What's this? A press conference? With the Beastie Boys? Not going to turn that down. This was in an incredibly swanky Soho hotel and was attended by a number of nervous online journalists who were similarly not wanting to ask questions. Presumably the press conference was so the band could get everyone out the way at once instead of prolonging the agony. I was terrified when I asked my questions, my voice felt thick and I'm sure it trembled, but they answered normally. I feel sorry for the people who did minimal research and then asked dopey questions which got them slapped in the face with sarcasm.
The band had amazing gravitas and a real no-nonsense attitude. On the way out the guy in front of my shook the hand of Adam Yauch, who was simmering behind his sunglasses. I just thanked him for his time, rather than lurching at him, and he graciously inclined his head in a nod. Cool.
Words - Suzy Sims
Previously published on Native.tv http://www.native.tv in September 2007
(c) Niche News & Publishing Ltd
BEASTIE BOYS
The Beastie Boys recently held a press conference in Soho. Not only would a group of journalists be able to find out whatever they wanted about the hip hop legends, but it meant the band would be able to indulge in one of their favourite pastimes – teasing the press. Native.tv went along to ask a question…
The Beastie Boys are sat at the front below a projection of ‘The Mix Up’ cover – there’s Adam ‘MCA’ Yauch on the left, Adam ‘Ad-Rock’ Horovitz in the middle, and Michael ‘Mike D’ Diamond on the right. All three are super-smart in suits, shirt and tie. Horovitz is also sporting a hat. They’re giving off a calm but powerful presence and you can’t help but feel a little nervous.
“Shall we introduce ourselves? We’re the Beastie Boys from New York City,” says Horovitz, checking to make sure we’re not in the wrong press conference. Let’s get the questions going:
How do you think the instrumental album will affect your fanbase?
”It’ll affect them in a good way, in an emotional kind of way. A thoughtful way, you know like they might sit by the window and look out the window,” says Horovitz, exclaiming “My God!” as Yauch’s phone bleeps. “If they like it, they like it; if they don’t, what. I mean I care, you know. I think they love it,” Horovitz continues.
“People who listen to us, they know we’re into some weird shit,” says Yauch.
You say you’re into some ‘weird shit’, what are you guys into at the moment?
“Like adult/baby stuff?” asks Horovitz suspiciously. “Big size cribs?”
“I wouldn’t really want to have one, but I’m into the sneakers that have the little rollerskate wheels on the heels,” says Diamond. “You’ll see a kid walking down the street and then all of a sudden they’ll just go into rollerskating mode.”
Now you’ve been around the UK and played Connect and Bestival, are there any bands you’ve been impressed by?
“Jamie Lidell we saw the other day. I liked what he did with a sampler and he also had MC boots on, which I was very impressed about,” says Diamond.
”He had MC boots and a garbage bag hoodie,” confirms Horovitz.
“We’ve been trying to see MIA but we keep getting to places too late,” says Diamond.
You were talking about the garbage bag hoodie...?
“It was more of a disco bag…” says Yauch.
“Well first I thought it was a disco blouse,” says Diamond. “It had kind of a silver sheen to it, so it was shiny.”
“Like a disco poncho,” says Yauch. “It was like made out of the material of a shirt that an old woman might wear on New Year’s Eve, but then in the shape of a hoodie.” He then tries to explain MC boots to a puzzled crowd. “They’re kind of like cheerleader boots.”
”How about Grandmaster Flash and the Furious Five?” asks Diamond. “The Message album cover? I’m sure one of them was wearing, if not all are wearing MC boots.”
“No laces though they just slip on and cover your ankles,” says Yauch. “I’m sorry, what were you saying?”
You helped to set up X-Large, the clothing label - are you still involved with that and what are your thoughts are on fashion and music at the moment?
“Well obviously we’re fans of the garbage bag,” says Mike. “X-Large was started by friends of mine and then I was involved little bit in the beginning but it’s really their thing, they just kind of built it up and we focused on being a band. So no, we’re not really involved. I think there was a certain time when there were a lot of clothing lines starting out and it was an exciting time, and then kind of the same thing happened with music; a lot of those clothing lines either had to become bigger businesses or stop doing it.”
