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
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
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/
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
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
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.
Monday, 14 December 2009
Christmas Crackers: Day 11
Created originally as a solo project for lead singer Ben Gibbard, Death Cab for Cutie expanded to the quartet line up it boasts today after Gibbard's debut solo release garnered far more attention than he had originally anticipated.
Known for their somewhat melancholy and emotionally driven tracks, the band have seen their fanbase expand in recent years after attention was drawn to their music via it's appearances in popular tv shows such as The O.C., Six Feet Under and CSI: Miami and more recently, the Twilight films.
If lyrics are poetry then Gibbard is a singing Keats, and his harmonies are sounding even more romantic on the band's cover of Christmas classic 'Baby Please Come Home'. Christmas has never sounded so lovesick.
Known for their somewhat melancholy and emotionally driven tracks, the band have seen their fanbase expand in recent years after attention was drawn to their music via it's appearances in popular tv shows such as The O.C., Six Feet Under and CSI: Miami and more recently, the Twilight films.
If lyrics are poetry then Gibbard is a singing Keats, and his harmonies are sounding even more romantic on the band's cover of Christmas classic 'Baby Please Come Home'. Christmas has never sounded so lovesick.
Thursday, 10 December 2009
Christmas Crackers: Day 10
One of the more child-friendly songs, Rudolph the Red Nosed Reindeer is undoubtedly one of the most loved festive tracks. With an endearing story and infectious repetitive tune, you'd be hard pushed to stop yourself from singing along. King of Chill Jack Johnson has recorded his own version of the song and as a result of his acoustic touch it sounds far more Christmas-on-the-beach-in-California than stuck-in-the-snow-in-Greenland. Whereas many renditions of the track bring back memories of being surrounded by screaming kids demanding Santa, this will make you simply want to lounge back with a glass of mulled wine and a smile.
Christmas Crackers: Day 9
Consisting of only one permanent member and ever-changing supporting musicians, Eels are hardly what we'd consider to be a generic band. Formed in 1992, permanent member E has already released seven albums under the Eels guise, with an eighth due out January 2010. Combine this total with his five solo releases and we've got ourselves a pretty dedicated musician.
Yet in between creating controversy in the media with his pugnacious interview quips and profanity filled song lyrics, E has found the time to record an Eels Christmas track. 'Everything's Gonna Be Cool This Christmas' is a great festive track whilst maintaining the band's cool rock and roll status. Plus, the video below (thanks, random person on youtube) is set to clips from The O.C. You might hate it but it can't be that bad if rebellious E allowed two of his songs to feature on their soundtrack. Plus, everyone should have a bit of Christmukkah in their lives.
Yet in between creating controversy in the media with his pugnacious interview quips and profanity filled song lyrics, E has found the time to record an Eels Christmas track. 'Everything's Gonna Be Cool This Christmas' is a great festive track whilst maintaining the band's cool rock and roll status. Plus, the video below (thanks, random person on youtube) is set to clips from The O.C. You might hate it but it can't be that bad if rebellious E allowed two of his songs to feature on their soundtrack. Plus, everyone should have a bit of Christmukkah in their lives.
Tuesday, 8 December 2009
Christmas Crackers: Day 8
Long gone are the days of the smooth crooner, when the dulcet tones of Frank Sinatra and Nat King Cole were regulars on the airwaves, life took place in black and white and kids grew up with Watch with Mother. Fast forward to present times and everything revolves around brutal reality, chaos beyond our control and kids watching the Teletubbies; which if the three is worst I shall let you decide.
Recently one Canadian gentleman has been staging somewhat of a musical revival for days both romantic and retro, and with dazzling success. Michael Buble has won the hearts of women of all ages around the world; he is suavely handsome, sings so smoothly you could ice skate on his melodies, and talks of a time where men sweep women off their feet and want more than just a quick one out the back of the club. Sounds pretty appealing to me, and a Christmas snuggled in front of the fire with such a man sounds like an even more attractive prospect. Thus, it is hardly surprising that Buble's version of festive classic 'White Christmas' is making an appearance on this list.
After a weary day in the exhaustingly harsh real world, you'd be a fool to turn down three minutes of sound reflective of a time when things seemed to be so much classier, thoughtful and downright easier.
