The Dears - No Cities Left

The Dears - No Cities Left

The Dear's debut is a very different beast to their followup album. While they sounded a little like a funkier Snow Patrol jr in Gang Of Losers, here they go for something a little more... orchestral. And it's something very special indeed.

You can see the much bigger sights of No Cities Left at a glance of the tracklist: of the 12 tracks, 7 are approaching 6 minutes long. 3 of them are nearly 8 minutes! Clearly, they have a lot more to stuff into their music, here. And yet, far from sounding sparse and over-long, the tracks all glide by as if they were a minute long each. And that is always a sign that what you have is doing alright for itself.

And it's not just the lengths: here you won't just find the piano-guitar-drums-vocals that you could get used to from their sophomore album. It's strings and synths and entire choirs and even theremins and just about everything-a-plenty, here, all helping to make each song a little bit louder and a little bit more dramatic. Clearly, they didn't want any expenses spared to make this album as big as it could possibly be.

But you need not worry that The Dears have gone all post-rock on you, either. They still show that perfect, tried-and-test method of slow start->building up->massive, dramatic climax->conclusion that have made their songs so successful. But rather than sounding monotonous, the tracks are varied enough- one opening with beats and synths, another with Godspeed!-esque wicked evil violin melodies, another with elektrik geetarzz, another with found sound background noise- that everything sounds drastically different to everything else.

Whilst not as upbeat or poppy as their follow-up, The Dears here show a much more epic side to themselves. Almost like Godspeed! You Black Emperor with (good) vocals, what you are given here is a glimpse of what the Montreal lads can really do when they try- and it's astounding, at the very least.

Preview - 22: The Death Of All Romance
Preview - Never Destroy Us (Live)

The Dears - No Cities Left (Mediafire)

-Mike (=

Babyshambles - Down In Albion

Babyshambles - Down In Albion

The Libertines may be dead and buried but nothing short of nuclear war could have stopped Pete Doherty from making music again, and his Babyshambles debut- new name, same old style- is proof of that passion.

I personally am not too impressed by the first half of the album- but a lot of other love it ceaselessly, so it could be for you. It contains 2 of the 3 singles off the album, so who knows? You could find it a lot better than I had.

But for me, where this album starts is the final 5 tracks, opening with the eponymous track, Albion. 2 minutes of warmup lead to an amazingly beautiful song - you'll be hard-pressed to find any song moreso, especially from the usually hard 'n' fast rocker Doherty. Instead of his Libertines track, it sounds like something that wouldn't be out of place on Pulp's This Is Hardcore. Fiercely emotional and passionate throughout, it slowly brings itself to its fitting conclusion.

The next track, Back From The Dead, brings back the guitars with a tune taken from Doherty's old song What Katie Did but cleverly changes and mixes the keys- think Ha Ha Wall, but actually fitting- leaving the song with an empty, helpless feel to it that is almost inimitable in place of its former rendition's endless optimism. Clearly, something has changed in Pete's head. Again, its the emotion that makes this more than just another guitar track. The wicked bass, along with the powerfully empty guitars and Doherty's trademark perfectly fitting caterwaul. It ends with a few "shoop delang delang"s to remind us of the song's past.

Loyalty Song, the next offering, is a much needed change in pace from the downs of the past 2 bittersweet tracks. Quite on the contrary, it's back in major key! And... yes, that is a harmonica. Eternally upbeat, it almost makes you forget what you'd just heard. The lyrics have perked up, too, with Pete wailing "We're on the one road, may be the wrong road, but we're together now so I don't care".

And now for the next track, Up The Morning, I will make a bold statement: this is Doherty's masterpiece. It's almost impossible to top it in terms of sheer drama, passion and just plain strength. After a slow, tense buildup, the guitars crash in and out with all the force of the sea, almost making Jonny Greenwood of Radiohead look like a triangle player. The verses silence everything, bringing us back to the buildup before the unmovable power of the wall of sound created by the climax destroys just about everything you could use to describe it. It is amazing. It is perfect. And then the acoustics come back in and drift off into the final track on the album.

