New Feeder single Borders

Feeder return to form with a new single Borders, as a preview for their new album Generation Freakshow, the follow-up to the disastrous Renegades project. Thankfully Grant Nicholas and Taka Hirose (now officially a duo) with session musicians Tim Trotter and Damon Wilson, have ditched the new persona and gone back to the Feeder of old, writing and performing great pop songs and delivering power, melody and energy.

This bodes well for the new album which Nicholas describes as much more commercial and like Yesterday Went Too Soon and Comfort In Sound - both great albums.

The single is backed with Arms, and acoustic versions of Borders and the charity single Side By Side - all superb.

The High Wire - Odds And Evens (Single - 2010)

A quick single review for Altsounds...

Tim Crompton, Stuart Peck and Alexia Hagen are London trio The High Wire, whose sound is best described as dream-pop, a bit Maps, a bit Slowdive, but a lot of guitars and harmonies. And this is the band’s strength which is proved to great effect on the single Odds And Evens, taken from the album The Sleep Tape.

The song’s opening distorted buzz, drums and Crompton’s vocals instantly draw you in. As the swinging guitars and hypnotic vocal arrangement reveal the sweet tones of Hagen, a great chorus emerges. This is one of the finest songs on The Sleep Tape, and while the album lacks consistency and good song writing, this is a definitive finest hour (or few minutes at least). A great trick unfolds when the song slows to a crawl before slowly building to an anthemic finish with Hagen on top form yet again into the last minute.

This is a strong single from an otherwise weak collection of ideas and themes that litter The Sleep Tape. Those fans of this kind of delivery may well lap up the album’s lazy charms but the strength of Odds And Evens will leave most people wanting more of the same. For now we will have to wait.

-- CS (for Altsounds)

Black Soul Strangers - Lies Single Review (2010)

Another single review for AltSounds.

From Dublin but now based in London, the Irish quartet of Gorey, O’Mahony, Wyer and O’Brien are edgy guitar band Black Soul Strangers. They are like that sexy boy band it’s ok to like because they play their own intruments and write their own songs. Lies is the band’s debut single, a drum and guitar driven modern mood-fest of a love song.

The single has both the ‘radio edit’ and ‘original version’, of which the latter is thirty one seconds longer. Why the need for two cuts of the same song is anyone’s guess as the second edit, at just about spot on three minutes, is perfectly acceptable, and less polished - a good thing in this case. The song pounds along with lead singer Gorey in majestic control, his straight no-nonsense vocal directing the melody. Well structured and focused, things only go astray when “Who let the kids outside?” announces a sudden change. But we are soon back on track.

Lies is unlikely to move mountains but for Black Soul Strangers it’s a good start; a solid debut to promote both image and sound. Hopefully this is a sign of more to come as the band will certainly need better stronger songs for an attention grabbing debut album. Perhaps less restraint within a self-imposed strict formula and more creativity will ensure these boys won’t be strangers for long (sorry).

-- CS (for AltSounds)

Black Gold - Breakdown Single Review (2010)

A single review for AltSounds...

Breakdown is the third single from Black Gold’s debut album Rush. The Brooklyn pair of Eric Ronick and Than Luu excel on the album which is impressive, if inconsistent, throughout. Breakdown is far from the best song on the album but after hearing the whole of Rush it is clear that this is simply part of the band’s six song marketing campaign.

The biggest problem with Breakdown is the subject matter. Essentially lyrics about mental illness and losing control would be perfectly acceptable if they were delivered with the appropriate tone. The electronic start moves quickly into piano and soft vocals. Lead singer Ronick races through a garbled hook into a simplistic and obvious chorus. “All those things you ask in your prayers are falling away now” is probably the best line. But it’s a mid-tempo drawl that quickly gets repetitive and the song is about a minute too long. A few tracks from the album suffer from the same lack of knowing when to, and how to, stop.

Musically, Breakdown is solid but it’s a one idea single that fills out four minutes when it should be a slick three. As multi-instrumentalists Ronick and Luu blend perfectly and sound for the most part like a well-organised five piece, such is the work they put into every song. But this time, as a showcase for Rush, Breakdown is more likely to instil caution than generate interest.

-- CS (for AltSounds)

Natalie Imbruglia - Want Single Review (2009)

A review for Altsounds. I was quite excited about this. I'm a huge fan of Natalie Imbruglia and her album White Lilies Island showed the world what she is capable of. Unfortunately her singing career only lead to TV work and by her own admission she got 'lazy'. Her comeback is something of a soft option. I hope the album is not all like this...

