What lies within Tera Melos' 3rd studio album shouldn't come as much of a shock to anyone familiar with their music. They've maintained their sound but this time around they've made it more straightforward and to the point. The album is trashy, loud and aggressive and the best things you could do while listening to 'X'ed Out' is to lose focus and allow yourself to be beaten up for 44 minutes.
Opening song 'Weird Circles' grabs your attention before strangling every ounce of breath out of you and throwing you to the floor as it misleads you down a somewhat futuristic sounding path that twists into you being chucked into a rowdy crowd of snarling guitars and ferocious drumming. It provides the perfect stepping stone for second song 'New Chlorine' which follows the same pattern as it's predecessor but in a more destructive manner with a livelier punk edge. The contrast between the dreaminess of the vocals and the aggressive guitar playing and drumming is the love affair of this album that occasionally becomes unbalanced but it's in it's prime during 'New Chlorine'.
It's third song 'Bite' where the lack of direction within the songs really shines through. It often becomes difficult to differentiate between the choruses and the verses and while the music follows no real structure there's clearly an idea of doing whatever the hell they feel like in each member of Tera Melos' heads that somehow makes the misguidance of it all work. 'Bite' is also the first sign that the guitar loops and repetitive drumbeats aren't going to ease up any time soon; in fact, they're both key features to the album.
'Snake Lake' provides a break in the album and allows you to catch your breath for a few minutes before you're thrown right back into the onslaught. It's one of the rare points in the album where the softness of the vocals aren't lost in the roughness of the guitars but the song itself is overshadowed by 'Sunburn' which is effectively one of the better tracks of 'X'ed Out'. The energy of 'Sunburn' along with the balance between the vocals and the instrumental work - something that doesn't happen all that often - is enough to have you bouncing in no time. It's an obscure choice but it would make the perfect Summer tune.
Unfortunately the guitar is the thing that receives the majority of your attention. They're so loud and gnarling to the point where everything else is completely sucked up by them and even the drumming struggles to have it's moment. The vocal work has the hardest job of all when it comes to standing out against the guitar and when the vocals finally do get their shot they lack in passion and emotion.
The heavy contrast between 'No Phase' and 'Tropic Lame' is no accident. 'No Phase' is a harmonious and dreamy track whereas 'Tropic Lame' is a fast paced, high energy, proper rock n roll tune that this album is full of. Both songs show Tera Melos at their best but 'No Phase' highlights another downfall of the album: there are occasionally some points where you're waiting for something major to happen within a song but it's just continuous guitar loops and inaudible vocals.
Ending song 'X'ed Out And Tired' is a much needed break from the ass kicking that dominates the sound of this album. It's an acoustic driven track that still maintains the trashy sound that's present throughout the entire album. It does well to stand out from the rest of the songs and rounds the album up well but at the same time, it's also off putting due to how different it is in comparison to what came before it.
'X'ed Out' is not an album for all of you vocal and lyric lovers out there, it's an album for anyone who is looking to have their brain mangled by a non stop guitar marathon. The constant guitar loops do become tiresome on some songs and there are some tracks that do go on for longer than they need to but for the most part 'X'ed Out' is a fairly impressive album. It's not going to win any award for musical intricacy but the great thing about 'X'ed Out' is you never know where you're going to end up but you know you're going to have a grand old time getting there.
Stand Out Songs:
Sunburn
Tropic Lame
Until Lufthansa
Friday, 19 April 2013
Friday, 5 April 2013
Willy Moon - Here's Willy Moon Review
From his insane dance moves during his performance on Jools Holland to single 'Yeah Yeah' being blasted everywhere - including the infamous iPod advert - Willy Moon made an incredible entrance to the music world. His flamboyance fills up every song on his debut album which is bursting at the seams with enthusiasm and creativity. Even Kanye West, The Who, Ramones, Wu Tang Clan and Jack White all make appearances on Willy Moon's debut album without ever being physically present. His influences are obvious, his execution is slightly flawed but his relative obscurity and lack of direction makes for an interesting - if a little jumbled - debut album.
The ballsiness of opening song 'Get Up (What You Need)' is the perfect introduction for an album like this. The song opens with a cinematic feel created by string instruments and gentle piano playing before a wave of hip hop beats and intense vocals crashes down and takes control of everything. It brings in every single element that lies within the album in one go and sets the listener up for the onslaught that's about to hit their ears.
'Railroad Track' is where Willy Moon's need to combine various genres together fails. The slight country western take meets hip hop vibe combined with the samples of rainfall, thunder and church bells makes for an off-putting and slightly awkward song. It's an early sign that Willy Moon is still finding his footing and has more experimenting to do before he can really find his direction. The ever catchy and popular tune that is 'Yeah Yeah' brings things back to speed with it's energy and dancealong feel. The combination of the clean production with the hard hitting drums, the punchy vocals and the swagger of the lyrics makes for an effortlessly flawless tune that has the potential to get thousands moving in the first 10 seconds. It's Willy Moon at his best and the simplicity of each element sums up how remarkable he can be without even trying.