With the instrumental music, is there something inherently enjoyable about playing it, or did you just decide to do a whole album as a break from the norm?
“It’s definitely fun,” says Horovitz.
“It must use a different part of your brain, playing instrumental music. It’s nice,” says Yauch.
But when you went to the studio, did you go in thinking you were going to make an instrumental record?
A resounding no. “The last record we did was all hip hop and we pretty much made it with our programming, like drum machines. When we started on this one [The Mix-Up] we just started with the instruments and just recorded a bunch of stuff. Originally we probably thought we were going to loop stuff and put vocals on it but then a lot of it sounded cool the way it was,” says Yauch.
There was talk at some point of there being another version of the album with guest vocalists?
“We’re still talking about that,” says Yauch.
“It might happen,” says Horovitz.
“It’s all talk than action. That’s the way it usually is with us anyway, a lot more talk than action,” says Diamond.
Their next UK show is instrumental only - is that more of a challenge to reach the people in the audience?
“Truth be told, when we say ‘instrumental show’ we sort of lie a bit,” confesses Diamond. “We are liars.” How much did you lie? “It’s all hip hop.” Everyone laughs. “It’s like we’re doing instrumental stuff but then we’re doing a bunch of songs that are instruments with vocals on.”
“It’s like a show that’s based around the instruments but it’s not all instrumental, maybe half instrumental,” says Yauch.
“And it’s interesting, it’s like Adam said earlier, it’s like you’re accessing a different part of your brain somehow. It’s definitely a slightly different mentality,” agrees Diamond.
Can you talk about the dress code required for your Camden gig?
“We started recording last year and we decided that while we’re recording we’re going to get into jazz cat mode. And so we started getting all these old Sixties suits and the Rat Pack look and so every day in the studio we had to wear old suits and stuff,” says Yauch, explaining their current appearance.
“Except for Fridays. Fridays was casual,” says Diamond.
“Has to be Fifties or Sixties casual. We figured we’re doing these instrumental shows, gala event… and you’re saying that people don’t say gala event here?” says Yauch
It doesn’t translate, gala event? Or what do you mean?” asks Horovitz. They’re told we Brits use it, but rarely. “Well that’s the whole point of a gala event, it’s not an everyday occasion!”
“And that’s why the dress code - this is a gala event, we figure people dress up for once,” says Yauch.
”For men, at least a jacket would be nice. Dress to impress. Shoes, not sneakers, no flip flops,” says Diamond. “Women in a nice dress or a suit.”
“Whatever you feel is impressive,” says Horovitz.
“Or whatever you think is making it more gala,” finishes Diamond.
What are your thoughts on the current state of hip hop?
“I knew that one was coming,” comes an annoyed whisper from the front. “I think it’s totally awesome,” says Horovitz. “You know, the way people rap. It’s cool. And they cut it up, on decks. You know, we’ve been asked that question before. But rap music is kind of like the only music that’s always changing every few months, it just is always going in crazy directions so… I think it’s in a great place right now.”
In recent concerts you’ve been doing a mix of three different genres so is that going to be reflected in your next album?
“We don’t exactly have a plan, we usually just go in the studio and wait and see what happens,” says Diamond.
Are you feeling anything specific at the moment?
“Like a rap opera,” says Horovitz. “Like Trapped In The Closet.”
“I was thinking more like Starlight Express,” says Diamond. “Something like that, where we rollerblade over the audience. That could work well for us.”
Mark Ronson has just been announced as doing a BBC Electric Prom in the near future – “Did you say electric prongs?!”
“Prom, that’s like graduation, right?” says Horovitz.
“It’s like a shrimp, right? An electric shrimp,” jokes Yauch.
“So it’ll be like an orchestra and then some fool with a synthesiser?” wonders Horovitz. “Cool.” They’re told that Mark Ronson will probably go to Abbey Road and work out with the orchestra.
