What a massive tunnnnneeee! We all know the Bloc Party guys can deliver absolutely rocking indie/dance beats, ideal for getting things started (i.e. “Banquet”, “Prayer”, “Hunting for Witches”), but boy have they excelled themselves here! Blasting this one out at their summer festival appearances, ever since, there’s been a swarming demand for a single release, and here it is after much mass hysteria.
Starting off with an all-too-familiar, and infectious 90’s dance beat, the “Give me one more chance, give me one chance, give me one more chance to love you” intro, is just as contagious, getting into your head, your feet and right into your veins. A band just couldn’t wish for a better summer release, and the storming (yet ironic) chorus “This time things will be different”, sees them play out their rock edge, which doesn’t sound out of place whatsoever, but somewhat goes towards complimenting the underlying dance beat which makes it so damn good!
Anyone without an even remote interest in music couldn’t help but be drawn in by the massive magnet of musical magnitude. It’s one for the club scene: foot tapping, rave-tastic and highly addictive. It’s as if they’ve remixed a classic from say 1994, and brought it right up to date with phenomenal effect; an exemplary piece of music experimentation. In 15 years from now I’d go as far to say it’ll be just as head-turning, what with the effect of drugs pulsing throughout your body, and taking you on such a musical high. Electro, indie, feel-good vibes and Kele Okereke, what more could you need towards this true summer anthem of 2009? It is quite delicious, and I just need one more chance…to hear it…on repeat
Sunday 9 August 2009
Noah and the Whale - Blue Skies
Firstly, thank the Lord for Zane Lowe’s podcasts and for introducing me to this track. In fact, for introducing me to the best track I’ve heard in a long, long time. It’s actually the best indie song, the best folk song, and above all the best love song I’ve heard in a long, long time.
To listen to it makes you feel like you’ve discovered sound and music for the very first time; it’s like choirs of angels combined with a heavenly and dreamlike quality, to produce a synergy which immediately hits you in the heart.
Not 100% convinced with “Peaceful the World Lays Me Down”, liking the odd song here and there, “First Days of Spring” looks like it’s set up to be where the band will truly find their feet, especially due to this stunning and epic first single.
A song for the broken-hearted, a song for everyone to relate to whether in love, out of love, been-there-done-that, or as the opening line resounds: “This is a song for anyone…” leaves it open for mass appeal. The faith, the hope, the light the conviction, and the positivity that lies within the chanting “Blue skies are calling”, truly makes you believe that you can “do anything to be happy”, even though it’s “hard”, and that times will get better. The struggle and beauty bind together through both notes and words, in order to create this spell-binding effect.
An enchanting lullaby to some, or even a strengthening comfort, “Blue Skies” is astounding and will prove to be timeless. I only hope that it will be as highly regarded as a classic as I consider it to be, and just as cherished.
To listen to it makes you feel like you’ve discovered sound and music for the very first time; it’s like choirs of angels combined with a heavenly and dreamlike quality, to produce a synergy which immediately hits you in the heart.
Not 100% convinced with “Peaceful the World Lays Me Down”, liking the odd song here and there, “First Days of Spring” looks like it’s set up to be where the band will truly find their feet, especially due to this stunning and epic first single.
A song for the broken-hearted, a song for everyone to relate to whether in love, out of love, been-there-done-that, or as the opening line resounds: “This is a song for anyone…” leaves it open for mass appeal. The faith, the hope, the light the conviction, and the positivity that lies within the chanting “Blue skies are calling”, truly makes you believe that you can “do anything to be happy”, even though it’s “hard”, and that times will get better. The struggle and beauty bind together through both notes and words, in order to create this spell-binding effect.
An enchanting lullaby to some, or even a strengthening comfort, “Blue Skies” is astounding and will prove to be timeless. I only hope that it will be as highly regarded as a classic as I consider it to be, and just as cherished.
Saturday 11 July 2009
Withnail - Let me Finish EP
Withnail - Let me Finish EP
Withnail. Know of them? No? Nor did I, but, by the end of this you’ll want to…
Receiving their 5 track acoustic EP: “Let me Finish”, this ..Stoke-on-Trent.. threesome opens up a new wave of sound available on our very own doorstep.
“TV with the Sound Off” is a fantastic opener and a firm favourite off the EP. It echoes the familiar, with similar sounding riffs to what would be found on Incubus’s Morning View album, and would fit perfectly on XFM’s radio playlist. This track in particular could be easily sub-genred into 90’s sounding rock, like those fine British and American alternative tunes, which are still cherished today (e.g. Smashing Pumpkins). Lyrics: “I’ll be obliged to please tomorrow” and “Everything is beautiful” hits on the key points of what they’re evidently trying to achieve: a scenic and gratifying sound. Listen more closely, and you’ll hear the brilliance that lies within the words; a consistent element throughout the EP, and yes they’re abstract, and yes you can say that about a lot of bands and their songs, but they open your mind and just seem to be heavenly placed, (a rare talent for a band to possess who’ve been established for less than a year.)
From discovering the band from my previous work with Hollywood Tease, I was expecting something similar, and sorry to be clichéd (but who cares?), I was surprised, and I was blown away. Their standard is high and their instrumentals which fuse with explosions of words are infectious.
“The Lust of a Misanthrope” allows them to show off more of their alternative aura, they’re not raw, and boisterous and in your face, they’re somewhere in the middle of gentle rock, but are still able to make their own mark and statements. For this reason, there’s no doubt that they’re a great live band and that you could absorb their talent, whether an electric set or acoustic. There’s an identifiable place for them in the industry, whilst still being quite distinguishable to our local scene. Their upsurges of guitar to vocals are reminiscent of the Manic’s “....Australia....”, whilst some of the riffs are as worldly as Biffy Clyro’s “Questions and Answers”. These effects allow you to get lifted into a musical crescendo in the midst of an epic journey.
“For Him” holds a more dark aspect, full of angst and waves of emotion, more definitive guitar ending and even the mention of a “peroxide tangerine tan” for an artful motion, which leads nicely into “Mark Collett”. This brings out the best in northern vocals; as airy as that of the Happy Mondays/The Stone Roses in the early 1990’s. Speaking of “fascist fantasies” and wishing: “If only I wasn’t so allergic to progression”, it’s unclear whether this refers to their music beliefs or ways of life, but their prog rock rocks.
The finale: “Let me Finish” has an intro, hauntingly like the King of Leon’s “Arizona”, with the potential of being every ounce as good, what with it’s lulling tones and loving sentiments which reels from the acoustic notes, to the lyrical genius of singer Richy and it’s richness in intricacy. “Fingers caress” and “hands overlook” help to picture the singer working his magic on the mic stand, making the whole thing come alive. Even the pronunciation of “droplets” makes the track gentile and picturesque.
Thought provoking and different, they are one to see live to capture their feel and to see a whole band contribution, even though their acoustic EP is highly compelling. They describe themselves as alt rock and that’s probably the closest thing to it. It all works, and you just want to hear and see more of the finished article. They’ll put their own mark on the local music map (as seen by the quoted envelope the EP arrived in), as they’re definitely unique, and hopefully that’ll be their key to success to taking it further. So be part of it, see them live or request your 5 track EP today.
Withnail. Know of them? No? Nor did I, but, by the end of this you’ll want to…
Receiving their 5 track acoustic EP: “Let me Finish”, this ..Stoke-on-Trent.. threesome opens up a new wave of sound available on our very own doorstep.
“TV with the Sound Off” is a fantastic opener and a firm favourite off the EP. It echoes the familiar, with similar sounding riffs to what would be found on Incubus’s Morning View album, and would fit perfectly on XFM’s radio playlist. This track in particular could be easily sub-genred into 90’s sounding rock, like those fine British and American alternative tunes, which are still cherished today (e.g. Smashing Pumpkins). Lyrics: “I’ll be obliged to please tomorrow” and “Everything is beautiful” hits on the key points of what they’re evidently trying to achieve: a scenic and gratifying sound. Listen more closely, and you’ll hear the brilliance that lies within the words; a consistent element throughout the EP, and yes they’re abstract, and yes you can say that about a lot of bands and their songs, but they open your mind and just seem to be heavenly placed, (a rare talent for a band to possess who’ve been established for less than a year.)
