Published June 25, 2012
For all those who wanted to know what sweaty electro dance performed by a Serbian/Greek act sounded like, PNDC and housework (AKA Predrag Nedic and Athanassios Vavaroutas) have consistently provided the answer. Make no mistake though, this is as far removed as possible from trashy European music and is chiefly noteworthy for tight rhythms and housework’s breathless vocals. ‘Nothing In The Sky’ is further proof that you don’t need to be in the same room together to make music work (infact the two protagonists have never even met).
That said, the start is a little awkward. ‘Tight Rope’ takes up the challenge with some disorientating organ swirls, distorted production and general air of confusion. Then housework brings out the ever faithful croon for the snail-paced ‘Go Quiet’ but it’s another song which quietly seethes rather than stirs the emotions. Patently, this is not pop music.
The title track redresses the balances and is definitely one of the most mesmeric offerings. Against a backdrop of subtle atmospherics, the duo create a track that is intelligent, unsettling and romantic all at once. ‘Sunset Over Empty Towns’ is another piece which favours the less is more approach whereas the emotive ‘Gentleman’ brings back memories of Japan’s ‘Ghosts’. Elsewhere, ‘European Day Of You’ even boasts something approaching a happy chorus and ‘Touch Of Mad’ is like a revival of the twosome’s unique twist on club music.
PNDC and housework have always operated on the experimental end of electronic music but here they sound more eerie and adventurous than ever. At times, the icy surface can serve to alienate the listener but the further one gets into the album, the better it becomes.
PNDC & housework Bandcamp
Tarwater, Depeche Mode, Colder, DK7
Published June 23, 2012
The backstory behind the course of an album can so often influence the sound. For The Rest’s third long player, they had to cope with the loss of their long-time producer to a heart attack and then the prospect of not being able to recover the master tapes. Happily, the latter situation reached a positive conclusion whilst they honoured their former producer and friend by recording ‘SEESAW’ at his converted church studio. So what we have is a passionate collection of songs full of life affirming conviction.
It seems strange comparing a relatively unknown act with U2 but the ringing guitar work, rich production and passionate vocals on ‘Who Knows’ certainly support this comparison. ‘Hey! For Horses’, on the other hand, may be based on similarly grand arrangements but its approach finds a healthy middle ground between the bombast of Arcade Fire and the more considered material of The Helio Sequence.
The mix of hope and despair is perfectly captured in the title and the tune to ‘Laughing Yearning’. Admittedly, there are a few songs here which crumble under the weight of the kitchen sink approach: ‘John Huston’ and ‘Young And Innnocent’ undeniably contain heart but they would carry more weight with less layers of sound. A better showcase is the almost hymnal ‘The Lodger’ or ‘Could Be Sleeping’, where the singer delivers a beautiful falsetto across an intense but never OTT mix of thumping percussion and chiming guitars.
So overall, the more The Rest emphasise the human voice and melody over the production, the better they fare. What cannot be doubted though, is that ‘SEESAW’ is a very emotional record and the spirit of these musicians should be bottled and preserved forever.
The Rest Bandcamp
The Rest Tumblr Site
The Arcade Fire, The Helio Sequence
Published June 20, 2012
Leeds/London outfit Ten are led by Dom Deane, who started the group originally as a solo project. ‘East Of The Elm’ is the third EP by Ten and certainly sounds like the fully formed work of a band. That’s not to say this music is over-produced in any way. For herein are great moments of subtlety, imbued with nostalgia and emotion.
The title track emerges from a dreamlike fog of field recordings and rustic guitars to begin a journey rich in pastoral atmosphere. ‘Heart Beat’ is the only track to feature vocals but it’s a mere murmur of a female which forms an additional layer to the dense framework of mournful strings and sedate percussion. ‘Adrift’ seems to flow in to darker territory; the guitars suggesting sadness or even danger on the horizon. The danger soon subsides though; ‘Paper Fragments’, thanks to its elegiac piano melody, is full of elegant despair whilst the alt-country guitar for final piece ‘Little Tree, Big Heart’ is just as gentle.
Some may argue that a mere fifteen minutes of music seems criminally short for an ambient record. Yet the range of moods, rhythms and emotions covered is brilliantly varied.
Ten Official Site
Published June 14, 2012
Thanks to the digital revolution, much of the music we hear is, quite literally, freely available. The key is to find special music by the likes of The Lovely Few who – in keeping with their space-themed releases – have a made a five star EP. The EP is produced by Dan McCurry who gave notice of his own songwriting prowess with Run Dan Run’s album released earlier this year. ‘The Orionids’ is the second part in the band’s ‘Meteor Series’ and could loosely be described as ambient pop.
Due to its vintage synth backing, ‘Orion’ sounds like Death Cab For Cutie teaming up with Vangelis whilst ‘Sci Fi Novels’ takes a harder-edge approach but only allows the guitars to simmer (rather than explode) with rage. ‘Try Again’ is another track which teeters on the brink of something dramatic with frontman and main vocalist Mike Mewborne deliberately suppressing any ideas of pace. The last official track from the EP is a gorgeous ambient rock number named ‘Hunter’ which just leaves the self-explanatory ‘Celestial Chord’.
