Christmas Crackers: Day 11

Created originally as a solo project for lead singer Ben Gibbard, Death Cab for Cutie expanded to the quartet line up it boasts today after Gibbard's debut solo release garnered far more attention than he had originally anticipated.

Known for their somewhat melancholy and emotionally driven tracks, the band have seen their fanbase expand in recent years after attention was drawn to their music via it's appearances in popular tv shows such as The O.C., Six Feet Under and CSI: Miami and more recently, the Twilight films.

If lyrics are poetry then Gibbard is a singing Keats, and his harmonies are sounding even more romantic on the band's cover of Christmas classic 'Baby Please Come Home'. Christmas has never sounded so lovesick.

Christmas Crackers: Day 10

One of the more child-friendly songs, Rudolph the Red Nosed Reindeer is undoubtedly one of the most loved festive tracks. With an endearing story and infectious repetitive tune, you'd be hard pushed to stop yourself from singing along. King of Chill Jack Johnson has recorded his own version of the song and as a result of his acoustic touch it sounds far more Christmas-on-the-beach-in-California than stuck-in-the-snow-in-Greenland. Whereas many renditions of the track bring back memories of being surrounded by screaming kids demanding Santa, this will make you simply want to lounge back with a glass of mulled wine and a smile.

Christmas Crackers: Day 9

Consisting of only one permanent member and ever-changing supporting musicians, Eels are hardly what we'd consider to be a generic band. Formed in 1992, permanent member E has already released seven albums under the Eels guise, with an eighth due out January 2010. Combine this total with his five solo releases and we've got ourselves a pretty dedicated musician.

Yet in between creating controversy in the media with his pugnacious interview quips and profanity filled song lyrics, E has found the time to record an Eels Christmas track. 'Everything's Gonna Be Cool This Christmas' is a great festive track whilst maintaining the band's cool rock and roll status. Plus, the video below (thanks, random person on youtube) is set to clips from The O.C. You might hate it but it can't be that bad if rebellious E allowed two of his songs to feature on their soundtrack. Plus, everyone should have a bit of Christmukkah in their lives.

Christmas Crackers: Day 8

Long gone are the days of the smooth crooner, when the dulcet tones of Frank Sinatra and Nat King Cole were regulars on the airwaves, life took place in black and white and kids grew up with Watch with Mother. Fast forward to present times and everything revolves around brutal reality, chaos beyond our control and kids watching the Teletubbies; which if the three is worst I shall let you decide.

Recently one Canadian gentleman has been staging somewhat of a musical revival for days both romantic and retro, and with dazzling success. Michael Buble has won the hearts of women of all ages around the world; he is suavely handsome, sings so smoothly you could ice skate on his melodies, and talks of a time where men sweep women off their feet and want more than just a quick one out the back of the club. Sounds pretty appealing to me, and a Christmas snuggled in front of the fire with such a man sounds like an even more attractive prospect. Thus, it is hardly surprising that Buble's version of festive classic 'White Christmas' is making an appearance on this list.

After a weary day in the exhaustingly harsh real world, you'd be a fool to turn down three minutes of sound reflective of a time when things seemed to be so much classier, thoughtful and downright easier.

Christmas Crackers: Day 7

However much you may try to deny it, it's a universal fact that everyone loves a little bit of quintessential pop music now and then. So I have no qualms in having McFly's version of 'Deck The Halls' as one of the songs on my Crackers list. Arctic Monkeys and Courtney Love have both publicly declared their admiration for the boys, so those who argue they haven't got any form of real credibility within the music industry already have two heavyweights to try to pitch their case against.

Despite their music attracting the teen masses, the band simply can't be classed in the same league as the majority of other cheesy acts flooding the scene. You may not like their style of music but you cannot accuse them of prancing around the stage to pre-recorded tracks as many other artists recording the same genre do. They write all of their own songs, play their own instruments and separated from their record label after feeling they had lost too great a proportion of their artistic license to the men in suits. Doesn't sound like your average manufactured boy band to me.

So let's all move on from our need for 'cool' artists for a minute and embrace some talented boys having a bit of Christmas fun.

Christmas Crackers: Day 6

With their sweeping melodies and dramatic instrumentals, everyone's favourite orchestral-driven indie band Arcade Fire, have succumbed to the holiday urge and recorded their own version of one of the most soulful Christmas songs, 'Chestnuts Roasting on an Open Fire'.

Bewitching us here with their flamboyantly fervent sound, this is definitely a track to incite that warm festive feeling. The elves would be proud.

Christmas Crackers: Day 5

It's been quite a year for the eccentric Lady Gaga, and her sex-driven costumes and songs have undoubtedly helped garner a large proportion of this attention for her. Yet it seems particularly tragic when she becomes so attached to the topic that she can't even detract from blatant insinuations when she writes her own Christmas song.

With a catchy backing track that starts off very much like a Gwen Stefani solo effort, this is quickly misted over by a haze of unrefined and imprudent lyrics. Lyrics such as 'my Christmas tree is delicious' make little sense and those that do simply come across as crass. The whole song feels incredibly rushed, as if nobody bothered to put any thought into it whatsoever and gave no consideration to it's listeners. Luckily for me, it's so lackluster that I don't have many positive thoughts to contribute in return.

So if you're looking for a questionable track to startle the grandparents on Christmas Day, Lady Gaga's 'Christmas Tree' may just be the song for you.

Christmas Crackers: Day 4

This lady is never far from the headlines, particularly with her relationships. So it's hardly surprising that when she recorded a Christmas song she chose to sing one about a Mum having an illicit rendez-vous with a bearded man who snuck into the house via the chimney.

Amy Winehouse has bought her unique blend of soulful jazz to this Christmas classic, and it works an absolute treat. This version perfectly encapsulates the retro feel of the earlier Ronettes version, whilst still flaunting oodles of original Wino charm.

Christmas Crackers: Day 3

It may not snow in Las Vegas but that hasn't stopped this foursome getting into the Christmas spirit. The Killers are occasionally known for their somewhat bizarre song lyrics (are we dancer?), and their take on writing festive songs is far from traditional either. But who needs traditional when you can have an accompanying video of Brandon Flowers tied up in the Vegas desert watching a sock puppet show performed by an evil Santa? Not me.

