We see things they'll never see
Whistlejacket – Oh Brother
The Fierce Panda label have unearthed another beauty in the London five piece Whistlejacket. Championed by both Simone Marie and Faris Badwan, they are band destined to join the rock n roll psychedelic elite sooner rather than later.
Here is our run through of their new four track EP:
Oh Brother
This opener takes the swirling psyche of Temples and injects it with Primal Scream’s sense of counter culture. Its big riff is demonic and intent on partying at the gates of hell.
Lyrically, ‘Oh Brother’ tells you all you need to know about their head-space, they don’t give a shit. As cinemas gear up to embrace the Gallagher's at their peak, this song feels an apt modern day nod to this spirit.
GB Ache
Another set of heavy hitting guitars combine with distant vocals on this Broken Hands meets latter day Arctic Monkeys effort. Throw in the bugged out production and the etchings of something special are clearly materialising on the horizon.
Hotter Than Heaven
The immediacy dissipates but it feels like they're searching for it at times. However, when it lets go, a beguiling, fuzzy and understated guitar solo emerges in the closing seconds to redeem itself.
March Hare
If this were a Facebook status it would state:
"when a band pulls everything together to create magic"
Combining the distinctive guitar work of The Cure at their peak with everything great about The Horrors, Whistlejacket have found their groove. Doing everything at once is a commendable effort but an almost impossible trick to pull off consistently. Allowing everything its space lifts them from 'great support band' to 'get the fuck out of the way, its our time'.
Farewell to The Enemy
Ten years have passed since Coventry's three-piece The Enemy rolled into town. They were a rare working-class voice in British rock music and Friday witnessed their last-ever London gig at The Forum. Although, from the riotous atmosphere, you’d think it was a band on the brink of the big time.
Nobody left Kentish Town without losing a stone in sweat and jaded vocal cords. It’s what all gigs aspire to be. For anyone who reads TT regularly, sentences such as “why are Radio X and BBC6 not playing this” feature regularly. A sentiment echoed by frontman Tom Clarke on stage as to why they are splitting up.
It’s a cast-iron fact that their debut album is a classic. This should have given them the right for their singles to be a-listed when they returned for the second album. But the indie bubble of the time burst because major labels were destroying it with Scouting For Girls and the fucking Hoosiers, so they deemed The Enemy irrelevant. The presence of these tuneless gutless witless fucktards made the band more vital than ever. Clark’s venom and lyrical insights were needed to uphold a generation of indie fans who were about to be left behind.
Already the UK is a poorer musical landscape without them. As much as we love Frank Turner and The Vaccines, their middle-class and private school backgrounds can never write a song like ‘You’re Not Alone’ or ‘Be Somebody’. Let’s hope Nicky Wire never gets bored of music!
The night itself was a joyous send-off for the band and its fans alike. The crowd was bang up for it from the moment the DJ played ‘Parklife’ 30mnis before they came on. Any opportunity to sing “now this song is about you” in-between songs was gladly taken, especially in the tube station and, for some, all the way to Bank.
The chink of light for fans should be Paul Weller. His varying and consistently high career since The Jam split will hopefully provide the inspiration for Tom to carry on in some guise.
So. Farewell to Tom, Liam, Andy, and everyone I’ve shared a sweat-filled room with since 2006. You’re not alone!
The Academic - 2003 Mixtape
As a generation of Olympic heroes like Bolt and Ennis are reaching the end of their careers it’s impossible to not feel nostalgic for their glory days. Sound tracking this feeling, is The Academic's '2003 Mixtape'.
Musically, its indie-rock drowning in sunshine and so carefree. However, can a tale of nostalgia ever truly signify happiness? Despite its unrepentant feelings for yesteryear, you wonder hurt has hit the pause button on this part of their life.
As with all their previous singles, The Academic have produced great riffs and euphoric vocals but, the highpoint emanates from Craig Fitzgerald’s delivery of the chorus:
“You and your mistakes / Me and my mistakes / Nothings gonna change the way I feel”
Fitzgerald cuts a British version of Julian Casablancas in despair and, for anyone hung up on missed chances, well, expect to feel forlorn afterwards.
Man & The Echo - Distance Runner
Fresh from playing Billy Bragg's curated Leftfield Stage at Glasto this year, the Warrington four piece recently released the single 'Distance Runner'.
