.

Handsome Furs - Plague Park

2007-06-30T08:31:00.000-07:00

Handsome Furs - Plague Park

Wolf Parade leadman Dan Boeckner and his fiancée's side project, Handsome Furs, reflects a very different side to the Victoria-formed indie rockers. I won't say it's Wolf Parade trying to be Joy Division. I won't even say it's Mr. Boeckner trying to be Radiohead. I'll make no comment at all on it being Apologies To The Queen Mary, as written by Efrim Manuck. They're all 100% true in every way, but let's give poor Dan the benefit of the doubt, huh?

As the last comparisons might have brought to mind to you, the Boeckner you hear here is a much darker and sombre one than we know from the noisy, fun, Modest Mouse-esque Wolf Parade. This seems to be in many ways the first major project he's done without Isaac Brock's ever-watching eye over it, and so it represents a major departure from his old sound. And so, there's not a note in major key to be found. And it is lush- filling the record with deep, sinister electronica and wicked bass notes has given Handsome Furs a whole new lease of life.

The population of instruments has also changed. Where Wolf Parade was far more simple- gimme slick guitar riffs, drums and electronic melodies and we're set- here Handsome Furs has introduced a far more complex sound, entering the orchestral world of their countrymen Arcade Fire and The Dears. The baroque-folk sound- bringing in strings, harps and bells to the fray- fills the album with a much more serious feel and gives the impression of a far more passionately intimate album. But these instruments do not take away from the vocals- and let me make this clear: it is most definately the album of a vocalist, and you can tell. The singing leads the songs even more than you hear in normal rock.

Although it contains only 9 tracks, and tips off at only 36 minutes- a length that seems to be dwindling and disappearing almost entirely in this world of 10 minute long solos and extravagant songs- this most certainly does not feel like a short album. The complexity and dense, lavish sound give this album every part the esteem of any other album you could be given.

The emotion of this album is far more furious and angry than our last visit to Dan Boeckner, with lines like "And if there's a God, he's a little god...But he hates his babies most of all" and song titles like "Dead + Rural". Clearly, what you can expect is a slightly less care-free album that before. This is indie rock for a dystopian future. But it is passionate and almost happily rageful.

Handsome Furs are a much more sombre but a much more colossal face of Canadian indie rock. As such, they're not easy to compare quickly to their sister project, Wolf Parade, in so many words. But for my money the result of Plague Park is a far more complete album and would not leave any Wolf Parade fan disappointed. If Krug and Boeckner's next album is anything like this, then I would consider it an improvement.

Preview - Can't Get Started
Preview - Dumb Animals

Handsome Furs - Plague Park (Megaupload)

-Mike (=

The Polyphonic Spree - The Fragile Army

2007-06-30T07:26:00.000-07:00

The Polyphonic Spree - The Fragile Army

So how come The Polyphonic Spree are so happy? And so big- this is a band with 25 members and 10 vocalists, after all. Maybe this band is living proof that misery does love company- this is a band that certainly does have nothing of the depressed about it, with assorted keyboardists, percussionists, drummers, bassists, guitarists, flautists, trumpeters, trombonists, violinists, violists, harpists, French horn players, pedal steel players, theremineers and "electronic effects people" doing their bit to add their part to the veritable party that is their sound. The result isn't half as unstructured as you could imagine a band with this much sound to give could be, and remains surprisingly restrained.

The Polyphonic Spree- a name, given the size of the band, which couldn't be more apt- is not a band which are afraid to not take themselves too seriously, and as a result you can really tell that the band truly have fun making their albums. The undescribably large sound and drama of the band are all tinged with a strong sense of excitement and excess, like the world's biggest party put to music. This isn't just a jaded collection of black suits, or even a gang of passionate revolutionaries: this is a group of friends who want to play the loudest song they can on every one of their instruments. This is the stylisms of their seeming inspiration and closest band, The Flaming Lips, raised by 5 times the amount of members.

With the exaggerated sound of 10 singers, the inspiration for this album sounds like it was taken straight from broadway before any rock band that's ever been around. Indeed, listening to the album is the equivalent of an indie-rock musical, with extravangant, over-the-top embellished versions of songs. But the complexity within it reminds you that this is more than anything a rock album, even stripping down the exuberance.

An avant-garde, facicious, post-ironic orchestra, and a Flaming Lips in a world where there are 10 Wayne Coynes, Polyphonic Spree are one of those bands that will always hold a place in anyone's library. Condensed, distilled and concentrated optimism and happiness and bliss jammed into every song, they seem to be the biggest cure to any kind of negativity, ever. And for giving even Wayne- the single happiest man alive- a run for his money, you get an idea of just how much this band can put into under an hour.

Preview - Running Away
Preview - The Fragile Army

The Polyphonic Spree - The Fragile Army (zShare)

-Mike (=

Bat For Lashes - Fur And Gold

2007-06-30T06:10:00.000-07:00

Bat For Lashes - Fur And Gold

Somehow, from a quietly recieved debut album in May 2007 (only 1,000 copies were originally printed), Bat For Lashes has recieved a major spot at this year's Glastonbury Festival, place in Thom Yorke's top 10 songs of all time, as well as fans in rock legends Jarvis Cocker and Devendra Banhart. As welcomes to the voracious world of indie go, people have done a lot worse than Natasha Khan!

So what has given her such instant gratification and prestige? The opener, Horse And I, answers questions instantly. The first sounds you hear are haunting harpsichord notes ringing out- it's this nonstandard creativity that will become commonplace on the album, with strange instruments like old harpsichords and percussion sticks appearing everywhere. And suddenly the spooky theremin-esque synths come in and the vocals rise above it. The vocals, in fact, were sung with a 50 yard extention lead and a dark, rainy forest in the middle of the night. And the tone really reflects this. It's something at the same time immediately exciting and comfortable: it's adventurous, but pleasant. And so, from the first moment it is massively accessable and yet also overwhelmingly original.

Comparing Natasha Khan to anyone else is a difficult. The immediate artist that comes to mind is Bjork, but without the occasional absurdly experimental project that scares many people from the Icelandic songstress. But comparing her to the classical folk artists like Tori Amos or Kate Bush falls short, as well. Where they quickly bore or cease to interest in large doses, Bat For Lashes keeps interest throughout every moment of the 45 minute offering. And so she lands in a cool middle ground, like French artist Camille, being at the same time accessable, traditional and exceptionally listenable but also fresh, new and original.

Songs seem to break into 3 parts: there are the adventurous, melodic songs like Horse And I, mentioned earlier, as well as the grand finale I Saw A Light, which bring in a feel that is bigger than the song could ever achieve alone. But also, another common theme is of the almost trip-hop mysterious song which brings in almost Portishead-esque sensibilities, with off-key basslines, unnerving lyrics and ghostly reverbs, like Trophy or Sarah. Thirdly, the songs dispersed among these are the more personal, piano-lead, emotional tracks which sing of personal tragedies and stories, like Prescilla and Sad Eyes.

To answer the question at the start of this review, then, Bat For Lashes has achieved her almost scary rise to power in the indie community simply because she has perfected a large part of the folk genre: if Vienna Teng's direction for folk was a step out the door, then Fur And Gold is its ultimate direction. Amazingly memorable, spanning the entire range of music she could, Bat For Lashes represents everything the genre has tried to achieve. And she has succeeded with flare.

Preview - Horse And I (Live at Glastonbury)
Preview - Sarah (Live)
Preview - Prescilla (Single Version)

Bat For Lashes - Fur And Gold (zShare)

-Mike (=

What It's All About

2007-06-24T07:29:00.000-07:00

Dan Le Sac truly is a god among men.

-Mike (=

Antennas To Heaven - The Line Between Myth And Reality Has Always Been In Finland

2007-06-17T07:24:00.000-07:00

Antennas To Heaven - The Line Between Myth And Reality Has Always Been In Finland

Kitchen sink lyrics and post-rock music. Why have the two never been combined before?

Let me explain. Post rock is massive, sweeping, epic, and usually 2 hours long: the real successors for the old classical operas of old. It's ethereal, trancelike and completely the opposite of lifelike. It is otherworldly.

Kitchen sink lyrics are like conversations in a pub. Extra details thrown in like conversation even if they don't fit the music, but the guy felt he needed to stick something in. If you imagine transcribing someone telling his mates some anecdote about the one time he had to carry a carpet through some fields with his mate Stevie... that's what you end up with. It's chatty, and witty... it's mundane. It's everyday.

The two are the exact opposites of each other. It's like The Streets conducting something by Mozart! Or Godspeed working with Jay-Z for a couple rap tracks! The two should never work. But here, Phil Hodgson and Dave Smith (see! Even their names are everyday!) have done just that: created sweeping, Mogwai-esque melodies and then written in front of it the stories of everyday people. But this doesn't weaken the effect of it: you're not let down by the fact it isn't about the world ending or anything. Because it gives post-rock the one thing it's needed since the first person ever penned an hour-long guitar solo: it's given it a personal touch.

Take the last-but-one track, Big Trev. Not the first title you'd think of in post-rockdom, but when the lyrics start with "I still like to think he was smiling. Even though I couldn’t be there to see it, I hope he understood that we were laughing with him, not at him. That there was a fondness amongst us all. He wasn’t the joke, he wasn’t the monkey in the corner to entertain and dance. He was one of us." and suddenly you realise it: this is MORE than just a nameless, abstract drama: this is individuals, real people, and the real emotion that real people feel in their real lives. And it makes it something a hell of a lot more moving than anything Mogwai has ever written.

So while the idea of mixing up the grass roots, "Ya wanna live with common people" lyrics style with the classical, grandeuse melodies of the concert hall seems a novel little gimmick at first, the results it gives are something almost impossible: by taking away the abstract, epic idea behind so much of post rock and giving it to the stories everyone has one or two of in their lives, it's made it even more powerful, and even more dramatic. And for that, this has become one of the better post-rock albums ever made.

Antennas To Heaven - The Line Between Myth And Reality Has Always Been In Finland

-Mike (=

A Northern Chorus - The Millions Too Many

2007-06-16T08:58:00.000-07:00

A Northern Chorus - The Millions Too Many

I think I decided long ago if I were to pick one country to sum up everything indie rock is about, it would be Canada. I mean, there isn't any country more profilic in its number of successful and innovative bands forming- it really does churn them out. But its the underground movement where you often find the greatest music: the bands with entire careers out of the limelight- and honestly, often unjustly, too. A Northern Chorus' 4th album, The Millions Too Many, is a perfect example of this. The majority probably will never hear of this band- at least, outside of their homeland. But this album is nothing short of amazing: this is an album that doesn't only deserve repeated listens, but forces them.

The Millions Too Many is big. Often opening with just a voice and a simple guitar riff, it's not long until they unleash the full, orchestral scale of their might, with epic webs of sound made with thier overdriven- but never shallow- guitars and string section. They are loud, and unashamedly so. But they're not only loud. The quiet sections that break up the noise are just as powerful and evocative, punctuating the sound and giving it a real emotional impact. Think of it this way: it has the real poignant emotion of Sufjan Stevens. But it has the giant, epic scope of the loudest moments of Godspeed You! Black Emperor. In every song.

I wasn't kidding when I said unforgettable, too: somewhere in the vast, passionate anthems they've found that certain something that every artist strives for: catchiness. You'll find yourself singing along to every track before you've even finished listening to them the first time: I know I caught myself doing that a whole lot at the start. Sublimely melodic and tuneful, this is the same strong, anthemic music that made Arcade Fire big.

Resting strangely in the middle ground between We're Marching On and Bloc Party, The Millions Too Many is a delight to listen to. With all the pop sensibilities to ensure its mainstream accessibility and at the same time all the white-knuckle adrenaline of punk rock's overdriven guitars, and at the same time an entire orchestra of strings and brass to give the epic, almost classical feel to the music. Occasionally, a little-known band will come out of the melting pot with a masterpiece which launches them into mainstream, international success- see Broken Social Scene's or The Dear's sudden rise. If there's any justice in the world, then this album is A Northern Chorus'.

Preview - No Stations (Live)

A Northern Chorus - The Millions Too Many (Zshare)

-Mike (=

Vienna Teng - Dreaming Through The Noise

2007-06-15T13:35:00.000-07:00

Okay, I'm done with exams now for the next 11 months. So I should be back from haitus, and back on schedule! And what better way to launch back into the blogging than...

Vienna Teng - Dreaming Through The Noise

Dreaming Through The Noise. The title sums up the sound of the album strangely well: the tone is often softened, almost dreamlike. But what makes this album special is the edge; the noise, which brings energy and excitement into the procession.

Vienna Teng is another recruit to the ever-growing chamber-folk pianist solists, but you shouldn't think she is anything but original. Between her veteran folk leanings- she has had 3 albums slip under the radar so far, after all- with her classical piano training and even the occasional wavering of traditional Chinese music, she's developed into a totally uncopiable artist. And once you get past that, it gets a bit more special than that.

The opener, Blue Caravan is everything an album opener should be: all rising strings, dramatic, rolling piano loops, epic acoustic guitar riffs and casually cool but classy as heck vocals. It manages to set you off on the journey that the album will get you on- but it's so smooth that you'll find yourself going back to the start as soon as it's over to live it out again. And not just because it's enjoyable music: it's the catchiest tune ever freakin' made, alongside that! This is music that shouts "I'm just going out, and I may be some time" but ends up getting out of it all okay. This music is untouchable and invincible.

But then you move on and the next track is the complete opposite: the bouncy, simple singalong Whatever You Want sings of the simple life and dismisses any ideas of yet another Regina Spektor wannabee. And then, Love Turns 40 is another change in direction, turning into a Tori Amos-fest of emotional melodies and wailing choirs. In fact, despite the complete lack of any change of instuments (plus or minus a violin or 2), every track seems completely unique from each other.

