This was one of those 'name' interviews which my bosses got all excited about because it was someone they'd heard of, as opposed to third drummer's cousin in a little indie band.
Words - Suzy Sims
Previously published on Native.tv http://www.native.tv in May 2007
(c) Niche News & Publishing Ltd
BEVERLEY KNIGHT
We caught up with soul singer Beverley Knight in London for a chat about her charity work, touring with Take That and the joy of new shoes
It’s nice and cool in Parlophone headquarters, away from the bustle of the London streets. Inside the interview room, Beverley Knight calls me ‘darling’, kindly offers me a drink and bids me sit next to her on the sofa so the dictaphone can pick up what she’s saying.
She’s tall and slender, wearing a dark vest top and olive short skirt. Her highlighted hair is kept in place with a neat lemon-coloured hairband. Occasionally she gives a friendly wave to whoever is walking past the glass doors.
It’s lunchtime and she’s trying to eat a fruit salad while chatting to me, which proves difficult because Beverley likes talking. From an interviewer’s point of view, this is a very good thing as I barely have to say a word.
A nice and easy conversation opener is ‘Just The Two Of Us’, the reality show where celebrities were paired with singing professionals to perform duets. Beverley laughs uproariously. “OK! Yes!” I didn’t even realise she was in it until one of my friends pointed it out. “It might have passed a lot of people if they were on their Christmas holidays still, like New Year’s and that. It was interesting, I had a lot of good laughs on there.”
In the first series she was partnered with Nicky Campbell, and second time round she was paired up with Brendan Cole. “He actually helped it and made it a lot of fun because he really did want to learn about singing a song and how to express a song.”
On 'Strictly Come Dancing' he came across as a bit of a loveable troublemaker. “When people discovered I was going to be partnered with Brendan their reactions were quite severe. It was either ‘Oooh, the bad boy of Strictly Come Dancing… you’ll be in the papers, you know!’ and then other people were like ‘Brendan Cole, oh I can’t stand him’. You know what I mean?”
He doesn’t seem that bad. “No I don’t think so. And actually he’s just a man who wants to be brilliant. He wants to be brilliant and that makes him work very hard which often rubs people up the wrong way as well. But makes great viewing!"
In the end, Beverley and Brendan came second to Hannah Waterman and Marti Pellow. Beverley isn’t remotely disappointed at being runner-up. “I’m actually glad that they won because it would have been ‘Soul singer and winner of Just The Two Of Us, Beverley Knight’. Nah! I got all the publicity, without having the moniker fixed to me. I did everything as far as I could go, I just didn’t go home with the trophy, which was a bit of a blessing.
“But I was surprised at how those shows get people round the throat. I mean, folk were phoning up saying ‘You deserve more points than you got!’ and this that and the other, and ‘I really loved this performance it was amazing!’ People get into them! And I’m like (all sweet) ‘It’s just a TV show! Don’t take it so personally!”
Calm down and make yourself another cup of tea. “Exactly. ‘You sit down and have a rest’. Funny.” Would you ever be tempted to go into one of those shows as a contestant rather than a mentor? “No way,” she says firmly. “No way on this earth. I’d never do the dancing, never go in the jungle, never be in the Big Brother house. I’m not interested. The thing that persuaded me of this show was it’s me singing and I’m not being judged or anything like that, I’m helping somebody else to improve on what they’ve got. In Brendan’s case, definitely pull out what he’s got, you know what I mean! But I couldn’t do any of those shows and I wouldn’t do anything else.”
‘No Man’s Land’ was the first single off new album ‘Music City Soul’. It begins gently before sweeping into a rousing chorus, and is a beautiful song. “Thank you,” she says. “It’s a song about being in a state of limbo. I don’t know anybody who doesn’t know how this feels. If you have ever been in a relationship, you know how it feels when it comes to an end and you’re so wanting to move forward in your life. And you’re so stuck because the feelings don’t disappear overnight.
”You know the right thing to do was for the relationship to end, so you know you’re not going to go backwards into it, but you can’t get moving forwards. And I called it ‘No Man’s Land’, that feeling of, you know, ‘how do I get out of this, I’m buggered both ways’. I wrote it from a place I was in at that time. I’m not there anymore, thank Christ for that, but I’m happy-and-single-and-living-free type thing. But then I was single but certainly confused.”
It’s very cathartic letting it out through song. “So cathartic, to be able to sit down and write how you feel, and then hopefully other people can say ‘Yeah that’s me, that’s how I feel’. I’m proud of it. Also on a technical level it opens the door to the concept of what this new album’s about, ‘cause it’s so live and emotive and all of those things. So you hear that and you get an idea of the album, for sure.”
