Super Reverb - Avant Garde Is The French Word For Shit  

(Earsugar)

Released: 27 June 2005

4/5

Is this a contender for best album title of the year? Definitely. The music's not too shabby either, despite starting off like a more art-school version of Art Brut, all sloppy riffs and bumbling bass; it soon turns into a psychedelic exploration of sound.

From the full on repetitive Eastern mantras come stuck cash register of 'Dorentrup Rave On' through to the Captain Beefheart meets Mungo Jerry stomp of 'Sunday Groovy Sunday', there's not so much songs as styles locked into and explored. Even vocal melodies are repeated, ranted and thrown away, disposable, used only for the moment, to suit the song and nothing else.

As a two-piece taking a free-and-easy approach to making music, they're neither inhibited by style or consideration for others. What results is two people delving deep into the music they love, capturing the special moments and drawing them out, then watching the quiver as the songs try to maintain their identity under the painful stretch. It's a beautiful and rewarding listen.

Jonathan Falcone  

Comment on this review?

back to top

The Cribs - The New Fellas

(Wichita)

Out Now

4/5

When I was 17 I was miserable, had no money and had no idea what I wanted out of life - so why do The Cribs make me wish I were a teenager again?

For a rapidly aging 25-year-old who's terrified he's missed out on what being young was all about, this ramshackle Wakefield trio provide the glimmer of hope on which to linger.

My face might be as bitter as a squashed wasp when I listen to Hey Scenesters!, but inside I'm punching the air with an energy I thought I never had - wishing I could go back almost 10 years and do it all again, but with better skin and more confidence.

The New Fellas should come with a Government health warning aimed at anyone who's just finished their exams and have an empty summer at their disposal to spend drinking, laughing and generally having the time of your life - WARNING!  THIS CD CONTAINS COPIOUS AMOUNTS OF FUN!

I'm Alright Me and Mirror Kissers are heroic teen-indie anthems with the wonky vigour of Pavement in their pomp playing for beer on the roof of a Yorkshire working men's club.

The woo-ooo-ooo-oohs of Martell meanwhile sound like Ash in 1996 without the Star Wars fixation and the Irish accent.

But in The Wrong Way To Be today's indie kids have been given their generations answer to Kenickie's Come Out 2Nite - the perfect pop song over which they'll reminisce about lazy summer evenings in the park, getting drunk on cheap cider and copping off with the girls they've fancied ever since.  Even if it's all a lie, made up just to fit the story.

And just as you've kidded yourself you're still young at heart, after just over 34 minutes the CD comes to an abrupt halt and you have to go to bed so you can up for work the next day.

Or like me you could always give it another spin and enjoy the dream for just a little while more.

Andy Robbin

Comment on this review?

www.wichita-recordings.com

back to top

Jane - Berserker  

(Pawtracks)

Out Now

4/5

Noah Lennox (aka the Animal Collective's Panda Bear) and Scott Mou, his dj'ing friend, make up Jane. Somewhat unsurprisingly, they create realms of soft noise, subtle rhythms that bend and flex, and spectral melodies.

Despite predominantly being recorded some years ago this release seems a natural follow-up for Panda Bear's 'Young Prayer', for it takes the hymnal harmonies out of the California pines and places them in the metallic remit of outer space.

'Berserker' is a unique release, it manages to maintain psychedelic folk's warming, eccentric, glow and set them amidst a universe of synths and drum clicks without losing any of the melodies' soul. Quite the reverse, it adds to them, the synths purr rather than stab, and as beats drop in they feel like footsteps in a forest rather than the crushing of lunar rock.

Maybe it's not a good thing that Panda Bear can't escape his pastoral evocations, but it's truly magical that he can set them in a completely different context and still sound fragile and human. Whereas 'Young Prayer' found incidental harmonies in a vocal whoop and a lost guitar line, 'Berserker' utilises barely exhaled drones and keyboard motifs, it’s the same soul, just through a different medium. That this is done with such success is no mean feat, and this album is no less moving than Eno or Can at their most spatially playful and invigorating.

Jonathan Falcone

Comment on this review?

back to top

Jonathan Rice - Trouble Is Real  

(One Little Indian)

Released: 4 July 2005

At 21 years of age you could easily forgive, and in this day an age; easily make a star of someone who treats their guitar as though it used to bully them and effectively throttle it to death in the name of rock n roll. However, on the other hand, it is very easy to get excited when a mature and crafted individual has the foresight to produce a thoughtful and tuneful array of material. This offering is a journey, taking in the sights of Tom Waits, Ray Lamontagne, Damien Rice, Rufus Wainwright, Bob Dylan and Burt Bacharach that reaches a rich, subtle and melodic plateaux in 'Mid November'. Conversely, 'Salvation Day' sees Jonathan nodding and grinning at the indie Rock N Roll category with a ranging offering reminiscent of 'Idlewild'.

