the Retrospective Review

The Big Move: RR Goes to Tumblr

2010-07-25T10:43:00.000+01:00

The internet has certainly moved on since I first used it. Back in the day, the best you could hope for was a forum over at InvisionFree. In fact, they were all the rage in my youth. That followed with LiveJournal, and WordPress. By the time I set up the RR, Blogger seemed to be the obvious, logical choice. Now, however, with the general ease-and-simplicity of Tumblr, it makes more sense to change up and move over there.

The move started earlier this past week. In fact, there are already two new reviews up (Delorean's Subiza, and Bombay Bicycle Club's Flaws) as well as a look at the Mercury Prize nominations.

From here on, the RR will try to be a little bit more professional in its approach to reviewing. So much so that I've started seeking out new writers, to give the place less of a bias when it comes to what we review and what we ignore. I'm also looking out for any bands who are tinkering with demos and such, and think a review may do them some good - and while places like PopJustice and Pitchfork may throw lame attempts in the bin, we'll take what soliciting we can.

I'm also hoping, with the added 'staff', we can come to some sort of regularity in terms of reviews, editorials, and such. I'm considering digging up the Introductions again - since I had fun with the TripHop guide, but then University got the better of me. All I can say is "Watch this space"...well...that space.

That all said and done, you can now find The RR at:

http://retrospectivereview.tumblr.com/

Update your newsfeeds, and enjoy. We're back on the road!

The Strange Boys @ The Globe, Cardiff

2010-06-28T12:33:00.000+01:00

On a hot summer night, would you... Wait a minute, this neither involves Meatloaf, or the Wolf with the Red Roses. It's just the sweat-drenched sauna that was The Strange Boys at The Globe, Cardiff. Hailing from Austin, TX, and having just performed at Glastonbury's 40th anniversary, the band were freshfaced and eager to put on a show. It's just a shame that in such an intimate venue, the main thing on everyone's minds (and brows) was the sweltering heat which either stuck you to your seat, or kept you spending at the bar.

The opening act, Cardiff's very own The Method, were the result of what happens when five unhinged gentlemen with a penchant for trumpets, organs, and chaos in general, take the general layout of music and turn it on its head. There was definitely a tinge of the punk here, as well as the psychadelic, and the funky. Having seen guitarist Johnny perform solo as Johnny Alchemist, I sort of knew what to expect, but, even then I was blown away by the depth, the structure, and the overall showmanship put into such a set - it wasn't big and flash, but it had all the charisma needed to play a much bigger stage, to a much bigger audience - the solid, groovy basslines; the underlying darkness given away by the synth; the indescribabilty (not a word - Ed.) of it all... And when they finally gave way to Sex Beet, I must admit I was ready to rock, and possibly roll.

What was then brought to the stage was a shambling minimalist performance in all senses of both words. The three appeared mismatched, as though they had fallen through a thrift store on the way in, and when they finally tried to grace us with music, it actually wasn't all that good. Think The Horrors if they did songs by Bombay Bicycle Club, and the bassist was dead. Then you'd be in the right ballpark, but you'd still be digging for the metaphorical hidden body. Generally, aside from the helium-esque qualities of the vocals, it sounded as though it was half-baked - it was too noisy to be 'punk' but too pop to be 'noise rock'. I don't know if the levels should be blamed (by that, the tech guy...) or the band. In the end, a bad workman always blames his tools - so I must regretfully brand these as a band to give a miss next time they're on a bill...

Thankfully, when they disappeared back into the crowd, the stage gave way to what can only be described as rockabilly sensibilities. Though the general genre-range of the crowd was 'indie', these guys stood out like a sore thumb - and were all the better for it. Gingham shirts, denim jeans, white undershirts; all they needed was some greased back hair and a toothpick and I'd be sure there was some stereotyping going on. However, looks aside, what The Strange Boys brought to the stage was in fact the best piece of rock'n'roll ever - it lived by the DIY ethic, layering it with rockabilly, and general caterwauling to great effect. Even the saxophone of ex-Mika Miko Jenna Thornhill was greatly appreciated (personally).

Though what do you say about a band that's working a sound that seems to be making a possible comeback? You've got the polished traditionalism of The Baseballs and the classy pin-up girl in Imelda May. What you get from the Strange Boys, as evidenced last night, is a sense of "down-to-Earth garage band". If Buddy Holly had been born that little bit later, I think this is what his music would have sounded like. It's all evidenced in how straightforward their set was last night - some songs, some crowd interaction; generally a traditional "band", which is a refreshing thought knowing that they'd already played Glastonbury.

Overall it was a night of ups and downs. Well worth seeing The Method, slightly marred by Sex Beet, but the mood certainly picked up amidst the punk-try and western hoedown that was The Strange Boys. Honestly, I'd go and see them again any day.

8/10

Grasscut - 1 Inch / 1/2 Mile

2010-06-27T13:22:00.001+01:00

To mention the name Grasscut at this point in time is, truthfully, the way to get a response equalling "Who?" Sad as that truth is, it's what puts them out in that great moment of Tony Wilson-esque "History". No doubt the speech has made its rounds on this blog quite enough, but, to refresh you on it (breifly - Ed.): A moment in history doesn't require a vast following: 3 at the death of Julius Caesar, 13 at the Last Supper, a few dozen at the first Sex Pistols gig in Manchester which lead to Factory Records being created. Therefore, this little-known Brighton twosome are obviously destined for greatness in the world.

The debut album of Brighton-based duo Andrew Phillips and Marcus O'Dair, simplistically titled 1 Inch / 1/2 Mile, is a musical map of the lives and times of the British Isles. Travelling from the Suffolk South Downs, via Wales, Brighton, and the words of Ezra Pound and Hilaire Belloc, the sounds that emanate from this album encapsulate a sense of electronica, and a long-forgotten time. In places, it is woeful, folorn, a total post-punk, post-apocalyptic masterwork. In others, it actually reeks of Steampunk, but, I am hesitant to call it that, since it's more structured and narrative; a sort of Steamfolk, if you will.

From almost sounding like a half-baked 65 Days of Static, this duo build up the album through High Downs, Old Machines and Meltwater, before falling into what I can only describe as the best piece of sampling I have heard thus far. That comes in the shape of The Tin Man, a song that involves a creaky gate recorded on a mobile phone, "the People's Tenor" on a '20s vinyl, and the story of a man with a metal cane. It is at this point where the Marmite Factor comes into it - you'll either love the high-pitched, antiquated vocals from the recorded gramophone, or you'll loathe the entire project thus far. From then on, it drifts between Eluvium and 65DOS in equal measure; ambient, enthralling, and slightly quirky.

Personally, there are few faults within this album. Okay, that was far too subjective. Objectively: There are flaws. They're not gaping holes, but they do strike you as obvious ones - sometimes the melodies don't match the sampled lyrics. Other times, the songs just sound out of place (Muppet being a key example). However, what it does is falls into that category of music that I actually think lacks a name at present. It's in there with groups like the Unextraordinary Gentlemen, or The Correspondents. If labelling and genre pigeonholing were my cup-of-tea, I'd have to pin them all under the same Retronica label.

So, insofar as Retronica goes, this is a pretty decent attempt at reconciling the past and the present. This is also a pretty good attempt taking a road-less-travelled. In fact, despite it probably fading into obscurity very quickly, I think 1 Inch / 1/2 Mile has all the makings of a genre-definer, if taken into the fold, and given pride of place with the other Retronica albums of note. Here's hoping, eh?

Overall: 6/10 - A bit ropey in places, but, all the trappings of a good, solid album lie under the cracks in the masonry.

Top Track - The Door in the Wall

Ellie Goulding - Lights

2010-05-18T10:13:00.000+01:00

The other day, I switched on the TV to see what could only be described as Thriller meets Fight for this Love. It was in fact the video for Ellie Goulding's Guns and Horses, a single which is probably as infectious as the rest of her repertoire. Coming out of nowhere and in less than a year, thanks in part to Frankmusik, she has stormed the charts and become a mainstay on radio and television. Perhaps, three singles down, now is the right time to take stock of what she's capable of?

Lights is the debut album of Ms Goulding, an ex-drama student from the University of Kent, who had a bit of a lucky break and managed to catch the ears of the BBC Sound of 2010 pollsters. From her high horse, she's managed to put out an album of debateable quality. On some levels its perfect electropop, and on others its just-another-pop-album.

It has its strong points. It's really quite a good party album. It starts off really strong, in fact extremely strong. You get the little vocal hiccup of "Wow, her voice is a bit scratchy" on Guns and Horses, but, then you get into it and the beat picks up; it's just what you need these days. Smiley-happy-pop. What Ellie could have managed with the first four songs is an EP of monumental proportions - I mean, it would have made an epic piece of popular music if she'd just released up as far as Under the Sheets on one short-player.

If she'd done that, however, you'd miss out on the magic to come. The Writer actually shocked me. I was so used to the teeny-bopper pop-fusion that it was becoming rather habitual to expect more uptempo "tuneage". This could be the point that you go "What?" because I sure as hell did. That said, it's a very good what. This is the Ellie that people need to see, because otherwise she's going to be pigeonholed as an electronica artist like every other two-bit act out there.

Then it's all lost. It's back to the uptempo downtrodden sound of the rest of the album. It's fair to say that perhaps she manages to shine through even more by juxtaposing that little gem in amongst all this sand; the diamond in the rough and all that. I suppose other songs come close to bringing out that brilliance, but it covers it over with drumtracks and sequencing. For an electronica album though, I should be happy with what I'm being given, because it's not bad at all for a first attempt.

Overall: 7/10 - A bit generic in places, definitely worthy of praise though.

Top Track: Starry Eyed (though personally I prefer The Writer...)

Darwin Deez - Darwin Deez

2010-05-17T12:00:00.001+01:00

Twee Pop has always interested me, but in the sense that it's unfathomable. Some people do it really well, and some people just do some jamboree of horrid sounds. Yet, some Twee nonsense always seems to make it on to every summer playlist ever made - this summer, it's the turn of the tin-earred, 80s reject that is Darwin Deez, a man whose allure I can't quite fathom.

So, we've learned in the course of this album that Darwin Deez, the frontman who suddenly seems so cocky by naming a band after his persona, and then their first album after the band that's named after him, is a talentless hack. Sure, in the world of indie it's all fun and games to be "punk rock" and tone deaf, but, when it comes to music I've heard tone deaf songs sound half good, even when they're half-baked.

What you get with this eponymous album is half-baked ideas for songs which almost all sound the same and blend into each other. Sometimes, when they're good, they're ruined by the crackly, pitchy vocals of Mr Deez himself. So, yes, punk rock, Neutral Milk Hotel, all that. But for this, it just doesn't fly. You cannot hide behind something like that; you have to admit that as indie cindy as you may be - you are not a rockstar, or a popstar, or even a personality for that matter. You are just ruining music.

It's all well and good for me to go off on a rant right now, but the reason this album is so terrible is because it's just lacking in that drive to push itself to do something a bit more. I mean, I could have turned off after a couple of songs and said "You know what, this is an alright EP" but, it's just like pushing a boulder up a hill that doesn't stop - I lost the will to live when the same chords and droning, whining vocals came in yet again on the next song.

So, some advice: Mr Deez. If you're ever allowed to make another album, please think about making things interesting for the listener. Think of it as scrapbooking. Put in loads of elements; mix it up a bit. Don't just create a family album where all the photos were taken on the same day and call it done

Overall: 3/10 - Samey, boring, lacking drive. However, Radar Detector. Addictive.

Top Track: Radar Detector

The National - High Violet

2010-05-16T16:37:00.000+01:00

Ohio seems to be one of those lesser-known musical centres. It's given us Trent Reznor, Screaming Jay Hawkins, Marilyn Manson, and to a lesser extent Dave Grohl. Still, amongst all that acoustic chaff, there's got to be something worth listening to, right? Well, that's where The National come in. The all-American sextet have had 3 years of projects since their last full album, Boxer, in 2007, and now, they're back on top form.

Everyone could immediately switch off after the first track on High Violet. I'm sure you'd all like to. Terrible Love is indeed that: terrible. It's slightly off-kilter when taken in with the rest of the album. It's a jarring start. It's something I don't like. However, once Sorrow kicks in, that's when the album becomes what it is: it's a contemplation; it's a message; it's an album that a lot of rock bands are doing these days - the meaningful one before they fade into obscurity again.

This is coming across all wrong, right, readers? The intro says they're on top form, but I've just said they're going to fade into obscurity. Well, that's just it. It's an album that wins you over, and that's what I want to do in this: You need to be won over by it. No amount of critique could tell you how good it is, because frankly every critic, myself included, is dry-humping the hell out of this. I've read the reviews; I've seen the scores; I didn't believe.

What this album manages to do is envelop you in a sense of total tranquility. Think what Coldplay tried to do with Viva la Vida, but better. This isn't quite rock and roll, but, it's one of those albums that you shouldn't let pass you by. There's the urge to call it indie pop; there's the urge to compare it to a more peaceful Editors, Joy Division or other band with a sonorous soloist up front. Of course, it is neither one nor the other of these. It could be compared to a silk robe: simple on the surface, but intricate beneath. Yet, it's that something which defies all comparison which makes it a perfect soundtrack.

It could be raining outside, and you could be inside with a hot beverage; it could be a rare, sunny day, and you could be reading Dostoevsky; either way, this would be the soundtrack to it all. It doesn't ask to be played loudly; it doesn't ask for attention like all others of the same genre, trying to hold you in their complex riffs, with their overdone everything. None of that here. Simplicity is the name of the game. That's why you should listen.

Overall: 8/10 - A bit of a rocky start, but, once it gets flowing it lives up to the hype, if not surpasses it.

Top Track: England

The Dead Weather - Sea of Cowards

2010-05-16T01:57:00.002+01:00

Unless you've been living under a rock, you'll know of The Dead Weather. They hit Glastonbury last year as the 'secret act' that everyone had been speculating about; they came totally out of left field, and stormed their way right into the rock scene like every other project the enigmatic Jack White has been involved in. There's a song that says "You've got to keep the Devil way down in the hole", but, when it comes to the diabolic genius of Jack White, and his collaboration with Alison Mosshart (The Kills), Dean Fertita (Queens of the Stone Age) and Jack Lawrence (The Raconteurs), it's probably best to let him out, and into your headphones.

Ballsy and Bluesy are the first things that spring to mind with Sea of Cowards. I've said it before: there's something raw, visceral, untamed and edgy about this side of Jack White's projects. Sure, The White Stripes were always 'blues-garage-rock' and The Raconteurs kind of touched on this, but where The Dead Weather dare to tread is a no-man's land, piled high with Spinal Tap-esque amps, and populated by the rotting corpses of Muddy Waters, Les Paul, and Blind Lemon Jefferson...

Beyond those pure blues-and-roll riffs, what else has it got? Well - it's like injecting molasses into your ears. It's sludgy, slow, and yet, the sugary-sweet high is over in a matter of seconds. I was quite shocked on first tuning into this, finding it to be a little over 35 minutes in length. Whilst that definitely explains how it was able to be pushed out in 15 months, it doesn't explain how it could be so darned good. You find yourself reaching the end and wanting more; so much more.

The single Die By The Drop is probably the point where White, Fertita, Lawrence and Mosshart pin up the sign "Abandon All Hope Ye Who Enter Here". It's definitely the point where the album hits its mainstream zenith, and then begins the winding, country road back down to the bayou, head bobbing all the way, foot tapping, and maybe even a wry smile available. If you liked it up to now, this is the real turning point. For me, it was where I turned it up even louder; but it might well be where you walk away.

What this album packs into its almost minuscule time-frame is amazing, frankly. I'm sure people who are fans of bands like Lightning Bolt and hardcore punk outfits will no doubt say that it's easy to do. Yes, it is easy to cram songs into an album. However, it's not easy to find yourself the kind of consistent quality that is provided from start-to-finish with this. It's probably the progression that should have been in the fusion between the dark and the Americana, instead of psychobilly. In fact, it's a slice of Mississippi Mud Cake heaped with some of the smoothest whipped cream; it's an afternoon treat that'll leave you salivating for more. It's Jack White at his best.

Overall: 9/10 - Probably one of my favourite albums of the year so far. I cannot deny that this is just what the doctor ordered.

Top Track: Gasoline

Dan Le Sac vs Scroobius Pip - The Fable of Izeekabee

2010-03-21T13:04:00.000Z

As a rare Easter Egg, I decided to rise from the metaphorical dead, like some obvious blasphemous metaphor, and provide you with some up-to-date music reviewery. Today I got my grubby mitts on a copy of dan le sac vs Scroobius Pip's newest little ditty, rather oddly titled The Fable of Izeekabee.

Now, first up it should be known that this song isn't their single. That, in fact, would be Get Better, a song which I haven't even bothered to look into (which is quite bad). Secondly, it should be duly noted that Scroob has admitted that he writes the lyrics after the music - whether that has changed, I don't know, but, it's a noteworthy piece.

The Fable of Izeekabee, anyhow, is a four minute romp in which the music never quite seems to match the lyrics. I kept expecting, during the intro, Swedish electro-vixens The Knife to get involved, which soon gave way to Flaming Lips Yoshimi-esque distortion-buzzing. The lyrics, however, just seem totally diverse from the tune - no real link, just the fact that they seem to barely fit in. Maybe it's intended, what with the message here...

