Caitlin Rose is the ultimate proof that alt-country music is a wonderful thing. She has a voice that is delicate yet powerful, vulnerable yet confident and combines elements of Jenny Lewis, Karen Carpenter and Larry the Lamb. Her songs are bitter sweet tales of love, loss and redemption and whether you want to or not, you'll be replaying them over and over in your head after just a couple of listens. It is one of life's greatest injustices that everyone loves that other cowboy staple: jeans, however absolutely nobody apart from me (and cowboys), love a bit of Country and Western music. I hate jeans; they're cheap, uncomfortable and made of horrible blue denim that makes you look like one of Status Quo. My advice is leave them to the cowboys. But the likes of Caitlin Rose deserve a much wider audience. Unfortunately this is probably not going to happen and the masses will continue to skip about in their denims listening to Jessie J, while the in-crowd are wearing sensible trousers and singing along to 'Own Side Now'. I've listened to some cracking albums this year and this is up there with the best of them. Every song has its merits and tells its own little story. 'Own Side' is undeniably a classic and deservedly ranked highly in my Festive Forty last year, however there's so much more to this collection. 'Shanghai Cigarettes' is a catchy combination of harmonies and twanging guitars and 'For the Rabbits' is an anthemic ballad which is as intriguing lyrically as it is musically. Best of all is the jaw dropping, lo-fi minimal charms of 'Sinful Wishing Well' where Caitlin gives us the full vulnerable vocal delivery that occasionally dips into Larry the Lamb vibrato for maximum emotion. That's not to say the other songs are weaker as the whole thing plays like a greatest hits package. So abandon all your misconceptions about modern Country music and give Caitlin a chance. She's a rare talent and one of the most emotive singers in any genre. I love the name too; Caitlin Rose is just such a great C&W moniker for a woman. Nearly as good as Hank Wangford for the gents. Just as a dog is not just for Christmas, Caitlin Rose is not just for cowboys. Recommended.
Another month goes by and another Songlines compilation goes on the car stereo. I've got such a back log that I've yet to renew my subscription to the magazine, but rest assured that I'll get round to it in the near future. Top of the World 80 is a game of two halves, but as always provides something interesting and new from the World Music coffers. The first ten tracks are possibly the best Songlines compilation I've listened to. The songs are a joyous mix of global rhythms and multicultural voices, with Amira's beautiful and hypnotic 'Zemi Me Zemi', Kiran Ahluwalia's textbook eastern chanting, yodelling and wailing on 'Mustt Musst' and Lucas Santtana's instrumetal 'Super Violao Mashup', all proving to be welcome additions to my collection of world music anthems. Best of all is the clicky, clappy, and rhythmically complex 'Tango de Nilo' from Ali Khattab which I could listen to for hours on end, and proves once and for all to the cynical South Yorkshire masses that clapping is not just for Christians. Sadly the compilation goes downhill with the five selections from the Grateful Dead's Mickey Hart which prove to be the worst selections ever by any of the guest pickers. A whole album of his selections could put you off world music for life. They're all very minimal and rely of repetitive beats, with 'Jayan Tangis' sounding like people banging tree trunks, which sounds promising, but they carry on banging tree trunks for over seven minutes. It's the first hint of negativity in any of my Songlines reviews which reflects the quality that they offer on a monthly basis, but any future involvement of the Grateful Dead should be avoided at all costs.
