25/04/11
Jan-2010
Ian Mcnabb – Great Things (Fairfield Records)
Ex Icicle Works front man Ian Mcnabb returns for the first time in four years with an album that’s already receiving much widespread critical acclaim. With an established solo career tucked firmly away in his locker, including a Mercury prize nomination for ‘Head Like a Rock’ in 1996, Mcnabb has never really been a follower of fashion - more of a poet in song, gaining the reputation along the way as a truly authentic and inspiring master craftsman song writer; even if he is one of the music business’ more closely guarded secrets. Consistency has become his middle name. Underrated, understated or misunderstood? Well whatever it has been these past twenty plus years, he has certainly never received the true acclaim that he has worked tirelessly for and surely by now thoroughly deserves. However he’s still writing ‘Great Things’ and this album once again confirms Ian Mcnabb’s pedigree and that he is still very much at the races. Title tract ‘Great Things’ is a huge song, a delightful opener that finds the man at his very, very best. A part time ‘The Waterboys’ collaborator in the past, he has called in Mr Waterboy front man Mike Scott who contributes backing vocals and guitar on ‘New Light’ during which he dreamily sings of being in a better place. ‘All About a Woman’, spills with tales of love and dreams of mystical beauties, finding him “Still chasing the girls over Primrose Hill”. ‘This Love’ tells the story of a magical tangible lover. A truly beautiful song. As ever it’s the lyrics that bring the songs to life, packed full of the usual charm and dry sense of humour that we have become accustomed to over the years. ‘I Can’t Help It If I’m Great’ epitomises this in full and it sounds like he’s having fun, with this tongue in cheek self proclamation. (He really can’t help it?). This is a totally absorbing composition, with some big songs that will once again live long in the mind, but after all these years we really wouldn’t have expected anything else, would we? The man that never disappoints is back and bang on form. This is once again an album of pure quality. Ian Mcnabb is one of Britain’s greatest musical talents, so don’t let this one pass you by.
Steve Plunkett 8/10
11-Jan-2010
Delphic – Acolyte (Chimeric/Polydor)
Sometimes bands feature in the music press so often that you form a pretty strong opinion about them before you’ve even heard their album or been to one of their gigs. Delphic seem to be everywhere at the moment, so I was wary of having unreasonable expectations of their debut. Current single ‘Doubt’ is a prime example of their fusion of indie dance and wears its influences proudly on its sleeve, with a guitar solo that sounds like it could have been sampled from a forgotten New Order track. The rest of the album maintains this high standard, and should appeal to fans of Bloc Party, The Rapture or The Chemical Brothers. Opener ‘Clarion Call’ builds slowly to a rousing finale, ‘Halcyon’ evokes hands in the air euphoria and the epic title track, which clocks in at almost 9 minutes, is a stormer. Not every track’s an unqualified success, but there’s nothing that makes you want to skip to the next one. Overall this is a great album and I’ll be very surprised if these guys don’t end the year with a big hit on their hands.
8/10 Jimmy James
11-Jan-2010
Esmeé Denters – Outta Here (Tennman Records)
At first listen I thought I’d put on something reminiscent of an early Beyoncé, but don’t be fooled, this girl has her own style and flair (kinda what you’d expect from someone discovered and produced by Justin Timberlake). Esmeé Denters’ first single was pure pop but this lil’ lady sure has some soul and the album’s loaded with an R&N vibe. Her new single ‘Admit It’ is definitely catchy enough to be another top ten and the track ‘Love Dealer’ is fully loaded with extra added JT grunts; it’s sure to be a future hit. ‘Gravity’ moves back to some sultry pop, but isn’t quite the big ballard I was hoping to hear. If her fans are more into the mushy funky pop style however, then I can see ‘Getting Over You’ being another hit. I was hoping for a few more upbeat songs with this album but it’s stuffed with sad lyrics and a beat that gets a bit samey after a while. It does pick up again towards the end of the album with ‘Casanova’, but the bonus track ‘Sad Symphony’ is where Esmeé’s vocal talents are really showed-off. Although I really wanted to enjoy this album, I found it a little too silly and samey for my liking and I can’t help feeling I’ve been lured into something that just didn’t live up to expectations. An amazing voice but someone needs to give the girl a break with more originality.
7/10 DoLLface
11-Jan-2010
The Irrepressibles - Mirror, Mirror (V2 records)
If you were to look up the word ‘irrepressible’ in the dictionary, it would tell you that it was “difficult or impossible to confine” and The Irrepressibles certainly live up to their name. What the dictionary wouldn’t tell you is that this irrepressible force is a 10-piece ’performance orchestra’ led by composer-cum-artistic director-cum lead vocalist, Jamie McDermott. Like Harlequin himself, McDermott is nimble and agile with his flamboyant vocal acrobatics and ‘Mirror Mirror’ is embellished intricately with threads of love, lust, anger and loss. There’s an element of Avant-Garde here too combining the traditional elements of theatre, the orchestra and art into a precious musical box of enchanting theatrical pop. Dazzling displays of outfits and costumes don’t dispute this, as illustrated by the video for ‘In This Shirt,’ the final track to the record and also appearing in the (’backwards motion’ filmmaker) Shelley Loves film ‘The Forgotten Circus.’ From a Roman amphitheatre to the Queen Victoria Hall and more recently a dazzling performance at the V&A, even the venues the band play are wildly elaborate and filled with panache and style; a sprinkling of Bowie, a dash of Beefheart. While The Irrepresibles might be impossible to pigeon-hole as the name suggests, ’Mirror Mirror’ is undeniably an enchanting performance of originality and glamour and that is impossible to deny.