Soon, though, it gets into its groove. It finds its niche, and that's when the song gets good, but, it takes a whole 2 minutes before it feels secure in itself and sounds like the old Scroob and le sac that always worked together, like cheese-flavoured chalk, or like the riff amongst the raff separating the wheat from the chaff. It's just a shame a lot of that chaff seemed to get involved early on, when it needed to hook. When it does hook, however, it gets you line-and-sinker too. If you're not into it by now, just turn it off and consider coming back when you're more in tune with yourself.

Then, when it comes to an end, it ends perfectly. It's not ostentatious, it's not overly wordy, it's not trying to be something that it's not - in fact, it's being good old Scroobius Pip writing the way he writes best. It just shows the genius of the man, right down to the spoonerisms that Ronnie Barker would have been very proud of.

My final thoughts, however, are totally the opposite of what I've written. It's not a wishy-washy piece. It's a grower. It's a good'un, well worth a listen. It comes across like the soundtrack to a piece written by Aaron Diaz of DresdenCodak. It has the set up - it builds the story, it develops it, and then it concludes it nicely. It comes across like the new version of The Emperor's New Clothes, but with much more of a moral message: "Don't be such a show-off, you self-righteous prick."

7/10 - It took three listens to be very enjoyable, though it still jars at the start, but, it's always made better by the ultimate spoonerism ending. I eagerly anticipate the album.

To get your own copy of The Fable of Izeekabee, text UGLY to 81088 and follow the instructions that Scroob and DLS send back.

A Note From The Editor: Indefinite Hiatus

2010-01-18T00:01:00.028Z

This weekend I was going to take some time and continue on with the Introductions Series, looking at alt-folk from Neutral Milk Hotel, through Beirut and Devotchka, back to A Hawk and a Hacksaw.

Instead, I seem to have been snowed under with other commitments in my life, like my course, finding an actual job, and generally enjoying what time I have left in this country. As much as I love this blog, and I love my music, something had to give - it couldn't be the course; it couldn't be my lifestyle; so, it was this blog.

As of now, The Retrospective Review is taking an indefinite hiatus. There will be no posts on this blog as of today, though I will be maintaining my personal blog.

Thanks for reading, and I hope you'll come back whenever I find the time to start this up properly.

Gorillaz - Demon Days

2010-01-15T12:00:00.002Z

When the world seemed like there was no hope for music left, along came Damon Albarn, fresh from Blur, and he took some cartoon men and made them sing. And what they did was take the base of trip-hop, and tear it up to make their own music. Their debut album wasn't exactly trip-hop, as hip-hop over dub; and their second album was more hip-pop, but, buried under it all, under the paint and the facades was the last of the trip-hop albums: Demon Days.

What Gorillaz managed to do with this album is create music for the masses. It was still lyrical; it was still poetic; it still had that dark vibe taken from the trip-hop of the nineties. And yet, it was different. It was a unique slice of the mind of Damon Albarn. It was something that the kids growing up had never heard before. Aside from Gorillaz, there wasn't a large mainstream group putting out this kind of music.

I find Demon Days interesting. It blended the sounds of Blur, and more than just Albarn's vocals, with the electronic world. O Green World took on a distinctly Blur-esque sound, but yet moulded it to fit in with the Gorillaz persona. They took on hip-hop; they took on any challenge that came before them. It was inspiring.

Admittedly, for me, as a person who struggles with traditional hip-hop, I find this album hard to listen to. Songs like El Manana just don't 'do' it for me. I don't know what it is, but, I still can see the value in the songs I don't like. I suppose, in a way, it's the same as asking a fan of hip-hop to listen to Burzum without any prior warning - you're not always guaranteed a good answer. Ironically, when MF Doom gets involved on November Has Come, a true hip-hop tune, I loved it.

So, what are you getting here? Like I've said. It's not pureblood trip-hop. This is the progression. This is hip-pop in a sense; it's got the background, but, it's floated into lands unknown. A warning to all fellow travellers. Here be dragons, and rappers.

Overall: 7/10 - Ironically, it's the fact that it's not trip-hop enough that makes this progression lose marks. Compared to the others, it's just an album; but, it's an evolution away from the years of Portishead, and Massive Attack.

Top Track: All Alone

Télépopmusik - Angel Milk

2010-01-14T12:00:00.000Z

Another day, another oldie. This time, I've crossed the English Channel and ventured to France for some of the finest trip-hop on the continental side of Portishead. I am, of course, talking about Télépopmusik, the French trio responsible for some of the dreamiest trip-hop of the last decade. While Sneaker Pimps were busy being wordy, Imogen Heap was busy being Zach Braff's favourite singer, and Portishead were swimming in a pool of Bauhaus, these guys were concentrating on the more ethereal, dream-pop side of their respective label. And five years ago, they put out their last album, Angel Milk.

A fifteen track romp through the realms of trip-hop seems a bit daunting at first. It's not exactly the easiest genre to get into, if you're not looking for background music, or you're not drunk, I find. So, when I decided I'd finally get around to listening to this beauty, I wasn't so much pleasantly surprised as lulled into a false sense of security.

It starts perfectly fine. In fact, I could have enjoyed a full album based around the songs it started with and finished with. They were trip-hop of the finest order; comparable with Portishead. They weren't lacking in anything, and they flowed so nicely. Then, jarringly came three songs in the middle, starting with Love's Almighty, which just trudged along slowly, lacklustre and depressing. It was like trip-hop on a massive K-hole.

Sure, the three songs I'm singling out are decent; but, in terms of this album they were a total wall of 'low'. It really did bring a bit of a downer of the whole experience. It went from being such a free flowing album - a river of music, if you will - to like wading through treacle. I think, particularly with Love's Almighty, when they come in and say "Okay, okay, start again" and it picks up the 'oomph!' that they potentially saved themselves from me wanting to turn off.

Still, 15 tracks later, I was still listening to it, and, when it ended on that lovely note, I went back and listened to it again. "I always feel better after I fly
I fly every morning for at least fifteen minutes or so" says the final song. I agree, at least if flying is anything remotely close to this album.

Overall: 8/10 - I think the closest I've got to enjoying foreign experimental stuff this much was Bjork, and even she was a tough cookie to crack. This one just melts in your mouth; saccharine sweet, with the occasional lemon bitterness.

Top Track: Stop Running Away

Sneaker Pimps - Splinter

2010-01-13T12:00:00.002Z

The new Millennium was about to arrive. The first waves of the Y2K hysteria were beginning to show, and it had been a year since Sneaker Pimps had asked singer Kelli Dayton to leave so they wouldn't fall foul of being compared to Portishead. Admittedly, it was a wise move, since Becoming X had sounded suspiciously close to the realms of Portishead. Still, as 1999 rolled onwards, they released a new album, fronted by Chris Corner, Splinter.

The difference between Portishead and Sneaker Pimps became really noticeable when Chris Corner took up vocals. The songs sounded so different with a male vocalist, but, still, in the background the trip-hop remained. In its own way, that's what mattered. It didn't need the difference between Corner and Dayton, because in the end, the music was so different that it stood out in its own way.

It borders on electronica. It borders on pop at points, but it's still dark enough to warrant being reasonably downtempo. The tracks on this album are amongst my favourites done by Sneaker Pimps. The follow-up, Bloodsport would end up sounding like a proto-IAMX, Corner's current project. The previous album had only been a stepping stone. This was true musicianship. This was a final fuck-you to the decade. Hell, if we were all going to die out in some Y2K related mishap, then this album would have been testament to the brilliance of our minds - Remember when we sent Coldplay and Bowie or whatever into space, well, we should really have sent Sneaker Pimps - Low Five.

Personally, I think this is not only the soundtrack of a generation; summing up the end of the nineties with its grunge and its hardcore, its jungle and its dying post-punk acts, but it's also the soundtrack for a new generation, one brought up in recession and war and hate. It's dark, but it's not depressing. It's disco, if the mirrorball wasn't working and the bouncer didn't look like he wanted to kill you.

Going out on a limb, it's probably Chris Corner's best work. It has its weak moments, yes, but, it's got a good mix on it in a way that many albums don't seem to think about. I fail to get bored by it. It's beautiful, but hardly ever talked about. It is to the world of albums what Yeats' Cloths of Heaven is to the world of poetry.

Overall: 8/10 - It's dark, it's highly underrated as an album, and it deserves the recognition that it should have had a decade ago.

Top Track: Low Five

Portishead - Dummy

2010-01-12T12:00:00.008Z

Bristol, 1994. A phenomena is about to be released, a album that will cause a band to transcend its genre and become part of hipster parlance for years to come; propelling the band to relative fame. This Mercury Prize winning debut saw off the likes of Oasis, fellow trip-hopper Tricky, and big boys like Van Morrison, to become one of the few albums I'd dub a necessary evolution of British music. Portishead released Dummy.

Portishead's debut was far more than just a necessary evolution in British music, following on from the darkness that was post-punk, with the drug-fuelled addiction of Madchester, to compete with the guitar-addled blight on the face of the country that was Brit-Pop. It had to stand out, and, coming from where it did, it managed that effortlessly. Downtempo, moody, full of an angst that the kids of the early nineties seemed to be searching for in their grunge, it came out of the left field and hit with a big impact.

What can I say personally about it? It's an album that's done a lot for me. It's probably the reason I managed to transcend from Goth to indie, because it was an easy step to go from Portishead's Dummy to the available levels of Post-Rock out in the mid-noughties, like Sigur Ros, who are pretty much pixies doing a happier, mumbly version of trip-hop. It's an album I personally love; without it, where would we be?

It's filled with songs that people need to hear. It's a musical education. Not in the sense that it expands your mind and makes you think about a terribly important period in music, like Rock and Roll or the Blues, but because it's just musically brilliant. Before this, there wasn't anything that really sounded anything like it, as far as I am aware. And after Dummy came out, there seemed to be an explosion of this kind of sound in trip-hop and in gothic electronica. It was genre defining. It was music.

The lowest it gets is the slightest of troughs with Wandering Star and It Could Be Sweet. Even then, they are only a small irrigation ditch, adding to the beauty. Surrounding that are perfect fields of electronic music. So go, and walk amongst them, and enjoy it for what it's worth.

Overall: 10/10 - A defining moment in musical history, or at least in this genre. Without it, there would be a void. It's truly a diamond in the rough; a jewel in the crown of British music. All hail, the Dummy.

Top Track: Biscuit

Massive Attack - Blue Lines

2010-01-11T12:00:00.011Z

In Bristol, 1991, a movement began. It wasn't until later it was given its official name, but it started with a group of layabouts who took two styles of music and fused them effortlessly in what is now known as trip-hop, an underappreciated genre in this day and age. That band was Massive Attack, and they started the ball rolling with their album Blue Lines.

Listening to Blue Lines, you really pick up a sense of where a lot of the bands who followed took their basis from. It's definitely the granddaddy of all trip-hop albums. If proto-punk was what eventually gave us the Sex Pistols, then Blue Lines is the stepping stone which gave us this wonderful genre.

Blue Lines fuses the rhymes of hip-hop with downtempo rhythms which just soothe the soul, and at the same time meld together in a way that prompts thought and outgrowth in the listener. It's hard to describe, because it's not really the definitive article. It's not trip-hop as sold by Portishead, or Sneaker Pimps circa Becoming X; it's like the missing link between the moody early 90s stuff, and the more wordy noughties era. In effect, it's the fork in the road where a trip hop artist can say "I want to be like Shara Nelson" or "I want to rhyme like Daddy G".

Personally, I've been wowed by this album. It's a rare, unmistakable feeling when you delve back to the roots of a genre and find everything suddenly falls into place; when you suddenly understand how one anomaly fits into the puzzle, because of how it was and not how it is. From slow, bouncing songs like Lately, to fully-orchestrated dance wonders like Unfinished Sympathy, via the downtempo hip-hop of Blue Lines, this album is a melting pot, and I love it for that. None of it jars; none of it suddenly breaks the effortless flow of the rhyme and rhythm. It's just good. Simple as.

Overall: 10/10 - It's effortless; it's simple; it's a few guys from Bristol trying their hand at hip-hop with a more moody, poetic outlook, and what we got in return was an album that would define a genre. Simply amazing.

Top Track: Unfinished Sympathy (honourable mention to Blue Lines)

Introduction: Trip Hop Week

2010-01-11T00:01:00.008Z

As of this week, I'm taking on a bit of a change to the blog. I've decided to see if I can fill out the (roughly) 35 weeks before I go on hiatus whilst I spend a year in Italy and Spain improving my linguistic skills. So, for the next 35 weeks, I'll try to delve backwards in time, and look at some of the different genres of music, using a wide array of artists.

So, for this week, I've chosen Trip-Hop, the weirdly soothing, sort-of-psychadelic late 90s sound that originated with experimental acts like Bjork, and progenitors like Massive Attack, and carried on through heavyweights of the genre like Portishead and Morcheeba. It carried on into the noughties with the big players still involved, as much as groups like Gorillaz, Sneaker Pimps and Télépopmusik. It's just not one of the most widely recognized genres; a lot of people seem to like it, but even so they're all spread out, unlike other genres.

This week's articles will include:

Télépopmusik: Angel Music - A seminal hit from the French trip-hoppers of the noughties. Due for an appearance again this year, with a new album, these guys have always hidden slightly under my radar, but are well worth the listen.

Portishead: Dummy - Arguably the album that began it all; the success that is. It's sound is well-known. Kids have been well-versed in this album, but, they seem to have sunk back into hipster obscurity lately. It would be a crime to discuss trip-hop without this beauty.

Sneaker Pimps: Splinter - Nearing the turn of the century, Sneaker Pimps, one of the mainstays of the original Trip-Hop movement turned to vocalist Kelli Dayton and said "We want to do it our way, and not sound like Portishead" and what they churned out with Chris Corner on vocals was something unique. It was this.

Massive Attack: Blue Lines - Back to where it all began in Bristol. Without this album, the foundations of trip-hop would be slightly wobbly, resting on the shoulders of other Bristolians Portishead.

Gorillaz: Demon Days - I suppose this is where the line blurs, where trip becomes hip, and hop becomes pop. Damon Albarn of Blur takes his little side project to stellar heights with this album, and honestly, as pop as it is, it really does warrant a good listening to!

I hope you'll tune in for the next five days worth of blogs.

Lawrence Arabia - Chant Darling

2010-01-08T09:00:00.011Z

Lawrence Arabia is the project of one New Zealander named James Milne. His folky sounds came to my attention via Race Horses, and the fact that they're both playing in Cardiff next weekend (and I'm hoping to get tickets). As the last of my reviews before I start my new project on this blog, I figured it was only right to give this guy a review. This is his second solo album, and it goes a little something like this...

Lawrence Arabia make indie folk seem effortless. The album itself isn't particularly outstanding; it fits into the category of "indie pop" in the same vein as Camera Obscura, and Belle and Sebastian, making sounds that are too perfect and bubblegum; bordering on folk, bordering on pop. Think of him as a New Zealander Pelle Carlberg, if you will; although nowhere near as infectious. Maybe a wry smile here and there when you agree with a tune.

Still, what is good about this album is the fact that it manages pop without being pretentious about it. It's not pop in the sense that you'd think of Cher or Tom Jones; Fall Out Boy or The Beatles. It's pop in the sense that he sings so sweetly and composes songs that seem so deep and layered sometimes that they could be real hits, if it weren't for the lack of catchy lyrics.

I think this one is hit or miss though. For me, it's ups and downs; certain songs are really good, others aren't exactly worth going back for. I suppose you could say it's an average album then? Not really; the good songs are really good, and the 'bad' songs aren't actually bad, they just pale in comparison to the really good songs. I suppose that's what you get when it's something decent, for once.

Overall: 7.5/10 - I really think it's pushing to be a good album. It's definitely above average, but it does have those moments where you hit a sub-par song and think "Wait, what happened!?" Definitely a grower though.

Top Track: The Beautiful Young Crew

Le Reno Amps - So For Your Thrills

2010-01-07T21:00:00.008Z

It seems I'm having a week of inspiration; finding music that I've never really given a chance, even if it's not necessarily new. Popping up today in my ears is Scottish alt-folk quartet Le Reno Amps, a band who, for the last 3 years, have sat on my hard drive doing little more than stagnating slowly. So, three years after receiving this album for doing a promotional review for a magazine (which I believe was never actually published), I'm going to get around to giving So For Your Thrills a real work-out!

Le Reno Amps were never my scene back when I was handed this album and told "Go downstairs, there's a free PC there that nobody uses. Give it a few listens; let it grow on you, or just review it straight off...whatever. Just get it done. You can keep it after; we don't tend to hang on to these promotional CDs." So, that's how I got a hold of it, free and for gratis, and it proudly sits with a few other promotional CDs (like a hot-off-the-presses promo of Feist's My Moon, My Man) in my CD drawer at home.

Aside from that short history lesson, what else can I tell you? Le Reno Amps, a nice anagram of founding members (Al) Nero and (Scott) Maple, began way back in 2004 up in Aberdeen before moving to Glasgow, in order to gig more and still keep their jobs. They had their first official 'debut' as a fully-fledged group in 2006, and released this album in April 2007 (a month after I was handed that promo copy). Some call them indie, some call them alt-country, and they...well...I don't think they stoop so low as to label themselves.

So For Your Thrills is all one could expect from an alt-folk album. It borders on the side of Belle and Sebastian's indie pop shenanigans, but, by some fluke miracle, it comes out sounding highly original - less like a half-assed Bright Eyes, slightly more fleshed out than Bob Dylan, and more like a genuine band in their own right.