The final track brings you down to earth after the ethereal prequel, returning to Babyshamble's acoustic roots that keeps the album together. It finishes the album off on a quiet, and rounds the album off with Doherty's trademark wit- "he says what I like most about you/it's your girlfriend and your shoes". And so, sounding like a modern-day Genesis, they conclude.

If ever there's an album that's saved by the end, this is it. The last half alone makes this album simply brilliant and worth a hundred listens. Say what you want about Pete Doherty, but he's got it. And I don't think we'll see him let it go for a long time yet.

Babyshambles - Down In Albion (Mediafire)

Joanna Newsom - Ys

Okay, okay, I'm back. For now, at least. See, it's that time of year again- the bit where I panic because I have an exam at least every 5 days from now until my 15 exams left are finished. So sorry for the short hiatus I'm on a bit, here, but gimme a break, huh? Okay. Onto the music.

Joanna Newsom - Ys

I'll be honest: Joanna is not the most accessable artist in the world. At an average length of 11 minutes, 20 seconds per track containing not a lot more than vocals over a harp and some strings, I wouldn't be surprised to find a few people scared off by the idea. But I'll give you one line to counter that: give it time, and it will become some of the most beautiful music you'll ever have heard.

Firstly, lets talk about her harping skills. It's not for no reason that the harp has such a reputation as a massively emotional instrument, and this is no exception to that rule. In fact, in Joanna's hands the music takes on an especially tearjerking air, plucking every piece of emotion that could be heard out of the harp. Truly an awe-inspiring sound that seems better than any harp piece should: and, taking inspiration from Moroccan Kora music and Irish folk rather than the classical pieces, very different, as well.

Now lets move onto her voice. The first thing that strikes you is how unmistakable her vocals are. Somehow experienced but also strangely childlike, powerful and yet innocent, it seems to be a mix of antitheses. There is nobody to compare it to in all of music. And yet, it is incredibly alluring, as well. You could not get bored of Ms Newsom's voice: it's something so new that it could be listened to forever and not bring about any memories of anyone else.

One of the greatest things about Joanna's music is the painstaken detail in the lyrics: all of which are longer than War and freaking Peace. More pieces of prose in their own right than merely words to complement the music, even when she meanders around the story they connect to the main, always powerful, theme. Emily relates her relationship with her younger sister, but throws in copious metaphors about her being lost from her home. The followup, Monkey & Bear, tells the story of a circus monkey who forces a bear ("Ursula") into slavery by pretending to act friendly. The analogy is simple, yet powerful, and I still have yet to work out what the ending of the track really means.

Ys may only have 5 tracks but it has far more content in it than any other album you could name, and after just 55 minutes you could feel like you've listened to years and years of music. There is so much talent and originality in the album that, listening to it, you get the feeling that there will never be anything released that will touch what Joanna has created: how would it? There aren't any other stunning harpist epic-scale singer-songwriters around. And of them all, Joanna Newsom is the greatest of all.

PREVIEW - Emily (Live)

Joanna Newsom - Ys (Mediafire)


-Mike (=

British Sea Power

One of the best bands in the world right now is British Sea Power. The emotional, powerful, nautical and sometimes salty band.

Needless to say, they are one of my favourite bands, ever. Their debut album contains some of the most amazing songs ever written, whilst their follow up has some damn good tunes on it too. They were also one of the first bands I ever liked, waaay back in 2003 when I heard Carrion. Which to this day is one of my all time favourite songs. So the band means alot to me!

