And None Of Them Knew They Were Robots - Demo
This long forgotten band from Leeds were part of the burgeoning UK emo scene around the turn of the century.
The first song on this three track demo, Division Formed Thus, is really good. Complex, emotional rock which is heavily indebted to scene contemporaries, Spy Versus Spy, although some at the time thought too much so. This lengthy, almost progressive track is intense and builds to a great climax.
Instrument is a much more rocking number, like Understand or a less dense sounding Fugazi. Another strong track. The final track, Addresses For Christmas, is the weakest song here.. The song highlights a large Sigur Ros influence (this was really apparent when they played live) but is rather laboured, and is passable at best. In places, they come across as restrained and too cool for school but when they let loose, there is a hint of chaos and this is when they're at their most interesting.
Overall, this is a decent listen and a good bit of nostalgia if you were a part of that scene.
Thursday, 27 February 2014
Wednesday, 26 February 2014
ZZ Top - Tres Hombres
ZZ Top - Tres Hombres
If you've only ever seen or heard ZZ Top's cheesy eighties' excesses then it's easy to scoff, but the Top of the seventies were a completely different animal. They were a bad ass, shit kicking, blues rock band.
The opener, Waitin' For The Bus, sets the tone with its swaggering blues rock loaded with attitude. Jesus Just Left Chicago has a slightly mellower vibe but it still absolutely swings. Beer Drinkers & Hell Raisers is as rabble rousing as its title suggests, although it's more hard rock than blues.
Master Of Sparks adds a touch of mystery to the mix and would probably appeal to fans of modern bands such as Witchcraft. Hot, Blue And Righteous is a soulful ballad, imagine The Eagles covering Otis Redding's 'I've Been Loving You Too Long'. Good stuff. Move Me On Down The Line is a Who style rocker. Precious And Grace is a heavy blues funk number with a great lead riff. The instrumental bridge almost has a contemporary Mastodon or Baroness feel to it. La Grange is even better, a classic bluesy boogie whilst Have You Heard has an uplifting, soulful, gospel tinged chorus.
This album is more than a collection of great riffs and beats. These tracks tell tales, fantastical tales of prostitutes, high speed hi-jinx and scary ex-con ladies if the liner notes are to be believed.
This reissue comes with three live tracks which are a little raw but still crackle with energy. The live version of La Grange is particularly excellent with some blistering playing.
Forget 'Eliminator'. Forget 'Gimme All Your Lovin''. Forget 'Legs' and 'Sharp Dressed Man'. Forget the car. Even forget the beards. This is classic rock music which deserves to be rediscovered, especially considering the current vogue for retro rock.
If you've only ever seen or heard ZZ Top's cheesy eighties' excesses then it's easy to scoff, but the Top of the seventies were a completely different animal. They were a bad ass, shit kicking, blues rock band.
The opener, Waitin' For The Bus, sets the tone with its swaggering blues rock loaded with attitude. Jesus Just Left Chicago has a slightly mellower vibe but it still absolutely swings. Beer Drinkers & Hell Raisers is as rabble rousing as its title suggests, although it's more hard rock than blues.
Master Of Sparks adds a touch of mystery to the mix and would probably appeal to fans of modern bands such as Witchcraft. Hot, Blue And Righteous is a soulful ballad, imagine The Eagles covering Otis Redding's 'I've Been Loving You Too Long'. Good stuff. Move Me On Down The Line is a Who style rocker. Precious And Grace is a heavy blues funk number with a great lead riff. The instrumental bridge almost has a contemporary Mastodon or Baroness feel to it. La Grange is even better, a classic bluesy boogie whilst Have You Heard has an uplifting, soulful, gospel tinged chorus.
This album is more than a collection of great riffs and beats. These tracks tell tales, fantastical tales of prostitutes, high speed hi-jinx and scary ex-con ladies if the liner notes are to be believed.
This reissue comes with three live tracks which are a little raw but still crackle with energy. The live version of La Grange is particularly excellent with some blistering playing.
Forget 'Eliminator'. Forget 'Gimme All Your Lovin''. Forget 'Legs' and 'Sharp Dressed Man'. Forget the car. Even forget the beards. This is classic rock music which deserves to be rediscovered, especially considering the current vogue for retro rock.
