Cloud Nothings – Cloud Nothings (Wichita)

Following seven or eight good listens to one-man lo-fi-athon Cloud Nothings’s eponymous first punt at music stardom, I’ve catapulted him into a respectable but decidedly un-Earth-shattering fifth place in the Dylian League, my much-admired and widely-respected league table of favourite Dylans. This, predictably, puts Mr. Nothings below Moran, Thomas, mythical Celt Aldon and the rabbit from The Magic Roundabout, but still comfortably ahead of Dizzee Rascal, Drew Barrymore’s character from Charlie’s Angels and thoroughly unnecessary new Rugrat Dylan “Dil” Pickles.

However, before we press on with the rest of the review, I must first present you with a very serious question: do you enjoy pop punk music, and/or look back upon its short heyday with fondness? Does the thought of grown men with spiky hair jumping around in shorts cause you to go all misty-eyed? Do you pine for those glory days at the turn of the century when a legion of tattooed cretins staged a mass Freudian regression into bawdy, obnoxious second adolescences filled with power chords, sweat socks, metal pastiches and dick jokes? Of course, this is a review, and – other than shout at your computer screens, which won’t work – you’ve no way to answer me, so I’m just going to assume that your response would be something similar to mine; i.e. a statement along the lines of: “No, thanks. I’d sooner take a trip back to September 1939. In Poland.”

With that all that neatly settled, I’ll now explain the logic behind young Mr. Baldi’s underwhelming new entry in the League’s mid-table. Almost all the songs on Cloud Nothingsshow plenty of promise. Some have hummable melodies (‘Not Important’; ‘Rock’), some create an appealing atmosphere (‘Forget You All The Time’; the Stooges-alike ‘You’re Not That Good at Anything’) and some simply have DB doing a thoroughly convincing Brian Wilson impression (well, just one: the lovely ‘Understand at All’, which effectively features as its chorus the middle Wilson’s part in ‘You Still Believe in Me’). There’s flashes of intelligent ‘90s Britpop throughout, with parts bearing more than a passing resemblance to ‘Drowners’-era Suede. Songs are short and refreshingly energetic, often bordering (a little uncomfortably) on punk, whilst, beneath the layer of scuzzy mud that passes for production, there’s a competently-plucked, appealingly derivative Smithsian jangle holding the whole thing together in floppy-fringed style (well, I say Smithsian; Marr stole it all from Jim McGuinn, who in turn nicked it from George Harrison, who, of course, famously pilfered it from God himself).

So what’s the problem? “All that sounds fantastic!”, I hear you cry. “Surely it must be more appealing than an obscure character from a confusing mediæval Welsh myth-cycle?” You’d think so, but nope. Here’s the thing: it’s all a bit pop punk.

Let me explain. You’ll be happily listening to a song – nodding your head; tapping your foot; contentedly digesting one of the many positives listed above – and then, out of nowhere, like an uninvited guest using the new shag pile as an ashtray, Dylan will turn into pre-gay Billie Joe Armstrong and write the whole thing off. And it just keeps happening. ‘Not Important’ opens with a perfectly listenable, if slightly generic, Brit-indie intro before it’s ruined by some truly grating Dookie-whining; ‘All The Time’ features a tender chorus, wise beyond its years, sandwiched between two irritating verses buried under an avalanche of power chords; and nothing’s wrong with the melodic, harmony-laden ‘Nothing’s Wrong’ (geddit?), other than the fact it sounds like Less Than Jake.

I do feel like a bit of a bastard even slightly criticising Cloud Nothings, because it’s clearly the work of an talented, dedicated young musician with a (mostly) impressive list of influences, who I’m sure will go on to do great things; I only wish it sounded a bit more like the cover. Smiths-182 just isn’t something I ever needed to hear.

Words : Jon Chapple

Cloud Nothings - Turning On (Wichita)

Cloud Nothing's 'Turning On' landed in my lap a little over a week ago and I've been struggling to listen to much else since. I had heard a few tracks some months ago and listened to them just as religiously, however recently being presented with 13 catchy lo-fi ditties to review, I was in musical heaven.

Turning On is a compilation of the Cleveland Ohio based group's collection of songs from over the years, some previously unreleased and therefore considered 'rare'. The earliest of material comes from when front man Dylan Baldi was merely eighteen years of age and recorded some tracks on his pc at home, which will certainly answer any questions about the quality of production on this record. Yes this really is lo- fi indie bedroom rock in it's most primitive form. Beautiful.

Some say this lack of production lets the record down, however I lean toward the other side of the fence. I'm all in favour of incomprehensible vocals blasting through my speakers which I can make my own lyrics up to as distorted guitar and drums thrash over any potential clarity on offer.

