Published August 31, 2010
South Yorkshire’s Rory Garforth and Adam Myers apparently provide “lushly brewed melodious folk hypnosis”. It’s a bold statement but one which isn’t so far from the truth as their acoustic fare is very well arranged and expertly written.
As soon as we hear the lilting ‘Bonfires’ it’s clear that Garforth and Myers share the same vision; their harmonies are beautifully delivered and guitars are strummed gently. ‘Mirrors’ is, shall we say, a more reflective moment for the duo as strings add a layer of melancholy to an already rather sad song. For ‘The Past’ they sound like folk veterans reclaiming former glories but they do so with a believable authenticity and finally – thanks to its double bass and lighter than air vocals – ‘Lighthouse’ is a dead ringer for Kings Of Convenience.
The songs are traditionally arranged and stylistically offer little that’s different. Yet each one contains a memorable melody and that is the most striking and important point to the EP.
Garforth & Myers MySpace
Kings Of Convenience, Conrad Vingoe, Simon And Garfunkel
Published August 30, 2010
After ‘Arular’ (named after her father) and ‘Kala’ (her mother) ‘Maya’ completes the trinity of family-themed album titles with this time Miss Arulpragasam as the focal point. So can we expect lots of self-analysisand introspection? Well, no not really.
The place of power drills in music has always been a questionable one but of course M.I.A. shows no such fears and after a brief intro of keyboard tapping we are treated to ‘Steppin Up’, which also features a lot of booming drums. It’s not the first song which sounds like warfare on the eardrums but it also generates an excitement due to its compelling hooks. ‘XXX0’ is similarly edgy and thrilling; like unearthing a great, lost Sugababes track. This comparison is indicative because for all of M.I.A.’s personality the credits show she has co-writers on every track, not to mention a who’s who of name producers.
Revealingly, for the gentle, sunny ‘It Takes A Muscle’, – one of the less “busy” offerings here and therefore one of the most coherent – she has no writing credit at all. Yet I’m probably being harsh here, for to sound quite as contemporary as this anyone would need a bit of outside help. M.I.A.’s scattergun delivery is usually infectious and it’s sustained even for late album tracks like ‘Born Free’ and ‘Meds And Feds’, although for the latter the rhythms are downright hostile. For the last couple of songs here, she even shows a little bit of humanity; there’s yearning and “proper” singing for both ‘Tell Me Why’ and ‘Space’. For the bonus edition, there’s also a gem called ‘Caps Lock’, where her voice cracks with emotion and a welcome degree of vulnerability.
Packed to the gills with possible singles, ‘Maya’ sounds like a greatest hits album and therefore turns out to be possibly her best record yet. One might criticise the artist for her lack of soul but she clearly has a vision and the connections to make her the thinking man’s alternative to Lady Gaga’s assault on the pop charts.
M.I.A. Official Site
Björk, These New Puritans
Published August 29, 2010
Jesus Makes The Shotgun Sound inhabit a curious world where industrial, gothic and electronic music live in perfect disharmony. The Californian quartet now deliver their new EP which is, at the very least, dramatic.
From the beginning – with first song ‘Do Not The Clothes Make The Man!’ – the group seem to be combining the grandiosity of Muse with the experimentalism of Radiohead. It’s a track which goes through several detours and never threatens to produce a chorus. ‘Janessa Sais Quoi’ is bold and cinematic and improved by the frontman’s brooding vocals but at other times he tends to overdo it like a camp goth overlord.
The best moments are when the group show more human qualities like warmth and melody. A an example, the symphonic ending to ‘The Moonlit Landerous’ is really rather beautiful but this contrasts with the jarring lack of focus displayed on ‘Split The Pig’. The one time they truly nail it is on ‘My Autumn’s Done Come’ (a Lee Hazelwood cover) and here the band excel as they add the kind of stately arrangement you might have heard on a This Mortal Coil record.
‘Damnant Quod Non Intelligunt’ is certainly inventive but that doesn’t always mean it’s likeable. Yet there are moments when something wonderful emerges from the dissonance.
Jesus Makes The Shotgun Sound Blog
Jesus Makes The Shotgun Sound MySpace
Muse, This Mortal Coil, Bauhaus, Radiohead
Published August 28, 2010
It’s Immaterial described their own second album from 1990 as “commercial suicide but definitely worth doing”. No surprise then that they failed to shake off the “one hit wonder” tag bestowed on them after 1986’s ‘Driving Away From Home’ single. A great shame because ‘Song’ is a classy ambient pop affair that’s worth revisiting.
Comparison with The Blue Nile are obvious and not just because their producer Calum Malcolm is on board here; emphasising the lush synth textures of ‘Song’. For It’s Immaterial also favoured the long-drawn out approach to each track. Even if John Campbell’s half-spoken/half-sung approach lacks the emotional power of The Blue Nile’s Paul Buchanan (at its worse, on ‘Endless Holiday’, Campbell sounds detached, almost disinterested), his narrative is usually warm and involving.
