouchable, a man who has a vast back catalogue of classic tracks, including my favourite hip hop track of all time, ‘The Looniest’, and can easily silence any remaining naysayers with his outstanding ability to freestyle live for hours on end. Teaming up with Styly Cee, another mainstay of the Nottingham scene, the pair have created this stunning EP, with an old school hardcore vibe. Using an excellent collection of heavy beats, funky guitars, fucked up strings and devastating vocal samples, including brilliant use of Jimi Hendrix on ‘Time Will Tell’, Styly has created the perfect complement to Cappo’s heavy-accented, razor sharp flows. For these tracks, they’ve headed back to a fork in the hip hop road where everyone else went off in a different direction and prove that there was still plenty more to be explored down this route. AHM

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 13:55 | By

Album Review: Mika – Live At Parc Des Princes (Universal/Island)

Album Reviews

Mika

Some people love Mika because he’s a little bit mental. Others resent him for that. Proving that there’s strength in numbers, the former of the two camps showed up in their thousands – fifty-five thousand, to be exact – to watch the eccentric falsetto in question play his biggest concert yet at Paris’ famously gigantic Parc Des Princes stadium. Like a cross between ‘Moulin Rouge’ and Tim Burton’s version of ‘Charlie & The Chocolate Factory’, Mika’s show is a visual feast of colour and oversized set-pieces, from the inflatable drink cartons rolling all over the crowd to the clowns-on-stilts ambling across the stage – there is nothing boring to look at. Mika runs through all of the familiar hits that saw ‘Life In Cartoon Motion’ sell millions and, as the concert itself lasts for nearly an hour and a half, manages to slip in a few surprises too, including an unpredictably fantastic cover of Depeche Mode’s ‘Just Can’t Get Enough’. Other highlights include Mika’s easily best song to date ‘Happy Ending’, and the two (yes, two of each) versions of ‘Relax (Take it Easy)’ and ‘Grace Kelly’. And that’s not even counting the brief interludes of surreal circus performances while the star of the show slips off for many a costume change. Like Kylie’s famous (and famously expensive) ‘Showgirl’ tour, Mika’s one-off show is a must-see for die-hard fans (and perhaps die-hard fans only). DVD extras include a Making Of documentary and a live performance of ‘Grace Kelly’ on Jools Holland’s ‘Hootenanny’. TW

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 13:49 | By

Album Review: Vessels – White Fields & Open Devices (Cuckundoo Records)

Album Reviews

Vessels

Post-rock is not the easiest genre to break into. Many have tried over the years, and most have stumbled at the first hurdle – failing to bring something new to the epic loud-quiet-louder formula laid down by the likes of Mogwai and Explosions In The Sky. Some don’t have the talent, others just don’t have the imagination. Thankfully, Vessels have both in spades and, with their debut album, have not only managed to elbow their way in amongst the other bands in the genre, but have pushed straight past them and begun dictating new rules.

Having always worked first on writing music to form part of the most engaging and exciting live show possible, as anyone who witnessed a stunning CMU Social performance earlier this year will know, the band took this collection of room-filling songs to Minnesota and charged legendary producer John Congleton (Explosions In The Sky, The Polyphonic Spree, Modest Mouse) with the task of containing them within a recording without losing any of that power. Not an easy task, certainly, but one he and the band succeeded in pulling off, in order to create ‘White Fields & Open Devices’.

With math-rock influences a plenty, complex song structures and irregular time signature changes, they have recorded one of the most exciting albums to be released this year. From the thrilling heaviness of tracks like ‘An Idle Brain & The Devil’s Workshop’, or the single, ‘A Hundred Times In Every Direction’, to the sublime, piano-led ‘Yuki’, this album is simply flawless. AHM

Buy from iTunes
Buy from Amazon

READ MORE ABOUT:

 

Monday 10 November 2008, 13:46 | By

Album Review: Trost – Trust Me (Bronzerat Records)