8/10 cheriamour
25-Jan-2010
Chew Lips – Unicorn (Family)
Surprisingly, Chew Lips first two singles aren’t on their debut album, Unicorn, which live seemed to be their best. Even more surprisingly, the album doesn’t suffer. A captivating collision ensues for the duration of the album, where slightly predictable and cheesy electro pop instrumentation contradicts brilliant vocal melodies, giving the whole sound a new and original battleground. Tigs, an explosive and enigmatic front woman even for the heaviest of bands has the most beautifully smooth voice that is thick with emotion, and has the most inoffensive tone I have heard since Chrissie Hynde. It could easily get drowned in such swirling synth sounds, but the hooks that she comes up with are just great. Subtle and quirky, yet catchy as hell, she has confidence that allows her to deliver the hooks, and not shove them down my throat. Unicorn gets better with every listen, slowly indenting its way further into my nostalgia with great lines like, “all the comfort of an old time lover”. This is the perfect hangover listen; laid back and soft, but enough edge to get you going. The electro backdrop even starts to get a bit sleazy and dirty (how I like it) on tracks 3 and 4, where I could easily reference Nick Zinner’s disco escapades. The standout track for me is penultimate “Golden Key”, which best displays Tigs’ epic vocal delivery fighting with moments of dirty synth, and builds so satisfyingly towards a brilliant atmospheric climax.
8/10 Maxie Gedge
25-Jan-2010
First Aid Kit – The Big Black and the Blue (Wichita Recordings)
First Aid Kit are an interesting phenomenon. I first encounter the Swedish sister duo at a sold out Fanfarlo concert held at London’s Bush Hall last summer. Just six months later, their debut album ‘The Big Black and the Blue’ is facilitating a major rise in profile and some very well-earned mainstream recognition for these ladies. And the album is incredible. With emotional and sometimes whimsical subject matters explored and redefined, each song offers a country / folk feel with flair, depth, maturity and grace – and to think that the younger of this two-piece is still just sixteen years old. The obvious standout track on ‘The Big Black And The Blue’ has to be its first single, the beautiful and pained ‘Hard Believer’; it’s a tune that demonstrates all that is great about First Aid Kit – delectable lyrics, astoundingly strong vocals, and the general feel of something that bit different to anything else we’re hearing at the moment. While ‘Hard Believer’ is magnificent, however, it’s hardly misplaced on this album; here is a collection of musical gems which are thought-provoking and totally distinctive from beginning to end. This is an album full of creativity, delicacy and an outstanding acoustic lushness – First Aid Kit are definitely an act to watch out for in 2010.
9/10 Lauren Razavi
01-Feb-2010
Midlake – The Courage of Others (Bella Union)
It has been well documented that Midlake have crossed the pond, influence-wise, putting to bed their American comparisons and making a nod towards British folk bands of the last century, making ‘The Courage of Others’ far removed from their debut - the more psychedelic ‘Bamnan and Silvercork’ - but a natural progression from ‘…Van Occupanther’. That is not the only thing that has moved on though; ‘…Van Occupanther’ was a sometimes ethereal offering, a peek through misted windows at characters distant from reality, but ‘The Courage of Others’ is a lot more tangible affair. Although they must be assured by the fact this is their third long player, their previous being much celebrated (and an album securely placed in my own Top Albums List), there seems a fragility to this collection of new material that belies their career success. Here you listen to the honest troubles of an honest man, and although the songs have lost their story-telling element, the resonant harmonies and steady pace procure empathy from the first listen. Album stand-outs ‘The Acts of Man’, ‘Core of Nature’ and the title track, ‘’Courage of Others’ all have the archetypal Midlake wintry front, with a vulnerability that can’t help but endear. The songs are simpler, yet have a fullness that grows on you with every play and begs you to be the ear for their concerns.
9/10 Emma Roberts
01-Feb-2010
The Sunshine Underground – Nobody’s Coming To Save You (City Rockere/EMI)
This album excels in mediocrity. Even though the sound is layered together nicely with slick instrumentation and tight rhythms that border on ‘new rave’, ‘Nobody’s Coming To Save You’ is so painfully generic that even ‘Reverend’ of The Makers would be like, “man, you guys are bland”. The best two tracks on the album are the first two. ‘Spell It Out’ has an interesting structure, but then it doesn’t really build to anything, whilst ‘Coming to Save You’ is a promising opener with some haunting atmospherics, an infectiously jolty rhythm, and an undeniably catchy chorus. However, the overproduced songs quickly become very samey, and whilst they try to create something epic, it ends up sounding a tad cheesy. Everything – the dull synth, the token cowbell, the smooth bass distortion, even the off-beat guitar strums – are so predictable that this album just has no effect on me whatsoever. In fact, if I close my eyes and keep really still, then it passes over me like it never even happened. It’s not like it’s offensive or anything; I’m sure Gary boys who love The Enemy, Muse and the aforementioned Reverend will happily consume this harmless piece of lad rock, and think they’re being all “underground”. But I’m no fool; this album is b.o.r.i.n.g.
4/10 Maxie Gedge
01-Feb-2010
Ke$ha – Animal (RCA Records)
Ok so who is this dollar sign donning Ke$ha then...? Well she’s the 22 year old animal of a woman who was born to former punk-rock singer and songwriter Pebe, during a San Fernando Valley party in Los Angeles’ and the unbelievable sequences of events that mark the story of her life don’t just stop there. At the age of five years old she decided “I’m going to be a rock star and there’s no way anyone is going to stop me! It’s my calling. If I don’t go for it, I’m going to feel like a tool when I’m 50” and so on the path to fame she became the girl who threw up in a closet during a party at Paris Hilton’s place, as the track ‘Party At A Rich Dude’s House’ will tell you, the girl who broke into Prince’s house in order to give him her demo, the girl who as an unknown artist laid down the vocals for Flo Rida’s number one track ‘Right Round’ after hanging out with him for one night. So in the end it would seem that meeting producer Dr. Luke, who was in fact the man that introduced her to Flo Rida and went on to produce her debut album ‘Animal’, she final found her real prince in purple velvet and he found the incredible and distinctive voice that he was looking for. So with Ke$ha laying down the unbelievable stories of her life in this album, she can turn 50 with a smile of achievement.