Harmonicas, harmonies and harmless infectious-indie-pop aside, there's the obvious issue of quality. Particularly with Tree House, there's a sense that they don't exactly sound stellar vocally; but, neither does Conor Oberst or that Fishermans band I reviewed the other day. It's a minor point to pick up on, but, there's not much else to pick on, honestly.

Maybe I'm getting simpler in my old age, and I just want an acoustic guitar and an accordion, and a melody which makes me sway and wish I had a lighter to hold in the air, like some dilapidated, ageing hippie, reliving his 'good old days'. Thinking of it, the simplicity of this album is just beautiful. It's not cocky; it's not showy; at least not until the final song where it goes out with a bang. Still, Charles Mingus once said:

Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that's creativity.

He was right.

Overall: 9/10 - What can I say? It's inspired simplicity. The vocals make me think of Bob Dylan, but it has something a bit more there. Maybe it's because it's less political and seems to just be a jamboree of contagious fun. Maybe it's just good.

Top Track: Deserted Sons

Editorial: 'Classic' Album Covers become Collectable Stamps

2010-01-07T11:51:00.000Z

Today I awoke to the news that the Royal Mail have released music-based stamps. Those sneaky beggers slipped under my radar and released a set of stamps based on album covers from the last 50 years (it would seem). With covers from Coldplay's A Rush of Blood To The Head through Bowie's Ziggy Stardust, via London's Calling and Tubular Bells it covers a wide swathe of what can only be described as popular rock-and-roll in the last half century.

More shocking than the fact I only heard of this literally a few hours ago, is the fact that the Queen herself approved of all of them. Does this mean she's a closet Blur fan, with Parklife in amongst the fray. Either that, or, what they mean by 'royal approval from the Queen herself' is more like a wave of the hand saying "Yes, dear, go make some more stamps. One has a country to run." - personally, I prefer the first image; HRH the Queen rocking out to Pink Floyd, as she artistically selects The Division Bell's cover from their back catalogue to feature in this list.

So with this news out there, click the image below to be taken to the Royal Mail website where you can spend a silly amount to own a few stamps with pictures of album covers on them!

Race Horses - Man in my Mind EP

2010-01-06T22:56:00.001Z

It seems that all I'm doing lately is reviewing EPs, but that's the way it is right now. It's only just 2010, and I've not found an album to interest me, only the odd EP. This time round, it's a favourite of mine, Race Horses (formerly Radio Luxembourg) with their four track Man in my Mind.

As Radio Luxembourg, when they appeared on Welsh music programme Bandit, I can admit I was in love with these guys. I've never heard such amazing songs come from the Welsh medium; the closest I've got was The Poppies a few years ago, and even they pale in comparison to the synthetic pop that was presented by these boys. (Yes, that was meant to be a pun...synthetic...drugs...psychadelia...what all the media outlets say about these boys).

Anyway, Man on my Mind is the follow-up EP to Diwrnod efo'r Anifeiliad...or at least it would be if the preceding EP wasn't in Welsh under their guise of Radio Luxembourg, and this one is in English to come before their album due at the end of this month. It's not a long EP, it's a filler in all honesty. Still, open mind and all that.

The thing about this EP is that the title track sounds like the English successor to the old Welsh tracks I love so much from this band. It's the Henry Tudor to their original Owain Glyndwr - it's not a direct successor, but, I'd still support it. It's erratic enough to warrant being in their collection; and catchy enough too. From there, though, it all seems to be a bit up and down. Mostly down, until it throws itself off for a twee finale the likes of which is worthy of praise.

However, for an EP, it really is just that, it's a filler between projects, and right now it's a nice introduction for kids who've never heard of Race Horses before today. It's nothing special, but, neither is it so dire that you shouldn't listen to it. In fact, I'd recommend getting it just for the opener and the closer, which are both cracking songs - especially the way the closer opens with what can only be described as the theme to an 80s kids show involving puppets before blasting into something more reminiscent of The Futureheads or some such indie pop group.

Overall: 6/10 - Bearing in mind it's an EP, and making this comparative to the Fisherman's EP, it's good, but not spectacular. Still, give it a listen if you like indie pop.

Top Track Last Boat To Dove

Fishermans - Fishermans EP

2010-01-05T17:38:00.000Z

So it's 2010, everyone, and I've decided to start off with a true Independent album. This was recorded in the basement of a band member's house, on a lone microphone, and it is the debut EP of Chicago eight-piece Fishermans

When you see the phrase "recorded in Kevin's basement on one mic" you instantly know you're either onto a winner here or a total wash-out sham. Luckily, for the guys and gals in Fisherman's I quite enjoyed their debut.

The eponymous EP was released last May, and I've just stumbled across it in my looking for some new music to keep me entertained in this new decade. It's like a cross between a lo-fi Arcade Fire, and Someone Still Loves You Boris Yeltsin; it has that obvious DIY feel to it, but it has that nicely layered effect you get from groups in the Chamber Pop and Twee Pop world. I tapped my feet and bobbed my head along, and wondered how the hell they sounded so good; it doesn't sound autotuned, it just sounds like it says on the tin.

The best bit about it is the fact that it's free-ish. I bought it off a Amie Street, so I suppose the band are getting a fee from me; but, it's also up (as I later discovered) for free download. Who can complain about getting a rather good album, for free? I wouldn't. Especially when the songs are quite amazing for something so evidently low-budget. From a pre-apocalyptic love song in 2012 through the haunting White Oak Woods and out into the faux-noir of This Is No Time For Historical Accuracy, this is a self-done, indie album of the highest order that you deserve to hear this year.

Overall: 8/10 - For a self-done EP, it doesn't half sound good. I suppose if it had been professionally done, with all that autotuning and nonsense, it might be worthy of more, but, it's a decent first-effort for a band just starting out. I just wish I'd found it earlier.

Top Track: This Is No Time For Historical Accuracy

The Top 10 Underrated Albums of the Decade

2009-12-20T16:09:00.001Z

I'm a little bit behind Rolling Stone, but, I can safely say my list was compiled before theirs went out to be published. This has just taken me a while to get round to uploading. Let's cut the crap, and just say that the next 10 albums are going to require no pompous words, just a synopsis and possibly an example of their brilliance:

10. Final Fantasy - Has a Good Home
Canadian genius (for there is no other word for him) Owen Pallett has spent the last decade sneaking into our music, bit by bit. He's arranged strings for Arcade Fire, Beirut, The Last Shadow Puppets, and even Mika. His own music takes that compositional flair of his, and makes itself known in its own light, without the name of another artiste to cloud it. It's just a shame he's relegated to relative obscurity, while those he has composed for have all the praise. Check him out.

9. Peace Burial At Sea - This is Such A Quiet Town
This is underrated for one reason, and one reason only: nobody has ever really looked at any of the bands from the old Captains of Industry label with any real positivity. Sure, Gay for Johnny Depp are suddenly hitting the lips of ever indie kid from here to eternity; Sucioperro has been rocking round the clock for as long as Marmeduke Duke have been putting out albums. But, PBAS never really got the break they deserved. Think of them as Britain's answer to the slowly fading goth scene.

8. The Most Serene Republic - Population
Back to Canada we go for the sweetest dream pop album this side of a candy coated rainbow. All you need to do is turn it on, and melt. I liked their first album, I wasn't so fond of their latest offering; this, however is just brilliant. Just pick it up, listen, enjoy.

7. Pelle Carlberg - In a Nutshell
Sweden usually offers the finest indie pop in the world, and this decade has been full of groups like Peter, Bjorn & John, and Suburban Kids with Biblical Names. Even in the last year, Lykke Li has broken onto the mainstream scene. Pelle Carlberg, however, has lain happily in his Labrador Records catalogue, strumming as soulfully as any Bon Iver or Samuel Beam. Really, he's a beam of light in the Aurora Borealis of Swedish indie.

6. TEAM - The Penalyn L.P.
Another northern band from that now-defunct northern label Captains of Industry. Verifiable post-punk effort from the team that is TEAM. Many a time have they been confused on last.fm for another, more-or-less famous group. In my mind, however, there is only one TEAM, and this album is what should have put them on the radar.

[Sadly, this one is soo off the radar, I'm going to send you all to Last.fm]

5. The Blow - Paper Television
This album, personally, got me into lo-fi electronica. It was the stepping stone I needed. Thanks go to WOXY.com for airing Parentheses one day many years ago; and now, here it is, in the top 10 underrated albums of the decade. Simply put: YACHT, one half of this pair, is the best thing to happen to unsigned remixes since...well...himself. And the rest is just down to the simplicity of the songs; they're catchy, because they're easy to learn.

4. This is Menace - No End In Sight
As far as supergroups go, they usually consist of "Hipster A" and all his hipster friends; or "Rockstar A and friends" featuring "obligatory aged rockstar". This, on the other hand was the best post-hardcore/metal supergroup of the decade, and the only one which springs to mind. From collaborations with Matt Davies of Funeral for a Friend and Colin Doran of Hundred Reasons to Mikee from Sikth, this band, based mostly around members of Pitchshifter, really should be part of every metalhead's collection.

3. Jacob Golden - Revenge Songs
His favourite Daniel Johnston song was recorded on a tape-deck before he was born, apparently. That fact aside, Jacob Golden is to music what Monet was to art; it's beautiful, blurred only by the artists own ability to, (in Monet's case not see straight), be able to pen and sing from the depths of his heart. Revenge Songs captured my heart back when I first saw Mr Golden play live, and I really think he's deserving of a much higher accolade in this list, but, I'm slightly biased towards the winner...

2. My Latest Novel - Wolves
What comes out of Scotland is, on most occasions, superb. Belle and Sebastian, Biffy Clyro, and Mogwai all hail from 'north of the border', becoming part of what can only be described as "musical history". This, however, is a band that hit the floor running, and then faded away into silence due to relentless touring. Admittedly, they have a new album out, but I've not heard it, so I can't comment. Still - this is the best underrated folk album of the decade, bar none.

1. Venetian Snares - Detrimentalist
"Underrated?" I hear you cry! It's a bit of a shock to the system, when the rest of the list has been pretty good folksy, happy (with the exception of This Is Menace) easy to please all stuff, to see that this is the album I feel has been most underrated this decade. All you have to do is listen, and you will see that you have been wrong about Pendulum and the Prodigy; this is the way electronic music should be made. Jungle is massive! And all that jazz.

The Top 50 Albums of the Noughties!

2009-12-12T19:30:00.038Z

This is it guys and gals! Not only has the year almost reached its end, but the decade is approaching its final, earthshaking crescendo. Now, usually, I like to sit down and do a "Top 10" for the previous year, based on a list of songs and a list of albums; but, the end of a decade only happens once every ten years...so, it's time to think BIG or, at least, vaguely larger than normal.

So, I spent the last few sleepless nights perfecting the Top 50 albums of the Decade, in my humble opinion. Very few people will agree 100% with my view; but, it takes all sorts to make a world. Links in the title lead to the Amazon UK page for said album, should you want to buy it. So, let's get looking!

50 – Spiderman of the Rings – Dan Deacon
It's an underrated classic. The people of the world honestly don't know what they missed out by not buying this album en masse. I came across it in 2007, a few weeks after its release, and was thoroughly impressed by the simplicity of this masterpiece of indietronica. It's worth owning just for the 12 minute epic that is Wham City, a song about bears, rats, big sharks, sharp swords, bees bees bees, mace lakes, green snakes and Christ knows what else. Sums up the disorganised chaos of the noughties infinitely.

49 – Citrus – Asobi Seksu
I really recommend people pick this up. It's another 'latter-half' album from 2007. I didn't stumble over this gem until mid-way through Uni last year. I was thoroughly impressed, because it's shoegaze, but then it's not as shoe, and all the more gaze. Think less mumble, and more sweet whisper. Now, while their self-titled album was epic, this one blew it out of the water in no time flat. Check it out for 'Strawberries' 'New Year' and 'Thursday', the most perfect trio of opening tracks ever penned!

48 – Feels – Animal Collective
...and then God created experimental indie, and he saw that it was lacking, so he threw in a Panda Bear and a Geologist to create a band that was to become synonymous with hipster-chic in the noughties. Feels, to me, is probably the most accessible of the Animal Collective albums, and therefore needs a place in this list; it's not so much epic, as a staple of every hipster's collection, bar none.

47 – Comalies – Lacuna Coil
If you don't like this, then you are a dick. “I can't like it,” I hear you cry, “It's Goth metal”. Well, grow up, because Christina Scabbia is not only the best thing to come out of Milan since St Ambrose, but her little Italian group have skimmed the surface of popular metal in the guise of sexy Goth rock. Comalies is a must-have from the noughties if ever there was to be an album which propelled a band to near-mainstream notoriety in Europe; or, as mainstream as you can get when the only people who care are metalheads.

46 – In Case We Die – Architecture in Helsinki
The age of the huge group was begun by Slipknot, and bastardised by The Polyphonic Spree. Architecture in Helsinki come in as the happy middle-ground...the very, very, very happy middle-ground. Twee Pop to the power of seven, this is what Juno's soundtrack should have been; this is what your teenage years should have sounded like; this is what you wish your girlfriend was. In Case We Die doesn't push boundaries, but, it pushes you to smile...

45 – We Were Dead Before the Ship Even Sank – Modest Mouse
Everyone will hate me for this. I know, I know; Good News For People Who Love Bad News is plenty more epic (hell, it went Platinum!). This, on the other hand, is a whole other kettle of fish. This is a side of Modest Mouse that wasn't seen before. This is jangly guitar, this is Johnny Marr, this is Moby Dick on E. In short – it's not their best album by copies sold, but, it's one giant leap in the right direction for them.

44 – The Back Room – Editors
Is it Interpol? Is it Joy Division? No. It's Tom Smith, the moany Mancunian with a voice like treacle. Simple enough to summarise – noughties post-punk = Editors. “You don't need this disease, no, not right now”, but you damned well need this album.

43 – What it is to Burn – Finch
I defy you to tell me that Finch should not feature in the list of the top albums of the decade. I defy you to tell me that Finch were not an integral part of your life if you were aged between 12 and 16 in the early part of the decade, and had succumed to the true side of 'emotional hardcore'. If QOTSA had 'Songs for the Deaf', this album is 'Songs for the Needy'. Get it done.

42 – The Decline of British Sea Power – British Sea Power
I have nothing to say on this album. It speaks for itself. All I will note is: “Where the hell did this come from? It's a diamond in the rough, polished even more by the turd that was British Sea Power's follow-up album”.

41 – Deadwing – Porcupine Tree
Who says Prog is dead? This isn't showy, Genesis-and-Rush-era Prog. This is beautiful, pop-rog. This is a CD you could buy your Genesis loving dad, and he wouldn't complain that it was crap, or the music of the youth. It's another gem of the decade that wasn't overrated, but, neither was it underrated either; it's just an album whose beauty speaks for itself.

40 – The Fall of Math – 65 Days of Static
Math rock is a confusing subject. Are 65DOS even Math Rock, I sometimes wonder. Meshuggah are often classified as Math Rock/Metal; so, I'll call these Post-Math. Simply put, this is the soundtrack to a movie that you wish you'd written; this is the soundtrack to a post-apocalyptic rave, starring Denzel Washington and Samuel L Jackson; this is Snakes on a Motherfucking Plane, on a Boat. Just when you think it's going to fade out, on Aren't We All Running, your speakers are flooded by the Gerard Butler-esque wails of a band that won't go out quietly. This isn't Sparta; this is Static.

39 – The Black Waltz – Kalmah
Screw Black Metal; screw Power Metal; Viking Metal was where it was at in the noughties. We had Turisas, we had Tyr, we had Manegarm, Ensiferum and Falchion; heck, we even had Korpiklaani. They all pale into insignificance when put head to head against this gutteral bit of troll metal. Simple equation for you: Viking + Troll = Epic Win. Not one for the faint of heart, but, good if you like your metal with a bit of meat on its bones. Om Nom Nom, snowman.

38 – London Zoo – The Bug
As Tippa Irie states on this album: “Remember there is only one rulin' selecta, and it's The Bug.” And, boy oh boy, was he right or what? This is a monstrously phat piece of Grime. I know, I just ironically used the word “phat” to praise a piece of underground music, but it's better than any of the words I know. If you're not into grime and dancehall when you start listening to this, you will be by the end. Seriously, best album of the underground.

37 – Cassadaga – Bright Eyes
Sure, Conor Oberst can sing, dance, and play the harmonica, but, this wasn't nearly as great as everyone make it out to be. It's just one of those things, I suppose. Still, it wasn't a bad album either. If you like your country done by a kid from Nebraska, it's your cup of tea; but, if you don't, steer clear. I suppose this was a hit or miss album, but, what it managed to do was create a scene for Conor to embrace, which in turn led to Monsters of Folk, the Mystic Valley Band, and brought him to British shores after a lifetime away from us.

36 – Those Who Tell the Truth Will Die; Those Who Tell The Truth Will Live Forever – Explosions in the Sky
Possibly the hardest choice in making this list was where to put this album. It had to feature, as it is the Mona Lisa of all post-rock albums, brought to shame only by their only other EITS album to feature on this list. It is a monster of its field, a giant amongst the other players; it is God, in CD form...maybe it's only Jesus, but, it's still one blasphemous comparison away from being great.

35 – Strange We Should Meet Here – Idiot Pilot
Electronica + Emo + Acoustics = Idiot Pilot. There isn't much more you need to know, other than when this album was released, this was considered by many a teenager to be quite a brilliant piece of ingenuity, never heard before by our virgin ears. What can I say – if you listen, you will be hooked.