Album Reviews

Trost

It’s a very apt time for Trost to be about. With the new Bond movie in cinemas, and the new theme tune a drastic reworking of the traditional template, the public are surely in need of a sophisticated detective soundtrack. And Trost, a multilingual blend of sultry foxtrot, hypnotic repetition, retro crackles and dripping, seductive vocals perfectly conveys the romanticism of the spy, making you feel gaudy in your Sunday best. This said, ‘Trust Me’ also has variety in abundance. ‘Man On The Box’ snuggles up to a motown backdrop, layered like Panda Bear dabbling with Aretha Franklin records. ‘Even Sparrows Don’t Like To Stay’ plucks strings like Django Reinhart on repeat as Trost whispers her captivating, understated voice through the chime. Throughout all these tracks, crackles of life permeate mysteriously – be it the vinyl crackle, the subtle voice of a bustling Berlin, or the feedback of a retro amp, it injects the album with a unique, battered spark of energy. While this isn’t a quantum leap from Trost’s day job as singer in psychedelic-electro duo Cobra Killer, her new project’s quirks suffuse a sophisticated originality that is poignant yet upbeat, superceding anything she’s previously done. This is edge of the seat entertainment, and just like the spy you wish you were, you’re drawn in intuitively to every nuance around you by Trost’s charm. This is no Poirot. This is suave espionage. GB

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:54 | By

Album Review: The Travelling Band – Under The Pavement (Sideways Saloon)

Album Reviews

The Travelling Band

The Travelling Band claim to be far removed from their home town of Manchester’s musical lineage. But I believe they connect to the city’s pre-punk days, when escapism took precedence over wallowing in the city’s decrepit splendour (ie before ecstasy arrived). Back in the 70s, the likes of Bob Dylan, Gram Parsons and Neil Young performed legendary and massively influential shows in the city. Even now, there is a generation of parents who don’t shut up about it. The Travelling Band hark back to those days, and in doing so provide themselves with an intriguing starting point for their own career. Well crafted and produced songs that range from joyous to pensive in tone. The standard country accompaniment of acoustic guitars, violin, piano, subdued electric guitar and well rounded vocal harmonies are competently executed with weirdly south Manchester vocals. If this album was handed to me inside a coffee coloured record cover and I was told it was from a Californian farmstead in 1972, I would be delighted with it. I am chaste to pick out single songs from the album because as a work in its own right it is coherent and lovingly crafted. It is, however, a starting point. I believe this band can push the boundaries of their sound further; they are one to watch. PG

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:49 | By

Album Review: South Central – Owl Of Minerva (Egregore)

Album Reviews

South Central

Ever since Soulwax hemmed open the fissure of club dance meets performance rock, there’s been an eruption of musical underlings constructing floorfillers with guitar straps on their backs. This latest attempt to remove dance music from its comfort zone has already achieved a stamp of approval from Pete Tong, Justice and Erol Alkan, and the guys behind it have just completed a tour with Does It Offend You, Yeah? But will South Central prove to have the vision required to carry this off without falling into the pitfalls of this tricky genre? In short, possibly. ‘Owl Of Minerva’ is a tantalising glance through the band’s short back catalogue of singles as they prepare their debut album proper, which is due for release in 2009. Aiming for a rapturous marriage of melody pierced by self-destructive glitch, they deliver in many cases. The seven minute epic ‘Castle Of Heroes’ sounds like MS-DOS hanging on for dear life as guitars soar over the mess euphorically. Elsewhere, there is more sonic annihilation, but we can rely on instrumentation to bring it back from the precipice. However, sometimes this can mean predictability, as in dreary opener ‘Aeon’. If South Central learn anything from their current tour, it’s that they should continue their music on its trajectory. That way, expect Soulwax to get edgy at the top in 2009. GB

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:41 | By

Album Review: Master Solo – Heart Welcome Break (Night Owl Recordings)

Album Reviews

Master Solo

Master Solo, real name Mark Jennings, is a self-confessed maverick. He writes what he wants to write, whether it’s musings on schoolboy crushes, having his heart broken or watching his cat, er, make a trip to the litter bin – nothing is too trivial for this man. With nods to artists such as Iceland’s Mum, The Notwist and Neutral Milk Hotel, Master Solo’s sound is – you guessed it – a plinky-plonky mix of lo-fi electronic and acoustic alt-country. Recorded both at home and in the studio, Solo’s debut LP ‘Heart Welcome Break’ has an appropriately mix-tape, cut-and-paste, DIY-pop feel to it. The electronics are easily the most pleasant parts of the album; unfortunately for Jennings his voice is not as endearing as it should be. The themes of each song, while fun at first, come across as a little self-indulgent and are only coddled by the drone of vocals that turn could-be (and should-be) amusing anecdotes dull. ‘Heart Welcome Break’ has amazing potential as an instrumental album – if there’s something that Jennings does well, it’s compose a beautiful and easy-on-the-ears experimental melody. TW