The review...

Best known for the big single Torn (let’s get this out of the way early), Natalie Imbruglia is back with a new album Come To Life. The lead single promoting the album is the Chris Martin collaboration Want. He co-wrote the song and provides keyboards and backing vocals but you wouldn’t know from hearing it.

One of the great things about Imbruglia was that at heart she was never drawn into the mainstream dance-pop scene. Both Left Of The Middle and the wonderful follow-up White Lilies Island are honest and heartfelt, down-to-earth song writing and open performance on every song. This is such a massive change in direction. Imbruglia was the antithesis of Australian compatriot Kylie, a more refined Avril Lavigne making indie pop tunes, wearing baggy clothes and never submitting to the enforced stereotypes. Now she is taking the easy option and copying Kylie’s sound. Vocally, there is so many layers of production that it’s hard to connect the Imbruglia of now with the burgeoning singer of the past. The L'Oréal deal and attempts to be a film star finished that. And it’s not even comparable with Chris Cornell’s fantastic teaming up with Timbaland as here there is a complete loss of identity, soul and ideas.

As a song, Want is just a dance chorus and a pounding drum beat. It does nothing lyrically and Imbruglia sounds flat and listless. At the two minute point it does try something new but quickly returns to the repetition. The outro just runs out of ideas completely. It is such a shame that a promising musician has been distracted by outside influences only to come back with something so flimsy and vacuous. Natalie Imbruglia needs to ditch the people around her, take a guitar and a piano, lock herself in a log cabin for a year, write some decent songs and achieve the potential that we all know she can.

-- CS (for Altsounds)

Radiohead - These Are My Twisted Words

The Radiohead PR continues and in anticipation of a new EP, an unreleased song was leaked onto YouTube last week. Now the band has officially posted the song These Are My Twisted Words on the Radiohead website Dead Air Space.

After the dreadful, but perfectly well intentioned and generous, Harry Patch (In Memory Of), this is a proper song with echoes of a band full of inspiration and incredible talent. After a dark, yet urgent, build-up of rolling guitars, bass and drums, it sounds like a reject from the Kid A recordings. The atmosphere is wonderfully industrial with Reznor-esque edges. Yorke joins in after almost three minutes, this time clear and coherent and with purpose.

A delicious combination and hopefully a portent from a future in which Radiohead return to the days of making decent music; now the band has a solid business model as even better it is free on the website.

You can download it (and new artwork) here.

Last Broadcast Single Reviews - CSS, Dido and Razlorlight

Last month I wrote three single reviews for Last Broadcast.

Here they are in full:

CSS - Move

Brazilian sextet CSS has been making catchy infectious indie synth-pop for over two years and are veritable freshman in today's music scene. 'Move', which sees a departure from the cheeky playful approach of the band's early songs, is the third single from the band's second album 'Donkey'.

Like former singles 'Left Behind' and 'Rat Is Dead (Rage), 'Move' is a pulsating slice of spiky electro-pop with one major difference: consistency. The song rolls along with an upbeat keyboard melody coupled with a choral vocal before lead singer Lovefoxxx takes over. Her insatiable charm is slightly muted here and the chorus especially feels tinged with melancholy; reflective and considered. The rest of band provide some very subtle backing vocals. If there is a problem it is that the song doesn't stop at the usual three minute cut-off point. Lovefoxxx attempts a clumsy pseudo-rap, continuing the warning theme. It feels like a step too far.

CSS has gone a long way since early hit 'Let's Make Love And Listen To Death From Above'. The sound is now more solid and at the risk of a cliché, more mature. The production is slick and smooth, so the instrumentation glides with clarity and purity. The sound of progress.

Released on 13th October 2008.

-- CS (for Last Broadcast)

Dido - Don't Believe In Love

The huge success of Dido is a mystery. She rose to prominence as 'that singer' on 'Stan' by U.S. rapper Eminem, which samples her song 'Thank You'. Her debut album No Angel had such great promise, but her vocal delivery and her voice remains something of a dividing line. 'Don't Believe In Love' is the first single taken from Dido's new album 'Safe Trip Home'. From the outset it is business as usual.

