Altsounds - Reviews

Sonic Boom Six - Back 2 Skool [Single]

jack s — Fri, 20 Nov 2009 02:21:10 GMT

Assuming that Paramore were out of the picture totally Sonic Boom Six could well take their place in the industry as female fronted rock bands that never seem to go un-missed. As it stands though there is already a better female fronted band of this exact ilk out there which might see Sonic Boom Six getting left by the wayside. I had the chance of checking out the harder, Ska punk sound of Sonic Boom Six with their newest single 'Back 2 School.'

It's easy to see Sonic Boom Six creating a comfortable name for themselves with their genre bending material. There is a comfortable Reel Big Fish influence stuck in there which is blending into a reggae vibe reminiscent of Mouthwash. In fact Sonic Boom Six is pretty much Mouthwash with a female lead singer. Yet they still hold onto a strong Ska sound.

Jamie T seems to appear on the track during the random reggae rap thing they have going on. It's all very well putting something like this together but you have to be sure it works. 'Back 2 School' does in a few ways but disappointingly and quite uncomfortably. Nothing sits out and punches you in the face with 'Back 2 School' which is what punk, pop-punk or ska should do.

There is even a hint of Hadouken through the record minus the synthesizers and clean-cut polished pop shit. Lalia K's vocals are very disappointing, at moments cringe-worthy. She just sounds like a chipmunk on speed. Or somehow the producer has sped her voice up during mixing or something because it just doesn't sit right within the whole wall of sound well. She swings so many different ways its untrue, she sometimes even sounds like Misteeq with her attitude, it's quite disconcerting.

The acoustic track 'Floating Away' does nothing to compliment Lalia's voice either, as it sounds like that episode of Family Guy where Peter and his wife get really high and try to make a song.

There's no Sonic Boom here just a ska punk rocker in drag.

Altsounds TV Video

Be Humour - One More Drink [Single]

jack s — Fri, 20 Nov 2009 01:47:37 GMT

It's extremely rare that a band like Be Humour release a single with a B-side that is stronger on every level than it's A-side. Genuinely this is hard to believe, but then again after a few listens you can see what they are after.

They need a pop template to get the followers in then they start making good music. As with a lot of acts you need a couple of pop easy to listen to songs and then some "album tracks." For Be Humour 'One More Drink' does absolutely nothing for them apart from import a hatred from all angles of the music listener catalogue. 'One More Drink' is blatantly an easy going pop song to get air play, and it sucks ass. Even the production is like a small stilton slice being spread across the mixing desk. In fact I would probably trust a piece of brie to do better with this record.

Unbelievably Be Humour completely mix it up with 'Stronger Without You' - proving that they are not just a pussy wannabe band. The intro kicks off with a guitar effect reminiscent of Angels and Airwaves and follows up with a 30 Second To Mars melodic bridge section. Complete with the "waaaooohhh" layered over the top. It's such a shame the production isn't stronger as this could be a really powerful contender. Vocally the lead singer still isn't quite strong enough to pull off such status as Jared Leto, but there is potential there.

Be Humour need to write this single release off completely and focus on their more progressive melodic side in order to win a decent fan base.

Altsounds TV Video

The A Train - Don't Have Far To Go [Single]

jack s — Fri, 20 Nov 2009 01:09:20 GMT

They do always say "never judge a book by it's cover" - and that is definitely the case with The A Train. A completely unexpected sound seemed to hum through the air as expectancies of death metal where to be soley shunted by tree melody forest pop. It's almost as if Fleet Foxes embedded themselves onto 'Don't Have Far To Go.' A layed back warm approach to vocal delivery - although at times it does sound like your dad has grabbed the mic at the local stress clinic (public house).

It has "ooooh's," repetition and simple songwriting written all over it. Nothing special at all conventionally, but The A Train do have a niche charm tucked away in there somewhere. The vocal talent of Dan Mckean is very doubtful at times, but he somehow wins you back with his charm. Some helpful harmonies give your ears a run for your money throughout 'Don't Have Far To Go.'

A lot of work needs to be put into The A Train before anything special happens for them, but the important thing to note is they do actually have some talent buried in there somewhere. Obviously you have to note that the BBC have already put their muddy paws all over them tagging them with the introducing stamp... how lame.

The Candle Thieves - The Sunshine Song [EP]

the_archivist — Thu, 19 Nov 2009 23:07:08 GMT

This debut release from the Peterborough duo The Candle Thieves could either infectiously get your toes tapping - or painfully make your toes curl. One person�s heart-warming, is another�s stomach-churning. Cutesy song titles on this four track EP include �My Love Will Clap Its Hands For You� and �Lonely Lonely Lonely.� The opening lines of lead song �The Sunshine Song� are �I would buy you a rainbow / I would put it in a stream / If I sail it down the river / would you send it back to me?� Death metal it ain�t.

What it is instead is unashamed twinkly indie-drip music - but I mean that as a compliment. �The Sunshine Song� opens with drum machine patter, toy piano and the thin, characterless vocals of Scott McEwan. Yes he is declaring his love but he does sound like he is mumbling an apology for an overdue library book. However one minute and ten seconds in, with a trumpet flourish, the sunshine comes out and this demure opening turns into a day-glo, mini-symphony of loveliness, complete with booming voice and chirpy handclaps. The sheer sunny charm and heart-on-cardigan-sleeve declarations of affection win me over and leave a daft smile on my face.

Imagine Mark Everett of Eels in a cheerful frame of mind, relocated to the cosy suburbia of the Cambridgeshire Fens, and dreaming of better times - that�s what �My Love Will Clap Its Hands For You� sounds like. A sombre misfit ode to not leaving the house for a day (�The State That I�m In�) and pained godless piano ballad (�Lonely Lonely Lonely�) complete the EP.

This four tracker is more radio-friendly than it sounds but struggles to escape the lightweight daintiness of its arrangements and its delivery. It will be too much flower-picking tweeness for some to stomach but where they are appreciated, The Candle Thieves are sure to steal hearts.

Catriona Irving - Sitting On The Shelf [EP]

Burt — Thu, 19 Nov 2009 19:17:48 GMT

Now here's a lady who likes keeping things simple and to the point. There's only one song on this EP that strays over three minutes - and that's a remix - so there's no waffle, no guitar solos and no grandstanding. There aren't many instruments on show either. Catriona (nice name) manages just fine with a finger picked acoustic guitar, her velvet voice and not a lot else.

'Measurements' is like having cotton wool softly pushed into your ears, Catriona's voice is that squoochy. This is pant moistening stuff for ad execs looking for a new unit shifter and at just a minute and six seconds long they'll barely even have to cut it down. Talk about your gifts from God!

Then there's 'Untitled' where the understatement continues with some gently complimentary strings that don't impose themselves, merely add a little extra interest and melody - good detailing cleverly executed. �ber personal lyrics by the sound of it but you know, chat about love and all that stuff relates right back to the listener's own experience anyway so we all take something slightly different away with us.

The (semi) title track itself is a bitter sweet affair that's bound to strike a chord with quite a few people out there but remains tuneful and cryptic enough not to be lost on people who just want something to tap along to. The Plaisir De France Remix takes the song down a more electronic path with vocal echoes and a more insistent beat and proves a welcome addition to the EP showing that if Irving should so choose a foray into the burgeoning world of female equirktro pop chart busting would not be out of the question.

There are a bunch of easy comparisons that could be made here but really what's the point in banging out a roll call of artists who deal in acoustic folk pop? This is a well produced, delicate EP that has charm and distinct repeat playability.

Frank Turner - Poetry Of The Deed [ Single]

mark191082 — Thu, 19 Nov 2009 19:12:37 GMT

Frank Turner's latest release has just recently been lauded by this very site and rightly so as it's a captivating album that serves to enhance the growing reputation of the troubadour-esque Turner. The single release of the same name 'Poetry Of The Deed' channels the spirit of Robert Smith and The Cure at their poppy finest into a track that overflows with Turner's eloquence "Life is to short to live without poetry/If you've got soul darling now come on and show it me".

Opening with some Weller-lite guitar licks that morph into something resembling New Order strangely whilst Turner lilts over the top about being a "Poet Of The Deed" and whatever that may be I'm inclined to believe him as he weaves lyrical nods to modern life in Britain. 'Poetry Of The Deed' evokes an upwelling inside of some sort of misplaced patriotism to a country that does not exist but that Turner envisages where we are all free to speak out minds and be our very own Poets.

Frank Turner is already there he's just waiting for the rest of us to join him and more importantly waiting for the country itself to wake up and join the band.

www.frank-turner.com
Frank Turner on MySpace Music
Photo by Greg Nolan - http://www.gregorynolan.com

Frightened Rabbit - Swim Until You Can't See Land [Single]

deadletteroffice — Thu, 19 Nov 2009 18:47:52 GMT

Selkirk's Frightened Rabbit are an outfit who have been touring the indie circuit for a few years now, making the most of their friendship with fellow scots Biffy Clyro and their second album's widespread critical acclaim. Taken from their forthcoming album "The Winter of Mixed Drinks," 'Swim Until You Can't See Land' rests a lilting guitar line over subtle percussion and a gorgeous melody. Anyone familiar with Bright Eyes more alt-country tinged efforts should be right at home here. Singer Scott Hutchinson's thick Scottish brogue lends the song an even deeper resonance that helps ground the cryptic lyrics.

The chorus is uplifting and deflating in equal measure and throughout the whole song there's a gentle swell in instrumentation that builds to a climax at the final chorus with horns, strings and a massed choir seeing the song to it's conclusion. It's just a lovely little song, it doesn't profess to re-write the rule book and unless some forward thinking advertising company decides to use the song to sell mobile phones (stranger things have happened) it's not like it'll be storming the charts, but since when has that been a mark of quality?

The B-Side (tentatively titled 'Fun Stuff') pares things back slightly with Hutchinson taking the reigns alone with just an acoustic guitar for the first minute before an ambient choir of instruments fades into focus. It's a softly melancholic song seemingly about disappointing sex ("there's nothing sadder than sad sad sex") which wouldn't have sounded out of place on Sigur Ros's last record and shows a more esoteric side to the band that I'd love to see more of on the album when it drops next year.

All in all an impressive release and another winner from Fat-Cat records!

We Were Promised Jetpacks - It's Thunder And It's Lightning [Single]

mark191082 — Thu, 19 Nov 2009 18:46:25 GMT

Having already released what is arguably one of the best debut albums of 2009 "These Four Walls," We Were Promised Jetpacks are ending the year with the release of Double A-Side 'It's Thunder And It's Lightning/Ships With Holes Will Sink,' two tracks that really open up what We Were Promised Jetpacks are about, showing their growing potential and the undeniable passion and ferocity with which they attack their craft.

Album opener 'It's Thunder And It's Lightning' shows a deftness and the sleight of hand that We Were Promised Jetpacks often use to their advantage throughout their debut album. Calmly chiming in with little guitar licks that gently have the track built around them with a ratcheted guitar, flicked xylophone, and vocalist Adam Thompson's raw Scottish throttle screaming "Your Body was Black and Blue - I have to say goodnight / I'm leaving before your punching out my lights" as the drums crash in around everything before settling back into an almost dystopian groove; a groove which We Were Promised Jetpacks will continue to unleash at unexpected intervals.

Photo courtesy of Neil Thomas Douglas

'Ships With Holes Will Sink' again goes for the slow burn method that inevitably leads to something a lot more explosive with Thompson wailing "I think I died this time" creating the cheeriness! But the track really does have a tempo to it that resembles something of the 80's Postcard scene if it were savaged repeatedly by Stuart Braithwaite and Co. It's infectious like everything We Were Promised Jetpacks do.

Track-listing:
1. It's Thunder And It's Lightning
2. Ships With Holes Will Sink

We Were Promised Jetpacks on MySpace Music
FatCat Records : Home

Deadstring Brothers - Sao Paulo [CD]

Rob H — Thu, 19 Nov 2009 00:16:14 GMT

Deadstring Brothers are an American 6-piece band from Detroit, MI that plays a bluesy brand of Alt-Country. They have released 4 albums since 2001. Their fifth release, �Sao Paulo� was just released on the Bloodshot Records label.

The first thing I will say is this entire album sounds like the Rolling Stones� �Exile on Main Street.� That is a bad thing in that this is not an original sound, but it is also a good thing in that �Exile� was a fantastic album with a great sound. The Deadstring Brothers, fronted by husband and wife duo Kurt Marschke and Masha Marjieh write some solid songs and play them with authenticity and heart.

I can�t see how Deadstring Brothers could possibly object to the comparison, particularly since in songs like �It�s a Shame� lead singer Kurt Marschke does his best Mick Jagger impersonation and the lilting guitar riffs Spencer Cullum lays down on steel guitar seem designed to imitate the sound. If you are looking for fresh, ground breaking Rock, keep moving because you won�t find it here. However, if you�re looking for genuine, well-executed old school Rock with Blues and Country roots, this is the real deal.

�Smile� is an anthemic rocker with a stomping beat, Hammond organ, and fat harmony vocals. �Adelee� not only reminds me of the Stones, it is a sweet love ballad of high enough quality that it could BE the Stones. �Yesterday�s Style� is a full on Country ballad with a little accordion and groaning vocals. It�s the kind of song you break out in a bar at 1:30 AM when everyone�s drunk and folks sing along.

Some of the songs are less successful. They play �Houston� hard, but it is a forgettable melody that comes off as filler. �Can�t Make It Through the Night� is a bit repetitive and the hook isn�t strong enough to support it. In spite of a few weak tracks, however, overall �Sao Paulo� is a strong release that succeeds admirably. Deadstring Brothers know who they are and do exactly what they set out to do. Most of the disc is full of crowd-pleasing good time Rock n� Roll that proves they DO still make �em like they used to.

Butterfly Bones - Pretty Feelings ]EP]

Burt — Tue, 17 Nov 2009 20:34:26 GMT

Will the '80's never end? I was there, they were massively annoying the first time round so what the hell is going on with music at the minute? I don't know if it's a nostalgia thing or if, like in the fashion world, people just run out of ideas and recycle crap but whatever the reason, there are a billion (exact figure) bands out there right now making a cheap synth racket and Butterfly Bones want in on the action.

