Having formed in 2005, The xx didn't take long to emerge on the British music scene and not just as 'another' band, but with something to offer. Hailing from West London and the entire band consisting of twenty years of age. Originally a four piece but keyboardist Baria Qureshi left the band in November due to exhaustion. Their debut album hones in on dreamy guitar lines that rush of in a twirling pace and thick bass lines that dominates the music which is dark and subtle.
The xx's debut starts out with a mellow and chilly guitar intro, and then transcends into 'VCR' which suggests themes like romance and friendship. 'VCR' is supplied with a recurrent guitar line that progresses itself through-out the entire track, it's hollow and touching, touching in a way because the lyrics fits itself around the guitar line introduced by Oliver Sim who also contributes lead vocals along with Romy Madley Croft. Vocally, 'VCR' sounds like David Bowie's 'Heroes', but again it's the guitar line and the beats produced by Oliver Sim that sums up the song to it's beauty. The xx have drawn many influences, mainly from dark electronica from the 1980's which is moody and murky in sound and chilling vocally. 'Crystalised' starts out with another twirling guitar line that winds up and down in tempo before the vocals kick in from Croft and Sim which are eerie and cold, plus the screeching keyboards in the background emphasize this effect in cool and melodramatic fashion.
Through The xx's entire debut album, they display very emotive sounds and emotional vocals. In 'Islands' which has a bongo drum beat to it and twitchy guitar notes flicking around now and then which stick to their original and eerie sound. 'Islands' also highlights their heartfelt lyrics, like 'Where would I be, if this were to go under, it's a risk I'd take, as if a choice I'd make' which demonstrates their feelings of isolation and love, the love they lost they'd be more than prepared to take that 'risk' to bring it all back. Moving on to the fourth track 'Heart Skipped A Beat' continues the strong start to the album they have made, sticking to their twirling guitar lines, this one sticks out more with a cleaner sound that's almost crisp. The track further demonstrates the use of a sampler which fills in the rhythm of the song along with the keyboards and the introduction of hand-clapping which goes along with the chorus beautifully.
After the emotional start to The xx's debut, it gets darker when we enter 'Fantasy' which sounds like an ambient fantasy, something Brian Eno would nod to in appreciation, but what makes 'Fantasy' brilliant is Qureshi's keyboards and the odd fill in from Sim's guitar which sounds like a wolf cry in the cold winter. After 'Fantasy' which amazingly flows straight into 'Shelter' which is another tale of loneliness and isolation but finding 'Shelter' from the world around them.
The xx do take their feet of the pedal in terms of the beautiful ambience they created in the first half of the album. The second half lacks the onslaught of emotion and drive in the first half, but isn't entirely wasteful. In 'Stars' the closing track to the album, evokes the same emotion demonstrated in 'VCR'. It's hollow once more and almost romantic and the bass line intro is bouncy and vibrant. Unlike 'VCR', 'Stars' is slower and vocally it's more like 'Islands' but sticking to true xx fashion, it's nostalgic and dreamy.
For one of the most hyped artists of the year, along with Florence + The Machine and The Big Pink, The xx show more originality compared to the former artists. They display a darker tone to their music, more vibrant and equally enjoyable to listen to. The xx have a bright future ahead of them and deserve every success with their moody lyrics and cold sound.
4/5
Linus Broadbent.
Thursday, 10 December 2009
Sunday, 29 November 2009
The Mars Volta - Octahedron
Only one year on from 'The Bedlam in Goliath' and The Mars Volta have not wasted any time in following it up, 'Octahedron' is their fifth effort and they have labelled this as their 'acoustic' album and 'acoustic' Prog-Rock can be an utter disaster if it's not done right, but The Mars Volta do, and not only do they DO, they send 'Octahedron' up into the ranks of 'De-Loused In The Commatorium' and 'Frances The Mute'.
'Since We've Been Wrong' opens up 'Octahedron' in a splendid, mellow and fashionable way. Cedric Bixler-Zavala's vocals are simply stunning in this track, especially with romantic but sinister lyrics like 'Do you remember how you wore that dress? It slit my sight beneath the eyelids'. Omar Rodríguez-López picks and plucks his experimental and jazzy guitar lines as he pleases, and when the song hits the five minute mark, it picks up in pace with Thomas Pridgen's drumming that gives the tempo a kick and the Zavala and López combination kicks in, when Zavala's vocals become more heard and López's Latin fused guitar go to work. 'Teflon' is next up, which fastens proceedings up in typical Mars Volta fashion, Prigden's drumming starts things up with a steady but quick drumbeat and along comes López's sliding guitar as he reminiscences the sound of your teachers nails grinding down that old blackboard at school. Zavala's vocals don't disappoint either, he groans away at the main chorus 'Let the wheels burn, let the wheels burn, stack the tires to the neck with the body inside' with an eerie chilly angst that is sustained through-out the entire track.