34 – Greater Right of the Wrong – Skinny Puppy
This album could not go by without a mention. When I started the list, it was going to be around #50, and then I re-listened to it, and fell in love all over again. It's not for everyone, but, it's a key player in the electro-goth/Graver scene in this decade, and was what got me hooked on listening to a certain Tampa Bay-based radio station during my formative years.

33 – Iowa – Slipknot
This list would not be complete without this bunch of lunatics making at least one feature. This is their first entry on the list, and for me it's not quite their best, simply because it doesn't have that draw. It's like watching a fight; you cringe, but you don't want to look away. In this case, you think “This sounds like it's been raped,” but then you keep listening. If you want a similar experience without having to own the album, pull some razor-wire through your ear canal.

32 – Gulag Orkestar – Beirut
Gypsy Punk was brought to us by Gogol Bordello, and Beirut's Zach Condon brought us the Gypsy-Klezmer sound without us having to associate with ex-soviet runaways, or actual Klezmer groups. It gave us some brilliant tunes to hum, made us feel wordly, and features heavily in everyday Hipster conversation. Spiffing.

31 – Details – Frou Frou
We were told, as lovelorn teens, by Natalie Portman in Garden State that “This band will change your life” (regarding The Shins), but I feel the quote is more appropriate for Imogen Heap's Frou Frou side-project. Not only is it sweet and ethereal, it's a dead ringer for a life changing album. You can have all sorts of mood swings to it; and, what's best, it transcends any musical boundary I could ever think of.

30 – A Weekend in the City – Bloc Party
We were young, we were stupid, and we allowed Kele Okereke to put this album out. After the wonderful sugary chocolate that was Silent Alarm, this was a tepid cup of coffee, with sweeteners. It was bland, it was harmless, it was pop. In short, it was a good album, worth having in your collection and with a few belters on it, but, it never struck me as winning the race.

29 – Funeral – Arcade Fire
Another one of those “It's in every Hipster's collection.” This is the epitome of indie pop. If Architecture in Helsinki was the Happy Middle-Ground in the age of the group, and The Polyphonic Spree was the sugary sweet centre; then Arcade Fire took this album and made it the chocolate frosting on the cake. It's so good you keep picking at it. I just wish I could have placed it higher, but, with everything else ahead of it, this is as far as it could come, sadly.

28 – Ellipse – Imogen Heap
Only 3 places away from her Frou Frou album, Imogen Heap makes her second appearance on the chart with this year's awesome piece. Really, this woman should not be allowed to make music, because what she makes is so infectious it's worse than listening to Cheryl Crow, but, so much less of a guilty pleasure. She's the sugar in my tea, and the jam on my bread. Love doesn't sum it up enough.

27 – Soviet Kitsch – Regina Spektor
What can I say? She's a talented young woman. There is no more to it. Soviet Kitsch summed her up perfectly; there was and has been nothing better in her career than this album. It's saccharin sweet, while also dark. It's that coffee you drink to get over a bad night out. I know I've used too many food related metaphors lately, but, I think this is the end of the trail for that. She's just naively sweet, and yet also worldly beyond her years in this. Worth it? Yes.

26 – Yoshimi Battles the Pink Robots – The Flaming Lips
Oh, Em, Gee. Oh Yoshimi, They won't believe me; but you won't let those robots defeat me. Oh yes indeed. The Flaming Lips. Those crazy crazy men, who knocked Mercury Rev and The Fiery Furnaces off the top-spot of my “bands I love” list back when I was 16. A simple conceptual album, all it needed was...well, actually, nothing. Sample at your own risk.

25 – Sigh No More – Mumford and Sons
This is just an orgasm in an album. There is nothing more to say about it. These boys came out of nowhere and hit me at the end of this year, and won me over in no time. I may have said I didn't exactly like it back when I wrote my review of it, but it grew on me; so much so I think I want to marry it.

24 – The Information – Beck
This is what I was waiting for with Beck. Guero and Odelay were brilliant, but The Information took what was brilliant about Beck and amplified it. It was just simple to get into, and easier to enjoy than any previous Beck album. In fact, I'd recommend you start here and work backwards.

23 – The Milk-Eyed Mender – Joanna Newsom
I couldn't go through a whole 50 albums without Ms Newsom popping up somewhere. She's just peachy. If someone ever could play Princess Peach from Mario perfectly, it'd be Joanna Newsom, and this album is way. I'd gladly sail away with her on a winter's day, even if ships are fallible (I say). We'd have a caravel made from a little wicker beetle-shell, with four fine masts and lateen sails. It'd be awesome, you guys!

22 – Picaresque – The Decemberists
Storytime with Mother couldn't compete with this one. If you can't enjoy it, you're an idiot. Simple as.

21 – Vol 3: The Subliminal Verses – Slipknot
This reminds me of being 14 again. It propelled Slipknot to pop status, and I know that's a bad thing to some of you, but I think it gives people access to a band who changed the face of metal by saying “Well, if Limp Bizkit and Korn are doing nu-metal that way, we'll crank it up a notch and do it our own way, and fuck what you think.” - And what they eventually made was this. And I love it.

20 – Electric Version – The New Pornographers
There are indie albums, and there are Indie albums. This one capitalises every letter, and really doesn't give much room for manouvering. Not only is it party music for the hipster crowd, it also features the lovely Neko Case, which, superficially, is a plus point for any album in the world ever.

19 – Infinity Land – Biffy Clyro
Possibly the best Biffy Clyro album ever, this opened up the floor for them to leave Beggar's Banquet on a high note. It was perhaps the best album of that year but I'm biased. Still, everyone should own a copy.

18 – Songs for the Deaf – Queens of the Stone Age
Oh, Kyuss, was a good band. QOTSA was a good band. And then this came along, and it is the pinnacle of their existence and probably the pinnacle of popular stoner rock in the noughties. All I can say is “This is an album which any rock fan should own.”

17 – Her Majesty – The Decemberists
Folk folk folk folk. There is nothing more in this album than good old fashioned folk. It's also an album that can make people feel happy. I really like it, but that's just me. It's better than The Crane Wife; it's better than Picaresque, and it's better than anything The Decemberists have put out ever. It is simply the best thing they've done.

16 – Humbug – The Arctic Monkeys
Everyone will wonder why this is the only Arctics album on here; well, it's because it is by far, their best; it's mature, it's gritty, and it sums up what I feel should be the progression of Indie. It should be a progression that follows the mood of the time; not always twee and proper, but also a bit of angstyness during those angst-filled years.

15 – The Earth is Not A Cold Dead Place – Explosions in the Sky
Explosions in the Sky are able to make music that requires no lyrics because its so grandiose in scale. This album epitomises their sound perfectly, and was mostly featured on the brilliant film 'Friday Night Lights', which should really feature on a list of “Films of the Decade” to be honest. Get it. Introduce yourself to Post-Rock in style.

14 – Frances the Mute – The Mars Volta
There's experimentalism and conceptual albums, and then there's this. This is Prog on a whole new level. Why does this need featuring? Because, if you've not heard this album, then you need to, because it is a whole other style of awesome; it's just amazing on another level. It takes some getting into, but, sit down, and go for it. It's the Harry Potter of all albums.

13 – I'm Wide Awake, It's Morning – Bright Eyes
The world of folk has been rocked by Conor Oberst for many a year, but, when he released I'm Wide Awake, It's Morning in the same year as he released Digital Ash, it was more of a shock than normal because both albums are bloody awesome; this one though, this one was the soundtrack of the decade for many a lovelorn teen.

12 – Relationship of Command – At the Drive-In
Gah. What is it with this album? It's better than Frances the Mute; but, it's also on a different scale for comparison. It's just the forefather of any Post-Hardcore which exists nowadays; if it was not for At The Drive-In, a lot of you emokids wouldn't even have your music. So respect, yo!

11 – Silent Alarm – Bloc Party
Yes. Yes. Yes! This ticks all the boxes; hits all the buttons; hell it ticks the buttons and punches the boxes. It's a bloody good album, and deservedly won them a Mercury Prize nomination. Shame it didn't win, because it's bloody good; it's amazing!

10 – Parachutes – Coldplay
Yes. It's the top 10! It is the final 10! Parachutes was the reason Coldplay hit a chord with all the kids. I mean, if you lived in the noughties, and weren't a child, you'd know all the words to Yellow; how to hum to Trouble. This is where the real music begins.

9 – Deja Entendu – Brand New
Another album that anyone worth their salt who spent some time in the noughties, at least if they spent time listening to rock, would know all the words to. This is not only their best album, but a brilliant piece of 'emo'/'punk'... Everyone should own this, just for the singalong moments.

8 – Youth – Matisyahu
What happens when you take a Hasidic Jew and introduce him to reggae? You get Matisyahu, a New Yorker with mad skillz who can rap over reggae beats, and show the passion he has for Yahweh in a sincere manner. The man is a genius, lyrically; a showman; and worthy of being in any Top 10 of this decade!

7 – Hold Your Colour – Pendulum
Drum and Bass hasn't exactly been something huge on this list. Obviously, we haven't had a decade of brilliant DnB; in the 90s, it would have been something different. Still, Hold Your Colour introduced a new generation of kids and kidettes to the world of Drum n Bass, and it was actually decent, rather than half-assed and not thought through. Nowhere near as lame-pop as In Silico, so it deserves to be mentioned, no?

6 – Come On And Feel The Illinoise – Sufjan Stevens
In the age of Twitter, we all tweet; and this is like birdsong to my ears. Sufjan Stevens's voice is so melodic; his songs are so beautiful; and yet, there's always an undercurrent to all of them. Illinoise is the album that everyone should have in their collection; and I've said that a lot in this, but, if you don't own this...I don't want to know you.

5 – Origin of Symmetry – Muse
Who knew that Muse would feature here? Obviously, it had to be done. They've not only changed the face of popular music, but they've also brought out one amazing album after another. Origin of Symmetry started that off, where they left behind the harder sound shown in some of the songs in Showbiz in favour of more melodic, operatic, and generally “prog rock”-ish songs. That move would be the best thing they ever did.

4 – The Flying Club Cup – Beirut
What strikes me as worthy of being in the top five in this album is just the sheer depth of storytelling. Sure, the Decemberists tell stories, but Zach Condon tells stories that mean something; he tells the tale from the point of view of the widow; and much of it is set around France, rather than Eastern Europe, a set of songs from his own experience and knowledge. Brilliant for humming and singing to, and worthy of hipster notoriety.

3 – A Rush of Blood to the Head – Coldplay
Do you remember that song which propelled Coldplay to international success? Clocks? Well, that was this album, and this was a strike of brilliance. It was pop, it was catchy, it was timeless; and Chris Martin didn't sound like the pretentious arse he sounds like now. This is Good Coldplay; this is pre-Sellout Coldplay. This is music.

2 – Absolution – Muse
Yes. Yes. Yes. Yes. One word: YES! In short, this album is an opera; it is not a rock opera, but a true opera of apocalyptic proportions. If, when the day comes, the world ends and it needs a soundtrack, I urge everyone to play Absolution as loudly as possible, with the hope that if we go out, we go out with a bang.

1 – Discovery – Daft Punk
For the world's most awesomest brilliantest album in the world in the last ten years...there are few words which can describe it. It's far too amazing to be brought down by the words I can't even come up with without the use of a dictionary. I recommend, however, not buying this album. I reckon, you should go out and buy Interstella 5555, which is the anime version of the album and settle in for the full audiovisual experience.
Without Daft Punk, this decade would not have seen the number of French electronica bands that crawled out of the woodwork in the last few years; we wouldn't have those songs which sample Daft Punk and sell more copies than the original; we wouldn't even have music. It's brilliance astounds me, and should astound you too. Love it; love it; love it!

Dashboard Confessional - Alter the Ending

2009-12-09T15:17:00.000Z

I'll be the first to admit I haven't picked up on anything that Chris Carrabba has done in the last four years. Apparently there have been three Dashboard Confessional albums since I last tuned in and paid attention to the epic whining bitch that is Dashboard, back in the day of black hair, black nails, and generally monochrome clothing. So, I decided to look into the latest album, when I was informed that there was one ironically floating around.

Alter the Ending is the 6th album that whiny bitches Dashboard Confessional have released in the last decade. Six in nine is a good number, especially when all the songs still sound exactly the same as the last time I listened to them. It's always that "Could be on a movie soundtrack where the whiny bitch gets dumped by his far-too-good-for-him girlfriend" kind of track, one after the other. I think Chris Carrabba sums it up, ironically, in his opening track: "I struggle so hard to believe"...and I do, I struggle to believe that someone can have this much angst bottled up inside them, when they're 34 and should be out working, or with their wife.

So, what can I say about this?

Is it a masterpiece? No. Not really. It's another slice of the same pie we've been force-fed by Carrabba since 2002.
What about the title track? Well, that's pretty lame; the opener is a stronger tune than the overly pretentious "post-hardcore" "Green Day wannabe" balls that's been thrown out with the name of Alter the Ending.
So, it's bad? No. I wouldn't say it's bad. I'd just say that it's been done to death. Carrabba is flogging a dead horse, with all the dead horses in the world. Sure, if you can stick 45 minutes of his bitching and moaning; or you're a 15 year old girl going through a tough break-up, it's alright. Passable, I believe is the word the Four Yorkshiremen would use - "Aye, passable that..."
Why are you skirting the issue? Isn't it obvious? I don't like this album, but I think it has its merits; in that, it poses a very good question - Do people still give a shit about Dashboard anymore? Oh, that, and the fact that I admittedly couldn't listen to it to the end. I'd actually prefer to have the Jo'Bros latest trash pumped directly into my brain while strapped to a chair a la Alex DeLarge.

And that's my five cents. Sure, it's not the best review ever, but, neither is it the best album ever. Sheesh.

5/10

Top Track: Until Morning

Che: Part One and Part Two

2009-11-20T18:02:00.000Z

It takes some balls to go from being a doctor to a revolutionary, but in the 50s and 60s one man took it upon himself to be the liberator of the Latin American world. At first it was all fun and games, and he was the self-styled hero of the Latino world, and then, the tables turned and his life was cut short, propelling him to a stardom rarely seen in revolutionary figures. That man was Ernesto 'Che' Guevara, and recently Steven Soderbergh took it upon himself to adapt Che's life into a feature-length film.

We've already seen The Motorcycle Diaries where Mexican heartthrob Gael Garcia Bernal took on the role of 'Che' during his travels across Latin America taking in the poor conditions in which the people lived and still live. That film opened my mind up to the Latin American identity, and, as a student of Spanish, it's something I should really have looked into sooner. Without going on too much of a tangent, one can say that this is perhaps the best place to start with 'Che'-related materials (whether it's reading the actual Motorcycle Diaries, or watching this adaptation).

Only four years passed between the release of that film, and this new Biopic which takes on the heavy task of portraying a part of the life of 'El Che' in which he became the 'romanticised' hero of the Latin American people and a cult figure amongst the rebellious youth. In a way, this is a hard task, because people already have their preconceived ideas of him, as the man who freed Cuba from oppression; as the person who was unjustly martyred for his cause.

What Soderbergh manages to cram into the space of these two films really sums up the life of Ernesto Guevara in a way which doesn't add to the myth of 'El Che'. It takes away the myth, and creates the man. Benicio del Toro's performance as the asthmatic, cautious Che who suddenly becomes embroiled in more than he probably should be, taking on too much of a Communist bent, and ultimately dying for his cause, is stellar. I actually felt as though I could have been watching the man himself.

What I don't marvel at however is the fact that in the first instalment, El Che is passionate about his cause but not to the point of insanity, whilst in the second one, he is almost on the verge of having a screw loose in the way he handles himself. I haven't really looked into his life, so I can't say whether this is artistic licensing on the part of the American Soderbergh, or whether Che genuinely took his cause far too seriously.

In all, it's worth watching. However, the film is, of course, in Spanish so there are a lot of subtitles to read. If you're into the whole Cult of El Che, then get watching it to fill out the gaps in your knowledge. If you're just after a film to sit down for the night to watch, skip it - while the first instalment is entertainment, the second one is far too deep and political for my liking.

Overall: 7/10 - It's no Motorcycle Diaries, but, I suppose you can't say "His life should have been less political and more entertaining for the big screen". A worthy contribution to the demystification of El Che.

Biffy Clyro - Only Revolutions

2009-11-18T17:42:00.000Z

As a long time Biffy Clyro fan, I've recently lost faith in the ability of the trio to create music that is true 'Biffy'. I fell in love with Blackened Sky, enjoyed Vertigo of Bliss, and spent many many weeks with Infinity Land on repeat. It was only after the release of Puzzle that I began to feel that they had lost their pizzazz. I'm ashamed to say that it hasn't returned in Only Revolutions.

After leaving Beggar's Banquet, and joining Warner Bros. it seems as though 'the Biffy' have lost it. Gone are the days of spit-and-sawdust; gone are the days of chugging riffs and walls of sound. Only pop-rock remains, in such a way that people are able to listen to 'the Biffy' from all walks of life - it's not something I disdain, I just feel like they've done the whole 'maturing' thing when they really didn't need to.

Anyway, enough of my personal opinions. On a more objective level, Only Revolutions provides something of a buffer from the old Biffy and provides people with an album that they can listen to without having to think that they're going to offend anyone in the room - there are no moments where I thought "I have to turn this down/off", there are just moments where it was good-natured, radio-friendly pop-rock...it's an album of hyphens, to be quite honest.