'Pretty Feelings' is Butterfly Bones' EP shaped hat being tossed into that bulging electro-pop ring. Five tracks deep, they keep things light and bouncy all the way. 'XOXO' is a sunny '80's skipper that trips along nicely enough and reminds us these guys are from California while 'UR Hott' throws some oriental overtones swirling about the place, just for fun, like.

Elsewhere 'Magic Magic' is the sound of a slightly stoned American student striving to impress a St.Tropez goddess with a Casio. It's trying way too hard at being laid back and breezy and ends up coming off awkward and forced and, after awhile, boring.

Something fundamental is missing here and it's not easy to put your finger on what exactly that might be. Maybe that it's just all okay, and who gives a fuck about okay? Sure, the songs are supposed to be bright and breezy but does that mean they have to be gutless too?

Another big problem is that everything here is incredibly samey. It doesn't feel like they're stretching themselves, with some really simple, bog standard arrangements throughout. After listening to bands like Late of the Pier and Friendly Fires all Summer 'Pretty Feelings' sounds a bit, well, a bit amateur. Little Boots would kick their arses and comparisons to Hot Chip are undeserved. Right now there are so many other options available to us that it's hard to justify Butterfly Bones existence.

Hellfire Festival Day One [Live]

Matt D — Tue, 17 Nov 2009 19:00:48 GMT

The first day of Hellfire started with a quick trip around the Music Live event as the press passes allowed coverage into that event. I was honestly quite surprised at how many stalls there were, mostly guitar and drum stalls but it was worth it for any budding musician wanting to get the best equipment!

The actual music side of Hellfire Festival started with Scar My Eyes on the Big Cheese Stage. After speaking to the guitarist in the hotel the night before it was a chance to see a very relatively new band to the Transcend label show what they can do�

With their combination of hardcore mixed with technical metal style they seem to be slowly building themselves up for big potential in the next twelve months, the small crowd seemed to enjoy it with their heads moving and the occasional fist and devil horn being thrown into the air.

Following this it was time for Gama Bomb who had just released their new album for free the day before the festival itself and managed to get the crowd moving a bit more especially during the brief technical difficulties which resulted in a weird version of the Lone Ranger theme with a guitar and an acapella created by the vocalist hitting his cheeks!

Ted Maul then took to the stage, I had been listening to White Label over the past few weeks and wondered whether the insanity of their drum and bass / hardcore / thrash combination carried over to the live stage, needless to say the slight doubt I had was eradicated, it was a shame that most of the crowd (as seemed to be the case on this stage) didn�t get it.

Next came, in my opinion, the band of the day in Malefice who have been on a rising platform over the past 12 months and had just recently gained fans through their tour with Devildriver and Behemoth. The small crowd had finally gained members which led to mass headbanging (but no mosh pits shockingly), and the pure Pantera style metal that can be heard will lead to even more greatness come January 2010 on their tour with Kittie. If not I will be surprised�

By this time the Metal Hammer stage had opened and I had decided to check out The Casino Brawl. Jack mentioned in his review that he could see how their style had managed to gain fans and so can I as they give the metalcore genre a band that has been missing since Still Remains. I enjoyed the set that they gave but felt at this time I couldn�t click fully with it, hopefully the upcoming headline gig in Stoke will help me fully understand the Casino Brawl.

The final band I decided to check out for the day was the Arusha Accord. Now I had reviewed for this very site �The Echo Verses� and decided to make it a priority to check them out�

If Malefice were the band of the day these came VERY close, the time changes manage to work just as good live as on the record and the band gave the most energy in movement I had seen all day, jumping up and down, leaning over the barrier and coming the closest to causing dancing. The song �The New Face Of Revenge� being a particular favourite of mine (as my hearing attested to afterwards for the following hour, it just had to be done!)

Onwards to the second day and the more darker side of Hellfire arrives as we hit the more doom, gothic and tech metal side of the roster�

Frank Turner - Poetry Of The Deed [Album]

madchester1989 — Tue, 17 Nov 2009 12:55:14 GMT

The best thing about going to festivals, is the excitement of discovering a new band or artist, who you had no intention of seeing or liking, and who end up completely blowing you away. Thus enter Leeds Festival 2009, the NME stage and the first time that this scribe had heard Mr. Frank Turner play. With absolutely no idea what to expect and with a certain scepticism about folk music in general, we began to watch what this acoustic guitar strapped man and his backing band could do.

The answer was a lot.

Mass sing-alongs, folk pits, arm waving, lighters in the air, and all by people who didn�t look the same, dress the same, or act the same. This though is the magic of Frank Turner. His brand of folk-punk rock brings together the most unlikely combination's of people from all spectrum's of the music world. From punks (many who have followed him from his Million Dead days) and folk lovers to indie kids and moshers. Frank Turner has made folk music not just acceptable for one type of music fan to like, but he has made it acceptable for all music fans to like and now after the success of "Love, Ire and Song" in 2008, Frank Turner is back in 2009 with his brand new album, "Poetry Of The Deed."

"Poetry Of The Deed" is Frank Turner�s third album in three years and just as its predecessor, "Poetry Of The Deed" is an album jam- packed with thoughtful lyrics, backed by Frank�s infectious tunes and rhythms. His punk-folk rock is once again on top form and any doubts as to whether Frank Turner could upstage or even equal the success and popularity of "Love, Ire and Song," surely should be put to rest once "Poetry Of The Deed" begins to spin.

First song 'Live Fast, Die Old' is a song that sets the whole agenda and tone of the rest of the album. The tone is basically simple: to deliver the same wonderful music that made "Love, Ire and Song" so popular without recycling old material. This is something Frank Turner has managed to do with consummate ease and his talents certainly shine bright, throughout "Poetry Of The Deed."

As with every album, there are songs that over-shadow the others and the first of these tracks (apart from 'Live Fast, Die Old') is 'Dan�s Song'. A short, but very sweet track. This is one of the few where it is just Mr. Turner and his trusty guitar, not to mention his heart-warming voice and what appears to be a flute chirping in the background. All these elements come together to make a song that is destined to make even the most cynical of individuals crack a smile. 'Sons of Liberty' is another cracking song, a song that takes us on a brief history lesson, 'Sons Of Liberty' is a track about fighting for what you own and it�s hard not take lyrics such as �So if ever a man should ask you for your business, or your name, tell him to go and fuck himself and tell his friends to do the same,� in a literal sense and start shouting obscenities, whenever a person asks who you are. A strong reaction it may invoke, but a reaction nonetheless, which in the great scheme of things is what Frank Turner�s music is all about.

Title track 'Poetry Of The Deed' is another track about friendships and people coming together, an ongoing theme in all Frank Turner�s albums. With its opening electric guitar riff, 'Poetry Of The Deed' is one of the songs that bring in Frank�s band more prominently than others. This is not a setback or problem that hinders the song in anyway, in fact it sounds rather good with its fast paced drum beats and acoustic guitar strings. 'Poetry Of The Deed' is a song to not to be missed on this album. 'The Road'; however, must be given the best track award. The first single that was released from the album, this is the song that most people know the words to and with good reason. A track about living for the moment and seizing the day and once again Frank Turner�s lyrics invoke the involuntary hair-sticking-up on the back of your neck situation. �Because the truth is you won�t be here long, soon you�re going to die,� these are the kind of lyrics that don�t just pass you by they grip you and take hold of your attention like a sergeant at boot camp. Coupled with racing guitar strums and Frank�s voice sounding as powerful as ever, this is the track that stands out the most from "Poetry Of The Deed."

Other songs on the album, such as 'Journey Of Magi,' 'Isabel' and 'Faithful Son' are also brilliant songs that serve more than just the purpose of filling out the album and 'Try This At Home' is a contender for songs not to be missed though unfortunately overshadowed by the other songs above.

However for all the brilliance of the album, songs such as 'Sunday Nights' and 'Our Lady Of The Campfires' are not on a par with the other tracks and do nothing more than take up space on the inside cover. Having said this, when two or three songs out of the thirteen songs are mediocre and the other ten are pretty much magnificent then "Poetry Of The Deed" can easily be considered a triumph by Frank Turner.

"Poetry Of The Deed" is definitely not an album to be missed by either Frank Turner�s dedicated fans or newcomers of his folk-punk world. Inspirational and entertaining, Frank Turner shows no signs of slowing down with his third offering and why should he, when his records are this brilliant.

Track-listing:
1. Live Fast Die Old
2. Try This At Home
3. Dan's Song
4. Poetry Of The Deed
5. Isabel
6. The Fastest Way Back Home
7. Sons Of Liberty
8. The Road
9. Faithful Son
10. Richard Divine
11. Sunday Nights
12. Our Lady Of The Campfire
13. Journey Of The Magi

Paolo Nutini - Pencil Full of Lead [Single]

Nat Morris — Mon, 16 Nov 2009 22:08:51 GMT

The unbelievably talented Scottish bloke with an Italian name, Paolo Nutini, keeps the charming and soulful hits coming, with �Pencil Full of Lead� being single number three from his most recent album "Sunny Side Up," which was released in May this year.

Despite being a relatively short track at just 2:27, �Pencil Full of Lead� is a feel good, up-beat event with lyrics �I got a shelf full of books and most of my teeth / A few pairs of socks and a door with a lock / I got food in my belly and a license for my telly / And nothing's going to bring me down.� The use of a jazz trumpet gives the track an old school 20�s flapper vibe and a blazing harmonica interlude sneaks in a little country for good measure.

Paolo Nutini released an official video for the tune in October, which sums up the song nicely, if not a little disappointing to be void of the actual man himself. A more authentic and definitely more enjoyable rendition of the track shows Nutini playing with his band The Vipers backstage at a preview show he performed back in April.

Nutini has concluded that Sunny Side Up is his �light at the end of the tunnel� album, and �Pencil Full of Lead,� is definitely dazzling proof of that.

Paolo Nutini : Home

Paolo Nutini on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads

Ingrid Michaelson - Everybody [Album]

Nat Morris — Mon, 16 Nov 2009 21:41:28 GMT

After listening to Ingrid Michaelson�s most recent full-length release "Everybody," I am not surprised to find that her music has been used for years on television on shows like Grey�s Anatomy, Scrubs and One Tree Hill. But don�t hold that against her.

There is a definite �pensive narrative over final scene� feel to a few of the tracks featuring on "Everybody," including the title track, �Soldier� and �Locked Up,� but these are dispersed with more unique numbers that are more folksy and less commercial, such as �Are We There Yet?� and �Men of Snow.�

First single from the album, �Maybe� is the final track on the listing, but definitely the right choice as lead single, as the song is a simple yet infectious pop tune. I like that Michaelson has rejected releasing the title track as the lead single, especially in this case, as �Everybody� seems much too simple and more like a children�s song, with the lyrics �Everybody wants to love, everybody wants to be loved.� Not her finest work, no matter how true it may be.

The stand out track for me is �Incredible Love.� The soulful pace to the song and Michaelson�s measured vocals are a testament to her natural talent as a songwriter. Michaelson is known around town for her poignant and meaningful lyrics, and this song really showcases her ability to write an honest and genuine set of words �I never thought I'd fall so far down / This incredibly long dark hole / Something so sweet as the sound of your feet on the floor / Would give me more room to breathe�.

The only thing that truly annoyed me with this album, wasn�t actually anything to do with the music. It�s the damn cover-shot. What, dear Lord, were the innumerable amount of people that would have okayed this shot thinking!? Surely the budget at least allowed for a hairdresser?

"Everybody" is a fine album. Fine, like when you answer someone asking you how you are without actually listening to the question. I would describe "Everybody" as vacantly listenable. I didn�t need to be in a specific mood to put the album on, nor did it change my mood in any way. Well, actually, it kind of made me want to watch something, anything, starring Zach Braff.

Everybody tracklist:
1 Soldier
2 Everybody
3 Are We There Yet
4 Sort Of
5 Incredible Love
6 The Chain
7 Mountain And The Sea
8 Men Of Snow
9 So Long
10 Once Was Love
11 Locked Up
12 Maybe

ingrid michaelson on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads

Ingrid Michaelson : Home : New album "Everybody" available now!

The Score - Opus [Album]

RichPickings — Mon, 16 Nov 2009 20:14:21 GMT

They 'jus wanna turn us out

The Score might stare out of the cover shot of Opus like a crew who run 'dem corners for Marlo Stanfield, but for the avoidance of doubt they're lovers, not fighters. You don't need to listen as far as 'Chew Chew Train' to get this, but it's words are the least ambiguous; the boys tell us they just "Wanna turn you out" and more worryingly "Wanna love you from the front to the back" and as if that didn't sound painful enough they subsequently boast that the whole thing "Could last a week - or two." Ouch.

I guess those wicked editors at Altsounds.com have served up the transatlantic quintet's album sacrificially, like some kind of Pop / R'n'B hors d'oeuvres before I stuff my face on The Twilight Sad, or Lamb of God, or,or,or. But much as I resemble Jabba The Hut in music critic form sometimes, I do get context. The Score have toured with Lemar and JLS, and this is frothy, good time music for fourteen year old girls who spend their weekends hanging around in Bluewater. It even has some swearing on it, just to convince that demographic that it's really, like, from the street.

Far from being cannon fodder, most of Opus is executed pretty well, the opening bounce of 'We Got You,' the Prince inspired 'Flash' and the brash nu soul of 'Close' all sticking their metaphorical cock in your ear. There's also a cover of The Police's 'Roxanne,' the verdict of an anonymous staffer in the heavyweight regional titan The Selby Times of it being that the version "Stinks worse than a mouse under the fridge." I beg to differ though, as if nothing else it reminds us all of the inherently lunatic premise of a geordie attempting to deliver reggae in a falsetto. Although Eddie Murphy's version in 48 Hours will always be the definitive article.

