Long overdue Blog

There's a concept I've wanted to plug since back in September when Jonny Doom reccomended it to me. 

(If you don't know who Jonny Doom is, he's a DJ on Kerrang radio 105.2, so he knows his music.)
For this blog i'm reaching into my inner metal-head. Hey, you gotta embrace all kinds of music right?

KORN- "Get Up"

Doom showed me "Get Up'' after discussing the popular new wave of Dubstep music and how it seems to be infiltrating the rock world. I'm by no means a weathered metal fan, but Korn is a band made notorious for the grimy rock they create.

Crossing Metal with dubstep isn't quite as absurd as you'd first think. It's not like it's the first time this kind of electro vibe has left it's stain on rock- if you stretch the borders a little, then you could refer back to Muse- Hysteria- One of THE beefiest riffs ever.
However I'm not talking about the flimsy softened-down club dubstep, i'm on about the pure electro bass beat that tears it's way out of the speakers with its teeth bared and nose, bloody. A good friend initiated my love for proper Dubstep with Noisia-Maschine gun, (seriously, click that link, it's awesome) as apparently it's big in Bulgaria (shout out to Sofia lol.) When you take it apart, it has got alot in common with a heavy rock track; Dubstep has the same rawness, and the same experimentation with sounds and textures on top of the tidal bass and drum. 

My friend had it down in one; "It makes you want to either kill someone, or f**k them"

It's not exactly the most easy of listening, or the most mature of genres, but it sure gets the adrenaline going; and what is art if not provocative?

NME said Korn's album was "close to a car crash" But then i get the feeling that NME reviewers are somewhat close-minded and "2Kwl4Skwl" I commend Korn for recognising the ways that the two genres parallel, and for extracting its full potential. If anything i think the dubstep influences make the track sound heavier and more exciting.
Yeah, ok, it can grate on you after a while, but then so can anything else if you're not in the mood for it. And would i prescribe you any music that was altogether awful? No.

This song is initially to be taken sparingly, but then liberally and with a lot of volume should the situation arise.

Alex Turner's Submarine.

(A half-music-half-film review hybrid)

It's no secret that i love The Arctic Monkeys, so when i heard that there was a British film for which front man Alex Turner wrote a soundtrack, you can only imagine how excited i was to check it out.
If, like me, you don't quite get why, or indeed how Turner made the transition from catchy chart tunes to tedious , lazy sounding tracks, then "Submarine" is THE most important key. You may think i'm letting my imagination run away with itself, but after watching this film and hearing the music that Turner created, i just suddenly GET "Humbug" and "Suck It And See"...

First of all, allow me to introduce 15 year old Oliver Tate (who does look remarkably like Alex Turner). He reminds me a little of Adrian Mole, if you're familiar with him. He juggles his pyromaniac girlfriend whilst also trying to piece his parent's failing marriage back together. His seductively dark and cool Jordanna describes their relationship perfectly: "No emotions (gay)" The innocence of their childish romance runs alongside alternate adult themes throughout the film exemplified perfectly by Oliver: "Jordanna and I enjoyed a a glorious activistic fortnight of  love-making, intimidating teachers and bullying the weak."

The cinematic techniques are breathtaking. I'm no director, but I'm a huge fan of anything remotely vintage. (I stole a box of matches from a cantine once because it was exquisitely old-looking.) The scene "Two Weeks Of Love Making" is filmed using Lomography. Its kind of like the difference between a printing your pictures off a digi-cam, and processing film in a dark room. It it has just the right effect; when the grainy frames of film flicker and stutter on the screen, my heart melts through my ribs. I believe that this feeling that i get from the visual, is what Alex Turner is trying to achieve with audio.
This is Turner's first attept at a solo-career two years after a successful stint in his side-project The Last Shadow Puppets. You can understand why this attempt only reached 35 in the charts. On it's own, the soundtrack is somewhat soporific and not at all enthusing or catchy. However when you couple it with the meltingly romantic scenes of Submarine, it transforms into something achingly beautiful

 

I truly believe that this film had a huge influence on steering the direction of Turner and The Arctic Monkeys, and that he spent the last two years imitating this style. If you think humbug or suck it and see are a little boring, then that may be because Turner has these images in his mind when writing them, without the benefit of which, many listeners would interpret as lazy and slow paces rather than nostalgic and traditionally romantic.

----------------------If you're into motifs, symbolism, analyzing films and don't mind the odd spoiler, then feel free to keep reading. If not, then I'd advise you stop here because i wouldn't want to ruin such a brilliant film for you---------------------

It's not just a great film for it's soundtrack. It's also drenched in motifs. The reoccuring references to water suggest it is symbolic for oppression. Oliver's heartbreaking dreams of drowning in a bath when his romance hits tragedy. His alternate universe falls naturally to Oliver's father, who is rather by construction than coincidence, a marine biologist. He makes several references to the ocean being 6 feet deep, suggesting that the water symbolises the opression of his marriage. I also noticed small details such as Jordanna and Oliver sitting in an empty bath together, and that she makes him walk into the ocean in his school trousers. You cannot fail to notice the poster depicting Oliver struggling to keep his head above water, and the title suggests that he is learning to adapt to being submerged. Alternately, the presence of light suggests the introduction of happiness. This appears in the film subtely, such as the light flickering at Jordana's mom's last Christmas dinner. Other times, it is blaringly obvious, such as the fact that Jordanna is intregued by fire, and therefore many of her scenes involve fireworks or setting something alight. During intimate moments with Oliver, she even sets his leg hair on fire, a sweet and finely placed touch. The promise of renewed happiness appeals to his mother, whose former flame, Graham claims he can see light and colours around people. Oliver says that is his dad had an aurua, it would be the colour of egg shell, putting the context of his parent's marriage nicely. Oliver says that the light in his parent's bedroom is vital in his 'investigation' as the dimmer switch indicates that they had slept together. All this neatly ties together the intense motifs that make the film so interesting to watch.
 Finally, it's a British comedy, so it's side splittingly funny whilst still maintaining it's moments of drama and solemnity. Submarine is my new favourite film, so it pleases to me give it a rating of;

10/10

VelocirapTUH!