”He’s going to work out with them? Doing sit ups and push ups and stuff? I can’t picture Mark doing that but that’s cool,” says Diamond.“If that’s part of the show, I’m going to come over to see it,” says Yauch.
Any possibility of working with Ronson in the future?
“Uh, yeah quite possibly. You never know,” says Adam. “He’s a good guy. He’s got very good hair.”
Native.tv asks: You played Live Earth this summer. How was it for you, and is climate change something you feel quite strongly about?
“Oh, am I supposed to use this?” asks Mike, finally noticing the mic on the table in front of him. “We were happy to take part in that event as soon as we got called because it was something we felt needs people’s focus, and more importantly, needs everybody’s actions.
"The good news is that it’s something that can actually really be impacted by everybody taking action. So we were happy to do it. It’s really hard with those things to know what kind of influence it has on people’s actions and daily lives.
"I was actually surprised, I really wasn’t prepared for the degree of cynicism that it was met with. That surprised me a bit.
“With our tour this summer in the States we hooked up with this non-profit [ARIA] to make it carbon neutral. Our buses were on a bio-diesel fuel, and then the venues all co-operated in terms of recycling programmes.” There’s some discussing. “That didn’t have to do with the Live Earth concert. That’s just something we were doing.”
Do you think music is lacking in the politically active sense?
“There is that Lil' Wayne video which is on YouTube now against George Bush,” pipes up Horovitz. “I didn’t expect that one. Lil' Wayne. Rapper from America,” he adds in a small voice. “That’s what I’m saying. Lil' Wayne.”
You started a record label quite recently, what are your plans with it?
”I started a record label just recently,” says Horovitz. “It’s dubstep, kind of house-garage, with the singer from Nickelback. It’s pretty hot. Grunge, grimecore, gutter punk, two-step. We had a record label. Maybe like 15 years ago or something like that.” There’s a comment about when things stop being recent. “I shitted in Australia in an alley and that was over six months ago, and I thought that’s not really that recent.”
“That’s still recent,” says Diamond. “That’s within a year.”
It’s all a bit quiet and the Beastie Boys ask if anyone has a ringer question. “It’s like a plant,” explains Diamond. “Let’s say you have like a child’s soccer team and you bring in a grown man. That would be the ringer.”
What kind of person do you think it takes to become a Beastie Boy?
“Well I would say that it sounds shallow but you know, rugged looks,” says Horovitz.
“Do we have applications?” asks Yauch. “I might be leaving soon, so…”
“We’re always open to trades,” says Diamond. “We are in discussions with R Kelly. He only wanted to give us – what’s the woman’s name, the character in the ...Closet video? – he wanted to offer Bridget. And we want Bridget coupled with the little person. He thought that was too much of his cast, he wasn’t willing to give that up. Our tour ends in October, a couple of weeks after that it’s off-season; we’re ready to start talking about trades.”
“He tried to trade me to Blink-182 and I’m still mad about it,” says Horovitz darkly.“It’s not just us. Every band is looking to get better. It’s a competitive sport, it’s a competitive league, that’s our job. Everybody needs to get better each time.”
You did an instrumental album, but is there any instrument you would never work with, like bagpipes?
“I actually like bagpipes,” says Yauch.
“I think bagpipes could be hip hop. You don’t know. It could work out. What would I not ever work with? Hard to say. I was going to say French horn but you never know, in the right way, that could be something nice,” says Diamond.
“I don’t like the splash cymbal,” says Yauch. “You always have the drummer playing and he’s like – pssh!”
“What about on the Steve Miller Band ‘Take The Money And Run’?” asks Diamond. “The splash cymbal plays the beginning part.” They argue over whether it’s a splash cymbal or not. Horovitz has his little finger in the air. “I don’t know if you do this here but this is the symbol for ‘I’ll bet you’.”
“You know what though. Sometimes you might hear a splash just like a little crash and it happens to be a splash and you wouldn’t even know.”
“I’m just saying, for my own personal preference...” argues Yauch.“See what I have to put up with?” complains Horovitz.