The Mars Volta have always shown they are a tight unit, with all the members that have passed through their ranks, Zavala and López's chemistry is un-questionable. Zavala being the bands lyricist, he's known for his metaphorical and biblical style of writing, vocally he can hit anything either, just listen to 'Inertiatic ESP'. López however, is quite the improviser and free-stylist when it comes to his guitar playing but he also knows how to rock... hard! and in 'Cotopaxi' a particular Led Zeppelin sounding track, he blasts out a heavy riff that sounds almost like 'Whole Lotta Love' and is carried out through the entire song, again Prigden's drumming sounds like a wild bear set on the loose in China shop and what sums the track up so well, is Zavala's vocals which hit the high notes in every department and is definitely up there with the great male vocalists in rock like Freddy Mercury, Robert Plant and Axl Rose when it comes to vocal range. 'Desperate Graves' continues the heaviness brought forward by 'Cotopaxi'. It's hard hitting and vocally, Zavala is reaching all the peaks and López's guitar is pulsating with heavy eagerness which is let loose in typical López fashion.
Reaching the end of 'Octahedron' we are brought down to earth in 'Copernicus' which continues the theme of their mellow and 'acoustic' album, considering the songs starts out with an electric guitar, it's slow tempo is almost romantic-like, and the song is easy to fall in love with, Zavala's vocals are clean and half way through the song, a surprise is brought in, with the use of a synthesizer which gives the song a slight Industrial feel and then as it stops it returns to it's peaceful and drawn out affair. The final song of 'Octahedron' and being the longest, going over the eight minute mark, 'Luciforms', which is where López allowed himself some room to manoeuvre himself into doing what he does best, solos. With eight minutes to fill in he brings them out and just at the five minutes and thirty second mark, he produces a stunningly distorted one that the bass and drums just gel together with it so well, they're stuck like glue and as it slows down shortly, López suddenly just starts where he left of on and continues his three minute + solo in typical Omar Rodriguez-López fashion.
Following up on their immediate success from 'The Bedlam In Goliath', The Mars Volta seem to go from strength-to-strength. 'Octahedron', being slower and more melodic then their previous work, is more polished, more accessible than 'The Bedlam In Goliath' and simply has better songs. But still, The Mars Volta continue to rock, even if they have gone a little soft on this album, rockers like 'Cotopaxi' and 'Desperate Graves' are sure to rock the rockers of The Mars Volta fan base.
4/5
Linus Broadbent.
'Since We've Been Wrong' opens up 'Octahedron' in a splendid, mellow and fashionable way. Cedric Bixler-Zavala's vocals are simply stunning in this track, especially with romantic but sinister lyrics like 'Do you remember how you wore that dress? It slit my sight beneath the eyelids'. Omar Rodríguez-López picks and plucks his experimental and jazzy guitar lines as he pleases, and when the song hits the five minute mark, it picks up in pace with Thomas Pridgen's drumming that gives the tempo a kick and the Zavala and López combination kicks in, when Zavala's vocals become more heard and López's Latin fused guitar go to work. 'Teflon' is next up, which fastens proceedings up in typical Mars Volta fashion, Prigden's drumming starts things up with a steady but quick drumbeat and along comes López's sliding guitar as he reminiscences the sound of your teachers nails grinding down that old blackboard at school. Zavala's vocals don't disappoint either, he groans away at the main chorus 'Let the wheels burn, let the wheels burn, stack the tires to the neck with the body inside' with an eerie chilly angst that is sustained through-out the entire track.
The Mars Volta have always shown they are a tight unit, with all the members that have passed through their ranks, Zavala and López's chemistry is un-questionable. Zavala being the bands lyricist, he's known for his metaphorical and biblical style of writing, vocally he can hit anything either, just listen to 'Inertiatic ESP'. López however, is quite the improviser and free-stylist when it comes to his guitar playing but he also knows how to rock... hard! and in 'Cotopaxi' a particular Led Zeppelin sounding track, he blasts out a heavy riff that sounds almost like 'Whole Lotta Love' and is carried out through the entire song, again Prigden's drumming sounds like a wild bear set on the loose in China shop and what sums the track up so well, is Zavala's vocals which hit the high notes in every department and is definitely up there with the great male vocalists in rock like Freddy Mercury, Robert Plant and Axl Rose when it comes to vocal range. 'Desperate Graves' continues the heaviness brought forward by 'Cotopaxi'. It's hard hitting and vocally, Zavala is reaching all the peaks and López's guitar is pulsating with heavy eagerness which is let loose in typical López fashion.
Reaching the end of 'Octahedron' we are brought down to earth in 'Copernicus' which continues the theme of their mellow and 'acoustic' album, considering the songs starts out with an electric guitar, it's slow tempo is almost romantic-like, and the song is easy to fall in love with, Zavala's vocals are clean and half way through the song, a surprise is brought in, with the use of a synthesizer which gives the song a slight Industrial feel and then as it stops it returns to it's peaceful and drawn out affair. The final song of 'Octahedron' and being the longest, going over the eight minute mark, 'Luciforms', which is where López allowed himself some room to manoeuvre himself into doing what he does best, solos. With eight minutes to fill in he brings them out and just at the five minutes and thirty second mark, he produces a stunningly distorted one that the bass and drums just gel together with it so well, they're stuck like glue and as it slows down shortly, López suddenly just starts where he left of on and continues his three minute + solo in typical Omar Rodriguez-López fashion.
