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

Noah and the Whale, Koko, 17/2/11

They say time is a great healer and Noah and the Whale’s showcase of new material from upcoming album Last Night On Earth this evening could not have proved this point further. The previous release of lyrically raw and musically pared-down First Days of Spring saw the band deviate away from the jovial folk-pop sound with which they were initially associated; lead singer Charlie Fink’s break up with folk contemporary Laura Marling was believed to be the driving force behind this change. However, eighteen months later the group have returned with a vigour that will surprise even their biggest fans.

‘Life is Life’ grabs the audience’s attention from the off, with unfamiliar loop beats and heavier riffs emanating from the stage; the only remaining hint of the twee style that threaded throughout their debut album are the lovingly haggard rugs that adorn the floor. Fink struts around with a confidence that was rarely beheld in performances of past, and as he belts out the lyric “he’s gonna change his pace”, it could not seem more fitting. ‘Tonight’s the Night’ demonstrates that the power pop feel heard in their newer tracks is well and truly here to stay, although the country twang demonstrated by the vocals provides an enduring association with their older sound. The band seem to really relish this new-found vitality and ‘Give It All Back’, which Charlie describes as “a song for kids who believe in rock and roll” encapsulates you in such a happy fervour that you feel you could just as easily be skipping along carefree on a warm summer’s day.

                                                                                                         Photo by Rachel Lipsitz

However, upbeat wasn’t the entire plan for the evening and inclusions into the set list of melancholy and poignant tracks from their second album certainly affects the atmosphere in the room. Whilst the haunting ‘First Days of Spring’ causes an eery hush to fall over the bewitched crowd, more desolate tracks ‘I Have Nothing’ and ‘My Door is Always Open’ fail to have the same effect and the noise from various audience members’ conversations sadly dampens any real impression these songs might have created otherwise. Luckily, Charlie soon declares “we’re going to play some songs you can dance along to, if you like”, and ‘Rocks and Daggers’ rejuvenates the mood suitably. ‘Five Years Time’, as always, produces a roar of appreciation from the crowd, although this could soon find itself replaced as fan favourite by new single ‘L.I.F.E.G.O.E.S.O.N’. The upbeat lyrics and catchy melody induce a mass singalong and even gets people sitting on their friends’ shoulders (something I never thought I’d see at a Noah gig) and this sense of jubilation ultimately creates the perfect end to the evening.

Tonight certainly marks the start of a new phase in Noah and the Whale’s career, but it is far from unwelcome. The response is hugely positive both from the crowd and the band members themselves, all of whom seem far more assertive and involved than on previous occassions; violinist Tom Hobden in particular steps to the forefront by assisting on vocal duties.

Their development as a band as they perform tracks from each of their three albums tonight is apparent, and their newly acquired desire to experiment with sounds and styles is at times subtle, but admirable nonetheless. I for one, cannot wait to see how these guys evolve from here on and sincerely hope that they retain the confidence to continue doing so.

This review was originally posted on www.culturedeluxe.com

White Lies, Shepherds Bush Empire, 11/2/11

When you release a follow-up album to your debut that receives as great reviews as Ritual has, then there must be some pressure to sustain and transfer this glory in the live performance. However, if White Lies were feeling the strain at all this evening, it certainly didn’t show.

Striding confidently onto the stage and launching into old favourite ‘A Place To Hide’, lead singer Harry McVeigh ecstatically punches the air and thrusts us into the awaiting set via his recognisably deep and yearning vocals. There’s nothing like a satisfying crowd sing-along to kick off an evening, and the trio absorb this early enthusiasm before moving immediately onto new material. Searing riff-driven ‘Holy Ghost’ showcases the electro influences that are considerably more apparent on the second album than their anguished debut, and the faster-pace to these newer songs helped lift the overall tone of the night. Even ‘To Lose My Life’ seems to have been ramped up to these boys’ new-found energy levels as it skips along a beat quicker than usual, before a stunning rendition of ‘Strangers’ solidifies the band’s move into synth territory. ‘Farewell to the Fairground’ and ‘Death’ both receive a rapturous reception and with the thunderous clapping and chanting, the atmosphere in the room is undeniably and thrillingly electric. By the time they return for the encore and round up with latest single ‘Bigger Than Us’, it’s not entirely clear who is more jubilant about the way the evening has unfolded; the audience or a beaming McVeigh and his cohorts.

Yes, the band have adopted hints of the currently ubiquitous electro trend, but instead of letting it overpower their original sound, they have simply woven it in amongst the myriad of instrumental layers they already possessed in order to enhance it. Adding further merit to their already scintillating performance is the astute lyrical content, enhanced by McVeigh’s ever-steady and pitch-perfect live vocals. If tonight is any indication, it certainly won’t be long until the days whereby White Lies grace venues of this modest size are but a distant memory.

This review was originally published on www.culturedeluxe.com

Foals, Brighton Dome, 8/11/10

Foals are like a fine wine; they’ve matured and simply got more delectable with age. Gone are the days whereby the band came on stage and immediately launched into a raucous frenzy so that they couldn’t fail to grab the audience’s attention. It’s taken them a couple of years to arrive at this point, but they’re finally letting the music rather than sheer attitude prove their worth, and this new-found assurance is wholly favoured. ‘Blue Blood’ with it’s singular guitar plucks supplies a more subdued and atmospheric opening to what long-term Foals fans might be used to; though as a band they’ve never been adverse to experimentation so expectations for their set list should be no different.

