The Weblog Of Leonard’s Lair

Dead Leaf Echo turned miserablism in to a very attractive art form on their first EP ‘Faint Violet Whiff’. The follow-up doesn’t differ too much from this direction but they now embrace a fuller sound; partly explained by a remix contribution supplied by dreampop exponent Ulrich Schnauss but there’s now a growing confidence evident in this New York trio.

Guitar and bass lines shimmer whilst LG still sounds more disaffected than a Piano Magic record. The first two tracks are basically moody scene setters. Then on the third track ‘Tears’ the guitars really start to ring out and segue neatly into the even more aggressive ‘Cry The Sea’, forming a kind of concrete jangle if you will. ‘Pale Fire’ itself is the song which seems most entrenched in shoegazing influences; it is awash with layers of guitar effects in a manner which makes Chapterhouse seem subtle. Unsurprisingly perhaps, this is Schnauss’ remix. Much better is ‘Reflex Motion’ where the group return to what they do best: intricate, gothic melodies. Overall, I think I prefer the first EP over this one because of its unusual haunting ballads but there’s no doubt that ‘Pale Fire’ is a development in their sound.

Web Sites:
Dead Leaf Echo MySpace

Further Listening:
Pale Saints, Piano Magic, The Gubernatorial Candidates

The Superimposers were responsible for a fine debut album in 2005. It trod a clever line between early Beach Boys and 1960’s easy listening music. Apart from a stopgap demos album (released by their old label), the duo of Miles Copeland and Dan Warden have taken a while to release a proper follow-up. Once again it’s a short record but just like their own label shows, they really do make a Wonderful Sound.

The first half of the record doesn’t even offer a weak moment. Sure, the nostalgia is there for all to see but The Superimposers are masters of production as well as songwriters. ‘The Northern Song’ contrasts melancholic verses with a euphoric chorus perfectly, ‘Make It All Better’ contains some splendid Beatles-inspired harmonies whilst ‘Autumn Falls’ is such an aparently simple but great song that it’s a miracle no one thought of it before. Then there’s the glorious filmic ‘Golden’; another heart-stopping moment reached as verse switches to chorus.

Slightly disappointingly, the second half of the record is only sporadically great as the formula starts to run dry. Of the highlights though, ‘Kicking Around’ revolves around a hypnotic guitar line and a sun-kissed tune and ‘Special’ makes full use of some angelic vocal effects. Yet despite the tail-off in quality as the album progresses, ‘Harpsichord Treacle’ is a lovely, colourful pop record.

Web Sites:
Wonderful Sound Label Site
The Superimposers MySpace

Further Listening:
Arnold, The Beach Boys

With their last album ‘Coalesced’, Nebraska’s For Against proved that twenty years had done little to quell the spirit and musicianship of the talented trio. Since that release, an exhaustive reissue process has been begun by their label Words On Music, which only serves to highlight that they have always been a great band to rank with other underrated post-punk/dreampop outfits such as The Chameleons and Kitchens Of Distinction. Even more impressively, a quarter of a century into their career, they are still making great records.

The difference between ‘Coalesced’ and ‘Shade Side Sunny Side’ is there all for all to hear in the opening track ‘Glamour’. The rhythm section kicks in like rumbling thunder, Harry Dingman III’s guitar work (back in the fold after a twenty year absence) is more aggressive than ever whilst Jeffrey Running’s always youthful vocals have taken on a degree of urgency. After the similarly powerful ‘Underestimate’, the mood settles down for ‘Why Are You So Angry?’, the gentler delivery offering a subtler glimpse into a troublesome life before ending in a dreamy coda that is pure Chameleons. The other ballad ‘Game Over’ also impresses; here Runnings’ goes it alone with voice and piano for much of of the song; it’s a deeply personal track wih the emotion and melody pitched at just the right level to avoid the overly-sentimental. ‘Quiet Please’, on the other hand, is one of those tracks which builds up and up in to increasing menace as its mood descends into a well of increasing darkness. Another stunning moment.

In fact the only track which didn’t impress me is a cover of Section 25’s ‘Friendly Fires’, probably because the group don’t actually need to release versions of Factory Records’ favourites to prove their worth; they have enough songs in their own armoury to do without such homages. Otherwise, For Against work on their own identity which - whilst certainly influenced by the early 1980s - has a freshness and vitality of its very own. Furhermore, with their balance of euphoria and miserablism nailed down to perfection, remarkably For Against seem to have reached a peak after all this time.

Web Sites:
For Against MySpace
Words On Music Label Site

Further Listening:
The Chameleons, The Comsat Angels, The Opposition

I wouldn’t recommend listening to Progress Centre if you have a fragile disposition. The press release explains the first album from musician Craig Champion ”focusses around the psychological effects of paranoia” and claims to create “apocalyptic sonic chaos”. Strong words indeed, yet ‘Mind Out!’ is chillingly effective and soundtrack-worthy thanks to its omnipresent atmosphere of menace and well-chosen samples.