From discovering the band from my previous work with Hollywood Tease, I was expecting something similar, and sorry to be clichéd (but who cares?), I was surprised, and I was blown away. Their standard is high and their instrumentals which fuse with explosions of words are infectious.
“The Lust of a Misanthrope” allows them to show off more of their alternative aura, they’re not raw, and boisterous and in your face, they’re somewhere in the middle of gentle rock, but are still able to make their own mark and statements. For this reason, there’s no doubt that they’re a great live band and that you could absorb their talent, whether an electric set or acoustic. There’s an identifiable place for them in the industry, whilst still being quite distinguishable to our local scene. Their upsurges of guitar to vocals are reminiscent of the Manic’s “....Australia....”, whilst some of the riffs are as worldly as Biffy Clyro’s “Questions and Answers”. These effects allow you to get lifted into a musical crescendo in the midst of an epic journey.
“For Him” holds a more dark aspect, full of angst and waves of emotion, more definitive guitar ending and even the mention of a “peroxide tangerine tan” for an artful motion, which leads nicely into “Mark Collett”. This brings out the best in northern vocals; as airy as that of the Happy Mondays/The Stone Roses in the early 1990’s. Speaking of “fascist fantasies” and wishing: “If only I wasn’t so allergic to progression”, it’s unclear whether this refers to their music beliefs or ways of life, but their prog rock rocks.
The finale: “Let me Finish” has an intro, hauntingly like the King of Leon’s “Arizona”, with the potential of being every ounce as good, what with it’s lulling tones and loving sentiments which reels from the acoustic notes, to the lyrical genius of singer Richy and it’s richness in intricacy. “Fingers caress” and “hands overlook” help to picture the singer working his magic on the mic stand, making the whole thing come alive. Even the pronunciation of “droplets” makes the track gentile and picturesque.
Thought provoking and different, they are one to see live to capture their feel and to see a whole band contribution, even though their acoustic EP is highly compelling. They describe themselves as alt rock and that’s probably the closest thing to it. It all works, and you just want to hear and see more of the finished article. They’ll put their own mark on the local music map (as seen by the quoted envelope the EP arrived in), as they’re definitely unique, and hopefully that’ll be their key to success to taking it further. So be part of it, see them live or request your 5 track EP today.
Monday 15 June 2009
Model Radio
Model Radio @ The Underground, Hanley 12th June 2009
Review by Sian Eardley
Photo by Gig Junkie
To sum up tonight, I’d have to quote Alex Turner and say: “Get on your dancing shoes!” With a fully charged set and no signs of flagging, (did someone give these guys a Redbull?) Model Radio were the perfect Friday night act for firing it up.
With a huge electro intro and an “Orate?” from the band, the crowd were instantly involved in the bouncy, upbeat, and swarming energy that is Model Radio. Drums were on form as well as guitars that soared through the pounding electro beats, whilst almost having the speed, intricacy and electricity of Chris Urbanowicz (Editors), to boot with great backing vocals from the bassist and keyboard fella’, showing they all have a part to play in achieving their sound.
The singer describes the night with lyrics: “Feel like everything’s gonna be alright”, “Something’s going on”, and “You’re not alone”, with the last statement being especially true. There are definitely fans about, and from front to back people know the tunes and the cool kids are doing their thing.
Throughout the set, there are a fusion of sounds; indie pop, sounding somewhat like One Night Only’s “Just for Tonight” (great for airplay), grittier rock, reminiscent of Pendulum, and then a more space-age feel, well suited by the line: “Welcome to the new dimension”, all to make an interesting contrast of sounds. Model Radio do pull out some “massive” tunes and have clarity and a clean sound, but the great thing about this band is that they’re not offensive in any way, and you could get into them from the hypnotic beats alone. It’s certainly music to turn your head and drag you in, as seen by tonight’s audience with a spectrum from 16 – 30+ years.
Tonight was about the music and feel good times, the party was started down by the stage with an array of jumpers, and the singer gave off a Happy Mondays/Stone Roses vibe, whereby you could almost envision Bez up there dancing with him.
To end on a high, drum and bass madness was unleashed, echoing the best of 90’s dance, which was fitting as they then leaped into a thrashing cover of Prodigy’s “No Good/Start the Dance”. With practically a full house, everyone was pumping it up, and it’s that sort of scene which is phenomenal to see. It was absolutely fantastic for starting the weekend and unsurprisingly ended in a deafening roar from the crowd. If you want to see a gig where you won’t be disappointed then go and catch Model Radio.
Sunday 24 May 2009
Elephant
Elephant; another little gem that I’ve managed to come across thanks to the wondrous, and technological joys of MySpace (yes, that old chestnut), is an Italian foursome comprising of two pairs of brothers who come together with the lyrical and musical know-how, to produce a cascade of sound of their own.
Influenced by British and American alt/rock/indie bands, Elephant manage to take their own inspirations and create something new. Long gone are the days when any British band strummed out anything as well constructed as these riffs and fine picking, you’d have to go back to the alternative glory days of the early-mid 1990’s. Now, everything is mixed with electro, or produced to be too polished to make it radio-worthy, and it all ends up sounding “samey”, but not Elephant. These guys have somewhat of a diverse quality about them and that’s what I really like.
Teasing listeners with only 3 songs up on their profile, they still show glimpses of big potential and an exclusive sound. “Will to Breathe” has strength in its layered (musically) intro, and does remind me somewhat of the VLA, and then the vocals meet with the sound to push the whole thing forward, and to give force and integrity to the elements of the track. The instrumental parts are very inspiring and encouraging, especially when hearing soft and tender interludes to draw you in. I may keep going on about the guitar aspect, but it really is a highlight of their whole package. They’re a really great and consistent rock/alt band who appear to deliver. Towards the end of “Will to Breathe”, distant, phased vocals sound similar to that of Imogen Heap’s “Hide and Seek”, and the band also draw on (the very cool) blonde redhead, however, this is not to say they exactly copy them. In fact, (and also another plus point) Elephant cannot be assigned to one fixed genre, they just happen to be whatever you feel at the point of listening to them.
“Borderline” is another guitar-picking stunner, featuring mid-verse Biddy-esque riffs (impressive). “You just can’t think that you’re borderline” front man Erik sings, well Elephant aren’t borderline. They’re great. The rockier, grungier chorus also gives more impact and drive to their well-established composition. They combine elements to make something new and definitely interesting, and from the quality, I expect they make a very entertaining live band.
Luckily, the band have their own studio in which they’re free to roam and experiment, and I think that this pays off as they’re unique and distinct, rocky and engaging. Now let’s hear more please!
Saturday 23 May 2009
Hollywood Tease
Hollywood Tease.
22nd May 2009 @ The Underground.
Friday night, the weekend has begun, and Hollywood Tease are headlining at The Underground. You can feel it, it’s gonna be huge. Even members of the band are milling about in the crowd before their set, mingling and creating suspense. Even the progression of the poor, and if generous, mediocre support bands, could not tarnish the monster performance that was in store from Hollywood Tease (HT) tonight.
You can almost smell the hairspray in the room from the glam-rock members of HT, but kudos to their attire, what with “Back to the Future” t-shirts, ripped leggings and various items of leather-wear, we see that 80’s rock is where their love lies, and where they draw inspiration from and make it their own. “You’ve been teased” fans are filling the place sporting tops and such like, indicating that the band already has an avid and steady following.
