The xx - Coexist (Album Review 2012)

In 2010, the xx's début album xx won the Mercury Prize, beating Biffy Clyro, Dizzee Rascal, Foals, Laura Marling, Mumford & Sons and Paul Weller. This helped bring the band, their lo-fi sparse electronic sound, and the album, to a wider audience. Now as a three-piece of Romy Madley-Croft, Oliver Sim and Jamie Smith, the inevitable difficult follow-up Coexist is not so much progress as continuation of a working format. The difference this time is that Croft and Sim, who share vocal duties, have brought their own personal lives and memories into the song writing, while Smith provides the light touches. This makes Coexist a collection of melancholic and beautiful love songs.

Opener Angels has Madley-Croft repeating "Being as in love with you as I am" over Smith's delicate keys while Chained is a Sim-lead duet, centred on the line "We used be closer than this". Vocally the two singers intertwine, often singing different threads of the same story, providing altering perspectives and views. Gothic guitars and stark drums are added for Sim's Fiction but the early highlight is the wonderful Try with its fragile arrangement and fragmented ideas, two-part vocal harmonies and empty spaces. The backdrop for Reunion is echoing steel-drums; a song in two movements, building in the second half and concluding the story of missed opportunity and loss.

Sunset is another fine moment, like a distant phone conversation between two storytellers, or the inner thoughts as they read each other's letters, and Missing continues this approach with added drama - a neat touch is how the roles of Sim and Madley-Croft switch to compliment each other. The vibrant, yet downbeat, Tides completes this impressive trilogy and Coexist's best ten minutes. This is followed by the album's most beautiful vocal performance, Unfold, the words framed with more great guitar work and subtle production from Smith.

At five minutes, Swept Away is a hugely ambitious attempt to break away from the strict formula, creating what becomes a late high point. Two gorgeous guitar/piano instrumentals break the song into three parts. "I'm here...and I'll always be..." is another vocal masterpiece from Madley-Croft while Sim delivers "Hide away, I hide away with you...I let the world just slip away, and I'm left with you...". At the centre of the song is more love-letter interplay between the two. Closer Our Song is the only time on Coexist when the two singers are together for the entire vocal, which seems like a fitting ending.

Coexist is unlikely to make an immediate impact; it is one of those albums that needs time and repeat listens to appreciate. The xx don't go for big arrangements and layers of guitars, riffs and epic moments, and there are no obvious 'singles' (and why should there be in a world in which this is no longer important). The power of the music is in the use of space and control and Smith handles the production with deft and imaginative precision. As vocalists, Madley-Croft in particular has grown, and together the band's timing and cohesion is improved. Everything just sounds more focused and tightly constructed, embracing the minimalism ever further. Coexist is an album of character and characters, heartbreak and hope, and more importantly, being together.

-- CS

Album Reviews (The Killers, Mumford & Sons and The Raveonettes)

The Killers - Battle Born

After a brief hiatus following years of touring, The Killers are now continuing their quest for world domination. Fourth album Battle Born is both hugely enjoyable and massively frustrating; a real hotch-potch of ideas, styles and pace produced mainly by Brendan O'Brien and Steve Lillywhite. A few songs are co-written by Daniel Lanois (best known as the producer of U2's The Joshua Tree) and Travis's Fran Healy and as an album it all holds together with moments of brilliance everywhere. However, each song doesn't always stick to a tried and tested plan and they veer off course regularly, leading to the aforementioned frustration - opener Flesh and Bone is the best example of this. Definite highlights include the single Runaways (the only song produced by both O'Brien and Lillywhite, with Damien Taylor) pulling in bits of The Who and Springsteen - a tale of love, loss and a man fighting against the odds to keep a family together ("We used to laugh now we only fight" and "I come home after they go to sleep; like a stumbling ghost I haunt these walls..."). This is one of the redeeming parts of Battle Born - the outright honesty and intimate storytelling of everyday people, even though lyrically, this is not the band's best work. Brandon Flowers is excellent throughout, fully committed and full-blooded and only The Rising Tide is a badly judged four minutes. A Matter Of Time brings the past and the present together for another high point and more musical ideas than most albums have in their entire running time, and Miss Atomic Bomb is equally compelling, if a little too clever for its own good. Here With Me is the big open-hearted ballad with the teenage-poet chorus: "I don't want your picture on my cellphone..." and Heart Of A Girl builds to a gloriously pleasant finale. The last three songs on Battle Born form a strong finale, from the short pop-punk of From Here On Out, through the smooth electronic vibes of Be Still, to the bombastic epic closing title track. Always interesting and often baffling, Battle Born is not The Killers at their most consistent but it is certainly their most ambitious album to date.

Mumford & Sons - Babel

Mumford & Sons have proved that it doesn't have to be a 'difficult second album'. Following their superb début Sigh No More, the band release Babel, after three years of tours, television appearances and helping make Laura Marling's I Speak Because I Can a massive success. And this is now Mumford & Sons at the top of their game - building their sound while keeping its soul, and improving each and every part. The result is incredible. Arguably Sigh No More has better songs but with stand-out moments like the beautiful Holland Road, mighty stadium-epic Lover Of The Light (easily the album's finest song and destined to be a stadium centre piece) and the dark, powerful Broken Crown, this eclipses anything that has come before, simply through the musicianship and execution. Every moment is well-judged, perfectly delivered and brimming with quality. Even the delicate Below My Feet manages to do a lot with very little in five minutes, even at the three-minute mark when the music builds to a banjo/vocal climax. Delicious harmonies are added when required but it's the fantastic voice of Marcus Mumford leading the music forward. Babel's longest song Ghosts That We Knew is also perfectly arranged, slow and methodical for the most part and never resorting to a huge swathe of instrumentation. And Hopeless Wanderer proves that prog-folk is possible as it bounces from slow to fast with relentless energy. Ultimately, even though it sticks to tried-and-tested formula, Babel is a triumph and should launch Mumford & Sons further into people's hearts and minds.

