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.

Three Super Quick Music Reviews

Cold War Kids, Mine Is Yours 7/10

Cold War Kids have another album out, yeah I didn’t realise either. For fans of numbers this is actually their third album but you may not have noticed as there has been little fan fayre about the band since their opening effort ‘Robbers and Cowards’ topped many muso lists. Their second album was somewhat more of the same with the same hissing retro sounding recordings and a ‘passion over tunefulness’ approach. Expecting more of the same I was instantly hit by the plush almost pop production on this album. The yelps of the vocalist and the hammering of percussion are still there but it no longer sounds like it has been recorded on a reluctant tape deck in a soviet bunker. Many won’t like the new polished sound but these would be the same people who go off punk bands as they become proficient on their instruments. Cold War Kids are evolving and maybe in 5 more albums could be as radio friendly as The Script (which means that this could be their peak.)

Adele, 21, 7/10

Pop music used to be short for popular music. Now it is usually short for turgid half thought out throw away music peddled by the fame hungry and PR people rather than artistic intent or, god forbid, talent. Good ‘potential pop’ is far too quickly relegated to specialist playlists where commercial radio wont dream of touching it and mainstream audiences won’t hear it meaning it will never be popular and therefore never be described as pop music. That is why I was so happy to see the return of Adele. An unlikely looking pop star (always a good barometer for talent) Adele has a beautiful voice that screams soul. Lush arrangements, velvet production and spotless vocals give this album the same timeless sound as her first. The album is uncompromising in its approach which is clearly artist driven and makes no concession to what has been riding high in the charts in the years since her debut (except for some suspicious Florence’esq harps in ‘He Won’t Go’) The cream will always rise to the surface but much of it becomes tainted by the turds that also have a nasty habit of floating, Adele has dodged this brown bullet and I look forward to 23, 26, 35, and 40.

Chase and Status, No More Idols, 3/10

Do you have an 1856 Mecklenburg-Schwerin Stamp? If you do get it out now you’re going to use it as a visual aide. Imagine how much information you could fit on the back of it. If the subject upon which you were writing was ‘All I know about dance music’ and it were I who was doing the writing then there would be comfortable room for illustrations (That was a joke for the philatelists boom ya!) I only know of Chase and Status for some pretty nifty leftfield remix work on some indie tracks. I would have preferred to have not listened to the album and only have this memory of them. Unfortunately some things can’t be undone…

White Lies Ritual 4/10

A very short review for this album.

If you don't have all the Cds by Editors then spend your money on them instead and then the back catalogue of Interpol and then the departure and then buy some flowers for someone special. All would be better ways of spending your hard earned. Production aside there is nothing here that is out of the ordinary or stretching above the precipice of the trench of mediocrity that is mainstream indie at the moment.

The Decemberists: The King is Dead 3/10

Depending on whom you believe the Decemberists are either partakers in the 1825 Russian uprising or a folk band from Portland Oregon. Presented with the evidence for both (a physical cd and a Wikipedia article) I have settled on the latter we all know not to trust Wikipedia don’t we. Again depending on whose council you trust folk is currently having a bit of a revival and is considered cool, if cool is a word that is still well you know… cool. I would like to nail my colours to the mast (black and white poker dots please) and declare that I am not wholly against this and have been quite an early adopter of this trend (Laura Marling, Willy Mason, Mumford and Suns). What I will say is that some American artists producing what is currently referred to as folk sails dangerously close to what I would call country, which as of yet is still totally unacceptable in a modern society (Bright Eyes et al.)

I don’t really know anything about the back catalogue or history of the Decemberists or music from this tradition so I began listening with no preconceptions and I have come to the conclusion that I really don’t like it. It just isn’t my cup of builder’s tea. I can somehow hear why other people would like it and can appreciate the song writing and to a lesser extent the musicianship and production but it just doesn't float my boat, get me any closer to Vince Vaughn or pitching a tent by the hardened old oak tree.

