It's tag team night later as the Mudkiss answer to Giant Haystacks and Big Daddy, King and Barnes take on the might of Lower Dens and Deerhunter at Sound Control in Manchester.
Coming soon to the Mudkiss site, (www.mudkiss.com) an insightful interview with Maryland four piece Lower Dens put through their paces by Phil King and a full review of the gig by yours truly.
Mudkiss gains another new contributor and yet more top drawer reviewing ensues.
Good to have Jack Prescott on board and check out his review of Kate Nash below. He's certainly pricked up my interest in an artist I would have otherwise ignored.
Link below to the Slydigs interview on Mudkiss, a great new band from Warrington.
While Warrington is situated centrally between Manchester and Liverpool, it is a town rooted in the folklore of one of the toughest of all team sports, Rugby League rather than the football and musical reputation of it’s larger, more expansive neighbours. Local lads Slydigs, (Dean Fairhurst – Guitar / Lead Vocals, Louie Menguy -Guitar / Vocals, Adam Thornton – Bass, Pete Fleming – Drums) although taking influences from both the Mancunian and Liverpudlian ends of the East Lancs Road, add a hard edged stamp to their personal brand of Rock n Roll with a rhythm section as solid as an advancing pack and quick, blistering guitar breaks a scrum half would be proud of.
We initially met three quarters of the band (bass player Adam’s timing being not quite as impressive for the interview as it is musically) in their rehearsal room above The Albion Hotel in Warrington to find out how Slydigs came into existence, where they are now and what they hope to achieve this year.
At The Band on the Wall yesterday for the James Blake gig, which was interesting, perhaps not in the way I'd hoped, but interesting all the same.
Full review to follow on Mudkiss within the next couple of days, but in the meantime, link below is to a video of "The Wilhelm Scream" the last song played in the set.
There was a time, not that long ago if truth be known, the idea of an acoustic based singer song writer would have struck fear into my body and sent shivers running up my spine for all the wrong reasons. Conceptions change however, an appreciation of different genres of music develops, usually with age, and I'm now in a position where I can justifiably call my taste eclectic.
Once again a new artist came to my attention through Mudkiss, when presented with a track "Pictures" to review in February by York born, Benjamin Francis Leftwich. There was an immediate connection to the melodic guitar intro and when the vocal joined, the shivers up the spine were of the type that also induced a soft, warm feeling throughout the rest of the body. A thoroughly gorgeous introduction to a fabulous new talent.
Leftwich has released two EP'S, while both are of a similar style they are subtly different in tone and feel. The title track in particular on "Pictures" evokes thoughts of Summer days, walking through green fields, hand in hand with your partner without a care in the world. Lilting melodies and the hint of reverb on the vocal only adds to the relaxed ambiance Leftwich so expertly creates, although lyrically there is a slightly darker undertone.
Released back in November 2010 "A Million Miles Out" has an influence of the sea and creates a feeling of distance and yearning as the title of both the EP and songs " Atlas Hands" and "Maps" would suggest.
There has already been substantial support from Radio 1 with both Zane Lowe and Fearne Cotton playing "Atlas Hands" on their shows last year and "Pictures" became The Hottest Record in the World today on Lowe's show earlier this year.
Benjamin has recently completed a U.K tour, appeared at SXSW and is currently supporting Noah and the Whale on a handful of dates. His debut album is set for release in June and will be suited perfectly to provide a soundtrack to the Summer.
Without any doubt, 2011 will continue to be a big year in the life of Benjamin Francis Leftwich.
Hopefully you saw the review of the James Blake album on my blog earlier this week. Off to see him live at another of Manchester's fantastic venues, Band on the Wall on Saturday night for Mudkiss.
It will be really interesting to see if he can replicate that wonderful studio sound in the live arena. Watch out for the review early next week.