The Raveonettes - Observator

Sune Rose Wagner and Sharin Foo are one of music's odd couples. Ever since the release of début EP Whip It On, with lead track Attack Of The Ghost Riders, they have made great music - a compelling blend of 60s shimmering harmonies and Jesus And Mary Chain meets My Bloody Valentine guitars. Previous album Raven In The Grave, while inconsistent, is much more ambitious than their early work and now Observator shows that The Raveonettes have even more variation, as hinted by 2007's Lust Lust Lust. The main problem with this album is how annoyingly short it is, nine songs at just over half an hour. But this is quality over quantity and every song earns its place. The early highlight is Observations, an odd Gothic take on Gimme Shelter with dramatic piano, fuzzy guitars and Wagner's super-slick vocals. The duo recorded the album at the famous Sunset Sound in LA and the album oozes the effects of the oppressive California heat, the myriad of Venice Beach characters and the ghosts of the past. The Enemy, with Foo's delicious vocals taking the lead, is also impressive, while Sinking With The Sun is a super-fast guitar-drum duet with a cool chorus, and She Owns the Streets is brilliant storytelling. Observator ends impressively: Downtown is a great mix of distortion and pop melody, You Hit Me (I'm Down) sums up the mood of the album while turning the 'drug' theme on its head, and Till the End is a fine, if a little rushed, pop finish. More great music from the Danish duo.

-- CS

Richard Hawley and Lisa Hannigan (Portsmouth Pyramids, 18/09/12)

I don't often write reviews of gigs, mainly because I don't go to many - something I hope to change, but this one was very special. For me it was a no-brainer; a double-header at a local 'small' venue featuring two musicians I really wanted to see live. Here it is...

Tuesday night in Southsea, Portsmouth, and the sun was setting on the harbour as an Isle Of Wight ferry made its way across the waters of this historic waterway. I arrived early and after a brief walk along the sea front, made my way into the short queue at the Pyramids for Lisa Hannigan and Richard Hawley.

I was in the venue at 7:35 and immediately appreciated the size of the place. This was my first time at the Pyramids and it felt more like being at one of the smaller stages at a festival. I had a quick wander around, walked up to the stage and checked out the guitars and amps on display. At the front you could almost touch them. Most people were flocking in the bar areas at the back and to one side and I found myself standing about six feet from the stage with only a single line of hardened fans at the front, arms resting on the barrier between floor and stage. And at 7:55, the lights dimmed and Lisa Hannigan, guitar in hand, walked alone onto the stage. She introduced herself and started her first song.

This seemed to take everyone else by surprise. But not me. It sounds corny but it was as if she was singing just for me, looking right at me, singing just for me. The ground could have swallowed me up and I wouldn't have cared. The lack of crowd around me, as I stood motionless, listening to this wonderful voice and guitar, made it feel like I was the only person in the room.

Safe to say, Hannigan's set was mesmerising. She was joined by her band (including guitarist, backing singer John Smith) for the remaining set - a short 35 minutes or so but packed with brilliance. The magnificent Knots was a highlight for me, as was the beautiful O Sleep which captivated everyone. Anyone who can rock out with a Ukulele is greatness incarnate. Thankfully the performance drew people from the bars and towards the stage - so by the time Lisa and her two male companions gave a heartfelt and honest rendition of The Night They Drove Old Dixie Down in honour of the late Levon Helm (The Band), gathered together around a single microphone, everyone was captivated.

So Lisa Hannigan walked off stage to respectful applause and shouts of 'more' (not just from me) and a sense of bewilderment. A guy next to me told me when he booked tickets he had to look her up on YouTube because he hadn't heard of her. I smiled and said 'I was only here for her'. This was greeted with raised eyebrows. I went on to explain that I probably wouldn't have got a ticket if it wasn't for such a great support act. I think most people waiting for Richard Hawley and his band to take to the stage felt the same way, even if they didn't before.

I decided to stay in the same spot for the main man. After twenty minutes of watching roadies going through final sound checks, tuning and arranging a plethora of guitars, and generally rushing about, Richard Hawley and band took to the stage to rapturous applause and whooping. Dressed in jeans and a tight leather jacket, with trademark quiff, he is an instantly recognisable and distinctive 'front man'. After a 'good evening', they immediately launched into She Brings The Sunlight, the opening song from his now Mercury nominated album Standing At The Sky's Edge.

Naturally the album dominated the set list and my trepidations about how the songs would be delivered (and received) live were instantly settled. It was blistering stuff - the echoing guitars, pounding drums and Hawley's vocals shaking my soul to the core. Leave Your Body Behind You, Down In The Woods, Standing At The Sky's Edge, Before and new single Seek It were all superb. Hawley's banter with the crowd was engaging, sweary and gloriously charming. He lambasted the mp3 generation ("Anyone handing over a tenner and getting nothing needs their head looking at" - or words to that effect) and then tried - presumably in jest - to arrange an after-show party under Southsea Pier, and criticising someone for saying they would bring a Parker jacket, after someone else said "box of wine". There was a good vibe between Hawley, the audience and his band as he talked about the lead guitarist's new trousers. Back to the music, old favourite Tonight The Streets Are Ours and the more recent Open Up Your Door and Soldier On were equally well received. His genuine and respectful thanks to the crowd nearly fell flat - "Thanks for choosing to come and see us. It's tough out there", he declared which got the response: "It's Portsmouth" from one wise-cracking local. Comedy aside, his thanks were well received and it felt honest and humbling. The applause at the end of the set was the loudest I've heard.

This continued for what seemed like hours before Hawley and his band (who were superb all night) returned for one last song, appropriately The Ocean. This was a huge version ending in a massive feedback-fuelled finale of teeth-rattling guitars and bass. A great end to a great night.

- CS

Aimee Mann - Charmer Video

Cool video and song. Great idea.