‘Subtle City’ is the idea of paranoia shaped into its most memorable form. Over a queasy distorted melody, a line from one of Charles Bukowski poem’s is read out. Meanwhile, the crazed ‘Fear The Worst’ recalls the early days of Baby Bird’s twisted pop offerings. There’s a consistent feeling of approaching danger throughout the record and it’s none more apparent on ‘Metropolis’ where the music builds up subtly into a harrowing wall of noise. ‘Bleach’ is even more impressive; some head-nodding beats, a distant voice and eerie synths combine to form a subtle but nightmarish work of ambience. Crucially, Champion cleverly juxtaposes each main track with happier-sounding interludes to add a bit of light to the bleak landscape. Because of this - and also thanks to its cinematic feel - ‘Mind Out!’ is the most commercially viable offering from Split Femur Recordings yet.

Web Sites:
Split Femur Recordings Label and Shop Site
Progress Centre MySpace

Further Listening:
Poomse, Phobos 3, Baby Bird

Brian Wenckebach and Evageila Maravelias hail from New York and they refer to their music as “blissed-out ambience with head-nodding beats”. They’re actually selling themselves short because their music is made of robust material, heavily geared towards addictive melodies. For ‘Trying Got Us Nowhere’ is a clever mixture of New Order-style basslines, often energetic electro/indie pop and strident female vocals.

‘The Whip’ is busy with electronica but its supercharged production rushes headlong towards an exicting chorus. ‘Nowhere’ begins in a more doleful, subdued mode helped by Maravelias’ crystal clear vocals on the verse. The song then transforms into a wordless but hook-laden chorus. At the softer end of the spectrum, ‘To The End’ takes a slower, trippier approach (although this song evolves into a loud finale) whilst the bittersweet ‘They’ll Hate Us’ cleverly weaves disturbing lyrics into an apparently dreamy experience .

Elika remind me of a less-dated, more tuneful Garbage with Maravelias’ cool vocals also reminiscent of New Order’s Gillian Gilbert, whose own The Other Two project bears comparison too. With that band in mind, ‘Let Down’ is the formula in its most sugary form; it boasts a radio-friendly chorus of head-spinning proportions. For a first album, ‘Trying Got Us Nowhere’ sounds surprisingly complete with each song offering something memorable and - although its influences are many - the duo have clearly hit on a product that they can call their own.

Web Sites:
Elika’s Microsite
Elika MySpace

Further Listening:
Garbage, The Other Two, Madonna

Back in 2005, Shaheen Sheik released her debut record ‘Rock Candy’. Although it revealed plenty of promise, it was a typical first album effort where the artist seemed to be trying out different genres to work out which ones suited her best. As it happens, the follow-up record covers a similar range but also contains higher production values and better songwriting.

That said the first song represents a false start. Night Call’s key line of “this is the tale of the girl who grew up” seems rather forced and doesn’t convince on either a cerebral or visceral level. Ironically, the title track which follows it sounds like the work of someone a lot younger and it’s modern girlie pop is far more attractive. Even better is ‘Coconut’ where Sheik is assisted by slick rhythms and beats. At this point she reminds me of a one-woman Sugababes.

However, Sheik has a number of strings to her bow. ‘Dainty Lady’ is the first number which embraces Sheik’s Indian heritage and contains a seductive tune whereas the similarly Eastern-flavoured ‘Play With Me’ opts for vocal acrobatics. All good stuff but my favourite moment occured six tracks in as the warm, soulful sounds of ‘In You’ make an appearance; not only does it feature a neat drum and bass-led chorus but also Sheik’s finest performance in front of the mic. The only other track I didn’t appreciate was the final one ‘Elevate’; in contrast to the first song it sounds too immature. Overall, once again Sheik demonstrates an impressive range of styles but crucially ‘rEvolution’ still sounds like the work of one artist and this is definitely an improvement on the potential of ‘Rock Candy’.

‘Revolution’ will be available to purchase from May 15th.

Web Sites:
Shaheen’s MySpace

Further Listening:
Sugababes

About a month ago I got an E-mail from Essex-based musician Dave Milligan, who happens to be one-third of Arco; a fine band whose brand of quiet, melancholic rock has thus far produced two albums’ worth of new material. Sadly, there’s no news of Arco’s third long player yet but thankfully Mr. Milligan’s own solo project, Penguin Party, has produced an equally fine record, albeit one which distances itself away from the artist’s usual band.

