Thursday, 30 September 2010
Fresh off the release of 'Let it Sway' the ace Someone Still Loves You Boris Yeltsin, embark on a massive European tour. Kicking off tonight in Graz, Austria. They'll be heading overseas to the UK on the 10th October.
Sep 30, 2010 - PPC, Graz, Austria
Oct 1, 2010 - SC Teatar & TD, Zagreb, Croatia
Oct 2, 2010 - Sublime, Aflenz, Austria
Oct 3, 2010 - Chelsea, Vienna, Austria
Oct 4, 2010 - Kranhalle, Munich, Germany
Oct 5, 2010 - Rocket, Milano, Italy
Oct 6, 2010 - Bleu Lezard , Lausanne , Switzerland
Oct 7, 2010 – Kaserne, Basel, Switzerland
Oct 10, 2010 - The Forum, Tunbridge Wells, United Kingdom
Oct 11, 2010 - Hoxton Square Bar & Kitchen, London, UK
Oct 12, 2010 - Democrazy @ Charlatan, Ghent, Belgium
Oct 13, 2010 - Pretty Vacant, Düsseldorf, Germany
Oct 14, 2010 - Stuk, Leuven, Belgium
Oct 16, 2010 - Paradiso, Amsterdam, Netherlands
Oct 17, 2010 - Molotow, Hamburg, Germany
Oct 18, 2010 - Musikcafeen, Aarhus, Denmark
Oct 19, 2010 - Revolver, Oslo, Norway
Oct 20, 2010 - Debaser, Stockholm, Sweden
Oct 21, 2010 - Lades, Copenhagen, Denmark
Oct 22, 2010 - Bang Bang Club, Berlin, Germany
Oct 23, 2010 – Hafen 2, Offenbach, Germany
Oct 28, 2010 - Jugendhaus West, Suttgart, Denmark
Wednesday, 29 September 2010
London based rockers Archie Bronson Outfit recently announced a date at the Scala to go along with the rest of their October tour and with that have released a remix of their latest single Chunk
which is released on October 14
Chunk remixed by 6th Borough Project
Fri 8 October, Leeds, Brudenell Social Club
Sat 9 October, Edinburgh, Cabaret Voltaire
Sun 10 October, Nottingham, Bodega
Tue 12 October, Birmingham, Hare & Hounds
Wed 13 October, Brighton, Komedia
Thu 14 October, London, Scala
Tuesday, 28 September 2010
Deerhunter are a band full of surprises. Right from when I first listened to Cryptograms three years ago I was enthralled by the haziness and intensity of their Lo-fi, shoegazey punk-rock tones. 2008 saw the release of Microcastles, which Bradford Cox took in the direction of a cleaner but equally intensified sound. And of course people seem to leave out their debut LP Turn It Up Faggot, a record I only checked out after I heard the previous two. Although not their most complete and accomplished record (hey, Cox would be the first person to admit that) it still provided a raw, sludgy sound that was unlike anything the Atlanta, Georgia four piece had done since. So as you would expect, the anticipation towards their latest masterpiece has been growing ever since the announcement and promotion details of their fourth LP, Halcyon Digest.
It’s not often a group can consistently keep going from strength to strength. Yet, somehow this is what Deerhunter have managed to accomplish. Halcyon Digest follows on from where last year’s disappointing Rainwater Cassette Exchange EP left off, but to much much greater avail. The record is a progression. Opening up with ‘Earthquake’ which is a sombre introduction with a slow drum and hi-hat beat building into a 5 minute layering of guitar loops, softly sung vocals and their trademark atmospheric dream sounds. ‘Sailing’ is a further example of how they have mellowed and matured from their earlier releases. The luscious, hypnotic layers almost set you off before it launches into the pure 1960’s pop ala Beach Boys influence of ‘Memory Boy’. This then leads well to the albums centre piece and standout track, ‘Desire Lines’. The intro kind of starts a bit like The Arcade Fire’s ‘Memories (Lies)’ but builds into a near 7 minute Psych gem. Everything about this track is just stunning. From Lockett Pundt’s jangly guitars, the through bass line and the jump from verse to bridge/chorus, to how halfway through the epic guitar outro begins and it gives you the feeling that you just don’t want it to stop until it sadly fades out.
So that’s the halfway point of Halcyon Digest. The second half doesn’t fail to deliver like the first. We have cuts like ‘Helicopter’ which is as radio-friendly as Deerhunter can get in regards to song structure, despite being probably the most pedal-led track on the album, at least in the chorus anyway. But for me, another highlight is penultimate track ‘Coronado’. Providing an uplifting experience that is quite a rare occurrence on a Deerhunter track, helped largely by the continuous use of Saxophone performed by Bill Oglesby, as well as Moses Archeleta’s drum filled beats and Cox’s uplifting melody.
The album climaxes with the two part 7 and a half minute ‘He Would Have Laughed’. The synth strings on it are a fitting touch to end what is truly a gorgeous album. The song ends abruptly leaving the listener wanting more, which can only mean we’ll have to keep coming back to this album again and again.
Words: Freddy Rothman
A rising star who emerged from the bedroom scene last year, Gold Panda has confirmed a rather exciting UK tour this November, with support from the equally exciting Banjo Or Freakout. Having recently released his excellent debut full release 'Lucky Shiner', these dates come in ideal timing.