The Score make like they can't beat them off with a shitty stick, but the one thing we all know about love however is that it makes for far better songwriting material when it's over, you've been dumped via a Tweet and de-Facebooked without so much as a poke. Opus' best moment accordingly is via the finger poppin, cheated bitterness of 'I Don't Want You,' presumably what happens if you fail to turn somebody out for the full week as promised. Only towards the end do things come unstuck, although the formulaic 'Patience' is a joy compared to hellish closer 'Don't Stop Believin',' complete with it's chugging by-the-numbers programming and Autotuned vocals.

I sometimes think that as time's gone by I've become numb to liking unfamiliar music. Will nothing thrill in the same way 'You Think I Ain't Worth A Dollar' or 'Hey Ya!' did that first time? Maybe not. And to be honest nothing from Opus will linger in my memory much beyond Boxing Day. But that doesn't deny it's right to exist, and in it's context it's a perfectly fine record.

Lemonade - Bliss Out [Single]

Burt — Mon, 16 Nov 2009 19:55:53 GMT

Rarely has a song title been so apt. There's no chin stroking Radiohead cryptic bollocks going on here, Lemonade have created the aural equivalent of that breathtaking, jaw clenching, four in the morning on the outside terrace, lost in a strobe moment and they know it, so they called it 'Bliss Out.' Simple.

It's properly good too, combining elements of old school rave with the best cuts of uplifting house and putting a laid back female vocal over the top before dropping into some slowed down Amen breaks and seriously grabbing your attention while their at it. Heads are nodding...shapes are being thrown...nice one, easy, safe.

That's not all; Lemonade have been nice enough to throw in remixes by Lindbӕk, Gold Panda, Espimas and Sunday Best not to mention their own original mix to go along with the cut down radio edit. The results are coulourful, imaginative and varied making this single release feel more like a bit of an EP. Bonus!

'Bliss Out' is the perfect musical representation of that moment you can never describe the next day. If you've ever found yourself lost in your head, all dancing pie-eyed and completely happy, then do yourself a favour, go out and buy this - treat yourself to a little trip down memory lane.

Lemonade on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads

Marina And The Diamonds, Liverpool Masque, 13/11/2009 [Live]

Andy Von Pip — Mon, 16 Nov 2009 18:27:45 GMT

I generally get a little nervous before gigs. Excitement, anticipation and of course freshly laundered underpants all play a part in the pre gig ritual but prior to tonight�s gig I was extra jittery. I�ve been in the thrall of Marina and the Diamonds for the last 18 months or so and now finally I had the chance to catch her live, at a free gig as part of Liverpool music week. The anxiety I felt could probably be equated to the emotions a football fan must experience prior to a big game whereby you hope that your team puts in the performance you know they are capable thus affirming the faith you have in their talent. In retrospect there was absolutely no need to worry. Simply put, Marina produced the sort of life affirming set that merely served to confirm the buzz about this girl is 100% correct. I�ll say it again but if she doesn�t make it big in 2010 then I will eat my proverbial hat, dress up as Lady Ga-Ga and question the nation�s sanity.

Reviewing gigs can sometimes be a solitary affair, especially when half the city seemed to have transported itself over to the other side of town to Morrissey�s favourite venue, the Liverpool Arena in order to pay homage to popular George Formby tribute act, the Arctic Monkeys. I actually had a ticket but as soon as I heard Marina and the Diamonds were playing on the same night it was a case of �forget the arena, I�m going to see Marina.� Funnily enough I met a couple of other fans who were at the gig solo, rendered friendless for the night by Mr Turner and his band of ragamuffins, but once you�re a �Diamond� (the term Marina uses for her fans and isn't actually the name of her band) you�re not really alone as there is a very real shared bond and a sense of camaraderie amongst her fans. There�s a definite vibe amongst hard core �Diamonds� that you are all in this musical adventure together, that this is your girl on stage, the one you�ve seen blossom from myspace bedroom demo singer to fully fledged pop goddess � (or maybe that was the pre-gig double Jack Daniels kicking in?) Marina has often said how much her fans mean to her and some may be inclined to dismiss this as PR bullshit, full of the kind of empty sound bites we often hear from countless pop singers. However maybe the doubters would be given pause for thought had they witnessed Marina begging bouncers to allow one of her biggest fans into tonight�s venue over concerns about his age, she eventually secured his entrance by convincing said doormen with a major whopper that the young lad in question was her long lost Scouse cousin called Onslow! (His real name is Jack) Now, how many singers would go that far for one of their fans? You do get the feeling that Marina is very much the real deal.

Without wishing to cast myself in the role of Benny Hill it must be said that Marina is stunningly beautiful in the flesh and as she prowled the stage wearing killer heels and a figure hugging leather outfit the sound of young men�s knees buckling was almost palpable, whilst gentlemen of a certain vintage seemed to experience the onset of a full-on mid-life crisis!! Marina and her band had just played a sell out 1,000 capacity show in Dublin the night before so if playing a free gig in Liverpool on a wet and windy Friday night was a bit of a comedown it certainly didn�t show in terms of the effort and energy expended. Liverpool can be a strange city when it comes to gigs, it�s almost impossible to gauge which bands will draw a crowd and what sort of reception a performer will get. Tonight�s assembled crowd greeted Marina with the kind of cautious enthusiasm that says �well you�re not a Beatles tribute band so we�ll just have to just see how we get along, won�t we?� However by the time the acid tongued bouncing brilliance of the opening song �Girls� (think a literate version of a punked up Britney whose drink�s been spiked with vitriol) had finished she�d thawed even the frostiest of hearts and proceeded to produce one of the most entertaining, engaging and compelling performances I�ve seen for quite some time. Marina�s charisma, easy charm and ability to completely connect with the audience seemed so effortless and natural that you really did feel part of the show; it�s hard to believe that at one time she was petrified of performing in public.

Tonight�s set included a tune strongly rumoured to be the next single, 'Hollywood Infected Your Brain,' a stellar pop tune which could be the song that enables Marina to break through into the mainstream, whilst somewhat ironically it appears to be a critique of the very culture of celebrity she is on the cusp of. In many ways it encapsulates the paradox that is �Marina.� She may well tweet with the likes of salacious Hollywood rumour monger extraordinaire, Perez Hilton, on twitter, she is undoubtedly �obsessed with the mess that�s America� but �Hollywood� shows she�s also aware of the dark side of fame. She�s conscious of the fact that the limelight is also the firing line and you get a sense that should she achieve a certain level of prominence that she is acutely aware of it�s ugly destructive flip-side. Like many of us she seems fascinated and appalled by it in equal measure. But unlike many of us she has the ability to write a killer pop song on the subject!

An obvious highlight of Marina's set is her tale of dysfunctional relationships and post-coital angst, the quite wonderful 'Obsessions' is a song designed to make ones heart simultaneously burst with both joy and sadness, such is the raw emotion, honesty and bitter-tinged sense of regret contained within. Further spine tingling moments included a slowed down keyboard only version of her current single 'Mowgli�s Road,' turning a tumultuous slice of �cuckoo-pop� into a rather sad yet beautiful lament whilst showcasing the uniqueness of her vocal style. When firm fan favourite and one of the songs of 2009, 'I am Not A Robot' is performed with such passion you can�t help but agree with the fan who said �this woman deserves to succeed,� because she really does. She has something new and innovative and dynamic to offer the pop world, something that she exudes herself and, unlike many pop wannabes she isn�t just going through the motions to attain success for its own sake.

Quote:

�My true dream is to become successful for what I do naturally proving to people that you do not have to replicate other people's popular qualities in order to become popular�

The set finishes with a triumphant second version of 'Mowgli�s Road,' this one the full on version �.and then..... she�s gone. A ten song set which was over way too quickly, but she proved beyond a doubt she was born to do this, is a unique talent and next year will surely see her make the breakthrough she richly deserves. She gave a staggering performance, as did I, as I weaved my home into the wet Liverpudlian night, quite intoxicated in every possible sense of the word! Balls out brilliant!

Fuck Buttons - Tarot Sport [Album]

robinrenwick — Mon, 16 Nov 2009 12:27:20 GMT

I first heard of Fuck Buttons way back in the summer of 2007. They were booked to play a gig in my native Cork, Ireland. I was intrigued by the name more than anything, and found out that they were the unconventional, experimental electronica duo of Benjamin John Power and Andrew Hung.

One thing lead to another and I didn't end up going to the gig. I heard through the electronic grape-vine that 50 people turned up, went mental, and that 'Bright Tomorrow' was, as we say in Ireland - "a choon." I bought a copy and fell in love with Fuck Buttons very personal brand of aural assault. Actually, assault is a pretty harsh word to use in this instance. Fuck Buttons transcend genres in quite a sublime way. They manage to marry huge distorted stadium filling (or emptying - depending on your preference) guitar with even larger digital and analog synth chords. This, coupled with driving, heaving and rolling percussion [both electronic and organic], will set your pants on fire - literally.

Fast forward a couple of years and they have released "Tarot Sport." A full length, seamless mix of the most highly emotional electronica that I have heard in a long time. Fuck Buttons have an ability to create a truly immense wall of sound. That wall of sound is powerful and certainly loud but it always keeps at its root a very strong sense of purpose, emotion and clarity of thought. Not many artists in the world can do that, whatever the genre.

"Tarot Sport" is seminal. That is a fact. "Tarot Sport" is seven tracks that have been merged together to form a seamless and very coherent whole. Casting comparions and references to Orbital, Leftfield, Daft Punk and Prodigy don't even do Fuck Buttons justice, as they have managed to take electronica down a path that many will attempt to follow and that very, very few will ever match.

From the sublime 'Surf Solar' through the deceptively emotional, war-hero anthem the 'Lisbon Maru,' to the old-school, acid-inspired jam of 'Phantom Limb,' Fuck Buttons have created an album that will send ANY proper party into orbit, quite literally. Disco-biscuit munching kids, and K-holed elders will roll around the place wondering what year it is. I imagine puking, falling over, screaming, hollering, naked tribal dancing, sweat-drenched, bass-wobbling roofs and walls imprisoning heaving, throbbing masses.

Fuck Buttons have entered electronica folklore. Some will just not understand it, some will be turned off by the immense sense of it all. Others will just stand agape, mouths open and wonder at the inherent magic of it. Whatever your reaction, you cant argue with Fuck Buttons evolving from playing little clubs in Cork with 50 ravers to touring electronic meccas like Stockholm, Helsinki, Oslo, Toronto, New York, Detroit, Chicago and London - all inside two years, and that is just their schedule for November and December!

Fair play, and much deserved I say.

Those that don't agree can F*ck Buttons.

Castanets - The Garage, Highbury, London [Live]

catshoe — Mon, 16 Nov 2009 00:00:01 GMT

Right from the start let me say that this was a fantastic gig. On a rainy Tuesday night in North London, Ray Raposa and the rest of his band brought West Coast alternative to life. Alternative is hard to define, somewhere between garage rock and experimental country music, but that no way does justice to the delicacy of sound over which drawly affecting lyrics are draped like the vines on the CD artwork. It has moments of orchestral layering, some where it should be the backdrop to a good day on a Pacific beach, yet others where the quiet gave way to insistent emotional pursuit by way of rhythm. Ray gazed intently out from under a resolutely fixed baseball cap. As things progressed, the sweat dripped and things got intense. Ray took off his shirt and his hat.

Until recently I was a total newcomer to the world of Ray Raposo, the man who is the constant factor in Castanets. I got their latest CD to review - "Texas Rose, The Thaw And The Beasts." I was blown out of the water by the record, the subverted and cracked nature of it all - I'm stealing some of Ray's own words there and I'm sure he won't mind.

Texas Rose remains right up there as one of my top albums of the year. Despite being written up as the most accessible album, this remains sufficiently challenging that I don't think Ray's ever going to be playing the Ryman Auditorium, and I kind of think that's how he wants it. So I went to Highbury with hope in my heart, and it was justified.

They'd been on tour in Europe for weeks by this stage, finishing off a week in the UK with a night in London then one night in Belgium before the big silver bird takes them home. Did I say home? California for Ray, the Pacific North West for others in the band. They only have a couple of weeks before they take it over to Australia.

That rock'n'roll lifestyle eh?

So, back to Tuesday night in Highbury. Believing for some reason that the Texas Rose album was almost a Ray-solo affair, when they eventually made it up on to the small stage in the upstairs hall of the Garage, I was surprised when more and more people kept strapping on guitars. Eventually five of them crammed themselves up there. Or not, as the case may be. The stage being about the size of my bed, two of them took it in turns to stand on the floor at the side. It was largely different musicians than recorded the Texas Rose album, circumstances during the recording being that not everyone could get to the the right place to join in. They were mighty fine.

It was a touching sign of democracy that Mr Raposa positioned himself off to stage right, eschewing any star delusional posturings.
There were some technical problems but for me they didn't detract. We were told from the stage that the equipment had been failing now for some while at this back end of the tour. Thankfully it was all rental gear that had been breaking down. Ray told me later that he was really looking forward to just dumping it all back on the rental company. It's got to be no joke whatsoever to get it all set up in sound check then experience it all going to rats half way through the set. Tonight there was rewiring happening on the fly but, well, they're pros and just got on. In some way, as much as I felt for their difficulties, it also brought us closer, musicians and watchers united in giving some leeway, and some sort of shared adversity.

The set was based largely around that brilliant new album. I'm sure there was other stuff in there, but it was the songs from Texas Rose that I knew and loved. Live, they bore up great. Ray's voice was added to here by a female counterpoint. In 'We Kept Our Kitchen Clean' and 'Thaw And The Beasts' there are a series of scratching and stretchings of strings that add a definite something, a point of reference, a wider context for the more musical bits to sit in. It has me in one when the melody starts to get uncovered from such detritus, like some fossil emerging from the desert.

On the record I'd been taken by these various effects and it was a joy to see them reproduced live, at one point Ray playing the guitar strings with a drum stick. It was though a moment of less, rather than more, accessibility and it saw one or two people taking the opportunity to sit down against the side walls. And isn't it just photographer's luck to put your camera in your pocket and miss a guitar getting the bottle neck treatment with a half full bottle of red.

The crowd wasn't huge but it was enough. Those that needed to be there were there, a self selection of those that deserved and needed to hear Castanets. God knows how I'd needed something tonight, and this was it.