The other major stickout track is Pontchartrain, the penultimate offering from Dreaming Through The Noise. There is a sudden change from everything else on the album, the piano suddenly jarring and hitting all the black keys dissonantly and mysteriously. Over it, Vienna sings eerily about the devastation and results of hurricane Katrina in a strangely Radiohead-esque twist. And then, before you think it's all, it builds, and grows, until the result is a massively unsettling but undeniably beautiful piece of music that takes you past the 6 minute mark, drifting over everything else in your mind. If Vienna is dreaming through the noise, then this is the nightmare. But it's one that you don't want to wake up from.

Wistful but powerful, Dreaming Through The Noise is an album full of classics that haven't been discovered yet. It's got the classy, smooth sensibilities but it's also got the epic scope and drama coming out the wazoo. All in all, Vienna Teng has created a new anti-folk benchmark with this album, and it's more than worthwhile adding to your collection.

Preview - Blue Caravan (Live)
Preview - Pontchartrain (Live)

(These previews are stripped down versions of the songs without guitars or strings)

Vienna Teng - Dreaming Through The Noise (Megaupload)

-Mike (=

The Enigma Project

2007-06-14T02:50:00.001-07:00

www.myspace.com/theenigmaproject

Well what can I say, I found this fantastic band on myspace one day and I have heard the future. All music will be like this one day.

Get your seatbelt on, Soviet will blow you off your chair.

Martyn xox

The Dears - No Cities Left

2007-05-24T14:04:00.000-07:00

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

2007-05-19T09:55:00.001-07:00

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

2007-05-10T13:29:00.000-07:00

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

2007-05-09T12:35:00.000-07:00

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

2007-05-06T04:20:00.000-07:00

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!?

2007-05-01T10:59:00.000-07:00

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.
_________________________________________________________________

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.
___________________________________________________________________

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

bonjour

2007-04-28T04:02:00.000-07:00

HELLOIO EVERYONe

3> 3> 3>

= D =D =D

BRILLIAJT

guess who no prizes who guessssses lol =D

hahgahahahahhahaha

much more durnkn thst mmmmaajhbgakejf7yuyugfkyaeykujfbykxcb#
#

dunno yyyyyyyyyyyyyy

but oka

night#

lo0venyou all you're brilliant thnak for coming

:>:>:>:>:>:>

you're all amazing people you know that>?

Because tyou're here it mean you've taken that one risk. To visit this site. And you know?

It means the world to me.

So thankyou. I hope you've enjoyed your sdtay. I hope you continue to. Becaue you peop[le are the reason I still do this crap.

Thankyou. Thank you.

Goodnight.

PS. I'll be back to busniess soon, don't worry.

Regina Spektor - Soviet Kitsch

2007-04-22T07:47:00.000-07:00

Regina Spektor - Soviet Kitsch

Well, I've already referenced it before, I might as well review the bloody thing.

When I reviewed Begin To Hope, I had no idea Regina was so much of a- well, veteran: it would be her 6th release. Apparently she was that much of a slow burner! And so, of course, when her one-before album, Soviet Kitsch, turned up in Virgin reduced the other day, it was less a decision than an automatic reaction to grab it before anyone else noticed it was there.

A far more moody and sincere album compared to her latest offering, this album focuses on the slow piano tracks I took so much care to dislike last time round. But don't discard the album just yet, because here she treats them with much more care. Here, this is her realm.

This album, overall, actually reminds me quite strongly of a happier Eel's Electro-Shock Blues. The same quiet, understated feeling of futility and resignation. And just like ESB, Regina doesn't mind breaking the tone a little every now and then, like the full-out punk rock shoutathon of Your Honor or the relatively jazzy Sailor Song, which proudly shouts "Maryanne's a bitch" a few times for its chorus.

Ms. Spektor's amazing lyrical skills are far more apparent in this album. Ghost Of Corporate Future is a Dickens-esque analogy of finding happiness in modern life: "well, maybe you should just drink a lot less coffee and never ever watch the ten o'clock news". Meanwhile, the undoubtable centrepiece of the album, the 6 minute long Chemo Limo is a heartrending story of a mother recovering from cancer: "Then in my dream/Crispy crispy Benjamin Franklin and the doctor went and had a talk with my boss/...when they came out they said 'you'll be okay, anyway' and I smiled cause I'd known it all along".

Soviet Kitsch is, way more than Begin To Hope, Regina singing from within herself: and as a result of that, she's much more at home in the sound. For my money, this is my #1 contender for the best Regina Spektor album. And it's official by this point: I'm hooked.

PREVIEW - Us
PREVIEW - Your Honor (live)

Regina Spektor - Soviet Kitsch (Sendspace)

-Mike (=

Aphex Twin - Richard D. James Album

2007-04-22T06:18:00.000-07:00

Aphex Twin - Richard D. James Album

Richard D James Album could well be the most accessable work yet by the drill-and-base pioneer himself. The opener, 4- and expect a lot of track titles along those lines from Aphex, dude wrote an album called "drukqs"- shows this more than anything. The first thing you hear is classical, rising strings. And then what you hear is the token breakbeat drums. They shouldn't fit together so well, but for the first time since Stem/Long Stem, they do.

And this is what Aphex Twin is about: he kinda wants to worry you a little bit! The entire album certainly holds a sort of creepy ambiance to it, throughout: the most commercial, MTV song on the album consists of the lyrics "I would like some milk from the milkman's wife's tits", after all. This the same man who made a video out of bikini'd ladies with his own face morphed onto them. He's a pioneer, but I never said he was easy. This is the Uncanny Valley, put to music: it's right, everything is right in it, but its so right it feels... wrong, somehow. Album covers, evidentally, don't lie.

But even when its unsettling, there is beauty in Richie's work. This is what solely created a lot of the chillout movement, after all. But you won't get breakneck, impossibly cut beats and the world's tightest algorithms with Boards Of Canada. Richard moves faster than the movement can go: and so, what you get with Aphex Twin is view of where music will be in years, even decades time. He is quite literally light years ahead of his time.

So, even while difficult at times, even while absolutely freaking creepy at other, this album is a masterpiece of sorts. Its a way to phrase some of the most astonishingly impossible music so that its both experimental and accessable: and that, by itself, is a miracle. But its also a showcase of everything Richard James is about: it has the killer beats, but it has the quiet, understated tracks that he'd go on to perfect in Avril 14th. If you only try one Aphex Twin album- and try him you should- then choose this one.

(Just so everyone knows, the videos in these previews aren't usually the official ones- so listen for the music, not the vids. Although I do reckon Divid Firth did 4 justice in today's.)

PREVIEW - 4
PREVIEW - To Cure A Weakling Child

Aphex Twin - Richard D. James Album (Mediafire)

- Mike (=

THE BLENDS

2007-04-21T16:19:00.000-07:00

ITS THE BEST RADIOHEAD ALBUM.

IT BELANDS ROCK AND ROLLAND KEYBOARDS

GO THOM JONNY COLIN PIHL ED

:D

xoox Martyn

i'm drunk btw
:D

(Classic Friday) The Flaming Lips - The Soft Bulletin

2007-04-20T09:23:00.000-07:00

The Flaming Lips - The Soft Bulletin

1999 was a good year for The Flaming Lips. Because, after 15 years of trying, they'd finally got it right with The Soft Bulletin. Critics as high up as the All Music Guide (perhaps the most influential music website on the internet- google reckons its 30 times more powerful than those Pitchfork hacks) hailed it as the greatest musical achievement of the decade- and this was the decade that brought us OK Computer and the Britpop race, remember- and one thing was sure: their efforts hadn't been for nothing.

The Soft Bulletin was one of my favourite albums for a very long time, and for good reason: this album will amaze you. It goes from mindless fun to suddenly beautiful, moving scenes in a matter of moments.

And nowhere in between: this isn't an album that will ever be trivial or everyday. The endless amounts of synths and choir voices rise the album to something far more ethereal, even when its at its most whimsical: and believe you me, with The Flaming Lips you will always get the whimsical. This is an album about scientists racing for the glory of finding a cure, and people waiting for superman to save them, and wounded mathematicians in a war. But somehow, in between the phenomenal guitarwork and drumming of Steven Drozd, every one of these sounds epic, amazing, and something far more.

But then, interspaced around the fun and the stories are some far more thoughtful and... well, serious pieces. And this is where The Soft Bulletin isn't just any Flaming Lips album. Suddenly Everything Had Changed is an exploration of how life goes on whether you like it or not. It takes the most mundane acts- putting the vegetables away, driving home- and reminds you how at any moment everything around you could change. And then the finishing dual-song of Feeling Yourself Disintegrate and Sleeping On The Roof is a full-out existentialist masterpiece, making it ever apparent to even the most self-assured person that everyone dances with the reaper sooner or later. It takes its inspiration from the final few seconds of a man's life, and then fades itself out into the conclusion: totally wordless, but a massively powerful piece of music that forms one of my all-time favourite Flaming Lips tracks.

The Soft Bulletin is an album that's more than the sum of its parts. Where beforehand the Lips rested on their wacky, drug-addled stories and afterwards rested on their laurels, this is the one place they got it all right. The music is subtle but massively layered. And the subjects are fun but the lyrics are deadly serious. Wayne Coyne has never been one to shy away from tackling a tough task, and this is where that's more apparent than ever. Its about life and death, love and loss and everything in between.

Oh, and my computer's password is based on it. That's how good an album it is.

PREVIEW (Race For The Prize)

The Flaming Lips - The Soft Bulletin (Mediafire)

- Mike (=

Metric - Grow Up And Blow Away

2007-04-16T14:13:00.000-07:00

Metric - Grow Up And Blow Away

Ahhh, god bless Emily Haines. She's nothing is not adaptive. Give her any opportunity and she'll use it make her very own unique brand of melancholy pop. She's been in more bands than the queen's seen more hot meals and she probably made a lot more out of them. Metric was her first real excapade into the world of Indie rock in '02, and this album, although never officially released, was their real debut.

Fans of her album I posted much earlier, the solo Knives Don't Have Your Back, won't be too surprised with the work. By contrast to the piano ballad led work she did by herself, though, Metric is far more involved, far more upbeat and- dare I say it?- much more of a pop album. It has the mandatory electronic beats and funny pedals, after all. Occasionally, the beats and sampling launch the album almost on the edge of the hip-hop. Emily's half-rap, half-beat poetry of some of the tracks doesn't help that, really. But no matter how you could think this the album could go, it's miraculously kept incredibly classy throughout.

The morose tone you expect from Emily is kept throughout. The lines like "It's not easy she would say, dipping her fingers into the ashtray, it's not easy to erase your blood" or "We saw tall trees and public enemies" bring you straight into the film noir-esque feeling of loathing for everything about. But unlike Regina Spektor, she does take her manic ennui very seriously. She's hardcore about it. So behind the happy beats and crazed guitar riffs there is a real message, and that is that you could always be a lot worse off. No wonder she felt she had to stick the line "With all the luck you've had, why're your songs so sad?" at the end of Knives.

The standout tracks- in particular Parkdale and Rock Me Now- show Emily developing her particular upbeat cynicism and remain some of the best songs she's ever written.

In the end, this is never going to be the album Metric is remembered for: after all, after over half a decade later its only just been released. But this was the origins of one of Canada's greatest achievements to indie rock- she's made 4 different (but great) bands world famous, after all- and for that, its place in the hall of fame has already been secured.

Metric - Grow Up And Blow Away (Mediafire)

Tapes 'n' Tapes - The Loon

2007-04-16T12:26:00.000-07:00

Tapes 'n' Tapes - The Loon

Tapes are such a "we'll be amazing next album" band. My prediction is to expect them to be big in a year or two. Not that they aren't amazing as they are, now: after all, I wouldn't be posting this up if it didn't get at least an 8/10 from me, and this easily makes the benchmark. But what makes them such a wait-for-it band is the potential Tapes has. The guitars are simply amazing, but just beg for someone to give them a wheelbarrow of money for some better production. And the vocals are powerful and emotional, but just need a little extra time to develop themselves.

As it is, this album is more bound full of energy than Supergrass locked in a roomful of espresso. My first fave of the album, In Housten, is a manic, frantic mix of classic punk (think Sex Pistols, not Greenday) shouts and epically dangerous riffs that kick in and out of the song. And their first single off the album, Insistor, is the same. Something more than a rock opera, but keeping all the feeling of one, it tells the story of a man's journey to find out the truth about an old relationship. As you can imagine, it balances the slow with the fast and everything in between, especially in the mandatory everbuilding conclusion to the song.

This album may have been recorded in 2005, but its roots are deeply in 80s rock: Pixies, Black Sabbath et al. It's in the too-big-for-their-mics guitars, it's in the too-big-for-their-voice vocals. But the best part is this: they take the best of both worlds out of it. This isn't an album that could have ever been recorded before a lot of you were born. Despite its rough-around-the-edges epicity, this is a thoroughly modern album. The songs feel very much like Kings Of Leon or Wolf Parade were sent back in time.

These songs are about an anthemic and you can get. These are songs for singing on the way home from the pub. Even the slowest, most subtle track of Manitoba contains enough gems to keep you coming back. They're fun and they do whatever the hell they want. And it comes across in the music.

So yes, whatever my claims are, this is an amazing stand-alone album that is well worth a listen, and then another one to catch everything you missed first time round. And for another reason: here, you can be part of something that's going to be amazing. My money is on the follow-up, whenever it is, being one of The Greats- OK Computer, Parklife, Agaetis Byrjun and all. We'll see how it goes.