You would be foolish not to catch him at any of these following dates:
11 Brighton Audio
13 Newcastle The Cut
14 Leeds ConstellationsFestival
15 Manchester Ruby Lounge
16 Glasgow King Tuts
18 London Corsica Studios
19 Bristol Start The Bus
20 Norwich Arts Centre
Raucous young London trio Let’s Wrestle have announced a very special one-off live show at London’s The Lexington on the 3rd November.
The show comes two days after the re-release of their already acclaimed debut LP 'In the Court of the Wrestling Let’s', out on Full Time Hobby on 1st November.
Tickets for this show may be purchased here.
Underrated Indie legends Clinic will be performing a very rare acoustic set of songs from their new album Bubblegum at Brick Lane's Rough Trade East record shop on October 1st. The show will start at 7pm but get there prompt as it will only be a short set.
Monday, 27 September 2010
I take issue with the way that the majority of Screaming Females' reviewers seem to think that front-woman Marissa Paternoster's possession of a vagina is somehow at odds with her proficiency at guitar playing. If not, they seem desperate to point out the way in which her diminutive frame belies her powerful singing voice. Let me put the matter to rest and assure the reader that this reviewer will judge Castle Talk for its merits (which are numerous) regardless of the sex or size of its creators. I doubt any reviews of Purple Rain began: “It's pretty good for a short guy”.
Let's not get carried away, though. Castle Talk is hardly Screaming Females' Purple Rain, although it does contain some of their most accessible songs to date, and may well go on to be the most commercially successful release of their five-year career. Paternoster's famous shrieking – which has become something of a spectacle at their live performances, and which lent earlier tracks like Boyfriend an arresting rawness – is absent here, revealing instead a distinctive and melodic vocal style. This combined with the presence of a diverse range of influences makes for a rather catchy pop record. When the bass line emerges from the drone of reverb at the start of album opener Laura And Marty the band manages to evoke both Fugazi and The Breeders. However, the band goes on to prove that this grungy nineties punk sound in no way defines them, when in tracks like Normal, A New Kid, and Ghost Solo, the driving, heavy riffs and sporadic soloing bring to mind the guitar sounds of artists like Dinosaur Jr. – even at times The Smashing Pumpkins; and at others, Josh Homme. Of course, all these artists I've just mentioned wouldn't fall too far from each other in an imaginary venn diagram of musical genres. Similarly, such pastiche invites criticism for being too derivative. But while Screaming Females do not succeed at being the most experimental of bands, something tells me that this was never their game plan in the first place.
Castle Talk is an album that strives to record a sense of authenticity, and to that end, it excels. From the aching lament of Boss, to the effortless insolence of Sheep, via the pervading sense of East Coast ennui that saturates the entire record, you get the feeling that Castle Talk has captured some of the sincerity and excitement of a Screaming Females live show. This in itself is the album's accomplishment.
Words : Tegan Rogers
Surely one of the best things to come out of Canada this year landed in my email inbox in the last month. The musical revelation that has adorned me and has made me apoplectic with happiness is the third album by the wonderful Vancouver outfit ‘Black Mountain’ entitled ‘Wilderness Heart’. If you find yourself to be a disgruntled classic rock fan that has a distinct passion for psychedelia that is largely unimpressed by offerings from new bands, I implore you to give this band a go.
The first track, the amusingly titled ‘The Hair Song’ is one of the best starts to an album that I have come across in a while. The song presents us with a great advertisement of what the rest of the album is going to be like. You have a variety of musical talent on show from the sumptuously balance male and female vocals to the intermingling of the guitar, drum and organ sounds that resonates throughout the song to a fantastic effect.
As soon as ‘Old Fangs’ kicks into life you can feel the pulse that is being to flex through the beat and melody and like a natural bodily instinct, you begin to get ready to hear a great rock song and you do not leave this track disappointed. Even though you are only on the beginning of your journey through this album, you cannot help but realise you have stumbled on something special, a band certainly that needs to be taken notice of and taken seriously.
Track 3, ‘Radiant Hearts’ changes tack and mellows you out in a way that only a fine acoustic number can ascertain. In fact, you can be forgiven at the start of the song for believing you were listening to a sample from electro maestros Goldfrapp. The song ebbs and flows in all the right directions and you can’t help but also pick out a slight White Stripes influence creeping under the surface.
‘Rollercoaster’ and ‘Let Spirit’s Ride’ perfectly compliment each other. The former allows the band to showcase their zest for the Blues and their ability to make the listener really enjoy them ply their trade before setting them up for a classic heavy metal track which would not sound out of place on an eponymous Iron Maiden album during the 80s. Although this song may be considered cheesy to many a connoisseur, I believe it to be an apt homage, a doffing of the cap to a musical genre that definitely deserves more recognition of the talent within.
The sixth track ‘Buried by the Blues' perfectly bookends the previous track as we are given another great acoustic tune that is barbed perfectly with a twinge of Blues.
As soon as the tremelo hits on ‘The Way To Gone’ you know you are going to be in for a treat in the form of this track that tips it’s hat to the American Outlaw songs of the past, especially those who look fondly on Bon Jovi’s Blaze of Glory. It is yet another very satisfying offering from this band who continues to impress musically with consummate ease. Just like earlier, this raw track acts like a pre-empt to a much fast paced contribution in the form of the title track ‘Wilderness Heart’. If ever there was a genre labelled ‘tracks that would sound amazing live and I challenge you not to nod your head to’ this would be it.