A curtain hides the stage (a first I’ve seen at The Underground, let alone for a local act, thus highlighting their supremacy), ready for the unveiling of the extravaganza known as HT. Queue in circus-like music and the theatrics, this is the show, and may the musical mayhem commence. “Let Go” is the opener, featuring soaring guitar riffs and pounding drum rolls, along with a screaming: “Yeeeeeaahhhhhh!” from lead singer Ashe. If you close your eyes, you could almost swear it was Axl Rose on stage, and they do look the part too; bare chested and thrusting, complete with a “raw, loud and aggressive presence”.
Balloons start flying around the place with various obscenities written on them to emphasise their rock ‘n’ roll image, and more and more people begin to edge forward. The sexy women in the house also begin to swarm, swooning and surrounding the stage; going gaga for rockstars. There are even women in the crowd wearing latex HT pants! Come to think of it, HT should have their own personal female entourage, yet, this is their effect, they ooze sex, drugs and rock ‘n’ roll, even from the amps.
As I’ve said about this band before, they’re not distinct to Stoke. You wouldn’t guess that they’re a local band, and that, I believe, is where part of their magic lies. And, (whilst the crowd ruckus gets louder) as I’ve also said before, someone please get these guys a slot on the Download stage! From record to live performance, the translation is superb, and once more, for a local band they certainly exceed expectations.
There’s twin guitarring from Scotti and Tim, and their side-by-side action really portrays that guys really believe in and love what they’re doing, even if the giant crowd before them wasn’t there. The band synchronicity really does it for me. The vocals are astounding, and looking around, everyone is engaged, what with: solos, windmilling and mic swinging, HT have got their stage act to perfection as well as their sound. “See me on the stage…bring me to the top” has never been more poignant.
As they play on, it does actually make you feel guilty. You come to think: “Did I really just pay £4 to see this band, when they ought to be playing sell-out tours at stadiums here, there and everywhere?” At the risk of sounding snobby, they’re far too good for Stoke. The guys also stop to take time to ask how the crowd are, thank the support acts, and of course to sweet talk the women, showing that they even have their swagger down to a fine art.
“Dirty Days” has one of the finest guitar intros; sounding finely tuned and having sweeping notes (none of this muffle rubbish that usually comes from similar bands trying to achieve the same thing), therefore showing that they are masters of their craft. You can hear every component working perfectly in harmony together to create their distinctive sound, and it’s mind-blowing.
Ashe continually caresses the mic stand, after all, making love is making music and that is their gospel. They even go on to play a cover of “Wild Side” paying homage to Motley Cru, for being a strong influence in what they do, and it’s a rampaging hit with the crowd, creating headbang central. In response to this, solos are carried out on the shoulders of the bassist and singer; becoming one (that one being a musical love machine), met with a deafening cheer.
The gig-goers were lapping it up, especially when encouraged to sing along: “Yeahhhhhh!” and “Hollywoooood!” at the top of their lungs, seeing HT live out their rock ‘n’ roll dreams. Other standout lyrics “Turn it up…crank up the radio!” have never been more welcomed by the audience, whilst band members stop to pose for a number of cameras like the rockstars they are. Almost Rock-Gods.
Unsurprisingly, there was an encore as the crowd still wanted their fix of HT. They stormed back onto the stage with “Good Times” (one of their best), seeing more showers of sweat and confetti, but the whole feel was sexy. Fans piled onto the stage also (yes…female fans…) and the whole vibe in the place was alive and electric. The singer climbed onto the amp to give it his all (note to support bands: this is how it should be done), and then made it into the crowd to do his thing for the finale.
Hollywood Tease are definitely one of a kind. They are kind of a big deal. It may sound over-glorifying but it’s true. And I know you can only say “they’re so rock ‘n’ roll” so many times before it gets old, but these guys are rock ‘n’ roll personified.
So, if you’re looking to be highly entertained, aspired, entranced, amazed and enthralled and want to get your kicks to some pretty damn good rock tunes, DO NOT miss your next chance to see HT live.
Wednesday 22 April 2009
PT Walkley
PT Walkley? A random add on Twitter who I stumbled across. He dropped me a line and BAM! I’ve discovered a true hidden gem.
Referring me to his musical homepage in songbook format, he suggested that I listen to a track called “Why”. On the page, the lyrics are also listed and I thought I’d have a quick glance before a listen and wow!
“Why am I so frightened by the little things, the bed bugs, the wedding rings” and “The water cooler’s echoing” are just some of the great, great lines to this song. These words aren’t dressed up or fancy. They’re real. It’s a song to relate to. It’s human; in feeling and thought. And so just from this, I knew before I even hit the play button that I’d be impressed.
The sound is chilled back, and has that sunny summer vibe, as given off by Devendra Banhart and Mr. Jack Johnson. It’s kinda “sweet”, whilst at the same time being one of those funky songs you’d expect to hear on an ad for mobile phones; the kind that everyone flocks to download the song (like Jose Gonzalez with “Heartbeats”).
After hearing the intriguing “Why”, I was compelled to scan the rest of the songbook and found that the songs were produced in NYC (I personally feel NYC is becoming the homeland of all great music, as it never fails to produce or promote great artists, as evidenced here).
The whole feel of the songs uploaded is that it’s soft and gentle, not aggressive or offensive; you can just get lost in it and get carried away. “Audrey Macy” is a bouncy upbeat, to get your feet goin’ to; sounding much like “The Coral”, and once more it’s rather cool, what with the injections of energy being supplied by the electric guitar. Again, summery, and by the time the “la la la’s” kick in you’ll already be singing along.
“No one Needs to Know” opens with a sincere and a collaborative (musically) intro, and it’s absolute antithesis, it’s hushing and melancholy, but there still remains a consistent and underlying uplifting tone.
He certainly is an artist. It’s as though he has a blank canvas and then all of a sudden, there’s a swash of colour and music, as he paints emotions and images in word and song; all good for the soul.
From further listening, I hear glimpses of Ryan Adams and then queue “Daydreaming”. The fiddle is truly impressive in terms of being epic, picturesque and endearing. This is my highlight of the bunch, having never heard anything quite like it before. It’s a truly great love song, seeming to translate all thought and feeling onto record.
By this point I’m thinking just why haven’t I heard of him before (outrage!), and just where can I get hold of an album! His lyrics are just outstanding’ they’re tales, they’re fitting, they’re moving, they’re descriptive and wonderful and you’ll be in awe of them.
With bags of talent and maximum potential, other resemblances which come across are that of Jeff Buckley (on track “Run”), BRMC, and Wilco, whilst still managing to have his own concept and sounds.
“Calvin” is somewhat of a theatrical piece; it’s a story and full of energy and piano notes, until getting softer as the sentimental part of the song comes into play, and now sounding similar to “The Thrills”, and “Albert Hammond Jr.” which is ironic as Walkley sings in Mediocre: “The Strokes wrote a decent love song, I wish I could too”. Oh but you do! His songs are nothing but heartwarming! And then we hear a more ballsy track in “Punch Drunk” and vocals which sound like a young Johnny Cash, it’s country and rock and sounds mighty fine.
I think this songbook idea is excellent, and he should definitely keep it going, updating it and so forth, so that others like me can make the amazing discovery of his music which they can enjoy in their full entirety. I’ve really never came across anything quite like his music and ideas, and it’s to be applauded. Check PT Walkley out at: http://ptwalkley.com/song-book.
Referring me to his musical homepage in songbook format, he suggested that I listen to a track called “Why”. On the page, the lyrics are also listed and I thought I’d have a quick glance before a listen and wow!
“Why am I so frightened by the little things, the bed bugs, the wedding rings” and “The water cooler’s echoing” are just some of the great, great lines to this song. These words aren’t dressed up or fancy. They’re real. It’s a song to relate to. It’s human; in feeling and thought. And so just from this, I knew before I even hit the play button that I’d be impressed.
The sound is chilled back, and has that sunny summer vibe, as given off by Devendra Banhart and Mr. Jack Johnson. It’s kinda “sweet”, whilst at the same time being one of those funky songs you’d expect to hear on an ad for mobile phones; the kind that everyone flocks to download the song (like Jose Gonzalez with “Heartbeats”).
