Issue #24 September 2007
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January - Fatima Mansions - 'Only Losers Take the Bus'
Cork's Fatima Mansions formed in 1988 around singer and former Microdisney man Cathal Coughlan. 'Only Losers Take The Bus', a track that sounds part Carter USM and part Sigue Sigue Sputnik, remains their biggest hit unless, of course, you count their double A side to the Manic Street Preachers' 'Suicide is Painless' which reached the top 10. On the flip the Mansions twisted, contorted and improved Bryan Adams' 'Everything I Do (I Do It For You)' out of all recognition making it the definitive version for anyone with taste.
February - The Dylans - 'Godlike'
Their first single for Beggar's Banquet is probably also the best remembered release for Sheffield's The Dylans. Allegedy named after the sleepy rabbit from the Magic Roundabout rather than Mr Zimmerman, the band followed this up with the sublime 'Planet Love' and the less well-received 'Lemon Afternoon' and 'Mary Quant in Blue'. By the time they released second album 'Spirit Finger' in 1994 the music scene had moved on and left their sound firmly behind causing the band to split.
March - Chapterhouse - 'Pearl'
Chapterhouse were part of the much-maligned 'shoegazing' scene (the term used to describe bands whose guitarists spent the entire gig looking at the pedals on the floor and never made eye contact with audience) and finally began to cause a stir with the single 'Pearl' after four years together. Marrying ethereal vocals, rippling synth lines and clashing hip hop drums the band successfully blended their trademark drone with baggy dance sensibilities to the delight of floppy-fringed indie fans everywhere.
April - Rebel MC ft Tenor Fly - 'The Wickedest Sound'
With this single Mike 'ruff like a ninja, stinging like a bee' West shook off the cartoon image he'd created with his early collaborations with Double Trouble and emerged as a serious artiste alongside the likes of Shut Up and Dance and the Ragga Twins in the breakbeat-reggae scene. The record was engineered by future Suburban Base artist and DJ Rap collaborator Aston and set the scene for follow ups 'Under Mi Sensi' and the timeless 'Tribal Base'.
May - Flowered Up - 'Take It'
London's answer to the Happy Mondays released their third single, the piano-house inspired 'Take It' through Heavenly in the spring of 1991. At the time it was famous for drawing lyrics from the soundtrack to The Clash's 'Rude Boy' road movie - a lift made all the more poignant by the fact the band's co-manager appeared as an extra in that very film. This was the band's biggest hit to date and was only beaten by the band's final proper single, the eleven minute epic 'Weekender' in 1992. The band split in 1994 but are still known to play the occasional gig on the retro circuit.
June - Cubic 22 - 'Night in Motion'
Despite being packaged with a Japanese flavoured video, Cubic 22 was a collaboration from Belgium (where else?) by Danny Van Wauwe and Peter Ramson. Having had minor success in their native Belgium with 1990's 'Rave the Reflex', the duo's second release was picked up by XL Recordings for release in the UK and this unusually hard dance record entered the Top 20 in the Summer of 1991.
July - Cola Boy - '7 Ways to Love'
Essentially a St Etienne with friends release, Cola Boy's '7 Ways to Love' was originally released as a white label featuring vocals from Sarah Cracknell but was re-released with vocals from Janey Lee Grace who fronted the band along with St Etienne collaborator Andrew Midgley. This record hit the Top 20 in July but a follow-up record 'He is Cola' failed to match the success and the act dissolved shortly after.
August - Outlander - 'Vamp'
Beloved by mix-tape creators of the day, how many of us actually remember the name of the song that went 'na na na aaaahh'? Well, it was 'Vamp' by Outlander AKA former Belgian New Beat artist Marcos Salon and it first tore up the dancefloors in 1991 when released here by the fabled R & S Records.
September - Skin Up - 'Blockbuster'
Originally featuring (and featured here) a cheeky sample from ITV show Blockbusters, Skin Up's 'Blockbuster' was one of the finest proto-rave 'hoo-hoo-hoo!' singles, a celebration of ecstasy culture over a pounding bassline. After complaints about the sample the record was withdrawn and re-released without it as 'Ivory' (I've a e...geddit! Oh those guys...)
October - Airhead - 'Funny How'
Another name change following a legal challenge here, Airhead were originally known as Jefferson Airhead but shortened it after members of Jefferson Airplane / Jefferson Starship failed to see the humour. 'Funny How' was the band's key song, a paean to unrequited love with one of the finest lyrics ever - 'Funny how the girls you fall in love with never fancy you / Funny how the ones you don't do.'
November - Naughty By Nature - 'OPP'
Despite being a massive hit stateside, this Jackson 5 sampling rap track never quite made it in the UK. What was OPP? Well, to quote Phillip 'Pip' Schofield announced at the Smash Hits Awards it was 'other people's pants', but it shouldn't take a great deal of imagination to realise this definition was toned down for the young audience!
December - Shonen Knife - 'Space Christmas'
In a year where The KLF had the Christmas number one stolen from them by a re-issued 'Bohemian Rhapsody' there was precious little else around, but lurking close to the Top 100 mark was this Ramones-esque tribute to Santa Claus (in space) from the ever-popular Japanese punk-poppers Shonen Knife.
Download it now: Forgotten Gems 1991.mp3 (64 MB / 45m 26s / 192k MP3)
Richard Brown (View Original Article)
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The mix will include some of the stations finest, notorious but, above all, most memorable moments which may or may not include John Peel having trouble with buttons, Dave Lee Travis resigning on air and the audible tremble in Bruno Brookes' voice after he realised he'd broadcasted the unedited version of Rage Against the Machine's 'Killing in the Name' at tea time on a Sunday.
The mix will be broadcast at 9pm so get a blank C90 into your tape deck and prepare to record. What's that? Oh well, you just go ahead and 'record it on your MP3 player' then...
Richard Brown (View Original Article)
The original album contained eight tracks.
1. Earthbeat
2. Or What Is It?
3. Face Place
4. Walk About
5. Difficult Fun
6. Animal Space / Spacier
7. Improperly Dressed
8. Life on Earth
The new version will feature a selection of photos by man of the moment Anton Corbijn and brand new artwork.
Richard Brown (View Original Article)
The band responsible for such greats as 'Joe', 'Move', 'This is How it Feels' and 'Saturn 5' play eight shows next March.
March 2008
7 - Glasgow ABC
8 - Oxford Academy
9 - Sheffield Leadmill
10 - Northants Roadmender
12 - Frome Cheese and Grain
13 - Nottingham Rescue Rooms
14 - Manchester Academy
15 - London Shepherd's Bush Empire
Next week Moose and Levitation reform and split up on the same day due to lack of interest.
Richard Brown (View Original Article)
"I hate my voice on all them records. I sound like fucking Tweetie Bird. I mean, they were good at the time, it's the best I could do, but I prefer it the way it is now."
He continued, "When I hear Slide Away, I think, 'That’s a vocal'. Supersonic, that’s all right. But certain songs, Live Forever, some of the high bits I just think 'Aw, fuck that'. I was young. I hate that vocal on Whatever. I despise it. It’s shit."
In some delicious irony, most Oasis fans from that period can't bear to listen to the off-key nasal whining he produces in live shows today.
Richard Brown (View Original Article)
Well, it bloody well was him! Now performing with the help of a bass player and touring around the country as we speak, Black Affair is the latest chapter of Steve's wonderous career. Describing his new sound as "electro r'n'b" you can get a taste of his new approach by going to http://blackaffair.co.uk/ and downloading the latest single for free. Or you can wait a while and buy TAK! ATTACK! as a 12" on 22nd October. Go on, do it. You know you want to...
Dean Coster (View Original Article)
EMF shot to fame in 1990 with their signature tune 'Unbelievable' reaching the heady heights of number 3 in the UK charts and, amazingly, the top spot in the USA. Despite their indie sound they quickly became teenage pin-ups (even ancient Ian who was in his mid-20s) and had a string of top 20 hits over the next two years.
They were last seen together duetting with Reeves & Mortimer on 1995's cover version of 'I'm a Believer' - the third and final part of their 'Believe Trilogy'.
Original bassist Zac 'the foreskin' Foley died in 2002 but will be replaced by Richard March from, hey hey, Pop Will Eat Itself (and Bentley Rhythm Ace, of course) for the night joining James, Ian, Derry and Mark. DJ Milf will not be present due to being worried that his name attracts too many users of 'specialist' websites in this modern day.
Tickets go on sale tomorrow (Friday 28th September) and can be bought from the Stargreen box office.
Richard Brown (View Original Article)
“Two weeks into the month of August I hopped a plane back to where it all started. For two months I lived in Los Angeles without a car and the majority of my belongings and so I sent myself after them. I returned to Portland and all its glory, to my mum and my dad and the friends that I had known for more than a decade. However, I did this without my guitar. I was in the great northwest for two weeks and I had no guitar. And so one day while I was packing everything that I cared to have my name on, I found a keyboard circa 1995; not 1983 or anything grand like that, 1995. My fingers figured out the piano’s version of The Last Architect and it went from there.
Back in Hollywood, back in my new bed, in my new surroundings, with my car and forgotten necessities, like a means to record, I did just that. I recorded and I layered and I remembered. “I can’t go on like this” I said. I had recalled the lyrics I wrote in my head just before my eyes closed and I went off to sleep. Sometimes you can really disappoint yourself when you remember things like that, but this time, I suppose it worked out. I really never know what I write about, I really don’t. But if I had to guess, after reviewing this song, I would say, it is about...
Obligation".
Go have a listen to The Last Architect here - www.myspace.com/lovecopter/.
