This is the month that Ash's mighty single 'You Can't Have It All', came out; also the month that I was introduced to the mighty Battles (I now regularly drool over repeated listenings of 'Atlas').
Words - Suzy Sims
Previously published on Native.tv http://www.native.tv in April 2007
(c) Niche News & Publishing Ltd
Ash - You Can't Have It All
Infectious Records, 16th April 2007
Oh my, this is a monster of a tune from Ash. After a brief hiatus of getting on for three years, they're back as a three-piece with 'You Can't Have It All'. And it's fantastic. Everything in it is classic Ash, from the soaring guitars and dirty dancing bassline to the furiously pounding drums and chorus which needs belting out at the top of your voice. It's a crowd rocker and we get the feeling the immense 'Oh's will get the hairs on your arms standing right up come summer festival time. Has anyone guessed what provisional album title 'TOTI' stands for yet?
Visit their website: Ash
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Battles - Atlas
Warp Records, 2nd April 2007
Now this is interesting from New Yorkers Battles. ‘Atlas’ has pounding drums and bass with slightly whining, twisted vocals which seem all set to cause anger. It’s strangely compelling and makes you want to slap on some war paint and dance topless while shouting down a megaphone. If you want to slap a genre on it, try ‘angry dance’. There are shades of Marilyn Manson ‘Beautiful People’ thumping away. We could see the vocals causing the occasional listener to pull a face along the lines of ‘The Scream’ but on the whole it’s compelling and fascinating stuff. And singer Tyondai has an amazing name, which we congratulate him for. Well done Tyondai.
Visit website: Battles
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Beverley Knight - No Man's Land
Parlophone, 30th April 2007
'No Man's Land' is the first single to be taken from Beverley Knight's fifth studio album, due out in May. She's got a spectacularly powerful voice. This song is smooth and classy, but at no time the tune overpowers Knight's singing. It contains traces of Southern American soul and blues styles, possibly picked up during her trip to record in Nashville, Tennessee.We don't think it's poppy enough to be a major Radio 1 hit, but it's bound to pick up plays on the broader-ranged Radio 2. Sounds like it coud be used on a love film soundtrack. "But I will rise to start again..."
To visit Beverley Knight's website click here
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Fall Out Boy - Thnks Fr Th Mmrs
Mercury Records, 9th April 2007
'Thnks Fr Th Mmrs'. Uh oh. I am a writer. Fall Out Boy has plunged me into some vowel-less nightmare, like I'm back in my shorthand classes wondering wht th fck I've written. Looks like that keyboard-thieving bastard has been up to his old tricks. Anyway, yes back to the song. It starts dramatically (as dramatic as a pop-punk band can be, that is). It's not bad, but to be honest it's much of a muchness with their other songs. Crunching guitars, poppy vocals harmonising over the top, some Latinesque sounds mid-song, a bit with drums and vocals only, then the guitar smashes back in for a noisy finish. That's all the Fall Out boxes ticked, like they've got some kind of songwriting checklist. Although I am tempted to assume the title is 'Thanks For The Mammaries' that would be unkind so I'll refrain. For now...
To visit Fall Out Boy's website click here
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Field Music - She Can Do What She Wants
Memphis Industries , 16th April 2007
Out of Sunderland come Field Music. 'She Can Do What She Wants' is on their album 'Tones Of Town'. It's mild and summery and quite nice. Bouncy keys and guitar at the start keep this indie pop piece sweet-sounding with plenty of charm. "Don't leave me... it's easy," say the band. And we don't want to hurt their feelings, so we stay until the end of the track. Can't think of any words other than 'nice' really. B-side 'Sit Tighter' is a bit of an electronic fuzzy change; still soft sounding at heart but with much more going on underneath the surface, making it a slightly weird, bumpy ride. But it's nothing too scary. Because they're nice.
Visit their website: Field Music
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Gareth Gates - Changes
19 Recordings / Universal, 9th April 2007
"I know some people might just hear my name and throw the CD out of the nearest window, but I hope they give it a chance and judge it on hearing it, not on pre-conceptions," says Gareth Gates in the press blurb. Having retrieved our copy after it somehow accidentally fell from the Native desk round a corner, through a skylight and into the car park, we gave 'Changes' said chance. It might be a grower on young pop fans.
Yes Gates has a lovely voice and is probably a nice boy, but that's not quite enough and we doubt this will set the world ablaze. Strangely enough, the keys have a bit of Radiohead 'No Surprises' about them. This is sweeping and builds to a warm climax whilst remaining nice, but it might be too slow to be a big enough hit. It's actually a slight relief from what we were expecting. And at least it's not a cover of the Osbourne clan's horrific song of the same name...
Gareth Gates
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The Good, The Bad & The Queen - Green Fields
Parlophone, 2nd April 2007
'Green Fields' is the latest release from the band's self-titled, critically-acclaimed album. “I wrote this song years ago…” begins The Good, The Bad & The Queen’s Damon Albarn in - quite frankly - an annoying whiney voice, but don't let that spoil your enjoyment. “We saw the green fields turning to stone…” I’m put slightly off this supergroup by the hype surrounding GBQ (yes they were in other bands. Well done), but this is a good song which is enjoyably in a thoughtful way. There are subtle changes throughout. It’s delicate and moving and grown up.
The Good, The Bad & The Queen
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Grammatics - The Shipping Forecast
Dance To The Radio
This is exciting. Grammatics lull you into a false sense of security, opening with soft tweets and an announcement that this is The Shipping Forecast, courtesy of the Met Office. It then strikes into something powerful, with soft poppy vocals, Jaws bass/cello and exciting, arty time changes to keep you on your toes. The twangy ‘der, der, da der. Da der da der’ (er, listen to the record to find out exactly how that goes. No we’re not singing it for you) sticks in your head. It’s the opening track for DTTR’s ‘Something I Learned Today’ compilation, which we’ll review for you when we get round to it, but if the rest’s to the same high standard we recommend you zip out and bloody well buy one.
Visit their website: Grammatics
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Lavender Diamond - Open Your Heart
Rough Trade Records, 23rd April 2007
There's something about the name Lavender Diamond which makes me think this is aimed at girly music listeners, short of including a box of chocolates with every CD purchase. Or maybe it's for gay men (there's a cover of ABBA's 'Chiquitita' on here too). 'Open Your Heart' is sweet, jangly piano folk-pop with Becky Stark's curious vocals sitting comfortably on top. It's quite cute in an epic, grown-up and beautiful way. Oh oh oh oh oh oh - open your heart. As for the delicately performed 'Chiquitita' cover, it's a exquisite guilty pleasure which glitters along and made me smile, although it had the unfortunate effect of knocking the actual a-side right out my head.
Lavender Diamond
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My Federation - Honey Bee
Eye Industries, 30th April 2007
The My Federation EP 'Honey Bee' is out now, and although we don't have that, we've been sent the Fed's album sampler featuring said song.
The title track is fast paced, with frenetic drums and fuzzy bass lines almost putting you on edge. It’s full of buzzing tension and surprisingly cute keyboards. Retro 80s keys which are slightly The Bravery ‘Honest Mistake’, then the drum/bass and pauses remind me of 80s Queen (in a way), followed by Beatles ‘Day In The Life’ ‘ahhhhs’. This rocks.