After hearing the intriguing “Why”, I was compelled to scan the rest of the songbook and found that the songs were produced in NYC (I personally feel NYC is becoming the homeland of all great music, as it never fails to produce or promote great artists, as evidenced here).
The whole feel of the songs uploaded is that it’s soft and gentle, not aggressive or offensive; you can just get lost in it and get carried away. “Audrey Macy” is a bouncy upbeat, to get your feet goin’ to; sounding much like “The Coral”, and once more it’s rather cool, what with the injections of energy being supplied by the electric guitar. Again, summery, and by the time the “la la la’s” kick in you’ll already be singing along.
“No one Needs to Know” opens with a sincere and a collaborative (musically) intro, and it’s absolute antithesis, it’s hushing and melancholy, but there still remains a consistent and underlying uplifting tone.
He certainly is an artist. It’s as though he has a blank canvas and then all of a sudden, there’s a swash of colour and music, as he paints emotions and images in word and song; all good for the soul.
From further listening, I hear glimpses of Ryan Adams and then queue “Daydreaming”. The fiddle is truly impressive in terms of being epic, picturesque and endearing. This is my highlight of the bunch, having never heard anything quite like it before. It’s a truly great love song, seeming to translate all thought and feeling onto record.
By this point I’m thinking just why haven’t I heard of him before (outrage!), and just where can I get hold of an album! His lyrics are just outstanding’ they’re tales, they’re fitting, they’re moving, they’re descriptive and wonderful and you’ll be in awe of them.
With bags of talent and maximum potential, other resemblances which come across are that of Jeff Buckley (on track “Run”), BRMC, and Wilco, whilst still managing to have his own concept and sounds.
“Calvin” is somewhat of a theatrical piece; it’s a story and full of energy and piano notes, until getting softer as the sentimental part of the song comes into play, and now sounding similar to “The Thrills”, and “Albert Hammond Jr.” which is ironic as Walkley sings in Mediocre: “The Strokes wrote a decent love song, I wish I could too”. Oh but you do! His songs are nothing but heartwarming! And then we hear a more ballsy track in “Punch Drunk” and vocals which sound like a young Johnny Cash, it’s country and rock and sounds mighty fine.
I think this songbook idea is excellent, and he should definitely keep it going, updating it and so forth, so that others like me can make the amazing discovery of his music which they can enjoy in their full entirety. I’ve really never came across anything quite like his music and ideas, and it’s to be applauded. Check PT Walkley out at: http://ptwalkley.com/song-book.
Scorching Hot!
Bat for Lashes – Two Suns
The stunningly sexual, sensual, and one-of-a-kind sounding Natasha Kahn has returned almost 3 years later, with her second solo album: “Two Suns”, and as predicted, it’s been worth the wait.
However, always regarding her as a bit of a hidden gem, not being tarnished by being focused in the mainstream musical, and media spotlight, this time round, she has had much hype and acclaim, which may raise expectations at first, but you do have to take into account this IS a very different album from “Fur and Gold”, but superb nonetheless.
“Daniel”, the first release of the new album is probably her most “single”-like material to date. It’s got that 80’s smoky dance floor feel; hypnotic with pulsating rhythmic beats; it’s reminiscent of Berlin’s “Take My Breath Away” in terms of the beat, whilst also similar to Fleetwood Mac’s “Dreams”. It’s haunting and eloquent, from her husky voice, to that 80’s stereotypical sound we’re all familiar with.
“Glass” is another chilling track, truly hair-on-end- stuff. With an intriguing intro, the harmony offers a great and varied sound of strings, mixed with a deep and plugging bass line; carrying you away to your own distant and magical land which she always manages to convey.
The beauty in her voice makes as much of an impact as her music. Like a nightingale, her English diction in her song accentuates it in richness and complexity to make for a very textured and distinct sound. “Moon and Moon”, “the romantic one” of the album is strikingly similar to that of Fur and Gold’s “I Saw a Light”, with it’s beauty lying in the simplicity of a piano accompanying the vocal.
Throughout the record, her wistful wails are definitely inspired by those of Kate Bush, yet she makes it timeless, this could be an album of the 1980’s, or 2009, either way it fits. Yet, at the same time, this could be a soundtrack of the future, what with its tribal beats and chanting vocals (similar to the softness of “Clannad”), and as always, she draws on nature to illustrate her lyrics, which is ironic as her elegance lies in her raw and pure vocals.
“Pearl’s Dream” once more draws reference to the decade at hand, you can tell Kahn was born in 1979 and founded her future idols, as the layers of vocals here, resembles that of the Eurythmics and their trademark sound.
More wise wiles are found in her mature and romantic sounding of “Travelling Woman”. “Don’t fall in love with potential” she warns, whilst drawing on her experience of travelling as she showcases her music to the world. The end of the album, “Big Sleep”, is a bit of an epic in its own right; it’s dreamlike, classical and experimental.
This was always going to be a difficult second album in follow up to her Mercury Prize winning debut album. It may not be as rich in sound as “Fur and Gold”, but “Two Suns” has the edge on being more dark and sinister, and there isn’t any loss of touch. It is a different album, but it is a collective one all the same. There are new sounds, and she still manages to make you marvel at her own uniqueness, and talent for lavish sounds, as well as her beautiful harmonies which creates the whole vibe of escapism. It is pretty much faultless, but does lack somewhat of the energy and fire captured in “Fur and Gold”, however, it’s still full of splendor, charm, nature and the fabulous, all of which you can own on this very CD.
The stunningly sexual, sensual, and one-of-a-kind sounding Natasha Kahn has returned almost 3 years later, with her second solo album: “Two Suns”, and as predicted, it’s been worth the wait.
However, always regarding her as a bit of a hidden gem, not being tarnished by being focused in the mainstream musical, and media spotlight, this time round, she has had much hype and acclaim, which may raise expectations at first, but you do have to take into account this IS a very different album from “Fur and Gold”, but superb nonetheless.
“Daniel”, the first release of the new album is probably her most “single”-like material to date. It’s got that 80’s smoky dance floor feel; hypnotic with pulsating rhythmic beats; it’s reminiscent of Berlin’s “Take My Breath Away” in terms of the beat, whilst also similar to Fleetwood Mac’s “Dreams”. It’s haunting and eloquent, from her husky voice, to that 80’s stereotypical sound we’re all familiar with.
“Glass” is another chilling track, truly hair-on-end- stuff. With an intriguing intro, the harmony offers a great and varied sound of strings, mixed with a deep and plugging bass line; carrying you away to your own distant and magical land which she always manages to convey.
The beauty in her voice makes as much of an impact as her music. Like a nightingale, her English diction in her song accentuates it in richness and complexity to make for a very textured and distinct sound. “Moon and Moon”, “the romantic one” of the album is strikingly similar to that of Fur and Gold’s “I Saw a Light”, with it’s beauty lying in the simplicity of a piano accompanying the vocal.
Throughout the record, her wistful wails are definitely inspired by those of Kate Bush, yet she makes it timeless, this could be an album of the 1980’s, or 2009, either way it fits. Yet, at the same time, this could be a soundtrack of the future, what with its tribal beats and chanting vocals (similar to the softness of “Clannad”), and as always, she draws on nature to illustrate her lyrics, which is ironic as her elegance lies in her raw and pure vocals.
“Pearl’s Dream” once more draws reference to the decade at hand, you can tell Kahn was born in 1979 and founded her future idols, as the layers of vocals here, resembles that of the Eurythmics and their trademark sound.
More wise wiles are found in her mature and romantic sounding of “Travelling Woman”. “Don’t fall in love with potential” she warns, whilst drawing on her experience of travelling as she showcases her music to the world. The end of the album, “Big Sleep”, is a bit of an epic in its own right; it’s dreamlike, classical and experimental.