This is becoming somewhat of a custom to The Killers' December schedule, with this being the fourth year that the band have released a Christmas song. This year's track is titled rather un-festively 'Happy Birthday Guadalupe', but this can be (partially) forgiven due to the fact all proceeds are going straight to the charity RED, run to help combat AIDS in Africa. For today's track I'm going with one of their older, more suitably themed Christmas songs, 'Don't Shoot Me Santa'. Maybe not one to play to people who still believe.

Relighting My Fire

If having Take That reunite wasn't enough to cause me vivd flashbacks of my childhood, then walking into WHSmith this morning and seeing a Smash Hits magazine sat on the shelf was.

As a kid I read Smash Hits religiously and even did several stints of work experience there as a teenager; both helped in reaffirming the fact I definitely wanted to be a writer. Obviously distraught when it finished a few years back at the fact I'd never get the chance to write for it properly, you can only imagine my glee when I saw the bold red typo of the title beaming out at me earlier. Unfortunately, it is not returning on a permanent basis but just for a Take That special - which, let's be honest, is still good enough for me.

Stashed in my cupboard as a kid were folders full of Take That clippings; literally every single picture I could find was ripped out and put into the collection. An archive of incredibly dubious hair cuts and even more dubious jelly-filled music video images, after their demise I felt no need for such alarming photos to be kept anywhere near my peripheral vision, so promptly disposed of the lot. Needless to say, when their comeback was announced, my urge to re-look at my (somewhat hilarious) childhood collection was swiftly quashed.

As if sensing my anxieties, some clever bod has decided to release this special edition Smash Hits and I couldn't be happier. Displayed before me again are pictures of the boys from in the early nineties, with haircuts and clothing choices that were only forgivable back then. Filled with pictures both past and present as well as a detailed timeline and archived articles from original Smash Hits interviews, this is perfect for anyone wanting to recreate what they once lost, or simply to laugh at what they never got to experience the first time around.

Smash Hits: Take That edition is on national sale until 31st December 2009.

Christmas Crackers: Day 2

After yesterday's cockle warming track, today's offering is here to prove that not all Christmas songs have to be sickly sweet. It seems obligatory for every half-decent band to record a Christmas track, and having toured with Green Day and Blink 182, Californian punk-rock band Sugarcult are showing their value by throwing their raucous sound into the festive mix.

Here's their version of 'Santa Claus is Coming to Town' - evidence surely that even the edgiest musicians will always have a place in their heart for some tinsel and a candy cane.

Christmas Crackers: Day 1

It's December, which means it's time to get ready for Christmas. No, I'm not putting up my tree quite yet, but it's only three weeks away (or just over) and people spend longer time than that getting excited before they go on holiday. So to get everyone in the spirit I am going to post a different Christmas song performed by a band or artist each day.

Today's offering is one of my favourites, Coldplay's cover of 'Have Yourself A Merry Little Christmas'. Originally released on their 'Mince Spies' EP (they can write puns as well as songs), it was also re-recorded in Radio One's Live Lounge a couple of years back and received a great response. The epitome of a great Christmas song, it puts a smile on your face and makes you want to snuggle up in front of a log fire.

These Dodos are nowhere near extinction

San Francisco Natives Meric Long and Logan Kroeber have been playing together as The Dodos since 2005 and were more recently joined by Keaton Snyder, whom Long has described as, 'a better musician than Logan and I combined'. Yet despite having acclaim piled upon them by critics, four albums later this indie-folk duo are still to hit the mainstream.

Their inclusion of African drum beats has drawn them into comparisons with Animal Collective, but if anything they are more of an edgier Vampire Weekend than a less spaced-out Collective. Drummer Kroeber originally began with his musical roots embedded in metal bands, and although this heavy edge is not apparent in The Dodos' tracks, the band have stated that they always aimed to create a sound in which the drums play a central role. Whilst many indie bands these days rely heavily on guitars, The Dodos have jumped at the opportunity to play about with percussion instruments and the often random or unexpected sounds created as a result really help in making their music stand out from the current crowd.  Combine this enthusiasm with the fact their latest offering is produced by Phil Ek, the man behind the recently lauded Fleet Foxes, and it becomes blindingly obvious how the folk sound in their music has developed to the extent that it plays such an integral role to the band's music as a whole.

As if having a band serenade you with melodies as smooth as silk wasn't enough to grab your attention, here's a random fact for you: lead singer Meric is noted by fans for having surprisingly long nails on his guitar strumming hand. But why use plastic guitar picks when you can grow your own, right? The band may have a slightly ridiculous name, but there is nothing comical about the songs these guys create and the progressive risks they take in doing so.

www.myspace.com/thedodos

Overly Processed Beats

After years of playing 'smaller' London venues such as Brixton and Somerset House, this November saw Kasabian finally graduate to the big time as their bought their mix of psychadelic indie-rock to the prestigious Wembley Arena.

Their most recent offering, 'West Pauper Ryder Lunatic Asylum' is undoubtedly one of the best releases of the year, and heavy hitting songs such as Fire, Vlad The Impaler and Underdog are more than capable of working the crowd up into as much of a frenzy as their older tracks do. Yet the buzz surrounding their impressive progression since the last record has apparently caused lead singer Tom Meighan's ego to substantially expand, and it's far from an attractive trait. I'm not saying that the band shouldn't be proud of the way their sound has developed or the fact that they write some bloody good songs. But they have openly declared themselves ready to take over Oasis' position at the top of the UK musical food chain and in the process, Meighan in particular seems to have inherited Liam Gallagher's unsavory attitude.

I am not adverse to swearing in conversation; it can often add a bit of spark to the somewhat dreary monologue of life. However, Meighan has introduced it into his repertoire to such an extent that it sounds artificial and contrived; quite the opposite effect I presume he intends it to have. Whilst bandmate and head songwriter Serge Pizzorno stays silent, cutting a bitingly cool self-assured figure to the left of the stage, Meighan struts about only to stop and pose frequently in such a stereotypical head-down-arm-up-in-the-air pose, it's as if he was reading a 'How to be a Rock God' manual before he came onstage. Instead of portraying himself in a rock and roll fashion, he comes across as a imprudent lout who uses football matches as a reason to start fights and excessive alcohol usage as a reason for justifying said outlandish behaviour. In turn, the crowd react in a similar manner and before you know it, it's turned from a good ol' singalong of Cutt Off to men violently shoving each other about and throwing beer and other unidentifiable liquids over the surrounding audience.

