Whilst M.I.A. is currently busy stirring various journos and focusing on her reputation rather than her music, the latest group to be signed to her N.E.E.T. recording label Sleigh Bells are busy packing a punch in all the right places. With their slamming guitars, thumping bass and screeching vocals, their sound is one that you definitely can't ignore. However, the pounding is so intoxicating that after you hear one song you're left craving more and luckily their new album 'Treats' is brimming with track after track of the dance punk sound that makes them so distinctive. Despite only releasing their first single in April, this Brooklyn duo are already causing such a stir that they played this year's esteemed Coachella Festival. Check out their stormer of a track, 'Crown On The Ground' below to experience this prodigious blitz on the senses yourself. If this band isn't one to watch, then I don't know who is.
Sleigh Bells - Crown On The Ground
www.myspace.com/sleighbellsmusic
Wednesday 2 June 2010
Monday 31 May 2010
Flyin' High
(This post is brought to you with the letters S and F and dedicated to the lovely Beary)
Raucous guitars and loaded beats are currently the sound de jour and even those artists who feel they are diverting away from such influences repeatedly find themselves enticed back into the familiar fold. However, San Francisco natives Still Flyin' are one of the few who can actually boast that they do in fact stand out from the crowd. This fifteen (yes, you read that correctly) strong group presents flighty, jovial pop, infused with elements of 1960s psychadelia and a hippy choral effect that makes you just want to get up and join in with their musical commune.
The band have just finished up a string of successful promotional dates in the UK and Europe, including playing the much-lauded ATP event and the Stag and Dagger festival in Shoreditch and will be back on English shores to promote their new EP in September. But for now, take a minute (or several) from the rigmarole of your every day existence and find yourself cheered by the sprightly innocence of Still Flyin'. It may be summertime for now, but these guys are year-round sunshine in a bottle.
Still Flyin' - Good Thing It's A Ghost Town Around Here
Still Flyin' - The Hott Chord Is Struck
www.myspace.com/stillflyin
http://www.takeyourshoesoffyoudontneedtheminthesky.com/
Raucous guitars and loaded beats are currently the sound de jour and even those artists who feel they are diverting away from such influences repeatedly find themselves enticed back into the familiar fold. However, San Francisco natives Still Flyin' are one of the few who can actually boast that they do in fact stand out from the crowd. This fifteen (yes, you read that correctly) strong group presents flighty, jovial pop, infused with elements of 1960s psychadelia and a hippy choral effect that makes you just want to get up and join in with their musical commune.
The band have just finished up a string of successful promotional dates in the UK and Europe, including playing the much-lauded ATP event and the Stag and Dagger festival in Shoreditch and will be back on English shores to promote their new EP in September. But for now, take a minute (or several) from the rigmarole of your every day existence and find yourself cheered by the sprightly innocence of Still Flyin'. It may be summertime for now, but these guys are year-round sunshine in a bottle.
Still Flyin' - Good Thing It's A Ghost Town Around Here
Still Flyin' - The Hott Chord Is Struck
www.myspace.com/stillflyin
http://www.takeyourshoesoffyoudontneedtheminthesky.com/
Wednesday 12 May 2010
It's been a while...
...and I have neglected this page. I have been continuing with my music writing though and will post the stuff I've had published on other outlets on here as soon as I get a second.
To keep you occupied in the meantime, have a listen to these few songs which are current favourites of mine. The first is by a massively underrated band, The National who have been releasing and performing for nearly a decade now but are only just coming into the limelight. Next is angelic French songstress Charlotte Gainsbourg, who for her latest record has made an unlikely professional alliance with kook-meister Beck, but with some brilliant results. And finally is the pairing of actress Zooey Deschanel and folk charmer M Ward, who have teamed up to form She & Him, a melodic blend of Californian folk-pop.
Let me know what you think.
The National 'Slow Show'
Charlotte Gainsbourg and Beck 'Heaven Can Wait'
She & Him 'Why Do You Let Me Stay Here'
To keep you occupied in the meantime, have a listen to these few songs which are current favourites of mine. The first is by a massively underrated band, The National who have been releasing and performing for nearly a decade now but are only just coming into the limelight. Next is angelic French songstress Charlotte Gainsbourg, who for her latest record has made an unlikely professional alliance with kook-meister Beck, but with some brilliant results. And finally is the pairing of actress Zooey Deschanel and folk charmer M Ward, who have teamed up to form She & Him, a melodic blend of Californian folk-pop.
Let me know what you think.
The National 'Slow Show'
Charlotte Gainsbourg and Beck 'Heaven Can Wait'
She & Him 'Why Do You Let Me Stay Here'
Monday 22 February 2010
Gig review: Vampire Weekend at Brixton Academy
It'd be reasonable to assume that by going to see a band for the fourth time, you'd have a general idea of what to expect. Yet everytime I see Vampire Weekend, there is always something new about them that I seem to have completely missed before that makes the performance that little bit better for me.
Tuesday at Brixton was no different. The first surprise came before the band even picked up their instruments, dancing their way on the stage to early 90s dance classic 'Hear the Drummer'; about as far removed from their usual style as if Slash had walked on stage and played Oxford Comma with them. Chandeliers hanging above the stage were resonant of the decadent preppiness that was apparent on their debut release, but set opener White Sky automatically put a dampener on any thoughts that their live set may not have made the transition that their second album demonstrated they had. Launching their African-based beats and Koenig's yelps on the audience from the get-go, the band were evidently pleased to be there and the energy they put into their performance was both endearing and enthralling. Whilst some musicians stand stock still on stage in order to preserve their 'cool' persona, the Vampire Weekend boys refreshingly danced as if nobody was watching, which couldn't have been further from the truth.
Whereas a lot of groups that use additional musicians on their studio recordings will simply play a pre-recorded backing track or ignore this aspect of the song altogether during a live show, it was nice to see Vampire Weekend bring three violinists to accompany them onstage, especially when these instruments play such an integral role in the composition of the music as a whole. There's no doubt about it, the VW boys are wholesomely charming and lead singer Ezra Koenig who has decidely grown in confidence since their last UK tour, certainly uses this to the band's advantage. Encouraging the audience to 'pop their fists' in time to the song if they felt the inclination to do so, and trying to start a sing-a-long certainly makes you feel more involved and as a result you want the entire thing to run smoothly so as not to ruin your night as well as the band's.
Despite the impressive progression the band displayed on their second album, the biggest cheers of the night were reserved for first album classics A-Punk and Oxford Comma; though not even pop-chameleon Madonna can escape her early hits so it's hardly entirely surprising. Whilst bands such as Coldplay and Keane tend to face ridicule for being well educated and well dressed, VW have avoided such animosity by playing along with it. Gracing the stage in boat shoes demonstrates a sense of innocence and mirth that should be admired, and combining this with the fact that other indie bands mixing in tribal beats to their records are currently few and far between, it makes it rather difficult to do anything but be drawn helplessly to their middle class magnetism.
http://www.vampireweekend.com/
Tuesday at Brixton was no different. The first surprise came before the band even picked up their instruments, dancing their way on the stage to early 90s dance classic 'Hear the Drummer'; about as far removed from their usual style as if Slash had walked on stage and played Oxford Comma with them. Chandeliers hanging above the stage were resonant of the decadent preppiness that was apparent on their debut release, but set opener White Sky automatically put a dampener on any thoughts that their live set may not have made the transition that their second album demonstrated they had. Launching their African-based beats and Koenig's yelps on the audience from the get-go, the band were evidently pleased to be there and the energy they put into their performance was both endearing and enthralling. Whilst some musicians stand stock still on stage in order to preserve their 'cool' persona, the Vampire Weekend boys refreshingly danced as if nobody was watching, which couldn't have been further from the truth.
Whereas a lot of groups that use additional musicians on their studio recordings will simply play a pre-recorded backing track or ignore this aspect of the song altogether during a live show, it was nice to see Vampire Weekend bring three violinists to accompany them onstage, especially when these instruments play such an integral role in the composition of the music as a whole. There's no doubt about it, the VW boys are wholesomely charming and lead singer Ezra Koenig who has decidely grown in confidence since their last UK tour, certainly uses this to the band's advantage. Encouraging the audience to 'pop their fists' in time to the song if they felt the inclination to do so, and trying to start a sing-a-long certainly makes you feel more involved and as a result you want the entire thing to run smoothly so as not to ruin your night as well as the band's.