The opening bass sets up the first line "I want to go to bed with arms around me...wake up on my own" followed by "Pretend that I'm still sleeping...til you go home". This is a twist on the anti-love song, seeped in self-doubt and depressive loathing. Even the chorus, a sweet rolling melody, is weak and uninspired. The drum arrangement is basic and the inclusion of a string section, barely audible, is predictable and listless. A minute and a half in, there is little attempt to change things. Only into the third minute, after a very dull string-based instrumental, Dido again shows no emotion. But that is probably the point. The line "If I don't believe in love, what do you get from me? When I don't believe in love, nothing is real for me" sums it up.

The big problem with Dido is her flat lifeless vocal style. Coupled with obvious lyrics, devoid of any imagination and metaphor, this is song writing at its most basic. 'Don't Believe In Love' may be deliberately free of emotion, in line with the dispassionate subject matter but this translates badly into a listenable song. Even a spirited guitar outro does not break the monotony. So, as expected, Dido continues to bring us more of the same.

Released on 3rd November 2008 on RCA and available to download from 26th October 2008.

-- CS (for Last Broadcast)

Razorlight - Wire To Wire

Over two impressive albums, Razorlight has gone from being a punchy pseudo-punk indie band to a colossal rock act. The 2006 eponymous album was well received by fans and critics alike and in spite of a more polished focused sound Johnny Borrell did not become the new Chris Martin. 'Wire To Wire' is the band's first single since the huge success of 'America' and the two songs could not be more different.

Opening with chilling piano, the first thirty seconds has Borrell crooning the first verse. His voice changes dramatically with "She lives on disillusion row; we go where the wild blood flows; on our bodies we share the same scars; love me, where ever you are...". The last refrain has Borrell hitting an impossible note, never to be repeated with such spine-tingling accuracy, and a short interlude brings in the rest of the band. The mid-section is typical flowing Razorlight. The song soon lifts again for more drama, climaxing with the line "How do you love on a night without feeling? She says love, I hear sound, I see fury; She says love's not a hostile condition..." complete with huge rolling drums. But the song soon backs off for a calm vocal and piano outro.

Borrell has talked about the new album 'Slipway Fires' as impulsive and not over worked. The band did not want to over-think the new material, keep things simple and let the song writing out. This may not be the best song in the Razorlight catalogue but it is a great teaser for the new album. In near-three minutes of perfection, it has plenty of space to breathe. Haunting down to the very last note, not since 'Drive' by R.E.M. has a debut single from a new album had such an impact as 'Wire To Wire'. It is subtle, understated and remarkably brilliant.

Released on 27th October on Vertigo and available to download from 26th September 2008.

-- CS (for Last Broadcast)

I hope to write more reviews for Last Broadcast in the near future. So watch this space, as they say...

The King Blues - My Boulder Single Review

A single review for The Music Magazine.

Edwin Collins once famously sang, "Too many protest singers; not enough protest songs". We all know what he means. From Bob Dylan to Bono, Bob Geldolf to Chris Martin, musicians have been politically aware and they love nothing more than to tell the world about it. London's The King Blues may not have been around for very long but they sure have fingers firmly on the social and political pulse. 'My Boulder' is the second single from the band's second album 'Save The World. Get The Girl'.

There are immediate and striking similarities to 'Tubthumping' by Chumbawamba - not so much musically but definitely in spirit. The basis of 'My Boulder' is a tearful conversation, predictably in a pub, between lead singer Itch and someone who has "lost everything that ever meant anything" . The sing-a-long chorus does not quite reach the rabble-rousing heights of its predecessor but it crashes in before the first ten seconds and makes an impact. Itch has a charming Joe Strummer gravely lilt to his voice as he recalls the reassuring chat with his alcohol-soaked comrade. The message is a simple one: instead of whining at the government and the establishment for handouts, we need to start helping each other.

'My Boulder' packs the same punch as 'Tubthumping' but approaches the concept from a different angle - less of a valiant last stand after being flattened and more a comforting hug. Two minutes in and there is a slightly comical reading of 'The Pied Piper Of Hamlyn' by Robert Browning which is lost under the music. Maybe that is the point - to ironically drown out the sorry tale of revenge in favour of the more positive message. After another blast of the chorus, more vocals tread all over the ending which would benefit from a quieter approach. These problems can be excused as the overall effect overshadows any indiscretions. 'My Boulder' is not quite the protest song Edwin Collins was looking for but a genuine message of hope and its subtly is its power.

-- CS (for The Music Magazine)

The Faint - The Geeks Were Right Single Review

A single review for The Music Magazine.