Monday, 24 February 2014
Jurassic 5 - Jurassic 5
Jurassic 5 - Jurassic 5
This was a breath of fresh air when it was first released in 1998. This six man crew was a welcome injection of positivity when it seemed that hip hop was becoming mired in machismo, violence and negativity.
In The Flesh is a great opener. It has a flat sounding snare beat which rides a neat, jazzy guitar lick, and a memorable group rapped chorus. Each MC takes turns to rap, four distinct voices, all with a great flow. MC Chali 2Na is their trump card. His deep bass voice marks him out as different, and he comes across like a B Boy Paul Robeson. Jayou follows the same pattern vocally, but is much more danceable with a funky beat and a jazzy flute sample.
Lesson 6: The Lecture showcases DJs Cut Chemist and Nu Mark's skills and they are considerable. It mixes chemistry lectures with spoken word lessons in DJing and is very innovative, frequently shifting in styles and tempo, and making use of some great scratching and samples which are played at different speeds.
Concrete Schoolyard is probably the most well known track here. Like most of the tracks, it sounds retro (as opposed to old school) with its Motown style piano. If hip hop had emerged in the '60s, this is how it may have sounded. Action Satisfaction has a funky blaxploitation style bassline whilst Without A Doubt is the most modern sounding track with its contemporary, for the time, gangster-esque beat (think Scarface or Ice T).
A few of the tracks are reprised as short intervals which is unnecessary but this is still a fine album. Listening to albums like this makes me despair for modern hip hop which, to these ears, has a much poorer lyrical flow and is musically uninspired and over produced.
This was a breath of fresh air when it was first released in 1998. This six man crew was a welcome injection of positivity when it seemed that hip hop was becoming mired in machismo, violence and negativity.
In The Flesh is a great opener. It has a flat sounding snare beat which rides a neat, jazzy guitar lick, and a memorable group rapped chorus. Each MC takes turns to rap, four distinct voices, all with a great flow. MC Chali 2Na is their trump card. His deep bass voice marks him out as different, and he comes across like a B Boy Paul Robeson. Jayou follows the same pattern vocally, but is much more danceable with a funky beat and a jazzy flute sample.
Lesson 6: The Lecture showcases DJs Cut Chemist and Nu Mark's skills and they are considerable. It mixes chemistry lectures with spoken word lessons in DJing and is very innovative, frequently shifting in styles and tempo, and making use of some great scratching and samples which are played at different speeds.
Concrete Schoolyard is probably the most well known track here. Like most of the tracks, it sounds retro (as opposed to old school) with its Motown style piano. If hip hop had emerged in the '60s, this is how it may have sounded. Action Satisfaction has a funky blaxploitation style bassline whilst Without A Doubt is the most modern sounding track with its contemporary, for the time, gangster-esque beat (think Scarface or Ice T).
A few of the tracks are reprised as short intervals which is unnecessary but this is still a fine album. Listening to albums like this makes me despair for modern hip hop which, to these ears, has a much poorer lyrical flow and is musically uninspired and over produced.
Saturday, 22 February 2014
Minus The Bear - Menos El Oso
Minus The Bear - Memos El Osos
The first track here, The Game Needed Me, is fabulous. It's mature indie rock with warped riffs and complex time signatures, sounding like Jimmy Eat World playing Meshuggah. Dave Knudson's guitar playing on this track, and throughout the album, is sublime. The guitar work is still quirky and technical but it is less gimmicky than on their debut, Highly Refined Pirates.
Drilling is a great driving rock song with a delicate math pop touch. El Torrente is a dream of a song with its delicate, dreamy, meditative indie rock. Pachuca Sunrise is where both styles converge, mature American indie rock on the verse and quirky, technical pop on the chorus.
The first album was initially a blast but time hasn't been as kind to it, especially as more and more bands have taken their blueprint and run with it (see Foals). This album is the complete opposite as it gets better and better with each play.
Overall, how would I describe the sound on this, their second album? Math rock? Complex indie rock? Emo pop? It's probably all of these and more. I think this is Minus The Bear's most complete album. All of the songs feel fully formed rather than their previous record's Dillinger Escape Plan gone pop, which was essentially a showy collection of collection of riffs and guitar licks.
