Two unknown entities. I knew nothing of Car Seat Headrest before their latest album dropped on 30th October (although a debut for Matador Records - and essentially a reworking of old songs). As for El Vy, I had no idea this project was in the offing. Matt Berninger is one of my favourite vocalists and songwriters, so upon learning of this surprise collaboration, I was excited to listen.
I'll start with Car Seat Headrest. An album which offers some gorgeous and infectious Lo-Fi, which I am a real sucker for. The consistency on this album is brilliant, with a collection of tracks to really immerse yourself in. The vocals, albeit a little fuzzed out at times are layered and a poignant feature of this record. Music in this style can often feature vocals which are essentially background noise and included to basically fill the void, with the music doing all the talking. This isn't the case here, which I admire. The lyrics are witty and at times, damn right strange.
"I want to break something important I want to kick my dad in the shins "
The tempo varies throughout also, with some slower and more heartfelt moments such as 'The Drum' and some quicker and raw tracks like 'psst, teenagers, take off your clo". The quality however, never falters. The track 'Strangers' is a perfect example of a piece of music that you know won't get heard anywhere near enough as it deserves. A treasure for the small number of fans this band likely have in the grand scheme. 'Something Soon', 'Sunburned Shirts & 'Times to Die' being other highlights on an hugely like-able and addictive piece of music. It is likely Car Seat Headrest will reach nothing higher than semi-cult status. Sometimes, it's nice to be a part of that.
8.5/10
Matt Berninger has a distinctive voice. It's fair to say, it isn't a voice I would associate with positive, happy and vibrant themes. Upon hearing, 'Return to the Moon' - the first single off this album. I really wasn't feeling it. Beautiful South sprung to mind. Did I actually just think that? I remember thinking. In all honesty, I was reaching for the sick bucket. A horrible, horrible blend of vocals and music. It just didn't work. Thankfully, Matt & Brent (From Menomena) shift style pretty quickly. 'I'm the Man to be' follows. Here the vocals are dragged out and edgy, but with a more stripped back and groovy backdrop. This works better, with a more listenable fusion of styles. It's odd. Very odd indeed.
"I'm peaceful cause my dick's in sunlight
Held up by kites Cause I'm the man to be"
'Need a Friend', fits along with the mould that the music doesn't fit the vocal style. Yet, I love this track. Whether it's the reverby guitar, the catchy keyboard riff or the line: "this is heartbreaking, heartbreaking, heartbreaking, heartbreaking" that Matt Berninger wails out at the end, I really don't know. For the first time so far, it just works. "Silent Ivy Hotel","It's a Game" & a few others have moments to like, but overall it seems I like the vocals or the instrumentation as separate parts far too often. The music of Brent simply isn't that compatible with the vocal delivery of Matt. As hard as they try! Also, 'No Time to Crank the Sun' really does sound like a U2 rip off. Like, really badly.
When you are as big a fan of The National as I am, you very much like the status quo they have created in their music. This side project from Matt Berninger is intriguing and at times, enjoyable. But you come away thankful that The National are what they are. Perhaps a fresh set of ears, oblivious to The National may appreciate this more. Gig Soup gave this album a 10/10, calling it one of the best this decade. Have they heard 'High Violet'?!
It's been a busy few weeks of new music, not all of which I can cover. Likewise, I saw a number of bands at End of the Road festival (which I highly recommend to all Dorset residents!) which I could write individually about... as well as Wolf Alice at Brixton academy on the 26th September. Let's see how much I can cover.
So, I'll start with an album I wasn't really waiting on, or indeed expecting to like very much. Lana Del Rey's music has always interested me. Intense, dark, yet accessible pop music with a real sad and bitter atmosphere. A pretty unique combination these days. All these elements are rife on 'Honeymoon', creating a beautifully sombre album, drenched in misery. 'Terrence Loves You' is a really gorgeous track, with some of my favourite vocals by anyone I have heard this year. Lizzie Grant doesn't follow pop music's trends and she hasn't here. This is a captivating piece of music and one to really immerse yourself in.
8/10
I've been a fan of Chvrches since the early EP days, prior to their brilliant debut - "The Bones of What You Believe". That album was a great collection of synth pop tracks, paving the way for a number of new and existing artists to follow suit. I don't think Chvrches got enough credit for starting that mini-wave of music off 3 years ago, but in my mind they most certainly did. The question was; could Chvrches create something refreshingly new without taking away their strong identity. The answer simply, is yes! This is a great album, and for me confirms Chvrches as one of the best British bands around. We are in a time where British bands are dwindling in quality and indeed in numbers. The singles released prior to album release date were a delight. 'Leave a Trace' and 'Never Ending Circles' do ultimately continue directly where the debut left off. 'Clearest Blue' was Chvrches sounding, but dabbled in the art of the electronic music 'drop'. They pull it off pretty well, with another infectious track. Something Chvrches continue to do with tracks such as 'Keep you on my Side' and 'Empty Threat', with the latter focusing on Lauren Mayberry's bold fight against misogyny, predominately on the internet. A real highlight for me however is 'High Enough to Carry You Over'. A criticism of the debut could be that Martin's vocals weren't that great. Here, he delivers some sharpened vocals which provide a nice contrast to Lauren Mayberry's youthful tones. I think Chvrches have a bright future, let's hope they can continue this quality for a while yet.
8/10
End of the Road was great fun. A pretty small festival, that is really well thought out and designed. I thought there was a real eye for detail around the site which added to the already wonderful setting. I really couldn't fault it. It has it's own character and atmosphere, which all good festivals have. My favourite acts from the weekend were:
5.Girlpool
4. Tame Impala
3.Django Django
2.The War on Drugs
1. Mac DeMarco
Mac DeMarco really did steal it for me on the last day (even if The War on Drugs set was more headline worthy and grand). I think Mac DeMarco is a the musical equivalent of marmite. Firstly his music is of a particular style that would certainly royally piss off the more classic rock audience that End of the Road did have (hence the younger crowd for this set). However, if you're a fan of his music, then his charm and wit really add something to live performances. Especially when the rest of his band are as goofy as him. Also, the sound levels were on point for both him and The War on Drugs which couldn't be said for everyone. The joys of a festival... The War on Drugs were pretty faultless on the last night and Adam Granduciel was astonishing.