What was it like making the video? Because it looked like you walked miles. “Mmm. I didn’t really,” she says in between bites of fruit. “I walked the whole day, but I was sauntering. It wasn’t like I was marching.” In your heels. “They were wedge heels, that was easy enough on my poor little feet. It was wonderful, it was so hot. So when the breeze was blowing on me I was like thank God for that!” she adds. “The minute the breeze stopped, it was like…” Ice lollies. “Exactly. It was really hot. It was wonderful. I shot it in Cape Town, it looks like the American South.”
Yeah it does, I say in a quavering voice, after a brief coughing fit probably caused by the London air. “We went there because it’s cheaper than shooting in America, less problematic; and if you edit out Table Mountain and all the obvious South African references it could be anywhere. It has that universal appeal. I was so pleased to go over and do the video there. Brilliant.”
Any sightseeing? “A little bit of sightseeing, yeah!” she says excitedly. “Having a chance to go around and visit different places – and a little bit of shopping,” she adds naughtily. Just a little bit? “Just a little bit. Didn’t have enough time to shop, God damn it. But hey. Bloody cheap over there, which is another great reason for shooting the video over there.”
Time for a random easy question - five items Beverley always carries in her handbag. “Boring things like Blackberry, mobile. I’ve got this little mirror which opens up into a brush as well. Always, always, always in my bag ‘cause you never know when you’re gonna get sprung in Sainsbury’s by someone going ‘Can I take a picture?’ and you know it’s going to end up on MySpace or somewhere.
“That did happen to me, I was in Sainsbury’s with my housemate and this woman stopped me and took a picture. I didn’t think anything of it until my housemate shouted me: ‘Bev, that picture’s online now!’ I was like, oh my God. What else… Always got lipbalm, I have to talk a lot and sing a lot,” she giggles. “Got to make sure my lips are nice and not too cracked and horrible. Always got chewing gum, and I’ve always got a pen. Don’t quite now why. Oooh, me purse! That too.”
There’s a pause. “I’ll just have a strawberry,” she says, trying to eat some more. I apologise for making her talk too much on her lunch. How’s your salad? “It’s good! Good old fruit salad. Love it.” There’s a fruit bowl in the hall but it’s covered over with clingfilm, probably to stop pesky journalists from nicking bits. There’s a sheet over Beverley’s salad bowl as well. “Sure this isn’t exactly environmentally friendly,” she says, poking at it. “But anyway…”
Beverley, you were awarded the MBE in February 2007. Congratulations. “Thank you.” You don’t seem to be wearing it. “Er, no!” Not expecting to bump into the Queen today. “Not today. I’ve got the little medal thingy in its box at home in one of my bedrooms. That was a mad day. You have to keep it all secret and everything, so I knew about this and couldn’t tell anyone until it became official news. My mum literally slumped into the sofa and dad couldn’t speak for ages. They just were like knocked out.
“But the day itself was a proud moment for them. I kind of was more excited watching their reactions ‘cause I knew how much it meant for them. It was a really surreal day, I had to be debriefed…” So much etiquette. “So much… like walking backwards away from the monarch and curtsey and this and I’m like, well you try doing it in 4 ½ inch heel platforms!”
Can you just stand back and go: ‘You all right?’ “Yeah,” she smiles. “‘You got my album?’ But it was a great morning. I did feel proud. And when I saw the pictures that were everywhere in the press I was like ‘awww’. Everybody in my band has been coming up for what the MBE stands for, outside of Member of the British Empire. And my favourite is Most Baddest Entertainer.”
We both laugh. I ask if she’s going to get that on her stationery. “Everyone’s saying ‘Oh put it on your credit card, MBE’ but it don’t know. It’d be a bit… weird. It’ll be like (posh voice) ‘Hello I’m Beverley Knight, MBE.’ I don’t know,” she says and giggles again.
She’s received quite a few awards, including a Lifetime Achievement one, which isn’t bad considering she’s not… “An old granny.” I think it means, you can stop now. “That accolade was because with black British artists there aren’t any of my generation who have been around for a long time. Gabrielle, who I think has just stopped making music now…” She just seemed to fade out a few years ago. “Yeah. And Sade, but then there’s me who’s been consistently there so that’s more what that was about, you know what I mean. As opposed to ‘Right, shut up now, we’ll give you this gong! For god’s sake, stop making music!’ I’d like to think so anyway. I’d be mortified if it was anything else.”