The working class indie flair of 'Working For The Company' sets the track apart from the rest of the album but not in a good way. The rebellion felt within the lyrics is not reciprocated within the vocals and without a rugged guitar and fiery drumming to accompany the lyrics everything seems off. The trumpets add a new dynamic to both the song and the album and adds to the indie vibe of the track but the brass instruments teeter on West End musical styling and don't fit in with what is supposed to be the more aggressive track of the album.
It's the covers of 'Shakin' and 'I Put A Spell On You' that are the main downers of the album and completely unnecessary. It seems Willy Moon was trying to follow in the footsteps of his mentor Jack White, who pulled out an impressive cover of 'I'm Shakin' on his debut solo album 'Blunderbuss' but Willy Moon's cover just isn't up to scratch and falls flat on it's face while dragging the rest of the album down with it. 'I Put A Spell On You' is perhaps worse and sounds more like a poor remix than an actual cover.
Ramones meets a generic boyband are the main points of penultimate track 'My Girl'. The poppy vibe along with the occasional vocal and lyrical structure that is reminiscent (bordering on rip off) of Ramones - I Wanna Be Sedated pumps the energy and excitement that is lost on the previous 4 songs back into the album. Like 'Yeah Yeah' it's a song that has the potential to get entire festivals moving and it's pop edge sets it apart from an album that is heavily dominated by a rock and hip hop influence. The abrupt end to 'My Girl' really should have closed the album but unfortunately that burden was left to instrumental song 'Murder Ballad' which fails to deliver and seems out of place. It would have worked better at the beginning or is an introduction or break during Willy Moon's live shows but instead it ends the album weakly and confusingly.
It's clear throughout 'Here's Willy Moon' that there's still a great distance left for Willy Moon to travel before he's going to find his perfect sound and create his statement album but his debut is not to be ignored. The disorientated structure to the album is a little off putting at first and it's the lack of real order that throws some songs off. There are times where Willy Moon tries a little too hard to be innovative when really it's the simplicity of combining elements that don't usually work together and throwing in something unexpected on top that makes this album unique. It may not be the best thing to come out of the music industry but if you're looking for something that'll make you dance around until you're out of breath 'Here's Willy Moon' is readily available.
Stand Out Songs:
Get Up (What You Need)
Yeah Yeah
My Girl
The ballsiness of opening song 'Get Up (What You Need)' is the perfect introduction for an album like this. The song opens with a cinematic feel created by string instruments and gentle piano playing before a wave of hip hop beats and intense vocals crashes down and takes control of everything. It brings in every single element that lies within the album in one go and sets the listener up for the onslaught that's about to hit their ears.
'Railroad Track' is where Willy Moon's need to combine various genres together fails. The slight country western take meets hip hop vibe combined with the samples of rainfall, thunder and church bells makes for an off-putting and slightly awkward song. It's an early sign that Willy Moon is still finding his footing and has more experimenting to do before he can really find his direction. The ever catchy and popular tune that is 'Yeah Yeah' brings things back to speed with it's energy and dancealong feel. The combination of the clean production with the hard hitting drums, the punchy vocals and the swagger of the lyrics makes for an effortlessly flawless tune that has the potential to get thousands moving in the first 10 seconds. It's Willy Moon at his best and the simplicity of each element sums up how remarkable he can be without even trying.
The working class indie flair of 'Working For The Company' sets the track apart from the rest of the album but not in a good way. The rebellion felt within the lyrics is not reciprocated within the vocals and without a rugged guitar and fiery drumming to accompany the lyrics everything seems off. The trumpets add a new dynamic to both the song and the album and adds to the indie vibe of the track but the brass instruments teeter on West End musical styling and don't fit in with what is supposed to be the more aggressive track of the album.
It's the covers of 'Shakin' and 'I Put A Spell On You' that are the main downers of the album and completely unnecessary. It seems Willy Moon was trying to follow in the footsteps of his mentor Jack White, who pulled out an impressive cover of 'I'm Shakin' on his debut solo album 'Blunderbuss' but Willy Moon's cover just isn't up to scratch and falls flat on it's face while dragging the rest of the album down with it. 'I Put A Spell On You' is perhaps worse and sounds more like a poor remix than an actual cover.
Ramones meets a generic boyband are the main points of penultimate track 'My Girl'. The poppy vibe along with the occasional vocal and lyrical structure that is reminiscent (bordering on rip off) of Ramones - I Wanna Be Sedated pumps the energy and excitement that is lost on the previous 4 songs back into the album. Like 'Yeah Yeah' it's a song that has the potential to get entire festivals moving and it's pop edge sets it apart from an album that is heavily dominated by a rock and hip hop influence. The abrupt end to 'My Girl' really should have closed the album but unfortunately that burden was left to instrumental song 'Murder Ballad' which fails to deliver and seems out of place. It would have worked better at the beginning or is an introduction or break during Willy Moon's live shows but instead it ends the album weakly and confusingly.