Tame Impala were good to see at last, but overall the sound levels let them down. Kevin Parker's vocals were pretty quiet and the bass guitar seemed to be the loudest thing on stage. Django Django were the surprise of the weekend, with a great 45 minutes of essentially the same beat. But, hey it was fun! Girlpool played to a pretty small crowd but were one of my favourites.
Overall, a great weekend in my home county. The War on Drugs, Tame Impala and Mac DeMarco in Dorset?! Never thought I'd say that! P.s Fat White Family are dicks.
Finally, without waffling on too much more. Wolf Alice played the Brixton o2 Academy last weekend. Drenge supported and were on top form as usual. Despite Eoin Loveless' vocals being a bit half hearted at times. Wolf Alice had sound issues from the start, with the live rendition of 'Freazy' being a real mess. Eventually the sound techies pulled their finger out and the sound was greatly improved towards the end. 'You're a Germ' and 'Giant Peach' were examples of the better side of Wolf Alice. They were definitely up for it... Homecoming gig, to their biggest audience yet. For me, they were a bit sloppy for the majority and that was intensified with some pretty abysmal sound levels for the first half. The crowd towards the back where I was standing were pretty much static for an hour. Their second album will be a test. We shall wait and see.
A quick review... as most of my "music" time has been spent playing vinyl. Yes, I finally decided to stop buying CD's and follow the crowd into the 21st Century (or back to the 20th century?! :/) and opt for the hug-able form of vinyl records. There really aren't many things better than browsing vinyl. A reason why I will never ever buy vinyl from the internet (I mean, really? What is the point in that). Tesco are stocking vinyl. Don't get me started. However, I urge the other person who reads this blog. DO NOT BUY VINYL FROM TESCO. Thank you.
So, Foals. The "math-rock" outfit from Oxford (only Radiohead to live up to then... ) Having used the term "math-rock" (yeah, what the fuck is that?), they are in fact a million miles away from that. The horribly average "Holy Fire" saw a change in their musical style, which for me was a step backwards and a huge stride away from what made Foals so appealing. "Total Life Forever" was lush in it's production and beautifully layered at times. More than anything, it was an incredibly catchy album, that made you want to dance. Yeah, even me.
So, 2015 has brought 'What Went Down' to the table. Early singles, 'What Went Down" and "Mountain at my Gates" both set the tone for a heavier, grittier album. The former I wasn't keen on at first, but it grew on me slightly. "Mountain at my Gates" however, I was a fan of from the outset. Yannis' vocals especially on this single are great. He really drives his voice through here and the outro of "Gimme my, Gimme me, Gimme my..." set against the hard hitting drums are a album highlight. Sure to be amazing live, I'd imagine. The hard hitting heights really do end here however... A frustration for anyone who really liked the feel of the opening two.
"Birch Tree" is a more classic Foals feel type of song. Which does kind of make the first two songs a false representation of where the band are going. Nevertheless, I like this track a lot. It's bass riff sets the tone, the guitars are twangy and minimal and Yannis' vocals are soothing. Towards the end, you are getting close to feeling the "Total Life Forever" and "Antidotes" vibe once more. Like I said, classic Foals. "Give it all" is next and really is an album highlight. This is a gorgeous track, with albeit another shift in style. The hollow and synthy intro, flows into a lovely and atmospheric blast of "Wooooooo, Wooooooo, Wooooooo"''s from Yannis that have to be heard to be greatly appreciated! Pitchfork, sign me up...
The next two tracks serve one purpose. Not to be listened to. "Snake Oil" I can actually listen to at a push, but "Albatross" I can't. I have no idea what the band are trying to achieve in these tracks. They are B-side quality at best, So, moving on to "Night Swimmers". Back to classic foals again! At this point, you enjoy individual moments, but there really seems to be confusion over what the band want. The bass and guitar work in perfect harmony here. Yannis' vocals are nice one again, even if what he is saying really isn't that interesting. At 2 minutes 20 however, the track does push the boat out a little with a grittier guitar sound to counter-act the twangy, indie hooks. It's bass and hard hitting back drop does provide a glimpse of what Foals could have produced more of if they had more ideas. A snapshot of what could have been? It doesn't reinvent the wheel by any stretch but it's something more akin to what the album looked like it was promising from the openers.
"London Thunder" is the classic (or perhaps obligatory) slow Foals ballad. The vocal delivery and build up of sound delivered in the chorus is decent, but outside of this there isn't a great deal to get excited about. The lyrics provide moments, but nothing compared to the imagery of say, "Spanish Sahara". "Lonely Hunter" is a real grower. Despite a pretty horrible intro (reminiscent of MK Ultra - Muse), which does sound like a Bond song intro it is a good track with a belter of a chorus. Yannis' vocals on the chorus are a real delight. "In the deep blue see the whitecaps from the shore But I can't swim, and it keep me wanting more".
The album closes with another single 'A Knife in the Ocean', which is an average closer. The echo-ey voals of Yannis are the highlight towards the end with a 'Climbing up the Walls' esque wail to round things off. This track does however, sum up the album in it's entirety. When it's good, it is really good... and it certainly has it's moments where it is a enjoyable and instantly recognisible Foals record. At other times, you really are scratching your head wondering where the band are heading and why they occasionally abandon, the formula that made them so like-able. That sounds hypocritical I know, as I do actually prefer that side to Foals. But his half way decision between new and old really doesn't work. Especially in the form of an album. I'm all for bands changing styles. evolving and trying out new ideas. The problem is, I don't think Foals know what they are striving towards.
Being a newcomer to London, I only discovered Elephant & Castle very recently on route to a visit to the Imperial War Museum. I think it is fair to say the area isn't tremendously appealing to the eye, nor particularly inspiring. Having said that, it's the location of formation for one of the UK's best and quite frankly, under-rated bands. Proud of their roots despite themselves calling it 'not eye catching', they struggled to get a grip on what their new record should be. It turns out the required inspiration came from the most uninspiring of places, home. In particular, the Faraday memorial on Elephant and Castle roundabout. Marks to Prove it is the bands fourth LP. At this point I should probably mention that the previous effort, 'Given to the Wild' is an incredible record and for me one of the best of the decade. High hopes followed... But also that overwhelming feeling that they couldn't top what they produced 3 years ago.