Beverley is heavily into charity work. “It’s not because I’m this wonderfully fabulous, altruistic human being, it’s more like I feel compelled. A lot of my charity work is focused and based around HIV/Aids, it’s like something within me spurs me to do it. Probably because I watched - helplessly, really - as one of my best friends slipped away and died. I don’t want anybody else to go through that and I know people are going through that every single day of the week.
“But the thing with HIV, it is so unnecessary. There are measures, there are steps you can take to keep it at bay from your life, keep the risks a lot lower. And the fact that people are just so apathetic and blasé, you know? It really distresses me greatly ‘cause I’m like, you don’t want to see what I’ve seen. Some of the reactions people have to the antiretroviral drugs and when combinations stop working and there’s nothing more that can be done and that whole side of it.
"I’m like, if you knew what your life could be, you would be so careful. But people don’t, they just think ‘oh a couple of pills and I’ll be fine.’ Of course it’s not like that. So that drives me on, that thing it galvanises me to do as much as I can.” She is speaking very seriously and from the heart.
“I’d like to think I’m a nice girl but it’s more than just being a nice person, it’s something else. So yeah, and it’s so important to me. It’s almost as though the platform that I’ve been given and the greater good that it serves is the work I’m able to do.
“Is that all right?” she asks uncertainly, checking she hasn’t given a rubbish answer. Yes, of course it’s all right.
‘Music City Soul’ is Beverley’s fifth studio album and was recorded in Nashville, Tennessee. According to fruit-munching Beverley, it’s a place of deep contrasts. “On the one hand, it’s this very right-wing, Republican, flag-waving – Confederate flag-waving – place, and everybody goes to church on a Sunday, and of course listens to good wholesome country music. On the other hand, it’s a musical hub of musicians and songwriters. A lot of those musicians are hard drinking and come from other cities. They were cooler than all of that and had cool stories to tell.
”I stood out like a sore thumb ‘cause I was English and black. You know what I mean, they were like ‘We don’t get this’,” she says and laughs. “’They have black people in England? Oh my God.’ It was just mad. But I really enjoyed it as well, I just found it somewhere that was bemusing at times.”
There’s so much musical heritage there, it must have been fascinating. “It really, really was. And you got things like the Grand Ole Opry where everybody in country music has been, and people who have done the country/soul crossover like Ray Charles and Al Green. It was a really interesting place to go to and had a lot of history of music there.”
Nashville is known as Music City, hence the name of the album. “It sums up a concept. I came to this album wanting to make a record that was utterly soulful, utterly stripped back, free of programming, you know, if the song speeds up naturally and slows down naturally who gives a damn. Organic in every way. And we achieved it so I’m thrilled and just the title ‘Music City Soul’, apart from having a great ring to it I think, sums up that. You know you get an idea of what you’re going to get.”
What tracks do you like best on it? Or is it too hard to choose? “It is difficult. ‘Black Butta’ is a key track which is a bit like ‘Nutbush City Limits’, it’s very up-tempo and great to perform live, everybody loves it. But then I have really enjoyed doing all the promotion where I’ve been singing. I’ve really enjoyed singing ‘No Man’s Land’ because it has this journey. It starts soft, gets very powerful then goes really quiet again. I really love that and there’s a lot in this album which lends itself to that. It’s so difficult to choose a favourite. It changes all the time.”
What was the last thing you bought? She lifts up her legs and points at her shoes before letting out joyful, almost demented laughter. They’re gorgeous yellow sandals on woven platform heels and they look oh so clean. “Big old wedges! Oh, I love them! They’re so comfy-rumfy, and inexpensive.” Yeah all these cork heels are back in at the moment and they’re so much nicer to walk in. “So nice. I like these kind of blocky heels and I never thought I’d like them. I was always like, oh God will they make my ankles look really skinny and funny. But they just look nice. Very happy with my purchase!”
They go well with your hairband, I see you co-ordinated well today. “I thought to myself, ‘Oh yellow wedges, I’ll put my yellow hairband on as well.’” She giggles.
Beverley recently supported Take That on their massive comeback tour across the UK. “I knew that would be in there!” I’m sorry. “No, it’s fine. My boys! My boys… isn’t it great what’s happening with them? It’s great and it’s wonderful and it’s unprecedented actually, I don’t know anybody who’s come back after ten years to such success.” There’s a definite Wolverhampton twang to her voice which becomes more pronounced when she says Jason’s name.
