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.
7/10
Sunday, 16 August 2015
Tuesday, 28 July 2015
Playlists Vs Albums
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.
http://pitchfork.com/features/articles/9686-up-next-how-playlists-are-curating-the-future-of-music/
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.
http://pitchfork.com/features/articles/9686-up-next-how-playlists-are-curating-the-future-of-music/
Friday, 17 July 2015
Tame Impala - Currents - Review
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
Here is 'The Less I Know the Better':
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
Here is 'The Less I Know the Better':
Monday, 29 June 2015
Wolf Alice - 'My Love is Cool' - Album review .
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.
Wolf Alice are ones to watch.
8.5/10
Here is single 'Bros'
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.
Wolf Alice are ones to watch.
8.5/10
Here is single 'Bros'
Friday, 26 June 2015
Jamie xx - 'In Colour' album review.
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.
9/10
Here is single ' Loud Places':
Wolf Alice review to come!
Monday, 18 May 2015
Alabama Shakes - Sound & Color - Review
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.
8/10
Here is the single 'Don't Wanna Fight':
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.
8/10
Here is the single 'Don't Wanna Fight':
Saturday, 18 April 2015
Drenge - 'Undertow' Review
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':
'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':
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