My verdict is this: Marks to Prove it is another glorious set of songs. Compared to other contemporary bands of the same genre, you can really feel the thought, warmth and care that goes into the album. Little touches such as the horns solo in the closing track, really add depth. The songwriting is as strong as ever, and instrumentally it is a balanced and consistent album. The soothing quality of Orlando Weeks' voice is what always draws me in to a Maccabees album, however. Especially on the more intimate moments. The verses on 'Kamakura' demonstrate this perfectly, sounding similar to Matt Berninger from The National at times. 'Silence', 'Pioneering Systems' and closer 'Dawn Chorus' also show off the hugely satisfying gentles tones of Orlando Weeks' voice.
However, The Maccabees have always loved a good single, and there are a couple here to keep the part time fans (not having a dig there!) more than happy. 'Marks to Prove it' sounds to me like the ultimate blend of everything they have produced. The rawness of the early days and the refined production of the more recent years. The song even follows that mould with it's to-ing and fro-ing from fast and slow tempo's. 'Something like Happiness' is another single, coming in at track 8. A highlight from the album, it's vocal delivery being a delight, along with it's blend of soaring instrumentation towards the end. As this song closes out, you really feel the band have peaked on the album. 'Spit it Out', is another single and one that took me by surprise. Different in its delivery, this track is more aggressive than anything to date. The guitars, bass and indeed the vocals are frenzied here, pushing the band away from the norm of prestine production.
So could this collection of tracks match the lush, mindblowing serenity of most of 'Given to the Wild'? For me, the answer is no. As mentioned above, this is a good collection of songs but as an album it doesn't quite have the same affect. Whilst the album hold it's own no problem, you do feel like the ideas are more sporadic and random than previous efforts. Ultimately, that comes to light when you play the album in full from beginning to end. This isn't to say the Maccabees have gone backwards, just that they had a clearer concept of what they wanted their record to be in the past. I defy anyone to listen to 'Feel to Follow', 'Ayla', 'Glimmer' and 'Forever I've Known' in sequence and argue the new music is superior. I like Marks to Prove It, but the special atmosphere on 'Given to the Wild' isn't quite there.
The Maccabees next album will be a huge one and will define what they shall be remembered for and ultimately, for how long.
Firstly, this blog has been born from reading a recent Pitchfork media article. I'd hate to claim the research as my own, but my views most certainly are!
I have always marveled at the artistry and craftsmanship of an album/record/LP. A collection of tracks solely designed to be delivered together in a particular order. That might sound obvious, but for me people have forgotten the beauty of albums and their strength and power when listened to as a single piece of music rather than separate entities. As music has evolved with the digital era, it has become ever more disposable and disjointed. Mainstream radio stations have always played singles rather than albums, but it seems the gap between listening to albums and purely enjoying a song here and there from different artists, is growing. Streaming platforms have of course made this easier, with any song off any album being readily available.
Therefore, imagine my surprise when I learnt this week that whilst album listens were in decline, they have been overtaken by a different form of musical collection - the playlist. Collections of music which perhaps share a common topic or purpose or are even just considered a good mix. Mix tapes for example have been around a very long time and I often enjoy them as part of an end of year/decade list. As useful as they may be, the music is rarely designed to be ordered and listened to in this form. So why is it more popular?
The Pitchfork article I mentioned at the very beginning revealed the following:
Free Streaming Listeners: Album 31% Playlist 45%
Paid Streaming Subscribers: Album 60% Playlist: 68%
Overall: Album 29% Playlist 31%
Music discovery is perhaps one answer. A collection of different tracks with different artists but within a particular genre, can offer listeners new music opportunities. Certainly a quick and effective method. Maybe collections of music need a greater purpose nowadays rather than for pure enjoyment. Fitness or gym workouts are a clear example of this. Music with a dance beat being what is important to the listener. Call me old fashioned but a playlist titled 'Songs to sing to in the shower' (this actually exists) doesn't fill me with excitement like a new album of music. Is there really any skill to assembling these songs? Let alone creating them with the vision of an album as the end result. Music is talent, skill and creativity. Some playlists scupper the creative element which a well formulated album possesses.
One pro-playlist campaigner argues that a benefit is the showcasing of smaller artists by including their 'best song'. Whilst any representation of a smaller artist is a good thing, who exactly decides what is considered an artists 'best song'? Are these always singles? How do they work in context with the rest of the album? Again, a good album is as much about order and relevance than just a decent 3/4 minutes of music. I can think of many albums where my favourite tracks are not considered popular or the most well known. 'Let Down' - Radiohead - OK Computer springs to mind.
I hope the album is here to stay. For me personally, it is musics most elegant, sophisticated and respectable form.
Music lovers rather than music consumers will most likely agree.
Psychedelia has been at the core of Tame Impala since their formation in Perth, 2007. In fact, with other Australian bands such as Jagwar Ma you could argue they are the world lead on drug infused modern rock (of course, psychedelic music doesn't actually require the use of drugs anymore... rock and roll, right?). However, perhaps psychedelic "rock" isn't the natural word for Tame Impala's style anymore. On this record at least. The catchy, wailing riffs of Lonerism have on the large part gone here; replaced with heavy synth beats and groovy bass. The results are masterful and propel Kevin Parker to the elite of modern day producers, multi-instrumentalists and songwriters.
It's the bold approach and execution which I adore about this album. Sure, some die hard fans of the band may be disappointed. However, bands who make a radical change to their sound yet manage to keep their essence are a rare breed. Enter Radiohead, Enter Kid A. I wouldn't be as foolish to compare the two albums, because they are different in multiple ways. But the same formula has been a success here, just to differing scales and magnitudes. Lonerism is to OK Computer as Currents is to Kid A. Again, I stress... nothing in my eyes can match the beautiful contrast of the soaring riffs of 'Electioneering' and those opening five notes of 'Everything in it's right place'.