It has the drum roll hallmarks of Milburn's 'What You Could Have Won' and vocal cadence. However, this is just a small part of what makes this cracking single. The Northern Soul swagger radiates from every pore and is certain to have audiences both young and old clamouring for more.
As with all their work to date, ‘Distance Runner’ is blessed with a warmth which feels cathartic and has the ability to unite. Now more than ever, we need Man & The Echo.
Hello, World!
The Rumble Strips - The Lightship Recordings
It seems an eternity since we heard from The Rumble Strips but, at the end of July, they released a new EP ‘The Lightship Recordings’. Here’s our track by track review:
Another World
All memories of Rumble Strips tend to lean towards their sun filled pop numbers, so, Another World is the perfect comeback for them. The pianos and guitars breeze on by without a care in the world as the chorus reflects perfectly:
“when we're living in another world / what a feeling”
Around The World
Who needs melancholy when you have this? For anyone pondering the point of meetings where nothing happens and officious emails to 30 people when only 1 is needed, this, this song is the answer:
“Gonna buy me a car / Gonna put you in it/ I’m gonna die in that car when I’m old / all around the world”
Bistro Paris
Where do they conjure these melodies from? The deeper tone to Charlie Walker’s vocals lends this quaint lullaby a different tone to the previous two ‘sing your heart out’ numbers and, is much the better for it.
South Harbour
This is a pleasant and jaunty affair but never really goes anywhere. This is a pity because, as the vocal harmonies 2mins come in, it threatens to do something interesting but sticks to the status quo.
Ticking Over
Does exactly what it says on the tin. Plods along pleasantly but there are no real lifts of excitement or escapism as seen elsewhere on this album.
Wildlife
Walker’s opening howl of ‘wildlife’ is a thing of beauty, much like what he is describing. The power he summons is like a melodic town crier. Couple this with the Belle & Sebastian meets King Creosote indie-folk-pop verses lead to an encapsulating end to this EP.
King Creosote - Wake Up To This
Fife’s Kenny Anderson, has become best known for his experimental work of late, including the bad ass Mercury nominated collaboration with Jon Hopkins. On ‘Wake Up To This’, he has returned to his intuitive pop sensibilities which saw him rise through the ranks of folk royalty during the late ‘00s.
His trademark electronica combining with his infectious acoustic melodies and Celtic vocals is joyous and evokes memories of ‘You’ve No Clue Do You’. The use of strings is a no brainer for Anderson’s brand of melodic folk but, not one we’ve seen a lot of. When you revisit classics like ‘Marguerita Red’, ‘678’ and ‘Home In A Sentence’, thoughts of a full orchestra and the Albert Hall become a burning desire
Whatever it is KC is striving to achieve, surely lies within this single. The combination of folk traditions and electronica offers everything that’s ever been great about him and still finds space for innovation.
Heyrocco - Waiting On Cool
North Charleston's Heyrocco are back with a new EP. Here's our track by track on the three pieces new offering:
Yeah
The EP opens with this single friendly gem. Sounding like Harvey Danger's cult hit 'Flagpole Sitta' via Grandaddy, it offers a lyrical nugget to why punk is a style, it’s a state of mind:
“when everything stays the same I go insane”
For anyone bitter with politics at the moment, don’t sulk, get mad and get even.
It’s Always Something New
Across the pond lies a glorious alternative indie/punk tradition of male and female dual vocals. Yo La Tengo, The Rosebuds and Sonic youth to name but three. They are big shoes to fill but, if Heyrocco can maintain this standard for a decade, they might themselves in the mix.
What’s really admiral about this song is the ending. Just when you think the inevitable guitar solo is coming they just reign everything in let it fade away gently.
Slice of Life
The most stripped back affair on the EP. For the most part this song is filler but then, emerging from the wilderness comes a sublime guitar part. Slightly warped and full of emotion, it says in 20seconds what the rest of the song doesn’t quite do.
Build It Up
‘Build It Up’ is an emotive version of Weezer’s ‘Beverley Hills’. Whereas Weezer build and build the humour, Heyrocco use the stop start riff to lead up to a heart wrenching release.
Venice Beach
Heyrocco get in touch with their love of the Eels here as they combine hip hop, indie and odd ball production. There is a lot going on in this strange affair which makes us wonder, could they combine some these styles with the punkof ‘Yeah’ to create something truly unique?
Perfect World
A great stripped back riff loops in the verses that would make Beck proud. The subsequent eruption is as joyous as Weezer's 'Photograph'. Well played.