6/10 nawaza
08-Feb-2010
Gil Scott-Heron – I’m New Here (XL Recordings)
After a sixteen year hiatus, the original Godfather to Rap is finally set to unleash the already critically acclaimed ‘I’m new Here’, a release which comprises of a collection of new tracks which are split between atmospheric soul and bluesy numbers wrapped together with various spoken word jams. It’s a style which Scott-Heron is probably best known for after his industry-changing ‘The Revolution will not be Televised’, which first threw itself on the world as far back as 1971. ‘I’m New Here’ certainly offers a great deal of food for thought. All in all, life hasn’t been all that kind to the man behind one of the most important voices within 20th Century music. The inception of this release came about owing to a meeting between Scott-Heron & XL head honcho Richard Russell at a New York State penitentiary, a place in which the soul legend had spent the best part of a decade, in-between various rehab stints to deal with an ongoing cocaine addiction. If life experience offers creative fodder, then a man once described as the black Bob Dylan should be drowning in both thoughts and stories of self reflection – which is evident from the opening line ‘I did not become someone different…that I did not want to be’. From the outset of this album you are taken on a journey of self discovery…the question is, are you open enough to ingest this ride?
7/10 M Buttons
08-Feb-2010
Massive Attack – Heligoland (Virgin)
At last long, this Bristolian steadfast Trip-Hip duo, are able to boast the release of their fifth full studio album. Thankfully I can say that musically this one lies a lot closer in both mood, production and melody to that of Mezzanine, than its predecessor 100th Window. Massive Attack have always made a name for themselves by somehow finding beauty within darkness, but with 100th Window things got all out of hand on the gloomy front, but not so this time around. As expected from all their previous works a number of guests have been drafted in to complete this recording. In all honesty this is a pretty unbelievable line-up. The album opens with slow builder ‘Pray For Rain’ which features TV on the Radio’s Tunde Adebimpe, then continues with mesmerizing performances from Martina Topley-Bird, old cohort and Reggae legend Horace Andy, Elbow’s Guy Garvey, Hope Sandoval from Mazzy Star, and as well as production credits, the unflappable Damon Albarn offers his vocal talents on the downbeat yet stellar ‘Saturday Come Slow’ Founding members Daddy G and Robert ‘3D’ Del Naja are present and on top form throughout, making ‘Heliogland’ undoubtedly one of the finest releases 2010 is likely to see.
9/10 Marky B
08-Feb-2010
Gui Boratto– The Mix Collection (Renaissance)
Gui Boratto. Who he? He’s only Brazil’s most exciting house export! Last year he released his second album, remixed the likes of Moby, Bomb the Bass and Simian Mobile Disco, and entered the Djmag Top 100. His album, Chromophobia, was also awarded the title of Mixmag Album of the Month. Regarding why he chose the name Chromophobia, Boratto said: "The same meaning as monochromatism in architecture, which means simplicity. That’s all. I don’t have a morbid fear of colors at all. But also, I was ironic. My music is really colourful." When on stage, Gui uses a laptop equipped with Ableton Live, a Jazz Mutant Lemur, a monome and an Evolution Uc33e, and he sometimes even invites a guitar player to join him. This is a new 2 disc Renaissance mix created by Gui himself, featuring some famous artists such as Tricky and Josh Wink as well as some of his own tracks and remixes including a co-production with Bomb the Bass called The Infinities. His style is diverse and melodic; it flows smoothly between tracks and has a sophisticated sound. It’s a sympathetic mixture of more traditional house beats and a more laid back, almost minimalistic soundscape. As a person who general dislikes house music, I really enjoyed this. In parts it even reminded me of music from Phantasy Star Online, which is, of course, a good thing. I would say this is the Renaissance album to buy if you generally don’t buy Renaissance or dance albums.
7/10 Lizz
15-Feb-2010
Errors – Come Down With Me (Rock Action Records)
Errors second record is a whirlwind of instrumental electro and epic technical heights. Recorded in a bunker-space called ‘The Freezer’ by mainly themselves, Come Down With Me reveals itself as an insular, erratic twitch, slowly forcing you to forget all that passive sing along shit, and completely loose yourself in a mass of hooks and textured bleeps. But don’t expect nothing cheery and uplifting. They’re Scottish, have toured with Mogwai, and as I said, recorded this album in a dank, depressing bunker. And so half way through, on ‘The Erskine Bridge’, bucket loads of long, emotional noise pours in the hatches, and everything seems to go into slow motion for a while, involuntarily back-grounding itself. This kind of affects the latter half of the album; whilst I am tapping my foot, I’m thinking about something else. ‘Jolomo’ picks it up again a bit, but it just all gets a bit too much. I start to feel like I’m in that bunker, spacing out and obsessing over tiny thoughts that don’t even matter. However, the whole album is smothered in moody dance bass lines and finger-cracking glitches that punctuate ultimate dance music. This is for you, person who hates David Guetta (except that Kelly Rowland one), but still wants to dance really really REALLY hard. Get wasted and listen to this LOUD, allowing room for flailing arms, stamping legs, and serious head-swaying moments.