Chris Unitt (View Original Article)
Having spent years touring with the likes of KT Tunstall, and Ray LaMontagne he’s recently been garnering critical acclaim, a growing army of fans and comparisons with Tom Waits and Neil Young. Someone has even suggested he plots a course between David Gray and Kurt Cobain and I can almost see what they mean – similar in musical style to the Irish singer but much closer in terms of doomed romance to Kurt.
Songs For The Road is the name of the new album which is currently sitting comfortably in the iTunes Chart following it’s digital release on 6 August. The album sees its physical release on 15 October, preceded by the release of single Decimate and the first date of a nationwide tour both taking place on 8 October.
Those tour dates in full:
For more information go to www.myspace.com/davidford
Chris Unitt (View Original Article)
The Supermen have been performing in their native Newport and, with the help of 'rave powder and a £10 Casio keyboard' have set about recording their first album featuring songs with names such as 'Spill the Beans', 'Brian was a Fish' and, my favourite, 'Bernie Clifton's Coming Over The Hill'.
The new act have been confirmed as the support act on the current Super Furry Animals tour and will appear with their countrymen at the following venues.
October 2007
18 - Glasgow, Barrowlands
19 - Liverpool, Academy
22 - Nottingham, Rock City
23 - Newcastle, Academy
25 - Southampton, Guildhall
26 - Oxford, Carling Academy
28 - Birmingham, Academy
29 - Bristol, Academy
30 - Leeds, Town Hall
31 - Norwich, UEA
November 2007
2 - London, Roundhouse
3 - Roundhouse, London
Richard Brown (View Original Article)
The album, available on vinyl or download only, is described as largely different and 'digital' as opposed to the 'analogue' sound of their previous album 2004's 'Hotel Morgen'. To this end the band have decided to ditch drums, bass and analogue synths and record the whole album with one Yamaho vss30 and a computer.
To Rococo Rot have also announced they'll be playing some shows later in 2007 and hope to have a new album out next year.
Richard Brown (View Original Article)
1 Deering Siera Banjo with Hard Case, Dark and a Pick-up
1 Reverend 6-String (Olive Green, Semi-Hollow) in TKL Case
1 Fender Jaguar Baritone 6 String Sun Burst
1 Minidisc recorder in grey bag
Should you find yourself in a Toronto second hand music store and you recognise any of these items with a 'just in' label then contact the band at akronfamilyvalues@gmail.com.
Providing they can source new gear (and the word is they already have) the band will be appearing on these shores later this year.
November 2007
24 Brighton Pressure Point
25 Bristol Croft
27 Aberdeen Lemon Tree
28 Glasgow Beat Club
29 Newcastle Other Rooms
30 Manchester Phoenix
December 2007
1 Leeds Faversham
2 London Cargo
4 Nottingham Social
5 Coventry Taylor John's House
Richard Brown (View Original Article)
Ringo Deathstarr - 'Ringo Deathstarr EP'
Hailing from America's spiritual home of indie rock, Austin in Texas, the fantastically-named Ringo Deathstarr have just released their first ever record and already their as-loud-as-we-possibly-can philosophy has won them comparisons to Dinosaur Jr, My Bloody Valentine and, most of all, the Jesus and Mary Chain. It's unsurprising too, 'Some Kind of Sad' sounds like it's leapt straight off of 'Psychocandy', given itself a lick of paint and presented itself bollock-naked to a startled Reid Brothers. Despite sounding like the Millennium never happened, Ringo Deathstarr are one of the most exciting new discoveries in years and, should the nu-gaze scene come to fruition as it keeps on threatening to do, they'll be heading it up.
SVC Records
Buy: Buy it now
Felix da Housecat - 'Like Something 4 Porno'
It probably helps if you're a flamboyant, disco-loving gay man if you're looking for pleasure from this record. Lacking the
degenerate, dirty sound of his work five years ago, Felix simply sounds like Basement Jaxx covering Lipps Inc's 'Funky Town' here and,
should that sound good to you, a word of warning...it isn't even that good. Inexplicably hotly-tipped Teenage Bad Girl and Armand Van
Helden do irrepairable damage to the song in remix format and only Kris Menace manages to turn the track into something you can dance to
without feeling all self-concious.
Wall of Sound Records
Videos: Win Hi | Win Mid | Win Lo | Real Hi | | Real Mid | Real Lo
meWithoutYou - 'Nice and Blue (Part Two)'
Despite about to release their third album, Philadelphia's meWithoutYou remain pretty unknown this side of the Atlantic. The
oxymoronically-titled 'Nice and Blue' hits quite nicely, evoking memories of raw Bloc Party demos and boasting an impressive and
prominent lead vocal from Aaron Weiss.
Strange Addiction Records
Videos: Win Hi | Win Mid | Win Lo | Real Hi | Real Mid | Real Lo
Leann Rimes - 'Nothin' Better To Do'
I'll give you something better to do. Take this worthless Anastasia-bellowing-the-hits-of-Shania Twain garbage and wipe off your
husband's dick with it.
Curb Records
Matchbox Twenty - 'How Far We've Come'
Around ten years ago Matchbox Twenty were the name on every teenager's lips, since then their influence has spread far and wide
from Wheatus' 'Teenage Dirtbag' to the majority of the American Pie soundtracks. Nowadays you can still hear them in bands
ranging from Fall Out Boy to The Killers and, even with such a catalogue of irritating inspirees to account for, I can't help but quite
like this new song from them. Only a little, mind.
Atlantic Records
Air Traffic - 'No More Running Way'
Wow - the bastard child of Queen's 'We Will Rock You' and the last Keane album. In other words, Air Traffic figure they can liven
up a rather bland but listenable ballad by appending a looped 'tribal' drumbeat to it. By the time they relent and bring the song out
properly for the final minute you should already have skipped the track in furstration / boredom - whichever sets in first.
EMI Records
Videos: Win Hi | Win Mid | Win Lo | Real Hi | Real Mid | Real Lo
Katie Melua - 'If You Were a Sailboat'
Bringing together two of my favourite lines from the Kevin Smith movie 'Mallrats'. 'If you were a car what kind of car would you
be?' and 'Ha ha, you dumb bastard, it's not a schooner it's a sailboat'. Well, not really. This is the usual Mike Batt-written pap
from Katie, but at least she's no longer counting foreign bicycles and she does offer the following line...If you were a piece of
wood, I would nail you...fnar!!
Dramatico Records
The Royal We - 'All The Rage'
With an Arcade Fire / Polyphonic Spree false start, 'All The Rage' quickly changes tempo and becomes a hand-clappin',
doo-doo-wahhin tribute to all the finest pop music of all time but particularly The Pipettes and Mambo Taxi. The track ends far, far
too early but there's always the swirly French sounds of b-side 'L'Enfant Terrible' which offers more of the same but is a song where
you could see yourself waltzing around to it in a massive wig.
Geographic Music
Videos: Win Hi | Win Mid | Real Hi | Real Mid | Youtube
Jack Penate - 'Second, Minute or Hour'
Quite obvious really - hour every time...'Happy Hour' by the Housemartins that is, and here it is again from the man they're
calling the new Paul Heaton. Best of all about this release is the video which finds the not-exactly-svelte Penate running along
Brighton promenade for the entire track before collapsing at the end, exhausted.
XL Recordings
Cherry Ghost - '4am'
Ok, so this might begin like the theme tune to 'Postman Pat', but soon shows itself to be a deceptively complex and jaunty
little melody. It's a melodious tribute to that summer that we nearly had and the number one song in heaven right now.
Heavenly Records
Videos: Win Hi | Win Mid | Win Lo | Real Hi | Real Mid | Real Lo | Youtube
Marc Bolan & T-Rex - 'Children of the Revolution'
Back out for the first time since 1973 comes a single so good The KLF named their backing band after it. Based on a
titanium-strength guitar riff, biting strings, lyrics of petulent, total defiance and finishing with a heart-felt 'wahoo!', it's a song
that still makes kids feel ten feet tall today. On the flip is an electric demo of 'The Leopards', a peculiar mono recording which
finds Marc rapping beat-poet style with the sound of flipping notebook pages left in for posterity. Bizarre.
Edsel Records
Laura Marling - 'My Manic & I EP'
On first impressions the lead track 'New Romantic' smacks of the same throwaway teenage diary lyrics of Kate Nash's 'Foundations',
but on closer inspection it has more in common with the musings of sadly departed Kirsty MacColl. 'Night Terror' is just that, a
broody lullaby that scares the shit out of you more than it warms your heart. The title track is a waltz-based antidote to 'The Sound
of Music's 'My Favourite Things' and 'Typical' finds Laura at the piano belting out a poisoned version of that crap Beverley Craven
song from years ago, hope drained, chords all caustic and the result is powerful melancholy. Comparisons to Nash are as inevitable as
they are pointless, Laura Marling is already in a class above.
Virgin Records
Video: Stream
Motion City Soundtrack - 'This is for Real'
With one of the most confusing monikers yet (I checked, there's no 'Motion City' to be soundtracked), Motion City Soundtrack
successfully work their way through a song that wouldn't sound out of place on an Avril Lavigne album but would, and does, sound out of
place on my stereo. There's no denying their proficiency at writing catchy pop-rock, but then there was no denying Roxette could hold
a tune either.
Epitaph Records
Video: Youtube.
The Puppini Sisters - 'Spooky'
Stealing elements of Twin Peak's foreboding main theme, marrying it to modern downtempo jazz breaks and adding the sisters'
trademark 40s doo-wop may sound like a great plan but the realisation of it sounds too disjoint, too messy and not very enjoyable.
Perhaps the result is perfect from an avant-garde jazz perspective but I preferred it when the girls did knowing covers of The Smiths
better.
Universal Classic and Jazz
Video: Stream
Richard Brown (View Original Article)
To sign the online petition you'll need to go here.
