Philip Selway - Familial (Bella Union)

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

Wavves - King Of The Beach (Bella Union)

Since unexpectedly acquiring a Sunday ticket for the Reading festival, I’ve been unashamedly predisposed to the kind of music that takes me back to simpler times when having Cheshire Cat on your Sony Discman earned you a place amongst the coolest kids in Year 10. King Of The Beach, the latest album from San Diegan lo-fi act Wavves, might not be the most obvious place to look for such playlist fodder, but I was surprised to discover a marked departure from the thirty minute headache that comprised Wavves’ sophomore effort to a sound that owes more than a casual nod to bands like Blink 182 and Green Day in their bratty juvenilia. The title track and Post Acid in particular, with their simple, energetic drums and instantly memorable refrains, revive that unapologetic pop-punk sensibility and restored my faith in the impact of four well-chosen power chords. Who knew that behind all the scuzzy posturing of Wavves’ previous releases beat the heart of a pop songwriter with a knack for a really catchy chorus? Maybe it’s the refined production but King Of The Beach reveals potential within Nathan Williams’ insolent drawl and unexpected new directions for the band that the likes of So Bored would never have let on about. It’s no masterpiece, but from the psychedelic sixties wails on slowies like Linus Spacehead and When Will You Come to the controlled melody and sneering vocals on Convertible Balloon, King Of The Beach contains impressive diversity.

Wavves’ shoe-shower at the Primavera Sound Festival last year has become something of an internet fable, and the incident could perhaps account for the Williams’ lyrically-documented self-loathing that seems to pervade the album. On Take On The World, he’s succinct: “I hate myself, man”; later, on Green Eyes, he elaborates, cataloguing how he’s “a fool,” “an idiot”, and describing how, “my own friends, they hate my guts.” By the end of the album, the sentiment gets rather annoying. Perhaps it’s because, much less than the product of a year of tortured soul-searching, the lyrics are delivered with that unmistakable arrogance that got him into all that trouble in the first place. What’s with the weird cat pictures, too, on the cover of both his and girlfriend’s band Best Coast’s albums? It all feels like some kind of ironic private joke that I’m not cool enough to understand. To summarise: King Of The Beach encapsulates all the highs and lows of high-school emotion. Williams’ most accessible work to date, the album will undoubtedly yield much more mainstream success.

Words : Tegan Rogers

Download Stranded by The Walkmen.

New York five piece The Walkmen who have recently signed to Bella Union will be releasing their new album Lisbon on the 11th of October. Here is a mere taste of what you can expect.

Abe Vigoda announce London headline show

With new album well on the way, the much changed four piece have announced a headline show at Cargo and two more dates.

Tuesday 12 October – LONDON – Cargo (£8)

Wednesday 13 October – BRIGHTON – Audio (£8)

Thursday 14 October – LONDON – XOYO (with No Age)

Department of Eagles - 'Archive 2003-2006' (Bella Union)

After the success of last year’s Veckatimest, Grizzly Bear are on the cusp of the indie world, getting airtime on radio and articles written about them in music magazines and blogs around the world. It may come as a reaction to this sudden success that guitarist and co-songwriter Daniel Rossen’s side project Department Of Eagles have decided to release this mish mash of demo's and unused songs. People who have been familiar with Grizzly Bear for longer than a year, or have become so enamoured of Veckatimest may have decided to forage into their back catalogue, will hopefully be familiar with Department Of Eagles’ spectacular 2008 album In Ear Park. This new Archive release collects together several pieces from even earlier on than the sessions that would form that album. So for fans, there will certainly be at least a little pique in interest at news of this release.

Looking at the album tracklist doesn’t fill one with much hope of finding something substantial; five of the eleven tracks are entitled “Practice Room Sketch [1-5].” However all doubt at the necessity for this release is vanquished once the first Practice Room Sketch is passed and we hit the one-two punch of “Deadly Disclosure” and “While We’re Young;” two songs that are not demos at all but complete, polished and most importantly, really good. In fact almost all the actual tracks on this collection are absolutely worthwhile.