Ben Folds Five - Do It Anyway (with the cast of Fraggle Rock)

Music Reviews (Aimee Mann, Ben Folds Five, Band of Horses)

Aimee Mann - Charmer

It's been a while since Aimee Mann has set the musical world alight. Her third album Bachelor No. 2 (Or The Last Remains Of The Dodo) remains Mann's most interesting and musically astute album, followed by her wonderful début Whatever, back in the early nineteen nineties, and later the brilliant Magnolia soundtrack. The world has changed and Mann has changed with it. Gone are the folky acoustic overtones, that lead Bob Dylan to declare 4th Of July one of the best songs ever written, and in come the fuzzy pop synths and electric guitars. This is evident from the title track and opener, with Mann's distinctive vocals and favourite melodies, all washed with fuzzy punk-pop production. The album sets a direct course and starts with the best trio of songs. Labrador is a gorgeous blend of piano and soaring vocal, with an epic chorus. Mann still has a way of weaving and crafting obscure metaphor into intimate stories of characters - Gumby, Barfly and Crazytown approach this in different ways. Living A Lie breaks the formula by bringing in The Shins' James Mercer for an anti-love song duet and some great lines: "No one bares a grudge like a boy-genius, just past his prime...". Only the trite Gamma Ray and the odd country-esque closer Red Flag Diver drag the second half into mediocrity, which, after the best first half of any Aimee Mann album in a decade, is a bitter-pill.

Ben Folds Five - The Sound Of The Life Of The Mind

Since the band broke up in 2000, Ben Folds has enjoyed an excellent solo career with two great albums: Rockin' The Suburbs and Songs For Silverman, as well as work on television and film. The band, with Folds, Robert Sledge and Darren Jessee (in spite of the name, there are only three members - but Five sounded better than Three so...) reformed and The Sound Of The Life Of The Mind is a perfect example of why they got back together. The album highlights the band's glorious sense of chaos and fun, while showing their calmer, more reflective, side. Opener Erase Me is an obvious juxtaposition of styles with Folds quiet and delicate one minute and bombastically operatic the next, while the music follows his lead. The song races through its five minutes like a runaway train. Likewise Michael Praytor, Five Years Later is equally ambitious, as it the overt pop of Draw A Crowd (complete with funny-the-first-time-around, but not-so-after-a-while, chorus). The title track blends Folds' distinctive piano with Nick Horny lyrics (unused from Folds' last solo album, Lonely Avenue) and blurs the edges between genius and madness. In contrast Do It Anyway is delivered at furious speed, and almost works, in an many ways sums up the band's ethos. But it is the softer moments that bring this album to life. The Jessee penned Sky High is an undoubted highlight - staying on track and never threatening to throw noise or complication into the mix. On Being Frank is a gorgeous ballad with just the right amount of orchestral majesty and more of Folds' sublime piano, and Hold That Thought is more beautiful song writing, conjuring images at every turn. This heralds a calm serene end to an album that began in turbulence. Away When You Were Here and Thank You For Breaking My Heart form a perfect ending.

Band Of Horses - Mirage Rock

Band Of Horses are in a difficult position. Three amazing albums behind them: Everything All The Time, Cease To Begin and Infinite Arms, a distinctive sound and huge fan base. What do you do next? Instead of opting for something completely different, the band has 'updated' their sound and tried a few new things. And Mirage Rock will definitely divide critics and fans. Opener and lead single Knock Knock is a fine song, with Ben Bridwell and band on great form. This is not a massive departure from the tried-and-tested formula, mainly thanks to Bridwell's vocals, as is the mid-tempo How To Live and elegant ballad Slow Cruel Hands Of Time. A Little Biblical attempts to inject some pace and tongue-in-cheek observations, in the style of Fountains Of Wayne but with less charm. Oddly, it's the big changes that work the most on Mirage Rock. Dumpster World is a weird combination of Neil Young balladry and his own 'harder' style, while trying to highlight the folly of ignoring environmental issues. It ends a decent first half. Unfortunately the rest of Mirage Rock is inconsistent and badly judged. Electric Music feels a bit empty, Everything's Gonna Be Undone is uninspiring and prosaic, and Long Views, while beautifully executed, is revisiting the past with less material. Only the upbeat Feud tries to build some momentum but is swamped by percussion and unimaginative guitars. Closing song Heartbreak On The 101 is a strange vocal journey from deep to shallow across four minutes, but it works as an ending, with a subtle orchestral arrangement. So in an attempt to do something a bit different, Band Of Horses have ended up sounding mundane and stuck between sounds. And musically this is a huge step backwards from Infinite Arms. It is brave of them to try but when you have a good thing, why fix it?

-- CS

Mercury Prize 2012

This year's nominations for the Mercury Prize are:

• Alt-J - An Awesome Wave
• Ben Howard - Every Kingdom
• Django Django - Django Django
• Field Music - Plumb
• Jessie Ware - Devotion
• Lianne La Havas - Is Your Love Big Enough?
• Maccabees - Given to the Wild
• Michael Kiwanuka - Home Again
• Plan B - Ill Manors
• Richard Hawley - Standing at the Sky's Edge
• Roller Trio - Roller Trio
• Sam Lee - Ground Of Its Own

An interesting list. Glad to see Richard Hawley and Sam Lee but the rest is very middle-of-the-road. Probably the weakest commercial line-up in years but some really interesting music, most notably Alt-J. Two very strong female singers in Jessie Ware and Lianne La Havas and the stand-out rap artist Plan B. This makes this year's Mercury difficult to predict.

Music Chart - August 2012

Top albums this month from Great Lake Swimmers, Diiv, Sharon Van Etten, The Unthanks, Grasscut, Franz Nicolay, Antony & The Johnsons, The Darkness, Yeasayer, Karine Polwart, Yellowcard, Of Monsters And Men and Elbow. This takes the Underwurld Music chart for the year past 100 great albums.