‘The Space Of Your Mind’ mellows the album out once again and the vocals are used to a soothing effect as they are underpinned by an infectious guitar melody. For some reason, this track reminds me of ‘Pigs On a Wing’ from Pink Floyd’s ‘Animals’ album. As a hardened Floyd fan, this makes this track all the more enjoyable.
The album bows out most gracefully with dreamlike tune entitled ‘Sadie’. Just like the beginning of the album is perfect indication of what’s to come, this song acts as a very fitting conclusion to what has been a great journey with a superbly talented band. As a reviewer, I find myself increasingly harder to impress with every piece of music I encounter but I can say without a doubt, that this album is one of my favourites of this year. One phrase; “Relax and Enjoy”.
Words : Barclay Quarton
Sunday, 26 September 2010
Warp Records most unmistakable crooner Gonjasufi will be releasing his new remix album The Caliph’s Tea Party on October 4th which features remixes by Broadcast and the Focus Group, Bear In Heaven and Bibio. With it has released details of a competition whereby budding musicians are invited to remix two of his songs using the vocals provided.
Check out more details for the competition here
Gonjasufi - The Caliph's Tea Party by Warp Records
Gonjasufi - The Caliph's Tea Party by Warp Records
Above is a preview of Barn owl's upcoming album Ancestral Star and if that is anything to go by we are in for a treat.
The San Fransican duo create intense, minimal soundscapes built around deeply distorted and layered guitar. To properly appreciate their enthralling spectacle you need two things; Patience and a decent pair of speakers.
Ancestral Star is released on 1 November.
Brighton's favourite Kraut / Electro maestro's are back with a new album in January. Ventriloquizzing on the 17th January 2011 via Full Time Hobby.
With this news they have released a free download of a track available underneath.
‘Sixteen Shades Of Black and Blue’
Former Ghosts, featuring the likes of Zola Jesus members of Xiu Xiu and Tearist will be releasing their second album 'New Love' on November the 8th through one of our favourite indie labels Upset The Rhythm. With the recent success of Zola Jesus and the sterling reputations of the others involved, this is bound to be a winner.
Friday, 24 September 2010
Check out the amazing video 'Bombay' from the amazing El Guincho. Taken from his amazing new album 'Pop Negro'
Also check out these amazing UK tour dates he's set to embark on later this autumn.
28 - Manchester, Deaf Institute
30 - Glasgow, Captain's Rest
31 - Newcastle, The Cluny
1 - Birmingham, Hare & Hounds
3 - Leeds, Nation of Shopkeepers (FREE show)
4 - London, Cargo
6 - Southampton, Lennons
7 - Bristol, The Louisiana
9 - Brighton, The Hope
Prinzhorn Dance School return with a new single 'Seed, Crop, Harvest' released on DFA Records. Prinzhorn Dance School released their self-titled debut album back in 2007, since then they've been writing and recording new material set for 2011, "we have a couple of live shows coming up before we disappear into the red shed again to finish the new album. If you can make it to a show make sure you stay, say hello and have a yarn!".
The 7" features B-Side 'Off The Radar' and is released October 11th.
Thursday, 23 September 2010
A band who you should all be very familiar with by now, School Of Seven Bells have announced details of a European tour in November, following on from the release of their new single ‘Heart Is Strange’ on the 27th September through Full Time Hobby. Full info on the live dates is below, including a show at London’s Heaven.
3rd Paris, France La Boule Noire, Les Inrocks Festival
4th Koln, Germany Werkstatt
5th Ghent, Belgium Vooruit
6th Antwerp, Belgium De Nachten Festival
8th London, UK Heaven
10th Madrid, Spain El Sol
In addition, we're giving you a free download of the rather lovely Phantogram Remix of ILU. Enjoy! ILU (Phantogram Remix)
Wednesday, 22 September 2010
Here is the video to Abe Vigoda's latest single Throwing Shade.
Abe Vigoda are touring the country in support of their new album Crush which came out this week.
Saturday 9 October – OXFORD – OX4 Festival
Tuesday 12 October – LONDON – Cargo
Wednesday 13 October – BRIGHTON – Audio
Thursday 14 October – LONDON – XOYO (with No Age)
And back again in November…
Tuesday 9 November - GLASGOW - Captain's Rest
Wednesday 10 November - YORK - The Duchess
Thursday 11 November - SHEFFIELD – Harley
Friday 12 November - MANCHESTER - Islington Mill
Saturday 13 November - LEEDS - Brudenell Social Club
Sunday 14 November - NOTTINGHAM - Spex Fest @ Bodega
Monday 15 November - LIVERPOOL - The Shipping Forecast
Tuesday 16 November - BIRMINGHAM - Hare and Hounds
Thursday 18 November - CARDIFF - Buffalo Bar
With Glasser's stunning debut album 'Ring' out in just under a week, we have a preview stream for you to check out just how awesome Glasser (Cameron Merisow) is.
Rough Trade have already given it the 'album of the month' title and there will be two free shows in support of it.
Sunday October 10th - Rough Trade East
Monday October 11th - Eat Your Own Ears Presents : Glasser at the Macbeth
Tuesday, 21 September 2010
London - three piece IS TROPICAL are set to release a new single, the first for their new label KITSUNÉ, on the 8th of November 2010.
'South Pacific', the follow up to 'When O' When', comes backed with Tan Man and is released on seven inch single and available to download with remixes by Peaces, Database, Yojimbo and Get People. The new single is only IS TROPICAL's second release and is a taste of what to expect from the band's debut album, which is due on KITSUNÉ / CO-OP early next year.