The makers of my favourite song of 2011 are unfortunately not German in the least and base themselves in the heart of New York city. To be honest, it's an easy mistake to make as they sound distinctly East German 'Cold Wave', but with a fresh modern twist that sets them apart from the standard synth revivalists. The fact that they're not a bunch of leather trousered, moustachioed Europeans with a couple of androgynous backing singers with copious amounts of armpit hair doesn't make me like them any less. It just makes the whole thing a slightly less attractive proposition. The album is so much more than the standout track; 'Scissors', but the song is still their benchmark offering. It all sounds very eighties, with a Kraftwerk meets Joy Division meets John Foxx vibe that is not altogether wholesome, but would fit snuggly into some seedy New York underground club. In a world where drum machines, dead pan vocals and minimal techno are the height of fashion this would be a number one album, unfortunately we don't live in that world. As stated earlier 'Scissors' says it all about the band; dark, atmospheric, hypnotic, but at the same time possessing a sing-a-long element, although I doubt it's high up the list for most Karaoke fans. 'Port Isabel' is akin to 'Enjoy the Silence' era Depeche Mode, 'I Wait' is like a techno version of the Danse Society and 'Orange' evokes memories of early New Order. All in all it's a coherent and thoroughly enjoyable package with the exception of a couple of instrumental dirge-fests. If no frills 'cold wave', synth-based stormers are you particular favourite flavour of music then 'Dust on Common' will be right up your street. It could only be improved by the addition of more Germanic influences, for instance some lederhosen, bratwurst and Helga from Allo Allo on backing vocals.
I was so wrong about this album initially. After three listens I almost gave up on it, but thankfully I persevered and now I've got to say it's easily one of my favourites of the year. I guess I was expecting something more akin to Evlkeith's Festive Fifty entry 'Fleeting Moments' which was my introduction to the band. It's such a fantastic song that I just wanted more of the same, and although 'Promises, Promises' comes close, the rest of the album follows a slightly different path. The songs are gloriously twee in a way that Belle and Sebastian can only dream about and possibly only the Field Mice could even aspire to. Surprisingly, Andy and Emma share vocals equally and at first I was desperate to hear more of Emma and much less of Andy, but how wrong can you be? If anything, the songs where Andy takes the lead are possibly even more enjoyable than Emma's, and when they sing together it's almost Abbaesque in terms of both the beautiful harmonies and unashamed campness. It's ultimately the songwriting however, that differentiates the album from enjoyable pop music and propels it into the realms of a classic piece of work. These songs are witty, quirky, melodic, profound, crafted and timeless. It's as if Gary Barlow got in touch with his feminine side and signed for Sarah Records, in a good way (if that's possible). Top marks for songwriter Andy Hudson; a job well done.
They're all standout tracks but 'Promises Promises' is the most instantly accessible in an Isabel Campbell era Belle and Sebastian kind of way. Dig deeper however, and 'The Sky at Night' is a keyboard fuelled gem for all of us telescope owners and 'Five Day Forecast' is a jaunty tale where the male/female vocals intertwine perfectly to produce a uniquely agreeable sound. 'End of the Pier' is a minimal melancholy masterpiece, but best of all is 'Harbour Lights', which is a moment of pure magic, combining images of lifeboats, vinyl records and Swing Out Sister, which can only be a good thing. I can't really be anymore positive than saying this is easily on a par with 'Fold Your Hands Child' or 'Biggest Bluest Hi-Fi'. Pocketbooks will either move onto global domination or they'll be working as primary school teachers within five years, and I can't make up my mind which is more likely, although Andy would definitely not look out of place playing 'I have seen the Golden Sunshine' in assembly. A great, original and surprising album. Pocketbooks we salute you!
My fourth venture into the world of Conor Oberst and although easily the least accessible so far, this is yet another great album. It's a complex feast of lyricism and musicality that takes a little hard work to fully appreciate, and I've got to say after the first couple of listens I thought it was awful. But as is usually the case with decent albums, repeated listens illustrated the beauty and artistry in these songs, with the word-play and vocal delivery particularly standing out. Conor is another of those artists out there who are definitely ploughing their own furrow. Each of his albums could not be mistaken for anyone else, but each one still has a presence and individuality all of its own. Digital Ash is less folky, less organic and less immediate than I'm Wide Awake. It's more urban, electronic and soundscaped than the standard offering, but the words still flow with a ease and fluidity of a natural talent. There's a real pain in these lyrics. You could argue there is always underlying pain in his narratives, however this pain is more overt. He's confused, empty, hollow and at times bitter, but as always there's that distant sparkle of hope hidden in all that introspection. The highlights come thick and fast, but the standout tracks for me are the surprisingly jaunty 'Hit the Switch', the hauntingly catchy 'Devil in the Details', and the baby crying fun of 'Ship in a Bottle'. If you don't already love Bright Eyes, it's not the best of starting points. However if I'm preaching to the converted, then it's definitely one for your Amazon list and an acerbic little titbit to look forward to.