1. Shallow Bed by Dry The River 
2. Valtari by Sigur Ros
3. The Lion's Roar by First Aid Kit
4. Bloom by Beach House 
5. Traces by Karine Polwart
6. Ssss by Vcmg
7. Generation Freakshow by Feeder
8. Celebration Rock by Japandroids
9. Cut The World by Antony & The Johnsons 
10. Oshin by Diiv
11. The Ghost In Daylight by Gravenhurst 
12. An Awesome Wave by Alt-J 
13. Sweet Heart Sweet Light by Spiritualized
14. Ghostory by School of Seven Bells
15. Born And Raised by John Mayer
16. Like Drawing Blood by Gotye 
17. Southern Air by Yellowcard
18. Banga by Patti Smith
19. Instinct by Niki And The Dove
20. Electric Cables by Lightships
21. New Wild Everywhere by Great Lake Swimmers
22. The Unthanks with Brighouse and Rastrick Brass Band by The Unthanks
23. Even On The Worst Nights by Mixtapes
24. Oceania by Smashing Pumpkins
25. Blood Speaks by Smoke Fairies 
26. Handwritten by The Gaslight Anthem
27. Do The Struggle by Franz Nicolay
28. The Light The Dead Can See by Soulsavers
29. Sounds From Nowheresville by The Ting Tings
30. Mutual Friends by Boy
31. Moth by Exlovers
32. Tramp by Sharon Van Etten
33. WIXIW by Liars 
34. My Head Is An Animal by Of Monsters And Men
35. Young Man In America by Anais Mitchell
36. The Sister by Marissa Nadler
37. Americana by Neil Young and Crazy Horse 
38. Unearth by Grasscut
39. Little Broken Hearts by Norah Jones
40. Hot Cakes by The Darkness
41. Synthetica by Metric
42. Words And Music by Saint Etienne
43. Wonky by Orbital 
44. Crown And Treaty by Sweet Billy Pilgrim 
45. Shrines by Purity Ring
46. Standing At The Sky's Edge by Richard Hawley
47. Internal Logic by Grass Widow
48. Strangeland by Keane
49. Here Come The Bombs by Gaz Coombes
50. Tough Love by Pulled Apart by Horses
51. Interstellar by Frankie Rose
52. Dead In The Boot by Elbow
53. Wild Peace by Echo Lake
54. Dub Egg by The Young
55. Born Villain by Marilyn Manson
56. Let It Break by Gemma Hayes
57. Living Things by Linkin Park 
58. Underwater Sunshine by Counting Crows
59. Manifest! by Friends
60. Clear Moon by Mount Eerie
61. Tree Bursts In Snow by Admiral Fallow
62. Human Don't Be Angry by Human Don't Be Angry
63. The Family Tree: The Roots by Radical Face
64. Weapons by Lostprophets
65. Blues Funeral by Mark Lanegan Band
66. A Monument by Tu Fawning
67. Aufheben by The Brian Jonestown Massacre
68. Have Some Faith In Magic by Errors
69. Hello Cruel World by Gretchen Peters
70. Voyageur by Kathleen Edwards
71. Long Live The Struggle by The King Blues
72. Fossil Of Girl by Sarah Donner
73. Blunderbuss by Jack White
74. Here I Am by Oli Brown 
75. Spirits by Plankton Wat
76. Visions by Grimes
77. Tales From The Barrel House by Seth Lakeman 
78. The Temper Trap by The Temper Trap
79. ¿Which Side Are You On? by Ani Difranco
80. Eighty One by Yppah
81. Wrecking Ball by Bruce Springsteen
82. First Serve by De La Soul's Plug 1 and Plug 2
83. Kin Con by Alex Winston
84. Not Your Kind Of People by Garbage
85. Gossamer by Passion Pit
86. Siberia by LIGHTS 
87. Europe by Allo Darlin'
88. The Something Rain by Tindersticks
89. Something by Chairlift
90. The House That Jack Built by Jesca Hoop
91. Anxiety by Ladyhawke
92. Fear Fun by Father John Misty 
93. Fragrant World by Yeasayer
94. California 37 by Train
95. Break It Yourself by Andrew Bird
    
96. Reign Of Terror by Sleigh Bells
97. Given To The Wild by The Maccabees
98. The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do by Fiona Apple
99. Through The Night by Ren Harvieu
100. Personality by Scuba
101. America Give Up by Howler
102. Black Light by Diagrams

New Band of Horses single and video (Knock, Knock)

Very cool new video for Knock Knock by Band of Horses, shot in the style of a cheesy 70s nature documentary. The single is taken from the band's fourth album Mirage, out next month. Thanks to NPR.

Music Report (Mixtapes, Grasscut, Purity Ring)

Mixtapes – Even On The Worst Nights

Mixtapes are Maura, Ryan, Boone and Michael from Cincinnati and according to their Facebook profile, they are ‘a band that plays songs!’. Even with a massively saturated market for emo and punk-pop (call it what you will), Mixtapes manage to keep it refreshingly straight-forward and uncomplicated. The follow-up to Maps, Even On The Worst Nights is the sound of Mixtapes finding their voices and confidence – the album improves on their previous work in every way. Something Better, Anyways and Just When You Thought It Was Over are all superb highlights with Maura and Ryan deftly sharing vocal and guitar duties, as if they have been doing it for decades. Just the right amount of energy, raw honesty, melodies and great song writing all add to the winning formula. The title track could be Bowling For Soup or New Found Glory at their best and the combination of boy/girl vocals adds something special. The chorus: “Hey! We just don’t surrender, it’s hard to talk about it when you don’t remember…” sums up a life of wild living and unfocused dreams. Occasional surprises break the relentless energy – You & I is under a minute and leads perfectly into the brilliant I’m Wearing The Device (Bridge, Water) – about as close to prog-punk as it gets. I’ll Give You A Hint, Yes is a superb love song, name-dropping Bon Iver and descending into wordless chanting, and a fade of all things. Golden Sometimes is oddly sedate, given the frantic pace of everything around it, but is never tempted to dive into thrashing guitars and drums. The closer, Mt. Hope, he longest song on the album at four minutes, concludes the album in style, like a glorious celebration of what has come before.

Grasscut – Unearth

We all love a good concept album, even if that concept is merely about ‘location’. Not to do this an immediate and unjustified disservice, as Unearth, the second album from multi-instrumentalist and composer Andrew Phillips, is achingly beautiful in its construction and arrangement. Following the critically revered début 1 Inch: ½ Mile, Unearth is more compartmentalised in its approach – ten unique songs about place and purpose, all highlighting the talents of Phillips as a musician and producer. The most inventive of these is the ghostly melody We Fold Ourselves, featuring 1950’s opera singer Kathleen Ferrier, all set to kitchen-sink orchestra. The stark electronic-orchestral Pieces, with robotic vocals and spiky beats is in direct contrast but equally rooted. Likewise the more delicate listless Reservoir is another wonderful moment – even though it’s about a village that is drowned. The industrial Stone Lions added yet another dimension before the cold, direct, film-noir-in-a-song A Mysterious Disappearance takes Unearth in a subtly different direction. To finish, the ballad Richardson Road, with Robert Wyatt on cornet and backing vocals, is sublime. An album of constant pleasant surprises.