And on that mildly argumentative note, it’s time to sign off. The three sharp-suited Beastie Boys stand up, incline their heads and disappear.
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The Beastie Boys released 'The Mix-Up' in summer 2007.
Beastie Boys
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Showing posts with label beastie boys. Show all posts
Showing posts with label beastie boys. Show all posts
Tuesday, 10 June 2008
Sunday, 17 February 2008
Album Reviews - Jun 07
Words - Suzy Sims
Previously published on Native.tv http://www.native.tv in June 2007
(c) Niche News & Publishing Ltd
Beastie Boys - The Rat Cage
Parlophone, 25th June 2007
The Beastie Boys are back, they’re – instrumental? Where’s the punky hip hop shouting? As someone who's only real knowledge of the group is repeated plays of '(You Gotta) Fight For Your Right (To Party)' and 'Intergalactic', this was a bit of an adventure of the mind. This is actually the band's first full album of new instrumentals, so is likely to surprise a few more people yet.
The album kicks off with ‘B For My Name’, a real retro 1970s cop show of a tune, thudding and jazz juicing along. It’s surprisingly laidback and not what I was expecting at all. ‘14th St. Break’ feedbacks its way into your imagination, with the aid of some cymbals, beats like raindrops, and a guitar which sounds like a lazy bee. Then it descends into some 70s organ, and I feel like dancing by making my fingers into scissors and passing them before my eyes – left, right, then left again...
‘Suco De Tangerina’ has a Latin buzz about it, still with that sexy bass and some reggae influences too. ‘The Gala Event’ is dreamier but there’s something mildly suspenseful about it. ‘Electric Worm’ – the wormy crawling is from the party bassline, while the guitar has a real acid tip. ‘Freaky Hijiki’ has elements of soul and jazz piano to it.
‘Off The Grid’ buzzes and saunters. This one develops a real intensity and strength partway through, making it sound very good indeed. ‘The Rat Cage’ is a key bass song which gently trickles in mysteriously and bobbly.‘The Melee’ is another hot weather sounding, jazz piece. ‘Dramastically Different’ (interesting word use there…) sounds like jungle computer game music, accompanying you as you leap between levels and collect points, Crash Bandicoot style. Yeah it’s a while since I played video games…‘The Cousin Of Death’ has a mean streak, a real buzzsaw sound and squeal with a brief thrash ending. ‘The Kangaroo Rat’ is the final track, one note hovering above the landscape in a shimmer of heat.
It’s an interesting record, and certainly not what I was expecting. Grown up, funky, relaxing and serious, it’s a background album with style and is remarkably chilled. We think it would be good at a late night indie club. You can’t sit in a pall of smoke any more, but after a few drinks and you’re squashed onto the comfy sofas making eyes at the barflies and trying to look cool, this will be on.
Beastie Boys
-----
Ghosts - The World Is Outside
Atlantic, 18th June 2007
There's something quite comforting and snuggly about Ghosts. 'The World Is Outside' is their hotly tipped debut album, and a nice slice of perfect pop cheesecake it is.
It opens with 'Stay The Night', which we think is one of the most perfect pop songs we’ve heard in a long while. Sweet and a little cheeky with quirky musical changes you weren’t expecting and a big warm ending. ‘I think of you, my heart beats a little louder.’ ‘Musical Chairs’ brings you right back down though, with soft mournful tones and is reminiscent of ‘An Ordinary World’ during the chorus. When we spoke to Ghosts, they told us they love to put in different chord changes to mix songs round and keep the listener on their toes, and they certainly have here. It starts off plain, then becomes a beautiful puzzle, with soaring melodies.
Current single ‘The World Is Outside’ is a smooth, commercial radio song ‘We can do anything… open your eyes’ sings Simon Pettigrew over a very sharp 1980s synth. ‘Ghosts’ pounds along with feeling and descending airs. It’s slower and gentle, though still manages to leave you feeling slightly drained at the end of it. ‘Mind Games’ is a bit of a power-pop ballad – not power-pop as in the crap kids’ punk sense, but as in the breadth of emotions and musicianship.
