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
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