She was playing on every date on their tour and they’ve become good friends. “It was just wonderful because you don’t expect that on a tour. You go on the road, you do your thing and that’s that, thank you very much and you’re off. That was a nice bonus to have, and I couldn’t be more thrilled for them. And a great platform for me because obviously huge audiences.”
How did their fans take to you? “You know, it’s funny with us girls, because there are some girls that we just kind of don’t like and fold our arms, but I was very much one of the girls. They were excited and I was excited. I was treated really nicely. I don’t think there was any horrible… not that I’m aware of anyway! You know I’m sure if you look on some website there’ll be ‘Bitch Beverley, I hate her!’, you know something like that!”
This is what she looks like in Sainsbury’s... “Exactly. But as far as I know, it was like a camaraderie there which is great because that’s obviously what you go on the tour for.” You want it to be fun. “Yeah, you want people to warm to you and obviously discover your music that way, so it was a great opportunity for me. Really brilliant.”
Let’s finish off with a bit about Beverley's 2007 tour, which is a few months off yet. It’s a long tour, starting in October and going on through until early December. Beverley describes the tour as ‘magnificent’.“And my last show is on World Aids Day, so I’d like to do some kind of party or something which is a fundraiser as well. That would be really cool, I’m going to talk to someone about that,” she says thoughtfully.
“But I’m so excited about taking this album on the road. I’m playing a lot of places that I know really well and lots of venues that I’m very familiar with which is wonderful.” It also gives everyone time to listen to the album and learn the words. “That’s right. A new experience for me this time will be doing the Royal Albert Hall, which’ll be the first time I’ve done that place by myself. It’ll be incredible I’m sure. It’s going to be brilliant. God. What else is there to say? I don’t know!”
We have a quick chat about local rivalries – people in Wolverhampton and Birmingham tend not to visit each other’s cities for concerts, the same as Portsmouth/Southampton – and then I leave Beverley to prepare for a phone interview. I probably help brighten her day further when I unsuccessfully try to push and pull the glass door which only opens when you slide it. She’s still upbeat and cheerful despite the long hours of promotion. Most Baddest Entertainer indeed.
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Album 'Music City Soul' is released through Parlophone on May 7th
Website
MySpace
Showing posts with label beverley knight. Show all posts
Showing posts with label beverley knight. Show all posts
Wednesday, 13 February 2008
Sunday, 10 February 2008
Album Reviews - May 07
Words - Suzy Sims
Previously published on Native.tv http://www.native.tv in May 2007
(c) Niche News & Publishing Ltd
Abdominal - Escape From The Pigeon Hole
Antidote Records, 28th May 2007
The cover shows Mr (or rather MC) Abdominal, aka Andy Bernstein, in front of a wall showing painted pigeons flying above his head. What, didn’t trust real birds there? Well-known for his collaborations with DJ Fase and his appearances on DJ Format's releases, this is Abdominal's first solo record, although it does feature production credits from a number of his friends. "My goal is to show a more complete picture of who I am," he says.
‘I’m not breathing today,’ begins ‘Breathe Later’. It’s got quite a funky beat to it. This is cool Canadian rap which seems calmer and more stylish than the commercial hiphop/rap which is forever being churned out by their southern neighbours. ‘T-Ode’ is a tribute to Toronto and left me musing how rap is the modern poetry as he weaves detailed descriptions of the place he’s from. ‘Pedal Pusher’, the story of his previous job as a courier, is fun and makes you want to dance, with scratching and uplifting beats.
‘Open Relationship’ is another with smooth beats, retro funk twangs and echoing synths vibrating like puddles when a T Rex is stomping nearby. It’s also got an interesting story of a non-exclusive relationship, which makes it fascinating to listen to. I'm not generally one for lyrics, but the songs here are so detailed and interesting you can't help but pay attention.
‘Radio Friendly’ is fresh and chirpy, gambolling along. Incidentally the title is a slight piece of sarcasm, as approximately 70% of the words are ‘fuck.’ Try playing that on Radio 2 and see how far you get. It’s amusing, though I’m generally not a big fan of swearing for swearing’s sake.
‘Heaven’s Demon’ has a bassline which leaps all over the place like an over-excited salmon before zipping in all directions and finishing with an intoned ‘Demon’. ‘Big Track’ has a phat groove guiding it along gently as Abdominal lays into McDonald’s work and ingredients. We suggest he might be a secret Burger King employee.