7/10 Maxie Gedge
15-Feb-2010
Kasper Bjorke - Standing on the top of Utopia (hfn)
Denmark. Musically, they’ve given us Saturday night pop tart Whigfield, 90’s fantastic-plastic Aqua and Lars Ulrich, the surly backline to undisputed metal heads, Metallica. Penned a ‘Danish prize export,’ Kasper Bjorke comes from the heart of a thriving Copenhagen electronica scene and it is this distinction from any weekend club that makes this record a delight to discover. This is the sophomore release for Bjorke, two years after his much applauded solo debut, and an exciting journey through his mature and richly musical mind. There is a veritable entourage of fellow Danish vocalists here as well as performances from Davide Rossi, known for his work with Goldfrapp and most recently, Royksopp. Opening track ’Animals’ is a sultry Siouxie and the Banshee’s styling with a smattering of 80s synth pop, courtesy of Louise Foo’s (who covered for her sister Sharin on The Raveonettes last US tour) haunting main melodies. ‘Standing on the top of Utopia’ spans out over glittering analogue seas of synthesizer jams and jagged heart felt pop songs and this makes for some admirable new-wave-electro pop. As an advocate for an 80’s revival myself, Bjorke’s first artist release is not the perfect state of Utopia he describes but it is undeniably a disco hit!
7/10 cheriamour
15-Feb-2010
Marina and the Diamonds – The Family Jewels (679/ Atlantic)
If you missed out on all the hype surrounding Marina and the Diamonds in 2009, worry not! After much anticipation her debut album has finally arrived. Marina and the Diamonds is actually just 24 year old, half Greek, half Welsh Marina Diamandis. I say “just”. Marina has been compared to Kate Bush and Lene Lovich for her theatrical vocals and is set to take over the world in 2010. The album is a perfect mix of upbeat new wave style songs, from shiny to punky pop, with a few keyboard based ballads thrown in for good measure. Her voice is a force unknown to itself which she throws around effortlessly as she pours out her heart and soul breaking anything and everything that gets in her way. The album is part autobiography, part fairytale. Her lyrics simple, but to the point. The opening track “Are you Satisfied?” showcases her voice perfectly and confidently advocates that this young lady just raised the bar. Her trademark voice haunts the fragile track “Obsessions” which honestly captures modern social values perfectly. “Hollywood” is a playful and upbeat, yet truthful account of celebrity culture and is the most commercial sounding track on the album. Do we have space for another overly quirky, mouthy, young, pretty girl with her “and the” band? Marina definitely deserves a chance. But despite the obvious comparisons to similar female artists, it is also obvious that Marina is a little bit different and definitely deserves a box of her own.
8/10 Miss Lightyear
15-Feb-2010
Glee – Glee: The Music: Volume 1 (Epic Records)
If you’re not calling yourself a Gleek yet...where on earth have you been for the past four months...? So for those of you not in the know, here’s what you’ve been missing...‘Glee’ has fast become the phenomenon of 2010, as the TV show burst onto the UK screens with its launch on E4 earlier this year, which saw 1.3 million viewers tuning in. Already a massive hit in the States, it was crowned Best TV Show (Comedy/Musical) at this year’s Golden Globe Awards. With the soundtrack to the series being rush released due to the incredible public response and also creating a complete revolution in music sales. After reviving the 80s Journey hit ‘Don’t Stop Believin’, off the back of being sung by the ‘Glee’ cast in the first episode, the ‘Glee’ hit exploded on iTunes selling over 600,000 copies and entering the US Billboard Hot 100 at #4, which helped Journey’s original re-enter the charts also. With new tracks being released with each new episode, the ‘Glee’ cast have accumulated well over 4 million download track sales. With the cover tracks ranging from such original artists as Amy Winehouse, Color Me Badd, Aretha Franklin, Queen, Billy Idol, Kanye West and a whole host of other tracks which build a bridge of ‘Glee’ across all genres. Even having a few show tunes thrown in for good measure that feature in such hits as ‘Wicked’, ‘Guys and Dolls’, ‘Les Miserables’ and ‘West Side Story’. Also with two amazing mash-up covers of Beyonce and Katrina & the Waves ‘Halo/Walkin’ On Sunshine’, brought to you by the ‘Glee’ girls and brought to you by the ‘Glee’ boys Bon Jovi and Usher’s ‘It’s My Life/Confessions Pt.2’. So if you love to bust a karaoke tune out, this is the album for you! Look out for ‘Glee: The Music: Volume 2’ which has also recently been released and don’t worry there’s time left for you to become a Gleek yet, you can catch ‘Glee’ on Monday and Thursday night’s on E4 and also on Sunday’s on Channel 4’s T4.
10/10 nawaza
22-Feb-2010
Cobra Starship – Hot Mess (Atlantic Records)
The main aim of Cobra Starship, as stated by themselves, is to “teach hipsters to not take themselves so seriously and tell emo kids to stop being pussies”. The brainchild of ex-Midtown frontman Gabe Saporta, they formed after their track ‘Bring It (Snakes on a Plane)’ appeared on the hit movie soundtrack. Set to release their new single ‘Hot Mess’ on February 15th from the self-titled album, they also have a UK tour kicking off on February 5th and their new single is definitely set to be a hit. But as much as they want to hit the UK with a bang I can’t help but think ‘Hot Mess’ is really the only song that springs out as a future hit. The single follows the success of the track ‘Good Girls Go Bad’, which includes guest vocals from Gossip Girls Leighton Meester. ‘Fold Your Hands Child’ has some occasional incomprehensible chocking sounds, while ‘You’re Not In On the Joke’ sounds like it’s included some Rage Against the Machine cameos, so if that’s your kinda thing, you’ll enjoy this album. There are lots of weird and wonderful noises throughout most of the songs, both formed from their grunts and the electro-sleaze sound running over the tunes. A clubbers dream, full of rhythmic dance songs and power-pop anthems and although each track can be compared to someone else it works consistently as their own sound.