Watch trailer here:
You can also catch them live on the following dates this year:
SEPT 30TH - LONDON - XOYO
OCT 12TH - LONDON - THE MACBETH
OCT 16TH - MANCHESTER - DRY BAR / IN THE CITY
OCT 28TH - LEEDS - NATION OF SHOPKEEPERS
OCT 29TH - EDINBURGH - PICTUREHOUSE (w/ Mystery Jets)
OCT 30TH - GLASGOW - ABC (w/ Mystery Jets)
OCT 31ST - LIVERPOOL - ACADEMY 2 (w/ Mystery Jets)
NOV 02ND - BELFAST - SPEAKEASY (w/ Mystery Jets)
NOV 03RD - DUBLIN - (w/ Mystery Jets)
NOV 05TH - BIRMINGHAM - HMV INSTITUTE (w/ Mystery Jets)
NOV 06TH - NOTTINGHAM - TRENT UNION (w/ Mystery Jets)
NOV 07TH - CARDIFF - GLEE CLUB (w/ Mystery Jets)
NOV 09TH - BRISTOL - ANSON ROOMS (w/ Mystery Jets)
NOV 10TH - BRIGHTON - CONCORDE (w/ Mystery Jets)
NOV 11TH - LONDON - ROUNDHOUSE (w/ Mystery Jets)
NOV 19TH - KITSUNÉ MAISON PARTY - VILLAGE UNDERGROUND
Meet Bayonets. Also known individually as Thom, Mark, Matt and Joey, a four piece residing from Herefordshire have this week released their second self-titled album. These 10 tracks are of melodic proportion and if you’re fans of bands such as Biffy Clyro, Death Cab for Cutie and Minus the Bear then there is no reason why you shouldn’t dig this record.
Although this for me personally doesn’t grab the bull by the horns instantly after the first 3 tracks it does however make for pleasant listening and would be happy to have this plugging away in the background whilst I’m doing some work or housecleaning or something. ‘Cash In Kids/Kids Cash In’ is the first track of real note to recognise a real musical integrity. ‘God Can’t Grow’, I admire how it provides lush sounding vocal harmonies and sweet jangling guitars but doesn’t necessarily build up to a massive climax. It doesn’t need to do that.
You can sense an influence of early to mid 2000 atmospheric-ness of the likes of Explosions in the Sky and Hope Of The States, especially in the guitars on tracks like ‘Colour vs. Black and White’. Heavy use of reverb is implied to give it that effect. The acoustic ‘Honiara’ provides a pleasant interlude on the album before finishing with the heavier ‘Friends Flown’ and aptly titled ‘Sleep’.
Although I wouldn’t class Bayonets as the most original sounding band in the world, doesn’t mean this isn’t a relaxing and listenable LP. It kind of takes me back to my teenage years when I first started listening to new up and coming groups and going to local Indie shows around Dorset and Somerset. The harmonies are gorgeous and a standout feature in their sound and their instrumental performance works well around that, so it might definitely be worth checking them out on a live scale too.
Words: Freddy Rothman
Monday, 20 September 2010
Back in 2004, The Walkmen were at the height of success. After releasing the critically acclaimed ‘Bows and Arrows’, they played on Fox’s teen hit show ‘The OC’, catapulting them into America’s teen consciousness. Not only that, but in the show itself, loveably materialistic ‘Summer’ [played by Rachel Bilson], refers to them as her ‘favourite band’. High praise indeed.
Now, without the aid of any more OC appearances [another show bites the dust], The Walkmen release Lisbon. The impressive thing about this record [and the band in general] is its anthemic quality, achieved not through a pounding bass drum, but through beautifully entwined melodies and longing vocals.
Album opener Juvenile, is as raw as I have ever heard the band, but this rawness never teeters into garage rock. Instead, it cements what The Walkmen are really good at; infusing grimy, vintage sounds with slight, melodic guitar hooks to create they’re unique brand of ‘pop’. What really stands out is how reflective the album is. Songs romanticize youth and young love; there is a sense of coming-of-age, told not in present tense, but through the warm haze of distant memories.
The album carefully varies slower, more contemplative tracks [Stranded]; with faster, occasionally joyous efforts [Angela Surf City’s climax is noisy and strangely uplifting]. Instrumentally, the bass lines are slick, but subtle, whilst their trademark organ is haunting and atmospheric. Much like their NYC peers, Interpol and to a lesser extent The Arcade Fire, The Walkmen’s gloom is rich in texture; I would personally like to see them play a show in a candle-lit chapel, where their sound would organically resonate.
Lisbon is not a radical departure, nor is it even a real progression. Sticking to formula is definitely frowned upon these days, but it has worked for so many bands in the past [The White Stripes first four albums spring to mind]. Breaking no new ground, but furthering and strengthening their sound; Lisbon is a sensual, enjoyable experience; but would Summer approve?
Words : David Campion
The odd-but-effective ‘tropical punk’ tag couldn’t have fitted Abe Vigoda’s last album, 2008’s Skeleton, any better: it was a humid, sticky morass of delay-drenched noise, wrapped in glistening melodic tendrils that seemed to recede almost as soon as they became fully audible. That it was still possible to detect a keen pop suss in there somewhere - buried deep beneath the foggy surface - was largely testament to a skilful synthesis of influences. Although that record still retained very obvious ties to the lo-fi punk thrash of their LA contemporaries No Age and HEALTH, the spidery guitar figures that skated across its surface betrayed a soft spot for the luminous glow of Disintegration-era Cure.