It's clear throughout 'Here's Willy Moon' that there's still a great distance left for Willy Moon to travel before he's going to find his perfect sound and create his statement album but his debut is not to be ignored. The disorientated structure to the album is a little off putting at first and it's the lack of real order that throws some songs off. There are times where Willy Moon tries a little too hard to be innovative when really it's the simplicity of combining elements that don't usually work together and throwing in something unexpected on top that makes this album unique. It may not be the best thing to come out of the music industry but if you're looking for something that'll make you dance around until you're out of breath 'Here's Willy Moon' is readily available.
Stand Out Songs:
Get Up (What You Need)
Yeah Yeah
My Girl
Wednesday, 13 March 2013
Palma Violets - 180 Review
Every so often a band will hit the indie scene who will be dubbed the "saviours of rock" yet most of these so called "saviours" will follow up the hype with a mediocre album before tucking their tails between their legs and sitting down in the corner. Palma Violets received much hype prior to their debut album 180 being released and after many average reviews at best on their live performances and much focus placed upon the chemistry between Chilli Jesson and Sam Fryer the typical low expectations of an overhyped band were set in stone. "180" however, is a proper rock n roll album that is full of spirit, charisma and the occasional awkward moment.
Kicking off with 'Best Of Friends' with it's The Who meets Ramones like edge makes for a fantastic starter. The old school vibe of the guitar combined with the rawness of the vocals gives it a rambunctious and rowdy feel yet still maintains a level of charm and unorganised sophistication. The song sets the listener up for what's to come and brings in the adrenaline instantaneously. Second song 'Step Up For The Cool Cats' is where the main problem with this album comes in; the unrefined vocals don't make as strong an impact without a destructive song to accompany them. The distorted organ, guitar line and built up cymbals that opens this song leads on brilliantly from the faded outro of "Best Of Friends" which already gives the album a nice flow and provides a platform for the album to be something more than just 11 songs in a row.
If there's ever a point in '180' where Palma Violets seem a little lost it's in 'All The Garden Birds' and 'We Found Love'. The awkwardness of the "oohs" in 'All The Garden Birds' and the "lalalas" of 'We Found Love' are something Palma Violets cannot pull off; the attitude of the album isn't one for making room for something that is essentially a space filler. 'All The Garden Birds' starts off like a movie soundtrack before quickly jolting into a standard guitar riff for a song like this and vocals that aren't as forceful as they are on a reckless song. Things are brought back together with 'Rattlesnake Highway' which combines a built up introduction and strong vocals with a fast paced albeit simple drumbeat to create an effortlessly brilliant rock n roll tune.
The distorted organ plays a key role throughout the album but unfortunately it becomes overdone towards the end. It starts to turn into a desperate attempt to inject some creativity into the album when really it's not entirely necessary. Fortunately the melodies the rugged guitar creates is a main feature of both the album and the sound of Palma Violets and does well to mask the occasional down trodden lyric. The drumming also injects a great deal of energy throughout the album despite never going over the top and overshadowing any other component.
Penultimate song 'Three Stars' is the ballad of the album and has the intensity of Iggy Pop yet the softness of Damon Albarn. Unfortunately every element that makes up this song fights too hard for attention and it's the vocals that win. The guitar does have it's moment and once the drums come in the song has a whole new air of life to it but it shows just how far Palma Violets have left to travel before they can truly be held up as a rock n roll "saviour".
'180' is better left as an album to hear live. Although the majority of songs are great in their own right there's still an energy missing from them that can only be found in a live performance which is typical for a band like Palma Violets. The rawness and intensity of the songs make for a good album but it's an album that will only appeal to an acquired taste. Palma Violets may not be saving any genre soon - although as long as we all buy albums rather than illegally downloading rock will never need saved - but they can only grow over their career and if '180' is anything to go by it should be a pretty rowdy and spectacular career.
Stand Out Songs:
Best Of Friends
Rattlesnake Highway
Step Up For The Cool Cats
Kicking off with 'Best Of Friends' with it's The Who meets Ramones like edge makes for a fantastic starter. The old school vibe of the guitar combined with the rawness of the vocals gives it a rambunctious and rowdy feel yet still maintains a level of charm and unorganised sophistication. The song sets the listener up for what's to come and brings in the adrenaline instantaneously. Second song 'Step Up For The Cool Cats' is where the main problem with this album comes in; the unrefined vocals don't make as strong an impact without a destructive song to accompany them. The distorted organ, guitar line and built up cymbals that opens this song leads on brilliantly from the faded outro of "Best Of Friends" which already gives the album a nice flow and provides a platform for the album to be something more than just 11 songs in a row.