Despite the impressive progression the band displayed on their second album, the biggest cheers of the night were reserved for first album classics A-Punk and Oxford Comma; though not even pop-chameleon Madonna can escape her early hits so it's hardly entirely surprising. Whilst bands such as Coldplay and Keane tend to face ridicule for being well educated and well dressed, VW have avoided such animosity by playing along with it. Gracing the stage in boat shoes demonstrates a sense of innocence and mirth that should be admired, and combining this with the fact that other indie bands mixing in tribal beats to their records are currently few and far between, it makes it rather difficult to do anything but be drawn helplessly to their middle class magnetism.
http://www.vampireweekend.com/
Coldplay to keep it comin'?
Coldplay are currently holed up in a secret London studio working on their fifth studio release and the follow-up to the multi-award winning Viva La Vida. Despite claims from band members at the end of their mammoth world tour last September suggesting that although new material might be a work in progress, they clearly stated that was going to be no release date for the forseeable future. Chris Martin has apparently (much to my delight) had somewhat of a U-Turn and today declared in an interview that the new album will be out by Christmas if the band have their way.
However, EMI have already hit back and stated that this is not going to be a possibility. Yet with the severe financial trouble the label currently finds itself in, and the effect that their biggest artist has on their shares (value dropped by 16% after Coldplay delayed the release of their third album) you'd think that they'd be wanting to get the next Coldplay cash cow out as soon as possible. Ultimately, we'll just have to wait and see whether anything is released in ten months time, but with the band seemingly eager to release, EMI would be fools to try and delay.
However, EMI have already hit back and stated that this is not going to be a possibility. Yet with the severe financial trouble the label currently finds itself in, and the effect that their biggest artist has on their shares (value dropped by 16% after Coldplay delayed the release of their third album) you'd think that they'd be wanting to get the next Coldplay cash cow out as soon as possible. Ultimately, we'll just have to wait and see whether anything is released in ten months time, but with the band seemingly eager to release, EMI would be fools to try and delay.
Tuesday 16 February 2010
Gig review - HMV Next Big Thing: Band of Skulls, General Fiasco, Birds of Tokyo
The second of my HMV gigs took me up to the Relentless Garage in Islington for a rather edgier affair than the jovial pop extravaganza I had been treated to at the Borderline a couple of days earlier.
To start the review off in true unprofessional style, I am unable to comment on the first band of the evening Birds of Tokyo, purely because I got too sidetracked by food and the pub prior to the gig starting. However, I will say that there were several people in the venue wearing the band's T-shirts and everyone looked pretty happy when I rocked up after their set had finished, so make of that what you will.
General Fiasco were up next and despite some promising pre-gig listens to their music, their live performance was not quite up to the same level. Kudos to lead singer Owen though, his voice is strong which carries the songs well and this makes the overall sound they produce hard to ignore. The main problem that this eager trio face is the fact that there are currently so many new bands emerging from the woodwork that it's hard for them to distinguish themselves from their woodworm neighbours. General Fiasco's music is appealing and listener friendly, and it certainly doesn't make me want to switch it straight back off, which is always a start. Unfortunately it's also the kind of music I would listen to once and probably discard again until a very rainy day.
Ultimately the evening was completely stolen by headliners Band of Skulls, who were more than worth the ticket fee by themselves. Dominating the crowd with their blues-y rock from the beginning of their opening guitar-led stormer of a track, 'Death By Diamonds', it was blindingly obvious that the trio on stage were there to make one hell of an impression. To say that they succeeded would be somewhat of an understatement; I have not been so impacted by a live performance of a band in a while. Quite reasonably, the band are drawing comparisons to the White Stripes, what with their startlingly similar gritty yet fluctuating guitar riffs, and the lead singer's twangy vocals in particular. Add in to the mix the fact that lead vocal duties are split with a female and some might say the group are London's equivalent of Michigan's finest. Their lyrics are meaningful without being cliched, and the melodies catchy without being annoying. Powering through their set with a raucous intensity, they impressively managed to sustain the watching masses' attentions during songs that clocked in at over five minutes in length. After an hour long set the band departed before returning for a disappointingly modest one song encore, with the enthusiastic crowd reaction demonstrating the fact that they could have easily carried on playing for yet another hour still. If you haven't heard of Band of Skulls yet, I can promise it won't be long before you find yourself basking in their progressive glory and doing yourself a favour by going to see them play live.
www.myspace.com/bandofskulls
www.myspace.com/generalfiasco
www.myspace.com/birdsoftokyo
To start the review off in true unprofessional style, I am unable to comment on the first band of the evening Birds of Tokyo, purely because I got too sidetracked by food and the pub prior to the gig starting. However, I will say that there were several people in the venue wearing the band's T-shirts and everyone looked pretty happy when I rocked up after their set had finished, so make of that what you will.
General Fiasco were up next and despite some promising pre-gig listens to their music, their live performance was not quite up to the same level. Kudos to lead singer Owen though, his voice is strong which carries the songs well and this makes the overall sound they produce hard to ignore. The main problem that this eager trio face is the fact that there are currently so many new bands emerging from the woodwork that it's hard for them to distinguish themselves from their woodworm neighbours. General Fiasco's music is appealing and listener friendly, and it certainly doesn't make me want to switch it straight back off, which is always a start. Unfortunately it's also the kind of music I would listen to once and probably discard again until a very rainy day.
Ultimately the evening was completely stolen by headliners Band of Skulls, who were more than worth the ticket fee by themselves. Dominating the crowd with their blues-y rock from the beginning of their opening guitar-led stormer of a track, 'Death By Diamonds', it was blindingly obvious that the trio on stage were there to make one hell of an impression. To say that they succeeded would be somewhat of an understatement; I have not been so impacted by a live performance of a band in a while. Quite reasonably, the band are drawing comparisons to the White Stripes, what with their startlingly similar gritty yet fluctuating guitar riffs, and the lead singer's twangy vocals in particular. Add in to the mix the fact that lead vocal duties are split with a female and some might say the group are London's equivalent of Michigan's finest. Their lyrics are meaningful without being cliched, and the melodies catchy without being annoying. Powering through their set with a raucous intensity, they impressively managed to sustain the watching masses' attentions during songs that clocked in at over five minutes in length. After an hour long set the band departed before returning for a disappointingly modest one song encore, with the enthusiastic crowd reaction demonstrating the fact that they could have easily carried on playing for yet another hour still. If you haven't heard of Band of Skulls yet, I can promise it won't be long before you find yourself basking in their progressive glory and doing yourself a favour by going to see them play live.
www.myspace.com/bandofskulls
www.myspace.com/generalfiasco
www.myspace.com/birdsoftokyo
Sunday 14 February 2010
Gig review - HMV Next Big Thing: Little Comets, Goldhawks, Mirrors
With so many great new bands appearing on the musical radar on a daily basis, it's sometimes hard to keep track of them all or at least get to go and see a large proportion of them performing live. So when HMV announced a series of gigs whereby three new bands each night were showcased over a two week period for the ridiculously cheap price of £10 a ticket, it almost seemed too good to be true. Unsurprisingly still not being able to afford all of the shows, I chose a couple to go to, the first being the night headlined by Little Comets at the Borderline.
Kicking off proceedings was oh-so-serious Brighton band Mirrors, whose sound and general on-stage persona is just as sharp and snappy as their name reflects (pun intended). Furtively describing themselves as 'pop-noir', they closely resemble a super-synthesized take on Joy Division; imagine an electro White Lies and you're at about the right ball park. Not that this is a bad thing; the music is undeniably catchy and despite first appearances they don't rely on gimmicky lyrics or marketing ploys to sustain attention - which is more than some up and coming bands can boast nowadays.
Second on were Goldhawks, a West London quintet who have been causing quite the stir of late and are currently on tour supporting The Courteeners. Already garnering comparisons to American romanticist Bruce Springsteen and fellow heavyweights Echo and the Bunnymen and U2, I shall freely admit that my expectations for these guys were high. Unfortunately, I was left feeling slightly underwhelmed by their overall performance. Their music is incredibly anthemic with guitar riffs and tinkling piano notes building into tumbling crescendos, and on record their sound is impressive and commanding. Yet playing live they seemed unable to transfer this energy that would have packed the punch to make me really want to sit up and listen. Instead, I was left lolling over the sofa at the back of the venue listening to them as if they were background music in a pub.
