Terry Lynn – Kingston Logic 2.0

After enjoying Terry’s Kingston Logic track on the Rough Trade compilation I was curious to discover whether she had more little gems up her sleeve on the album of the same name. The answer is a resounding yes, but in unusual and interesting ways. The album veers away from the hardcore dance of the title track and instantly strays into MIA territory but with a distinctly spicy Jamaican flavour. It’s political, passionate and there’s lots of gunshot samples.

If the album was a film it would certainly be a gritty film. Terry covers a range of topics from poverty, the system, street life, violence and the International Monetary Fund to name but a few, so this is not one for the feint hearted. But if the social comment, hard hitting lyrics and pounding rhythms are the meat and two veg, then the gravy is definitely Terry’s fantastic accent. She refreshingly makes no attempt to hide her Jamaican roots and her voice adds an authenticity and realism to these tales of urban decay. If only we had a Yorkshire version of MIA.

Aside from the aforementioned title track the pick of the bunch are the soulful aspirational message of ‘Destiny’, the political economics lesson of ‘IMF’ and best of all, the guttural growl of ‘Streetlife’ which sees Terry reach world record levels of broadness in her Jamaican accent. Throw in some decent dancehall tunes like ‘Stone’ and the odd remix and you’ve got a good value package.

It’s a different, intelligent and engaging mix of songs that celebrates the culture of Jamaica. It’s like MIA, but then again that’s perhaps a lazy comparison as there is so much more to like about this album that is out of Maya’s frame of reference. Well worth a listen.  

Bob Mould – District Line

It’s a Bob Mould album so it’s obviously worth a listen, but it has to be said it’s not one of his best. It sits somewhere between the downcast beauty of ‘Black Sheets of Rain’ and the chugging straightforwardness of ‘Life and Times’ on the Mould continuum, but never actually reaches the heights of either. There’s a more acoustic feel at times with the lyrics heartfelt and unusually mellow, but the calm is occasionally punctured with machine gun bursts of pure rock. Sadly, there’s some odd experimentation with a vocoder thrown in for good measure now and again.

It’s an album that’s hard to dislike, but difficult to love. All the tracks have their merits and pleasantly pass the time of day, but there’s  a certain ‘saminess’ to the album that is great for consistency, but strangely risk averse.

Apart from the storming beauty of ‘The Silence between Us’, there’s little to choose between the songs on the album. If I was pushed I’d highlight the pedestrian ‘Minature Parade’, the standard issue mould track ‘Return to Dust’ and the delicate ‘Again and Again’.

It’s one of those albums where if you like the artist you’ll like the LP. If you don’t already like Bob Mould then this is not going to change your mind.

Sons and Daughters – This Gift

 

Sons and Daughters make a wholesome Scottish racket, but if anything this is a slightly more commercial offering than either ‘Repulsion Box’ or ‘Love the Cup’. That’s not necessarily a negative thing and this is easily their most consistent album to date. They seem to have lost the dual female vocals that counterbalanced the Scottish male drawl in a similar way to the B52’s, however the trademark Scottish aggressive shoutiness is still at the forefront.

This is music for everyday application. It’s the soundtrack of the kitchen sink drama of northern life. Whether you’re dropping the kids off, washing up or cutting the lawn. ‘This Gift’ is the perfect accompaniment to all that boredom. It will enrich your life and make you feel just a little happier.

All the songs are essentially winners, as Sons and Daughters have rarely made a duffer, but worthy of special mention are the howling competition of ‘This Gift’, the remake of the Banana Splits theme in ‘Rebel with the Ghost’ and the straightforward chugging of ‘Flags’. My favourite is the opening track ‘Gilt Complex’ which harks back to the earlier LP’s but adds the steel of stronger song writing.

A quality, solid album from the Scottish northcore merchants. Like toilet paper, cereal bars and marmite, it’s something you shouldn’t have to live without.

 

 

The Subways – All or Nothing

The Subways have all the constituent parts to produce a great album, but somehow always contrive to snatch defeat from the jaws of victory by managing to subtly spoil virtually every song with something irritating. They’re a ‘do what it says on the tin band’ with energy, hi-octane song-writing and clashing guitars. Basically, a slightly more upmarket Mega City 4 for the 21^st Century.