Purity Ring – Shrines

Canadian duo Purity Ring, aka Megan James and Corin Roddick, are Montreal’s dream-pop answer to The Kills (or maybe The Ting Tings). Shrines is the band’s eclectic and other-worldly début with James’ vocals fighting through layers of production and techno-wizardry, engineered by Roddick. It all works out like a more pleasant Sleigh Bells – all the hard-edges and pounding electronica removed and replaced with smooth synths and organic percussion. Fineshrine is the early highlight, quickly followed by the odd stuttering musical-zoo Bjork-like Ungirthed. Sadly Shrines loses its way after a promising opening. Grandloves doesn’t work – like a bad Pet Shop Boys remix, Cartographist is a lot of slow empty space and James delivers wonderful vocals on the otherwise ordinary Amenamy. Belispeak gets things back on track, in spite of random, heavily mixed vocals. Some much need creativity is injected into the rest of the album but it does suffer from style over substance. Obedear is good but often the songs get lost in the now overused sound. Spirited closer Shuck is a final two-minute lift but Shrines continually feels like owning a sweet shop.

-- CS

Music Report (Antony & The Johnsons, The Darkness, Diiv)

Antony and the Johnsons – Cut The World

It often takes a live album to highlight the considerable and overlooked talents of a great musician. Cut The World, recorded in Denmark, is as close to a ‘best of’ as you can get, with key songs performed live with a symphony orchestra. But this swathe of instrumentation never overwhelms the immense honesty of Antony Hegarty’s unique and distinct vocals, and the essence of his beautiful, and often moving, songs. Even the seven-minute monologue Future Feminism, which threatens to break the early momentum after the excellent title track, is compelling and powerful. The immediate high-point is the following song, Cripple and the Starfish, quickly followed by the heart-breaking You Are My Sister; but it is the gorgeous duo of Another World and Kiss My Name that steal the show. Another noticeable trait is that the songs are not framed with applause, ‘talky bits’ or any discernible crowd noises whatsoever, so as the majestic Twilight draws to an elegant close, when Hegarty thanks the audience and wishes them goodnight and they reciprocate, it comes as a complete surprise that this is a live performance. A magical album.

The Darkness – Hot Cakes

When Permission To Land was released in 2003, it sounded like The Darkness had been around for decades. It was often described at the time as a greatest hits album from a 70s rock band that never made it. Who was to know that three years and two albums later, The Darkness would fall apart and succumb to the rock ‘n’ roll lifestyle and the dreaded ‘musical differences’. Frontman Justin Hawkins  attempted a solo career and failed to represent the UK in the Eurovision Song Contest (thankfully). But now The Darkness are back, as the original band and their third album Hot Cakes is a minor triumph. There is a great mix of good songs, big riffs and a huge sense of fun – which is what it was about in the first place. Living Each Day Blind is particularly excellent and one of the best things the band have done. The retro With A Woman brings back the energy of the début, while Everybody Have A Good Time is an inanely good single with wonderful guitar/piano. Only the obvious opener Every Inch Of You cuts slightly – this is Hawkins getting the past out of his system and quickly moving on, as the rest in firmly a ‘now’ album. Forbidden Love sounds a bit too out-dated but the cover of Radiohead’s Street Spirit (Fade Out) is an amazing and unexpected addition. Back, definitely. To stay? Who knows.

Diiv – Oshin

Originally a Zachary Cole Smith solo project called Dive (after the Nirvana song), Diiv is now a four-piece from Brooklyn, the current hotbed for new bands and considerable talent. These guys are no exception to this trend as the début album Oshin is astonishingly great. Packed with massive layers of guitars and ethereal vocals, from the opener (Druun) – the band’s own version of Coldplay’s Life In Technicolor, to delicate closer Home, Oshin impresses at every turn. Brimming with dreamy guitar-pop from Past Lives and Human to the catchy How Long Have You Known and Follow – Diiv add a unique complexity to each song within a very strict formula. Cole Smith and guitarist Andrew Bailey combine perfectly to create a wonderful sound. The four and half minute Air Conditioning is breathtaking – like a modern remix of a shoegazer classic from the late 80s – the guitars shimmer and dance on what is a definitive highlight. Late on, Doused is also superb, bringing in early Sisters Of Mercy riffs to the mix with Cole Smith racing through the vocals. Superb début from a band who should go far.

-- CS

Music Chart - July 2012

Better late than never (blame the London 2012 Olympics)... Here's a summary of July's new music.

Starting off with a strange new album from Fiona Apple entitled The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do - this is getting great reviews but even after several listens I just don't hear it. Moving on, Linkin Park are back with a powerful new record Living Things, as are Metric with Synthetica and The King Blues with a more sedate and controlled album Long Live The Struggle. The gorgeous Mutual Friends by Boy is a real surprise, as is Moth by Exlovers and Wild Peace by Echo Lake to complete a sublime trio. The House That Jack Built by Jesca Hoop doesn't live up to the promise of lead song Born To while Billy Corgan brings Smashing Pumpkins back from the brink with the gutsy Oceania. Wonderful vibrant emo from Mixtapes' Even On The Worst Nights is excellent, as is Shrines by Purity Ring. Passion Pit return with the predictable Gossamer and to finish the month off, The Gaslight Anthem show real progression with the impressive Handwritten.