Engine - Formulate A Plan
Timing is everything in music right? Well, Monday night, Radio X’s shining light John Kennedy played ‘Formulate A Plan’ by Leeds outfit Engine. As the flying ants swarmed and humans melted in the unrelenting heat, this single came floating by like the breeze we’ve all been desperate for.
Weather aside, this is a remarkable feat for a debut single. Some artists take three albums to carve out this sort of identity. Producer Dom Freeman has got the heart of James Yorkston’s ‘Woozy With Cider’ here and thus, allowed the bands scattergun nodes of psyche to really shine throughout.
Vocally, it provides many of the great dialectics alternative music can provide. Singer James Elson sounds a polished performer but, there is still a hint of fragility which makes you wonder, might this sun drenched dream drift away at some point? It’s something that Bobby Gillespie and Martin Courtney (Real Estate) have done better than most in recent times and now Elson can begin to dream of adding himself to that list.
Check out more from the band on their Soundcloud page:
Paul Draper – EP ONE
Feeling My Heart Run Slow
Draper’s voice hasn’t lost its edge. Noel Gallagher does big chord changes to convey escapism, well, Draper does it via his vocals on this track.
Draper channels his previous art with Mansun against electronic production from Underworld’s repertoire. Throw in a resplendent psyche guitar solo three minutes in and this is everything Mansun fans will have craved for a decade.
No Ideas (feat. Steve Wilson)
Draper is again on fine form as he creates a Bond-esque song. A Bond that is wired at 4am that is.
When they dark production collides with repeat of “because ive got no ideas”, this track becomes that much more sinister. The protagonist is oozing a deep lying sense of frustration and depression and has clearly had enough.
The Silence Is Deafening
Unfortunately, at too many junctures, this is Duran Duran. Some of the electronic production threatens to give this track its edge but never does.
Overall, two out of three is the message for this EP (not including the decent remix of Feeling My Heart Run Slow by Twiglight Sad). ‘FMHRS’ and ‘No Ideas’ both offer glimpses of Mansun’s past but, crucially, they propel Draper into where he is now. The last track fails on all fronts for TT but there is more than enough to be excited about for the album later this year.
Seazoo – Jumbo
The Wrexham outfit are back with yet another EP. Here is our track by track analysis:
The Heart of Hercules
This is all about its production values. It has the melodic nature of Delphic’s debut but waltzes along an alternative 90s US indie line. The combination serves up sublime pop music itching to sit alongside Beyonce and One Direction on radio playlists.
Telephone Jones
‘Telephone Jones’ steers away from pure pop music and moves towards indie territory. The results, scintillating. The Church organ opens affairs and lays the platform for dirge guitars to blast out the traps.
The real magic though comes from the guitars and the insatiable spirit they deliver. Remember as a kid when you run against the wind with your coat above your head? Remember when you made yourself dizzy for the sheer fun of it? Well, combine the two and throw in a jaeger bomb and the spirit of this song will become clear.
Tenterhooks
Subtly, this a more subdued track which has familiar feel to it. It's that pair of boxer shorts you cannot part with because they’re so good to you on long arduous journeys.
Musically it has all the same elements of the previous two tracks but just dialled a little. It allows you to feel great but without the need to scream about it and thus, a perfect tonic after the opening tracks.
Pictures
There's a lot to be said about the final track but mainly, the words “that guitar part” should cover it. It loops over and over so beautifully, its almost unbearable. If it were a line from a film it would be:
It has a childish glee to it which, if played over a montage of a dear departed would bring tears of joy, not sadness.
The main thing to take away from 'Jumbo' is the unique ability it has to sound crazy but achievable. If bugged out production was to be thought about in punk rock accessibility terms, then this is the starting point for anyone curious.
The EP is available to buy and listen to on their bandcamp page:
The Rifles - Wall Around Your Heart
The song opens in true Rifles fashion with guitars blasting out the traps like a four minute warning to the apocalypse. The pulse of the song is one we have seen time and time again from the Rifles and yet, it remains fresh and enjoyable.
This is, in part due to the guitars, particular the solo having a touch of jingle jangle a la Primal Scream’s debut to them. The Rifles though, do not do tranquil sun drenched songs. They offer an adrenalin fuelled ride to said genre and as a result, their massive following will be incredibly happy once more.