The ebullient and spacey pop spirited number; 'Leave The Light On' tingles the senses and soothes souls, as Mr. Rice's brisk and slightly raw Ray Lamontagne vocals slide along on the back of an initially pedestrian and zappy accompaniment. Then the track opens out into a frolic of jangling summery instrumentals that will pick you up like a shot of tequila. The longing 'Stay At Home' sounds like a Bob Dylan song being sung by someone with a good voice. Sixteen tracks of mind melting music from an intelligent and thoughtful songwriter, represents a thought provoking blueprint for a career that is certainly going to be worth following, whatever direction it takes.

David Adair  

Comment on this review?

www.johnathanrice.com

www.indian.co.uk

back to top

Minotaur Shock - Maritime  

(4AD)

Out now

4/5

Dave Edwards is an interesting fellow. He makes electronic music. No he doesn't, he makes kinda' classical or chamber music. Oh all right let's accept he does both.

That's kind of it really, though this isn't electronic music that pounds along like an Aphex mash up or a Squarepusher, er, pushing squares, it's graceful, arranged, bafflingly melodic and even contains some of that delectable pompousness you deny you like but, whatever dood, you love it really.

There's even orchestra hit moments on Maritime, everyone's been waiting for their resurgence surely?! I know I've been for about 17 years. Clarinets and strings also sprinkle fairy dust shimmers on the album, whirling and foxtrotting with each other, adding a sense of the grandiose, the marvellous.

This is chamber-electro effectively I guess, and whilst I know I've no career at the NME churning out fad-determining pigeon-hole-constructing sound bites, I also know this is a beautiful album that will lull and provide that general feeling of serenity, and I bet the NME can't crowbar that into 'Schroomadelica.'

Jonathan Falcone  

Comment on this review?

www.4ad.com

back to top

The Free French - A Place Of Our Own  

(hitBACK)

Out Now

2/5

This is a hard one to call; it's got witty lyrics and some great chord changes that really carry the listener. It's too pompous though, too smarter than thou, arched eyebrows and smug smile. If the Britpop renaissance were taken as a valid genre, the Free French would be part Pulp (but without the humour) and part Divine Comedy (pretty straight on). Its camp, fey and po faced, and doesn't hide it. Whilst that might send some people shivering with excitement it only brought on cringes this side of the screen, an indie-academia case of 'You’re Fit But My God Don't You Know It', it's smart, it's good, but it knows it.

Jonathan Falcone    

Comment on this review?

www.hotbackonline.co.uk

back to top

Blackloud - 6th 6th 6th  

(Self-released)

Ever wondered what the Residents would sound like if they were fronted by the Captain (Beefheart that is)? Well wonder no more for Blackloud is here. A US native, James Blackloud bass solo bass lines over rattled old drum machines whilst he scats in a stream-of-consciousness style.

Its results are dark and intense, with the menace of Sci-Fi horror film climaxes; he raps robot style about destruction, things ending and a plethora of generally weird topics.

The musical style could do with being varied more, the flat crunching drums and machine gun lyrics start to tire as the album progresses, but it's a nice toning down of the Residents and Lightning Bolt, which warrants a heap of worthy praise. If you've ever really wanted to test the 'weird ass' end of the spectrum but were too afraid to jump right in, Blackloud provides the perfect balance of melody and insanity.

Jonathan Falcone           

Comment on this review?

back to top

The Peppermints - Jesus Chryst  

(Paw Tracks)

Released: 20 June 2005

5/5

Having been befriended by the Animal Collective, the Peppermints recorded this, their second album at the personal request of the band, so it was put out on their own Pawtracks label.

Without sounding nepotistic, anything the Animal Collective pick up on is gonna' kick a fair amount of booty really isn't it?

In a way there's a few similarities between the two bands, a sprawling uncontrollable exploration of sound, the feeling that much of it is improvisation, straddling a line between freeform chaos and tight hooks. Predominantly though, the Peppermints are their own band, louder than an A-bomb, 'A Hotel' consisting of hypnotic fuzz riffs and escalating female screaming, it's not for the faint hearted.

If someone had transported Captain Beefheart to the now, and let him jam with the Locust he'd be A: very happy (I'd imagine) and B: would sound like the Peppermints. This is no-holds-barred attack of sound energy with absolutely no regards for any kind of musical etiquette, never mind 'rules'; it's the best approach to take.