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:38 | By

Album Review: Kieran Hebden & Steve Reid – NYC (Domino)

Album Reviews

Kieran Hebden & Steve Reid

Yes, it’s Kieran Hebden, aka Four Tet and one third of Fridge, collaborating once again with Steve Reid, the super amazing jazz drummer who played with Miles Davis, Sun Ra’s Arkestra, James Brown, Fela Kuti and on Motown hits. This should be special, in theory; though I saw them live and it was shit. But good news people, the theory rings true here – ‘NYC’ is not shit. It opens in an outburst of ecstasy rushing space noise acceleration with Reid punishing the cymbals over the electronic drive. Disorientating and brilliant, it builds and builds; cymbals and electronics hissing away over a wobbly dubstep back noise. Subsequently, the album falls back into more standard sax and drums free jazz, with Hebden’s not-taken-his-Ritalin approach to putting random noises that sound like hinges and boiling kettles in the background along with pulsing harmonics. It remains like this through ‘1st & 1st’ up to ’25th Street’ the following track. Next, the highlight of the album, ‘Arrival’ a soft comedown from its antecedents as it undulates over convulsing modulated electronics and throbbing delay guitar on steady drums. Peaceful and beautiful. ‘Between B&C’ follows in a blaxploitation soundtrack meets Trans-Europe Express mode. Finally, ‘Departure’ is folksy and organic, a great counter-point to the previous modern sprawl. This album is really pretty extraordinary. I have always been suspicious of Hebden (read that as jealous), but it may well be the best thing he has ever produced. Reid, it’s harder to say, I know less about his music and previous influence on artists. Yet, it seems his powers of collaboration bring the best out of supremely talented individuals. That would seem to be the case in this instance. Apparently, Reid wanted to evoke his home city New York; it is clearly the work of some one who loves his home and celebrates the exuberant seedy energy that it is supposed/used to have. PG

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: | |

 

Monday 10 November 2008, 12:27 | By

Album Review: Reel People – Seven Ways To Wonder: The Remixes (Papa Records)

Album Reviews

Reel People

Somehow I missed the release of the original version of ‘Seven Ways To Wonder’, so I’m glad I’ve caught up it via this remix package, because it’s a little treasure trove of tracks. Papa Records headman Oli Lazarus first teamed up with Mike Patto from Restless Soul in 2001, aiming to create some quality soulful music. Here the results of their labour is taken to new levels by some of the biggest names in remix. First drum n bass pioneers 4hero take us pure bossa (as they have done previously with Courtney Pine) with their rather good remix of ‘Outta Love’, complete with Omar on lyrics. Soulful househeads Kyoto Jazz Massive, meanwhile, bring a Midas touch to ‘It Will Be’ making fora really touching track with a sunny lounge feel. ‘Amazing’ gets NY don Jon Cutler, taking it taught house bordering on garage, while West London’s Bugz in The Attic go all broken beat on us with their rework of ‘Upside’. Next Domu takes his trademark busted beat approach to roughen up ‘Anything You Want’ while the Tarantulaz go upbeat to create an uplifting pacey version of ‘Amazing’. Pete Kuzma takes ‘Upside’ funky downtempo, so Darien’s great vocals become more prominent, before the final track, ‘Alibi, gets what is a slightly obtuse remix from Dennis Ferrer, making it a bit of a strange finale. But, that aside, there are no bad tunes on here at all – and ‘Upside’ may appear three times but with remixes this good, who cares? A real grower and one to warm the soul on these cold drawn in autumnal nights. And for the Nu-soulsters out there, an essential purchase. PV

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:24 | By

Single Review: Psapp – The Monster Song (Domino)