This was always going to be a difficult second album in follow up to her Mercury Prize winning debut album. It may not be as rich in sound as “Fur and Gold”, but “Two Suns” has the edge on being more dark and sinister, and there isn’t any loss of touch. It is a different album, but it is a collective one all the same. There are new sounds, and she still manages to make you marvel at her own uniqueness, and talent for lavish sounds, as well as her beautiful harmonies which creates the whole vibe of escapism. It is pretty much faultless, but does lack somewhat of the energy and fire captured in “Fur and Gold”, however, it’s still full of splendor, charm, nature and the fabulous, all of which you can own on this very CD.
Tuesday 21 April 2009
This Week's Number 1...
Calvin Harris: “I’m Not Alone”.
The current comeback hit that is storming the nation, “I’m Not Alone”, is the entrancingly beautiful melodic tune, which highlights the young DJ’s promising voice, which crash collides with cosmic dance sounds, to make for THE summer anthem of 2009 which WILL blow you away. It’s an uplifting and a 100% feel-good song, which will be plaguing nightclubs and radio stations for a few good months yet.
Harris has always been ahead of his time and a true genius; perhaps he’s somewhat of an experimental lab technician in his field of electro/dance; always managing to get it bang on. “If I see a light flashing does it mean I’m coming home?” he ponders, with his “home” in the musical world being affirmed by his chart success at reaching the prestigious number one position; and thus showing he’s definitely “not alone”.
The record, reminiscent of past summer anthems goes by will be added to the legendary collection, and no doubt will be blasted out next year and the year after that, and the year after that.
The current comeback hit that is storming the nation, “I’m Not Alone”, is the entrancingly beautiful melodic tune, which highlights the young DJ’s promising voice, which crash collides with cosmic dance sounds, to make for THE summer anthem of 2009 which WILL blow you away. It’s an uplifting and a 100% feel-good song, which will be plaguing nightclubs and radio stations for a few good months yet.
Harris has always been ahead of his time and a true genius; perhaps he’s somewhat of an experimental lab technician in his field of electro/dance; always managing to get it bang on. “If I see a light flashing does it mean I’m coming home?” he ponders, with his “home” in the musical world being affirmed by his chart success at reaching the prestigious number one position; and thus showing he’s definitely “not alone”.
The record, reminiscent of past summer anthems goes by will be added to the legendary collection, and no doubt will be blasted out next year and the year after that, and the year after that.
Saturday 11 April 2009
A Blitz of Hitz!
It’s 2009, and the return of the Yeah Yeah Yeahs! At first, you may ask where’s that usual drum pounding and guitar picking frenzy we all love ‘em for? Well, they’re back and trying out newer sounds, and you know what it doesn’t matter. YYYs have always been fashionable and THE trendsetters we’ve always loved them for, pioneering the way forward in music for all envious comrades.
“It’s Blitz!” highlights Miss Karen O as charismatic as ever, and single “Zero” is as indie disco as it gets, I’d go as far to say it defines it, but then again, YYYs have always delivered on those kind of tunes.
Just imagining “Zero” makes my hair stand on end, from the pulsating electro beat to the “Shake it” dance command, which is all you want to do by a mere 3 seconds of hearing this fine amalgamation of sounds. With the sexual “Get your leather on” from the lips of Miss O, her unfathomable voice carries the song highlighting the magic.
Sonically it’s HUGE, and won’t fail to get you moving “like a mad man on the run”, and there’s no better song to announce their comeback, being an instant hit and favourite with YYY fans. “Zero” is as explosive as “Date with the Night”, its sister song (as other comparisons can be made on their third album). The hypnotic electric bridge and “shell shock” of this unblemished perfection in sound and array of indie glitz and glamour, is purely astounding, giving off the energizing and feel-good factor; deserving to be one of the major anthems of the year.
Next up is “Heads will Roll”. From the circus fair intro you know this is an album of fun. With authoritive lines of “Off with the head” and “Dance, dance till you’re dead”, she is the commanding Queen of rock ‘n’ roll, the only Queen of rock ‘n’ roll., describing the “It’s Blitz!” dance floor scene as it’s unleashed and the people lose control. It’s a musical whirlwind of madness with tense lyrics which then contrasts to the hushing vocals “Shut your eyes” which is just beauty. Even by the end of song 2, it’s possible to assume that their third record is their best yet.
“Soft Shock” is a fine example of Miss O’s feminine wiles on record, to break up the sounds and to compliment the larger sounds of “Zero” and “Dull life”. Ultimately, this dreamy melody leads perfectly into the harmonious “Skeletons”.
Now this is special, this is THE new “Maps”. The NEW love song. “Skeletons” will tug on your heartstrings from the gentle sounds of love, care, emotion and want in O’s voice, from “Skeleton and me” and the lulling “fall asleep”. This is the perfect love story told in song; another major highlight of “It’s Blitz!”. The Bagpipe (esque) interlude washes a feeling of pride and unity over you as the elements combine. The musical manifest at the end is superbly and sensationally chilling, ready for the more heavy “Dull life”.
As you envisage the rocky highroad, “Dull life” would be the soundtrack. Pounding drums, and the first time in which we hear Nick’s raw guitar, the country rock ‘n’ roll sound is alive. This is the good old YYYs we know with these massive beats. True they’re trying out new styles but it still definitely all works, and is SO, SO catchy by the time the chorus kicks in.; floor tapping, heading banging, finger drumming and all. It may be a dull life, but not any longer with this album around. This track echoes sounds of the familiar with a dream like landscape from the penetrating music almost to the point of fantasy; it’s all too good to be true.
Again we see the more rocky side to the YYYs with “Shame and Fortune”. It’s raw, it’s bassy, and it’s sassy with bare vocals to boot. With louder drums, and louder guitars, “It’s Blitz!” has already taken us on a journey of indie dance to soft rock, to country, and to just pure edgy rock and roll. With resemblances to BRMC, “Shame and Fortune” is further proof that their new sounds work, with the addition of Karen O always bringing their uniqueness and shine. Here, she’s as sexy as ever, the line: “Lose, when I play your game” smolders over the listener accompanied by the raunchy and storming guitar.
“Runaway” is the most different sound for the group to date. It’s new and quirky, yet you can’t help but picture some club with a lonesome piano at which Karen O is sitting and lamenting of “feeling sad”. The build-up, of “Run, run, runaway”, and “Lost, lost, lost my mind” just keeps on getting stronger. From the heartrending key notes to the sinister violins to amplify the tension of their newly covered ground, then, queue in the drums and guitar to give more support to this broken heart we’re hearing. However, it’s far from depressing as we still embark on this musical tour of sounds.
Then, time for another change. “Dragon Queen” is where we’re back to majestic disco/electro rock, and is very 1970’s. It’s the kind of sound Ladyhawke aspires to, but let’s not forget who was first on the scene, and to track number 8, you can just lie back and enjoy the summer vibe.
In “Hysteric” once more, we hear the beautiful Miss O and the artistic imagery of “cinders, the cinders, light the path” along with her pristine pronunciation which keeps us holding on. More hazy, dreamy sounds surround this (not so as intense as “Skeletons”) love song, and suddenly you learn YYYs have got more grown up. Not that we don’t love Black tongue’s madness: “Boy you’re just a stupid b*tch and girl you’re just a no good d*ck”, but now they’re singing of heartbreaks and relationships; more new ground.
The finale of the album features “Little Shadow”, the softer sister track to “Skeletons”, as empathetic and focusing on companionship, it’s acoustic and mellow, an effect probably to make the bigger tracks, i.e. the electrifying “Zero” stand out, but it makes for a perfect end to a perfectly adventurous album..
It just leaves me to say what an absolute shame it is that the YYYs are only back to the UK for two London shows later this April. They must, must, must, come back for two dates so we can celebrate with them this fantastic piece of musical art. Yeah!
“It’s Blitz!” highlights Miss Karen O as charismatic as ever, and single “Zero” is as indie disco as it gets, I’d go as far to say it defines it, but then again, YYYs have always delivered on those kind of tunes.