If there's ever a point in '180' where Palma Violets seem a little lost it's in 'All The Garden Birds' and 'We Found Love'. The awkwardness of the "oohs" in 'All The Garden Birds' and the "lalalas" of 'We Found Love' are something Palma Violets cannot pull off; the attitude of the album isn't one for making room for something that is essentially a space filler. 'All The Garden Birds' starts off like a movie soundtrack before quickly jolting into a standard guitar riff for a song like this and vocals that aren't as forceful as they are on a reckless song. Things are brought back together with 'Rattlesnake Highway' which combines a built up introduction and strong vocals with a fast paced albeit simple drumbeat to create an effortlessly brilliant rock n roll tune.
The distorted organ plays a key role throughout the album but unfortunately it becomes overdone towards the end. It starts to turn into a desperate attempt to inject some creativity into the album when really it's not entirely necessary. Fortunately the melodies the rugged guitar creates is a main feature of both the album and the sound of Palma Violets and does well to mask the occasional down trodden lyric. The drumming also injects a great deal of energy throughout the album despite never going over the top and overshadowing any other component.
Penultimate song 'Three Stars' is the ballad of the album and has the intensity of Iggy Pop yet the softness of Damon Albarn. Unfortunately every element that makes up this song fights too hard for attention and it's the vocals that win. The guitar does have it's moment and once the drums come in the song has a whole new air of life to it but it shows just how far Palma Violets have left to travel before they can truly be held up as a rock n roll "saviour".
'180' is better left as an album to hear live. Although the majority of songs are great in their own right there's still an energy missing from them that can only be found in a live performance which is typical for a band like Palma Violets. The rawness and intensity of the songs make for a good album but it's an album that will only appeal to an acquired taste. Palma Violets may not be saving any genre soon - although as long as we all buy albums rather than illegally downloading rock will never need saved - but they can only grow over their career and if '180' is anything to go by it should be a pretty rowdy and spectacular career.
Stand Out Songs:
Best Of Friends
Rattlesnake Highway
Step Up For The Cool Cats
Monday, 4 March 2013
Stereophonics - Graffiti On The Train Review
Stereophonics are now on their 8th studio album and although they're showing no signs of faltering they're still not even remotely close to being in the running for "world's most exciting band" despite efforts to shake the dad rock label that's forever slapped upon them. 'Graffiti On The Train' sees them experiment with a few things here and there and displays the level of talent each member has brilliantly but at the same time it's not an album that will convert anyone into being a massive fan of theirs.
'Graffiti On The Train' opens on a gentle note with 'We Share The Same Sun'. The soft guitar and bass lines that build up into a punchy chorus act as an introduction to the structure most songs will follow throughout the entire album. The chorus doesn't have as strong an impact as it should and although 'We Share The Same Sun' has the potential to be a stand out moment the chorus trips it up and makes it average at best. Title track 'Graffiti On The Train' predictably follows the same structure as it's predecessor but the melancholy vibe throughout brings in a more interesting and memorable feel to the song. The string instruments help add to the darker tone of the song which is helped along by the morbid tale the lyrics portray. It's quite a cinematic tune which is a theme that constantly reappears throughout the album.
'Take Me' keeps with the darker and more moody tone of 'Graffiti On The Train'. After being inspired by Nick Cave, Kelly Jones chose to bring in his girlfriend to sing on this track and her vocals bring in an interesting and haunting dynamic to the song. The soft instrumental work helps the vocals to shine but the guitar has it's moment in a striking solo. The crash of the piano at the end of the song adds to the dark feeling throughout 'Take Me' but once again the structure of the song is very predictable. 'Roll The Dice' and 'Violins And Tambourines' are the more atmospheric songs of the album. They both come complete with string arrangements and a cinematic feel but they fall slightly short due to one element on each song; on 'Roll The Dice' it's the string instruments that seem out of place but on 'Violins And Tambourines' it's the vocal work towards the end that just feels wrong. They are both of a slightly different vibe from the majority of the album but at the same time they still have the obviousness that hangs heavy over 'Graffiti On The Train'.
The things that inspired certain songs throughout are probably the more interesting parts of the album. Some things are as simple as a school play Kelly Jones' daughter was in to the sun setting in Australia whereas others are more on the random side like two kids on Kelly Jones' roof trying to get to the rail-track to graffiti the train or an article about Amy Winehouse and others are just good old fashioned admiration for Stevie Wonder and The Who.
The song that drew inspiration from the article about Amy Winehouse is 'Been Caught Cheating' and in true Amy Winehouse style it has a blues influence to it which helps to break up the sound that dominates the album. The lads chose to add bar like sounds - think the sound of bottles breaking and incessant chatter - which adds to the blues influence and helps make an impact on the listener but the song comes too late in the game and doesn't do much to throw in something unexpected. It's ending song 'No-One's Perfect' that actually saves the album due to the heavy emotion in it's lyrics. The song tells a tale of someone battling their demons and confiding in the one person who makes them want to be a better person making this a very relatable song for many people at different stages in their life and, as it's a more hopeful song, it breaks up the moodiness felt throughout the entire album and ends 'Graffiti On The Train' on a more endearing note.