Following up on their immediate success from 'The Bedlam In Goliath', The Mars Volta seem to go from strength-to-strength. 'Octahedron', being slower and more melodic then their previous work, is more polished, more accessible than 'The Bedlam In Goliath' and simply has better songs. But still, The Mars Volta continue to rock, even if they have gone a little soft on this album, rockers like 'Cotopaxi' and 'Desperate Graves' are sure to rock the rockers of The Mars Volta fan base.
4/5
Linus Broadbent.
Friday, 20 November 2009
The Cribs - Ignore The Ignorant
What makes this Cribs album more exciting, is that a British guitar legend has joined them for their fourth effort. No it's not Pete Townsend or Eric Clapton... but Johnny Marr from The Smiths. What Johnny Marr adds to The Cribs is that extra layer of guitar that the former trio were missing and he also adds that extra edge to The Cribs to, almost making them sound Smiths-like, but don't worry you hardcore Cribs fans, the brothers ain't trying to be Morrissey or anything and a follow up to 2007's 'Men's Needs, Woman's Needs, Whatever' was always going to be a challenge, because for The Cribs, that album was an adventurous one... although 'Ignore The Ignorant' goes back to the style of 'The New Fellas' with a more Pop-Rock direction and of course with the Marr.
The first song of 'Ignore The Ignorant' being 'We Were Aborted' and it's got a catchy guitar riff to it, notable in the intro and plus trademark Cribs chants as they scream 'To Make You Feel Important, Cause You Knew We Were Aborted'. Next up is 'Cheat On Me' and one could say that Johnny Marr's influence is more prominent on this song, with that clean poppy guitar sound that he made his corn through-out the years with The Smiths, one would suggest he's not lost his touch in terms of what he does best. However, the brothers do their part to, Ryan's vocals are crisp and husky and Ross's drumming is elegant and works itself around the song perfectly. 'Ignore The Ignorant' doesn't stop there with it's fast pace start, The Cribs dabble in pop rock expertly, and this is demonstrated in 'We Share The Same Skies'. Johnny Marr also adds his wisdom to it, because with the Smiths, his smooth layers of pop hooks was a key element with them and it certainly has rubbed of on The Cribs. What is brilliant about 'We Share The Same Skies' is that it highlights that The Cribs are not afraid to show their pop side, it's catchy in every direction it goes in, heavy enough for even the more 'mental' Cribs fans and most of all, The Cribs stick to their roots with their chant-like tunes.
The most adventurous song on The Cribs fourth album, would be 'City Of Bugs' an epic six minute pop rock anthem, with a slight twist however, it's dark and quite dreamy in parts, lyrically the song is quite a breeze with self loathing lyrics like 'I'm messed up baby like the Berlin Wall' and catchy rhymes like 'I was born out of glass I'll return there at last in a shattering climax'.
'Ignore The Ignorant' started of in a fast paced typical Cribs style, although, unlike the first half of the album, the second half just simply replicates itself and drags things out. Although, in 'Victim of Mass Production', being one of the better songs of the second half, has it's usual Cribs catchy chorus and even has a beauty of a guitar solo, which should make their fans dance in complete madness at their concerts.
Britain's music scene... or lack of, maybe, is probably one of the biggest problems in it's industry and having The Cribs as one of Britain's biggest 'cult' bands is maybe a bit of a problem to, because really... it could be better than that. But on 'Ignore The Ignorant' The Cribs have proved for the second time, after 'Men's Needs...' that they're one of the few modern 'Indie' bands that are not cashing in on the scene and having their ideas and sense of direction, even Johnny Marr joining them speaks volume.
4/5
Linus Broadbent.
The first song of 'Ignore The Ignorant' being 'We Were Aborted' and it's got a catchy guitar riff to it, notable in the intro and plus trademark Cribs chants as they scream 'To Make You Feel Important, Cause You Knew We Were Aborted'. Next up is 'Cheat On Me' and one could say that Johnny Marr's influence is more prominent on this song, with that clean poppy guitar sound that he made his corn through-out the years with The Smiths, one would suggest he's not lost his touch in terms of what he does best. However, the brothers do their part to, Ryan's vocals are crisp and husky and Ross's drumming is elegant and works itself around the song perfectly. 'Ignore The Ignorant' doesn't stop there with it's fast pace start, The Cribs dabble in pop rock expertly, and this is demonstrated in 'We Share The Same Skies'. Johnny Marr also adds his wisdom to it, because with the Smiths, his smooth layers of pop hooks was a key element with them and it certainly has rubbed of on The Cribs. What is brilliant about 'We Share The Same Skies' is that it highlights that The Cribs are not afraid to show their pop side, it's catchy in every direction it goes in, heavy enough for even the more 'mental' Cribs fans and most of all, The Cribs stick to their roots with their chant-like tunes.