Here's a new feature for ya: if I can find one, I'll grab a youtube preview of my favourite track so you can check out a bit of the album. Think of it as a try-before-you-buy, even more than, like, downloading the album is a try-before-you-buy for the actual thing.

Okay, here goes: PREVIEW (Insistor)

Aaaand Tapes 'n' Tapes - The Loon (Mediafire)!

-Mike (=

A very special 30th post...

2007-04-13T10:58:00.000-07:00

Arctic Monkeys - Favourite Worst Nightmare

Oh, I am so, so annoyed.

People who know me know firstly my uncontrollable, unmeldable, unmalleable HATE for all things Arctic Monkeys. Alex Turner is a bit of an... arrogant, self-obsessed twat? I heard I Bet You Look Good On The Dancefloor years ago and I hated it then and it hasn't got any better in its unending reign of terror on every radio station. I gave their debut a chance with "at least it can't be worse than Dancefloor" and it turns out I was surprised! Because it was. Basically, in a list of people I would wish out of existence forever for their effect on the world... they're not far behind Peter Kay and Vic Reeves.

So, naturally, when their followup leaked, I was the first to download it! I couldn't wait to be the first person, and worst person, to hate it. I mean, they say there's two kinds of people who write biographies: people who loved the person they're writing about and people who hated them.

At first, I wasn't surprised. Brianstorm was an unimpressive track, and its followup wasn't much better. So far, so generic noise charismaless tuneless rubbish. It was like The Fratellis, except without any charm, style, atmosphere, energy, strength... It was like The Fratellis, except crap. By track 4 I was happy as Larry because I hadn't been surprised at all by the album. NME got it wrong again. Arctic Monkey were still awful. Figures.

But then.

Then, somewhere around midway, came the track Only Ones Who Know. You can tell its different straight away: it doesn't launch straight into tuneless drivel. Completely apart from it, actually, it was... well, slow. Well, I'll be. Instead of finger-tearingly fast riffs it was all reverbed guitars and synths. And suddenly, a completely different side of Arctic Monkeys showed: on one site, I saw someone compare this track to Radiohead at their most beautiful, or something ethereal from late Beatles. Although I wouldn't exactly go that far- think The Killer's finale Everything Will Be Alright for a similar track- suddenly, this album had at least one great track. Em. Bugger.

And after that, I swear just to annoy me, it just got better.

Do Me A Favour lead on in the same vein from Only Ones Who Know, except with the furious drums and wonderfully evil bass suddenly making it so much more desperate and dramatic. Midway, everything drops and leaves you with just vocals and a sparse guitar. Nice, some quiet, you think, until everything stops to launch into possibly one of the best comeback riffs in the past few years- and come back it does, with a vengeance. It is loud. It is Mew on steroids. And it is amazing.

This House Is A Circus is the third track in a row that keeps the bar set and kept high. I don't know why Alex Turner saw fit to open his album with the 4 worst fast tracks ever, because this track shows that he bloody can write a fast song well. It's epic, it has more layers than the Queen's wedding cake, its louder than Frank Black at Glastonbury, and its more fun than a party with Eugene Hutz and Jarvis Cocker.

I'll go straight to the finale, but not because the tone drops. Everything from that midpoint is solid gold. And then, 505 begins. From the beginning, it sticks out: for the big generic guitar-riff-verse-chorus band of their debut, it's certainly something different. For one, the only thing keeping the song going along is a few synth pads- because they're still too good to use strings, of course- but instead of being the everyday happy we're-good-aren't-we, its massively subtle and, seriously, sad and regretful. This is Pulp in This Is Hardcore. This is Radiohead in Exit Music. This is Interpol, well, anywhere. This is something quite special. The reverb is kept up to the maximum as it continues on. And it builds and builds until the climax rushes in and- and I don't say this often when it comes to Arctic fucking Monkeys- it is one of those moments that completely change your view of the entire band. It is the best song they've ever writen, and probably the best song they ever will. The choice to have it end the album was inspired, because there's nothing you can put on after that will do it any justice whatsoever.

So, much as I hate to say it, this is an amazing album and it hasn't been off my iTunes since I got it yesterday afternoon. Arctic Monkeys genuinely have developed their sound and maybe they even live up to their name... possibly.

So all I really have to say is that I'm...

...

...I'm...

...

...alright, alright, I'm a fan.

Bloody hate to say it, though.

Em, Arctic Monkeys have been doing a few deals with Very Important People and the short story is that the existance of a link to Favourite Worst Nightmare on the 'net for very long is very, very rare. Kinda ironic for a band that owes their entire success to, hey, the internet, huh? I haven't checked these links to see if they're a better version than I have- where tracks 4 and 5 glitch quite a bit- but needless to say if they are then you're in the same position as I am. So enjoy, and, like, buy the proper version when it comes out?

Arctic Monkeys - Favourite Worst Nightmare (Rapidshare mirror 1)

Arctic Monkeys - Favourite Worst Nightmare (Rapidshare mirror 2)

-Mike (=

Evening, all.

2007-04-12T13:29:00.000-07:00

Liars - Drum's Not Dead

People go watch horror films to get themselves scared. And there's the entire horror genre in books, too, and TV programs and even plays. And then they go home and play Resident Evil to get the same cathartic experience. Like it or not, horror is everywhere, in every form of media.

So why, somehow, is music somehow restricted from that? People just don't seem to want to listen to an album made with that senseless fear in mind.

So if you're still one of those people who think songs should all be human and personal, then this album is certainly not for you. Just a forewarning. This album is 12 tracks of every kind of terror known to man, condensed, distilled, and put to music. The effect is, to say the least, startling. The notes jarr, the vocals howl hauntingly or shreik maliciously, the drums creep up behind you before you notice them.

In theory Drum's Not Dead is a concept album, at least according to the band. It's based around two characters that every track is named after. First is Drum, who represents every good kind of inspiration: everything productive and positive. Then, on the flipside is Mt. Heart Attack, who is everything negative and destructive. The struggle between the two is the centrepiece of the album, and gives it a desperate energy that really makes the album unique.

What I can't really put out to you is how many different kinds of horror they put in the album. The opener, Be Quiet Mt. Heart Attack, is all tribal drums, dissonant chords filling the space and choruses of shouts and screams. Every gap in sound is filled up with something, making an incredibly busy, openly scary song. And then there's the later song, The Wrong Coat For You Mt. Heart Attack, which is entirely sparse. It's just a muffled piano, some synths and a voice. A bizarro version of Blur's Battery In Your Leg. And the difference is massive. Whilst the former makes no mistake about trying to throw everything at you, the latter is... well, creepy. It's talking in a cell with Hannibal Lector. It's that shiver in your back when someone's just behind you. The lyrics slowly come out in a way that's oddly disconcerting: "When they discover you, drawn in your living room, time won't have altered you". "Who is this captain and where do his friends live?" They don't sound like particularly creepy lines, but in the music every line is twisted round.

But despite all this, there are some tender moments in the album. The first is Drum Gets A Glimpse, and the difference is clear: out are the dissonant chords and shouts. Instead, it sounds almost sad: the man behind the monster. It's a wonderfully different song. The point is: Liars aren't just doing this whole creepy gimmick because they can't do anything else. The final track (The Other Side Of Mount Heart Attack) is proof of that. Like the end of the slasher flick, it's the hopeful, happy end. And god knows we needed it! I would go as far as saying it is one of the great beautiful tracks and the entire album is worth it for the ending. This story has a happy ending, y'all.

Drum's Not Dead was voted best album of 2006 (beating Flaming Lips and The Yeah Yeah Yeahs, along with other tough competition) in quite a few music mags. If you fancy something a bit different, then this album is something that nobody is going to- something that nobody could- repeat. It's a one of a kind, stand out in a genre of its own. It's creepy, terrifying, not something you wanna play in the dark, and it's lush as. A love letter to a missing genre, and a niche filler, all in one. Like it or hate it, nobody can say its not unique.

Liars - Drum's Not Dead (Mediafire)

Regina Spektor - Begin To Hope

If for nothing else, just to prove that there's more to them ex-Soviets than Eugene Hutz shouting PARTY over a few gypsy fiddles and an overdriven guitar. Mandatory Soviet Kitsch reference: done. Right, moving on...

Well, a friend of mine (Yes, you get a shout-out, Harri! Happy?) has been trying to get me give Reggie a listen for the last few weeks- completely coincidentally, ever since this music blog began. Since 90% of the girl's music taste is "do they look good? They're not ugly, are they?", I was pleasantly surprised with how good this album is!

Regina Spektor is one of those artists that takes folk music and brings it into the new millenium. So it's completely familiar but at the same time, the quirks are there so you're not about to bore yourself to death listening to it.

The first few plays, she seems to have the same slow-piano-and-vocals melancholy of Emily Haines and Camille, and they do make up most of her act. But don't go thinking Reggie is the kind of artist that cries a few tears into her morning coffee to get ready for the day, because here is one artist that knows not to take herself too seriously. So you get your everyday depressed scribblings like "I am awake and feel the ache" and "You are my sweetest downfall", but they're cut off before they get too self-pitying. And the album is all the better for it.

Neither should you think Ms Spektor- incidentally, that is actually her actual name. She has, like, the best name in the world ever- is too samey, either. The standout tracks set the piano ditties into place: in particularly, the straight-out heavy punk rock distorted-geetars-and-all funfest of That Time is more remeniscent of Feeder or- dare I say it- Gogol Bordello than Emily Haines. The dramafest that is Apres Moi sounds like something lifted straight from the opera stage. It wouldn't be out of place in between The Ride Of The Valkyries or Phantom Of The Opera, and spans just as many languages- I count at least 3. When you have an album that appeals to the young rocker crowd and the classical culture vultures at the same time, you know you have something special.

Regina Spektor is more than your everyday singer-songwriter that makes nice little songs. Although the album itself is great, it's the little tracks spaced out around it that make it amazing. Somewhere on the album, there is a track for anyone. With that in mind, chances are this won't go wrong with you.

Regina Spektor - Begin To Hope (Mediafire)

-Mike (=

Erm.

2007-04-12T04:41:00.000-07:00

Sorry about that, people. We're leaving it up as a warning to you all of the dangers of drink.

Also, I fuckin' preached it. That was pretty great new age garbage!

We will now continue with your scheduled program.

-Mike (=

PS Last night in my stupor we came up the greatest word in the world, just so's ya know: Indienesian. Y'know, it's where you talk indie trash in front of someone who doesn't know anything about that kinda music.

Last night, me and Martyn spoke a lot of Indienesian.

I AM DRUNK

2007-04-11T15:46:00.001-07:00

B LOG EEEEEEEEEEEEEEEE

TYES

INDIE
:D

I HATE LIFE
sfdgohfdlgoahfdlgiuhdgdf
sfghsfgphsf

help

me

martnyxox

OKAY ITSMJIM MIKE

WEEEEEEEEEEEEEEEEEEEEEEEEEEEEeeeeeeeEEEEEEEEEEEEEEEEEEEEE

MArtyn may hate life bnut I FUCKING L:OVE TIT !!!!!!!!!!!!!!!!!! :>:>>:>:>:>:>:>:>:>>:>

Lifes done nothig wrong to me and I have nothing agsainast it!

I'm doing well and evetryting is GREWAT! :>:>>:>>:>

Y'know, all the necessary emoticons there and EVERYTHING

tooo drunk to but emotions in and everytihng 6 ciders I haven't feel that drunk in months but I quite like it I'm sorry people who can't drink oft the world but ehy at least like your liovers won't explode at ages 30 or sometihng opur generation is pretty much gonna be like thatr :>:>:>:>:>

Okay AWESME

right what next!

Okay our generation wtf a re you doing? DO better at it and everything! You're gonna be the leader of the world sooon enough

so pull your fingers out and DO SOMETHING!

stop procrasdtinating!

visit a town you've never been you before!

visit a hobbuy you'be never had!

pick up a s[port you never knje existed!

learn about a culture you don't know anything about!

eat a food you never thought you wou.d!

fucking DO SOMETHNIF! It's driving me mad, this culture of stagnation and boredom. Do something! Make the entire world poroud!

But in the end people are al pretty great so patr yourself on the back so bewing you. And thanks a lot. So keep doing it. Nothings wrong. So have fun and make the most of life.

You only life once, after all.

Mike (=

Just wanna follow what Mike said....

2007-04-10T12:07:00.000-07:00

Modest Mouse - We Were Dead Before The Ship Even Sank.

AMAZING.

Martyn xox

Okay, okay, back. It's been a good holiday?

2007-04-10T06:24:00.000-07:00

Bright Eyes - I'm Wide Awake It's Morning

In January 2005, Bright Eyes simultaneously released 2 records which were the exactly polar musical opposites of each other: one was the sepia-toned, warm record, wheras the other was digital, futuristic and cold. Looking at the cover, I'll give ya 3 guesses which one of the 2 this was.

I'm Wide Awake It's Morning is a strange record. At first glance it seems to be a very subtle, simple, back-to-basics folky record. But the more you listen to it the more you realise than under the surface is something far more loud and vast. Take the ending of Old Soul Song (For The New World), for example, where the electric guitars kick in and the strings pick up wherever there's a gap over Conor's "Yeah they went wild!" Or the penultimate track, Poison Oak, where layers and layers of extra strength stack on each other as the song goes on.

Feck it, this is an album that ends with pure guitar trash and the line "Let's fuck it up boys, MAKE SOME NOISE". Evidentally, this is more than just a quiet folk romp.