In other news, despite falling out massively with fellow New Order members Barney Sumner and Stephen Morris, Peter Hook has said he would be prepared to play bass with the group at a tribute concert. Tony Wilson never did things by half, but how many people would actually die in order to get their favourite group back together?
Richard Brown (View Original Article)
Jackie said, "Norman is filling in on bass and being tour manager and wet nurse. It's brilliant. Jamie left for personal reasons a few days before the tour. It's an absolute joy to play with Norman though."
The band have no plans to find a new bassist as yet and, with Teenage Fanclub on something of an indie retirement, perhaps this arrangement will become permanent.
Richard Brown (View Original Article)
Quinn broke his back in August this year effectively putting the band out of action for a year, so Goffey has taken the opportunity to record his first solo LP called 'Van Goffey Lives' which will be released early next year.
Plaudits are already raining in from, erm his wife and former Powder singer, Pearl Spam:
"Danny's album is really tongue in cheek, really clever." she said.
Richard Brown (View Original Article)
Nothing is known about the track as yet but reports last year included quotes from musical kleptomanic Noel Gallagher that he was working on some material in the style of Spiritualized. The title of the song strongly suggests that this is what to expect.
The DVD of the same name follows on October 29th and features a 2 disc voyage through the band's 2005-2006 world tour where they played 26 countries and to over two million people. Disc one features a 90 minute documentary of the tour with input from Liam, Noel, Gem and Andy while the limited edition second disc features an entire gig captured in High-Definition at the City of Manchester stadium in 2005. It also features the best submissions of footage captured by fans who were there - grainy mobile shots ahoy!
As always, we pause for thought at the end of an 'Oasis are back' article and consider whether this time the band will rediscover the ear for a tune which first propelled them to massive success some thirteen years ago.
Richard Brown (View Original Article)
"As you are probbly aware by now i’m gearing up for a crack at getting on Eurovision 2008 in Serbia. If i get there I’m gonna have Jeff and a load of old Russian ladies dancing with me. It’s going to be the best doss ever of the earth"
Fans have excitedly started suggesting songs for Kid to sing with 'Can't Stop the Pop' emerging as the most popular.
He's also out on tour at the moment and playing at the following venues.
September 2007
27 - Glasgow Nice n Sleazys
28 - Dunfermline Monty's
29 - Leslie, Las Vegas, Fife - The Greenside (where!?!)
30 - Dundee Doghouse
October 2007
4 - Bristol Croft
13 - Portsmouth I Love Sumo @ Wedgewood Rooms
17 - Brighton Halloween Club @ The Engine Room
18 - Cardiff Buffalo Bar
So come on join the Can't Stop the Pop - Kid Carpet for Eurovision 2008 Facebook Group
Richard Brown (View Original Article)
On the reformation of The Police : "That's like soggy old dead carcasses. You know, listening to Stink try to squeak through Roxanne one more time - that's not fun"
This week the Sex Pistols announced another comeback gig at Brixton Academy.
On the current music scene : "I'm so bored with everything I've heard in the last two years. It's just been so repetitive, so borrowing from the past."
The Sex Pistols re-release their only proper LP 'Never Mind the Bollocks...Here's the Sex Pistols' yet again next month.
He did, however, provide a sage-like observation on 'troubled' stars like Pete Doherty and Amy Winehouse : "They obviously don't enjoy what they're doing. And that's why you turn to drugs. That's what happened with Sid, he wasn't happy about what he couldn't do. It's a slow suicide and it's a cry for help because they're in mental pain. Its destructive, it's not self pity... the pressure of being in a band."
Richard Brown (View Original Article)
Jones was seen going into the Ladies toilets in London swank-bar Amika and was asked to leave by security. Displaying his trademark ire, the Welshman protested that he wasn't 'a perv' and was simply checking his 'girlfriend' was ok. In the ensuing ruckus, he cut his arm badly by lashing out at a pile of glasses and was finally ejected by force.
The show itself was a celebration of everything bad about music with 'flamboyant' Mika picking up Best Male Artist, Oasis picking up an award in the hope that they'd show up and do something 'edgy' and gigantic, soulless venue Wembley Stadium was given Best Music Venue. Essentially The Brits but with constant mention of Vodafone and Chris Moyles. No wonder Kelly was in a bad mood.
Richard Brown (View Original Article)
A DVD will accompany the release featuring the video for the single made in conjunction with United Visual Artists (UVA) and Warp Films. But you can check it out now online through media player or Youtube.
Battles will also be playing somewhere reasonably near you in October, showcasing a spellbinding sound which has wowed musical tastemakers across the board so far this year.
October 2007
10 - Bristol Bierkeller
11 - London Koko
17 - Manchester Academy 2
18 - Edinburgh Liquid Rooms
19 - Newcastle Stage 2
Richard Brown (View Original Article)
Their first single 'Burning' won't be with us until aptly, given the title, November 5th but the new line-up of Erlend (vocals / guitar), Marcin Öz (bass), Sebastian Maschat (drums) and Daniel Nentwig ('rhodes & crumar'?) will be playing two shows in London before then to drum up interest. Those shows are:
September 25 - London Astoria (supporting New Young Pony Club)
October 9 - London Hoxton Bar & Grill
Their debut album 'Dreams' will follow on November 26th through Modular Records.
...and if Erlend reckons he's the whitest boy alive then he's clearly never visited the Highlands of Scotland, there's boys up there who can hide themselves completely in the snow just by lying on it!
Richard Brown (View Original Article)
So goodbye to that joke about Convent Schools that we all tittered over when we were 13, the Virgin Megastore is no more after 30 Years.
The new chain moronically titled Zavvi will be set up by a consortium of Managers who clearly failed to buy the Virgin brand (otherwise known as 'the bit that's worth something') as part of the package.
Instead they have to start from scratch building a new brand in what has become an increasingly barren and hostile market, one that has already claimed established brands such as Fopp, MVC and Music Zone.
"We will deliver a new brand that lives and breathes entertainment and delivers high quality enthusiastic service to existing and new customers" a spokesman said.
With the responsibilities of running 125 Stores and 2,500 staff, let's hope they do it soon. I can only imagine HMV (who's fortunes have also suffered of late) are rubbing their hands, with their main rival looking pretty vunerable.
Chris Jones (View Original Article)
A statement on their official website broke the news this morning, further explaining that the keyboardist had found the last year "increasingly unenjoyable" and that apparently he hadn't had enough TV studios to smash up.
The rest of the band will continue to work on their second LP in the USA which probably won't be released at all.
Pennie has allegedly been seen in talks with 'I'm a Celebrity in Love Get The Hell Out of my Big Kitchen'.
Richard Brown (View Original Article)
Jason describes the album as 'the work of the Devil...with a little guidance from me.'
The ever-changing line-up of Spiritualized appears to have held together since the last album with Pierce being joined again by Doggen on guitar, thighpaulsandra on keyboards, Martin Shallards on bass, Kev Bales on drums and Tom Edwards on percussion.
Jason will preview new material with a special show at London's Union Chapel on December 9th.
Richard Brown (View Original Article)
Rather it is more likely that the gig at Brixton Academy is to help promote the newly re-packaged and re-released edition of 'Never Mind the Bollocks...Here's the Sex Pistols' this October.
Original Pistols Johnny Rotten, Steve Jones, Paul Cook and Glen Matlock will reprise their roles as the comic punks the nation learned to hate after they dared call Bill Grundy a 'fucking rotter' on live teatime TV while treating yet another generation to the sound of such classics as 'Anarchy in the UK', 'God Save the Queen', 'Pretty Vacant' and 'Holidays in the Sun'.
Richard Brown (View Original Article)
Ian Brown - 'Illegal Attacks'
The angry older brother of the Black-Eyed Peas 'Where is the Love?', this tirade against British and American foreign policy aka
'commercial crusades' stands up not only as a powerful political message (albeit doomed to fall on death ears) but also as one
of the strongest pop records of the year. Duetting with Sinead O'Connor, the pair reach a piercingly severe crescendo with the
repeated line 'Soldiers come home' over double bass, harp and soaring strings. In a fair world this would sit at number one
for as long as 'Where is the Love?' but the world is not fair - a point this record makes painfully clear.
Fiction Records
Video: Youtube
The Vitamins - 'Later Will Be Better'
The Vitamins have been described by some quarters as successors to the Throwing Muses / Belly / Breeders dynasty of the early 90s
and, on their second single 'Later Will Be Better', Rebecca, Louis, Keith and Daniel deliver a contemplative yet auspicious mixture of
their obvious influences with a direct lift of the scraping, guitar work from The Breeders' seminal 'Cannonball'. Never has the phrase
'take your Vitamins daily' been more apt.
Red Flag Recording Company
Video: Youtube
T-Rex - 'Metal Guru'
The first of three re-releases to commemorate the 30th anniversary of the death of Marc Bolan sees the 1972 number one single
'Metal Guru' back out to a seemingly death-obsessed (look how well the Presley / Pavarotti sales are doing!) digital audience for the
first time. While it's never stood out as an absolute T-Rex classic, 'Metal Guru' perhaps exhibits better than any other song the fine
string-work of producer Tony Visconti which helped take Marc from acoustic sessions at Peel acres to the Top of the Pops studios on a
weekly basis. For fans there's an intriguing acoustic demo of 'The Slider' on the b-side of an exclusive seven inch single. Look out
also for 'Children of the Revolution' and '20th Century Boy' over the next fortnight...and, remember, always keep a little Marc in your
heart.
Edsel Records
PJ Harvey - 'When Under Ether'
'Peej' returns with the first single from her forthcoming eighth studio LP, a stark and fragile piano ballad which shows how far
she's come since the rather more caustic days of 'Dry' and 'Sheela-Na-Gig'. Pop music this aint, 'When Under Ether' is more likely to
be heard accompanying a scene in a gothic horror show than flanking a Chris Moyles monologue and shows there's still a place at the
head of the table of those she's inspired, Joan Wasser, Natasha Khan et al.
