RadioHead

Now, i've been promised by NME a "New" Radiohead song, and i couldn't help but feel a little short-changed upon hearing it's merely a remix. Oh but what a remix, it's certainly whetted my intrigue and i'm afraid to say opened a can of worms...

Now, I'm going to refresh your mind as to what the original Bloom sounds like (before the bells and tassles got sown onto it.)

Filled with delicious harmonies, textual melodies and some new-fangled, enigmatic lyricism, "Bloom" seemed to have somewhat reinvented the wheel, finding adjectives such as "artistic" and "deep" thrown at it. This in itself could be a topic. Initially a tad disorientating, this track grew on me, building on the foundations the band had already laid. By not being bound to a specific sound and style, the song shines on its own terms; It sounds free from self imposed constraints or orthodoxy in any form.
     Okay, so it doesn't reach the dizzying heights such their earlier anthoms did -what with "Bloom" being more of an instrumental than a conventional drum/guitar/vocal track- few records do. However, beneath the stuttering, jittering beats and electronic trickery, lurk some classic Radiohead-esque in that they constantly reinvent the face of their music. I think it's slightly exaggerated to say that it's a Brilliant record, but it's certainly interesting. It's one of those tunes you listen to when you're tired or contemplative, as it just kind of zones in and out and ends without you noticing, almost as though it had always been playing...then never had been... Trippy.

                                                                                *

THEN they give it to someone called JAMIExx... If the somewhat psychedelic format of Bloom is hard to swallow, then this will stick in your windpipe.
You can listen to it here:

http://hypetrak.com/2012/01/radiohead-bloom-jamie-xx-remix-3/

This where i become slightly unstuck. I don't really do dance remixes. 'm listening to this and yeah, it retaines it's chilled out stoner vibe, but there is an aftertaste of rhythm and an edgy beat mixed in with it... It's not the kind of thing i'd imagine myself to dance along to, and -despite the fact i've listened to it a hundred times(as you do when writing a blog)-my mind seems to erase itself of the track's melody when it ends, like a ghost just walking out of a room. Nevertheless, it's different, and i like anything that breaks rules, which this track does in abundance- no real lyrics, no memorable melody, no driving force of DnB, and yet Jamie and Radiohead have managed to blur the lines between Band and Synth machine to create this weird techo/rock love child.
But is it right to pervert genres in this way? I suppose, regardless as to whether Radiohead are typically a rock band or not, "Bloom" was an artistic experimentation, a new box of paint if you will, so by warping the borders between rock, techno and dance, the spirit of maverick investigation is kept alive.
    It depends what you want to get from your music, i doubt my words will influence you much: if you're into the heart-thumping dubstep (which i happen to adore lately) or catchy anthems offered by punk/pop, then you're probably not going to have much of an epiphany, but if you ache for something a little out of the ordinary, then both the origional and the remix offer welcome zest to an increasingly boring musical environment.

Midnight Mixtape

I've just got in, I've only had a little to drink and i'm currently eating strawberries. WHAT better time known to man than to compile a mixtape of songs i've been attached to for the past couple of weeks for you my lovely followers?  Just for fun :) 

Vampire Weekend

"Punk"

Whatever, it's old, but that riff earned it the honor of being my ringtone. Therefore it's first in my list.

The Rapture

"Echo"

Yes, sorry, I'm one of those people that got this off Misfits, but it takes nothing away from the fact that it's a tune.

Cansei De Ser Sexy

"Art Bitch"

Obscene lyrics that border insanity, but this song swaggers with narcissism and sarcasm. "I sell my paintings to the men i eat" Sexyyy

The Horrors. 

"You think I'm lonely"

This is odd but brilliant. I think his voice sounds like the Julian from The Strokes, but after he's had a line. 

Dresden Dolls

"Girl Anachronism"

Sticking to theme of crazy songs that shouldn't work but just do. "I might join this century but only on a rare occasion" This is one of my most favourite bands/songs/lyrics/everything/ever.

.

The Vaccines

"Norgaard"

 We all love a bit of indie pop Damn it! Catchier than the flu. I literally refused to play this song whilst compiling this mixtape because i didn't want an ear worm whilst trying to sift through my ipod aha

The Black Keys

"I got a love that keeps me waiting."

I always have this song on repeat when i'm driving back from work, it's sing-along friendly and harks back to a bit of traditional rock.

Incubus

"Anna Molly"

Again, one that's old. Again, i don't care because it's such a good song. "'I picture your face in the back of my eyes" I also adore clever word-play. Anomoly?

Bombay Bicycle Club.

"Ivy&Gold"

It's the best one on the album, an album which is, in all fairness, good, but a bit same-y. However, i've pissed myself off singing it so many times, so it has to be in my list.

Regina Spektor

"Hotel Song"

Her voice is amazing and this song is just cute (:

(At this point i would like to say that I'm not sure of the appropriate mixtape length before it becomes a drag. So 10's a nice round number, let's stick with that)

2012

Predicted New * of 2012.

Okay, screw everything else, if there is one track you have to listen to TODAY it's this one;

A truly transcendental song is one that is a combination of lyrical wit, emotional connection, and experimental musicality. This track is a concocction of all of the above, and what we have as a result is, in my humble opinion, the definition superb. 

Although actual singing talent isn't always essential (see Conor Oberst) Lana's sultry and seductive voice, sublime lyrics, and not to mention that lipstick, make the vertebrae of the backbone that holds the track together.

However, Lana Del Rey may disappoint, because she does not plumb the depths of real indie pop or jazz, but it's the very fact that you can't pin her down to a genre that makes her intriguing: She doesn't ride on the wave of someone else's success my imitating their style, and this is one of the most unique sounds I've encountered in a while.

Gems such as "Keep making me laugh, let's go get high/ I wanna kiss you hard in the pouring rain/ you like your girls insane" make the entire song glitter whilst it chokes you. Yeah, I know, there is a hell of a lot of that kind of thing about at the moment, but the simple fact is, Lana is just amazing at it. The words haunt you long after you've listened to the song. So it's nearly 5 minutes long. It's not long enough, it's constantly on repeat. Plus the video is nothing short of a dramatic opera, the ending of which is just a little unsettling, but adds to the beautiful artistic flair of it all.

Some say it takes a few listens to "get" -i am usually one of these people who like to mull over what's going into my brain before i fully accept it, but surprisingly, this was not the case this time. I can understand the opinion that it can be a little "flat", but it never falls into the snare of becoming a drone, as it has the powerful orchestraic support and the hook of the chorus.

In short, i adore this track.

It's not out 'till end of Jan, but i heartily suggest you pre-order it from itunes HERE

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)