Many are criticised for not changing up their game enough. The Rifles often fall victim to said abuse. However, lifelong admirers will tell you what the subtle differences are, they’ll also tell you to fuck off and quite right. In an a time where bands life spans are one album, The Rifles are returning with their fifth in ten years and all without ever receiving airplay. You may not like them but you should respect them.
PAWS - No Grace
The Glasgow four piece have returned with their second album ‘No Grace’. Their brooding debut ‘Youth Culture Forever’ was littered with lyrical nuggets to define teenage angst and coming of age. This time round, it’s the music which is providing the youthful exuberance.
Opener ‘No Grace’, combines the bashed guitars of early Billy Bragg with infectious pop-punk and features the golden line “are you tired of being told that’s not good enough”. This musical notion of the rough with smooth is a constant throughout with ‘Clarity’ it’s finest exponent.
It’s furious pace and accessible vocals will bring memories of Green Day’s joyous beginnings flooding back, especially when the bassline takes centre stage. PAWS are not content with rehashing the past though and fire out a warped solo of such depravity it will have everyone from The Fall to QOTSA looking on in envy.
Occasionally, the clash of styles seen on ‘Clarity’ fade away and the album suffers. ‘Complete Contempt’ and ‘Gone So Long’ have their influences shining through too much for PAWS’ distinct style to shine through, and it should, it’s great.
‘Impermanent’ however, is pop-punk and nothing else. It works, because it’s one hell of anthem. In bleak times, to hear the words “Don’t believe their heart, just work hard and be hyperactive” brings hope. Furthermore, it delivers it bubble wrapped in pop music form which should transcend Radio X and emerge onto Radio 1 playlists.
‘Impermanent’ defines everything this album is about. Short, sharp and life affirming. ‘No Grace’ is no ‘Sgt Peppers’ or ‘Dark Side Of The Moon’. It is however, an album to define (or evoke memories of) that momentous summer after GSCES or going to university.
The carefree punk-pop is in equal parts juvenile and carefree. Good. It’s obnoxious and angry. Great. Now go buy it!
Eagulls - Ullages
Yorkshire 5 piece Eagulls stormed into our consciousness in 2014 with their frenetic self-titled debut. In 2016, they have returned with a venture into post-punk and more withdrawn state of being.
Albums often begin with a statement of intent, The Stone Roses’ ‘I Wanna Be Adored’ or Oasis’ ‘Rock n Roll Star’ for example. Eagulls have done just that on 'Ullages' with ‘Heads or Tails’. From the first second, the darkness and struggle descend like a ceaseless thunderstorm. Despite the call to ‘take a stab in the dark tonight’, this opener will not leave you feeling positive about any gambles taken.
This new approach comes with varying results. ‘Psalms’ is a damming indictment of our grey political times (not the past fortnight obviously) but, it lacks the edge to drive home this point. Its fine, not bad, and that is its problem. It doesn’t have the destructiveness of The Horrors’ ‘Three Decades’ or the pop prowess of The Cure’s ‘Just Like Heaven’ to land a flush punch.
When Eagulls manage to clash cultural styles into their work, they elevate themselves above their influences. ‘Velvet’ is by far and away the standout exponent. The production is brooding and lurks dangerously in the background whilst, the guitars echo the dreamy jingle jangle of Real Estate.
Driving ‘Velvet’ to higher heights is the vocal work of George Mitchell. The Robert Smith comparisons will be made but, the pain and darkness oozing from him in this tale of Cupid’s demise is remarkable.
Furthermore, Mitchell has that rare ability to drive the melody through his singing. The narrative shifts from line to line, sometimes within a line, all because of Mitchell’s capacity to convey a whole songs emotion into just a couple of words.
Unfortunately, Mitchell’s vocals don’t always impact with the same force. When the Echo & The Bunnymen influences come into play on ‘Lemontrees’ and ‘Blume’, Mitchell’s delivery lacks that star quality which shone so brightly for Ian McCulloch. Musically though, these tracks are a solid addition to this branch of the rock family tree.
On the surface, ‘Ullages’ will not glow as much as its predecessor but, like so many records, after a few listens, it will permeate its way into your soul. The doom and gloom starts to become a more beautiful state of being.
The greatest thing about ‘Ullages’ though, is the creative leap from the debut. So many bands make a death defying punk debut, then they make another and no-one cares. Eagulls’ foray into a post-punk will give the band room to breathe despite the varying results. Also, if they ever return to the sound of their debut, it will mean that much more for those who go on a journey to that destination.
