I recently joined the music team of our university's newspaper, Spark*. My first review was of solo artist Kiria and her album Radio. I really liked it!
London-based solo artist Kiria is on track to bring back positive views of ‘pop-punk.’ Backed by a four piece band, she has already received rave reviews, not only for her recorded work, but for her live performances too.
Album opener Radio, with its heavy riffs and catchy drumbeats, is a song which can easily be imagined as a stadium anthem. Kiria opens the song with the “I can’t turn switch my radio on, I can’t stand the tunes,” which sums up her preference for older tunes over the hits of today. Radio gives us a great impression for the rest of the album, which doesn’t disappoint, especially with Fussy Girl. With the main hook as “I’m not one of those fussy, fussy girls,” this seems set to be a future fun, girly, sing-a-long anthem.
Lead single Jelly Baby is the perfect mix of girl power pop and energetic punk. Instantly recognisable as another future sing-a-long, it packs beefy guitar riffs from the start. Teamed with innocent vocals, including a round of “bababadada,” a hit record is made. This is followed by Love Song, a piano and violin collaboration, something which is not often seen in the charts these days. It’s a sweeter, more low key track, providing a calming break in the album. It also gives us a chance to see a different side of Kiria.
The album finishes on the rockier Live Sex on Stage. A collaboration with comedian Paul Kaye, this brings out the punk influences that Kiria often refers to. The track is raw, fresh and brilliantly neat whilst still encapturing the essence of pop-punk, with lyrics such as “just make sure your knickers get seen.” It’s a great, fun end to the album.
Radio is released on Koochie Coo Records on 25th October.
4/5
Monday 8 November 2010
Friday 24 September 2010
Cerys Matthews
At the beginning of August, I spent at week doing work experience at The Independent. I was in the Arts and Books section, and my main job was to find someone/some people to interview for a section they do called "Cultural Life." At the end of the week, I did an interview with Cerys Matthews, and today it got published!
It's here: http://www.independent.co.uk/arts-entertainment/music/features/cultural-life-cerys-matthews-singer-2087668.html
It's here: http://www.independent.co.uk/arts-entertainment/music/features/cultural-life-cerys-matthews-singer-2087668.html
Thursday 16 September 2010
General Fiasco photos
Just a few more shots from my Flickr account. These are of General Fiasco back in March. I reviewed it, and their album, for Rocklouder, which should be in this blog somewhere. I like these shots because they're "action" shots.
Monday 13 September 2010
Flickr
Finally figured out how to link my Flickr to this blog, so I thought I'd choose a music-related photo as my first post.
This is a picture of Harry from White Lies from when I saw them in May 2009. I started experimenting with putting my name on the photos for copyrighting, and I think the name here is a little too big. When I have time, I may reduce it's size to make it stand out less.
I'm looking to expand my Flickr account more, and hopefully I can share more photos on here. I love photos almost as much as I love writing :)
This is a picture of Harry from White Lies from when I saw them in May 2009. I started experimenting with putting my name on the photos for copyrighting, and I think the name here is a little too big. When I have time, I may reduce it's size to make it stand out less.
I'm looking to expand my Flickr account more, and hopefully I can share more photos on here. I love photos almost as much as I love writing :)
Friday 23 July 2010
Dinosaur Pile-Up: Birds and Planes
Another single review. I've had a bit of a mad week, and I'm still not entireley sure what I'm doing! But I really liked this song, which is a change from what I normally like. I've also just re-read this and thought of things I could've put in it but oh well!
Having played with Pulled Apart by Horses, The Automatic, and even the Pixies, Leeds trio Dinosaur Pile-Up have proved that they’re here for business. Their 2009 debut single “My Rock N Roll” was championed by the likes of Zane Lowe, and follow-up EP “The Most Powerful EP In The Universe” gained similar praise. “Birds and Planes” is the first single to be released from their debut album “Growing Pains,” which is released in September.
“Birds and Planes” immediately bursts in with a crunching riff and somewhat downbeat lyrics. From here on in, the energy never ceases as the trio seem to play the hell out of their instruments with no half-heartedness insight. Even the vocals keep their edge, unwilling to get lost in the chaos- in a good way- surrounding them. It seems to be pretty clear that music is something they are deadly passionate about. Frontman Matt Bigland has confessed that he wants people to be able to sing along to their songs, even if the lyrics are not of the happy kind- which is pretty evident here. With lines like “nothing is for sure you know except the day you go to hell,” this was no lie. The song continues in this vain, until we hit midpoint, where the band get to let off some steam and show their worth in a short “instrumental-interlude.” After this, the stakes are raised as the riffs get heavier and the drums get louder. This is where you can see how the band succeed in uniting an audience live, as you can imagine every single person getting stuck in. Everything comes to a head when the track reaches its end, as the trio continue to impress.
If this track is anything to go by, Dinosaur Pile-Up’s debut album should impress. With a tour lined up for September, Dinosaur Pile-Up will continue to grow for some time to come.
4.5/5
S'all published
http://www.rocklouder.co.uk/singles/article/dinsaur-pile-up-birds-and-planes
Having played with Pulled Apart by Horses, The Automatic, and even the Pixies, Leeds trio Dinosaur Pile-Up have proved that they’re here for business. Their 2009 debut single “My Rock N Roll” was championed by the likes of Zane Lowe, and follow-up EP “The Most Powerful EP In The Universe” gained similar praise. “Birds and Planes” is the first single to be released from their debut album “Growing Pains,” which is released in September.