This is a work of genius. It's almost literally a cousin of the Romanian fiddling master-class of Taraf de Haidouks, but the violins are supplemented with a whole band of tooting horns and combined with atmospheric vocalists. It's an intoxicating combination and there's no wonder they are famous across Europe for turning every concert and wedding into a wild and raucous party. The CD cover has a wealth of information: Apparently, all the most gifted musicians come from just two villages in Romania. It's a little like the idea of the original 'Ginger Village' in Scotland from which all us ginger folk evolved, but for musicians in this case. All the greatest violinists, cymbalists, double bass and accordion players come from Clejani, to the South of Bucharest, and it was here that Taraf de Haidouks was formed. Likewise in Zece Prajini, to the North East of Bucharest, is where all the best woodwind and brass players reside, with their own horn based combo, Fanfare Ciocarlia. It was indeed a stroke of genius then, when Aurel Ionita combined musicians from both villages to form the super group of Roma pop, Mahala Rai Banda. As the blurb on the CD states; "It is in these two villages, lost in the dust, the mud or the ice, according to the season, that you find the creme de la creme, the kings of the rogues, the instrumentalists who are half genius, half rascal, capable of stirring up a wedding party with a single solo launched at supersonic speed."
It works amazing well with a unique blend of fiddling and tooting producing a massive sound of orchestral proportions. It's instantly more accessible than the brilliant Taraf de Haidouks, but similarly possesses a range of levels and subtleties, that are noticeable after repeated listens. For the British music fan, the album contains the same magical vibe that makes whole football stadiums stand up and dance when they play 'One Step Beyond', but with a class and intelligence all of it's own. Every track is a winner, but my personal favourites are the trumpet fuelled mayhem of 'Nu Mai Beau' with its fantastically enthusiastic vocals and masterful tooting. 'Balkan Reggae' gets all dubby and hypnotic with some great duelling horns towards the end and 'Na James' adds an upbeat female vocal to an already jumping instrumental track. Best of all is the steady build up of 'Hora Din Mahala', and then the whole thing goes ballistic after about thirty seconds. It's an album that everyone should own and for once the music is as good as the brilliant sleeve design. I can't wait to sample their first, self titled album if it's anywhere near as enjoyable as Ghetto Blasters. As the blurb again reminds us: "May your nights be long, very long indeed!"
Imagine a football team. Week in week out they turn up and put in a solid performance. Nothing inspirational, but they get the job done. 1 - 0 results are the order of the day. There are no thrilling 3 - 0 comebacks here. Don't get me wrong, some games contain bursts of excitement, but they are the exception rather than the rule. If you were to watch one game and enjoy it, you would enjoy any of their games. The team consists of players who, whilst they can pass it around competently, never thrill you with their sublime first touches, their prowess at set pieces or their silky ball skills. They are trustworthy players who do a professional job on the pitch and fold their towels neatly in the dressing room after use. (They never - I repeat - never go out drinking and fraternising with ladies the night before a game. And then blatantly lie about it.) At the end of the season they are always in the mid-table spot, exactly in the mid-table spot. Never higher. Never lower. Every season is pretty enjoyable but it is known from the very start where the team is going to finish. Trip to Wembley? No chance. Every season is exactly the same but a modest number of season tickets are always bought. The supporters are generally people with heart complaints and are therefore averse to any divergence from the norm. This team suits them just nicely. Safe and predictable. Imagine that football team is a popular music combo. That team is And You Will Know Us By The Trail Of Dead. evlkeith