Just imagining “Zero” makes my hair stand on end, from the pulsating electro beat to the “Shake it” dance command, which is all you want to do by a mere 3 seconds of hearing this fine amalgamation of sounds. With the sexual “Get your leather on” from the lips of Miss O, her unfathomable voice carries the song highlighting the magic.
Sonically it’s HUGE, and won’t fail to get you moving “like a mad man on the run”, and there’s no better song to announce their comeback, being an instant hit and favourite with YYY fans. “Zero” is as explosive as “Date with the Night”, its sister song (as other comparisons can be made on their third album). The hypnotic electric bridge and “shell shock” of this unblemished perfection in sound and array of indie glitz and glamour, is purely astounding, giving off the energizing and feel-good factor; deserving to be one of the major anthems of the year.
Next up is “Heads will Roll”. From the circus fair intro you know this is an album of fun. With authoritive lines of “Off with the head” and “Dance, dance till you’re dead”, she is the commanding Queen of rock ‘n’ roll, the only Queen of rock ‘n’ roll., describing the “It’s Blitz!” dance floor scene as it’s unleashed and the people lose control. It’s a musical whirlwind of madness with tense lyrics which then contrasts to the hushing vocals “Shut your eyes” which is just beauty. Even by the end of song 2, it’s possible to assume that their third record is their best yet.
“Soft Shock” is a fine example of Miss O’s feminine wiles on record, to break up the sounds and to compliment the larger sounds of “Zero” and “Dull life”. Ultimately, this dreamy melody leads perfectly into the harmonious “Skeletons”.
Now this is special, this is THE new “Maps”. The NEW love song. “Skeletons” will tug on your heartstrings from the gentle sounds of love, care, emotion and want in O’s voice, from “Skeleton and me” and the lulling “fall asleep”. This is the perfect love story told in song; another major highlight of “It’s Blitz!”. The Bagpipe (esque) interlude washes a feeling of pride and unity over you as the elements combine. The musical manifest at the end is superbly and sensationally chilling, ready for the more heavy “Dull life”.
As you envisage the rocky highroad, “Dull life” would be the soundtrack. Pounding drums, and the first time in which we hear Nick’s raw guitar, the country rock ‘n’ roll sound is alive. This is the good old YYYs we know with these massive beats. True they’re trying out new styles but it still definitely all works, and is SO, SO catchy by the time the chorus kicks in.; floor tapping, heading banging, finger drumming and all. It may be a dull life, but not any longer with this album around. This track echoes sounds of the familiar with a dream like landscape from the penetrating music almost to the point of fantasy; it’s all too good to be true.
Again we see the more rocky side to the YYYs with “Shame and Fortune”. It’s raw, it’s bassy, and it’s sassy with bare vocals to boot. With louder drums, and louder guitars, “It’s Blitz!” has already taken us on a journey of indie dance to soft rock, to country, and to just pure edgy rock and roll. With resemblances to BRMC, “Shame and Fortune” is further proof that their new sounds work, with the addition of Karen O always bringing their uniqueness and shine. Here, she’s as sexy as ever, the line: “Lose, when I play your game” smolders over the listener accompanied by the raunchy and storming guitar.
“Runaway” is the most different sound for the group to date. It’s new and quirky, yet you can’t help but picture some club with a lonesome piano at which Karen O is sitting and lamenting of “feeling sad”. The build-up, of “Run, run, runaway”, and “Lost, lost, lost my mind” just keeps on getting stronger. From the heartrending key notes to the sinister violins to amplify the tension of their newly covered ground, then, queue in the drums and guitar to give more support to this broken heart we’re hearing. However, it’s far from depressing as we still embark on this musical tour of sounds.
Then, time for another change. “Dragon Queen” is where we’re back to majestic disco/electro rock, and is very 1970’s. It’s the kind of sound Ladyhawke aspires to, but let’s not forget who was first on the scene, and to track number 8, you can just lie back and enjoy the summer vibe.
In “Hysteric” once more, we hear the beautiful Miss O and the artistic imagery of “cinders, the cinders, light the path” along with her pristine pronunciation which keeps us holding on. More hazy, dreamy sounds surround this (not so as intense as “Skeletons”) love song, and suddenly you learn YYYs have got more grown up. Not that we don’t love Black tongue’s madness: “Boy you’re just a stupid b*tch and girl you’re just a no good d*ck”, but now they’re singing of heartbreaks and relationships; more new ground.
The finale of the album features “Little Shadow”, the softer sister track to “Skeletons”, as empathetic and focusing on companionship, it’s acoustic and mellow, an effect probably to make the bigger tracks, i.e. the electrifying “Zero” stand out, but it makes for a perfect end to a perfectly adventurous album..
It just leaves me to say what an absolute shame it is that the YYYs are only back to the UK for two London shows later this April. They must, must, must, come back for two dates so we can celebrate with them this fantastic piece of musical art. Yeah!
Monday 19 January 2009
The Boxer Rebellion: Union
Union. The guys sure have come a Long Way(…) since their “Exits” days. It’s now 3/4 years later, and they’re back with a new perspective, evident in their more fresh, raw and edgy sound.
Back in January 2006, an 8-track album sampler was released for download on their website for fans, giving us an insight into what the second installment would hold. I knew it’d be good, but this good…?
The band have been on a grueling journey if you research into their history; medical mishaps, being dropped my labels etc, it’s so pleasing that they have “Union” to show for all their troubles. Journey is an essential aspect to The Boxer Rebellion (TBR), after what they’ve been through, and the places they take you to with their music, you can tell this yourself with their latest release. A lot of people, mainly the fans, including myself, who’ve stuck with them from the beginning, were worrying about just when we’d be able to get our hands on the second album, and if it would actually happen. But I’ve never been more pleased to see TBR come out on top. Last year their track “The Gospel of Goro Adachi” was featured in the BBC’s hit TV show: “Long Way Down”, and since this new release, TBR have become I-Tunes’ “Single of the Week: with “Evacuate” and have reached the Top 3 album positions on I-Tunes also, both in the UK and the US.
I may be bias, what with this being the fifth year of me knowing and relishing the band, and it’s not something I usually do as a writer/blogger, but to fully do the album justice, and to appreciate it’s entirety, I shall now go on to evaluate each track and vital element of “Union”.
Flashing Red Light Means Go.
This is a stonker of a song to open an album with. There’s massive, massive drum pounds which are as intense live as on record, and was originally recorded with female vocals from The Magic Numbers, and is an uplifting footnote to begin listeners on their own journey of The Rebellion’s musical offerings. It holds a truly, truly, magnificent chorus with Nathan’s wistful vocals as the track washes over you, whilst the middle break-up of the song, prepares you for the more fuller songs later on. Reeling guitars and unforgettable drum beats make a statement that they’re here to stay as a group, and they’ll stick to doing what they do best; making superb music.
Move On.
First heard on the ’06 sampler, it was always going to be interesting to hear how this one would turn out. This one I think could be a potential release with its welcoming strumming, firm lyrics and all round catchy feel. “Damage is done…Don’t stop” lead singer Nate Nicholson belts out, and that’s exactly what the band did when something stood in their way, they didn’t stop. It’s striking in its simplicity, and whilst not being as complex as “Semi Automatic” or “Gospel”, “Move On” is another poignant stand of themselves and exactly what they did, they faced their demons and moved on, seeing them make the extraordinary “Union”. The ending of the track remains resounding, impactful and tasteful.
Evacuate.
“Evacuate” was their latest single to be released before the unveiling of “Union”. The sound is HUGE, and for that reason and that reason alone, it’s one of my favourite tracks off the album, and in fact of TBR’s. The colossal crashing and gigantic opening guitar riff which penetrates the whole song, immediately pulls you in and it all becomes sexy. The yearning in Nathan’s voice: “You don’t have to lieeee….. Wait….there’s nothing left to waste”, makes it an enigmatic and addictive listening experience.