Island Records
Milburn - 'What Will You Do (When The Money Goes)'
So, it's crunch time for Milburn. Having ridden the coat-tails of their pals the Arctic Monkeys to moderate success, with their
second album they have to strike out and make their audience their own. And how does the new single sound? Making no attempt to
disguise their thick Sheffield accents will invite yet more Alex Turner comparisons, but otherwise Milburn really are pulling in a
whole new and occasionally exciting direction. But, this apparent determination to sound different has resulted in a rather disjoint
mess of unfinished parts, like splicing six different jams by The Coral together with superglue. It's a shame as, better produced,
they really could have had something here.
Mercury Records
Gravenhurst - 'Hollow Men'
How about pounding bluesgaze as a new scene - with Gravenhurst at the head of it? There are certainly a plethora of effects pedals
employed on this record, a combination of classic Ride, low-slung New Order bass and the theme music to Sky Sports' Soccer AM.
It sticks out like the proverbial sore thumb in today's music scene, sounding like absolutely nobody else and, ironically, are
probably the freshest thing I've heard in weeks. I thought I'd lament the day Warp ceased to be a dance-only label, but this
alone makes up for at least the last three Maximo Park singles.
Warp Records
Fall Out Boy - 'I'm Like a Lawyer With the Way I'm Always Trying to Get You Off (Me & You)'
In which Fall Out Boy manage the impossible in sounding worse than they ever have done by combining their trademark sound with that of Maroon 5. It's possibly the most commercial thing they've ever done and while they'll probably lose the last of their original fans, they'll more than make up for it with a record which combines elements of rock staples 'All the Young Dudes' and 'Marquee Moon' with sugar-sweet, rock-lite pop. Although really, if you're over sixteen then put it down now.
Mercury Records
Video: Youtube
Peter Bjorn and John ft Victoria Bergsman - 'Young Folks'
I assure you PB&J do have more than one record, it's just that this divine mix of breakbeats, deep bass, twee indie pop and whistling deserves its second outing, sending a two-fingered salute to Culturedeluxe's no re-release is a good re-release policy. Of course, this is mainly helped along by the fantastic remixes this time round. Phones turns the famous whistle into a rave signal, reverberating high above a pulsing squelch-bass-groove and tribal drumline, meanwhile Diplo keeps things a little more traditional, maintaining the original song's structure and bringing out a reggae dancehall sensibility that previous versions had simply overlooked.
Wichita Records
Videos: Win Hi | Win Lo
Suzanne Vega - 'Ludlow Street'
This is a fine return for the lady best known for being called Luka and living upstairs from you, or for providing incidental 'de-de-de's on a host of 1990 dance white labels. Suzanne's acoustic guitar and voice is bolstered by quite breathtaking production which lends the song a majestic, almost Talk Talk magnificence. If you can leave your indie snobbery at the door then this is well worth your time.
EMI Records
Richard Brown (View Original Article)
Such was Ian Parton of The Go! Team's reaction to a recent request by Craig David's management for him to produce a song for the washed-up, has-been, neatly-trimmed 'garridge' star. He continued,
"I can't make slick sounding pop records so I guess a bit of white noise might make Craig sound more interesting."
The Go! Team released their second album 'Proof of Youth' last Monday and entered the chart at a respectable number 21 yesterday.
Richard Brown (View Original Article)
The compilation, released on October 22nd, featuring mixes for the likes of Klaxons, LCD Soundsystem, Justice, Gorillaz, 808 State, Daft Punk and even pop acts Kylie Minogue, Sugababes and last year's pounding Robbie Williams remix loved by all except the most hardened 'Angels' fan.
So, the title...well, it's...(deep breath)
Most Of The Remixes We've Made Over The Years Except For One By Einsturzende Neubaten Because We Lost It And A Few We Didn't Think Sounded Good Enough Or Just Didn't Fit In But Including Some That Are Hard To Find Because Either People Forgot About Them Or Just Simply Because They Haven't Been Released Yet. A Few We Really Love. One We Think Is Just OK. Some We Did For Free. Some We Did For Money. Some Just For Ourselves Without Permission And Some For Friends As Swaps But Never On Time And Always At Our Studio In Ghent.
Crazy, eh? There's no sign yet, however, of any new material from the popular Belgian combo.
Richard Brown (View Original Article)
I managed to catch up with Ali for a chat on Tuesday, and in between recommending that I pick up some Shuggie Otis and Brothers Johnson records, and tales of meeting Cilla Black dressed as a gypsy, he told me to tell you all to get down to YoYo at the Notting Hill Arts Club tonight, where he's going to be playing the second date of his September residency.
If you can't get down tonight however, don't fear, as he's going to be there the next two Thursdays, so you can catch his cosmic groovetrain to the planet pop every Thursday this month! Those are my words, not his, by the way.
Ben Goldrun (View Original Article)
Iron & Wine - 'Boy with a Coin'
Relentless rhythmical handclaps used to be the mainstay of skipping rhymes, commerical r 'n' b / hip hop cross-overs and the Grease megamix but thankfully the inclusion of them on the new Iron & Wine single has not maligned Sam Beam's output, rather heightened it. Combining with layer upon layer of profuse guitar and willfully gliding harmonies, 'Boy with a Coin' is a thrilling introduction to the new Iron & Wine album 'The Shepherd'S Dog'.
Sub Pop / Transgressive Records
Edwyn Collins - 'You'll Never Know'
It's great to have Edwyn back after he suffered a brain haemorrhage in 2005 and, here it is, his comeback single. It comprises elements of David Bowie, Jarvis Cocker, The Divine Comedy and, well, as you'd expect, Edwyn Collins...all served on a bed of light, melodic pop.
Heavenly Records
Videos: Win Hi | Win Mid | Win Lo | Real Hi | Real Mid | Real Lo
Other Passengers - 'Vacation EP'
Combining unlikely bedfellows, cock metal and angular indie rock, the lead track 'Vacation' is one which suffers somewhat until the second half where metal kicks indie out for figuratively farting under the duvet. It's a slight shame that that particular light passing of conceptual wind remains more enticing than the wet, flatulent form of the EP's filler tracks.
Something in Construction Records
The Dykeenies - 'Stitches'
The Dykeenies have come a long way since the band of kids I saw touring Scotland a year or so ago and 'Stitches' sounds every bit the chart hit it deserves to be. The Killers have been scoring big hits with this kind of uplifting yet derivative pop music for years now, so why not let someone a little closer to home have some of the bland-pop-pie?
Lavolta Records
Videos: Windows | Quicktime
4th Child - 'Now I've Found You'
Ooh, ooh, timewarp moment. It's the mid 1980's and 4th Child sound like one of those obscure bands that managed to infiltrate the UK charts from their base in the west side of Vienna. Pleasant enough in sound with a ranging guitar forming the foundation of the track, 'Now I've Found You' interfuses this with up to date beats and disco loops. Somewhere though, there's a coming-of-age-in-stonewashed-denim teen movie missing a song from the denouement of its soundtrack.
Hitl Records
Ash - 'End of the World'
Recently Ash announced they would never release another conventional album and, instead, stick to releasing singles (as they've always been most famous for) but through digital only. So, that's not the end of the world is it? Neither is this, perhaps the last physical CD they'll ever release. It's actually the strongest single Ash have given us in eons, finding Tim's voice in classic awkward fettle - an 'Oh Yeah' without the intensely irritating chorus and a fine return to form even though it's already too late.
Infectious Records
Videos: Win Hi | Win Lo | Real Hi | Real Lo
Jyrojets - 'Hollywood, Hold On'
Ooh, someone's been watching Dawson's Creek haven't they? Inverness' Jyrojets deserve to hit big with this, a track which starts out sounding like any other identikit indie / emo staple but soon convinces strongly with a chorus so good you scarcely believe they deserved to write it. In fact, you can almost hear the timeless sound of early Suede if you listen hard enough...harder than that though! This will be number one in America until the end of time if it makes it over there.
Songphonic Records
Six Nation State - 'We Could Be Happy'
Sounding every inch a 1986 record from its metaphorical long coat to its figurative awkward quiff, 'We Could Be Happy' brings the finest elements of jangle guitar, snappy falsetto vocals and sounds sufficiently unlike The Coral to make it inoffensive, nay highly genial.
Jeepster Records
Video: Win Hi
Big Arm - 'Sunrays'
While younger brother Shaun reformed the Mondays this year for a successful tour and new album, brother Paul was off forming the new arm of the Madchester baggy platoon. The retro vibe is pleasant enough for anyone who craves that particular sound and Ryder senior's voice has thankfully more of an Ian Brown twang than another Shaun yelp, but unless you're crazy about the period of music where Paul made his name you'll find very little for you in this childlike, simple combination of preset keyboards and dial-a-riff mock-Mock Turtles piece.
Matchbox Recordings
Video: Youtube
The Shermans - 'Calling It Wrong'
Sherman was the brunt of everybody's joke in the American Pie movies and I think this possibly sums up the band in today's music scene. No matter how hard they try, there's just no way they're ever going to be popular. At least not with 'Calling it Wrong' which, while by no means a bad song, brings absolutely nothing new to the table whatsoever. Better though is b-side 'Smile Has Gone' which is based around the music from one of the levels of Sonic the Hedgehog - I kid you not!
Platform Records
Steven Lindsay - 'Kite'
A waste of a good trumpet line, that's what this record is. The exquisite brass excepted this is three and a half minutes of a farting bassline and vocals so unpalatable they'd make Fran Healy blush all varnished with the same radio-friendly MOR sheen that plagues music today.