Kasabian used to have an endearing confidence that saw Meighan banter with the crowd and jump about the stage like a kid on a trampoline. Fast forward a couple of years and the kid has been replaced by a surly teenager who appears to be acting a certain way in a vain attempt to try and impress his mates. Meighan should realise by now that he doesn't have to shout and rile everyone up in order to create a reaction; the music will do that by itself.

I predict Jack Wills not be selling many of these

Many consider Jack Wills to be the English version of Abercrombie and Fitch. Gorgeous cashmere jumpers, ridiculously cosy hoodies and softer than soft leggings all stack the shelves and startlingly attractive shop assistants parade around as if they've come straight out of a model agency. It is also pretty much standard that most people that shop there have more than a couple of pennies spare and are thus more than willing to pay the higher-than-average prices. The company are reknowned for their preppy and simple pieces, with The Guardian even declaring that they have managed to make the notoriously chav-related hoodie posh.

oooooh snuggly hoodies. Jack Wills, £69 - £89

So, with many lovely items to their name, it is therefore beyond me how Jack Wills can make and then charge £798 for this monstrosity of a dress.

Bows? Love them. Vivd pattern? Very this season. Tulle underlay? Who doesn't want to feel like a princess? Yet throw those three components together and it all adds up to one big no. There might be some people that like it; good for them. We all like different things, and I believe the world would be a very boring place without varying tastes. But even if you do like it, I have no idea how the price can be considered jusifiable!

Jack Wills as a clothing company are respected, but not as high fashion designers; many of whom often charge less than this for a beautiful dress. After having a scour on the wonder that is net-a-porter I have found, what I think (some of you are bound not to agree), are a few nicer examples of what some or all of your £800 could get you instead...

Rachel Gilbert, £600

Notte by Marchesa, £690

Alexander Wang, £730

Malene Birger, £200

I'm not saying it is ok to spend £800 on a dress as long as it has a Dior label stitched in the back. However, if you insist on spending that much then surely it makes more sense to go for something from an established designer, which will then in turn maintain it's value over the years should you wish to re-sell it as vintage?

Which option would you go for?

http://www.jackwills.com/

http://www.net-a-porter.com/

This post is bought to you with the letter S and the number 40

When Hollywood actors clamour to get on to a children's television show, you know it's something special. This week Sesame Street celebrated it's 40th birthday and I don't know anyone who hasn't at some point wished that they could go and eat cookies with Cookie Monster, hang out with Bert and Ernie or sit in a nest with Big Bird. The programme has become an institution, and the fact it has remained on air for so long and so successfully only serves to attest to this fact. Put a photo of Elmo next to one of the Teletubbies and I have no doubt in saying that Elmo would be the most recognisable every time.

What I want to know is why isn't it shown in the UK anymore? There is so much tripe littering up kids channels over here at the minute, it is incomprehensible that these shows are given screening prescedence over one of the greatest children's programmes ever made. Sesame Street is both endearing and educational and has never been one to talk down to children, which is what many programmes are guilty of doing nowadays. Big shots in the children's television sector are continually looking for new and modern directions in which to take programming. But why? Sesame Street successfully proves that an enduring and trusty format works, whilst still managing to keep content relevant to modern times and issues. If it ain't broke, don't fix it, and Sesame Street is still a long way from needing a trip to the repair shop.

Below is one of my all time favourite scenes from the show, and if it doesn't put a smile on your face then shame on you! Here's to another forty years of Elmo and the gang...

Feeling Under The Weather

For a band who have been formed for less than a year, a sell out show at Brixton isn't bad going. Yet when you are called The Dead Weather and your band consists of musical heavyweights such as Jack White, Alison Mosshart, Dean Fertita and Jack Lawrence, it is perhaps somewhat less surprising than originally anticipated.

For whatever reason, female fronted bands seem to have a tougher time making a good impression on audiences than their male counterparts. For every twenty successful male-led bands, there is only one successful female-led group, and this fact was definitely at the forefront of my mind before Mosshart took to the mic. But from the moment she skulked on stage, any doubts that a female lead would not be able to whip the audience up into as much of a frenzy as a male would were quickly banished. Snarling her way through the eighty minute set, Mosshart prowled around the stage with such impressive self-assurance that the audience were left in no doubt that she alone was just as worthy of their attentions as the Stripe sat on drums behind her. Despite spitting out new single 'I Cut Like A Buffalo' with an admirable tenacity and showcasing new material written just that afternoon, it was still their best known song and show-closer 'Treat Me Like Your Mother' that received the biggest response of the evening.

Photo by Walid Lodin

The Dead Weather's sound is the most raw of anything White has previously released with any of his other bands, and this certainly comes across in their live performance. With his wild, unruly hair and determined ferocity in his playing, White definitely knows how to put on a performance even from the back of the stage; it was like watching a real life Animal from the Muppets take his place in one of London's most famous music venues. Lawrence and Fertita on bass and guitar respectively were not ones to be sidelined however, and both assaulted their instruments with such voracity it was as if their lives (and musical dignity) depended on it.

However, despite the electricity and enthusiasm the quartet exuded, it is an undeniable fact that a percentage of people, however large or small, were at the gig out of curiosity to see Jack White. Don't get me wrong, 'Horehound' is one of the most impressive debuts of the year, but you do have to ask yourself if it would have attained the success and acclaim it has if it had been released by four unknowns. Unfortunately, the answer is probably not, and the extended cheers that rose from the crowd as White stepped to the front of the stage to take lead vocals on a couple of songs did nothing to dispell this possibility.

White and Co. have worked hard to demonstrate that The Dead Weather are not simply a short term side project that they've involved themselves in for a pleasant distraction. Mosshart has already declared their second album to be half completed already, though despite White's comments to the media, she is determined their next release will not be amusingly entitled 'Morehound'. Whatever title it is released under, it should cement their status as a credible rock outfit and finally earn them the respect they deserve as a consolidated group, rather than four independent musicians haphazardly strewn together.

http://www.thedeadweather.com/

Band To Watch: The Hot Melts

Having been making the rounds on the tedious circuit of self promotion for the past couple of years, The Hot Melts are finally starting to gain the recognition they deserve. Having supported Eagles of Death Metal on tour and headlining the Liverpool Carling Academy two years ago when they were still unsigned, it seems slightly incomprehensible that they remain relatively unheard of.