Schism can be a wonderful thing. In 1995, shortly after Todd Fink formed The Faint (then as the peculiarly named Norman Bailer), guitarist Conor Oberst quit the band and both parties went their separate ways. That is to say Oberst formed Bright Eyes and in retrospect it is easy to understand why the split happened. The existing members of The Faint were simply not making the music they wanted to make and their quest to break down stereotypes and define new boundaries forced them away from guitar-driven indie and country-rock. The band has produced six albums and two remix collections yielding varied results; not everything works with the best being 'Danse Macabre' following on from the cult success of 'Blank-Wave Arcade'. Now with a new record label (their own), The Faint release a new album 'Fasciinatiion' and first single 'The Geeks Were Right'.

From the opening few bars, 'The Geeks Were Right' sounds like a remix of The Killers - all buzzing electronica over stabbing guitars. Fink's vocoder-esque vocals simply echo this melody, right up to the hapless unimaginative chorus which should come with the warning: 'Mind The Gap'. Only in the second half does the song shake off this familiarity and attempt to take a different course. Fink's lyrics tell the prosaic tale of a distant future from "Egghead boys with thin white legs. They got modified features and software brains" to the Terminator influenced, but slightly obscure "Predator skills; Chemical wars; Plastic islands at sea; Watch what the humans ruin... with machines". You can see immediately what they have tried to do. Two minutes in and the electronics go haywire, just for a few seconds, before more of the same, to a very flat depressing ending.

Fusing dance and punk to create something new and compelling is proving to be a difficult art. Gone are the dark overtones and striking electronic gymnastics of the band's early work and the in-your-face punk stylings of previous album 'Wet From Birth'. The Faint has persevered were Oberst has simply flirted (see 2005's inconsistent 'Digital Ash in a Digital Urn') but this is like a modern day Kraftwerk without the charm or the innovation. The persistent guitar plodding lacks any form of deviation as does Fink - predictably in 'robot mode'. In searching for an identity, The Faint have not only failed to find it here, they have lost the one they once had.

-- CS (for The Music Magazine)

Noise Control - Cities Of Dreams / Mudbath Single Review (2008)

A review for AltSounds.

Fusing guitar rock and electronic dance music is nothing new. Musicians have been trying to get away with it for years. The latest band to try this is Irish five-piece Noise Control, the name immediately setting it up for a fall with the inevitable question: There is noise but is there control? The debut double A-side single (this term no longer makes sense in the age of the CD but we get the idea) of 'Cities of Dreams' and 'Mudbath', packaged with three other songs making it more of an EP, is a good introduction to the band who sound like Kasabian meets Senser as remixed by Orbital.

What is strange about 'Cities of Dreams / Mudbath' is that the two lead songs are the weakest. The music on 'Cities Of Dreams' is great in contrast to Mark Kid's awkward vocal delivery. The song becomes a vacuous attempt to stir things up rather than make a statement. Only when the guitars kick in do we get the full force. The hapless lyrics let things down enormously. The festival experience inspired 'Mudbath' is even worse, going nowhere from Kid's opening gambit: "Do you wanna get dirty? I wanna get dirty too". It is all incredibly sleazy and embarrassing. But the music is a wonderful blend of guitars, bass, electronics and sample scratching.

Of the rest, 'Our Life' is excellent, mixing electronica and classical strings, and at last some controlled rapping from Kid. This time the lyrics are simple and to the point, like a watered down Rage Against The Machine. The message is anti-capitalism: "Some people, they are living in pity, with their conscience they can conquer the city". Kid goes on to declare: "People are dying on the streets" and "Some people, they are living in pain; Some people, they are living in greed". It may seem obvious and old-fashioned but it works and everyone's hearts are in the right place. 'Addiction' is a short guitar blast - a furious mix of rock and rap after a grunge start. Kid sums up the anti-drug message: "Why can't he just walk the straight line?". Simple yes, but effective. Final song 'Steel' is a massive fusion of everything, a great sound let down again by some more dodgy vocals. This sounds like a remixed older song.

Whether Noise Control with survive in the current musical world is a matter of debate - and time will tell. The band desperately needs to improve the lyrics from Kid and play to the strengths of the music. On the first listen to 'Mudbath' you can't help thinking the band should just sack the singer and find someone else - a drastic overreaction given that Noise Control has such promise. By all accounts the band is a fantastic live experience and something that needs to translate to the recording studio.

-- CS (for AltSounds)

Foals - Olympic Airways Single Review (2008)

A single review for The Music Magazine. I have never paid much attention to Foals but I was intrigued by the 'live' performances for various radio shows - I think the band appeared on BBC Radio 2 for Jonathan Ross as well as 6music.