The most adventurous song on The Cribs fourth album, would be 'City Of Bugs' an epic six minute pop rock anthem, with a slight twist however, it's dark and quite dreamy in parts, lyrically the song is quite a breeze with self loathing lyrics like 'I'm messed up baby like the Berlin Wall' and catchy rhymes like 'I was born out of glass I'll return there at last in a shattering climax'.
'Ignore The Ignorant' started of in a fast paced typical Cribs style, although, unlike the first half of the album, the second half just simply replicates itself and drags things out. Although, in 'Victim of Mass Production', being one of the better songs of the second half, has it's usual Cribs catchy chorus and even has a beauty of a guitar solo, which should make their fans dance in complete madness at their concerts.
Britain's music scene... or lack of, maybe, is probably one of the biggest problems in it's industry and having The Cribs as one of Britain's biggest 'cult' bands is maybe a bit of a problem to, because really... it could be better than that. But on 'Ignore The Ignorant' The Cribs have proved for the second time, after 'Men's Needs...' that they're one of the few modern 'Indie' bands that are not cashing in on the scene and having their ideas and sense of direction, even Johnny Marr joining them speaks volume.
4/5
Linus Broadbent.
Wednesday, 18 November 2009
Julian Casablancas - Phrazes For The Young
During a long Strokes lay-of, Julian Casablancas has barely been heard about in comparison to Albert Hammond Jr, who has released two solo albums during The Strokes down time. Still Julian can be heard on Queens of the Stone Age's 'Sick, Sick, Sick' and The Lonely Islands' 'Boombox'. Although Casablancas, has gave us something different in 'Phrazes For The Young' from the garage rock revivalists style in The Strokes.
Julian Casablancas has always shown he's a bit eccentric, rehab at 14 would clearly prove that. But 'Phrazes For The Young' is not Indie Rock, it's not Garage Rock and it's certainly not Rock N' Roll either... it's electronic simply, with the added pop vibe. 'Out Of The Blue' is the opener and is full of quirky lyrics and in usual Casablancas style he groans out lyrics like 'Least I'll be in another world, while you're pissing on my casket' and this suggests that Casablancas is still sarcastic and dull as ever, which is what we like to see.
Going back to the electronic pop vibe, songs that follow 'Out Of The Blue', being 'Left & Right In The Dark' and '11th Dimension' demonstrate exactly that. In 'Left & Right In The Dark' the simple poppy synthesizer beats at the start of the song will make it's listeners think 'Hell... this is not what I expected' but it's Julian Casablancas, no one knows what to expect... literally. '11th Dimension' soon follows and it's warm and welcoming embrace soon charms it's listeners into loving the catchy synth's and the eye fluttering guitar riff that passes now and then through-out the song. Lyrically, Casablancas shows up again with lines like 'Where cities come together to hate each other in the name of sport'. Coming to the middle section of this short album, which totals a number of eight songs coming in at 38 minutes long, '4 Chords Of The Apocalypse' a nice slow melody based on a tapping drum beat and electronic organ which oozes a bluesy lonely feeling as it's song title suggests quite plainly.
Criticism for 'Phrazes For The Young' would come in 'River Of Breaklights' and 'Glass' which are just a little boring to be harsh, and a little dragged out, but they don't stray much from the other songs in terms of the album as a whole in sound. The secret highlight of the album would be in 'Ludlow St.' which sounds like a psychedelic waltz of The Doors album 'Waiting For The Sun', being precise, it takes a bow to 'Love Street' with it's romantic lost feelings and twirling music.
A pleasant surprise Casablancas has given us, 'Phrazes For The Young' is full of startling gems and will not be taken to seriously and will not effect the potential Strokes recording in 2010, but would we really mind if he just decided to make another solo record? Probably not.
3½ / 5
Linus Broadbent.
Julian Casablancas has always shown he's a bit eccentric, rehab at 14 would clearly prove that. But 'Phrazes For The Young' is not Indie Rock, it's not Garage Rock and it's certainly not Rock N' Roll either... it's electronic simply, with the added pop vibe. 'Out Of The Blue' is the opener and is full of quirky lyrics and in usual Casablancas style he groans out lyrics like 'Least I'll be in another world, while you're pissing on my casket' and this suggests that Casablancas is still sarcastic and dull as ever, which is what we like to see.