‘Something Hilarious’ despite the slightly ominous name, rolls along with charm and drama. ‘Stop’ is energetic, with remarkably high synths that you’re not expecting after the previous track, in fact it even turns ever so slightly disco halfway through. I don’t enjoy it quite as much as the others, but I’m sure it’s good live.
‘Over-Analysis’ starts as a hot rocker before turning back into a typical gentle Ghosts song. ‘Further And Further Away’ is another we have a particular soft spot for. It’s calming and just sweeps you along into a fluffy yet moody parcel.
‘Wrapped Up In Little Stars’ is another peaceful ballad before Jonny Harris on drums gets a little over-excited.
Final track ‘Temporary’ is hidden away after a short pause, so hope it lives up to that feeling of expectation. It’s grand, poetic, and gorgeous. ‘I don’t need anyone to write a song about’ sings Simon. There’s some good production on this album. Whereas on something like the well-received Pigeon Detectives album ‘Wait For Me’ a few of the sounds and mixes don’t seem to sound quite right, here everything fits in beautifully and nothing sounds sonically out of place.
Ghosts are bound to lapped up by lovers of Coldplay, The Feeling etc. It’s beautiful, moody and eccentric pop, and it cheers me up no end.
Ghosts
-----
Siobhan Donaghy - Ghosts
Parlophone, 25th June 2007
Here’s the second album from Siobhan Donaghy, ex-Sugababe and now solo singer. Her first record was 'Revolution in Me', released on London Records four years ago. We haven't heard it, but 'Ghosts' can only be a step up. The cover photograph is complex and stiff, showing Donaghy posed almost as porcelain on a chair holding a delicate cup. Red lips and hair against a Victorian-style dress. Everything is a little starchy, serious, almost odd and unreal. Does the music reflect this?
I would say it does. It’s full of hoops and loops. Siobhan has a beautiful clear voice. This first track is slightly Muse in its etherealness before the soft mattress of synth begins. The echo and reverb has an exciting effect on the crisp feminine vocals and the sudden silence of the finish is a bit of a stunner. Recent single ‘So You Say’ wafts in on a cloud of optimism and luxury while the vocals bubble slightly before exploding into what our reviewer described as ‘fluffiness’. It’s feminine but not weak, it’s strong adult pop for those sophisticated types.
‘There’s A Place’ is a gently strummed drifter of a track, the kind to make you kick off your shoes and lie somewhere comfortable while the vocals soar around you. ‘Sometimes’ is almost Kylie in vocals, with a definite sneer, while ’12 Bar Acid Blue’ has more attitude and the electronic beeps and twirls and acoustic strums mean it’s barely recognisable as blues, but listen closely and you can hear the chord progressions. Cleverly done, as most blues is incredibly obvious, but this is souped up.
‘Make It Right’ demonstrates her sweet voice while swaying and sloping like Lily Allen’s older and nicer cousin. ‘Coming Up For Air’ is heavy and dark with a sense of self-pity and loneliness hidden beneath the warm tones of the music. ‘Goldfish’ seems to exist in a pretty girly bubble all of its own. ‘Medevac’ is quite hard-going with a chant and outrageous keyboard notes before the bassline kicks in and gives the song some backbone. This is one of the album high points for me. Then it’s back to the cosy cloud enveloping ‘Halcyon Days’ and the album closer ‘Ghosts’, another twinkly, twangy sourdrop of a sherbet with backward-sounding chants.
So what can you expect? Soft songs, artistic and magical in their creation and deftly executed. The songs are different and I think cleverly written. It’s pretty grand stuff, a step above everything else. Whether that will bring commercial success, I couldn’t say. But if you like different and grown up singers such as Feist or possibly Robyn, you’ll enjoy this.