Rounding out the night were Geordies Little Comets, who brought to the stage a candid northern affability that hasn't been seen in London since the Arctic Monkeys spread their musical wings back in 2005. The band refreshingly proved that they are not about to let any current media hype about themselves go to their heads as they strung up their percussion instruments on a washing line over their heads, and dared to go on stage wearing a dubious combination of stage outfits that between them included a retro style jumper, a lycra Adidas top, trousers tucked into sports socks and a wooly hat. Managing to charm the audience with sheer conviviality of nature and banter before even picking up an instrument is never a bad way to start and the Comets certainly had this sorted. Musically, they possess and radiate a tremendous energy that had everyone dancing within thirty seconds of them stepping onto the stage and launching into debut single 'One Night in October'. Their pop induced riffs and percussion combinations teamed with lead singer Robert's erratically blurted lyrics are distinguished and unforgetable to say the least. Add this to the repetitive nature of their choruses and melodies, and this makes them the kind of band who you can listen to once and easily be able to sing along to, which is markedly part of their appeal. Touted for big things in 2010, it will be the compelling energy and approachability of both their sound and their personalities that hurtles them towards the big league before long.
www.myspace.com/mirrorsmirrorsmirrors
www.myspace.com/goldhawks
www.myspace.com/littlecometsmusic
Kicking off proceedings was oh-so-serious Brighton band Mirrors, whose sound and general on-stage persona is just as sharp and snappy as their name reflects (pun intended). Furtively describing themselves as 'pop-noir', they closely resemble a super-synthesized take on Joy Division; imagine an electro White Lies and you're at about the right ball park. Not that this is a bad thing; the music is undeniably catchy and despite first appearances they don't rely on gimmicky lyrics or marketing ploys to sustain attention - which is more than some up and coming bands can boast nowadays.
Second on were Goldhawks, a West London quintet who have been causing quite the stir of late and are currently on tour supporting The Courteeners. Already garnering comparisons to American romanticist Bruce Springsteen and fellow heavyweights Echo and the Bunnymen and U2, I shall freely admit that my expectations for these guys were high. Unfortunately, I was left feeling slightly underwhelmed by their overall performance. Their music is incredibly anthemic with guitar riffs and tinkling piano notes building into tumbling crescendos, and on record their sound is impressive and commanding. Yet playing live they seemed unable to transfer this energy that would have packed the punch to make me really want to sit up and listen. Instead, I was left lolling over the sofa at the back of the venue listening to them as if they were background music in a pub.
Rounding out the night were Geordies Little Comets, who brought to the stage a candid northern affability that hasn't been seen in London since the Arctic Monkeys spread their musical wings back in 2005. The band refreshingly proved that they are not about to let any current media hype about themselves go to their heads as they strung up their percussion instruments on a washing line over their heads, and dared to go on stage wearing a dubious combination of stage outfits that between them included a retro style jumper, a lycra Adidas top, trousers tucked into sports socks and a wooly hat. Managing to charm the audience with sheer conviviality of nature and banter before even picking up an instrument is never a bad way to start and the Comets certainly had this sorted. Musically, they possess and radiate a tremendous energy that had everyone dancing within thirty seconds of them stepping onto the stage and launching into debut single 'One Night in October'. Their pop induced riffs and percussion combinations teamed with lead singer Robert's erratically blurted lyrics are distinguished and unforgetable to say the least. Add this to the repetitive nature of their choruses and melodies, and this makes them the kind of band who you can listen to once and easily be able to sing along to, which is markedly part of their appeal. Touted for big things in 2010, it will be the compelling energy and approachability of both their sound and their personalities that hurtles them towards the big league before long.
www.myspace.com/mirrorsmirrorsmirrors
www.myspace.com/goldhawks
www.myspace.com/littlecometsmusic
Thursday 14 January 2010
Vampire Weekend live at Somerset House
As their success has grown, Vampire Weekend have certainly not forgotten the supporters that elevated them to where they are today. In the lead up to the release of their second album, they have given away the first single off the LP to fans for free, they have made their entire follow up effort available for streaming on their website and today performed a free gig at Somerset House in London prior to an in-store session tomorrow.
This is the first time the band have officially debuted their second album live in the UK. Gigs a year or so ago in support of their debut release featured a couple of new songs such as White Sky, but even then they seemed to be included to try and ascertain reaction rather than announcing them as definite frontrunners for their next release. With their new tracks featuring a lot more percussion, I was slightly concerned that the vibe this creates on the record overall would be lost in live sets purely because there is no way that the four band members can play their normal instruments plus all these additional pieces of equipment at the same time. Although the lack of on-stage percussion is noticeable, it does not at all affect the overall live experience of these new songs. The band throw as much fervor as they can possibly muster into their performance and this is undeniably reflected in the music; you can't help but be additonally won over by some already storming tracks when the people playing them are so obviously enthralled by the entire affair. Much to the delight of the crowd, the set was comprised of a fairly even mixture of both old and new songs, with latest songs such as Horchata and Holiday holding up well against favourties such as A-Punk and Oxford Comma. They raced through new single Cousins with such vigour you could feel the ripples of subsequent delight reverberate through the crowd, and lead singer Ezra Koenig was nothing but utterly charming with his jittery dances and witty banter during a technical hitch.
Somerset House itself is no stranger to hosting gigs; every summer over a two week period, top name musicians are lined up to play in the courtyard as the sun sets over a throng of music lovers. As much as I wanted this gig to be as good as ones in this series I have been to in the past, it wasn't. However, this was not by any means the bands fault, it was entirely due to the staging of the event. The courtyard is currently home to a rather large ice rink, but instead of setting up a stage in front of this directly next to where the crowd were standing, they placed the band on a balcony over the opposite side of said rink. It may have all been very aesthetically pleasing, but from a performance perspective they may as well have just stuck the lads on the roof. The band were obviously slightly perturbed with the gaping distance left between themselves and the majority of their audience (a lucky few got to be on the ice during the performance) but still did their utmost to interact with the watching crowd and this did not go unnoticed. This was separation anxiety at it's most literal, with the watching masses also distinctly uneasy about being stuck behind such an expanse they were not used to encountering. Despite Koenig's efforts to encourage his audience to sing along, as soon as fans realised they could actually hear themselves and the people next to them singing startlingly clearly over the band and the fairly weak speakers, all form of participation was paralysed and the atmosphere swiftly knocked dead.
I'm not complaining, really. I'm grateful to have had the opportunity to see one of my favourite bands not only perform live but for free, and I'm positive the other members of the thousand or so strong crowd were just as appreciative. It's simply a pity that such a good and honorable opportunity was markedly ruined by some rather poor stage design and a giant slab of ice.
(You may not have been at the gig but you can still experience VW's music for yourself without even leaving this page. The ever-generous boys have made it possible for their album to be streamed over other websites as well, so please have a listen below and if you like what you hear then pay their generosity back and buy the album!)
This is the first time the band have officially debuted their second album live in the UK. Gigs a year or so ago in support of their debut release featured a couple of new songs such as White Sky, but even then they seemed to be included to try and ascertain reaction rather than announcing them as definite frontrunners for their next release. With their new tracks featuring a lot more percussion, I was slightly concerned that the vibe this creates on the record overall would be lost in live sets purely because there is no way that the four band members can play their normal instruments plus all these additional pieces of equipment at the same time. Although the lack of on-stage percussion is noticeable, it does not at all affect the overall live experience of these new songs. The band throw as much fervor as they can possibly muster into their performance and this is undeniably reflected in the music; you can't help but be additonally won over by some already storming tracks when the people playing them are so obviously enthralled by the entire affair. Much to the delight of the crowd, the set was comprised of a fairly even mixture of both old and new songs, with latest songs such as Horchata and Holiday holding up well against favourties such as A-Punk and Oxford Comma. They raced through new single Cousins with such vigour you could feel the ripples of subsequent delight reverberate through the crowd, and lead singer Ezra Koenig was nothing but utterly charming with his jittery dances and witty banter during a technical hitch.