It's a far cry from the days of Jaggy Snake and I suppose, if it had to hark back to something, it's almost an album of Justboy-esque serenity. It's on a level where parents and children alike can feel like they're listening to music, and not listening to Simon Neil bashing out chords and tearing his voicebox apart.

However, it's not what I'd call a good album by previous Biffy standards. It's on a whole different plane, so it's unfair to say that it's not good; but, it's also unfair to say that it is good because it just slots into mediocrity. Personally, I'd tell you all that if you wanted to listen to Biffy Clyro to give this album a miss and go out and buy Infinity Land - turn it up, and enjoy the 'real' Biffy from a time when they didn't seem to care what people thought, and managed to produce music of a certain calibre that is actually hard to find today*.

Overall: 6/10 - It's pop. It's alright. It's nothing major. It just slots into that "rock" category that you find on the radio - Still, if you're not into all that thrashing about and being a tit, give this a go and you might at least pass yourself off as 'rock n roll'.

Top Track: That Golden Rule

*On a semi-related note, it seems the blame rests with Simon Neil, who, as a member of Marmaduke Duke, has also toned that band down immensely from their debut (and so far best) album. Shame.

Mumford and Sons - Sigh No More

2009-11-16T17:00:00.002Z

The rise in the popularity of folk-based groups and artistes has really been quite disconcerting lately. I suppose it started when people began to pay attention to Neutral Milk Hotel, when they became tossed around by every pretentious hipster (myself included) who wanted to out-indie their mates; that led to people checking out other indie-folk groups, like The Decemberists, and opened the doors for up-and-coming British artists like Laura Marling, Noah and the Whale, and the subjects of this review: Mumford and Sons.

Hailing from the same school-of-music as the aforementioned Ms Marling and Noah and the Whale, Mumford and Sons, headed by Marcus Mumford and three other like-minded musicians, has stormed the battlements of Radio One's dance-orientated listeners and won over the general youth demographic in the UK. It's something to generally be proud of, but, something that would normally put me off an artist.

I looked into these guys when I was introduced to them by a friend, with their first single Little Lion Man, and I wasn't really impressed by it. It was just another Noah and the Whale; a one-hit wonder as far as I was concerned. They weren't going to stand out. I was proved wrong, however, when Winter Winds took to the airwaves and made me think that maybe I should give these guys the credit they were owed.

Sigh No More is their debut album, having been on the shelves for just over a month (at the time of writing). In short, it's got the feel of a more polished Neutral Milk Hotel, with a hint of Paolo Nutini's catchy hooks, and the overwhelmingly cheery folksy angle mainly seen in albums from Zach Condon (of Beirut fame).

From the outset, it draws the listener in, enveloping them in guitars, drums, banjos, trumpets; walls of folksy-pop professionalism, if such a thing can exist. While I don't see them as having any real draw aside from their mish-mash of visible influences, I could see them maybe becoming a group who would genuinely make it into my annual "Top 10", just because the album fails to bore - it has those nuances of 'timelessness' found only in true pop, where a song or some songs can be played incessantly without killing the 'wow factor' buried in them.

All I feel that its missing is perhaps a sense of originality. I can see that it's good, but, as I've already pointed out, it really reeks of Neutral Milk Hotel and Paolo Nutini - of ballsy folk that is unashamedly pop. It lacks what I'd call a 'sense of self'; it's just an emulation of something that couldn't be done in Aeroplane Over The Sea, by putting it through far too much of a 'studio process'.

Overall: 7/10 - A good pop album, but, for me, it's just rehashing the works and styles of others; it's really worth getting, but it just fails to make me think "This is originality right here".

Top Track: Winter Winds

Frank Turner @ Cardiff University

2009-10-29T16:17:00.000Z

Folk Punk has always been something of a borderline genre. Parents can enjoy certain parts of it, based on their old love of Gram Parsons or Nick Drake; and kids can enjoy the edgy lyrics and the pure vitriol that is pumped into each song. Frank Turner was once at the forefront of folk-punk, but, lately, he's fallen into the trap of playing up to his genre.

Beans on Toast, the amazing one-man busker-cum-politico act from London opened for the half-full room with his overtly political set. It was all about the economy and the end of the world-as-we-know-it, but with his usual emotionally-uncharged, 40-a-day voice. It runs through the room like Molasses being poured through a blender; a sound you could love, and, the longer it goes on the more you're drawn in. All in all, though, he's the epitome of British folk-punk; it's three chords, one melody, and a political message. Well-played.

Fake Problems hail from Florida. It's a long way to bring their music, but, over the course of hopping the pond, they don't seem to have hopped any fences that haven't been hopped before. I struggled to enjoy this act; I think it was because everything they played sounded remarkably like every other indie act already out there. It wasn't as if it was terrible because of that, it's just, if you're opening for a fairly original artiste, at least try to be fairly original yourselves.

The main event; Frank Turner was greeted by cheers that in my years of seeing him perform, I have never heard. It's a total change of pace. I first saw him perform at a tiny Weekender called Collision Course, and he won me over; from then, I've seen him every time he's performed in Clwb Ifor Bach without fail. And every time I've been impressed beyond. Tonight, for the first time, I wasn't as moved.

Objectively, my review would be along the lines of: "Frank Turner is an amazing artist in this day and age where everyone wants to sing about life and love, with songs with catchy hooks. Everyone wants an artist who whips up the crowd. And everyone wants a bit of Middle-England performing to them in a semi-ironic fashion. He's grown up, he's come out of his shell, and he's playing to bigger venues; he is the capitalist musician's wet dream - ten out of ten".

But, this is my site, and I'm not paid to do any of this by any sponsor or patron, so, I can be as subjective and bastard-ish as I like. So, here goes:

Frank Turner is an amazing artist in this day and age, or, at least he was. He used to be all about the dream; all about the floors and the punk ethic, and everything that made him seem gritty and like a true riding-the-rails folk hero a la Johnny Cash. Instead, he's now one of those guys who plays to audiences who only know the singles rather than the albums; he's one of those guys whose front row was full of folks who loved the new singles, but didn't know anything much prior to the new album.

That's my main gripe. Yes, good for him for reaching such stardom. Good for him for moving up the ladder. Good for him. But, at least his fans could be half decent and if they truly 'loved' him as much as the older fans amongst us who have been coming for years; those who have been coming since he started playing acoustically; those who have been following since the Million Dead or Kneejerk days...

That's what ruined the night. I've gone to his gigs before, and the room has been a non-stop sing-a-long with everyone enjoying; with everyone on the same page. In this gig, there were periods of silence, and periods of blank faces. When 'Smiling at Strangers on Trains' was being played, the front row must have thought he was covering some punk band, and not playing his own, old, Million Dead material. I would internet-sigh if I wasn't just moaning out of my own pretentiousness.

I'll quit my moaning, and get to the score so you may all have your lives back:

Objectively - 8/10
Subjectively - 5/10

The Mountain Goats - The Life of the World To Come

2009-10-14T00:00:00.001+01:00

John Darnielle doesn't exactly spring to mind when we think of folk music. He doesn't exactly come to mind when we think of modern pop either; and yet the Mountain Goats are one of folk and pop's best kept secrets, whilst being one of the "hippest" bands to enjoy. With a career almost spanning 20 years, they have released a fair few albums meaning there will be no talk of "the curse of the third album" here; we're talking 17 studio albums in almost as many years. Let us dive in to The Life of the World to Come.

When I listen to something I like, I smile. When I listen to things I don't like, I usually switch them off and then write a scathing review about them in as many repetitive paragraphs about their worst features as I can find. The Mountain Goats actually made me smile ear to ear with their biblically-named songs. It's effectively how the Bible should have been written; I'd actually not be an agnostic if the Lord (whoever s/he may be) said "You know what. John Darnielle is writing the Holy Text of this religion".

It's not necessarily the most exciting album I've ever listened to, but, it's soothing. Under all the pomp and circumstance of naming your songs after verses of the bible, there's a sense of humility; of an actual sentimentality running through each song. But (and I'll even use a conjunction to start a sentence), that's what I expect from them; The Sunset Tree and the ever popular Pinklon, have gone on to prove that to me.

What's wrong with the album is that it's too good. I don't mean it's good in the 'polished' way, I mean, that not only is it good to begin with, but that it grows on you. If you're not singing 1 Samuel 15:23 by the time you're at your third listen, then you really don't like this album guys and gals. I suppose, like all albums, it can fade into mediocrity in the background after the first 5 or 6 songs. But, when it also seems to go on a downward spiral, emotionally, to the minor key of Ezekiel 7 and the Permanent Efficacy of Grace, it's no surprise that the latter half of the album pales in comparison to the up-tempo first half.

No surprises here. It's a good piece of work. It's worth a listen, at least.

Overall: 7/10 - I liked the start, a lot; but it just became deeper and darker, and eventually I just had to treat it as background music. However, it's a grower, so, in the end, you'll have your own choices of tracks which you connect with and/or enjoy.

Top Track: Psalms 40:2

Editors - In This Light and On This Evening

2009-10-12T17:40:00.001+01:00

To Whom It May Concern,

Tom Smith is a cunt.

Yours,
Alex.

Where do I begin with this album? Let's start with the cover art. It's been done. I have the sneaking suspicion that Editors are trying to revive the feel of late 70s and early 80s Post-Punk acts like Joy Division, Bauhaus and the New Romanticism of Duran Duran. It's not something that strikes me as innovative or thought provoking in this day and age; the cover actually looks like it should belong on the front of a dark Devo album; or maybe Marc and the Mambas previously released it. In short: while they seem to be revisiting the 80s, they're really just going by the handbook and not exploring off the beaten path.

Songwise, it's a lame duck. I've liked worse albums, to be fair; but, this one has all the aura of a now-dead-decade that's being brought back by all sorts of poncey, Indie Cindy groups like La Roux and Bloc Party. We don't need to rehash the old. We don't need another New Order, or the second coming of Peter Murphy. We need a new sound.

"New sound; this album is fresh off the presses," I hear you cry! "LIES!" I retort. You're not going to like this, but, Editors have basically become a forced New Order; a fairly crappy Devo. Where are the massive pianos; the all-encompassing sound of the underground is missing. I suppose, on the plus side, they can no longer be compared to Interpol. But, now the comparisons can be thrown at them thick and fast. They are no longer deserving of the crown they once held. No more shall I laud them. They've hit my radar of scepticism, and backed it up by saying "This is our third studio album" - welcome in The Curse ladies and gents.

5/10 - It might be a grower, but, for me, it's just half-assed synths that don't work with Tom's voice. I suppose one might even say that they've just lost it.

Top Track: Bricks and Mortar

Disney's Up

2009-10-09T17:00:00.001+01:00

Disney-Pixar are always releasing films that seem like good ideas. They always end up being overhyped, and overdressed, and really lack anything meaningful or awe-inspiring. They're just cash cows, hoovering up the metaphorical cud from the pockets of many a soccer-mom. The latest release to go through the whole phase of being Pixar'd is titled, quite simply, Up.

Up opens with the usual Pixar short. This time, it's titled Partly Cloudy. It's a silent short, much like the little old man short that appeared before Toy Story; it even had the same feel to it. The basis of it was just purely silly, to warm you up for the big feature. It was good, though. It deserves pride of place in the list of Pixar shorts, particularly for the animation of the baby Ram, which was so cute even I went "N'awwww!" Frankly, if this were a film, I'd have paid to see it.

Now onto the main feature! What can I say about it? It's the usual Pixar film. It opened in a way that actually hooked me. I wanted to know more about Carl Fredricksen; I wanted to know more about his desires, his losses; what made him tick. But, it suffered from far too many a Pixar cliché:

Love at first sight

Deranged villain with no real motives

Comedy sidekick who's only funny because he's tubby and possibly a bit retarded.

Too many little things to pick up on.

I think they're self-explanatory clichés. The first one is an industry standard, so I'll let it fly. The second one...well...the villian is this film's Stinky Pete; a curmudgeonly geezer with no real reason for anything. It doesn't ruin the film...it's just been done before. Where's the character depth (like the evil HAL-esque autopilot in Wall-E!). The third...well...Russell is Ham the Pig meets Rex. In fact, I think Up could have been told by using Ham, Rex and Slinky...and it would still have worked.

As for the little things. They're things that annoy me, but, when I catch them, they please me. There is a small picture in the 'Adventure Book' of Carl's deceased wife, as a child, with the words "I found a pigeon. He's called Herbert" (or something like that). You don't necessarily spot it unless you're looking for things. I suppose I'm being picky.

The storyline could have been a little bit more (or perhaps less) developed. In short: Old man promises his wife he'll take the house to Paradise Valley; Old man takes house to Paradise Valley; Old man has adventure versus a villainous poacher. Honestly, I would have been happier if the story had ended when he got to Paradise Valley, but, if the adventure to get there had been more 'James and the Giant Peach' and less 'Honey, I Shrunk the Kids'.

In all honesty: there was a lot of hype around this film. There have been people who have loved it; others who have slated it. What you have to remember when going into this film is: "It's for kids". Sure, Disney make films for all audiences, and there are no doubt references that adults will chuckle at more than the children will, but, on the whole, it's a kids' film, and for that, it comes out top so far.

Overall: 7/10 - Yes, it's cliché; yes, the storyline is a bit garbled; but I honestly think this classes up there with the likes of Wall-E, Ratatouille, A Bug's Life and Toy Story in the "Top 5 Pixar Films".

Air - Love 2

2009-10-07T16:30:00.004+01:00

France is always the first place to look for good lo-fi and electronica. The country has given us the wonders of haute-cuisine, two competing automotive companies, and a plethora of poptastic electro groups like Justice, Daft Punk, and Kavinsky. They all sound the same though, while Air are slightly different.

As their sixth studio album, Love 2 has little nuances crammed into it that make it just a little bit more than the average French electronica album; more than just another clone of the Daft Punk sound. Deep within its recesses are sounds that emanate and fizz, effervescently, inside your head. There is slight, ever so slight, discordance places; but, there is so much more than that.

Throughout the album, I knew I was listening to Air; though, not exactly the Air that brought us Sexy Boy. It was more like an Air that managed to morph its style, from a lo-fi-esque hum, to a Beck-esque performance. If you've ever picked up Beck's The Information, then, you'll get what I mean. It has all the qualities of a good album.

But, like all Air albums, its never been full of things to get you moving and grooving. It's like a Moby album; the songs are good in their own way, but, they don't get you feeling it. There are some, like Do The Joy, and Tropical Disease, that, in their own ways, made me bob my head like a Beatnik at a poetry recital, especially when the pan-pipes kicked in on the latter. For the most part though, every song sounds like it should have been on the Final Fantasy 8 soundtrack.

The only thing with this album that bugs me is that it's all peaks and troughs. It tends to happen a lot with Air, and similar bands (Moby, Beck, Menomena) where you get a good album, with some strong songs; but they're always interspersed with fairly lame, droning misery. Air have never really been the "pop-music for pop-music's sake" kind of band; and that shows in how they make each song speak for itself, not as a collective.

Confused? Take Daft Punk's seminal album: Discovery. It was one big concept, and it flowed. Take Justice's Cross. Again, it was conceptual and it flowed. Even Kavinsky's first EP flowed. With Love 2, it's more like jolts; peaks and troughs on the open ocean. You're along for the voyage, and the view is amazing; the sounds are also really good. But, you never know if the next wave is going to capsize your interests or not. All you can do with this album is pray that you can keep your head above water until some driftwood comes floating past to save you.

Overall: 6/10 - It's a good album. I cannot stress that enough. It's just not a collective feeling; it's more of a collection, of mini-albums.

Top Track: Tropical Disease

Monsters of Folk - Monsters of Folk

2009-10-05T10:00:00.001+01:00

I've never actually considered Conor Oberst to be a folky kind of guy; neither have I thought that about M. Ward, or Mike Mogis. Even Jim James, of My Morning Jacket, is far from folk. But, still, it's just a name, right guys? Right? I'm going in with an open mind, mainly because I always get prejudiced around any of Oberst's non-Bright Eyes projects: Desaparecidos is probably the closest I've come to liking an Oberst side-project. So, on with the show!

Despite the dodgy cover-art which makes Mike Mogis look very much like "Tony Robinson as Baldrick" from Blackadder fame, Monsters of Folk, the album, not the band, has left me reeling. In a good way.

The opening track, "Dear God (M.O.F.)" made me question the name 'Monsters of Folk', because, it was total false advertising. Then, just as I was set on saying "Screw this. It's going to be terrible," everything changed. It was like listening to a certain supergroup which came around 20 years ago; in fact, the entirety of the M.O.F. trademark seems to mirror the way in which said late 80s supergroup was. I am, of course, referring to the Traveling Wilburys.

This album has all the elements of a half-decent folk release, but, throws in moments of pure country rock folly. I can't quite put my finger on it, but, it's probably the bonhomie of each of the members which is shining through, and which makes me feel at ease with this. It's like that one-off conversation shared with Mike Mogis at a Bright Eyes gig; it's something special.

Under the twang of the guitar, and the awkward, strained vocals of Oberst, lies a niggling feeling that this is all for show; that, this is just to give Oberst and Mogis some time off from the Bright Eyes label, and yet still put out something in the vein of Cassadaga, with that homely, Cracker Barrel soundtrack. There's honestly nothing more to this album than good old fashioned 'grits and biscuits' Folk. And that's why I like it.