“Birds and Planes” immediately bursts in with a crunching riff and somewhat downbeat lyrics. From here on in, the energy never ceases as the trio seem to play the hell out of their instruments with no half-heartedness insight. Even the vocals keep their edge, unwilling to get lost in the chaos- in a good way- surrounding them. It seems to be pretty clear that music is something they are deadly passionate about. Frontman Matt Bigland has confessed that he wants people to be able to sing along to their songs, even if the lyrics are not of the happy kind- which is pretty evident here. With lines like “nothing is for sure you know except the day you go to hell,” this was no lie. The song continues in this vain, until we hit midpoint, where the band get to let off some steam and show their worth in a short “instrumental-interlude.” After this, the stakes are raised as the riffs get heavier and the drums get louder. This is where you can see how the band succeed in uniting an audience live, as you can imagine every single person getting stuck in. Everything comes to a head when the track reaches its end, as the trio continue to impress.
If this track is anything to go by, Dinosaur Pile-Up’s debut album should impress. With a tour lined up for September, Dinosaur Pile-Up will continue to grow for some time to come.
4.5/5
S'all published
http://www.rocklouder.co.uk/singles/article/dinsaur-pile-up-birds-and-planes
Wednesday 7 July 2010
Holy State- Holy State EP
It's been a while- I like to blame exams and sleep! This is my review of Holy State's self-titled EP. It's released on July 12th :)
Citing their influences as Jesus Lizard and The Fall among others, Holy State have set themselves up for success. Having already appeared on Huw Stephen’s ‘Music Sounds Better with Huw-Volume 1,’ and opened up the Dance to the Radio stage at the Leeds Festival last year, they’ve already marked their territory as one of the ‘bands-to-watch.’ This self-titled EP is their first to be released properly, and is being released through Dance to the Radio.
Opener ‘Brain Caves’ forces you to immediately sit up and listen, beginning with a trumpet and incessantly catchy drumbeat. Ditching conventional repetitive beats, this opening number is heavy-hitting, and shows how Holy State are pushing against the norm. This is especially evident when you reach the chorus, as the offering becomes particularly severe- but not in a way that is detrimental to their vocals. Move on to ‘The Beaus and the Oglers,’ and their true potential is unleashed. Although being a shorter track, everything seems to work together to produce another heavy-hitting number, which includes a short interluding instrumental in the midst of the track. It brings us up to speed with their talent-of-plenty, before we move onto a slower and perhaps calmer song. ‘Skull on Skull’ is perhaps the break in the action that is needed here, and it’s one which is received gratefully, as they prove that they can provide variety in their music. Finishing on ‘Palms,’ you can immediately see that this will be a crowd-pleaser. Among the clapping-beat of the drums, which becomes more complex as the track progresses, there is an energy that seems the live-scene like a glove.
Holy State have found their rhythm, as they step out of the box and give us something unexpected in today’s music scene.
4/5
Published! http://www.rocklouder.co.uk/albums/article/holy-state-holy-state-ep
Citing their influences as Jesus Lizard and The Fall among others, Holy State have set themselves up for success. Having already appeared on Huw Stephen’s ‘Music Sounds Better with Huw-Volume 1,’ and opened up the Dance to the Radio stage at the Leeds Festival last year, they’ve already marked their territory as one of the ‘bands-to-watch.’ This self-titled EP is their first to be released properly, and is being released through Dance to the Radio.
Opener ‘Brain Caves’ forces you to immediately sit up and listen, beginning with a trumpet and incessantly catchy drumbeat. Ditching conventional repetitive beats, this opening number is heavy-hitting, and shows how Holy State are pushing against the norm. This is especially evident when you reach the chorus, as the offering becomes particularly severe- but not in a way that is detrimental to their vocals. Move on to ‘The Beaus and the Oglers,’ and their true potential is unleashed. Although being a shorter track, everything seems to work together to produce another heavy-hitting number, which includes a short interluding instrumental in the midst of the track. It brings us up to speed with their talent-of-plenty, before we move onto a slower and perhaps calmer song. ‘Skull on Skull’ is perhaps the break in the action that is needed here, and it’s one which is received gratefully, as they prove that they can provide variety in their music. Finishing on ‘Palms,’ you can immediately see that this will be a crowd-pleaser. Among the clapping-beat of the drums, which becomes more complex as the track progresses, there is an energy that seems the live-scene like a glove.
Holy State have found their rhythm, as they step out of the box and give us something unexpected in today’s music scene.
4/5
Published! http://www.rocklouder.co.uk/albums/article/holy-state-holy-state-ep
Friday 28 May 2010
Four Year Strong- Wasting Time (Eternal Summer)
Apparently this blog doesn't want to do a proper layout, which is nice. This is the last one I've done for now, but I will do some more this evening. I've decided I like this band...
If you’re looking for a band who are unwilling to commit, look no further than Four Year Strong. This is no bad thing- variety is the spice of life and all that-, as the band prove themselves capable of being able to produce intense tunes, be they pop-punk, hardcore, or anything in-between. This has undoubtedly paid-off, as they have made themselves known over the years in many-a-poll, from “most anticipated”[Alternative Press] to one of the “40 bands you need to know” [Rolling Stone].
This talent has continued into newest offering, Wasting Time (Eternal Summer). Bursting with energy from the start, this track is a sure fire winner. “I don’t care” is the main theme here, as lyrics are spat out, sung and chanted with passion and emotion. Aided by infectious drumming and guitar riffs to match, you can feel how real these lyrics are. Even when the track reaches its ‘breakdown’ moment, the energy is still completely visible, as chants including “wasting time, all along you were just wasting my time” are sung to the tune of an incessant drumbeat. In the background vocals- echoes of the chanting and ‘woo-‘-ing, you can hear how much fun they’re having with this, which is something which can be rare to find in some modern-day bands.
Four Year Strong deserve every success, as they have continued to go from strength to strength.