‘Don’t Wanna Die’ starts with the same farty bubbly synth before turning a little urban. Strong vocals, but this one’s a bit smoother, like butter. I’d say it’s good summer music. Is that a rocking flute they’ve pinched? Nice touch.
‘Open My Eyes’ thunders along pleasantly. The musicians sound like they’re having a ball, and that energy is passed onto the music. ‘Wow’ comes tootling along at breakneck pace – watch your step in case you trip. ‘He said WOW...'
'I just want to be you. A beautiful you I'd make. Can't you let me be you. Be you just for be you's sake.' Tripping over your tongue as well as your feet...? We get the feeling this band would be something special live.
My Federation
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Plastic Little - Crambodia
Make Mine , 16th April 2007
The cover to Plastic Little 'Crambodia' shows a man with Bart Simpson shaved into his head. Interesting... It almost starts like you’re eavesdropping on someone’s radio going off a few doors down, then they bring it closer and it’s a cheerful party rap vibe, fun and upbeat with some nice samples and banging beats. Guaranteed to get people smiling and dancing, possibly both at once. The girl vocals remind us of TLC (we obviously haven’t listened to any music beyond 1996… we know). Although as a committed indie kid I would generally be very unlikely to randomly go out and buy this kind of music, I would love to play it at a DJ set because it’s cool and fun.
Plastic Little
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The Shins - Australia
Sub-Pop Records , 9th April 2007
The Shins have produced another stunning, gloriously beautiful breath of pop. Australia is summery, sweeping sunshine and happiness over the listener. There are pleasant jangling guitars hidden underneath the sunny tune, and the lyrics are poetic and dark. “I felt like I could just fly – but nothing happened every time I tried.” This is a smiley delight and an ace of a pop song. If you haven’t heard The Shins before, you’ll wonder why the hell not. If you've heard 'Wincing The Night Away' you'll know this one already. It makes us strangely happy and slightly dribbly. (That's a good thing).
The Shins
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Siobhan Donaghy - Don't Give It Up
Parlophone, 16th April 2007
'Don't Give It Up' is the first solo release from Siobhan Donaghy, who may be vaguely recognisable to pop fans. She spent a couple of years as 'the ginger one' from the Sugababes before going solo, releasing a couple of albums and being dropped. Whoops. Now she's back, signed to major label Parlophone.
There’s an electronic squeal. Siobhan Donaghy has a good, crystal clear voice which reminds me of Matt Bellamy in his moments of fear. The music is slightly unsettling. What’s going through her mind? What traumas are in there? This is dark and classy. Tense, brooding and electronic, it’s pop which is out there. It's also more sophisticated than her earlier work with the 'Babes. Nice stuff.
Siobhan Donaghy
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Stateless - Exit
!K7 Records, 30th April 2007
It's a new single from Stateless, which opens with some gorgeous bleeping and soft electronic vocals. 'Exit' is pretty cool. The tune blossoms into something reflective and special in the light, but the dramatic strings hold it in check and keep the interest going. It's sophisticated and It sounds like it could be a stylish soundtrack. We think it’s even better than the ‘Bloodstream EP’. Their debut album should be along in June and they say it's 'for doomed romantics and passionate optimists alike'. Worth listening out for.
Stateless
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Travis - Closer
Independiente, 23rd April 2007
Soft, but not mournful. It’s sweet, warm and romantic, although if you’re not in the right mood it could be a tad dull. ‘I’ve had enough of this parade / I’m thinking of the words to say’. It’s nice and touching and like a cuddly hug in CD format. Perhaps some way off ‘Turn’ and ‘Why Does It Always Rain On Me?’ but this is suitable for Keane fans, those who like to look a bit misty-eyed while listening to music, and those who want something unchallenging and relaxing. Seen the video yet? – supermarket mascots, pissed-off checkout staff and Ben Stiller. Oh yes.
B-side ‘The Day Today’ is a nice, brassy, almost-Sterophonics style tune which also has a retro touch to it. ‘If you ever lose your way / your way / your way / your way’. Can we suggest they try and write longer sentences to fill a line / a line / a line / a line? It’s a foot tapper, and for some reason I could see it accompanying ‘Heartbeat’. Nice stuff.
Travis
Showing posts with label the shins. Show all posts
Showing posts with label the shins. Show all posts
Monday, 28 January 2008
Saturday, 19 January 2008
Album Reviews - Jan 07 and earlier
January 2007 in a small office in Havant. After some two years of planning and researching, the Native.tv website http://www.native.tv/ launches with a gig night at Portsmouth Guildhall. I forget how many turn up to see local bands play - Sheilatakeabow, Run Riviera, Jaimison and Before We Left. We give out CDs of singer Rich Sanders and I run around backstage trying to interview the bands, who keep disappearing out the opposite door. Thanks, guys. Huge thanks to the patient people of EMI/Parlophone who had been supplying us with review CDs for some time by this stage, and who were finally going to see some results.
All words - Suzy Sims
(c) Niche News & Publishing Ltd
Previously published on Native.tv
The Kooks - Inside In Inside Out
Virgin Records, 23rd January 2006
Now I’m not sure if I was originally bought this album as a joke. Having spent months whining that The Kooks were overplayed on the radio and sounded boring, I was a tad surprised to see someone had wrapped it up as my birthday present. But perhaps the rest of the CD would be more entertaining…
'Seaside’ is a bit of a downbeat beginning and did nothing to allay my fears that I was about to be bored out my skull. ‘See The World’ carries a bit of a punch, followed by the all-right-but-nothing-particularly-memorable ‘Sofa Song’. ‘Eddie’s Gun’ bounces up and down (or rather flops a bit; see Art Brut’s ‘Rusted Guns of Milan’ for more tongue-in-cheek jokes about male, er, ‘failings’). ‘Ooh La’ is next. It’s a popular song but I find the chord changes induce mild depression and the track drags slightly. It’s odd; as far as pop bands go the Kooks are bit too indie, while also being far too soft to be a proper rock band. It’s made them a major radio hit though.
‘You Don’t Love Me’ is a stand-out track, with its tale of love gone wrong, anguished vocals and kickass tune. ‘You know you’ll always be my girl,’ Pritchard howls over the fuzzy guitar.
‘‘You don’t love me and you don’t care.’ ‘She Moves In Her Own Way’ is a sweet tribute to the object of his affections. And like many other people, it took a few Native staff some time to translate that mysterious line ‘I’m vertigous’. ‘Match Box’ is another beach-lounging track with splashing cymbals and stuttering guitars.
Next is ‘Naïve’, a song whose charm has almost been killed off by repeated radio play. ‘I know she knows I’m not fond of asking.’ Put it on your headphones and listen to get back the original sweetness. ‘I Want You Back’ is another drawn out, tense song about the pain of lost love, followed by the fast pace of ‘If Only’ where Pritchard has a rant about inner anger and a lack of playmates. ‘Jackie Big Tits’ annoys me just because of the crass title, while ‘Time Awaits’ has a reggae beat with the ‘who oh oh’s harking back to ‘She Moves In Her Own Way.’ Many of the songs sound familiar, possibly because they have been played on the radio, at festivals and on the television many a time. ‘Got No Love’ sounded lonely and dramatic in places, but sadly the effect was lost when the other side of the office turned their music up loud enough to drown out this wind-down finish.