This was a top performance of alt Americana, intense, everything you could hope for on a Tuesday night in north London.

We were satisfied indeed.

Tune-Yards - Bird-Brains [Album]

the_archivist — Sun, 15 Nov 2009 23:12:36 GMT

Tune-Yards (or to be precise tUnE-yArDs) is the moniker of New England resident Merrill Garbus. Her debut album �Bird-Brains� is an astonishingly animated experimental pop record that is soothing and unsettling in equal measure. Opening track �For You� starts as a lo-fi folk guitar-strum with sweet, faux-naif vocals which abruptly veers into dialogue (mother talking to son about fresh blueberries). The apparent harmony of this touching domestic vignette is undercut by electronic rumble and hiss and sudden sound-level changes. For all the suburban sweetness, there are equal amounts of spookiness to compensate. If Fever Ray�s album was the dark twilight world of insomnia directed by Ingmar Bergman then this Tune-Yards� record is a sunshine-lawn double-dutch-skip directed by David Lynch.

The album was recorded with a digital voice recorder and shareware mixing software. The final record does not try and hide these origins and feels distinctly �demo.� In fact Garbus manages to revel in the rawness this gives her inventive bedroom beats, riffs, nursery rhymes and chants.

The template for each song is similar, they consist of a guitar riff or drum rhythm used as a template for Garbus to sing over. Then layers of other sounds (percussion, ukulele, wooden spoons or glass bottles) are added with all the rough edges, hiss and compression kept in. The songs often adopt toy-box rhythms and sing-song verses but are much more sophisticated than this suggests - plus the songs can end up in very different places to where they started. �Fiya� goes from simple folk-blues into wailing chant; �Lion� from basic-but-taut march swells to modern R&B diva-like love pledge.

There are two songs that excellently encapsulate the Tune-Yards� world, and the uncertain listener should start with these. �Sunlight� begins as a hi-hat and drum shuffle with a simple declaration from Garbus�s sweetly innocent and fluttering voice - �I could be the sunlight in your eyes / couldn�t I?� With each repetition of the chorus guitars, bass drum, percussion, yelps and volume are added by turn so the song finishes as a loud propulsive rock tune with much of the innocence knocked out of it. �Hatari� is Congotronics by way of a suburban New England bedroom, starting with a tribal wail, it is propelled forward for its unhinged five and a half minutes (not a second of it unnecessary) by ragged jit-jive guitar and jaunty African drums. It's delirious and deliriously uplifting. The record continues to astonish and delight - from the spooky dubstep rhyme of �Jamaican� to lover-baiting �News� which comes across as The Magnetic Fields-on-helium with strummed ukulele and kitchen utensil percussion - it is brilliantly inventive.

Early records by Cocteau Twins and This Mortal Coil gave 4AD a reputation for pristine production. �Bird-Brains� does not follow that path, but will not damage the label�s reputation, only extend it. With this record Tune Yards takes her place alongside other great avant-pop experimenters like Solex, MIA, Dirty Projectors, The Raincoats and Micachu. And might even give the more adventurous end of year album polls a run for their money.

Girls - Album [Album]

the_archivist — Sun, 15 Nov 2009 22:17:20 GMT

Calling your band �Girls� suggests someone seeking anonymity (try putting that name in Google). Given the singer/lyricist escaped from a childhood spent with hippy cult The Children of God, this is quite believable. Along with calling your debut record �Album,� suggests that the San Francisco duo of Christopher Owens and JR White may assume they are churning out generic product. The latter is certainly not the case. "Album" is an indie-slacker take on heartbreak and redemption, sound-tracked by a rummage-sale rifling of American music from the last four decades. If at first listen it doesn�t grab your attention, repeated listens slowly pull you in to its woozy, adolescence-come-undone, sour-sweet world.

�Lust For Life� (no, not that one) is an upbeat guitars-and-hand claps power-pop nugget to open the album. It hymns sunshine and pizza but is undercut with a deep sense of longing and hope; �maybe I could make a brand new start / in love with you.� 'Summertime' is again a West Coast paean to soaking up the sunshine and getting high. But a tense rhythm track and Owens� sandpaper-croak vocals at their most cracked suggests something darker going on. Memories of a happier, adolescent time that may never return - if it even existed?

If there are cheerier moments musically (the AM radio high school love-song stomp of �Laura,� the plush velvet croon and twanging guitar of �Headache,� the shoegaze-on-uppers guitar rush of �Morning Light,�) there are also the come down songs. At the center of the album is the king of all these, the six and a half minute �Hellhole Rat Race� - �I�m sick and tired of the way that I feel / I�m always dreaming and it�s never for real / I�m all alone � with my heartache, with my good intentions.� It possesses a bleak, bottom-of-the-glass feel into which a few cracks of hope and redemption appear in the chanted chorus; �come on, come on, come on and laugh with me� sometimes you�ve just got to make it on your own.� A wounded San Francisco pop take on Spiritualized anyone?

Owens� sombre just-woken-up drawl manages to convey a range of complex and contradictory feelings throughout this album. Together with the music � cherry-picking moments of 50s surf-pop, West Coast psychedelia, 70s guitar rock and 80s shoegaze � this makes a satisfying, if emotionally draining trip through the darker side of teenage dreams, summer love and disappointment.

Bad times never sounded so good.

Ingrid Michaelson - Maybe [Single]

Nat Morris — Sun, 15 Nov 2009 15:35:22 GMT

�I don�t wanna be the one to say good-bye�but I will�

Ingrid Michaelson has a knack for coy and clever lyrics like this one, found on her latest single �Maybe,� taken from her most recent full-length album "Everybody."

The single is a brighter spin on a sad break-up song, which is always a safe way to play the pop market, although I find myself not hating her like the usual plastic sound that is churned out these days. This is because, not only does Michaelson write her own lyrics, but she writes the music AND plays the guitar for her tracks! (It�s a sad time when I�m shocked at that). Without sounding like I need a soapbox to tout on, I would love to see Michaelson win the ears and hearts of many fans, and for her and other self-sufficient artists alike to take their rightful place higher up the pop charts, rather than being lumped into the nerdy uncool kid group and only faintly achieving popularity.

�Maybe� is a very solid pop single. Definitely listenable and definitely likeable. Despite the horribly awkward video for the track (see below for the clip, and also a pretty decent live version), I think Ingrid Michaelson�s personable and non-demographic specific sound could be exactly what the charts need right now.

Overall: Does this single make me want to listen to the full album? YES

LINKS:

VIDEOS:

Riot:Noise - Fight the People [EP]

Gillianxoxo — Sat, 14 Nov 2009 20:18:13 GMT

"Fight The People" is the new four song EP from Riot: Noise. "Fight The People" is the bands' first release and it is quite the promising one.

The steady tempo of the songs and thick riffs give it all the best qualities that a modern day rock and roll band should possess and it shows as "Fight The People" has already received a lot of publicity and has gotten the attention of many people.

"Fight the People" may be only four songs long, but it has a definite stand out track; 'Dead Behind the Eyes,' which is full of gritty vocals sneered out by front man Marty. The guitar solos are ever noticeable throughout the entire EP. Lead track 'Never Wrong� includes the lyrics "I am never wrong. Hey, calm down - it's not me being big headed (although it has been said)� that sets the tone for the rest of this short EP. Each song is woven with heavy guitar solos and intense drumming. Attitude is a definite strong point for Riot: Noise and this is more than apparent in all four songs.

"Fight the People" is a modern rock EP filled with stomping rhythms and great songs. It shows great potential for the future of Riot:Noise, and is a good starting point. The possibility of them become the UK's next big modern rock band is very good. "Fight the People" sets a precedent for Riot: Noise�s next release. This EP is just the very first release of the much anticipated career of Riot: Noise.

The Blizzards - Domino Effect [Album]

Gillianxoxo — Sat, 14 Nov 2009 19:59:40 GMT

"Domino Effect" is the second release from Ireland natives, The Blizzards. "Domino Effect" greatly differs from the first release from this sextet "A Public Display of Affection." Many fans were disappointed by this album and have their arguments to back it up. Even though "Domino Effect" was quite successful, it is very different than past The Blizzard releases. The concept of making this album was to try to incorporate the energy that The Blizzards posses while playing live onto record. Whilst many fans complained they wanted an energetic album, they may also be wishing that The Blizzards just left their sound the same as on "A Public Display of Affection."

The opening track �Buy It Sell It� feels generic with the constant repletion of the lyrics �buy it sell it buy it sell it.� As the album continues, so does the energetic feel. The second track �Trust me, I�m a Doctor,� begins with a sound that can only be described as confusing and the lyrics are based on lead singer Niall Breslin�s life. Niall Breslin is an undoubtedly talented vocalist with a voice that can skillfully glide up and down the musical scale. However, his lyrics tend to get a bit repetitive and this is noticeable in songs like �Trouble� and �Trust Me I�m a Doctor.� Actually most of the songs on "Domino Effect" are filled with repetitive choruses. The exuberance can be a bit repetitive in the track �Trouble� where the majority of the song is spent spelling or singing �t-r-o-u-b-l-e� in many different tones. We understand that that girl is trouble!

The maturity of The Blizzards is noticeable briefly in the song �Postcards.� Most of the lyrics on Domino Effect have a very tongue-permanently-fixed-in-cheek vibe. The track �Three Cheers for Modern Medicine� is about the joy of a pre-flight-Valium-break, allowing him to fly. �Time to Decide' has an almost Snow Patrol-esque sound. The Blizzards have previously been described as bad indie, or even Ska, but they are a self-described pop band. The catchy choruses guarantee that you will be singing �trust me trust me I�m a doctor, trust me trust me I�m a doctor� all day long in your head and the complex four-part harmonies used are reminiscent of Queen.

"Domino Effect" is an over-the-top, bubbling with energy album that is full of big choruses with repetitive lyrics. Overall, an alright album.

Hair Rocket - Novelty [EP]

Gillianxoxo — Sat, 14 Nov 2009 19:53:20 GMT

Hair Rocket was founded in 2008 and this is their debut EP. Attached to the front of the booklet is a chunk of wig hair glued to a fuse. This might sound weird, but there is a story behind it. Hair Rocket founder, Chris Blasucci has an interesting view on life. His slogan is �We Cut, We Light, and We Release.� He believes in Hair Rocketing which is, �subversive enlightenment through cathartic art.�

Chris Blasucci started the hair rocket movement which can be summed up by a few simple steps;

1) Remove some hair;
2) Tape hair to a projectile;
3) Launch Projectile;

After following those simple steps the person will then have an elevated perspective. At shows, Hair Rocket asks fans to donate their hair to make a giant rocket clad with a plethora of peoples hair. Now didn't I tell you this was weird?

So, back to the actual EP. "Novelty" is a record full of infectious beats and deep personal lyrics about a very messy break-up and the instrumental sounds are abstract. The opening song �Don�t Leave a Light On� sets to the tone for the rest of the EP. It has a variety of instruments and sounds weaving their way in and out of the melody.

Chris Blasucci�s voice is very unique although at some points it can sound almost whiny, but like some of the other sounds on show here it is perfectly matched for the EP. Throughout "Novelty" the song types switch from simple melodies in songs like �Imagining� to a song like �Electrical,� which at some points sounds like a hair dryer was dropped in a bathtub!

The song �Come Here Be Near� is guaranteed to make your foot tap with its catchy beats. "Novelty" is a very abstract album, but it is very likable and has much potential to become quite popular.

Hair Rocket shows us that all a person needs to gain an elevated perspective are some scissors, glue, a fuse and a lighter and that's all that are needed to listen to and enjoy this EP!

Of Fate And Chance - An Atlas To Solutions [Album]

Gillianxoxo — Sat, 14 Nov 2009 19:44:00 GMT

Of Fate and Chance made a name for themselves when they released �A Liars Monologue� in 2006. In 2009 they have released a new album, �An Atlas to Solutions.� These New Jersey natives have gained popularity because of their radio-ready sound and tight musicianship.

Of Fate and Chance is a four-piece band of lifelong friends. Three of the members, Sean Massaro (vocals/guitar), Ryan Bergamotto (bass) and Jon Fleck (drums) were the original band, but later on they added Micah Payne (guitar/vocals) to the group.

�An Atlas to Solutions� is a well crafted album. The musicianship is precise and exact and all instruments mix well with each other. The opening and title track �An Atlas to Solutions� begins the song with attention grabbing lyrics and sounds. Throughout the album the lyrical consistency is prevalent and the vocals blend well with the drums, guitars and bass. The track �When She Needed Arms� opens with a graceful melody leading into a song that has both really nice instrumentals and powerful lyrics. "An Atlas to Solutions" is a finely written album and Sean Massaro�s excellent vocal abilities are ever present in every single track, especially �When She Needed Arms.�

�An Atlas to Solutions� is a ten track album, borrowing two tracks, �A Liars Monologue� and �Photo-Not-Graphing Emotions� from 2006�s release, "A Liars Monologue." These two songs are re-mastered and sound a little different than they do on the past release.

With this new album, there an obvious extra effort has been made even though it only took twelve days to record. The three-part harmonies add depth to this album and the loud-soft mood swings define this band as one to watch out for in the future. From the time of their last release to now, a growing maturity is evident through the tracks. The only problem I found is that the songs often blend together and the change from one track to another is not really noticeable. That and all the songs sound pretty much the same except for a select few.

All the tracks have a definite radio friendly sound that I wouldn�t be surprised to hear on my local hit radio station. Overall, "An Atlas To Solutions" is a decent album, but definitely not first-rate.

Everything On Red - Rotator [Album]

Matt D — Sat, 14 Nov 2009 10:37:10 GMT

Stoke is normally a place where death-core seems to reign supreme in bands bar a few exceptions. Everything on Red are trying to be just that. Considering one of their members used to be in a death-core band called Drive Til December, I was intrigued to see how this new band would dynamically change and it seems to be a very schizophrenic one.