Jonathan Falcone   

Comment on this review?

www.geocities.com/peppomiz

back to top

The New Indie Alive & Amplified For 2005 - V/A  

(Universal)

"My little brother's just discovered Rock N Roll…” - Art Brut

We seem to be in the middle of something of resurgence. British indie bands are doing quite well again, and we've had a spate of confident and compelling debut albums recently. It's like Britpop all over again, isn't it?? We will fight them on the beaches, and on the second CD of Now That's What I Call Music. Just don't expect to see Kele Okereke on the cover of Loaded.

Although this depends on your definition of indie, which could be anything from "it has guitars, like" to "they've played four gigs, three of them at the Brixton Windmill". This two-disc compilation is here to promote / cash in on this scene. And despite the fact it contains all the songs you either own on albums or are sick to death of, it's a pretty good mix. Oh My God, Hounds Of Love, Mr Brightside, it's your local indie night that you can have on in your car journey to work. But it also has Hal, Embrace, Thirteen Senses and, shudder, Keane, so you might want to be a bit liberal with the skip button.

So far, so conventional. But this one does something a bit different, in the shape of CD 2, the "new bands disc". Annoyingly short at only eight tracks long, it has classy cuts from Nine Black Alps, The Duke Spirit and the long sold out debut single from Dogs.

And what with it being the future and everything, you can get every song as a ringtone. You coudn't say that in 1994 could you?  

Joe Weiler

Comment on this review?

back to top

The Egg - Forwards

(Squarepeg Records)

3.5/5

Out now

This is the type of music I really shouldn't like, a series of pastoral electronica cum soft dance-floor fillers that should score the closing soliloquy of Leonardo De Caprio in 'The Beach', it's blissful in a contrived 'Cafe Del Mar' way.

But the Egg do it really well; it is actually blissful, the beats are interesting, the guitars warm and engulfing and the range of classical arrangements stirring. Admittedly it has those pointless vocal samples ("How are you/I'm great/That's great") that add nothing but irritation, but these are thankfully few and far between, and the sung vocals contain great melodies without being breathy and in that respect kinda' gross and sleazy.

If you want to indulge your late night pot smocking, trying-to-talk-intellectually-whilst-have-friends-over-for-red-wine-because-you-really-want-to-seduce-somebody-who's-way-cooler-than-you-but-knows-jack-shit-about-music, then this is the album for you. You'll charm the object of your affection, and your colleagues (whilst possibly in a state of overall sourness) won't be able to help but prick their ears up to a barrage of gorgeous synth-acoustica attacks.

Jonathan Falcone

Comment on this review?

back to top

Stephen Malkmus - Face The Truth

(Domino Records

Out Now

Alongside Smog's new album, newly minted Domino Records also lets out of it's stable Mr. Malkmus' brand new, Pavement-less, Jicks-less new, completely solo record.

Fans of his brand of quirky pop rock will be glad to know that not much has changed since 'Pig Lib', his triumphant return to form with his backing band The Jicks. It's still glittering pop songs, with funky beats, weird chords and demented guitar solos. Put all that with Stephen's decidedly unique vocal style and wacky lyrics, and you have another fantastic record.

Furthering Domino Records' take over of the universe, Malkmus and Smog prove that they can pretty much do no wrong, especially after earning the income of a small nation when fellow signings Franz Ferdinand became the biggest band in the UK for a while.

Anyway, back to Malkmus. There seems to have been one big change since making his first solo record way back when, and then his record with the Jicks. He must've bought some crazy old synths from eBay or something, because along with the traditional lo-fi instrumentation which adorns pretty much any release he's ever been involved in, he's thrown in some brilliantly bonkers sci-fi noises and bleeps. It's just the shot in the arm he was looking for, and it completely works. It's hardly Kid A, but it's a nice, subtle change in his output.

There's even time for a beautiful little ballad, in the shape of 'Freeze The Saints', which harks back to the days of 'Major Leagues' from Pavement's 'Terror Twilight' record. For fans of his more Sonic Youth-esque prog blowouts, there’s another one here too, in the form of 'No More Shoes', taking 'Marquee Moon' era Television as it's starting point, it cuts through a solid eight minutes of driving rhythm, choppy guitar and a fantastically out-of-tune guitar solo.

In short, if you were a fan of his work with Pavement, on his own, or with the Jicks, there's something for everyone on this new LP. If you thought he might lose it after striking out on his own, without any Jicks to help him, you're wrong I'm afraid. 

It's business as usual, but that couldn't be more enjoyable. 

Gavin Miller

Comment on this review?

www.dominorecordco.com

back to top

The Tenderfoot - Save The Year

(5:15)

5/5

Triumphant debut from English Post-Folk types.

Hailing from Brighton, the Tenderfoot are a band that have created their own musical cubby. Based around the mediums of folk and Americana, the vocals and lyrical content, as provided by Darren Moon, bring a distinctly English twist as he observes the world around him in all its minute horror/wonder.

