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.

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!

Hollywood Tease

Hollywood Tease.

22^nd 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.

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.

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.

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.

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!