It must say something about me personally, but I always seem to like individual artists who are undeniably 'ploughing their own furrow', (and often posess a beard). Singers like Bright Eyes, Bob Mould or Mark Oliver Everett seem completely unconcerned with fashion and release album after album of material that reflect their own personal universes rather than the generally horrible one that the rest of us live in. And similarly to these artists James Mercer produces music that is unlike anything else on the market but always fits within the 'Shins' frame of reference. He's basically decided that this is the way music should be and I'm going to make it like this...forever. I've got to say I prefer this attitude to the constant reinvention from the likes of David Bowie. The Shin's third album 'Wincing the Night Away' follows a similar path to its predecessors, but is more consistent and enjoyable if anything. Mercer's songs seem to be written in an alien language and with a unique and beguiling structure. There's none of the simple verse-chorus business here and the compositions seem simple on the surface, but are simultaneously complex and full of depth. Likewise, the words are clearly enunciated and spoken in English yet you have little idea what he is actually saying. It's a magical mix of the strange and familiar producing pop music that sounds like it's been transferred from otherworldly inteligences than written. Where Bright Eyes succeeds and Eels seemingly fail on a commercial level is that Conor Oberst plays the game and always puts a couple of more commercial tracks on each LP. To a certain extent 'Wincing' uses this technique, with some high impact accessible numbers contrasting the quirkier more introspective tracks, but each and every song has it's individual charms and merits. Mercer seems to have injected a little love-ability into all of his creations and it produces his most satisfying album to date. I particularly like the jaunty sing-a-long of 'Australia', the meandering straightforwardness of 'Girl Sailor' and the epic lushness of 'Phantom Limb'. Best of all is the anthemic folky majesty of 'Sealegs' with a catchy chorus, kooky keyboard and beautiful strummed guitar. Having said that every track is a winner. This is possibly my favourite Shins album so far. It builds on the successes of the previous two outings and adds something tangibly different to the mix, while retaining the trademark Shins sound. Here's hoping the new album ratchets up the standard even further, although it will have to go someway to top the sheer joy and passion of 'Wincing'. Go out and buy it if you don't own it already.
It's safe to say that Princess Chelsea will be filed under the word 'quirky' in the world of mainstream British music, but this album has so much more to offer than its obtuse pop sensibilities. For starters, her voice is a thing of beauty; it's distinct, crystal clear and has an atmosphere all of its own. Chelsea (I'm guessing the singer is called Chelsea?) has a rich New Zealand accent and pronounces her words with such perfection it never ceases to fascinate me. Applied to the original and unusual little ditties on the album the voice produces a unique sound and feel that is both profound and accessible. The style of the songs, instrumentation and packaging of the album combine to produce an atmosphere that screams slightly weird and wonderful toy shop. But listen a few times and there's a darker element evident here too. This is the soundtrack to the toy maker from Bladerunner rather than you're local Toys R Us. These toys have a slightly evil and foreboding nature, and beneath the deadpan facade lurks a kitsch, hedonistic and slightly warped nature. It's the toy shop I would have loved to have visited as a child. All the songs in the Lil' Golden Book are oddities, but somehow they combine to form a coherent and unique package. Chelsea doesn't croon, warble or even belt out the decibels, but her precise, delicate and sometimes distant vocal paints a subtle wash over each song, before the occasional hint of emotion adds a splash of raw, primary colour. The accompanying male voice contrasts effectively and provides a much needed foil to the frosty delivery of his female partner. If you want a direct comparison: it's like the awkward songs from Belle & Sebastian, but sung by the Ice Queen from Nania. Every song has something magical to offer, but the standout tracks are the nursery rhyme charms of 'Ice Reign', the heartfelt warning of 'Too Fast to Live' and best of all, the very civilised argument of 'The Cigarette Duet'. The video says it all and as one of the comments states, 'It's so cool it makes you want to start smoking'. I somehow doubt that was the intention. This is a strange but brilliant album that shows true originality and promise. I only wish I knew more about the band other than snippets of information gleaned from articles on the Brunettes. If you can find a copy on Amazon I'd snap it up immediately. My favourite album that I've listened to this year by a long way.