The review:

With a debut album received with what can only be described as a lukewarm reception, Foals is another band that needs to live up to the early hype. Yet it seems that Yannis Philippakis et al are more comfortable just keeping their heads down until the media storm clears and they can just get one with it. Even the NME are now on the fence.

Earlier this year Foals performed a short session for BBC 6music in which they reworked previous singles ‘Cassius’ and ‘Red Sox Pugie’ with acoustic guitars. The concept of an unplugged set is nothing new but somehow they made it a revelation, probably because it was so different and unexpected. The band were wide open for everyone to hear, raw and unhinged. They were clearly more than just another copycat indie lad-rock outfit. Back in January the band made number 5 in the BBC Sound of 2008 Top 10, behind Glasvegas but ahead of Vampire Weekend, Black Kids and MGMT. The question is: have they done enough to justify this early praise?

‘Olympic Airways’ is a topical (it is still an Olympic year) story of escapism centred around using an avian metaphor to describe long haul travel. Opening with soft guitar and a simple drum beat, held together with droning keyboards, it is trademark stuff as the lead guitar picking and bass begin a melody. Foals certainly have a sound that is distinctive and recognisable. In contrast to the musically urgency, Philippakis is in very subdued mode - his vocals flowing like molten chocolate. “If only we could move away, from here / This is how we built a place: an aviary for today… Let’s disappear ’til tomorrow”. He is distant and reflective until the big shouty chorus repeats ‘disappear’ over and over. There is a neat guitar break and pulsating bass before more warbling guitars. What should be a quick outro turns into a strange last minute of pseudo-improvised bass driven emptiness and a bit more of the same, as the solid three minute mould is broken.

Ultimately ‘Olympic Airways’ is not as annoying as big single ‘Cassius’ but not as good as last offering ‘Red Sox Pugie’. As a fourth single it continues to promote the album, but nothing more. Bassist Walter Gervers is exceptional as is the guitar duelling from Jimmy Smith and Philippakis but the whole song lacks any impact. Foals desperately need to break out of their comfortable world and add some interesting new ideas while maintaining their great sound. On this evidence, the difficult second album could prove to be more difficult than they expect.

-- CS (for The Music Magazine)

You Me At Six - Jealous Minds Think Alike Single Review (2008)

A single review for AltSounds.com.

Once upon a time, Emo used to be the music of the US. Young American bands dominated the scene from Green Day to Bowling For Soup to New Found Glory and UK bands didn't even try to compete. Ever since Busted appeared with their infectious brand of Brit-emo-pop, the genre has been wide open. This has lead to bands like Lostprophets, and more recently Proceed, to venture into this new world bringing in heavier guitars and a more mature sound. To counteract this respectability, and in the wake of Busted, we have the mighty McFly. With the industry in the palms of their grubby little hands, they backed off into the safety of mainstream pop. Why? Because the UK cannot do Emo. Not in its purest, exuberant and vibrant form. But now there is You Me At Six.

'Jealous Minds Think Alike' gets right into the action with a torrent of crashing drums and squealing guitars. Lead singer Josh Franceschi comes in as the music predictably drops. His voice is not as whiny and as nasal as you would expect - it has a wonderful resonance and he sings with urgency and passion. The uplifting chorus soon appears: "You can be the ghost in my hall. You can be the smile I don't want. I'll be the fly on your wall". Franceschi quickly shrugs off the metaphors and gets straight to the point for the second half: "You can be the distance in between. You can be everything I need. You'll be the girl I don't call". A typical well put anti-love song, full of controlled angst designed to make us sympathise (and empathise) with the subject. So far so good. Another chorus, more thumping drums and two and half minutes later, the song threatens to run out of steam. Franceschi gives us a couple of seconds of earnest crooning before the big outro.

The big problem You Me At Six will face is individuality. With such a strict genre and the necessity to push the right buttons, the band have limited scope for expansion. Fans will expect, no demand, a huge barrage of guitars and drums followed by a delicate drop to some crooning vocals, then more of the same. That is the formula. But the key here is just a small amount of diversity and good songs. The sound is already there. At the end of the day no one is going to search for the hidden depths of musical talent while they are playing this loud and bouncing off the walls. This does what it does. And for this reason alone 'Jealous Minds Think Alike' is a decent lead single.

With a debut album waiting in the wings and much to prove, You Me At Six look and sound like an interesting prospect. But then again, the alternative is McFly. And none of us want that.