Unlike In Ear Park which seemed like a stop-gap between Grizzly Bear’s second and third albums Yellow House and Veckatimest, these songs are much simpler, quicker paced and lacking in much of the grandiosity and orchestral flourishes that have become a signature of Grizzly Bear’s sound. Mostly here we have just guitar and drums, with the odd sprinkle of a violin or xylophone. The hooks come entirely from Rossen’s vocals that float atop the guitars, which vary from propulsive to dreamy and he often beautifully harmonises with his partner Fred Nicolaus.

Although the best tracks on this album don’t quite match up to the peaks of Grizzly Bear’s work or even Department Of Eagles’ last album, there are still tracks that sit comfortably alongside them as peers. The best of the bunch are “Brightest Minds” and “Flip;” both fast-paced, rambunctious numbers that chug along with Rossen’s vocals straining, but still managing to sound jovial, and several beautifully placed harmonised vocals. The final “proper” song “Golden Apple” is the closest they come on this release to matching the grandiose style of In Ear Park; ultimately it doesn’t match up to anything on there, but fits perfectly here amongst all the other pleasant leftovers. In fact, even some of the “Practice Room Sketches” are worthwhile. “2” and “4” in particular are almost complete songs, and the lo-fi demo sound they possess gives them a charm idiosyncratic in the Grizzly Bear/DoE catalogue. Any really big fans of Department Of Eagles may also have fun picking out guitar and vocal melodies scattered throughout the album that did end up being used on In Ear Park.

Overall, Archive 2003-2006 is unlikely to attract new listeners. For those who are versed in the music of Department Of Eagles and Grizzly Bear, for little over 30 minutes of your time this definitely falls into the ‘worth a listen’ category; not quite reaching ‘must buy’ status.

Words: Rob Hakimian

Abe Vigoda set to relese third album 'Crush'

Bella Union newbies Abe Vigoda created quite a stir last year with their second album Skeleton, an infectious 'tropical' take on Lo-Fi. The LA quartet are now set to raise the bar even further with the addition of synthesizers and much more emphasis on a broader production scale, Crush will see Abe Vigoda develop their sound in crazy, unexpected ways.

Have a listen to to hear how much these guys have changed.

Throwing Shade

Crush is released on September the 20th

The Acorn - No Ghost (Bella Union)

Rolf Klausner, lead vocalist of The Acorn, has a voice which can seamlessly switch from a graceful mid-range croon for the band’s quieter moments to a nasal yelp at the more frenetic moments. It’s around this voice that they built their earlier efforts, primarily their 2007 breakthrough Glory Hope Mountain. On first airing it appears that they have done the same on their newest album No Ghost; switching the pace from track to track and producing a collection of pleasant but unspectacular folk-tinged indie ditties. If I had not been reviewing this album I may have put it aside after having made this summation and moved on to the next, but having been charged with the task of putting into words the sound of this album I gave it more listens than I first believed it deserved; and boy am I glad that I did.

No Ghost is almost a masterpiece, in the most subtle way possible. On some tracks such as “Bobcat Goldwraith” it is the amount of different instruments weaving their way in and out of the mix (not to mention the wildlife sample underneath it all) that enrich the sound and enthral the listener, whereas on a quiet number such as “Misplaced,” which features little more than a simply strummed acoustic guitar and the simplest of drum beats, it’s the most delicate additions of xylophone and the hum of the guitar between strums that creates the most peaceful state of mind when listening.

The amount of different sounds found on No Ghost is astounding; crunching riffs grace “I Made The Law,” magnificent guitar harmonics form the basis for the incredibly well-crafted title track “No Ghost” honestly I could go on for a while longer. Often the most interesting layer of sound in on the periphery and it may not be until a few listens down the line that you consciously notice it, although it’s been there all along enriching your listening pleasure. The only way to fully grasp what I’m saying is to listen for yourself.