The first track here, The Game Needed Me, is fabulous. It's mature indie rock with warped riffs and complex time signatures, sounding like Jimmy Eat World playing Meshuggah. Dave Knudson's guitar playing on this track, and throughout the album, is sublime. The guitar work is still quirky and technical but it is less gimmicky than on their debut, Highly Refined Pirates.
Drilling is a great driving rock song with a delicate math pop touch. El Torrente is a dream of a song with its delicate, dreamy, meditative indie rock. Pachuca Sunrise is where both styles converge, mature American indie rock on the verse and quirky, technical pop on the chorus.
The first album was initially a blast but time hasn't been as kind to it, especially as more and more bands have taken their blueprint and run with it (see Foals). This album is the complete opposite as it gets better and better with each play.
Overall, how would I describe the sound on this, their second album? Math rock? Complex indie rock? Emo pop? It's probably all of these and more. I think this is Minus The Bear's most complete album. All of the songs feel fully formed rather than their previous record's Dillinger Escape Plan gone pop, which was essentially a showy collection of collection of riffs and guitar licks.
Thursday, 20 February 2014
Rocket From The Crypt - Scream Dracula Scream
Rocket From The Crypt - Scream Dracula Scream
There was a point, in 1995, when Rocket From The Crypt seemed like the most exciting band on the planet. This was undoubtedly their commercial peak, but it was arguably their creative zenith too.
The rousing Middle sets the tone immediately. The yob vocals are irresistible and I defy anyone to listen to this and not feel the urge to punch the air and scream their lungs out. This short but sweet opener leads to Born In '69, a blistering, swaggering, soulful punk 'n' roll tune. Rock club favourite, On A Rope, is built on a gloriously simple, repetitive riff. Young Livers is muscled up rock and roll meets soul revue.
Drop Out is the strongest song here, a brooding track built on a monster groove. When vocalist Speedo yells 'drop out' during the chorus, the intensity is off the charts. Used is the perfect come down following such power, being much gentler and more soulful. Heater Hands features a grinding riff while the horns lurk malevolently in the background, waiting for the chorus. Misbeaten is '60s pop with a neat surf guitar solo. Come See, Come Saw is a cracking attitude filled stomper which comes across like an adrenalised version of 'Get Ready' by The Temptations.
Overall, this album oozes attitude and is utterly infectious.
There was a point, in 1995, when Rocket From The Crypt seemed like the most exciting band on the planet. This was undoubtedly their commercial peak, but it was arguably their creative zenith too.
The rousing Middle sets the tone immediately. The yob vocals are irresistible and I defy anyone to listen to this and not feel the urge to punch the air and scream their lungs out. This short but sweet opener leads to Born In '69, a blistering, swaggering, soulful punk 'n' roll tune. Rock club favourite, On A Rope, is built on a gloriously simple, repetitive riff. Young Livers is muscled up rock and roll meets soul revue.
Drop Out is the strongest song here, a brooding track built on a monster groove. When vocalist Speedo yells 'drop out' during the chorus, the intensity is off the charts. Used is the perfect come down following such power, being much gentler and more soulful. Heater Hands features a grinding riff while the horns lurk malevolently in the background, waiting for the chorus. Misbeaten is '60s pop with a neat surf guitar solo. Come See, Come Saw is a cracking attitude filled stomper which comes across like an adrenalised version of 'Get Ready' by The Temptations.
Overall, this album oozes attitude and is utterly infectious.
Wednesday, 19 February 2014
Barn Owl - Lost In The Glare
Barn Owl - Lost In The Glare
Normally, when I'm writing a review, I'll look at tracks separately but individual critiques are irrelevant for albums such as these. This album needs to be considered as a whole.
This is sprawling Americana influenced drone reminiscent of latter day Earth. On the whole, this is gentle and meditative, conjuring images of long, unforgiving days followed by cold, dark nights, all unfolding along mile upon mile of a dusty, barren terrain. The Darkest Night Since 1683 breaks from this and ventures into SunnO))) territory, which is a welcome detour. Closing track, Devotion II, is a mixture of both styles.
This is a good album to put on and lose yourself in.