The album begins with a track 7 minutes and 47 seconds in length. Another courageous move... A dragged out opener is quite possibly the worst thing an album can suffer. Luckily it doesn't happen often and it certainly doesn't here. I remember Kurt Vile putting 'Wakin on a Pretty Day' as a opener a couple of years ago. Just the 9 minutes and 31 seconds for that one. Thank god it was a killer track! 'Let it Happen' is glorious. It only takes 3 seconds for the keyboards to jump in and for the groove to lay its foundations. Already the dance-able feel that fills a solid amount of this record shines through. Equally, the beauty of Kevin Parker's vocals don't take long to be showcased. His vocals in general on this album are a thing to behold... and hugely infectious. The other instrumentation is as crisp as ever, as you expect with Tame Impala music. The track takes you on a journey of synth hooks and beats before layering a more typical reverb heavy guitar riff over the top towards the end. The composition of everything is a treat. A near 8 minutes of musical heaven.
'Nangs' follows... a typical Tame Impala interlude, with a dreamy, hazy feel complimented with hard hitting drums and trippy vocals. Note the synths again here, but also note the Tame Impala signature feel bleeding through it. Lovely stuff.
'The Moment' fuses glistening, swirly synths once again with a dark, sinister bass line. A recurring style throughout. The chorus echoes throughout with Kevin Parker singing 'ooohhhh, it's getting closer'. The groove is strong and the vocals are lovable. If there is any song on this record which could potentially sicken the die hard guitar enthusiasts (I was one myself once!) then the next track 'Yes, I'm Changing' is definitely it. The pace is slowered, but the synth and bass hold their glory. Some glistening, disco notes flicker from the keyboard throughout to quite possibly leave some fans open mouthed. Kevin Parker sings of a break up throughout this album, but really centers on it here. He is no stranger to this theme, but on 'Feels Like We Only Go Backwards' on Lonerism, we don't have this stripped back feel. The lyrics are gooey to say the least and the cynics could call the sentiments on offer to be as far removed from rock as you can possibly get. "But baby, now there's nothing left that I can do, so don't be blue, there is another future waiting there for you".
If you are one of those cynics and you've filled your bucket with vomit and tears, you might want to grab another for the next track. 'Eventually' does however, feature some guitars parts and small hooks to fill the small places in between the trusty synth, drum and bass norm. Kevin Parker sings once again of a break up, or relationship woes. Perhaps the narrative of this particular track follows nicely after 'Let it Happen' where Parker puts the two fingers up to compromise and working out a relationship for the sake of it. "All this running around, trying to cover my shadow". By 'Eventually', he has changed his tune to make a change... or even to end it all for the benefit of both parties. "Cause I know that I'll be happier, and I know you will too, eventually". A track which at first is hard to get your head round as a Tame Impala track, but a real grower. The ending section in particular is tranquil and hugely satisfying.
'Gossip' is another interlude thrown in for good measure. 'The Less I know the Better' is next and this track sums up the record and why I love it in a nutshell. The bass line is a belter, the keyboards are a joy and the vocals are Kevin Parker at his best. Tame Impala making you click your fingers, tap your hands and make you want to get up and dance. A sentence I never thought I'd see or write. This simply works, I don't care what any old school fan says! The lyrics are playful here and clearly refer to chasing a girl. "I was doing fine without you, till I saw your eyes turn away from mine".
'Past Life' is another track which feels galaxies away from anything Tame Impala have ever produced. A daft punk esque robotic voice provides the lyrics for the verses with Parker returning for the chorus. The lyrics are a little 'Digital Love' style cringy, but the actual tune and chorus in particular are glorious. "I always wondered if you wanted my love" is sung in conjunction with a lovely little drum fill and synth drop. 'Disciples' is a quick fire follower with more addictive bass and keyboard combinations, with the latter being some punchy disco notes. The vocals are beautiful again here and are a real Kevin Parker signature. It lifts, falls, extends and shortens in a way I cannot help but adore.
'Cause I'm a Man' was another single released before album day, along with 'Let it Happen'. The pace slows again, but the suave doesn't. "Because I'm a man woman, don't always think before I do". 'Reality in Motion' comes next and the beats don't let up. By this point you'd be forgiven to think Kevin Parker has done music this way forever. It sounds like Tame Impala, like everything before it does, but it has a new lease of life... or at least a very different one which isn't relying on guitar sounds. The chorus is remarkably catchy... "I've done all this waiting, vision ever fading". At this point, I rate the vocals as good as anything out there today. I think it's more personal preference and him just striking a chord with me, but I honestly enjoy it more than anyone else currently.
'Love/Paranoia' is the penultimate track. A deep, heavy track homing in on regret and self realisation of mistakes. The themes of love and paranoia/confusion do appear everywhere on the album. "I may not be as honest as I ought to be now that when the walls go up, I said it didn't worry me". "True love is bringing it out of me, the worst of me". A heartfelt track, a lyrical highlight and perhaps the most emotive song on the record. "Suddenly, I'm the phony one, the only one with a problem". We've all been there Kev, tell me about it!
Last track 'New Person, Same Old Mistakes' is a dark, heavy bass and trippy closer and takes the band the furthest away from guitars along with 'Past Life'. The title itself represents the entire narrative of the album. Perhaps along with the track before, a lyrical highlight. Kevin Parker sounds bitter and frustrated until 3 minutes in, when he momentarily shifts his voice up an octave or two and wails "and I know it seems wrong to accept, but she's got your demons, and she's got her regrets". He closes with a series of questions, pondering his learnt lessons..."So how will I know that it's right?". Confusion, misunderstanding and pondering thoughts feature as much here as all of his previous work. A great closer.
This is for me, the best Tame Impala album to date and one of the strongest releases this year. Despite it's differences to previous work, it never feels anything less than a Tame Impala album. The songwriting, instrumentation, vocals come up trumps here and it feels like everything done in the past has led to this album. A coming of age album and one that will live long in the memory. It is that good.