The debut album from Welsh trio The Joy Formidable is a complex mix of energetic indie and textured layers of guitar, not unlike My Bloody Valentine or the Charlottes. I struggled to engage with it initially, but the combination of Welshness, shouty female vocals and a lovely album cover has eventually won me over. I was expecting a tighter sound from the three piece, possibly like the Subways, but the Joy Formidable provide a greater depth and soundscaping to all of their tracks. It could all descend into worrying shoe-gazing territory, but singer Ritzy Bryan's voice cuts through the overloaded guitar effects like a squeeze of lemon on a stodgy risotto, or perhaps a smattering of Welsh goat's cheese on a citrus tart. She's clearly a star in the making, with a massive future in the shouty-indie genre. The best tracks are the straightforward charms of 'Cradle' , the anthemic burst of 'The Magnifying Glass' and best of all the quiet/shouty juxtaposition of 'Chapter 2'. It's proof if nothing else that it's almost impossible not to like any lower league Welsh band and the Joy Formidable have produced an album with so much promise and passion that you can only see them becoming more successful. It won't be to everyone's taste, but I'll recommend it anyway.
At The Drive In. But just the boring ones that you normally skip. Job done. Okay, I'll tell you more. I keep having a little look in the CD case to see if there is any Omar and Cedric involvement because it sounds so much like ATDI (I am like so down with the kids and that). But no mention of the hairy fellows. Turns out, from further research that Sparta = ATDI - (Omar + Cedric). That explains it. Why did they decide to copy all of the dull ones then? This is being a tad harsh because there are a few good tracks on there. They are on the gentler side of things, with 'Echodyne Harmonic' even containing a bit of piano. Oo fancy. The other standout track is 'Catarac' which has a top sing-a-long chorus. More shout-a-long really. These songs perfectly fitted the mood as I drove out of Sheffield on a gorgeous sunny day. Played loud obviously. I mean at a suitable volume, Officer. Even though Sparta are a pale imitation of ATDI, I can't help quite enjoying this album on the whole. Maybe I'm mellowing in my old age. Now where's that 'Converge' album... evlkeith
It was about time they put together a comprehensive anthology style CD of Serious Drinking's blistering brand of punk-ska-pop. Regular readers will know I'm a massive fan, with 'Love on the Terraces' recently topping my fifty favourite tracks of all time, so there's no surprise in revealing that I loved this combination of two classic LP's and bonus tracks. Having said that, there's not much here that you won't have already on vinyl if you're a fan and the sprawling nature of this type of reissue tends to dilute the impact of the standout tracks. But if you are new to the band this is an excellent place to start, while avoiding scouring local charity shops to find the original vinyl versions. Ignore the frills and bonuses and the compilation provides you with at least ten pieces of timeless quality that perfectly represent the atmosphere in the early eighties. All the big guns are represented with 'Hangover', 'Don't Shoot Me Down' and 'Winter's Over' some of my personal highlights. And remember parents, next time your daughter takes an away day, she could be going away forever to a land a land of sex and drugs, punk rock and squatting!
I've had this for a while, but never quite fancied giving it a listen. The CD cover is hardly inspiring and somehow screams 'average quirky female singer' at you. Surprisingly, it's a little better than that, but still inhabits a territory somewhere between Laura Marling and a Kate Bush album track. You get the feeling that if Polly was allowed to really let rip and escape the quirky straight-jacket, the whole experience would be far more pleasurable and entertaining. There are odd promising moments of pure originality on the album which have somehow sneaked under the record company's radar; the end sequence of 'I hate the way' is a case in point, and my favourite part of the record. 'Poem Song' has an equal lack of commercial value and we are rewarded with another gem rather than the stereotypical quirkiness. Hopefully Polly Scattergood will be allowed or feel confident enough to make her next album her own vision. Forget formulaic female singer/songwriter standard offerings (Don't Touch) and scream, shout, wail, yodel and produce something different. She ought to aim to be far more of a Lena Lovich than a Lisa Hannigan in my opinion. Don't judge it by the cover, it's definitely worth a listen.
One of the Mesh back catalogue I've been attempting to track down at a reasonable price since hearing their most recent album a couple of years ago. In comparison to 'A Perfect Solution' however, this is a tad disappointing, but that's possibly because I had such high expectations. This is still a high quality, hard edged electro-pop album with a couple of classic sing-a-long tracks. You can easily see how Mesh used their earlier albums as a stepping stone to perfect their sound and ultimately produce a near flawless album in 'Perfect Solution', but that's not to say this isn't a decent album in its own right. All the elements are here; the pulsing synth driven rhythms, the passionate deadpan vocals and the silky production skills, but it's just not quite the finished article. For some reason it also sounds a very British album where latter releases have had a distinctly German feel about them. The pick of the tracks are the minimal trance vibe of 'Last Breath of You', the anthemic charm of 'I Don't Think They Know' and best of all, the apocryphal, multi-layered genius of 'You Didn't Want Me.' I can do with out the more industrial numbers, but the techno interludes are quite refreshing. If you fancy a bit of Mesh for the first time, I'd advise starting with 'A Perfect Solution', but for the converted, this is well worth a listen if it's not too expensive.