6/10 DoLLface
22-Feb-2010
Kathryn Williams – The Quickening (One Little Indian)
‘The Quickening’ is Kathryn William’s eighth studio album, which was surprising as it’s the first release of hers that I’d heard anything about. The album was recorded ‘in four days, all live, three takes maximum’, Kathryn told Mojo Magazine earlier this year – impressive stuff. The album is a perfectly good acoustic offering, along the lines of many female singer-songwriter types around in the current musical climate; tracks like ‘Just Leave’ are dainty enough to be mellow and utterly simple, as well as relatively interesting for the music of this genre. Each song is pretty, charming and dapper; ‘Just a Feeling’ and ‘Noble Guesses’ demonstrate the feel of the whole album well. The issue I have with this, however, is that it lacks edge. The nu-folk acoustic feel of so many female artists releasing music at the moment - from Laura Marling to Emmy the Great to Blue Roses to Alessi’s Ark – encompasses a distinctive beauty with an image-filled and sometimes rather daring lyrical offerings. Kathryn Williams lacks this, and I think it would do her well to introduce a bolder layer to her song writing. Nevertheless, ‘The Quickening’ is a perfectly lovely album with a lot of good points to note – it just seems her songs might get lost in the acoustic female singer-songwriter category of 2010.
6/10 Lauren Razavi
22-Feb-2010
The Courteeners – Falcon (A&M Records)
Since forming in 2006 The Courteeners have gone onto significant success with their debut album St Jude achieving gold status and their 2008 single ‘Not Nineteen Forever’ crashing into the top 20. Morrissey’s been singing their praises and they ended last year playing to 10,000 people at a headline gig in their home town of Manchester. Working with Stephen Street on your first album never harms your chances either (lets not forget this is the man who managed to make Pete Doherty’s solo album sound coherent). It’s a shame then that they didn’t get to work with him again on ‘Falcon’. Ed Buller is an able replacement, but when you’ve got an album that’s largely made up of mid-tempo ditties it’s hard to make anything stand out. Former single ‘Cross My Heart and Hope To Fly’ is decent and ‘The Good Times Are Calling’ is a bit more lively, but generally the whole affair drifts by inoffensively and none of the songs really stick in your mind. If you liked their debut you’ll probably enjoy this, but if you’re not already a fan your time would be better spent listening to something else.
6/10 Jimmy James
22-Feb-2010
Tom McRae – Alphabet of Hurricanes(Cooking Vinyl)
Alphabet of Hurricanes (named after a song which doesn’t actually appear on this album at all) is Tom McRae’s first album for Cooking Vinyl and he wrote it over two years of touring the world. Upon his return he bought a banjo, ukulele, mandolin, drums, violin an old piano and “other junk from ebay”, grabbed a few friends, went into the studio and created this his second album. His debut album was nominated for a Brit award and for the coveted Mercury Prize, and I had certainly heard his name around. However, I would give Mr Tom McRae the prize of Most Blah Artist I Have Heard For A Good Long While. The most excited I got about this dreary, lacklustre and tedious album was when, for a few seconds, I thought he was covering Good Woman by Cat Power….this did not turn out to be the case. Sigh. It’s inoffensive enough, just pretty boring…the lyrics are mundane and although musically there are occasional flashes of excellence it is definitely not enough to hold the album together. Think Paolo Nuitini if he was massively depressed and sedated. Sorry Tom! (I’m not really sorry).
2/10 Lizz
25-Feb-2010
The Strange Boys – Be Brave (Rough Trade)
“Tonight’s dinner is tomorrow’s shit,” proposes lead singer Ryan Sambol on ‘I see’, the first track of Be Brave, “so enjoy it before it stinks.” Are those the puerile ramblings a child, or the wise words of an old man who’s seen it all? Maybe both. That pretty much sums up Texan rock and rollers, The Strange Boys; they sound like a band who have listened patiently to every record made over the last forty years but then decided that they preferred things the way they used to be. “A Walk on the Beach”, with its yelped vocals and insistent rhythm guitar, should sound for all the world like The Strokes, but it doesn’t. Instead it ends up sounding more like The Velvet Underground, like a reworking of ‘I’m Waiting for The Man’. Elsewhere, most of the tracks sound like rehashings of various Blonde on Blonde era Dylan songs, but accomplished with such an indifferent attitude toward seeking originality that it would be petty to criticise them for it. That’s not to say it isn’t youthful – at times it’s even innovative – it’s just youthful from another time. Mostly the album sounds spontaneous, as if it was recorded in one session, with Sambol’s voice growing increasingly hoarse until eventually, by the last track, it sounds raw and pained, like the whining of an exhausted dog, or scratches on an old record. It is what it is. Tonight’s dinner is tomorrow’s shit, so enjoy it before it stinks.
7/10 Dan Bleksley
01-March-2010
Shy Child – Liquid Love (Wall of Sound)
Made obvious from their debut album, Shy Child are not afraid of experimentation. The brave, Brooklyn duo of Pete Cafarella and Nate Smith have shedded their signature macho sound for this record, and replaced it with new wave twinkling and elegance. Cafarella is still rocking out with his keytar, but “Liquid Love” has a completely different feel to their debut album “Noise Won’t Stop”. Their second offering is more sensual and more considered which they insist is a “female” album. Not meaning that it is a record for the ladies… but that it is infact their lady. Whilst the debut album could be seen as the crazy, chaotic, bitch of a night you will never forget, their second offering is that long walk home – feeling a little less crazy, tired, reflecting on the awesome time you just had. The whole LP enjoys an easygoing groove that flows through the tracks, melting them all together. NB. Unless in the zone, this can become a bit monotonous. However, the louder you play it the better it sounds! The title track, “Liquid Love”, acts as a starting point and sets the above mentioned tone for the duration. “Disconnected” brings a slightly more disco feel to the table and “Criss Cross” hints at their signature sound – this time coated in honey, layered with synths. Shy Child are a breath of fresh air to the electro, new wave scene and although a great album in itself, unfortunately Liquid Love is not as infectious as their debut.