At times I am reminded of Mark Linkous' distorted alternative indie rock group Sparklehourse coming through fused with the poppier, janglier aspects of The Strokes. The first track on the album, 'Can't Stay Awake', particularly resonates with the ghost of Linkous. Only one minute in and we're confronted with the messy, escalating, skuzzy rampage of guitar that was ever present on Vivadixiesubmarinetransmissionplot on tracks like 'Someday I Will Treat You Good. '

Simultaneously, the guitar work at times is prone to doing a proverbial U turn and taking on a much more structured path. Strummin's super laid back tempo demonstrates the band's ability to slow things down when needed. Vocally, Strummin sounds like Julian Casablanca's snuck into Baldi's bedroom to record the vocals for the second half of the track, with the highly catchy 'My baby's been gone for 14 years/ the last time I saw her she was only wearing tears” as it's densely layered, looped chorus at the end.

Turning On is packed with energy and enthusiasm which fills me with great positivity that Cloud Nothings will produce a solid full length debut album soon enough. At times it seems the influences are worn on the band's sleeve a little bit too noticeably, however considering some of the tracks were first recorded at the supple age of 18, the silver lining is Cloud Nothings will flourish into their own soon enough.

Words : Neil Phillips

Best Coast - Crazy For You (Wichita)

Stark, dark and clad in attitude, Best Coast are a musical tour-de-force of US West Coasters with the sort of style and emotion that makes me long for a non-existent 1950s grunge movement. Consisting of (the beautiful) Bethany Cosentino and (the super-hero like) Bobb Bruno, they sound like the kind of band you could hang around with all day, every day, on sunny, hazy summer shifts of sheer good fortune and good times. The strength lies in the musical emotional one-two punch of goodwill and sun-drenched joy that carries itself over track-to-track, paired with relatively simple yet sweet lyrical structures.

Whilst the lyrical content may be reasonably undemanding in terms of cerebral understanding, they contain something very important that is often missing from the vast glut of songs on love and youth, specifically heart and honesty. Bethany Cosentino oozes sincerity, via lyrics on the likes of ‘The End’ where she purrs ‘Why do we have to make this hard when it doesn’t have to be’, evoking a million heartbreaks the world over in one fell swoop. She later croons “There’s something about the summer” on ‘Summer Mood’ and there truly is when the words drip from the mouth and mind of Cosentino. Everything here is just so potent in its purity.

Somehow, somewhere around the middle of the record, it begins to feel like one big extended jam session between your best friends in some dank yet homely garage, where you sit atop a dusty couch taking hits from the cat shaped bong sitting before you, as the clock melts away and you fall in love with life (I think I might just crave this kind of lifestyle now).

It all sounds like someone has come along and given the Wall of Sound, Phil Spector’s innovative and mindblowing production technique, a kick into the 21st century via weed, Los Angeles and a smidgen more scuzz. The emotive core and heart of much of Spector’s girl group content remains, in the tales of heartbreak, love and lust, albeit with a modern re-telling. ‘Boyfriend’, the wondrous opening track, should have been an uncovered 60s 7” discovered under layers of madness in the locked basement of Spector’s mansion, crafted by some great, lost, droning girl group. The record clocks in at around half an hour with no single song breaking the hallowed three minute barrier, keeping the chilled vibe of surfer pop and carefully contained carelessness in check.

The muffled sonic effect is very much in vogue for the 2010 summer season but Best Coast tops the pile of hazy, lazy pop rock (even stealing the drummer from Vivian Girls, a rival and strong contender for the lo-fi-fuzz crown). The effortless sensation that sweeps through the record like a stoned hurricane soaks up such an atmosphere, it becomes nigh impossible to not enjoy this stuff.

Ever since the Beach Boys, a strange mythology has developed regarding the coastline to the West of the US of A. Beach parties, surfing, pointless days spent lying on golden sands and a laid back attitude impossible anywhere else in the world. This is enclosed within the contents of Crazy For You, even if the stereotype gets a kick up the proverbial backside thanks to weed, guitar fuzz and the modern sexual outlook. At the end of 13 short, sharp, modern pop songs, she certainly does make a bloody good case for a quick and impulsive move to Los Angeles. Give it a listen and I’m off to check one-way airline prices for the golden coast…

Words : Adam Parker

Best Coast sign to Wichita and release debut album

Hazy, indie pop duo Best Coast are a fine addition to an already sterling roster over at Wichita. The Californian duo comprising of Bethany Cosentino and Bobb Bruno will release Crazy For You on 2nd August and will play a show at London's Cargo that night to commemorate the release.