Normally, when I'm writing a review, I'll look at tracks separately but individual critiques are irrelevant for albums such as these. This album needs to be considered as a whole.
This is sprawling Americana influenced drone reminiscent of latter day Earth. On the whole, this is gentle and meditative, conjuring images of long, unforgiving days followed by cold, dark nights, all unfolding along mile upon mile of a dusty, barren terrain. The Darkest Night Since 1683 breaks from this and ventures into SunnO))) territory, which is a welcome detour. Closing track, Devotion II, is a mixture of both styles.
This is a good album to put on and lose yourself in.
Monday, 17 February 2014
808 State - Lopez
808 State - Lopez
This is a five track single featuring five different versions of the song first featured on the Don Solaris album. The original is a laid back ambient track with an oriental feel which reminds me a little of Jean Michel Jarre's eastern themed work. The Brian Eno re-imagining is very similar to the original with a very slight rhythmic tweak.
The Propellerheads' Hard On mix is the main selling point here, as they were flavour of the month when this was released. Driven by a monster bassline and featuring some neat Squire-esque guitar work, it has the feel of a souped up 'Fools Gold'. This version also highlights how good James Dean Bradfield's vocals are.
The No Regret mix by 808 takes the original and adds breakbeats to it while the Unregrettable mix, again by the band themselves, harks back to their rave origins.
Overall, a couple of the remixes are superfluous but the Propellerheads' remix is really good.
This is a five track single featuring five different versions of the song first featured on the Don Solaris album. The original is a laid back ambient track with an oriental feel which reminds me a little of Jean Michel Jarre's eastern themed work. The Brian Eno re-imagining is very similar to the original with a very slight rhythmic tweak.
The Propellerheads' Hard On mix is the main selling point here, as they were flavour of the month when this was released. Driven by a monster bassline and featuring some neat Squire-esque guitar work, it has the feel of a souped up 'Fools Gold'. This version also highlights how good James Dean Bradfield's vocals are.
The No Regret mix by 808 takes the original and adds breakbeats to it while the Unregrettable mix, again by the band themselves, harks back to their rave origins.
Overall, a couple of the remixes are superfluous but the Propellerheads' remix is really good.
Saturday, 15 February 2014
Dan Reed Network - Slam
Dan Reed Network - Slam
Dan Reed was on the cover of the first Kerrang! I ever bought, alongside touring partner, Jon Bon Jovi. Big things were expected for him and his Network but it never quite happened for them. They weren't heavy enough for the, then fashionable, funk metal scene yet they were too funky and multicultural for mainstream rock, so they never quite fitted in. The title track has a good, funky groove but it also highlights the album's main weakness as the guitars sound overly synthesized. This also makes the album sound more pop than rock. Indeed, some of the album has touches of Ultravox whilst All My Lovin', great song though it is, does remind me a little of Paul Young. Hardly, the reference points you'd expect from a hard rock band and, consequently, they were probably too light for the majority of rockers. The album has a dated feel to it but the songwriting is strong enough to still make it listenable.
Dan's strength has always been ballads and some of his finest moments are here. Lover is a particular high point, the hit that never was. Stronger Than Steel is a ballad which has a killer chorus, although the version here is much longer than it should be and I much prefer the shorter, stripped back, acoustic version which appeared on the Mix It Up compilation.
Doin' The Love Thing sounds like a slightly heavier Prince. I'm Lonely, Please Stay has a summery feel, the type of track you could imagine playing in an eighties teen movie. The closing number, Seven Sisters Road, shows how the quality varies across the album as it comes across like a poor man's Extreme, which is about as bad as I can imagine.
Overall, there are some weak tracks but there are also some real gems too. An album to listen to selectively.
Dan Reed was on the cover of the first Kerrang! I ever bought, alongside touring partner, Jon Bon Jovi. Big things were expected for him and his Network but it never quite happened for them. They weren't heavy enough for the, then fashionable, funk metal scene yet they were too funky and multicultural for mainstream rock, so they never quite fitted in. The title track has a good, funky groove but it also highlights the album's main weakness as the guitars sound overly synthesized. This also makes the album sound more pop than rock. Indeed, some of the album has touches of Ultravox whilst All My Lovin', great song though it is, does remind me a little of Paul Young. Hardly, the reference points you'd expect from a hard rock band and, consequently, they were probably too light for the majority of rockers. The album has a dated feel to it but the songwriting is strong enough to still make it listenable.
