Album review: Neon Trees 'Habits'

With ‘Animal’ being a horrendously catchy track possessing a series of hand claps and a chorus that circulates in your head for hours upon end, hopes for Neon Trees’ debut release Habits were reasonably high. However, remember that band Orson from the mid noughties that had one half-decent song? Well, Neon Trees appear to be rather like Orson’s younger, slightly edgier sibling; minus the ridiculous hats and with a few more brazen guitar riffs thrown in for good measure.

From the off, it becomes seemingly obvious that this quartet are fans of both the heavier rock and more commercially-friendly indie-pop sounds. Instead of settling on just one for their own material, they have tried to encompass both but at no point does this really translate into a wholly smooth fusion of the two genres. ‘Love and Affection’ presents us with a taste of guttural, fervent vocals diligently laid against a more inoffensive pop-based guitar and drum permeated melody. Although kicking off with a determined riff and steady drum beat, the fiery direction it initially procures steadily veers off into streaks of diluted pop-rock. This is a pattern that occurs through the majority of the first half of the record including during the hideously lyrically contrived ‘1983’ and creates the impression that Neon Trees have nothing to present that we haven’t all heard before.

If you can push through this sense of familiarity however, the latter portion of the album indicates that this Utah-based band might, surprisingly, actually be able to offer us something more. ‘In The Next Room’ opens with retro-inspired finger clicks and a silky piano accompaniment that almost makes you feel as if you’re listening to a different artist and era altogether. Lead singer Tyler Glenn’s raspy vocals transform into a smoother croon, and this change is a refreshing turnaround when all hope was rather thought to be lost. Granted, the ubiquitous guitar riffs make a reappearance later in the song but at least we now know there’s variety in Neon Trees’ repertoire. ‘Helpless’ possesses a faster synth-tinted tempo bringing them more in line with their contemporary peers, and ‘Farther Down’ finally demonstrates an ability to write meaningful lyrics whilst rousing harmonies, a slower pace and powerful crescendos all show a deeper side to a band which ultimately does them credit.

So, whilst the outskirts may appear to be familiar and prosaic, it transpires that what lies in the centre of the forest is occasionally worth venturing in deeper for after all. If the band themselves can explore this heart further and be unafraid to detour from the well-trodden pop-punk path, then Neon Trees’ successive release may just be worth considering saving from an automatic trip to the chipper.

This review was originally published on www.culturedeluxe.com

Album review: Little Comets 'In Search Of Elusive Little Comets'

After orbiting and gaining momentum for a couple of years, Little Comets have decided to finally strike with their debut album In Search Of Elusive Little Comets. These four northern lads have come a long way from the days when they used to do impromptu gigs in the aisles of high street shops; several singles, copious amounts of touring and some strong radio play later have culminated in this release. Those who have followed the band from the very beginning will undoubtedly be able to hear the progression they have gone through before the tracks on this LP were even laid down.

With their jovial guitar-pop and witty lyrical angle on various issues, Little Comets were one of those bands you weren’t quite sure if you should be taking seriously or not, and opening track ‘Adultery’ objectifies the case in point perfectly. Hidden behind the buoyant guitar plucks and lead singer Robert Coles’ spirited staccato vocals lies a message about the destruction of cheating and the path of discontent that leads there. Luckily, the album as a whole does not act as a method for the band to preach their moral beliefs.

Debut single ‘One Night In October’ back in 2009 featured punchy percussion and shouty vocals in such abundance that The Futureheads should have been worried. Focusing on an argument between a couple, the lyrics and instrumentals were juxtaposed in such a blatant way as also demonstrated in ‘Adultery’ that it seemed to be a style they could easily have found themselves accidentally defined by. Fast-forward two years and what we are presented with is a far more mature package, almost splitting the record into two. Last single ‘Isles’ moves away from the age-old topics of love and heartbreak to focus on the current discontent experienced in Britain, whilst upcoming release ‘Joanna’ sees the familiar animated percussion abolished in favour for a slower, more lamentable ambience.