Although ‘See Thru Songs’ certainly doesn’t stick to a tried and trusted formula, it certainly echoes the British new wave scene. ‘Elephant’s Graveyard’ and ‘I’m Ready For My Closeup, Mr Demille’ are the songs which most recall the intelligent left-field pop of Squeeze but ‘Goin’ Back To Grandma’s’ reminds me, rather disturbingly, of The Wurzels. Of the other noteworthy moments, there’s an uptempo, punkier version of the Arco original ‘Lullaby’, ‘United State Of Grace’ is a lovely, hopeful finale whilst ‘Someone Else’s Turn’ toys with funk. His best moment, though, occurs two tracks in. With its old-fashioned instrumentation and Milligan’s impressive aching vocal, ‘Before I Go Away’ compares very favourably to the work of The Montgolfier Brothers. Admittedly, ‘See Thru Songs’ doesn’t fit easily into the modern agenda but it’s highly tuneful and charming, with just the right air of quirkiness to rank it as one of the better nostalgically-flavoured records of recent times.

Web Sites:
Penguin Party MySpace
Sitting Target Label and Shop Site

Further Listening:
Arco, Squeeze

Crafted by one-man outfit Thom Smith, the debut EP by Analogue I/O shows how possible it is to create music on your own whilst still employing a vast array of instruments and effects. ‘Boat Club’ initially seems quite mournful but the mixture of instruments of both the acoustic and electronic variety is full of colour and imagination. In fact, in that respect, it’s not unlike the last EP I reviewed by The Doldrums.

‘Almost There’ is a sombre beginning but thanks to its inspired collaboration of chimes, piano, guitar and shimmering electronica, there’s also plenty of warmth on display. A similar layered approach is used for ‘81 Bridge’ as the music moves close to shoegazing territory. By the end - for the aptly-titled ‘Subtle Adventure’ - we’ve reached the sparest of the five tracks as the elegant piano melody approaches classical music. If you think of Múm without those sometimes annoying childish voices, you wouldn’t be far away from the sound of Analogue I/O. The whole EP can be downloaded for free (for one week only) from the Analogue I/O web site, starting from its release date on the 28th April.

Web Sites:
Analogue I/O MySpace
Skyeyesea Label Site

Further Listening:
Múm, The Doldrums

I often feel solo artists have to think of avatars for their music when their real names aren’t interesting enough. So it’s a bit of a mystery why Oklahoma resident Dylan Golden Aycock has decided to call himself The Doldrums. This EP, or sampler, is a preview of a full album but there’s enough here in thirty minutes of music to suggest that Aycock is a real talented maverick, cleverly combining folk, hip-hop, samples, electronic and acoustic music in to a self-produced concoction of strange but very listenable ideas.

First track ‘All My Friends Are Pencil Tappers’ seems to be an attempt to capture the childish experimentalism of Icelandic group Múm. In truth it’s a bit of a false start as the remainder of the record sounds like the work of a genuine individual. The more fully-formed ‘Softer Side Of Velcro’ pushes the boundaries a bit further with field recordings and loops and a well-defined sense of rhythm that makes the music a tad more robust. Of the more uncompromising tracks, ’Watershed’ throws in accordion and train noises to create a dissonant chill. Yet ‘Your Beautiful Selves’ contains a more approachable melody; its Latin rhythms will be familiar to those who have listened to Mice Parade, whilst the beats and warm electronica employed on ‘Spirit Elevates Brain’ similarly impress. Lastly, ‘Flatten’ is gorgeously atmospheric and tuneful. With such an abundance of ideas in half an hour, the full album should definitely be worth waiting for.

Web Sites:
The Doldrums MySpace
Make Mine Music Label Site

Further Listening:
Mice Parade, Khonnor

Songs Of My Lap is the new identity for solo artist Alex Hancock. Previously performing under the guise of Hytra Waters Elbow, his new record is a celebration of brevity with ten short tracks covering lo-fi recorded electronica, guitar, piano and voice. In the “would like to meet” part of his MySpace site, tellingly Hancock lists only “me at 27″. 

Hancock is no great shakes as a singer; his almost affected fey vocals do tend to irritate on the weaker tracks but as the album only covers ten songs in eighteen minutes, no song can be accused of outstaying its welcome. “Happiness is not being bones in a backroom” is one of the key lines to ‘Bones’; actually one of the most addictive tracks thanks to its shimmering electronic melody. Meanwhile, the fragile guitar line underscoring ‘The 2nd Time Is More Better’ reminded me of the much-missed Chuzzlewit; another miserablist snger-songwriter ploughing his own individualist furrow. Yet the most effective moment is saved to last as the spare ‘Dry Your Eyes Boy’ provides the saddest of send-offs - “She’s not coming back for a long time”. Overall I enjoyed the unique style of Hancock but my enjoyment would have increased even more if he had extended the better tracks into longer songs.

Web Sites:
Songs Of My Lap MySpace
Unlabel Label Site

Further Listening:
Chuzzlewit