Dan's strength has always been ballads and some of his finest moments are here. Lover is a particular high point, the hit that never was. Stronger Than Steel is a ballad which has a killer chorus, although the version here is much longer than it should be and I much prefer the shorter, stripped back, acoustic version which appeared on the Mix It Up compilation.
Doin' The Love Thing sounds like a slightly heavier Prince. I'm Lonely, Please Stay has a summery feel, the type of track you could imagine playing in an eighties teen movie. The closing number, Seven Sisters Road, shows how the quality varies across the album as it comes across like a poor man's Extreme, which is about as bad as I can imagine.
Overall, there are some weak tracks but there are also some real gems too. An album to listen to selectively.
Friday, 14 February 2014
The Mars Volta - De-Loused In The Comatorium
The Mars Volta - De-Loused In The Comatorium
AKA what Cedric and Omar did next. This was the first album from Cedric Bixler-Zavala and Omar Rodriguez-Lopez' post-At The Drive In outfit and expectations were high considering how highly regarded their previous band was.
Things start off gently with Son Et Lumiere, a short ambient track which basically serves as an introduction to lead single, Inertiatic ESP. It's a chaotic, rhythmically pulsing beast of a track which explodes with energy. Its 'now I'm lost' refrain is glorious. This sets the tone for the rest of the album. We're in chaotic yet accessible art punk territory here, although it has more in common with the rawer In Casino Out than the pristine and slick Relationship Of Command. There are some nice jazzy touches throughout the record, although this style was explored more on subsequent albums.
The excellent Darkship Of Lanterns features intricate guitar work and a salsa groove. Take The Veil Cerpin Text is the closest they get to replicating Relationship Of Command. It isn't all frantic however, as the slow and moody Televators provides a welcome change of pace.
The bonus track, Ambuletz, is a weak, lo fi experimental track, although this is the only misstep on a very good album.
AKA what Cedric and Omar did next. This was the first album from Cedric Bixler-Zavala and Omar Rodriguez-Lopez' post-At The Drive In outfit and expectations were high considering how highly regarded their previous band was.
Things start off gently with Son Et Lumiere, a short ambient track which basically serves as an introduction to lead single, Inertiatic ESP. It's a chaotic, rhythmically pulsing beast of a track which explodes with energy. Its 'now I'm lost' refrain is glorious. This sets the tone for the rest of the album. We're in chaotic yet accessible art punk territory here, although it has more in common with the rawer In Casino Out than the pristine and slick Relationship Of Command. There are some nice jazzy touches throughout the record, although this style was explored more on subsequent albums.
The excellent Darkship Of Lanterns features intricate guitar work and a salsa groove. Take The Veil Cerpin Text is the closest they get to replicating Relationship Of Command. It isn't all frantic however, as the slow and moody Televators provides a welcome change of pace.
The bonus track, Ambuletz, is a weak, lo fi experimental track, although this is the only misstep on a very good album.
Tuesday, 11 February 2014
The Pharcyde - Labcabincalifornia
The Pharcyde - Labcabincalifornia
How do you follow an album like Bizarre Ride II The Pharcyde? That album means a lot to me as it is a brilliant album which proved to be my gateway to hip hop. The opener, Bullshit, answers this question emphatically. It's instantly familiar, laid back, West Coast hip hop with some jazzy keys and percussion which make it sound like the spiritual brother of For Better Or Worse from the debut.
They're not the most lyrically dexterous rappers but they have a very good flow and the interplay between the four vocalists is fantastic.
Runnin' is one of the great hip hop singles of the '90s. It has a summery feel which is partly down to the latin flavoured guitar work. The chorus is wonderfully melodic, and the track is topped off with a sublime sax break. I always imagined that it would sound great pumping out of a sound system on some idyllic Caribbean island. If I'd have gone on holiday at all during the '90s (I didn't), this would have been my ideal soundtrack. She Said is another superb track. It's a blunted, late night scorcher with a hint of sexiness. It's essentially a love song for stoners. Something's That Means Somethin' is gloriously funky whereas Devil Music has a woozy G Funk vibe.