So when the follow-up Crush swoons onto the stereo, all crystal shards of synth and reverb-heavy drum hits, it’s immediately obvious that the legacy of the eighties has further wormed its way into Abe Vigoda’s sonic arsenal. Opener ‘Sequins’ evokes a sort of muted glamour, Michael Vidal’s vocals taking on an affected, Anglophile edge largely absent before, and the slo-mo pulse of ‘Repeating Angel’ is gloriously sulky, adding hints of grey to their usual palette of aquamarine and deep orange. It’s initially a slight shock to hear the sheer exuberance that marked their earlier music toned down slightly in favour of a more measured – though no less passionate – equivalent; the first couple of listens leave a slightly placeless feel, as though they’ve begun travelling down a new path but haven’t quite reached a solid destination yet. It becomes increasingly apparent with repeated listens, though, that Crush shares the same complexity and depth as its predecessor – it just takes a little longer to sink in. ‘Dream Of My Love (Chasing After You)’ cruises along at a brisk dancefloor pace before exploding in a whirl of hyperchromatic guitar tone, and ‘November’ operates as a kind of bridge between their early and late music, shifting gears as rapidly as anything on Skeleton but with far greater sophistication.
Still, while there’s no lack of the old Abe Vigoda on Crush, its finest moments come when they begin to explore new regions entirely. The album’s final three songs make for a fearsome triptych, both a snapshot of the band now and a hopeful indicator of directions they might take next. ‘To Tears’ is a shimmering slice of glam-pop, Vidal throwing dramatic shapes over an instrumental background that constantly shifts like a slowly rotated kaleidoscope. Closer ‘We Have To Mask’ is a slo-mo electronic curveball that recalls Bowie, but the album’s absolute highlight is ‘Beverly Slope’, which drowns The Cure’s ‘A Forest’ in an ocean of globally-warmed floodwater. Vocals drift quietly through the murk, leaving rippling trails in their wake, but trebly squalls of guitar threaten to overwhelm them entirely throughout; the result seems far shorter than its three-minute runtime. It’s at moments like these that Crush makes most sense, mutating the chaotic thrash of their earlier music into a smoother but no less mind-altering form. ‘Tropical post-punk’, perhaps.
Words : Rory Gibb
Sam Duckworth and his musical alter-ego Get Cape Wear Cape Fly have been skulking at the peripheries of the mainstream for a few years now. While his bohemian teenage years recede ever further into the past, the commercial potential of that much-lauded début has heretofore failed to raise Duckworth's profile much past a point-14-font mention on the cover of NME. However, from the sounds of this self-titled third offering, Get Cape Wear Cape fly are pulling out all the stops to ensure this does not remain their lot for long. If the X Factor judges were to give a shit, I'm sure they would say that Get Cape have come out fighting.
Sometimes, when a musician makes a bid for the big time they will maintain their artistic flair and just enough integrity to render their ensuing success both inevitable and deserved. More often that not, their efforts sound like this: wanky, expansive sounding synth arrangements, kooky collaborations, clumsy genre-hopping, and sanitised, systematic production. However, to paint Duckworth as a status-seeking, money-driven sell-out is not only somewhat extreme, but also way off the mark; this album may be their most commercially viable to date, but I've no doubt old as well as new fans will find much to love here. For me, though, even after four listens, the album passed me by like so much insipid lift music, grabbing my attention only at its most jarring moments – the half-hearted drum n' bass bridge in All Falls Down, and the incongruous appearance of Baaba Maal's vocals in All Of This Is Yours which, along with the strings and jazzy keyboard sounds at the end of the track, seem like entirely unnecessary additions to what is essentially another saccharine acoustic ditty that Duckworth is so good at writing. Those punky credentials that, along with the likes of Frank Turner, once set Get Cape apart from the reams of other indenti-kit singer-songwriters, resurface on tracks like Queen For A Day, but the charm of the spirited verses is all but cancelled out by the cheesy, forgettable chorus.
Many reviewers have mooted that it's Duckworth's age that's brought about this new direction. But at only twenty-four, he's hardly over the hill, and I'm sure he could find more than enough material to reignite that youthful passion that made some of his previous releases so endearing. There's always a danger, however, that when a band releases a self-titled album, they do so with a sense of self-satisfaction, as if to suggest that they have finally found their defining sound. Tracks like Hand Me Downs, The Uprising, and The Plot – the best on the album – still retain that earnest simplicity which would suggest that while Get Cape may be somewhat misguided in their attempts at expansion, they have not lost sight of what won them their fan base in the first place.
Words : Tegan Rogers
Saturday, 18 September 2010
The Fresh & Only's are a band a lot of the guys here at Boop hq have been very excited about for some time now and with their new album 'Play It Strange' out next month, we have the first mp3 from that for you to check out.
Versatile designer Dan Osman is just about to enter into the big wide world of freelance and armed with a portfolio already full of fantastic work that not only looks the part but shows in a very clear and concise way the huge amounts of thought behind each piece, I see a glistening career ahead. The images above were taken from his final year uni project entitled 'Naming the Dead,' a very hard hitting piece that demonstrates a work ethic second to none and proves that design on a student budget can still look stunning and professional.