Overall: 8/10 - It's a supergroup alright. It's also a super album. All it needs is Nick Cave talking over Man Named Truth, and I'd give it a 9.

Top Track: Baby Boomer

Simon Bird @ Cardiff University

2009-10-02T16:04:00.000+01:00

What do you think of when I say "Papal Conclave"? You think of set-in-their-ways Cardinals; a cold church in Rome; some smoke; and a dead Pope. You don't think game shows, raucous laughter, and a young comic named Simon Bird. But, that's what happened on Tuesday night at Cardiff University's CF10...Simon Bird came to play, and came to find a potential anti-Pope.

Simon Bird's comedy-fest was opened by a strange man whose name actually escapes me. He was the compere, but I believe his name was Dan. He looked like the strange bastard-son of Boyd Clack (writer of High Hopes and Satellite City) and Huw Stephens (of Radio 1 fame). He was a pretty good compere, even if he did leave a lot of the audience stuck to their seats in fear of yet more audience participation!

Skipping out the opening act, who, in all honesty, isn't even worth mentioning (even the five minutes I stood next to him at the bar, he was no more noticeable or interesting than the fast-emptying fridge of Carlsberg, or the painfully stiff seats that had been laid out in make-shift rows), Simon Bird insisted on participation.

So, let's cut to the chase:

Was it funny? Possibly. I have no idea. I laughed, yes. Was I laughing with Simon Bird, at his witty little experimental, Catholicism-based "game-show", or was I laughing at the silly things he made people do in order to become "Pope" for the night? I think it might have been the latter - sure, he had some witty moments, like "Choose a Christian!" as a category, naming not only people like Christian Bale, Hans Christian Anderson, and Chris(tian) Rock, but also lesser-known Formula 3 Danish racer Christian Bakkerund (of all people).

Was it worth the money? Yes. I can't say that £6 to sit for two hours in a Students' Union building and watch a vaguely high-profile comedian, and two relative unknowns, was far too much. I'm paying less to see Steve Hall in December, but that's because he is relatively unknown to the majority of kids on the block. So, value for money there was.

Would I go and see him again? Not really. Given the chance, I'd like to know what the hell he plans on doing next time. Warwick S.U. had a lovely poster saying it was an Experimental Game Show, while Cardiff's S.U. just advertised him as Simon Bird (of The Inbetweeners) at the Comedy Club on Tuesday 29th September. He might be good doing stand-up; he might be good sticking to this; I just don't know if I found him terribly worth it all.

Overall: 6/10 - Good attempt, Simon. It wasn't my cup-of-tea, but I enjoyed, and so did everyone I went with. Well done.

Arch Enemy - The Root of All Evil

2009-09-30T16:02:00.000+01:00

Let's get this out of the way: Back when I was a little mall-goth, with the greasy blue-black hair, the overly tight coat (which I still own and occasionally wear for the hell of it), and the eclectic taste in metal, I had the biggest crushes on three frontwomen. One was Brody Dalle of The Distillers; one was Christina Scabbia of Lacuna Coil; and the other was Angela Gossow of Arch Enemy.
Now that it's out in the open, I can safely say: "I'm going to try and give an unbiased view into the latest Arch Enemy album, The Root of All Evil"

The last Arch Enemy album I listened to was Doomsday Machine back in 2005. Four years on, and one album missed, and I'm getting some re-education in Arch Enemy thanks to The Root of All Evil. I could consider this to be a compilation album, but, I'll be nice and consider it as a new one. Why? Basically, for those not in the know, R.O.A.E doesn't actually feature any new material, technically...

The new album is actually a collection of reworked Arch Enemy songs from the pre-Angela years, back when Johan Liiva was on vocals. I'd not actually listened to any pre-Angela albums, so I could honestly not tell you whether it was good or not. The only difference I managed to pick out was that Johan's vocals were totally the opposite to Angela's. He tends to be more at the symphonic-death end of the scale; while she's way up at the growling banshee end of the scale.

So, what do I think?

I can't say it's brilliant because that would mean I'd be claiming that all Arch Enemy albums before 2000 were brilliant; but, I can say that it's good. It's exactly what the originals were like (when I went away and gave them a listen), but the vocals were sharper, more gutteral, more 'extreme'. The songs had been given the Spinal Tap treatment; they'd started at a 10, and by putting in Angela, they've been turned up to 11 and been given a whole new lease of life.

There really isn't much more to say about this. It's worth it if you're a die-hard fan, or a newcomer who wants to get into the older stuff in an easier way...but, it's nothing amazingly special. It's just a filler album between Rise of the Tyrant and whatever they actually start composing next.

Overall: 7/10 - A new lease of life for some old tracks, bridging the gap between the Liiva years and the decade of Gossow.

Top Track: Demonic Science

Dizzee Rascal - Tongue N Cheek

2009-09-28T15:19:00.027+01:00

Some people think he's bonkers; he just thinks he's free. Honestly, is there anything crazy about him at all? I'm not quite sure. Since the Mercury Prize-winning success of Boy in da Corner, and his follow-ups Showtime and Maths + English, ol' Dizzee has been spending his time changing his image from the young prince of Grime to a hip, young popstar. Does he stand up to the test though?

Tongue'N'Cheek is Dizzee Rascal's fourth attempt at getting noticed by everyone in the world as the "next big thing". With the singles released from this one, he's managed to secure himself a position as one of the real 'popstars' of the decade. He may be hanging on to the tail-end of the 'noughties', but Bonkers and Dance Wiv Me were the real floor fillers of 2008 and 2009, so he got something right.

It's a shame that the rest of the album doesn't hold up to the pop brilliance of those songs. Even his latest single, Holiday, is a terrible attempt at trying to get things to swing in his favour. There are times when I'd like to enjoy the album though - Freaky Freaky is quite decent, and could probably have made it as a good single (if it wasn't nice and explicit).

The bit that gets me, though, is that despite his "selling out", Dizzee still puts out a few decent tunes, even if they are hidden on the album, never to see the light of day or to boost his pop career. He's nowhere near being a brilliant artiste, but, he's got some potential, if only he didn't try to ham it up to the pop world. I'd prefer to hear him playing with Ricky Rankin and The Bug with some real grime and dancehall artists, but, I suppose I can live with the tarnished gems that pop up like Freaky Freaky and Can't Tek No More.

It's far from brilliant, honestly, but he knows how to play the market - put the best pop out for the kids; keep the trash and the half-decent unreleasables on the album for the hardcore Dizzee fans.

Overall: 5/10 - I wasn't exactly sold. He's got his style, admittedly a changed one, but it's not in my agenda. It's decent, but, it's repetitive, and lacks the drive that he should have as a "household name".

Top Track: Freaky Freaky (but, for those who like their music SFW: Bonkers)

Times New Viking - Born Again Revisited

2009-09-25T17:00:00.002+01:00

Despite the humorous font-related name, this band are far from a laugh-riot. The only time I've chuckled at the same amount of noise was when the fat guy ran into a car whilst riding a quad-bike on You've Been Framed (for American readers: read 'America's Funniest Home Videos'). Either way, let's put our not-prejudiced heads on, and get reviewing!

There's lo-fi, and then there's lazy. I think Times New Viking fall into the second category. What they manage to do, in the space of 'Lo-Fi' makes you wonder if they're doing anything at all. It's more a case of "We'll put out some music, eh?" "Sure" "What do you want to play?" "I don't know. I'm sooo apathetic" "Mary had a little lamb?" "APATHY!"

I have just suffered from an apathy overload. My shoulders are actually starting to slouch even more than normal; my eyes are drooping; and my brain is shutting down. This is infectious apathy. It's bordering on noise-rock, or maybe even noise-pop; but, even Lightning Bolt and the Mae Shi, or HEALTH do half-decent tunes when they noise-rock it up. This...this is just...indescribably poor.

It's rambling, shambling, and a poor excuse for the punk ethic. Even John Lydon actually tried to sing some form of melody when he opened his mouth, not mumble. I know the words are "God save the Queen! Her fascist regime!"...not "Argle bargle swee. Jumble mumble flee!" Even when Lightning Bolt sing through a sock, it sounds better than this. In fact, at this point, I'm considering putting on some Lightning Bolt just to make me feel like I've listened to something good.

I can't go on. It's the apathy. It's the music (or lack of it). It's not polished. It's not punk. It's just three kids in a garage with an 8-track and some instruments. Try again next time, guys and gals.

Overall: 2/10 - Punk ethic? Maybe. But even if Punk would vomit over the shoes of Times New Viking, it wouldn't make them any more respectable a band. Honestly: AVOID AVOID!

Brand New - Daisy

2009-09-23T09:00:00.002+01:00

A long time ago, a friend handed me a copy of an album called Deja Entendu and I was hooked on Brand New. Then, I went back and listened to Your Favourite Weapon. I thought they were amazing. Along came The Devil and God are Raging Inside Me, and despite what people say, I couldn't see anything in it. So, with an open mind, I'm round to reviewing their latest album, Daisy.

On first listen, Jesse Lacey was right when he told Kerrang! magazine:

"We were thinking a lot more about what we'd want to play when we were up onstage rather than actually what you'd want to hear on a record"

There were times when I thought "This is a shoegaze album"; there were others where I had to check if I hadn't put 'shuffle' on and ended up with Modest Mouse instead. It's not what you expect from Brand New if you're only just picking up Deja Entendu, but, it's a definite progression along the line they've already been taking. It's 'punk', because they're playing for their own benefit, not the benefit of the fans.

They start off rocky, but, once you get into the mindset that "This album is not for me. It is for them to enjoy playing". Once you're there, it's actually not a bad album. It's got those elements that a lot of people will turn their noses up at, whether it's the shoegaze stylings of 'Bed', or the punky 'Gasoline'. But, doesn't any album.

My only other thought on this many-faceted obelisk in the middle of the desert of 'half-decent-bands-that-should-be-featured-on-EmoGame' is that I like it, but I don't. And I feel pressured, by the mass media (i.e Kerrang! and RockSound) to mark it highly, because it does exactly what it says on the tin, and offers no qualms about putting music on there that Brand New would enjoy.

But, having said that (and started my sentence with a conjunction), I'd feel like I wasn't doing my unpaid, unbaised, 'for the public' job, if I walked away from this album giving it a score that was higher than it warranted. It's got promise. But it's a disjointed promise, like the crooked smile on the crooked man when he sees the crooked house is actually less crooked than he hoped. It's not quite right. It's just...a mixtape.

Overall: 5/10 - I've given it a listen; I've enjoyed roughly half of it. So, the average Brand New fan might enjoy roughly a third of it. It's just an album. It is not the messiah; it's a very naughty boy.

Top Track; Gasoline

Porcupine Tree - The Incident

2009-09-21T09:00:00.029+01:00

Hemel Hempstead isn't exactly a place that pops up in everyday conversation. Sure, it had its fifteen minutes of fame with that oil terminal fire in '05, but, nobody really looks at it beyond its position as another dot on an A-road in England. That will always be the case...until people give Porcupine Tree's latest aural extravaganza a chance.

Despite the pretentious titles, (which can be forgiven because it's Prog-Rock), Porcupine Tree's latest foray into the field of popular music, titled The Incident, is far from being stuck-up Prog. In fact, in places it lends itself to be quite poppy. I could forgive anyone for mistaking Drawing the Line for the works of a good pop/rock group.

However, let's not do a song-by-song rundown of the good, the bad, and the ugly on this album. Let's take it as a whole, because each song on Disc 1 is an extension of "The Incident" as a whole.

It's a two disc-er, and it's a world apart from Fear of a Blank Planet or Deadwing, but yet it's still the same old Porcupine Tree. Sure, they tried to update, to change the sound; to become fresher. In spite of all of that, I still hear the same old, tried and tested sound of Porcupine Tree, even under the lines "I was born in '67, the year of Sergeant Pepper...". It's got moments of melodic, almost post-rock vibes in it - not quite Friends of Dean Martinez, but on the same wavelength; and that shows great promise in such a long album, where songs need their long breaks to be captivating.

All of that aside, I'm not a true prog fan. I can barely suffer the dreads of symphonic metal or funeral-sludge rock. I can't even hack a Merzbow album, so, for me, a 2 disc-er that fits the first hour on the one disc, and the rest on another, just screams "NO! Put her down! Don't do it!" However, I have always been pleasantly surprised with Porcupine Tree. They have a sound that I never seem to be able to encapsulate. They're pop, but not; rock, but not quite mainstream; prog, but without the pretences. They're a reason for me to drop all this genre nonsense, and in doing so, say

Go ahead. Listen to what you want, because I'm going to review anything, regardless of genre. Thank you, Porcupine Tree for the inspiration.

Overall: 7/10 - It's a good album. It's got a few kinks in it that are probably accentuated by my own innate biases; but, I suppose it's one for all the younger metal fans to branch out with.

Top Track: The Blind House (Honorable mention to Time Flies)

Inglorious Basterds

2009-09-18T10:00:00.027+01:00

Quentin Tarantino is well known in the movie world for his b-movie style, pulp novella, bloodfests on the big screen. If there isn't a head coming off, or a gun being fired a ridiculous amount of times, it's not worth his time writing it. This summer saw the release of his historically questionable gore-fest titled Inglorious Basterds [sic].

The film opens in a not-so-traditional fashion, with the acting credits given at the start. It's actually brilliant in the way it 'fits the era' as it were. Some of the casting also gives you pause for thought - Mike Myers? In a Tarantino film? What? - I'll get to that later though. In all, this 2 hour romp through the Third Reich is split into five chapters - one setting the scene for the antagonist, Hans Landa, and lesser protagonist, Shoshanna Dreyfuss; two on the Basterds; and two on Shoshanna Dreyfuss.

While it's a good film, it's disjointed. It's true it flows chronologically, but, it jumps during the chapters and can sometimes feel like there are totally different, non-intertwined stories going on, especially in the jump from Chapter 1 to Chapter 2. That's merely my point of view, but, for others, it might have worked. Admittedly, it is better in its cuts and jumps than Kill Bill.

Gore-wise, Tarantino held back a lot in the first hour or so. Sure, Nazis were bludgeoned to death, and scalped, and Jews were killed...but nothing huge happened until Chapter 4, Operation Kino, and even then, there was half an hour of a game of "Who am I?" played out by Nazi officers before there was any hint of there being a gun in the room. The ensuing bravado and folly was actually laughably good - it was true Tarantino - 'If someone pulls a gun, everyone pulls a gun; if someone pulls a trigger, the entire room goes up!'

Historically, it was never going to be a true story. Tarantino basically rewrote the war. And then tore it up, and rewrote it again. Sure, the Allies won; then he killed off Hitler himself; then he just tore up the rules and said "Screw it. Let's have the Jews do it." And that's how everything went off. The American involvement was a complete success - the Pearl Harbour of Tarantino's career (i.e. a rewrite); the British involvement was laughable, so much so, they put Mike Myers as our highest general in the land. Comedy gold? Sort of. All I could think was "My God, Austin Powers really let himself go before the 60s..."

The real star of the show though has to have been Christoph Waltz. He not only spoke fluent French, Italian and German; he acted the part down to a tee. I could have actually believed that he was an SS officer; I could have believed he loved what he did. There wasn't a flaw in his acting; same for Eli Roth and Melanie Laurent. Brad Pitt though? Hm. Bit much, I think. Especially that horrible Yankee-doodle-dandy drawl he had going. Maybe not my cup of tea in this sort of film.

But, when it comes down to it. It was a decent film. I went for blood, gore, and Nazi-bashing; and that's what I got. Admittedly there was very little of it, considering it's a Tarantino flick, but, I suppose he couldn't destroy all of Nazi-occupied France in a single movie, could he?

Overall: 6/10 - On reflection, it's a good film. But, it really drags in places. A whole chapter in German, on a game of "Who am I?" and who has the worst German accent...I actually considered walking out until a gun was pulled. Still - it's alright, maybe even worth the DVD extras.

Muse - The Resistance

2009-09-16T09:00:00.000+01:00

Long known as the prog-rock virtuosos of the new generation; the Genesis and Iron Butterfly of their time; Muse have risen to prominence from the little band from Teignmouth to stadium rock artistes in their own right. It only serves to follow that, on the cusp of the decades end, they should release an album that harks back to their younger days.

The Resistance has been compared by many as being akin to Absolution, which was the defining Muse album; the one which won over a lot of people, of all ages and backgrounds. I am no different; I will cow-tow to the pressure and say that this album is Absolution, but it is also its own album.

There are elements of stadium rock virtuoso playing, and there are elements of the quirkiness found on B-sides and other Muse songs that don't make the 'main' albums. It's not quite rock; it's not quite prog. It's not quite anything I can put my thumb on. I've got images of Queen, of Genesis, of the glamour and glitz of the big 80s stadium rockers, and all of that is only heightened when I think "It's Muse..."

Long have I been a Muse fan, so it's probably my own innate prejudices coming through when I say that I like this album. But, I don't love it. I should love it, but, it isn't what I'm after. I'm after grand, pomp and circumstance; what I get is sensationalist propaganda-rock. I suppose it's to be expected; rock of this magnitude can't be filtered down through the layers of copper into a disc form, and still be expected to blow me away.

And then, when I wrote all of that, I remembered the brilliance that was Unnatural Selection, which had me bobbing my head and actually enjoying the pop-rock in it. In fact, the latter half of the album just thronged with stadium-sized pop-rock; it was a brilliant finish. And that's all I want - a hard hitter, that can throw its punches.