The unfortunate thing about 'Graffiti On The Train' is the fact it has all of the elements needed to make a terrific album but Stereophonics aren't really a band to mix things up and that is the album's downfall. Although there is some new flair on this album it's still quite subtle and it's Kelly Jones' vocals that really take the spotlight. The formula the majority of songs follow is blatant as soon as opening song 'We Share The Same Sun' begins which makes the album fairly safe despite the fact they did take some risks at times during the writing process. 'Graffiti On The Train' is a good enough album and a grower for sure but if you weren't a fan of Stereophonics before you're not going to be one now.
Stand Out Songs:
In A Moment
Been Caught Cheating
Graffiti On The Train
'Graffiti On The Train' opens on a gentle note with 'We Share The Same Sun'. The soft guitar and bass lines that build up into a punchy chorus act as an introduction to the structure most songs will follow throughout the entire album. The chorus doesn't have as strong an impact as it should and although 'We Share The Same Sun' has the potential to be a stand out moment the chorus trips it up and makes it average at best. Title track 'Graffiti On The Train' predictably follows the same structure as it's predecessor but the melancholy vibe throughout brings in a more interesting and memorable feel to the song. The string instruments help add to the darker tone of the song which is helped along by the morbid tale the lyrics portray. It's quite a cinematic tune which is a theme that constantly reappears throughout the album.
'Take Me' keeps with the darker and more moody tone of 'Graffiti On The Train'. After being inspired by Nick Cave, Kelly Jones chose to bring in his girlfriend to sing on this track and her vocals bring in an interesting and haunting dynamic to the song. The soft instrumental work helps the vocals to shine but the guitar has it's moment in a striking solo. The crash of the piano at the end of the song adds to the dark feeling throughout 'Take Me' but once again the structure of the song is very predictable. 'Roll The Dice' and 'Violins And Tambourines' are the more atmospheric songs of the album. They both come complete with string arrangements and a cinematic feel but they fall slightly short due to one element on each song; on 'Roll The Dice' it's the string instruments that seem out of place but on 'Violins And Tambourines' it's the vocal work towards the end that just feels wrong. They are both of a slightly different vibe from the majority of the album but at the same time they still have the obviousness that hangs heavy over 'Graffiti On The Train'.
The things that inspired certain songs throughout are probably the more interesting parts of the album. Some things are as simple as a school play Kelly Jones' daughter was in to the sun setting in Australia whereas others are more on the random side like two kids on Kelly Jones' roof trying to get to the rail-track to graffiti the train or an article about Amy Winehouse and others are just good old fashioned admiration for Stevie Wonder and The Who.
The song that drew inspiration from the article about Amy Winehouse is 'Been Caught Cheating' and in true Amy Winehouse style it has a blues influence to it which helps to break up the sound that dominates the album. The lads chose to add bar like sounds - think the sound of bottles breaking and incessant chatter - which adds to the blues influence and helps make an impact on the listener but the song comes too late in the game and doesn't do much to throw in something unexpected. It's ending song 'No-One's Perfect' that actually saves the album due to the heavy emotion in it's lyrics. The song tells a tale of someone battling their demons and confiding in the one person who makes them want to be a better person making this a very relatable song for many people at different stages in their life and, as it's a more hopeful song, it breaks up the moodiness felt throughout the entire album and ends 'Graffiti On The Train' on a more endearing note.
The unfortunate thing about 'Graffiti On The Train' is the fact it has all of the elements needed to make a terrific album but Stereophonics aren't really a band to mix things up and that is the album's downfall. Although there is some new flair on this album it's still quite subtle and it's Kelly Jones' vocals that really take the spotlight. The formula the majority of songs follow is blatant as soon as opening song 'We Share The Same Sun' begins which makes the album fairly safe despite the fact they did take some risks at times during the writing process. 'Graffiti On The Train' is a good enough album and a grower for sure but if you weren't a fan of Stereophonics before you're not going to be one now.
Stand Out Songs:
In A Moment
Been Caught Cheating
Graffiti On The Train
Wednesday, 20 February 2013
Public Service Broadcasting
A band with a political agenda and a message within their songs is not a hard thing to find these days but a band who truly stand by their message and execute it in a unique and creative fashion are few and far between. Public Service Broadcasting are one of those few bands who have brought a whole new dynamic to songs with a meaning; they take material from public information films and overlap it with electronic instruments, drums and guitars to merge the old with the new and to teach their listeners about the past. Due to the nature of these public information films and other elements used the songs occasionally take on a dark and twisted persona which only makes their music all the more interesting. Their songs provoke deep thought from the listener and encourage them to sit up and take notice of a time that is usually sugarcoated out of fear of offending.