‘Sex With Her’ is the x-rated ‘talking about sex with girls’ track, where he literally explains his exact technique in bed. No wonder it’s subtitled ‘Skip This One Mom’, I’d have skipped it as well if I wasn’t meant to be reviewing it. 3pm on Sunday is not really the time for porn for the ears. ‘Walk Left/Stand Right’ has a plaintive acoustic strum all the way through which reminds me slightly of Buena Vista Social Club's ‘Chan Chan’ and contains a rant against things which seem all too familiar, such as friends repeating your jokes and taking the credit. The brass in ‘Girl Shit’ is a nice smooth touch. ‘Countdown’ also has a downbeat, dusky echo to it, accompanied by strangulated feline sounds.
My one complaint is that albums these days are generally half an hour or so long. This one is 15 tracks and lasts some 55 minutes, which I found a bit hard going. Abdominal might look more like Zinedine Zidane than 50 Cent, but he definitely has a lot of class and style, and this crisp and neat debut is a proud start.
"And in the silence… a butterfly flutters its wings."
Abdominal on MySpace
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Beverley Knight - Music City Soul
Parlophone, 7th May 2007
'Music City Soul' is Beverley Knight's fifth studio album. Now with an MBE under her belt - or rather, in a box on her mantelpiece - this was recorded in the Music City of Nashville, hence the name.
Hear Beverley sing her heart and soul out. She's got a cracking voice. The production is all a bit too polished for my liking; a bit too perfect, such as the opening to ‘Every Time You See Me Smile’. ‘Aint That A Lot Of Love’ comes swaggering with intent, like she’s going to kick you out the way with her wedge heels and dance atop your mute body. There’s no denying she has a spectacular voice. ‘After You’ is a bit softer on the old ears, ‘Nothing is real, nothing is sure, nothing is forever’. She’s grown up.
‘No Man’s Land’ is honeyed, thoughtful, slightly wistful, and it brings across some of the warmth shown in the video. This song swells amazingly and has fantastic elements of blues to it while retaining a classic style. ‘The Queen Of Starting Over’ has a charming retro feel about it, and in fact reminds me slightly of Joss Stone (Sorry).
This album is soft, smooth, stylish and good. It wouldn’t be out of place on a film soundtrack. ‘Black Butta’ is an excitable and rockier tune.
‘Saviour’ is a gentle song with stylish backing vocals. ‘Time Is On My Side’ is a sweeping, soulful cover of the timeless Stones song, and it sounds fantastic. ‘Why Me, Why You, Why Now’ is another class tune. ‘Tell Me I’m Wrong’ is a beautiful simple tune. ‘Rock Steady’ has a bit of a funky jazz feel to it. The bonus tracks are ‘Uptight’ and ‘Back To You’. the first being uplifting and sunny rather than 'Uptight'. It's soul and gospel which you can imagine bopping along out of time to.
It’s the sort of album you get your girly mates round to gossip to, put it on in the background as you sip wine and wear slippers and brush each other’s hair or whatever. I’m a little concerned Beverley’s going to go down the route of many established singers – ie a fantastic special voice, but dullish backing tracks.
'Music City Soul' is feelgood and feel-nice with warm, summery and peaceful tones. A good solid album, and although it doesn't seem to have that special spark, it’s still entertaining and top quality.
To visit Beverley Knight's website click here
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Fountains Of Wayne - Traffic And Weather
Virgin Records, 7th May 2007
Fountains Of Wayne? Now where have we heard of them before? That's right, 'Stacy's Mom' is on SingStar and so we've heard it repeatedly every drunken Saturday night for some time. She's got it going on...
For those of you who are still unaware of the band, or who have not been subject to my karaoke at 2am, you need to know this band does not take itself too seriously. The band name comes from a lawn ornament store in Wayne, New Jersey. They're fun, they're colourful, they're powerpop. That pretty much describes the Fountains.
'Traffic And Weather' is overflowing with fun pop hooks. Single ‘Someone To Love’ is the chirpy opener - you can view the video to this at the bottom of the page to give you a flavour of what FoW are about. ’92 Subaru' is full of bouncy energy, while ‘Yolanda Hayes’ is more laidback, though the guitar still has some urgency to it. ‘Oooh we belong together / like traffic and weather’. Though some Carry On… fans instantly think ‘Like strawberries and cream. Or ham and eggs’.