He holds court with a strong team behind him, the Tenderfoot's music is accomplished and sprawling, at moments post rock lullabies (Still Holding My Stomach In) at others indie waltz (Like A Leaf) it’s restless in its genre meshing, and through this manages to give the band a distinct and unique sound.

But what really astounds is Moon's way with words, be it deadpan humour ("Ripping cones/To The Rolling Stones") or touching insight ("Wasn’t it you that said/Every mistake we make/Creates another chance?") the narratives are vivid and all engulfing, matched perfectly by the pace and ambience of the music. The Tenderfoot are master storytellers in the true singer-songwriter tradition, yet address the modern and sound of now. Not since Billy Bragg has English music had a lyricist so articulate and aware of our times. Being neither style slaves nor snobbish musical elitists, the Tenderfoot could well save the year with an album of the year.

Jonathan Falcone

Comment on this review?

www.fivefifteenrecords.co.uk

back to top

Neil Hamburger - Great Moments At Di Presa's Pizza House

(Drag City)

Out Now

"Why did Sir Mick Jagger stick a carrot up his daughter's ass?"

"Because he mistook her for a fan."

That's how this album (of sorts) opens. Neil Hamburger is infamous as an absolutely awful stand up comedian, yet he's so bad, it’s brilliant, and this album provides a narrative around which the character of Neil Hamburger flitters in and out.

Based more predominantly around the Di Pressa Pizza House itself than Hamburger, it tells the story of the Pizza house's rise and fall and Hamburger's role in its course.

As a pizza house that sold itself on its pipe-organ music, weird brass bands snippets and circus swirls litter the narrative, evoking a good time pizza house and a romantic notion of America.

Throughout this almost documentary like album, owners, regulars and enemies of the parlour are interviewed and compiled to tell this story, as Hamburger himself narrates.

There's very little of Hamburger's routines in this album, yet the story is endearing and Hamburger’s moments of brilliance are all the more welcome (though the only actual laugh he gets is when he slags off the parlours toilets).

This, I'd imagine, is all completely fictional, yet provides a wonderful fantasyland that shows Hamburger for the touching sicko he is.

Jonathan Falcone

Comment on this review?

www.americasfunnyman.com

back to top

V/A - Twisted: Indie Floorfillers for a Twisted Generation 

(Mercury)

Out Now

It's a tricky thing, the remix. So it's an even trickier exercise to market an albums worth of dance orientated remixes of indie bands' material. It's a clever idea I suppose, as the lines of indie and dance music are now being forever blurred by the likes of Lemon Jelly, !!! and Daft Punk, who insist on melding an indie rock aesthetic to their brand of high class dance music.

Mylo kicks off this two disc set with his funky bleep-a-thon remix of The Killers' 'Somebody Told Me', perhaps the most over played song of all time. Thankfully though, the song is lent a whole new lease of life by simply stripping everything down and funking it up a bit. 

The two disc duration seems a bit much, which is probably why there's some un-processed tunes just thrown on for good measure. This ranges from the very good ('Destroy Rock 'n Roll' by man of the hour Mylo) to the pretty good ('House of Jealous Lovers' by The Rapture) to the just plain awful ('Processed Beats' by Kasabian).

The big hitters are all out though, as there's inclusions of Scissor Sisters, Depeche Mode, Bloc Party, The Bravery, The Futureheads and even Thirteen Senses get the re-jiggle treatment. Unfortunately though, this compilation is pretty patchy.

Superdiscount try their hardest to give The Bravery something approaching listenable, and to be fair, their remix of 'An Honest Mistake' is pretty good, but I just can't get along with The Bravery. Another piss awful indie band get a shiny techno make-over with the Phones Bourgeois mix of 'This is for the Poor' by The Others, but the vocals pretty much ruin an otherwise worthwhile experiment in bleepy techno. 

Other notable inclusions are the 80s-tastic version of 'Enjoy The Silence' as re-mangled by Ewan Pearson, which actually manages to sound halfway like the original with some new twists thrown in. Tiga's re-hash of 'E-Talking' by everyone's favourite Belgian genre benders Soulwax is a little different, mainly due to the new vocals by the man himself, and the heady rush of synths and pumping rhythms will have the most hardened of drug users dancing happy. Weirdest inclusion of all is Thirteen Senses' 'Into The Fire' being twisted by Cicada, who take an otherwise bland piano ballad and turn it into an anthemic dancefloor filler. 

Disc two brings more surprises, with the Futureheads sounding like they're on valium and stranded in a club somewhere near Ibiza. The Scissor Sisters remix is listenable enough, and the catchy 'Flashdance' by Deep Dish will appeal to indie hardliners as much as dance floor veterans. The funky, yet slightly eerie version of Bloc Party's 'Helicopter' by Whitey is probably the best thing here- frantic and slightly weird, it's fantastic, and finally Spektrum's 'Kinda New' gets ever newer thanks to Tiefschwarz, who do a commendable effort by not straying too far from the original template.