The London based duo are incredibly innovative not only with the use of archived footage but within their sound itself. They've worked hard to arrange all elements of their songs perfectly and to ensure no component overshadows another. The idea of combining archived material with a futuristic sound has the potential to become jaded and repetitive rather quickly but Public Service Broadcasting manage to bring a new flair and spirit to each and every song they produce. The electronic indie crossover isn't exactly new to the music industry but their twist is different, new, spectacular and not to be ignored.
Their debut album 'Inform - Educate – Entertain' is set to drop in May while new single 'Signal 30' is scheduled for release on April 15th.
Listen to their EP entitled 'The War Room' here.
Tour Dates:
April 30th - Mull An Tobar
May 1st - Skye Sal Mor Astaid
May 2nd - Inverness Ironworks
May 3rd - Stornoway Woodlands Centre
May 4th - Ullapool The Arch Inn
May 5th - Aviemore Old Bridge Inn
May 7th - Edinburgh The Caves
May 8th - Glasgow ABC2
May 9th - Aberdeen The Lemon Tree
May 10th - Newcastle The Cluny
May 11th - Middlesbrough Westgarth Social Club
May 13th - Leeds Brudenell Social Club
May 14th - Manchester Sound Control
May 15th - Liverpool Kazimier
May 16th - Sheffield The Leadmill
May 17th - Nottingham Bodega
May 18th - Birmingham HMV Institute Temple
May 20th - Southampton Roxx
May 21st - Brighton The Haunt
May 22nd - London Village Underground
May 23rd - Cardiff Clwb Ifor Bach
May 24th - Bristol The Fleece
May 25th - Norwich - Open
May 28th - Belfast The Stiff Kitten
May 30th - Cork Cyprus Avenue
May 31st - Dublin Button Factory
The London based duo are incredibly innovative not only with the use of archived footage but within their sound itself. They've worked hard to arrange all elements of their songs perfectly and to ensure no component overshadows another. The idea of combining archived material with a futuristic sound has the potential to become jaded and repetitive rather quickly but Public Service Broadcasting manage to bring a new flair and spirit to each and every song they produce. The electronic indie crossover isn't exactly new to the music industry but their twist is different, new, spectacular and not to be ignored.
Their debut album 'Inform - Educate – Entertain' is set to drop in May while new single 'Signal 30' is scheduled for release on April 15th.
Listen to their EP entitled 'The War Room' here.
Tour Dates:
April 30th - Mull An Tobar
May 1st - Skye Sal Mor Astaid
May 2nd - Inverness Ironworks
May 3rd - Stornoway Woodlands Centre
May 4th - Ullapool The Arch Inn
May 5th - Aviemore Old Bridge Inn
May 7th - Edinburgh The Caves
May 8th - Glasgow ABC2
May 9th - Aberdeen The Lemon Tree
May 10th - Newcastle The Cluny
May 11th - Middlesbrough Westgarth Social Club
May 13th - Leeds Brudenell Social Club
May 14th - Manchester Sound Control
May 15th - Liverpool Kazimier
May 16th - Sheffield The Leadmill
May 17th - Nottingham Bodega
May 18th - Birmingham HMV Institute Temple
May 20th - Southampton Roxx
May 21st - Brighton The Haunt
May 22nd - London Village Underground
May 23rd - Cardiff Clwb Ifor Bach
May 24th - Bristol The Fleece
May 25th - Norwich - Open
May 28th - Belfast The Stiff Kitten
May 30th - Cork Cyprus Avenue
May 31st - Dublin Button Factory
Saturday, 16 February 2013
Ocean Colour Scene - Painting Revew
Ocean Colour Scene's career has spanned for over 2 decades now and has seen them support the likes of Oasis and Paul Weller in the 90s and become a regular act on the festival circuit. Through the loss of a member and bringing in 2 more to make up for it their sound began to deteriorate and it seemed that Ocean Colour Scene just couldn't work as a 5 piece. For 10th studio album 'Painting' they've returned to just having the 3 original members and the quality of their work has increased and highlights just how well the 3 members work together. There is nothing new to be heard on 'Painting' but it comes complete with tradition, talent and a decent helping of nostalgia so don't pass it off just yet.
'We Don't Look In The Mirror' is a poor choice for an opening song despite actually being a strong track. The lyrics tell a tale of growing old and the fear that comes with it making this song very relatable but at the same time the slow feel to the entire song doesn't give the best first impression of this album. The percussion makes this a stunning and relaxing song to listen to but it's a song better suited for the middle of the album rather than the beginning. Addictive title track 'Painting' launches straight into the typical Ocean Colour Scene sound and brings in the energy that really should have been present during the first song. It's a proper Britpop tune and is a definite crowd please for sure.