Kasabian claimed that this is the album to "change your life". I took this statement to suggest that Velociraptor! is just going to ride the afterwaves of last year's success, and you'd be forgiven that thinking all these song were going to be half-written, rushed tracks that weren't quite good enough to put in "West Ryder..." 

However, this really deserves that exclamation point in it's name, it's an angry album that sometimes doesn't quite make for easy listening. It's a good compilation that i deffinatley enjoy and has convinced me that i want to see them live, but don't altogether adore, and I can't quite decide why. Ordinarily, i would say that i LOVE Kasabian, and I admire their experimentation with synth and dance-beats, but i think a couple of tracks such as I Hear Voices are carried on the back of others, such as Velociraptor! and These Days... The songs i like by Kasabian i adore, but there are some that i can be completely indifferent to and, as i'm analysing the album as a whole, i don't think that's a characteristic of a "Life changing" album. Anyway, here's the breakdown:

BUY IT HERE!

I'll start with the song Velociraptor! This is track that the album will be remembered for, and not just because of the name. Rather than saying "Velociraptor is on that great album," they will say "That's the album that great song Velociraptor is on." That's not necessarily a bad thing either. It's a fearless song, it goes on the attack right from the word go. There's no gentle introduction, it boldly shouts "Blast Off!"over the heavy musical support of the band and charges straight into the chorus: "Velociraptor, he's gonna get ya" is sang quite melodically, followed by more yells of "Velocirap-TUH!  (A cool touch if ever i saw one, and there are none more swaggeringly-cool than rock artists Kasabian.) 

Stepping back from the critically acclaimed, i want to mention my favourite of the album, Switchblade Smiles, which was released as the taster back in June. It does sound a little like the last dreggs of 'West Ryder's Asylum', but is altogether a brilliant song. The intro seemed a little Muse-like, with the pulsating bass/synth, which we have former hip-hop producer Dan 'the Automator' to thank for. The introduction of the dubstep-influenced drum beat at around 1 minute is bulked up yet more by the guitar and the perfectly timed lyrics lyrics "Can you feel it coming? -Boom." This part is so catchy you itch to tap your hands along to it. (A note on dubstep infiltrating the rock world, take a listen to Korn's new song) 

"Let's Roll Just Like We Used To" is frankly, a frightening song. I hate the disembodied groans you hear in the introduction. I'm quite a jumpy person anyway, but when the trumpets and what sounds to me like marching soldiers come in, i just get too freaked out. This may make me weird, but i don't care, it's just not pleasant listening. (However i will say that Tom's voice sounds a lot like Alex Turner's in this.) Thankfully, it is followed by the brilliant These Days Are Forgotten. It's all in the intro; the clunky guitar riff with that drum beat clicks across your brain. Unlike the impenetrable wall of noise that many bands seem to favour, Kasabian appreciate the importance of a catchy chorus, and time and time again, there's those few lines that you just cannot get out of your head.

A quick mention for La Fee Verte. I like songs with clever references that make the listener feel 'in' on the joke. This appeals to this geek-lobe in my brain and i piece together that they are referring to Absinthe, the potent French drink. There is even an accordion around 2.20 that adds another hint of Je Ne Sais Pas to the song. The sliding notes that are sung creates the 'off-your-face' mood; although in truth, although i like this track, i tend to flick to the next one before this is finished.

I Hear Voices and Re-wired sound like throwbacks from the 80s, which i admit i don't fully get. But then, i guess that's a matter of taste. Personally i think it's a little annoying and out of place, but not altogether crap.

The dark, creepy, but yet delightful A Man Of Simple Pleasures sounds a little Arctic Monkeys-ish, pre-'Humbug.' Which can only be a bloody good thing. I know i've mentioned this already, but are Kasabian jumping into the grave that the Monkeys lads have left vacant since their dissapointing album "Suck it and see" ? If this song is anything to go by then maybe. Some say Kasabian can't outrun the shadow of Oasis. Waffle, it's Arctic Monkeys they can't seem to out-grow. 

If there are songs that i haven't mentioned then it's because they are neither great nor awful- referring back to what i said about being indifferent to the odd Kasabian song. On the other hand, the songs that are good, are mind-blowing, which makes rating this album very difficult....

7/10 

It's a must-buy, and i really want tickets to see these guys it's just a shame that the album dips somewhat in the middle.

Track list:

Let's Roll Just Like We Used To

Days Are Forgotten

Goodbye Kiss

La Fee Verte

Velociraptor!

Acid Turkish Bath

I Hear Voices

Re-wired

Man Of Simple Pleasures

Swichblade Smiles

Neon noon

You, Me At Six - Live At Kerrang Studios.

The wonderful people at Kerrang!Radio kindly invited me to see YM@6 perform a select few of their songs, new and old, in their live studio. 
The queue snaked around the corner of Lionel street, and once inside, the atmosphere was one of intense excitement. Ironically, the more fans they accumulate, the more a band has to prove their worth. However, any reservations i had about this band being all hype vanished as soon as they started playing. Josh Franceschi's voice was in fine form, his vocals sounding a little more battered in a roughened-up acousitic version of "loverboy" (a vast improvement on the boy-band like theme of earlier albums.) A song that already sounds great, benefitted all the more once it was stripped down to the bones. The intimate setting of the gig meant that you could really focus on the rawness of the songs; no flashy lights or on-stage tassels, just music in it's pure form. What did such a small-scale gig reveal? Yes, that YM@6 are amazing musicians, but also that they are mortal. They joked between songs and connected with their fans with a meet-and-greet signing afterwards. It's good to see a rock band that aren't -well- up their own arses.
I'm not a hardcore YM@6 fan, but the songs that i do have on my iPod i love. They played "Underdog" in the same acoustic, slightly dark manner, which i think totally suits them. I read in Kerrang! magazine that they are re-inventing themselves and their new album "Sinners never sleep" is going slightly more rocky, which i'm pleased about and think is having a positive effect on the quality of music they produce.