Recently one Canadian gentleman has been staging somewhat of a musical revival for days both romantic and retro, and with dazzling success. Michael Buble has won the hearts of women of all ages around the world; he is suavely handsome, sings so smoothly you could ice skate on his melodies, and talks of a time where men sweep women off their feet and want more than just a quick one out the back of the club. Sounds pretty appealing to me, and a Christmas snuggled in front of the fire with such a man sounds like an even more attractive prospect. Thus, it is hardly surprising that Buble's version of festive classic 'White Christmas' is making an appearance on this list.
After a weary day in the exhaustingly harsh real world, you'd be a fool to turn down three minutes of sound reflective of a time when things seemed to be so much classier, thoughtful and downright easier.
Christmas Crackers: Day 7
However much you may try to deny it, it's a universal fact that everyone loves a little bit of quintessential pop music now and then. So I have no qualms in having McFly's version of 'Deck The Halls' as one of the songs on my Crackers list. Arctic Monkeys and Courtney Love have both publicly declared their admiration for the boys, so those who argue they haven't got any form of real credibility within the music industry already have two heavyweights to try to pitch their case against.
Despite their music attracting the teen masses, the band simply can't be classed in the same league as the majority of other cheesy acts flooding the scene. You may not like their style of music but you cannot accuse them of prancing around the stage to pre-recorded tracks as many other artists recording the same genre do. They write all of their own songs, play their own instruments and separated from their record label after feeling they had lost too great a proportion of their artistic license to the men in suits. Doesn't sound like your average manufactured boy band to me.
So let's all move on from our need for 'cool' artists for a minute and embrace some talented boys having a bit of Christmas fun.
Despite their music attracting the teen masses, the band simply can't be classed in the same league as the majority of other cheesy acts flooding the scene. You may not like their style of music but you cannot accuse them of prancing around the stage to pre-recorded tracks as many other artists recording the same genre do. They write all of their own songs, play their own instruments and separated from their record label after feeling they had lost too great a proportion of their artistic license to the men in suits. Doesn't sound like your average manufactured boy band to me.
So let's all move on from our need for 'cool' artists for a minute and embrace some talented boys having a bit of Christmas fun.
Monday, 7 December 2009
Christmas Crackers: Day 6
With their sweeping melodies and dramatic instrumentals, everyone's favourite orchestral-driven indie band Arcade Fire, have succumbed to the holiday urge and recorded their own version of one of the most soulful Christmas songs, 'Chestnuts Roasting on an Open Fire'.
Bewitching us here with their flamboyantly fervent sound, this is definitely a track to incite that warm festive feeling. The elves would be proud.
Bewitching us here with their flamboyantly fervent sound, this is definitely a track to incite that warm festive feeling. The elves would be proud.
Christmas Crackers: Day 5
It's been quite a year for the eccentric Lady Gaga, and her sex-driven costumes and songs have undoubtedly helped garner a large proportion of this attention for her. Yet it seems particularly tragic when she becomes so attached to the topic that she can't even detract from blatant insinuations when she writes her own Christmas song.
With a catchy backing track that starts off very much like a Gwen Stefani solo effort, this is quickly misted over by a haze of unrefined and imprudent lyrics. Lyrics such as 'my Christmas tree is delicious' make little sense and those that do simply come across as crass. The whole song feels incredibly rushed, as if nobody bothered to put any thought into it whatsoever and gave no consideration to it's listeners. Luckily for me, it's so lackluster that I don't have many positive thoughts to contribute in return.
So if you're looking for a questionable track to startle the grandparents on Christmas Day, Lady Gaga's 'Christmas Tree' may just be the song for you.
With a catchy backing track that starts off very much like a Gwen Stefani solo effort, this is quickly misted over by a haze of unrefined and imprudent lyrics. Lyrics such as 'my Christmas tree is delicious' make little sense and those that do simply come across as crass. The whole song feels incredibly rushed, as if nobody bothered to put any thought into it whatsoever and gave no consideration to it's listeners. Luckily for me, it's so lackluster that I don't have many positive thoughts to contribute in return.
So if you're looking for a questionable track to startle the grandparents on Christmas Day, Lady Gaga's 'Christmas Tree' may just be the song for you.
Friday, 4 December 2009
Christmas Crackers: Day 4
This lady is never far from the headlines, particularly with her relationships. So it's hardly surprising that when she recorded a Christmas song she chose to sing one about a Mum having an illicit rendez-vous with a bearded man who snuck into the house via the chimney.
Amy Winehouse has bought her unique blend of soulful jazz to this Christmas classic, and it works an absolute treat. This version perfectly encapsulates the retro feel of the earlier Ronettes version, whilst still flaunting oodles of original Wino charm.