Comprised of four Liverpudlian lads, the band attacks the pop-rock genre with an unabashed vigour and energy that makes them instantly appealable. 'Edith' begins with a frenzied and imperious guitar riff and drum sequence that will have you tapping along within the first three seconds, whilst '(I Wish I'd Never) Been In Love' rushes by in such an angst-filled flurry you might as well be in lead singer and songwriter Will Baylis's stream of emotional consciousness. With the majority of their songs clocking in at under the three minute mark, it's evident that The Hot Melts mean serious business and aren't going to try and flaunt their musical skills by throwing pretentiously drawn-out solos at listeners. The pace they manage to keep up as they storm through the songs with an impassioned power almost feels as if their album is moving at a speed faster than you can listen and the whole thing is over before you know it. This is far from a hinderance however, as you automatically want to press play and listen again in case you missed something the last time.

The frantic wave of guitar you find yourself swept away in is somewhat hindered however, by their rather dubious lyrics. 'Edith' starts off blazing and continues to progress until it hits the second verse, during which Baylis starts singing about having left the chicken in the oven too long and going hungry as a result. I'm sorry, what? For a set of lads who are evidently trying to create a credible name for themselves in amongst the music crowd, starting off singing about the wonders of pot in the first verse was probably a good way to go. Yet by switching to the pains of domesticity straight after they might as well have not bothered with the drugs at all.

However, they undeniably have great potential. Ignoring some of the crap lyrics, they are musically one of the most thrilling British bands to emerge this year, and important industry types can't get enough. It's only a matter of time until you find yourself being scorched by them too.

www.thehotmelts.co.uk
www.myspace.com/thehotmelts

Band To Watch: The Takeover UK

Hailing from Pittsburgh in Pennsylvania and adopting the UK when they discovered 'The Takeover' part of their name was already snagged, this pack of four young, eager musicians pride themselves on producing infectious pop hooks and punk undertones, and quite rightly so.

With echoes of both old school punk and the more recent British alternative scene in their music, The Takeover UK are relevant without the impression that they've had to necessitate towards current trends in order to attract listeners. The band rattle furiously through guitar riffs and lead singer Nic Snyder snarls his way through the vocals; both are so tightly wound together that you wouldn't even know where to begin in prising them apart. Whereas a lot of bands find a tempo they're good at and stick with it, The Takeover UK aren't afraid to switch between edgier and softer melodies. The distinctly punk 'Never Been So Sick Before' sits on a rather different end of the scale in comparison to the more pop-based and melodic 'Golden Age'. 'Ah La La' has a ridiculously catchy chorus and as Snyder sings 'ah la la la la la la la/over and over til you get my point' and this then ticks over in your head for the following few days, you know they have certainly succeeded in putting it across.

The fact they have only been together for five years and sound as in-sync and established as they currently do makes the fact that they are still unsigned even more surprising. Unfortunately, unsigned bands are the ones that often have the most charm and The Takeover UK is certainly doing a great job in proving this. Money and backing from a record company may equal copious amounts of promotion and fancy studio production, but this can sometimes cause even some of the rawest bands to sound too manufactured and polished. The Takeover UK successfully sustain their tangible edge in the studio whilst producing tracks that don't sound at all unaccomplished; a problem many of their peers often face.
I for one cannot wait until these guys head over to the shores in which their name is embodied. If their live shows are anywhere near as impressive as their debut album, then we are definitely in for a treat and it won't be long until they veritably become the prevalant force that their name insinuates them to be.
 
www.myspace.com/thetakeoveruk
 

Band To Watch: Little Red

Continuing the trend of great bands emerging from Australia come five-piece indie rock and roll outfit Little Red. Endearingly describing their music as 'Doo-wop Punk', these guys sound like they've had a run-in with the Beach Boys' producer up in Camden, as 1950s style harmonies and springy instrumentals encapsulate their overall more up-to-date inherent sound. There is an undeniably chilled, summery feel to their tracks, providing a stark contrast to the many brooding and sagacious lyrics that are flowing into microphones otherwise. Yet this provides a surprisingly welcome change, and after growing up on the coast of Melbourne it isn't very difficult to understand by what and how they have been influenced. It is easy to see why they have toured with Vampire Weekend; both sing about topics that their peers might consider nonsensical, but it's refreshing to be transported to a lyrically retro era where the biggest concerns were about holding someone's hand.

Having already made waves in their homeland, Little Red are in the process of launching an attack on the UK, with their debut album due on our colder shores on 16th November and several London shows planned in support of this release. With the cold winter months drawing in, you'd be foolish to overlook a band whose music makes you feel like you're being coated in a warm blanket of honey.

www.myspace.com/littleredmusic

Cole The Shots

Forget world poverty and mass fighting, the big news today is that Cheryl Cole's debut solo single 'Fight For This Love' is set to be number one this weekend and hold the record for the best selling single of the year after shifting 200,000 units on it's first day of release alone. Anyone who watches X Factor would have to agree that Cole seems like a really lovely and genuine girl, and has definitely soared in public opinion over the last couple of years. Putting on an incredibly brave face when her husband's infidelities came to light earned her particular kudos with the notoriously difficult-to-win-over female audience and her feisty attitude towards Simon Cowell earned her respect from everyone else.

However, this does not make one worthy of the best selling song of the year, particularly when the song in question is, I'm sorry, undeniably bland and will no doubt have been forgotten about in twelve months time. Mrs. Cole doesn't have the best live singing voice by a long way, but this rather crucial factor is made slightly better by the fact she herself doesn't believe or try to convince you otherwise. However much critics or I may lambaste this song, the fact is that the charts are a reflection of the record buying public. Not that this is always a good thing by any means, but there is nothing anyone can do about it so we will just have to roll with the sometimes painful pop punches.

The UK papers were buzzing on Monday morning about her first solo live performance on the X Factor the previous night, whether it be criticising the fact that she mimed the second half of the song, or that she (incredibly) pulled off a better overall performance than Whitney Houston did subsequently. The fact is, everybody seems to be missing one major element in all of this and it's the one that concerns me most: where the hell did she get that jacket and how can I get one? Yes, the rest of the outfit was pretty shocking, with trousers slit to the hip being more than just a tad dubious, but we can overlook this because her jacket was so damn incredible. Four seasonal trends in one piece is pretty impressive, you have to admit. Shoulder pads? Check. Military design? Got it. Crazy embellishment? Definitely there. Stand out red colour? Absolutely. 
 