Buy it here:
http://itunes.apple.com/gb/album/sinners-never-sleep-deluxe/id463531808
Photographs by Kate Monroe.

Small-scale gig.

 

The tiny audience. (I'm on the left, two from the front row. You can just see my eye lol)

Tunes along time.

2011 has seen an explosion of new music on the scene. I say new, i mean old music that has transformed from kids with the knack of flicking fringes and writing pop-punk hooks, to mature musicians who treat each track with depth. Thought it would be fun to have a nose at a few of the bands that have blossomed in my life time, and decide whether it was for the better.

I have this dirty secret that i am often looked down upon for... I think the Red Hot Chilli Peppers are a bit over-rated...i'd go as far as to say i dislike them. When musicians become famous for a certain style, they usually take the opportunity to flex their musical muscles and experiment with something new. Rather dissapointingly, The Red Hot Chilli Peppers seem to have not done that, but rather stuck to their old ways. They swear by the template of jazzy bass intro, drum beat, funky focals and catchy chorus. I bought "I'm With You" last weekend, and every track is so similar it's boring. Yes, i'll admit that "The adventures of raindance maggie" is catchy, but it's only as good as their old stuff, nothing gob-smacking like "By The Way" Also, without Flea (who is, by the way, a god) RHCP would be more like slightly-limp-green-capsican peppers- nice enough, but nothing to really look forward to.
The "hey now" bit could easily slip into "Californication" or other soft whiny verses. If you're a fan of this band's previous albums, then chances are, you'll lap this album up. I on the other hand, like a bit of variation in my music, and i'm afraid that the peppers aren't that hot this time around.

A band that i feel lately have been pressured to pump out the songs is Arctic Monkeys. Previously, i thought this band could do no wrong. I loved everything they wrote, from their very first album "Whatever people say i am, that's what i'm not" they have a flare, an aching coolness that the world hadn't seen since The Libertines. The album name itself implies that this is a bunch of misunderstood, cynical, and therefore appealing individuals.  "Crying lightening" hit all the right buttons to please the "Indie-Cindy" inside me. I was still getting to know "Humbug" when out of nowhere came "Suck it and see." An album that I feel was over-laiden with tracks which were, in short,  somewhat alien. 'Brick by Brick' never really kicks in, despite the opening line being ''I wanna build you up.' (ironic) and 'Black Treacle' is a song that has no hook, but just hums on somewhat soporifically.  It says alot when your favourite song on the new album sounds like it belongs on their first or second one. (See Library pictures, and tell me it wouldn't better fit ''Favourite Worst Nightmare.) I get the feeling they just can't bebothered anymore, even the minimalistic look on the album cover looks as though they just couldn't be bothered anymore.

My Chemical Romance. Oh how i adored you. You were the bane of my mother's life, what with the sound of music bleeding through the walls, and the blue-tack pulling the paint off because i have so many posters up. I loved how each album showed another side of MCR, Three cheers was better produced and planned than "Bullets". (Although it was the rawness of bullets that we all fell for) Then they breathed an element of maturity into "Black Parade." They weren't just talking about drugs and parties and girls anymore, this alum was about the afterlife, world wars and terminal illness... Once you have made such heart-throbbingly amazing music, do you regress a decade and act like children in your new album? Most of the songs aren't that great on "Killjoys", not to mention the tights and plastic guns, They are 5 men with wives and children for Christ's sake. This is what a mid-life crisis looks like if you have the music industry at your beck and call.

Let's end on a high. 2011 hasn't been all rushed re-inventions of bands that were perfectly good before.
The Kooks were introduced to me by my boyfriend 4 years ago. I started the transition by listening to Konk; It's slightly more rocky than "inside in inside out" and really lodged itself in my ears. There are so many songs on the album that make you think "why isn't this released as a single? It has merit enough!" So when "Junk of the heart" came out, it was a pleasant collection of songs that, although different enough to be refreshing, retained enough of the Kooks' essence to stay familiar and not altogether foreign to my ears. "I wanna make you happy!" In a world that sings of death and heartbreak, this is a nice little breath of air. Full on characteristic sing-along anthems and uplifting tracks, this album gets played everytime I'm in the car. Whilst i adore track number 10 for it's ballady beauty, the song "Is it me?" oozes vintage chic aswell as musical brilliance. Luke Pritchard's voice is second only to the amazing playing of Hugh Harris. Every member knows their instrument inside out and produce music that is time after time, intricate, and methodical and flawless.


My eyes are starting to blur and my head hurts. Might have something to do with the fact that England decides to have a bloody stupid heat wave right as i look forward to new autumn outfits. I can't take this weather anomaly and am therefore going to bed. So come back later in the week for  the next installation.
-T'rrah!

My mixtape, for you lovely people.

My work experience with Kerrang!Radio has reached it's mid-way "Hump" As KateLawler would say; I'm half way through and loving every second of it. 

One thing that the old 105.2 regularly asks of their Kerrang!utan fans is their favourite "tune of the year" I like this enough to take it a step further and collate a mixtape of, well, whatever the hell i wanted really.

This blog is all about sharing music, so here is a couple of tracks, both new and old, not always my favourite, just what i fancied today...so come and gettem' whilst they're hot off my iPod. 

 

(In no order)

Regina Spektor- Fidelity

I say no order, but there is a good reason this is top. It's not necessarily my favourite, nor is it  the best technically. It's not the best seller, and it's not the most famous. However, it's at the top of the list because i remember the second i heard this song-she was on some silly talk show- i fell in love, not just with the track but with the singer. You know how you look at someone's eyes-nothing else- and Bam you're in love? This song was the gateway into a love affair with every song she has ever written. Spektor breaks conventions whilst still creating music that is fantastic, quirky and brilliant.

