Published March 31, 2011
At a time when there are a number of dominant females surging to the top of the pile, France’s Aube Lalvée is distinct enough to stand out in her own right. As well as being a versatile guitarist, she has a voice equally capable of conveying vulnerability and threat.
‘I Don’t Care’ is a typically melodramatic opener; kicked off by a magnificent chorus made not of words but of powerful wailing, whilst the verses build up an atmosphere of impending doom. However, this is not your average verse-chorus album as very few songs subscribe to this format.
Instead, there’s a fondness for post-punk and grungy guitars (‘Black Moon’, ‘Sense Of Life’), with equal space given to the spare, stripped back ‘Tell Me’ and the title track, where Lalvée puts on a performance of bone-chilling proportions. There are also moodier moments where songs drift a little aimlessly as both band and singer struggle to find a hook to ensnare wayward ears.
Texturally, ‘Souls To The Wind’ is an impressive album and Lalvée is a passionate performer who injects every syllable with maximum emotion. The key will be to hone her occasionally wayward talents in to a more coherent record but her spirit of adventure and individualism and (of course) that voice marks her out as a special talent.
Aube L Blog
Aube L MySpace
Ragga And The Jack Magic Orchestra, Anna Calvi
Published March 26, 2011
Llorenç Rosselló hails from Mallorca, not a location usually associated with experimental folk-pop but it’s this loose genre term which most closely fits his recordings under the name of Poomse. After the 2006 demo ‘The Phantom Hand Theory’ (the biggest compliment being it didn’t really sound like a demo), the artist returned with a full length album last year and now this new EP.
Poomse’s odd singing style resembles Robert Wyatt or – in layman’s terms – he has the voice of someone much older. When it’s filtered through youthful regret as on ‘Kitchen Floor Epiphany’ the effect is oddly satisfying. ‘Star’ begins as a blues-influenced track but its string sampling-ending is more reminiscent of classic Hollywood. In keeping with the unusual approach of the EP, ‘Heaven’ switches between grimy post punk and trumpet segments and ‘The Elephant In The Room’ balances discordant noise with off-kilter melody.
Given the eclectic approach to Poomse’s songwriting, there’s a lot to take in here even in the EP’s concise seventeen minutes. Tellingly, though, Rosselló makes a decent fist of becoming the Balearic Islands’ answer to Eels.
Poomse Bandcamp Site
Robert Wyatt, Beck, Eels
Published March 24, 2011
Forged on the dynamic interplay between husband and wife duo Nance and Charlie Nieland, Her Vanished Grace dispense verses and choruses like a shoegazing Roxette. That’s not to dismiss the complexity of their songs (which are amost always very well produced and written) but it does demonstrate their commercial appeal.
From the hopeful ‘I Know What Time It Is’ to the gentle finale ‘Stars Are Made Of Fire Too’, their latest album is typically abundant with tunes. ‘Passenger’ fades in and out amongst the vapour trail effects whilst ‘Beauty Lingers’ boasts a sugary pop chorus. A strong middle section to the record begins with ‘All That Matters’ as Nance Nieland’s sweet vocals float on a dreamy bed of jangly guitars; an illusion which is soon jettisoned in favour of the aggressive but hook-filled ‘Sparkling Diamond’. Meanwhile, the emotionally-driven ‘Make It Lighter’ makes you wonder why HVG aren’t better known.
So it’s business as usual for ‘See The Moon’. Granted, the Nance-led songs tend to linger longer in the memory than Charlie’s and those looking for musical progression should look elsewhere but if it’s rhythmic, shoegaze pop you’re looking for, it’s hard to find a group as consistently good as Her Vanished Grace.
Her Vanished Grace Official Site
Her Vanished Grace MySpace
Echodrone, Joy Zipper, The Sky Drops
Published March 20, 2011
With so much competition and the pressure on to deliver something that’s new, connections are an important part in becoming part of the indie establishment. Sunderland’s Frankie & The Hearstrings have had their first album produced by Edwyn Collins; an artist who is more revered now than he has ever been. So armed with a 1950’s image and a 1980’s-indebted sound, the quintet serve up ten likeable, uncomplicated songs.
‘Photograph’ is a chirpy opener which rivals The Housemartins’ ‘Happy Hour’ in terms of boyish charm. On a more esoteric level, ‘Ungrateful’ may contain simplistic lyrics but Frankie Francis’ passionate delivery and Michael McKnight’s jangly accompaniment serve as a reminder of all that is good about 1980’s guitar pop. Likewise, ‘Fragile’ arrives after two spirited but disposable album tracks to slow the pace down and deliver a yearning quality largely absent on the rest of the album. Indeed for all the spiky guitar melodies and Frankie’s pleading vocals, about half of the songs tend to pass by without leaving much of an impression. A notable exception, however, is the rattling intensity of ‘Don’t Look Surprised’ which rescues some belated urgency.