Echo Records
Buy, Borrow or Steal: Iron & Wine, Jyrojets
Seek and Destroy: Steven Lindsay
Richard Brown (View Original Article)
In a posting on their MySpace, the band wrote, "We will in fact be spending October and November recording our second album."
This is great news for anyone wowed by their debut 'Someone to Drive You Home' released last November, or for anyone who has enjoyed their sass-filled live shows at this year's summer festivals.
More on that Gossip cancellation from Rick Rubin, president of their American label Columbia,
"I saw them at the Troubadour, and they blew my mind. It was the best show I've seen in five years. Afterward, I met with the band. They felt stressed, and they were having trouble writing songs. The energy in the room when they were performing was so intense, and I'm not even sure how we'd get it to feel like that in the studio. So we decided to record a live show during their European tour, and we're going to release a DVD of the live album as their first release."
Richard Brown (View Original Article)
Speaking to Billboard, bassist number one Peter Hook said,
"With the demise of New Order, I was happy to just not play for a while but now I'm missing it. I want to get into it as soon as possible"
The previous record holders of 'most basses in a band' was Ned's Atomic Dustbin whose twin basslines gave their middling indie tunes a fan-pleasing extra bounce in the early 90s.
A taster of Freebass' material, the modest-as-fuck 'I Envy Us', has been uploaded to Peter Hook's website, however far from being the sound of three bass guitars colliding, it actually does sound like a regular tune!
You can get it here - www.myspace.com/peterhookneworder.
Richard Brown (View Original Article)
The songs were voted by a panel of top pop musicians
And here are they:
1. Hallelujah – Jeff Buckley
2. Strawberry Fields Forever – The Beatles
3. Life on Mars? - David Bowie
4. Sympathy for the Devil – The Rolling Stones
5. Strange Fruit – Billie Holiday
6. Bitter Sweet Symphony – The Verve
7. Born to Run – Bruce Springsteen
8. God Only Knows – The Beach Boys
9. Blowin’ In the Wind – Bob Dylan
10. Perfect Day – Lou Reed
Personally although I agree with 3 ,4, 8 and 10 but surely “Tomorrow never knows” was The Beatles defining moment and if they had included “Mr Tambourine Man” by the Byrds then they could’ve included both Dylan and the Byrds (double whammy). No mention of “I put a spell on you” by Screaming Jay Hawkins, “Alone again or” by Love or “There she goes” by The La’s,and as a result of spending a week in Paris with a Leonard Cohen fan who played his albums on loop throughout the holiday, I can now no longer listen to any of the mans songs let alone vote a cover of his to number one.
Hey but that’s my opinion what’s yours?
Nick Foster (View Original Article)
It appears that some bright, forward thinking toy manufacture may be planning to produce Razorlights Johnny Borrell “Voodoo Dolls” for us all to enjoy sticking pins into.
Just imagine, next time he plays an enormodome in your area you can watch in glee as young Johnny writhes in agony after a carefully placed needle to the nuts.
OK the manufacturers are saying that it is going to be an action figure but hey we know the truth. I mean who in their right mind would buy a GI Johnny Borrell.
Well would you??
Nick Foster (View Original Article)
'Mantaray' is an eight-strong song collection and features her recent minor hit, the industrial rock of 'Into a Swan' alongside the glam stomp of 'It's About to Happen' and 'Drone Zone' and 'Sea of Tranquility' - both of which have been described as "David Lynch soundtrack" numbers!
Siouxsie plays two London dates before the end of the year to promote this release. The first is on 19th October at The Mean Fiddler / Astoria 2 and the second is a Guy Fawkes extravaganza on 5th November at the Camden Roadhouse.
Richard Brown (View Original Article)
Which is why it's great to know that Dev has made his own material free to download from today. The 'I Wrote and Recorded This In Less Than Five Hours' EP was, literally, written and recorded in less than five hours at this year's V Festival and features a "rocky", a "tribal" and an "electro" song amongst it.
Richard Brown (View Original Article)
Appearing as a guest on MTV show 'Pimp My Ride UK', Bez agreed to let Tim Westwood and his boys soup up his automobile - a London taxi cab - and was less than pleased with the results.
"They made a right fucking mess of it! I've just had to shell out thousands getting it fucking fixed." he said.
Well, you live by the reality TV sword and you die by it too Bez. Just be glad that invitations onto Britain's myriad reality shows are still flowing through your letterbox.
Richard Brown (View Original Article)
"I don't know if I could stand to be asked about the Pixies or about Kurt Cobain or about 'Smells Like Teen Spirit'. If I've gotta hear about that fucking thing one more time, I'm gonna go insane. It's like my whole career is haunted by two dead bands, one of them called Pixies and the other called Nirvana. It's because that's the biggest hook, that's the dumb down, the hook that everyone tries. With certain exceptions, I've decided not to do any more interviews."
The finger may well be pointed at the 2006 documentary on the Pixies reunion tour 'loudQUIETloud' which makes the connection between 'Smells Like Teen Spirit' and The Pixies output before the opening credits have finished rolling. Cobain's death granted his band immortality and Black's annoyance is understandable when you consider many journalists are only interested in gleaning nuggets about the life of a man who is guaranteed to shift copies of their magazine or newspaper. Something that Frank Black's solo output, however enjoyable, will probably never be able to do.
One should ponder, however, why Mr Thompson chose to release his latest album 'Bluefinger' under his Pixies moniker of Black Francis as this was bound to invite questions about his former group.
Richard Brown (View Original Article)
Charlotte had fame thrust upon her being the offpspring of the late French superstar Serge Gainsbourg and Jane Birkin (best known for duetting with Serge on 'Je T'aime...Moi Non Plus') and first hit the spotlight duetting with her father on the questionable 'Lemon Incest' record.
Charlotte released an album '5:55' on which she collaborated with Air, Jarvis Cocker and Neil Hannon last year and continues to enjoy a successful acting career in France.
Richard Brown (View Original Article)
The Flies - 'High'
Coming across like a falsetto Jesus & Mary Chain the new single from ex-Spiritualized man Sean Cook's The Flies is thrusting,
angry soul music with more than a nod to Depeche Mode at their most provocative. By no means is this the best example of the
band's work from their first album 'All Too Human', but as an introduction it fares very well.
No Carbon Records
Video: Stream
Passenger - 'Walk You Home'
Having an absurdly high voice never stopped Only Ones singer Peter Perrett from achieving modest fame, and it shouldn't affect
Passenger's Mike Rosenberg either. In fact, it's a voice which generally draws more attention than the prime jangle-pop that it
straddles which is an unjustice really. A strong improvement on their first single and strong contenders for chart places if
there's any justice...and there's not is there? I mean, as Mike explains, 'I'm the boy who eats on his own...I'm the boy who
lives at home'...c'mon, make his day!
Chalkmark Records
Videos: Win Hi | Win Mid | Win Lo
Buy it now: iTunes
Voxtrot - 'Firecracker'
Voxtrot get stronger with every release and 'Firecracker' does not buck the trend. Boasting a killer chorus and a general
sound that's refreshingly of another era this deals a swift blow to competition and hoists a flag in support of those still
supporting the campaign for real indie.
Playlouder Recordings
Videos: Win Hi | Win Lo
Andrea Corr - 'Champagne from a Straw'
It get's you pissed quicker you know, if you drink through a straw. Usually I'd need a whole bottle of champagne to even
entertain the idea of listening to Andrea's material, but with the grating Irish whistle sounds of The Corrs replaced by a
carnival brass section and lyrics which bait 'poor little rich girls', this is a surprisingly acceptable pop listen.
Atlantic Records
Attack + Defend - 'DNA / Posh it Up'
The first release of Kruger Magazine's Singles Club gives us the electro-indie stylings of Attack + Defend. 'DNA' blends a resonating, rounded tech-bassline with the innate songwriting intelligence of Pavement offering a well-rounded combination of both styles rarely realised this well by their peers. 'Posh It Up' appears in demo version and comprises a muggy, rockabilly blues melody, somewhat clumsy and disjoint, but certainly entertaining.
Kruger Magazine Singles Club
INME - 'I Won't Let Go'
You will let go when I chop your fingers off one by one until you couldn't play another emo-riff if your life depended upon it. Uninspiring, hackneyed and perfect for that quiet fifteen year old who lives down the road.
Graphite Records
Videos: Stream | Youtube
The Mojo Fins - 'Pinata Face'
What looked like it may have been a tribute to the pudgy face of current chart star Jack Penate is actually an asutere, acoustic attack, layered with enchanting yet melancholy vocals, haunting hanging guitars and a thrilling climax. The musical equivalent of waking up to find an unexpected someone in your kitchen only to realise they've fixed you breakfast.
Amazon Music
Richard Brown (View Original Article)
The musical is the brainchild of Thomas Lennon and Robert Ben Garant who wrote the Ben Stiller / Ricky Gervais comedy vehicle 'A Night at the Museum' recently - a proposition at odds with the morbid nature of Morrissey's stock lyrics.
Lennon told the New York Metro, "I have an outline in my head, like a 'Mamma Mia'-type musical but with the music of Morrissey called 'I've Changed My Plea to Guilty'. It's for a very diehard set of fans."
Well, that's like shooting fish in the proverbial barrel - all Morrissey and Smiths fans are diehard aren't they? As ever, there are no plans for the musical to open yet, but expect it to be the weekend after the previously touted Sex Pistols musical.
In other Morrissey news and, following the resurgence in interest in the death of Princess Diana a decade ago, maybe police still investigating the 'case' should have a look at this video.
Richard Brown (View Original Article)
This year they cover the length and breadth of Britain starting off in Aberdeen on 6th December and finishing in London just over a week later.
They`ll boast a full compliment of Nutty Boys as Suggs, Chas Smash, Chrissy Boy, El Thommo, Woody, Barso and Bedders tear their way through such favourites as `One Step Beyond`, `Baggy Trousers`, `House of Fun`, `My Girl` and `It Must Be Love`.