Single Reviews

Psapp

‘The Monster Song’ may not be the best title for as chirpy and minimalist a pop tune as this, but then the lyrics provide a nice contrast to the simplistic guitar strumming. It’s a trick that can end up just confusing listeners, but this paranoid tale of morning after depression somehow sits paradoxically comfortably next to the upbeat instrumental. The singing itself isn’t too bad either; a pure female tone but with the charming imperfections that make Morcheeba and Beth Orton so pleasant. The overall effect is reminiscent of the New Pornographers, with a weird selection of samples working together to make this song become increasingly atmospheric, although this is nowhere near ‘More Adventurous’. ME

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:23 | By

Album Review: Pascal Comelade – The No Dancing (Because Music)

Album Reviews

Pascal Comelade

After 33 years making music, and with over 40 albums and numerous film scores to his name, Pascal Comelade is not quite the revered name his experience perhaps merits. Outisde his home of Catalonia, don’t expect many to perk up when you talk of his Reinhardt-influenced picking or his passion for the most playful of sounds. Give them a copy of ‘The No Dancing’ though, and they’d be hard pushed not to form some strong opinion of the man. For this pleasingly cohesive compilation of Comelade’s best work from the last 14 years shows a man of undeniable imagination, even if it’s not a creativity for all. Like many a five-year-old before him, Comelade has turned to toys in order to embellish that playfulness that runs throughout his work. A stripped down version of The Kink’s ‘Sunny Afternoon’ becomes its own with its plastic piano simplicity. There’s a killer clown eeriness to it, especially when followed by such a deep, dark beauty as PJ Harvey collaboration, ‘Love Too Soon’. The sweet glockenspiel does take some edge off the pained lyrics however, and comes in handy on more than one other occasion. It’s these covers and collaborations that see the album’s strongest moments, with Robert Wyatt and Jean-Herve Peron from Faust also showing up to impassioned effect, leaving some questions over Comelade’s own song-writing ability. His creative spark is undeniable though, and someday he may belong to more than Catalonia. TM

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:20 | By

Album Review: Mia Vigar – True Adventures Happen Inside Your Head (Hungry Audio)

Album Reviews

Mia Vigar

As the title suggests, Mia Vigar’s world is one of dreams, of fairytales, of fantasy. The Finnish songstress weaves elegant soundscapes reminiscent of Yo La Tengo with the kind of skill that Bjork might even be proud of, and the results are for the most part alluringly soothing. That said, whilst such feather-pillow melodies make up the most part of this album, there are all sorts of other compositions thrown in the mix, keeping the listener from actually drifting off. Discordant ‘Soothsayer’ is as sinister as it is loud, and a couple of tracks showcase a more mature approach to the catchy Cockney-pop that Kate Nash and Lily Allen are currently lol-ing about the charts. For the most part, it seems like she is trying to play up the Scandinavian half of her identity, possibly to help her stand out from the crowd, yet she evidently can’t stop her southern birthplace sneaking its influence in on some of the more ‘standard’ songs. She even tries her hand at some more outlandish tracks, leaving the comfort zone of her curious pop songwriting behind and embracing a more bizarre, almost Zappa-esque weirdness. It’s this willingness to stretch herself for the good of the album that makes this such an interesting release; fourteen tracks of blissed out melodic harmony would have done the trick, but this plethora of stylings work together to give a surreal, ethereal appeal that far surpasses any expectations of this relatively unknown talent. ME

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:19 | By

Single Review: PLUG – Fresh Pleasures (Parlour Records)

Single Reviews

Plug

Sounding like a less polished Robots In Disguise, PLUG comprises the various deliberations of Sian and Georgie, who have released a hideously catchy tune in ‘Fresh Pleasures’. The interesting thing about the track, though, is that however catchy the song may be, there’s not one portion of the song that gives the listener the opportunity to sing along. While this might be a negative thing, the result is that this completely original yet bizarre song makes you instantly want to hear more from the duo. And so I stick around for the b-side. ‘Nonchalant Love’ isn’t as lyrically interesting as ‘Fresh Pleasures’, but musically is a dense, industrial tune that really showcases the band’s talent. Overall, this single makes me quite want to see this band live; I’m sure it would be an incredible experience. GM

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:17 | By

Single Review: The Lucksmiths – Up With The Sun/A Sobering Thought (Just When One Was Needed) (Fortuna POP!)