It’s actually a pretty decent album, full of poppy tunes, and I like it despite my initial misgivings. This album is far too cheerful to be out in January. It’s more of a summer player, for sitting on the beach or for driving about with the windows down. Just don’t let the proper indie kids catch you, because they’ll beat you up.
http://www.thekooks.co.uk/
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The Long Blondes - Someone To Drive You Home
Rough Trade, 6th November 2006
“There’ll always be a phone to ring at three in the morning. And you’ll always have someone to drive you home.”
‘Someone To Drive You Home’ is the first album from the Long Blondes. The band are a beautiful mix of sweet jangling guitars, womanly yells, and pure indie glamour. While Pulp and co looked like they’d just raided the shelves of Oxfam and Miss Selfridge, the Long Blondes appear to only own clothes which inspire fashion ranges. Visit one of their concerts to see exactly how many girls are wearing tight striped dresses and neckties. The very suggestion of one of them in a tracksuit would surely bring down pop society from within and quite possibly cause the end of the world.
An ear-splitting screech and the Long Blondes crash in with the raw energy of ‘Lust In The Movies.’ “I just want to be a sweetheart,” yells Kate Jackson, whose vocals remind me of Elastica’s Justine Frischmann, at once cool and snarling, but with more style and sophistication.
‘Once And Never Again’ is a jolly old tale of love and memories of youth. ‘Only Lovers Left Alive’ has some menace behind it, but it’s still a cheerful romp. The Long Blondes seem incapable of dull ballads, which is brilliant because all the tracks on here are capable of getting you dancing. ‘Giddy Stratospheres’ slides in with Jackson’s creamy vocals before the chorus begins and it takes on a fantastic haunting quality which makes it bloody hard to get out your head. The band are Kate Jackson on vocals, Dorian Cox on guitar and keyboards (yes, he’s the one who provides Jarvis-style backing vocals), Reenie Hollis on bass and backing vocals, Emma Chaplin on rhythm guitar, keyboards and backing vocals, and Screech Louder on drums. Chaplin and Hollis provide punky yells to back up Jackson’s sleek and sexy brand of Girl Power.
‘In The Company Of Women’ is another track with rich dark tones, although the happier notes sound tired, like faded glamour. ‘Heaven Help The New Girl’ starts delicately but changes to tense guitar strokes halfway through, in case the listener isn’t a fan of slow songs without anguish. ‘Separated By Motorways’ has lost some of its shoutiness but remains one of the top tracks, sending out punky, poppy blasts as ‘two lonely girls go on the run.’ Short and sweet. ‘You Could Have Both’ seems to have had the menace and raw punches removed in production which is a disappointment, but Jackson and Cox’s vocal battle in the middle is still a highlight of the album.
‘I don’t kid myself about happy endings… I’m too old for all that now.’ ‘Swallow Tattoo’ and ‘Madame Ray’ are possibly the weaker tracks, with perhaps the relentless optimism starting to grind on some listeners by now. But it shows the strength of the album in that the weaker tracks are in no way bad and non-listenable. ‘Weekend Without Make Up’ is pure indie joy. ‘Someone To Drive You Home’ finishes with ‘A Knife For The Girls’ which comes creeping along, trying to appear dangerous but there’s something unsure about it.
The one problem is that in some places the production seems to have removed some of the raw energy and we’re left with a polished, glamorous stone. Some of the excitement has been taken away. Some of us like flaws. This is a beautiful indie pop album, fresh and funky. Top marks.
http://www.thelongblondes.co.uk/
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Jarvis - Jarvis
Rough Trade, 13th November 2006
Pulp fans have been given tantalising - and often scary - glimpses of Jarvis over the last few years. First came Relaxed Muscle with their intent and dark songs plus brick-in-pants-inducing make up; then a few tracks for Nancy Sinatra's comeback album, then an appearance in Harry Potter's ball scene as a Wyrd Sister. From 'My Lighthouse' to 'Dance Like A Hippogriff’ via ‘This Is Hardcore’. Blimey, where next.
'Next' of course is this solo album - you can't keep a musician down for long. 'Jarvis' opens with warm and mournful instrumental 'Loss Adjustor (Excerpt One)' and... oh, that doesn't last long. 'Don't Let Him Waste Your Time' follows; this is one of the ones Nancy sang. It's been jazzed up a bit with some brass and gently lollops along. Check out the video on YouTube, it’s true Cocker humour which will make all your future taxi rides seem dull (although considerably safer).
'Black Magic' has a dark crashing sense around it as it jerks through. A burst of rainclouds welcomes us to ‘Heavy Weather’. ‘So strike me once again, I got nothing to lose’, says Jarvis. This is a good solid track, nothing overly special but it has an old charm about it. ‘Stormy weather always makes me think of you.’ ‘I Will Kill Again’ – a pleasant slowie with a dark centre, like one of those chocolates you accidentally bite into at Christmas; the sort whose contents surprise you slightly. ‘And don’t believe me if I claim to be your friend. ‘Cos given half the chance I know that I will kill again,’ we’re warned.
‘Baby’s Coming Back To Me’ is the other track first performed by Nancy Sinatra. It has some delightfully naïve plinky-plonks throughout to match the hopeful lyrics. ‘Fat Children’ comes, and someone is being mugged for their phone - ‘Fat children took my life’. Cocker’s lyrical cleverness again comes to the front, with acerbic comments like ‘The police force was elsewhere; putting bullets in some guy’s head for no particular reason.’
‘From A To I’ (aka Auschwitz To Ipswich) takes on a more serious meaning after the murders of several prostitutes in the Suffolk town, although Cocker originally chose the name simply for rhyming reasons. It’s a gentle piece about someone’s failure to fight and enjoy life, while ‘Disney Time’ is a sweet downbeat tune about the sentimental, dreamlike state inhabited by some.
‘Tonite’ is a song about loving for the moment while other’s lives pass by outside the window (literally off the windowsill, eh Mr Cocker?). ‘Big Julie’ is another tale of a dark life, with poor Julie wanting to rise above her current situation. This song’s a grower, helped by the climatic build up. ‘Loss Adjustor (Excerpt Pt 2)’ is another tempting sliver… oh, that doesn’t last long.
The album is finished off with ‘Quantum Theory’. The subtle nuances may have been lost on me because I was listening to this track in the office with noisy buggers shouting across me. I remember gentle strumming guitars with fearful high pitched noises hanging overhead and someone’s phone ringing, although on second thoughts that may have been office noise.
‘Somewhere everyone is happy… Somewhere gravity cannot reach us anymore,’ sings Cocker. ‘Everything is gonna be all right.’ Maybe he’s telling the truth. Or maybe not (see 'Running The World').