Somerset House itself is no stranger to hosting gigs; every summer over a two week period, top name musicians are lined up to play in the courtyard as the sun sets over a throng of music lovers. As much as I wanted this gig to be as good as ones in this series I have been to in the past, it wasn't. However, this was not by any means the bands fault, it was entirely due to the staging of the event. The courtyard is currently home to a rather large ice rink, but instead of setting up a stage in front of this directly next to where the crowd were standing, they placed the band on a balcony over the opposite side of said rink. It may have all been very aesthetically pleasing, but from a performance perspective they may as well have just stuck the lads on the roof. The band were obviously slightly perturbed with the gaping distance left between themselves and the majority of their audience (a lucky few got to be on the ice during the performance) but still did their utmost to interact with the watching crowd and this did not go unnoticed. This was separation anxiety at it's most literal, with the watching masses also distinctly uneasy about being stuck behind such an expanse they were not used to encountering. Despite Koenig's efforts to encourage his audience to sing along, as soon as fans realised they could actually hear themselves and the people next to them singing startlingly clearly over the band and the fairly weak speakers, all form of participation was paralysed and the atmosphere swiftly knocked dead.
I'm not complaining, really. I'm grateful to have had the opportunity to see one of my favourite bands not only perform live but for free, and I'm positive the other members of the thousand or so strong crowd were just as appreciative. It's simply a pity that such a good and honorable opportunity was markedly ruined by some rather poor stage design and a giant slab of ice.
(You may not have been at the gig but you can still experience VW's music for yourself without even leaving this page. The ever-generous boys have made it possible for their album to be streamed over other websites as well, so please have a listen below and if you like what you hear then pay their generosity back and buy the album!)
Wednesday 13 January 2010
Band To Watch: Codeine Velvet Club
If someone had said to me a few months ago that I'd be championing a solo effort by Jon Lawler, lead singer of the Fratellis, I'd most likely have laughed. Yet it appears the joke is on me as his new project, Codeine Velvet Club in which he pairs up with silky smooth songstress and by-day burlesque dancer Lou Hickey, is actually rather good.
With a proportion of music over the past year or so being dominated by 80s electronica and synth influences, it was time for someone to try something a bit different. However, I'm pretty sure nobody expected these influences to stem from 1920s swing music, for lead Fratelli to implement them, and for this to actually work. Mark Ronson may think he is a maestro with trumpets, but retro juggernauts Lawler and Hickey are here to show him how it's really done. An interfusion of classic rock and roll with big band instrumentals and sultry lyrics set the scene perfectly and you are easily transported back to a time before voice distorters and effects pedals were even thought of. The star of this old school show is undoubtedly Hickey though, with her lead vocals exquisitely tying up the musical package in an enticingly effortless bow.
Ironically, the one slight criticism I'd have of Lawler's solo effort is occasionally Lawler himself. Singing with Hickey their vocals amalgamate successfully enough, but on an individual basis, his discernible and accented vocal tones sometimes don't quite suit the style of music they are accompanying. Having said that, I think Codeine Velvet Club is a valiant effort for someone usually more closely associated with creating more animated and generally innocuous songs. Fratellis fans have given a mixed reaction to their idol's side project, but if anything they should be embracing it. Any good musician is open to experimentation and Lawler has certainly exhibited that here, presenting his usual listeners with a much more mature sound. Unfortunately, whilst the music is definitely refreshing in the current climate, I feel it is not going to be enough to start a trend. Fratelli followers can sleep safe in the knowledge that the wider ranging audience his other band draws will undoubtedly have him returning to the day job soon enough.
Codeine Velvet Club's debut album is out now on Island Records.
www.myspace.com/codeinevelvetclub
http://www.codeinevelvetclub.com/
With a proportion of music over the past year or so being dominated by 80s electronica and synth influences, it was time for someone to try something a bit different. However, I'm pretty sure nobody expected these influences to stem from 1920s swing music, for lead Fratelli to implement them, and for this to actually work. Mark Ronson may think he is a maestro with trumpets, but retro juggernauts Lawler and Hickey are here to show him how it's really done. An interfusion of classic rock and roll with big band instrumentals and sultry lyrics set the scene perfectly and you are easily transported back to a time before voice distorters and effects pedals were even thought of. The star of this old school show is undoubtedly Hickey though, with her lead vocals exquisitely tying up the musical package in an enticingly effortless bow.
Ironically, the one slight criticism I'd have of Lawler's solo effort is occasionally Lawler himself. Singing with Hickey their vocals amalgamate successfully enough, but on an individual basis, his discernible and accented vocal tones sometimes don't quite suit the style of music they are accompanying. Having said that, I think Codeine Velvet Club is a valiant effort for someone usually more closely associated with creating more animated and generally innocuous songs. Fratellis fans have given a mixed reaction to their idol's side project, but if anything they should be embracing it. Any good musician is open to experimentation and Lawler has certainly exhibited that here, presenting his usual listeners with a much more mature sound. Unfortunately, whilst the music is definitely refreshing in the current climate, I feel it is not going to be enough to start a trend. Fratelli followers can sleep safe in the knowledge that the wider ranging audience his other band draws will undoubtedly have him returning to the day job soon enough.
Codeine Velvet Club's debut album is out now on Island Records.
www.myspace.com/codeinevelvetclub
http://www.codeinevelvetclub.com/
Tuesday 12 January 2010
Band To Watch: Little Comets
It's not many bands that can say they made a name for themselves by performing impromptu mini gigs in university lectures or shopping centres, but it's certainly worked a treat for this jovial indie pop Geordie quartet.
Describing their music as 'something that has no concept of stealth', they seem to have hit the proverbial nail right on the head. Blasting you like a quick flame of indefatigable energy, the sound these boys produce along with the speed at which they've risen to success is ironically resonant of their galactic name.
However, some hefty championing from Radio 1 heavyweights such as Zane Lowe and Huw Stephens never did anyone any harm and as a result their debut single, 'One Night in October' impressively charted at number 3 in the UK Indie sales charts. Their songs are the epitome of catchy, with short verses and repetitive choruses teamed with snippy guitar riffs and recurrent flutters of percussion. Once the lyrics are going round your head you have one hell of a time getting them out and this will most certainly aid them on their path to success; after all, nobody remembers bands who sing forgettable songs.
Despite being hotly tipped for 2010 by all the important people and touted as a band not to miss live, Little Comets have certainly not forgotten their roots. Only a couple of months ago before they embarked on a nationwide tour, security guards were thrown into a frenzy as the band decided to rock out in the middle of Marks and Spencer in Newcastle city centre. Whether you think it ludicrous or impressive, you have to admire a band that continue to put in efforts such as these even after being signed to a major record label. With their debut EP on Columbia Records, 'Adultery' garnering honorable reviews upon it's recent release, it's safe to say that you'll need to check them out at your local Boots store sharpish; because it won't be long until they move on to much bigger and better venues.
www.littlecomets.com
www.myspace.com/littlecometsmusic
Describing their music as 'something that has no concept of stealth', they seem to have hit the proverbial nail right on the head. Blasting you like a quick flame of indefatigable energy, the sound these boys produce along with the speed at which they've risen to success is ironically resonant of their galactic name.
However, some hefty championing from Radio 1 heavyweights such as Zane Lowe and Huw Stephens never did anyone any harm and as a result their debut single, 'One Night in October' impressively charted at number 3 in the UK Indie sales charts. Their songs are the epitome of catchy, with short verses and repetitive choruses teamed with snippy guitar riffs and recurrent flutters of percussion. Once the lyrics are going round your head you have one hell of a time getting them out and this will most certainly aid them on their path to success; after all, nobody remembers bands who sing forgettable songs.
Despite being hotly tipped for 2010 by all the important people and touted as a band not to miss live, Little Comets have certainly not forgotten their roots. Only a couple of months ago before they embarked on a nationwide tour, security guards were thrown into a frenzy as the band decided to rock out in the middle of Marks and Spencer in Newcastle city centre. Whether you think it ludicrous or impressive, you have to admire a band that continue to put in efforts such as these even after being signed to a major record label. With their debut EP on Columbia Records, 'Adultery' garnering honorable reviews upon it's recent release, it's safe to say that you'll need to check them out at your local Boots store sharpish; because it won't be long until they move on to much bigger and better venues.
www.littlecomets.com
www.myspace.com/littlecometsmusic
Thursday 7 January 2010
Band To Watch: Animal Kingdom
While everyone spent last year raving about Animal Collective's latest offering, some other feral-name inspired musicians were quietly causing a stir and getting ready to pounce. Animal Kingdom, you'll be pleased to hear, are an indie rock quartet from South London rather than something transplanted straight out of Disney's magical world.