As much as it could be argued that the album is fairly divided, it serves the band well to display these two different sides to their musical persona. Too serious and they stand the chance of falling into the trap of pretension; too jolly and they could end up being considered inconsequential. With enough talent and exertion to make it to that dreaded second album, they’ve simply got to ensure they don’t burn out too quickly.

This review was originally published on www.culturedeluxe.com

Albym review: Fenech Soler 'Fenech Soler'

With so many new artists bursting onto the scene on a daily basis, it’s not very often that I find myself getting really excited about one in particular. Fenech Soler with their mix of heady pop vocals and dirty electro beats however, are swiftly proving themselves to be one of the few gleaming needles in my overpacked haystack of 2010.

'Battlefields' opens with choral vocals which lull us into a false sense of the innocent before a deep, pulsating bass assaults our senses and takes proceedings to a delectably dirty level. Single 'Lies' also sees a slightly quieter beginning before kicking into a thumping electro beat that jumpstarts the track into life and really gets you itching to move with it. This is a pattern many of their tracks tend to follow but instead of becoming repetitive it creates a sense of familiarity that the listener knows they can look forward to; we know the beat is going to strike us at some point but the fun at the beginning of each track is the anticipation of when. The continually mutating pace of 'L.A. Love' suitably reflects the embittered lyrics whilst the brilliantly booming foundation of 'Golden Sun' juxtaposes lead singer Ben Duffy’s occasional falsetto tones exquistitely. This contrast is something featured fairly heavily throughout and occasionally creates a more stereotypical dance feel, although the grinding beats pull us swiftly back to a sound far more credible and substantial before they can drift into the mediocre.

I could nitpick and say that there are a couple of weaker inclusions on the album, although in reality they’re not bad, just a meander away from the crunking electro we’re indulged with otherwise. 'Stop and Stare' is a pleasant enough electro-pop number but it’s repetitive chorus makes it feel longer than it is and after a few minutes you find yourself longing for the pounding undercurrents that fuel their other tracks. Final song 'Walk Alone' with it’s more obvious synths and slower vocals feels slightly predictable and familiar and is a bit of a disappointing close in rounding up some absolutely storming tracks, though again this is a minor qualm. Overall, this is an album you can listen to again and again (and believe me I have) without wanting to cry from monotony after a couple of plays. That’s an impressive feat even many established bands are unable to boast, and although Fenech Soler’s name may not make a whole lot of sense, their music most certainly does.

This review was originally published on www.culturedeluxe.com

Album review: Neon Indian 'Psychic Chasms'

For those left disappointed by MGMT’s second offering earlier this year, Neon Indian’s debut Psychic Chasms may just be the substitute you should actually have been anticipating all along. A one-man band in the form of Texan Alan Palomo, he creates his sound entirely on Ableton Live (for those not aware, this is a music sequencing computer program), yet his music is far from overly produced or one-dimensional. Instead what is presented to us is a series of soft, dreamlike, electro-pop tracks that guide us into a blissfully quixotic state without the use of any of the substances he occasionally sings about.

Describing his sound as falling under the ‘chillwave’ genre, when you listen to his music this seems like somewhat of an understatement as floaty, chilled-out streams of smooth beats wash over us from the very beginning. Palomo has previously stated that bands such as Depeche Mode and New Order have been big influences for him, and elements of these acts along with more recent electronica artists such as Daft Punk and Air are prominent throughout. Single 'Deadbeat Summer’ could easily act as your soundtrack to said season, with it’s punchy electro-pop kicks and distorted looping beats, whilst ‘Laughing Gas’ has a childlike essence to it that makes it impossible to resist. The morphed guitars of ‘Terminally Chill’ lead befittingly into ‘(If I Knew I’d Tell You)’ which is a sterling example of flawlessly abstruse 80s synth, yet all the while the calm, whispery, echoed vocals keep us rooted in the mystical.

