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.
Wednesday, 22 April 2009
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.
Monday, 8 December 2008
The Killers - Who Turned the Lights Off?
Okay. I remember rave reviewing “Sam’s Town” in 2006, and being highly ecstatic at just conceiving the sounds, and influences behind their all-career important second album, and being even more thrilled that they’d cracked it. It’s hard to believe that it really is the same Nevada band two years down the line.
I must say that “Day and Age” was regarded by myself as looking to be one of the musical highlights of the year, for the end of 2008, and not only does it: shock, appall and utterly upset me to say it, but it truly is a poor attempt at keeping their indie rock ‘n’roll Americana dream alive.
And I wonder, is the reasoning behind it complacency? Or Arrogance? Who knows, but what is fact, is that it’s an absolute shame and disgrace to themselves, and I can’t help but feel sympathy and sorrow for them. The days were great when they were the Princes of Indie, and every Brit adopted them into their hearts as one of their own, they were our band, our saviours. But let’s focus on the tense there, that was then and this is now, and perhaps we should just pawn them back off to America. Harsh? Maybe…
Tracks such as “Joy Ride” and “I Can’t Stay” sound as if they belong to the Lion King OST, so Elton John may as well have sat down and put his feet up. “Day and Age” is as dull as dull gets, for saying that these were the masters that once opened up a whole world of twinkling lights, and provided us with the indie delights of “Bones” and “Somebody Told Me”. Just how did they lose their magic?
To hear this third installment in contrast to “Hot Fuss” and “Sam’s Town” is unbelievable, and absolutely soul-destroying for dedicated fans and that includes myself. I tried and tried, and tried to get into it but there was no give. I’ve only just got comfortable with listening to “Human”, but let’s not forget the whole controversy that the song’s lyrics sparked as well. The whole thing as a package just seems half-hearted. You can’t even call it background music.
Let’s also not forget that Razorlight and The Killers arrived on the scene at the same time, and have since released albums at coincidentally similar times, they both released superb first and second records, seeing Razorlight storm on with the third “Slipway Fires”, but what happened to Mr. Flowers? The only thing the album does for you is make your mind boggle as to what happened to this once epic four piece.
I’ll grant that perhaps they’re aspiring to be newer Bob Dylans, continuing to tell stories within the songs, but they’ve been there and done that, and they have proven they can do it right, i.e. “Jenny Was a Friend of Mine”, but at least make some music to accompany it, which is what they’ve failed to do in this case. It also comes across that whatever their intentions, or desired effect was, is just lost in translation.
Having seen The Killers at V’07, just before they set off to make album 3, their show-stopping performance held so many promises and expectations as to what they were capable of next as they were banging out the hits, that at a glance, “Day and Age” makes them unrecognizable. I mean, “Spaceman”? Come on…!? It’s just not a patch on the early stuff.
Oh well…there’s always Razorlight, but Mr. Flowers et. al better redeem themselves 4th time round, and until then we need some serious reassurance that there are greater things ahead.
I must say that “Day and Age” was regarded by myself as looking to be one of the musical highlights of the year, for the end of 2008, and not only does it: shock, appall and utterly upset me to say it, but it truly is a poor attempt at keeping their indie rock ‘n’roll Americana dream alive.
And I wonder, is the reasoning behind it complacency? Or Arrogance? Who knows, but what is fact, is that it’s an absolute shame and disgrace to themselves, and I can’t help but feel sympathy and sorrow for them. The days were great when they were the Princes of Indie, and every Brit adopted them into their hearts as one of their own, they were our band, our saviours. But let’s focus on the tense there, that was then and this is now, and perhaps we should just pawn them back off to America. Harsh? Maybe…
Tracks such as “Joy Ride” and “I Can’t Stay” sound as if they belong to the Lion King OST, so Elton John may as well have sat down and put his feet up. “Day and Age” is as dull as dull gets, for saying that these were the masters that once opened up a whole world of twinkling lights, and provided us with the indie delights of “Bones” and “Somebody Told Me”. Just how did they lose their magic?
To hear this third installment in contrast to “Hot Fuss” and “Sam’s Town” is unbelievable, and absolutely soul-destroying for dedicated fans and that includes myself. I tried and tried, and tried to get into it but there was no give. I’ve only just got comfortable with listening to “Human”, but let’s not forget the whole controversy that the song’s lyrics sparked as well. The whole thing as a package just seems half-hearted. You can’t even call it background music.
Let’s also not forget that Razorlight and The Killers arrived on the scene at the same time, and have since released albums at coincidentally similar times, they both released superb first and second records, seeing Razorlight storm on with the third “Slipway Fires”, but what happened to Mr. Flowers? The only thing the album does for you is make your mind boggle as to what happened to this once epic four piece.