Mellow Jarvis. The man's grown up musically. It’s a good solo album from Cocker with some beautiful lyrics. Nice to see him back in action.
http://www.myspace.com/jarvspace
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The Good, The Bad & The Queen - The Good, The Bad & The Queen
Parlophone, 22nd January 2007
Damon Albarn, Paul Simonon, Tony Allen and Simon Tong. Those names might not have resonance with anyone who is under a certain age - Albarn is of course familiar, but some of you crazy kids might not be aware that Simonon was the bassist in the Clash, Allen is a drummer and a key mover in Afrobeat, while Tong played guitar and keyboards with the Verve. The four have joined together to form The Good, The Bad & The Queen, and look! Here’s their first album.
This album starts which a tumbling bassline which actually reminds me slightly of The Stranglers 'Golden Brown', despite not really sounding anything like. During 'History Song' Albarn sounds a little tired of singing, tired of life. '80's Life' comes plucking along, a light melancholy joy with some harmonies on loan from the Beach Boys. 'Northern Whale' farts its way into your brain before sparking into life with some electronic twangs and pulses - this one reminds me a bit of a grown up Gorillaz (maybe one with eyes, and a job).
Friday night in the ‘Kingdom of Doom’, which many listeners may immediately recognise as their local. ‘You and me will never be undone... we'll let it flow away,’ Albarn says with some urgency while the music does its best to imitate a creepy night time forest of some sorts.
''Herculean' is the one you'll recognise when you hear it, thanks to Radio 1 airplay before Christmas. 'Behind The Sun' has a retro swagger to it. You can hear it strolling down alleyways with some menace.The Bunting Song' sounds almost cute to begin, but then the shadows creep up on it. 'Pull out the bunting', sings Albarn in a voice which suggests he'd rather throttle someone with it than do some celebrating. 'Nature Springs' didn't so much spring as sort of waver into action, and for a second I forgot I was listening to something until it kicked in. 'Three Changes' brings in some kind of demented organ music and distorted childlike backing vocals for the sort of fairground ride you wouldn't really want to get on, especially if it was being operated by a grinning GBQ musician.
The only problem is the music seems to worm into your skull and you forget you're listening. It gives atmosphere, but if you don't pay attention you forget where you are. I stopped to write a message and seem to have missed a couple of songs which just swam past my consciousness, winking slightly before disappearing beneath the waves, like some sort of musical fish. (Piano tuna jokes, you are not welcome here)
The final title track is a piano-led soundtrack which you could imagine being used on some kind of fantasy film. Danger Mouse has used his production skills on this album to give it a crisp, mournful, subtly dangerous sound. It's hard to see how something could be relaxing and yet mildly unsettling at the same time. It's delicate. Just don't put it on in the background because you'll miss the subtle tones. This is a grown-up album for listening to.
http://www.thegoodthebadandthequeen.com/
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Kylie - The Showgirl Tour
Parlophone, 8th January 2007
Cheers and applause - this is what greeted everyone's favourite princess Kylie Minogue on her 'Showgirl - Homecoming' tour in Australia (though whereabouts in Oz the CD doesn't say... it's a big place, you know).
It opens with some kindly music reminiscent of a children's film featuring unicorns and dolphins. Presumably Miss Minogue is sweeping dramatically about the stage in a big old sparkly dress at this point, but that's obviously lost on record. It all feels a little uncomfortable - my cynical, indie-battered ears can't cope with lovely and heartwarming.
Then the disco pounds of 'Better The Devil You Know' start, and it's like being inside a nightclub with your best girly mate singing into your ear, arm around your shoulder and cocktail in the other hand. But there's something a little more grown-up about this; no ear-splitting high notes, instead Kylie keeps within her vocal limits, sounding womanly and alluring.
This is followed by party disco numbers 'In Your Eyes', 'White Diamond' and 'On A Night Like This' (beginning strangely slower and more suited to a waving lighter than body-popping) before skipping to Act Two: Everything Taboo.
It's times like this I wished I could see more photographs - how exactly was it taboo? The pictures in the inlay are designed to appeal to little girls (shimmery pink dresses) and gay men (leather-clad dancers and mucho sparkle). What taboos exactly could shock both those groups? (No, we're not asking you to write in with some).
"Are you ready for your fifteen minutes of fame?" Kylie yells partway through. She deserves far more than that - 'What Do I Have To Do?', 'Spinning Around', 'Confide In Me', 'Somewhere Over The Rainbow' (indie ears squirm again and I start to doze off). There are also cheeky tasters of tracks that are missing from here - at one point Kylie breaks into 'My name was Eliza Day' from 'Where The Wild Roses Grow', an excellent song but perhaps it would have seemed out of place up against these tracks. Instead of Robbie during 'Kids' we have Bono; we also have some 'When You Wish Upon A Star' nursery twinkles, suggesting a slightly confused target demographic.
It's easy to forget it's a live album, until the audience wake up with a roar again. This could probably do without the little dancey intros/outros, but that's my personal opinion. I didn't go to any of the shows so it evokes nothing for me, apart from perhaps 'Hurry up into your next costume, love.' Personal opinion, of course.
The last few acts are taken up with a sharp contrast between sweet young Kylie (a retro slow 'The Loco-Motion' (bit National Rail in that respect), 'I Should Be So Lucky', 'Hand On Your Heart', 'even 'Especially For You') and the ultra-modern 'Can't Get You Out Of My Head.' The geek in me was particularly amused by the thought of 'Act Seven: Dance of the Cybermen.' Try dancing in those costumes, and there will be severe chafing.
It's a fun live album. It's well recorded with and tuneful. Thing is, perhaps a little of that magic is left behind on stage - the legend of Kylie includes her image, not just the vocals; but all we have is our imagination. Excellent for karaoke fans, girlies and anyone who enjoyed 'Ultimate Kylie's range of hits. Get dancing...
http://www.kylie.com/
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Norah Jones - Not Too Late
Blue Note Recordings, 29th January 2007
Norah Jones, bless her socks. The sweet jazz princess is back. The problem here is that her tracks can act as Night Nurse to people who prefer livelier music. I found myself falling asleep approximately 30 sec into this album, which was a bit problematic as I was at my desk with my boss screaming at me and an imprint of the space bar across my forehead. ‘Not Too Late’ is Miss Jones’ third album, following the success of ‘Come Away With Me’ and ‘Feels Like Home’, which between them have sold over 30 million copies. That’s an awful lot.
All the songs on this album were either written or co-written by Jones and were also produced by Lee Alexander, her songwriting partner and bass player. A bit of research tells me Jones is something of a serious talent, having majored in jazz piano (was very tempted to type ‘jazz flute’ at that point), twice won Best Jazz Vocalist at national student awards in the States, and has eight Grammy Awards. High expectations of this album are therefore justified.
‘Sinkin’ Soon’ is a late-night, smoky jazz piece. ‘The Sun Doesn’t Like You’, despite the name, is an ideal song for sunbathing in your garden to; slightly down and relaxing. ‘Until The End’ is thoughtful and peaceful. ‘Not My Friend’ starts promisingly with tense guitar strums and some curious chords. Jones’ laid-back, sweet voice sits perfectly on top of the musicians’ expertise. It’s soft and gentle, although some pieces can sound a little samey to people not familiar with the style of music.