9/10
Other album reviews:
Bully - Feels Like: 6.5/10
Girlpool - Before the World Was Big: 7/10
I sit (on a train at the time of writing!) here now, less than a week since Wolf Alice released their highly anticipated debut. In these 6 days, they have received acclaim from not only critics, but fellow musicians. The Manic Street Peachers have called it album of the year via social media and Swim Deep and Alt J have both expressed the need to go out a buy it. The former even using part of their Glastonbury set to inform the crowd.
Wolf Alice formed in 2010 in North London. They were named on the BBC Sound of 2015 poll, however lost out to James Bay. Great exposure however, to a band who blend hard hitting 90's rock with contemporary indie. Fronted by Ellie Rowsell, the band have a fairly diverse range of sounds and a front woman with an array of vocal styles.
The album kicks off with 'Turn to Dust', a rather uncharacteristic soothing ballad with Ellie's vocals being at the centre of everything. 'Bros' the single follows. Again, we don't see the band in over drive yet...A summer tune, reminiscent of an Alvvays song from last year. "There's no one, there's no one who knows me like you do".
Two songs in, you'd be forgiven the to think the record is your typical female fronted indie surf rock setup. I'm thinking Alvvays as previously mentioned, or maybe Best Coast. However, the feel off the album shifts on 'Your Loves Whore'. From the soaring vocals around 45 seconds in and the Smashing Pumpkins esque riff that follows, the band step up a level musically. It's not reinventing the wheel, but it reflects the contrast of intensity that the band can perform. The track features some brilliant vocals and an infectious guitar sound. The highlight so far for sure. 'You're a germ', shifts further away from the opening two with a feedback heavy guitar rip and gritty vocals. Ellie bellows out towards the end with furiosity in her voice. "You're a guilty fucker as well. Yes you are!" It's clear at this point, they can do nicey-nicey stuff but also have a little fire in their belly.
'Lisbon' and 'Silk' come next. The latter being a dark, fairly intimate track and a lyrical highlight. "My love it kills me slowly, slowly I could die". Ellie appears to be singing about dead end relationships and the hurt and frustration it can bring. "No one wants to feel this sad". "If you don't love me, don't tell me. I've never asked who and I've never asked why". A real grower and another sign the band can adapt.
'Freazy' metaphorically puts the ray bans and sea side backdrop back into the fray, with a catchy, sing/dance along chorus. A festival song if there is such a thing... 'Giant Peach' is next, which was initially the first music I heard from Wolf Alice. The intro is a belter (2 minutes long), with a build up of guitar riffs. Simple, catchy and instantly loveable. The vocals are different here and reminded me of Warpaint or maybe even shades of Alice Glass. Dreamy, hazy and post punk.
'Swallowtail' features male vocals. I'm assuming it is either one of the guitarists or the drummer. This track doesn't work as well for me and features a rather random, unexpected jam at the end. 'Soapy Water' enters a new realm once again. Guitars are swapped for keyboards and Ellie perhaps sings of her or a loved ones anxiety and depression."Anxiety's grip is always waiting to take me, it sits in my stomach, I fear it's starting to shape me." The albums penultimate track is 'Fluffy'. The vocals again are really impressive, with a number of styles packed in within 3 minutes. This one lifted the roof off Rough Trade East last Tuesday (23rd June). 'The Wonderwhy' closes up, and perhaps didn't need to be included. One criticism could be the album is a couple of tracks longer than it needs to be. I've always been one for a solid 10/11 track album.
The 30 minute set I witnessed last week showed they're a decent live outfit. Considering the crowd was around 100/150, they tore the roof off, crowdsurfed and left us all begging for more. Brixton in September is when I'll see them next!
Some have criticised the album for being too disjointed and have argued that the band don't really know what they are yet. Whilst I agree they could have ditched a song or two, I think the diverse nature of the album is a strength. Time will tell how far Wolf Alice can go... It's a cliche but the second album will be key to any long term success. I hope they buck this horrible trend of releasing a follow up within 12 months and they actually take their time and build up some anticipation and excitement for future music.
Relocation of work, home and everything else in my life has meant it's been over a month since a post... and there has been some seriously good music released since then! Here it goes...
Jamie xx or Jamie Smith as his mother knows him, was born in London in 1988. Most well known for the obvious... his part in 'the xx', alongside his childhood friend Romy Madley Croft. However, despite a good helping of success with the band, he is also known for his remix and dj performances, which includes remixing Adele and Florence. It's this love for electronic sounds that he really homes in on for this record. 5 years in the making, it was often put on the backburner as he focussed on other projects. It is fair to say it doesn't suffer.
This album is as accessible as the xx's albums are. It's quite an art to create albums which are pure and serene yet appeal to a wide audience. Essentially, this plays as an xx album (Romy does appear several times) but with a electronic foundation at its core. Gentle guitar hooks, african beats and atmospheric synths are all married up with beautifully simple yet engaging beats.
'Gosh' took me surprise on first listen. Probably because it featured the voice sample 'UK Massive' and I actually enjoyed the track. A first for everything! The garage opening is partnered beautifully in the second half of the track with deep and low synths. There is nothing complex here, but it works so well. 'Sleep Sound' follows which is a personal highlight of mine. A track which he has played round with for many years, but edited to perfection for the album. A track which shows the beauty of vocal instrumentation but also the art of a good grove is often relatively simple.
'SeeSaw' and 'Loud Places' see his pal Romy head up the vocals. We already know her voice compliments his musical style. The latter of those tracks is a real beauty. The guitar outro playing out over the vocals towards the end is highly satisfying. Which is a word you use a lot when describing Jamie's music. He can just strike a chord with you musically. This happens again on penultimate track 'The Rest is Noise". Atmospheric, soaring snynths with nicely timed bass beats, a gentle piano solo and a hell of a lot more. Yet it doesn't feel too much. The art of a lot going on but being gentle on the ears is pure musical talent.
This album is strong throughout and is perfect for the electronic sceptics out there. The more I hear from him, the more clever and impressive he becomes. He is no stranger to critical acclaim and has already won a mercury prize with the xx. He's already the bookies favourite to pick up another with this effort.
Firstly, just to get it off my chest. I can spell Colour. The Americans can't. Anyway...
