Fluff and Toenails: Mainstream Media, Indie Opinion

Above all of the fluff and the toenails floats a melody, some rhythms, flickering pictures, a sensation to be had. Capture it in your computer, buy it on your high street or cram it in your senses from hijacked radio waves. Our subject is everywhere so let us pick at it like a favourite scab.

Monday will find me blogging on TV, Thursday on Film and the Weekends on Music.

Showing posts with label pop. Show all posts
Showing posts with label pop. Show all posts

Saturday, 30 April 2011

Why The Wombats are a Fine Blue Cheese to Jeff Buckley’s Baby Bell

The Wombats 9/10 & 2/10


I would like you to consider cheese...

Are you thinking of cheese?

Good. Then we may continue.

If you are picturing a nice expensive mature blue cheese then good on you. If you’re not then why not! I asked you to consider cheese and you have done what exactly? Thought of Tesco Cheddar? A cheese string? A fucking baby bell? To be honest if this is you then you probably have self-esteem issues and you should spend the time that you would have spent reading this review finding out how to get that sorted.

Anyway the Wombats new album ‘This Modern Glitch’ is a little like that cheese. Everyone knows that a good cheese matures with age, (Bad cheese just goes off and an undisturbed baby bell will outlive us all making us look like a right bunch of tasteless twats when the alien archaeologists start poking around our long dead planet) once purchased and sitting in your fridge the cheese starts a further micro maturing process. Stage One: Stinky Blue Cheese, Stage Two: A Manly Cheese and Stage Three 3: Stinking mush. The time lapse between stage two and three can be as little as a couple of hours and it is this great cheese divide that the Wombats album straddles.

I wanted to write this review now so that I would still have nice things to say about the poptastic choruses, witty lyrics, narrative approach to song writing and ever present vocal harmonies aware as I was that after more than a few hours of play (about 6 listens) the album trans mutates into a big pile of over played chart stink.

So enjoy it while you can the antithesis being listen number three when you are weirdly convinced that the album is one of the best pop albums of the decade whilst being simultaneously aware that the next listen will smash this illusion.

Saturday, 23 October 2010

Kings of Leon & Two Door Cinema Club


I will usually just be reviewing one album in this post however as a special Brucie bonus this review features two albums. I had initially intended on reviewing the new Kings of Leon album but for the reasons that will become evident in the short review .

Kings of Leon ‘Come Around Sundown.’ 2/10

This album is predictable at every turn and has, at every opportunity to do something of interest instead opted for something monotonous and mediocre. Prior to writing this review I was sort of prepared to compare KOL to U2 in that they have a knack of producing great singles that long outlive their albums. But that would be doing U2 a disservice as this album contains no stadium filling cock rock singles or in fact anything remarkable at all. A detailed analysis would follow but I don’t want to listen through enough times to be able to produce more words than this on the subject.
Stand Out Tracks: There really aren’t any.
Listen if you like: Feeling bored and numb. (The emotions not the bands)

Two Door Cinema Club ‘Tourist History’ 7/10

Two Door Cinema Club are one of them Welsh bands that seem to have gotten an awful lot of great pre-release press. There first LP ‘Tourist History’ is out next week but thanks to the wonders of the internet here is my musings on it.

The Cinema Club album plays host to angular guitar sounds, yelped verses and electric keys with the polished and produced choruses that have been so in vogue the past eighteen months. Unsure what I mean? Think Friendly Fires, Foals et al. Something of the pop sensibilities of the British or more specifically Welsh ‘Emo’ scene have also made their way on to the record the first example being the chorus and middle eight on ‘come back home’ which on first listen reminded me of the high production values of fellow sons of Wales’ Kids in Glass Houses.
Do you want it, do you want it, do you want it, do you want it all irritates until the refrain drops away to reveal some lovely electronic sounds that wouldn’t seem out of place on a Nintendo shooter circa 1996. (Did anyone here have a SNES scope? If so you were lucky bastards.) Drum performances are something that are rarely talked about and rightly so in the case of most modern rock and indie efforts. However, increasingly more innovative drum patterns have started to find their place in the indie rock scene. Bloc Party, Arctic Monkeys and Vampire Weekend are all noticeable big hitters in this field. Whilst Two Door Cinema club don’t do anything outstanding in its originality they haven’t settled for the simplest of options and this occasionally catches your ear. (This is the Life, I Can Talk, Undercover Martyn.)

At the albums midpoint is the sample driven a cappella introduction of ‘I Can Talk’. Which is a song that screams “I AM THE SINGLE” being both a record that you can sing and dance to, much to the annoyance of those on the train where this review was written.

There are a couple of false starters buried in the album one example being ‘Undercover Martyn’ which starts as though it is going to try to hit some delicate notes but then gives up on that idea in pursuit of a rhythm led poptastic chorus before giving up on that and playing with the laser gun effects on the keyboard.