Going back to the electronic pop vibe, songs that follow 'Out Of The Blue', being 'Left & Right In The Dark' and '11th Dimension' demonstrate exactly that. In 'Left & Right In The Dark' the simple poppy synthesizer beats at the start of the song will make it's listeners think 'Hell... this is not what I expected' but it's Julian Casablancas, no one knows what to expect... literally. '11th Dimension' soon follows and it's warm and welcoming embrace soon charms it's listeners into loving the catchy synth's and the eye fluttering guitar riff that passes now and then through-out the song. Lyrically, Casablancas shows up again with lines like 'Where cities come together to hate each other in the name of sport'. Coming to the middle section of this short album, which totals a number of eight songs coming in at 38 minutes long, '4 Chords Of The Apocalypse' a nice slow melody based on a tapping drum beat and electronic organ which oozes a bluesy lonely feeling as it's song title suggests quite plainly.
Criticism for 'Phrazes For The Young' would come in 'River Of Breaklights' and 'Glass' which are just a little boring to be harsh, and a little dragged out, but they don't stray much from the other songs in terms of the album as a whole in sound. The secret highlight of the album would be in 'Ludlow St.' which sounds like a psychedelic waltz of The Doors album 'Waiting For The Sun', being precise, it takes a bow to 'Love Street' with it's romantic lost feelings and twirling music.
A pleasant surprise Casablancas has given us, 'Phrazes For The Young' is full of startling gems and will not be taken to seriously and will not effect the potential Strokes recording in 2010, but would we really mind if he just decided to make another solo record? Probably not.
3½ / 5
Linus Broadbent.
Sunday, 1 November 2009
Silversun Pickups - Swoon
Grunge was nearly twenty years ago wasn't it? Not that we're getting a revival here... thank god, but 'Swoon' has probably brought it's older listeners a lot of nostalgia back from that glorious time of alternative rock. Dangerous as it is for Silversun Pickups, for a band that sounds so heavily like the Smashing Pumpkins they can easily be accused as a Smashing Pumpkins rip of act. So basically their follow up to 'Carnavas', which was received warmly, sets up 'Swoon' for some interesting listening.
'There's No Secrets This Year' opens 'Swoon' up to us and in emphatic fashion to, we already get the 90's buzz instantly and when Brian Aubert comes in we instantly remember Billy Corgan of The Smashing Pumpkins again and to be precise 'There's No Secrets This Year' sounds something of 'Gish' or even 'Siamese Dream'. Although, the song holds it's own, with the heavy distorted guitars bouncing of each other and Christopher Guanlao's drumming being the secondary drive of the song. Continuing with 'There's No Secrets This Year', it demonstrates that Silversun Pickups aren't a band of their time, a band that could have so easily fitted in, in the 1990's, more so than now, where 'alternative rock' now, comes in the form of My Chemical Romance, Fall Out Boy and Panic at the Disco, and all having the ability to appeal to a screaming bunch of ignorant young teenagers and not much else.
'The Royal We' is a song which builds in tempo and speed until the very last chord has rung out, Aubert's vocals is the joy in to behold in this track as they keep you in suspense until he gives his all out in the verse leading up to the chorus. Once again, the guitar playing is the highlight, very-Pumpkins-esque once more, which it cannot escape, further more, the song will leave it's listeners exhausted with joy, as 'The Royal We' is epic in it's own hazy self, with it's blending dreamy rock influences mixed in with the odd splash of classical takes.
As the albums goes, midway we are ushered into 'It's Nice To Know You Work Alone', which is one of the few songs of the album that doesn't sound like the Smashing Pumpkins, as Nikki Monninger displays good stuttering bass lines broken up through-out the entire song and Aubert's grinding guitar adds the heavy rock theme to the track.
The final song in 'Swoon' is quite a surprise, 'Surrounded (Or Spiraling), which bows it's head to My Bloody Valentine vocally and with the fuzzy dreaming sparkling guitar lines during the slow parts of the song. As the song builds up, we get back to the Pickups, where they create their main riff through the chorus which intensifies the song as a whole and closes the album in fine fashion.
Silversun Pickups, again, not a band of their time, and 'Swoon' is definitely not an album of it's time either. Although, it's nice to hear the 90's alternative rock scene now and then revisited, it's not something Silversun Pickups should make a habbit of. The album on the whole is solid, created around heavily distorted riffs, powerful drumming and exquisite bass lines. Songs like 'Growing Old Is Getting Old', despite it's true irony, is way to dragged out and should be cut down in length, but the main problem for it's more aged listeners, is that it has Smashing Pumpkins all over the album, but if you can get your head round that, then there's no reason why people shouldn't enjoy this 90's nostalgic force.
3½ / 5
Linus Broadbent.
'There's No Secrets This Year' opens 'Swoon' up to us and in emphatic fashion to, we already get the 90's buzz instantly and when Brian Aubert comes in we instantly remember Billy Corgan of The Smashing Pumpkins again and to be precise 'There's No Secrets This Year' sounds something of 'Gish' or even 'Siamese Dream'. Although, the song holds it's own, with the heavy distorted guitars bouncing of each other and Christopher Guanlao's drumming being the secondary drive of the song. Continuing with 'There's No Secrets This Year', it demonstrates that Silversun Pickups aren't a band of their time, a band that could have so easily fitted in, in the 1990's, more so than now, where 'alternative rock' now, comes in the form of My Chemical Romance, Fall Out Boy and Panic at the Disco, and all having the ability to appeal to a screaming bunch of ignorant young teenagers and not much else.