1. Shallow Bed by Dry The River 
2. Valtari by Sigur Ros
3. The Lion's Roar by First Aid Kit
4. Bloom by Beach House 
5. Ssss by Vcmg
6. Generation Freakshow by Feeder
7. Celebration Rock by Japandroids
8. The Ghost In Daylight by Gravenhurst
9. Sweet Heart Sweet Light by Spiritualized
10. Ghostory by School of Seven Bells
11. Born And Raised by John Mayer
12. Like Drawing Blood by Gotye 
13. An Awesome Wave by Alt-J 
14. Banga by Patti Smith
15. Instinct by Niki And The Dove
16. Electric Cables by Lightships
17. Even On The Worst Nights by Mixtapes
18. Oceania by Smashing Pumpkins
19. Blood Speaks by Smoke Fairies 
20. Handwritten by The Gaslight Anthem
21. The Light The Dead Can See by Soulsavers
22. Sounds From Nowheresville by The Ting Tings
23. Mutual Friends by Boy
24. Moth by Exlovers
25. WIXIW by Liars
26. Young Man In America by Anais Mitchell
27. The Sister by Marissa Nadler
28. Americana by Neil Young and Crazy Horse
29. Little Broken Hearts by Norah Jones
30. Synthetica by Metric
31. Words And Music by Saint Etienne
32. Wonky by Orbital 
33. Crown And Treaty by Sweet Billy Pilgrim 
34. Shrines by Purity Ring
35. Standing At The Sky's Edge by Richard Hawley
36. Internal Logic by Grass Widow
37. Strangeland by Keane
38. Here Come The Bombs by Gaz Coombes
39. Tough Love by Pulled Apart by Horses
40. Interstellar by Frankie Rose
41. Wild Peace by Echo Lake
42. Dub Egg by The Young
43. Born Villain by Marilyn Manson
44. Let It Break by Gemma Hayes
45. Living Things by Linkin Park 
46. Underwater Sunshine by Counting Crows
47. Manifest! by Friends
48. Clear Moon by Mount Eerie
49. Tree Bursts In Snow by Admiral Fallow
50. Human Don't Be Angry by Human Don't Be Angry
51. The Family Tree: The Roots by Radical Face
52. Weapons by Lostprophets
53. Blues Funeral by Mark Lanegan Band
54. A Monument by Tu Fawning
55. Aufheben by The Brian Jonestown Massacre
56. Have Some Faith In Magic by Errors
57. Hello Cruel World by Gretchen Peters
58. Voyageur by Kathleen Edwards
59. Long Live The Struggle by The King Blues
60. Fossil Of Girl by Sarah Donner
61. Blunderbuss by Jack White
62. Here I Am by Oli Brown 
63. Spirits by Plankton Wat
64. Visions by Grimes
65. Tales From The Barrel House by Seth Lakeman 
66. The Temper Trap by The Temper Trap
67. ¿Which Side Are You On? by Ani Difranco
68. Eighty One by Yppah
69. Wrecking Ball by Bruce Springsteen
70. First Serve by De La Soul's Plug 1 and Plug 2
71. Kin Con by Alex Winston
72. Not Your Kind Of People by Garbage
73. Gossamer by Passion Pit
74. Siberia by LIGHTS 
75. Europe by Allo Darlin'
76. The Something Rain by Tindersticks
77. Something by Chairlift
78. The House That Jack Built by Jesca Hoop
79. Anxiety by Ladyhawke
80. Fear Fun by Father John Misty
81. California 37 by Train
82. Break It Yourself by Andrew Bird
    
83. Reign Of Terror by Sleigh Bells
84. Given To The Wild by The Maccabees
85. The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do by Fiona Apple
86. Through The Night by Ren Harvieu
87. Personality by Scuba
88. America Give Up by Howler
89. Black Light by Diagrams

Thea Gilmore's Angels In The Abattoir update - July 2012

Ok this is a first from Underwurld's resident Angel. Thea Gilmore has sent out a heartfelt and honest assessment of the Angels In The Abattoir fan programme...

In Thea's own words: "So here goes...I hope you all know how valuable you are to me. Obviously, your financial support has been a significant part of my income for the last few years, but AITA has been so much more than that. A connection, a community, a discipline.. Its yielded songs that would never otherwise have been written, and given me a focus and a drive that I don't want to do without."

"I want to GIVE you Angels In The Abattoir free for a while. Instead of a business deal, let's be friends. I still get the fun of writing for you directly, having direct communication and most importantly (for me) I don't feel guilty that I'm letting you down when I'm juggling albums, kids and the nasty side of the business I'm in, and can't dedicate the time AITA deserves."

This didn't come as a massive surprise, as Thea has not given enough time to the supporting website and the attention it deserves, but it's a wonderful gesture to loyal fans. All existing Angels' subscriptions are suspended but memberships are not. This means that new fans cannot start joining for free but existing fans get to remain part of this great fan base and continue to get exclusive songs, at no cost - at least until the programme is updated.

Two key questions from a short FAQ included in the email...

Q. I don't understand why you'd do it?
Because I think you lot are amazing. Because your support means the world to me and because I don't feel I'm offering you value for money right now. So while I get the nuts and bolts of Angels In The Abattoir sorted, I want to give you something back. Plus, if one of my kids gets chicken pox and I can't make it into the studio to record a monthly track one month, I'm not breaking a contract. I like to think I'm pretty honourable and unlike a lot of the music business, this matters to me.

Q. So is this the end of Angels In The Abattoir?
Nope. But it will change. It needs to be better organised, better value and better run and all of this takes time. I want to offer monthly subscriptions, different musical avenues, perhaps introduce new artists through it as well.. But to do it, I need the cogs of the operation to run smoothly so my little one girl band can concentrate on what's important.

And so to July's song: Just Because. This is another wonderful vocal arrangement with Thea in great voice and accompanied by acoustic guitar. Some great lyrics including "There's not a rumour I haven't laid to waste; No sense of humour that I cannot disgrace..." and a rising high-pitched chorus that echoes the sentiment of the current situation and Thea's response to a great idea that desperately needs an update.

Here's to the future and the continuation of Angels In The Abattoir.

The Gaslight Anthem - Handwritten (Album Review 2012)

New Jersey's The Gaslight Anthem is a good example of how a band can be pigeon-holed for the best and the worst reasons. Largely unknown, at least outside the US east coast, it took a high-profile association with Bruce Springsteen (Glastonbury 2009, John Peel stage) to capture people's attention, and also highlight the obvious and ever-present influence The Boss has on lead singer Brian Fallon. This came to an inevitable, and thankful, conclusion with previous album American Slang. While attempting to bring in other influences, the band fell deeper into the comparison and were in danger of becoming a tribute band, the product of The Gaslight Anthem trying to find themselves and much needed individuality. In their worst moments they were starting to sound like Reef with Fallon delivering regular (and very good) impressions of Gary Stringer. So the 2007 début Sink or Swim remains the band's most engaging and interesting album, capturing the dreams and emotions of a youthful quartet trying to make it. And now five years later, the fourth album Handwritten takes the experiences and the mistakes of the intervening years and moulds them into the album fans and critics have been waiting for.