A Bright Eyes album has always been about the lyrics, and this is no exception. Conor's skills at storytelling are second only to Colin Meloy, and every track here is something new. The witty little one-liners like "Set fire to the preacher who's promising us hell" and "She said these bars are filled with things that kill" keep the songs interesting, but the wider picture is just as interesting: painting a million different moods. It opens with the invincible attack on the American ideals, but then leads on to a scope of different stories: of hopeless alcoholics, or revolutionaries, or new couples, or cocky soldiers. You'll find a song for most of your moods somewhere on the album.

Finally, it has to be said that this is such a clever album. This is an album that holds off saying the actual title until the very final line, which finishes off the entire explosion perfectly. It's one where the final track is a rock reinvention of Beethoven's Ode To Joy. Or the little recurring references: one of the first tracks finds Conor looking for his little yellow bird, and then you think nothing more about it until the end, which has him finally find it. It's the things like that that make this more an album than most you'll listen to. This isn't just a collection of songs. It's meant to be taken as one whole just as much as your average Mew album is.

This album is something quite special: it's epic and massive like your average album on here, but it's done so delicately and subtlely that you probably couldn't guess at first. This isn't a quick-burn album that you'll love for a week and then throw away. It'll hang around for months and every now and then you'll remember it and it'll be better than you could ever remember it being.

Bright Eyes - I'm Wide Awake It's Morning (Megaupload)

Sufjan Stevens - Come On! Feel The Illinoise! (Illinois)

Sufjan is another one of those big untouchable indie rock gods, and its easy to see why. After growing up in a postmodern cultist commune, he made his rise to fame off releasing a million albums a week. Or so it seems. He's one of the most profilic artists you're going to ever find. He famously promised to make an album for every single one of the states of America- a big claim from anyone else, but if anyone can pull it off, it's Sufjan. The man's released five christmas albums alone, after all.

Illinois was his sophomore venture into the state albums (after the first about his native state, Michigan) and his strongest album yet. It's not just a short trip, either: at 22 tracks long, this is going through the state with a fine-toothed comb and still managing to fill every track with a very personal feeling. As a Brit, a lot of the references went straight over my head the first few times but believe you me that this album is packed full of them, whether it's an idle mention of Egypt or namedropping Casimir Pulaski. There are the more obvious ones, too, like "Chicago" and "The Seer's Tower" (the sears tower, gettit...? Em?). The point is, the name isn't just that: this is a comprehensive, complicated web exploring what exactly the place is.

Don't think this is some tourist-board built flight round Illinois, though. Although on the outside the songs are about the state, Sufjan uses the features as a facade for his own feelings. John Wayne Gacy Jr is an exploration of how anyone could be a killer under the right circumstances, wheras Night Zombies plays off our existentialist fears of being forgotten after we're dead. As a result, the albums comes off as less of the state itself but more of Sufjan's life being played through it.

The songs' styles themselves vary as much as much as their subject matter. There's the banjo-plucking folk of Decatur, or if you fancy a change there's the straight-out lo-fi rock of Chicago or The Man Of Metropolis. Or the apocalyptic doomsday kickassery of Night Zombies. Or elsewhere you could relax to the soulful, ethereal dream of The Seer's Tower. Interspacing them all are a selection of little instrumentals to break everything up, like the almost bond theme-esque To The workers. Don't even once think you're going to get anything the same in this album.

Basically this album is one of the greatest by one of the best folk artists to come out of America. If you miss out on it, then you're missing a heck of a treat. So stick it in iTunes, put your best headphones on and visit Illinois for 74 minutes. It's the trip of a lifetime.

Sufjan Stevens - Illinois (Megaupload)

-Mike (=

What is beauty??

2007-04-01T09:01:00.000-07:00

Massive Attack - False Flags

Martyn xox

And The Glass Handed Mikes

2007-03-29T06:00:00.000-07:00

The Shins - Wincing The Night Away

I just totally love this album. It took a little while to click with me but when it did it was so well worth the wait.

Maybe the thing that turned me off the album at first was how good the first track, Sleeping Lessons is: simply put, it's amazing. Better, in fact, that anything The Shins sound like they could make- it was like Fake Plastic Trees turning up in the middle of a Keane album. Or Wonderwall being put at the end of the new Kaiser Chiefs one. But it sets the standard for album to keep to, and it's a high one. The slowly but constantly building guitarwork works perfectly along with maybe the most cocky opening lines ever: "So if the old gods still offend/They got nothing left on which you depend/So take every ounce of your blood/ And off with their heads!"

But after the first track dies away, the album is in no way over. It launches straight into Australia, which gives you a taste of what the whole rest of the album is about: that mellow, ever-tuneful kind of rock that's not quite passionate but not quite chill-out. Like late Blur, but without the needless experimentality. Music you can really relax to without falling asleep. It's twee, it's bubbly, and it's not the kind of music that could offend anyone.

Its more than anything James Mercer's vocal gymnastics that carry the songs; he boasts an absurdly dynamic voice that really has to be heard to understand. Y'know those pitch-correction machine things that people use sometimes that sound really fake? James is a human one of those. Note changes over octaves are just glided through effortlessly. He'd make your average vocalist teacher faint.

Pretty much this album is "come for Sleeping Lessons, stay for the rest". A great casual, relaxed album, if you give this the repeat listens it deserves then you'll get a brilliantly rewarding album with vast hidden depths to it.

The Shins - Wincing The Night Away (Mediafire)

Mew - And The Glass Handed Kites

Y'know, its come to me that there isn't much of an intro I could ever write that would really do that title and that album cover justice, is there? I don't know what Mew were on to get that title, but apparently it's doing them good.

So, who're Mew? Well, take Pixies. And then take Sigur Rós. Then blend all their best albums up together and put them through a brita filter 20 times. What you've got at the end is the great Danes themselves. They've got all the volatile explosiveness of Frank Black at their most heavy. But they've also got all the shoegazing and vast scope of Jonsi Birgisson, which is something that makes them something quite special when put together. Because they can fill up your ears and leave you wishing for no other band for a little while. But they can also have a little fun while they're doing it. Evidentally, they're a little more than just the master-band of Dream Pop.

The opener, Circuitry Of The Wolf, tells you what to expect. Overdriven guitars blast the doors of the instrumental open, while choirs hover over the top of the wreckage, turning it from an everyday rock track to something strangely ethereal. The next track finally brings in the vocals, and then the synths, and

One big thing about this album is that it's definately one made to be listened in one go. The track transitions are lush, making sure you know they're different songs but at the same time leading them into each other perfectly. It's a strange album to listen to out of order: the second half of a guitar note is an odd thing to open a song. So the quiet, piano track of Fox Cub works as the conclusion to the previous white-noise filled rockfest, but it's also the slow introduction to the track going on afterward, which picks up from it. And the moment towards the end of Special where the guitar changes key and the riff starts falling apart could be the end of the song until it suddenly switches into the riff of the next track. This may be an album of 14 songs, but it's definately an album that's meant to be of one track.

Whether its in the energetic guitar-meets-synths-work of the loudest track or the piano-and-silence method, Mew do whatever they do very, very well. It's immediately accessable, it's giant, it's music that make you want to turn the volume to the max every time. It's very, very damn good music. So turn off that Interpol, indie fans of the world, and give this album a shot.

Mew - And The Glass Handed Kites (Mediafire)

-Mike =)

It took a lifespan.....

2007-03-28T12:38:00.000-07:00

One of the best things to come out of America. Though depressing, they are one of my all time favourite bands.

Interpol are a band you have to check out. Though they were orignally nicknamed by critics as "Boy Division" they are a very orignal band in deep. Of cause they owe the almost robotic vocals and stabbing basslines to Joy Division, they have developed their own unique sound that many newer bands are yet to match.

Their first album, Turn on the Bright Lights was released in 2001, and is seen by most as the bands best album. It has the punchy single that is PDA, the tiwns of Obstacle 1 and Obstacle 2 and the powerful build up of Roland. Though I found the bands next album to be better, this album does contain my favourite song by them, the formentioned Roland. Which is a dark song rocky song with lyrics along the lines of "My best friends from Poland and um, he has a beard" and a buildup at the end that explodes into one of the best moments in music. Ever.

The next album, Antics is alot more accessable then that previous album. It has Evil on it, the song that got me into them, with its bass hook and great chorus. This album is a very easy one to listen to but its also very consistant. It doesn't dip in quality once during the whle playing on it. Highlights include Evil, Not Even Jail which is kinda 2 songs in one and NARC. The latter of which is the most similar to the bands earlyer work.

Interpol are currently recording their 3rd album for release this year. I dunno about you, but I am freaking excited.

And now one of their most famous videos. Evil. It features a creepy looking puppet. Joy.

Martyn xox

I Guess we're not Indie without this.

2007-03-27T15:17:00.000-07:00

So I finally gave in and got Return to Cookie Mountain by TV on the Radio the other day. Needless to say I was impressed! This is an album that came out last year to loads of critical acclaim, it kinda became and Indie milestone overnight. Impressive for a bands second album being released only last year!

The album opens with I Was A Lover, one of the best songs. It has an uneasy drumbeat where you arn't sure if its a broken beat of a normal one. It then has one of the most powerful, emotional samples ever. A brass section playing just 2 notes, in a sample that only lasts about 3 seconds. But its amazing. This sample is looped for much of the rest of the song, where its accompanied bu a Piano chorus and as much guitar feedback as you like.

It seems a Mr David Bowie has taken quite a liking to this band. Thats him doing backing vocals on the albums 3rd track, Providence. A twitchy guitar led song, but with almost comforting delay effects and keyboards.

Something that stands out straight away are Frontman Tunde Adebimpe's vocals. They are simply put. Amazing. The guy sings with every ounce of emotion he could possibly put into it. I think its safe to say hes a black Thom Yorke, and hes one of my favourite vocalists ever.

In the middle of the album we have a song called Wolf Like Me. This song is fantastic and probably the best on the album (bar that sample from the opening track). Tunde sings "When the moon is round and full/gonna teach you tricks/That'll blow your mind" to beautiful guitar pieces and some briliantly controlled feedback. Just when you can't take it any more the song slows down for its powerful middle section, where once again Tunde's vocals send you to somewhere else. Just when your at peace the distorted guitars kick back in again and your pulled into the fire again.

Overall, an album that I am not afraid to say deserves the attention its recieved. If your smart, you'll get it now!

Martyn xox

(Note: Martyn's views do not necessarily reflect those of the management.

Also: Return To Cookie Mountain - TV On The Radio (Megaupload)

- Mike =P)

Well, y'can't say I don't have a whole lot of range.

2007-03-27T08:39:00.000-07:00

Sugergrass - I Should Coco

Words that nobody could ever describe Supergrass as: intelligent, mature, technically brilliant, innovative, moving, emotional.

Words that Supergrass most definately are: stupidly bloody fun to listen to.

Because sometimes, everyone gets fed up of all the slow-building stringfests and hour long orchestral monstrocities of post-rock designs. And those times, there's not a whole not better than the sketchy, going-in-guitars-ablazing run through the landscapes of an east-end hooked on electricity in I Should Coco. It's fun, it stops you thinking too much and it promises not to slow down until its over. And it's more electric than a lightning storm.

The occasional slow track breaks up the adrenaline but the casual, careless tone is still there: this was an album from a simpler time. Supergrass don't really have any problems and they want to share it.

I Should Coco is one of the great electric teenage albums to remind you to live a little after the synths of slower albums have died down. Furiously fast, carefree to the extreme and forever happy, this album is the opposite of the entire nihilist wave that the world loves nowadays. It may have been made back in '92, but this is an album that any generation can relate to.

Supergrass - I Should Coco (Badongo)

Godspeed You! Black Emperor - Yanqui U.X.O.

...and this band is exactly the reason we need bands like Supergrass.

To start with, despite only having 3 compositions on it, and no vocals, this album racks up a terrifying 74 minutes in length. That's 15 minutes length per track! They are so long that 2 of the 3 songs are split in giant, 20 minute long halves. Evidently there's too much content for just one track.

This, my friends, is the very deepest, darkest heart of post-rock. There is simply nobody else that goes so far down that path of epic, brooding, ever building cacophany. Let me assure you, these are in no way, shape or form "songs". They're compositions. They don't have sections, they have movements.

What I'm getting at, here, is that Yanqui U.X.O has a certain... classical feel to it. These guys are our generation's Wagners and Mozarts. Except, and here the big difference is... Wagner never used electric guitars. Mozart never had drum kits at his disposal. And this is where Godspeed really do stand out: somehow, they really have used our everyday heavy rock equipment and used them to make music that the composers of old wouldn't shake thieir head at. This is heavy baroque.

It's daunting to know where to begin with an album of such a grand scale as this one. With an album with songs split up into tracks, and then tracks split up into movements and movements melting into each other until there isn't really any difference between any of it all. The closest I can do is give moments to you: 9.24 and 14.20 on the first track. The first 6 minutes or so of Rockets Fall On Rocket Falls are one of best movements of the album. It's the little moments that make all the album stick out from your average stagnant, unchanging- let's be honest, boring- post-rock band. Godspeed, the father of post-rock, is above that. They know what their audience want, even if they don't really care about it- these are the most pretentious dudes on the planet, after all.

All in all, Godspeed You! Black Emperor are one of those bands. Essentially the Beatles of post-rock, they're the archetype of the genre so if you don't like them, you'll never like them. But I think they're worth a shot. Because if you do like them, they'll always be one of the great bands in your head. One thing's for sure, you'll never, ever think they're "just alright".

In the end, I'd say it's worth the risk.