Let’s cut to the chase. All or nothing is agreeable enough, but none of the songs have that secret ingredient that made ‘Oh Yeah’ such a classic. It’s distinctly average, but in a good way for the first few listens, then each track gets flicked before it finishes. ‘Turnaround’ is the best of a mediocre bunch.

However, there is a plus side to the Subways. For some time now I’ve had my doubts that Mark King may not be the ideal choice when I am selecting my all time super-group. He’s just not a team player and I doubt he’d gell with the other members of the band. In short he’s a bit of a base playing show off with that weird thumb action. On the other hand Charlotte Cooper from the Subways would fit in perfectly and she can sing too. It’s a no brainer really; King’s benched and Cooper is in.

If you’re a fan of the Subways it’s OK. If you’re not I wouldn’t bother.

 

 

Pendulum - In Silico LP

I don't really know what to make of Pendulum. It feels like they threw the kitchen sink at the process of making music. Start with some drum and base, add some hard rock, mix in electro, dubstep, cheesy synths, video game soundtracks and top the whole thing off with a progressive atmosphere akin to the interior of the Mars Volta tour bus after a heavy curry session. And in a similar fashion to mixing all the colours of powder paint in the same palette, the whole thing comes out a bit on the brown side of gorgeous.

Imagine a DJ mixing Goldie, The Chemical Brothers, Muse, Depeche Mode, Rammstein and Erasue so seamlessly that they all appear simultaneously in the same song. It's not necessarily a terrible sound that results, but ultimately it's like playing football on ice; possible, but why bother? There's some enjoyable 'bits' however never enough to make a whole song and everything ends up sounding like Fatboy slim on steroids.

Having said all that, there's a feintly addictive quality to Pendulum. In the same way that motorists find it difficult to avoid rubber-necking at traffic accidents, 'In Silico' provides the sonic equivalent but in a far more pleasurable way. Something in my reptilian brain keeps saying this is great, whereas the remainder of my brain confirms the theory that it's rubbish. 'Different', 'Visions' and 'The Tempest' are the pick of the bunch and would possibly make teenage boys seriously happy.

Having just purchased the Celldweller album I'm a tad worried that it's a similar kettle of fish, but who knows, with a couple of tweaks and less 'ingredients' this rocked up dubstep could be a Bobby Dazzler of a genre. I doubt they care, but I can't say I recommend it.

 

Those Dancing Days - In Our Space Hero Suits

I thought I'd like this more than I do, but I have to be in the mood to really enjoy it. That's not to say that it's a bad album, just that there's a certain element of magic missing from proceedings. It all sounded so good in theory; the jangle pop backing, the youthful Scandinavian enthusiasm and the unique voice of Linnea Jönsson. Somehow they manage to snatch defeat from the jaws of victory however, and the LP has reverse synergy and is less than its constituent parts.

Maybe that's harsh, because at times, I've enjoyed the odd song and sometimes two or three songs on the trot. The band produce tight, functional little indie songs with distinctive and often beautiful vocals. Unfortunately, the voice and music don't quite gel, and although both are great in isolation, there's something odd about how they sound together. On the plus side I love the quirky openers to the songs, the bass consistently assaults my reptilian brain in a pleasurable way and there's a definite joyous feel to the album.

I feel like I've been overly negative as there are some fantastic songs on show. The standout track is the nearly anthemic 'Run Run', but 'Falling in Fall', 'Duet Under Waters' and 'Spaceherosuits' all have their merits. The main problem is they're all a little 'samey' and formulaic. Take quirky keyboard, add infectious baseline, complete with semi-anthemic song sung in northern soulish style and Bob's yer Uncle; you've got the eleven similar tracks on the album.

There's a lot of promise here however, and I'm really looking forward to listening to their current album next year at some point. It's about half way up the pile so I should get to it by March or April 2013. I'm loving this video! It makes the song sound so much better. Perhaps they're a better live band? Maybe 'Daydreams and Nightmares' will have that spark of magic to turn them into true superstars.

 

Armin Van Buuren - Imagine LP

What is it?
Dutch uber DJ Armin Van Buuren unveils an album of trademark uplifting trancey dance floor monsters.

Why should you listen?
Sometimes I need this kind of stuff just to revive my brain from over exposure to too much shouty screamo, obscure world music or hardcore techno. Armin fits the bill perfectly with his semi-commercial branch of trance with just a twist of something a bit different. This is up-tempo easy listening music with a hint of indie guitar, classical music and a range of interesting vocalists.