Simon Fowler's side project Merrymouth makes itself known on 'Goodbye Old Town' due to it's folk vibe. It helps to break up the obviousness of this album with it's unexpected flair and will have your foot tapping in no time. 'Doodle Book' follows and brings back the general Ocean Colour Scene sound, it's an energetic tune and the brass instruments throughout bring in a whole new element to this song making it slightly different from the majority of 'Painting' but even then it doesn't stray too far away from the sound Ocean Colour Scene are known and loved for.
Ocean Colour Scene have always been incredible songwriters and 'Painting' is the perfect example of that. The lyrics range from the dark tale of Norwegian murderer Anders Breivik in 'If God Made Everyone' and Simon Fowler's encounter with a man who later went on to stab a passing cyclist in 'Mistaken Identity' to the patriotic feel throughout 'I Don't Want To Leave England' and the bittersweetness of 'The Winning Side' which is a song about winning a war told through the eyes of a parent mourning the loss of their son due to said war. The compositions do well to balance out Simon Fowler's bold vocals but it's guitarist Steve Cradock who really shines throughout the entire album with his audacious riffs and solos which brings in the psychedelic sound to the entire album.
Ocean Colour Scene have never been shy when it comes to their 60s influence and exquisite arrangements that are of a similar style of The Beatles are forever present throughout 'Painting'. It's 'Professor Perplexity' that really highlights their 60s vibe with it's strong psychedelic feel that is combined with a slight moody vibe. The punch in Simon Fowler's vocals hits at the right moment and the guitar feedback at the end of the song fades it out brilliantly. It's a more experimental song in a wave of tradition. The peaceful sound of 1 minute 21 second long 'George's Tower' follows which acts as a prelude to 'I Don't Want To Leave England', a song about loving your home country despite the trials and tribulations that exist within it. Acoustic track 'Here Comes The Dawning Day' is a nod back to the beginning of the album with it's slow and relaxed feel but it ties the album up perfectly and ends it beautifully.
If you're a fan of Ocean Colour Scene you won't be disappointed by this album. They've returned to being a 3 piece band and after a few shaky albums they're back on form once again with 'Painting' and it's clear throughout 'Painting' that the 3 members still know how to work off of each other's ideas. The differences in this album to previous efforts are very subtle but Ocean Colour Scene aren't really ones for experimenting but fortunately they've got the goods to make up for that. It may not be the best thing they've ever done but the great thing about Ocean Colour Scene is anyone can listen to them and enjoy them due to their bouncy and non threatening ways; they're not out to shock anyone, they just want to keep what they helped make alive.
Stand Out Songs:
Painting
If God Made Everyone
Professor Perplexity
'We Don't Look In The Mirror' is a poor choice for an opening song despite actually being a strong track. The lyrics tell a tale of growing old and the fear that comes with it making this song very relatable but at the same time the slow feel to the entire song doesn't give the best first impression of this album. The percussion makes this a stunning and relaxing song to listen to but it's a song better suited for the middle of the album rather than the beginning. Addictive title track 'Painting' launches straight into the typical Ocean Colour Scene sound and brings in the energy that really should have been present during the first song. It's a proper Britpop tune and is a definite crowd please for sure.
Simon Fowler's side project Merrymouth makes itself known on 'Goodbye Old Town' due to it's folk vibe. It helps to break up the obviousness of this album with it's unexpected flair and will have your foot tapping in no time. 'Doodle Book' follows and brings back the general Ocean Colour Scene sound, it's an energetic tune and the brass instruments throughout bring in a whole new element to this song making it slightly different from the majority of 'Painting' but even then it doesn't stray too far away from the sound Ocean Colour Scene are known and loved for.
Ocean Colour Scene have always been incredible songwriters and 'Painting' is the perfect example of that. The lyrics range from the dark tale of Norwegian murderer Anders Breivik in 'If God Made Everyone' and Simon Fowler's encounter with a man who later went on to stab a passing cyclist in 'Mistaken Identity' to the patriotic feel throughout 'I Don't Want To Leave England' and the bittersweetness of 'The Winning Side' which is a song about winning a war told through the eyes of a parent mourning the loss of their son due to said war. The compositions do well to balance out Simon Fowler's bold vocals but it's guitarist Steve Cradock who really shines throughout the entire album with his audacious riffs and solos which brings in the psychedelic sound to the entire album.
Ocean Colour Scene have never been shy when it comes to their 60s influence and exquisite arrangements that are of a similar style of The Beatles are forever present throughout 'Painting'. It's 'Professor Perplexity' that really highlights their 60s vibe with it's strong psychedelic feel that is combined with a slight moody vibe. The punch in Simon Fowler's vocals hits at the right moment and the guitar feedback at the end of the song fades it out brilliantly. It's a more experimental song in a wave of tradition. The peaceful sound of 1 minute 21 second long 'George's Tower' follows which acts as a prelude to 'I Don't Want To Leave England', a song about loving your home country despite the trials and tribulations that exist within it. Acoustic track 'Here Comes The Dawning Day' is a nod back to the beginning of the album with it's slow and relaxed feel but it ties the album up perfectly and ends it beautifully.