Deep, relating lyrics and a consuming sound, this song could not be better if they tried; it couldn’t be better produced, better performed or better re-written. This song IS perfection, especially the middle instrumental when all is quiet and Nathan lulls: “We see each other from the corners of the room” to lustfully pull you in, as the song unites with your heartbeat, when all of a sudden…BOOM! That massive amazing riff…
Soviets.
Acoustic. “Soviets” reminds me of the days when they were starting out, e.g. their earlier gigs when they’d perform tracks such as “The Opening” and “The Rescue”, with Nathan on acoustic guitar, and his trusty tambourine and keyboards would be nearby.
Again, “Soviets” is simple but carries a strong melody, especially by means of the lyrics, once more making reference to journeys…”Heading Westwards towards the sun…”, it’s a calming and neutral track letting the singer lead and then 2 minutes later there’s a collaboration from the rest of the band, as they all pull their instruments (as a Union) to become one and make that great impact they’re always capable of.
Spitting Fire.
Yet another one from 06’s glimpse into album 2. I was always really intrigued to see how this one in particular would turn out. It briefly made an appearance on the band’s MySpace page, but here, it’s the finished article and it is fan-tas-tic! The vocals alone do it for me, then there’s the flirty electric sounding bass along with the positive feel which gets your head nodding, and your feet a’tapping; another would-be release.
“I spit fire…on lovers and liars…you don’t believe me and I have found it easy” – this chorus accompanied by the background music is heaven and if you don’t believe me, listen to it for yourself. Hearing “Spitting Fire” is another live gem, just the conviction in the words, and the bass which is working overdrive gets you over and over again, until you just can’t help it.
Misplaced.
I think this is Union’s version of TBR’s: “We have this Place Surrounded”. Seeing this live, and having heard it before, it’s moved me to tears on more than one occasion because of its beauty. Its sweeping guitar intro, the hushing sound of the vocals, and the feeling of wanting, needing and loving is all there. If you’ve never been in love before, listen to this and you’ll know it. The feeling of heartache, conflict, and “make up” is sung of, pulling on the heartstrings at the chorus; you can’t listen to it without thinking of someone special.
“Slow…right…down”, i.e. stop your heart pounding as you’re hearing this magical sound, “Slow…right…down” as you’re thinking of your “lost love”. Basically, when it all goes wrong in the love department, this song would be the soundtrack to your days.
It’s graceful, haunting, and the true beauty conveyed here is that it’s a very “human” song, it’s human in the fact it deals with human emotions and feelings we can all relate to at some point or another.
The climax of “Misplaced” with “Slow…right…down” continuing on as the music intensifies, provides the effect of a collage/flashback of thoughts, emotions and wonder. For anyone who thought music couldn’t possibly be this engaging or thought-provoking, listen up.
The Gospel of Goro Adachi
The hit taken from the “Long Way Down” soundtrack. For me, this is the one that is the most outside of the box for TBR, sounding somewhat electronic, robotic, or a better word may be detached, which is ironic as Nathan sings:”found ourselves surrounded by things getting closer”. From the atmosphere and the sound of fading in Nate’s voice, you wonder where this is going to end up: “constant questions from the start”.
Embracing it, we then get layers of vocals which is all the more haunting when compiled together. It is different, but it’s a new concept to TBR, they’re showing their versatility and room for new ideas, this could be an insight into the future of the Rebellion, however, it’s proof that they’re far from dying out.
These Walls are Thin.
My God! It’s a golden oldie! An old B-Side brought back to have an honorary place on the album, and fans have welcomed it with wide, wide open arms, and new listeners are sure to love it too. There’s some amazing guitar picking and super feisty lyrics: “So here we are…”; yes here they are, and they’re sure to stay if they carry on with luscious music like this. It’s another catchy foot-tapper, “satisfaction forever guaranteed” is sexily played out and he’s damn right, whilst other lyrics: “Misguided casualty always more concerned with the TV”, may not necessarily be meaningful, but all the same it’s provocative and pleasing to the ear.
Forces.
Now this is unbelievable. It’s even unconceivable, it looked for a moment in Boxer history that “Forces” would be a long lost memory, but it is so much more. Forces was first played at a London gig back in 2005, and before playing it, the band announced that they had been dropped off their label, after just having released their debut album: “Exits”. At the time, the only way to listen to “Forces” was to watch a bad-quality mobile phone video which was uploaded to the band’s website, but it stood as a sign. A sign that they’d stick around regardless of being dropped. “Forces” was many times asked to be revived by the fans but over the past few years it became somewhat of an urban legend, so we were stuck with this video, but the intense sound was always recognizable. I think “Forces” for all the right reasons, has now replaced my former Boxer favourite: “We have this Place Surrounded”, as it’s so refreshing and satisfying to see this defiant track have a place on “Union”, (and for reference it’s a very good driving song!).
Strong riffs, huge sounds and then the roaring of the drums, with the “ahhh” of Nathan, opens up to the dark and lingering lyrics that are at hand. It is dark, it is haunting once more, and it definitely is sexy.
“FORCES! DARK FORCES ARE EVERYWHERE!!!” The chorus is as impressionistic as the first time I heard it, you won’t get it out of your head, or the band. It’s amazing to hear it in completion, it’s sexual and it’s dark and overwhelming, but “Forces” was always destined to make a statement.
After all this commotion, it softens halfway through, with lighter guitars from Todd Howe, and you’re told to “contain yourself”, then comes in the swinging tune, more bass plucking and furious drum beating. There’s no denying that this is a crafted masterpiece.
Semi Automatic.
More of what we like. Huge, stunning indie/alternative rock, and one of the older songs meant for album 2, the lyrics once more are harsh, a bit sinister, talking of “guilt”, “suffocating” until it all hits a sonic explosion, whereby 8 seconds of quiet leads to an orgasmic guitar solo, carrying the song and the listener far away into the world of The Rebellion.
Silent Movie.
The closing tracks on both Boxer albums have a tendency to be epic-esque and trangquil, possibly as a breather after the journey you’ve just embarked on with them. Light notes and light lyrics, it’s graceful and charming, the song does later progress, but still, and more importantly it remains a piece of art. A piece of art; a piece of music (as a whole) which you can forever marvel at.
In all, the three main concepts to come across from “Union” are: beauty, journey (for the fans and band), and accomplishment; they haven’t faded away. As for the third time round, they’ll hopefully be more commercially established so we can see the album on shelves, however, it must be remembered that they’re a fairly underground band and in that respect they’re close and loyal to the fans. With some London and European dates lined up, hopefully more of a UK tour will be in order ton celebrate their success and give them much more well-deserved praise.
Back in January 2006, an 8-track album sampler was released for download on their website for fans, giving us an insight into what the second installment would hold. I knew it’d be good, but this good…?
The band have been on a grueling journey if you research into their history; medical mishaps, being dropped my labels etc, it’s so pleasing that they have “Union” to show for all their troubles. Journey is an essential aspect to The Boxer Rebellion (TBR), after what they’ve been through, and the places they take you to with their music, you can tell this yourself with their latest release. A lot of people, mainly the fans, including myself, who’ve stuck with them from the beginning, were worrying about just when we’d be able to get our hands on the second album, and if it would actually happen. But I’ve never been more pleased to see TBR come out on top. Last year their track “The Gospel of Goro Adachi” was featured in the BBC’s hit TV show: “Long Way Down”, and since this new release, TBR have become I-Tunes’ “Single of the Week: with “Evacuate” and have reached the Top 3 album positions on I-Tunes also, both in the UK and the US.
I may be bias, what with this being the fifth year of me knowing and relishing the band, and it’s not something I usually do as a writer/blogger, but to fully do the album justice, and to appreciate it’s entirety, I shall now go on to evaluate each track and vital element of “Union”.
Flashing Red Light Means Go.
This is a stonker of a song to open an album with. There’s massive, massive drum pounds which are as intense live as on record, and was originally recorded with female vocals from The Magic Numbers, and is an uplifting footnote to begin listeners on their own journey of The Rebellion’s musical offerings. It holds a truly, truly, magnificent chorus with Nathan’s wistful vocals as the track washes over you, whilst the middle break-up of the song, prepares you for the more fuller songs later on. Reeling guitars and unforgettable drum beats make a statement that they’re here to stay as a group, and they’ll stick to doing what they do best; making superb music.