Aside from the few decent-ish tracks, that's pretty much it. There's nothing, barring a few, that really leap out and demand your attention for too long, and seeing as how most tracks on here break the six minute barrier, it all gets a bit monotonous and dull after a while. A nice idea, but a bit too muddled to know what it is.

Gavin Miller

Comment on this review?

back to top

A - Teen Dance Ordinance 

(London Records)

Released: July 4 2005

Perhaps it is the recording destination of Seattle that has provided the lively and fun punks; A with a darker, more mature and biting direction for their new album? Jason Perry howls out with his prevalent piercing vocals about the frightening nature of relationships and suffering in the cutting previous single 'Rush Song'. The self loathing follow up and next single 'Better Off With Him', marks an endearing return to their old friend that is the anthemic pop punk category. 

The album title is taken from a Seattle & Washington state law that forbade 15-18 year olds from attending gigs unaccompanied sees the guys grabbing the political mantle, and then tearing into it with the insight of Elvis Costello. Grunge, post rock, Psychobilly and good old fashioned pop punk trickle through this offering like blood down a wall, as A get emotional and angry about a range of issues with the slower and haunting ‘'Die Tonight' epitomising this. The psychedelic punk of 'Black Hole' adds a bit of vehemence and spice to this broad collection, while 'Hey' is a simple and effective crasher about independence and self belief. This sincere quintet makes great advocates on behalf of those who hold dear to their hearts the latter two human qualities.

David Adair

Comment on this review?

back to top

Smog - A River Ain't Too Much To Love

(Domino)

Released: May 30 2005

Minus the brackets, Bill Callahan strolls back into town, acoustic guitar draped around his neck. If you’re a fan of Smog, then there’s little you need to know, if you're new to him (which I sorta am) then this new album is a very gentle, subtle piece of cinematic beauty.

Opening track 'Palimpsest' is a fair indication of where Smog’s at. It's sparse, languid tones drift on a sea of Callahan's dulcet tones and drowsy acoustic picking. It's lovely in a word, and things drift on like this for the majority of the album. 'The Well' features some bluesy finger picking, a violin that sounds like it’s being scraped by a rusty saw, and a beautiful drum sound, just flickering in and out.

Things get even more melancholy with 'Rock Bottom Riser' - the most depressing song Leonard Cohen never wrote. It's haunting, featuring a beautiful mix of pianos, guitars and some more of that barely conscious drumming; it’s another highlight of this eerily soulful record.

'In The Pines' continues the beautifully empty style of song writing that Callahan perfects so easily. The whistling is a nice touch, combined with the hazy, jazz like drumming and the nonchalant descending guitar riff, it really sets the album off nicely. If you want a quiet night in after ingesting a stupendous amount of alcohol, then might I suggest this LP right here.

There's another haunting, ghost like vocal draped over 'Drinking At The Dam', which sounds like a siren howling in the night, or rather jamming with Smog, as the folky instrumentation is back, but aided so well by the beautiful vocal harmonies, just swaying softly in the background. 

'Let Me See The Colts' finishes off the record with predictable ease and grace. It would be easy to write off this album as just one song played again and again, but somehow Smog manages to combine so many haunting elements into each song, that it’s a new experience with every song. It’s beautiful, understated and amazing. 

Gavin Miller

Comment on this review?

www.pry.com/smog (Fan site)

back to top

Four Tet - Everything Ecstatic 

(Domino)

Out Now

3/5

Summer is just around the corner, and that means lazy days spent sipping Panda Pops sat on cheap garden furniture and balmy nights, falling out of the seaside discos in the early hours.

After 2003's breakthrough record 'Rounds', Kieran Hebden clearly feels he’s made his relaxed daytime record and has instead rocked up on the dancefloor driving Aphex Twin's ice-cream van.

'Everything Ecstatic' is a much harder work than it’s critically acclaimed predecessor, which transformed the aloof Hebden into a remixer chased after by everyone from Radiohead to Bloc Party.

Opening track 'A Joy' borrows heavily from the hallucinogenic beats and reckless abandon heard across remote fields in the early 90s, before the Government kyboshed the whole rave scene to protect the middle-England Daily Mail readership and their fear of a good time.

'Sun Drums And Soil' is meanwhile a frenzy of free-jazz trumpet parps, static electricity and an epileptic cymbal, which somehow melts within inches of a tune. If Autechre were boy racers, this is what would be blaring out of their Max Powered Vauxhall Corsas.

By the time you reach 'Sleep, Eat Food, Have Visions', as the halfway mark sparks a battery of misfiring 303 thuds, it’s clear the author has stepped away from the subtly of his past. 