4/5
Just saw my review got published today! Compared to how bad my last published review seemed to be [haha], this one seems to have gone done well:
http://www.rocklouder.co.uk/singles/article/four-year-strong-wasting-time-eternal-summer
If you’re looking for a band who are unwilling to commit, look no further than Four Year Strong. This is no bad thing- variety is the spice of life and all that-, as the band prove themselves capable of being able to produce intense tunes, be they pop-punk, hardcore, or anything in-between. This has undoubtedly paid-off, as they have made themselves known over the years in many-a-poll, from “most anticipated”[Alternative Press] to one of the “40 bands you need to know” [Rolling Stone].
This talent has continued into newest offering, Wasting Time (Eternal Summer). Bursting with energy from the start, this track is a sure fire winner. “I don’t care” is the main theme here, as lyrics are spat out, sung and chanted with passion and emotion. Aided by infectious drumming and guitar riffs to match, you can feel how real these lyrics are. Even when the track reaches its ‘breakdown’ moment, the energy is still completely visible, as chants including “wasting time, all along you were just wasting my time” are sung to the tune of an incessant drumbeat. In the background vocals- echoes of the chanting and ‘woo-‘-ing, you can hear how much fun they’re having with this, which is something which can be rare to find in some modern-day bands.
Four Year Strong deserve every success, as they have continued to go from strength to strength.
4/5
Just saw my review got published today! Compared to how bad my last published review seemed to be [haha], this one seems to have gone done well:
http://www.rocklouder.co.uk/singles/article/four-year-strong-wasting-time-eternal-summer
The Drums- Forever and Ever Amen
Second review of the day- new band "The Drums". I've liked them for a while, so it was nice to do a review of them.
If you paid attention to any music polls, or a variety of music publications, last year, you should’ve picked up that this Brooklyn-based band is supposedly the “Sound of 2010.” Formed in 2008, consisting of only best friends Jonathan Pierce and Jacob Graham initially, The Drums have slowly been climbing the ladder of success. Adding drummer Connor Hanwick and guitarist Adam Kessler to the mix, their music has gone from strength to strength, hitting radio stations, music channels and music publications worldwide.
Forever and Ever Amen is the third single to be released by The Drums, and it doesn’t disappoint. Drums form a prominent part of the track, providing not only one half of the track’s introduction, but also the unforgiving beat that is guaranteed to be in your head for quite some time. With no bass involved, it’s up to the two guitars to produce the melodies that listeners are after. Again, disappointment is not found, as their riffs are assured to be the soundtrack to summer, whatever the weather. Sung by Jonathan Pierce, the lyrics feel incredibly heart-felt and sincere, something which immediately increases the likeability of the track. Backing vocals are simply, and in a way haunting, but for all the right reasons.
With all of their talent packaged together, it’s no wonder they have been tipped for great things in 2010. With stupidly catchy songs like this, the only way is up for The Drums.
4/5
If you paid attention to any music polls, or a variety of music publications, last year, you should’ve picked up that this Brooklyn-based band is supposedly the “Sound of 2010.” Formed in 2008, consisting of only best friends Jonathan Pierce and Jacob Graham initially, The Drums have slowly been climbing the ladder of success. Adding drummer Connor Hanwick and guitarist Adam Kessler to the mix, their music has gone from strength to strength, hitting radio stations, music channels and music publications worldwide.
Forever and Ever Amen is the third single to be released by The Drums, and it doesn’t disappoint. Drums form a prominent part of the track, providing not only one half of the track’s introduction, but also the unforgiving beat that is guaranteed to be in your head for quite some time. With no bass involved, it’s up to the two guitars to produce the melodies that listeners are after. Again, disappointment is not found, as their riffs are assured to be the soundtrack to summer, whatever the weather. Sung by Jonathan Pierce, the lyrics feel incredibly heart-felt and sincere, something which immediately increases the likeability of the track. Backing vocals are simply, and in a way haunting, but for all the right reasons.
With all of their talent packaged together, it’s no wonder they have been tipped for great things in 2010. With stupidly catchy songs like this, the only way is up for The Drums.
4/5
Biffy Clyro have Bubbles
So this is the first one I did. Obviously, the single's been out for a while now, but yeah. Here it is...
Scottish three-piece Biffy Clyro have come a long way since their very first formation in 1995. Since the release of Puzzle in 2007, their following has dramatically increased, which has led to endless radio play and consequently, the success of their most recent album Only Revolutions.
This brings us on to their latest offering, Bubbles, the fifth single to be released from Only Revolutions. Opening with a guitar riff that immediately captures your attention, it becomes clear that Biffy Clyro have hit another winner. Simon Neil’s voice has its usual Scottish charm, becoming even stronger when backed by the rest of the band. The melody may not be especially mind-blowing at first, but once we hit the chorus, the energy is heightened and everything seems to come together. The chorus highlights how well their three instruments mould together to create such unique songs.
What makes this track a particular success is the variety of paces it gives us. This is where the power of the band is showcased, as they prove their ability to create hit after hit, whether it be a hard-hitting or a slower affair. Once again, Biffy Clyro have given us the goods.
3.5/5
Scottish three-piece Biffy Clyro have come a long way since their very first formation in 1995. Since the release of Puzzle in 2007, their following has dramatically increased, which has led to endless radio play and consequently, the success of their most recent album Only Revolutions.
This brings us on to their latest offering, Bubbles, the fifth single to be released from Only Revolutions. Opening with a guitar riff that immediately captures your attention, it becomes clear that Biffy Clyro have hit another winner. Simon Neil’s voice has its usual Scottish charm, becoming even stronger when backed by the rest of the band. The melody may not be especially mind-blowing at first, but once we hit the chorus, the energy is heightened and everything seems to come together. The chorus highlights how well their three instruments mould together to create such unique songs.
What makes this track a particular success is the variety of paces it gives us. This is where the power of the band is showcased, as they prove their ability to create hit after hit, whether it be a hard-hitting or a slower affair. Once again, Biffy Clyro have given us the goods.