Not by a long shot have all traces of the exuberant Foals gone however, and they swiftly follow up with a highly charged rendition of ‘Olympic Airways’. The crowd go wild for old favourite ‘Cassius’, which switches things up a notch to such a frantic level that even lead singer Yannis Philippakis can barely keep up, skipping words as he goes in order to stay with the riffs. The fervent and extended instrumental in ‘After Glow’ and the subsequent poundings of ‘Alabaster’ bring a sense of the dramatic to the occasion and rile the audience up into a maniacal state. Disappointingly, this sense of elated commotion is stilted temporarily as a rendition of the haunting but slow ‘Two Trees’ merely serves to dampen the atmosphere somewhat. However, the pace soon kick-starts again and the sparks of excitement spitting around the room help guide the band back on their electrifying track for the remainder of the evening.

Those who have seen or read interviews with Yannis will be aware that he can be a rather reluctant and obstinate participant. However, what he lacks in enthusiasm for the media he most certainly compensates for once he is on stage and tonight is no exception. Between calmly walking through the baying crowd to jumping up and down like an excited bunny at the opening thumps of ‘Electric Bloom’, he certainly knows how to captivate an audience. He’s known for his enthusiastic stage dives but adds additonal thrills this evening as he ventures up to the balcony during the finale of ‘Two Steps Twice’, meandering his way across before climbing over the edge and leaping back onto the stage to triumphantly wrap up proceedings.

The ability to enchant both musically and visually is a rare talent, but Foals manage both in adundance. Their live shows possess an invigorating energy that engulfs all in it’s wake yet at the same time continues to exude an air of collected sophistication. This dexterity undoubtedly elevates them significantly above their peers and makes them truly unmissable performers.

This review was originally published on www.culturedeluxe.com

Fenech Soler, Tunbridge Wells Forum, 3/11/10

Despite The Forum starting out life as a public toilet, since it’s conception eighteen years ago as a music venue it’s played host to what have eventually become some rather successful bands. Coldplay, Oasis, Green Day, The Libertines and more recently Mystery Jets and White Lies are amongst this list, so it’s no surprise that one of the most exciting bands of 2010 are playing here tonight and adding their name to the list of esteemed alumni; Fenech Soler.

The quartet gracing the stage take no prisoners from the off, launching into the resonant and pounding bass notes of ‘Battlefields’. As the grinding electro beats and synths reverberate around the room, the tone is set for the subsequent 45 minute showcase. Lead singer Ben Duffy’s high-pitched vocals provide the ideal counterpart to the crunkier instrumentals that support them, and the veracity and panache in his performance certainly aids in creating the party atmosphere that suits them so well.

Smoothly transitioning through ‘LA Love’ into the throbbing rhythms of last single ‘Lies’, the crowd finally start to warm up as they’re hit by twinges of song recognition and the band undeniably feed off the positive response they receive from their small audience. The scratching intro of ‘Contender’ is remarkably catchy and provides a great foundation to a track that gets everyone moving. Upcoming single ‘Demons’ swings between softer verses and frenetic choruses and provides a gratifying variation that keeps us on our toes, whilst ‘Stone Bridge’ changes the pace entirely. The addition of piano on stage at this point detracts from the guitars and synths that previously dominate, and demonstrates the band’s more affecting side whilst also illustrating their ability to veer away from the upbeat funk-driven style they’re more accustomed to producing.

Fenech Soler are undoubtedly a great live band, with their musical ability and vocal prowess proving predominantly unfaltering. Tonight established that the group’s energy and enthusiasm in addition to their vivacious sound can and will inject life into stoic rooms nationwide and cause even the most resistant of audiences to succumb to their addictive electro-pop charms in the end.

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

Placebo, Brixton Academy, 27/9/10

It’s not often that a band, sixteen years after their debut release, can maintain the standard and intensity with which they first blasted onto the scene, but tonight Placebo manage it with ease. 

Storming through a rampant eighteen-song set barely stopping to take a breath, Brian Molko and co. possess a drive and energy that easily rivals their younger counterparts. Fan favourite ‘Nancy Boy’ kick-starts the evening into life; its grinding guitars contrasting with Molko’s visceral, quavering tones. ‘Battle For The Sun’ sees lyrics fiercely spat out over the imperious drum beat, and the classic ‘Every You Every Me’ transports us back to the days when the band’s style was more poetically agonizing. Newer offering ‘Trigger Happy’, with its refrain of “Put your hands in the air, wave them like you give a fuck”, has the sold-out capacity crowd tonight doing just that, whilst the frenetic riffs of ‘For What It’s Worth’ exhilarate and enchant the audience. And with the stage crew sporting Joker-painted faces and bassist Stefan Olsdal modelling a metallic silver suit, it would be easy to believe that this show is far from serious business for Placebo. But the vehemence with which they play indicates otherwise.

Those familiar with the trio’s Covers release will know that Placebo excel at putting their own spin on other peoples’ tracks, and this evening’s version of Nirvana’s ‘All Apologies’ is no exception. Add this to a thrilling encore culminating in an electrifying rendition of ‘Taste In Men’ and the crowd are left feeling as if they have been loaded with something a million miles away from the bands’ namesake. Now it is often suggested that Placebo’s glory days are long gone, but judging by this intense and galvanizing performance, it seems their time is far from up.




This review was originally published on www.the-fly.co.uk

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