Move On.
First heard on the ’06 sampler, it was always going to be interesting to hear how this one would turn out. This one I think could be a potential release with its welcoming strumming, firm lyrics and all round catchy feel. “Damage is done…Don’t stop” lead singer Nate Nicholson belts out, and that’s exactly what the band did when something stood in their way, they didn’t stop. It’s striking in its simplicity, and whilst not being as complex as “Semi Automatic” or “Gospel”, “Move On” is another poignant stand of themselves and exactly what they did, they faced their demons and moved on, seeing them make the extraordinary “Union”. The ending of the track remains resounding, impactful and tasteful.
Evacuate.
“Evacuate” was their latest single to be released before the unveiling of “Union”. The sound is HUGE, and for that reason and that reason alone, it’s one of my favourite tracks off the album, and in fact of TBR’s. The colossal crashing and gigantic opening guitar riff which penetrates the whole song, immediately pulls you in and it all becomes sexy. The yearning in Nathan’s voice: “You don’t have to lieeee….. Wait….there’s nothing left to waste”, makes it an enigmatic and addictive listening experience.
Deep, relating lyrics and a consuming sound, this song could not be better if they tried; it couldn’t be better produced, better performed or better re-written. This song IS perfection, especially the middle instrumental when all is quiet and Nathan lulls: “We see each other from the corners of the room” to lustfully pull you in, as the song unites with your heartbeat, when all of a sudden…BOOM! That massive amazing riff…
Soviets.
Acoustic. “Soviets” reminds me of the days when they were starting out, e.g. their earlier gigs when they’d perform tracks such as “The Opening” and “The Rescue”, with Nathan on acoustic guitar, and his trusty tambourine and keyboards would be nearby.
Again, “Soviets” is simple but carries a strong melody, especially by means of the lyrics, once more making reference to journeys…”Heading Westwards towards the sun…”, it’s a calming and neutral track letting the singer lead and then 2 minutes later there’s a collaboration from the rest of the band, as they all pull their instruments (as a Union) to become one and make that great impact they’re always capable of.
Spitting Fire.
Yet another one from 06’s glimpse into album 2. I was always really intrigued to see how this one in particular would turn out. It briefly made an appearance on the band’s MySpace page, but here, it’s the finished article and it is fan-tas-tic! The vocals alone do it for me, then there’s the flirty electric sounding bass along with the positive feel which gets your head nodding, and your feet a’tapping; another would-be release.
“I spit fire…on lovers and liars…you don’t believe me and I have found it easy” – this chorus accompanied by the background music is heaven and if you don’t believe me, listen to it for yourself. Hearing “Spitting Fire” is another live gem, just the conviction in the words, and the bass which is working overdrive gets you over and over again, until you just can’t help it.
Misplaced.
I think this is Union’s version of TBR’s: “We have this Place Surrounded”. Seeing this live, and having heard it before, it’s moved me to tears on more than one occasion because of its beauty. Its sweeping guitar intro, the hushing sound of the vocals, and the feeling of wanting, needing and loving is all there. If you’ve never been in love before, listen to this and you’ll know it. The feeling of heartache, conflict, and “make up” is sung of, pulling on the heartstrings at the chorus; you can’t listen to it without thinking of someone special.
“Slow…right…down”, i.e. stop your heart pounding as you’re hearing this magical sound, “Slow…right…down” as you’re thinking of your “lost love”. Basically, when it all goes wrong in the love department, this song would be the soundtrack to your days.
It’s graceful, haunting, and the true beauty conveyed here is that it’s a very “human” song, it’s human in the fact it deals with human emotions and feelings we can all relate to at some point or another.
The climax of “Misplaced” with “Slow…right…down” continuing on as the music intensifies, provides the effect of a collage/flashback of thoughts, emotions and wonder. For anyone who thought music couldn’t possibly be this engaging or thought-provoking, listen up.
The Gospel of Goro Adachi
The hit taken from the “Long Way Down” soundtrack. For me, this is the one that is the most outside of the box for TBR, sounding somewhat electronic, robotic, or a better word may be detached, which is ironic as Nathan sings:”found ourselves surrounded by things getting closer”. From the atmosphere and the sound of fading in Nate’s voice, you wonder where this is going to end up: “constant questions from the start”.
Embracing it, we then get layers of vocals which is all the more haunting when compiled together. It is different, but it’s a new concept to TBR, they’re showing their versatility and room for new ideas, this could be an insight into the future of the Rebellion, however, it’s proof that they’re far from dying out.
These Walls are Thin.
My God! It’s a golden oldie! An old B-Side brought back to have an honorary place on the album, and fans have welcomed it with wide, wide open arms, and new listeners are sure to love it too. There’s some amazing guitar picking and super feisty lyrics: “So here we are…”; yes here they are, and they’re sure to stay if they carry on with luscious music like this. It’s another catchy foot-tapper, “satisfaction forever guaranteed” is sexily played out and he’s damn right, whilst other lyrics: “Misguided casualty always more concerned with the TV”, may not necessarily be meaningful, but all the same it’s provocative and pleasing to the ear.
Forces.
Now this is unbelievable. It’s even unconceivable, it looked for a moment in Boxer history that “Forces” would be a long lost memory, but it is so much more. Forces was first played at a London gig back in 2005, and before playing it, the band announced that they had been dropped off their label, after just having released their debut album: “Exits”. At the time, the only way to listen to “Forces” was to watch a bad-quality mobile phone video which was uploaded to the band’s website, but it stood as a sign. A sign that they’d stick around regardless of being dropped. “Forces” was many times asked to be revived by the fans but over the past few years it became somewhat of an urban legend, so we were stuck with this video, but the intense sound was always recognizable. I think “Forces” for all the right reasons, has now replaced my former Boxer favourite: “We have this Place Surrounded”, as it’s so refreshing and satisfying to see this defiant track have a place on “Union”, (and for reference it’s a very good driving song!).
Strong riffs, huge sounds and then the roaring of the drums, with the “ahhh” of Nathan, opens up to the dark and lingering lyrics that are at hand. It is dark, it is haunting once more, and it definitely is sexy.
“FORCES! DARK FORCES ARE EVERYWHERE!!!” The chorus is as impressionistic as the first time I heard it, you won’t get it out of your head, or the band. It’s amazing to hear it in completion, it’s sexual and it’s dark and overwhelming, but “Forces” was always destined to make a statement.
After all this commotion, it softens halfway through, with lighter guitars from Todd Howe, and you’re told to “contain yourself”, then comes in the swinging tune, more bass plucking and furious drum beating. There’s no denying that this is a crafted masterpiece.
Semi Automatic.
More of what we like. Huge, stunning indie/alternative rock, and one of the older songs meant for album 2, the lyrics once more are harsh, a bit sinister, talking of “guilt”, “suffocating” until it all hits a sonic explosion, whereby 8 seconds of quiet leads to an orgasmic guitar solo, carrying the song and the listener far away into the world of The Rebellion.
Silent Movie.
The closing tracks on both Boxer albums have a tendency to be epic-esque and trangquil, possibly as a breather after the journey you’ve just embarked on with them. Light notes and light lyrics, it’s graceful and charming, the song does later progress, but still, and more importantly it remains a piece of art. A piece of art; a piece of music (as a whole) which you can forever marvel at.
In all, the three main concepts to come across from “Union” are: beauty, journey (for the fans and band), and accomplishment; they haven’t faded away. As for the third time round, they’ll hopefully be more commercially established so we can see the album on shelves, however, it must be remembered that they’re a fairly underground band and in that respect they’re close and loyal to the fans. With some London and European dates lined up, hopefully more of a UK tour will be in order ton celebrate their success and give them much more well-deserved praise.
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