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Middle Boop Radar : Veronica Falls

This London based four piece are Britain's first proper answer to the catchy, jangly pop that bands such as Vivian Girls, Dum Dum Girls and a whole host of others cropping up from over the pond have been championing. Taking what has recently become synonymously an American sound and turning it ultimately British, much in the same way that Male Bonding are doing for Lo-Fi just at the minute. It's certainly the right time and place for Veronica Falls and their 60's pop influenced fuzz. With a recent signing to Wichita, expect very good things to be happening within the year

Sky Larkin release three track EP

Wichita favourites Sky Larkin have released a three track EP available to download from their site for free in the build up to the release of their sophomore ‘Kaleide’ in August.

Check out their site here

First Aid Kit - The Big Black And The Blue (Wichita)

Gosh the two Swedish sisters Klara and Johanna Söderberg that make up First Aid Kit don’t half know how to tug at those heartstrings. One listen was all I needed for their phenomenally beautiful single ‘Hard Believer’ to make their way to the top of my most wanted list with their heavenly dual vocals and country tinged folk and I’m delighted to say that when their album finally dropped on my doorstep that the rest of it is just as magnificent as that first track.

The Big Black And The Blue seems to disregard any of their Scandinavian roots instead hitting on an alt country style echoing the sort of sound resonating from Seattle at the moment with various homage’s to folk and country legends of the past and their obvious adoration for such sounds new and old it’s hard to believe that these two girls were both born in the nineties (making them both younger than me which is kind of scary) especially when listening to their lyrics, tales of loves lost and heartbreak stories that should generally be beyond their years but nonetheless their lyricism is generally bang on the money and something of a strong point. Their sound can be very minimal at times with delicate guitar picking and the occasional bit of flute of vox with the sound completely driven by the duos astonishing vocal harmonies, from the yodelling of ‘Waltz For Richard’ to the dirty, passionate growls that end ‘I Met Up With A King.’ It sways between the light folk of tracks such as ‘A Window Opens’ to the haunting ballad of ‘Ghost Town’ which melody has the power to take the listener away, far away and you do tend to lose yourself in the melody.

When talking about the album the sisters have said “We aim for the hearts, not the charts” which is an apt quote but with an album as lush and pure as this I don’t see why they wouldn’t make a bit of a storm in the charts seeing as how so many of their predecessors (Mumford & Sons, Fleet Foxes) have hit the ground running. The talents of these two girls is still so underexposed and I hope that The Big Black And The Blue gets the exposure it deserves.

Los Campesinos! – Romance Is Boring (Wichita)

Ok so what do we know about Los Camp to date? ‘Twee’ is a word annoyingly banded around when talking about these guys, instantly likeable, high energy pop punk the likes of which has seemingly opened the floodgates for far too many inferior imitators almost ruining a sort of style and sound that Los Camp made their own, well not any more. Romance Is Boring certainly has similarities to their previous material but this is the sound of a band that is maturing well, finding their sound and creating a third album that is by far their finest work to date.

Working with producer John Goodmanson whose previous credits come as Death Cab and Sleater Kinney has allowed Los Camp to explore a darker side that was merely touched on before but has a starring role in this offering whilst also giving their much loved pop hooks a brilliant reshuffle making the album more accessible whilst not only retaining their talents, giving even more room for the Welsh seven piece to individually step up to the plate and showcase their growth. Since we last heard from the much loved group there has also been a bit of a change around, Aleks was replaced by Kim on synths and vocals and Sparky Deathcap (Rob) who has been joining them on tour.

The frenzied keyboard bleeps and instantly ‘to the point’ yelps are a replaced by string and horn arrangements straying away from any attempt at clutching on to the Lo-Fi bandwagon and actually making for some unexpectedly epic finales and moments that despite the obvious lyrical similarities to the last two you really hear something darker and more grown up. ‘The Sea Is A Good Place To Think Of The Future’ is the closest bind between the atmosphere of the whole album and the subject matter creating a brooding sing along that doesn’t just appeal to the adolescent love sick teens but has a chorus uplifting and invigorating enough to capture the hearts of even the most cynical writer and put in to place the fact that Los Campesinos are a band of many hidden talents. There is an awe of confidence that wasn’t there before and such tight production that makes tracks such as the insanely catchy ‘We've Got Your Back (Documented Minor Emotional Breakdown #2)’ something so much more than the ‘twee’ pop that we’ve come to expect.

The lyrics are always a big draw for me with lead singer Gareth’s sarcastic outlook on life shining through as always on tracks such as ‘Straight In at 101’ 'I think we need more Post-Coital and less Post-Rock, feels like the build-up takes forever but you never touch my cock’ is certainly a statement and a half but it’s this off the wall, somewhat garish humour that makes the band even more appealing with each song telling a story of the awkwardness and resentment of love, generally ringing as true as watching an episode of the Inbetweeners.
Los Campesinos! have really found their feet with this offering of truly honest and touching anthems.