Some would argue that this isn’t a proper review and them people would be right! It isn’t but life is too short for me to listen to this album enough times for me to produce anymore words on the subject.

In summery I didn’t like, you might. You really shouldn’t listen to me anyway I have an extensive collection of nu-metal, novelty socks and unresolved childhood issues.

Back With Their Original Line Up and They Call This Progress?

Take That - Progress - 8/10

I am a 24 year old male. I don’t think that makes me a part of Take That’s immediate demographic. I have somehow managed to reach this stage of my life without really considering them in any depth, that was until their new album ‘Progress’ became the fastest selling album ever. Yes ever. Think of a truly great album, got it? This one has sold quicker. Go on try again; yep it beat that one too.

I arrive at this review with a limited knowledge of Take That. Here is what I know. Take That were formed in the early nineties by record exec types looking to form a boy band around a northern pub singer, bag of talent Gary Barlow. Progress was slow but the tried and tested ‘get the gays and the girls will follow’ approach to launching a boy band was taken (pre x-factor you must understand). Gradually they went from club act to ‘pop sensation’ with all the hysteria and tabloid drama that accompanies it. Many great pop songs later Robbie Williams left something happened involving a court case and then the remaining four called it a day. Gary Barlow continued to be talented and wrote lots of big selling songs for loads of UK artists Robbie Williams went stellar and Mark Owen try as he might didn’t really achieve much . An urban legend about Gary Barlow living in loving harmony with 90’s children’s TV presenter Andy Peters sadly proved not to be true and then a few years ago the band got back together and older and wiser made the amount of money they should have made the first time around. Without ridicules dance routines and trading on an air of credibility they targeted a wider audience, a fussy young family that shops at marks and spencer, you know the type. Then a couple of months ago it was announced that Robbie Williams would be re-joining reuniting the band’s original line up.

Having never listened to a Take That album I am sat at my keyboard in somewhat of a shell shocked stupor. It’s good. It’s actually very good. Excluding for a second the single ‘The Flood,’ the album closer resembles the work of late period Robbie Williams (you know the interesting stuff that no-one bought) and Damon Albern’s Gorrilaz than the drippy ballad territory that I expected. Is this an unusual turn? Someone tell me, I may have to buy another take that album. Gorillaz. Fuck me did I just compare Take That to Gorillaz…I did… I really did and I wasn’t doing it in a prickish way. That was a full blown genuine compliment.

Robbie Williams features heavily on the vocals and I imagine that he had a hand in some of the more esoteric lyrics. Gary Barlow, whilst I’m sure being heavily musically involved doesn’t sing as much as you would expect with Mark Owen taking more of a share than you would believe to be wise based on his thin vocal performance on previous singles, the god awful Shine being a prime example. In fact the more raw sound of Marks vocals are probably the best suited to edgier sounds on this album (Take That… Edgy sounds… Bloody hell…)

Album highlights are 'SOS' in which all the production toys are taken out of the box for Mark Owen and Robbie Williams to play with. Kidz would be amongst my favourites but for the fact that it skirts a bit too close to the Gorrillaz Feel Good Inc. (Which in turn I think has a questionably large debt to The Kinks Sunday Afternoon)

An album low point is ‘Affirmation’ which gives Howard a rare crack at the microphone with what sounds like an Ah-Ha B-side. However it is Album opener ‘The Flood’ which is for me the poorest track on the album. Its role as lead single strikes me as somewhat dishonest as it represents everything that Take That have been and not this new and relevant sound that the album goes on to play host to, though this may be the progress that the title declares.

It is unusual for an album by a mainstream pop act to have more than two or three quality songs all of which are inevitably released as singles. Seven good tracks out of ten is excellent and sures up Take That’s position as songwriters and musicians not merely pop play things.

Swedish House Mafia: More Socially Conscious than their Italian Counterparts.