Tickets go on sales this Friday at 9am.
December 2007
6 - Aberdeen Press and Journal Arena
7 - Belfast Odyssey
8 - Liverpool Aintree Pavilion
10 - Cardiff International Arena
11 - Plymouth Pavilions
12 - Birmingham NEC
14 - London O2 Arena
Richard Brown (View Original Article)
"This is an answered prayer because my first time in John's house he talked about building a lighthouse. I never knew how to conceptualise that. I never believed this could be reality. Someday this tower will be lit 365 days for 24 hours, but for now I'm not pushing it. Forever is a long time."
It's not the first time a legend of rock n roll has been honoured with such a tribute. In 1992 ex-KLF man Bill Drummond and the artist formerly known as Zodiac Mindwarp, Mark Manning, undertook an expedition to the North Pole with an effigy of Elvis Presley which they would leave there to radiate good vibes around the planet. Although they didn't quite make it, the effigy was left in the care of a Northernly lighthouse keeper.
Richard Brown (View Original Article)
Taking to the stage in disbelief the band shouted their acceptance speech,
"A year ago we were in the studio making our album. We watched the Arctic Monkeys step up and thought we need to make a great album."
"The Mercury's is about pushing music forward and that's what we did."
"It means the world...pffttt...wooooo!"
Despite a tuneless rendition of 'Golden Skans' earlier in the night, the assembled judges picked the debut album from the band who best exemplify the made-up genre of 'new rave' which was released earlier this year in January.
So, were the others robbed? Can Klaxons follow up their success next year and why the fuck will thousands of easily-impressed idiots flock to the shops tomorrow to buy their, admittedly very enjoyable, album when they had no intention of doing so before?
Richard Brown (View Original Article)
Paul Steel - 'Your Loss'
Remember when Supergrass used to write great, catchy pop songs? Remember that period when Marc Bolan was untouchable with every single he wrote? Well, those who haven't had the pleasure yet, meet Paul Steel, the successor to the very hairy throne of messrs Bolan and Coombes (and luckily he's not short on hair himself). 'Your Loss' is the first release from his cosmic new long-player 'Moon Rock' and combines those already mentioned with the immediacy of the Super Furry Animals and the effortless pop nous of the Beach Boys. It's single of the week folks and you need it in your life.
Polydor Records
Video: Youtube
Scouting For Girls - 'She's So Lovely'
Lovely she may be, but the way to a girl's heart is surely not through this derivative, lightweight indie pop. The only thing
separating this from a song by McFly is the heavily accented vocals and embarrassingly trite lyrics - 'I think you are lovely,
you are beautiful' and incessantly 'I don't how we make it through this'...the same can be said by me listening to
this record.
Epic Records
Videos: Win Hi |
Win Mid |
Win Lo | | Re
al Mid | Re
al Lo
Grace - 'Sink Like a Stone'
Grace feature a John-Paul Jones in their line-up and share their moniker with a short-lived dance act that the Klaxons
recently took back into the top 10. So, imagine a song that was 50% frenzied cock-rock mixed with 50% cool-filtered balaeric
house. Well, forget it, this is just another bland piano-guitar ballad from the increasingly nauseating AOR assembly line.
EMI Records
Malakai - 'EP 1'
Sounding more wild west than west country, Bristol's Malakai combine fresh sixties pop, throbbing hard rock guitar and
thumping, thumping beats with what sounds like authentic Red Indian war chants. The inclusion of broadly-spoken skits slightly
spoils the illusion, but all is mended with the dubby 'Words Like Humble' which closes the EP in fine form. A band to watch out
for!
Island Records
Video: 'The Battle'
Paramore - 'Hallelujah'
Sitting somewhere between Avril Lavigne and the Foo Fighters, Paramore are apparently the next big thing in the pop-rock
crossover market and with this single it's easy to see why. Probably destined for the top ten at some point over the next year or
so, it's a whole episode of The OC, Charmed, Dawson's Creek (or whatever's currently serving teenage angst from across the pond)
squeezed into a few minutes of 'radio-friendly' rock.
FueledbyRamen Records
Videos: Win Hi | Win Lo | Real Hi | Real Lo
Dead 60s - 'Stand Up'
Definitely victims of the 'great songs / rather poor sales' problem that dogs some of the UK's best bands, the Dead 60's
appear to have been told to toe the commercial line which unfortunately means this new single finds their trademark energy and
high-on-Clash sound diluted to a four minute sound 'that Kaiser Chiefs fans might like'. Playing live, the band can still extoll
the virtues that made them hot property two years ago but unfortunately feel like a band pulling in various directions.
Deltasonic Records
Video: Youtube
Bonde do Role - 'Solta o Frango'
Released for the second time in a year (after appearing in, surprise surprise, a mobile phone advert) this baile-funk, hip-hop
anthem should find new fans with anyone who has recently been wowed by the delights of M.I.A.'s second album, sharing both a
producer (Diplo) and a butt-shaking attitude.
Domino Records
The Go! Team - 'Doing It Right'
Also known as 'possibly the best song The Go! Team have ever recorded'. This is pure-filtered team with trademark huge drums, cheerleading call-outs, a xylophone solo(!) and all blended together in the sweetest motown-tinged package imaginable. Boasting a chorus so sweet it'd melt the hardest of hearts, The Go! Team should finally enjoy the mainstream success they've been threatening for years with this single. Also worth checking out is B-side 'Willow's Song' - a cover from the haunting soundtrack of 'The Wicker Man' and delivered tenderly and with an almost music-box simplicity.
Memphis Industries Records
Videos: Win Hi | Win Mid | Win Lo | Real Hi | Real Mid | Real Lo
TEPR - 'En Direct De La Cote / Minuit Jacuzzi'
Sounding fantastic despite, or perhaps because of, it sounding like the soundtrack to a 1980's, 'En Direct De La Cote' combines the French electro-glitch of the likes of Justice with a knowing nod to saxaphone-funk in a world where no bass can be slapped too much, where no synthesizer sound is too full-on. Just excellent fun to listen to. Mixwise, the 'Alavi Rerox' is electro-glam-stompin' de rigeur and probably hasn't left the turntables in many an East London dance emporium since it first leaked into clubland. Flipper 'Minuit Jacuzzi' sounds like Daft Punk enjoying, funnily enough, a hot tub at midnight.
Wall of Sound Records
Stephen Fretwell - 'Scar'
Sounding dangerously close to a skiffle-lite version of Ben E King's 'Stand By Me', 'Scar' soon kicks up a country gear into a highly-enjoyable rockabilly runaround and it's all the more disappointing when it abruptly ends. That is, of course, until you play it again. Bootscootintastic!
Fiction Records
Video: Stream
The Envy Corps - 'Rhinemaidens'
Normally the only mention of Rhinemaidens in any recorded music is as part of Wagner's epic 'Das Rheingold' opera. The complex arrangements of that work are however not reflected in this single from The Envy Corps who favour instead a mid-80s New Order (yet tighter) arrangement to accompany the mildly-pained vocals of Luke Pettipoole. While it's not remarkably different from a lot of what's out there it does represent a much higher quality than your average new signing.
Vertigo Records - Now released on 8th October
Richard Brown (View Original Article)
Narrowly missing the top 10, the album marks a spectacular return to the form for the band after mixed receptions for previous albums 'Love Kraft' and 'Phantom Power'.
They've also announced that 'Run-Away' will become the second single released from the album on October 22nd through Rough Trade. The record is backed up by brand new tracks 'These Bones' and 'That's What I'm Talking About' which should hopefully make a live debut at the newly announced Glasgow Barrowlands gig on October 18th which nicely fills in the Scotland-shaped gap on their recent 'UK tour'.
Richard Brown (View Original Article)
Operator Please are currently being showcased to within an inch of their young lives - they're off on the (insert name of denim brand) Ones To Watch Tour, then they're off supporting the Go! Team on the (insert name of music mag) University Tour before embarking on the (insert name of music video tv station) Tour. On their days off they'll be buzzing over to the continent for a couple of shows there too.
The full list of UK dates is:
Levis One To Watch Tour
NME Tour supporting the Go! Team
MTV2 Gonzo on Tour
Chris Unitt (View Original Article)
According to NME.com the legendary rockin' rockers will perform again 27 years after they disbanded. Advertisements appeared in the national press yesterday for a one off gig at the 02 Arena with top-price ticket and hotel packages on offer for £369.
Promoters subsequently told BBC 6 Music not to book tickets "just yet", but did not deny the story.
The band are due to release a 2-CD 'Best Of' compilation called 'Mothership' on November 11.
It's thought that original drummer John Bonham's son Jason would replace him on drums. The band originally split following John's death aged 32 in 1980 after choking on his own vomit following an alcohol binge.
Rumours of a Dread Zeppelin, the Led Zeppelin tribute band who played covers of the bands songs in a reggae stylie with an Elvis impersonator on vocals, are yet to materialise.
Nick Foster (View Original Article)
Andrew Weatherall - 'Sci-Fi Lo-Fi Vol.1' (Soma)
Andrew Weatherall, Soma Records. You're expecting this to be a full-on dance compilation covering the full gamut of recent
obscure techno white labels aren't you? Well, you're wrong as the first in the 'Sci-Fi Lo-Fi' compilations (there have been three 'Sci-Fi Hi-Fi' mixes thus far) is a pure, distilled blend of rockabilly, psychobilly and original garage (and certainly not the two-step variety).