Alabama Shakes first got my attention back in 2012 when I first heard 'Hold On'. A refreshing track, which featured beautifully stripped back contemporary blues and soul to compliment the husky vocals of Brittany Howard. It was a single which promised so much for the rest of the album, especially as the album opener. However, the proceeding tracks never reached the same heights, leaving all in all a disappointing effort. Still, a breath of fresh air I felt. Modern day blues/soul/country usually leaves a very bitter taste in the mouth, accompanied with scratching of the head and ultimately blocking of the ears.
An unwritten formula for modern day music features a number of artists who release a decent first album, but struggle to keep up the momentum in the 2nd. Alabama Shakes have done the rare opposite. 'Sound & Color' is bold, stylistic and at times surprisingly hard hitting. Unlike its predecessor, it maintains a strong and self-assured feel. This is a band sure of what they want, and do it with a confidence which only enhances their sound. The ideas are flowing here, with the songwriting in particular improving immensely.
'Don't Wanna Fight' is as good a single as 'Hold On'. It's gritty, catchy and the vocals are sublime. Brittany Howard is the cornerstone of everything for Alabama Shakes. This might sound obvious, but without her they wouldn't exist. She couldn't be replaced.
'Gimme all your love' demonstrates this perfectly. Again, the vocal delivery is what crowns the track, yet it is so much more than that. A contender for song of the year so far. It soars, soothes and then soars again with some incredibly clever instrumentation in between. A track I didn't think they were capable of if I am being honest. Truly brilliant.
The charm of the album continues throughout with the energy exploding and settling several times. It's this change of tempo and musical innovation which separates this album from the debut. The very serene and tranquil tones of 'Guess Who' is followed up with the fast paced, guitar and drum jam of 'The Greatest'. Closer 'Over My Head' boasts the soulful core of the band, just adding another string to their ever growing bow.
It is this wide stylistic spectrum that makes Alabama Shakes niche . A contemporary, yet old fashioned sounding mix of soul, rock and roll and blues. It is a rare combination these days, especially when you consider each genre taken on it's own has effectively had it's heyday.
Alabama Shakes have written better songs, experimented musically and are bellowing out their lyrics louder. A winning formula.
Drenge... the post-punk, grungy duo who insist their music is played loudly. Their first album was raw, gritty and a metaphorical two fingers to keyboard indie. Guitar music was officially not dead.
'Undertow' is much more thought-over album and the production is smoother, with the majority of the album having a darker feel to it than its predecessor. The first four tracks get the album off to a flyer with 'Running Wild' being a highlight of the entire record. The deeper sound is noticeable straight away and for some time it works a treat. 'Never Awake' follows, with another stellar drum beat and head bopping guitar hook. The vocal delivery is more refined too, but you never feel like Eoin Loveless is holding back.
"How about twisting the knife, after you stick it in"
On the lead single and 4th track 'We can do what we want', the band let loose a little. A libertines-esque intro leads into a track which defines Drenge. The drums are hit hard, the vocals are belted out and the guitar is loud. The theory comes to life here...the louder you play this song, the better it sounds. Laptop speakers are not an option according to the band! The added bass (yes, they are actually a trio now) gives the catchy riff a bit more bite, as it does throughout.
Unfortunately though, the album can't quite keep up the quality for the next couple. 'Favourite Son' and 'The Snake' aren't necessarily bad songs, but they don't have the same punch as the openers... Nor the lyrical conviction. The Nirvana influence is strong here, to the point that it sounds like they wrote and recorded it directly after listening to 'Nevermind'. Some would say an influence, some would say it's a rip off. Much like Muse - United States of Eurasia with Queen.
The rolling bass of 'Side by Side' is another 'nice', so-so track. But I'm not sure Drenge would appreciate that half compliment. At the same point in their debut, 'Face Like a Skull' appears. I think most Drenge fans would prefer the rawness of the latter, than the relative calmness on 'Side by Side'. Again, it isn't bad, but it's a little middle of the road for me. 'The Woods' however, breaks the trend of smooth production. but no 'tune' to tie it with. The second half of the song boasting a pleasing guitar, bass groove out (is that a phrase?!) before the chorus kicks back in with a clever little harmony.
"Lead us not into temptation but deliver us from evil"
The title instrumental 'Undertow' is next, which is as uneventful a Drenge song as you could imagine. I don't have a problem with it other than it doesn't grab my attention, which for Drenge is a strange concept. 'Standing in the cold' is another dark, hard hitting, howling song with desperate vocals and a roaring guitar solo mid way through. The formula works again here before it falls down again with 'Have you forgotten my name', which rather lets the album peter out.
It is in those closing moments you doubt Drenge's obvious conscious decision to refine, polish and focus their sound. However, for most part I think it pays off, developing and improving them as a band. Their debut was a breath of fresh air, but I don't think that style is sustainable long term without becoming stale quite quickly.
Drenge have been bold and that is exciting. They are on the verge of brilliance.
8/10
Other album scores:
Sufjan Stevens: 8.5/10 - I may do a small post on this at some point! Amazing piece of music.
Waxahatchee: 7.5/10
Say Lou Lou: 4/10
Here is the band on David Letterman performing 'We Can Do What We Want':
"If you do not do what you're told to do when you're told to do it, you will be punished. Do you understand? (Aye, sir)"
As the drill sergeant and corporal wail back and forth to one another, it's hard to comprehend what has happened to a band who in the mid 2000's had the crown of best British rock band cemented for what seemed, years to come.
Muse are obsessed with being grand. But it has now gone to the point of stupidity. Lyrically they have never been exceptional but the instrumentation was always what carried them. The last two albums have sucked that prowess away dramatically leaving wishy washy pop-rock ballads and electronic pop to contend with. So, Muse fans might have been excited when it was made clear the riff-heavy style was returning for their new album 'Drones.'
"Psycho" has a guitar riff that defines "cock rock" if their ever was such a thing. Unoriginal and cringe worthy. The drumming is tight as always, but very, very familiar (Uprising?). The bass, well... this is supposed to be Chris Wolstenholme, yet I'm pretty sure I could write and play the part.