Single Reviews

The Lucksmiths

Fifteen years of sun-soaked pop hasn’t quite seen The Lucksmiths reach the heights of super-stardom. Indeed, their most illustrious moment probably came when they were picked to be on the playlist of Qantas’ in-flight radio. This double A-side of sprightly tunes from the forthcoming ‘First Frost’ album deserves a bigger audience than merely jet-setting antipodeans though. ‘Up With The Sun’ may lament the working life, but it shimmers like Belle & Sebastian at their most playful, whereas ‘A Sobering Thought’ masters the subtleties of blending heavier guitar with welcome harmonies and Tali White’s soothing tones. Qantas have taste. TM

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:17 | By

Album Review: Merka – Make & Do (Fat! Records)

Album Reviews

Merka

It’s one of the great clichés of the music business that the second album is always the hardest. Artists get carried away, lose sight of their roots, or even where they thought they were going. If this is the case, then this could be the absolute stereotypical second album. For the first few tracks, it sounds like Merka is parading his new sampler patch to the world, sticking bleeps and breaks together with the weakest of housey superglue. I know it’s cool to have retro-Nintendo appeal nowadays, but this ends up sounding like a glitchy SNES with a generic soul cartridge slammed in. When it’s kept simple, it works a lot better, as on ‘DYAF’, an almost Fourtet-esque offering of chilled electronica with a pulse. The rest of the time, the result is confused, if not a little quirky, and the whole album seems to be all over the place. There are decent beats and hooks in here somewhere, but Merka seems to have forgotten the prominence with which these elements should be treated in this kind of music. He seems to be too preoccupied with the art of anticipation, which can be exhilarating when executed well, but when the end product is just another Moloko throwback pseudo-soul loop it all gets a little tedious. A fresh and original sound caused his debut, ‘Beserka’, to make waves in 2007, but I can’t decide whether Merka has tried to take this originality too far, or has just stagnated altogether and is just trying not to drown. ME

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:15 | By

EP Review: Factory Floor – Planning Application EP (One Of One Recordings)

Single Reviews

Factory Floor

Guys, obscure your influences a bit. If I was to start a 80s hardcore style band I wouldn’t call them Dischord Youth. So, Factory Floor… hmmm… take a guess what they sound like. Well A (funkless) Certain Ratio with Bernard Sumner singing over the top pretty much covers it. Tony Wilson’s Situationism would be well and truly offended. To pretentiously quote Chtcheglov: “You’ll never see the hacienda. It doesn’t exist. The hacienda must be built”. They did build it, now it’s been turned into flats – find a new idea. And before anyone mentions the band’s pretensions to 1950/60s atonal compositions that Cage, Reich and Glass explored; it’s completely hackneyed. The Hookyisms in the second two songs’ basslines are quite galling, direct lifts from Warsaw-era Joy Division. Although they sound great with snatches of DNA style guitar, each cliché and lift is a joke. They have stolen the sound of other cities that was rooted in someone else’s experience. PG

Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:10 | By

Single Review: Esser – Satisfies (Transgressive Records)

Single Reviews

Esser

From the cover of this single – Esser in his skeleton jumper with reverse-monk hairstyle and despairing gaze – it’d be easy to confuse this singer with any of the numerous emo soundalikes conspiring to stunt all imagination in anyone under 18 with the inoffensive tedium they pass off as ‘edgy music’. Look closer though, and you notice that Esser, in all his glum glory, happens to be sitting on a toilet (though thankfully not in as graphic detail as Millie Jackson’s infamous ‘Back To The Shit’). An odd location surely, but one that begins to set him apart from any lookalikes – a theme continued in his music. ‘Satisfied’ is an interesting mix of calypso, piano and handclaps that dares to be innovative. Satisfyingly different. TM

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:08 | By

Single Review: Drink Up Buttercup – Mr Pie Eyes (Make Mine)