Yet the band do actually possess a sense of the magical. Their song Chalk Stars is so beautiful that it transports you to a better place, with a charged simplicity of piano, guitars and xylophone slowly building up into a passionate instrumental crescendo half way through the song. Lead singer Richard Sauberlich has vocals not dissimilar to those soft, high, ethereal tones often associated with Band of Horses or Death Cab, and the heart-searing harmonies are not far removed from Sigur Ros. Whereas many other new bands at the minute try to grab attention with witty/crude/socially depricating lyrics, Animal Kingdom portray such innocence that you can't help but to be pulled to their music if only out of a sense of protection.
Their other tracks possess a slightly edgier sense of the mystical, with heavier guitars and drums playing a more prominent role. The band's distinctive 'other world' sound still remains the focus, and their music videos also reflect the refreshingly unconventional approach they seem to take to their work. But this is just another aspect that makes the band so appealing. They are the breath of fresh air that needs to be injected into the music scene at the minute, just as Radiohead did over a decade ago in amongst a myriad of boy bands, processed pop and incredibly dubious house music. Luckily the house scene is long gone, but in an industry struggling with sales and reinvention, bands with unique approaches such as Animal Kingdom could be just what is needed to help give it a good kick start.
http://www.weareanimalkingdom.com/
www.myspace.com/weareanimalkingdom
Yet the band do actually possess a sense of the magical. Their song Chalk Stars is so beautiful that it transports you to a better place, with a charged simplicity of piano, guitars and xylophone slowly building up into a passionate instrumental crescendo half way through the song. Lead singer Richard Sauberlich has vocals not dissimilar to those soft, high, ethereal tones often associated with Band of Horses or Death Cab, and the heart-searing harmonies are not far removed from Sigur Ros. Whereas many other new bands at the minute try to grab attention with witty/crude/socially depricating lyrics, Animal Kingdom portray such innocence that you can't help but to be pulled to their music if only out of a sense of protection.
Their other tracks possess a slightly edgier sense of the mystical, with heavier guitars and drums playing a more prominent role. The band's distinctive 'other world' sound still remains the focus, and their music videos also reflect the refreshingly unconventional approach they seem to take to their work. But this is just another aspect that makes the band so appealing. They are the breath of fresh air that needs to be injected into the music scene at the minute, just as Radiohead did over a decade ago in amongst a myriad of boy bands, processed pop and incredibly dubious house music. Luckily the house scene is long gone, but in an industry struggling with sales and reinvention, bands with unique approaches such as Animal Kingdom could be just what is needed to help give it a good kick start.
http://www.weareanimalkingdom.com/
www.myspace.com/weareanimalkingdom
The best video of last decade
When bands are given thousands of dollars and the opportunity to make a music video, most usually think of the most exotic location they can physically get to, and a plot confusing enough to make even Richard Kelly balk. What a lot of record companies and artists haven't seemed to figure out yet is that just because you throw a lot of money into something, doesn't necessarily make it good (*coughs* Waterworld) and that sometimes, simplicity is very much key.
Ok Go proved this in 2006 with their video for the single, Here We Go Again. I'm sure whoever pitched the idea of four guys doing a dance routine on treadmills must have received some pretty frosty looks from the head honchos at EMI, but it proved to be one of the most intelligent music videos in years. MTV viewers are so used to seeing fancy artwork swirl around the screen, or girls writhing in tiny costumes on over-sized sets that this provided the fresh new stance that everyone was waiting for.
At face value the whole thing seems incredibly simple; hop across a few running machines in time to music. But anyone who has ever been on a treadmill will back me up in saying that incidents of flying off the back after dropping your i-pod, or nearly breaking your ankle as you're trying to jump off to take a quick breather, are far more regular occurrences than you may like to admit. So how these guys not only came up with a complex three minute dance routine to be spread over six treadmills, but then pull the entire sequence off seamlessly is totally beyond me.
For a band who have been around for over ten years with songs just as good as the one that accompanied this video and yet not gained such attention previously, it certainly suggests that the music video was key to getting them noticed. It worked incredibly, becoming an internet sensation that has been viewed around 50 million times on youtube and the most downloaded music video ever on itunes, although interestingly the single itself still only peaked at number 36 in the UK charts. MTV may air more reality tv nowadays than it does actual music videos, but Ok Go have proved that the video is just as influential as ever in thrusting a band into the spotlight, and that several minutes of pretentious extravagance isn't always the best way to go about it.
http://www.okgo.net/
Ok Go proved this in 2006 with their video for the single, Here We Go Again. I'm sure whoever pitched the idea of four guys doing a dance routine on treadmills must have received some pretty frosty looks from the head honchos at EMI, but it proved to be one of the most intelligent music videos in years. MTV viewers are so used to seeing fancy artwork swirl around the screen, or girls writhing in tiny costumes on over-sized sets that this provided the fresh new stance that everyone was waiting for.
At face value the whole thing seems incredibly simple; hop across a few running machines in time to music. But anyone who has ever been on a treadmill will back me up in saying that incidents of flying off the back after dropping your i-pod, or nearly breaking your ankle as you're trying to jump off to take a quick breather, are far more regular occurrences than you may like to admit. So how these guys not only came up with a complex three minute dance routine to be spread over six treadmills, but then pull the entire sequence off seamlessly is totally beyond me.
For a band who have been around for over ten years with songs just as good as the one that accompanied this video and yet not gained such attention previously, it certainly suggests that the music video was key to getting them noticed. It worked incredibly, becoming an internet sensation that has been viewed around 50 million times on youtube and the most downloaded music video ever on itunes, although interestingly the single itself still only peaked at number 36 in the UK charts. MTV may air more reality tv nowadays than it does actual music videos, but Ok Go have proved that the video is just as influential as ever in thrusting a band into the spotlight, and that several minutes of pretentious extravagance isn't always the best way to go about it.
http://www.okgo.net/
Wednesday 6 January 2010
Mary, Mary, not quite Contrary
Almost two years to the day after they released their critically acclaimed debut, Vampire Weekend have returned with their highly anticipated second album, Contra. 'Contra', meaning 'the opposite' may have been their aim for the sound on this sophomore release, and although their attemps increating a new direction are admirably clear, they've still ocassionally stumbled back into old habits along the way.
This is not necessarily a bad thing. One reason their first album received such attention was due to the African sounding rythmns that pulsate through their tracks; something not often heard in the average indie band. Sounds synonymous with tribal beats and traditional dance-affiliated claps are resonant in the majority of tracks, like a subliminal African thread tying each track together. Vampire Weekend are kings of percussion and they've definitely stepped this element up a notch in their new tracks. Bongo drums and glockenspiels open the first track, Horchata, and new single Cousins is an excited frenzy of bells, violins, drums, cymbals and güiro's (remember those wooden insruments you used to scrape with a stick in primary school? Yeah, them).
Kudos to the boys though, the album does present strong evidence of musical progression aside from an increased attack on the percussion cupboard. Dare I say it, the boys have dropped the prep school demeanor and gone a little bit electro on us. California English still retains the underlying VW sound we all know and love, but quick electric guitar picks and the distortion of lead singer Ezra Koening's voice makes some of his lyrics almost unintelligable. It's maybe not what we expected to hear but I am impressed the band were daring enough to step outside the perimetres and try something totally different to their 'conventional' sound. Album track Taxi Cab also sees the band veer away from their usual short, sharp bursts of energy-filled songs, taking on a much slower pace. The recognisable claps are still there, but instead classical piano and violin and even a harpsichord takes precedence to create a wholly new vibe.
Contra has a definite party semblance, and in some tracks you almost feel like you're dancing in the African desert while the band strum away behind you. They should be commended for successfully retaining their distinctive and individual sound whilst virtually dropping their preppy temperament and venturing into new styles. Their willingness to experiment and progress only reinforces the fact that Vampire Weekend are most certainly more than a one trick percussion pony.