The tracks flow into each other with impressively superior ease and precision, and the combination of soft, illusory harmonies and stronger, pulsating beats means that you won’t have to pigeon hole the record into your collection until a specific mood or event comes around. If you’re going to sit up and take note to one new electronica artist this year, do yourself a favour and make sure it’s Neon Indian.

This review was originally published on www.culturedeluxe.com

Album review: Everything Everything 'Man Alive'

Love ‘em or hate ‘em, Everything Everything with their debut release Man Alive have undeniably produced one of the most original albums of the year. They weren’t kidding with their name; more instruments and styles than you can possibly imagine are featured at some point in the twelve tracks which create this rollercoaster of an album. Their evident ambition is applaudable if at times somewhat exhausting, yet ironically it could well be their striving initiative which will ultimately prevents them from experiencing the mainstream success that many of their indie-electro are currently enjoying.

If there’s one thing this quartet prove they’re brilliant at, it’s executing time signatures that metamorphose so swiftly they leave you giddy. Single 'My KZ, Yr BF' was possibly the best example the band could have chosen to act as a springboard for their rather individual style. Distinct changes in tempo between the chorus and verses (and even in the verses themselves) are something that the majority of their songs possess, and you quickly find yourself anticipating the sudden burst of keys that separates the two motions in this opening track. 'Photoshop Handsome' continues the sense of fast-paced joviality, and the surge in energy and vocal tone during the chorus makes it so damn catchy that it’ll be running through your head for hours after. Elements of the Futureheads’ early style seeps from deep within 'Qwerty Finger', as frantically charged guitar riffs find themselves entwined with lead singer Jonathan Higgins’ speedy singing and moments of shouty vocals. However, if you’re thinking that Everything Everything’s style is to continually gallop along faster than the bookies’ favourite on race day, you’d be wrong. For the simmering intensity and lyrical rawness that slower tracks such as 'Leave The Engine Room' and 'Final Form' possess demonstrate that the band are evidently more than just a one-trick pony, and they’d certainly benefit from exploring this further.

Higgins’ vocals are one of the first things you notice when you listen to the band. Continually hitting notes so high that even a Bee Gee would shake with envy, this certainly distinguishes the group from their sullen and raspy contemporaries. However, this could also be considered one of their greatest downfalls, with the vocals often being at such a high speed and pitch that the lyrics verge on incomprehensible. Left to ponder how Higgins performs without tripping up over his own tongue, we sadly miss out on moments of brilliant songwriting and connotations that provide a valuable hidden depth to their boisterous top coat.

The acute fusion of edgier guitar riffs and more erratic electronic keys showcases indie at it’s best and the sheer daring and self-assurance on show is something that many who label themselves under this genre are currently lacking. However, the ultimate test for Everything Everything will be how the lauded ‘breath of fresh air’ stance that forms a large portion of their driving force will manage to sustain itself when the oxygen mask is swiftly and unashamedly bestowed upon the industry’s next great discovery.

This review was originally published on www.culturedeluxe.com

Album review: Brandon Flowers 'Flamingo'

Let’s be honest, a solo effort from Brandon Flowers was always going to swing one of two ways. It was either going to revert us back to a time when he displayed the unadulterated genius of 'Mr. Brightside', or instead leave us with a rather unsatisfying continuation of The Killers’ more recent and mediocre material. So which is it to be? As a fan of The Killers since the very early days, nobody wanted to love their leader’s solo effort more than myself, so it rather pains me to say that the only thing I was left feeling after listening to the ten tracks on Flamingo was a sense of rather unaffected nonchalance.