Siobhan Donaghy
-----
The Stills - Without Feathers
Drowned In Sound Recordings, 11th June 2007
'Without Feathers' is the second album from The Stills, following on from their debut some three years ago. I'd heard vague rumours that they were good, but that's all I knew and had no idea what to expect from this album. ‘In The Beginning’ is like a menacing black stallion, trotting in proudly with head raised high, before some Queen-like guitar chords are thrown out. Then the songs turns into something very joyful despite the occasional bit of chaos. ‘Our hero never turns around’. The addition of some organ turns this into a fun, pacey, song, a real musical kick up the ass. Don’t confuse it with the plain cumbersome New Rhodes song of the same name. It’s a really fine song, though at almost six minutes perhaps a bit lengthy for an opener.
‘Destroyer’ is another full song with joyful brass, almost Kings of Leon guitar strums. ‘Helicopters’ has some random piano sections and is slower, preferring the slow and strong approach. ‘The House We Live In’ appears to be making use of an accordion or something, giving an unusual sound like a French folk song with rock/pop vocals, before the mellow backing comes flowing in. ‘It Takes Time’ has military drums and comes flying in at super-speed, before gliding to a halt and dismounting gracefully then striding around in glitter platforms. It’s quite uplifting.
‘Monsoon’ has a fuzzy fart of a bass and church organs before the slappy percussion starts. ‘No-one’s ever sorry ‘til the bitter end.’ ‘She’s Walking Out’ features a wrenched throaty vocal in pain that his girl is leaving. ‘Oh Shoplifter’ is almost Phil Spector ‘Wall Of Sound’ with gentle harmonised vocals and a massive sound.
For some reason, ‘Outro’ is at number nine out of 13. I don’t quite understand what that’s all about, but I’m sure they had their reasons. ‘Halo The Harpoons’ features some pirouetting pianos, while ‘Baby Blues’ has feminine vocals (which I believe are courtesy of Emily Haines) to provide some sweetness. ‘Retour A Vega’ is in French so I'm not entirely sure what it's about. It bobs about gently like a little boat of students having a fun cruise. ‘Mountain’ has drum rolls and a sense of grandeur and enormity about it. ‘The mountain catches fire and melts the snow. Now the river carries us home’.
This album is a lot gentler than I’d expected, but there’s a lot behind it. The general feel of this album is uplifting, deep, indie rock/pop. It’s summer but it’s raining, and this is what you listen to to make things seem a little better.
The Stills
Previously published on Native.tv http://www.native.tv in June 2007
(c) Niche News & Publishing Ltd
Beastie Boys - The Rat Cage
Parlophone, 25th June 2007
The Beastie Boys are back, they’re – instrumental? Where’s the punky hip hop shouting? As someone who's only real knowledge of the group is repeated plays of '(You Gotta) Fight For Your Right (To Party)' and 'Intergalactic', this was a bit of an adventure of the mind. This is actually the band's first full album of new instrumentals, so is likely to surprise a few more people yet.
The album kicks off with ‘B For My Name’, a real retro 1970s cop show of a tune, thudding and jazz juicing along. It’s surprisingly laidback and not what I was expecting at all. ‘14th St. Break’ feedbacks its way into your imagination, with the aid of some cymbals, beats like raindrops, and a guitar which sounds like a lazy bee. Then it descends into some 70s organ, and I feel like dancing by making my fingers into scissors and passing them before my eyes – left, right, then left again...
‘Suco De Tangerina’ has a Latin buzz about it, still with that sexy bass and some reggae influences too. ‘The Gala Event’ is dreamier but there’s something mildly suspenseful about it. ‘Electric Worm’ – the wormy crawling is from the party bassline, while the guitar has a real acid tip. ‘Freaky Hijiki’ has elements of soul and jazz piano to it.
‘Off The Grid’ buzzes and saunters. This one develops a real intensity and strength partway through, making it sound very good indeed. ‘The Rat Cage’ is a key bass song which gently trickles in mysteriously and bobbly.‘The Melee’ is another hot weather sounding, jazz piece. ‘Dramastically Different’ (interesting word use there…) sounds like jungle computer game music, accompanying you as you leap between levels and collect points, Crash Bandicoot style. Yeah it’s a while since I played video games…‘The Cousin Of Death’ has a mean streak, a real buzzsaw sound and squeal with a brief thrash ending. ‘The Kangaroo Rat’ is the final track, one note hovering above the landscape in a shimmer of heat.