"Rotator" is alone a mixture of Blood Brothers, Enter Shikari, Blink 182, 30 Seconds To Mars and that scope does make it hard to get into at least on first listen. By the sixth track 'No fear: Static Year' it does seem to be calming down (with the addition of gang vocals) briefly and then it goes all crazy again near the end, but then calms down with the following track (which is actually my favourite).

Track 8 'It's not Rocket Surgery' then starts with hints of Turisas with the keyboard dance beat (I know this sounds weird but it does!) I have to give them credit for trying to do something different though but it feels like they�re trying to be 10 bands at once and to me it just comes across as too much.

Everything on Red will no doubt break out of Stoke (not a bad thing I assure you!) with their melodic nature so it shall be enjoyable to see where they go from here.

The Plight - Winds Of Osiris [Album]

Matt D — Sat, 14 Nov 2009 10:23:17 GMT

After much anticipation here comes the first full length album by The Plight - which will answer the question everyone wants to know of their ability to carry the intensity into a full album, rather than just EP�s.

I have to say that seeing the Plight live is always interesting, due to the crowds being absolutely mental, trying to grab microphones and moshing like crazy. That seems to be coming back with rapid speed in the UK since Gallows, not that I�m saying Gallows were the sole reason for it, but it seemed to be when the media took notice. The Plight themselves carry off their live gigs well with their combination of punk, hardcore and a dash of blues, managing to gain a following and critical acclaim over the past year.

It shouldn�t come as a surprise then that the album starts off with a short intro that includes a blues element to it. Similar to a Clutch record called �Spit On The Cross - Part 1� and if you want to hear the rest, just wait a while because it�s time for the madness to begin!

The madness does begin with a song called �Lovesick Maniac.� It's an interesting piece, with a fast paced approach making it easier for the listener to get into. However (and this is even though I like it) the hook dies quickly in my eyes and this seems to happen quite often throughout "Winds of Osiris." This formula continues throughout the album with screaming vocals similar to Damien from Fucked Up and heavy guitars and drums that cross a blues / punk beat.

'Tied To The Tracks' mixes it up a little by breaking free from their formula with an introduction that reminds me of Master Of Reality era Sabbath and this is where "Winds Of Osiris" changes. "Master Of reality" could well be a big influence on The Plight, as part II of 'Spit On The Cross' kicks in and shows signs of the epic sound that the Plight could achieve if they kept putting their mind to it. The musicianship between the band is very well put together and shows a sign of a band that have progressed from their previous EP "Black Summer."

"Winds of Osiris" shows that The Plight can also carry the live experience onto a full length record and I shall look forward to this being toured very soon.

A Day To Remember - Homesick [Album]

Matt D — Sat, 14 Nov 2009 10:18:45 GMT

It seems to have been a great year for A Day to Remember with a headline tour followed by just recently a support slot with hardcore upstarts Bring Me The Horizon as they gained a legion of fans across the UK.

My first experience with A Day To Remember was a cover of a Kelly Clarkson song and I was amused at how it was possible for a band to make 'Since You�ve Been Gone' into a rock song (unlike X Factor two weeks ago and their �rock week�) so I decided to listen to Homesick to see if my smile could carry this brilliance over to a full album. Luckily their version of the song highlights the downfall of us all with it�s gang chorus and growling cry's of LET�S GO! It gets you wanting to dance and move your head around.

There are weird song titles on "Homesick" such as 'I�m made of wax Larry, what are you made of?' But unlike other bands that do this sort of music, A Day To Remember have decided to mix the hardcore style screams with a more mainstream singing voice and it works. It also helps that members of The Devil Wears Prada and The Acaica Strain guest on a few tracks making it heavier than most.

The production by Chad Gilbert (yes, New Found glory) is actually very well done as everything sounds clearer including the growled vocals (which normally to the untrained ear can just be unintelligible).

"Homesick" is a very enjoyable listen and has the big crossover potential that any bands of this nature can only strive for.

A Skylit Drive - Adelphia [Album]

Gillianxoxo — Fri, 13 Nov 2009 22:45:42 GMT

The California sextet, A Skylit Drive, really turned heads with their new second studio length album "Adelphia." The opening track �Prelude to a Dream� is sure to catch attention with the peaceful falsetto of vocalist Michael Jagmin, which then morphs into the powerful scream of screamer, Brian White. Brian White�s screams have evolved from almost whiny to commanding attention. "Adelphia" is the follow up album to 2008�s "Wires and the Concept of Breathing." "Adelphia" is a catchy album. "Adelphia" greatly differs from "Wires and the Concept of Breathing" in many ways.

A Skylit Drive has matured in the past year and you can hear the difference with the tighter instrumental sound and the more precise vocals. In past albums it has sounded as if different members were overstepping each other in the songs, but "Adelphia" has evened out the turns and sounds. Michael Jagmin�s vocals have gotten more defined and are reminiscent of singers like Claudio Sanchez and Anthony Green. The sound of this new album is comparative to if The Devil Wears Prada had a love child with Coheed and Cambria.

The solidity of sound is noticeable in the album defining tracks like �Eva the Carrier� and �Children of Adelphia.� The ever present drums complete the songs �Those Cannons Could Sink a Ship,� and �Heaven� with their accuracy and authority. The one thing all tracks on Adelphia have in common is the powerful (sometimes overpowering) vocals screeched out by Michael Jagmin.

In �Children of Adelphia� the singing is bearable, even pleasant. However in �Air the Enlightenment� it is best just to focus on the melodic piano in the background. The song �Boy Without a Demon� gets off to a fast start but gradually slows down and gives the listener a nice break from the brutal screams that occupy the majority of the tracks on the songs on "Adelphia." �Worlds End in Whispers Not Bangs� provides an enjoyable interlude that proves how tight the instrumentals on the album really are.

The mixture of piano, keyboard, and synths on "Adelphia" provide true musical diversity. Even though much has changed with A Skylit Drive since "Wires and the Concept of Breathing," one thing hasn�t; the superb lead guitar played by Joey Wilson adds depth to each and every song. His playing is so intricate and exact. The vocals on "Adelphia" are varied, switching between whispers and actual melodic singing, and sometimes spoken word. "Adelphia" is the first album A Skylit Drive has made with new label, Fearless Records. Much has changed with this band, but one thing for sure, A Skylit Drive has put a great deal of effort into "Adelphia," and it�s audible.

Hot Topic - Game Show [EP]

deadletteroffice — Fri, 13 Nov 2009 16:53:04 GMT

OK I'll admit, even before placing the record into my CD player I was skeptical, the cover art is a riff on Wheel Of Fortune and the inside sleeve photo left the impression of a band who will probably be wearing baggy shorts long into their 40's. I was initially taken aback then by what greeted me when I pressed play, I expected glossy, monotonous pop-punk but in it's place I found glossy, monotonous MOR rock music..... I think I actually got a raw deal there.

Anyway onto the record itself. It's worth noting that the record was produced, recorded and designed by our very own Chris "MUG5" Maguire so I'm in danger of stepping on some toes here. However I'll call bad music out on even some of my closest friends and family members so I have absolutely no qualms about speaking my mind regarding Hot Topic and their folly.

All 4 tracks follow a very specific formula, uplifting power chords, powerful (though occasionally dull) vocals and vibrant, E-Street band piano work. With decent songs this formula could have resulted in a few harmless, enjoyable drive time radio rock songs (see The Hold Steady), however I am sorry to report that there is not even a fraction of a decent song amidst this sorry collection. The lyrics too are made up of stock quotes such as "take a look at my broken heart" and empty platitudes that feel forced and frequently embarrassing. It's professional sure, to the point almost that it tries to ram it's professionalism down your throat, but that's maybe why it sounds so forced, like the band are trying too hard to be over earnest. Every song in the collection sounds like a Bon Jovi B-Side but the pick of the bunch is probably closer 'You Or It's Me' with it's more reserved sound (if we choose to ignore the Sonic the Hedgehog guitar solos), but even that's a song I'd skip if I had the choice.

The production on the record is very heavily compressed to the point that it sounds like the life-force has literally and liberally been squeezed into every instrument and the result is like a perfectly flat, tasteless pancake. Of course the fault here is with the band not the producer, as the old saying goes, you can't polish a turd but you CAN roll it in glitter and man has Chris tried his darndest!

As a promo device for Screamadelica Studios this works: the packaging, production and (by all accounts) distribution of the band has been handled fantastically. The band itself though seem like they would be more comfortable playing classic rock covers.

Rifle Recoil - Verizon Shine [Album]

Rob H — Fri, 13 Nov 2009 13:35:00 GMT

"Verizon Shine" is name of the debut LP from Rifle Recoil. I had to spend several days listening to this album before I felt ready to review it. That should be considered a compliment I guess. This is a dense, layered, challenging, and at times a beautiful album. The most remarkable thing about it, in my opinion, is that Rifle Recoil is one man, Jeff Kessel.

Often when I listen to a musical project put together by a single artist, I find the music a little thin. The strength of the musical ensemble is the varying perspectives, then sometimes competing musical voices. Often a single artist just doesn�t bring enough to the studio and can�t fertilize his own ideas. Jeff Kessel is a rare musician who has it all. A sweet and occasionally powerful voice, equal facility on the guitar and keyboards, solid percussion skills, consummate groovesmithing abilities, and even respectable beat-boxing.

In some ways, "Verizon Shine" sounds like exactly what you would expect from a musician playing with a Boomerang loop pedal. A staple of the release is songs that are built layer upon layer, repeating phrases and adding to them over time. Kessel does this on many of the tracks. In fact, most of the tracks have very few lyrics. In one song, we are told "It�s gonna be okay" over 70 times. Surely you can guess what the name of that track is? Likewise in �Nobody Cares� that phrase is repeated no less than 120 times. For all this repetition, the songs don�t usually get boring because every 4 bars a new element is added. The final result is usually a rich sonic landscape that you can really dissect with a pair of headphones, listening to how the elements play off the overall theme and each other.

"Verizon Shine" ranges all over, from partial covers of Outkast, The Clash, and Marvin Gaye to clever original compositions and playful instrumental pieces. In particular, I want to recommend a few of my favourites from this release. �Lonely Sailor� is one of only three songs with actual verses of lyrics. The appealing vocal melody makes me wish he did more of this, like he does on another great track, �Prototype.� After a full minute of intro he says, �I hope you the one. If not, you are the prototype.� The song is both pretty and clever. 'All I Need' is a cover of the old Marvin Gaye / Tammi Terrell song and is the winner on this disc. Human beat box percussion backs an otherwise acappella version that croons and eventually wails just the chorus. It is infectious and brilliant.

Repeating phrases and building grooves is good as long as the central idea itself is strong. There are a couple tracks, like �Bad Girl� and �Streets of America� where I wasn�t crazy about the initial loop, so building on it for four more minutes didn�t do much for me. For the most part, however, the disc is strong and the rich interplay of ideas rescues a repetitive release from being monotonous. Pick up a copy of �Verizon Shine� and put on a pair of headphones. This is a remarkable release, particularly for a debut. I expect we will be hearing more from Jeff Kessell.

Tell It To The Marines - Fireworks [Single]

jack s — Thu, 12 Nov 2009 23:53:57 GMT

A surprising debut single from Tell It To The Marines. They provide a soft-core, Ambient Pop sound reminiscent of Editors with a sore throat. Lead vocalist Timi Hyland dominates the track with a raspy voice, showing all of his might on the last 30 seconds of the track, repeating "Your always wasting time."

This can easily be shoved into the category of the ever present Pop-punk, but Tell It To The Marines just steer clear with some instrumental patterns that actually sound well thought out. If not for the heavier moments in 'Fireworks' then Tell It To The Marines would surely be shoved in the pile with Attack! Attack! (along with all the other rubbish that the pop punk genre seems to be shitting out nowadays).

'Fireworks' stands to be a strong start for the Cambridge four piece. Structurally it's well written with some nifty harmonies chucked in at just the right moments. This standing stone could well bring Tell It To The Marines to new levels. Their sound isn't unique, but has it's necessary unique moments, but just enough to avoid branding them as another boring wannabe group.

Cheap Trick - The Latest [Album]

Cristina M — Thu, 12 Nov 2009 18:50:24 GMT

Cheap Trick is one of those weird rock�n�roll phenomenons. One of those bands you never find in the charts or printed on TopShop�s trendy shirts, but many artists you like, old and new, will mention them as a main influence ioncluding The Ramones, AC/DC and Zeppelin, The Wildhearts, Greenday (who use their hit �Surrender� as a live encore), Pearl Jam, Datsuns, Enuff�Z�Nuff, Extreme, Guns�n�Roses, Motley Crue, Smashing Pumpkins, Stone Temple Pilots, Terrorvision and Weezer. And that is just the tip of the iceberg. An icon for modern days icons if you will.

The audience at their gigs is the most diverse sample of music humanity you can possibly imagine. From bikers to geeks, from youngsters who want to understand where Greenday came from to over fifty chaps who have no idea who Greenday are. And I was lucky enough to see all of this at the Royal Albert Hall back in 2003, with bars invaded by mullets and indie bobs, leather trousers and smart suits, hiding a Ginger from The Wildhearts happily mixing up with the crowd and God knows how many more well known musicians who that night were, for once, just fans.

A Cheap Trick album doesn�t happen every two or so years, so when the first batch was put on the market in June strictly by pre-order, only few could resist until the official July release of �The Latest.� And man, wasn�t this a case of patience being rewarded! Cheap Trick celebrate 25 years of their career with a power pop classic album, successfully exploring punk and rockabilly sonorities, touching hearts with deep ballads that can never get boring with Zander�s exceptional voice, and even revisiting a classic in a way only they can do (ever heard their version of Elvis �Don�t be cruel�?)

Ballad �Sleep Forever� may sound like a weird choice for an opener, however it is dedicated to a friend who passed away recently, and this 1:37 song is surely more effective than a simple dedication on the cover. At the end of the day, it�s their album and they never wrote for the charts. Tribute over, fun begins, with Slade �When The Lights Are Out� and what an amazing job they�ve done with this track! �Miss Tomorrow,� written with Dave Stewart, is a very old Cheap Trick style track, a deeply enjoyable power pop song sprinkled with indie and rock dust. Two minutes single �Sick Man of Europe� (name initially given to the band back in 1972) makes you wonder if Jet, Hives and the likes shouldn�t be also mentioned in that list of influences. It is simply amazing how Robin Zander�s voice can go from Rock�n�Roll raspy, to crystal falsetto, to deep velvety blues.