3.5/5
Long Time, No Reviews...
I have been terrible at keeping up to date with these- haven't written for over a month! So today, I thought I'd sort this out and try and get up to date with everything... here goes...
Thursday 8 April 2010
12 Stone Toddler- This Suit
I wrote this about a week ago, and I just haven't had the time to upload it properly. Guess I can blame the "Easter rush?!" Anyway, this is my review of 12 Stone Toddler's single. It was alright...
Four piece group “12 Stone Toddler” consist of Chris Otero on vocals and bass, Ben Jones on keyboards, Randall Breneman on guitar and Pat Garvey on drums. This track is taken from “Scheming, “their follow-up to “Does it Scare You?” They may sound like your average group, but think again.
As the track begins, it already sounds like a weird fusion of scary-movie-style electronics and modern jazz. Sounds like it could and should never work, but it surprisingly really does, which becomes increasingly confusing and frustrating. The melody may be simple, but it’s instantly catchy and surely recognisable. Added to this, Chris Otero’s vocals show maturity in contrast to the youthful topic of the track.
With the main hook being “this suit just won’t fit me,” it’s obvious that this is a song about wanting to be something different. As clichéd as the lyrics sound- “I want to play the starring role,” in context of being in a movie- they weirdly work very well. Aided by the main backdrop of a drum and keyboard cycle with some overlay of guitar, clapping and vague backing vocals, the track is slowly pieced together until it reaches its slightly disappointing end. Disappointing because it seems to go nowhere, with an ending that sounds like they run out of imagination.
If this track sets the tone for the rest of the album, there should be no doubts that it will shape up to be an original and “quirky” album, one that many have been searching for for some time.
3/5
Four piece group “12 Stone Toddler” consist of Chris Otero on vocals and bass, Ben Jones on keyboards, Randall Breneman on guitar and Pat Garvey on drums. This track is taken from “Scheming, “their follow-up to “Does it Scare You?” They may sound like your average group, but think again.
As the track begins, it already sounds like a weird fusion of scary-movie-style electronics and modern jazz. Sounds like it could and should never work, but it surprisingly really does, which becomes increasingly confusing and frustrating. The melody may be simple, but it’s instantly catchy and surely recognisable. Added to this, Chris Otero’s vocals show maturity in contrast to the youthful topic of the track.
With the main hook being “this suit just won’t fit me,” it’s obvious that this is a song about wanting to be something different. As clichéd as the lyrics sound- “I want to play the starring role,” in context of being in a movie- they weirdly work very well. Aided by the main backdrop of a drum and keyboard cycle with some overlay of guitar, clapping and vague backing vocals, the track is slowly pieced together until it reaches its slightly disappointing end. Disappointing because it seems to go nowhere, with an ending that sounds like they run out of imagination.
If this track sets the tone for the rest of the album, there should be no doubts that it will shape up to be an original and “quirky” album, one that many have been searching for for some time.
3/5
Thursday 25 March 2010
General Fiasco release an album...
Weirdly, coincedently, just before I went to see General Fiasco, I got sent their CD to review. Which was pretty sweet. So I'll make this short and just say, this is my review for their album.
Since forming in early 2007, this trio of Northern Irish lads have provided support for some of indie’s most popular bands, including The Wombats and The Enemy, as well as playing their own slots at Reading and Leeds festivals, and Glastonbury. After recording numerous demos, releasing a scattering of singles, and receiving countless airtime from the likes of Zane Lowe and Huw Stephens, General Fiasco finally treat us to their first full-length album.
“Buildings” launches straight into 2009’s single, “We Are The Foolish,” with the irresistible verse refrain “you better wake up, wake up/ Hey.” The tinge of Irish accent in Owen’s vocals releases their charm, as you become caught up in the track which could well be the perfect soundtrack for reminiscing about the previous night’s antics. “Ever So Shy” creeps in with just bass and vocals, highlighting the soft edge in Owen’s voice, and the simplicity in that collaboration. Hit the chorus, and the effortlessly of their work shines through, giving proof that you don’t need studio effects to create an enthralling album. Things then slow down for title track “Buildings,” where their talent really glows, as the slow pulse of drums hypnotises you, and you can’t help but move around in some way. It’s also the first time we really see an impact of backing vocals from Enda. After the “woah oh oh” refrain hits, instruments slowly build up to an eruption of energy, as a short interlude of strings are eventually added to give a bigger orchestral feel.
“Sinking ships” provides another slow moment, as acoustic guitar is substituted in, and we see the range of styles that General Fiasco can produce. The Irish accent shows it’s colours most here, as the lyrics are spat out. Continuing into fan anthem “Rebel Get By,” this is a fine example of how their lyrics have been affected by their lives. Particularly nearing the end of the track, you can hear the emotions played out in their melodies and vocals. Heavy guitar starts off “Dancing With Girls,” where we see their ‘rockier’ side. Drums play the key part of this track, giving the beats that will no doubt encourage dancing at their gigs. This isn’t to say that all other instruments are understated, far from it. If this track doesn’t get you at least toe/finger-tapping, nothing will. There’s an abrupt end, before we are given a quick breather as we ease into album closer “First Impressions.” Here, things are signed off nicely, with a calm and easy finishing of just a few guitar notes.
General Fiasco have got their 2010 off to a great start, leaving no doubt that we’ll be hearing a lot more from them in the near future.
4/5
Again, this got published. I think I bought the amount of changes on myself, 'cos this was a pretty lame review if I'm honest...
http://www.rocklouder.co.uk/albums/article/general-fiasco-buildings
Since forming in early 2007, this trio of Northern Irish lads have provided support for some of indie’s most popular bands, including The Wombats and The Enemy, as well as playing their own slots at Reading and Leeds festivals, and Glastonbury. After recording numerous demos, releasing a scattering of singles, and receiving countless airtime from the likes of Zane Lowe and Huw Stephens, General Fiasco finally treat us to their first full-length album.