Boxed In - Jist
It feels like a barely a moment has passed since the self-titled debut album was released. Nevertheless, Oli Bayston’s outfit are back, and they have served up a slice of sun-drenched electronica to kick-start the summer.
The former head honcho of Keith has built on Boxed In’s debut with crisp and catchy production that Michael Jackson’s ‘Off The Wall’ would have been proud to include.
The melody running through is simple but joyously hypnotic. Picture yourself in sunnier climates than a storm ridden train platform with endless cancellations and this song is the perfect fit.
Bayston maybe in hot demand as a producer these days but, for TT, it’s his own work and that we find so compelling. Combining the opulent production with his grainy vocals is a mix certain to prosper.
Bear's Den - Auld Wives
Timing can be everything in the music biz, catching that mood of the public just right can make your career overnight.
The new Bear’s Den single ‘Auld Wives’ isn’t going to resonate like Pulp’s ‘Common People’ but, the distance sounds, faint beauty and subtle melancholy will certainly catch the mood of 16,141,241 people in the UK today.
Tomorrow there needs to be a call to arms, and a fight back against little Englander’s and inept Tories. Today, let us wallow together in the swirling production of the verses here. As the euphoria slowly gathers momentum in the second half of the song, let us gather our thoughts recognise the good in others once more.
The sweeping vocals combine with synths to provide just enough beauty to keep spirits up. Meanwhile, the sublime bassline rattles through with enough edginess to keep you guessing and ample familiarities to give you hope it will be ok. How apt.
Recreations - Baby Boomers 2
Duckworth has always been a consistent and prolific songwriter but, for our money, ‘The Chronicles of a Bohemian Teenager’ and ‘The Mannequin’ are classics. So, can ‘Baby Boomers 2’ get in amongst them?
It’s hard to believe that ten years have passed since Sam Duckworth’s debut album via the Get Cape Wear Cape Fly moniker was released. Duckworth now goes by Recreations and recently released ‘Baby Boomers 2’.
Duckworth has always been a consistent and prolific songwriter but, for our money, ‘The Chronicles of a Bohemian Teenager’ and ‘The Mannequin’ are classics. So, can ‘Baby Boomers 2’ get in amongst them? Yes, yes it can. It combines the youthful euphoria of the debut with the intelligence and melancholy of ‘Mannequin’ to set him on another great adventure.
The album opens with ‘Zones 9 & 10’ and, quite frankly, could end here too because, in the words of Triple H:
“I’m that damn good”
The effortless flow of the acoustic guitar and sun-drenched production meanders away like the Thames estuary from “Wapping to Barking to Thurrock towards the sea” which he mentions. The main highlight of this song, especially for a fellow lost soul in Essex, comes from the hope he offers. Duckworth is not content to grow up to be a commuter in London and rejects the financial district as it is today (an industry which employs a large proportion of the county).
Duckworth has painted the picture of an Essex where hope for change seems (and is) bleak but his genuine plea to look at your immediate surroundings in a different light to the status quo is remarkable. It offers achievable change for anyone wanting to make an imprint on the world.
‘Red Spex’ immediately follows this and paves the way to the pop music via electronic production which dominates most of the album. It’s a spritely track, littered with relevant social comment, aka, classic Duckworth. ‘Outdoor Type’ serves up a Block Party style Balearic synth alongside his trademark EMO-lite vocals to create an unique and incredibly engaging new style.
The house music styles continue to filter through on ‘Pipe Down’. The slow build of beats, acoustic riffs and bubblegum pop synths will conjure memories of Lemonjelly circa ‘Lost Horizons’. Behind the sonic bliss however, lurks a tragic tale. As our protagonist earnestly pleads “Don’t you know you could have it all / all you ever dreamed off / all you have to do is keep it down / keep it down down down”, the images of gut wrenching and life changing break up become inevitable.
The way in which Duckworth changes gears on ‘Baby Boomers 2’ is ultimately its biggest success. For fans of alternative pop music, this album is perfect. It moves from downbeat electronic folk to Calvin Harris pop cutting lyrics and thus, is always intriguing. The track ‘Forgiveness’ is brilliant prototype for a single. It’s emotive, great strings, and lyrically, it will speak to people of all ages reflecting on life. For a man of Duckworth’s talents, it would be easy to put out an album of these tracks and become a superstar. Less is more though, and when you reach this track you are left stunned and then you move on to the next, and crucially, different piece of art.