It’s an interesting record, and certainly not what I was expecting. Grown up, funky, relaxing and serious, it’s a background album with style and is remarkably chilled. We think it would be good at a late night indie club. You can’t sit in a pall of smoke any more, but after a few drinks and you’re squashed onto the comfy sofas making eyes at the barflies and trying to look cool, this will be on.
Beastie Boys
-----
Ghosts - The World Is Outside
Atlantic, 18th June 2007
There's something quite comforting and snuggly about Ghosts. 'The World Is Outside' is their hotly tipped debut album, and a nice slice of perfect pop cheesecake it is.
It opens with 'Stay The Night', which we think is one of the most perfect pop songs we’ve heard in a long while. Sweet and a little cheeky with quirky musical changes you weren’t expecting and a big warm ending. ‘I think of you, my heart beats a little louder.’ ‘Musical Chairs’ brings you right back down though, with soft mournful tones and is reminiscent of ‘An Ordinary World’ during the chorus. When we spoke to Ghosts, they told us they love to put in different chord changes to mix songs round and keep the listener on their toes, and they certainly have here. It starts off plain, then becomes a beautiful puzzle, with soaring melodies.
Current single ‘The World Is Outside’ is a smooth, commercial radio song ‘We can do anything… open your eyes’ sings Simon Pettigrew over a very sharp 1980s synth. ‘Ghosts’ pounds along with feeling and descending airs. It’s slower and gentle, though still manages to leave you feeling slightly drained at the end of it. ‘Mind Games’ is a bit of a power-pop ballad – not power-pop as in the crap kids’ punk sense, but as in the breadth of emotions and musicianship.
‘Something Hilarious’ despite the slightly ominous name, rolls along with charm and drama. ‘Stop’ is energetic, with remarkably high synths that you’re not expecting after the previous track, in fact it even turns ever so slightly disco halfway through. I don’t enjoy it quite as much as the others, but I’m sure it’s good live.
‘Over-Analysis’ starts as a hot rocker before turning back into a typical gentle Ghosts song. ‘Further And Further Away’ is another we have a particular soft spot for. It’s calming and just sweeps you along into a fluffy yet moody parcel.
‘Wrapped Up In Little Stars’ is another peaceful ballad before Jonny Harris on drums gets a little over-excited.
Final track ‘Temporary’ is hidden away after a short pause, so hope it lives up to that feeling of expectation. It’s grand, poetic, and gorgeous. ‘I don’t need anyone to write a song about’ sings Simon. There’s some good production on this album. Whereas on something like the well-received Pigeon Detectives album ‘Wait For Me’ a few of the sounds and mixes don’t seem to sound quite right, here everything fits in beautifully and nothing sounds sonically out of place.
Ghosts are bound to lapped up by lovers of Coldplay, The Feeling etc. It’s beautiful, moody and eccentric pop, and it cheers me up no end.
Ghosts
-----
Siobhan Donaghy - Ghosts
Parlophone, 25th June 2007
Here’s the second album from Siobhan Donaghy, ex-Sugababe and now solo singer. Her first record was 'Revolution in Me', released on London Records four years ago. We haven't heard it, but 'Ghosts' can only be a step up. The cover photograph is complex and stiff, showing Donaghy posed almost as porcelain on a chair holding a delicate cup. Red lips and hair against a Victorian-style dress. Everything is a little starchy, serious, almost odd and unreal. Does the music reflect this?
I would say it does. It’s full of hoops and loops. Siobhan has a beautiful clear voice. This first track is slightly Muse in its etherealness before the soft mattress of synth begins. The echo and reverb has an exciting effect on the crisp feminine vocals and the sudden silence of the finish is a bit of a stunner. Recent single ‘So You Say’ wafts in on a cloud of optimism and luxury while the vocals bubble slightly before exploding into what our reviewer described as ‘fluffiness’. It’s feminine but not weak, it’s strong adult pop for those sophisticated types.