“Buildings” launches straight into 2009’s single, “We Are The Foolish,” with the irresistible verse refrain “you better wake up, wake up/ Hey.” The tinge of Irish accent in Owen’s vocals releases their charm, as you become caught up in the track which could well be the perfect soundtrack for reminiscing about the previous night’s antics. “Ever So Shy” creeps in with just bass and vocals, highlighting the soft edge in Owen’s voice, and the simplicity in that collaboration. Hit the chorus, and the effortlessly of their work shines through, giving proof that you don’t need studio effects to create an enthralling album. Things then slow down for title track “Buildings,” where their talent really glows, as the slow pulse of drums hypnotises you, and you can’t help but move around in some way. It’s also the first time we really see an impact of backing vocals from Enda. After the “woah oh oh” refrain hits, instruments slowly build up to an eruption of energy, as a short interlude of strings are eventually added to give a bigger orchestral feel.
“Sinking ships” provides another slow moment, as acoustic guitar is substituted in, and we see the range of styles that General Fiasco can produce. The Irish accent shows it’s colours most here, as the lyrics are spat out. Continuing into fan anthem “Rebel Get By,” this is a fine example of how their lyrics have been affected by their lives. Particularly nearing the end of the track, you can hear the emotions played out in their melodies and vocals. Heavy guitar starts off “Dancing With Girls,” where we see their ‘rockier’ side. Drums play the key part of this track, giving the beats that will no doubt encourage dancing at their gigs. This isn’t to say that all other instruments are understated, far from it. If this track doesn’t get you at least toe/finger-tapping, nothing will. There’s an abrupt end, before we are given a quick breather as we ease into album closer “First Impressions.” Here, things are signed off nicely, with a calm and easy finishing of just a few guitar notes.
General Fiasco have got their 2010 off to a great start, leaving no doubt that we’ll be hearing a lot more from them in the near future.
4/5
Again, this got published. I think I bought the amount of changes on myself, 'cos this was a pretty lame review if I'm honest...
http://www.rocklouder.co.uk/albums/article/general-fiasco-buildings
General Fiasco- Live Review
I haven't paid enough attention to this blog recently, so sorry about that. Anywaaay, I went to see a band called "General Fiasco" in Islington a couple of weeks ago, and consequently ended up writing a review of it for rocklouder. And here is said review...
The cosiness of tonight’s venue seems to suit General Fiasco perfectly. After the two support bands- Ray Dar Vees and Black Box Revelation- have played their final chords, Islington Academy2 begins to fill up, as people flood in to see what NME have named to be one of the “ten hopes for the near future.” With new single ‘Ever So Shy’ getting much-deserved radio play, along with other crowd favourites ‘We Are the Foolish’ and ‘Rebel Get By’ doing the rounds on YouTube, it’s easy to see why people are flocking to see them in a low-key venue whilst they still can.
Although their album “Buildings” hasn’t been released yet, it doesn’t seem to be hampering their ability to gain crowd favour. Beginning with “Dancing with Girls,” there’s the odd murmur of lyrics if you listen carefully enough, but most people are too busy being sucked in by their charm. Be it through their Irish accents, or the way they chuck every ounce of their energy into their performance, there’s no doubting their live ability. Running through the crowd pleasers- ‘We Are the Foolish’ and ‘Rebel Get By’ as previously mentioned-, they were clearly pleasantly surprised by the brilliant reception they achieved.
The crowd were also treated to a special acoustic performance of ‘Sinking Ships,’ a single which has been published on YouTube for sometime, and has become another of their fan favourites. This is where we see the real talent dripping out of Owen, through his guitar playing and his vocals. Having formed three years ago, this is yet another example of today’s [fairly] young people blasting away their “yobbish” media stereotyping. They end on ‘Ever So Shy,’ which expectedly receives the night’s best reaction.
From tonight’s gig, it’s clear to see that General Fiasco have the ability to be forever improving, which will inevitable see them filling venues more the size of Brixton Academy in the not too distant future. This is a band who will be blasting out your radios for some time to come.
4/5
Yes, it got published :)
http://www.rocklouder.co.uk/live/article/general-fiasco-islington-academy-2
The cosiness of tonight’s venue seems to suit General Fiasco perfectly. After the two support bands- Ray Dar Vees and Black Box Revelation- have played their final chords, Islington Academy2 begins to fill up, as people flood in to see what NME have named to be one of the “ten hopes for the near future.” With new single ‘Ever So Shy’ getting much-deserved radio play, along with other crowd favourites ‘We Are the Foolish’ and ‘Rebel Get By’ doing the rounds on YouTube, it’s easy to see why people are flocking to see them in a low-key venue whilst they still can.
Although their album “Buildings” hasn’t been released yet, it doesn’t seem to be hampering their ability to gain crowd favour. Beginning with “Dancing with Girls,” there’s the odd murmur of lyrics if you listen carefully enough, but most people are too busy being sucked in by their charm. Be it through their Irish accents, or the way they chuck every ounce of their energy into their performance, there’s no doubting their live ability. Running through the crowd pleasers- ‘We Are the Foolish’ and ‘Rebel Get By’ as previously mentioned-, they were clearly pleasantly surprised by the brilliant reception they achieved.
The crowd were also treated to a special acoustic performance of ‘Sinking Ships,’ a single which has been published on YouTube for sometime, and has become another of their fan favourites. This is where we see the real talent dripping out of Owen, through his guitar playing and his vocals. Having formed three years ago, this is yet another example of today’s [fairly] young people blasting away their “yobbish” media stereotyping. They end on ‘Ever So Shy,’ which expectedly receives the night’s best reaction.
