Ben Sollee & Daniel Martin Moore - Dear Companion (Sub Pop)

As the gnarled winter sinks its teeth into November, I often turn to great summertime music to help ebb away the cold. Thankfully, I have been granted that in shape of the latest offering from Messrs Ben Sollee and Daniel Martin Moore. Their hybrid brand of a rock, pop and blues is extremely infectious and definitely brings forth some Kentucky sunshine. It is acts like these that make you wish that you lived over the pond where this sumptuous cacophony of music must be abundant and quality artists are ten a penny, ready to play for your pleasure.

Yearning to live stateside aside, let us have a look at this quaint album entitled ‘Dear Companion’ which is Sollee’s third foray into the world of recorded music and his first as a collaborative artist. As soon as the first bars of ‘Something, Somewhere, Sometime’ roll out through the speaker, you would have to be made of pretty cynical stuff not to let a familiar smile develop across your continence and accompany it by either a tapping of the foot or a nodding of the head. The musicianship is suave and not indulgent and I love artists that prove that instruments such as the Banjo have just as much a place in modern music.

In ‘My Wealth Comes To Me’, the pace is slowed down wonderfully and it I could almost describe it as a Kentucky lullaby interposed with the cello and violin and the vocals are beautifully timed and pitched. The song gently shuffles into ‘Needn’t Say A Thing’ which sounds like a track that was tailor made to played in a niche venue like a secluded café or a grass roots Blues bar.

What I appreciate about this album is that these songs do not outstay their welcome; they start, they deliver, they end. This is typified by ‘Wilson’s Creek’ which does its job as a intermission before we are plunged into the poignant piece where you can see the activist side of Sollee coming out in ‘Only A Song’. It is catchy, sing-along tune with a wonderful use of imagery.

The title track ‘Dear Companion’ is short but definitely sweet and is what I would describe as a hootenanny of a song. However, Solle and Moore decide to mix it up once more by slowing down the album with the introduction of ‘Flyrock Blues’ and ‘Try’, the latter one of those oddities that teases you into thinking that it is going to build into a grand crescendo. In that way, it is a little anti-climactic, but the track is still great listening.

‘Flyrock #2’ is a more musical harmonious affair and definitely has that taste of Americana to it. Sollee and Moore prove that it is a certain brand of stateside musician that can only produce music of this distinctiveness.

‘Sweet Marie’ is a charming ballad but is commerciality does sound out of place on the album. Not to take anything away from the album in general, it doesn’t seem to fit in with the general ambience and schism but should still be appreciated nonetheless.

We are waved goodbye with ‘It won’t be long’ which is one of those classic ending album tracks and I believe it provides a fitting ending to ‘Dear Companion’. If Ben Sollee is your flavour of the month, then get booking tickets as he is set to grace our shores in December appearing on the same bill as the legendary Billy Bragg on some of them too, don’t let this slice of life pass you by.

Words : Barclay Quarton

Jaill - That's How We Burn (Sub Pop)

For their first release with major indie label Sub Pop, Jaill sound like they've spent a long time studiously honing their sound for the appraisal of the kind of audience such an accolade might attract. To simplify: Jaill sound like they're trying too hard. Perhaps this is something of a cynical assumption to make about the band, but I'm pretty convinced that, had I listened to That's How We Burn with no prior knowledge of the Milwaukee quartet's road to success, I still would have been left with the same overriding thoughts once those final chords had played out. Namely, that the album sounds like a desperate amalgamation of a number of scenes that have been deemed fashionable over the last decade or so – which could suggest either a lack of conviction or that they're a bit fickle. Secondly, that even despite this stylistic multitasking, the album seems to trundle by almost inconspicuously without any truly affecting moments.

Believe it or not, though: I actually rather enjoyed it. There's no denying that Jaill excel at sampling any of those aforementioned 'scenes' they choose to lend their hand to, be it Brooklyn garage-rock, So-Cal surf-pop or our very own seventies punk aesthetic. Vocalist Vincent Kircher, too, has the kind of voice that suits snotty sneering (Everyone's Hip) as comfortably as it does Mike Love-esque arpeggios (She's My Baby) or anthemic rock n' roll choruses (The Stroller). They're never short of a surprising hook and the presence of songs like the whimsy, acoustic slowie Summer Mess and the jiving, Chuck-Berry-meets-punk-rock jangle of How's The Grave ensure the tempo never gets repetitive. That's How We Burn is an album that's polished, rousing, and fun – if a little hackneyed and forgettable.