6/10 Miss Lightyear
01-March-2010
The Love Supreme – New Millennium Freaks (Tirk)
I’m not going to even begin to pretend that I’ve heard of the band’s early influences – Luciano Berio and Bruno Maderna (apparently Italian pioneers of electro) and Krautrock (???) – but I don’t think this really matters because after hearing the second track “Gold Dust” (the first track is more an intro) I had already made up my mind that I liked what I was listening to. I may not be the best person or authority to summarise the sound and style of The Love Supreme but all you really need to know is that they have catchy lyrics supported by an electro bass with an ample amount of distortion. It’s not rocket science to know that this style of music is quite popular at present but there is still a sense of integrity and originality with this album because they quite comfortably sit in a sub-genre of electro probably somewhere in between LCD Sound System and Modeselektor. I guess it would have been quite easy to have produced a slightly more commercial album (i.e. made it a bit more pop-like to help sales) but this would probably have taken away the edge and depth of the album, which in my opinion makes it more interesting and enjoyable to listen to.
8/10 Tommy dog
01-March-2010
Viv Albertine – ‘Flesh’ EP (Ecstatic Peace)
The repetition on this EP is driving me insane. It baffles me that on a four track EP, you would choose four tracks that essentially sound the same; the songs mostly consist of one short riff over and over and over. Having said that, my insanity and probably your insanity fits well with Viv, cos she is one crazy eccentric. Soft and cutesy, but drenched with darkness, her vocal parts sound as if she made them up on the spot in a mental jam session with some witches and some bondage. The guitar parts suit this chaos brilliantly. The twangly and clean serrated riffs are reminiscent of The Velvet Underground and drone perfectly under Viv’s voice, slithering atonally to intoxicating depths. Her amazing punk heritage as songwriter with The Slits gives the EP unsaid credibility, and offbeat rhythms and ska fuelled bass lines summon her former incarnation to the present. It makes total sense that this EP is released on Ecstatic Peace, Thurston Moore’s label, mimicking quieter Sonic Youth moments (maybe The Diamond Sea), and Viv’s voice sounding almost identical to Kim Gordon’s. However, just as you start to get into it, she goes and says a line like “and I loved Mark Bolan because of all his come” in her leaping vocal contours, and all the insanity returns.
6/10 Maxie Gedge
01-March-2010
Ellie Goulding – Lights (Polydor)
Perhaps it’s all the media surrounding the Winter Olympics last month, or maybe it’s my longing for Celebrity Death Match to return, but I can’t help approaching this album like a judge in a contest between recent heavyweight female musical contenders. In one corner, the redheaded reign of last year, La Roux - all Flock of Seagulls and Mum-off-of-The-Bill, who let fly a killer Dubstep jab when the time was right, tag-teaming with Blackpool’s greatest export since Kiss Me Quick hats, Little Boots against this year’s hopeful, Ellie Goulding. She’s already been bestowed the Sound of 2010 belt, but let’s look at her credentials. Seeing her first on an episode with Jools, instead of using epaulettes to wow her crowd, she actually held a guitar on one and banged a drum on the other song. Not so much a wow factor – there’s a legion of musically trained ladies out there, just take Marina and the Piano. But her voice is her special combat move; the introversion with occasional bursts of choral confidence is her calling card and works well on this album of sure-fire hits. Standouts are the already championed ‘Under the Sheets’ and ‘Starry Eyed’, but the understanding of what makes a good pop song runs throughout.
7/10 Tiny Dancer
01-March-2010
The Butterfly Explosions – Lost Trails
I’m told by the press sheet that The Butterfly Explosions, originally a solo project of one Gazz Carr, ‘blend powerful spiralling music with delicate vocals to form rich soundscapes of beautiful melodies’, and that there are elements of Mogwai, My Bloody Valentine and M83 to name but three. So on paper I probably ought to like them… And it’s not that I dislike them per se, but the record just doesn’t deliver as you might expect it to. The music is not that powerful and the vocals are not just delicate, they’re a bit on the boring side. The Butterfly Explosions had the opportunity here to release something that genuinely could’ve been all the things that were promised, but sadly what we’re actually presented with is something that doesn’t have any real emotion, depth or potency. There are moments when you think that something is about to happen, like the music is about to explode, but it never does. It’s all too much on the surface so what you end up listening to could be described as a puddle when what you actually want is a lake. That said, I think this band have a lot of potential and with a more creative producer behind the helm could make something quite stunning in the future.
6/10 BBV
08-Mar-2010
The Automatic – Tear the Signs Down (Armoured Records)
Now five years on from their amazing first album ‘Not Accepted Anywhere’ and all of them treated like anthemic tunes wrapped inside like ‘Recover’, ‘Raoul’ and of course ‘Monster’...and who could forget their outstanding live lounge cover of Kanye West’s ‘Gold Digger’, the boys from the valleys are back with their third studio album and they’ve made some big changes to The Automatic Monster. As the chaps from the small welsh village of Cowbridge have become tired of labels and major record ones at that, release this their third album ‘Tear The Signs Down’ they have in fact gone and done that with this album and from ripping all the labels and signs down from The Automatic Monster they had become we’re left with a very different sound than you might have expected from the boys. With the album marking a massive leap in their musical and lyrical style and even revealing a slightly darker side to them, so don’t expect the catchy choruses and screams belting out of this album as you would have found with them previously. As the boys are now free from a major record label and released this album on their own Armoured Records label, with the help of producer Richard Jackson in their own Cardiff studio, this album marks the revelling of the real Automatic as they get back to reality and their roots.