Godspeed You! Black Emperor - Yanqui U.X.O (Mediafire)

-Mike =)

Woo! My 10th post!

2007-03-24T12:23:00.000-07:00

Yeah, pretty exciting stuff guys.

The Notwist - Neon Golden

"We are overcute, we never managed to be rude only twice", sings Markus in what is possibly the most adorable line ever sang in a song. And, oddly, that line sums Notwist up in so many words! They're not a massively heavy band. They're not gonna be all up in your grill about their music! They don't ask to bother you with too much attention! All they want to do is make nice music for you to listen to and be happy with!

Awwwww.

They're pretty great electronica, though. They lean right on the cusp of resembling Kid A Radiohead at times, but always keeping that little bit of happiness (that word that Thom Yorke hates so much).

You get the feeling that The Notwist really thought about their songs. This isn't any old throwaway "chuck out an album, make another one" band. Within the 10 tracks of Neon Golden are hundreds upon hundred of little, subtle layers working together to make the song hum along perfectly. Whether it's the glitched vocals of This Room or the veritable orchestrafest (which seems strangely like Sigur Rós-lite) of Off the Rails, or the stange, almost The Books-esque background noise that pervades the entire album.

The Notwist are not going to change your life. They're probably not even going to make it into your Great Artists. But they'll make music that you'll enjoy listening to, and that's all you'll really want when you listen to them.

Aww, bless 'em, though.

The Notwist - Neon Golden (Badongo)

Modest Mouse - We Were Dead Before The Ship Even Sunk

There was a lot of pressure on Isaac to make a bloody great album in their latest release. Facing antagonism from every side with their previous Good New For People Who Like Bad News (a criminally underrated album, incidentally), it was almost accepted as a fact that the Seattle lads had jumped the shark. They needed something pretty damn special to redeem themselves to the fickle Indie crowd.

Good thing they did, then, eh?

For my money, the new record is the best record they've released in the past decade. People looking for another Moon & Antarctica might be a little disappointed, but people looking for a M&A beater will get exactly what they want.

I'm almost reluctant to say that the recruiting of ex-Smiths guitarist Jonny Marr was such an inspired move. Reluctant because I've heard more than once "Modest Mouse? Aren't they Johnny Marr's band?" Guys! They've been around almost 20 years now without him! But somehow, something's changed with his addition. Those typical Mousy riffs seem so much more colourful than they used to be. Everyone's favourite nihilist misanthrobes are almost sunny this time round.

And its that new tone that makes this such a good album. The old, world-hating Isaac is still there, but it's second stage now to a new, unashamedly happy Modest Mouse. And because of that, this is finally something new from them: instead of trying to repeat their last success every album, they've shaken off the shackles and so, although they're still perfectly encompassing the Modest Mouse entire aesthetic, the album sticks out from everything else they've released.

I've always said that Isaac Brock is my best lyricist ever, and here isn't any exception. It's the same effortless wit, packed with the same one-liners and the same simple, powerful choices of words.

This album was one that would always be set to a background of a band being quickly, quietly shut out, but the result of it is one that will hopefully blow away even the harshest of naysayers. Powerful, jolly and unbelievably clever, We Were Dead could well be the Modest Mouse masterpiece yet.

Modest Mouse - We Were Dead Before The Ship Even Sank (Mediafire! It's working again!)

-Mike =)

Okay, okay, it was always only a matter of time until this came up.

2007-03-23T13:03:00.000-07:00

Neutral Milk Hotel - In The Aeroplane Over The Sea

Y'know last week when I said Agaetis Byrjun was my second favourite album ever? Well, truth is, it was only my drawn second favourite. Epic though it is, it's never going to beat Jeff Mangum and his explosive seminal album. If you haven't heard of Neutral Milk Hotel, then I kinda don't blame you but also there's something seriously wrong with you: you need this album, stat.

Neutral Milk Hotel is almost a legend: they arrived on the scene in '95, released two albums in two years, disappeared in '97, never wrote anything again. And managed to inspire every self-respecting indie artist ever since! It's almost like their job was complete: we've done that reinventing rock thing, moving on...

Well, firstly, this was the anthemic album to end all anthemic albums. When you listen to it, you're going to end up having every song from it stuck in your head. You're gonna hum it in corridors and then you could leave it for years and when you hear that tune or listen to that line you're still going to know exactly where it came from. Neutral Milk Hotel don't just leave your head.

Secondly, it's an amazingly clever album. It reads like a love letter to Anne Frank, but it's not half as despairing as it could have been. The main body of the album is bookended by two versions of the same song: Two Headed Boy parts 1 and 2. In the first part, the two-headed boy is lost and desperate. Then the album moves on, referencing but not obliquely talking about the ill-fated Anne Frank. By the finale of the album... well, it would be a crime to spoil that. But if you don't end the album with shivers going up your spine then you're not feckin' human.

Thirdly, the lyrics in this album are nigh untouchable. They tack on exactly the tone they were going for every time. In the comforting existentialist drama of the eponymous track, they're relaxed and understnading. Elsewhere, in the bleaker parts of the album, they take a turn for the slightly more unnerving- although never too much. I will challenge anyone to find an album that ties its lyrics to its songs so well as In The Aeroplane does.

Fourthly is the range and variety of the album. It opens with a 3-part epic spaced over two tracks, but encompasses accoustic homely music, oriental christian hymns and pure, all-out punk rock with some of the most overdriven guitar you'll hear. And then, back to the moody accoustic music of In The Aeroplane. This album isn't one that's going to ever bore you. It seems, it was balanced perfectly to pick up with the electricity the moment the moody melodrama becomes too much, and return back to the emotional songs the moment the edge of the upbeat tracks wears off. From beginning to end, it never dips and it never stops until you've heard the final moment.

All in all, this album is giant and tiny and paints with a giant brush and gets all the details anyway. You haven't fully lived life unless you've listened to this album, with the volume up to max, to the end. This album, guys, I think we're agreed, is pretty damn good.

Neutral Milk Hotel - In The Aeroplane Over The Sea (Mediafire)
Neutral Milk Hotel - In The Aeroplane Over The Sea (Megaupload)

- Mike =)

Whats the time, Mr Wolf?

2007-03-19T14:04:00.000-07:00

Take a moment to stop laughing at my CLEVER title please.

Ready?

Okay! Allow me to tell you of the genious that is Patrick Wolf!

That little colourful man up there is a genious. Fact.

Patrick Wolf is an artist I have grown to love very quickly very recently. His latest album, The Magic Posistion has catapulted him into the Mainstream. Something like this is bound to alienate some fans, but hey, its the business.

But don't let the happy, colourful image of Mr Wolf decieve you. He has had a very dark past. His first album, Lycanthropy came out in 2003 and showed a dark, scary journey of old fashioned pianos playing along side furious breakbeats. I think this album is his best work, simply because it all works so well. On Lycanthropy we are treated to such songs as Bloodbeat, with its twilight synths and fuzzed out bass and the dark storytale of The Childcatcher, with some very impressive beats and beautiful chords. The latter of those 2 songs is also my favourite by him. The whole album contains this dark mood, with the furiosity of the beats letting us know how angry the man gets. There are some light moments on the album, such as the opener, Wolf Song, which is just Patrick and a Mandolin or To The Lighthouse, the only really uplifting song on the album. I think this is his best work to date, but if your currently in love with The Magic Posistion then stay clear of it. You won't find your happy horns and disco beats here.

His next album was Wind in the Wire. Which carried along his dark theme but this time it was alot more defined. This album is almost as good as Lycanthropy I think. It has some fantastic tracks on it though, such as the opener, The Libertine. Which has the most depressing mood of any of his songs, but with electronic distortion alongside gypsy violins. Tristan is also his most RAWK song to date, and has a really good video which I will attactch at the end of this blog. The album has his most matured sound, dark but folky. This man truley is a Pioneer in Folktronica.

This brings us nicley to his third album, released this year. It was quite a sudden change for the man, who previously was singing about being caught by The Childcatcher and having an alterego called Tristan. The man embraced pop melodies with open arms and it really does suit him. The first single from his album, Accident & Emergency is a very happy track with some extreamly catchy horns. Its also good to hear his synthesiser playing major chords! My only gripe with the album is the lack of electronic stuff which I fell in love with him for. gone are the days of the sonic chaos in the middle of The Childcatcher or the grafted white noise in The Libertine. but instead we are given fantastic sing along songs with brass and as much gypsy influence as you like. its nice.

Overall, hes finally come out of the darkness to show his happy side, and its selling in the bucket load.

Martyn xox

You'd almost think I went mainstream.

2007-03-18T11:53:00.000-07:00

The Libertines - The Libertines

So after the massive shocker of Fratelli's Costello Music I figured I'd have another shot at this whole nu-Britpop malarky. And when you say that, you realise there's only one band that solely created nu-Britpop: so you have good ol' Pete Doherty to thank for all these new wave replicas. So right around that point when you realise you've never listened to a Libertines album and something is very, very wrong.

So what better timing for that than here? This album is pretty great. If I'm honest, I kinda typecast them as a totally different band to what I thought they were like! My expectations were "Arctic Monkeys, except 5 years before Arctic Monkeys formed". In truth, they were more The Manic Street Preachers, 5 years after the Manics' soul left them. (How dare you! - Martyn)

What you get to expect instead from the album is a whole lot of guitar noise and fast tempos, but it's not the only thing you get to expect. The slow songs at least outnumber the mindless grinds, and they're (for my money) better, too. Here's a strange thing: The Libertines can make a hell of a tune. The Doo-wop What Katie Did (which Doherty would revisit later with Babyshamble's What Katie Did Next) is every bit as catchy and moreish as the white-noise filled Narcissist.

The beginning of the album is a little off tempo from the rest of it, but from track 4 onwards it's a solid gold trip down through a group that know they would never release anything together again from the beginning. The big finalé, What Became Of The Likely Lads, is a touching tribute to the end of the long friendship between Doherty and Barat.

In the end, this album is an odd mix of elation and tragedy in one nice little package. It's the concluding, and best, chapter in one of the most influential bands of the past few years. So worth it, maybe, for a download! The ripples haven't stopped spreading for the importance of this album but I think it'll be far reaching in the long run.

The Libertines - The Libertines (Sendspace)

Eels - Electro-Shock Blues

In 1997, E, the man whose project Eels is, was struck by a double-blow: after the death of his father, his mother died of cancer and his sister committed suicide not long afterward. Suddenly, he was the sole survivor of his entire family. As a man who never really bothered with friends, you can imagine what the tone set by the following year's album would be.

What's surprising is the frankness of the songs. The opener, Elizabeth On The Bathroom Floor, depicts one his sister's attempts to kill herself. The next track's name is "Going To Your Funeral". It's very sincere and it's massively bitter. E's lyrics have always had a tinge of melancholy to them but they've never been this unashamedly cathartic.

Although, you shouldn't think this is one of those painfully awkward albums to listen to. As the album goes on the track turn more and more accepting, and almost happy. By the middle, Last Stop: This Town may well be the most dancey song about grief ever made, complete with harpsichord, samples of laughing and dubbed voices. And the best part of the album is this slow change in tone. Although it starts massively depressed, it slowly takes you on the journey as E starts getting over it all.

The final track is the song that makes the entire album go from being a powerful trip through depression to one of the great moving albums of the 90s, though. If the first 15 tracks were the downfall, then the finale is the redemption for the entire journey. One of the great uplifting tracks, it takes the entire album and moves on from it. It takes you to E's revelation that came from the entire ordeal: "I was thinking about how everyone is dying/so maybe it's time to live!"

Eels - Electro-Shock Blues (Mediafire)

- Mike =)

Todays Surprise

2007-03-17T11:14:00.000-07:00

I've never really been a fan of Kings of Leon. I thought The Bucket was an okay song and I knew my Uncle really liked them, and that they were 4 brothers but that was it. So I heard the new single On Call on the TV this morning and it really clicked with me. It was a very dark bassled song, something I hadn't heard since Think Tank, and something i'd never have expected from KoL (I was shocked to see it was them!). So I've downloaded the album and wow! It's great.

There are two apparent moods in the album, 1 is the dark mood which is carried along by the bass guitar and minimal guitar work, this is best seen in the single, On Call and the fantastic opener, Knocked Up.

The album has its more uplifting tracks too though, such as Black Thumbnail and Camaro at the end. These songs carry along the typical upbeat shouty and vintage sound of the Kings.

There are a few odd songs thrown in though, McFearless has a fuzzy bassline like something out of a Queens of the Stone Age song and Ragoo is the perfect mix between the dark and the happy moods on the album.

Overall, its a very very good album thats going to be a surprise hit this year. I thought the best song was the long, dark Knocked Up which opens the album. But thats just me liking my dark depressing music. I think this is going to be the Show Your Bones of 2007. Get it!

http://www.mediafire.com/?egygx2xfzgz

Martyn xox

Classics Friday: Agætis Byrjun!

2007-03-16T12:21:00.000-07:00

Sigur Rós - Agætis Byrjun

I'll let you in on a secret. Agaetis Byrjun is my second favourite album of all time. It is pretty damn good.

The problem with Sigur Rós is, you can't judge them by the same standards you judge every other band on earth. Everyone else you judge by, I dunno, drama? Catchiness? The freakin' X Factor? But no, Sigur Rós is different, and this is why: you judge Sigur Rós by how many angels were made to cry by the track?