So thuds along ‘Traffic And Weather’. I think this is a bit too happy and flippant for older fans, but those who like your Busted/McFly types will lap this up. ‘Fire In The Canyon’ is a bit ‘Littlest Hobo’ with bluesy and country licks. The album is all very nice and cheery, with tales of waiting for luggage – ‘they may never get home again’ (‘Michael And Heather At The Baggage Claim’) while 'This Better Be Good’ is almost a modern power ballad and sounds very Queen-ish. ‘Strapped For Cash’ is seductive and jazzy, while ‘I-95’ is soft and round in a gentle way. Powerpop at its finest.
‘The Hotel Majestic’ is full of acid vibes and cheer and country tones come in again at the end for ‘Seatbacks and Traytables’, making for a mix of styles I hadn't expected from this group.
Amusing lyrics and sunny sounds make this intelligent pop mixed with throwaway rock. I have to admit that to me, nothing seems to stand out as truly different or super-fantastisch, but 'Traffic And Weather' is quality powerpop/rock which leaves you smiling.
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Groove Armada - Soundboy Rock
Columbia, 7th May 2007
We have nothing but praise for whoever is responsible for the cartoon world lovingly recreated in miniature on Groove Armada's 'Soundboy Rock' album sleeve. Parties, nudity, policemen, red phone boxes, croquet – we were looking for Wally, but have yet to spot him. It’s a smashing little animation which you can’t help being caught up in, like a child lost in the tiny details for hours.
'Soundboy Rock' starts well with gloriously uplifting house, fresh and funky beats. It opens with the delicious ‘Hasta Luego Mr. Fab’ before kicking straight into possible dance classic ‘Get Down’. It’s energetic, lively and full of attitude. No disrespect to the rest of the album, but 'Get Down' is far and way the best track.
‘The Things That We Could Share’ doesn’t have such a pounding beat but still has elements of acid jazz funk and hand claps. ‘Save My Soul’ has a much calmer vibe passing through like a golden thread on the jittery beads of synth, every so often interrupted by dramatic echoing pulses.‘What’s Your Version?’ comes tiptoeing through and launches into a languid sway accompanied by smooth rum vocals. ‘Paris’ is a percussion and piano based song which shimmers high in the air. ‘I gave you my love and you took it…’ It’s downbeat and sophisticated.
‘Love Sweet Sound’ takes us back to electro, with a definite 80s feel. It’s quite angular and plasticky, with a winding-down charm. ‘The Girls Say’ is full of urban bass. ‘Lightsonic’ takes us back to the dreamy synths which are such a key feature of this album before cracking open the vocoders and passing them round. There's enough for everyone.
The title track is a tune of swaggering reggae, an unexpected sound but most welcome. The design team certainly enjoyed grooving along to this one - that's right, I saw you guys. ‘Drop That Thing’ is disjointed with frenetic electronic darkness. ‘Song 4 Mutya’ is a proper 80s fuzz throwback with attitude and sexy vocals from the ex-Sugababe. This a catchy song and one of the high points.
‘From The Rooftops’ gently floats along, while ‘See What You Get’ provides a bit of a wake up, although I personally think it plods along too repetitively but not really going anywhere. ‘What’s Your Version (Reprise)’ finishes off, again quite a gentle song. Sadly the album doesn’t keep up the crazy energy throughout, but it's still pretty good nevertheless.
I wouldn’t say ‘Soundboy Rock’ was the best album name – rock what now? It's a bit of a tease as much of the album is along chilled lines. For people who still don’t believe Groove Armada can top lazy swimmer ‘At The River’, well with 'Get Down' they sure can. Who wants to chill when you can have a fantastic party?
Groove Armada
Previously published on Native.tv http://www.native.tv in May 2007
(c) Niche News & Publishing Ltd
Abdominal - Escape From The Pigeon Hole
Antidote Records, 28th May 2007
The cover shows Mr (or rather MC) Abdominal, aka Andy Bernstein, in front of a wall showing painted pigeons flying above his head. What, didn’t trust real birds there? Well-known for his collaborations with DJ Fase and his appearances on DJ Format's releases, this is Abdominal's first solo record, although it does feature production credits from a number of his friends. "My goal is to show a more complete picture of who I am," he says.
‘I’m not breathing today,’ begins ‘Breathe Later’. It’s got quite a funky beat to it. This is cool Canadian rap which seems calmer and more stylish than the commercial hiphop/rap which is forever being churned out by their southern neighbours. ‘T-Ode’ is a tribute to Toronto and left me musing how rap is the modern poetry as he weaves detailed descriptions of the place he’s from. ‘Pedal Pusher’, the story of his previous job as a courier, is fun and makes you want to dance, with scratching and uplifting beats.