‘Thinking About You’ is a confident song which sounds like Radio 2 are going to jump up and start humping it, or whatever they do with playlist favourites. ‘Here I am looking for signs… it’s time for me to let you go’ says Jones. ‘I’ll be thinking about you.’ ‘Broken’ is short and smooth, while ‘My Dear Country’ - despite the awful name - has a melancholic charm about it. I accidentally stopped paying attention and missed ‘Wake Me Up’, its title sadly not acting as a stimulant. ‘Be My Somebody’ brings in some country-style guitar and is the bounciest song on the album, although Miss Jones is far too stylish to partake in ‘bounce.’ ‘Little Room’ brings in some 1950s style bluesy licks and clicks, while ‘Rosie’s Lullaby’ draws on country music and slide guitar. Title track ‘Not Too Late’ is a calm track at the end to help you wind down further.
It’s a nice album, but probably aimed more at older and calmer people than all you young fidgety rockers there. Buy it for your mum or for someone who likes sophistication and grown-up music.
http://www.norahjones.com/
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The Shins - Wincing The Night Away
Sub Pop Records, 29th January 2007
Proving that the Dandy Warhols aren't the only good band to come out of Oregon, the Shins have returned with a follow up to 'Oh Inverted World' and 'Chutes Too Narrow.' It turns out they've been receiving a lot of attention since Natalie Portman sang their praises. The girl has sense.
'Wincing The Night Away' begins with spaced-out, blissful synths scything through the air in 'Sleeping Less'. 'A thousand different versions of yourself,' sings vocalist James Mercer (Good idea - come on Boss; best pay all of us to make sure the right one gets it). 'Australia' sounds a little 1960s in places, with the cheerful naivety inviting the listener to jive along - 'I feel like I could just fly'. 'Pam Berry' hangs heavier in the air with dramatic notes cutting through like wire. 'Phantom Limb' starts off sounding a bit electro before the tune breezes across, while The Shadows sound like they have been recruited on backing guitar.
The band comprises Mercer on lead vocals, guitar and harmonica; Martin Crandall on keyboards, Jesse Sandoval on drums and Dave Hernandez on bass. They've just been joined by Eric Johnson of the Fruit Bats. The band members have a habit of swapping instruments mid-gig, just to confuse everyone.
'Sea Legs' grooves along, turning mildly psychedelic in the instrumental parts. 'Red Rabbits' drips into places piece by piece and I found I was daydreaming by this point. Strings lazily wind in and out through the song's centre, while next track 'Turn On Me' has some more 'Heartbeat'-era guitars and echoing fuzz. 'I was fond of you... I know you mask your disdain,' sings Mercer. Listen to the lyrics or get below the surface and it seems you'll get a very different picture to the rounded, joyful music.
'Black Wave' has a haunting sound to it, with some high unsettling noises suggesting a storm is on the way. 'Spilt Needles' has notes spearing through it forcefully, as the name suggests, with discordant strings, 'Girl Sailor' is a nice, thoughtful indie pop moment and the album closes with 'A Comet Appears'.
The album has a sweet, melodic sound which envelopes the listener and gives them a hug. This isn't just throwaway pop though - there's something tough behind the bubbly sounds and 'la la la', something with substance. 'Wincing' couldn't be further from the truth. This album has far more charm, fun and wrapped-up bits of happiness than a goody bag. Buy it and smile.
http://www.theshins.com/
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Jamie T - Panic Prevention
Virgin, 29th January 2007
Go on my son, my son.'
Fucking croissant! Here's the first full length player by Jamie T from Wimbledon, who is contractually obliged to have his place of residence mentioned after his name in everything written about him. A new clause in the contract says everything now has to mention that 'Panic Prevention' was so named because he used to suffer panic attacks. So there it is.
'Brand New Bass Guitar' is the story of an unfortunate musical purchase by T from Wimbledon, who would have much preferred a handgun. Like some modern tale of a shopping spree gone wrong, it's a furious strum-along, with the accompanying vocals providing a fantastic atmospheric backdrop. 'Salvador' is a bit of a dancer, with the funky bass line popping up and down while T provides strangulated yells over the top. 'Sorry, I'm working here...' 'Calm Down Dearest' is one of the singles, familiar to anyone who's chanced in on a Jo Whiley or Zane Lowe show over the last few months, with the raw rap energy calmed by the use of summery strings.
T is beloved by both cool indie and urban fans, due to his smooth mix of the two genres, mixing rocky guitars with samples, random keyboard riffs and cool vocals over the top. 'So Lonely Was The Ballad' is another fun keyboard track. 'Living life in the fast lane' sings T, and right now he probably is. 'Back In The Game' sees T back in his bedroom, alone with his guitar and thoughts. Entertaining snippets between tracks too; fly-on-the-wall taped observations and odd conversations.
'Operation' rocks out discordantly, with the occasional flash of guitar and carefree yell sparking extra life into the song, not that it needs any more life. Er, anyone speak the Phonic Alphabet? Or are these just random words? Most people reading this will have heard 'Sheila' by now. Love the summer feel of the song and the 'blue-blooded murder of the English tongue' along with the fast-paced storytelling running through. 'Pacemaker' is another which warrants comparisons to good old Mike Skinner to begin with, later sounding reminiscent of 1980s ska and punk. 'Yippee-yo kaayay, it's been a good day' indeed.
'Dry Off Your Cheeks' sounds like terrifying depression is on us, until the Kid Carpet keyboards pop up to remind us that everything's all right, or at least that joy is close at hand. 'Ika & Tina' is a drum and bass-ish track, clanging and pumping away furiously. 'If You Got The Money', another of the singles, is a class track with catchy reggae sounds, scratching guitars and carefree vocals. ‘If you got the money... take your girl and spend a bit of your cash for me... so I could take her out the next day for pretty much free.' Common sense, see.
The album closes with the swelling, echoing booms and deep sounds of 'Alicia Quays' (see what he did there? See what he did?) which is far more developed than the acoustic niceties at the start.
This album is fast, thumping, fresh and full of effort. It's witty and fun without the cheese, yet the personal music and lyrics suggest a thoughtfulness and definite talent. Brilliant job.
http://www.jamie-t.com
All words - Suzy Sims
(c) Niche News & Publishing Ltd
Previously published on Native.tv
The Kooks - Inside In Inside Out
Virgin Records, 23rd January 2006
Now I’m not sure if I was originally bought this album as a joke. Having spent months whining that The Kooks were overplayed on the radio and sounded boring, I was a tad surprised to see someone had wrapped it up as my birthday present. But perhaps the rest of the CD would be more entertaining…
'Seaside’ is a bit of a downbeat beginning and did nothing to allay my fears that I was about to be bored out my skull. ‘See The World’ carries a bit of a punch, followed by the all-right-but-nothing-particularly-memorable ‘Sofa Song’. ‘Eddie’s Gun’ bounces up and down (or rather flops a bit; see Art Brut’s ‘Rusted Guns of Milan’ for more tongue-in-cheek jokes about male, er, ‘failings’). ‘Ooh La’ is next. It’s a popular song but I find the chord changes induce mild depression and the track drags slightly. It’s odd; as far as pop bands go the Kooks are bit too indie, while also being far too soft to be a proper rock band. It’s made them a major radio hit though.