Iggy Pop- I wanna be your dog
Iggy is Legend. Fact. This was one of the first songs i ever learned to play on my bass guitar when i was in my dad's cover band aged 13. Very much like my dad, Iggy point blank refuses to acknowledge he is no longer a teenager, and is therefore growing old disgracefully. I doubt this man even knows that there is in fact alternative trouser-wear out there, not just skinny drainpipes. (Thankfully, my dad does) Although he looks slightly like a melted candle, Iggy is going strong, and it's songs that stretch as far back as the 60s like this one does, that means he can act like a kid even if he is grandad age.
Vocal howls, tambourines, dirty dirty dirty guitars; this song is what is means to lose control and rock without a care in the world. Funnily enough, it started ife as a ballad about his girlfriend stroking his hair like a pet dog, but Iggy doesn't do soppy. No, that's not his style, this is as close to a love song as he gets. And my hat goes off to this guy for teaching us a valuable life lesson; Grow old with as little dignity and with as much noise as possible.

Rise against-Give it all

I went to see these guys at the little Civic in Wolvo, and they Blew. Me. Away. Listening to this track takes me back to that moment of pure energy when everyone was dancing and singing along in unison.  Screw redbull, Rise Against give you wings; they make your toes tingle with energy that pulsates through your earphones. 

Just don't play this song on the train, you can't help but headbang, and there's a very real risk you'll end up flicking the ticket man the middle finger just 'cause you're wound up.

Patrick wolf- childcatcher

Another strange one for you. This is music that sounds like it's crawled out of a child's storybook... but at midnight, and all the characters have pointy teeth.  "Gonna be your right of passage" This is the point at which the irony of using a childhood villain from Chitty Chitty Bang Bang  hits you; it's disturbing, it's uneasy listening... but it's morbidly brilliant. Then the rave-like bass and drum kicks in, and you don't know if you're still in the realms of metaphor, or a nightclub. The lyrics "I think you  enjoyed it" are contrasted with the chilling childish pipe-playing, and it's this that Wolf ends the track with, leaving you with goosepimples, but unable to resist listening to it again.

Muse- Unintended

Aaaand we're back in the realms of the soppy and ballady. I don't care, it's my mixtape. Plus this one's a korker.

The guitar is hauntingly soft, and it's Bellamy's voice that shoulders the weight of this song and carries it. "I'll be there as soon as i can." How HOW HOW can a man's voice be so delicate and damn beautiful as that?! "You could be my unintended choice" -Matt knows the genius of addressing the listener accordingly, you end up breaking your heart over a voice, thinking "what me? He's talking to me?"

It's not Muse's loudest or most technical song. I could rave about New Born, Plug In Baby, Showbiz, Hysteria, or Time is running out (which i'm sure i will in due course) but this is one of the under-rated gems that i think deserves a look-in.

And for the record, feel free to download those muse tracks above mentioned. Legally of course, don't be a t*t.

Damien Rice- Cannonball 

This song is 5.08 minutes of Escapists' paradise, sinking into Damien's typical breathy voice and signature folk guitar. 

My Chemical Romance- House Of Wolves

Okay, let's liven things up.

The intro is bold, ballsy and foot-stampingly catchy. The lyrics fit perfectly into the conceptual album "The Black Parade." And boy, isn't that just a brilliant album? Seriously, i'm a Huge fan. It's like their music matured enough to appeal across the board, but kept the dark rocky edge that their fans fell in love with years before. 

Shame they regressed about 20 years and released a dissappointingly awful fourth album.

Three Days Grace- I Hate Everything About You

The intro is dark, cool, edgy. You instantly feel yourself becoming more cynical about life with each passing second. It's not exactly uplifting, but it's got a brilliant chorus, and i guess it's good for letting off steam when you've had a bad day. Not to mention the booming, driving surge of the bass guitar thumping along to the drums, this song definitley deserves a spot in my mix tape.

Mumford&Sons-The Cave

 M&S get alot of stick from the music industry for being handed fame on a plate because they are 'wealthy'. Shame on you, Music industry, you would applaud a poor musician for breaking stereotypes, so why not these guys too? Is their music not infectious, inspiring and altogether brilliant?! I watched them on the telly at Glastonbury last year, and they took my breath away. They really know how to make folk-music commercial, but without making it overly-twee. Huzzah for Mumford and all his sons that there may be.

Dresden Dolls-Girl Anachronism

You are either going to love or hate this song, but being as it's my mixtape i'm hoping you're going to love it. It's about a girl with schizophrenia; the word 'anachronism' is defined as a "chronological misplacing of letters in spelling." this is reflected in the piano; practically bashed at a dizzying pace, combined with Amanda's squeals and shouts as she adopts different characters;

"It's just the way the medication makes her." "The attention just encourages her." 

"I might join your century but only on the rare occasion." 

In short, it's crazy, but it's intentionally so, as that's the story it's telling. As always, Dresen Dolls' Lyrics are razor sharp and delivered with edge and Amanda's characteristic caberet showiness.

Tracy Chapman -Revolution

This woman is legend. She's a Black, Gay, American Female Musician living through the pre 80s. Heavens, Chapman should be given awards just for making it through alive! The title of this song indicates her entire approach to life: The album is a plethora of political and social debate. Again, i've picked this song, not just for it's individual merit, but because it represents everything that Tracy is. She's not just inspiring, but taken at face value, her songs are catchy and fresh- enjoying plays on modern music stations today.

In fact, i paused this blog for 15 minutes so i could put this song on repeat for a while.

Arctic Monkeys- Brianstorm.
Alex Turner has a tongue like a knife. His lyrics aren't just good, they tell an entire story with wit and with more than a pinch of cheek. He oozes a coolness that rubs off onto his music; The Arctic Monkeys walk that fine line between the genres of uplifting indie and rock. They're respected as a rock band, but retain the melodic catchiness attributed to other indie bands such as the Kooks. They're my favourite band, and i think this song encapsulates the oomph they inject into all their albums.
Give them a listen, if -yanno- you're cool enough.