'Contra' is released on 11th January 2010 on XL Recordings
http://www.vampireweekend.com/
www.myspace.com/vampireweekend
This is not necessarily a bad thing. One reason their first album received such attention was due to the African sounding rythmns that pulsate through their tracks; something not often heard in the average indie band. Sounds synonymous with tribal beats and traditional dance-affiliated claps are resonant in the majority of tracks, like a subliminal African thread tying each track together. Vampire Weekend are kings of percussion and they've definitely stepped this element up a notch in their new tracks. Bongo drums and glockenspiels open the first track, Horchata, and new single Cousins is an excited frenzy of bells, violins, drums, cymbals and güiro's (remember those wooden insruments you used to scrape with a stick in primary school? Yeah, them).
Kudos to the boys though, the album does present strong evidence of musical progression aside from an increased attack on the percussion cupboard. Dare I say it, the boys have dropped the prep school demeanor and gone a little bit electro on us. California English still retains the underlying VW sound we all know and love, but quick electric guitar picks and the distortion of lead singer Ezra Koening's voice makes some of his lyrics almost unintelligable. It's maybe not what we expected to hear but I am impressed the band were daring enough to step outside the perimetres and try something totally different to their 'conventional' sound. Album track Taxi Cab also sees the band veer away from their usual short, sharp bursts of energy-filled songs, taking on a much slower pace. The recognisable claps are still there, but instead classical piano and violin and even a harpsichord takes precedence to create a wholly new vibe.
Contra has a definite party semblance, and in some tracks you almost feel like you're dancing in the African desert while the band strum away behind you. They should be commended for successfully retaining their distinctive and individual sound whilst virtually dropping their preppy temperament and venturing into new styles. Their willingness to experiment and progress only reinforces the fact that Vampire Weekend are most certainly more than a one trick percussion pony.
'Contra' is released on 11th January 2010 on XL Recordings
http://www.vampireweekend.com/
www.myspace.com/vampireweekend
Tuesday 5 January 2010
Top 20 songs of last decade (Part Two)
After my previous slating of various songs that were considered to be outstanding from the last decade but in reality proved otherwise, I decided it was only fair to list some of the ones that I personally feel should have been included. I'm not going to re-write the entire list as I don't wholly disagree with the last one, but am just going to put a few suggestions out there that I feel should have had a look-in. Feel free to suggest your own if they've been missed out too!
In no particular order...
Arcade Fire - Wake Up
Ridiculously atmospheric, a breath-taking change half way through, beautiful orchestral music and passionate lyrics, this is a definite contender.
Jay-Z - 99 Problems
I know Jay-Z isn't everyone's cup of tea, that much was made pretty apparent by a large crowd of unimpressed faces surrounding me when I saw him 'support' Coldplay at Wembley Stadium. Whether you're a hip-hop fan or not, you can't deny that the lyrics of this song aren't an incredibly thought - provoking social commentary. The prominent addition of percussion to a rap track was pretty impressive as well. He's built an empire (including his own record label) from scratch and paved the way for current and emerging hip hop artists, plus he married one of the biggest selling female artists of our generation. Not bad going for a disadvantaged kid from Brooklyn.
Coldplay - In My Place
Although the success of some of their more recent songs seems to have eclipsed their earlier releases, In My Place remains, for me, one of the best tracks of recent years. The first few drum beats before the guitar kicks in are instantly recognisable, and the sweeping crescendo key change at the start of the chorus has sparked thousands of yearning sign-a-longs. This song also marked the point in their career where they progressed from sentimental indie musicians into mainstream soft rock stars. Their first album was released in 2000, but it wasn't until In My Place in 2003 that they really started to gather a strong following and develop into one of the biggest bands in the world by the time the decade was done.
The White Stripes - Seven Nation Army
In no particular order...
Arcade Fire - Wake Up
Ridiculously atmospheric, a breath-taking change half way through, beautiful orchestral music and passionate lyrics, this is a definite contender.
Jay-Z - 99 Problems
I know Jay-Z isn't everyone's cup of tea, that much was made pretty apparent by a large crowd of unimpressed faces surrounding me when I saw him 'support' Coldplay at Wembley Stadium. Whether you're a hip-hop fan or not, you can't deny that the lyrics of this song aren't an incredibly thought - provoking social commentary. The prominent addition of percussion to a rap track was pretty impressive as well. He's built an empire (including his own record label) from scratch and paved the way for current and emerging hip hop artists, plus he married one of the biggest selling female artists of our generation. Not bad going for a disadvantaged kid from Brooklyn.
Coldplay - In My Place
Although the success of some of their more recent songs seems to have eclipsed their earlier releases, In My Place remains, for me, one of the best tracks of recent years. The first few drum beats before the guitar kicks in are instantly recognisable, and the sweeping crescendo key change at the start of the chorus has sparked thousands of yearning sign-a-longs. This song also marked the point in their career where they progressed from sentimental indie musicians into mainstream soft rock stars. Their first album was released in 2000, but it wasn't until In My Place in 2003 that they really started to gather a strong following and develop into one of the biggest bands in the world by the time the decade was done.
The White Stripes - Seven Nation Army
For a Jack White creation not to be included in any list categorising some of the best music of the decade would in all honesty, be a bit of a travesty. One of the most influential artists of the last decade and fearless leader of the 'super-'group' movement, White has thrust himself upon our earlobes via three different incarnations; The White Stripes, The Raconteurs and more recently The Dead Weather.
After they made waves with their single 'Fell in Love with a Girl', it was Seven Nation Army that really made everyone sit up and pay attention to the Stripes duo. Never has single drum beat and a lone guitar riff sounded so addictively irresistible, and by the time the more perplexing and raucous bridge and chorus kick in, you know that you want to be signing up to White's Army too.
Top 20 songs of last decade (Part One)
Over the New Year period, Channel 4 decided to broadcast the twenty best songs of the last decade. All I can say is that I really hope whoever voted has been living in a cave for the past ten years, because if this is the best music that they've heard in that amount of time then I pity them greatly. For those of you who didn't watch it, here's the rundown...
20: Leave Right Now - Will Young
19: Ruby - Kaiser Chiefs
18: Valerie - Mark Ronson ft. Amy Winehouse
17: Viva La Vida - Coldplay
16: Take Me Out - Franz Ferdinand
15: Mercy - Duffy
14: Patience - Take That
13: Stan - Eminem
12: I Don't Feel Like Dancin' - Scissor Sisters
11: Hey Ya! - Outkast
10: You're Beautiful - James Blunt
9: Can't Get You Out Of My Head - Kylie Minogue
8: Crazy in Love - Beyonce
7: Rule The World - Take That
6: Crazy - Gnarls Barkley
5: Rehab - Amy Winehouse
4: Sex on Fire - Kings of Leon
3: I Bet You Look Good On The Dancefloor - Arctic Monkeys
2: Mr Brightside - The Killers
1: Chasing Cars - Snow Patrol
Many would argue that this list is tailored to Channel 4 viewers tastes, which is why the list is entirely comprised of 'mainstream' songs. Fine, but call your programme 'Channel Four viewers' songs of the decade' instead to clarify this.
I'm not saying I disagree with the entire thing. Gnarls Barkley certainly deserve to be on the list; not only is Crazy a ridiculously catchy song, but it represented a milestone for digital media in the music industry as it was the first track to reach number one in the singles chart on download sales alone. Arctic Monkeys and Franz Ferdinand's releases heralded the resurrection of the indie era in British music and Can't Get You Out Of My Head proved that pop can be classy as well as catchy. Even though I may not be a fan it is fact, like it or not, that Eminem's emergence in the charts paved the way for rap music to become more generally accepted in popular culture.
It is undeniable that Ruby is a ridiculously catchy song. But one of the best written, both lyrically and musically, over the past ten years? No way. Lead singer Ricky Wilson himself admitted that the entire song is based on about three notes. Combine that with the ridiculously repetitive lyrics and you may have a hit single, but not a well written track.
It is a similar situation for the Snow Patrol track, though at least Ruby came towards the bottom of the list. Chasing Cars is a good song. The harmonies and lyrics are meaningful and thought out, and it's popularity has increased after it's increased usage on tv shows and adverts. Yet we all know that just because lots of people buy it, it's still not necessarily an outstanding song. Bob the Builder was one of the biggest selling songs of the last decade for crying out loud. When I think of the last ten years, this song wouldn't even register in my head as a possible contender, let alone winner.