Yes, Cheryl may not have the best singing voice or songwriting team, but the song is bearable on the ears and almost respectable compared to some of the other atrocities that litter up the charts these days. Plus, she has a much-coveted stylist and I'd quite like to be her friend. That's good enough for me. 

A Cosmic Egg On Their Face?

It's been four years since Wolfmother released their self-titled debut album and lead singer Andrew Stockdale has returned this year with the follow up album. I mention Stockdale only because the two other original members left in early 2008 due to 'irreconcilable personal and musical differences.' That might offer some form of explanation for the lengthy wait between albums then. Not one to be defeated, notoriously big-haired Stockdale recruited not two but three replacement members and it is this line up that features on second album, 'Cosmic Egg'.

Supplying many a background track to ipod adverts, Fifa games and Guitar Hero wannabes, songs on their debut release drew comparisons to Black Sabbath and Led Zeppelin, with heavy drum beats, high pitched singing and effervescent guitar riffs oozing out in abundance. However, not simply content in losing two members, Wolfmother seems to have lost it's edge in the process. The new album is unquestionably focused around psychadelia rather than heavy rock and the Hendrix (listed as a favourite on their Myspace) influence is astonishingly obvious. Many might argue that for a band to be influenced so heavily by Hendrix is not necessarily a negative prospect, but when the Ozzy factor still lingers in the background it makes for a somewhat confused, rather than successful, outcome.

The first single off the album, Back Around, was originally given away to fans as a free download on their website, and received a somewhat mixed response. Some fans called for the old Wolfmother sound to return, whilst others welcomed the change in direction. To be fair to the band, Back Around is reasonably resonant of the old Wolfmother days, featuring smashing drums and heady electric riffs. Stockdale's half singing, half talking ditty towards the end of the track is rather cringingly more Rocky Horror than Rock Heavy however, and the song could easily survive without. Fortunately, 'New Moon Rising' (video below) picks up where Back Around leaves off, and without the formidable Frank N Furter factor.

Yet delve deep into the expanse of the album itself and the grunge rock slowly fades away. 'Sundial' features an opening guitar riff that is so Hendrix-esque that you almost find yourself for a moment wondering whether you actually put the right CD on. The suspense filled instrumentals accentuated in their earlier material are all but gone, and the listener can't help but notice that the overall sound is far more commercial. The majority of tracks on the album are a great deal more accessible when it comes down to being played on mainstream radio, and as we unfortunately seem to be experiencing too often these days, it's not the content but how many people that listen to it which seems to count most. With the flood of indie bands swamping the industry at the moment, it is perhaps a good thing if Wolfmother's new toned down approach exposes more listeners to heavier genres of rock. But whilst a certain number of rock bands continue to flourish in the mainstream, there are none that seem to encapsulate the 70s punk-rock psychadelic sound quite like Wolfmother did when they debuted. It's a pity that their new work has been softened for whatever reason, whether it be Stockdale's personal decision or a change instructed by the record company. Don't get me wrong, the 70s rock movement still provides a solid basis for Wolfmother's newer sound, but it has been diluted somewhat and the aftertaste is not quite as satisfying as the concentrated form.

'Cosmic Egg' is released on 26th October 2009.
http://www.wolfmother.com/

The Hairy Truth

Stop the presses everyone! Splashed over the news last night and this morning is the incredible revelation that David Beckham has grown a beard. Yes, you heard me right – Beckham has joined the fuzzy face brigade. Good for him, I say. It matures his look somewhat and if Victoria has no qualms with stubble rash then all the better for it.

But why on earth is it making the front page of some papers? One billion people worldwide live in poverty, the ice caps are melting, people are being blown up all over the shop and nuclear missiles are most likely being squirreled away by someone as I type. Yet on my way home last night, I opened my free (thanks, advertisers) paper to be greeted with a double page spread on Beckham’s newly grown facial hair and various comments on the matter that a junior writer had undoubtedly had to plead with people on the street to provide that afternoon.

Now this morning the leading story on the UK Yahoo! Homepage is whether he did it as a fashion/attention seeking statement, or if in fact, as Beckham himself insisted, ‘(he) just couldn’t be bothered to shave.’ I’m not saying that some people won’t be interested in the developments of the hair follicles of one of the world’s most famous sportsmen. I just don’t understand how something so trivial can be mentioned in the same realm as the stories that it shares a page with. In my opinion, a suicide bomber killing ten people in Pakistan, the possible collapse of worldwide peace talks and two teenagers held over a homophobic murder is far more worthy of our attention and concern than someone’s facial hair.

I'm sure some of you will be thinking that I am nothing but hypocritical in taking the time to write about a subject I am being so critical of being written about in the first place. But this is a blog, not the front page of an internationally read newspaper or website. There’s a time and place for coverage such as this in national press and it’s most commonly known as the celebrity pages. Yes, the world is tough and it’s nice to have a light-hearted break sometimes from all the heavy stories that swamp the newswires. But to give this Beckham ‘story’ such significance undermines the importance of other stories in the news today that undeniably hold much greater implications. It’s rather alarming that society has become so superficial in recent years that stories such as this are given such gravitas. Attitudes are not going to be changing anytime soon however, so I can do little but steel myself for the hullabaloo that will surely ensue when Beckham decides to pick up his razor again.

Enter the Eleventh Dimension

Strokes fans have been (not so) patiently waiting for new material from the band for over four years now. Yet as lead singer Julian Casablancas prepares to launch his solo career, it looks like they're going to have to wait still a little longer (if internet reports are correct then they will have to wait until March 2010).

Casablancas is not the first Stroke to venture into the music wilderness by himself though. Guitarist Albert Hammond Jr., has already made a name for himself with two successful solo albums, drummer Fabrizio Moretti is a member of the band, 'Little Joy' and bassist Nikolai Fraiture sits at the helm of musical trio "Nickel Eye'. All three existing side projects produce very different material to each other in sound and production style, so it is no surprise that Casablancas has chosen to forge a distinctly separate path as well.