I Can�t believe he�s 56. Him, his voice, his song writing, all so beautifully timeless!

�These Days� is a good ballad, but would probably be �just a ballad� if it wasn�t for those vocal chords. The following track �Miracle� whilst being another ballad, is an excellent example of Cheap Trick�s similarities to the Beatles and in particular John Lennon. It is a song so obvious that it is ultimately genius. �Every Day You Make Me Crazy� lasts only 1:18 and maybe it�s not enough; it starts pretty well, but in the end it feels like a good concept that they didn�t bother developing further. Maybe an extended version for download or b-side someday? But here comes the one that throws you right back to the 50s. 'California Girl� is a feel good, vintage anthem that will have you dancing your ass off and flying your partner and her big skirt under your legs and over the top of your head. Rock�n�Roll!

�Everybody knows� is another ballad that starts a bit flat, but again Zander gives it an edge with a seventies style falsetto. Rick Nielsen's infectious guitar riffs play the leading role in uplifting rock tune �Alive.� Not too impressed, or at least not as impressed as I am with the rest of �The Latest.� Closer, 'The ballad of Burt and Linda� is an indie pop ballad that somewhat reminds me of the darkest Enuff�z�Nuff episodes.

Nostalgic heart warming ballad �Smile� closes the curtain on this Cheap Trick masterpiece. If you�re a Cheap Trick fan and you�re afraid of being disappointed, fear no more. This is not just a good Cheap Trick album, but one of their best ever.

If you don�t know Cheap Trick, I�m very tempted to tell you to leave this website immediately but I�m sure my boss wouldn�t be too happy. So please, do yourself a huge favour, and before listening to all the Greenday, Weezer, Pearl Jam and Smashing Pumpkins of this world, get yourself �The Latest� and a good Cheap Trick Greatest Hits and try to understand where they came from. If your music of choice is Limp Bizkit, 50 Cent or Rammstein then you probably haven�t listened to Cheap Trick much... but you�re still on time!

Loverman - Crucifiction [Single]

deadletteroffice — Thu, 12 Nov 2009 18:21:15 GMT

Loverman appear to be one of those bands you have to 'get' to really enjoy and for the most part I just don't get it.

Crucifiction is an enjoyable enough slice of down-tuned scuzz rock with suitably perverse lyrics ("let's play crucifixion, you be the body and I'll be the cross") and the guitars sound like they've been fed through an army of big muffs (their pedals don't you know!). However there is a downside to this approach in that everything besides the guitars are mixed low and barely register, so much so that they almost cease to matter. This wouldn't be a problem if there was anything even remotely interesting about the fretwork or the underlying vocals but besides a few late-to-the-game ambient effects (which sound to me totally unnecessary) there's nothing beneath the bluster.

This kind of sludge-core rock can work wonderfully when treated with a lighter touch (see Nirvanas recently re-released debut album 'Bleach' for proof) but here Loverman seem to have adopted a 'more is more' stance to cover up their song-writing deficit.

The B-side essentially consists of a riff recorded at normal speed then sped up so you have to switch your record player to 33 1/3 rpm to hear it as intended. This kind of gimmickry is pretty indicative of how I feel about the band. Forced and monotonous. The riffs are powerful at times and the weather-beaten, Mark Lanegan esque vocals of the front-man manage to convey a good balance of melody and aggression. But, after 3 or 4 spins and once you start to see past the grime there's really nothing there.

The weakest of the Young & Lost singles club bunch which overall has been an excellent find for me this week.

A-Stout - Drinks [Single]

Hannah Edney — Thu, 12 Nov 2009 15:31:35 GMT

This is a one-song single release, meant as a snippet of what A-Stout�s forthcoming debut album has in store, so it�s a fair assumption to say that this is the track that A-Stout feel represents the best of what they do as artists. With this in mind, and as a new group proclaiming themselves to be �Hip-Hop�s Resurrection� (I wasn�t aware that it had died), 'Drinks' is more than a little bit disappointing.

Upon perusing their website biography, they sound like quite a promising bunch of chaps (meaning men, that wasn�t meant as a bitchy comparison to cowboys� hole-riddled keks). Having met in Switzerland, and with varied backgrounds, they apparently united over a desire to �bring hip-hop back to its roots and elevate people through meaningful lyrics and unusual references that inspire thought and contemplation.� Riiiiight. So they release a track called �Drinks,� from which all I can glean in the way of lyrical content is the token �Fiddy Cent� twaddle about shorties in clubs and, you guessed it, drinks. They do attempt to add a bit of humour with lyrics like "She said 'ease back pal, your breath stinks�'" / "What you think hun? You know I came to the spot to drink" / "And not to chew on a packet of breath mints." Hasn�t Kanye West already made something funny out of embarrassing breath / topical situations with such lyrical gems as "Ooh girl, your breath is harsh / Cover your mouth up like you got S.A.R.S.?........" I think A-Stout will find he has. Never mind, eh fellas?

As is traditional in the world of hip-hop, the group aren�t shy about bigging themselves up, although having also had a peek at their record label�s homepage, it may be more the label�s doing than the band themselves. vThe rest of their insanely overly-inflated biography continues to plug them as a musically credible hip-hop outfit, and an alternative to the saturated mainstream urban market full of twerps like Jay Sean, but �Drinks� sounds like usual mainstream hip-hop in substance, sound and subject. The production is bad (and that�s meant in the derogatory sense, not in the street sense), as it plods along with its old-fashioned cheesy noises and a tackier than Blu-Tack beat. What�s frustrating is that the rapping doesn�t sound entirely terrible, there�s something going on that tells me they could come out with a half-decent track if they put their minds to it. But then a band claiming to be �Hip-Hop�s Resurrection� clearly aren�t very versed in the scores of intelligent, funny and musically interesting hip-hop acts there are out there. Someone should sit them down with Giant Panda, The Roots or Mos Def and have them get a little lesson in what intelligent hip-hop is all about.

Oh Minnows - Might [Vinyl EP]

Hannah Edney — Thu, 12 Nov 2009 14:12:04 GMT

Now I know that vinyl is pretty much irrelevant to today�s music-guzzlers, and isn�t as high-fidelity as trusty WAV or even MP3 files, blah blah, blah � but yes, I�m one of those people (considerably under the age of 45) who thinks there�s a bit of romance in getting a vinyl record. For a start, it�s bigger than a CD, and bigger is obviously always better. That means it�s got lots to look at; the cover is a nice big shiny picture you could put on your wall, and if you�re lucky there�s an inner sleeve with even more goodies to be gawped at. Then there�s the fact that you can watch the music being played, with a needle! Awesome.

So, when reviewing a vinyl, it seems only right to review the physical bits as well as the music contained within. In this case, the sleeve is quite nice, adequately shiny and won�t let any pretty vinyl collection down, but what�s this? Three tracks? That�s not really very many for an EP now, is it? Granted they�re all individual tracks, no remixes and what not, but I can imagine a buyer feeling a little short-changed for their �3.40 (�4.80 with postage) at being told they were purchasing an EP that�s essentially a single. There�s a credit crunch on you know! But seriously now, the only gripe with the physical record itself is that the two sides are set to be played at different speeds, something not mentioned anywhere on the sleeve, resulting in an amusing John Peel-like state of affairs in which you try and work out if the track is extremely avant-garde or just being played at the wrong speed.

The title track itself is a bit dull, there�s the token 80's sound mainly in the form of enjoyable wobbly synths that sound like they�ve been sampled from an over-used Bladerunnervideo tape. There�s also some nice staccato but echoey guitar effects with that ridiculously happy warm feeling that the Due South theme tune gave teenage girls in the 90's. All in all, 'Might' is a quite-nice-but-not-fantastic slow atmospheric pop track.

The whole of "Might" EP carries on in the same vein, all relatively nice and harmless, all not bad. The tracks have the same dreamy multi-layered vocals throughout, which is very now. Oh Minnows are bang on time with this release, and they should tick all the boxes that usually get me raving about a band � it�s in the same style as current atmosphere-heavy bands like The Big Pink (in places), The Pains of Being Pure at Heart, and, with third track 'High Or Low,' Exlovers. And as glad as I am that all this is happening, there�s something preventing Oh Minnows from being on a par with the rest; "Might" EP is missing some attitude or punch. Maybe they should just turn everything up a bit, there�s nothing like a good dose of distortion to up your cool factor. If you like the bands I�ve just mentioned, then Oh Minnows are more than worth a listen, but for me they�re not quite there yet.

Ou Est Le Swimming Pool - Dance The Way I Feel [7"]

deadletteroffice — Thu, 12 Nov 2009 14:11:31 GMT

My third foray into the Young and Lost singles club this week sees me tackling some rather infectious electro-pop in the shape of the curiously named 'Ou Est Le Swimming Pool.' It's pretty damn catchy I'll say that much, with a chorus hook which should ear-mark it as a future indie disco classic. It's the kind of song which doesn't stand up well to over analysis with it's straight-laced, metronomic beat, dated keyboards (that sound like they were pulled right out of Neil Tennants arse) and overly glossy production. But this is not a song written to be analysed or mused over, it's a song written for the dance-floor and it would be tremendously callous of me to review it in any other way.

It's easy to wax lyrical about this countries current nostalgia trip and to forget that fads can sometimes actually nurture some great bands (if it wasn't for the 70's guitar rock resurgence spearheaded by The Strokes we'd never have Arctic Monkeys) and from this evidence 'Ou Est Le Swimming Pool' have the potential to be a great, fun, pop band. They may lack the slight melancholy of MGMT and the art-house stylings of The Rapture but there should be a place in any music fans record collection for a track this unapologetically fun.

Ou Est Le Swimming Pool are the fresh, credible alternative to the poncy, boring nostalgia offered to us by the mainstream (that's right La Roux I'm looking at you!)

Kill It Kid - Kill It Kid [Album]

mark191082 — Wed, 11 Nov 2009 19:46:19 GMT

A beguiling one this little bunch as it's not really an album you could associate with a bunch of young'uns such as Kill It Kid as it really sounds like some kind of mid 70's cross between Fleetwood Mac, in all their Stevie Nicks glorious poppiness; The Smiths, with their Morrissey croonery, and a bluegrass tribute band. Which as you can see is going to produce something that's both beguiling yet uniquely satisfying. Kill It Kid are very much that as they blend genres at a whim which is every bit down to the vocal tag team of Chris Turpin and Steph Ward who couldn't contrast more if they tried yet somehow they also blend somewhat effortlessly.

The eponymous debut throws you in with the rabble-rousing blues stomp of 'Heaven Never Seemed So Close' which somersaults through bluesy riffs, drills through a tightly coiled rhythm section, and is topped by the dual vocals that take it into almost country duet territory. All sprinkled on top with hand-claps which I just love. Followed with the similarly veined early single 'Burst Its Banks' that carries the alt-country motif but aligns it to some boogie-piano as Turpin does a glorious Whippin' Piccadilly Gomez impression, it's full on.

'Ivy And Oak' is a more straight forward track sounding like something I would expect from say a Norah Jones if she embraced a little blues now and again instead of moping into her mineral water. It's that kind of hybrid that still holds a sort of over the top sentimentality. Again with 'Fool For Loving You' there's an almost over commercial verve to Kill It Kid but they always seem to throw in something that will make you forget that; be it stray banjo's or unexpected riffing or in 'Send Me An Angel Down' a Chris Turpin vocal that sounds like Alison Moyet in her eighties heyday. You kind of get submerged in the track that on repeat listens sounds so simply eloquent.

Again altering their stride, Kill It Kid go with Steph Ward as lead vocalist for 'Private Idaho' allowing her to wrap her luscious vocals round a gentle country melody and I now begin to wonder just how exactly Kill It Kid are not so much bigger as this is infinitely better than any Duffy or Amy MacDonald or anything Simon Cowell parps out of his arse - this deserves so much more.

'My Lips Won't Be Kept Clean' comes over all too Beautiful South for my liking. They've just gone one step too far but there's still that toe tapping element that I can't shift and this continues with the early White Stripes flavouring of 'Troubles Of Loretta.' Whilst 'Dirty Water' aims low with a much more mellow intro which settles you in with it's soothing vocals. This is before it hits you with Gothic fiddles and sudden bursts of vigorous band splatter. 'Bye Bye Bird' again makes use of Turpin's unique vocals bringing an almost baritone depth to a track that goes for the mid-western bar room brawl feel.

Final track 'Taste The Rain' eases in with melodic piano and then that deep soulful vocal of Chris Turpin that is met with more bluesy steel guitar and those fiddle stabs that carry the song upward. It tries to be both a gentle track and an uplifting, soaring one which Kill It Kid manage to pull off and have managed to do so for the majority of the album.

Again I have to wonder why we get such middle of the road crap on our radios and in our charts when there are bands such as Kill It Kid. They take the formulaic sound and twist it to their own ends by throwing in historical music like delta blues and fifties soul to achieve a much broader scope. It's a refreshing debut album that might at first come over a little to commercial or contrived for those that strive to stay 'alternative.' Regardless, Kill It Kid will pick up many a dedicated follower of which I am now one.