Their Debut, the happily titled "The Decline of British Sea Power" is an album of epic scale. It contains balls out rockers like Remember Me, a song that contains three guitar solos and a briliant chorus and Apologies to Insect Life, where a frantic Yan screams "Oh theodore you are the most attractive man!" to a backdrop of overdriven guitars, catchy bass and intense drumming. The album also has its beautiful moments though, coming in songs such as Blackout, with its REMlike guitars and a chorus that contains a monk choir, and The Lonley, with sliding guitar riffs and acoustic guitars aplenty. The best moments on the album though come in its epic songs, such as the formentioned Carrion, with its vast sea of synths and very good riff, or the 13 minute epic of Lately, where after a heartfelt beginning descends into a mess of guitars and Yan screaming "Do you like my Megolithic Rock!?". Don't worry about these lyrics I've mentioned though, the album is full of references to old war leaders and the ocean. Fun for history teachers allround.

Their 2nd album, Open Season, was released to much critical acclaim, and sent British Sea Power into the mainstream (Their highest chart place at #22!). Its an album that has the rock songs and ballads as before, but now they are joined with experience. Making the album seem alot more mature then it really is. It contains the catchy riffing singles of Please Stand Up and It Ended At an Oily Stage and the beautiful songs such as North Hanging Rock and Oh, Larson B. I think the albums best moments though are in its new "shoegaze" style songs, such as To The Land Beyond, with is beauitful vocal harmonies in the chorus and Like a Honeycomb, which again carries across much beauty. It does have its fun moments though in songs like To Go To Sleep and How Will I Find My Way Home? Both big rocking bastards, To Go To Sleep having a fantastic riff and chord progression.

I saw the band live last year and I was really really blown away. They played a set of mostly new songs, which I thought were amazing. I think their 3rd album which is due for release this year will be utterly amazing. they are a pretty hectic live act too, as this picture shows.

I need somone to explain that hat to me please!

All in all, one of the finest British Bands to ever live. Please check them out and buy the new album when they release it! Some tasters of older stuff:

Carrion, off The Decline Of British Sea Power


Please Stand Up, off Open Season

Martyn
xox

The Velvet Underground and Nico

I think i'm starting to get abit common with my album reviews. But what the heck.

It has made its way into many best of album lists since it came out in '67 and I can now finally see why. I picked this up yesterday after buying Lou Reeds Transformer made me curious about his former band. Anyway, its abit amazing.

I can see alot of similarities between this and Mr. Reeds solo work, probably because he was the principle song writer. But it can only be a good thing. The album rocks out with tracks like I'm Waiting For The Man and Run Run Run, the latter of which containing a riff that Wolfmother have since borrowed for Woman. Good on them.

"Produced" by Andy Warhol, the album includes vocals from the German singer Nico, at Warhols request. She doesn't ruin anything though, tracks such as Femme Fetal need her soft vocals to carry the song along over Reeds backing vocals. Which are still as amazing as his work on Transformer.

I think the album really shines in its odder tracks though. Venus in Furs rocks along with a sliding guitar line that sounds like an alarm and has its fair share of "evil" sounding chords. All Tomorrows Parties is the albums ballad, with its beautiful ascending chords. It was also a favourite of Warhol. The final track, European Son puts Sonic Youth to shame with its 5 minutes of improvised noise at the end. Fantastic? Meh, it was the 60's this sorta thing was artistic back then.

Overall, an incredibly solid album with no bad songs on it. My favourite track is Venus in Furs, so be sure to check that song out first! Laters.

Martyn xox

Where have I been!?

Sorry readers, I seemed to have forgotten about this blog and let Mike take over with his drunken rallies. Well now i'm back with three reviews for you. I have been busy!

Firstly, something new?


I first got into Goldfrapp upon hearing the single Number One on TV. Instantly I fell in love with its lush surrounding keyboards and beautiful riff played on the keyboard. Upon getting the album I expected more of this. We I didn't get what I wanted, but I don't mind what I did get!

The album opens with the single Ooh La La. I had heard this song before and hadn't thought that much of it, it has a pretty standard progression and didn't hold my attention for long. Even though I have grown to love the album this is still the song that doesn't do alot for me. Though I do find that fuzzy bass and guitar solo rather catchy.

At this point I was worried Number One was the only good song on it. I was wrong, again.

Lovley 2 C U has fuzzy guitars and vocal layers very reminisent of Suedes glamelectronica days. The song is only based around 2 acsending chords, but I think it works very well indeed! With a catchy chorus I am really shocked as to why this wasn't a single. Also highlighted is Ride a White Horse which has glitchy beats and keyboards and U Never Know, another song that should be a single, and also the song that introduces us with the James Bondish strings which many of the songs on the album contain.

My favourites though still stand at Number One, but also with a song called Let It Take U, which has real piano and some really nice chords at that. Glitchy breakbeats follow the nice chords and Alison Goldfrapp sings to us about Oceans and other moonlit imagery.

Overall, a very fun, synthy, glitchy, sometimes beautiful, sometimes pure fun album.
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Tom Waits is someone I got into after numerous recommendations from people. At first I got Bone Machine, which didn't really do it for me, bar Dirt in the Ground, which I still believe to be one of his best, if not his best, song. So I got Swordfishtrombones and it just clicked with me, this guy is a genious.

The album is basically the soundtrack to drunkness. With its jerky Guitar Rhythms in songs like 16 Shells from a thirty-ought and Gin Soaked Boy and the sometimes rambling drunk vocals in songs like Soldiers Things and Frankies Wild Years, the latter of which is completley spoken word. Which Tom Waits has been known for.

Its simply a masterpiece, and of all the albums I am reviewing today I recommend this one the most. Umongst its tattered drunken fight songs it does have its beautiful moments, like the already mentioned Soldiers Things where we have Waits with only a Piano and a Double Bass or In the Neighborhood which has a type of epicness about it.

Toms voice is often complained about. Some say he can't sing. Other think he is amazing. I think hes pretty good. He often barks his way through songs like Shoreleave and Underground but he is capable of singing with beautiful accuracy on the slower songs. He even talks in some songs.

My favourite song on the album though is the self titled Swordfishtrombones. A song that sneaks along with its Xylophones and brass. It is the theme song for that bit in the film where the bad guy devises his masterplan. I also think it is Tom's best vocal performance yet. It sung in his raspy sarcastic voice, that is half spoken. Its evil but amazing.

Get this album now plz.
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After a friend of mine covered Perfect Day (a song I already loved greatly) at college my teacher recommended this album to me. I admit at the time I only knew 3 songs by Mr Reed. Luckily all 3 of these songs were on this album so I was happy I brought it.

Generally speaking I don't rate glam, and I don't see how this album is called glam? Maybe I am getting it confused. But either way its a phenominal piece of work. It is home to his most well known singles of Perfect Day, Walk on the Wild Side and Satellite of Love. The 3 songs I knew before I got it.

After buying it I can safely say it is a very solid album, with not a single dud track on it. Vicious, the albums opener is a briliant rock song and it might be my favourite off the album. It also contains a guitar solo of which Graham Coxon learned everything. Apart from the singles, which I am sure you all know the other amazing songs are Make Up, where Reed lists types of make up as if hes on an advert, and ends each line with a humerous "ooh!". New York Telephone Conversation brings in the albums Producer, Mr. David Bowie to sing along with Reed on the short Piano led song. Its catchy and you end up humming it without knowing.

Other songs that stuck with me were Andy's Chest, with its quiet start but slow build up complete with "bah bah bahs!" in the chorus, and I'm So Free, which I think is the most straightforward rock song on the album apart from Vicious. Again Mr. Bowie is back on Backing Vocals.

All in all, a masterpiece with the Bowie filling in the wrinkles with his amazing backing vocals. Buy it and see what a legacy this man is leaving behind.

"Satelliiiiiiiiiiiiiiiiiiiiite, oooooooooooooooooooooooooof loooooooooooooooooooooooove!"

Martyn xox