Jumping on the 80's bandwagon that has proven itself to be a strong influence in many artists' work this year, Julian is striding out with an unmistakably electro sound. Imagine the Strokes' early guitar riffs mixed in with a synthesizer and we have his debut solo single, 'Eleventh Dimension'. In fact, synth saturates the song so much that it puts the Killers' recent overload to shame; but it works. Whereas Moretti and Fraiture prevailed with a smoother edge to their music, encapsulating at moments sounds ranging from pop, folk and reggae, Casablancas' foray is far more commercially appealing and despite the lack of heavy guitars, the scent of Stroke continues to linger in the background. Strokes fans internet wide are divided. Many are complaining it is too much of a departure from the usual Casablancas punk-rock style, yet others are declaring it a bold experiment with surprisingly impressive results.

Either way, I am going to be so bold as to declare that Eleventh Dimension is one of the catchiest tracks released this year. Your first instinct upon hearing the opening eight notes (which are repeated throughout) is to dance, and long after retiring from the dance floor the track remains stuck in your head and will most likely continue to run around for a day or so after. Taken from the album 'Phrazes For The Young' released November 2nd, Casablancas has admirably proven himself to be far more than a one trick pony - and as a result should be the man to watch even after The Strokes' eventual demise.

A Tale Of Alaskan Proportions

Once every few years or so, I’ll have the fortune to stumble across a book or a film that has such an effect on me that I cannot stop thinking about it for days afterwards. Friday night, I started reading ‘Into the Wild’ by Jon Krakauer, and by Saturday morning I had finished it.

Some of you may be more familiar with the title as it was adapted into a Sean Penn directed film a couple of years back, but the book itself was published over fifteen years ago. Written by Krakauer, it actually documents two years in the life of a young American man named Chris McCandless.

Astoundingly intelligent but growing up feeling stifled and disillusioned by society, McCandless sought refuge in the words of great writers such as Henry David Thoreau and Jack London. Both authors shunned what they believed were continually grotesque developments in society, instead developing the belief that in order to be truly happy and obtain the most out of life, we have to be at one with nature. His upper middle class family life did little to support this somewhat bohemian way of thinking and a poor relationship with his parents drove him further into himself. After graduating Emory University in 1990, McCandless donated the remainder of his college trust fund ($24,000) to OXFAM, dumped his car and without a word to anyone, left his life behind. Hitchhiking his way across North America and Mexico for two years, Chris changed his name to Alexander Supertramp and maintained basic jobs, most notably working on a corn farm, and developed good friendships with people he met along the way. Yet not once did he contact his family. In April of 1992, McCandless once again upped sticks and made his way to Alaska – the wilderness he had been aiming to get to all along. Trekking up the Stampede Trail into the forest, Chris took the mere basics. Rice, a fishing rod, an axe and a sleeping bag were amongst his possessions, yet a map was not. Chris previously argued with those who thought him a fool for not packing a map that he could not feel a proper connection with the wild if he knew where he was going. Besides, the people who had plotted the maps in the first place hadn’t had anything to go by so there was no reason why he should have to either.

McCandless in front of the 'Magic Bus'

A few days into his journey, Chris happened upon a bus, which had been left there by workers on the trail some twenty five years beforehand. McCandless was overjoyed by this discovery and referred to it as, ‘The Magic Bus’. It provided a good base for him and a decent means of shelter. For three months Chris survived in the wilderness, living off a diet of berries and whatever animals he managed to poach (usually squirrels and porcupines but a crowning moment came in the form of a moose – though he regretted killing this animal immediately after). Towards the start of August, Chris planned to leave the forests and attempted to cross the river he had passed without trouble a couple of months earlier; but the change in seasons meant the water had risen too high and he was forced to retreat back to the bus. Around this point, it is believed that McCandless injured himself, though due to the scant details in his journal, nobody is exactly sure what happened to him. Either way, he was unable to fend for himself.

McCandless' SOS note

At the end of August, two Alaskans hiking in the forest, and coincidentally, two Moose hunters happened across the bus at about the same time. Attached was a note from McCandless, pleading for help. Unsettled by the note, one of the hunters looked into the bus, and it was at this time they discovered McCandless dead in his sleeping bag. Weighing just four and a half stone, he had succumbed to starvation. One cannot help but think how much of a different story this would be if they had decided to go hunting just a few weeks earlier.

If you search on the internet, there is a very obvious divide in opinions on McCandless. Many treat him as a hero figure; he had the tenacity to follow his dream and turn his back on the rigidity of society. An equal amount, including many Alaskans, feel he was too arrogant and deserved his fate, particularly as he entered the wilderness so unprepared. Here is my opinion. I think that what McCandless did to his family was undoubtedly very selfish. The idea that his family had to live in such deep uncertainty for two years and then in great pain after his death was discovered is incomprehensible. The thought of an intelligent young guy trapped in the wild and facing such a slow death makes me incredibly uncomfortable, so for those who knew and loved him, the agony must be tremendous.

However, I do completely admire McCandless for what he did. The book makes you realise just how much every single person relies on materialistic goods to pull them through each day, when in reality a large proportion of these treasured objects are totally unnecessary. Humans previously survived and led a perfectly happy existence without them, yet we succumb to their charms and the attached rules of society. Chris, through personal accounts of people he met, and brief accounts in his diary, was seemingly the happiest he had ever been when on the road and fending for himself. Yes, we may think what he did was rather crazy and may not venture into such actions ourselves, but if he was truly happy, then who are we to deny him? Even in his final photo towards the very end of his life, he has a wide grin spread across his face.

Chris' final self portrait, holding a goodbye note

The debate could and will undoubtedly rage on for years, but in the meantime, the bus still remains in it’s Alaskan barrens. A surprising number of people make the hike there each year, whether it be out of curiosity, to pay their respects or feel that they too, even if only for a day, can experience the freedom that McCandless felt. His parents visited the site almost a year after his death and left a commemorative plaque in the bus, along with a suitcase holding Chris’ childhood Bible and some provisions that hikers might need in future should they happen across the bus. However, since the release of the film in 2007, visitor numbers have soared and in accompaniment so have incidents of vandalism. One youtube video shows some of the windows smashed in, the chests of drawers and shelving inside ripped apart and tipped over and the suitcase pulled apart and it’s contents strewn outside. I think it’s incredibly sad that people are prepared to make such a tedious journey out to the site only to ravage what has essentially become a memorial site. Perhaps even worse, visitors are now ripping out pieces of the bus and it’s contents, including pieces of the mattress he slept and died on, and selling them on ebay. Ironically in doing so, they are simply providing McCandless’ views of a debase and unconsecrated society with even more gravitas than many are prepared to accredit them with.