Handwritten begins brilliantly with the blistering rock-pop of "45", the Gaslight Anthem version of Pearl Jam's Spin The Black Circle; a celebration and a metaphor for life. It's a the best of starts both musically and in message. Fallon is himself, exposed and honest, filled with energy and passion as he combines with guitarist Alex Rosamilia to create a torrent of sound. This pace is taken into the title track to create a wonderful example of melodic soft rock with a cracking chorus. Fallon echoes Peter Gabriel at his mighty best in the second half and the vocals in the last minute bring the song to a tremendous and satisfying close.

It is not until Keepsake that this early promise is built upon. Here Comes My Man suffers from a mishmash of ideas and a horribly slow and inane chorus, attempting to pick up in the second half, thanks to a consistent pace and a great Heartbreakers finale, but never quite getting there. Likewise Mulholland Drive has a cramped and uncomfortable chorus, and in spite of a well-meaning sentiment and a superb guitar solo, it never translates into a great "working class man" love song. Again the ending tries to pull it all together and almost succeeds. In light of this, Keepsake is real progression and the first of two darker heavier moments. Fallon's vocal is perfectly gritty and coupled with sharp guitars, dense percussion and a subtle arrangement, this takes us back to the song writing of Sink Or Swim and the true nature of the band. In contrast Too Much Blood threatens to delve back to the faults of American Slang but instead twists the song into something brilliant - grinding guitar work, big Stringer-esque vocals, that stay the right side of acceptable, and a truly great performance from Fallon. At over five minutes the song never outstays it's welcome and another big (yet short) solo introduces a spirited last minute.

From here the punchy Howl adds some light pop-rock. The late 'talky' vocals are a neat addition to add something new. Biloxi Parish sounds like an out-take from second album The '59 Sound - in a good way. Not quite the big stadium-pleaser but bright and open-hearted. Lyrically this is superb with "When you pass through from this world I hope you ask to take me with you... so that I won't have to wait too long" then "Who else can say that about you baby... who else can take all your blood and your curses? Nobody I've seen you hanging around". Fallon keeps things uncluttered and straight-forward.

Into the final trio and the big sing-along Desire is a false dawn (or dusk). Another self-depreciating love song ("I can only let you down" sings Fallon) driven along with more spiralling guitars, empty vocals and thumping drums. This is one that might lift better during a live set. But it's the wonderful Mae that brings one of two late highlights. With a fantastic vocal arrangement and uplifting guitars, this is The Gaslight Anthem coming of age and finally getting it together. "We work our fingers down to dust, and wait for kingdom come...with the radio on..." is another great line. To accompany this, closer National Anthem is arguably the best song on the album, an uncomplicated ballad unlike anything else. Fallon delivers more great song writing: "Now she just screams that I promised her more than this. Take it easy baby it ain't over yet" is tear-stained brilliance. Controlled and effective; a perfect way to end an album that promises hope and accomplishment for the future.

Handwritten is the sound of band updating and enhancing their sound while retaining much of what got them here in the first place. Keeping things raw and earthy while adding polish and slick production. This is a good balance thanks mainly to the involvement of Brendan O'Brien - like many great producers he finds the band's soul and makes it sound new and unique. But this is more than just right place and right time. The Gaslight Anthem have remembered who they are and where they want to be - this is the essence of Handwritten.

-CS (for JC)

New single and video 'Laura' from Bat For Lashes

More stirring song writing from the magnificent Natasha Khan who releases her new album, The Haunted Man, later this year. If this new song is anything to go by, the album will complete an impressive trilogy.

Ben Gibbard from Death Cab For Cutie announces debut solo album

Ben Gibbard from Death Cab For Cutie will release his début solo album in October 2012. Entitled Former Lives, fans can expect trademark vocals and... well we don't know what to expect. The album could be happy or sad, or fast or slow, or dark or light. Those expecting another DCFC album could be disappointed or delighted. It is released on October 16th, the date I started my first job so the stars are aligned for a great solo effort for a brilliant musician and songwriter. Can't wait.

Music Report - June 2012 Part 3

Patti Smith - Banga

Musical icon and all-round legend Patti Smith is back with her eleventh album, entitled Banga, a work bringing together her "unique dreams and observations" in nearly an hour of music. And it is one of the most eclectic and enjoyable albums Smith has made. Shifting from a dramatic opening into soft pop tunes and balladry, and then becoming more intense and dramatic as Banga continues, this is incredible composition and song writing. Now 65, and like contemporary veteran Neil Young whose After The Goldrush is covered as the closing song, Smith shows no signed of slowing down and her fearless sense of exploration has no bounds. Banga is weird, wonderful and wickedly infectious.

Japandroids - Celebration Rock

Canadian duo Brian King and David Prowse follow their début Post-Nothing with the mighty Celebration Rock. Japandriods deftly mix punk sounds with 'classic' rock and the effect brings together influences like Tom Petty with Green Day, The Who and Guns 'n' Roses. The two big songs Fire's Highway and Adrenaline Nightshift showcase this sound perfectly while opener The Nights Of Wine And Roses echoes The Hold Steady, while adding something unique and interesting. The continued presence and power of the vocals; shared duties sounding mostly like a packed stadium and the relentless charge right up to sing-along closer Continuous Thunder. Brilliant, fast-paced and breathless guitar rock at its very best.

Grass Widow - Internal Logic

An all-female trio from San Francisco create a wonderful sound of delicious harmonies and retro-guitars on their new album Internal Logic. This time the band tackles more 'intellectual', nerdy and extradite subjects, from Spock (presumably Mr and not Dr) to The Goldilocks Zone to the fate of commercial society (Disappearing Industries). Lead-guitarist Raven Mahon adds the sharp edges to the slick ethereal vocals as the band take meticulous song construction to great heights on every track. As the album progresses, this craft becomes more apparent, the second half more impressive than the slightly disjointed first - more accessible pop melodies collide with the shimmering sound highlighting the progression from 2010's Past Time.