Collins even contributes backing vocals to three tracks but it’s probably a testament to FATH’s abilities that you don’t really notice them. Unlike recent albums by The Drums and Wild Beasts, however, ‘Hunger’ lacks any real unique elements and you’re left wondering whether the album is a pastiche, albeit a very well produced one.
Frankie & The Heartstrings Official Site
Frankie & the Heartstrings MySpace
The Monochrome Set, Orange Juice, The Housemartins, Dexys Midnight Runners
Published March 18, 2011
The vocalist can often sway a love/hate relationship with a band. In the case of Wales’ My Ceramic Rabbit, they have Daniel Evans as a frontman, who will almost definitely provoke some kind of reaction. His yelping is the most distinctive element of the band; like a younger, more excitable version of Puressence’s James Mudriczki.
‘Until The Moon Bites Back’ is an arresting start. Based around a disarmingly cheap-sounding synth riff, the melody is strong and memorable for the right reasons. Whether by accident or design, the quartet conjure up some odd influences but turn them in to something that’s all their own work. The keyboards propelling ‘White Emotion’, for instance, bear close comparison to Altered Images’ ‘Don’t Talk To Me About Love’ whilst the frenetic ‘Run Rabbit Run’ rides along a bed of Duran Duran-style guitars and features a typically wired (and inspired) turn from Evans. The title track is even reminiscent of The Mission if they had ever diversified in to synth pop. The remainder, however, is less comparable to other artists but also lacks the hooks necessary for them to stand apart from the raft of young indie bands out there.
At its best, ‘Sex A Word’ offers several slices of refreshing, energetic pop music with nods to post-punk, new wave and synth pop. If they can control their natural exuberance to deliver a more consistent, mature work next time, they could yet turn a good album into a great one.
My Ceramic Rabbit MySpace
Puressence, Friendly Fires
Published March 16, 2011
With youthful female singers being flavour of the month, at 28, Londoner Anna Calvi can be considered a late bloomer. Her musical career began playing the guitar but shyness prevented her from singing until her early twenties. This is hard to fathom considering the sheer power she generates on her debut album.
Calvi is undeniably a virtuoso. It’s a brave move opening a debut album with a surf guitar solo and then she follows it up by seducing like Alison Goldfrapp for ‘No More Words’. The verses to ‘First We Kiss’ tells us more about her vulnerability but the swooping orchestral finale is a joy to behold. ‘Desire’, the melodramatic, multi-octave brilliance of ‘Suzanne And I’ and the thunderous thrills of ‘Blackout’ are the most memorable songs and tellingly the most commercial too but in this company, the instrumental segments (regardless of how technically proficient they are) tend to serve as a distraction from the main event.
Calvi is a unique performer, capable of taking on a number of styles with considerable aplomb and adding her distinctive qualities to each. The by-product of this is that the album occasionally lacks cohesion but it’s easy to tell all the elements are here to confirm that Calvi is a future star.
Anna Calvi Official Site
Anna Calvi MySpace
PJ Harvey, Goldfrapp
Published March 13, 2011
Based around the orchestral arrangements of Mark Horwood and the vocal acrobatics of Raissa Khan-Panni, The Mummers emerged as one of the most exciting bands of the last decade with their unique brand of technicolour pop. Tragedy hit home, though, with Horwood taking his own life in 2009 as they reached a popular and critical peak. Without such a key member, it must have been questionable whether the group could carry on.
Pleasingly, the remaining band members (and many new ones) have dusted themselves down and prepared for the next phase of The Mummers journey. ‘Mink Hollow Road’ contains a mere six tracks but the future looks brighter than ever on this evidence.
It certainly helps if you can call on The Slovak National Symphony Orchestra to assist as The Mummers do on the opening track ‘Call Me A Rainbow’. Yet the Brighton-based outift have earned the right to this experience and the sheer hopefulness of the song should melt the hardest of hearts even if, at the back of your mind, it feels like listening to a Hollywood musical. The cutesiness is taken a step further for ‘Fade Away’; perhaps the best girlie pop song to be heard for some time but it’s actually a cover of a Todd Rundgren track. To contrast, ‘Driving Home’ takes one on an aurally sumptuous journey but its lyrics of “bruises that no one ever sees” and Khan Panni’s aching chorus reveals rare signs of a darker underbelly.
Horwood is credited with the arrangements for the final half of the record. When Khan-Panni sings “I begin to see in sepia” on ‘Cherry Heart’, the nostalgic sentiment is a shared experience. ‘Your Voice’ wavers and meanders as if filtered through several dreams but ‘Stuck In The Middle’ is refreshingly modern; Khan-Panni demonstrating her full range over the twinkling, fairy light atmospherics.
Certainly, Horwood’s legacy remains undiminished but others have taken up the baton and it’s pleasing to report that The Mummers sound just as good now as they always did. Moreover, in the true spirit of the band, ‘Mink Hollow Road’ conveys a celebration of life .
The Mummers Official Site
The Mummers MySpace
Lidwine, The Divine Comedy, Björk