The golden tonsilled, contralto singer could hardly be criticised for playing it safe with this 2006 offering as it is so radically different from her day job combo; Metric's output. This is a stark, minimal piano driven album which emphasises and makes the most of Emily's special talent. Her voice oozes from the speakers like rich molasses spiked with velvety honey and chocolate butter cream icing, and that's before the accent kicks in and you realise all that sweetness is cut with a splash of Canadian Whiskey. The lyrics are the real surprise however. In Metric the words and meanings are often a random mismatch of ideas presented in a collage format, but with The Soft Skeleton Emily cuts loose with some heartfelt and seemingly effortless poetry. Odd phrases stick in your mind and appear when you least expect them; 'rather give the world away than wake up lonely.' From a philosophical content perspective it's easily my favourite album of the last few years and was apparently inspired by the sad loss of her father. You can literally feel the emotion and passion in these songs. All the songs are slow paced, memorable little crackers with the best of the bunch probably the achingly beautiful 'Winning', but closely followed by 'Doctor Blind' and 'Crowd surf off a Cliff.' Whatever your feelings about Metric this is an entity in its own right and listening to 'Knives don't have your Back' can only convince you that Emily Haines is a talent above and beyond the average pop singer. Heartily recommended.
This album is very much like the graph of y=x squared (maths fans rejoice). It starts out strongly with 'I Am Connecting Flight' and '17'. They are both quite harsh, combining screaming with a 'My Bloody Valentine'-esque wall of sound. Then there is a gradual decline until we get to the total shoegazing action of 'Team Radar'. We are in major 'Slowdive' territory here. It's okay (ish, at best) but you can't help craving an album entirely consisting of songs like the first two. Luckily, things start to pick up again after this with the soaring vocals of 'FiveFour', informing the listener that the worst is over. I always breathe a sigh of relief when I get to this point in the album. The quality continues to improve, but it is difficult to be prepared for the sheer brilliance of the final track, 'Audition'. It starts gently with a repeated phrase and gradually builds to be an intense... noise? Think of the 'instrumental break' in 'You Made Me Realise' by the aforementioned 'My Bloody Valentine' and then make it even more excessive. It still won't be close to the ending of 'Audition'. Turned up to full blast it's amazing how emotional the whole experience is. It's definitely vying for song of the year, even at this early stage. With this album, if you learn to take the rough with the smooth, you are rewarded with a satisfying listening experience overall. 'Audition' is made better by the somewhat arduous journey needed to reach it. (The Mars Volta fans will know this feeling all too well.) Definitely recommended. evlkeith
Anders shuns the trademark clicky-scratchy techno and plumps for an altogether more epic approach which ultimately ends up in movie soundtrack territory. If it was a soundtrack to a film it would have to be an arty, European espionage thriller with no sense of humour, set in old East Germany. If it was a soundtrack it would be marginally above average, but not in the same league as the best. It's not a terrible album, it's just not very interesting. The chilling atmosphere of his previous work is somehow missing and replaced by a more big budget feel that I'm not entirely sure Trentmoller needed. The instrumental tracks are presented in a techno meets Dick Dale style and tumble along going nowhere fast. The songs with vocals are much more engaging, with 'Sycamore Feeling' and 'Even though you're with another Girl' making a valiant attempt to pull things round, but ultimately it is the haunting mellow vocals and atmosphere of 'Neverglade' that turns the album into a positive experience. Trentmoller is undoubtedly a talent, but if you want to make a soundtrack, then go make a soundtrack for a film. I'm all for experimentation, but in this case Anders may have been better off sticking to the plan.