I struggle to understand how a trio who conceived 'Citizen Erased' & 'Hysteria' have stooped to this level. The more desperate the music and ridiculous the lyrics, the more Muse's political messages & metaphors become less credible. You used to buy in to Matt Bellamy's ideologies and theories, probably because he was the like-able geek. Now, his falsetto at the end of this track is the musical equivalent of raking your nails along a chalkboard until death. That's unless you haven't drowned in your own vomit and tears first.
When the musical invention of Muse involves guitars and you label it uninspiring and predictable, you know something has gone terribly wrong. Muse have out done themselves.
'Put me on a pedestal and I'll only disappoint you'. A modest metaphor perhaps for Courtney Barnett's new found stardom, and claims from some quarters that she is one of the best young song writers around. One thing is for certain, she doesn't disappoint!
One of my favourite albums from last year was Sun Kil Moon - 'Benji'. Mark Kozelek has an incredible story telling ability, with his work creating beautiful imagery. I found that album to be like nothing I had heard before. Like reading a book... where the words you read create a constant flow of images in your imagination. Of course, Mark Kozelek is a lovely guitar player too, with his melodies complimenting the stories he told so perfectly.
Courtney Barnett musically is a million miles away from Sun Kil Moon, yet she shares the deadpan, self-conversational style. 'Pedestrian at best' represents this best, with Courtney Barnett ranting in what is essentially a passionate monologue of dis contempt of the life of a female twenty-something.
'I like you, despise you, admire you, what are we gonna do when everything all falls through?
I must confess, I've made a mess of what should be a small success, but I digress, at least I've tried my very best I guess'.
Courtney Barnett talks, sings, bellows, shouts her way through the record.
This style of songwriting does require a subtlety. We seem to be in an age where spoken word, or even open-mic style singing and performance is more popular. However, I find the majority hugely cringy. Partly my reason for not liking popular artists like Ed Sheeran, who even takes it one step further and raps *vomits*
'You should never cut your hair, because I love the way you flick it off your shoulder'
'And I know you love Shrek, cause we've watched it twelve times'.
Wake Me Up - Ed Sheeran.
Courtney Barnett has these moments of somewhat mundane thoughts spiraling out of her mouth and I guess you could aim the same criticism at her. I suppose I feel her lyrics are more witty, or if not witty then clever, building imagery or reflecting on something wider. Perhaps like early Arctic Monkeys and Alex Turner. But it is fair to say, it is a fine line.
"Jen insists that we buy organic vegetables, and I must admit I was a little skeptical at first. A little pesticide can't hurt" - Dead Fox, Courtney Barnett
My favourite moment of this album is the deeply sentimental 'Depreston'. A story of house hunting in the suburbs, in a place she doesn't want to be. A tale of growing up, flying the nest and financial strain. She picks out the details of a bungalow she is viewing, perhaps mocking materialistic obsession and petty characteristics that she questions the importance of.
"I can't think of floorboards anymore, whether the front room faces south or north."
Musically like Real Estate and lyrically like Conor Obest, I have read elsewhere. I couldn't put it better myself...
There is some musical prowess on the album too. Seven minute long, reverb guitar solo heavy 'Small Poppies' is a post break up self examination with Courtney Barnett bellowing out "I used to hate myself, but now I think I'm alright". Other catchy hooks appear on 'An Illustration of Loneliness (Sleepless in New York)' & 'Dead Fox', but I do feel it's the lyrical content which offers the most pleasure.
A pyramid stage slot at Glastonbury will expose Courtney Barnett to the UK later this year and I believe she'll be far more known come July.
8/10
Here is the the punchy single 'Pedestrian at Best':
'Father John Misty'. The name is possibly the worst thing that Josh Tillman has created. Everything else is gold...
Josh Tillman, the ex drummer of Fleet Foxes, created Father John Misty back in 2012 after an array of solo releases in his own name. A folk-inspired singer songwriter, from Maryland, USA. His music is as bold as his lyrics are witty and at times, hysterical. They say the best works of art evoke a variety of emotions and this album does just that.
'I love You, Honeybear' the album's opener, is a stunning track that sums up the strength of the vocals throughout. Tillman's voice is layered with his own harmonies, with on-point 'ooh's' and 'ahh's' complimenting the warm melody.
The lyrics are where this album comes to life the most, however. He sounds bitter, angry and self-loathing throughout, with any positive outlook on life or compliment of another smothered in satire,sarcasm or humour to balance it up. At times, the lyrics come across as a stream of thoughts just passing their way through his head, with no process of filtering out the stuff you think, but don't say.
"I've brought my mother's depression You've got your father's scorn and a wayward aunt's schizophrenia"
His lyrics have the habit of making you smile or think deeply before making you chuckle. A hard skill; as most attempts to be funny yet respected as a musician go horribly wrong, or just cannot be taken seriously at all.
"The Night Josh Tillman Came To Our Apt." & "Nothing Good Ever Happens At The Goddamn Thirsty Crow" take one night stands and relationships and give comical, but relatable lyrics. The former begins with three lines of admiration and appreciation for his temporary lover, before the inevitable guilt and resentment kicks in with cutting, harsh jibes at the woman he spent the night with. Suddenly, he can't stand everything about her.
"And now every insufferable convo Features her patiently explaining the cosmos"
"Strange Encounter"touches on these ideas too, with desperate, passionate vocals of self-hatred and self-despair, bellowing: "I swore I would change". "The Ideal Husband" follows with yet more admissions of mistakes and regrets.
"Bored in the USA" is sad, honest, thought provoking and beautifully sung. "Now I've got a lifetime to consider all the ways I've grown more disappointing to you As my beauty warps and fades I suspect you feel the same"
Every song here has a sentiment to dwell on, whether you laugh, cry or both. It delivers the honest and bitter self- realisation of life's disappointments, worries and fears but also things that just really grind your gears in 21st century America. It's from this, Josh Tillman brings the laughs and jokes and metaphorically shrugs his shoulders through life with a smirk on his face.