Whereas now we can look back and say that the Beatles' 'She Loves You', 'Son of a Preacher Man' by Dusty Springfield or 'I Got You Babe' by Sonny and Cher were stand-out songs of the 60s, I don't believe that half of these tracks listed will be considered in the same high esteem as these older tracks are when we look back at the noughties in forty years time. I don't think this is because there were not enough memorable and incredibly produced songs over the last ten years, far from it. It's just perhaps the general music buying public has become far too content in their acceptance of mediocre lyrics and music.
20: Leave Right Now - Will Young
19: Ruby - Kaiser Chiefs
18: Valerie - Mark Ronson ft. Amy Winehouse
17: Viva La Vida - Coldplay
16: Take Me Out - Franz Ferdinand
15: Mercy - Duffy
14: Patience - Take That
13: Stan - Eminem
12: I Don't Feel Like Dancin' - Scissor Sisters
11: Hey Ya! - Outkast
10: You're Beautiful - James Blunt
9: Can't Get You Out Of My Head - Kylie Minogue
8: Crazy in Love - Beyonce
7: Rule The World - Take That
6: Crazy - Gnarls Barkley
5: Rehab - Amy Winehouse
4: Sex on Fire - Kings of Leon
3: I Bet You Look Good On The Dancefloor - Arctic Monkeys
2: Mr Brightside - The Killers
1: Chasing Cars - Snow Patrol
Many would argue that this list is tailored to Channel 4 viewers tastes, which is why the list is entirely comprised of 'mainstream' songs. Fine, but call your programme 'Channel Four viewers' songs of the decade' instead to clarify this.
I'm not saying I disagree with the entire thing. Gnarls Barkley certainly deserve to be on the list; not only is Crazy a ridiculously catchy song, but it represented a milestone for digital media in the music industry as it was the first track to reach number one in the singles chart on download sales alone. Arctic Monkeys and Franz Ferdinand's releases heralded the resurrection of the indie era in British music and Can't Get You Out Of My Head proved that pop can be classy as well as catchy. Even though I may not be a fan it is fact, like it or not, that Eminem's emergence in the charts paved the way for rap music to become more generally accepted in popular culture.
It is undeniable that Ruby is a ridiculously catchy song. But one of the best written, both lyrically and musically, over the past ten years? No way. Lead singer Ricky Wilson himself admitted that the entire song is based on about three notes. Combine that with the ridiculously repetitive lyrics and you may have a hit single, but not a well written track.
It is a similar situation for the Snow Patrol track, though at least Ruby came towards the bottom of the list. Chasing Cars is a good song. The harmonies and lyrics are meaningful and thought out, and it's popularity has increased after it's increased usage on tv shows and adverts. Yet we all know that just because lots of people buy it, it's still not necessarily an outstanding song. Bob the Builder was one of the biggest selling songs of the last decade for crying out loud. When I think of the last ten years, this song wouldn't even register in my head as a possible contender, let alone winner.
Whereas now we can look back and say that the Beatles' 'She Loves You', 'Son of a Preacher Man' by Dusty Springfield or 'I Got You Babe' by Sonny and Cher were stand-out songs of the 60s, I don't believe that half of these tracks listed will be considered in the same high esteem as these older tracks are when we look back at the noughties in forty years time. I don't think this is because there were not enough memorable and incredibly produced songs over the last ten years, far from it. It's just perhaps the general music buying public has become far too content in their acceptance of mediocre lyrics and music.
Sunday 3 January 2010
Starting as I mean to go on... the first gig of 2010
What better way for me to ring in the New Year than at a gig? With live music in mind, along with memories of hideous clubs and sticky floors, I was more than just slightly pleased to hear that my beloved Flowerpot were staging a NYE musical extravaganza at the HMV Forum in Kentish Town. So, world class bands may not have been on the line up but there were definitely a couple to watch on there, so figured it was worth a look in.
After arriving late (that's what drinking games do for you), I discovered I was just in time to see Everything Everything, who have previously received tidbits of hype but are bound to receive bucketloads more this year. Their witty electro infused indie pop translated unexpectedly well on stage, which was a pleasant surprise as I was somewhat concerned it was just going to be four lads involved in a dubious keyboard-based mash up. Unfortunately, not many other people there seemed to be enjoying them as much as I was, but perhaps this was because the scenesters these days deem it relatively uncool to be appreciating songs about Photoshop.
Headlining were Mumford and Sons, who, to be honest, I was not particularly excited about. After seeing them support the Maccabees at the start of last year and feeling their performance was one of the most uncharismatic I had experienced in a while, I wondered if this folk quartet were really the best people to be helping me ring in the new year. There has been a lot of hype around them in the past few months and I couldn't understand how and what I had apparently missed, so figured this would provide me with an opportunity to try and work it out. I will happily admit when I am wrong and I am honestly pleased to say that this was one of them.
In the interim months between originally seeing them live and then a second time, the band have injected a substantial dose of allure and charm into their live sets; and they are all the better for it. Yes, their slower songs aren't ones that had everyone dancing but single 'Little Lion Man' produced a positive reaction from the crowd and lead singer Marcus Mumford's yearning vocals cause you to strain to discover more about exactly what he is singing. Their livelier tracks most certainly instilled the party spirit into the drunken revellers, with a good ol' fashioned hoe-down taking place over several songs in front of the stage and a somewhat loudly slurred sing-a-long to their version of Amazing Grace as they rounded up their set. They're never going to quite have the stage presence of bands fronted by big personalities such as Kasabian or Yeah Yeah Yeahs, but I think this would come across somewhat bizarrely in comparison to the music they make anyway. They helped make my new years enjoyable, and that's enough for me.
(Photos to come.... if they have turned out decently enough on my camera)
www.myspace.com/everythingeverythinguk
www.myspace.com/mumfordandsons
http://www.mumfordandsons.com/
After arriving late (that's what drinking games do for you), I discovered I was just in time to see Everything Everything, who have previously received tidbits of hype but are bound to receive bucketloads more this year. Their witty electro infused indie pop translated unexpectedly well on stage, which was a pleasant surprise as I was somewhat concerned it was just going to be four lads involved in a dubious keyboard-based mash up. Unfortunately, not many other people there seemed to be enjoying them as much as I was, but perhaps this was because the scenesters these days deem it relatively uncool to be appreciating songs about Photoshop.
Headlining were Mumford and Sons, who, to be honest, I was not particularly excited about. After seeing them support the Maccabees at the start of last year and feeling their performance was one of the most uncharismatic I had experienced in a while, I wondered if this folk quartet were really the best people to be helping me ring in the new year. There has been a lot of hype around them in the past few months and I couldn't understand how and what I had apparently missed, so figured this would provide me with an opportunity to try and work it out. I will happily admit when I am wrong and I am honestly pleased to say that this was one of them.
In the interim months between originally seeing them live and then a second time, the band have injected a substantial dose of allure and charm into their live sets; and they are all the better for it. Yes, their slower songs aren't ones that had everyone dancing but single 'Little Lion Man' produced a positive reaction from the crowd and lead singer Marcus Mumford's yearning vocals cause you to strain to discover more about exactly what he is singing. Their livelier tracks most certainly instilled the party spirit into the drunken revellers, with a good ol' fashioned hoe-down taking place over several songs in front of the stage and a somewhat loudly slurred sing-a-long to their version of Amazing Grace as they rounded up their set. They're never going to quite have the stage presence of bands fronted by big personalities such as Kasabian or Yeah Yeah Yeahs, but I think this would come across somewhat bizarrely in comparison to the music they make anyway. They helped make my new years enjoyable, and that's enough for me.
(Photos to come.... if they have turned out decently enough on my camera)
www.myspace.com/everythingeverythinguk
www.myspace.com/mumfordandsons
http://www.mumfordandsons.com/
Saturday 2 January 2010
Enchanting us with their Electric Eye
With new bands popping up every day, it is often hard to discover the really good few mixed in amongst the hundreds of mediocre. It is therefore not very regularly that I get as excited about a band as I have about Apparatjik.