Having spent the best part of their career perfecting their craft without much significant recognition, it's no surprise that Jaill wanted their first foray into the mainstream to show off the full range of their talent. However, it's their idiosyncrasies that need more development if they really want to capture our imaginations.

Words : Tegan Rogers

Mogwai Announce New Album Title and Track Listings

Glaswegian legends Mogwai have been hibernating this summer in Chem 19 Studios in Hamilton (mixing in their own studio Castle Of Doom) creating their seventh studio album Hardcore Will Never Die, But You Will.

The new album which was recorded by long time producer Paul Savage will be released through Rock Action on 14th of February and in America on 15th February via their new American label Sub Pop.

Tracklisting:

White Noise
Mexican Grand Prix
Rano Pano
Death Rays
San Pedro
Letters To The Metro
George Square Thatcher Death Party
How To Be A Werewolf
Too Raging To Cheers
You're Lionel Richie

Pissed Jeans: New tracks!

Pissed Jeans have announced details of a brand new 7". The new tracks which are not necessarily linked to a new album, but are still new none the less. 'Sam Kinison Woman' / 'The L Word will be officially released on November 1st, which you can pre-order HERE.

In the meantime, check out the awesome video for 'False Jesii Pt. 2.' taken from their last album 'King of Jeans'. And yes its been 2 years!

Pissed Jeans - False Jesii Part 2 from Sub Pop Records on Vimeo.

Happy Birthday - Happy Birthday (Sub Pop)

Upon the first listen of Happy Birthday's self titled début album, my thoughts were whether or not, in some surreal alternative universe, the Royal Trux had recorded a bunch of songs for Top of the Pops one hot summer. This is by no means a criticism, the combination of the trio’s jangly, lo-fi, hook driven guitar riffs infused with the distinctively dreamy, unrefined nasal vocals of Kyle Thomas make for a perfectly balanced listen.

The record’s chaotic opening anthem, filled with uncontrollable thoughts towards the opposite sex, ‘Girls FM’, is a perfect pop song; relentlessly upbeat, infectiously catchy, topped off with a repetitively fun chorus (“Everybody’s looking like a girl to me / Girls FM, Girls FM”). Two minutes in and we encounter Thomas’ coarse screaming of the track’s title whilst schizophrenically accompanied by Ruth Garbus' tender backing vocals.

The pace shifts dramatically with '2 Shy', slowing down to offer us a softer, hazy reflection on self loathing. The constant change of tone that appears throughout the record mirrors the bands raw, unpolished and occasionally grating take on introspective, twee-soaked pop songs.

'Maxine The Teenage Eskimo's dark narrative focuses on Thomas’ doomed affections for the unobtainable girl; sugar coated in lush backing vocals and masked by unthreatening strumming of the guitar. A less subtle approach is taken on 'Cracked' with its messy intro of pounding drums leading us into a tale of one girl's mental lament - "She's got an ice cold face / Machine gun music on her headphones / Her brain is damaged". In the same vein, ‘Zit’s repetitive, screeching ode to teenage angst and destruction flows like the polar opposite to the album’s closing track, ‘Fun’.

In true pop fashion, there are dark undertones brimming to the surface; unrequited love, social isolation and dreams of a better tomorrow. However, with such honest and direct delivery, it's easy to overlook the more sinister aspects of the songwriting. Chances are you’ll catch yourself harmonising to the naive sensibilities of tracks like 'Subliminal Message' ("I'm sending you a subliminal message / To your heart"), or obliviously tapping your foot along to the laid back yet menacing ‘Perverted Girl’.

With such a strong début, let’s hope Happy Birthday have many anniversaries to follow up with.

Words : Neil Phillips

Video: Male Bonding 'Pirate Key

One of THE bands of the year Male Bonding have a new video. Here is 'Pirate Key'.

No Age UK Tour and Free Download

No Age released their new album 'Everything In Between' on September 20th and tonight kick off their UK tour in Brighton. The band release their new single 'Fever Dreaming' on November 29th and you can grab a free download of it below.