5/10 nawaza
08-March-2010
Gorillaz – Plastic Beach (Parlophone)
On the horizon, a ghost ship rises from the waters ready to invade and conquer distant shores once more, manned by the original avatar, Murdoc Nicholls and his band of 2D demons. Bound and gagged and tending the decks with Gorillaz are a troupe of artists recruited to be part of this mind blowing new album - and these collaborations are simply inspired. The roll call of artists is astounding, from Mark E Smith, to Mick Jones and Paul Simonon of The Clash, De La Soul, to Gruff Rhys and Snoop Dogg acting like a ringmaster on the first vocal track of this circus of an album. When these artists are coupled with original beats and 80s sleazy electro vibes - given their renaissance by artists like Hot Chip and Neon Neon - it’s dangerous, but brilliant. When Bobby Womack unleashes his weathered but breathtaking vocals halfway through lead single, ‘Stylo’, you are aware of the heightened level of maturity from the band that’s often served as everyone’s novelty toy, with the same cheeky slap in the face you love ‘em for. In Albarn’s words, ‘Electric is the Look’.
10/10 Emma Roberts
08-March-2010
Liars – Sisterworld (Mute)
I have heard so much about Liars, but I have been too lazy to listen for too long. Thank God that I have snapped out of my idleness, and got active with Sisterworld. Quickly jolting from haunting elongated vocal chants into chaos, Liars manage to scramble two of my most coveted musical tones. On the one hand, they have dark echoing melancholy that sinks to the depths of Nick Cave’s drama, and Black Rebel Motorcycle Club’s reverb twinged atmospherics. And then they go mental. There are these big heavy phrases and sections of music that plump up the songs too well, making interesting and exciting listening the whole way through. Opening track, and the first single from the album, ‘Scissor’ builds and builds towards the epic middle 8, which could easily be a chorus, before tantalisingly ripping out, and back into that sombre softness. I am gripped. The fast, howling influxes throw themselves around my eardrums with off-beat rhythms and syncopated screams, a relentless energy that only Crystal Antlers could match. But I just love that Liars put it all out there, and then remorselessly take it all away. This album is a must-have, and I can’t wait to hear the special edition remix CD featuring ‘reworks’ by artists such as Thom Yorke, Melvins, Alan Vega and Cosey Fanni Tutti. YUMMY.
9/10 Maxie Gedge
15-March-2010
Lou Rhodes – One Good Thing (Ninja Tune)
Lamb’s classic track ‘Gorecki’ is one of those songs that used to wrench my heart out and tread on it a bit in a steel toe capped boot. For some reason, I enjoyed this feeling…it is for me the sign of a good song. Lou Rhodes, ex singer of 90’s combo Lamb, is releasing her third solo album (her first was nominated for a Mercury Prize) , and part of me is, in a sick way, hoping for a bit more boot punishment action with this release. Sure, she’s way more folky than the more trip hop Lamb, with definite Nick Drake and maybe even Charlotte Gainsbourg traits, but with that comes her stunning voice, the accompanying tambourine, strings and acoustic guitars and the simple yet effective lyrics on a collection of 11 songs, including ‘Janey’, about her sister whose sudden death in 2007 cancelled Lou’s tour. Lou admits to being an introverted character and finds it difficult to transmit her emotions apart from through her delicate and yet strong songs. This album heralds the birth of Cinematic Orchestra’s new label Motion Audio, through Ninja Tune, and was recorded over an intense 2 week period. with Andy Barlow, Lou’s partner from Lamb. It seems a natural move to go from the more energetic music of her youth to this, more mature and gentle sound as she now settles into her adult life. For me, it is a refeshing and peaceful album that may not grab me quite as hard as Lamb and isn’t quite as sexy but will be there when I need it.
8/10 Lizz
15-March-2010
Dan Le Sac vs Scroobius Pip – The Logic of Chance (Sunday Best)
Many of you are probably familiar with ‘Thou Shalt Always Kill’, which made a minor dent in the top 40 singles chart in 2007. Armed with this solitary track Dan and Scroobius sent a demo to XFM and within 24 hours they were on the radio and had the music industry and fans clamouring at their door. An album, ‘Angles’, followed within the year and thankfully despite the relatively short gestation period they managed to build on their early promise. They also resisted the lure of a major label deal and opted to sign with Radio 1 dj and Bestival head honcho Rob da Bank’s Sunday Best. They’ve taken a little longer to produce ‘The Logic of Chance’ but it’s certainly been worth the wait. Pip’s social commentary on ‘Great Britain’, which examines violent crime statistics and ‘Stake A Claim’ which analyses the role of the individual within a democracy, sit alongside ‘The Beats’ old school hip-hop and the disco vibe of ‘Get Better’. For those of you who like your beats served up with intelligence rather than bling, this has got to be an essential purchase.