Hooks are few and far between but certain key lines are memorable; like a reassuring “It’s going to be alright. Things are going to work out fine” for ‘Heaven Knows’ or a defiant “goodbye suburbia” on ‘In The Neighbourhood’. Flamenco-flavoured ‘Homecoming’ is a lovely slice of subtle melancholia whilst ‘Your Voice’ ups the melodrama with its romantic images. The two bonus tracks are also quite delightful and perversely feature Campbell in his most yearning form.
The sleevenotes to ‘Song’ suggest the album was ahead of its time and would have achieved higher sales if it was put out today. This is unlikely given that many of the tracks here lack a conventional verse and chorus structure; ‘Song’ could surely have only been released nowadays on a tiny independent label who hadn’t heard of the term “profit margins”.
At times the album is too understated and rambling to be truly satisfying but it maintains a elegant, wistful atmosphere. So it is probably best appreciated on a long train journey whilst watching the crumbling landscapes of Northern England pass by.
It’s Immaterial Page from The Antimatter Containment Field
It’s Immaterial Wikipedia Page
The Blue Nile, China Crisis
Published August 27, 2010
By long player number four, Madness were still following their album a year form. Somehow between the constant grind of touring and promotion, they managed to find time to record their most adventurous outing yet. Originally conceived as a concept album based on the band members’ childhood, ‘The Rise & Fall’ presented a bleak document of bittersweet nostalgia.
The highlights, as with previous albums, include the singles. Strange though, that ‘Tomorrow’s (Just Another Day)’ was such a success given that its consistently depressing lyrics (“It’s down and down there is no up”) were based on Chas Smash’s experiences behind bars. Then of course there’s ‘Our House’. It’s a testament to the enduring quality of the song that it still retains its charm after the countless times it’s been played on commercial radio. Amongst other tracks, ‘Primrose Hill’ features the prettiest of piano melodies and a brass band segment. Meanwhile, ‘Blue Skinned Beast’ attacks Thatcher’s handling of The Falklands War and ‘New Delhi’ takes on Eastern influences before it became fashionable.
‘The Rise & Fall’ is arguably Madness at their most articulate yet but falls a few songs short of its predecessor’s consistent excellence. That said, Madness deserve great credit for experimenting with their sound when they could have sold records by the bucketload, by sticking to their tried and tested Ska formula.
Madness Official Site
Blur, The Kinks
Published August 26, 2010
Grasscut take psychogeography to a new level. Their album is designed to be listened to whilst taking a walking tour of the South Downs of Sussex and discovering the site once known as Balsdean; a village which was destroyed during World War II. The group consists of well-respected soundtrack composer Andrew Phillips and Marcus O’Dair.
‘High Down’ sets the scene for the adventure but it’s not quite how you might imagine. A haunted ghostly vocal from Phillips is accompanied by sombre piano but soon some baroque keyboards kick in. ‘Old Machines’ is even quirkier since it is part historical tour, part dance music and ‘The Door In The Wall’ is remarkably upbeat. There’s already a strong sense that Phillips and O’Dair are fighting against any feelings of atmosphere and nostalgia.
‘Meltwater’ is the first time Phillips begins to soar and the music around him seems lifted too whilst ‘Muppet’ emerges from its awkward, glitchy backing to a moment of rare beauty courtesy of a choir; it sounds like Talk Talk put through a techno blender. ‘1946’ – featuring the voice of Mrs. May Phillips (presumably a relative of Andrew, she passed away last year) – is arguably the most chilling moment where apparently innocent lines such as “it was a hell of a winter” attract deeper resonance amongst the mournful accompaniment.
Not having taken the walk as described in the sleeve notes, I can only imagine what it is like based on what the music evokes. There is a sense of history but also a sense of modern trends having taken over due to the often disorientating reliance on techno music. Neverthless, sometimes it works and the unholy alliance of the old and the new can be curiously attractive.
Ninja Tune Page for Grasscut
July Skies, Talk Talk
Published August 23, 2010
The Superimposers have been peddling their own brand of summery, psychedelic pop since 2005 which has so far yielded two excellent albums. Not too much has changed for album number three really, except now they have Shawn Lee on board as producer.
To begin with a criticism, two older songs crop up again in slightly altered form so here we get to hear ‘Seeing Is Believing’ (benefitting from a percussion-heavy facelift by Lee) and the wistful ‘Would It Be Impossible’ again, although that means – regardless of whether they are two of their best early songs – the sum total of new material adds up to less than half an hour.
It’s lucky their other songs are just as great. ‘Where Do You Go?’ showcases the duo at their most throwaway; it’s an opening gambit which revels in its Beat Group simplicity right down to its cheesy bird song sample. Both ‘The Beach’ and ‘Sometimes’ are made up of classy easy listening arrangements which exhibit a faraway beauty. ‘The Harbour Mystery’ continues the seaside theme but its wonky key changes and shuffling drums remind us that this is a lo-fi band at heart. Furthermore, ‘Tumbledown’ and ‘Four Leaf Clover’ prove that these unlikely looking fellows can create some truly lovely harmonies.
Despite the quibble about there being just seven new songs on this album, the quality is marvellous. One might say that for late 1960’s nostalgia this is hard to beat but it’s the strength of melody which really astounds.
Wondeful Sound Label and Shop Site
The Superimposers MySpace
Beach Boys, Arnold