'The Royal We' is a song which builds in tempo and speed until the very last chord has rung out, Aubert's vocals is the joy in to behold in this track as they keep you in suspense until he gives his all out in the verse leading up to the chorus. Once again, the guitar playing is the highlight, very-Pumpkins-esque once more, which it cannot escape, further more, the song will leave it's listeners exhausted with joy, as 'The Royal We' is epic in it's own hazy self, with it's blending dreamy rock influences mixed in with the odd splash of classical takes.
As the albums goes, midway we are ushered into 'It's Nice To Know You Work Alone', which is one of the few songs of the album that doesn't sound like the Smashing Pumpkins, as Nikki Monninger displays good stuttering bass lines broken up through-out the entire song and Aubert's grinding guitar adds the heavy rock theme to the track.
The final song in 'Swoon' is quite a surprise, 'Surrounded (Or Spiraling), which bows it's head to My Bloody Valentine vocally and with the fuzzy dreaming sparkling guitar lines during the slow parts of the song. As the song builds up, we get back to the Pickups, where they create their main riff through the chorus which intensifies the song as a whole and closes the album in fine fashion.
Silversun Pickups, again, not a band of their time, and 'Swoon' is definitely not an album of it's time either. Although, it's nice to hear the 90's alternative rock scene now and then revisited, it's not something Silversun Pickups should make a habbit of. The album on the whole is solid, created around heavily distorted riffs, powerful drumming and exquisite bass lines. Songs like 'Growing Old Is Getting Old', despite it's true irony, is way to dragged out and should be cut down in length, but the main problem for it's more aged listeners, is that it has Smashing Pumpkins all over the album, but if you can get your head round that, then there's no reason why people shouldn't enjoy this 90's nostalgic force.
3½ / 5
Linus Broadbent.
Saturday, 17 October 2009
Bat For Lashes - Two Suns
With our music industry in total disarray in modern times, good music is hard to come by and thank god Bat For Lashes (Solo artist Natasha Khan) has come back. 'Two Suns' is the follow up to her debut 'Fur And Gold' in 2007 and for the second time, Natasha Khan doesn't disappoint.
Natasha Khan has clearly delved into her inspirations well in this album, and demonstrates this in the opener 'Glass', where Khan has looked to native influences mainly from America. The drumming, is the main notation in this song, it's simple, but clearly effective as Khan, going back to those native American influences, brings out some lovely bellowing drum thumps that give it's listeners a feeling of being in native tribes in the empty deserts of America. Khan's vocals also doesn't falter either, still hitting the high notes, she also maturely knows how to keep the rhythm of her vocals in tune with the music, something she is a master at.
Natasha Khan also sent demonstrates why she's so good and this is pretty much all evaluated on 'Daniel'. Which includes everything, catchy chorus, amazing and haunting vocals and another thing that Bat For Lashes is a master at, fantastic lyrics. 'Daniel' paces itself out slowly to start with, a simple clashing drumbeat and then what sounds like a keyboard flash, in comes the bass line which pretty much sets the entire song apart from everything else on the album. After the chorus the song breaks up into a synthesizer jaunt, then Natasha re-introduces herself into the song again with lyrics like 'But in a goodbye bed, with my arms around your neck, into our love the tears crept, just catch in the eye of the storm' which are beautifully crafted lyrics and just another signal of Khan's genius.
We should know by now, that Natasha Khan doesn't hold back, if she wants to let herself loose she will and even if she lets herself sound like her influencers. 'Peace of Mind' highlights a particular similarity in vocal style to Jefferson Airplane's Grace Slick. Remember 'Somebody To Love'?, well Khan's vocals are pretty much on the same tone as Slick's. Although, what sets the two songs apart is that Khan has created more of a native American Indian (again) feel to 'Peace of Mind' compared to the psychedelic hippie anthem 'Somebody to Love'. We're soon put into the piano ballad 'Siren Song', this is a typical Bat For Lashes song, it almost sounds like it could have been on 'Fur And Gold'. Still, Khan provides a change in the form of a ringing piano build up and a build up of intense singing, as Khan provides yet another epic masterpiece.
The second half of 'Two Suns' you could accuse of falling away, but this is definitely an album worth sticking around for, even for 'Pearl's Dream', which is beautiful track possibly influenced by MGMT with a slight electronic drumbeat in the vein of the New York duo. If there is one song Khan has put a lot of effort into, it would be 'Two Planets'. Dominated by hand-clapping throughout, it also again has that native American Indian drumming to it, but the song isn't structured entirely through those components, 'Two Planets' is focused on Khan's eerie vocals and charming lyrics. If there is any criticism to be made, it would be in the closer, 'The Big Sleep', it would be a delightful song without Scott Walker's vocals, they just contrast badly and makes it almost cringe-worthy to listen to and almost wastes Khan's efforts on the musical side of the song.
