Words - Suzy Sims
Previously published on Native.tv http://www.native.tv in Mar 07
(c) Niche News & Publishing Ltd
Bat For Lashes - Prescilla
Echo, 15th March 2007
Natasha Khan performs her winsome, dramatic vocals over a crackers drumbeat. Then the song unexpectedly kicks into a sophisticated, jazzy and surreal landscape, rich in imagery. This is courtesy of the autoharp and trombone, instruments not seen as often as they should be in pop. There’s always the sense that Khan is holding back slightly, like she could let launch with a killer vocals. Bat For Lashes have supported Jarvis Cocker on tour, which is certainly good enough for us. Nice and curiously different.
http://www.myspace.com/batforlashes
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The Bird And The Bee - F*cking Boyfriend
Regal, 19th March 2007
The Bird And The Bee are from Los Angeles, home of Californian cool, Kate Hudson and smog (but the less said about that the better). 'F*cking Boyfriend' is unusual-sounding sweet pop over a chilled yet dancey background. It’s accompanied by a nest of electro blips over casual breathiness. Probably one for the upmarket cocktail bars who think it’s cool and edgy to have people saying ‘fucking’. Oh, sorry, we mean ‘f*cking’. Any advice on how to pronounce that star would be much appreciated...
http://www.myspace.com/thebirdandthebee
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Clark - Ted EP
Warp Records, 5th March 2007
This wasn’t quite what I was expecting. What was I expecting? I’m not sure… trust me not to read the press blurb that comes with these things. Zippy, Blinky, Crisp, Crunchy, Punchy, Complex and Abstract. Those are the Seven Dwarves, as it were, of this tune, which sounds almost improvised.
The Bibio remix is more reserved and acoustic. It’s the daytime TV movie version of ‘Ted’, which morphs into a warped marshmallow nearer the end. ‘Bruise Animations’ sent me into a rainy day near the end of autumn, in amongst the leaves, and left me stranded in the mud clutching a daisy, in a thoughtful way. Halfway through the textures become more sandy, with prominent percussion throughout.
‘Mia Farrow’ has a sense of lost and longing about it before slinking into a sexy comeback. ‘Springtime Epiphany’ is suitably wind chimey with a fresh sense of promise. It sounds a bit New Age, but turns harsher towards the end. Final track ‘Cremation Drones’ is a bit disturbing, playing with your mind but you can’t quite reach in and drag it out, with its rattles, whines of pain and fear like nails down a blackboard. Interesting…
http://www.warprecords.com
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Electric Spoon - You
Marquis Cha Cha, 5th March 2007
There’s a crackly acoustic guitar being played by your kindly uncle sat by the fireplace. But instead of breaking into some ‘Kumbaya’ horror, he’s fingerpicking furiously and his vocals are as welcome as a cool glass of Malibu would be right now. This is 'You' by Electric Spoon, who are set to be very popular among Jack Johnson fans. B-side ‘The End Begins’ is more upbeat but still gently knocking on the door rather than bashing it in and throwing up on the carpet. Soft, relaxing, calming; Electric Spoon.
http://www.myspace.com/electricspoonmusic
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Jamelia - No More
Parlophone, 19th March 2007
Hello, looks like someone’s been rifling through The Stranglers’ library and pinching their moth-eaten but well-loved copy of ‘Golden Brown’. Then they’ve gone and drawn on it with some brightly coloured crayons. Jamelia has added some pretty pop warbles over the backing track for 'No More'. (While we're on the subject of samples, didn't she use 'Depeche Mode' (or Marilyn Manson's) 'Personal Jesus' last time round? Maybe she upgraded her library card to get a few albums out). 'No More' has the potential to horrify fans of the original, but it’s actually quite an enjoyable pop song.
http://www.jamelia.com
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The Mules - We're Good People
Organ Grinder Records / Kartel , 26th March 2007
Now 'We're Good People' is a bit of an oddity. It starts with some retro 70s funk while The Mules vocalist Ed snarls over the top. It’s quite curious and suddenly switches to a classical violin piece mid-song before moodily loping back. We can’t help loving b-side ‘Problems With Exits’ which crashes headfirst along and draws more attention to their classical musicianship, particularly in the Vivaldi ‘Four Seasons’ violin bit towards the end (oh yes, I got Grade 5 clarinet some ten years ago). It sounds rather like the guitar is being played with a cheese grater, which is a nice touch.
http://www.themules.co.uk
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Scott Matthews - Passing Strangers
Island, 12th March 2007
Put your feet up on the veranda, kick your sandals off, take a look at the sunset over the Southern US and get yourself a bourbon (the drink, not the biscuit. Unless you’re under 18, kids). Scott Matthews has a huskier, more mature voice than I’d expected. Briefly wondered if this was playing at the right speed, then realised that even iTunes can’t cock that up. It’s soothing, but at not too slow a pace to kill you off. Pleasantly chilled. The more I listen, the more I think: does this count as – shock – country music? And Scott's from Wolverhampton, so that pisses over the nice American image I’d built up. “That smile on you is not your own.” Aaargh! Whose is it?
http://www.scottmatthewsmusic.co.uk
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SixNationState - Where Are You Now?
Jeepster, 26th March 2007
Thanks for asking, we're currently in the office typing biscuit crumbs into our keyboard. 'And it feels so right... and it feels so wrong.' 'Where Are You Now?' is the second Jeepster release from Southampton/Reading indie ska bods SixNationState.It's a jolly, sweaty piece of boisterous, knees-up dancing, fun with mucho shouting and belting 'oh ohhh's to get you all in the mood for summer. Ah, why isn't it summer yet... If you like much of the same, they're currently on tour. If you want to see the video, get yourself along to here and hover your mouse above the pictures 'til you find the one you want.
http://www.myspace.com/sixnationstatetheband
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