Overall: 9/10 - there are some songs I suppose I didn't like personally, but, it could honestly be a grower; and every Muse...or just rock...fan should own this album. It should have pride of place in their dusty record collection.

Top Track Unnatural Selection

Most Serene Republic - ...And The Ever Expanding Universe

2009-09-14T10:03:00.001+01:00

Dream Pop has always intrigued me, and the dreamiest dream pop has always come from The Most Serene Republic, a band I once caught on Kerrang! TV early one morning playing their awesomely orchestrated hit “The Men Who Live Upstairs”. I had a gap in my schedule, to tie me over for the weekend of my big move to Cardiff, and this is what I was met with – reviewing The Most Serene Republic's new album (by new, I mean it's one I hadn't heard and was released in July...).

The dreamiest sounds emanate from this album, but then again so do the less dreamy sounds; there are tunes that make me think of dream pop, and tunes that make me think it's more of a nightmare. The opener partially sold me on the album, but, then I was kicked in the teeth by the second song; I mean, it's all 'quality', but, it's like putting The Horrors on the same album as The Arctic Monkeys because they're both playing “dark indie” nowadays. It works, only on a superficial level.

Maybe I'm just being overzealous in my reviewing of this. Maybe I'm just a bit tired after arranging an entire room all day, and I'm writing this in an effort to get it done before the internet gets installed tomorrow morning. In short: I am writing because I have nothing else to do. I could drink water, or heat up a hot-pot, but, instead, writing is there to fill the gap.

We've got to look at the glaring problems in this album before we can go on:

Compared to Population and Underwater Cinematographer, it just becomes droning pop; it lacks the real angst to become shoegaze, but, it also lacks the saccharine sweet sounds to make it dreamy. This is the 'dreaded third album'.
Instrumentally, it's got more discordance than the prior albums. It's just not showing a growth from them that I should have expected; it's really just 'another album', rather than being 'a step forward'.
It's not a grower. If you don't like it, you will not come back to it. You will never come back to it.

I'm a fan of this band. Let me be straight up with you – I am a fan, a big fan, I love listening to The Most Serene Republic; I swoon whenever I hear Population. But this...this is not The Most Serene Republic. This is some band using the name; either that or I must genuinely accept that they are indeed failing to impress me as they should. I don't even see glimmers in this album; I see no redeeming qualities; I see just discordant music, for people who want to complete a collection.

Overall: 3/10 – I'm far from impressed; I've heard them do so much better; and this may as well be a live album for all I care. Not good; not a grower; just plain.

Top Track: Bubble Reputation

Dorian Gray

2009-09-11T08:00:00.005+01:00

He is every young man's dream, and every pleasure-seeker's nightmare; he is what old men seek out, and what loveless women cling to; the reflection of a bible in a blood-stained knife; the pawprint of a fox by a chicken-coop. He is Oscar Wilde's finest creation, a man ahead of his time - living in the 21st century, while stuck in the 19th.

The Picture of Dorian Gray was first published in 1890, and revised in 1891, by Oscar Wilde, who had already written a few plays and short stories by this time. It's subject matter was controversial, espousing a philosophy of 'new hedonism' - everyone must fulfil their desires, as the only things in life worth a damn are passion and fulfilment - but, it also kills off the lead by driving him insane with the way he literally sees the changes of his soul within the painting.

The film, based loosely on the novel, is a cinematic romp that doesn't necessarily have to be watched by those who have read Wilde's original. While it sticks to the framework, and some key areas are explored, it's been updated for the bloody and sex-hungry modern audience. Basil Hallward still dies, as in the book; but Alan Campbell is now working for Broadmoor Hospital, not as a chemist who disposes of the body. Sybil Vane still commits suicide, but doesn't overdose; she dies like Ophelia, whom she is seen playing early on in the theatre. Dorian's portrait still ages and withers, but it acts less as a portrait of his soul, and more of a healing factor, taking away his wounds, when he should already be dead...

On the acting side of things, I had few problems: Colin Firth played a largely bastardised version of Henry Wotton, who, far from being the little influence on Dorian in the novel, is now a fullblown hellraiser in London; but he played him believably. Ben Chaplin managed to get into Basil Hallward's mindset, of the man who is involved but never wants to be; of the conscience; and he brought the character to life. Credit where credit is due must also go to Rebecca Hall for Emily Wotton, a character not seen in the original novel, but brought in to make even more twists for the audience; at least she could act.

Which is not what could be said for Rachel Hurd-Wood, playing Sibyl Vane. Her expressions and mannerisms were so wooden, I may as well have watched a mannequin, or a ventriloquist's dummy, for the short space of time she was on screen. If there was any passion in the part of Sibyl, it was really left on the page. Even Johnny Harris' James Vane wasn't that good; he was acting on film as though it were for TV. He didn't seem deranged; he seemed like he was hoping for the cut to the next scene whenever he welled-up with tears...

But the real star of the show had to be Ben Barnes. His mood swings; his timing; his impeccable 'good looks'. He fit the role of the impetuous young Dorian perfectly. If I hadn't sat there with my reviewer's head on, thinking "This is a film. It is an alright film", I think I could possibly believe that I was looking at Dorian Gray himself in Ben Barnes. There were no flaws I could pick up on; he had it all.

Whoever wrote the script, though, needs a pat on the back and a slap 'round the head. It was a stroke of genius to send Dorian off for 25 years, long enough for Lord Henry to have a daughter; a love interest with a twist; and 25 years is long enough for the others to visibly age dramatically, and for times to change politically and socially; and Dorian ends up standing out like a sore thumb.
However, writing in a sex scene on every page makes it less 1891, and more 1991. We're not watching "Ron Jeremy's Finest Orgies" here, we're watching Dorian Gray. But, that's only minor. What did tickle me in the plot is James Vane's untimely demise - without giving away too much, let's just say "Think Final Destination, and then set it around 1915..." - sadly, I was amongst only 5 people in a packed cinema to chuckle at that scene.

Overall, what we're looking at isn't an adaptation of Dorian Gray that is to the letter; we're looking at an adaptation of the backbone of Dorian Gray; of the basics. If Oscar Wilde was alive, who knows how he'd take it. I'd like to think part of him would enjoy it, watching his character debauch himself in sex, drugs, and boxing; but, I also thought that with all the additions made to it, perhaps old Oscar is pirouetting in his grave...

Overall: 8/10 - It's a film, for a modern audience, and it ticks all the boxes. It was never going to be a straight adaptation; so, we have to live with what is 'entertaining' these days.

Rodrigo y Gabriela - 11:11

2009-09-09T11:11:00.000+01:00

Heavy metal and the Spanish classical style of playing rarely mix. I don't think I can name another band who actually play anything near to this style. Rodrigo y Gabriela, on the other hand, are at the forefront of what they do. And what they do - they do very well indeed. Monday saw the release of their third studio album, and their first non-live release since their eponymous album shot them onto many of our radars three years ago.

Rodrigo y Gabriela, the Mexican duo living in Dublin, are still stuck on their instrumental trail with the release of 11:11. The track-names are based around the imagery of the cosmos, in a more religious than scientific sense. Logos - the source of the Universe; Savitri - a Hindu Sun God; Atman - the soul, in Hindu religion.

Though it lacks in the vocalisation to add infinitely to the meaning behind the names of the tracks, it does create a sense of order within organised chaos. Take the track Hora Zero, in which there almost seems to be a fight for supremacy going on between the two guitars, but, then they fuse back into oneness, and the song becomes a harmonic journey that just shows off the skill of the duo.

Most of the songs rarely stray from their usual style, seen numerous times on Foc or Rodrigo y Gabriela, of classical guitars playing in a fast, flamenco-style. Even the songs where they have special guests, like Alex Skolnick (formerly of Testament) or Strunz and Farah, didn't actually sound much different to what they usually put out - sure, Skolknick's guitar is noticeable in the last 2 minutes of Atman, but, beyond that, I wouldn't have questioned the album had these 'guests' not appeared.

I suppose, as a fan of world music, I find it easy to get into this sort of stuff. I find it enjoyable to just sit back and let the music wash over me, in a way which only world music can. However, I always seem to find that Rodrigo y Gabriela have something a little bit more welcoming in their music than, say, Kenyan benga, or the Bedouin tishoumaren style. They have such a way with their instruments, something unseen in British society in particular, that even those who aren't interested in flamenco or world music are drawn like moths to a very talented flame. And that's all you need to succeed in this world - talent, which this pair have by the barrel-load.

Overall: 8/10 - It's a repetition of a style they've become very pigeonholed into. While I think it's good, I'd like to see more from them.

Top Track - Hora Zero

Editorial: Speech Debelle wins the Mercury Prize

2009-09-09T10:21:00.000+01:00

It's not something I didn't see coming, but, it was still a slight shock when Speech Debelle's Speech Therapy took the Barclaycard Mercury Prize last night. The bookies had Florence and the Machine down to win it, and, I'd probably have put money on them, if their radio hype had played any part in it. Instead, there was a deserving winner for once.

I don't mean that in a contrived way. If you look at the winners of the Mercury Prize since it's inception, most of the bands have been over-hyped by the radio or the NME. A lot of the time, the artist is part of the 'big thing' that's going on in the music scene (Primal Scream, Pulp, Klaxons, Arctic Monkeys, Franz Ferdinand...to name but a few); and then you get those 'out of the blue' wins like Talvin Singh or Miss Dynamite, which seem to shake the foundations of the system.

Speech Debelle, however...she's something else. She stated she wanted to make music after seeing Miss Dynamite win the Mercury Prize in 2002; but, it would be wrong to compare this girl with Miss Dynamite. Speech, and her band The Therapists, have, in my eyes, a sense of passion; of heart, that isn't found in the other shortlisted artists - Florence? That's just music, terrible music; The Horrors make angsty goth-pop; La Roux makes catchy electro; none of them make impassioned beat-poems to music.

And while this was meant to be straight-faced music news, it's become more of an editorial. I look forward to seeing who gets lined up for the next attempt at snatching the Mercury Prize. Maybe it'll be the same-old, same-old way of judging; or maybe the winner will shake the system a little. Or maybe, just maybe, the winner will be someone who deserves it, like Speech.

Frank Turner - Poetry of the Deed

2009-09-07T14:27:00.000+01:00

Every generation has a folk hero; a troubadour with a guitar and a message. Johnny Cash springs to mind immediately; so too do the bluesmen like Muddy Waters. For a moment, I would possibly consider Frank Turner. His numerous acts, from Kneejerk, through Million Dead, to his current solo incarnation, have always brought me some form of cheer, and always been on top of their game.

Poetry of the Deed is the third instalment from the musical freight-train that is Frank Turner. I'd always expected another folk-punk album, witty, scathing even. What I got was an album that I sensed would end up being a 'grower', but, on first listen wasn't having any real effect on me. Usually, I'd get a wry smile out of some song, but, it's all oomph and no pizzazz.

The title-track is far from inspiring, coming across as middle of the road pop-folk-punk rock. It's almost as if, on finding out that Radio 1 love him, he's changed his tune, and stepped things up a key or two, to be 'radio friendly' and branch out to the kids. I'm not calling him a sell-out, it just lacks the passion that the other albums (and EPs) have been packed with. It's music for the sake of music.

There are some instances where I can feel that a song is going to become a hit with me (The Fastest Way Back Home, Sunday Nights), but, these are outweighed by the songs drowned in electric guitar. These glimmers almost show that Frank is still there, and maybe it's just the production that's bad; maybe it's just the choice of songs, and the single B-sides might be better.

On a plus, though it starts like a lame horse out of the gates, it really picks up speed and gallops to victory at the end. It feels more like a Frank Turner production once the initial fences are jumped. Once the horror that is The Road was out of the way, the album opened up and became a real work of art. But, that's not the way albums should be - they should grab you at the start, when it matters, and hold onto you. And for that reason, I think a lot of older fans might be initially disappointed with the quality (unless they're unconditionally in love with him).

Overall: 6/10 - I was harsh with Datarock, and in the spirit of equality, I have to be equally as harsh with this. It's just not what it should be, but it does have moments of pure genius.

Top Track: Our Lady of the Campfires

Arctic Monkeys - Humbug

2009-09-04T11:22:00.003+01:00

I'll be the first to admit I've never been a fan of the Arctic Monkeys. I bet that they possibly look good on a dancefloor, or even a stage; wherever they choose to peddle their musical wares. I was initially sceptical about reviewing this album, basing everything on what I knew of the Monkeys before now - they were an Indie band who were praised for being brilliant when I couldn't see that brilliance.

I was blind, but now I see!

Humbug ties it all up nicely. It's dark, it's mature, it's a middle ground between Alex Turner's side-project The Last Shadow Puppets, and the Monkeys' own albums. It shows that the Monkeys have grown up; they've found their feet, and their talents; and they're going to stand firmly on one, and use the other to wow people.

I'm always wary of third albums, because they always seem to be a hurdle a lot of bands can't traverse. Aiding the Arctics on this journey in the Americas was James Ford, who produced Age of the Understatement for the Last Shadow Puppets, and veritable God amongst the alt-rockers Josh Homme (whose influences can't exactly be ignored on the fuzzy basslines in this epic).

So what can I say about this album, aside from what's already been said? I really have no idea. It wowed me; knocked me back into my seat when I was least expecting it. I honestly thought that the best I was going to get from this was another set of catchy one-hit-wonders that would fill the dancefloor with inane skanking skanks for years to come.

Oh no. This is something more. This is some dark beast lying in wait in the forests of your mind, purring slowly as you walk past, and then pulling out all the stops to make you stand and watch. Think of this album as the Arctic Monkeys' Cheshire Cat - it's a big grinning thing, full of confidence and swagger, and if you try to turn away, you end up turning back to it.

For a person who always thought of the Monkeys as mediocre, this is pleasantly surprising, and I really struggle to find anything wrong with it. Honestly. As much as I want to. There's nothing there. Nothing at all. Not even a note out of place; a bit of annoying discordance, or even a song I hated. What's up with that!?

Overall: 10/10 - A rare gem in this wasteland of half-assed albums.

Top Track: Pretty Visitors

The Dead Weather - Horehound

2009-09-03T09:07:00.001+01:00

Jack White, the man, the enigma, the musical impresario, returns to the fray in his latest outfit, (or should I term it a disguise?), The Dead Weather. This is a four-piece 'supergroup' featuring Alison Mosshart of The Kills, Dean Fertita of Queens of the Stone Age, Jack Lawrence formerly of The Raconteurs, and Mr White himself. A few months ago, they put out their debut album.

The Dead Weather's debut album, Horehound, has been floating around since the middle of July. They caught my eye when their not-so-secret show at Glastonbury was aired on the BBC. I liked what I could make out, but, it hadn't sold me. I knew I'd have to come back later for more.

Listening to Horehound, you really pick up a certain vibe. It's bluesy, and raw. It's like moody country blues; like Nick Cave trying to kick his way out from under a pile of Les Paul guitars while the lights are turned off. It's got something visceral about it, but, then again, something homely and naive that draws you in.

Already there have been two singles. The first really struck me as being of 'single' quality, and yet, I was surprised to learn it hadn't charted. Only later would I find out that it had been released way before the Dead Weather were really known in 'big' circles. The second single seemed very reminiscent of The White Stripes' Blue Orchid, and dragged me into the web it was spinning.

Even Bob Dylan wasn't left untouched by these new angry bluesmen. His bluesy '78 tune New Pony features on the debut too, and the band took no qualms in making it their own. It took a few seconds for me to pick up that it was the Bob Dylan track I was waiting for, and not just another dark piece of Jack White's lyrical mind. It really worked - it didn't break up the album, and yet it didn't ruin the original in any way either.

On the downside, well, what can I say? I suppose if I have to go digging for bad things, I could be picky and say "It didn't end on a strong note", but then most albums don't. I could be foolish and say "I'm not too sure about 'I Cut Like a Buffalo' because of the crossed vocals between Mosshart and White"...but in reality, I don't have any qualms with this. It really is what one should expect from a veteran of the alt-rock scene like Jack White.

Overall: 9/10 - It's a good debut, a really good debut. It sounds amazing and gritty, and has all I want in an album. But I don't expect anything less from Jack White.

Top Track 3 Birds

Datarock - Red

2009-09-02T13:02:00.004+01:00

I know, I'm out of the loop on this one. Norwegian electro duo Datarock have had an album out since July, and, well, I'm getting round to it nearly two months after everyone else. So, is it worth it?

By my standards, Datarock have created an album that reeks of 'pleasing the masses'. It's managed to fit itself into the "raging popularity" niche that is electropop. What hits me, though, is that it's not good electropop. I'm talking the standards of La Roux, or The Faint; I'm talking Calvin Harris, or even Devo! But this is far off the mark.

It's got some catchy hooklines, and yet, it fails to capitalise on them by just ignoring the potential of the song for some inane lyrics which make me think that the words were pulled out of the dictionary and stapled together by a blind illiterate. It's really a shame, because behind the lack of catchy lyrics, there is some really catchy music.

It's also a shame that the choice of first single, Give It Up, just bypassed my ears and my brain. I didn't even register it as being a worthwhile song. It was just far too staged and lacked any kind of meaning to it being:
a) on the album.
b) in existence.

However, overlooking these little hiccups in the way the artist tried to put together an album, I find that it's only a little off the mark. Certain songs are just terrible (Give It Up, The Pretender), while other songs show that there is a lightbulb on, and someone may just be at home (The Blog, Fear of Death). They show glimmers of talent within their field, talent that could have rivalled The Presets' first album, one of my favourite electropop albums.