What can you say about 'Two Suns'? It's a masterpiece in it's own right, built around a lot of historical influences, it definitely shows that Khan's trip to New York has had a significant impact on her music and all for the best, it almost seems any direction Khan would take, it wouldn't be a wrong one, but I guess you can accuse Bat For Lashes for being quite melodramatic or even a bit of the same ol', same ol' sort of thing. One thing however, you cannot label Bat For Lashes as, and that's talent-less. Natasha Khan is probably Britain's most talented female vocalist around at the moment, and after 'Two Suns' she ain't going to give that up with out a fight.
4/5
Linus Broadbent.
Natasha Khan has clearly delved into her inspirations well in this album, and demonstrates this in the opener 'Glass', where Khan has looked to native influences mainly from America. The drumming, is the main notation in this song, it's simple, but clearly effective as Khan, going back to those native American influences, brings out some lovely bellowing drum thumps that give it's listeners a feeling of being in native tribes in the empty deserts of America. Khan's vocals also doesn't falter either, still hitting the high notes, she also maturely knows how to keep the rhythm of her vocals in tune with the music, something she is a master at.
Natasha Khan also sent demonstrates why she's so good and this is pretty much all evaluated on 'Daniel'. Which includes everything, catchy chorus, amazing and haunting vocals and another thing that Bat For Lashes is a master at, fantastic lyrics. 'Daniel' paces itself out slowly to start with, a simple clashing drumbeat and then what sounds like a keyboard flash, in comes the bass line which pretty much sets the entire song apart from everything else on the album. After the chorus the song breaks up into a synthesizer jaunt, then Natasha re-introduces herself into the song again with lyrics like 'But in a goodbye bed, with my arms around your neck, into our love the tears crept, just catch in the eye of the storm' which are beautifully crafted lyrics and just another signal of Khan's genius.
We should know by now, that Natasha Khan doesn't hold back, if she wants to let herself loose she will and even if she lets herself sound like her influencers. 'Peace of Mind' highlights a particular similarity in vocal style to Jefferson Airplane's Grace Slick. Remember 'Somebody To Love'?, well Khan's vocals are pretty much on the same tone as Slick's. Although, what sets the two songs apart is that Khan has created more of a native American Indian (again) feel to 'Peace of Mind' compared to the psychedelic hippie anthem 'Somebody to Love'. We're soon put into the piano ballad 'Siren Song', this is a typical Bat For Lashes song, it almost sounds like it could have been on 'Fur And Gold'. Still, Khan provides a change in the form of a ringing piano build up and a build up of intense singing, as Khan provides yet another epic masterpiece.
The second half of 'Two Suns' you could accuse of falling away, but this is definitely an album worth sticking around for, even for 'Pearl's Dream', which is beautiful track possibly influenced by MGMT with a slight electronic drumbeat in the vein of the New York duo. If there is one song Khan has put a lot of effort into, it would be 'Two Planets'. Dominated by hand-clapping throughout, it also again has that native American Indian drumming to it, but the song isn't structured entirely through those components, 'Two Planets' is focused on Khan's eerie vocals and charming lyrics. If there is any criticism to be made, it would be in the closer, 'The Big Sleep', it would be a delightful song without Scott Walker's vocals, they just contrast badly and makes it almost cringe-worthy to listen to and almost wastes Khan's efforts on the musical side of the song.
What can you say about 'Two Suns'? It's a masterpiece in it's own right, built around a lot of historical influences, it definitely shows that Khan's trip to New York has had a significant impact on her music and all for the best, it almost seems any direction Khan would take, it wouldn't be a wrong one, but I guess you can accuse Bat For Lashes for being quite melodramatic or even a bit of the same ol', same ol' sort of thing. One thing however, you cannot label Bat For Lashes as, and that's talent-less. Natasha Khan is probably Britain's most talented female vocalist around at the moment, and after 'Two Suns' she ain't going to give that up with out a fight.
4/5
Linus Broadbent.
Monday, 12 October 2009
St. Vincent - Actor
St. Vincent's (Annie Clark) second album comes in at quite a change in style and, if you dare, enjoyment in comparison to 2007's 'Marry Me'. 'Actor' is a unique blend between electronic pop and indie folk even as distant as styles from 1940's war time music in the form of love and romance. But St. Vincent however vamps he later up into dreamy and formulated synth pop, which will make it's listeners wonder where she draws her inspiration from.
'The Strangers', the first song of 'Actor' and starts out with that 1940's war time music feel mentioned above. The recurrent lyric throughout the whole song being 'Paint the black hole blacker' gives of the impression to listeners that she is either a mad artist or everything that's going on in her life is just a little bit miserable and might as well 'Paint that black hole blacker'. However, the song does kick itself out of that 1940's war time feel and enters into a little bit of Bloc Party, do see 'Song For Clay (Disappear Here) for full effect, but what St. Vincent does with it, is basically not included guitars and just included synthesizers and giving off some fuzzy sounds to warm us with delight. Second up is 'Save Me From What I Want', which in it's title, is a bit ironic don't you think? But none-the-less, Miss. Clark adds her own little bit of grace. The song is focused on a twirling guitar trail that leads into a mellow chorus where she melodically sings the title of the song.