‘There’s A Place’ is a gently strummed drifter of a track, the kind to make you kick off your shoes and lie somewhere comfortable while the vocals soar around you. ‘Sometimes’ is almost Kylie in vocals, with a definite sneer, while ’12 Bar Acid Blue’ has more attitude and the electronic beeps and twirls and acoustic strums mean it’s barely recognisable as blues, but listen closely and you can hear the chord progressions. Cleverly done, as most blues is incredibly obvious, but this is souped up.
‘Make It Right’ demonstrates her sweet voice while swaying and sloping like Lily Allen’s older and nicer cousin. ‘Coming Up For Air’ is heavy and dark with a sense of self-pity and loneliness hidden beneath the warm tones of the music. ‘Goldfish’ seems to exist in a pretty girly bubble all of its own. ‘Medevac’ is quite hard-going with a chant and outrageous keyboard notes before the bassline kicks in and gives the song some backbone. This is one of the album high points for me. Then it’s back to the cosy cloud enveloping ‘Halcyon Days’ and the album closer ‘Ghosts’, another twinkly, twangy sourdrop of a sherbet with backward-sounding chants.
So what can you expect? Soft songs, artistic and magical in their creation and deftly executed. The songs are different and I think cleverly written. It’s pretty grand stuff, a step above everything else. Whether that will bring commercial success, I couldn’t say. But if you like different and grown up singers such as Feist or possibly Robyn, you’ll enjoy this.
Siobhan Donaghy
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The Stills - Without Feathers
Drowned In Sound Recordings, 11th June 2007
'Without Feathers' is the second album from The Stills, following on from their debut some three years ago. I'd heard vague rumours that they were good, but that's all I knew and had no idea what to expect from this album. ‘In The Beginning’ is like a menacing black stallion, trotting in proudly with head raised high, before some Queen-like guitar chords are thrown out. Then the songs turns into something very joyful despite the occasional bit of chaos. ‘Our hero never turns around’. The addition of some organ turns this into a fun, pacey, song, a real musical kick up the ass. Don’t confuse it with the plain cumbersome New Rhodes song of the same name. It’s a really fine song, though at almost six minutes perhaps a bit lengthy for an opener.
‘Destroyer’ is another full song with joyful brass, almost Kings of Leon guitar strums. ‘Helicopters’ has some random piano sections and is slower, preferring the slow and strong approach. ‘The House We Live In’ appears to be making use of an accordion or something, giving an unusual sound like a French folk song with rock/pop vocals, before the mellow backing comes flowing in. ‘It Takes Time’ has military drums and comes flying in at super-speed, before gliding to a halt and dismounting gracefully then striding around in glitter platforms. It’s quite uplifting.
‘Monsoon’ has a fuzzy fart of a bass and church organs before the slappy percussion starts. ‘No-one’s ever sorry ‘til the bitter end.’ ‘She’s Walking Out’ features a wrenched throaty vocal in pain that his girl is leaving. ‘Oh Shoplifter’ is almost Phil Spector ‘Wall Of Sound’ with gentle harmonised vocals and a massive sound.
For some reason, ‘Outro’ is at number nine out of 13. I don’t quite understand what that’s all about, but I’m sure they had their reasons. ‘Halo The Harpoons’ features some pirouetting pianos, while ‘Baby Blues’ has feminine vocals (which I believe are courtesy of Emily Haines) to provide some sweetness. ‘Retour A Vega’ is in French so I'm not entirely sure what it's about. It bobs about gently like a little boat of students having a fun cruise. ‘Mountain’ has drum rolls and a sense of grandeur and enormity about it. ‘The mountain catches fire and melts the snow. Now the river carries us home’.
This album is a lot gentler than I’d expected, but there’s a lot behind it. The general feel of this album is uplifting, deep, indie rock/pop. It’s summer but it’s raining, and this is what you listen to to make things seem a little better.
The Stills
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