The thing about Agaetis Byrjun is that it's more than any other album. You don't just get happiness, you get winning the lottery on the same day as meeting the love of your life and ensuring perfect security in every part of your life and never having to worry about anything ever again, and it's a really nice summer day and you're totally relaxing, but also you're like a hundred miles up in the sky and moving through the air at a thousand miles an hour. And you don't get sadness. What you get is everyone you've ever loved being horribly killed at the same time and you being powerless to stop it and the entire world being turned into a living hell and you not even being able to stop any of it happening. It's not emotion, it's hyperemotion. Don't worry about the lyrics being in Icelandic: the truth is, lyrics could never do the music justice. It's the same reason they switched to Hopelandic, a nonsense language, in the next album. Simply put, Sigur Rós make music that is too good to be put to words.

Everything about the band shows how bigger-than-life they really are. Their songs are all 7 minutes long, because they couldn't fit everything into so small a space as a regular song. They have entire orchestras of instruments at their disposal, because they couldn't condense everything they had to say to just guitars, vocals and drums. Jonsi's vocals are higher than whalesong on helium because life's just not dramatic enough if you sing normally.

Look, if you only get one album on this site, go for this one. You can't be disappointed if you don't try it out, huh?

Sigur Rós - Agætis Byrjun (Mediafire)

- Mike =)

Happy Thursday, Everyone!

2007-03-15T10:42:00.000-07:00

The Books - The Lemon Of Pink

The Books are a bit strange. They make all of their songs out of found objects- recordings of conversations or parties or lectures, or sounds of arrows firing, or of wolf calls. Their vocals are almost entirely done by people who never even knew they were gonna be used in music. After mixing it and splicing it until it's almost poetic, they put instruments to it and turn a concoction of different mediums thrown together into a strangely consistent song.

It sounds like it could easily get old, but there's a surprising amount of space to grow in the medium yet. Instead of sounding like the juvenile, barnyard-noise mess it could have potentially been, it manages to come off as being much more sophisticated and interesting to listen to.

Although the samples are always there, the band themselves don't exactly slack off. Most songs have the vocals in the foreground of the found objects, reminding us what's real and what isn't in the songs. Somehow, the distinction manages to sort itself out, so instead of being a mess of sound it has a real root to it.

Essentially, The Lemon Of Pink could have been a horrible, horrible album if it were done by a less careful person. But in the hands of The Books, it's ended up as a strangely beautiful piece of music. The found objects never jar with the music, exceptn when they're supposed to, and as a result the layers all glide together to make a perfectly relaxing album. It's an odd, but unique, experience to listen to.

The Books - The Lemon Of Pink (Megaupload)

Gogol Bordello - Gypsy Punks (Underdog World Strike)

Pretty much everything you want to know is right there in the album title. Gogol Bordello is a gypsy punk band: mixing the unlikely pair of soviet fiddle music with heavy guitars, manic drums and a frontman with more confidence and charisma than a million Alex Turners.

Gogol Bordello, led by Eugene Hutz, was formed as Eugene was kicked out of Chernobyl following the famous nuclear disaster. Without a home, he join a troupe of gypsies at a young enough age to pick up the life as his own. As time went on he picked up Israeli guitarists, Ethiopian bassists along with a full cast of Russians to back him up. Clearly, the dude is the pied piper of punk rock.

As for the album itself, there is literally next to nothing as fun to listen to. It's in the vast guitarscapes that remind you of somewhere between The Clash and Wolfmother, and then the miriad of cheers and scream that accompany most songs. More than once, Eugene actually just screams "PAAARRTYYYY" towards the end of a song: clearly, lyrics just aren't enough to do it justice.

They'll sneak up to you at the start with a relatively quiet song, Sally, telling the story of a Nebraskan girl discovering gypsy culture. And then, you hear it: "They dropped something on the road, she picked it up/ And cultural revolution HAS BEGUN". You can pretty much imagine how much overdrive that guitar needs to do it justice.

Louder, wittier and more fun than anyone else in the world right now, Gogol Bordello is like throwing a party and inviting everyone worth coming from America to Russia, and everywhere in between.

Gogol Bordello - Gypsy Punks (Underdog World Strike) (Mediafire)

- Mike =)

A Couple More Albums For Ya...

2007-03-14T12:40:00.000-07:00

Islands - Return To The Sea

The Unicorns are back, but it's not only the name that's changed. With half the band gone, and a heckuvalot of better recording quality (because "lo-fi" is just a euthenism for "budget", after all), they've grown up a bit, too. Far from their whimsical, trivial past, Islands have moved on: and now, they're a bit more serious. And massive.

You can tell it from the very beginning: the opener, Swans, is over 9 minutes long. They've kept their Unicorns roots in a few cutesy little references to the old songs, but the song itself is pretty epic. Branching out in vast sweeps like an old Arcade Fire song parodying itself, there's not much room for the mundane anywhere about.

But if you're fed up of that, then it doesn't take long to change entirely. Because if you were to stick Return To The Sea into a category, you'd be pretty hard pressed. From the feature-length extravaganza in the opener, it moves onto summery ditties like Whitney, Don't Call Me Bobby, or 70s Dire Straits-esque belters like Rough Gem. It even tries its hand at a bit of trip hop in Where Theres A Will Theres A Whalebone, complete with house rapper MC Busdriver. And then, the closer (Ones) almost beats Animal Collective at their own freak-folk game, combining the uneasy with the relaxing in one fell swoop.

If you want a massively anthemic, addictively rememberable, completely tuneful album then Return To The Sea is worth a listen.

Islands - Return To The Sea (Mediafire)

Röyksopp - The Understanding

Royksopp are pretty awesome, whichever O they're using this week (Røyksopp like messing around with their name, apparently). I guess they're somewhere around chillout music, except they're not ever very chilled out. They could be electronica, but the liberal use of the piano say that they're not really entirely that, either. Rave, or nu-rave, or nu-nu-rave, would be pretty close, too, except they don't really rave all that much. But the Norwegian duo is definately something, and its something that has to be listened to to understand.

Triumphant, the first great track on the album, plays like a Sigur Rós style instrumental, repeating the same piano loop over an ever-building background of synths and beats. Unlike Sigur Rós, however, Triumphant isn't scared to get upbeat. By the halfway mark it's a web of instruments based around the little loop in the background.

Elsewhere the tracks range from the almost hip-hop-esque (like 49 percent) to the electric ballads like What Else Is There (which features The Knife's Karin Andersson). Never quite letting go of the cool beats, but never quite forgetting to be emotional. Occasionally, they branch off to make Alpha Male, which is an 8 minute long lesson in how heavy a song can possibly get, or Tristesse Globale, a quiet orchestral piano-lead track that has the album go quietly into the night.

The Understanding is Róyksopp's second album, and you can tell that they've picked up a lot along the way since their debut, Melody AM. It's endlessly classy and smooth, but also dramatic and edgy. They're not really 100% of either, but Rṏyksopp is definately something. And it pretty much needs to be listened to to understand.

Röyksopp - The Understanding (Megaupload)

-Mike =)

For those who havn't seen it yet....

2007-03-09T11:34:00.000-08:00

Modest Mouse's new video for Dashboard is amazing. Even more proof that Isaac is a genious.

Enjoy!

Martyn xox

It's a classic album Friday!

2007-03-09T09:37:00.000-08:00

It's a classic album Friday!

Okay, so here's a nice tradition to kick off. Every Friday's a slew of classic albums? That sounds nice. Note, by the way, that "classic" basically means, like, "not made in the past week". "And I quite like them". So what you'll see here are the big albums of the past few decades that've had their effects already. Mmmk?

Right, so where better to kick off than

Blur - Parklife

Oh man! If you haven't heard this album right now you're inevitably groaning from the title track. Well... don't! Parklife is an amazingly varied album that has so little in common with its eponymous track and really, young person, you're being very silly judging that book by its cover.

Parklife was Blur at their peak. This was a band that was massive and knew they were: and they were just about ready to show the masses what exactly they could do.

The old jolly cockney electricity of the former Blur is still there from tracks like Girls & Boys, Bank Holiday and, yes, Parklife, but there's something bigger in this album, too. Unlike those Oasis hacks, this was a Blur that was on the move. Their unbelievable epic This Is A Low has more depth in it than a million Atlantics and deserves more praise than this entire blog can hold. I could pour on about it for years but I'll stick to this: if you ever thought Blur couldn't do overflowingly emotionally sincere tracks, then This Is A Low will completely wipe out, destroy and obliterate those doubts. It makes their later The Universal look like a joke.

Elsewhere, you find the bittersweet Badhead ("I know I've not really stayed in touch" sings Damon to the background of lush brass and shoegazey synths), the overhwelmingly creepy Far Out- which is made of a list of stars and moons but sounds like the cold emptiness of space, and the bilingual ballad (what, Blur?) of To The End.

Rest assured, this is not a britpop album. There are a few tracks to remind us where they came from, but this was Blur's next step. And standing in '94, it's no wonder at all Blur won this round against Oasis.

Blur - Parklife (Sendspace)

Pulp - This Is Hardcore

This Is Hardcore picks up from where Pulp's biggest hit, Different Class, left off. And the Jarvis we see here is a massively different person to the cheerful, witty fop we saw last time round. This time he's finally got his wish to be famous after 20 years and 4 failed albums, and it looks like he's learned to be careful what he wished for.

The opening track, The Fear, shows this right away: gone are the happy little riffs and snide little comments. What we get instead is a choir and a million layers of guitars and maybe even a little light depression behind Jarvis' flawlessly passionate voice screaming "And when you're no longer searching for beauty or love/just some kind of life with edges taken off". Clearly, something's gone rather sinister with Pulp.

As it turns out, this is exactly what Pulp was made for. This isn't a different band at heart: everything you've ever loved about them is still about. But the drama's been pumped into this album until every song sounds like it's a matter of life and death. Instead of fantasies of class warfare, Jarvis turns his spite at exactly what he was last time we saw him: the title track attacking the idle attitude towards sex, Party Hard the full offensive in the face of his old life of hedonism. This Is Hardcore is full of loathing and anger but it still keeps an edge of hope.

All in all, This Is Hardcore is a masterpiece of loathing and drama that doesn't really exist outside of Pulp. At its best, it's unrivalled by anything else anywhere in time and at its worst, it is a great album that's worth anybody's time.

Pulp - This Is Hardcore (Megaupload)

-Mike =)

Might as well get this one out of the way

2007-03-08T12:10:00.000-08:00

For those of you who know me, you might see me often ranting about a band called Fear of Music. Many of you think I made this band up to enhance my indie-cred, but you are very very bad people.

Here is now a blog stating how you should stop listening to Costello Music and check out Fear of Music now. To begin, a picture of the wonderful lads:

Left To Right: Chris Stanley (Drums), Mike Ward (Lead Guitar), Jo Rose (Vocals, Guitar, Keys), Ali Esmaail (Bass).

Fear of Music have been described by some as the "Mini-Muse". I'd like to stamp that out and say they don't sound like Muse. While they are certanly influenced by the band they are not the immitation the press has led many to believe. They have currently released 3 EP's and are working on their Album for release later this year. If it follows the EP's standard of awesomeness it is likley to be my album of the year.

Their first EP came out in 2005, the Fear of Music EP. It had 6 tracks on it, all of which were amazing. It had a very raw and powerful sound from the band, and had such classics as Skin & Bones and The Creeps. The highlight of the album though was the closer, Millions Screaming. Its a 7 minute progrock epic with both slow and fast parts. I still find it to be one of FOM's most emotional songs to date. Other highlights include the gothic fairytale of The Waltz, complete with 3/4 timing and some briliantly dark guitar work. It also has some very good lyrics and is a good song for someone getting over a recent breakup. In the nicest way possible of cause! The albums opener, A Strange Kind Of Terror has a briliant solo in it and a screeching wahwah effect during the choruses. Meaning the EP is in your face from the moment you hit play.

Their next EP was the Western sounding Fast. Faster. Fastest EP. Which came out last year. It had 4 songs on it and an "interlude" of sorts. This was quite a big change from their first EP which had branded them the Mini-Muse. Songs like A Western Disease have a smirking catchyness to them, but they still keep their riffs in Bitter Medicine, which has a riff to blow your head off. Also included on the EP was the Pixies influenced Ghost In A Jar, which featured a very very impressive solo from Mr. Ward and fantastic lyrics about selling ones soul on Ebay. The finisher of the album was 16, which is one of the darkest, loudest songs the band ever did. It has a fantastic riff in it too, stuff like this comes as standard in most FOM songs. The Interlude, though more of an introduction to the next track (Ghost in a Jar) features an Ebow and a Rhodes Piano and it stinks of Post-Rock goodness. Hopefully it was a glimpse of what the album might have.

Their most recent EP was released in Febuary this year and is called We Are Not The Enemy, after the EP's title track. It is the bands shortest release with only 3 songs. But it is by no means their worst. The title track is the most uplifting song they have ever done. It plods away with a happy little riff, reminicent of Feeders Buck Rogers, and has a fantastic outro where the bass plays one slightly different note, but this slight change just makes the song seem even more happyer. A Blueprint is going back to their more experimental sides such as the Interlude on the previous EP. Its a epic piano track with some great Post-Rock guitar work from Mike. Its a very mature song, and again an indication of what the album will sound like I hope. Finally we finish with The Sheets Twist, another happy number with a fantastic riff in it and a breakdown part featuring handclaps and drums. Speaking of which the drumming in this song is probably their best, well done Chris! Unfortunatly the EP is over just as soon as it began, but its amazing none the less. They released a briliant music video for the title song, check it out for a taste of uplifting goodness:

So there you have it, a few EP's you should probably think about getting at some point. The band are headed for big things, so now you can say you heard them here first! Keep at it lads!