Track-listing:
1. Heaven Never Seemed So Close
2. Burst It Banks
3. Ivy And Oak
4. Fool For Loving You
5. Send Me An Angel Down
6. Private Idaho
7. My Lips Won't Be Kept Clean
8. Troubles Of Loretta
9. Dirty Water
10. Bye Bye Bird
11. Taste The Rain

Kill It Kid Are:
Chris Turpin - Lead vocals, Guitar and Songs
Steph Ward - Lead Vocals and Piano
Richard Jones- Fiddle and Backing Vocals
Marc Jones - Drums and Percussion
Adam Timmins - Bass, Banjo (Guitars)

2009 Tourdates:
12 Nov 2009 20:00 The Croft Bristol
17 Nov 2009 20:00 Glee Club w\ Foy VanceBirmingham
18 Nov 2009 20:00 The Duchess w\ Foy Vance York
20 Nov 2009 20:00 Brudenell Social Club w\ Foy Vance Leeds
21 Nov 2009 20:00Phoenix w\ Foy Vance Exeter
22 Nov 2009 20:00 Glee Club w\ Foy Vance Cardiff
23 Nov 2009 20:00 Jericho Tavern w\ Foy Vance Oxford
25 Nov 2009 20:00 Bodega w\ Foy Vance Nottingham
26 Nov 2009 20:00 Drift w\ Foy VancePortsmouth
28 Nov 2009 20:00 The Royal w\ Foy Vance Derby
29 Nov 200920:00 Ruby Lounge w\ Foy Vance Manchester
30 Nov 2009 20:00 Classic Grand w\ Foy Vance Glasgow
1 Dec 2009 20:00 Hootenanny w\ Foy Vance Inverness
2 Dec 2009 20:00 The Warehouse w\ Foy Vance Aberdeen
4 Dec 200920:00 Dolans Warehouse w\ Foy Vance Limerick
5 Dec 2009 20:00 Cyprus Avenue w\ Foy Vance Cork
6 Dec 2009 20:00 Academy 2 w\ Foy Vance Dublin
8 Dec 2009 20:00 Union Chapel w\ Foy Vance London
12 Dec 2009 20:00The Monarch London

Kill It Kid Official Website
Kill It Kid on MySpace Music

Otep - Smash The Control Machine [Album]

Matt D — Wed, 11 Nov 2009 14:33:41 GMT

Otep are a band I had previously heard of via a few contacts, particularly during the era where a band was deemed nu-metal regardless if they had elements of other genres. After managing to gain support from Sharon Osbourne while unsigned, they�ve managed to gain somewhat of a cult following over the past few years from fans of the music and also Otep's lead vocalist's support of various causes such as PETA. She can also lay claim at being the only known lesbian in the metal genre.

The difference with OTEP is that the lyrics are mostly of a political nature, which runs the risk of being shuffled too easily into just being a female Rage Against The Machine or being called Coal Chamber clones (which the opener of Rise, Rebel, Resist does give off).

There are moments on "Smash The Control Machine" however that show different sides to the band such as 'Head (Of Medusa)' in which the Otep vocalist shows her singing voice is actually quite good (and to be fair I prefer it to the growling). The content also seem to be very varied with the self defense of a rape attack being one of the topics on the album�s closer, which turns into a revenge attack resulting in killing the perpetrator - which I�m guessing is the woman�s father [and a call to arms]. There�s also a sort of recycling with �Serv AsaT� which seems to be the sequel to a track from 2002, in my opinion this could have been replaced more easily by the hidden track after the closer.

If there�s one song that I can pick as my favourite it�s the �ballad� of the album which features Emilie Autumn guesting on 'Ur A Wmn Now' (yes, that�s how it�s spelt, reminds me of Reanimation by Linkin Park) and actually shows the more sensitive side to Otep rather than a band that�s all �let�s right wrongs� all the way through their album.

"Smash The Control Machine" seems to be one of two halves that can�t make up it�s mind. I personally would prefer to hear more ballads, I think next time around that is if I do decide to venture into the world of Otep again which based on my impressions from "Smash The Control Machine" seems quite unlikely.

Magic Wands - Magic Love & Dreams [EP]

deadletteroffice — Wed, 11 Nov 2009 14:19:06 GMT

Occupying the same, self-knowingly 'hip' territory as erstwhile synth rockers MGMT, and sprinkling the sound with a generous splash of 'nu-gaze' (christ I hope nobody takes that term seriously) Magic Wands are almost guaranteed underground succes. They even have the look down pat (they could both pass for topshop models). But if I forget my cynical nature for a second (tough but not impossible) and concentrate on the music I can find a decent amount here to recommend to genuine music fans. The sound is obviously 80's indebted (what isn't these days) but it comes embossed with that modern sheen which helps it sound very much of this decade.

This is an EP which is all about melody, the drum machines sound lifeless and songs rarely have more than 3 chords but the vocal melodies and sparkly guitar lines (especially on opener 'Kiss Me Dead') are frequently gorgeous and go a long way towards making up for the lack of musicianship on display. Singers Chris and Dexy weave their softly cooed, heavily reverberated vocals over beds of ambient synths and retro textures on 'Warrior' while on the standout 'Black Magic' we get their version of funked up glam-rock. This could easily be a hit if put in the right hands with an infectious riff and chorus hook which almost sounds like the Pixies classic 'Hey' if it was reworked by OMD, then covered by the Cocteau Twins (confusing I know but give it a listen and you'll see what I mean).

The flip-side isn't quite as impressive but expands the groups horizons with the jaded atmosphere of Starships recalling M83 and the subdued low-light 'Teenage Love' including a frankly embarrassing semi-rapped verse (fair enough they gave it a try but it really doesn't work). All 5 songs run home the bands ability to write a killer hook, each one hits with a decent chorus and even the unlovable Teenage Love is admittedly catchy.

So not a bad first impression at all, expect Magic Wands to be everywhere by the end of the year, all they need is the right label and the right tour support slot and radio 1 undoubtedly beckons.

Bombay Bicycle Club - Evening / Morning [Single]

deadletteroffice — Wed, 11 Nov 2009 13:35:48 GMT

Off the bat I just want to apologise for my week long absence from Altsounds. Unfortunately the records I was scheduled to receive last week only arrived yesterday afternoon. I understand this is due to the recent royal mail strikes and have no more to say on the matter (the last thing I want is for some disgruntled postman to read this and henceforth forward all my mail to the north pole) but I WILL say that said records managed to arrive in one piece.... and at least that's a start...... anyway on with the review.

Bombay Bicycle Club (yeah it's a terrible name but then so is Arctic Monkeys) first came to semi-prominence via a late night, channel 4 talent show. But before all long banished memories of long dropped former X Factor winners (whatever happened to that Steve guy anyway?) come flooding back please take a moment to settle in and judge the band on their own merits, because from this evidence there is a lot to admire in the BBC (sic).

Evening / Morning is an urgent, literate slice of British indie rock with a razor-wire production courtesy of Jim Abiss and some endearing hooks. Singer Jack Steadman might sound like he's constantly about to burst into tears (much like Conor Oberst or Davendra Banhart but not quite as histrionic) at any moment but the buzz-saw bass and angular guitars help keep the bands masculinity in check. The guitars here have a delicate balance and the rhythm section keeps things tight and focused, so aesthetically there's little to fault.

Lyrically there's a wistful, literate and cryptic streak that falls into place during the heart-on-sleeve chorus as Steadman declares "I am ready to owe you anything." It's a nice sentiment in theory but the quivering delivery lends what could be a rather cheesy line a great deal of gravitas. It's not a great song by any stretch (far too slight for starters) and I'd imagine Bombay Bicycle Club have better in their canon, but it intrigued me enough to look past the silly name. And that's one REALLY fucking silly name!

The B-side "You Already Know" is for my money a significantly better song and should really have been the A-Side. It's a wonderfully wistful acoustic ballad with some beautiful backing vocals and a stellar chorus, well worth checking out!

Michael Jackson - This Is It [Movie]

Cristina M — Wed, 11 Nov 2009 00:09:42 GMT

Let�s just get my rant out of the way so we can get on with the �movie��

The opening credits on Michael Jackson �This Is It,� a post mortem documentary sharing rehearsal footage for the tour that never happened, state that it was done with the authorization of Michael�s legal representatives, which unless they are also a medium would hardly know if Michael Jackson would have actually agreed to all this, and use what was initially meant to be filmed solely for Michael Jackson�s personal library has been made public �for the fans.� Oh really? So, why isn�t it on national television for free, as would normally happens with a documentary about a personality who has recently passed away? Instead, �This is it� is a well studied media operation, released in Imax theatres for a limited time of two weeks, making you feel like you have to rush to get your tickets or you will miss out. And if you do miss out, some pompous special high definition exclusive top of the range DVD package with pictures of his kids crying at the funeral will surely hit the shops by Christmas. I�m not sure a perfectionist like Michael would have liked his rehearsal footage to be published, and I bet he wouldn�t have wanted anyone to pay for it and this is something that is clearly shown in this very documentary.

Leaving apart the obvious controversy, �This is it� shows what those London gigs would have been if the bloodsuckers surrounding Michael Jackson wouldn�t have taken him to an early grave: the perfect pop show. Meticulously studied in every little detail with the participation of Michael himself, �This is it� proudly displays the best dancers, choreographies, background videos, special effects, costumes, musicians and all kinds of entertainment professionals you might possibly need on a gig as majestic as this. As explained to the emotional dancers at the audition, they are an extension of Michael himself. And Michael is perfection. Patiently, apologetically but firmly, with his candid voice he goes over and over every step and every note until it�s just the way he wants it.

It�s clear from the introductory �Wanna Be Starting Something� that Michael is unexpectedly in great shape, and the announcement in London that this will be IT, the final curtain call, sounds kind of weird when you see that his dancing and singing are as flawless as always. Also, at the end of this footage, you will realize that had he made it to the first show, he would have hardly completed a residency of shows this demanding. No fifty years old human could, in my humble opinion.

The highlights of the show seem to be two in particular: �Smooth Criminal� and obviously �Thriller.� For �Smooth Criminal,� the on screen scenario is a short b/w movie, where old classic Gilda has been slightly retouched. Thanks to the miracles of modern technology, Michael is now part of the cast, grabbing the glove Rita Hayworth throws and trying to escape a gangster style shooting jumping off a window. In front of the screen, the real Michael and his excellent dancers recreate the video choreography, cheered by an enthusiastic crew. �Thriller� is just majestic. Masks, make up and gory special effects are unbelievably real, the cemetery scenario with zombies emerging from the ground and the screen projecting scary ghosts images would be any horror moviemaker�s dream. A giant spider crawls on stage and opens up letting Michael out, joining his dancing team for that epic zombie choreography that defined music videos. The final touch is given by flying �dead brides and grooms,� spectral creatures flying over the aisles to involve the whole audience in the scariest minutes that pop music can remember.

But it doesn�t matter how many magic tricks you will see, they will be just pretty trimmings, decorating the breathtaking performance of the one and only King of Pop. His voice, his moves, his aura is what keeps this circus together. Don�t expect to see much of the human being here; you�ll see enough to know that he wasn�t that freak The Sun led you to believe, and he definitely wasn�t a patronising pompous rockstar. What you will see for sure is that Michael Jackson was an excellent performer, with uncommon levels of professionalism and a talent out of the ordinary.

Between comments from producer Kenny Ortega, star struck dancers and �This Is It� chosen musicians, we approach the final round. �Earth Song� is introduced by a video of a young girl in the Amazon Forest and Michael�s voice telling us it�s time to do something, now. We only have four years left, than the damage will be irreversible. This is it. Last chance. The encore is anthem �Billie Jean� and the poignant �Man in the Mirror,� a song that most of us could do with listening to every morning brushing their teeth, getting ready to face a new day. Background to the final credits is new single �This Is It,� but nothing is comparable to the masterpieces Michael Jackson gave us in 45 of his too short 50 years life, but it is still a bright pop song oozing joy, peace and hope.

All in all a good view, something a Michael Jackson fan will surely want to have a look at, but something that wasn�t obviously meant for sale and should have been left that way. I would invite you all to wait for this to go on telly (it will have to at some point) and not to contribute to the shameful cow milking operation this so called movie represents. I would like to point out that my votes on this review are meant to the documentary, not to what the gig would have been; if that would have ever happened it would probably have been 10 out of 10, the perfect gig... sadly we will never know.

A pink paper with a black scribble �I love You I�m Happy Here,� signed simply M.J., stares at me from my bedroom wall; it�s over twenty years old, but feels like a message from a place where there�s only good and truth.....

Rest in peace Michael, at least you found perfection now.

Rebel Emergency - Love Ain't Free [Album]

FRIDAE — Tue, 10 Nov 2009 21:56:08 GMT

Rebel Emergency first got me hooked through their live shows. All the energy and magnetism they emote when they are jammin on stage is always entertaining to observe. This new record is long overdue. I was impressed at the CD release party at the MOD club (capacity of about 600) as it was packed to the fullest. It was crazy!

Insanity at a record release is always good for the band. I haven�t seen the MOD club that rammed for an Indie band in a long time; people were everywhere, meaning this band is going places.

Commissioner Gordon is the only producer they worked with on this LP which was recorded between TDot and NYC, they have a chemistry so what ain�t broke don�t try to fix it. If you don�t know who Commissioner Gordon is let me break it down quick time for you, he is a Grammy award winning producer/engineer who has worked with The Fugees, Lauren Hill, Santana etc. I love the Fugees, to this day I still love their tunes and Laruen�s voice is truly one of a kind. They seriously need to make new music. Rebel Emergency is: Roddy Soul � Vocals, Geoff Star � Guitar, Yagga Bucci � Bass and Sir Jeremy on drums. For more info on Rebel Emergency read the interview and countless other articles that cover Rebel Emergency right here on Altsounds or hit the Rebel Emergency links at the end of this review.

Let�s get on with the tunes shall we? The first and title track 'Love Ain�t Free'; the artwork on the front cover is also on the disc itself. The image is of a woman�s lower torso with a barcode by her muff. Rebel Emergency�s vibe is Ska, Reggae, and Rock but really the sound could simply be described as Rebel Emergency! The tune is about a gold digging money slut, another song about how guys are so easily played by those types. The track is mid tempo but more of a chilled out mellow vibe; starting in with a little snare followed by the bass dropping into vocals. Why this band is still unsigned is beyond me. I like the song as a whole, everything just blends. The vocals are smooth and the timing with all the instruments is perfect. �She was a wicked girl... / the kind you'd search the world / to find and bring her back to start a happy home / I thought she was my lover but she�s just undercover / always sure to fuck me hard / then ask me for my credit card.� The lyrics are so funny to me because honestly if dudes fall for these broads it�s their own fault! I have seen it happen so many times and if you try to warn them, they think you are just hating on the person. �I do not hate, I opinionate� and if I don�t like something or someone you will know straight up. Jealousy is a wasted emotion and never has a positive outcome.