From tonight’s gig, it’s clear to see that General Fiasco have the ability to be forever improving, which will inevitable see them filling venues more the size of Brixton Academy in the not too distant future. This is a band who will be blasting out your radios for some time to come.
4/5
Yes, it got published :)
http://www.rocklouder.co.uk/live/article/general-fiasco-islington-academy-2
Monday 1 March 2010
Dag for Dag- Boo
A bit of a rushed one this! Completely forgot about it so panic wrote it in about... an hour? Maybe less. Anywho, here is my review for Dag for Dag's first full-length album, "Boo."
Formed of American-Swedish siblings Sarah Pathemore Snavely and Jacob Donald Snavely, Dag för Dag bring us their second offering after the hugely successful “Shooting from the Shadows EP.” Having thrived on the live circuit, supporting the likes of The Kills and Lykke Li, Dag för Dag worked hard to ensure their live spirit was captured on record. It seems the hard work paid off, as they offer this gem of a record.
‘Boo’ begins with the title track, a short and entrancing opening to the album, which puts us in the right frame of mind for what’s to come. As the album continues effortlessly into “I Am The Assassin,” we’re instantly put under the hypnotic vibes that emulate from the record. The instantly melodic fusion of piano, guitar and Chuck Bukowski’s drumming is contagious, which makes it easy to see why they are such a popular live band. Going through to “Boxed Up In Pine,” and we start to see the impact the echoing vocals have on not only the track, but the listener too. The lyrics may seem simple –“box me in pine...all boxed up in pine,” but add some studio effects and instrumentals and you’re transported to another world. Be it the piercing strings or the sneaky chimes to end the track, you’re always kept on your toes, wondering what they’re going to produce next.
The true beauty of Dag för Dag is laid bare on “Wouldn’t You,” where the record takes a short breather. This is not to say this track is lazy though, far from it. Bukowski produces a beat which sucks you in and doesn’t let go, whilst the Snavely siblings bring eerie and beautifully harmonising vocals to the forefront. This is perhaps the standout track on the album. “Traffic Jam” bring an unseen mood to “Boo,” as a slightly more fast-tempoed melody with the hint of an angry edge. This is where the guitar skills truly shine through. This attitude continues into “The Leather Of Your Boots,” where the studio effects applied to the vocals take on a less eerie and more demanding image. It’s both interesting and brilliant to see how these siblings can stretch themselves and their voices to create some completely contrasting tracks. The tempo is again increased for “Animal,” before we eventually hit the finale track, “Ring Me, Elise.” Things remain at an all time high, as the energy pours out of every note played.
So there we have it. Dag för Dag have truly proved themselves not only live, but now on record too. Get ready to be entranced by the beauty that is “Boo.”
4/5
Also, just found it put up on the website... link:http://www.rocklouder.co.uk/albums/article/dag-for-dag-boo
x
Formed of American-Swedish siblings Sarah Pathemore Snavely and Jacob Donald Snavely, Dag för Dag bring us their second offering after the hugely successful “Shooting from the Shadows EP.” Having thrived on the live circuit, supporting the likes of The Kills and Lykke Li, Dag för Dag worked hard to ensure their live spirit was captured on record. It seems the hard work paid off, as they offer this gem of a record.
‘Boo’ begins with the title track, a short and entrancing opening to the album, which puts us in the right frame of mind for what’s to come. As the album continues effortlessly into “I Am The Assassin,” we’re instantly put under the hypnotic vibes that emulate from the record. The instantly melodic fusion of piano, guitar and Chuck Bukowski’s drumming is contagious, which makes it easy to see why they are such a popular live band. Going through to “Boxed Up In Pine,” and we start to see the impact the echoing vocals have on not only the track, but the listener too. The lyrics may seem simple –“box me in pine...all boxed up in pine,” but add some studio effects and instrumentals and you’re transported to another world. Be it the piercing strings or the sneaky chimes to end the track, you’re always kept on your toes, wondering what they’re going to produce next.
The true beauty of Dag för Dag is laid bare on “Wouldn’t You,” where the record takes a short breather. This is not to say this track is lazy though, far from it. Bukowski produces a beat which sucks you in and doesn’t let go, whilst the Snavely siblings bring eerie and beautifully harmonising vocals to the forefront. This is perhaps the standout track on the album. “Traffic Jam” bring an unseen mood to “Boo,” as a slightly more fast-tempoed melody with the hint of an angry edge. This is where the guitar skills truly shine through. This attitude continues into “The Leather Of Your Boots,” where the studio effects applied to the vocals take on a less eerie and more demanding image. It’s both interesting and brilliant to see how these siblings can stretch themselves and their voices to create some completely contrasting tracks. The tempo is again increased for “Animal,” before we eventually hit the finale track, “Ring Me, Elise.” Things remain at an all time high, as the energy pours out of every note played.
So there we have it. Dag för Dag have truly proved themselves not only live, but now on record too. Get ready to be entranced by the beauty that is “Boo.”
4/5
Also, just found it put up on the website... link:http://www.rocklouder.co.uk/albums/article/dag-for-dag-boo
x
Tuesday 16 February 2010
Streets of Rage- Beat Your Kids.. but please don't really :)
This is the second of my frantically put together reviews. It's for a DIY band called Streets of Rage, which is made up of one person. But you'll find that out in a mo. Enjoy...
20-year-old Glaswegian Alistair Clark is a one-man music maker. Using only his voice, guitar, keyboard and two Hi-Fis, he’s managed to produce this 6 minute hardcore gem. The natural talent on show is incredible, as Clark emulates the pure hardcore sound that many bands of that field are still unable to do.