E.P Review; The Sinful Digital

I did see this band at Pulse fest, but unfortunately i had to leave half way through their set-not by choice mind- so thought it unfair to do a review based on one song. Since then, they got in contact asking me  check out their facebook and to listen their E.P.

The aptly named "Kung-fu Stereo" begins with the tranquil, melancholy song of the Chinese violin, You begin to think 'what the hell? -Some kind of classic/rock mash up?' ... Until you realise its all a joke and you've just fallen for it. It will make you laugh. "You think you are ready? You are not ready!" (got to say guys, this bit sounds more Russian than Chinese) It's like the narrative from some weird xbox game, but once the gimmick is over they actually start with the music. Not sure i appreciate what this beginning bit is all about, but at least it makes it quirky...

The vocals come in and they ooze with angst, energy and passion. "Kicking on back with a Kungfu- stereo" "his voice reminds me of "Caged Elephant" ...but on speed. And the rest...
Although heavy rock is at the heart of this track -(the pulse that is the crashing drums, trying it's best to smash though your speakers)-the lyrics are audible and it's still extremely catchy. They don't make the mistake of just playing as hard as possible; they remember that its the makeup of the song that counts; and it works! By the second chorus you're singing along, and by the time you've listened to it a few times (as you do when writing a review) you're singing it in the shower word-perfect, even that stupid dialogue from the beginning. (damn)
 At the beginning i said that  didn't quite "get" the starting dialogue, but now i see that it's because it's stupid and a bit of a mess around that makes it brilliant; In a word it's fun- you can hear how much of a laugh these guys must have had in the that they play so enthusiastically. 
And what is music if you don't enjoy playing it?

The Kindling-(From out of the wreckage) 10/10

At first, it's tempting to turn up the volume to make sure you've got the song playing properly. You hear a rattle-"are my speakers working?"- Then the drum beat makes you jump out of your skin. But that's a good insight;
As the first song, the whole of ''Dancers'' has a creepy, jump-out-of-your-skin texture to it.
I really love this song. Like, really love it. It's dark and slow paced, but the jagged ice-like "rewind" effect punctures the velvet smoothness. Yet it still stirs that feeling in your gut that an uptempo song does, a trait that is definitely due to Leon's driving drumbeat and the reoccuring and infectious melody of Ben's echoing bass. It's the kind of song that gazes into your eyes over coffee and makes you fall slightly in love. You know when something is so strange and beautiful that it kind of hurts a little? That's this track.

The soft guitar, stringy banjo and deep bass lines of ''Runaway shoes'' transport you to a past time, you can practically hear the sepia tints in this antiqity-kissed track. It has just a flavoring of country, like Jeff Buckley, Nick drake and Mumford and sons got ground up and spiced the edges. To put it bluntly, this is my favourite.Although a good dose of melancholia is indeed injected into the veins of this song, it stays on the right side of solemn; beautiful without being at all boring. Guy Wier's vocals whisper intimatley in your ear, the occasional lyric is inaudible for the breathy sound, but this just makes the feel of the song more intense and sensual. "Take me back home take me back home" -with a voice like that i'm sure many would love to.

''Acrobats''; Someone is speaking to you, directly to you-almost as though they are on the phone. "Was i drowning?" (with a cymbal roll coming in at precisely the perfect time.) It's a little disturbing, as though this person is not quite balanced; like an old war hero who has seen one thing too many. (This is the judgement i made from the character anyway, i invite and encourage you to make your own...) As he reflects, he half sings the odd line, creating yet another layer of intregue for this mystery man. The rguitar builds suspense, relieved by the melodic voice of the chorus. Trumpets. Yes, perfect. why didn't i think of it. the seemingly random addition of this instrument seems, after consideration, perfect. The whole song after all is nostalgic; a trait that the mournful song of this instrument adds to. It may seem that 5 minutes is a little long for a track, but not so-once you come down from the trip that is this song, you'll wish it lasted longer.

I haven't decided whether "Throw it on the fire" is a track that makes me feel uplifted, or a little low.  ...But then there's the lyrics, oh those heart-wrenching lyrics. "I know that it's over. I know that i am through. I'm just so tired of playing these riddiculuous games with you.' His voice flickers, as though at any time he may fade out... "Throw it on the fire..." Could there be a flicker of hope simmering beneath the weight of such a song? This song reaches into your chest cavity and gives your heart a good squeeze. They capture both hope and despair, serenely mixing radiating guitars and yearning vocals in this all-enveloping taste of beauty. This is however probably my least favourite song on the album, as I don't feel it has the same catchy rhythm, or experimentation, but i suppose that's like saying it's the worst of the best-and still pretty damn good.
(Author'sNote: I came back to this track 4 month's after this post was written, it's now January 2012 and ThrowItOnTheFire is now my favourite track. Goes to show what a quality album these guys have."

Have i mentioned Jeff Buckley yet? I can't help but draw the comparison. Listen to "you and I" or "Last goodbye" and tell me the soulful tone to his voice isn't somewhat familiar. However that's not to say that The Kindling sound much like anyone, they are a taste of something totaly new.
"From out the wreckage" can boast genius, individuality, and experimentation. There's a sence of real passion and individuality that raises this band from the status of "just another good band" to "a really amazing band like i haven't heard for a long time"
I wasn't going to do this, but what the hell, I think that Guy is the next Matt Bellamy. He's played seven parts on this EP; Banjo, Glockenspiel, Mellotron, tape effects, Lap steel, and of course guitar as well as singing! Jesus effing christ, in my eyes he is a genius. Let's not let this man overshadow his accompanying band mates, all of whom are exceptionally talented and were born to come together in this band.