If you're a fan of Ocean Colour Scene you won't be disappointed by this album. They've returned to being a 3 piece band and after a few shaky albums they're back on form once again with 'Painting' and it's clear throughout 'Painting' that the 3 members still know how to work off of each other's ideas. The differences in this album to previous efforts are very subtle but Ocean Colour Scene aren't really ones for experimenting but fortunately they've got the goods to make up for that. It may not be the best thing they've ever done but the great thing about Ocean Colour Scene is anyone can listen to them and enjoy them due to their bouncy and non threatening ways; they're not out to shock anyone, they just want to keep what they helped make alive.
Stand Out Songs:
Painting
If God Made Everyone
Professor Perplexity
Monday, 11 February 2013
Bullet For My Valentine - Temper Temper Review
Bullet For My Valentine are arguably the biggest British metal band of this generation but with plenty of more original and exciting metal bands fighting for that title BFMV really need to step up their game to hold onto it. Fourth studio album 'Temper Temper' see's Bullet putting in a minimal amount of effort into the majority of songs which in turn makes this album lifeless. Their title is now closer to slipping into someone else's hands and Bullet For My Valentine don't even seem bothered.
If Metal For Dummies existed the formula for opening song 'Breaking Point' would be it's introductory paragraph. 'Breaking Point' starts off with an aggressive and powerful scream courtesy of Matt Tuck before leading into an anti climatic verse. The chorus builds it all back up and although the lyrics are rather awkward the forceful instrumental work makes a strong impact and stops the song from being an automatic cast off. Unfortunately the majority of songs within the album also rely solely on the chorus to keep everything afloat which in turn means there's a great deal of waiting around for a memorable moment. 'Truth Hurts' follows and although it's a typical effort from Bullet For My Valentine it still has a level of excitement and energy within it that allows it to be a stand out moment and a solid song. Things get a little shaky within title track 'Temper Temper' due to the predictability of the song and the lack of variety within the lyrics.
Bullet For My Valentine were never going to win any awards for their lyrics on previous releases but that award is even further out of their reach on 'Temper Temper'. The lyrics throughout the entire album are either obvious cliches or just plain old cringe inducing and the false aggression throughout doesn't really help matters. The majority of songs consist of Matt Tuck telling everyone not to push his buttons and seem to come from a 13 year old girl trying to be rebellious while writing her Twitter profile rather than a 33 year old man. Fortunately Matt Tuck's clean vocals are stronger than ever and the instrumental work from all 4 members does a decent enough job at hiding the embarrassment of the lyrics but there's only so much both of these factors can do and it's not enough.
'Dirty Little Secret' helps to break up the rambunctious songs that are it's predecessors with it's more chilled out verses that quickly lead into a rapacious chorus. The lyrics have a relatable quality to it and are probably the best within the album but the drumming leaves little to be desired and like most songs, lead guitarist Padge takes the spotlight from his bandmates with his guitar solo. The unfortunate thing with Bullet For My Valentine is their lack of technical ability which they managed to hide within 'The Poison' and 'Scream Aim Fire' but made it incredibly obvious within 'Temper Temper'. It seems that once they've found a riff or drumbeat they all like they'll recycle it again and again and completely destroy it.
'Riot' was released as a single and it's probably the best decision made during the entire album making process. It's a definite anthem for sure and has the potential to become a highlight when it comes to their live sets. The destructive tone to the song works well with the overall feel of the album and although very clinical and radio friendly it remains one of the best tracks within the album. Regrettably and confusingly 'Tears Don't Fall Part 2' follows and unsurprisingly the structure is exactly like 'Tears Don't Fall' rendering it uninspiring, jaded and unnecessary. Why the lads thought this would be a great addition to the album is anyone's guess and not only does it drag the quality of an already failing album down it also leaves a bad taste within the listeners mouth. It seems like a sign of what's to come from Bullet For My Valentine and their distinct lack of imagination means their once huge career is going to deteriorate rapidly.
The shameful thing is Bullet For My Valentine were the band who got thousands of teenagers into metal music but as their fanbase ages and their music falters it's difficult to be excited about Bullet For My Valentine and even harder to comprehend how they were once a band everyone fawned all over. Bullet For My Valentine aren't the only ones responsible for their demise; producer Don Gilmore (Escape The Fate, Avril Lavigne, Good Charlotte) was not only the wrong choice for third album 'Fever' but also for 'Temper Temper'. He seems to have directed Bullet down the complete wrong road and does very little to bring them back to where they belong. 'Temper Temper' does have it's tolerable moments but it does nothing to cement BFMV's place in music or even excite a great deal of their fans. Better luck next time boys.
Stand Out Songs: (Yes, there were some)
Truth Hurts
Riot
P.O.W
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