On top of all this is that voice that I started out this review by talking about, and as ever Klausner’s vocals are a perfect match for everything going on around, whether harmonising beautifully with fellow bandmates or going solo. It’s not just his tone that is notable but his lyrics are also worth paying attention to. As suggested by their band name The Acorn are mainly concerned with natural things, whether discussing something tangible like the colours of fallen leaves or something a little more abstract such as a floating day, the imagery provided here is a technicolour film, especially when combined with the music.
At the conclusion of the album “Kindling To Cremation” Klausner repeats the phrase “this is how you pass the time away,” which is exactly what this album does. While we’re in the middle of summer do yourself a favour and go out and lay down in this glorious sunshine and pass some time away with this album in your ears; you won’t regret it.

Words : Rob Hakimian

Listen to Wavves new single Post Acid

Since his début release last year, lo-fi ragamuffin Wavves has been fairly busy to say the least with the upcoming release of his second album King Of The Beach due for July and a recent record deal with Bella union. You will certainly be hearing more from this guy over the coming months

Lone Wolf - The Devil and I (Bella Union)

In many ways the name ‘Lone Wolf’ sums up this début album from singer-songwriter Paul Marshall, at least thematically. The majority of the songs on this album tell tales of a single man either endeavouring to win the heart of an unsuspecting female or losing it through some act or other of indecency. Mixed into these tales is a certain sinister edge, whether Marshall is discussing the woman in question’s “innocent skin” or how he’s now “the voice inside her head... driving the girl insane.” The levels of self deprecation of this album are extremely high, and the frustration is brilliantly conveyed by outbursts of noise such as the cavernous conclusion to “Keep Your Eyes On The Road.”

Elsewhere the misery that is symptomatic of his loneliness is exuded through the use of more subtle arrangements. The best example of this is “We Could Use Your Blood,” which makes use of haunting backing vocals and Shearwater-esque horns and xylophones to transform what starts out as a simple acoustic piece into an extremely beautiful and intricate one.

The blueprint for every song on this album is essentially the same: start quietly, either on acoustic guitar or piano, build slowly with the addition of more instruments until a crescendo is reached at the peak of the song. This is by no means a new formula, but at his best Lone Wolf does it as well as anyone else. Every song has at least one moment of brilliance in it, either lyrically or musically and often both. However sometimes just the one highlight isn’t enough and there are a couple of less interesting tracks here such as “Russian Winter” and “Soldiers,” which both appear on the album’s significantly weaker second half.

‘The Devil and I’ is an album that may have a difficult time finding an audience. It lacks that originality that can make it stand out to hard core indie fans and harbours few real hooks for the more casual listener to latch on to. Nevertheless anybody who does give it a chance will have a hard time not being charmed by Marshall’s mischievous tone and delightful imagery and there is a chance this will be a gradual hit as time rolls on.

Words : Rob Hakimian

Mountain Man - Made The Harbor (Bella Union)

Somehow, some way, there is something magical about haunting female voices within the realm of Americana folk and country music, echoing the likes of Gillian Welch and Joanna Newsom. The crystal clear honesty of such a sound seeps into the woodwork of a nation, acting as a beautiful representation of the musical heart of a more or less extinct culture. The Appalachian essence of Mountain Man is apparent from the very beginning in the homespun plucking that follows a throat-clearing introduction on ‘Buffalo’, track one on Made The Harbor.

Mountain Man explore topics that could have been pondered ninety years ago yet resonate today, from the sexual urges in ‘Animal Tracks’ to female independence in ‘Soft Skin’. Regardless of subject matter, the method in which the music is assembled lends a gentle, wholesome atmosphere to anything that spills from the lips of the three ladies behind the record.