-- CS (for Altsounds.com)

Royworld - Brakes Single Review (2008)

One that slipped through the net. I wrote this a while ago but no one seemed to know when it was being released. So when it was added to The Music Magazine site, I missed it. I'm not a huge fan of the band but I tried to be honest and open-minded. They have a great song, they just need more new songs.

The review:

It is always good when a band release a few singles before a debut album but it can work against them. Royworld are on the verge of what should be major success with a trio of singles including the very impressive, if chart-topping and formulaic, ‘Dust’. Now the band release ‘Brakes’ which is more of the same, only not as good.

‘Brakes’ opens with a simple acoustic guitar melody before Rod Futrille’s gravely, yet soft, vocals come in. The chorus is a curious thing. In two parts it has Futrille sounding, ironically, like Olly Knights from Turin Brakes in a reworking of ‘Painkiller’. The first part works well, complimented with more frenetic guitars, but the second borders on mediocrity. The problem is it has all been done before - the big opening “yeah” and sing-a-long predictable lyrics: “This is your life / Don’t you cry, coz it’s alright / As we dance for the last time…” with every strained extended emotional syllable. This formula is repeated until the fade at the second repetition to make a convenient three and a bit minutes. It is the kind of music Feeder have been making for years with a lot more success.

‘Dust’ may be typical radio-friendly pop, but it was a brilliant debut. Even the other singles ‘Man In The Machine’ and ‘Elasticity’, which both sound like they have been done many times before, are more interesting. ‘Brakes’ tries desperately to capture the big sound of ‘Dust’ but never gets there. With only one album it may be too early to tell but so far Royworld appear to be a one hit wonder.

-- CS (for The Music Magazine)

Charli XCX - !Francheskaar! Single Review (2008)

When I was sent this unrequested single by Altsounds.com, as part of another CD bundle, I gave it a chance and then on hearing it, nearly sent it back. But it is infectious and catchy and more original than it first sounds. My big problem is that Charli is only fifteen and has a lot of time ahead of her. She doesn't want to let her embrassing past ruin a promising career.

The review:

We have to face up to reality: Pop stars are getting younger. With the latest participants of X-Factor typically still in school, it is no wonder that someone like Charli XCX exists - and more importantly has been noticed by a record label and 'snapped up' early. With a mixture of spurious retro fashion statements and a simplistic vocal style, this 15 year old girl from the home counties is a bit too over eager to shake off the 'posh' tag and do something different. The effect is more Lily Allen than Duffy; like Hannah Montana if she was a Grange Hill exchange student.

The appallingly titled '!Francheskaar!' opens with some neat buzzing electronica. For six seconds, the song is acceptable and then it really starts. The basic structure is to intertwine the lines of the verses with a horrible incessant repeating of the central subject. It plagues much of the arrangement to the point that an actual drill in the side of your head quickly becomes a viable alternative. After thirty seconds or so Charli dispenses with the mockney rapping and genuinely tries to sing. It almost works. And after a while the formula becomes infectious; the slightly bitter playground tale of a popular girl getting all of the attention gets under your skin.

The single is packaged with four re-mix versions, giving the whole thing an even more retro feel. The Tapedeck version simply takes elements from the original and does an awful 'cut n paste' job. The first part of the Lil'd Lucky Boy cut is very good and then we are suddenly reminded of where we are as the song title is repeated over and over ad nausem. The more toned down 'respect, the beat' remix from Mr Black is a much better attempt. It benefits from a lot more production and a slicker sound. It would probably make a more credible single than the original.

'!Francheskaar!' is a frustrating paradox, as annoying as it is compelling. If it wasn't taking itself so seriously it would fit the 'it's so bad, it's good' category. You have to believe that there is someone genuinely talented trying to do something worthwhile. Lyrically, this could not get more simple: "They all love you... They all want you... Of Course they do... Oh yes it's true". But getting a message across is not as important as making a statement. At the risk of being patronising, Charli XCX is likely to be a huge star when she grows up. The main problem here is from a credibility standpoint this is not a great start. Onward to bigger and better things.

-- CS (for Altsounds.com)

Rosie And The Goldbug - Lover Single Review (2008)

To go with the album review, here is a review of 'Lover' for The Music Magazine.

I'm glad I reviewed the album first. I would have quite a different single review otherwise.