But like so many of his contempories, Hebden has developed a frustrating knack of disappearing up his own line-in socket and includes several tracks which amount to little more than directionless Pentium-powered glitches.
The consistency that made 'Rounds' such a huge success has been lost and 'Everything Ecstatic' suffers greatly as a result. What could have been a fantastic album has been reduced to a merely good one via the skip button of your stereo remote.

Andy Robbins

Comment on this review?

www.dominorecordco.com

back to top

Spoon - Gimme Fiction  

(Matador)

Out now

5/5

Spoon have been going for ages, yet somehow seem to always bubble under the level of recognition they deserve. Their music screams with passion and articulate lyrics, finding a middle ground between Luke Haines and the Auteurs poetics and the feel good strut of an Exile era Rolling Stones.

Songs are filled with confidence, 'I Turn My Camera On' has a indie-disco swing that eclipses any Hot Hot Heat or Killers attempt, genuinely smouldering with sultriness, whereas 'I Summon You' is an indie folk song worthy of chart recognition.

Spoon are a band that can genuinely write moving songs and not fall victim to feyness or po-faced self indulgence, making Gimme Fiction a must buy album, and a contender for one of this year’s best releases.

Comment on this review?

www.matadorrecs.com

back to top

Million Dead - Harmony No Harmony 

(Extra Mile) 

Out Now

A massive fourteen tracks long, much of it passed me by on the first listen, I guess I had very high hopes and I was presented with something that was a departure in style to the last album. A couple of listens later however and there's a lot on offer, its clear they've been working very hard. On a 2nd album the temptation for bands to imitate their first is huge, after all why mess with a formula that worked? For Million Dead at least, that wasn't on the agenda. The departure of long-term member Cameron Dean, could have posed a problem, but with the help of skilful new axe-man Tom Fowler, they've expanded upon several of the themes from song to ruin, and introduced more besides.

The production sound is definitely more polished and bigger, and Tom's guitar is adds a new dimension, he's a man not afraid to use effects pedals. This is clear from the opening track 'Bread and Circuses' which brutally picks up the gauntlet from Song to Ruin and runs off in a new direction. Its classic MD, but there's much more of an early nineties influence, more "ROCK", like a speeded up badmotorfinger era Soundgarden. Comparisons aside, it really is an aural assault. Its reassuring that they're more pissed off than before, and lyrically earnest as ever " I am a frontiers man, trapped in suburban England", Frank pines on 'After the Rush Hour'. There's next to no gap between the first 4 songs. There's no time for breath, quite literally for Frank as he spits out the 1 minute 37 second Plan B, I can't understand anything he's saying, but its more important that I can hear the bile with which he's saying it, nice.

Strangely choirs feature twice on the album, the end of the rousing 'To Whom it May Concern', on which I'm reliably informed that there are certain band members mums taking part, and on the anguish of 'Father my Father', what sounds like a choir of Franks singing ' do as we say, not as we do' obviously just the sort of line that will capture the imagination of the largely adolescent following they have accumulated up till now. But It's an audience I can see expanding with this album, its a mature record and there's more here to excite than anyone would expect.

Its only natural that some tracks are stronger than others, and my attention begins to wander on a couple of the slower songs, Million Dead for me are at their best when spitting blood and spewing forth riff after riff of in your face guitar, of which there is plenty. Song lengths range from 1m 30s to 6m 30s, showing a real break away from the 3 minute staple, and one of the best is the 1m 59s Bovine Spungiform Economics, which has a hint of 'Pretty Girls Make Graves', but much much heavier, plus it has one of those classic MD moments when you wonder how he manages to rhyme words together which really shouldn't go. Penultimate track 'Engine Driver' is slow paced track, with really textured sounds, and the noise that comes out when everything kicks in is absolutely mammoth, it sounds like it was recorded in an aircraft hangar, such an expansion in sound form aStR.

Its a great album, and its worth it for the first four tracks alone, which together are the best opening to an album I've heard in ages, it just grabs your attention, a call to arms. And indeed if the general public pay a bit more attention, then the hardest working band in the south could be massive. A genuinely good English rock band who deserve a bit of success, doesn't that make a change?

Neil Mclaren

Comment on this review?

www.xtramilerecordings.com

back to top

Electrelane - Axes  

(Too Pure)

Out now

4/5

Electrelane's own brand of post-thrash has been enthralling many for some years now, and whist the band have disseminated from their Brighton base and replaced a bassist (now Ros Murray, formerly of dining room folksters Lesbo Pig) this is their most natural release yet.

It's natural in the sense that it works, the fluid rhythm of 'Bells' sees the music soaring with the Neu-like grace they once promised, as Susman’s flourishing piano trills are hammered from the heavens and Murray’s popped bass lines add a touching cheekiness to the arrangements.