Who's For Some Horchata?

Following the success of their self-titled debut album, Vampire Weekend are back with as much of an African bongo feel as before, and it's bloody marvellous. New single Horchata was released this week as a free download on their website (here), continuing the trend of artists giving away their music. Well, if people are going to download illegally, you might as well give them the opportunity to get their greedy mitts on it in a legit fashion, right?

Whilst other bands sing about the misery of love and the general atrocities of life, this Columbian University educated foursome tend to go down a rather more random lyric route. Their first album saw them singing about topics ranging from the English dictionary, to a style of roofing and a road, whilst Horchata is the refreshing rice based drink that we all know and love. Obviously.

But don't let the fact you might never have drunk the stuff before put you off. Setting off round the world next week on a sell-out mini tour to promote their sophomore album (due out January 11th), it's evidently not bothering the however many thousands of people that are flocking to see them. The epitome of preppy, Vampire Weekend are the band that a lot of hardcore indie devotees will feel they should probably hate, but can't. Ridiculously catchy and with a very summer-y feel, their latest offering is just what we all need to brighten up our ipods as the dreary winter months draw in. Horchata is something you should definitely be feasting on.

www.vampireweekend.com

www.myspace.com/vampireweekend

Making An Impression From Down Under

Whilst American and the UK artists have continued to dominate the rock and indie scene over the past couple of decades, Australian talent has been waiting in the wings ready to pounce. The few that have done so already have made a lasting impression; AC/DC, INXS and Silverchair are all highly regarded but in the grand scheme of things have had little effect in promoting their motherland as an excessive generator of talent within the industry.

Luckily, current artists are no longer displaying the patience their predecessors once demonstrated, and are fighting tooth and nail to battle their way to centre stage in order to stand proud with their Western peers. Empire of the Sun were the first to make an impression this year with their futuristic electro melodies and were quickly compared to last years’ much hyped American duo MGMT. Whether this is a fair comparison or not remains under debate, but the publicity created by said association provided the band with a faster-developing fan base than they would have perhaps experienced otherwise. Either way, they definitely don’t look like your run-of-the-mill band but it’s always the extraordinary ones that create the biggest impact, so their wacky outfits are more than likely going to work in their favour.

With a more commercially pleasing sound, The Temper Trap have made quite the impression in the past few months with their atmospheric a’cappellas as showcased on breakthrough song, ‘Sweet Disposition’. Industry types have been paying attention to these four Australian guys since this time last year however, when British music producer Jim Abbiss, best known for his work with English indie heavyweights Arctic Monkeys, Editors and Kasabian, flew to Australia especially to produce their debut record. During the recording period, they didn’t lose focus on self-promotion and drew in sell-out crowds to performances in London and the legendary South By Southwest festival. With their record ‘Conditions’ receiving rave reviews from critics and extensive touring planned into early 2010, The Temper Trap are definitely ones to keep an eye (and an ear) on.

Venerable Vintage

Despite society’s continual obsession with producing the most cutting edge technology they can possibly churn out of a factory in the depths of China, nobody can, or should, criticise a good love of vintage.
       

Fashion-wise, vintage clothing has recently seen a huge surge in popularity, with vintage markets, shops and internet sites sprouting up all over the place. However many people may argue that this is due to many a Hollywood starlet parading onto the red carpet in a dress from thirty years ago, the fact simply can not be denied that it just looks pretty damn cool. Throw in the fact that so many high-end designers are currently re-hashing old trends as new that it works out cheaper for style hunters to mull around in a musty basement, and we have ourselves an explanation.

     

As the saying goes, if it ain’t broke, don’t fix it, and it is this that circles round my head when I look at earlier styles of modern technology. Take, for example, the trusty old camera. Nowadays it’s all about the digital, which reflects our current state of impatient mind perfectly. If we want a good photo, we don’t take the time to set up the angle or lighting correctly because if we know that if we don’t that’s one of our 36 images on a roll of film wasted. We snap twenty and try and muddle something together from that. But where’s the fun in that? It simply makes the whole process far less meaningful, when in reality a photo is often anything but. Yes, digital gives us more freedom in the sense that it creates more opportunities for us to screw up and have it not matter. And, yes, high numbers of megapixels and zooms can create clearer pictures, but are they less personal as a result?

I recently purchased a Diana F+ camera (above); a reproduction of the famous model from the 1960s. The cracks in the joins of it’s two plastic halves can let a bit too much light in if you’re not careful, and it has absolutely no zoom capabilities whatsoever. But the self-control shutter means that you can let as much or as little light in as possible, as well as play with the levels of exposure, and the plastic lens creates a beautifully soft effect that feels like you’ve taken a snapshot of a dream. As a result, the pictures are imperfect, but they still encapsulate everything that surrounded you at the time. Below and to the side are a couple of examples of snapshots on the Diana website; I defy anyone who does not agree they are perfect examples of imperfection.
   

The same applies for cars. Nowadays, there are so many ugly hunks of metal prowling our streets that it really is an abomination. Before all the petrol heads start complaining, I’m not saying that ALL cars are vile looking. Yet it is undeniable that cars fifty years ago were just so much damn cooler that standing next to one now is like receiving a whoosh of fresh air from an opening freezer door. Have a look at the pictures below and answer me this: if you had the choice, which would you rather be able to drive? 

   
Many will now feel it is the time to argue that engines and safety measures in vehicles have improved beyond comprehension in the last however many years. I’m not saying they shouldn’t have, but just fit them into the old style frame. There is no reason why cars (and other technology in general) should look so uninspired; we live in an age where design and extravagance is being taken to the extreme, yet everything is being simplified and created to look more clinical.

    
The campaign for a resurgence in retro goods starts here. Record players still play music, plastic cameras still take photos, and cars that have back ends resembling the Batmobile still drive. There’s no reason why we shouldn’t use them and if it bucks the current trend of striving to obtain utter perfection then all the more for it. We’re humans, not robots, and it’s about time our everyday paraphernalia reflected our vulnerability.