Martyn xox

The Spoils Of My Latest Blog-raid

2007-03-08T11:49:00.000-08:00

So on the download front, last week I had one of those days that was, for me, one of those days. The one where you find a site that had so many new albums and then you download everything in sight before it disappears into the abyss of "file not found". I grabbed stuff I'd never heard of, I grabbed stuff because I liked the bloke's name, I grabbed stuff I was pretty sure I would never like but I might change my mind in the next week... basically, I ended up with 24 albums sprawled out on my desktop.

And it's taken me a week to get through them, but there were some total gems among them and, for your convienience, I've picked the cream of the crop out for ya!

6. The Microphones - The Glow Pt 2

Before you go thinking they're just being obscenely Indie with that title, the original The Glow was their breakthrough track back on their debut album. Which makes it alright, apparently?

This album is weird. I have no other word for it. It's that strange mix of consistency and inconsistency at the same time. Some of the songs are amazing lyrical anthems, others messes of noise that seem to go beyond music, and then others still are quiet accoustic tracks.

And yet, the one thing to link them together is the brisk ending, followed by silence and one or two quiet, but noticable, monotonous, slow, piano notes. It's the sound of that bell toll you hear that suddenly sends shivers up your spine. It's the same note every time, but every time it seems creepier. And then the next episode of tune and noise takes over and you forget about it entirely until it comes along again.

Another thing about the album is that it is long. At 20 track long and over an hour's playtime it's not a delicate little thing that is gone as soon as it starts. You better get those headphones out because you're gonna be in there for a long time.

So it's an experience, an entire packing-up,-leaving-and-coming-back trip and a little reminder that it doesn't take much to creep out anybody all in one. Personally? I'd check it out.

The Microphones - The Glow Pt 2 (Mediafire)

5. Thievery Corporation - The Cosmic Game

Right, now, nobody- not even me! I know!- can do justice to what I'm about to put like wikipedia does, so I'm gonna hand the mic over to the free encyclopedia, here. "Their music can be characterized as downtempo electronica with influences of dub, acid jazz, Indian classical and Brazilian styles (such as bossa nova) fused together with a lounge aesthetic." That's right folks. This is an Indian Brazilian dub reggae electronica lounge jazz group. If you ask me, that's a genre that's gotten a little overlooked by pitchfork.

Right, so the best thing about Thievery Corporation is that they're a little like an open mic night where everyone who gets up is a master at their own style. The first track was done with vocals from Wayne Coyne of The Flaming Lips fame, and sounds exactly like you'd expect a downbeat 'Lips track to be like- straight indie rock all through. The next track brings in gangsta rappa Sleepy Wonder along with Punjabi singer Gunjan to make a strangely fitting duet. Next up to the stage is Perry Farrell, master of dub, to bring us a political reverb-off. And so it goes for 16 tracks, all strangely downbeat but in their own ways. Whoever the singer is subtlely changes the band to work the best with them. The result is a great blend of different styles that's well worth checking out.

Thievery Corporation - The Cosmic Game (Mediafire)

4. The Dears - Gang Of Losers

Okay, so Martyn's already beaten me to this one. It's not like he didn't get the link off me in the freakin' first place... =P

Still, The Dears are a great band. They're somewhere between a Snow Patrol's sinister twin and a The Good, The Bad, The Queen appreciation society. About as melodic and catchy as you're gonna find, and everything's done with all the makes-it-look-easy you'd ever want. Murray Lightburn has an awesome name and he is damn talented.

Just make sure you don't accidentally have your iPod set to shuffle when you play it first, like I managed to do...

The Dears - Gang Of Losers (Mediafire)

3. Kate Havnevik - Melankton

Yeah, scroll down for a bit more about ol' Kate.

I quite liked it?

Here's that link again for y'all (Mediafire)

2. The Pinker Tones - The Million Colour Revolution

Okay, imagine the most fun you've ever had in your life. Actually, take every time you've ever had fun ever, and then add that up. Because that's about the only way you can describe The Pinker Tones' absolute party that is The Million Colour Revolution.

The quadralingual group open their album with not one but two intros to the album, and one of the undisputably most classy ways to begin an album I've heard yet. Welcome to the million colour revolution, indeed!

But don't get thinking this is a concept album. More, a fight in a painthouse. It's a chaotic explosion of creativity in a million forms, from the caribbean-esque "Karma Hunters" that shouts that we "gotta vote for the karma party right now" to the unbelievably funky "Love Tape", a jazzpunk ballad of mix tape romance. And if you ever get fed of the freakin' English language, well, they like a bit of French, German and Spanish- they are from Barcelona, after all- too.

And then, after you've finished the entire experience, it brings you back to earth with the perfect denoement. "The million colour revolution... is this the end or just a concluuuusiooooon?"

Pretty much, click that link down there because they don't take themselves seriously in the least and it's pretty glorious.

The Pinker Tones - The Million Colour Revolution (Mediafire)

1. The Fratellis - Costello Music

Oh, I know! I'm behind the times, a little! I only discovered The Fratellis 6 months after the rest of the UK was fed up of them! I'm not that bad off!

Nevertheless, if you've been stuck in a cave for the past year, The Fratellis is nu-britpop's best offering yet. Screw The Arctic Monkeys. Kaiser Chiefs? Pass on that. I'd totally, entirely, lost faith in the entire wave until I put this album on. Yup, that's right, it's good enough to do more than just move mountains, cause world piece and wipe out all suffering: it managed to change a totally hardened critic's mind about an entire genre.

That's, like, the indie equivalent of the holy grail, isn't it?

There's one thing this album has in droves, masses and shedloads: energy. Erm, and electricity. For reals, this album is the ultimate in wakeup technology. Between the overdriven guitars, the oddly gruff yet totally powerful vocals and the spot on mixing at the end, this album literally couldn't have been improved in any way whatsoever.

And here's another thing: if you think you've been just about played out on The Fratellis from the endlessly repeating Chelsea Dagger on the radio, you needn't worry, either. The more obscure album tracks are in so many ways better than the mainstream singles. Between Doginabag and Got Ma Nuts From A Hippy is some amazing music. The latter, more than anything, is some of the best upbeat rock to come out of the UK since Jarvis put down his Pulp mic. All in all, this album is brilliant and if I'm not preaching to the converted already, here, click the link and you won't be disappointed.

The Fratellis - Costello Music (Mediafire)

- Mike =)

'Bout time you heard from me.

2007-03-07T14:17:00.000-08:00

Bjork

Bjork is awesome. Everything Bjork touches turns to gold. Bjork can't do any wrong. Don't let everything you've heard about her put you off, because, frankly, those guys a plain wrong. Anyone who's ever heard Army Of Me or It's Oh So Quiet and heard of that one time she totally spazzed out on that journalist (awesome) and figured she's not for me? Yeah, that intro was for you.

Homogenic is probably in my top 15. It's Bjork being too damn dramatic for her own good and between the heartstrings and literally unbelievable voice it's enough to blow away even the hardest critic. Check it out!

Bjork - Homogenic (Megaupload)

Camille

Now, Camille is pretty awesome. She's a French artist that makes nice pretty songs that're pretty much mostly about love but you can't tell because it's all in French! If you like Bjork, then she's a bit like her. If you don't, it's cool! She's a different artist! But she certainly likes her electronica when she's playing about. And then she cuts away at it all with a super-serious emotional track to remind y'all she can do it when she wants to.

Le Fil never really got as much press as it deserved, but it's a great album. Basically, you owe it to yourself to listen to Pále Septembre off it at least, it's pretty immense.

Camille - Le Fil (Mediafire)

Emily Haines

Another artist to join the group. Are you starting to get a bit theme here? Okay, seriously, all these artists work perfectly together. My Bjork vs Camille vs Emily playlist can't be wrong.

Emily Haines is a Canadian lass who has been in like every band to come out of the country. She was in Metric, then she left and joined Broken Social Scene, and then she got fed up of them and went solo as Emily Haines And The Soft Skeleton. She is pretty much a musical getaround.

Compared to the other albums in this post, Emily is far more sincere in her music, not wasting any time on beats but making a lot more from what she has. Which is usually just a piano and a voice. Her songs are far less happy-go-lucky, too, and the result is some painfully poignant songs and an album that won't leave your library for a long time yet.

Emily Haines - Knives Don't Have Your Back (Mediafire)

Kate Havnevik

...which brings us up to Kate, who I discovered the other day and totally keys in with the rest of the load up there. Actually, the strangest thing about her is how much she does seem to glue them all together. Earlier on I was just listening to a review to find she was planning on releasing 3 different albums showing the 3 different sides of her personality (Bjork did that, y'know), that she'd done songs with Sigur Rós, Moby, Amiina and just about every artist going (sound familiar, Em?) and then, to seal the deal, the final question asked her what she'd been listening to lately. The answer? "Well, there's this French artist, Camille..."

Okay, Kate is awesome. Melankton ("Black Rose" in her native Norwegian) is easily one of the best albums I've heard this month. To start, there's the gorgeous strings which populate so much of the album. But it's not all quiet and stagnant, as the perfectly refreshing beats kick in and out of the album. If you only listen to one song, though, the only non-English track, Se Meg, is one of the most beautiful songs you will hear any time soon. It's the music playing at that part of the film where the battle's over and the people look back at the aftermath. You know what I'm talking about. And it's every part as epic. Kate deserves a heck of a lot more press than she's getting at the moment, and if you want my guess? We'll be seeing a lot more of her.

Kate Havnevik - Melankton (Mediafire)

-Mike

I'll let you decide on this one....

2007-03-07T11:46:00.000-08:00

The Killers covering Joy Divisons Shadowplay at the NME Awards this month. I think its pretty good! Though I still prefer the original I think.

Martyn xox

Stuff To Check Out This Week

2007-03-07T11:25:00.000-08:00

Hello Indie Folk, Martyn here.

What have I been listening to these past weeks!? I shall tell you...

¡Forward, Russia!
This is a band who certanly are original! From their name being the only band name on the planet to use a inversed exclamation mark and their songs to all be named after numbers (In the order they were written in no less) they are one hell of a blast to the ears. I got their debut album, Give Me A Wall. The first track, Thirteen is arguably one of the best songs I have heard all year. With such an uplifting powerful chorus and very nice chords used through out. The bassline is nothing short of phenominal too. Very talented band. Though at points the album drifted away from my attention it is a very loud affair with screaming and tinny guitars everywhere. That sounds terrible I know but atleast the musics good.
http://www.mediafire.com/?enizoozorym

Arcade Fire
i'm sure any one could have seen this one coming. I got the new album, Neon Bible yesterday and its good. Really good. It captures the beauty and power and epicness that the Fire have had since their EP days. Speaking of which, it now includes a re-recorded version of the EP song, No Cars Go, just with an orchestra behind it! The songs that really hit me are Black Mirror, which is a very dark song for them that builds up. Has a fantastic bit in the middle were Win Butler sings a few lines in French and then the song explodes into a sprialing symphony. Intervention is pretty wicked with its use of a church organ and nice chords. Clever thing is the song totally changed key halfway through. Smart! The albums closer, Body In A Cage is probably the best song on the album. Starting off a slow organ number and then exploding into an epic "lastbattlesceneinamovie" type song with a fantasticly uplifting outro of Win singing "Set my spirit free!". Gorgeous. Only problem with it is thats its not that much of a change from Funeral. It could be called Funeral Pt2. Shame coz they have so much potential to progress to.
http://www.mediafire.com/?7zyygzmznqy

The Dears
My mate Matt had gone on about this band to me for ages to I finally gave in and checked them out to be pleasently surprised! They are an Indie band through and through but very very good. Nice riffs on all the songs. But what I like best about them is how melodic they are. Vocal lines move as if they are an instrument in their own right and we are never left with a gap of 1 chord being played. Gang of Losers was the album I got ahold of and I'd recommend it to you all. I am yet to relisten to them so I don't have alot more to say i'm afraid. Watch this space.
http://www.mediafire.com/?6hozn2rmmd2

And there you have it, 3 bands you can now stop losing sleep about. Untill next time kiddies!

Martyn xox

PS. Today is the birthday of my favourite album of all time. OK Computer by Radiohead. So I will be partying it up quietly on my own by listening to the album and erm, enjoying it. One more time. I suggest you do also!

iLiKETRAiNS? youLiKETRAiNS? weLiKETRAiNS!

2007-03-02T13:01:00.000-08:00

For those who havn't yet heard of the unstopable steam engine (haha!) that is iLiKETRAiNS you are missing out big time. Take Sigur Rós, make them overly depressed and angry as hell, give them a frontman with a voice that scares the shit out of Bono and your done. This is one hell of a band to watch in 2007.

Last year they released Progress Reform. A mini album of sorts. I'd recommend you to get this right away, as its mindblowing. They manage to pull of the epic build ups in songs like Terra Nova and A Rook House For Bobby but then has the subtler tracks such as The Accident. All of which are beautiful and a pleasure to listen to. The finale on the album, the terrifying song, The Beeching Report features minimal drumming, an old organ, acoustic guitar and a choir of over 20 people singing the final lines of "Reform/Reform/You are taking apart/What we made/With out hands and our hearts". Its quite a spectacular orignal thing to have.

So the verdict. We have a band that is both beautiful and scary at the same time. Have both uplifting songs and depressing songs. And often write about the important matters such as Mr. Scotts failed Arctic expedition (Terra Nova) Chess Master Bobby Fischer (A Rook House For Bobby) and the death of Prime Minister Spencer Percival (Spencer Percival). The latter of which is the bands new single off their forthcoming album. Its out on 26/3/07 and here is the video. In typical TRAiNS style it is homemade by their very own Cornet player and features as much clay people and creepy imaging as you like. Enjoy.

Spencer Percival:

Martyn xox

'Ello! Good intro, this.