This is their most adventurous release too. Often criticised for following the quiet-loud-key change post-rock formula ‘'Axes' can to be listened to, for the street noises add texture to lonely guitar lines that bend into nowhere, harmonies ring off in the distance, there’s even harpsichords and choral singing, Axes is steeped in the grandiose.

And why shouldn’t it be? These four ladies want to make music that’s interesting, touching and expansive. So that's what they do.

Comment on this review?

www.toopure.com

back to top

Metric - Old World Underground, Where Are You Now?

(Everloving Records)

Out now

5/5

As the album title suggests, Metric recall an era of female led music that was incredibly exciting and passionate. Sharing styles with Discount, the Breeders and even Blonde Redhead or the Cardigans, this is girl-led pop with extra attitude and a healthy indie approach.

There's a great mix of keyboards and guitars here, the guitars acting as the grounding points, where the keyboards often mimic the vocals and provide a futuristic sheen.

In 'Succexy' there’s tenderness and brashness, as lone vocals are gradually joined by escalating synth lines and rumbling drums that hint at an Orbital like euphoria, before the guitars kick, adding chugging layers of emotional texture as the chord changes become increasingly dramatic.

Metric have an ability to arrange their music for maximum effect, and a singer who can be deemed as a great vocalist. A very exciting album.

Jonathan Falcone 

Comment on this review?

www.everloving.com

back to top

Mandarin Movie - Mandarin Movie

(Aesthetic Records)

Out now

5/5

Based around the jazz/improvised/multi-media installation work of Chicago Underground Duo and Isotope 217 member Rob Mazurek, this is music that really twists boundaries into and out of each other.

Mazurek mixes horn explosions into white noise, a rumbling rock band into a David Lynch soundtrack and seems to summon beautiful swirling walls of noise, as disparate sounds collide resulting in almost incidental moments of unusual harmony.

This release isn't for the faint of heart though; it’s as intense as any Merzbow/Lightning Bolt/ Wolf Eyes album. It has to be listened to despite the numerous eruptions of be-bop drumming and carnival bongos that create a dance feel under the heavy sounds.

This is a roaming release that is relentless and uncompromising, it’s also brilliant and a successful exercise in meshing musical styles, making it essential listening for those who want music to test them.

Jonathan Falcone

Comment on this review?

www.robmazurek.com

back to top

Dead Fly Buchowski - Land Of The Rough

(Beggars Banquet)

Out Now

4/5

This could be the next Led Zepplin, as 'Land Of The Rough' is an assault of 60s rock riffs, cranked up to modern day intensity with post-punk progressions thrown in for good measure. It ties in well together, it's coherent and well recorded, twin guitar lines mix Thin Lizzy and the Maiden.

The vocalist does occasionally rest too heavily on the Bruce Dickinson school of wailing though, and though his delivery is excellent, the resemblances are sometimes too uncanny. Despite this minor blemish in approach, Dead Fly Buchowski have a genuine appreciation for 60s and 70s rock and make it sound fresh without resorting to faddish dissonance and the usual mix of angular pop. Definitely worth investigating, a pleasantly sore thumb in today's guitar culture.

Jonathan Falcone

Comment on this review?

www.beggars.com

back to top

Instruction - God Doesn’t Care

(Interscope)

Out Now

3/5

Instruction mix a heady blend of Screamo, yet melodic, hardcore and a grunge like approach to melody. When it works it’s awesome, juggernaut guitar riffs are thumped out at lightning speed, the impact is immense.

When it doesn't work it’s like U2. That’s bad. ‘I’m Dead’ is some kind of bastard thrash power-ballad that’s awkward in its juxtaposition of styles. If there were a heavy metal Eurovision song contest, this would win because it’s 'lite'.

Instruction aren't afraid to mix up styles and experiment with the various shades of the heavier guitar spectrum though. So it’s an incredibly commendable effort, but by its nature it leads to varying results, some are fantastic, and some just don't sit. A band stuffed with ideas and ambition though.

Jonathan Falcone

Comment on this review?

www.interscope.com

back to top

Eels - Blinking Lights And Other Revelations

(Dreamworks)

Out Now

E's been through a hell of a time. In fact, it's hard to remember a time in his life where it wasn't unbelievably dark and filled with the kind of sorrow that makes Leonard Cohen look like a big girl's blouse. 

Out of his troubles always manage to come some of the prettiest, most fun upbeat indie party tunes ever though, and this is where the man Mark Everett surprises and enthrals a whole nation of listeners. 