‘The Orionids’ is full of songs which seem to catch fire at any moment yet always hold back at the critical moment. It doesn’t really matter, however, as the fifteen minutes of music contained here is beautifully atmospheric.
The Lovely Few Bandcamp
Hearts And Plugs Label Site
Run Dan Run, The Helio Sequence, Vangelis
Published June 13, 2012
Robert Vandeven is best known for being one half of the songwriting team for 1980’s quasi-dreampop act The Lucy Show and he recently re-emerged with a rather decent and forward-thinking solo album. The White Space is the name of his new project with ex-Fuzzy Logic man Dave Farrow. The band name actually borrows from an old song by The Lucy Show but it is here where the comparisons end.
To sum up the album in three words would be “melancholic indie soul” and the beginning to ‘The Crescent Wave’ is a little ponderous. ‘Stay’ features a glum guitar melody that is given voice by an equally glum Vandeven. ‘Davey’ is equally muted in its approach but at least the jangly tune is a tentative step towards positivity. The first song to break out of the relative slumber is an old one. ‘Ships’ was the highlight of Vandeven’s solo album and its trippy hypnotic bliss signals a welcome gear change for the record. ‘All The Flowers’ is a touchingly tender moment, ‘Simbday’ balances distorted noises with a genuine sense of yearning whilst the finale, ‘Hold’, is as classy as a Bond theme.
To describe ‘The Crescent Wave’ as a middle age masterclass in subtlety would be a tad dismissive because Vandeven and Farrow do raise their game towards the end of the record. Futhermore, the songs are well arranged, ensuring this album has a longevity which – like the members of The White Space themselves – defies the aging process.
The White Space Official Site
The Lucy Show, Archive
Published June 12, 2012
If top 100 lists were made for unsung British songwriters then that list would certainly feature Experimental Pop Band’s Davey Woodward. Whilst never quite as experimental as the band name may suggest, Woodward is definitely an eccentric wordsmith whose ramshackle style means he is forever destined to avoid the mainstream. ‘Vertigo’ is the first new album from his current band since 2007’s ‘Tinsel Stars’ but the spirit is undiminished.
The first side to ‘Vertigo’ offers a lot of what we’ve come expect from Woodward over the years and the fondness for a grimy combination of electro-pop/glammy guitars is to the fore again. ‘Little Things’ is the first time ears will prick up, courtesy of a nagging riff and an off-key chorus and a similar trick is repeated for the infectious ‘Transit Van Superstar’. The main flaw is the rather one-paced nature of the first half that is only broken up by a song named ‘Outside’, which switches between throbbing electro and anthemic at the flick of a switch.
Side two contains much needed variation, warmer arrangements (replacing the abrasive first half’s angst) and simply better songs, beginning with the fabulous ‘The Girls With Back Combed Hair’; the kind of witty, nostalgically-infused track which ranks alongside Woodward’s best. The title track surpasses it too, thanks to some genius key changes and some surprisingly good harmonising from the band. ‘Bowling’ and ‘The Girl Wants The Boy The Boy Wants The Girl’, meanwhile, are playful and quirky; the latter even getting away with a piano melody which alarmingly recalls the theme to ‘Murder She Wrote’.
‘Vertigo’ will still be a little too oddball to win new admirers. However, for longstanding fans of Woodward’s work, the second half to the album, in particular, is a great showcase for a unique talent, ably supported by backing players sharing their frontman’s peculiar worldview.
Experimental Pop Band MySpace
Wear It Well Records Label and Shop Site
The Fall, Earl Brutus
Published June 11, 2012
Teen Mom are a trio of young male musicians from Washington D.C. who occupy that potentially awkward middle ground between fey indie pop and shoegaze. Based on the quality of their similarly, awkwardly named EP though, their first half dozen tracks promise much for the development of the band.
Thanks to the indie jangle and doleful vocals on opener ‘You And Me’, the trio create an impression of lovelorn young gentlemen, not unlike The Drums if they were a student band recording in a basement. That comparison isn’t to undermine their talents rather to emphasise the DIY ethic of the band and the fact that their songs possess a welcome intimacy.
They can also make a noise when they want to and ‘Always Happy’ is the first sign of their “fuzz-pop” credentials. Layers and layers of ache coincide with driving guitars for the excellent ‘All The Time’ whilst the other three songs may be less polished but all (the lilting ‘Gehry’ in particular) still carry a certain rough-hewn charm.
‘Mean Tom’ is an EP which celebrates its lo-fi dynamics and the quality of the songs usually shines through the humble surroundings. Given the success of The Drums in recent years, don’t be surprised to see Teen Mom’s harder-edged sounds reap rewards too.
Teen Mom Bandcamp
The Drums, Drop Nineteens