I’ll grant that perhaps they’re aspiring to be newer Bob Dylans, continuing to tell stories within the songs, but they’ve been there and done that, and they have proven they can do it right, i.e. “Jenny Was a Friend of Mine”, but at least make some music to accompany it, which is what they’ve failed to do in this case. It also comes across that whatever their intentions, or desired effect was, is just lost in translation.
Having seen The Killers at V’07, just before they set off to make album 3, their show-stopping performance held so many promises and expectations as to what they were capable of next as they were banging out the hits, that at a glance, “Day and Age” makes them unrecognizable. I mean, “Spaceman”? Come on…!? It’s just not a patch on the early stuff.
Oh well…there’s always Razorlight, but Mr. Flowers et. al better redeem themselves 4th time round, and until then we need some serious reassurance that there are greater things ahead.
KIWI LOVIN'
26 year old Pip Brown, AKA: Ladyhawke is BIG, and radical. If you haven’t heard of her by now, you soon will; exploding onto the scene just like her music. Just thinking of her whole concept, the sound, the dress, and the feel just makes me giddy. Brilliance is here!
Dubbed as a take on “Peaches”, and ironically also friends with her, take this on board along with a bit of Goldfrapp glamour, and the fresh sound of the YYY’s and you’re there. Her newly released self-titled album is 62 minutes of funk, and is so rock ‘n’ roll that even Noel Fielding may be quaking in his platinum platforms.
Undoubtedly being played in NME hot houses everywhere, she IS one of the cool kids, apparent both in sound and look. Full of spunk and freshness, Miss Ladyhawke even plays all instruments, especially noted on the rather synthed up, and exquisite “Back of the Van”. Here, her influences of Stevie Nicks also come to life, as the echoes of such former female rockstars are reminisced during the verses. And with musical family roots, it seems she was always destined to be superb, and that she sure is.
This album IS a must-buy, and not just for the fashionable look on your shelf, but for the dancing, the innovative sounds as heard on the likes of “Love don’t Live Here” and “Paris is Burning”, and the addictive factor. Even I’ve reached 219 plays according to the good old last.fm scrobbler.
Now residing in London, it’s awesome that we’ve got a claim on her, it’s almost as if an ET set down and unleashed this array of infectious and mighty rock’n’roll upon us, totally indoctrinating us all, just as her recent single “My Delirium” portrays. This song in particular, is an example of her stimulating and catchy cascades of music, which will wash all over you, and I’m not the only one to say so. Critics have suggested listening to her re-mixes just to keep it all alive, as they too keep putting her on replay.
So, she’s electro-pop, yes, electro-punk, yes, new-rave, yes and indie; all rolled into one glorious package. Reaching many genres and across many mediums, it appears that she may just be the new Queen of Rock we’ve been looking for, and as we reach the end of the year, it also looks as though it’ll be an intense and vastly promising 2009 for Pip Brown.
Dubbed as a take on “Peaches”, and ironically also friends with her, take this on board along with a bit of Goldfrapp glamour, and the fresh sound of the YYY’s and you’re there. Her newly released self-titled album is 62 minutes of funk, and is so rock ‘n’ roll that even Noel Fielding may be quaking in his platinum platforms.
Undoubtedly being played in NME hot houses everywhere, she IS one of the cool kids, apparent both in sound and look. Full of spunk and freshness, Miss Ladyhawke even plays all instruments, especially noted on the rather synthed up, and exquisite “Back of the Van”. Here, her influences of Stevie Nicks also come to life, as the echoes of such former female rockstars are reminisced during the verses. And with musical family roots, it seems she was always destined to be superb, and that she sure is.
This album IS a must-buy, and not just for the fashionable look on your shelf, but for the dancing, the innovative sounds as heard on the likes of “Love don’t Live Here” and “Paris is Burning”, and the addictive factor. Even I’ve reached 219 plays according to the good old last.fm scrobbler.
Now residing in London, it’s awesome that we’ve got a claim on her, it’s almost as if an ET set down and unleashed this array of infectious and mighty rock’n’roll upon us, totally indoctrinating us all, just as her recent single “My Delirium” portrays. This song in particular, is an example of her stimulating and catchy cascades of music, which will wash all over you, and I’m not the only one to say so. Critics have suggested listening to her re-mixes just to keep it all alive, as they too keep putting her on replay.
So, she’s electro-pop, yes, electro-punk, yes, new-rave, yes and indie; all rolled into one glorious package. Reaching many genres and across many mediums, it appears that she may just be the new Queen of Rock we’ve been looking for, and as we reach the end of the year, it also looks as though it’ll be an intense and vastly promising 2009 for Pip Brown.
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