‘You Don’t Love Me’ is a stand-out track, with its tale of love gone wrong, anguished vocals and kickass tune. ‘You know you’ll always be my girl,’ Pritchard howls over the fuzzy guitar.
‘‘You don’t love me and you don’t care.’ ‘She Moves In Her Own Way’ is a sweet tribute to the object of his affections. And like many other people, it took a few Native staff some time to translate that mysterious line ‘I’m vertigous’. ‘Match Box’ is another beach-lounging track with splashing cymbals and stuttering guitars.
Next is ‘Naïve’, a song whose charm has almost been killed off by repeated radio play. ‘I know she knows I’m not fond of asking.’ Put it on your headphones and listen to get back the original sweetness. ‘I Want You Back’ is another drawn out, tense song about the pain of lost love, followed by the fast pace of ‘If Only’ where Pritchard has a rant about inner anger and a lack of playmates. ‘Jackie Big Tits’ annoys me just because of the crass title, while ‘Time Awaits’ has a reggae beat with the ‘who oh oh’s harking back to ‘She Moves In Her Own Way.’ Many of the songs sound familiar, possibly because they have been played on the radio, at festivals and on the television many a time. ‘Got No Love’ sounded lonely and dramatic in places, but sadly the effect was lost when the other side of the office turned their music up loud enough to drown out this wind-down finish.
It’s actually a pretty decent album, full of poppy tunes, and I like it despite my initial misgivings. This album is far too cheerful to be out in January. It’s more of a summer player, for sitting on the beach or for driving about with the windows down. Just don’t let the proper indie kids catch you, because they’ll beat you up.
http://www.thekooks.co.uk/
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The Long Blondes - Someone To Drive You Home
Rough Trade, 6th November 2006
“There’ll always be a phone to ring at three in the morning. And you’ll always have someone to drive you home.”
‘Someone To Drive You Home’ is the first album from the Long Blondes. The band are a beautiful mix of sweet jangling guitars, womanly yells, and pure indie glamour. While Pulp and co looked like they’d just raided the shelves of Oxfam and Miss Selfridge, the Long Blondes appear to only own clothes which inspire fashion ranges. Visit one of their concerts to see exactly how many girls are wearing tight striped dresses and neckties. The very suggestion of one of them in a tracksuit would surely bring down pop society from within and quite possibly cause the end of the world.
An ear-splitting screech and the Long Blondes crash in with the raw energy of ‘Lust In The Movies.’ “I just want to be a sweetheart,” yells Kate Jackson, whose vocals remind me of Elastica’s Justine Frischmann, at once cool and snarling, but with more style and sophistication.
‘Once And Never Again’ is a jolly old tale of love and memories of youth. ‘Only Lovers Left Alive’ has some menace behind it, but it’s still a cheerful romp. The Long Blondes seem incapable of dull ballads, which is brilliant because all the tracks on here are capable of getting you dancing. ‘Giddy Stratospheres’ slides in with Jackson’s creamy vocals before the chorus begins and it takes on a fantastic haunting quality which makes it bloody hard to get out your head. The band are Kate Jackson on vocals, Dorian Cox on guitar and keyboards (yes, he’s the one who provides Jarvis-style backing vocals), Reenie Hollis on bass and backing vocals, Emma Chaplin on rhythm guitar, keyboards and backing vocals, and Screech Louder on drums. Chaplin and Hollis provide punky yells to back up Jackson’s sleek and sexy brand of Girl Power.
‘In The Company Of Women’ is another track with rich dark tones, although the happier notes sound tired, like faded glamour. ‘Heaven Help The New Girl’ starts delicately but changes to tense guitar strokes halfway through, in case the listener isn’t a fan of slow songs without anguish. ‘Separated By Motorways’ has lost some of its shoutiness but remains one of the top tracks, sending out punky, poppy blasts as ‘two lonely girls go on the run.’ Short and sweet. ‘You Could Have Both’ seems to have had the menace and raw punches removed in production which is a disappointment, but Jackson and Cox’s vocal battle in the middle is still a highlight of the album.
‘I don’t kid myself about happy endings… I’m too old for all that now.’ ‘Swallow Tattoo’ and ‘Madame Ray’ are possibly the weaker tracks, with perhaps the relentless optimism starting to grind on some listeners by now. But it shows the strength of the album in that the weaker tracks are in no way bad and non-listenable. ‘Weekend Without Make Up’ is pure indie joy. ‘Someone To Drive You Home’ finishes with ‘A Knife For The Girls’ which comes creeping along, trying to appear dangerous but there’s something unsure about it.
The one problem is that in some places the production seems to have removed some of the raw energy and we’re left with a polished, glamorous stone. Some of the excitement has been taken away. Some of us like flaws. This is a beautiful indie pop album, fresh and funky. Top marks.
http://www.thelongblondes.co.uk/
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Jarvis - Jarvis
Rough Trade, 13th November 2006
Pulp fans have been given tantalising - and often scary - glimpses of Jarvis over the last few years. First came Relaxed Muscle with their intent and dark songs plus brick-in-pants-inducing make up; then a few tracks for Nancy Sinatra's comeback album, then an appearance in Harry Potter's ball scene as a Wyrd Sister. From 'My Lighthouse' to 'Dance Like A Hippogriff’ via ‘This Is Hardcore’. Blimey, where next.
'Next' of course is this solo album - you can't keep a musician down for long. 'Jarvis' opens with warm and mournful instrumental 'Loss Adjustor (Excerpt One)' and... oh, that doesn't last long. 'Don't Let Him Waste Your Time' follows; this is one of the ones Nancy sang. It's been jazzed up a bit with some brass and gently lollops along. Check out the video on YouTube, it’s true Cocker humour which will make all your future taxi rides seem dull (although considerably safer).
'Black Magic' has a dark crashing sense around it as it jerks through. A burst of rainclouds welcomes us to ‘Heavy Weather’. ‘So strike me once again, I got nothing to lose’, says Jarvis. This is a good solid track, nothing overly special but it has an old charm about it. ‘Stormy weather always makes me think of you.’ ‘I Will Kill Again’ – a pleasant slowie with a dark centre, like one of those chocolates you accidentally bite into at Christmas; the sort whose contents surprise you slightly. ‘And don’t believe me if I claim to be your friend. ‘Cos given half the chance I know that I will kill again,’ we’re warned.
‘Baby’s Coming Back To Me’ is the other track first performed by Nancy Sinatra. It has some delightfully naïve plinky-plonks throughout to match the hopeful lyrics. ‘Fat Children’ comes, and someone is being mugged for their phone - ‘Fat children took my life’. Cocker’s lyrical cleverness again comes to the front, with acerbic comments like ‘The police force was elsewhere; putting bullets in some guy’s head for no particular reason.’
‘From A To I’ (aka Auschwitz To Ipswich) takes on a more serious meaning after the murders of several prostitutes in the Suffolk town, although Cocker originally chose the name simply for rhyming reasons. It’s a gentle piece about someone’s failure to fight and enjoy life, while ‘Disney Time’ is a sweet downbeat tune about the sentimental, dreamlike state inhabited by some.