I would like to talk about every track but that�s just too much of a jibber, I have selected a few key tunes you must hear and of course the ones that just don�t float. 'Sunriser' and 'Searching For' are probably my favorite tracks on the record. �Sunriser� has all the sounds of a hit tune, there is no need to go into any further details �Sundown...dark clouds... / may come...but don't frown / sunrise... is your time / every day brings second chances.� �Searching For� is another amazing track, �Cause I can�t stand to wait for you no more / but I can�t love anybody else / I can�t stand to wait for you no more / so I won�t take you for granted.� In this song they incorporate backing vocals which they should have used a little more to round out the sound on a few other tracks.

I could hear a little repetition with a few of the melodies and vocal arrangements. For example, in the tunes 'So Long' and 'They Said,' once the vocals drop the melodies in both tracks sound similar, I had to go back and try to figure out if they were different tracks or one. Repeat or not I do like the tune 'So Long,' it starts in with vocals that are almost a'cappella with just a single piano chord played in intervals whilst Roddy sings the melody. This is followed by a little violin morphing into the guitar and then both strings play in unison. I can definitely hear this on mainstream radio; the ladies will love it, as will the dudes. A slice of the lyrics �Destiny tore us apart / please let this heal before it starts to bleed, / believe you left your mark / you left in me a broken heart�.

'Take Me' I love listening to, lyrically the tune is cleverly constructed, realistic and relatable �We were like the summer / now you bring the winter with your cold /and I hope that as you go and freeze me.../ you'll never fall in love / again, again, again." The melody sounds a little familiar to me but I can�t exactly pinpoint whose song it resonates but I do definitely have d�j� vu. One track that didn�t keep my attention is 'Under The Sun.' The tune just did not click with my ears. As I listen to the song on repeat it�s kind of growing on me but still something makes me lose interest mid track. So I skip to the next track 'Sheriff' which features ex band member �Tony Panic.� This Rock Reggae track that starts in with Panic having his say with a vengeance �In the midst of the night you can hear a pindrop / they interrupt the peace / with loud screams and gunshot blasts / from this side across to the other side / where the enemies reside. This tune pushes Soul�s vocals to the limit; he throws it down with force and passion but needs to watch his enunciation. It is like the new school version of Bob Marley�s 'I Shot The Sheriff' but with a different appeal.

"Love Ain�t Free" is worth everyone�s time, go listen and hop on the band wagon! You can purchase the album on ITunes and CD Baby, Rebel Emergency knows how to bring it!

LINKS:

The Drums - Let's Go Surfing [Single]

mark191082 — Tue, 10 Nov 2009 19:47:18 GMT

So have you heard The Drums yet then? No, where the hell have you been?!?! Tipped as the next big thing to come out of New York, The Drums have been receiving plaudits from all the usual candidates who line-up to drool and dribble over the next big thing to come out of anybody's arse. For example: PR Persona "Oh did you hear Steve just crapped out an annoyingly cute ukulele band from Tanzania who have a dwarf who yodels." Reporter from well known music publication "OMG we have to get them on the cover wearing nothing but leopard print, we'll tip them to be the best thing in music since Phil Collins retired, and we'll go with the headline 'BIGGEST UKULELE DWARF IN THE WORLD?'" OK OK maybe I'm going off point but what I'm trying to say is don't we all hate hyped bands we're told to love?

Well now it's time to change as The Drums live up to the praise and hysteria and well I'm only going to go and bloody join in. With 'Let's Go Surfing' The Drums employ the well trodden sound of surf-rock that did so well for The Shins just lately but where The Drums differ is that they unashamedly hurl themselves into it headfirst and begin to breaststroke the shit out of it. With whirling guitars and drenched vocals exclaiming "Oh mama I want to go surfing / Oh mama I don't care about nothing" it's both exhilarating and strangely annoying yet I love it.

'Don't Be A Jerk, Johnny' again borrows heavily from a bygone era whilst also sounding like The Cure's 'Close To Me.' It's a beautiful track despite the refrain of "Believe in something / You're full of horse shit." How lovely! But it's such an uplifting track that this does little to dissuade you, hell even my Dad loved it and he hates everything except The Beatles.

The Drums may not do anything particularly new or inspiring but they do their thing so subtly well that it's hard not to admire and find yourself cascading away with it's gentle melodies. I urge you to get this now do not miss out.

Track-listing:
1. Let's Go Surfing
2. Don't Be A Jerk, Johnny

The Drums Are:
Jonathan Pierce - Vocals
Jacob Graham - Guitar
Adam Kessler - Guitar
Connor Hanwick - Drums

http://wearethedrums.com/

The Drums on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads

The Ray Summers - The Shepherd [Single]

mark191082 — Tue, 10 Nov 2009 19:14:11 GMT

It think this is how things must have sounded in 1963 just before we got Beatlemania and they went all weird and made some awesome music in the process (what happened to those guys?). The Ray Summers have got that retro feel covered especially in lead track 'The Shepherd' it's got that indie big beat sound that is glazed in ska-esque melodies, pop hooks, and a vocal that for the life of me I'd swear was the dude from Ocean Colour Scene. It's bloody freaky! Maybe all the 60's tune-age has me tripping, I do not know!

And that is my only bug here and it's much more evident in 'Narcotic Girl.' The Ray Summers sounds so blatantly like Ocean Colour Scene so much so that it's totally unavoidable. But you know I was always an Ocean Colour Scene fan so for me hearing this brings back memories of 97' and less happily Chris Evans! The Ray Summers do enough though to just pull through with a quality to their playing and their songwriting that show they are more than a copy-act. The spiraling outro to 'Narcotic Girl' specifically demonstrates this.

Track-listing:
1. The Shepherd
2. Narcotic Girl

The Ray Summers Are:
Lee Burgoyne - Drums
Jackson - Guitar
Dougie - Guitar
Andy Ure - Lead Vocals
Billy Kay - Bass & Vocals
Davey - Keyboard, Guitar & Vocals

The Ray Summers

The Ray Summers on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads

Paper Planes - Doris Day [Single]

mark191082 — Tue, 10 Nov 2009 18:53:30 GMT

For a debut single this packs a fair old punch. Kind of like being casually assaulted on a saunter around Glasgow that is possibly inspiration for that ludicrously meaty bass thunk. Yes Paper Planes are from Glasgow with a touch of that little country over the pond thrown in for good measure (that's the U S of A for all you geography buffs) but you wouldn't necessarily know it as 'Doris Day' just drills you in the face like some kind of pop punk leftover. It's what the Howling Bells would sound like if they grew a big set of sweaty chaps, stopped prancing, dropped the oh-la-la vocals and went with something that the wonderfully vocal-chorded Jennifer Paley does here for Paper Planes. She's all sexy croaks and shrill grunge-poppiness. She is ably assisted by a band that sound tight, yet offer that always on edge sound coupled with the fuzziness of The Jesus & Marychain. But that chunky thud just pounds this song into your consciousness and I cannot shift it.

Flipside 'Restless' is just as exhilarating with it's opening hum that's builds into laceration via a cutting guitar before Paley soothes in a-la Debbie Harry. There is another gloriously catchy chorus that whilst really being nothing is still instantly memorable and doesn't tire. The rest of the track just falls effortlessly into place which is strange when you consider it's intensity.

A fine and upstanding debut that shows so much promise. With effortless musicianship that blurs the lines between being melodic and hummable with the sound of sending a cat for a forty-yard field goal. Add to this the sublime vocals of Miss Paley and Paper Planes are truly flying. (Sorry had to get some kind of aeronautical mention in)

Track-listing:
1. Doris Day
2. Restless

Paper Planes Are:
Christopher Haddow - Guitar
Craig O'Brien - Drums
Jennifer Paley - Vocals
Fraser McFadzean - Bass

PAPER PLANES on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads

Fame - Various Artists [Motion Picture Soundtrack]

Cristina M — Tue, 10 Nov 2009 17:04:02 GMT

Some times, some classics should be just left in peace and watched / listened to with nothing else but respect and humility. Sorry for sounding like your usual old fart, I�m all for the whole �High School Musical� craze with youngsters, but just stick to that and don�t try and turn �Fame� into some hip hop R&B flick for ten years old. What next? Revisiting �Flashdance� with a modern Jennifer Beals dancing on Simon Cowell�s desk to the sound of 50 Cent or Ludacris? Please!

No, I haven�t seen the movie (and I won�t), but the soundtrack is enough to know what we�re dealing with. The original Irene Cara �Fame� made you want to dance in the streets of New York, jump all over Times Square in your neon leg warmers screaming �Remember my name.� This awful, overproduced remake by Naturi Naughton makes you want to get the remote, switch on the telly and scream �Shut up, I�m watching Pop Idol!� Who remembers that introductory catchphrase in the TV series? �You want fame? Well, fame costs and right here�s where you start paying... in sweat!!!� Sadly, it doesn�t work that way anymore, and don�t let me get into a full rant with regards to the tedious moaning about how hard it is to make it alive out of the Big Brother house. �Sweat� is definitely an unfashionable word nowadays, and not only because of welcome progresses in the deodorant industry.

The main songs on this soundtrack are in the hands and voice of Naturi Naughton, in theory; in practice, it�s so overproduced you can hardly make out if she has any significant talent; �On my own� proves she has a good voice, although Nikka Costa did a better job at the age of nine. There are a few pleasant background tracks, mainly ballads where the production didn�t interfere too much. Asher Brook gives a good performance in �Someone to watch over me,� �Try� and John Lennon�s cover �Ordinary people�; �This is my life� (Hopsin�, Ak�sent, Tynisha Keli & Donte �Burger� Winston) has a good rhythm to it that can work well on a hip hop dancing number. �I put a spell on you� (Raney Shockne feat. Eddie Wakes) is a good soul piece, still slightly overproduced unfortunately but pleasant enough. The highlight is probably �You took advantage of me� from Megan Mullally, which you might remember as Karen Walker in Will and Grace, but actually started her career on Broadway where she returned in the end, while leading her own band Megan Mullally and Supreme Music Program. She is a terrific female vocalist, worth alone half the price of this cd (the other half has probably been written off by now and you can find it in the clearance bin at your local record store).

The final interpretation of �Hold your dream� by Naturi Naughton, Asher Brook and Kay Panabaker is so pointless and boring it makes me want to turn this shit off and use the CD as a frisbee in the name of recycling. �Fame� was all about sweating, dancing, desire to succeed and a superior will to live life to its fullest. In this soundtrack, the best tracks are the ballads which is just plain wrong. The whole spirit has been killed, there�s nothing genuine or passionate about it, just once again modern laziness and lack of creativity resorting in ripping off another classic and trying to milk someone else�s cow.

Shame on you.

If you liked the original �Fame,� be it the movie or the series, and you need more but you�ve seen both enough times, my advice is to try and catch the musical and buy that soundtrack on the way out. Because as far as this one goes Ikea has cheaper and prettier coasters. Learning how to fly? The only place this is flying to is out of my window.

Disco Circus Vol.1 - Mighty Mouse [Compilation Album]

Burt — Tue, 10 Nov 2009 16:17:28 GMT

It's only a short evolutionary boogie from Disco to House music and in Volume 1 of Mighty Mouse's new compilation we get a comprehensive examination of that particular branch of dance music's family tree. Thirty tracks over two discs take in everything from old '70's tunes like 'Kiss Me Again' by Dinosaur to current offerings from Crazy P and the like.

Mighty Mouse are a couple of disco dealing London types with far reaching ears. While you will find familiar names here like Chic and Franz Ferdinand the majority of this collection is given over to a refreshing variety of talent including Fever Ray, who is better known for his work in The Knife, and many others. Beyond The Wizards Sleeve have managed to eek a fine tune out of Franz Ferdinand's otherwise messy recent single 'Ulysses' and elsewhere remixing duties have been taken up by Chateau Flight, Todd Terje, Tensnake and DJ Koze.

The first disk tends to keep the focus closer to the disco house model while the second mixes things up a bit more with a distinct Latin tang running through it. Christina Monet's 'Blame It On Disco' is a horn polished gem and paves the way for the South American flavours that follow from Coati Mundi and a Balearic vibe on 'This Sweet Love' by James Yuill.

Mighty Mouse have their moments as well, shining on the remix of Bent's 'Always,' and nearly matching that on the other Bent track 'Swollen.' Mighty Mouse's real achievement here though has been in tying all these tunes together in such an intelligent way. Each song melts into the next - bang on the beat - in a flawless example of mix and blend.

The selection is top class and the execution is razor sharp. Volume 2 is due out in February of next year - can't wait.

Repomen - Paranoid Schizophrenic [EP]

Cristina M — Tue, 10 Nov 2009 15:37:57 GMT

Parallel Schizophrenic / Brickface is the 8th (yes, eighth!) EP from RepoMen, recently signed by Phantom Power Records, after years of unsigned gigging and recording in the anonymity of the prolific Sheffield indie underground scene. And when you listen to these five tracks, while the rest of the world debates on the X Factor twins, you can�t help but wonder if this world is really coming to an end.

Title track �Parallel Schizophrenic� is like the best Smiths music on happy pills whilst also listening to The Cure, and there�s even something in the vocals vaguely reminiscent of eighties "few hits wonder" Blow Monkeys. �Brickface� stays faithful to the Smiths meets Cure theme where keyboards play a quite dominant role. It�s not as strong as �Parallel Schizophrenic� but definitely another good indie track. Ballad �Breathe� follows and �Ride� adds some Velvet Underground to the mix. And finally, there�s a mysterious fifth track, �State Lines,� not in the track list although mentioned on the sleeve: �State Lines� is different, almost completely instrumental and MUCH darker.

Sure it�s hard to judge from here, but �Parallel Schizophrenic� is something you should definitely listen to if pop indie is your thing or if a happier Moz and Robert Smith would suit your tastes.

Check out old and new material on their MySpace: RepoMen on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads.