Sigur Ros - Hvarf/Heim
This is the double album accompaniment to the Heima movie. The first disc, Hvarf, contains re-recorded versions of songs which would have spanned their history to this point. The second disc, Heim, is a collection of live tracks from 2006 and 2007.
Salka, the first track on Hvarf, is delicate post rock with choral overtones and an extremely clean sound. Hjomalind sees the band venturing more into stadium rock territory, with a slight Radiohead influence. I Gaer is epic, mixing the light, airy and magical with the dark and powerful. It makes great use of light and shade. Hafsol starts off moodily with bowed guitar before climaxing joyously and gloriously. This disc is more stripped back than some of their other albums but it is no less cinematic. Sigur Ros prove here that they are still masters of evoking moods, imagery and emotions.
As always, Jonsi's vocals are distinct and unusual but his ethereal falsetto provides much of this emotion.
The Heim disc is beautiful. Samskeyti and Agaetis Byrjun are gorgeous piano led tracks whilst the string laden Staralfur is similarly beautiful and romantic. The recordings on this disc are closer in sound to the epic 'Takk' which would have been their most recent studio album at this time. This is another winner from this amazingly consistent band.
Wednesday, 30 April 2014
Monday, 28 April 2014
Rancid - Indestructible
Rancid - Indestructible
There is a lot to digest here. Nineteen tracks of punk rock, which also takes in various related sub-genres and is over sooner than you would think.
The title track is hard nosed punk rock with roughly hewn yet melodic vocals. Fall Back Down, with its use of organ, is much warmer sounding and is topped off with an amazingly catchy and positive chorus. Rancid are at their best on this album when adding melody such as on the brilliantly anthemic Born Frustrated (which also features some excellent bass work courtesy of Matt Freeman) or Memphis, which is skanking, stuttering ska punk with hip hop influenced vocals on the verse and boasts a killer chorus.
A lot of the tracks have a summery feel such as Red Hot Moon's fun Caribbean tinged ska, Stand Your Ground's cool surf punk and the aforementioned Fall Back Down and Memphis. This is tops down, shirts off punk rock.
Some of the best songs are when the lead vocals aren't sung by Tim Armstrong. Tim's overdone mockney vocals are divisive, and I can't decide if they're annoying and fake or if they provide character.
Out Of Control is explosive and slightly chaotic protest punk. Arrested In Shanghai is much gentler, with a shambolic punk John Cougar Mellencamp feel. Travis Bickle is Murder City Devils style murderpunk which is a welcome step forward as it is different to the usual Clash and ska influences. The terrific Ghost Band is a Pogues style thrashabout while the uptempo punk rock of Ivory Coast also has a slight celtic influence.
It isn't all good however. David Courtney is a straight forward, aggressive punk rocker while Django is a spaghetti western informed aggressive punk rock song but both are rather tiresome.
There is some filler but overall this is a good but not great album. There are a number of great songs but Out Come The Wolves this ain't.
There is a lot to digest here. Nineteen tracks of punk rock, which also takes in various related sub-genres and is over sooner than you would think.
The title track is hard nosed punk rock with roughly hewn yet melodic vocals. Fall Back Down, with its use of organ, is much warmer sounding and is topped off with an amazingly catchy and positive chorus. Rancid are at their best on this album when adding melody such as on the brilliantly anthemic Born Frustrated (which also features some excellent bass work courtesy of Matt Freeman) or Memphis, which is skanking, stuttering ska punk with hip hop influenced vocals on the verse and boasts a killer chorus.
A lot of the tracks have a summery feel such as Red Hot Moon's fun Caribbean tinged ska, Stand Your Ground's cool surf punk and the aforementioned Fall Back Down and Memphis. This is tops down, shirts off punk rock.
Some of the best songs are when the lead vocals aren't sung by Tim Armstrong. Tim's overdone mockney vocals are divisive, and I can't decide if they're annoying and fake or if they provide character.
Out Of Control is explosive and slightly chaotic protest punk. Arrested In Shanghai is much gentler, with a shambolic punk John Cougar Mellencamp feel. Travis Bickle is Murder City Devils style murderpunk which is a welcome step forward as it is different to the usual Clash and ska influences. The terrific Ghost Band is a Pogues style thrashabout while the uptempo punk rock of Ivory Coast also has a slight celtic influence.
It isn't all good however. David Courtney is a straight forward, aggressive punk rocker while Django is a spaghetti western informed aggressive punk rock song but both are rather tiresome.
There is some filler but overall this is a good but not great album. There are a number of great songs but Out Come The Wolves this ain't.
Friday, 18 April 2014
The Briefs - Steal Yer Heart
The Briefs - Steal Yer Heart
These punk rock revivalists look and sound like they've come straight out of 1977.
The opener, Genital General, is poppy and bratty in equal measures, sounding like the Buzzcocks with robotic vocals and some one note rock 'n' roll piano. The brilliant Move Too Slow is a quick paced, bouncy number. Getting Hit On At The Bank exudes coolness. Stuck On You is excellent, driving and insistent while the use of horns gives it a slight X Ray Spex feel. Can't Get Through has an odd, alternative edge reminiscent of early B52s or They Might Be Giants. My Girl (Wants To Be A Zombie) is 100mph oi punk. Forty And Above is great, punky, alternative rock with a touch of The Only Ones' 'Another Girl, Another Planet' whilst the chorus to Razorblade Heart is pure punk perfection.
There are telling lyrics in Normal Jerks. 'So what, I don't care what you do, At least I know I'll never ever be, A normal jerk like you'. These guys revel in their outsider status yet they are accessible mainly down to the strength of the choruses as these pop nuggets are more infectious than herpes. A cracking album.
These punk rock revivalists look and sound like they've come straight out of 1977.
The opener, Genital General, is poppy and bratty in equal measures, sounding like the Buzzcocks with robotic vocals and some one note rock 'n' roll piano. The brilliant Move Too Slow is a quick paced, bouncy number. Getting Hit On At The Bank exudes coolness. Stuck On You is excellent, driving and insistent while the use of horns gives it a slight X Ray Spex feel. Can't Get Through has an odd, alternative edge reminiscent of early B52s or They Might Be Giants. My Girl (Wants To Be A Zombie) is 100mph oi punk. Forty And Above is great, punky, alternative rock with a touch of The Only Ones' 'Another Girl, Another Planet' whilst the chorus to Razorblade Heart is pure punk perfection.
There are telling lyrics in Normal Jerks. 'So what, I don't care what you do, At least I know I'll never ever be, A normal jerk like you'. These guys revel in their outsider status yet they are accessible mainly down to the strength of the choruses as these pop nuggets are more infectious than herpes. A cracking album.
Monday, 14 April 2014
Unearthly Trance - Electrocution
Unearthly Trance - Electrocution
The cover of this album is cool, a black and white drawing of a bird of prey sat atop the earth with forked lightning illuminating the sky. This screams that it is going to be my kind of record.
Unearthly Trance were a blackened doom band from New York featuring Ryan Lipynsky (AKA Killusion of Thralldom and later of The Howling Wind) on guitar and vocals.
The opener, Chaos Star, is mid-paced proto-black metal with a heavy bottom end, kinda latter day Darkthrone meets Pilgrim. God Is A Beast is firmly in doom territory, with an epic middle section which has the feel of a much heavier version of the climax of Kyuss' 'Supa Scoopa & Mighty Scoop' whilst the track finishes with rapidly descending doom. The Dust Will Never Settle is speedy black metal with meaty riffs a la Goatwhore which morphs into a doomy waltz. The crushing Diseased features some nifty basswork while the sludgy Religious Slaves is firmly in Thou territory. The Scum Is In Orbit is part early Earth fronted by John Garcia, part viking black 'n' roll. Distant Roads Overgrown is fist pumping and almost anthemic.
As you can probably tell, although this is primarily blackened doom, there are hints of numerous related sub-genres; sludge, drone, stoner rock, post metal and southern fried rock, all of which is amplified for maximum heaviness. A really good, crushing album.
The cover of this album is cool, a black and white drawing of a bird of prey sat atop the earth with forked lightning illuminating the sky. This screams that it is going to be my kind of record.
Unearthly Trance were a blackened doom band from New York featuring Ryan Lipynsky (AKA Killusion of Thralldom and later of The Howling Wind) on guitar and vocals.
The opener, Chaos Star, is mid-paced proto-black metal with a heavy bottom end, kinda latter day Darkthrone meets Pilgrim. God Is A Beast is firmly in doom territory, with an epic middle section which has the feel of a much heavier version of the climax of Kyuss' 'Supa Scoopa & Mighty Scoop' whilst the track finishes with rapidly descending doom. The Dust Will Never Settle is speedy black metal with meaty riffs a la Goatwhore which morphs into a doomy waltz. The crushing Diseased features some nifty basswork while the sludgy Religious Slaves is firmly in Thou territory. The Scum Is In Orbit is part early Earth fronted by John Garcia, part viking black 'n' roll. Distant Roads Overgrown is fist pumping and almost anthemic.
As you can probably tell, although this is primarily blackened doom, there are hints of numerous related sub-genres; sludge, drone, stoner rock, post metal and southern fried rock, all of which is amplified for maximum heaviness. A really good, crushing album.
Friday, 11 April 2014
Alcest - Souvenirs D'Un Autre Monde
Alcest - Souvenirs D'Un Autre Monde
I first discovered this amazing French band on this, their debut album. Mainman, Neige has a black metal background, being a sometime member of Peste Noire. This is immediately apparent but there is much more to them than a blackened history as they balance light and shade beautifully.
The opener, Printemps Emerande, is slowburning, thoughtful, shoegazing indie rock with beautiful melodies and great dynamics yet blackened, grimy guitars sit malevolently in the background, not overshadowing the tunefulness but providing a darker edge all the same. There is some blasting here too but overall, it's more indie rock than anything else.
The title track is devastatingly beautiful, coming across like a slightly more metallized Sigur Ros. Les Iris starts off in slow, snaking ambient black territory but with alluring, fragile vocals. It has some icy blasting in the instrumental bridge whilst the climax of the track is glorious. Ciel Errant starts with some gentle strumming before switching to sunny indie rock with muscle, the dynamics giving it an almost Mogwai-esque power. Tir Nan Og features delicate piano and strings and has an epic, pastoral feel.
All the songs are lengthy and progressive, and the filthy guitar tone which features throughout adds an extra, darker dimension. Basically, this album has it all, beauty and power. Fucking stunning.
I love the cover of this too. A green tinged photo of a little girl holding what looks like a straw as though it's a recorder. It's a great image which is both innocent and enigmatic.
This record is pretty much perfect.
I first discovered this amazing French band on this, their debut album. Mainman, Neige has a black metal background, being a sometime member of Peste Noire. This is immediately apparent but there is much more to them than a blackened history as they balance light and shade beautifully.
The opener, Printemps Emerande, is slowburning, thoughtful, shoegazing indie rock with beautiful melodies and great dynamics yet blackened, grimy guitars sit malevolently in the background, not overshadowing the tunefulness but providing a darker edge all the same. There is some blasting here too but overall, it's more indie rock than anything else.
The title track is devastatingly beautiful, coming across like a slightly more metallized Sigur Ros. Les Iris starts off in slow, snaking ambient black territory but with alluring, fragile vocals. It has some icy blasting in the instrumental bridge whilst the climax of the track is glorious. Ciel Errant starts with some gentle strumming before switching to sunny indie rock with muscle, the dynamics giving it an almost Mogwai-esque power. Tir Nan Og features delicate piano and strings and has an epic, pastoral feel.
All the songs are lengthy and progressive, and the filthy guitar tone which features throughout adds an extra, darker dimension. Basically, this album has it all, beauty and power. Fucking stunning.
I love the cover of this too. A green tinged photo of a little girl holding what looks like a straw as though it's a recorder. It's a great image which is both innocent and enigmatic.
This record is pretty much perfect.
Friday, 4 April 2014
Alcest - Ecailles De Lune
Alcest - Ecailles De Lune
The first few seconds of this album really throws me, as the beginning of the opener, Ecailles De Lune Part I, is a dead ringer for Supertramp. This anomaly doesn't last long, and normal service is resumed when the track blazes to life with dynamic, shoegazing post rock and it climaxes with some superb melodic blasting.
This album features much more metal than their previous album, Souvenirs D'Un Autre Monde. Ecailles De Lune Part II is fast, harsh black metal with streaks of melody running through it. This track also has a powerful, brooding bridge whilst the ending is beautiful, hypnotic indie rock with a huge emotional pull. The different styles mix together very well.
Taken in isolation, the main riff of Percoes De Lumiere could come across as plodding indie rock but the blackened vocals elevate it to something much more dynamic and interesting. Solar Song has a real power and gorgeous vocal harmonies.
The vocals overall, may not be the strongest but they are fragile and affecting, whilst the guitar work is subtle and provides much of the melody. The songs are lengthy and progressive but are equipped with worthwhile climaxes.
This album is probably not the best starting point for newcomers as there is a blackened edge to much of this compared to their other releases, but if you're open minded about that then you will find some beautiful songs here.