Pronounced 'app-a-rat-chick', this is quite possibly the most understated super group of recent years. Comprised of Magne Furuholmen from a-ha, Guy Berryman from Coldplay, Jonas Bjerre from Mew and producer Martin Terefe, the band originally formed to create the title track 'Ferreting' for BBC's 'Amazon' series. Yet after producing the commissioned track, the four continued to create music in Magne's Norwegian studio and have just released their first official single 'Electric Eye' on limited edition vinyl.
With a sound based around experimental electro-rock, the band state that they sound like 'no one else' and although that's a big statement, they may not be far wrong. Despite hints of Sigur Ros in their instrumental pieces, I can honestly think of nobody else in the industry at the minute that is making music quite like these guys. Experimental rock and electro is continually in development, yet very little of it seems to sound quite so appealing or developed as Apparatjik's music does.
The mystery and experimental aspects of the band are reflected in most other features of their production as well. Their website is a myriad of cubes within cubes, bringing up images of the band, random youtube videos they have found amusing, brief flickers of the Batman Joker image and scans of book pages describing quantum physics. Their debut performance is due next month in Berlin, and it has been reported that this will take place inside a cube not dissimilar to the one cryptically depicted on their website. Hopefully this live showing will not be a one-off; the band have far too much talent to exhibit on a few tracks alone, and they deserve to have music listeners regard them in the high esteem they warrant.
http://www.apparatjik.com/
www.myspace.com/apparatjik
Pronounced 'app-a-rat-chick', this is quite possibly the most understated super group of recent years. Comprised of Magne Furuholmen from a-ha, Guy Berryman from Coldplay, Jonas Bjerre from Mew and producer Martin Terefe, the band originally formed to create the title track 'Ferreting' for BBC's 'Amazon' series. Yet after producing the commissioned track, the four continued to create music in Magne's Norwegian studio and have just released their first official single 'Electric Eye' on limited edition vinyl.
With a sound based around experimental electro-rock, the band state that they sound like 'no one else' and although that's a big statement, they may not be far wrong. Despite hints of Sigur Ros in their instrumental pieces, I can honestly think of nobody else in the industry at the minute that is making music quite like these guys. Experimental rock and electro is continually in development, yet very little of it seems to sound quite so appealing or developed as Apparatjik's music does.
The mystery and experimental aspects of the band are reflected in most other features of their production as well. Their website is a myriad of cubes within cubes, bringing up images of the band, random youtube videos they have found amusing, brief flickers of the Batman Joker image and scans of book pages describing quantum physics. Their debut performance is due next month in Berlin, and it has been reported that this will take place inside a cube not dissimilar to the one cryptically depicted on their website. Hopefully this live showing will not be a one-off; the band have far too much talent to exhibit on a few tracks alone, and they deserve to have music listeners regard them in the high esteem they warrant.
http://www.apparatjik.com/
www.myspace.com/apparatjik
They think it's all over.... 2009 definitely is now
So.... the 24 days of Christmas Crackers didn't quite come to fruition. Turns out there are quite a lot of parties and gigs at Christmas time and I had too much music to listen to and not enough time to write about it. I'm sure you were all devastated.
Anyway, 2010 is here and the blog is back on form, and I have a feeling it's going to be a great year for music. 2009 wasn't bad but there were only a few stand out albums for me, and there should have been more. Here are the few that tickled me pink last year...
Kasabian - West Ryder Pauper Lunatic Asylum
The Leeds lads finally graduated to the big time and if this storming album didn't do it for them, then nothing would have. Moving on from their typically lad-driven sound, this record was heavily influenced by psychadelia but it was a change in direction that suited them perfectly. Their songs proved them band have more substance than their previous two releases gave them credit for. Kasabian's new found success has spurred them on so much that they aim to have their next album out at the end of this year; if they manage it, it will be most interesting to see if it ends up sounding too rushed, and what direction they take next (sources say it's already quite Nirvana-esque).
Noah and the Whale - First Days of Spring
Moving on from their pop-folk sound, NATW undeniably released one of the most emotionally heart-wrenching albums of last year, or perhaps even of the decade. It's not often that a guy puts his emotions on such blatant display, but lead singer Charlie Fink took the risk and it most certainly paid off. Anyone who can make it to the end of the album without a tear in their eye needs to check they actually have a heart.
The Maccabees - Wall of Arms
After receiving much acclaim for their debut release, the Maccabees managed to pull off the difficult second album with mature success. Much like Noah and the Whale, their follow up release showed a somewhat darker side to the band, with deeper lyrics and less ambrosial fluff. The gap in between their debut and second releases also gave the band more time to gel together on stage and made them ones to watch on the gig circuit.
The Temper Trap - Conditions
These New Zealanders made a definite impression with their debut single release, 'Sweet Disposition', which seemed to be forced onto us via the medium of film soundtracks, adverts, various tv shows and of course, radio play, towards the latter part of 2009. Luckily for us, it's a great song. Their ethereal indie sound captured the attentions of music listeners everywhere, and the band have already sold out three dates at Shepherd's Bush Empire in a few months' time based on their debut single alone. Not bad going. 2010 is the time for these boys to prove they are more than a one-hit wonder, and they certainly have the potential to do so.
Other releases worthy of a mention:
Arctic Monkeys - Humbug
Alex Turner proves these Sheffield lads are more than polo shirts and witty lyrics.
Muse - The Resistance
If someone had told us two years ago that Matt Bellamy and co. would cross Knights of Cydonia with Freddie Mercury, we'd have laughed. Somehow, it works.
Hockey - Mind Chaos
Indie rap never sounded so good. And they're from Portland! Who'd have thought it.
Phoenix - Wolfgang Amadeus Phoenix
After years of unjustly flying under the radar, these French boys finally gained some commercial recognition with their catchy pop tinged with a touch of electro.
Anyway, 2010 is here and the blog is back on form, and I have a feeling it's going to be a great year for music. 2009 wasn't bad but there were only a few stand out albums for me, and there should have been more. Here are the few that tickled me pink last year...
Kasabian - West Ryder Pauper Lunatic Asylum
The Leeds lads finally graduated to the big time and if this storming album didn't do it for them, then nothing would have. Moving on from their typically lad-driven sound, this record was heavily influenced by psychadelia but it was a change in direction that suited them perfectly. Their songs proved them band have more substance than their previous two releases gave them credit for. Kasabian's new found success has spurred them on so much that they aim to have their next album out at the end of this year; if they manage it, it will be most interesting to see if it ends up sounding too rushed, and what direction they take next (sources say it's already quite Nirvana-esque).
Noah and the Whale - First Days of Spring
Moving on from their pop-folk sound, NATW undeniably released one of the most emotionally heart-wrenching albums of last year, or perhaps even of the decade. It's not often that a guy puts his emotions on such blatant display, but lead singer Charlie Fink took the risk and it most certainly paid off. Anyone who can make it to the end of the album without a tear in their eye needs to check they actually have a heart.
The Maccabees - Wall of Arms
After receiving much acclaim for their debut release, the Maccabees managed to pull off the difficult second album with mature success. Much like Noah and the Whale, their follow up release showed a somewhat darker side to the band, with deeper lyrics and less ambrosial fluff. The gap in between their debut and second releases also gave the band more time to gel together on stage and made them ones to watch on the gig circuit.
The Temper Trap - Conditions
These New Zealanders made a definite impression with their debut single release, 'Sweet Disposition', which seemed to be forced onto us via the medium of film soundtracks, adverts, various tv shows and of course, radio play, towards the latter part of 2009. Luckily for us, it's a great song. Their ethereal indie sound captured the attentions of music listeners everywhere, and the band have already sold out three dates at Shepherd's Bush Empire in a few months' time based on their debut single alone. Not bad going. 2010 is the time for these boys to prove they are more than a one-hit wonder, and they certainly have the potential to do so.
Other releases worthy of a mention:
Arctic Monkeys - Humbug
Alex Turner proves these Sheffield lads are more than polo shirts and witty lyrics.
Muse - The Resistance
If someone had told us two years ago that Matt Bellamy and co. would cross Knights of Cydonia with Freddie Mercury, we'd have laughed. Somehow, it works.
Hockey - Mind Chaos
Indie rap never sounded so good. And they're from Portland! Who'd have thought it.
Phoenix - Wolfgang Amadeus Phoenix
After years of unjustly flying under the radar, these French boys finally gained some commercial recognition with their catchy pop tinged with a touch of electro.
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