His site Bravo & Tango has recently gone live. View it here.
Ay up Boopers. I figured it's been a while since I done one of these so here we go. I somehow woke up with this song in my head and it gave me an urge to spin Faith No More's seminal third LP 'The Real Thing'. And yep, it's still awesome.
So enjoy. This track and video does exactly what it says in the title.
Friday, 17 September 2010
Personally, I’ve had a funny old relationship with No Age. It only took me the release of the LA duo’s second full release ‘Nouns’ to discover how much I loved their DIY Lo-Fi punk ethos and pretty much couldn’t stop listening to them for weeks and weeks. During this period I purchased their first album ‘Wierdo Rippers’ and before I knew it, No Age were featured really high up on my last.fm charts. Then all of a sudden this phase came to an end. Whether I overplayed them or not? Possibly. But until I first listened to ‘Everything In Between’ their listen count would clock approximately just under double figures in the past year and a half.
Understandably though, I was very excited to be reviewing this album and they have been given a new lease of life. This record has evolved with more structure that is complete with varying ranges and tempos which perhaps was the only thing their previous two releases lacked, yet they still maintain that raw, scuzzy edge that makes No Age so respected within their musical bubble.
Everything In Between opens with a fitting introduction in the form of ‘Life Prowler’ with a pounding drumbeat (literally) followed by a soft guitar loop, then a riff which gradually builds and builds before launching into the leading single ‘Glitter’ which is a fine example of No Age’s evolution. The handclappy beat shows that they do have a Pop influence in them, disguised by layers squealing guitar feedback. Combined with the songs dark lyrical theme, the first 2 tracks are a great beginning to an album.
Tracks ‘Fever Dreaming’ and ‘Shred and Transcend’ are very much like the No Age we all recognise from their other releases. ‘Depletion’ is stunning piece of noise rock that pays homage to Dinosaur Jr. Whether that’s intentional or not, we don’t know, but who cares, it’s a beautiful song nonetheless. There are again some fine examples of dreamy hazy instrumentals on this record, in ‘Katerpillar’ and ‘Positive Amputation. ‘Valley Hump Crush’ cuts out much of the noise and feedback, replacing it with jangly guitars and harmonised backing vocals, providing a slight Yo La Tengo-eque feel that would get away freely as a (as close to commercial sounding as No Age can get) hit single if it wasn’t for Dean Allen Spunt’s drawling vocals. It even ends fittingly too with ‘Chem Trails’ providing a vocal duet and has the feel of a proper old-skool pop song.
‘Everything In Between’, despite my whoring of their previous LPs would probably go down as my favourite release of theirs to date. I have in the last couple of weeks gone back to another No Age phase which hopefully wont fizzle out like my last one as I feel this record has more variety and a less formulated sound, not that it wasn’t effective before. For some reason bands tend to experiment on their third full length release and often may lead to a backlash from hardcore fans. But here I firmly believe that this will not be the case as it still sounds like a classic No Age record, but with more, and with that, No Age are creeping up my last.fm chart once again.
Words: Freddy Rothman
Wednesday, 15 September 2010
After a string of sellout UK dates and a summer of international festivals, Four Tet has announced a very special show at The Coronet Theatre on Friday 19th November, in collaboration with Eat Your Own Ears. The all-nighter will feature a specifically chosen line-up including performances from Caribou, James Holden, Nathan Fake, Rocketnumbernine with more acts to be announced, alongside a live set from Four Tet.
Full details are as follows:
Eat Your Own Ears and Four Tet presents
Plus more to be announced
Friday 19th November, 2010
The Coronet, 28 New Kent Road, London, SE1 6TJ. 020 7701 1500
Tickets £15 from:
www.ticketweb.co.uk - 08444 771000
www.seetickets.com - 0870 264 3333
The wonderful Seefeel are set to return to the UK music scene this week as their one-off comeback show at the ICA tomorrow (Thursday 16th September) is completely sold out. The show is their first UK performance in 15 years. On Monday 20th September, Seefeel release their first new material for nearly 14 years (their first on Warp for 15 years), in form of single ‘Faults’.
Hear the lead track ‘Faults’: http://soundcloud.com/warp-records/seefeel-faults/s-I0z5E
Check out our review of 'Faults' here.
If you like 'Faults' then check out their gorgeously stunning remix of The Cocteau Twins' 'Cherry Coloured Funk':
Tuesday, 14 September 2010
Killian Eng has been one of my finds of this year, I find his work simply stunning and the rate in which he seems to be producing these high quality, original pieces puts a lot of us to shame.
He has just updated his website, I urge you to take a look.
Monday, 13 September 2010
Chunk is the third single to be taken from Archie Bronson Outfit's widely received album Coconut, released earlier this year. The accompanying video was filmed by Leo Scott who worked with Harmonie Korine on his recent crazy film, Trashumpers.
Archie Bronson Outfit have also announced a new London date and will be playing the Scala on October the 14th.
This is the second preview track to be released from his hotly anticipated new album 'The Age of Adz' which is set for release on the 11th of October.
You can also download the first release from the album 'I Walked' here
Great artistic invention often takes more than a few attempts to decipher, internalise and truly enjoy. From Greek drama to impressionist painting, it is a rare feat to simply fall in love with truly astounding works of art. It takes a prolonged, deep stare or a number of readings and re-readings until fully realised in the dark recess of your mind preserved for storing the things that inspire and fill your heart with awe. Music is no different, though the broad and divisive genre often summed up as pop music generally seeks to thrill within three minutes, aiming to grab the body with a hook and embed itself at the forefront of the brain. Then again, plenty of wonderful artists ignore such conceptions with one such act known as Women, a Canadian quartet, releasing a second album requiring multiple run throughs, titled ‘Public Strain’.