What's it like?
It's like alka seltzer in musical form.

What's the best song?
"In and out of love" is a minor classic and one of my favourite dance tracks of the last few years.

Who does it sound like?
Early Perfecto, Ferry Corsten, BT.

The Do - A Mouthful LP 2008

This is a French/Finnish combo indie act producing something approaching a slightly quirkier and better version of the Cardigans. The vocals are the key, with Olivia Merilahti warbling, squawking and crooning in a Bjork-lite style, but with purpose and a sense of indie conventions. She's the star of the show and it's strange to think that so many other average female singers with little originality to offer are above her in the pecking order.

The songs are a varied bunch with the hypnotic 'On my Shoulders' the pick of the bunch, but honourable mentions need also go out to the chugging 'At Last', the haunting 'Song for Lovers' and the bonkers raptastic classic that is 'Queen Dot Kong'.

Apparently they're big in France, which is excellent news if you are French. Perhaps they should think of entering the X-Factor if they want to make it big in Britain. I'm sure with Louie Walsh as their mentor The Do would soon be playing to packed stadiums and selling CD's by the cartload, rather than taking centre stage at Into the Valley...

Incidentally, have you ever wondered what happens to X-Factor finalists when they go out of the show? Well, I witnessed last week's evictee Sophie Habibis at the Don Valley Stadium 'After Dark' firework display singing cover versions to a disinterested crowd of firework fans. One minute you're at those film premieres and the next you're in a seedy car park in Sheffield being outshone by a Catherine wheel and a couple of Roman candles. Be careful what you wish for.

The Fratellis - Here we Stand LP 2008

The Fratellis are famous for the 2006 ditty 'Chelsea Dagger' which has been played at every football league ground in the country for the last few years. When you hear it you are strangely transported to your seat at the Keepmoat Stadium or some similar low league football stadium. I doubt they play it in the Premier League, but perhaps they do at Chelsea.

I really enjoyed the 'Costello Music' album and decided to check out the follow up 'Here we stand' which had been panned by every music critic in the world. Apparently they're a self parody, a pub rock band and generally a poor relation in the world of pop music. Undeniably they are a lower league combo just like the football teams that warm up to 'Chelsea Dagger', but that's a positive feature for me. This is a quality album with catchy numbers aplenty and at times sounds a bit like Red Kross, which is surprising, but can't be a bad thing.

It reminds me of all the other Vauxhall Conference level bands that have been snobbishly labelled as also-rans; Idlewild, The Frank and Walters, Blindside, etc. The Fratellis deserve better, but just like Mansfield Town they will always struggle to compete with the perceived quality of the U2's and Coldplay's of this world. If you see yourself at Old Trafford eating prawn sarnies then this is not the album for you. On the other had, if you're happier at Gigg Lane, Oakwell or the Galpharm Stadium and enjoy a bit of 'Love on the Terraces' then you'll probably appreciate 'Here we Stand' on the car stereo as you travel to the match.

Panic at the Disco - Pretty Odd LP 2008

Rarely do I dip my toe into any music attached to an affected genre or subculture such as Emo, however 2005's 'A Fever You Can't Sweat Out' was such a stonker of an album that I just had to go with the flow. The first album showcased a talent above and beyond any genre loyalties and it was in some ways unfortunate that the Panic boys got tarred with the 'emo' label in the first place as this undoubtedly prejudiced a large section of their potentional listeners.

So it was with great delight that I read the outraged reviews of the Panic fans at the release of 'Pretty Odd', describing the new sound as a 'tragedy', 'quirky', 'a cross between the Beatles and country music' and 'pretty bad.' It seems the band's only crime was to do something a bit different, producing a more melodic and folk driven selection of songs, but of at least equal in quality to 'A Fever...'

It's hard to say what their influences were in the writing 'Pretty Odd' but I picked up a certain sixties feel to the cocktail, incorporating the Beatles and the Beach Boys, mix in a splash of Elvis Costello, a slurp or Squeeze, some chunks of slide guitar and a sprinkling of 'Hup' by the Wonderstuff. Shake it together in the Mad Hatter from Alice in Wonderland's hat and decorate with copious amounts of jazz hands. Delicious! It also sounds nothing like Fall Out Boy which can only be a good thing.