Single Reviews

Animal Collective

Challenging Animal Collective for the title of North America’s top modern day psych-pop stars, Drink Up Buttercup look to the 60s for their inspiration, emerging, as they do, from a saturated US alt-pop market with interesting aplomb. ‘Mr Pie Eyes’ would terrify a three year old, with a persistent, distorted chorus that can’t be far off what goes through the head of Alex DeLarge in ‘A Clockwork Orange’. The Theremin, meanwhile, is thrown in for a suitably other-worldly effect. ‘Gods & Gentlemen’ on the b-side is a more traditional affair, inspired, I reckon, more by The Beatles’ later years. It’s a more simple take, though no less interesting, and it provides the band with a viable alternative route, should the Theremin break or they decide they don’t want to make children cry anymore. TM

Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:06 | By

Single Review: Alesha Dixon – The Boy Does Nothing (Warner/Asylum)

Single Reviews

Alesha Dixon

Fresh from her ‘Strictly Come Dancing’ victory, the obvious thing for Alesha to do is try to revive her music career, and this single begins that attempt. Since the split of Mis-teeq, I’d be hard pushed to name one of Alesha’s musical endevours, though her appearance in NERD’s video for ‘She Wants To Move’ does come to mind, though that’s because Alesha was doing what she does best – dancing. And her moves in the video for this song would score her a perfect 10 amongst those of us who wish to play judge. However, the song isn’t as good. Though, to be fair, it’s not all that bad either. The mambo back drop is catchy and the subject matter – Alesha’s wondering just why it is that boys never seem able to wash up, clean up or brush up – should bring a smile, especially to us sympathetic ladies in the audience. But is it enough to relaunch a career? Not on its own, even with the dancing. SD

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 12:05 | By

Album Review: Joey Negro Presents Doug Willis – Doug’s Disco Brain (Z Records)

Album Reviews

Joey Negro

Dave Lee aka Joey Negro returns under the veil of his disco-loving alter-ego Doug Willis – apparently named after a early 90’s ‘Neighbours’ character. Spread across two disc, the album certainly opens with some authentic disco, ‘Power To The People’ and ‘Get Your Own’, the latter of which was released a few years ago and features classy vocals from Taka Boom. But things then begin to move away from disco, with nods to Europe, (‘Begun 2 Love You) and Africa (‘Dougswana’) along the way. The Timmy Vegas rework of ‘You & I’ is a true dance stormer and reminiscent of Kerri Chandler’s ‘Bar-a-Tyme’ – far removed from disco and a contender for best cut. Finally on the first disc, ‘Disco Owl’ is a track I could almost write an essay on. Tongue-in-cheek with its zany piss taking – it left me highly amused. Disc 2 keeps things pumping with opener ‘Skate Dancer’ featuring, as it does, some brilliant strings and synths. ‘Discotizer’ is a bit more modern sounding with its backdrop, while ‘Loving Game’ is a wee bit old now but classic nontheless, with its funky little ruffles. ‘Doug’s Place’ then goes retro in your face, before ‘Tonight Is The Night’ takes you into early dancefloor house and ‘Dancin’ goes true disco. ‘All Over My Leg’ is another madcap ending with a tale about spilling a drink on his leg while dancing. Out there, but far less amusing than ‘Disco Owl’. This is an interesting double pack, DJ friendly too, some solid cuts and a smidge of comedy. A worthwhile investment. I have no idea why Dave Lee isn’t huge yet, he has heaps of talent. PV

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: | |

 

Monday 10 November 2008, 11:49 | By

Album Review: Jackie-O Motherfucker – The Blood Of Life (Fire Records)