'Welcome to Fabulous Las Vegas' opens the album, whereby Flowers croons about the delights of hookers, gambling and neon lights. Interesting approach for a married Mormon to take, but there’s no time to ponder this as the striking similarity in building piano crescendos and the lyrical embracing of a town in the fashion that The Killers’ second album also begins proves far too great a distraction. Lead single 'Crossfire' is one of the better tracks on the record with its catchy bridge and chorus, though once again the chimes that resonate throughout prove more than just slightly similar to previous Killers tracks. Whilst the singer’s love affair with synths remains apparent, the electro-pop vibe that once dominated his style has taken a back seat to give way to a more earthy, Southern sound. The production of Flowers’ solo material is noticeably stripped back, with loitering vocals, staunch piano chords and acoustic guitars taking presedence to create a less processed feel. However, fans hoping for a slice of his more traditionally buoyant style needn’t despair entirely, as 'Was It Something I Said?' provides a welcome (albeit temporary) change in pace before the more organic sound resumes once more.

Flamingo isn’t a bad album, and the fact that the UK tour planned in support has already entirely sold out demonstrates the fact that Flowers’ established name is enough of a pull despite how the record is received both critically and comercially. This latest effort is certainly listenable and the familiarity of the singer’s wavering twang fans the embers of The Killers’ flame flickering deep down inside you. However, solo ventures are usually veiwed as an opportunity to highlight the talent of a lead singer without the backing of his usual motley crew and this seems to have been completely missed. The overall tone of Flamingo resembles that of The Killers’ Sam’s Town and Day And Age to such an extent that you can’t help but wonder how the rest of the band usually have an effect if Flowers alone sounds little different. This was Brandon’s time to shine as brightly as the Vegas illuminations that he grew up with, but sadly what’s presented is little more than the glare of a few uniform street lights.

This review was originally published on www.culturedeluxe.com

Album review: Holy Ghost 'Static On The Wire' EP

Formed in 2007, the first few years of Holy Ghost! (exclamation mark included) saw Brooklyn duo Alex Frankel and Nick Millhiser spend their divine existence remixing tracks by artists including Phoenix, Moby and MGMT. Swiftly building up a solid fanbase and a sterling reputation in the industry, the pair have finally moved out from the shadows and released their own material in the form of the small but wonderful Static On The Wire EP.

As the number of DJs using their decks to produce original creations increases, it would be very easy to assume that these guys are going to end up as another name indistinguishable from those currently piled high on the bandwagon. However, it does not take very long to realise that such assumptions would prove unfounded. Rather than stick to the pop/synth/bass/drone (delete as appropriate) formula that many find themselves led by, Holy Ghost! have taken the best elements of the current electro-pop movement and thrown them into a blender with some lusciously retro disco beats to concoct an utterly delightful debut. Impressionable whilst unimposing, the four tracks on this EP would be equally as at home on the dancefloor as they would on the car stereo and with their appeal increasing after each listen, you’ll undoubtedly want them on both soon enough.

The record clocks in at almost thirty minutes despite only showcasing four tracks, yet at no time feels unnecessarily prolonged. Opener and title track 'Static On The Wire' commences with an electro pulsation that slowly layers and builds into a synth-driven pop delight. 'Say My Name' sees a discernible drumbeat provide a sturdy foundation for the cosmic-esque keys and 'I Know I Hear' features elements of eletro-techno that wouldn’t sound out of place on a Daft Punk record. 'Come Back' is undeniably the stand-out track of the EP, as purring synths mixed with brusque electronica beeps and a memorable and repetitive chorus equate to a result that’ll be running round your head for hours afterwards. The vocals featured on all songs here are nice enough; unoffensive and certainly easy on the ears and the breathy tail-ends of some melodies serve to create a smoother finish that many others in the genre are currently lacking. However, the duo’s main focus appears to be on the instrumental elements and with the stellar material they are producing in this area, that’s the way it should stay.

Despite not performing as a live act until a couple of months ago and then swiftly bagging the coveted spot of opening act for electro-dance gurus LCD Soundsystem on their recent tour, it’s obvious that Holy Ghost! have something special in themselves. Static On The Wire may have been a way for the duo to initially showcase their personal talents, but it’s simply served to provide a tantalising taster of a forthcoming album that’s due to be even more delectable.