‘Open Relationship’ is another with smooth beats, retro funk twangs and echoing synths vibrating like puddles when a T Rex is stomping nearby. It’s also got an interesting story of a non-exclusive relationship, which makes it fascinating to listen to. I'm not generally one for lyrics, but the songs here are so detailed and interesting you can't help but pay attention.
‘Radio Friendly’ is fresh and chirpy, gambolling along. Incidentally the title is a slight piece of sarcasm, as approximately 70% of the words are ‘fuck.’ Try playing that on Radio 2 and see how far you get. It’s amusing, though I’m generally not a big fan of swearing for swearing’s sake.
‘Heaven’s Demon’ has a bassline which leaps all over the place like an over-excited salmon before zipping in all directions and finishing with an intoned ‘Demon’. ‘Big Track’ has a phat groove guiding it along gently as Abdominal lays into McDonald’s work and ingredients. We suggest he might be a secret Burger King employee.
‘Sex With Her’ is the x-rated ‘talking about sex with girls’ track, where he literally explains his exact technique in bed. No wonder it’s subtitled ‘Skip This One Mom’, I’d have skipped it as well if I wasn’t meant to be reviewing it. 3pm on Sunday is not really the time for porn for the ears. ‘Walk Left/Stand Right’ has a plaintive acoustic strum all the way through which reminds me slightly of Buena Vista Social Club's ‘Chan Chan’ and contains a rant against things which seem all too familiar, such as friends repeating your jokes and taking the credit. The brass in ‘Girl Shit’ is a nice smooth touch. ‘Countdown’ also has a downbeat, dusky echo to it, accompanied by strangulated feline sounds.
My one complaint is that albums these days are generally half an hour or so long. This one is 15 tracks and lasts some 55 minutes, which I found a bit hard going. Abdominal might look more like Zinedine Zidane than 50 Cent, but he definitely has a lot of class and style, and this crisp and neat debut is a proud start.
"And in the silence… a butterfly flutters its wings."
Abdominal on MySpace
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Beverley Knight - Music City Soul
Parlophone, 7th May 2007
'Music City Soul' is Beverley Knight's fifth studio album. Now with an MBE under her belt - or rather, in a box on her mantelpiece - this was recorded in the Music City of Nashville, hence the name.
Hear Beverley sing her heart and soul out. She's got a cracking voice. The production is all a bit too polished for my liking; a bit too perfect, such as the opening to ‘Every Time You See Me Smile’. ‘Aint That A Lot Of Love’ comes swaggering with intent, like she’s going to kick you out the way with her wedge heels and dance atop your mute body. There’s no denying she has a spectacular voice. ‘After You’ is a bit softer on the old ears, ‘Nothing is real, nothing is sure, nothing is forever’. She’s grown up.
‘No Man’s Land’ is honeyed, thoughtful, slightly wistful, and it brings across some of the warmth shown in the video. This song swells amazingly and has fantastic elements of blues to it while retaining a classic style. ‘The Queen Of Starting Over’ has a charming retro feel about it, and in fact reminds me slightly of Joss Stone (Sorry).
This album is soft, smooth, stylish and good. It wouldn’t be out of place on a film soundtrack. ‘Black Butta’ is an excitable and rockier tune.
‘Saviour’ is a gentle song with stylish backing vocals. ‘Time Is On My Side’ is a sweeping, soulful cover of the timeless Stones song, and it sounds fantastic. ‘Why Me, Why You, Why Now’ is another class tune. ‘Tell Me I’m Wrong’ is a beautiful simple tune. ‘Rock Steady’ has a bit of a funky jazz feel to it. The bonus tracks are ‘Uptight’ and ‘Back To You’. the first being uplifting and sunny rather than 'Uptight'. It's soul and gospel which you can imagine bopping along out of time to.
It’s the sort of album you get your girly mates round to gossip to, put it on in the background as you sip wine and wear slippers and brush each other’s hair or whatever. I’m a little concerned Beverley’s going to go down the route of many established singers – ie a fantastic special voice, but dullish backing tracks.
'Music City Soul' is feelgood and feel-nice with warm, summery and peaceful tones. A good solid album, and although it doesn't seem to have that special spark, it’s still entertaining and top quality.
To visit Beverley Knight's website click here
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Fountains Of Wayne - Traffic And Weather
Virgin Records, 7th May 2007
Fountains Of Wayne? Now where have we heard of them before? That's right, 'Stacy's Mom' is on SingStar and so we've heard it repeatedly every drunken Saturday night for some time. She's got it going on...