The first few seconds of this album really throws me, as the beginning of the opener, Ecailles De Lune Part I, is a dead ringer for Supertramp. This anomaly doesn't last long, and normal service is resumed when the track blazes to life with dynamic, shoegazing post rock and it climaxes with some superb melodic blasting.
This album features much more metal than their previous album, Souvenirs D'Un Autre Monde. Ecailles De Lune Part II is fast, harsh black metal with streaks of melody running through it. This track also has a powerful, brooding bridge whilst the ending is beautiful, hypnotic indie rock with a huge emotional pull. The different styles mix together very well.
Taken in isolation, the main riff of Percoes De Lumiere could come across as plodding indie rock but the blackened vocals elevate it to something much more dynamic and interesting. Solar Song has a real power and gorgeous vocal harmonies.
The vocals overall, may not be the strongest but they are fragile and affecting, whilst the guitar work is subtle and provides much of the melody. The songs are lengthy and progressive but are equipped with worthwhile climaxes.
This album is probably not the best starting point for newcomers as there is a blackened edge to much of this compared to their other releases, but if you're open minded about that then you will find some beautiful songs here.
Wednesday, 2 April 2014
Various Artists - William Shakespeare's Romeo And Juliet Volume 2
Various Artists - William Shakespeare's Romeo And Juliet Volume 2
This collection of music from the Baz Luhrmann movie features mainly musical score. Most of the pop songs are featured on Volume 1.
O Verona is bombastic, dramatic, operatic and as the title suggests, takes its cues from 'O Fortuna' by Orff. Gas Station Scene soundtracks a Montague and Capulet face off and starts with a dusty, desert feel before moving to a dramatic action score and ending in Morricone spaghetti western territory.
A few tracks start out in one genre before morphing into something else. Kim Mazelle's Young Hearts, Run Free starts as house music before becoming a camp latin carnival. Quindon Tarver's version of When Doves Cry starts off ghostly and choral before it is overtaken by breakbeats. I approve. Fight Scene begins as a delicate string laden piece before descending into West Side Story musical combat.
The instrumental version of the love theme, Kissing You, is achingly romantic and as beautiful as you'd expect. Slow Movement has it all; tenderness, passion, positivity, urgency, darkness and blind panic. Excellent.
A few of the major themes recur throughout the album. A Challenge repeats the dusty, Mexican stand off theme from the earlier Gas Station Scene. The tribal, heart-pounding Escape From Mantua, which incorporates fragments of O Verona, is exhilarating.
Tybalt Arrives, featuring The Butthole Surfers and The Dust Brothers is an industrialized stomp while the music soundtracking Mercutio's Death is an epic, orchestral piece which must have influenced John Williams' classic 'Duel Of The Fates' (this album pre-dates the Star Wars prequels by a few years).
This is an album which sets the scene and tells the tale well, mixing beauty and romance with action and drama. It is a long album however and, regardless of the quality on show, my attention does wane a little towards the end.
This collection of music from the Baz Luhrmann movie features mainly musical score. Most of the pop songs are featured on Volume 1.
O Verona is bombastic, dramatic, operatic and as the title suggests, takes its cues from 'O Fortuna' by Orff. Gas Station Scene soundtracks a Montague and Capulet face off and starts with a dusty, desert feel before moving to a dramatic action score and ending in Morricone spaghetti western territory.
A few tracks start out in one genre before morphing into something else. Kim Mazelle's Young Hearts, Run Free starts as house music before becoming a camp latin carnival. Quindon Tarver's version of When Doves Cry starts off ghostly and choral before it is overtaken by breakbeats. I approve. Fight Scene begins as a delicate string laden piece before descending into West Side Story musical combat.
The instrumental version of the love theme, Kissing You, is achingly romantic and as beautiful as you'd expect. Slow Movement has it all; tenderness, passion, positivity, urgency, darkness and blind panic. Excellent.
A few of the major themes recur throughout the album. A Challenge repeats the dusty, Mexican stand off theme from the earlier Gas Station Scene. The tribal, heart-pounding Escape From Mantua, which incorporates fragments of O Verona, is exhilarating.
Tybalt Arrives, featuring The Butthole Surfers and The Dust Brothers is an industrialized stomp while the music soundtracking Mercutio's Death is an epic, orchestral piece which must have influenced John Williams' classic 'Duel Of The Fates' (this album pre-dates the Star Wars prequels by a few years).
This is an album which sets the scene and tells the tale well, mixing beauty and romance with action and drama. It is a long album however and, regardless of the quality on show, my attention does wane a little towards the end.
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