Side one, if you will, of the record finds Weatherall combine early rock 'n' roll records (Joe Boot, Gene Vincent, Link Wray) with their early 80s rockabilly revival cousins (The Milkshakes, Tav Falco and the Panther Burns) in an almost seamless mix which never sounds out of place and constantly re-references the same rocking swingbeat. Weatherall has clearly put a great deal of thought into this deeply personal mix, never more so when opting for an original vinyl, and therefore more authentic, version of The Strangeloves 'I Want Candy' complete with crackles, despite the fact hundreds of remastered versions that are available.
It's slightly bizarre to find that T-Rex are currently the most culturally relevant act on the CD, but that's all to do with renewed interest in Marc Bolan on the 30th anniversary of his death. Not a consideration that Weatherall will have taken on the inclusion of 'Free Angel' here, the only one being surely that this track represents Bolan at his peak, still working with Tony Visconti and absolutely essential. Similarly at his best here is Mark E Smith and The Fall whose 'New Big Prinz' fits snugly with the perma-chug, rock 'n' roll blues sound of this compilation. Old muckers Primal Scream turn up too with Weatherall's own Two Lone Swordsmen on the mix of 'Bloods' while The Tropics of Cancer turn Diana Ross' disco-lite 'Upside Down' into a brooding, bass-heavy death-surf ballad. The sublime and frequently cited as influential 'I Bloodbrother Be' by Shockheaded Peters provides a suitable bridge into a final triple prong of a razor sharp Cramps, Killing Joke and Mr Weatherall himself with last year's 'Feathers', the lead track from his well-received 'The Bullet Catcher's Apprentice EP'.
'Sci-Fi Lo-Fi Vol 1' is a remarkable compilation which happily sticks two fingers up at commerciality in favour of a celebration of rhythm-driven music, often from the unlikeliest of sources, and is, unexpectedly, almost certainly the greatest dance compilation of the year.
Richard Brown (View Original Article)
Kevin Drew - 'Spirit If...' (City Slang)
Weighing in at a bulky fourteen songs and sixty five minutes, the new solo album from Broken Social Scene's Kevin Drew certainly bears the hallmarks of a heavyweight champion but will the songs see out the marathon of rounds or will the referee stop the fight early on a technicality...and where exactly am I going with this boxing metaphor?'Farewell to the Pressure Kids' is a mini-epic that sets the scene for the album with soothing melodica carrying the most brittle of vocals. The first round goes to Drew and he's ahead on points. Later, 'Safety Bricks' is an awe-inspiring future single (if there's any justice) laden with surprise layers - is that a banjo I hear being plucked in there? You bet your life it is. A driving backbeat keeps things steady and straight through the bell into 'Lucky Ones', a minor-chord composition which, like many songs on the album, drifts temporarily off the initial melody somewhat but returns later, energised, galvanized and laying haymakers left, right and centre.
'Gang Bang Suicide' is one of the more eye catching titles on the album, but unlike a particularly rough example of the former...or any of the latter...it's not entirely painless. Thankfully the zesty, quasi-experimental 'Frightening Lives' takes the album firmly off the ropes, rejuvinated and essential. 'Bodhi Sappy Weekend' and 'When It Begins' both provide a fitting end to the album, not a life-affirming primal scream, more of a whimper out. Yet there's no doubt that this represents a victory on points, value for money even if occasional onslaughts looked like they could have provided a killer blow earlier on.
Richard Brown (View Original Article)
Laura Marling - 'My Manic & I EP' (Virgin)
On first impressions the lead track 'New Romantic' smacks of the same throwaway teenage diary lyrics of Kate Nash's 'Foundations',
but on closer inspection it has more in common with the musings of sadly departed Kirsty MacColl. 'Night Terror' is just that, a
broody lullaby that scares the shit out of you more than it warms your heart. The title track is a waltz-based antidote to 'The Sound
of Music's 'My Favourite Things' and 'Typical' finds Laura at the piano belting out a poisoned version of that crap Beverley Craven
song from years ago, hope drained, chords all caustic and the result is powerful melancholy. Comparisons to Nash are as inevitable as
they are pointless, Laura Marling is already in a class above.
Richard Brown (View Original Article)
Ringo Deathstarr - 'Ringo Deathstarr EP' (SVC)
Hailing from America's spiritual home of indie rock, Austin in Texas, the fantastically-named Ringo Deathstarr have just released their first ever record and already their as-loud-as-we-possibly-can philosophy has won them comparisons to Dinosaur Jr, My Bloody Valentine and, most of all, the Jesus and Mary Chain. It's unsurprising too, 'Some Kind of Sad' sounds like it's leapt straight off of 'Psychocandy', given itself a lick of paint and presented itself bollock-naked to a startled Reid Brothers. Despite sounding like the Millennium never happened, Ringo Deathstarr are one of the most exciting new discoveries in years and, should the nu-gaze scene come to fruition as it keeps on threatening to do, they'll be heading it up.
Richard Brown (View Original Article)
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Anyway, I say this because I’m pretty sure my experience of Operator Please was pretty different to that of most others who saw them. The show, scheduled before the Barfly’s regular Saturday night indie-fest, was a ‘Levis One To Watch’ showcase. There was a reasonable crowd of people meeting up and getting the first drinks of the night in.
The whippersnappers launched their set with 'Get What You Want' which immediately wrong-footed me by starting off like The Editors. There’s nothing necessarily wrong with that but it struck me a little incongruous – I was expecting a spark of joie de vivre and some bubbly fun. Maybe I’d been taken in by appearances too much – from the press shots and recent video they looked like a bunch of happy, knockabout funsters but at times they sounded, well, a little dour. There’s nothing too wrong with that, it was just unexpected.
So it continued, with 'Crash Tragic' and 'One Yellow Button' just about sticking out from a set of reasonably energetic and reasonably earnest songs that were easy to admire but difficult to get too worked up about. They did score points for managing to incorporate a violin without edging anywhere near Levellers territory and they did spark the most horrendous bout of arrhythmic indie-boy frugging I’ve ever seen. Honestly, the law of averages says that you must move in time with the music eventually but these guys fought that law and won. Impressive stuff.
The penultimate track was current single ‘Just A Song About Ping Pong’ which finally lets fly with the exuberance that had been lurking just under the surface. It’s a sharp jab in the ribs and a sign that these tykes can produce something memorable. Set closer Zero, Zero was fine but a return to middling mid-set form. By this time though the doors to the rest of the venue had opened and the crowd had dispersed somewhat.
And that’s the thing. I’m sure the majority of people in that room would've thought 'hmm, they were alright, now I'm going to get another beer and see what's going on in the other room'. Me? I’d gone there specifically for the band and while I thought they were ok they were a long way from setting my making my night.
Operator Please are on tour for the foreseeable future – dates are here.
Chris Unitt (View Original Article)
‘Bottle Rocket’ is a mash up of kiddie tronica, film soundtrack and Morricone-esque sound scapes with more ideas in one song than some lesser bands have in a whole career. While new singles ‘Grip Like A Vice’ and ‘Doing It Right’ are frenetic hip-hop flavoured thrills of pure pop euphoria. Vibe controller Ninja is a one-woman ball of confusion, as she hip hops, skips and jumps her way around the stage. A new song hints at Boredoms type Tokyo pop-infused punk with added Manga.
‘Lady Flash’ ends the proceedings in fine style with the addition of extra-added audience participation and then they just disappear, leaving the heads of the assembled crowds dizzy with their own unique brand of head swimming giddy pop hallucinations, emanating from the mastermind of their super brained leader Ian Parton.
Keith Haworth (View Original Article)
It’s always quite interesting to see which direction someone will go in when they form a new band, and in this case the decision seems to have been to develop on an existing theme rather that make any major changes in philosophy. Anyone who’s listened to Sean’s work post-Spiritualized will recognise the deep, reverberating and almost psychotic side as well as the more restrained subtleties which make the music more than just ‘stoner rock’. The mood is sometimes menacing, sometimes promising – there is a great deal of space in a lot of the material, and an indefinable sense that the group feels they have all the time in the world to make their point. What point exactly they are trying to make is a little more difficult; one moment they’re using rumba rhythms and lazy harmonica music, and the next they’re showcasing their newest single – “High” – which could easily be a BRMC cover. Speaking of covers, I’m pretty sure that they covered Def Leppard’s ‘Rock On’, although I’d appreciate clarification from anyone who was there as it’s been driving me bananas.
All in all no surprises then, and the gig finished sedately enough with no-one quite sure whether to clap or not – stunned into insensibility perhaps, or deep in thought. At this point, it’s difficult to tell.
Bryony Jones (View Original Article)
Bestival; almost the swansong of the festival season.
Sun shines down onto Robin Hall Park and the motley crew of fairies, pirates, superheroes and plain old festival-goers therein. It’s almost otherworldly, or at the very least a fairytale with sunlight streaming through woodland and bizarre creatures stumbling to and fro. But this is not your pseudo-alternative-indie-folk-turned-corporate-NME-endorsed-nastiness of a festival (hello Glastonbury), this is entirely different. There is a feeling of a lack of organisation and preparation compared to the more well-established festivals but then, that is what festival-going should be about, no micro-chipping and dna-testing the punters, no self-righteous preaching as to the merits of Fairtrade, organic, hand-ground by virgins coffee while every stall in sight sells Nescafe, no faux-politicism and no weekend morality. Just a lot of people in a beautiful setting wearing silly clothes and wanting a little fun. My, did they get it.
That said, Friday morning did start with a little tension as there was no camping on site the night before, with the gates opening at 10am and the first band on at the same time people were understandably desperate to get in and set-up.
My first band of the weekend were Fighting Cocks in the BBC Introducing tent, a shambolic gypsy-punk riot of a band who could do teach Gogol Bordello a thing or two having been banned from most of London’s venues in their previous incarnation "Szeki Kurva". Veteran festival crusties The Levellers pulled in a good crowd at 5pm which seemed to herald the beginning of the festival as the main stage filled and people seemed to get into the spirit, with more people knowing the lyrics than would admit to it back in ‘normal’ life. Chemical Brothers ended the first night with a bang and a hit-packed set but there was something most definitely lacking in their performance.