For those of you who are still unaware of the band, or who have not been subject to my karaoke at 2am, you need to know this band does not take itself too seriously. The band name comes from a lawn ornament store in Wayne, New Jersey. They're fun, they're colourful, they're powerpop. That pretty much describes the Fountains.
'Traffic And Weather' is overflowing with fun pop hooks. Single ‘Someone To Love’ is the chirpy opener - you can view the video to this at the bottom of the page to give you a flavour of what FoW are about. ’92 Subaru' is full of bouncy energy, while ‘Yolanda Hayes’ is more laidback, though the guitar still has some urgency to it. ‘Oooh we belong together / like traffic and weather’. Though some Carry On… fans instantly think ‘Like strawberries and cream. Or ham and eggs’.
So thuds along ‘Traffic And Weather’. I think this is a bit too happy and flippant for older fans, but those who like your Busted/McFly types will lap this up. ‘Fire In The Canyon’ is a bit ‘Littlest Hobo’ with bluesy and country licks. The album is all very nice and cheery, with tales of waiting for luggage – ‘they may never get home again’ (‘Michael And Heather At The Baggage Claim’) while 'This Better Be Good’ is almost a modern power ballad and sounds very Queen-ish. ‘Strapped For Cash’ is seductive and jazzy, while ‘I-95’ is soft and round in a gentle way. Powerpop at its finest.
‘The Hotel Majestic’ is full of acid vibes and cheer and country tones come in again at the end for ‘Seatbacks and Traytables’, making for a mix of styles I hadn't expected from this group.
Amusing lyrics and sunny sounds make this intelligent pop mixed with throwaway rock. I have to admit that to me, nothing seems to stand out as truly different or super-fantastisch, but 'Traffic And Weather' is quality powerpop/rock which leaves you smiling.
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Groove Armada - Soundboy Rock
Columbia, 7th May 2007
We have nothing but praise for whoever is responsible for the cartoon world lovingly recreated in miniature on Groove Armada's 'Soundboy Rock' album sleeve. Parties, nudity, policemen, red phone boxes, croquet – we were looking for Wally, but have yet to spot him. It’s a smashing little animation which you can’t help being caught up in, like a child lost in the tiny details for hours.
'Soundboy Rock' starts well with gloriously uplifting house, fresh and funky beats. It opens with the delicious ‘Hasta Luego Mr. Fab’ before kicking straight into possible dance classic ‘Get Down’. It’s energetic, lively and full of attitude. No disrespect to the rest of the album, but 'Get Down' is far and way the best track.
‘The Things That We Could Share’ doesn’t have such a pounding beat but still has elements of acid jazz funk and hand claps. ‘Save My Soul’ has a much calmer vibe passing through like a golden thread on the jittery beads of synth, every so often interrupted by dramatic echoing pulses.‘What’s Your Version?’ comes tiptoeing through and launches into a languid sway accompanied by smooth rum vocals. ‘Paris’ is a percussion and piano based song which shimmers high in the air. ‘I gave you my love and you took it…’ It’s downbeat and sophisticated.
‘Love Sweet Sound’ takes us back to electro, with a definite 80s feel. It’s quite angular and plasticky, with a winding-down charm. ‘The Girls Say’ is full of urban bass. ‘Lightsonic’ takes us back to the dreamy synths which are such a key feature of this album before cracking open the vocoders and passing them round. There's enough for everyone.
The title track is a tune of swaggering reggae, an unexpected sound but most welcome. The design team certainly enjoyed grooving along to this one - that's right, I saw you guys. ‘Drop That Thing’ is disjointed with frenetic electronic darkness. ‘Song 4 Mutya’ is a proper 80s fuzz throwback with attitude and sexy vocals from the ex-Sugababe. This a catchy song and one of the high points.
‘From The Rooftops’ gently floats along, while ‘See What You Get’ provides a bit of a wake up, although I personally think it plods along too repetitively but not really going anywhere. ‘What’s Your Version (Reprise)’ finishes off, again quite a gentle song. Sadly the album doesn’t keep up the crazy energy throughout, but it's still pretty good nevertheless.
I wouldn’t say ‘Soundboy Rock’ was the best album name – rock what now? It's a bit of a tease as much of the album is along chilled lines. For people who still don’t believe Groove Armada can top lazy swimmer ‘At The River’, well with 'Get Down' they sure can. Who wants to chill when you can have a fantastic party?
Groove Armada
Monday, 28 January 2008
Single Reviews - Apr 07
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
-----
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
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