The sun has made an effort these last
few days and I've got a couple of good tracks suitable to see out the
summer before things take a turn for the cold. We've got everything
from sunny electronica, weirdo hip-hop and the return of some alt
rock veterans to feast your ears upon (can you feast with your ears,
that doesn't sound right...). Anyway, happy listening!
Friday, 30 August 2013
Thursday, 29 August 2013
Album review:The Jar Family – Jarmalade
(Jar Records)
Made up of a group
Cumbrian singer songwriters and musicians coming together to form a
collective of sorts, The Jar Family centres around six core members
with a larger family coming and going for their live shows. They
bring together blues, folk and country with a streamlined 70s classic
rock drive. As good as that sounds, for the most part their second
album Jarmalade is a by the numbers affair. A pub rock band in
style and substance.
It isn't to say its
all bad though. Moya Moya is a fun tune you can imagine having a
drunken jig to in a bar, the lyrics are performed with a suitably
strained delivery as a bunch alcoholic drinks are name checked as it
stumbles along, held up by its ramshackle country blues rhythm. Tell
Me Baby keeps the scruffy rhythms going and the track's back and
forth lyrics sound reminiscent of The Libertines more together
moments, its jaunty beat surrounded by duelling harmonica and guitars
in its final moments. But unfortunately it all gets worse from there.
Where Do You Come
From Babe? sounds like Bob Dylan's It Ain't Me Babe crossed with
Don't Think Twice, It's All Right, that is if he'd run out of good
lines from his scrapbook. It gets a little more interesting when a
female voice enters but unfortunately the lyrics don't improve. In
fact there's no lyrical flair on display here, there are no metaphors
or symbolism, everything is just literal, with any attempts at soul
searching end up being about as deep as a puddle. On top of that, the
record is filled with distracting studio trickery, including an over
reliance on EQ'd backing vocals, a cheesy and overused technique that
doesn't fit in at all with the bands sound.
Despite trying, I
couldn't get the idea that Waiting There For You sounded like Flight
of the Conchords' Ladies of the World out of my head as the line
'You're a beautiful lady/Picking petals of a daisy' repeated,
and its just as cheesy though, I assume, that was not intent.
Elsewhere, Tears We Cried sounds like the kind of ballad that Axl
Rose could've written when Guns 'n' Roses were at their most bloated
and overblown.
Is God My Witness
examines religion with all the bite of Christian rock and might be
the albums low point, but its not the only offender for poorly
thought out lyrics. The band mostly stick to obvious rhyme schemes,
leading to some absolutely awful lyrics, by far the worst element in
this group. From Paint Me a Picture's poorly thought out social
commentary or the perils of social networking on You'll Never Know,
its not so much a scathing criticism as much as obvious pot shots.
We need more bands
that a rough round the edges, just as at home playing in a small bar as they
are larger venues, but I don't know if this band is up to the task.
Its all just harmless pub rock, and there is plenty of competent
musicianship at hand and a great range of vocals. Maybe if I was in a
small crowded pub in an inebriated state my opinion would change, but
on record The Jar Family are just a bit bland.
Originally posted on figure8magazine.co.uk
Friday, 23 August 2013
This week's new music feat. Forest Swords, Volcano Choir and more...
This here is a new segment I thought I'd try out, putting together some of the best music I've run across this past week into one place. I'll try and keep it diverse and interesting, and making sure to put in some release dates as well as any other info I can find. Lets see how it goes.
Friday, 16 August 2013
Album review:The Lucid Dream – Songs of Lies & Deceit
(Holy Are You Recordings)
On their debut Songs of Lies & Deceit this Cumbrian four piece take on a vein of noise infused psychedelia that informed influential bands like Spacemen 3 and Ride bringing together melodic song writing with the kind of distortion that threatens to derail a song but never quite does. With a name like The Lucid Dream you might expect this to tap into some of the sleepy, stoner vibes of the sixties but the songs here are sharp and focused for the most part, even if they do give in to extended rock freak-out moments from time to time.