The key song of the album is demonstrated in the first half of the album, which includes the title of the album, 'Actor Out Of Work'. This song has it all really, the catchy drumming loops, the catchy synthesizers and of course the quirky lyrics, but again, Annie Clark adds to it by adding some experimentation to it, and she highlights this at the drop of a hat and when you least expect it, she fills in a synthesizer car crash by running around her synth machine and hitting it as loud as she can to create her full desire. Going back to those quirky pop lyrics, St. Vincent proves her quirkiness by singing her 'Woo, Woo's' and of course lines like this 'I think I love you, I think am maddd' just makes you wanna love her, despite how mad she might be.
Another surprise with this album is that, not only St. Vincent creates perfect pop hooks, but she can even pull it of, by adding violins to it, even verging on swing. This is all demonstrated in 'Laughing With A Mouth Of Blood', the main structure of the song is completely fitted around in a steady simple drum beat and plus, the odd fill ins of the acoustic guitar which pluck curiously. Plus, let's not forget, Annie's brilliant quirky lyrics are a complete treasure as she sings to herself in a dream, with a line like 'And I can't see the future, but I know it has big plans for me'. The weirdness continues, straight into 'Marrow' we enter, starts out in a slow tempo, with another steady drum beat giving the song it's rhythm, but again, Annie Clarke shows up and brings her dirty synth notes to the table and blasts us into the future. The synth solo is probably the most notable point of the entire song, it's an all out full scale attack, with noisy electronica influences coming from everywhere, almost makes you feel if your listening to Nine Inch Nails' 'The Great Destroyer'.
No one really expects St. Vincent to be the next Bjork or if you want to be extreme, Madonna. But she is herself and she brings her talents forward in superb fashion, again in comparison to her debut, 'Actor' really brings out the potential Annie Clark has been hiding all along while touring with Sufjan Stevens band.
3½ / 5
Linus Broadbent.
'The Strangers', the first song of 'Actor' and starts out with that 1940's war time music feel mentioned above. The recurrent lyric throughout the whole song being 'Paint the black hole blacker' gives of the impression to listeners that she is either a mad artist or everything that's going on in her life is just a little bit miserable and might as well 'Paint that black hole blacker'. However, the song does kick itself out of that 1940's war time feel and enters into a little bit of Bloc Party, do see 'Song For Clay (Disappear Here) for full effect, but what St. Vincent does with it, is basically not included guitars and just included synthesizers and giving off some fuzzy sounds to warm us with delight. Second up is 'Save Me From What I Want', which in it's title, is a bit ironic don't you think? But none-the-less, Miss. Clark adds her own little bit of grace. The song is focused on a twirling guitar trail that leads into a mellow chorus where she melodically sings the title of the song.
The key song of the album is demonstrated in the first half of the album, which includes the title of the album, 'Actor Out Of Work'. This song has it all really, the catchy drumming loops, the catchy synthesizers and of course the quirky lyrics, but again, Annie Clark adds to it by adding some experimentation to it, and she highlights this at the drop of a hat and when you least expect it, she fills in a synthesizer car crash by running around her synth machine and hitting it as loud as she can to create her full desire. Going back to those quirky pop lyrics, St. Vincent proves her quirkiness by singing her 'Woo, Woo's' and of course lines like this 'I think I love you, I think am maddd' just makes you wanna love her, despite how mad she might be.
Another surprise with this album is that, not only St. Vincent creates perfect pop hooks, but she can even pull it of, by adding violins to it, even verging on swing. This is all demonstrated in 'Laughing With A Mouth Of Blood', the main structure of the song is completely fitted around in a steady simple drum beat and plus, the odd fill ins of the acoustic guitar which pluck curiously. Plus, let's not forget, Annie's brilliant quirky lyrics are a complete treasure as she sings to herself in a dream, with a line like 'And I can't see the future, but I know it has big plans for me'. The weirdness continues, straight into 'Marrow' we enter, starts out in a slow tempo, with another steady drum beat giving the song it's rhythm, but again, Annie Clarke shows up and brings her dirty synth notes to the table and blasts us into the future. The synth solo is probably the most notable point of the entire song, it's an all out full scale attack, with noisy electronica influences coming from everywhere, almost makes you feel if your listening to Nine Inch Nails' 'The Great Destroyer'.
No one really expects St. Vincent to be the next Bjork or if you want to be extreme, Madonna. But she is herself and she brings her talents forward in superb fashion, again in comparison to her debut, 'Actor' really brings out the potential Annie Clark has been hiding all along while touring with Sufjan Stevens band.
3½ / 5
Linus Broadbent.
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