This review was originally published on www.culturedeluxe.com

Album review: Young and Lost Club Compilation

As a venture set up just five years ago by two teenagers wanting to introduce a solely singles (release format, not dating status) label to the music scene, Young and Lost has done pretty damn well for itself. To celebrate their mini-milestone birthday, the label have decided to release a 35 track compilation record packed with releases by some of their best signings, including Noah and the Whale, Bombay Bicycle Club, Everything Everything, Johnny Flynn, Larrikin Love and Good Shoes to name but a few.

Kicking off the party is Vincent Vincent and the Villains, Young and Lost’s first ever signing, whose two featured tracks 'Blue Boy' and 'The Boy who Killed Time' were the label’s first releases. Luckily Vincent and his pals with their barbershop quartet-esque melodies and good ol’ rock and roll style instrumentals proved to bode well for the launch of the label and subsequently do just as good a job in preparing us for the remainder of the record. Current indie darlings Bombay Bicycle Club feature with 'Evening/Morning', a heady mix of guitar riffs and shakily assured vocals before New York scenesters The Virgins swoop upon us with a taster of their uber-cool punk-pop via annoyingly catchy 'One Week Of Danger'. Planet Earth bring the tone back down a notch, their beautifully lugubrious harmonies presenting a sound not too distant from one of Young and Lost’s biggest successes, Noah and the Whale. With both the jovial 'Five Years Time' and in contrast the more melancholy 'Blue Skies' featuring by the latter artist, we’re given a glimpse into not only how the label’s artists have developed but the label itself. Although the bustle of guitars and slew of hasty vocals still feature in many bands on their rostra, the more recent inclusion of electro and slightly contorted sounds by acts such as Everything Everything and Oh Minnows demonstrates that founders Nadia Dahlawi and Sara Jade are as keen to explore new avenues as their acts are.

Everyone knows a compilation is usually released as a quick money-spinner. Supporters of Y&L are devoted and snap up special editions and limited releases like their lives depend on it, so chances are that the label’s hardcore fanbase already own the majority of tracks on this record. Nonetheless, it acts as a great overview for enthusiasts and a brilliant introduction for anyone new to the Club, all the while demonstrating just how influential a good ethos and a passion for music can really be.

This review was originally published on www.culturedeluxe.com

Album review: Mystery Jets 'Serotonin'

At their recent Somerset House gig, lead singer Blaine joked that new album Serotonin ‘isn’t as good as their last one’, and ironically for him, his faux criticism sums up their latest release perfectly in seven succinct words. Serotonin is not a bad album by any means, it’s just that as soon as it gets close to reaching the heights featured in second album Twenty One, something, whether it be in turn the riffs, melody or lyrics, falters slightly and promise displayed takes a slight decline.

One reason this album seems to lack the biting panache of its predecessor is because overall it takes a more melancholy route. Happy-go-lucky ditties about falling in love with the girl next door have been replaced by yearning and pensive lyrics such as “better to have loved and lost than to have lived and never loved anyone.” Despite the switch in both lyrical content and pace, the buzzing, poppy beats flutter through the background continually and restrain the record from becoming a more sombre affair entirely. 'Too Late To Talk' and 'The Girl Is Gone' explore the darker side to love that the band rather avoided in previous releases, but lead single 'Flash A Hungry Smile' with it’s witty talk of birds, bees and STDs shows us once again the jovial aspect to the Jets that has won them hoardes of admirers over the past few years. Title track 'Serotonin' recalls the 80s synths and vibes that featured heavily in their previous record, and the chant-along bridge towards the end of the track will translate well live as it draws the crowd back into the group’s merrymaking ways.

If Twenty One was the album documenting the throes of love, then Serotonin is the one made six months after the break up. Although perhaps slightly less fun in spirit, the development this album demonstrates signifies an important progression in the band’s maturity and ensures they will be more than just a passing flash in the musical pan.

This review was originally featured on www.culturedeluxe.com