8/10 Jimmy James
15-March-2010
Angus and Julia Stone – Down the Way (Flock Music)
I don’t know where to begin with this review. I don’t know where to begin because it has left me speechless. Finger picking their way through thirteen glorious tracks, invoking emotions of endings, of beginnings, of love, of sadness, of life; the Stones’ eagerly anticipated second album is nothing short of a masterpiece. Travelling has been an integral part of their musical development which is echoed through their dreamy harmonies and ethereal arrangements. Upon pressing play your mind is transported to a brightly coloured camper van, driving in the sunshine with the windows down- with purpose but without destination. Having no previous knowledge of the Australian brother / sister duo, listening to the album I was certain they were from California. The West coast has very obviously influenced their sound with Angus even incorporating his experience of California into the track ‘Yellow Brick Road’. Julia’s heartfelt vocals resonate through the love song ‘For you’, which is a stunning success as is ‘Big Jet plane’, their forthcoming single, which sees Angus taking the lead with his super hot, rustic tones - I definitely would. Some tracks are instrumentally richer than others, but as you float through the album, each carries itself effortlessly, which in my mind is a feature inherent in all great artists. Down the Way leaves you feeling nostalgic, sad and better all at the same time and is a real testament to the Stone’s amazing talent. As I started, so I will end – Down the Way has left me utterly speechless.
Miss Lightyear 10/10
22-March-2010
Ulrich Schnauss – Missing Deadlines (Selected Remixes) (Rocket Girl)
Since the release of his debut album in 2001, German native Ulrich Schnauss has created music that carefully absorbs his influences (primarily shoegaze, electronica and ambient techno) and re-interprets then to produce a unique new sonic blend. Missing Deadlines is, strictly speaking, a compilation of remixes of other peoples work. However, regardless of whether he’s re-tuning indie band Howling Bells’ ‘Setting Sun’ or Madrid’s psych-tronic ‘Out To Sea’, he manages to give each track a twist that is unmistakeably his own. It’s very easy to turn out shoddy, beats-by-numbers remixes, but thankfully Schnauss has taken the time to blend elements of the original compositions with his own signature sounds, including reverb heavy vocals, complex synth patterns and euphoric beats. This attention to detail gives a coherent feel that allows the character of the original to shine through, whilst taking you on Schnauss’ uplifting, otherworldy journey. It’s also pleasing to see he’s selected his favourite tunes, rather than simply including the more famous bands he’s worked with. This means we’re given the opportunity to explore dream poppers Asobi Seksu rather than hearing more Coldplay, which adds up to an inspiring collection that I’d heartily recommend.
9/10 Jimmy James
22-March-2010
jónsi – Go Do (Black Arts PR)
Go Do is the EP release from Jónsi (he of Sigur Rós fame) preceding his debut full-length album, Go, due to be released on the 5th of April. Featuring 3 tracks from said album, this little offering can be seen to be a teaser of what’s to come, something to whet our appetites and whip us up into a frenzy. But does it work? In short, yes. And that’s because Mr. Birgisson has chosen 3 very different tracks to get us in the mood, and has given us all new songs to listen to, having left off the very wonderful Boy Lilikoi which was released as a free download through his website a couple of months ago. The obvious question that will be on lots of lips is ‘does it sound like a Sigur Rós record?’ and the answer is, well, sort of. But that’s because of Jónsi’s very distinctive voice rather than anything else. The arrangements are glorious, but very different from anything that he’s produced with his band, due in part, no doubt, to collaborating with Nico Muhly rather than usual associates Amiina. This is an exceptionally joyous little EP and it really does leave you excited for the full album. What other treats will he have in store for us? Unfortunately we’ll just have to wait ‘til April to find out.
9/10 BBV
30-March-2010
Silvain Vanot– Bethseda (Megaphone Music)
Eh bien! Voila Le Vanot! Yes indeed; it is many years since we sent out our requests for French Americana, but our prayers have finally been answered and have taken the earthly form of Silvain Vanot. A singer for many years, he has in the past collaborated with Jim O’Rourke and Tanya Donnelly, recorded in Nashville and opened for Sonic Youth. Blimey! Well done Silv! So this is his 6th album, called Bethseda, the name of the Welsh town in which it was recorded. With a reputable crew of musicians to complete his sound including BJ Cole and Iain Templeton, Le Vanot has put together a most delicate and tuneful collection of songs to soothe your soul and delight your ears. It is, in essence, Charlotte Gainsbourg but with a male singer. So what’s not to love? His simple and clear voice singing throughout in French? The sweet country guitar on O Mon Tour? The mournful piano refrain on Riviere? The Tindersticks-sounding Bambi Blanc/foret noire? It’s literally all good. Just a sweet, beautiful and timeless album which, despite not understanding a single word of the lyrics, you can really enjoy. Perfect for, say, driving at twilight back from a first date. Or, nursing a hangover. Just buy it, OK.
9/10 Lizz
30-March-2010
Dum Dum Girls – I Will Be (Sub Pop)
In the last year, I have been dragged under and aquatically surrounded by lots and lots of reverb drenched blissful beach bands; Vivian Girls, Veronica Falls, Male Bonding, Pens, La La Vasquez, Girls, The Drums… Recruiting ex-Vivian Girl Frankie Rose on drums, Dum Dum Girls are well in there amongst the best of them, and will be the band to avoid drowning when the fad dies out. ‘I Will Be’ is much more than a scenester hit. Opener ‘Baby Don’t Go’ is a haunting and edgy pop song occupying similar territory as classic Beach Boys gloom such as ‘Don’t Talk (Put Your Head On My Shoulder)’. Every track reveals songwriter Dee Dee’s considered and mature songwriting, with an impeccable ability to sink those sweet, sweet hooks. There are definitely moments of Blondie and The Ramones, but when The Dum Dum Girls fearlessly step away from retro nostalgia and into contemporary self-proclaimed “buzz saw”, exciting tingly things start happening. They reference classic 60s girl groups like The Ronettes and The Crystals without imitating them, and use that to create a relevant modern age lo-fi garage pop album edging slightly towards The Ravonettes and The Kills. Seditious and seductive, ‘Bha