The record is introduced through the passionately spat out vocals of ‘Hater’, putting the listener in the right frame of mind for the rest of the tracks. Moving on, and we see exactly what Clark is capable of. Raw and energetic, this is exactly what hardcore music should be like. Track 3 shows how each piece of his work is perfectly crafted together, moving effortlessly into track 4. Fast-paced, catchy and blunt, it’s easy to imagine hundreds of hardcore fans dancing away to this in unison. Track 5 is a tornado in song form, which is a good thing. The guitar is pushed to its limits, creating the perfect melody to back up Clark’s vocals. The record ends with a classically upbeat and frenzied offering, which would surely induce mass shouting and jumping amongst fans.
All-in-all, Beat Your Kids is a record destined for success. It may only be 6 minutes long, but those 6 minutes will stick in your head and blast your brains out for a long time.
4/5
20-year-old Glaswegian Alistair Clark is a one-man music maker. Using only his voice, guitar, keyboard and two Hi-Fis, he’s managed to produce this 6 minute hardcore gem. The natural talent on show is incredible, as Clark emulates the pure hardcore sound that many bands of that field are still unable to do.
The record is introduced through the passionately spat out vocals of ‘Hater’, putting the listener in the right frame of mind for the rest of the tracks. Moving on, and we see exactly what Clark is capable of. Raw and energetic, this is exactly what hardcore music should be like. Track 3 shows how each piece of his work is perfectly crafted together, moving effortlessly into track 4. Fast-paced, catchy and blunt, it’s easy to imagine hundreds of hardcore fans dancing away to this in unison. Track 5 is a tornado in song form, which is a good thing. The guitar is pushed to its limits, creating the perfect melody to back up Clark’s vocals. The record ends with a classically upbeat and frenzied offering, which would surely induce mass shouting and jumping amongst fans.
All-in-all, Beat Your Kids is a record destined for success. It may only be 6 minutes long, but those 6 minutes will stick in your head and blast your brains out for a long time.
4/5
Cobra Starship... yeaaaaaaah [Hot Mess]
Woahhhhh it's been almost a month since I wrote on this blog! Whoopsy. I realised I hadn't written any reviews for a while, so frantically wrote a couple to make sure my editor had some to put up from me. So here's my first one. It's a review of 'Hot Mess,' their single. It's quite an awful single, not gonna lie...
Hailing from New York, Cobra Starship have already established themselves as a teen favourite, both in America and the UK. Signed to Fall Out Boy’s label “Fueled by Ramen,” they have unintentionally stereotyped themselves as emo hit-makers. But no, they want people to know that their genre is disco.
Starting with a mismatch of claps and some faint, distorted vocals, lead vocalist Gabe Saporta quickly nips in with some truly inspiring lyrics- “You were a problem child.” Lovely. Unfortunately, writing skills don’t make any dramatic improvement, with Gabe pretty much describing his last night out. The track is in no way lifted by the rest of the band either, with a basic melody being repeated throughout. On a good note, Ryland Blackinton has a way with a synthesizer, which makes it easy to see why teens all over the world would dance along to this nugget of what is essentially pop music. However, the backing vocals provided all round just echo the trash coming out of Gabe’s mouth. They may just as well have gotten studio effects on the job. “Hot Mess” comes to an unwillingly abrupt ending, as everything appears to cut off at once. At least it’s over.
It seems Cobra Starship haven’t managed to emulate the success of “Good Girls Go Bad,” with this latest offering. Still, Fall-Out-Boy-lovers everywhere will love it.
2/5
Hailing from New York, Cobra Starship have already established themselves as a teen favourite, both in America and the UK. Signed to Fall Out Boy’s label “Fueled by Ramen,” they have unintentionally stereotyped themselves as emo hit-makers. But no, they want people to know that their genre is disco.
Starting with a mismatch of claps and some faint, distorted vocals, lead vocalist Gabe Saporta quickly nips in with some truly inspiring lyrics- “You were a problem child.” Lovely. Unfortunately, writing skills don’t make any dramatic improvement, with Gabe pretty much describing his last night out. The track is in no way lifted by the rest of the band either, with a basic melody being repeated throughout. On a good note, Ryland Blackinton has a way with a synthesizer, which makes it easy to see why teens all over the world would dance along to this nugget of what is essentially pop music. However, the backing vocals provided all round just echo the trash coming out of Gabe’s mouth. They may just as well have gotten studio effects on the job. “Hot Mess” comes to an unwillingly abrupt ending, as everything appears to cut off at once. At least it’s over.
It seems Cobra Starship haven’t managed to emulate the success of “Good Girls Go Bad,” with this latest offering. Still, Fall-Out-Boy-lovers everywhere will love it.
2/5
Monday 18 January 2010
Heights is published!
My Heights review got published :) Majorly cut down, but it's fine. Thankfully, only one or two words changed/added/cut out so yeah. Here's the link:
http://www.rocklouder.co.uk/singles/article/heights-the-land-the-ocean-the-distance%22
http://www.rocklouder.co.uk/singles/article/heights-the-land-the-ocean-the-distance%22
Sunday 17 January 2010
Popjustice : Lady Gaga- Bad Romance
This is the single review I wrote to the Editor of Popjustice, in hopes of writing for them. So far it's been unsuccessful [although I have just corrected a load of mistakes which could be why], but I'll keep trying.
Gaga’s back and she’s bigger than ever. The 23-year-old from New York is ready to show-off exactly why she deserves all the hype. With public favourites “Just Dance” and “Pokerface” having already topped charts across the world, she has already certified herself as an international superstar.
Re-releasing her 2008 album “The Fame” as “The Fame Monster,” RedOne produced “Bad Romance” has been chosen as the lead single. The track begins with a recognisable Gaga hook- “ra ra ah-ah-ah, roma romama, gaga ooh la la,” as it instantly sets itself up to be a hit. As the single continues, we are hit with the usual array of quirky lyrics, darting between being completely insane, increasingly creepy but incredibly catchy. And catchy is the one element that seems to emulate from Lady Gaga without effort. Add the synth-heavy background- and the usual crazy video- and you have successfully created a delightful pop nugget that is guaranteed to liven up even the dullest of parties.