The Young - Dub Egg

Every so often a band comes along that is so infectious that you quickly learn to overlook their discretions, obvious or otherwise. With The Young, whose singer Hans Zimmerman has such a laid-back free style that is not to everyone's taste, it's the supreme guitar work from Kyle Edwards that stands out. Dub Egg has a very 'Crazy Horse' shambolic live-take feel. Opener Livin' Free and the mammoth Dance With The Ramblers are great early examples, the latter spiralling off into a bass-driven set of solos. But this still feels like work-in-progress for The Young, unstructured, loose ideas and a mix of styles make Dub Egg feel very unfocused, if very engaging and compelling on the first few listens. Plunging Rollers for example doesn't build into anything new in spite of more supreme guitars and the oddly laboured Numb is a psychedelic thrash through a muddled mind.

Plankton Wat - Spirits

Dewey Mahood, from Portland Oregon, is making music solo as Plankton Wat, since humble home-studio beginnings in 2001. With his eyes and ears on other projects, Spirits is a great outlet for his creative flow, the entire album blending together as a huge ambient guitar solo fused with exotic rhythms and drum-machine percussion. This is a musical meditation, a bit Eno and a bit Floyd, reflecting on ancient cities and civilisations (Mahood takes the name from the city-temple of Angkor Wat, circa 12th century) juxtaposed against the US Northwest coast landscape. Slightly more that just background music, Spirits sweeps you away with its seemingly random and shifting instrumentation, textures and effective production.

2012 Music Chart - June

Lots of new stuff this month including new Patti Smith and Neil Young albums and an impressive second album from Japandroids.

1. Shallow Bed by Dry The River 
2. Valtari by Sigur Ros
3. The Lion's Roar by First Aid Kit
4. Bloom by Beach House 
5. Ssss by Vcmg
6. Generation Freakshow by Feeder
7. Celebration Rock by Japandroids
8. The Ghost In Daylight by Gravenhurst
9. Sweet Heart Sweet Light by Spiritualized
10. Ghostory by School of Seven Bells
11. Born And Raised by John Mayer
12. Like Drawing Blood by Gotye 
13. An Awesome Wave by Alt-J
14. Banga by Patti Smith
15. Instinct by Niki And The Dove
16. Electric Cables by Lightships 
17. Blood Speaks by Smoke Fairies
18. The Light The Dead Can See by Soulsavers
19. Sounds From Nowheresville by The Ting Tings
20. WIXIW by Liars
21. Young Man In America by Anais Mitchell
22. The Sister by Marissa Nadler
23. Americana by Neil Young and Crazy Horse
24. Little Broken Hearts by Norah Jones 
25. Words And Music by Saint Etienne
26. Wonky by Orbital 
27. Crown And Treaty by Sweet Billy Pilgrim
28. Standing At The Sky's Edge by Richard Hawley
29. Internal Logic by Grass Widow
30. Strangeland by Keane
31. Here Come The Bombs by Gaz Coombes
32. Tough Love by Pulled Apart by Horses
33. Interstellar by Frankie Rose
34. Dub Egg by The Young
35. Born Villain by Marilyn Manson
36. Let It Break by Gemma Hayes 
37. Manifest! by Friends
38. Clear Moon by Mount Eerie
39. Tree Bursts In Snow by Admiral Fallow
40. Human Don't Be Angry by Human Don't Be Angry
41. The Family Tree: The Roots by Radical Face
42. Weapons by Lostprophets
43. Blues Funeral by Mark Lanegan Band
44. A Monument by Tu Fawning
45. Aufheben by The Brian Jonestown Massacre
46. Have Some Faith In Magic by Errors
47. Hello Cruel World by Gretchen Peters
48. Voyageur by Kathleen Edwards
49. Fossil Of Girl by Sarah Donner
50. Blunderbuss by Jack White
51. Here I Am by Oli Brown 
52. Spirits by Plankton Wat
53. Visions by Grimes
54. Tales From The Barrel House by Seth Lakeman 
55. The Temper Trap by The Temper Trap
56. ¿Which Side Are You On? by Ani Difranco
57. Eighty One by Yppah
58. Wrecking Ball by Bruce Springsteen
59. First Serve by De La Soul's Plug 1 and Plug 2
60. Kin Con by Alex Winston
61. Not Your Kind Of People by Garbage
62. Underwater Sunshine by Counting Crows
63. Siberia by LIGHTS 
64. Europe by Allo Darlin'
65. The Something Rain by Tindersticks
66. Something by Chairlift
67. Anxiety by Ladyhawke
68. Fear Fun by Father John Misty
69. California 37 by Train
70. Break It Yourself by Andrew Bird
    
71. Reign Of Terror by Sleigh Bells
72. Given To The Wild by The Maccabees
73. Through The Night by Ren Harvieu
74. Personality by Scuba
75. America Give Up by Howler
76. Black Light by Diagrams

Thea Gilmore - Angels In The Abattoir (June 2012)

June's song for all us lucky Angels is another cover, this time from Mike Scott (Waterboys). This is Thea's rather softened take on the original which can be found on the 2006 album Book Of Lightning. If anything I expected this version to be a bit more darkly venomous and cynical but instead there is a lightness to it. Scott's vocal on his version is wonderfully direct and dramatic and musically it is more robust but I like what Thea has done with this. An acoustic guitar and a voice with a much more engaging chorus that gives a completely new perspective. And it slowly builds to the end without the need for a big guitar solo. Excellent.

Thea Gilmore - Angels In The Abattoir (May 2012)

May's Angels song was a tad late due to the dreaded 'unforeseen technical difficulties' but here it is...

In Thea's own words: "The first is my Meatloaf moment!.. not from a soundslike point of view.. but a 'what was it he wouldn't do?' perspective! So here is The Word.. and if anyone can guess what the word is, they're a better poet than I am. Answers on a postcard."

The Word is undeniably beautiful, an uncluttered, slickly produced piano ballad with an infectious repetitive chorus in which Thea issues the simple refrain: "There's a word for this". So is the word 'love'? That would be too easy but maybe the point is that things are not that simple and cannot be summed up in a single word.