In short this is pure quality, with every single track a honed little bundle of pop perfection. My personal favourite is 'That Green Gentleman' but there's nothing in it really. It's different, quirky and great fun, and even Daughter of Doccortex loves it!

You've got to hand it to Panic; they turn their backs on 5 million emo-kids, shun global superstardom and guaranteed riches beyond their wildest dreams. But no, they make 'Pretty Odd' and end up sitting shoulder to shoulder with Olivia Tremor Control and Circle takes the Square on 'Into the Valley of the Obscure.'  Panic at the Disco we salute you!

The new album is out now and up for review early in the new year. Keep your fingers crossed for more of the same. 

She - Coloris (2008)

What is it?

Chiptune with a more dance based feel. Accessible chiptune you could say. If there is such a thing.

Why should you listen?

I wasn’t going to review this for a while, but I got it for a birthday present and I haven’t stopped listening to it yet. Best album I’ve heard in a long time. Up there with ‘Infected Mushroom’ in terms of quality. As with all ‘She’ albums there are a few duffers, mainly the slower numbers, but the great tracks are really great. ‘Circuit Lover’ could easily be an alternative ‘Outrun’ soundtrack. ‘Gum’ with its pulsing repetitive ending is another standout track. The album even goes into funk territory with ‘Touch and Go’. As with ‘Orion’ this is an album you have to pay for, rather than as a free download from shemusic.org, but it is well worth it.

What’s it like?

Lain Trzaska, basically he is ‘She’, makes so many different types of dance music but they all use 8-bit chiptune sounds in some form or other. Think of C64 game music and they’re the type of sounds used. Add in effects, glitches, filters and quality production values and you get something that definitely sounds different to other music on the market.

What’s the best track?

The title track ‘Coloris’ is a monster. As soon as the opening hook comes in, it is instant love. Played very loud the pleasure does border on pain in certain sections; the helium vocal towards the end being one such instant.

Who does it sound like?

I wish it did sound like someone else really. At a push some tracks sound a bit like Todd Edwards.

evlkeith

Link to Shemusic

Chilled C'quence - Dream Triggers LP 2008

What is it?

Pedro Matias and Fernando Rodrigues apparently make up trance duo Chilled C'quence who in Dream Triggers produce lush, downtempo trance that may induce some pleasant dreams.

Why should you listen?

This fits somewhere between Trance Europe Express era trance, ambient and downtempo, but always remains interesting , engaging and soothing for your brain. The few songs with vocal samples are especially memorable and provide a quirky sense of fun to contrast the new age soul searching vibe. Although I have tried on several occasions, 'Dream Triggers' has always failed to provide any decent dreams. It lulls you to sleep efficiently enough but if you want a real dream trigger I'd eat a cocktail of strong cheddar, stilton and danish blue, washed down with a bottle of Newcastle Brown and a tequila chaser.  

What's it like?

It's like having your brain gently massaged by elves.

What's the best song?

"Double Pleasure' is like 'Little Fluffy Clouds' with a dream inducing, philosophical  plot.

Who does it sound like?

Reminds me of Trance Europe Express, Scanner, The Orb maybe.

Parenthetical Girls - Entanglements LP 2008

What is it?

This is the third album from the experimental, chamber pop outfit hailing from Portland Oregon. The orchestral arrangement is combined with quirky male and female vocals from Zac Pennington and Rachael Jenson.

Why should you listen?

On first listen it was like nothing I'd ever heard before. The orchestral instrumentation creates a semi-classical feel with snippets of long forgotten pop songs drifting in and out of proceedings so you're never quite sure whether you're listening to symphony or a Dusty Springfield cover. Lyrically it's verbose and complex, but delivered with a real passion and enthusiasm by Zac, but with Rachael's vocals adding a twee twist that places Parenthetical Girls somewhere between The Field Mice and Belle & Sebastian in the all time league table of tweeness. What's not to like? 

What's it like?

Elevator music for the lift shaft between a quirky heaven and earth, (in a good way.)

What's the best song?

'A Song for Ellie Greenwich' is typically precious and contains the best oboe solo in pop history.

Who does it sound like?

The Divine Comedy, Dirty Projectors, Magnetic Fields.