Published June 30, 2008
Shoegazing at its worst can be dreary, tuneless and appear to last for an eternity. In the case of Italy’s Sea Dweller, they have, rather ominously, taken eight years to release an EP. For two stunning dreampop moments though, it’s arguably worth the wait. Sea Dweller occupy the louder end of shoegazing; the kind where layer upon layer of guitars are merged whilst the vocals are barely audible.
The middle section to ‘Underwater Town’ is relatively unspectacular but it’s bookended by a couple of fantastic tracks. Of the two lesser offerings, ‘Every Inch’ sets a collision course between Ride and Chapterhouse, right down to the blank vocals whilst ‘Settings’ is all jangle and effects. However, the title song is a fabulous racket, full of My Bloody Valentine’s combination of noise and melody. Meanwhile, the gorgeous finale ‘She Whispers’ drifts between quiet and loud music; at its essence is the impression of a doomed love drowning underneath great waves. Admittedly, Sea Dweller do border on pastiche but they still deliver a mighty, tuneful racket.
Sea Dweller Official Site
Sea Dweller MySpace
My Bloody Valentine, Ride, Chapterhouse
Published June 27, 2008
The Last Army are a London act who have produced an eight-track mini album/double EP that is full to the brim with radio-friendly indie pop gems. The songs recall female-fronted 90s bands just as much as older school references such as punk and new wave. In the shape of singer/keyboard player Rebekah Delgado and fellow vocalist/guitarist Micky Stickson, they also have a couple of strong personalities who can surely only drive the group to further success.
If it’s variety you want, The Last Army are only too happy to oblige. ‘A Day Like Any Other’ is a reflective number, conveying warmth as well as aching sadness, ‘Every Party Ends With You’ is the full-blown epic with backing vocals whilst ‘It’s Friday Night But It Feels Like Moday Morning’ reveals their Buzzcocks punk-pop side. Even though ‘Submit To The Chemical’ reminded me of iffy 1990’s acts like Sleeper, the dual vocalist approach reminded me of The Delgados (obviously no relation to Rebekah) and certainly Strickson’s performance in front of the mic suggests he should not be discouraged to make more contributions.
However, it is Delgado who seems to be the driving force of the record; injecting each song she sings on with her own character, whether its huskiness, child-like spoken word or even a spot of French for ‘Broken Down In London Town’. Yet despite the doomed romance featured in much of the lyrics, The Last Army lift the hearts with their finely-honed melodies.
The Last Army MySpace
The Delgados, Sleeper
Published June 26, 2008
I reviewed the fifth EP by The Wind-Up Birds last year. I seem to have received a lot of music Leeds’ bands in recent years and a common factor seems to be “The Arctic Monkeys Effect” i.e. ragged guitar pop and regional accents. Still, if it’s delivered well and contains original ideas, I can’t complain. Happily The Wind-Up Birds’ music holds up well with four tracks bearing a strong identity and a raw intensity.
All four songs here could have only come from Northern Britain thanks to some grittily realistic lyrics. There’s a certain skill when the chorus to ‘This Bailiff’s Bravado’ manages to coax a melody from the lines of “And the letter from the service provider lies beside her. The language within seems deliberately ambiguous”. ‘The Families Of The Disappeared’ features distinctly more romantic imagery but the aggression and edginess of the delivery couldn’t be less sutle. Bookended by the punky tunefulness of ‘White Hair’ and ‘The Neutral Counties’, the influence of The Buzzcocks is there for all to hear. It’s all enjoyable, primal rock music but after six EPs, is there any chance of an album now lads?
The Wind-Up Birds Official Site
The Wind-Up Birds MySpace
The Jam, The Arctic Monkeys, The Buzzcocks
Published June 24, 2008
Out Of The Afternoon were formed less than a year ago and took their name from a Roy Haynes album. The influence of Dexys Midnight Runners is instantly recognisable on their first EP; a collection of four fun and joyous tunes which are blessed with an indomitable spirit.
Fronted by Steven Eagles’ passionate vocals, each song has something to recommend it. ‘See You Back Sally’ even seems to take time out for a little Irish jig whilst ‘Samba Song’ is a strong, yearning ballad. Generally though, their strength is in faster-paced, easy on the ear melodies. Due to the old school feel of the EP, it could feasibly been recorded twenty five years ago but their sound is instantly accessable and I can imagine Out Of The Afternoon being an excellent live act, thanks to the joie de vivre they convey.