Josh Tillman has made an album which is as impressive as his beard and that takes some serious patience and ultimately, talent and skill. 9/10
Other album reviews:
Will Butler - Policy: 7.5/10
Here is the album opener:
With Beady Eye gone, Noel is the last Gallagher standing to fly the flag. Despite being his 'High Flying Birds' with various random but cherry picked musicians (The Zuton's bassist?!), this project is mainly a solo one with the luxury of being able to sing every tune he writes. You get the feeling he relishes the fact he is in complete control of the entire record making process nowadays. The self titled first effort in 2011 was a fabulous album and one that further cemented himself as an iconic songwriter. His live performance of that album was effortless, recalling a memorable night at the o2 arena, London.
So three and a bit years on, after an EP/Record Store day release here and there, he is back with the second High Flying Bird's album. It's a fair comment to say you know what you are going to get with a Noel album. Above all, a solid one. One that has a number of 'proper' tunes, with proper lyrics and a proper melody. That might sound basic, but that automatically puts him ahead of a large proportion of new artists who lack the skill to combine those elements. Wishy-washy indie rock is a thriving genre. Royal Blood's Mike Kerr can play the bass guitar damn well and damn hard, but
"Hey little monster, you know it's all ok I'm gonna love you, no matter what you say" - Little Monster - Royal Blood
is a classic example of having one element (tune/melody) but not the other (lyrics). With Royal Blood's success, maybe you don't need to tie them all together anymore. Perhaps that's why mainstream rock music is in decline. Noel very rarely (if at all), fails to fuse his skills as a songwriter and a musician together so elegantly.
I like the production of everything he creates. His music feels loved, and it sounds uplifting and melancholy at the time with an effortless feel . 'The Dying of The Light', 'Riverman' & 'Ballad of The Might I' all reflect this and are highlights of mine.
Some might say (sorry, had to!) his music is a tad 'samey'. Chord heavy, rolling bass, verse-chorus-verse. 'We know we can't go back' might be guilty of this, yet it is listenable. My theory would be if you don't like that style, you probably don't like his music, nor Oasis'. An album being 'samey' is a dangerous criticism. True, some 'samey' albums can sound dreadful, but some can go on to be masterpieces. 'It This It' - The Strokes has a consistent sound through its entirety and is one of the best albums of the 21st century. The Beatles also receive the same treatment from some parts, yet their music is still played 50 years on.
'Listenable' is a odd adjective to describe music on face value, but I think Noel personifies that trait. It's not setting the musical world alight stylistically and it has its moments of routineness but it's an enjoyable listen and one that his fans will immerse themselves in.
In a music world of blending genre's and stylistic innovation being necessary to get recognition, Noel has laughed in its face and done what he always has.
7/10
Other album scores: Ghost Culture - Ghost Culture: 7/10
Here is an acoustic version of 'The Dying of The Light' which is a song Noel has had knocking about for a few years before appearing on this album:
32 days have now passed in 2015 and up until day 26 of 2015, I was scratching around for some good new music. Thank you Rae Morris!
I first heard Rae Morris about a year or so ago when she performed guest vocals on the latest Bombay Bicycle Club album, in the track 'Luna'. A decent track, with a glimpse of her vocal ability. Glastonbury came along and she joined the band on stage and perhaps got a glimpse of the festival scene she challenges to be a big part of this year. Then she appeared on the sound of 2015 list. Everything led up to the release of this debut, which was 5 years in the making.
A singer songwriter who writes pop songs. Not my usual thing, but her songs have a vulnerable, dark feel to them which compliments her voice especially when it's just her and her piano. 'Don't Go' and 'For You' show this off and are probably my favourite two on the album. The singles 'Under the Shadows' and 'Unguarded' offer a more classic pop feel with stomping choruses. 'Closer' is another highlight and very Lorde-eque.
The album maybe fades off a little towards the end and at times is a little over produced (like most pop music). But it's a pop album which doesn't try too hard. It's an album that feels personal to Rae Morris and its full of rawness lyrically. It feels like she hasn't had to or been forced to compromise her music to sell records or top charts which is refreshing.
A year or so ago, Bombay Bicycle Club released what was a highly enjoyable record that I returned to on and off for the whole year. I expect to do the same with their mate, Rae Morris' debut.
7/10
Here's the album opener 'Skin', which gives you a good feel of her musical style :)
I have had urges to start a music blog for a little while now. Two years ago, I wrote a music related blog before laziness and forgetfulness set in at the ripe age of 20. After two years of intensive therapy, I feel like I want to express my views and thoughts on all things music again in blog form.
The beginning of 2015 seems like the opportune moment to start. The year ahead being a blank canvas so to speak. I've got high hopes for a few albums, but then again I had high hopes for The Black Keys and The Horrors last year, only for them to release lackluster records.
Here are a few of my anticipated albums of 2015:
DIIV - TBA
3 years in the making. "Oshin" was a pretty good debut so I'm curious. Bring me more rolling bass lines please!
WILD NOTHING - TBA
Much like the former, 3 years after "Nocturne" a new album is expected this year.
PURITY RING - ANOTHER ETERNITY
So, Purity Ring are a fairly new discovery for me. It's not everyday you can accredit Wagamama's to the discovery of new music. But a few months ago, I could do just that. There I was, devouring my katsu curry when I found myself thoroughly enjoying 'Obedear' to the point of tapping to the beat with my chopsticks. Thanks Wagamama!
WAXAHATCHEE - IVY TRIPP
"Curelean Salt" a couple of years ago was lovely. I think I am going to like this just as much. It's hard not to enjoy her music!
THE MACCABEES - TBA
"Given to the wild" was an incredible album and one I am sad I never got to see live. A Glastonbury appearance would go down a treat. I just hope this lives up to the hype!
RADIOHEAD - TBA
So, this looks like it is going to happen. It could be released in December, it could be released in 10 minutes time. Who knows?! In rainbows part II is what I dream of. Thom Yorke solo record is probably what I'll get. Here's to hoping!
MUSE - TBA
Hmm, thinking about it... I'm not so sure about this. I liked "The 2nd Law" initially. A few months passed and I have spent every day since wondering what on earth I liked about such a mundane, systematic album. We all make mistakes right?!
There are others... but like every year, the best albums are often bands/artists you don't expect or you haven't even discovered yet.