It may be stretching the metaphorical study of such a record in looking at the bleak space between tracks, as seconds of studio silence tick by, as emblematic of the broad, open plains of the American Mid-West, home to rattlesnakes, Wild West nostalgia and tumbleweed. Then again, with the toil that has gone into working on such a romantic sound and appearance, the trio of ladies known as Mountain Man sure know how to evoke an exact sentiment

I feel like I have to mention O Brother Where Art Thou?, a magnificent movie where bluegrass and the utter beauty of the human voice shone once more. Compared to the glossy, overproduced electronically tinged music that dominates the current market, I pray for more music like this. As much as I love ten musicians bashing out a bunch of instruments onstage to create a swelling, sensational racket, it’s stunning to be suddenly consumed by quaint harmonies and melodious hymns. Like taking a walk or reading your favourite childrens book, it unburdens the mind from the clutter of complexity that has built up over time.

Everything has been pushing me to head West recently and seek a life on the country trail, herding cattle and wielding a wicked lasso. Red Dead Redemption, basically Grand Theft Auto in the Wild West, has me living out stylised cowboy fantasies; a TV show, Justified, centres on a cowboy-like US Marshall; and all this now accompanied by the carefree chirping of three softly spoken country gals, urging me to eke out an archaic existence. I desperately need a cowboy hat. And you desperately need to listen to Mountain Man.


Words : Adam Parker

Bella Union host special show at the Union Chapel

Bella Union have selected a very tasty lineup of some newer acts for this very special event including recent Mojo nominated John Grant as well as a number of artists that have been on heavy rotation in Boop towers recently,

Mountain Man,
Alessi's Ark
and Lone Wolf.

It's all happening on Thursday 24th June at Union Chapel, London.

The Acorn - Restoration

Bella Union signing The Acorn return later this year with the follow up to their 2008 UK début “Glory Hope Mountain” and to celebrate that, they have offered a track from it.
The Acorn - Restoration by Bella Union

Midlake - The Courage Of Others (Bella Union)

The Courage Of Others is the third album from Texan prog-folk rockers (for lack of a better genre definition) Midlake. Their second album 'The Trials of Van Occupanther', was somewhat of a slow burner amongst indie rock fans, gradually building a reputation as more time wore on and they played more shows and festivals promoting it. Today it is regarded as something of an underappreciated gem. With this behind them, Midlake release 'The Courage Of Others' with a small but dedicated fanbase and with the potential to leap into the limelight.

Their new album begins with "The Acts Of Man," a pleasant and catchy folk number that passes in little under three minutes before we reach the meat of the album. Unfortunately, where the meat is expected to be there is barely a scrap to be had. Whilst most of the album remains "pleasant" that's just about the highest praise that can be offered to most of the songs on the album; scarcely is there anything interesting or original and never is there anything hugely exciting. On 'The Trials Of Van Occupanther' Midlake played like a band with some backbone, unafraid to let loose and get a little bit loud from time to time. The chugging anthems from their previous album such as "Roscoe" and "Head Home" cut stark contrast to the folkier numbers. On 'The Courage Of Others' rarely is there a tempo change between songs and this leaves the album as a whole feeling flat and somewhat feeble. On numbers such as "Children Of The Ground" when singer Tim Smith proclaims that he's "come here to wait for the end of it all" there is little or no emotional connection to the listener, the band plays sheepishly in the background and his proclamation falls on apathetic ears.

Of course there are exceptions to the rule, the double header of "Bring Down" and "The Horn" towards the end of the album are two fine tracks. The dynamic shifts in sound are far more entertaining than the majority of the rest of the album and revive some of the prog elements that had been highlights on previous albums. They even come good on the psychedelic nature that is promised by the albums cover, though not heavily.

'The Courage Of Others' is not a bad album by any means; none of the tracks are annoying or downright terrible, they just suffer from being completely forgettable. This album does not have the variation and consistency of their previous efforts and therefore does not have the same replay value, save for the odd track. Overall this is a disappointing turn of events for a band that deserve more recognition. It is a definite step back for Midlake, but not so far that they won't be able to spring back with their next album.

By Rob Hakimian