I Had A Whale Of A Time

Tatty rugs strewn haphazardly across the stage, a minature guitar and a lead singer mumbling a slightly American - accented greeting is hardly what you'd expect to greet a noisy crowd on a Friday night in Camden. The waiting masses, however, fully anticipated the presence of twee rugs and array of string instruments, although with their awaited folk conquerers hailing from Twickenham, the welcoming accent comes as slightly more of a surprise.

Noah and the Whale are perhaps best known for their song, 'Five Years Time', which is a great pity as although it is undeniably catchy, it comes nowhere even near close to showcasing what the band are fully capable of. With lead singer Charlie Finks' heart wrenching lyrics and an eerie violin accompaniment, their latest album, 'The First Days of Spring' is nothing short of haunting, and hearing this live has yet a much greater effect on your emotional state than the record itself does.

Predominantly showcasing their latest work though still intertwining some of their debut tracks into the set, the atmosphere in Koko was a bizarre mixture of anticipation and anguish. The lyrics feel so personal and Fink is so involved in his words that it feels like he is about to burst into tears at any monent and you're not sure whether you should rush the stage to give him a hug or creep off to the bar and give him a moment alone. Seeing as their latest endeavour charts Fink's break up with fellow folk singer Laura Marling (who also features in vocals on their first album), it's hardly surprising that the general persona of the band radiates vulnerability. It can't be easy to sing about losing a love every night for a month as you trek around the county on tour and the band are also therefore understandly less than impressed when they have to stop because some members of the audience are talking so loudly that they almost start to drown the music out. As Fink quips, 'I know that often during the quieter songs the temptation is to discuss the concert... But maybe in this instance you should listen and discuss it after.' Despite ironically loud shushings from the rest of crowd to the noisemakers, the band continue and work their way through an angst driven set.

Anyone who readily palms Noah and the Whale off as a lightweight folk band are sorely misguided, and the band's eagerness to include electric guitar riffs and loop machines into their set are enthusiastically included to demonstrate otherwise. The leap between their first and second albums is so noticeably impressive that any doubts that may have previously existed about whether the band can develop comprehensively enough in order to retain their credibility have been shattered. Pair this with their emotionally absorbing live shows and Noah and the Whale have nothing but Blue Skies waiting ahead of them.

www.myspace.com/noahandthewhale

Back For Good? I bloody hope not.

Reports of an alarming nature reached me today: Robbie Williams is holed up in a studio in New York once again with Take That. I know many Take That fans who were upset when he left the band nearly 15 years ago, and I know that many of them will now be hoping that anything will happen to stop him returning.

Despite his protestations, the only thing that pushed Robbie out of Take That was his ego. He believed he was better than the other members, and whilst Robbie loved the Angels and Take That became another mere memory in the history of boy bands, his commercial success perhaps proved his theory right for a few years. But nobody expected Take That to make the comeback they did and Williams felt it hardest. The band have undeniably moved on leaps and bounds since the days where their videos saw them writhing around in waterfalls on tropical islands, and Gary Barlow's undeniable writing talent combined with the other three lads' charisma and vocal ability has won them new fans and drawn back their old. With multi-date sell out shows at Wembley Stadium this summer and three other sell out tours under their belts since their 2005 comeback, Robbie will have had no choice but to question his decision all those years ago.

In comparison, Williams' last album Rudebox was critically panned and even his long serving fans couldn't get behind the record. His last tour ended as Take That kicked off their reunion and he has since been hidden away in the depths of Los Angeles. So should he be allowed back into the group who he has, in the past, so publicly spurned? In my opinion, the answer is no. Take That have proved they can survive without him and sustain their position as credible musicians. Would Robbie be trying to fit back in with them if his own solo career wasn't flopping about the bottom of the charts like a dying fish? Most likely not. The Take That: For The Record documentary that bought about the band's reunion in the first place saw Robbie snub the opportunity to meet with his former co-members and his attitude towards a couple of the band suggested he would rather have Gary Barlow's face tattooed on his chest than ever rejoin the group. Nothing has changed in this period apart from a role reversal in stakes of money and success. It was Robbie's perpetual desire to be as famous as possible that lead to him leaving the band and it is this that once again drives his attempts to rejoin it. I'm sure that the success of Williams' comeback album later this month will ultimately determine whether his efforts to mend his broken bridges with Barlow will be followed through, but whatever the outcome is, the band would be fools to even consider taking him back.

Dress Me, I'm Your Mannequin

Celebrating 25 years, London Fashion Week closed yesterday with a celebrity laden Burberry show. As much as I love my fashion, I do find myself pondering over some of the outfits that are paraded down catwalks by various designers – is it art or are they just taking the p*ss? Many people argue that they are simply ideas for ready-to-wear collections to be inspired by, but some are so extravagant (one designer this week sent his models out with big balls of hair covering their heads so they resembled It from The Addams Family) that I don’t see how it can be adapted in any reasonable manner.


Luckily there are still some fashion houses out there that like to showcase more wearable pieces, whilst still maintaining a bit of an edge. Here are some of my favourite pieces from the past few days (nb: no copyright infringement etc intended with my using of any of these images!).

Burberry

Perhaps the most clamoured over show of LFW, Christopher Bailey’s Spring/Summer 10 collection didn’t fail to disappoint. Showcasing a palette of neutral hues and silky, draped material, the Burberry name has moved on a long way since simply being all about check.

 

Luella

The sweetheart of English fashion was all about the pastel colours this season, which suited her heart shaped designs and girly-girl cuts perfectly. Taking a lead from Marc Jacobs’ NY fashion show earlier this month, Luella added a noticeable accessory of an oversized bow in each model’s hair.

 

House of Holland

Helmed by quaffed maestro and Aggy Deyn’s BFF Henry Holland, HoH is perhaps best known for it’s slogan t-shirts (Fancy A Ride Sass And Bide, anyone?) but each time his catwalk shows manage to demonstrate that the brand is so much more than that. Renowned for bold patterns and stand out colours,Holland’s most recent offerings provided us with some great ready-to-wear pieces that still encompassed the elements he is best known for.

 

Erdem

Floral patterns have reigned supreme this year and Erdem are seemingly determined to have it continuing to do so in the next as well. Lace was also a big feature of this show and solidifies the feminine outlook this upcoming collection provides.

 

The depressing thing is that by the time I’ll be able to actually afford any of these pieces, the designers will be showcasing their Spring/Summer 2011 collections…