2007-03-01T12:48:00.000-08:00

Bonjour, y'all. This is Mike, and I'll be your co-host for the evening. We'll be posting you with indie goodness shortly, so sit back, make yourself a nice cup of tea, put on your favourite album and enjoy.

Wish us luck! (:

-Mike

Top 10 Albums: Martyn

2007-03-01T12:27:00.000-08:00

So, what better way to start off a new indie blog then with my Top 10 albums. This list does tend to change alot, but I think for now I have the definitive Top 10.

10. Manic Street Preachers - This Is My Truth Tell Me Yours
The thing I love about the Manics is their epicness. Even in their shortest songs they manage to fill several stadiums with their energy. This album is probably their best for that. It can hardly contain its self. Starting with the electronic blips and bleeps of The Everlasting, a beast of a song that builds up to one of their best choruses to date, this album is probably as epic as the Manics come. The emotion put into songs like My Little Empire, with its cello and sometimes confusing lyrics and If You Tolerate This with its use of a hoover on a bass guitar (courtesy of Nicky Wires odd fetish) is totally heart breaking at times. It does have its rockers too for the Holy Bible fans such as Nobody Loved You and Ready For Drowning. The best part of this album though comes with the song Born A Girl. With nothing but a guitar and James Bradfields vocals it is the most emotional and powerful song on the album, with the dark chords of Holy Bible in its verses but an incredibly uplifting chorus, in which we are joined by an organ. Overall a phenominal album that explodes with arena energy and at the same time slows down for some of the most emotional crooners to date. Well done Manics.

9. The Flaming Lips - At War With The Mystics
Oh god, the pain of putting this album in was far greater then I could ever expect. Stuck with the decision of The Soft Bulletin, Yoshimi Battles The Pink Robots or the 'Lips latest album I had to go with what I thought had the best flow. Don't get me wrong, all the albums I just mentioned flow like a river but I thought every single second of At War was perfect. This is an album by a band who have been making them for generations. It shows the 'Lips talent of producing the quirky songs like The Yeah Yeah Yeah Song, the odd structuring of Free Radicals and the mindblowing Pompeii Am Götterdämmerung. I think it is criminally underrated for their work too, often being overshadowed by Soft Bulletin or Yoshimi. Silly critics. The albums best moments come in with the catchy bass hook of It Overtakes Me, featured in the Becks Beer advert and the collosal Pompeii Am Götterdämmerung. A song that builds up with such ferocity and then explodes like the volcano its self. I'm loving the Doctor Who-esque bassline and synths too. This is by far the 'Lips best work. Filled with songs of joy and power, but with that odd angle only the 'Lips can add. Enjoy.

8. The Beatles - The White Album
I'm not a fan of double albums to be honest. Most of the time you are bombarded with too many songs to remember and a hell of a lot of filler. But trust this legendary band to pull it off. Probably the inspiration of all the other albums in this list, this was an album for The Beatles to record all their songs they had lying around. Now, you know the band is going to be amazing when their best album is made up of songs they recorded just to be off with. Its an album of many textures, we have the funky bassline of Ob-La-Di Ob-La-Da. The blueprint of all heavy metal bands today, Helter Skelter. The jazzyness of Why Don't We Do It In The Road? And then the quiet well known ballad of Blackbird. But the song I think this album stands out most with is the progressive mess that is Happiness Is A Warm Gun. Starting off slow and somewhat depressing but quickly evolving to an uplifting sing along, complete with backing vocals of "Bang bang, shoot shoot!". You can see where Radiohead got their inspiration for their entire career with this album. Before anyone else did it, The Beatles had done it, recorded it, and moved on. Another rare thing for me is how memorable all the songs on this album are. I've heard double albums in the past that just become a mess of titles to me, but every song on here is a memorable as the last. I'm hoping all you indie kids reading this will look through your dads collection for it immedietly. Or not, then buy it. Its on sale in Costco for about a £5er now anyway. A criminal price for such an influencal album.

7. Yeah Yeah Yeahs - Show Your Bones
I know what most of you are thinking now, how can anything be better then the last record I reviewed, well let me tell you. It can! I got this album the day it came out and listened to it nonstop for the entire day. I have never done this to any album before, ever. Even my number 1 album didn't get played as much in one day as this one did. I think of this album as a drug. The more you listen to it the more hooked you get, and then its very hard to get off of. Its also a huge change to the YYY's first album, which while good, was at times a heap of guitar feedback and Karen O screaming. This album is alot more tuneful. Lets start with the first song, and single, Gold Lion. Acosutic Guitars are prominent throughout the track, backed with a We Will Rock You beat done by Brian Chase (Who acutally has a degree in drumming. So he is must be amazing) this song wavers around with Karen O singing "Gold Lion gonna show me where the light is" whilst synths and Acoustic Guitars glide us along, before getting to the chorus which is where the distortion kicks in and Nick Zinner plays one of the catchyest guitar licks to date. The album is filled with layers that you would expect to be hearing on a Bright Eyes record (who funnily enough, Nick Zinner has worked with). Acoustic guitars feature in alot of the song, but we are also treated to gushing synths, beautiful piano lines and a chorus of fire alarms. The standout track for me on the album has to be Turn Into. A mostly acoustic song with one of the most beautiful bridges you will ever hear. Karen O sings about turning into the only thing someone will ever need. Probably a love song, as much of her work is. Its an album for the Summer, and any other time you end up addicted to it.

6. Pixies - Trompe Le Monde
You just can't do this Indie thing without a bit of Pixies can you. Though most people would have chosen their earlyer work of Doolittle or Surfa Rosa. I think the Pixies shined the most on their most recent release (can I say recent? It came out in 1991!). Filled with short songs about Aliens, UFO's, Sad Punks and Planets rhythmicating with sound, this is probably the shortest album on the list. But I think the Pixies really did something special here. It has alot of diversity too, with the heavy metal of Space (I Believe In) but then the contrasting folk sing along of Motorway To Roswell. I'm still puzzled as to how anyone can think this is not the Pixies best work! For the fans of Doolittle it does have the uplifting songs, such as Distance = Rate x Time and the mentioned Motorway To Roswell. It also includes a cover of a Jesus and Mary Chain song, Head On. Their version is filled with punk guitars and Frank Blacks screaming vocals. Basically, it takes the original and stabs it full of steroids. The best song for me on the album though is Planet Of Sound. About an Alien looking for the "Planet of Sound", the song is a dark, psudo-metal number. The best bit being the small riff in the chorus, which will also get stuck in your head for days, especially the great build up to it "Rhythmicating with sound, THIS AINT THE PLANET OF SOUND!". Nice one Frank, thankyou.

5. R.E.M. - New Adventures In Hi-Fi
I had this album on the other day acutally and it still blew me away as the first time I heard it. Mostly recorded whilst the band was on tour, this album has the rock they tried so hard to pull off with the previous Monster, but keeps the immense beauty of the bands earlyer albums. The standout tracks for me being Be Mine, which is probably one of the most beautiful songs on this list. With such a heartwrenching chord progression in the chorus. Leave is also a monster of a song. At 7:17 is is R.E.M.'s longest song to date, it starts off with a slow piece played by an organ an acoustic guitar before fading out slowly. Then kicking back in with foot stomping drums and fantastic wah-wah work from Bill Berry. This is as Epic as R.E.M. get. An honourable mention however goes to the opener, How The West Was Won And Where It Got Us. Which is one of R.E.M.'s more dark songs, with powerful piano work and a buildup to a briliant, backing vocal filled chorus. The album also has its fast rockers that Monster tried to give us in the shape of Wake Up Bomb and So Fast, So Numb. Songs that made me have to doublecheck to make sure I still had R.E.M. on, since they all sound like Nirvana tunes sung by Mr. Stipe. This is terribly underrated by critics and fans of the band alike, but I think it was their best work. Be sure to check this album out, for your own good!

4. Sonic Youth - Goo
You knew it was coming. The pioneers of Indie had to have a mention somewhere, so here it is. Goo is considered by most to be their most accesable album, and though it does have the bands trademark 5 minutes of feedback stuck on the end of a song it does have the pop ethics that the grunge music of that era all had. To be honest I found it hard to choose this over Murray Street, but I'm going for this one simply because of its short, tuneful songs. Which is rare for Sonic Youth! Opening with the fantastic build up of Dirty Boots and finishing with the riffing Titanium Exposé, this is an album with no bad songs on it. I think the best songs though are Mote, which is the albums fastest rocker I think. Even though it has 4 minutes of feedback and guitar/studio wankery on the end of it, its worth sitting through to get the full effect of the song. "When a sea of madness turns you into stone" sings a rather angry sounding Thirston Moore. Before a cleverly processed chorus with vocals that have been drenched in chorus. Another standout track on the album is Tunic (Song For Karen). A spoken word song by Kim Gordon, its very reminisent of some of the tracks off Daydream Nation, and has one of the most heart warming chord progressions this band ever made. Not bad for a band who only used standard guitar tunings on their debut EP.

3. Massive Attack - Mezzanine
Picture this. Your trapped in a dark room. Everyone you ever loved has left you. Your slowly going completely insane in the dark with only yourself for company. The music playing in the background of this scene is Mezzanine by Massive Attack. This is by far the darkest album I have ever heard. Drums that have been so distorted they sound like minature wars and basslines played by the Villans of every film ever fill the album with the smiling gloom it has been known for. This is the sound of someone going insane. The opener Angel, builds up with its throbbing bassline to one of the most powerful explosions of emotion ever made and the dark, sinister bassline of the songs title track, Mezzanine show the dark side of things. However the album does lift slightly in mood, the small piece of light coming in through the curtains. Teardrop has a bright, uplifting sound to it and the interlude, Exchange, after the very heavy opening songs give you some slight hope that everything will be okay. The last song on the album however just destroys this. Group 4 is a song that builds up with ghostly female vocals and 3D's sinister talking. The song spirals away untill the climax of a drumfill. Lulling the listener into a somewhat sence of security before the thousands of layers of guitar come crashing in to sound the end of the darkest, most mind numbingly terrifying album I have ever heard. The thing is though, its brilliant.

2. Blur - 13
You know the band, Parklife, Britpop, Country House, Media battles with Oasis. Everyone likes Blur, but not alot of people like Blur. Whilst Pulp went on a haitus they are yet to return from, Suede disbanded and Oasis continued to play the same songs on each release. Blur evolved from the Parklife days into something alot more mature. I hate to say this but this album is probably the most depressing song on the list. Sure it opens with the all singing, all dancing Tender and is home to the single Coffee & TV. Both of which are fantastic songs, there is a period in the middle where you just lose yourself and go into a trance. 1992's confusing and odd chord progressions will make you rethink life whilst the epic experimentalness of Battle will make you wonder if this even is Blur you are listening to anymore. Every part of the album has been digitally enhanced to a state where you cant tell what instrument it was in the first place. The most experimental the band get are with the songs Battle and Caramel. If you look at the songs they are both just very simple keyboard lines. But in the studio have been warped into something much more. Guitars screech in and out, sometimes clean sometimes overdriven to a state that makes you wonder if your speakers are broken or if its meant to sound like that. Damon wrote alot of the material on this album after his split up with Justine Frichman of Elastica fame. So the whole album has a sence of longing and depression in it. The album swirls in its own self-pity for most of its course, coming back down to earth with the final single off the album, No Distance Left To Run. As the song plays you come back into reality and wonder what the hell just happened to you as you got sucked into the albums layers upon layers of studio magic. I think its a briliant and somewhat uplifting way to end the album. The last track is a short instrumental called Optigan 1. It chirps away at you bringing you back down to earth with its happy mood. I've had some very unreal experiences with this album, but allowing yourself to get lost in the middle of it is well worth it. Buy this album no matter what. Don't just like Blur for Song 2 and Parklife when they have far more to offer you.

1. Radiohead - OK Computer
Don't act so surprised! What did you expect? This is an album that deserves every single bit of acclaim it has had. From the rocking car crash that is Airbag to the peaceful sway of The Tourist. This is the best album in the world. I find it collects all the best bits of the previous albums. The darkness of Mezzanine in the song, Climbing Up The Walls. Complete with the inhuman scream of Thom Yorke at the end. The playful Pixies Rock of Electioneering, and the briliant catchy single of Karma Police is very similar to what Blur have been doing on 13. Every track on here is a story of its own that just blows me away every time. Even now I am still seeing parts of songs in ways I never saw them in the past. Songs like No Surprises, in which a trouble Yorke sings about suicide send shivers up my spine with its self loathing lyrics contrasted to its xylophones and sweet acoustic guitars and the way I still get goosebums at the way Thom sings "And you can laugh, your spinless laugh" in Exit Music just make this album an unmissable thing of beauty. Every part of it has been thought out carefully and executed so well. The drumming in the opener Airbag for example was arranged on a computer by the bands drummer Phil Selway. Giving us a beat you could not have come up with on your own. The pinnacle moments of this album though come in the 3-in-1 monster of Paranoid Android. Which goes from heartwarmingly beautiful to staduim rock on seconds and the "Get me out of here" backing vocals of No Surprises make this an album well worth sitting through. Every piece of it has been done perfectally, you couldn't improve it if you tried. So I guess what I am trying to say is that this is probably the best album ever made. So you should like, check it out? All the acclaim and reviews are correct about it. So stop sitting there and listen to it!

Hello All!

2007-03-01T11:49:00.000-08:00

Hello readers,

I am Martyn. My good friend Mike and I have decided to set up a nice little music blog for all you indie followers out there. We will be giving out albums we think you have to hear and abusing bands you don't have to hear.

Enjoy!