This is probably technically better than the debut but, conversely, I don't like it as much. It lacks Bizarre Ride's humour and charm and is less consistent. This is still excellent however, and the best tracks here rival anything on that debut.
Monday, 10 February 2014
Weezer - Undone-The Sweater Song
Weezer - Undone-The Sweater Song
This takes me back to the days of Radio 1's Evening Session with Jo Wiley and Steve Lamacq when I would hear great new songs every night and then try and hunt them down in local record stores. I bought this four track single after hearing it on the show.
The lead track is offbeat, American college rock although the 'pull this thread as I walk away, watch me unravel, I'll soon be naked' chorus turns it into a losers anthem which is probably why I was drawn to it in the first place. It works on multiple levels. On one hand, it's quirky and dumb but on the other hand, it's heartbreaking and vulnerable.
Mykel & Carli, with its use of harmonica, has a mid-west American vibe to it. Susanne is the big tune here. It has a killer, swinging chorus with devastating harmonies. This was the soundtrack to the unrequited loves of my past. This sums up what Weezer, at their best, mean to me. Anthemic yet heart-rending rock which makes you want to sing your heart out and cry your eyes out simultaneously.
This takes me back to the days of Radio 1's Evening Session with Jo Wiley and Steve Lamacq when I would hear great new songs every night and then try and hunt them down in local record stores. I bought this four track single after hearing it on the show.
The lead track is offbeat, American college rock although the 'pull this thread as I walk away, watch me unravel, I'll soon be naked' chorus turns it into a losers anthem which is probably why I was drawn to it in the first place. It works on multiple levels. On one hand, it's quirky and dumb but on the other hand, it's heartbreaking and vulnerable.
Mykel & Carli, with its use of harmonica, has a mid-west American vibe to it. Susanne is the big tune here. It has a killer, swinging chorus with devastating harmonies. This was the soundtrack to the unrequited loves of my past. This sums up what Weezer, at their best, mean to me. Anthemic yet heart-rending rock which makes you want to sing your heart out and cry your eyes out simultaneously.
Sunday, 9 February 2014
Candlemass - Candlemass
Candlemass - Candlemass
Comeback albums rarely have finer statements of intent than the rampaging opener, Black Dwarf. It's uptempo, traditional heavy metal with awesome dense riffing. This is all I wanted the Candlemass comeback to be and more. The epic Seven Silver Keys follows with its slower, more familiar doom. Assassin Of The Light is a great mixture of the two styles, equal parts hulking doom and fist pumping metal.
Messiah's vocals soar throughout the album, adding drama. He isn't the band's greatest ever singer but he is probably their most charismatic, and that charisma mixed with Leif Edling's monster riffs create magic. It's just a shame that this particular line up wasn't able to record any further material as Messiah left the band shortly after this album's release.
The Man Who Fell From The Sky is a fine instrumental with some great, textured guitar work. Born In A Tank is another neck wrecking headbanger which rides a mammoth 'Children Of The Grave' style groove. The verse of Spellbreaker has an eastern feel which reminds me a little of Rainbow's 'Stargazer' before leading to an absolutely crushing chorus.
This is classic doom at its finest yet it is more than just a 'genre' album as this is a record which could easily appeal to a wider metal audience.
Comeback albums rarely have finer statements of intent than the rampaging opener, Black Dwarf. It's uptempo, traditional heavy metal with awesome dense riffing. This is all I wanted the Candlemass comeback to be and more. The epic Seven Silver Keys follows with its slower, more familiar doom. Assassin Of The Light is a great mixture of the two styles, equal parts hulking doom and fist pumping metal.
Messiah's vocals soar throughout the album, adding drama. He isn't the band's greatest ever singer but he is probably their most charismatic, and that charisma mixed with Leif Edling's monster riffs create magic. It's just a shame that this particular line up wasn't able to record any further material as Messiah left the band shortly after this album's release.
The Man Who Fell From The Sky is a fine instrumental with some great, textured guitar work. Born In A Tank is another neck wrecking headbanger which rides a mammoth 'Children Of The Grave' style groove. The verse of Spellbreaker has an eastern feel which reminds me a little of Rainbow's 'Stargazer' before leading to an absolutely crushing chorus.