So, while I may have initially slated it, I do feel that there is something...even if it is so minute and small...there is something there, something that could have made this album stunning. But, like all artists, there must always be one who gets it right, and one who just falls short. And, unluckily for Datarock, they just fell short of the mark.

Overall: 5/10 - Some glimmers of hope in this album, but, it just doesn't have that pizzazz to put it up there with the best of the World, or even European, electro scene.

Top Track: The Blog

Mew - No More Stories

2009-09-01T10:47:00.003+01:00

Denmark. Home to such visionaries as Hans Christian Anderson, Soren Kierkegaard, and Lars von Trier; the fictional home of Beowulf and Hamlet, it has brought the music world some strange collectives like Aqua and Efterklang. It's also the home of today's review subjects: Mew.

No More Stories... is the fifth studio album from the Danish trio, and comes across with a dream pop sound akin to Canada's Most Serene Republic, glazed over with a regular indie-pop vibe. So far, less than a week after being released in the US and UK, it's been met with critical acclaim from almost everyone who's picked up a copy and listened in.

I'm likely to agree with them. It's an album thronging with marshmallowy-soft rock, and at the same time, it's got that dreamy vibe that takes it beyond the level of 'radio friendly' and into the realms of aural sex.

While their choice of first single didn't hit me as anything special, when compared to their previous single The Zookeeper's Boy (from And The Glass Handed Kites), the album has that feeling to it that if you tore out one piece, it wouldn't be an album.

It's built so intricately, and yet so delicately, that it's almost like cotton candy. It sounds like one false note, one strand out of line, would ruin the mystique of such music, but, at the same time, it sounds far too good to want to even question that a note is out of line. It's bubblegum sweet, and yet has a sherbet tang that keeps you on edge as you listen.

On the downside, it's dream pop. Personally, I'm a lover of dream pop and shoegaze, and can't say a bad word about either. But, dream pop and shoegaze aren't the easiest things to enjoy. This is an album I can sit and enjoy, and not need to analyse lyrically or musically. However, like all dream pop, it can get monotonous and songs can begin to blend if you're not into it - and then, that whole cotton candy intricacy melts away and just becomes sickly.

Overall: 8/10 - It's essentially a good album, with moments of pure brilliance shining through. But, it still has so much more it can give before it becomes a purely brilliant album.

Top Track: Cartoons and Macramé Wounds

Funeral for a Friend - Wrench [Single]

2009-08-31T19:35:00.001+01:00

It's been some time since I've given these Welsh boys any guarantee of my listening to them. With a new single out, after two fairly mediocre albums, I figured I'd take a minute out of my hectic schedule to see what sound they were aiming for on whatever they put out as an album next.

I would be lying if I said I didn't recoil in horror at the first two bars, which didn't exactly sound too harmonious. But, after that point, things began to take shape...and I wondered what was going on with this song. On the one hand, it worked like a This Is Menace track, and on the other hand, it worked like any kind of scene-kid-bothering pop rock.

I grew up listening to these guys. They were the songs of my formative years, sitting around with Between Order and Model, Casually Dressed and Deep in Conversation, or Hours, blasting from speakers; queuing up from 9am on a freezing morning to get a "Hi" and a signature from the band. And then, they just lost it and became all 'mature'.

While this is almost a step back to the 'good old days', I think it'll take a lot more to win back the fans who decided that "Grown up FFAF" wasn't what they wanted to hear.

But, on the laughable side, in hunting for a video to put up for the blog, I came across "Sugarscape", which seems to be some tween girl magazine. It mentions the new single and compilation album (why do they have a Greatest Hits after 7 years!?), and used this unmissable line:

Their previous four albums and their new tracks make up their new album which will be out 28 September called Your History is Mine: 2002-2009, a must have for hard-core fans!

Hardcore fans? Yes, those clingy buggers. Unless they meant fans of hardcore, who, I'd hope, left the band alone when it all became a bit too middle-of-the-road. Oh well. I'll leave you with the new video for some purpose or another:

Imogen Heap - Ellipse

2009-08-31T13:37:00.001+01:00

What can I say about Imogen Heap? I can say that I'm not qualified to review her, since I've only ever dipped in and out of her decade long career. I enjoyed I Megaphone, and loved what she managed to produce with Guy Sigsworth in Frou Frou. She is a quintessential British electronica and trip-hop artiste, and this summer saw her third solo album, Ellipse see the light of day.

So what do I think of Ellipse?

Ellipse struck me as being one of those albums where you can sit back and not need to know the lyrics, but know you want to know them; one of those albums you can put on, and not worry about the content because it works as both ambience and pop music.

In the beginning, there is a slight sense of it being a Frou Frou album, with the way the music threads together. (As I missed out on Speak For Yourself...) This seems like a total jump from her first album, with a matureness, a high-fidelity hum, which slips through the tracks seamlessly, in a way that makes smile. Basically, it's like Details for the adult contemporary audience.

It picks up around track 4 - Little Bird - allowing me to jot down a few thoughts on the brilliance I see shining through in this little gem, and then, the cheery vibe drops back to give way to an "early 90s drab electronica" sounding track 5 - Swoon. Admittedly, I liked it, it had that undertone of something I couldn't quite put my finger on; but I don't see it being every listener's cup of tea.

Around this point, I'd settled into giving it a decent overall score, and was considering slating it based on its drop back into mediocrity. And then it hit me with track 8 - 2-1 - that I wasn't listening to adult alternative; I was listening to trip hop, and it was ticking all the boxes. It had drawn in the audience, and then played out what it wanted. It was like listening to 90s trip hop group Sneaker Pimps, if they were collaborating with Frou Frou. It was dark, it was lacking that smile that had been there 4 tracks ago, but, without that smile it was still high-quality, if only in its own genre.

Without going through track-by-track changes, this is a fluctuating album. It starts well, poppy even, and then, when the audience is hooked, plays on Heap's talent to create good music in ways you wouldn't think of as good. And then, just when you think it's not going to be for you, she kicks you back into your seat and makes you listen with one of the better 'outros' to an album I've heard.

With this foray into the musical world, Imogen Heap gives us a glimpse of what it should mean to be a musician; to create what you enjoy, and what people enjoy. The U2 way of things. This princess of the indie-kids, taking her crown from her sound track appearance on Garden State, has flowered and grown into a queen of music. I can't wait for more.

Overall: 7/10 - Although in parts it wasn't wholly my cup of tea, it does what it does very well. Maybe it's not for some, though.

Top Track: Aha!

Matisyahu - Light

2009-08-30T18:22:00.008+01:00

It's been a long time since I've done a proper musical review, so long I doubt I'm up to it. However, I've really gotten back into listening to Matisyahu lately, so it only seems right that I'd listen to Light pretty soon after it came out.

Light is Matisyahu's third studio album, and has been two years in the making. In a pre-listening comment I have to say "Two years? I'm expecting big things."

I sat, and I sat, and I scribbled down things on a notepad, and came up with a basic idea of what I wanted to say about this album. It was going to be a 'good starter' and a 'grower', and I'd written all of it in the first four songs. And then it hit me, the good stuff wasn't just the first four songs, it was ongoing.

This 13 song behemoth from the Brooklyn Reggae artist is no further from his roots than Youth or Shake Off the Dust...Arise. And yet, even as I write that, I think there's a maturity, not only in the music, but in the faith and character of this young Jewish man, which shines through in a way that is indescribable. His lyrics ebb and flow with feeling and passion, with faith and conviction, and with something that makes this man so much more special than most of the other artists I bend an ear to.

So, what about the album? It's good. It's really good. I believe it's a good starter off the blocks, and it keeps its rhythm throughout. It strides head and shoulders above the rest, running with passion and a sound that is so calm in places, and so charged in others, that it complements itself perfectly. There is no "You could listen to this song with friends and this song with parents" style to it - to remove one song from the album is like removing a keystone from an arch - it would come tumbling down - each song seems equally a key part of this masterpiece as any other.

The downside, however, is that it is only a good starter. I tend to judge whether an album is worth listening to based on the first few songs, and this one ticked the boxes, but, it didn't wow me, literally knock me for six, until I was venturing into the middle-section of the album with So Hi So Lo. Before that point, I thought "It's good. It's worth a bit of praise", but the mid section, the bulk of the album, is where it really kicks off.

I have nothing terrible to say about this. There are no words to be used against it. This is an album that would work not only for old Matisyahu fans, but also new ones. I highly recommend giving it a full listen, when you're in the mood to just relax and do other things.

Overall: 8.5/10 - a good starter, with inbuilt passion; but it lacks that "two years in the making" brilliance.

Top Track: So Hi So Lo

Pomplamoose!

2009-08-29T17:37:00.004+01:00

What do you get when you cross a grapefruit, a video-sharing site, and the cutest musical couple since Conor and Maria?
You get San Francisco-based duo Pomplamoose, also known as Jack Conte and Nataly Dawn.

I've recently discovered this wonderful pair through the jubiliant joyfulness that is Julia Nunes. They're currently producing her upcoming album, so, I figured I'd check out their credentials, and, boy was I pleasantly surprised!

I haven't done a music review in two or so years (see my last.fm profile), and I don't intend on doing one right now. All I want to say is that Pomplamoose are perhaps the best of the 'home studio' groups of this generation. Sure, a lot of bands have started in home studios and turned out to be marvellous, but, this has a saccharine sweetness that a lot of modern groups seem to miss - it's all grit and no heart; or it's all heart and no mush.

What can I say? I like my music cheery, and this ticks all the boxes. Nataly's vocals are like a young Regina Spektor, but, in acapella form! And Jack's many-faceted musical talents are just a joy to listen to (and watch). I've seen acoustic guitars, hammond organs, drums, hands, accordions; even a toy piano, a la Peanuts.
And what's more, the more you watch, the more down to earth they become with each heartfelt thankyou to people who pay attention to their work; to people who support their music; to their fans.

You can find Pomplamoose at

http://www.myspace.com/pomplamoosemusic

And on that note. I'm going to leave you with one of those 'hit or miss' style songs they posted to Youtube back in October '08. It doesn't exactly showcase all those lovely instruments that Jack Conte is capable of playing, but, this is more beauty over anything.

Enjoy!

To Boldly Go?

2009-05-11T19:08:00.003+01:00

So today, I went to see the new Star Trek film. I figured it was worth seeing - to see whether it was the deathknell for the franchise, (like I always felt Enterprise was), or whether it would be a new lease of life for it.

I must say, without saying too much, that I was impressed with what I saw. While it didn't exactly open up the universe for them to boldly go into; to rework; to remould; to start again and do over with a better set of effects - it did manage to be faithful, and that's all I wanted from it. Faithfulness.

Zachary Quinto...I was in awe. He was Leonard Nimoy. He channelled Nimoy - all he needed to do was to go "Bilbo, Bilbo Baggins...!" and I would have been happy. And speaking of chanelling, Karl Urban was definitely DeForrest Kelley. "I am a doctor, not a physicist!" directly echoes the classic line of "Damnit, Jim - I'm a doctor, not a bricklayer!", which has always tickled my funnybone.

On the other hand, Zoe Saldana and Chris Pine were trying too hard, and came across as actors, not as characters. Chris Pine wasn't the cocky Kirk he was meant to be; and Zoe Saldana was nowhere near as sexy and alluring as Nichelle Nichols was in the role as Uhura. A bit harsh? No. I think not. They were both spouting out line after line, and it had nothing of the character in it - Scotty came across as the brash but loveable engineer; Spock was the Vulcan with the conflict of interests; and Bones was the doctor whose life had gone down the tubes, so he didn't give a damn (unless it was his job or his friends - the things he had left - on the line).

So, what about Eric Bana? Bah. He was a villian, and he was a villian of the old school. He needed nothing major (I know Romulans aren't exactly make-up heavy, but still), just himself and a good bit of acting. He didn't need to be scary, he just needed to be evil - and while he wasn't ''evil'', he was more on the deranged with a purpose side of things. I can't explain it, but, he was a decent foe. Nothing special though...

Overall?

Overall, I'd give Star Trek a 7/10 - it's given the franchise a new lease of life - but, I do so hope they don't play along with the same horrid plot twist as this one in order to make other movies. Please, if you make anymore - just keep the faith!

Music Is Music As Devices Are Kisses Is Everything

2009-03-18T23:13:00.003Z

Aside from the horribly confusing 65 Days of Static title, which is just so overtly indified that it's almost holds itself with an indignant sort of thing about it...I decided to showcase some music, for once. And not just any old music. Not music you have to pay for either. I'm going to showcase two websites I've stumbled upon, and a few artists from the same 'rough' background. So, are you sitting comfortably? Then I'll begin.

1. Musicovery.com
This is a niggly little website as far as I'm concerned. It's both 'neato' and a 'bleedin pile of junk' at the same time. When I first stumbled onto it, I could do as I pleased, but now I apparently need an account.

The basis of Musicovery is the discovery of music, thus musicovery. You start off with a blank screen, and a minimalist user interface, with four options - positive and dark, calm and energetic. You then click at a point on the UI, and the site will think about what songs fit your criteria, roughly. I started with dark, but slightly energetic, and was met with the Lovecats, followed by Depeche Mode, some U2, and then we moseyed on into a few lesser songs that barely managed to fit - bluesy, jazzy stuff, mainly. On trying positive, yet still energetic, it was Gwen Stefani, Shakira, and a host of pop and rap tunes.

Sounds simple eh? Well, not really. When you choose, the site works out what your first song is, and then maps all the other songs in relation to it, so you can see if you're heading in a positive, negative, calm, or energetic direction on the next tune. If you really love one song you've discovered, double click, and that new tune becomes your starting point for a whole new playlist, totally mapped out with almost every song changed to suit the change in mood.
There's also a tempo option, for those people who just want some dance - whether it's going from the low, sleazy tempos of the Sneaker Pimps, to the way up, bouncing House beats they have available.

So, what are the downsides - if you click "Discover", the whole point of the site, then you have to sign up for a premium account to be able to skip songs you don't like - or at least that's the impression I got, when I hit "discover" and my 'skip' button was taken away, and those skips that remained kept telling me I needed to be a premium member for the privilege.
The UI is also a bit buggy. You can click the same spot until your mouse goes blue in the buttons, and it'll keep reverting to the point you turned it on at - I spent a good two minutes trying to get 'middle-of-the-road', very dark music on - only to have the "calm and positive" stylings of Bob Marley and Air thrown in my face - so much for music discovery that I was 'in the mood for'.

So, on the whole? It's a good program, admittedly. If I didn't keep getting accosted by the "You must be a premium member" skip warning, and I didn't have to spend a long time trying to get something dark on, then I suppose I'd rate it a fair bit higher than I will now. Sure, it's new; sure, I'm being picky, but, when it comes down to it, I'd be pissed off if this was the final version.

Overall: 6/10 - innovative, but buggy.

2. Spotify
On the opposite end of the scale, Spotify is one of those offline clienty fandangley things. You go in, you sign up, you download the installer, click the appropriate fiddly buttons, agree to sign your soul away, and you're off. In other words, it's the 'last.fm client' on steroids, ready to punch some sense into iTunes' new Genius feature.

I'll admit, this thing confused me about as much as Genius did. I read, or rather skimmed, the tutorial stuff, and saw the picture of the thousands upon thousands of tunes being thrown at the fake person using it. When it was my turn? What tunes?

Looking on earnestly at this bastard-son of iTunes, I sheepishly typed in Siouxsie and the Banshees - and was met with her entire back catalog, to stream, for free. I think, if I had been a little bit more shocked, I might have gone into a nerd-coma. As my head bobbed to Arabian Knights, I thought "bloody hell, and this is all free!", admittedly streaming, but free.

Obscurer bands just confuse the poor dear, but, you can still get vaguely similar ones - I tried for Marc and the Mambas, to see if I could really get "All the music of the world at [my] fingertips", and was met with nothing - on changing to Marc Almond, I was greeted by his back catalog, minus the Soft Cell and Mambas days.

And aside from the search function, we have the radio function. Oh my oh my. Choose your genre(s), and click play. I hit pop, I hit play - Tom Jones. Easy win for me. I need say no more.
On first looks, I have no complaints. Funded by advertising, they say. Who cares what it's funded by when it's this intuitive and simple - the learning curve? About 10 mind-numbing seconds. Better than iTunes, where after each update I take an hour trying to grasp where half of my buttons and menus have moved to, and what new junk they've thrown in to make it even more memory hungry.

Overall? What can I say. It's good. It's exactly what the world needs, until, as one Pontus Madsen said, the RIAA bans music altogether.

Overall: 8/10 - I can see something going wrong with it, and it isn't really *all the music* of the world, but, it's a good start for something that's only in version 0.3. I really like it.

3. Webcomic Guitar Wankery
They all do it. All webcomic writers pick up their guitar, their copy of Garage Band or whatever program they use, and they release little tunes now again. I'm not going to sit and say "These are bloody good" or "These are not so good". I'm just going to say:

Pontus Madsen has one up:
http://www.little-gamers.com/2009/03/18/on-the-subject-of-music/

Jeph Jacques has a tonne up:
http://www.questionablecontent.net/deathmole/
and his livejournal
http://qcjeph.livejournal.com/

Oh, yes, and by all means read their webcomics too. I'm sure if you go from one to the other, and onwards via a trail of links, you will no doubt find a treasure trove of fun little songs composed by these unknown knowns.

And I'll leave you with that, and this thought from QI's Alan Davies:

A small pie is soon eaten