I bought this purely on the strength of the cover and the title. What could go wrong? Luckily, nothing. 'Words and Pictures' is gentle Drum and Bass that pretty much anyone would like. It's one of the things that I listen to at work that people find bearable. It's not exactly mainstream, but it's all quite pleasant and inoffensive. 4hero collaborated on the track 'Invisible' and it sounds exactly like 4hero, funnily enough, which is not a bad thing. But the best track is easily 'The Feeling', featuring the smooth Ben Westbeech, which is great to run to (if you're a runner). There's only one track that I give the flick and that's 'The First Time Ever'. A bit of a dirge. And no, it's not a collaboration with PJ Harvey. 'Words and Pictures' is similar in style to Blame but is not as accessible as his recent work. (I bought 'Music' by Blame this year, thinking that I'd review it for you, dear reader. Then I read that it had had some commercial success. That was that plan scuppered.) Give 'Words and Pictures' a listen if you've never listened to Drum and Bass before. It is a lovely gentle introduction.
One of the most enjoyable CD's I've listened to over the last few months is the excellent Folke Larm compilation presented with Songlines Magazine. This is described on the cover as 'Traditional music from Norway' and features artists from the Nordic Showcase Festival Folkelarm. It all sounds a bit on the dull side but fear not, this is an atmospheric and joyous collection of the best that Scandinavian music has to offer. The whole thing has a distinct atmosphere and instantly transports you to some bitterly cold forest on the banks of a fjord, possibly in a cabin with a roof made out of turf, with only an open fire to keep you warm and some strips of dried reindeer meat to eat. The soundtrack the compilation provides is part peaceful solitude and part eerie timeless fiddling folk; Folkelarm must be a cracking if slightly unnerving festival to attend.
The songs basically fall into three broad categories. First there's the hardanger fiddle fuelled instrumental tracks that evoke a sense of ancient Viking tradition and dancing around the campfire, an effective example being 'Systerslatt' by Per Anders Buen Garnas. Secondly, there's a range of quirky generic Norwegian folk tunes with a touch of fusion thrown in for a little variety such as 'Koloyni' by Kouame Sereba. However thirdly, and best of all, are the tracks that combine the fiddling atmospheric folk with a stark female vocal. Tracks by Sudan Dudan, Valkyrien Allstars, Hekla Stalstrenga and Tindra are all stunning and sound like a cross between the Wicker Man soundtrack and the music you'd hear in a hobbit bar in the Shire, sung by a sexy, ginger, celtic witch. Ginger is good in any context, but in an attractive, Scandinavian witch it is even better.
The package is fantastically entertaining and good value when you consider it's a freebie. It's definitely achieved it's objective with me as I've already purchased a couple more Scandinavian compilations and 'November' by Annalaug, which I'm looking forward to listening to in the next couple of months. Watch out for the reviews later in the year.
Initially, I can't say that I was that impressed with this. It sounded vaguely like every other Converge type band. Shouty and fairly slow. As with all good music, it has hidden depths. For starters, other instruments creep into the songs rather than your standard distorted guitar, drums and bass. You get orchestras and even piccolos (possibly). Greg Puciato's vocals aren't just mere shouting either. At times, he sounds strangely similar to Josh Homme in his mellower moments. There's even a bit that's a dead ringer (can you have a dead ringer musically?) for supergroup 'The Sound of Animals Fighting'. Puciato also does a fine line in falsetto 'kick in the chicken nuggets' singing too. When I watched one of their videos, I was expecting some tattooed grizzled Karrang-a-likes. What you get is a little fella in a suit. Someone who your gran would think was a 'nice young man'. The best track on there is 'Black Bubblegum' with its mixture of all of the above styles of singing, even though it is not typical of the album. Fairly standard in structure and, dare I say it, catchy. That probably means that I'll hate it in not very long and learn to love some of the other delights on the album. Next best is 'Milk Lizard'. I'll include the video for that, where you can see that the little tinkers had actually hidden their body inkage. Altogtether, it's a great album that will last me for a fair while. (Can't say anyone's that keen when I play it at work though. Quel surprise.) evlkeith