I've listened to this band all weekend literally on repeat, and i'm still gob-smacked by them.  I'm proud that i've been asked to review such an extraordinary album, so get listening!

http://www.thekindling.info/the_kindling/Music.html

Mini review

I've been really busy this week, and will be this weekend also, so I haven't had chance to go to any gigs. Here's a "reviewlet" to keep you going until next Thursday

I was asked by TYPE40 to write just a few lines about what i thought of their EP

This was my response.

 The first notes of "fun in summer'' fall on the ears with a torrade of guitar and catchy lyrics. A brilliant opening that hooks you in, toys with you, and then blasts you back with walls of sound. It's good, but there's another that's my favourite...
With a title like "wounded man" one would expect the typical ballad of slow pace and somewhat tedius pining. What you don't expect is to be greeted by the crunchy opening riff that is somewhat reminiscent of metalica, acdc and green day. That's one mix of music, but what the hell-it works. Yeah it's a ballad, but instead of wallowing, it gets up and flicks a middle finger at the world.
Rock and roll is dead? I guess Type 40 never got that memo...

PULSE FESTIVAL

You could say that the Metal-graced theme of this festival would have worked against it- but you would be wrong. Pulse festival proved to be extremely dynamic and varied. The open setting- a large field (at one end a stage and at the other a marquee) meant that there was music blaring from all ends of the spectrum to suit any palette.
Even at 9.30am (the time at which i arrived) there were tents set up and band members lurking around, distinguishable by their accompanying instruments carried around like badges of honour.
Organisers in their luminescent green high-vis jackets ran around tying up any loose ends before the festival began.
In truth, it was hard to say at which point the festival actually did begin. Delayed because of the pouring rain, there was a lot of standing around waiting... Had i been a few inches shorter, i would have been able to enjoy the benefits of my lovely accomplice's umbrella. A bag, notepad, pen and phone in hand, i felt a brolly one instrument too many. This is why, when the heavens opened, i got soaked to the bone. People were reluctant to leave the shelter of their tents, however those that did brave the downpour were rewarded by the first band to grace the main stage "Elessar"
Those that were amongst the drenched audience assured me that "these guys are heavy man, totaly mental!" Nevertheless, Elessar did not let the rain dampen the atmosphere.
The repetitive bang of a single drum whilst soundchecking gave an insight into what was to come; The way that one snare could pulsate through my ribcage and make it rattle promised volume and density at least- This band broke 20 noise regulations just by tuning up. We were not let down.
The stage exploded into juddering drum beats and squeeling guitar. The vocals alternated between beast-like grunting of the main vocalist, to the melodic harmonies of the guitarist-a trait that reminded me of "A Day To Remember" but with more blood lust. To sum up, whilst retaining melody, this band were fierce, vicious and frantic. But yanno, in that good way that makes you want to kiss someone and them punch them straight afterwards.
You know music has energy when people in the crowd communicate by sign because their eardrums have been blown in...

 

( i think the rain is so heavy here it's actually visable...)

That was the main stage, but at the other end of the large field stood two ajoined marquee tents harboring music equipment and gatherings of people. This is where i uncovered "The Unknown" -a young group of band mates Courtney, Dave, Josh and Dylan.
Managing to grab a few moment of front woman Courtney's time revealed to us that past the converse heels and rockstar strut, hid a modest and sweet young girl. She told us that she was a little apprehensive about singing covers by men, and hoped that she did them justice. And boy, did she deliver! Any worries Courtney had about living up to the covers were unfounded-from this petite girl sprung a voice that completely knocked me back. Her strong, and perfectly in tune voice belted out and her feminine touch breathed a softness into classics such as Stone Sour's "Looking at you through the glass"
The Unknown chose well-known covers such as Green Day and Guns and Roses. Whilst the animation of the crowd proved this to be a huge advantage, when Paramore appeared in their set, the comparison was naturally drawn with Hayley Williams- a voice that professionals would have difficulty immitating. Any small mistake was instantly picked up because the songs were so well-known, but Courtney gave it her all and i commend her immensley for that.
Lead did what lead is meant to do- deliver note-perfect solos, piercing and awe-inspiring. This is what punk-pop-rock is all about. As the set went on, the band became more relaxed and the nerves that were so visable at the begining were melting into enjoyment. The drummer really gave it his all whilst the bassist kept perfectly in time. 15 years old is still relativley young- a fact that perhaps manifested in their occasional timing mistakes. However i put this down to inexperience and is something that i'm sure they will work on.
( My advise would be that Courtney in particular should loosen up and believe in the beautiful talent that she has.)

This side of the field was a world away from the long-haired head-bangers of the opposite field. At this hour, the marquee was graced by girls with daisy headbands and flowery chinos. The laid-back air of tranquility was adorned by accoustic 2-piece The K.Cs If Adele and Damien-rice had a love-child, so would spring the K.Cs.
The accoustic guitar was played at  perfect volume so as to add melody and acompaniment to the singer, rather than drown it out (as other bands seemed to be doing today.) Compared to the Main stage, there was a more "gently gently" approach to enthrall and entice the listeners. Both Jake and Gabby's performances were heart-breakingly beautiful, giving the festival a taste of pure talent.
My instant reaction was "WHY aren't these guys world-renowned?!"
then came the proverbial "cherry on top"
"Sometimes i feel like throwing my hands up in the air"
You could physically see the ears prick up at the familiar line sang so perfectly and accuratley whilst retaining a certain personal twist that i can't quite put my finger on. Perhaps it was the breathy velvet voice of Gabby's. Perhaps it was the light guitar that laced the song. Whatever it was, the overall delicate response to this song was amazing and i, for one, preferred it to the origional!
Get famous already.