This is classic doom at its finest yet it is more than just a 'genre' album as this is a record which could easily appeal to a wider metal audience.
Thursday, 6 February 2014
Anathema - We're Here Because We're Here
Anathema - We're Here Because We're Here
This is the moment where Anathema completed their transition from doom to progressive rock. Betraying their heavy past, this record shows a light touch though, thanks partly to Steven Wilson's production which is crystal clear yet still sounds natural and organic. Wilson's own band, Porcupine Tree circa 'Deadwing', are one of the most notable points of reference here.
Opener, Thin Air, is dynamic and melodic with a mature sound. Summernight Horizon has a heavier djent feel but is counterbalanced by some great female backing vocals. The vocals are really strong throughout but special mention must be made of the female vocals which are used much more than on previous releases. The excellent Everything is another good example of this with the duel female/male vocal interplay.
Dreaming is a wonderful ballad whilst Universal is a string laden slower number which has a slight George Harrison feel. A lot of the album does veer very close to full on ballad territory but has just about enough change of pace and dynamics to avoid being too one dimensional and boring.
This isn't the most immediate record. It takes few listens to reveal its depth but persevere and you will be rewarded with an elegant and classy record.
This is the moment where Anathema completed their transition from doom to progressive rock. Betraying their heavy past, this record shows a light touch though, thanks partly to Steven Wilson's production which is crystal clear yet still sounds natural and organic. Wilson's own band, Porcupine Tree circa 'Deadwing', are one of the most notable points of reference here.
Opener, Thin Air, is dynamic and melodic with a mature sound. Summernight Horizon has a heavier djent feel but is counterbalanced by some great female backing vocals. The vocals are really strong throughout but special mention must be made of the female vocals which are used much more than on previous releases. The excellent Everything is another good example of this with the duel female/male vocal interplay.
Dreaming is a wonderful ballad whilst Universal is a string laden slower number which has a slight George Harrison feel. A lot of the album does veer very close to full on ballad territory but has just about enough change of pace and dynamics to avoid being too one dimensional and boring.
This isn't the most immediate record. It takes few listens to reveal its depth but persevere and you will be rewarded with an elegant and classy record.
Tuesday, 4 February 2014
Kiss - Hide Your Heart
Kiss - Hide Your Heart
1989 was not a vintage year for Kiss. Still unmasked, they released the Hot In The Shade album which was disappointing, both artistically and commercially. It did have its moments however, as this three track single demonstrates as all the tracks here featured on that album.
Hide Your Heart is a Paul song which has a co-writing credit for Desmond Child so you know it's going to be a either catchy rocker or a tearjerking ballad. It's the former and it's a cheesy tale of a love triangle between Johnny, Rosa and Tito. The lyrics are utterly ridiculous. Lines like "Rosa had a lover on the shady side of town, Tito, he was king of the streets" and "Tito looked for Johnny with a vengeance that of God" are ludicrous and smirk enducing yet are delivered so charismatically by Paul Stanley that they become anthemic. The chorus is the real ace though, a huge hook-filled beast which overcomes any lyrical shortcomings.
Betrayed, a Gene song, is a good uptempo, driving rocker which is probably the best track here. Boomerang is the fastest track here. Full of bass runs and guitar leads, this sounds like it could be at home on a Joe Satriani album. Unfortunately, the flashy technique comes at the expense of songwriting.
Overall, an enjoyable enough listen but but certainly not the place to start for a Kiss newcomer.
1989 was not a vintage year for Kiss. Still unmasked, they released the Hot In The Shade album which was disappointing, both artistically and commercially. It did have its moments however, as this three track single demonstrates as all the tracks here featured on that album.
Hide Your Heart is a Paul song which has a co-writing credit for Desmond Child so you know it's going to be a either catchy rocker or a tearjerking ballad. It's the former and it's a cheesy tale of a love triangle between Johnny, Rosa and Tito. The lyrics are utterly ridiculous. Lines like "Rosa had a lover on the shady side of town, Tito, he was king of the streets" and "Tito looked for Johnny with a vengeance that of God" are ludicrous and smirk enducing yet are delivered so charismatically by Paul Stanley that they become anthemic. The chorus is the real ace though, a huge hook-filled beast which overcomes any lyrical shortcomings.