Saturday is definitely the day to do some exploring and get your bearings. Bestival has its own village area with yet more things to keep you entertained like the Innocent village fete and farmers’ market as well as DJ sets aplenty, freakish side shows, video installations,stalls and every kind of dancing under the sun going on. But some of the best entertainment is to be had by just gawping at the revellers. Saturday being the day of the infamous fancy dress parade, a fair few surreal moments were pretty much guaranteed. Watching a 20 plus group of pirates, dragons and drag queens playing under a tree is just one such moment. The only problem with the village is the hill of death to get there, like much of the festival site, there are slopes and hills everywhere, great for the leg muscles but not so good for cider legs, at least it’s not mud though.
My Saturday by started off by taking in the Easy Star All-Stars who have reproduced whole albums like Pink Floyds Dark Side of the Moon (Dub side of the moon) and Radiohead’s Ok Computer (Radiodread) in a dub stylee. The Dub/Reggae covers were perfect for the setting and everyone is soon lost in happy, involuntary swaying and head-nodding.Madness carried on the sing-a-long trend with a surprise set wheeling out the classics and indulging in a fair bit of banter- may the day they stop pleasing the crowd be far far away. The Cuban Brothers, who seem to have taken their caberet dance act to every festival going this year, did their best to follow them with a great upbeat and smile-inducing performance, borrowing and sampling from almost every funk and hip hop artist imaginable. Which is something the dear old Beastie Boys are rather good at too. It was a brilliant set, with plenty of their older tracks featured in a high-energy set that may have disappointed Five Boroughs and Hello Nasty fans but was a real treat for anyone else and was a damn sight more entertaining than their Brixton show earlier in the week. They may be getting old but they still know how to get down, it’s the getting back up again that might pose them problems…Kitty Daisy & Lewis were their usual rockabilly-tinged selves with their piano melodies and incredible harmonies that they pulled off fantastically live, their performance was far more polished than their age would lead you to expect.
Like the alcohol, the festival dress up dried up by Sunday with people tired of melting moustaches and torn trousers, but the spirit was still very much alive. There was a much more relaxed and chilled feeling once people had orientated themselves and settled in to take full advantage of the sights and sounds. DJ Yoda came on with a crowd-psyching mix in preparation for the Beastie Boys’ gala show. This set was more mixed then the night before with new and old tunes, Mix Master Mike was on top form as usual with his legendary mixes. The only disappointment was that their set ran over time which meant lots of poor souls trying to flee before Kate Nash played. Someone threw a lemon at her stomach; I say next time aim for the throat so we don’t have to be subjected to her awful voice again. She really was the let down of the weekend’s line-up. Unlike the incredible Man Like Me who deserved a bigger stage than that of the House of Bamboo, the crowd were an entirely mixed bunch, some of whom had just wandered up after hearing them and some who were singing along almost word for word, including a very happy-looking Suggs. Oh My Gosh sounded fantastic live and Man Like Me seemed to enjoy the performance almost as much as the crowd did which really makes a difference. Primal Scream were a disappointing end to festivities, closing the main stage with a one hour set playing the classics but lacking any inspiration and Bobby’s disdainful treatment of his audience is a little boring after a while. But all was not lost, to liven things up a little before bed, Top Cats played a great ska set in the DaDa tent which a tired yet contented crowd lapped up.
Bestival is definitely a festival to try as an alternative to the more mainstream ones. It’s really come into its own over the last couple of yours and is now proving to be a real competitor in the sought-after tickets stakes. The beautiful surroundings alone give it a real edge but there is a magical atmosphere too provided by the crowds which is distinctly lacking at other festivals. If there is not a band on that takes your fancy, there is plenty of sparkle elsewhere to catch your eye or even just finding yourself a little patch and taking it all in from your vantage point .
Words Violet Moore Pictures Tom Price
Nick Foster (View Original Article)
Unfortunately for this exemplary system, the larger stage is half an hour behind schedule when we arrive, meaning that if you rush straight through to the second stage after one act, you can just about catch the last line of the next act’s set. Pants. However, we contrive to console ourselves with the really rather excellent line-up, and the very cheap student bar.
Our first band, looking a little adorably lost in the vastness of the stage, are Monkey Swallows The Universe. We wandered into a light, soft and elegant song which sounded not unlike Emiliana Torrini covering the Beautiful South. Although charming, the remaining songs did seem to blend into each other a little, and an unfortunate mis-balance in the sound meant that the delicacy of the vocals were sometimes cut up with the recorder/melodica/xylophone set-up to the side. However, I’d certainly say that if gentle vocals and quirky instrumentation is your cup of tea, you would love these guys.
Quite a considerable contrast with the next band then… The Early Years have cropped up a number of times here on Culturedeluxe, generally coupled with enthused reviews from otherwise staid reporters. However, with an extra band member on board here and a fair turn out from the British music press for Maps, it seems that the lads decided to throw their heart and soul into this particular performance, and the result was a blazing wave of driven psych rock the likes of which you very rarely see in this age. For those of us too young to remember dark and obliterating underground performances from the likes of Spacemen 3, this is the sort of unexpectedly searing electronic guitar rock that explodes your eardrums and makes you want to burn something. On top of this, and unlike some of their smaller venue performances, TEY don’t allow the pace to drop off – the moments of quiet simply highlight the energy of the rest of their set, and reference a set of influences right from relentless krautrock through Delia Derbyshire and out the other side. Half of me wants these lads to do stupendously well so I can feel smug; the other half would miss the bemused expressions of an audience buzzing excitedly in corners after a shattering finale.
It would be difficult for anyone to follow this performance, and particularly difficult for an artist who wrote the majority of his album alone and would be the first to admit his initial reluctance to play live. Maps have produced an album which has rocketed into the public consciousness with a warm, accessible take on shimmering electronica, and much acclaim both critical and public. Stunning production and complex ideas makes the album a joy to listen to, but the complexity of the recorded sound could not be said to translate well on stage, with many songs losing their subtlety when blasted out from speakers with full bass. James Chapman comes across as appealingly self-effacing, and his band diligently perform their part, but it would be no surprise to most people to be told that this band were initially a thought experiment, and that live performances were more a concession to the press and record-buying public than strictly necessary for the performance. Having said that, there was a decided air of repressed excitement in the crowd, and “It Will Find You” was greeted with unalloyed bouncy joy by many. Essentially, it’s always a rare treat for fans to be in the presence of an artist so highly regarded, even if it would sound better in your bedroom – after all, we can listen to it there any time.
Bryony Jones (View Original Article)
Tonight I'm in 229, and I'm here to see British Sea Power, who are playing a show to help Club Fandango celebrate their sixth birthday in style. It's meant to be a celebration, as it's also Friday night. Somebody should have told main support act GoodBooks that, as it probably would have prevented them from virtually telephoning their performance in from a malfunctioning Nokia handset. There are bleeps, bloops and soaring guitars aplenty, and when it works on their debut album 'Control' it hints a band that could be heading places if they actually indulge their artistic desires rather than hacking away at them like a gangrenous limb, but tonight at least they just sound like a second rate Athlete covering a second rate Hot Chip. It sounds like the aural equivalent of a bus shelter in Basingstoke. Yes, it's that dull. They're that dull.
Thank the heavens for a band like BSP then. As Yan and his merry men take to the stage and launch into a stunningly intense version of 'Apologies To Insect Life' followed closely by 'Carrion', I'm reminded of why I fell in love with this band in the first place, then I cursed myself for not having seen them before. British Sea Power, unlike GoodBooks, are walking poster boys for all that is great about the British music scene. A band that live in splendid isolation from the rest of the world, gaining inspiration from a lifetime of Boys Own magazines and Enid Blyton, and a group that sounds so unlike the rest of the sonic chaff that populates our music scene. If you disagree with me, then just answer me this simple question - Who do BSP sound like? Exactly. Their closest sonic relatives are Echo & the Bunnymen, and even then it's only in the transcendent, spidery guitar playing of Noble. But let's not play the 'sounds like' game tonight with BSP. The waves of glorious, haunting noise that are washing over the audience from the stage tonight are being made by a band that are blessed with a ridiculous amount of understated songwriting nous, with the epic 'True Adventures' (which sounds like a ghostly wave crashing into a deserted cove somewhere in Devon - that may sound like a rather lumpen way of describing it, but just listen to it), 'Larsen B' and 'Leaving Home' rinsing the Capital FM horseshit out of the ears of their diverse fan-base (I spotted quite a few Greyers in the audience tonight having their woolens blown off), and filling them instead with the sound of a band playing beautiful, timeless rock music that hopefully will bring them success with their next album. That way, they can be every body's favourite little secret, and not just mine... And his... And hers...
And yours.
Ben Goldrun (View Original Article)
Double bass, lightness of drums and tremolo guitar are all Hawley trademarks, as he sings songs inspired by a long forgotten era of pure romanticism. Hawley has an ear for a tune and a well observed lyric often lacking in contemporary pop music.
Hawley describes ‘Coles Corner’ as a ‘wedding song’ and a ‘right laugh’. It is however, and remains to date, his finest moment. Executed in fine style, there is an effortlessness to the performance. Part comedian, and part club singer, Hawley has a charisma that is equally matched by his archly observed pop songs.
The night ends on a perfect note, as ‘The Ocean’ tops even the wonderful ‘Coles Corner’. Achingly delivered without the slightest hint of irony this beautiful ballad just builds up the momentum and cranks up the tension until it explodes in the triumphant final choruses, and you can almost hear the waves crashing in around your ears. Final score, Hawley 1, rest of the world nil.
Keith Haworth (View Original Article)