Whereas troubadours like Cohen et al sing about their pain through bleak, lifeless music, E manages to condense his worries and psychosis into an album as ambitious as 'Blinking Lights...' at times heart wrenchingly beautiful ('Theme For A Pretty Girl That Makes You Believe God Exists'), in others it’s down right fun ('Going Fetal' or recent single 'Hey Man (Now You're Really Living') for example) but most of all, it’s well thought out, brilliantly played and masterfully produced. It's two discs of pure Eels, almost like a best of, but with new songs. The finest elements of all previous albums are here, mashed into one giant blender and spread across two compact discs. 

Sometimes the 'Themes' tend to drag, but then again, they add a little extra to the overall feel of the album(s). Like it's the soundtrack to one of those films you wished they still made. 

It's eerily brilliant, yet surprisingly simple. There's no big, epic production, there's no concepts, no overblown orchestras and no Wilson-esque everything-but-the-kitchen-sink production values. It’s simple, stripped down song writing. Take 'I'm Going To Stop Pretending That I Didn't Break Your Heart', a simple little ballad about the end of a relationship that can do more things than most songs twice the size could ever hope to do. 

That's the beauty of Eels though- it’s simple, brilliant and utterly engrossing. Some people say he's lost it, and that this album is not as good, but to me, it's one of his best. A true tour de force.

Gavin Miller

Comment on this review?

back to top

Maximo Park - A Certain Trigger  

(Warp Records)

Released: 16 May 2005

"A Certain Trigger" is the debut album by Newcastle based Maximo Park. Full of energetic, confident post-punk much in the similar vein as The Futureheads, it's a bizarre release to be on Warp Records. The label is most famed for its forward thinking, electronic music and with accusations of Warp having sold-out, it’s strange to see the label with an indie-band in their roster. However Maximo Park are thankfully a fantastic, edgy and incredibly exciting band & it's quite refreshing to see Warp moving into new fields and finding talented and exciting young bands.

The album's opener 'Signal & Sign' is an excellent, aggressive track instantly showing that the band is not afraid to show their true roots and northern accents. The track starts with a pounding beat leading the way for the tight guitars, bass and organs to join in before soon being accompanied by Paul Smith's lead vocals.  It’s evident from the off that Maximo Park ooze personality and are extremely energetic. The pace is furious and this barely drops throughout the album.

'Apply Some Pressure' is the second track and although it’s already been released as a single, it's as extremely catchy and exciting as when it was initially released.  The track is completely unpredictable with Paul Smith's witty lyrics creating a perfect pop song.  The track is full of longing and cynicism which is apparent when Paul sings 'the everyday is part of what consumes me, the hate ideal is part of what fuels me'. 

However 'Graffiti' contradicts Paul's lyrics in 'Apply Some Pressure' by being quite romantic. The chorus of ‘I'll do graffiti if you sing to me in French, what are we doing here if romance isn’t dead' shows that although quite cynical, all hope is not lost and there's romance still to be had. The track is reflective, questioning and slightly longing which probably could be said about a large majority of the songs on the album.

'Going Missing' shows the band at it’s most poppy and straightforward with epic choruses and catchy guitar lines. The track is very danceable and contains brilliant instrumentation which then ends with Paul's confession of 'I sleep with hands across my chest and I dream of you, with someone else'.

Maximo Park show that on 'Limassol', the band can turn from the poppy danceable tracks to sneering aggressive ones with much ease. 'Limassol' is a racy forward track showing the band at its most aggressive and showing Paul at his most jealous when he sneers 'you better run along back to your new man' This track shows that the emotions and themes on the album are very human showing weaknesses and strengths in personality.

'The Coast Is Always Changing' is a thoughtful, reflective track tinted with a slight melancholy. Although the romantic imagery is still evident with the brilliant chorus of ‘we look out upon the sea, the coast is always changing, we''ll take the train out to the sea, my heart is always changing'.  The track features edgy, angular guitars alongside furious rolling drums, which compliments Paul's slightly saddened vocals.

'Acrobat' shows the band in a different light being reminiscent of early Pulps 'Sheffield Sex City'.  The track is a spoken-word story set to 80's styled electronic pop track with a northern accented narrator. The track deals with a break down of a relationship and the rejection and unworthiness that go with that demolishment.  Paul breaks the narration by desperately singing 'I am not an acrobat, I cannot perform these tricks for you'.  The track is very melancholic and completely different to the rest of the album showing that Maximo Park is not a one trick pony.

Overall 'A Certain Trigger' is a brilliant, angular and witty album. It's a refreshing listen full of energy, excitement and edginess. For a short album it has an incredible array of material showing Maximo Park masters of penning catchy, danceable and intelligent music. As a superbly tight, energetic and passionate live band too, Maximo Park should be able win the hearts and devotion of many across the nation.

Daniel Ogden  

Comment on this review?

www.warprecords.com