“Bad Romance” has already begun to dominate the charts internationally, not only giving her the first UK number one of 2010, but also her third number one in 2009. This gave her the record of being the first female in British chart history to have three number one singles in one year. Stand back and be warned. You never know where she’ll go next.
Gaga’s back and she’s bigger than ever. The 23-year-old from New York is ready to show-off exactly why she deserves all the hype. With public favourites “Just Dance” and “Pokerface” having already topped charts across the world, she has already certified herself as an international superstar.
Re-releasing her 2008 album “The Fame” as “The Fame Monster,” RedOne produced “Bad Romance” has been chosen as the lead single. The track begins with a recognisable Gaga hook- “ra ra ah-ah-ah, roma romama, gaga ooh la la,” as it instantly sets itself up to be a hit. As the single continues, we are hit with the usual array of quirky lyrics, darting between being completely insane, increasingly creepy but incredibly catchy. And catchy is the one element that seems to emulate from Lady Gaga without effort. Add the synth-heavy background- and the usual crazy video- and you have successfully created a delightful pop nugget that is guaranteed to liven up even the dullest of parties.
“Bad Romance” has already begun to dominate the charts internationally, not only giving her the first UK number one of 2010, but also her third number one in 2009. This gave her the record of being the first female in British chart history to have three number one singles in one year. Stand back and be warned. You never know where she’ll go next.
Heights Review- "The Land, The Ocean, The Distance" EP
After a long Christmas break, I'm back writing reviews :) Hopefully I might be putting up an interview I did as well, just need to talk to the girl I did it with.
So this is my latest review. It's from a band called Heights, they're alright really. I've got outta the habit of writing them so it took me a bit longer! Enjoy...
Emerging from Hertfordshire only last year, Heights have already proved themselves to be hard-workers. Playing gig after sweaty gig, it’s fair to say that their passion for raw performance has shone through. Between all the travelling, they’ve managed to produce this fine three-track offering. It is, however, unfortunate that the first track from “The Land, The Ocean, The Distance” gets off to a shaky start. Whilst the beginning of “Empire” is strong, with a heavily melodic mix of guitars, bass and drums, once the vocals kick in, things seem to take a downward turn. Overkill rules over, as Thomas Debeare’s low-pitch inaudible vocals drown out the rest of the band’s talents. Thankfully, as we near the end of the track, more vocals from other band members are added, and balance is restored. As the track ends, we are treated to some superb guitar playing, thanks to Dean Richardson and Tom Green.
As we edge into track two, “Paint the Sky,” things look to be going in the same direction as “Empire.” Luckily, rapid improvement is made, as more audible, excitable vocals are chosen. Again, the combination of Tom Hutton’s drums with various guitars and bass is tight, making a perfect nugget to mosh along too. With chanting refrains such as “we were fallen” guaranteed to not only unite the band, but the audience too, this is a sure fire anthem. The surprise is given as the track makes a punching end after a quick breather. Moving into final track, “World’s Apart,” the guitar-heavy base is crunching, with the drums taking an unusual backseat. This finale is enjoyably slow-paced, adding a slightly calmer offering to their efforts. Another prominent hook is introduced, this time “this is what you wanted, now we’re world’s apart,” being the anthemic chant. Add that to the mesmerising beats combo and we’re onto a winner. The guitar-echo lingers long after the track has ended, as we are reminded of what Heights have achieved.
Overall, the EP gives us a snippet into what is to come from Heights. Perhaps their strength lies in their live performance, but there’s no doubt as to what recorded achievements this band will make
3/5
So this is my latest review. It's from a band called Heights, they're alright really. I've got outta the habit of writing them so it took me a bit longer! Enjoy...
Emerging from Hertfordshire only last year, Heights have already proved themselves to be hard-workers. Playing gig after sweaty gig, it’s fair to say that their passion for raw performance has shone through. Between all the travelling, they’ve managed to produce this fine three-track offering. It is, however, unfortunate that the first track from “The Land, The Ocean, The Distance” gets off to a shaky start. Whilst the beginning of “Empire” is strong, with a heavily melodic mix of guitars, bass and drums, once the vocals kick in, things seem to take a downward turn. Overkill rules over, as Thomas Debeare’s low-pitch inaudible vocals drown out the rest of the band’s talents. Thankfully, as we near the end of the track, more vocals from other band members are added, and balance is restored. As the track ends, we are treated to some superb guitar playing, thanks to Dean Richardson and Tom Green.
As we edge into track two, “Paint the Sky,” things look to be going in the same direction as “Empire.” Luckily, rapid improvement is made, as more audible, excitable vocals are chosen. Again, the combination of Tom Hutton’s drums with various guitars and bass is tight, making a perfect nugget to mosh along too. With chanting refrains such as “we were fallen” guaranteed to not only unite the band, but the audience too, this is a sure fire anthem. The surprise is given as the track makes a punching end after a quick breather. Moving into final track, “World’s Apart,” the guitar-heavy base is crunching, with the drums taking an unusual backseat. This finale is enjoyably slow-paced, adding a slightly calmer offering to their efforts. Another prominent hook is introduced, this time “this is what you wanted, now we’re world’s apart,” being the anthemic chant. Add that to the mesmerising beats combo and we’re onto a winner. The guitar-echo lingers long after the track has ended, as we are reminded of what Heights have achieved.
Overall, the EP gives us a snippet into what is to come from Heights. Perhaps their strength lies in their live performance, but there’s no doubt as to what recorded achievements this band will make
3/5
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