Before heading back over to the main stage, i manged to grab a few words with Gerogia Stanway, a blue-eyed blonde-haired boho babe who owns up to being a KT Tunstall fan, and describes her music as "pop-accoustic." Although i had unfortunately missed her set, it is always interesting to talk to a fellow music lover, especially someone as genuinley lovely as this. Her wide-eyed expression and toothy smile made her totaly approachable, and her responses suggested that this girl had as much brain as beauty. "I think women tend to lean towards accoustic music because it requires a softer touch, wheras rock music can tend to be quite angry and masculine. Perhaps that is why it is dominated by male figures." 
"Music has always been a big part of my life, and I wanted to be able to give something back."
She holds her guitar with such confidence and ease that it seems to be a part of her, like her indie influenced fashion or her well-spoken dialect.
And it seems that Georgina has had some well-deserved attention and has been signed by "Assorted records" record label, but it hasn't stopped her keeping her feet on the ground;  "Anybody wanting to get into live music should just go for it. Put yourself out there."
She is currently recording her E.P, which is out  next month.





The rain had subsided enough to allow me to wander the trecharously muddy field back to the main stage.
As I had already introduced myself as the Festival reviewer earlier today, the guys from Killing the Tyrant felt they were on "telling-us-off-for-leaving-earlier" basis with my friend Louise and I. The Northeners also spared a second tell off the "C****s" for using "their footall" -this all whilst on stage. These guys were real characters-having a cheeky laugh with the crowd inbetween songs, and the guitarist falling to his back mid-solo. Light-hearted antics merged to serious passion- The singer menacingly perching his foot on the monitor, as though threatening to leap from the stage and maul the closest being to him. However, this should come as a given. KTT are no strangers to crowds- Showmanship being the main symptom contracted from a U.K tour. (In fact, they had travelled through the night to be here, as last night they were playing in Lowestoft!)
Today played host to a band that is tight. Fierce. Energetic. (Brootal, even, as a bloke in front of me commented.) Also, they were genuine decent and cool lads that were easy to talk to and a laugh to hang out with. All the best to Killing The Tyrant on their tour. And for God's sake get some sleep. (,:

All this and these are just the highlights. I would have loved to stay for the Saturday and Sunday, but i was on holiday for the weekend, or else i'd have totally camped out.
HUGE thanks to Chloe Avon and DreamStreet Management for organising the whole thing-fabulous job guys :) Look forward to working with you all soon!

Louise and I in the pub at Pulse.

Gig of the month

Somethings in life shouldn't go together, but just do. Ham and pineapple. Fries and strawberry milkshake. Rap and rock... but who says they shouldn't?

This is the question i asked myself as i sat perched, Archers&lemon in hand, on a stool in Woody's Bar- Hednesford. I love this place, it's THE place to be on a Thursday evening for the music night. This is the kind of scene where instruments are left leaning on the bar, graffiti of Oasis and Stone roses grace the walls, and the custom are interlinked by an intricate network of who-plays-what-with-who-in-which-band. Therefore you can understand the surprise with which i watched as visiting American Rap artist "AJ" climbed onto a stage filled with amps and drums; it seemed we were witnessing the proverbial "fish out of water." You could feel the apprehension of the audience- "who is this guy, where is his guitar, and why can't he say "Cannock" properly?" The fact that he had brought with him his own backing track and payed female dancer seemed a little staged and over done. I rolled my eyes at my boyfriend, expecting an awkward set of ill-chosen rap songs delivered by an over-confident "outsider". I did feel a pang of pity for him, perhaps his bravado would have worked for a different crowd. This however, was  clearly not his scene. I braced myself for the worst.

 Oddly enough however, the quiet trepidation that met the rapper upon first glance melted into bopping of heads and tapping of feet. In an indie muso bar such as Woody's, this is the pinnacle of acceptance. Each song was received by a cheering audience (unlike earlier performers, who were so bad that people seemed suddenly clenched by in-depth conversations to escape the off-notes.)

I do not believe that it was due to AJ's confession of love for our little town of Cannock ("Kay-Nok") or even his confidence and stage presence, but rather that he was a good musician. His raps were well delivered, his melodies catchy and rhythmic. Although the majority of the audience consisted of indie rock listeners, anyone who loves music can recognise talent, even if it is not of your preferred genre.  No matter where you come from or what genre you like, it is the core love of music that binds people across the board. So what if you wear drainpipes, or or oversized gangster hoodies? Linkin Park have taken rap and rock and ran with it- From what i hear they're hardly short of a fan or two.

We owe alot to 'AJ' of Texas; Perhaps it is time we all started dipping our fries in milkshake.

Someone tell me what a "Jagger" actually is? ( I thought it was a car...)

Let's get it out there. Any artist that bases their entire song around the appeal to an omnipotent "DJ" to "turn it up"whilst writhing in what can only be described as swimwear, can find themselves absent from my iTunes collection...

Hmm, hear that strange sound?
That's the sound of me lying to myself.

Cher Lloyd is everything i despise. She's self absorbed. She's impolite. Her lyrics would be far improved if somebody threw a can of alphabetti-spaghetti at a wall.
So why the heck have i got "Swagger Jagger" on repeat?
I know how i'll get around this. I'll attribute any affection i have for the song to "The Runners" -Those who actually wrote this song.
Upon first hearing it, thought the intro was catchy. The hook is cleverly based on the nursery rhyme "My darling Clementine" so your initial reaction is 'oh, i know this.' No need to work on a new infectious melody, we have one ready made. Clever ....Then she opens her mouth.
"You can't stop staring at me, looking at me" etc.... Good Lord...
It's actually a shame, because she's a very talented singer, as she proved when appearing on singing competition XFactor. She doesn't need all this façade; the 5 inches of eyeliner and "screw you attitude" just makes her less likeable and detracts from her music. Also, she's limiting herself to a certain audience. Young chavettes will look at her and think 'Yes, this is the look', whereas older more, ahem, mature listeners may be ashamed of associating their ears with her image. Also she seems to be confirming the already well-worn stereotype that teenagers constantly stomp around showcasing their obnoxiousness.
It's not classy or sexy. She's a woman, not some 13 year old.



Grow up and lose the attitude Cher, and i might not worry about telling my friends that i actually like this song.