No Age 'Fever Dreaming' - DOWNLOAD

No Age UK Tour Dates:

04/10 - Audio - Brighton
05/10 - Start The Bus - Bristol
06/10 - Norwich Arts Centre - Norwich
07/10 - The Cluny - Newcastle
08/10 - Rollerpalooza at SkateCentral - Sheffield
09/10 - Stereo - Glasgow
10/10 - Whelans - Dublin, Ireland
12/10 - Brudenell Social Club - Leeds
13/10 - In The City - Manchester
14/10 - XOYO - London

No Age - 'Everything In Between' (Sub Pop)

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

Cocorosie - 'Lemonade' video

Here is the freaky new video from the wonderful Cocorosie. They were one of the many highlights from Matt Groening's ATP a few weeks ago.
Lemonade is taken from their fourth album Grey Oceans which was released earlier this month on Sub Pop.

Retribution Gosbel Choir - Cargo – 15/03/10

Tonight was a big one, Cargo tucked away in the heart of London’s ‘trendiest’ area of Shoreditch has had some great gigs over the last few years and this was no exception.

First up are ‘These Monsters,’ one of the many exciting bands coming from Leeds at the moment, their debut album ‘Call Me Dragon’ is bringing heavy rock back from wherever it went. The four piece ripped up the stage with a sound so loud you start to think that ear plugs could really be a good purchase. Slick guitar lines complimented by subtle synth work and a good bit of saxophone, they are steadily gaining themselves a decent reputation and with tonights ear achingly live performance it’s only onwards and upwards from here.

RGC aren’t exactly the new kids on the block with 2/3rd’s of them being from cult heroes Low but the fact that they play in both bands is pretty much where the similarities end. Their second album recently out via Sub Pop is a brutally vast and loud record, far from the minimalistic drone of Low, by the time they entered the stage Cargo was crammed full of music lovers watching in awe as the three piece battled it out with pounding drums, vast electric blues style guitar and heavy bass lines.

The crowd seemed split between die hard fans and people who were just curious to see what these guys were up to, new songs such as ‘Workin’ Hard’ and ‘Poor Man’s Daughter’ evoked a great crowd response and also got people properly singing along to the catchy choruses but it was the amazing drum work combined the aggressive guitar work of, bringing the rock songs out into a new and much more epic light.
RGC are the sort of band that are holding the torch for the avid ‘rock’ fan but as yet they still don’t know about what an amazing hidden gem these guys really are, their performance tonight showcased a live sound that would be equally at home at much bigger venues in the capital.

Words : Gordon Reid

Retribution Gosbel Choir – 2 (Sub Pop)

Despite the album artwork looking remarkably like David Gray’s ‘Life In Slow Motion’ do not be fooled, this is no mere bland slice of chart friendly acoustic pop the likes of which skinheads and grannies come together in harmony to sing along in melodramatic drivel. (unfortunately I know this from experience having seen one of his shows) in fact the amusingly named ‘2’ couldn’t be further from mundane, this is an album as loud and vast as the icy mountains in the image may suggest.

RGC are a rock band for the 21st century, their dirty, eclectic mix of songs have had me enthralled since the first listen, it’s been a while since a rock album has done anything other than leaving me a little dead inside so it’s great to hear such a fantastic array of straight out garage rock songs that go beyond the usual realms of the genre. The drumming plays a large part in why RGC have such a large sound with Eric Pollard’s pounding drums eeping out of every corner none more so than in the climatic finale to the five minute ‘Poor Man's Daughter’ finishing with a ripping guitar solo over the top of mental drumming.

Featuring Steve Garrington on bass and Alan Sparhawk singing and playing guitar, better known as two members from cult favourites ‘Low’ you almost get the feeling that RGC are letting the guys release this inner rock passion that they just can’t achieve in Low and being a huge fan of Low I was a little weary at first as I didn’t want this to become just another disaster side project as many of our heroes seem to have fallen ill of in the past but thankfully I can say that both bands are
completely different, RGC couldn’t be more apart from the minimalisms of Low with noise filling every second of this album, each song crackles and hisses from the seemingly garage style recordings, songs such as ‘Your Bird’ and the more upbeat ‘Workin' Hard’ really play a part in showing you what this band are all about, blues

style riffs, big drums and almost country tinged vocals.
Retribution Gosbel Choir have excelled themselves with this album and has proved that after so many failed attempts by lesser artists, it is still possible to create a ‘rock’ album without sounding tired or processed.