How's Your Low When You're Low Alone start things off. A simple rock song led by some energetic stomping drums and some big garage rock riffing interspersed with wah pedal abuse before Glue (Song for Irvine Welsh) continues with the straight forward riffs and ups the ante even further, with guitars buried under their own effects dominating the mix as the vocals desperately repeat 'I'm a broken man' delivered with a Stooges-like attitude. A Mind At Ease Is A Mind At Play rushes along at a frantic pace coming across as a track A Place To Bury Strangers could have written while Love in my Veins has some big hooks in it recalling a certain kind of 1990s brit-pop swagger that hasn't been around for a while. Despite its psychedelic leanings, Songs of Lies & Deceit never strays into the territory of obvious meandering solos and simple sixties era pastiche, maintaining a focus and drive throughout, though it does fall short with the lyrics.
Some of these lyrics can border on cringeworthy, often playing on cliché but sometimes taking it a bit too far. Lines like 'Girl, you are the sweetest thing I ever seen' stand out in a clunky manner. Still, the album is redeemed by songs like Heartbreak Girl, channelling Ronnettes style sixties girl group pop to good effect, though the constant tempo changes don't sit so easily, giving the effect of two or three different songs being jumbled together. Throughout the record vocals are covered in reverb but rarely to the extent that you can no longer make out the lyrics, instead making reference to the walls of sound from Phil Spector productions. They sound confident in these songs with their straight forward, no nonsense approach imbued with a punk rock energy. Its delivered with an appreciation of their influences and enough earnestness to hold it all together, especially when they get that balance between melody and noise just right.
Originally posted on figure8magazine.co.uk
Album Review:The Civil Wars – The Civil Wars
(Sensibility
Recordings)
The Civil Wars,
comprised of singer songwriter team of Joy Williams and John Paul
White,
rose to fame in 2011
with the critical and commercial success of their debut album Barton
Hollow. It displayed the duo's stunning voices as they traded
lines back and forth or harmonised over well-written country and folk
songs. After selling over half a million copies and earning
themselves two Grammy awards for Barton Hollow, the group
suddenly seemed to be on the verge of dissolution, cancelling a
European tour due to “internal discord and irreconcilable
differences of ambition.” whilst also claiming there are not on
speaking terms, putting the group on hiatus. Still, despite lacking a
willingness to communicate, the duo have managed to return with their
self-titled second album.
The album starts off
with rock 'n' roll vitriol and anger on The One That Got Away as
fuzzy, crackling electric guitars filling out their sound with more
of a stomp than anything heard on their first album. The distortion
continues with the fuzzy blues rock of I Had Me A Girl, accompanied
by a thudding drumbeat, the kind of track that is made for a sleazy
bar in the American South, but the record gets a bit softer from
there.
Whilst inter-band
conflicts have worked wonders for other groups like The Beatles or
Fleetwood Mac, here it seems to have stifled the duo, as the album
they've put together is not as consistent as Barton Hollow,
even the delivery which would see them often trading lines and
harmonising now sees one them taking the lead more often than not.
Tracks like Same Old Same Old, well, sound just like that, veering
into the middle of the road territory that popular country music
often can, and it isn't the only offender on the album. They try to
mix things up with a cover of The Smashing Pumpkins' Disarm, which is
pleasant enough, but doesn't have the same motion and drama of the
original, which is a shame as their cover of Leonard Cohen's Dance Me
to the End of Love was a great choice as the ending to their first
album.
There are high
points though, like the build up that ends Eavesdrop, as Williams
earnestly repeats 'Just hold me' as a guitar strums
powerfully, but ends to soon. Devil's Backbone is another highlight,
a dark country tale of misplaced love, 'Oh Lord, Oh Lord/ What
Have I done?/I've fallen in love with a man on the run' ending
with a stunning a
capella outro. Those voices themselves, which are still
amazing whether singing in hushed tones or soaring, but the tension
between them isn't the same, despite or because of the strains around
the records production. Here, the duo have allowed for the whole
scope a studio can bring, bringing in a large ensemble of backing
musicians, but it all feels unnecessarily distracting, taking away
from the group's talents. It comes across as over-blown, filling out
their sound with a full band has taken away from the more personal
feel at the centre of Barton Hollow. The album as a whole
feels lighter as a result, never grabbing your attention in the same
way despite some stand-out moments.
Originally posted on figure8magazine.co.uk.
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