Injection of Jazz?

Album of the moment.

Caro Emerald: DELETED SCENES FROM THE CUTTING ROOM FLOOR.

As i have already mentioned my love for jazz, it will come as no surprise that i introduce this artist to you.
I'm not going to harp on about how her success has reached from 27weeks at the top of the record list in Denmark, or the impact she is making on the rest of the world; Quite simply, this album is what happens when contemporary Jazz music is brought up to date. It's Squirrel Nut Zippers meets Duffy. It's classic meets pop culture. It has everything that makes jazz so good; the swing beat, the brassy trumpets, coolness emanating from each line- but with the catchiness and upbeat tempo of a pop song.

I dare you to listen to the first 20 seconds of his song without tapping your foot to the beat. It's sultry, it's vintage, it even has scatting; then all of a sudden the track cuts into record scratching- reeling you back to the present. The background squeeks of the decks cut through the smooth velvet feel of the rest of the song to bring a touch of modernisation to an otherwise conventional jazz theme. She takes the smoke-filled-room feel of jazz and throws in her femme-fetale influence- a touch that does not go unnoticed. As the opening song of the album, it gives a fantastic taster of what is to come. 

Gig review of the month

Band: Theory Of The Fallen

Venue: The Asylum. (Birmingham)

18.6.11

Do NOT make the mistake of thinking front (wo)man Amie Paxton is just another "rock cliché"; True, far too many bands use the ploy of propping an attractive but talentless female in front of the band for appearance’s sake only.

NOT the case with Theory Of The Fallen; from early on in the gig, it becomes clear that Paxton is the driving force behind this band. She completely stood out. Her voice seems reminiscent of Hayley Williams and/or Amy Lee, and there is something in her confidence that invites the audience into the illusion that this could be a gig of a much larger scale; it certainly has all the atmosphere and electricity one would expect from an arena gig. Their blunt punkism and skillful playing quickly won over a crowd that, let’s face it, comprised almost totally of musicians, some of whom had played moments earlier. Their approval was audible as TOTF picked up the competitive gauntlet and raised the bar of musical performance.

"We can watch the sun rise"

That haunting, wistful lyric hung in the air expectantly, until the stage convulsed, with each band-member playing flawlessly and encouraging every person in the room to join their crusade. 

They could well have the future of British unsigned rock in the palm of their hands, and in this reviewer, TOTF have found a new fan. 

Click Here to follow Theory Of The Fallen.

Mooozakk

Best cover of a song

To answer this song you must first come up with a good song that was skilfully and creatively covered by a second, equally good band.

Jolene-White Stripes.

Origionally by Dolly Parton, the entire song tugs on the ol' heart strings. Unusually, it is sung from the victim-of-the-Pussycatdoll's"Doncha'-wish-your-girlfriend-was-hot-like-me"-'s perspective.

Dolly is that girlfriend. 

So what makes the white stripes cover so good?

Well, it's accurate. All too many covers rape the song of what made it great in the first place. The familiar string picking in the intro keeps the country feel while the grumble of the drums and guitar keeps it modern. Yes, White goes a little off pitch at times, but that's what makes it great. This man is screaming his passion; He adds the punctuation to the sentance "Please don't take my man!"

A song that you always hear but you're not sure where from.
Catchy riffs that are lodged somewhere in the back of your brain, and lyrics that seem tattooed on your tongue; you know every word, but how??

"I like you, yeah i like you, and i'm feeling so bohemian like you, and i feel woo ho, woo!"
Sound familiar?
Dandy Warhols-Bohemian like you.
Reaching Platinum status in the year 2000, It's one of those songs that's just legendary. It's upbeat, fun and prods that "get up and dance" lobe in all of us.
Oh and the keyboardist is a girl. That's cool.
Her name is Zia, even more cool.

Song with the best opening line.
The Libertines...."What waster, what a f*king waster"

Music, anyone?

It's past midnight and I'm on babysitting duty for my little sister. Apart from the inane ramblings of southpark i can just about make out from the lounge, all is quiet...
TIME FOR A BLOG!
The veggie thing done with, i shall now turn my fingertips to the infamous 30 DAY MUSIC CHALLENGE. (I like my challenges, noticed?) However, I am not just impatient, but bored (And hate South Park with every fibre in my body.) Go gear up for a musical feast.

"Your least favourite song."

I bet alot of people went for the easy targets for this one. You know who i mean; Rebecca Black, Bieber... Glee. However once you actually listen to these songs from any of the above (I will defend Glee to my death) then it is easy to see why so many pre-teens enjoy this soft-pop music. Cast your mind back to when you were a eleven-and-a-half year old kid just about growing into your pristine high-school blazer, when most of your free time was spent sketching the cutest boys' names into your sketchpad with an array of coloured gel pens. Yes, Bieber is cheesy, but when you base your expecations of love on what appeared on the Disney Channel, then it fits the bill EXACTLY. So bravo Bieber, bravo.

"Your favourite song."
Tricky...Okay, at the moment i can't stop listening to jazz, so i will have to say It's "Put a lid on it" By Squirrel Nut Zippers. (The genius and quirky band name was inspired by a newspaper headline about a highly intoxicated man stuck in a tree. Make of that as you will.)
From the very first second, you are sucked into the catchy melody. This is a song that allows the singer to echo the conversation between the saxophone and trumpet. It's not exactly what the lyrics are, but rather how they are sung; you can't help but adopt an exaggerated American accent. (At one point i was also kind of Wah-Wah-ing along with the trumpets.) That it is sung by a woman makes it just that bit sexier, as though she sings "Gonna get what's mine" in a flirtatious way that it would be difficult for a male singer to achieve. I guess that's the charm of this song, you find yourself not only appreciating the flirtation of the instruments in their back-and-forth duplication of each other, but also that of the singer with the audience. And hell, this song does not simply flirt, it seduces...

                                           
                                                 Katherine Whalen-S.N.Z