Betrayed, a Gene song, is a good uptempo, driving rocker which is probably the best track here. Boomerang is the fastest track here. Full of bass runs and guitar leads, this sounds like it could be at home on a Joe Satriani album. Unfortunately, the flashy technique comes at the expense of songwriting.
Overall, an enjoyable enough listen but but certainly not the place to start for a Kiss newcomer.
Monday, 3 February 2014
Live Review
Alcest, Hexvessel & The Fauns - Islington Assembly Rooms (1/2/14)
The Islington Assembly Rooms is a stunning Grade II listed, art deco building and the venue certainly adds to the feeling that the night's show could be a real event, given that it is the only show Alcest are playing in the UK in support of the recently released Shelter album.
Openers, The Fauns add to the anticipation with an impressive set of early Lush-style indie rock. The shimmering guitars and ethereal vocals mesh well with the My Bloody Valentine dynamics and manages to get a few heads nodding.
Hexvessel are a completely different proposition. It is obvious from the outset that Kvohst is on fine form, his voice rich and charismatic. The sound is fantastic throughout the set with every drawn out note sounding crystal clear. Tunnel At The End Of The Light opens and the maudlin neo-folk is immediately captivating. It also shows off the frontman's higher range which is also impressive. The set starts off concisely but gradually becomes more expansive as the band's metallic power begins to surface. The heavier and more sprawling Hexvessel's downbeat psychedelia becomes, the crowd reaction grows accordingly. A couple of jams could possibly be a couple of minutes shorter but it doesn't stop them from being mesmerising. Woman Of Salem closes the set powerfully and triumphantly.
Alcest are the main attraction, however, and they step on stage to a heroes welcome. The set is a good mixture of new and old material. The sunny indie rock of the newer tracks fit in well alongside the blackened shoegaze of the older material but they all have a mesmeric power. The sound is good but not great. The drums occasionally drown out the vocals during some of the more delicate moments. The sound also loses definition during the sole moment where they go into all out blasting mode. These are, however, minor gripes. Souvenirs D'Un Autre Monde is a highlight as it is played with a tribal intensity thanks to the percussive drumming.
After ninety minutes, the band put down their instruments and leave the stage with their soaring vocal harmonies still reverberating round the venue, and the roars of adulation this draws from the crowd proves that this show can only be considered a triumph.
The Islington Assembly Rooms is a stunning Grade II listed, art deco building and the venue certainly adds to the feeling that the night's show could be a real event, given that it is the only show Alcest are playing in the UK in support of the recently released Shelter album.
Openers, The Fauns add to the anticipation with an impressive set of early Lush-style indie rock. The shimmering guitars and ethereal vocals mesh well with the My Bloody Valentine dynamics and manages to get a few heads nodding.
Hexvessel are a completely different proposition. It is obvious from the outset that Kvohst is on fine form, his voice rich and charismatic. The sound is fantastic throughout the set with every drawn out note sounding crystal clear. Tunnel At The End Of The Light opens and the maudlin neo-folk is immediately captivating. It also shows off the frontman's higher range which is also impressive. The set starts off concisely but gradually becomes more expansive as the band's metallic power begins to surface. The heavier and more sprawling Hexvessel's downbeat psychedelia becomes, the crowd reaction grows accordingly. A couple of jams could possibly be a couple of minutes shorter but it doesn't stop them from being mesmerising. Woman Of Salem closes the set powerfully and triumphantly.
Alcest are the main attraction, however, and they step on stage to a heroes welcome. The set is a good mixture of new and old material. The sunny indie rock of the newer tracks fit in well alongside the blackened shoegaze of the older material but they all have a mesmeric power. The sound is good but not great. The drums occasionally drown out the vocals during some of the more delicate moments. The sound also loses definition during the sole moment where they go into all out blasting mode. These are, however, minor gripes. Souvenirs D'Un Autre Monde is a highlight as it is played with a tribal intensity thanks to the percussive drumming.
After ninety minutes, the band put down their instruments and leave the stage with their soaring vocal harmonies still reverberating round the venue, and the roars of adulation this draws from the crowd proves that this show can only be considered a triumph.
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