Album Reviews

Jackie-O Motherfucker

The wonderful Jackie-O Motherfucker are back with a live album that showcases the less extreme end of their musical range. If you are a fan of their atonal free noise brilliance from albums such as ‘America Mystica’ – that, for the unaware, sounds like ‘Sister Ray’ being played backwards with tape-noise and free jazz blaring around it – you may be disappointed. Only the new track ‘The Blood Of Life’ has the requisite length for a similar exploration. Even so, the usually intense experimentation is eschewed for The Grateful Dead’s ‘Live At The Fillmore East’-style noodling with spooky My Cat Is An Alien space rock-style guitar over the top. It is fair to say that much of the feel of the album is that of a folksy Grateful Dead. Seeing as though this album was recorded in Amsterdam there is no real surprise that it is a more subdued affair; the whole band are, I assume, supercaned out of their faces. The album is gratifyingly drenched in warm shimmering treble that lights up arpeggio picking guitars, with gentle lead lines over the top controlled by Danny Sasaki’s drums. I would deem the high point of the album the reworking of ‘Hey! Mr Sky’, that ambles along with Deadish lyrics about “Thunderbirds with fly’s wings”. On top, a distorted guitar modulates and groans with delay and extra reverb as it builds to a moderate peak and then ebbs away – most likely into the Amsterdam fug. Not earth shattering, but a really enjoyable album. PG

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 11:41 | By

Album Review: Death Of The Neighbourhood – Death Of The Neighbourhood (ATIC)

Album Reviews

Death Of The Neighbourhood

‘Death Of The Neighbourhood’ is an album that stands on the edge of a precipice looking down upon the havoc below, and upon doing so takes out its notepad. It sees the modern world as it is now drowning in a decadent, self-absorbed moral void, where negative tabloid culture rules and the self-centred, whining celebrity is our daily bread. When you put this into perspective you reach one conclusion: the death of the neighbourhood. Stephen Jones (of Babybird fame), doing his best to bridge the gap between a ‘Dispatches’ documentary and socially conscious music, follows the billowing confusion of this ‘death’ and the result is something really quite bizarre. Often haunting in a disturbingly cinematic way, this album is an extraordinarily crafted piece of musical theatre, from the twisted and dark ‘Cokeholes’, to the beautiful, mesmeric ‘Bruised Brain’, it never fails to make you think. What Jones does so well is create something that is often quite difficult to listen to but rewarding at the same time. Contempt towards the listener is a vital organ of the album; we are harangued by distorted voices, yelps and even burps; the noises are often the most intriguing part of the track as it whisks the listener away to Jones’ darkened, hazy view of the world. Lyrically, it is splendidly perverse with such magnificent lines as “I’ve got a straw stuck up my ass saying ‘Where’s the coke?”’; it’s hard not to find some source of visual enjoyment. In places it is thoroughly enjoyable and is both beautiful and disturbing in equal measure. ‘Death Of The Neighbourhood’ however does border the line between being atmospheric and almost too cinematic which at times can take some perseverance to reap the benefits. SJS

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

Monday 10 November 2008, 11:35 | By

Album Review: Castanets – City of Refuge (Asthmatic Kitty)

Album Reviews

Castanets

‘City Of Refuge’ feels like the soundtrack to a film set somewhere in deepest dustiest America. Its electro-infused Americana evokes some sort of Clint Eastwood spaghetti western, had Clint Eastwood been in league with the devil. In actuality, the background behind Ray Raposa’s fourth full length album is not a million miles away from that. Whilst wandering the depths of Nevada, Raposa stumbled upon a remote gas station in Overton and there, he was smacked in the face by inspiration, leading him to set up camp in a nearby motel room with his only his co-producer and the howling coyotes for company. The result of this three week emersion in the wilds is pretty much what appears on this album, with only a few overdubs added for polish at a later stage by such highly-regarded collaborators as Sufjan Stevens and Jana Hunter. It is minimal alt country that retains a pretty low key tone throughout.  We’re not introduced to Raposa’s haunted vocals until the fourth track. They induce the melancholic blackness of Nick Cave but creep along the floor rather than ever escalating to Cave’s signature cinematic vehemence. The lilt of Sufjan Steven’s banjo perforates the discomfort of the reverb heavy electronic walls of noise. The sudden emergence of Raposa’s haunting voice takes on a sometimes Dylan-esque snarl that is devoid of any hope or lightness, resulting in dramatic alien soudscapes which are speckled with a few archaic feeling country standards for good measure. ‘City Of Refuge’ never really melts together and the contemporary electronic and traditional elements of the album are always opposing instead of complimenting each other which works to further communicate the Raposa’s feelings of isolation and despair. MB

Buy from iTunes
Buy from Amazon

READ MORE ABOUT: |

 

CLICK FOR OLDER STORIES

CLICK FOR NEWER STORIES