‘Tonite’ is a song about loving for the moment while other’s lives pass by outside the window (literally off the windowsill, eh Mr Cocker?). ‘Big Julie’ is another tale of a dark life, with poor Julie wanting to rise above her current situation. This song’s a grower, helped by the climatic build up. ‘Loss Adjustor (Excerpt Pt 2)’ is another tempting sliver… oh, that doesn’t last long.
The album is finished off with ‘Quantum Theory’. The subtle nuances may have been lost on me because I was listening to this track in the office with noisy buggers shouting across me. I remember gentle strumming guitars with fearful high pitched noises hanging overhead and someone’s phone ringing, although on second thoughts that may have been office noise.
‘Somewhere everyone is happy… Somewhere gravity cannot reach us anymore,’ sings Cocker. ‘Everything is gonna be all right.’ Maybe he’s telling the truth. Or maybe not (see 'Running The World').
Mellow Jarvis. The man's grown up musically. It’s a good solo album from Cocker with some beautiful lyrics. Nice to see him back in action.
http://www.myspace.com/jarvspace
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The Good, The Bad & The Queen - The Good, The Bad & The Queen
Parlophone, 22nd January 2007
Damon Albarn, Paul Simonon, Tony Allen and Simon Tong. Those names might not have resonance with anyone who is under a certain age - Albarn is of course familiar, but some of you crazy kids might not be aware that Simonon was the bassist in the Clash, Allen is a drummer and a key mover in Afrobeat, while Tong played guitar and keyboards with the Verve. The four have joined together to form The Good, The Bad & The Queen, and look! Here’s their first album.
This album starts which a tumbling bassline which actually reminds me slightly of The Stranglers 'Golden Brown', despite not really sounding anything like. During 'History Song' Albarn sounds a little tired of singing, tired of life. '80's Life' comes plucking along, a light melancholy joy with some harmonies on loan from the Beach Boys. 'Northern Whale' farts its way into your brain before sparking into life with some electronic twangs and pulses - this one reminds me a bit of a grown up Gorillaz (maybe one with eyes, and a job).
Friday night in the ‘Kingdom of Doom’, which many listeners may immediately recognise as their local. ‘You and me will never be undone... we'll let it flow away,’ Albarn says with some urgency while the music does its best to imitate a creepy night time forest of some sorts.
''Herculean' is the one you'll recognise when you hear it, thanks to Radio 1 airplay before Christmas. 'Behind The Sun' has a retro swagger to it. You can hear it strolling down alleyways with some menace.The Bunting Song' sounds almost cute to begin, but then the shadows creep up on it. 'Pull out the bunting', sings Albarn in a voice which suggests he'd rather throttle someone with it than do some celebrating. 'Nature Springs' didn't so much spring as sort of waver into action, and for a second I forgot I was listening to something until it kicked in. 'Three Changes' brings in some kind of demented organ music and distorted childlike backing vocals for the sort of fairground ride you wouldn't really want to get on, especially if it was being operated by a grinning GBQ musician.
The only problem is the music seems to worm into your skull and you forget you're listening. It gives atmosphere, but if you don't pay attention you forget where you are. I stopped to write a message and seem to have missed a couple of songs which just swam past my consciousness, winking slightly before disappearing beneath the waves, like some sort of musical fish. (Piano tuna jokes, you are not welcome here)
The final title track is a piano-led soundtrack which you could imagine being used on some kind of fantasy film. Danger Mouse has used his production skills on this album to give it a crisp, mournful, subtly dangerous sound. It's hard to see how something could be relaxing and yet mildly unsettling at the same time. It's delicate. Just don't put it on in the background because you'll miss the subtle tones. This is a grown-up album for listening to.
http://www.thegoodthebadandthequeen.com/
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Kylie - The Showgirl Tour
Parlophone, 8th January 2007
Cheers and applause - this is what greeted everyone's favourite princess Kylie Minogue on her 'Showgirl - Homecoming' tour in Australia (though whereabouts in Oz the CD doesn't say... it's a big place, you know).
It opens with some kindly music reminiscent of a children's film featuring unicorns and dolphins. Presumably Miss Minogue is sweeping dramatically about the stage in a big old sparkly dress at this point, but that's obviously lost on record. It all feels a little uncomfortable - my cynical, indie-battered ears can't cope with lovely and heartwarming.
Then the disco pounds of 'Better The Devil You Know' start, and it's like being inside a nightclub with your best girly mate singing into your ear, arm around your shoulder and cocktail in the other hand. But there's something a little more grown-up about this; no ear-splitting high notes, instead Kylie keeps within her vocal limits, sounding womanly and alluring.
This is followed by party disco numbers 'In Your Eyes', 'White Diamond' and 'On A Night Like This' (beginning strangely slower and more suited to a waving lighter than body-popping) before skipping to Act Two: Everything Taboo.
It's times like this I wished I could see more photographs - how exactly was it taboo? The pictures in the inlay are designed to appeal to little girls (shimmery pink dresses) and gay men (leather-clad dancers and mucho sparkle). What taboos exactly could shock both those groups? (No, we're not asking you to write in with some).
"Are you ready for your fifteen minutes of fame?" Kylie yells partway through. She deserves far more than that - 'What Do I Have To Do?', 'Spinning Around', 'Confide In Me', 'Somewhere Over The Rainbow' (indie ears squirm again and I start to doze off). There are also cheeky tasters of tracks that are missing from here - at one point Kylie breaks into 'My name was Eliza Day' from 'Where The Wild Roses Grow', an excellent song but perhaps it would have seemed out of place up against these tracks. Instead of Robbie during 'Kids' we have Bono; we also have some 'When You Wish Upon A Star' nursery twinkles, suggesting a slightly confused target demographic.
It's easy to forget it's a live album, until the audience wake up with a roar again. This could probably do without the little dancey intros/outros, but that's my personal opinion. I didn't go to any of the shows so it evokes nothing for me, apart from perhaps 'Hurry up into your next costume, love.' Personal opinion, of course.
The last few acts are taken up with a sharp contrast between sweet young Kylie (a retro slow 'The Loco-Motion' (bit National Rail in that respect), 'I Should Be So Lucky', 'Hand On Your Heart', 'even 'Especially For You') and the ultra-modern 'Can't Get You Out Of My Head.' The geek in me was particularly amused by the thought of 'Act Seven: Dance of the Cybermen.' Try dancing in those costumes, and there will be severe chafing.
It's a fun live album. It's well recorded with and tuneful. Thing is, perhaps a little of that magic is left behind on stage - the legend of Kylie includes her image, not just the vocals; but all we have is our imagination. Excellent for karaoke fans, girlies and anyone who enjoyed 'Ultimate Kylie's range of hits. Get dancing...
http://www.kylie.com/
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Norah Jones - Not Too Late
Blue Note Recordings, 29th January 2007
Norah Jones, bless her socks. The sweet jazz princess is back. The problem here is that her tracks can act as Night Nurse to people who prefer livelier music. I found myself falling asleep approximately 30 sec into this album, which was a bit problematic as I was at my desk with my boss screaming at me and an imprint of the space bar across my forehead. ‘Not Too Late’ is Miss Jones’ third album, following the success of ‘Come Away With Me’ and ‘Feels Like Home’, which between them have sold over 30 million copies. That’s an awful lot.