Out Of The Afternoon MySpace
Tip Toe Records Label Site
Dexys Midnight Runners
Published June 23, 2008
I don’t tend to count how many reviews I’ve written for a single act but there’s no doubt in my mind that I’ve written more about Yellow6 then anyone else in the music scene. The reasons are two-fold: firstly, Jon Attwood is an extremely prolific musician and secondly his music is ace. Touching on the influences of two of the finest post-rock acts, Labradford and Bark Psychosis, his output continues to impress. ‘STHLM’, his latest release, takes in some recordings from an autumn spent in Sweden, from the same sessions as this year’s double album ‘When The Leaves Fall Like Snow’.
Attwood’s languid guitar and effects-based compositions tend to suit the longer format very well. So it’s a surprise to learn that ‘STHLM’ is less than forty minutes long, even considering there’s only five tracks on there. ‘FYRA’ and ‘8 Days’ tread the well-worn path of Labradford’s minimalist melancholy but there’s sufficient variety here too. ‘Kulturhuset’ throbs menacingly; always holding back just as it’s about to explode. In contrast, ‘3 Em’ is almost disarmingly pretty, not a description normally associated with Attwood’s melodies. Finally, the violence threatened earlier breaks through as the walls of noise from ‘No Common Understanding’ bring events to a harrowing close. Considering these offerings didn’t make it on the last album, ‘STHLM’ is as deeply satisfying as any recent Yellow6 material I’d care to mention.
Yellow6 Official Site
Distant Noise Records Label Site
Labradford, Absent Without Leave
Published June 21, 2008
There’s a lot to admire about Giorgio Maggiore. For one thing there’s the proficiency and melodicism of his keyboard skills, then his melodramatic voice and also the way he sings in his native Italian, when so many feel they have to sing English in order to gain popularity. When I reviewed his previous album, ’I Colori Che Cambiano’, the chosen style was gothic rock but for ‘Dentro Ai Tuoi Sogni’ (‘In To Your Dreams’) the emphasis is on instrumental music and quieter moods; handily described by Maggiore himself as “progressive ambient”.
Clearly Maggiore is giving in to his fondness for twin-keyboard techniques with several tracks – incuding the first one, ‘Bagliori Di Luce’ – featuring dreamy synth washes to complement the intricate piano melodies. Occasionally he references the dramatic style of old (angry blasts of guitar for ‘Illustre Sconosciuto’) but it’s an otherwise more sedate affair; the new-found romanticism reflected in titles which translate to ‘Your True Flower’ and ‘The Endless Dream’. There’s no doubt that ‘Dentro Ai Tuoi Sogni’ is less gripping than the last album but its elegiac washes of sound are certainly pleasant and tuneful enough in their own right.
Giorgio Maggiore Official Site
Giorgio Maggiore MySpace
Wim Mertens, Durutti Column
Published June 19, 2008
A few weeks ago I wrote about the new album by Her Name Is Calla, a post-rock act whose bleak world-view made for an uncomfortable yet compelling listen. Glissando – signed to the same Gizeh Records label – offer a slightly more approachable form of music, with the emphasis on quieter but no less powerful sounds. Based around the duo of Elly May Irving and Richard Knox, ‘With Our Arms Wide Open…’ is a record which demands attention.
‘With A Kiss And A Tear’ introduces the listener to the fragile beauty of the Glissando sound where Elly May Irving’s folky vocals are balanced against the steady raindrops of piano keys. ‘Floods’ is the most poignant of all the songs; it’s a relatively relaxed track full of swelling strings, Irving at her most emotive and the piano at its most melodic. For the first half of its fourteen minutes, ‘Floods’ also reminded me of the early-80s (and recently revived) Factory act The French Impressionists but then it flows into experimental, ambient territory. Later on, these ambient moments lose focus from what is an otherwise flab-free record, with the meanderings redeemed by stunning moments like the passionate, foreboding ‘Grekken’ where Irving claims “You made me kill myself”.
Certainly the album could have been cut down from its seventy-minute length (the drone-fest of ‘Like Everything You See’ lasts for quarter of an hour, for example). Nevertheless, ‘With Our Arms Wide Open…’ is a very moving record, made all the more convincing by the knowledge that Irving and Knox ended their long term relationship before the songs were recorded.
Gizeh Records Label and Shop Site
The French Impressionists, Her Name Is Calla, This Mortal Coil, Dead Can Dance