Swedish House Mafia: One: 8/10



You can write down all that I know about dance music on the back of a teeny weeny stamp and still have enough room to scribe upon the thing all the words that I know in German and my opinions on Jordon’s love life, though I think this ultimately would say more about your suggestibility than my knowledge of dance music which is what I was prattling on about in the first place. Basically read my opinions with trepidation and consult someone who actually knows what they are talking about before buying.

Swedish House Mafia are a group of DJs and producers who are as a matter of fact; Swedish, produce what I am reliably informed is house music and have no known connection to the Mafia. Their first album ‘One’ came out just last week but they have been doing the rounds for some time and used to knock about with scourge of radio one summer playlists Eric Prydz.

The album launches with for me what is the stand out track ‘Miami 2 Ibiza.’ (Excuse the text spelling, my brother listens almost exclusively to dance music and the track listing is thankfully more decipherable than his Facebook page.) Tinie Tempah provides the vocals which flow nicely and are sexy, witty and consumerist which is the name of the game these days is it not? (I have a black BM she has a white TT, She wants to see what’s hiding in my CK briefs.) One of the best things about this album is the breadth of music referenced by the many samples used including: You’ve got the Love, The Four Tops, Empire of the Sun, MGMT and Coldplay to list just a few.

There is enough pop sensibility in here to ensure that the group get mainstream radio play, can demand massive fees for their DJ appearances and maintain their reputation in the specialist market. For the more hard core dance fans there are tracks such as Knas and Teenage Crime but to my ears and those ears being so tragically uncool these tracks leave me cold and yearning for the return of vocals and recognisable samples.

As only a casual listener of dance music there is enough to maintain interest across the whole thing. Samples that catch you off guard and the excellent production quality of the album to me make all the four to the floor nonsense worthwhile.

Joe McElderry: Ambitions 4/10

Oh dear a whole day late, but if you had set yourself the task of reviewing what I had committed myself to reviewing this week you would have changed your bed sheets, rearranged your wallet, washed the neighbour’s dog, driven your granny to the whist drive and cooked a fiendishly difficult dinner before getting round to pummelling this keyboard.

Seeing as you can’t turn a page at the moment without seeing the X-factor why should I be the one to buck this trend. This week I have been listening to the tones of Joe McElderry (very quietly in headphones, God help me if anyone overheard). For those of you who don’t know Joe was the winner of the X-factor 2009. After winning the competition he released a cover of ‘The Climb’ a song made famous by Smiley Virus with more plush production than misery in a job centre.

The album starts off with single ‘Ambitions.’ To say that a reality TV star’s album opening with its single is usually a bad sign is somewhat of an overstatement, but here we are. The single however deserves to be remarked upon as it sees Joe move away from the ballads that he made his brand during his weekly TV appearances. Ambitions, like the majority of this album is disco with a big pink D, I, S, C and yes even the O. I can’t imagine that the folks at Cowell Towers were too delighted when Joe was announced as their winner. Grannies loved him, kids loved him and Newcastle loved him but these aren’t exactly the most committed of record buyers (unless he had slipped a version of the Blaydon Races onto his debut.)

After the opening track the album moves through over produced rockier moments, sing a long choruses, cringe worthy ballads (Superman being the main protagonist in this assault on decency) and officially ends on the Disney saturated The Climb. Now this is where the album gets really interesting. Let the CD run for 5 minutes and in thumps the crushing guitars of a cover of Rage Against the Machine’s Killing in the Name of showing that Joe has put all the unpleasantness of last Christmas behind him. You don’t believe me do you? It’s really there I promise.

Joe comes across as being the classic nice guy so it is a shame for him that come next year he will be more than likely be forgotten about replaced by someone less likeable but with more interesting songs.

Listen if you like: George Michael , Scissor Sisters and South Shields.
Stand Out Tracks: Ambitions, Until the Stars Run Out, Fahrenheit

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.

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.