The only way to conclude this review is to quote the rousing moments of ‘Zones 9 & 10’:
“All these years of stress have taught me this / That hope begins at home / I just wish that glint in your eye was there all the time”
https://www.facebook.com/recreations2k/videos/10153576390806434/
Stone Roses – Beautiful Thing
After the poor man’s Beady Eye debacle that was ‘All For One’, the Roses have found their form. Ian Brown’s influence reigns supreme as he invokes his ‘Golden Greats’ solo era. The beats and production allow Brown to deliver trip-hop style lyrics to their Mancuninan swagger in the verses and then just beautifully drift away.
All the combinations are working their magic on this record. Brown is the undeniable star of the show which holds back Squire’s guitar wizardry. A good thing, it allows various trippy manifestations to come through in short blasts, which, makes the psyche solo a reward rather than an inevitable outcome.
As ever, Mani and Reni hold everything together with their iconic groove and style. Old or young, their unique class remains. The alternative soundtrack of the summer begins right here.
States Of Emotion - Black & White to Gold
States Of Emotion transcend the greedy and spiteful age we live in.
Do not underestimate how much blood sweat and tears went into this album. Record labels are not interested bands right now, the ones that are, have no money and the one that did show interest, treated the Essex outfit poorly. If there is a game to be played in life, States of Emotion have already won it.
‘Black & White To Gold’ for the most part, is a rare gift which delivers so many avenues of joy. Where it doesn’t however, are valiant attempts to achieve big rock n roll epics. 'Inside Out' is one such instance, it throws bombs from the opening bell but none of which land that clean shot. Nevertheless, in the context of this album, you can see why they went for it, its in there locker and one day, it will be theirs.
‘Back To Back’ and ‘Seeking Oblivion’ are great places to start for any newcomers to the band. ‘Back To Back’ slowly builds an escapist and slightly warped indie anthem which, when in the final moments packs so much heart and soul, the desire to change life for the better will coarse through your veins.
‘Seeking Oblivion’ takes the early work of the Editors and combines it with a unique pacing style to lift it beyond their peers. The rasping drums and firing guitars come at you in sporadic assaults and, without any warning fall away like a dubstep breakdown. Once the element of surprise of these moments has passed, the anticipation of the tempo quickening becomes enthralling.
Taking themselves further away from their indie roots is ‘Rag n Bone Men’. The desolate drum loops combine with short blasts of guitar psyche to produce a truly defiant and free-spirited record. To take their image and shove an alternative one so good right in your faces is a glorious act of rock n roll rebellion.
The album is not without its moments of pop music either. ‘Lena’ has guitar riffs and parts of sublime beauty. The bubblegum pop nature of the verses is so romantic and infectious, daytime radio should be clambering after this.
Yet again, band leader Olly Hookings has conjured a character that offers hope and a desire for something. So few bands have this ambition or effect now. There seems to be an apathy now that BBC6 heeds a career for bands. For States of Emotion, there is a purity oozing from them that this is a vocation. It was this or die and that, that is what is truly beautiful about them.
The pop sensibilities keep coming with ‘She Cuts Shapes’. In essence, it’s an indie standard but, the production and backing vocals are so free-flowing, and soul-cleansing bedroom dancing is inevitable. Lyrically, this is straight out of the Jarvis league of brilliance as Hookings tells the tale of a of young enigmatic female tearing up the dance floor on drugs.
As mentioned earlier, this is an album that can only make young folk want to be in a band. There appears to be a case that Noel Gallagher had this effect on the band. 'Black & White To Gold' is that rare thing that replicates the heart and soul of Gallagher's work which is overlooked for the bravado and soundbites. The juxtaposition of sun-drenched escapism and melancholy combine regularly here and will leave you feeling inspired and nostalgic simultaneously.
The ability to stir creativity in others is what this record should be remembered for. For the first time in a long time, a band has transcended the greedy and spiteful age we live in. Thank you States of Emotion.
Little Green Cars - Ephemera
The Dublin five-piece returned in March to release their second album ‘Ephemera’.
The Dublin five-piece returned in March to release their second album ‘Ephemera’. The album title suggests this will only be of importance for a short time. However, the blending styles of the two vocalists suggest longevity more often than not.