The review:

'Lover' is the lead song from Rosie And The Goldbug's eponymous debut album and not quite representative of the band's sound and self-realised projected image. Quoting Siouxsie and The Banshees, The Cure and Kate Bush as influences and wanting desperately not to be just another 'indie guitar band', it is more commercial and mainstream than you might expect. It is this paradox that is a source of intrigue. Is there more to Rosie And The Goldbug than gothic demeanour and a love for wind swept lonely Cornish moors?

For a band which does not have a lead guitarist it seems to go against well established principles to use one. But 'Lover' is driven forward by bassist Pixie who provides a persistent backing to the usually more prominent piano, keyboards and drums. For the first minute there is a more subdued arrangement with Rosie's voice the more striking; with sultry overtones, she sings "I love the way you move; want to get inside of you. Please make me safe again, please make me safe again...". The polished echo on the chorus as she repeats the song's title is too predictable and when the full instrumentation comes in, the relentless guitar and drum sound flattens everything. Thankfully this is not a problem for long as the ideas begin to flow. A keyboard melody joins in for the next verse, followed by a blast of stomping piano, then a short drum solo (from the ever present and dynamic Plums) in which the guitars build again for the rousing, if slightly tuneless, finale. It is a shame that the lyrics simply repeat without the same kind of flow and invention as the music.

As a single, 'Lover' is both radio friendly and a good advert for the album - two very important and much needed traits. However the song misrepresents the band's overall sound which is a dangerous and slightly baffling move. The last thing you want to do is raise the expectations of fans with false promises. "Beware of supposed 'gothic art-punks' bearing 'indie guitar-driven' gifts".

-- CS (for The Music Magazine)

Laurel Collective - International Love Affair Single Review

Again not my choice but another single review for The Music Magazine.

The review:

International Love Affair is the lead song from Laurel Collective's mini album 'Feel Good Hits Of A Nuclear Winter'. The band is an intriguing UK six piece who combine traditional indie guitar music with vibrant electronics and bass. The sound is compelling and frustrating at the same time as a great idea is often spoiled by a need to be different.

The song opens with a blast of bog standard guitars, bass and drums before exploding into some cool bouncy keyboards. When Martin Sakutu's vocals kick in, the bass takes over and it falls flat before picking up again and building to the chorus (with some neat additions from co-vocalist Bob Tollast), again peppered with elastic electronica. Two and a half minutes of this idea and it all starts to go wrong - the structure and coherence get lost under some kitchen sink production. Even Sakutu sounds bored and underwhelmed. The music gets back on course with more great guitar work but then what amounts to a simple repeat of the chorus, more weird keyboards and a stuttering close.

International Love Affair is not a great single but it is certainly better than most of the songs on the album, most notably the messy 'Seasick Sailor'. However it is not as interesting as recent garage rock single 'Vuitton Blues'. But Laurel Collective sound cluttered, like everyone is stepping on each others' toes all the time. Consistency is the key on many levels for a band who still have much to prove.

-- CS (for The Music Magazine)

Angus And Julia Stone - Just A Boy Single Review

A single review for Altsounds.com.

Angus And Julia Stone are an Australian brother and sister musical collaboration. After one album and a few EPs, they release another single from 'A Book Like This'.

'Just A Boy' is delicate blend of acoustic guitars, simple piano and dominant vocals from Angus. Unfortunately any contribution from Julia is pushed into the background. The song takes an age to get moving and there is little change, or any up-tempo lift, from verse to chorus. The mid-section is filled with a blast of harmonica before Angus returns with more of the same melancholy drawl. Somewhere there is a good, well intentioned, love song trying to escape the monotony. This might be representive of their album but as a single it is flat and listless.

It is a shame that Angus And Julia Stone often choose to keep things so simple. Their music works best when both vocals are used (such as previous single 'The Beast') but this rarely happens. The contrast between the two voices is what makes them interesting so 'Just A Boy' sounds a bit flat. This also has much to do with the lack of inspired arrangement. Pleasant but boring.

-- CS (for Altsounds.com)

Martina Topley-Bird - Baby Blue Single Review

A single review for The Music Magazine.

I really didn't get this song as a single. It is a pleasant enough sound but her voice is thin and nothing happens. Such a shame.

The review:

Martina Topley-Bird will forever be known as the female singer on Tricky's debut album Maxinquaye, most notably for her performance on the cover of the Public Enemy masterpiece 'Black Steel'. After her disappointing solo debut Quixotic, 'Baby Blue' is the third single from her second album 'The Blue God'.