All the songs on this album were either written or co-written by Jones and were also produced by Lee Alexander, her songwriting partner and bass player. A bit of research tells me Jones is something of a serious talent, having majored in jazz piano (was very tempted to type ‘jazz flute’ at that point), twice won Best Jazz Vocalist at national student awards in the States, and has eight Grammy Awards. High expectations of this album are therefore justified.
‘Sinkin’ Soon’ is a late-night, smoky jazz piece. ‘The Sun Doesn’t Like You’, despite the name, is an ideal song for sunbathing in your garden to; slightly down and relaxing. ‘Until The End’ is thoughtful and peaceful. ‘Not My Friend’ starts promisingly with tense guitar strums and some curious chords. Jones’ laid-back, sweet voice sits perfectly on top of the musicians’ expertise. It’s soft and gentle, although some pieces can sound a little samey to people not familiar with the style of music.
‘Thinking About You’ is a confident song which sounds like Radio 2 are going to jump up and start humping it, or whatever they do with playlist favourites. ‘Here I am looking for signs… it’s time for me to let you go’ says Jones. ‘I’ll be thinking about you.’ ‘Broken’ is short and smooth, while ‘My Dear Country’ - despite the awful name - has a melancholic charm about it. I accidentally stopped paying attention and missed ‘Wake Me Up’, its title sadly not acting as a stimulant. ‘Be My Somebody’ brings in some country-style guitar and is the bounciest song on the album, although Miss Jones is far too stylish to partake in ‘bounce.’ ‘Little Room’ brings in some 1950s style bluesy licks and clicks, while ‘Rosie’s Lullaby’ draws on country music and slide guitar. Title track ‘Not Too Late’ is a calm track at the end to help you wind down further.
It’s a nice album, but probably aimed more at older and calmer people than all you young fidgety rockers there. Buy it for your mum or for someone who likes sophistication and grown-up music.
http://www.norahjones.com/
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The Shins - Wincing The Night Away
Sub Pop Records, 29th January 2007
Proving that the Dandy Warhols aren't the only good band to come out of Oregon, the Shins have returned with a follow up to 'Oh Inverted World' and 'Chutes Too Narrow.' It turns out they've been receiving a lot of attention since Natalie Portman sang their praises. The girl has sense.
'Wincing The Night Away' begins with spaced-out, blissful synths scything through the air in 'Sleeping Less'. 'A thousand different versions of yourself,' sings vocalist James Mercer (Good idea - come on Boss; best pay all of us to make sure the right one gets it). 'Australia' sounds a little 1960s in places, with the cheerful naivety inviting the listener to jive along - 'I feel like I could just fly'. 'Pam Berry' hangs heavier in the air with dramatic notes cutting through like wire. 'Phantom Limb' starts off sounding a bit electro before the tune breezes across, while The Shadows sound like they have been recruited on backing guitar.
The band comprises Mercer on lead vocals, guitar and harmonica; Martin Crandall on keyboards, Jesse Sandoval on drums and Dave Hernandez on bass. They've just been joined by Eric Johnson of the Fruit Bats. The band members have a habit of swapping instruments mid-gig, just to confuse everyone.
'Sea Legs' grooves along, turning mildly psychedelic in the instrumental parts. 'Red Rabbits' drips into places piece by piece and I found I was daydreaming by this point. Strings lazily wind in and out through the song's centre, while next track 'Turn On Me' has some more 'Heartbeat'-era guitars and echoing fuzz. 'I was fond of you... I know you mask your disdain,' sings Mercer. Listen to the lyrics or get below the surface and it seems you'll get a very different picture to the rounded, joyful music.
'Black Wave' has a haunting sound to it, with some high unsettling noises suggesting a storm is on the way. 'Spilt Needles' has notes spearing through it forcefully, as the name suggests, with discordant strings, 'Girl Sailor' is a nice, thoughtful indie pop moment and the album closes with 'A Comet Appears'.
The album has a sweet, melodic sound which envelopes the listener and gives them a hug. This isn't just throwaway pop though - there's something tough behind the bubbly sounds and 'la la la', something with substance. 'Wincing' couldn't be further from the truth. This album has far more charm, fun and wrapped-up bits of happiness than a goody bag. Buy it and smile.
http://www.theshins.com/
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Jamie T - Panic Prevention
Virgin, 29th January 2007
Go on my son, my son.'
Fucking croissant! Here's the first full length player by Jamie T from Wimbledon, who is contractually obliged to have his place of residence mentioned after his name in everything written about him. A new clause in the contract says everything now has to mention that 'Panic Prevention' was so named because he used to suffer panic attacks. So there it is.
'Brand New Bass Guitar' is the story of an unfortunate musical purchase by T from Wimbledon, who would have much preferred a handgun. Like some modern tale of a shopping spree gone wrong, it's a furious strum-along, with the accompanying vocals providing a fantastic atmospheric backdrop. 'Salvador' is a bit of a dancer, with the funky bass line popping up and down while T provides strangulated yells over the top. 'Sorry, I'm working here...' 'Calm Down Dearest' is one of the singles, familiar to anyone who's chanced in on a Jo Whiley or Zane Lowe show over the last few months, with the raw rap energy calmed by the use of summery strings.
T is beloved by both cool indie and urban fans, due to his smooth mix of the two genres, mixing rocky guitars with samples, random keyboard riffs and cool vocals over the top. 'So Lonely Was The Ballad' is another fun keyboard track. 'Living life in the fast lane' sings T, and right now he probably is. 'Back In The Game' sees T back in his bedroom, alone with his guitar and thoughts. Entertaining snippets between tracks too; fly-on-the-wall taped observations and odd conversations.
'Operation' rocks out discordantly, with the occasional flash of guitar and carefree yell sparking extra life into the song, not that it needs any more life. Er, anyone speak the Phonic Alphabet? Or are these just random words? Most people reading this will have heard 'Sheila' by now. Love the summer feel of the song and the 'blue-blooded murder of the English tongue' along with the fast-paced storytelling running through. 'Pacemaker' is another which warrants comparisons to good old Mike Skinner to begin with, later sounding reminiscent of 1980s ska and punk. 'Yippee-yo kaayay, it's been a good day' indeed.
'Dry Off Your Cheeks' sounds like terrifying depression is on us, until the Kid Carpet keyboards pop up to remind us that everything's all right, or at least that joy is close at hand. 'Ika & Tina' is a drum and bass-ish track, clanging and pumping away furiously. 'If You Got The Money', another of the singles, is a class track with catchy reggae sounds, scratching guitars and carefree vocals. ‘If you got the money... take your girl and spend a bit of your cash for me... so I could take her out the next day for pretty much free.' Common sense, see.
The album closes with the swelling, echoing booms and deep sounds of 'Alicia Quays' (see what he did there? See what he did?) which is far more developed than the acoustic niceties at the start.
This album is fast, thumping, fresh and full of effort. It's witty and fun without the cheese, yet the personal music and lyrics suggest a thoughtfulness and definite talent. Brilliant job.
http://www.jamie-t.com
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