On the whole most tracks seem to be thirty seconds too long insisting on the repetition of choruses that aren’t always strong enough to survive sustained scrutiny. But that isn’t to say that there isn’t plenty to like. Not much of it is original but the majority of it plays well and whilst I’m sure Two Door Cinema Club won’t be changing the course of music they fit nicely into what is happening around them at the moment.
Listen If you like: Friendly Fires, The Sunshine Underground, Owl City, The Departure, The Rapture and Cow Bells (the instrument not the band)
Stand Out Tracks: I Can Talk, Come Back Home, Do You Want it All.

Friday, 28 August 2009

Arctic Monkeys: Humbug: 7/10


Firstly I think I had better start with a confession. I love the Arctic Monkeys, which is why even though I have had this album for two weeks now I have resisted the temptation to review. If that makes no sense to you I shall explain further. The first time I heard this album I didn't like it, I thought it was drab and unremarkable in almost every way, thankfully I held off from broadcasting that opinion and now I give to you the lived with review.

Bang and away we go, The Sheffield Monkeys certainly like loud album openers, (Don't believe me? check out 'The View From The Afternoon.') This time the honour falls to My Propeller a track that on first listen fails to move and only on the fifth or sixth listen grants you access to its melody which is well worth the wait. Trust me if your not there yet put it on again. This is a theme for the album. As with their second album there are no obvious singles here, nor are there any obvious melodies. The only thing that screams out at you are the riffs and the fantastic drum performances of Mr. Helders. Even the cheeky chappy lyrics so prominent on the first album haven't made a return. The mood remains dark and the instrumentation remains loud not relenting until the fourth track Secret Door. Here the Last Of The Shadow Puppets finger prints leave a velvet smear upon what up until this point had been uncompromising in its straight forward no nonsense approach, probably a result of production duties by QOTSA Josh Holme.

The dark production returns with sinister groaning backing vocals adding an interesting texture to Potion Approaching when it looked set to be a nuts and bolts riff led rock effort. Mid track there is a change of pace and things get really interesting. Drums and bass take over from the guitars and darken the mood further before a lightning return to a riff that you hadn't realized you were missing. Backing vocals are a feature throughout the album but no longer are they restricted to punky yelps, now more confident performances and crafted production create a choking claustrophobic atmosphere with in which you ain't ever going to find anything to sing along to. The album does have a couple of lighter moments such as cornerstone which offers a few major chords and a typically Monkey's narrative lyrics however the lyrics remain dark and filled with despair.

Pretty Visitors is an album highlight which showcases the Arctic Monkeys comfort in making the heavier music that they have grown towards in this and the previous album.

All in all I think it is safe to conclude that the Arctic Monkeys will never be the band that their earlier material suggested they would be. They are far more complicated than that and thankfully aren't sufficiently interested in the fame that could be had by replicating their first album. Here stands a band who are only concerned in following there own path. The destination still remains a mystery although with this album we are closer than ever to finding it out. 7/10.

Thursday, 20 August 2009

Florence and the Machine:Lungs:6/10


Lets start off by chasing the hype and examining one of the years most industry pimped releases, Florence and the Machine's debut album Lungs.

I, like many of my easily led friends, was immensely looking forward to this release. Ever since I first had my ears slapped about by the questionable morality of the throw away first single 'kiss with a fist' my attention has been pricked when ever I have heard her name. Since then two further singles have leapt up radio playlists, album opener 'dog days are over' and the unlikely dance tinged Rabbit Heart (check the Jamie T remix).

Looking at the track listing on the bus I prepared myself for disappointment as I noted the prominence of the two most recent singles (track one and two). For me this is never a good sign. However, once in the CD player I settled with my over sized muzo headphones and was instantly struck with the realisation that FATM's place isn't on a crackling car stereo. Opener 'dog days are over' blew me away with its delicate layers of instrumentation. Not only are the arrangements subtle in their substance they are also performed on an array of instruments which demonstrates that following the crowd certainly isn't what this band are going for. 'I'm not calling you a liar' follows this theme but without the ninja hooks of the preceeding singles. Then 'Kiss with a fist' makes a hell of a racket with all its DIY charm before the album shifts to a middle section which acts as a showcase for FATM's raw vocal talent and songwriting skills. The pick of this middle section is 'the girl with one eye' in which the vocal reigns are left dangling. However with so many tricks let out of the box so early I was left feeling ambivalence towards the rest of the album. Lyrically the album has some good narratives (my boy makes coffins)and a dollop of warm twee (breath between two lungs) but is ultimately not memorable.

This album serves as a classic example of the fact that some things can end up being less than the sum of their parts. There are few bad tracks here and many excellent ones but somehow when listened to in succession boredom sets in. However, along with the simular Bat for Lashes the ambition shown should be applauded. 6/10.