The Stephen Appleby-fronted songs tend to have Fleet Foxes and Grandaddy sense of melancholy and beauty to them. Opener 'The Song They Play Every Night' sets the tone by decreeing 'If you don’t love me now / You didn’t love me before'. Set to a steadily increasing tempo and jingle-jangle guitars, it’s a bona fide indie winner.
‘The Garden Of Death’ continues on the same veil with the harmonies heavily influenced by the Fleet Foxes’ debut. There is a solid slice of The Shins served up too, this gives the song a genuine sense of purpose, rather than just showing off harmonies which, this kind of song can often fall victim to.
What also sets this song above the rest is, the conflicting styles and contrasts within. The defiance from the song’s lead character provides the uplift whilst the music pulls towards a gloomier state of affairs. That ability, to enjoy oneself despite the constant knocks, is something to heed.
The tracks sung by Faye O'Rourke on the other hand, have a far more immediate impact. This is because of one simple fact, O'Rourke is a powerhouse vocalist who combines the power of Adele with the indie-punk nodes of PJ Harvey.
‘Easier Day’, with its XX guitar riff witnesses O'Rourke set her vocals to stun. As the floaty riff holds the sound in a more mainstream indie realm, O'Rourke delivers a rage of angst and hurt as the story's lead laments her mother's reactions:
“It gets better, better, better / When I hear my mother crying in her sleep / It gets better, better, better / When I know that all the crying is for me.”
The problem with vocals so obviously great are, the tendency to just rely on them. This is fine when you’re Whitney Houston or Mariah Carey and your average fan just wants to hear an amazing set of pipes. In a band as talented as Little Green Cars, songs like 'I Don't Even Know Who' makes you think, where's the juxtaposition of sound etc. Maybe we are just being greedy.
The album closes with 'The Factory', and is the album’s best track. Everything the two singers attempted on their own combined on this record and it’s so much better for it. The innocence and fragility of Appleby take the lead for the most part, but, when they combine with O'Rourke, something magical happens.
Essentially, 'Ephemera' has repeated the successes and failures of their debut 'Absolute Zero'. There are some stand-out moments which, inevitably will win lots of favour at festivals this summer. Unfortunately, there is some filler as well. The difference this time round is, that the bar has been raised significantly. The weaker tracks rival the debuts middling to good tracks and the highlights comfortably eclipse the likes of 'Harper Lee' and 'The John Wayne'.
The Bluetones: Roundhouse, London
With a little charm and a lot of style, Mark Morriss and co were back playing the greatest hits set and Camden’s Roundhouse.
With a little charm and a lot of style, Mark Morriss and co were back playing the greatest hits set and Camden’s Roundhouse.
A lot is made of bands who tour without new material these days and, it's usually negative. In the case of The Bluetones though, they made new music until 2010 so this isn’t a massive trip down nostalgia lane. Even if it was, there is clearly a demand from their fans to watch their concise alternative pop songs still.
Nothing can be written about the anthems ‘Bluetonic’ or ‘Cut Some Rug’ that hasn’t been written before. They were, are, and always will be classics. What probably wasn’t written enough about the band, was their 2003 album ‘Luxembourg’.
It should have been another hit album for the Hounslow band and adoring indie fans. However, a new decade was well underway and the Britpop tag was impossible to shake, especially when the lacklustre Nu-metal scene was dominating the share of alternative airplay.
The performances of ‘Fast Boy’ and ‘Never Going Nowhere’ highlight just how overlooked they were in this period. ‘Fast Boy’, the tale of their weed dealer, demonstrates a shift towards more riff-heavy guitar tracks. Meanwhile, ‘Never Going Nowhere’ took all their classic pop sensibilities and romantically tumultuous lyrics with a slightly more glam-rock-tinged guitar and a bass breakdown so good, it is acceptable to dribble over.
Morriss’ between-song banter is a stern reminder of just how much new bands could learn from the Bluetones. The dry wit, anecdotes, and jokes are continuous throughout, and crucially, it endears the crowd to the band even more. After their cover of Prince's 'I Could Never Take Your Place of Your Man', Morriss asks that the audience show their love for The Bluetones before its too late by buying something from the merch stall.
There are sure to be many more nights like this for Bluetones fans to enjoy, it’s a good money-spinner for the band and clearly fun for them. However, to those who booed when Morriss said no more new music was coming, TT begs you, support Morriss' fine solo efforts. Last year' The Taste Of Mark Morriss' is a cracking little indie-pop album that should be in every Bluetones fans' collection.