I mean no derision towards pop music with my words (Pet Sounds is one of the most beautiful creations ever committed to record), especially because a lot of the sound and nuance of Women has its origin in the genre. Sure, it’s hidden behind muted vocals and echoey guitar noodling, but really listen (seven or eight times, of course) and there are flashes of 50s surf pop rock and 80s new wave implanted in-between the lines.
‘Heat Distraction’ starts with a thump and a Southern rock beat before developing a captivatingly jerky discord. The slide into ‘Penal Colony’ gives way to Velvet Underground strumming and harmonic vocals, all wrapped up in an atmosphere that coats the whole album. The aforementioned atmosphere comes from the whole piece being dipped into an ocean full of reverb, adding the rolling waves of calm and nostalgia that inevitably sink into the pores. ‘Bells’ personifies this attitude to a tee, itself a completely wonderful mass of foreboding. ‘Drag Open’ takes another stance, disharmoniously roaring into existence, gaining in melody and composure with each passing verse. The feel of the music sways from the claustrophobic to the dark, expansive fields of exploration and bewilderment, at all times building in control, evocation and maturity.
If I didn’t know better, I would swear this was a concept record. The steep driven path of the record, with songs simply melting into one another without concern or clamour, resonate a narrative, albeit a jumbled and delayed tale that sits uneasy on the psyche. What such a concept may be, I do not yet know; a disoriented aura of dislocation and dissonance possibly? I think maybe I need a few (interpret as ‘a lot’) more run throughs, in order to fully comprehend. Finally, I feel I could not escape without at least briefly dropping in Sonic Youth as a palpable presence in the tone and tenor that permeates the wall of wonderful music that shines on ‘Public Strain’. Women are a band with ideas, and astounding, thought provoking ideas at that. What they do next may very well be repeated infinitely.
Words : Adam Parker
Sunday, 12 September 2010
From the very beginning of their short existence, Twilight Sad already had that something not a lot of bands do, hence why they were signed to Fatcat after barely playing a handful of gigs but it wasn't until Forget the Night Ahead, released late last year that saw the band grow substantially in confidence and song-writing ability. It was this growth that saw the Glaswegian four piece produce one of the highlight albums of last year resulting in support slots with the likes of Biffy Clyro and Mogwai and headline shows at the Scala and Garage.
The Wrong Car ep carries on where FTNA left off in spectacular style, the self titled track weighing in at just over seven minutes displays everything this band does well, beautiful melodies disguised under heaps of distortion, drone and lord knows what other effects, big beating drums and an insanely catchy sing-along chorus. In the wrong hands, their sort of music could easily sound bad but Twilight Sad have really whittled down their art of bringing order into chaos and manage time and time again to produce something that's so loud and aggressive yet delightful and uplifting all at the same time. With added orchestration and piano parts, this really is the winning formula.
Two bands, both mates of Twilight Sad gave some time to remix tracks from their last album, first up is Mogwai with a more minimalistic, almost techno take on The Room and Errors making their electro based mark on Reflection Of The Television. This four track ep is even further proof that Twilight Sad are without a doubt, one of the most underrated bands going at the moment.
Words : Gordon Reid
Friday, 10 September 2010
As part of School Of Seven Bells new remix ep, celebrating the release of single Heart Is Strange on September 14th featuring re-workings from Boop favourites Pantha Du Prince, we have the Phantogram remix of ILU here.
School of Seven Bells - I L U (Phantogram Remix) by VagrantRecords
It's been quite a year for the Scottish five piece, with their third album "The Winter of Mixed Drinks" reaching new and deserved highs. Check out this secret acoustic performance shot in San Francisco's Rickshaw Stop to see the boys plough through some old favourites as well as some classic covers.
Frightened Rabbit Live In San Francisco
Check out this dreamy No Age Remix of new Crystal Castles single 'Baptism'.
Crystal Castles - Baptism (No Age Remix) by Toast Press
No Age release the follow up to 2008's Nouns with their new album 'Everything In Between' on September 27th.
Wednesday, 8 September 2010
With their début album Litanies coming out on Woodsist, one of the best labels for producing great bands right about now, this San Fransican four piece are already on the road to success. Scuzzy, garage rock with a great pop sensibility, droney vocals and simplistic drum patterns. Currently on tour with Fresh & Only's in America, let's hope they make it over here very soon.
Tuesday, 7 September 2010
Black Mountain release the second single from their much anticipated forthcoming album 'Wilderness Heart' on 11th October.
Wilderness Heart is released on September 13th and the band will be undertaking a full European tour around this with their biggest London show to date: Shepherds Bush Empire on October 7th with The Black Angels.
To celebrate their co-headline gig Black Mountain and The Black Angels are giving away a special MP3 to all Advance tickets buyers. All ticket purchasers for the gig will be sent a unique URL that leads to a free download of The Black Angels covering Black Mountain's debut album track 'No Satisfaction'.