Like previous single 'Poison', and unlike the engaging and slightly creepy 'Carnies', this is a steamy sultry three and a bit minutes of empty pseudo-jazz soul. The opening thirteen seconds of vocals is the best part of the song but it is all false promises. From here, the music is swamped by soft drums, plinky-plonky keys with the odd guitar chord thrown in. The atmosphere is there and the whole effect is pleasant enough but it goes absolutely nowhere. Even after a couple of minutes of watery vocals and a few very weak choruses, the short guitar break sounds laboured and very out of place. Then it just repeats and fades away into a thin vocal outro.

What is difficult to understand about 'Baby Blue' is the total lack of imagination and ideas. The persistently bad disjointed drum track sounds like it was added in post-production as an afterthought. This song may work well on the album but it does not work as a single. And with the shadow of 'Black Steel' still looming it was, and will remain, her finest hour.

-- CS (for The Music Magazine)

Queen And Paul Rodgers - C-lebrity

A single review for The Music Magazine.

Normally I wouldn't touch a single like this but I'm not one to run away from a challenge and this certainly is one. It is so hard to review this without referencing Freddie Mercury and the legacy of Queen so I asked a lot of questions and then focused on the music.

The review:

It would be easy to say that Queen should have given up when Freddie Mercury died. It would be easy to say that Brian May and Roger Taylor have nothing more to offer. It would be easy to say that the memory of a former lead singer was worth more than trying to honour his memory by flogging a dead horse. But things are never that easy. May and Taylor obviously think they have more to give. So this new venture is half of Queen (John Deacon has quit) joined by Paul Rodgers (former singer with Free and Bad Company). And that is the real problem here. If this isn't Queen, then why continue under the same name? Why not move on and do something different with a different brand? Surely May and Taylor are household names and can make it on their own? Nobody can deny the lasting legacy of Queen and the considerable charity work after Mercury's death (most notably his tribute concert raising millions of pounds for AIDS causes), but musically the band are in limbo.

'C-lebrity' is an attempt to highlight the problems with the modern phenomenon of 'celebrity', possibly to shame and ridicule those who are no longer having to work for their new found fame. It feels like some form of vindication but ends up sounding bitter and empty. The guitar work from Brian May is, as always, exceptional and Roger Taylor echoes this with some fine drumming. There are some neat touches like short blasts of sampled crowd screaming and Paul Rodgers throws his bluesy drawl over everything. But the real disappointment is the ludicrously simple chorus which attempts to emulate the trademark layered vocal harmonies of the Roy Thomas Baker days. What actually emerges is thin and weak. Two minutes in and the idea really starts to stretch thin - a predictable, but short, May guitar solo followed by the wonderful hypocrisy of "I wanna be a star in a Broadway musical...". So 'We Will Rock You' was a bad idea then? Another couple of laboured choruses and a messy ending just drags it out.

It leaves a sour taste in your mouth when one of the world's most successful bands (or not as the case might be) tries to criticise the current trend of 'celebrity culture' while sitting on their millions safe in the knowledge that they no longer have to work for a living. This is a very poor choice of subject and above all it is not a very good or original song. It's just really hard to hate it.

-- CS (for The Music Magazine)

David Holmes - I Heard Wonders Review

Again, for The Music Magazine. I quite like the music of David Holmes although some of his soundtracks are a little predictable. I might check out his album.

The review:

Best known as a DJ, remixer, producer and soundtrack composer (most notably the recent 'Ocean's' trilogy), David Holmes is a musician who can never decide on his strengths. Now he releases 'I Heard Wonders' from his own 2008 album 'The Holy Pictures'. Predictably the single is a collaboration, such is the nature of these things, this time with Martin Rev (Suicide) as guest lyricist.

From the start 'I Heard Wonders' sparkles with a dense effervescence, bubbling with dark electronica. The vocals are part Reid brothers and part Bobby Gillespie, so the Jesus And Mary Chain vibe features heavily throughout, but it could as easily be Goldfrapp reworked by Maps. Comparisons aside, the song glides and flows with a subtle combination of vocals and electronic melody. One down side is the uninspired drum track which occasionally descends into Casio keyboard demo mode. Another problem is the lack of invention in the second half; music just repeats with little variety and depth and as the music fades, the vocal ending sounds a bit forced.

'I Heard Wonders' is not an immediately obvious choice for a single but Holmes has a way with music most mere mortals can only dream about. Like Craig Armstrong, David Arnold and to a lesser extent Moby (remember him?), he is both a jack of all trade and a master of some. The question remains: what could he achieve if he dispensed with all this diversity and focused on the music?

-- CS (for The Music Magazine)