Amy Winehouse has bought her unique blend of soulful jazz to this Christmas classic, and it works an absolute treat. This version perfectly encapsulates the retro feel of the earlier Ronettes version, whilst still flaunting oodles of original Wino charm.
Thursday, 3 December 2009
Christmas Crackers: Day 3
It may not snow in Las Vegas but that hasn't stopped this foursome getting into the Christmas spirit. The Killers are occasionally known for their somewhat bizarre song lyrics (are we dancer?), and their take on writing festive songs is far from traditional either. But who needs traditional when you can have an accompanying video of Brandon Flowers tied up in the Vegas desert watching a sock puppet show performed by an evil Santa? Not me.
This is becoming somewhat of a custom to The Killers' December schedule, with this being the fourth year that the band have released a Christmas song. This year's track is titled rather un-festively 'Happy Birthday Guadalupe', but this can be (partially) forgiven due to the fact all proceeds are going straight to the charity RED, run to help combat AIDS in Africa. For today's track I'm going with one of their older, more suitably themed Christmas songs, 'Don't Shoot Me Santa'. Maybe not one to play to people who still believe.
This is becoming somewhat of a custom to The Killers' December schedule, with this being the fourth year that the band have released a Christmas song. This year's track is titled rather un-festively 'Happy Birthday Guadalupe', but this can be (partially) forgiven due to the fact all proceeds are going straight to the charity RED, run to help combat AIDS in Africa. For today's track I'm going with one of their older, more suitably themed Christmas songs, 'Don't Shoot Me Santa'. Maybe not one to play to people who still believe.
Wednesday, 2 December 2009
Relighting My Fire
If having Take That reunite wasn't enough to cause me vivd flashbacks of my childhood, then walking into WHSmith this morning and seeing a Smash Hits magazine sat on the shelf was.
As a kid I read Smash Hits religiously and even did several stints of work experience there as a teenager; both helped in reaffirming the fact I definitely wanted to be a writer. Obviously distraught when it finished a few years back at the fact I'd never get the chance to write for it properly, you can only imagine my glee when I saw the bold red typo of the title beaming out at me earlier. Unfortunately, it is not returning on a permanent basis but just for a Take That special - which, let's be honest, is still good enough for me.
Stashed in my cupboard as a kid were folders full of Take That clippings; literally every single picture I could find was ripped out and put into the collection. An archive of incredibly dubious hair cuts and even more dubious jelly-filled music video images, after their demise I felt no need for such alarming photos to be kept anywhere near my peripheral vision, so promptly disposed of the lot. Needless to say, when their comeback was announced, my urge to re-look at my (somewhat hilarious) childhood collection was swiftly quashed.
As if sensing my anxieties, some clever bod has decided to release this special edition Smash Hits and I couldn't be happier. Displayed before me again are pictures of the boys from in the early nineties, with haircuts and clothing choices that were only forgivable back then. Filled with pictures both past and present as well as a detailed timeline and archived articles from original Smash Hits interviews, this is perfect for anyone wanting to recreate what they once lost, or simply to laugh at what they never got to experience the first time around.
Smash Hits: Take That edition is on national sale until 31st December 2009.
As a kid I read Smash Hits religiously and even did several stints of work experience there as a teenager; both helped in reaffirming the fact I definitely wanted to be a writer. Obviously distraught when it finished a few years back at the fact I'd never get the chance to write for it properly, you can only imagine my glee when I saw the bold red typo of the title beaming out at me earlier. Unfortunately, it is not returning on a permanent basis but just for a Take That special - which, let's be honest, is still good enough for me.
Stashed in my cupboard as a kid were folders full of Take That clippings; literally every single picture I could find was ripped out and put into the collection. An archive of incredibly dubious hair cuts and even more dubious jelly-filled music video images, after their demise I felt no need for such alarming photos to be kept anywhere near my peripheral vision, so promptly disposed of the lot. Needless to say, when their comeback was announced, my urge to re-look at my (somewhat hilarious) childhood collection was swiftly quashed.
As if sensing my anxieties, some clever bod has decided to release this special edition Smash Hits and I couldn't be happier. Displayed before me again are pictures of the boys from in the early nineties, with haircuts and clothing choices that were only forgivable back then. Filled with pictures both past and present as well as a detailed timeline and archived articles from original Smash Hits interviews, this is perfect for anyone wanting to recreate what they once lost, or simply to laugh at what they never got to experience the first time around.
Smash Hits: Take That edition is on national sale until 31st December 2009.
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