8th Sept | Brighton | Concorde*
10th Sept | Isle of Wight | Bestival
11th Sept | Dorset | End Of The Road Festival
12th Sept | Leeds | TJs Woodhouse Club *
14th Sept | Glasgow | Oran Mor *
15th Sept | Manchester | Academy 3 *
16th Sept | Nottingham | Rescue Rooms *
7th Oct | London | Shepherds Bush Empire+
* w/Wolf People
+ w/ Black Angels
Acclaimed Brooklyn five-piece and Middle Boop championistas Here We Go Magic have returned to Europe once again for more live shows, including a headline show tonight at London's Hoxton Bar and Kitchen. Taking in appearances at End of the Road and Bestival, these live dates coincide with the release of new single ‘Casual’ on the 13th September through Secretly Canadian.
For other dates, including tonights Hoxton gig you can catch them at the following.
7th London Hoxton Bar & Grill (headline show)
9th France Tourcoing Le Grand Mix ‘Radar Festival’
10th Salisbury Larmer Tree Gardens End of the Road Festival
11th Isle of Wight Bestival Rock n Roll stage
14th Glasgow Captain’s Rest
16th London The Troxy Campfire Trails (w/ Wild Beasts )
17th Norwich Sound and Vision @ Arts Centre
18th Manchester Postcards From Manchester alldayer @ Deaf Institute
In addition to these shows and new single, Here We go Magic are kindly offering Middle Boop readers a chance to download an exclusive cover of Neon Indians 'Terminally Chill', courtesy of Soundcloud. And also the excellent PVT Remix of seminal hit 'Collector', also courtesy of Soundcloud .
So we’re now 25 years into the career of one of the most hugely inspirational contemporary Metal bands around and what better way to celebrate this monumental occasion then to re-issue the album that pretty much set the bar for any band that wanted to de tune a guitar and push things a little further than the thrash metal predecessors that were filling stadiums around the world at the time. Although this is a sound far too chaotic and evil to ever fill stadiums, this is an album that captured the imaginations of so many and inspired much great music after.
Enemy Of The Sun is a record darker than anything produced by Neurosis or anyone else for that matter, for the time this was a revelation in sound, from a band whose roots were laid quite firmly in the 80’s punk scene and although if you plough through their solid back catalogue of albums there is an obvious progression from punk to what we have here today, it was Enemy that really caught peoples attention and opened Neurosis up to a completely new fanbase. From that first time that eerie bassline is played over the pounding drums in Lost with writer Paul Bowles mumbling incoherently about life, you know that with the following tracks you will be treated to something most horrific. Sharp, nasty guitar lines and riffs dominate the album over gut wrenching screams, the album starts off a little slowly with Lost and Raze the Stray both with more of an emphasis on long build ups and sludgy riffs but this only entices the listener to continue on as you know something big and feverishly nasty is coming. Sure enough it does, by the time Lexicon has pelted your ears with its horrifically full frontal force of brutality, mixing progressive chord structures, dirgy riffs and painful screams most listeners would be able to take no more.
The mark that this album made on the music industry at the time may have been fairly minimal but the impact it has had on countless bands from that day and still today is mind boggling. If you’re still yet to experience Neurosis, this re-issue is a great place to start.
Words : Gordon Reid
Phil Selway has always been Radiohead’s real unsung hero. While undoubtedly their unusual consistently and uniquely questing output has got to be the result of a delicate chemistry of personalities, it’s typically Thom Yorke and Jonny Greenwood that gain the most attention within the wider world. Which is a bit of a shame really, as Selway’s way with percussion – by turns brawny and contemplative, and able to turn on a sixpence from restrained jazz brush to the euphoric blitz of post-rave electronica – is one of the band’s most reliable traits, and capable of lifting even their least pop-savvy moments to near-transcendence. At the same time though, it’s hard not to get the sense that he likes it that way; while Yorke’s solo material and political activism keeps him in the public eye, and Greenwood’s composer’s ear has seen him score films and take an active role within the BBC’s musical life, Selway has stayed quiet at the back, ticking away metronomically with minimal fanfare. So it’s good to see him step into the limelight for his debut album, even though initially its nature seems entirely opposite to much of his work in his day job.
Familial couldn’t possibly match its title more perfectly; it’s hushed, intimate and deeply considered. Throughout, Selway sounds almost unnervingly close, whispering sweet nothings through headphones as though speaking gently into a lover’s ear. It’s certainly a far cry from the stammering beats he’s made his band’s hallmark over the last few years, and better for it. His voice is a lovely thing, finding a tense balance between airy – leaving syllables trailing on for just a little too long – and earthbound, opener ‘By Some Miracle’ treading the fine line between the two to striking effect.
It swiftly becomes apparent that the best part of two decades as part of one of the most characteristic bands on the planet hasn’t simply been dropped; Radiohead’s subconscious influence (intentional or not) is all over Selway’s music. At times it’s the merest glimmer, as in the delicate Yorke-ish vocal harmony that sees the opening track to a fade. At other points it simply tumbles from the speakers – the gnarled acoustic guitar figure and shattered vocal samples of ‘Beyond Reason’ share the same sense of restless dynamism and forward propulsion that makes late-period Radiohead so totally compelling. Either way, it’s in no way a bad thing, and Familial sounds in no way derivative – in fact, what’s so impressive about it is how alone it’s capable of standing from the legacy that so fully infected Yorke’s solo turn on The Eraser. On the evidence of such a strong debut, Selway’s got bright and wonderfully contrary prospects regardless of where his band ends up.
Words : Rory Gibb