There has been major discussion around the line-up of the Leeds and Reading Festivals, mainly negative, but whatever your thoughts in general, there is one massive positive for fans of live music of Black Hole proportions. Although I like to promote new music, Muse are a band I've followed since the very early days. While the latter output has admittedly been substandard, "Origin of Symmetry" and "Absolution" are two of the most outstanding rock albums of the 2000's. It would now appear, to celebrate the anniversary of "Origin" the set Muse will play at Leeds / Reading is to be structured around the album, which can only produce an exceptional and special night of music from one of the worlds best live bands. While "Plug in Baby" and "Newborn" have long been staple members of the set list, the reintroduction of "Bliss" "Citizen Erased" and "Hyper Music" has me drooling at the very thought.
I won't be attending Leeds or Reading, but I envy anyone who is, and would suggest whatever your musical leanings, you do your utmost to witness what could become one of the most legendary nights in modern day rock music.
While hailing from Bergen, Norway, The Megaphonic Thrift's influences are not taken from their more traditional metal homeland, but from the U.S.A as their sound resembles an amalgamation of genres at which our American cousins excel. On the one hand, we have the dramatic feedback heavy squall of Sonic Youth, on the other, it's the more relaxed, slacker ambience, reminiscent of Pavement. While providing an intoxicating mix, one bestows a superior pleasure on the listener, creating two varying landscapes, similar to aspects of Scandanavia itself.
"Decay Decoy" is half a great album, not in a chronological manner, but in song structure and it's the mixed tempo, sweeping, swirling tracks which are the most beguiling. These lie firmly within the Norwegian Fjords where it isn't immediately apparent what may appear around the corner or over the next mountain. "The Undertow," inhabits this terrain, as does "Candy Sin," with an intro slightly indicative of The Kinks "David Watts" but inclusive of heavy weight drumming capable of inducing an avalanche. "Queen of Noise" is another prime example, a frenetic piece of punk with added hyperactive female vocals. Conversely, "Sister Joan, "Neues" and "Mad Mary" are from another land, perhaps Finland, who's topography is slightly less picturesque or undulating, more relaxed and not quite as challenging.
Each certainly has it's virtues, in this instance however I'm firmly pitched in the Norwegian camp.
James Blake has managed to create an astonishing and atypical album centred around electronic music. Habitually one of the criticisms that can be levelled, is the lack of emotion and soul, but Blake provides these in more than ample proportions. In particular there are two reasons for this, firstly his voice, controlled, although hinting at a touch of fragility, adding to the heart rendering nature of his subtle tones. Even through a vocoder in "Unluck," or "I Never Learnt to Share" elements of real passion are still apparent. Secondly, the sheer intensity of the sub bass sounds, which resound throughout this eponymous collection, appearing from nowhere on occasions, providing a throbbing, pulsating backing and in "Limit To Your Love" fashioning a fluttering resonance of apocalyptic nature.
This is an album built around contrasts, in turn minimalistic then complex. Current single "The Wilhelm Scream" a prime example as the track builds from it's inconspicuous opening to an almost overbearing intensity. "Measurements" opening with Blake's single plaintive voice until joined by innumerable layered vocals. Although the songs are lyrically simplistic the over riding theme is quality not quantity. "I Never Learnt To Share" with the repetition of a single line "My brother and my sister don't speak to me, but I don't blame them," saying nothing, but everything without the necessity for enhancement. Almost as if Blake is allowing an insight into his world, yet not extending a full invitation, just a gap in the curtains, rather than a front door flung open wide.
While I fully appreciate the invention and requirement to investigate sounds and structures, "Lindisfarne I" and "Lindisfarne II" almost appear a waste as the excessive use of the vocoder mask Blake's voice, probably the most distinct and breathtaking sound on the album. It's similar to inviting John Frusciante along, then handing him a triangle requesting he leaves his guitar in it's case. A minor quibble however, as ultimately this is a magnificent piece of work by an artist prepared to explore and push musical boundaries.
James Blake has fathomed an important although taxing piece of work, that demands attention to detail rather than listening complacency. A darkened room, headphones and a quality sub woofer are all required to appreciate the true splendour of his debut.
After the recent Kindest of Thieves feature on Mudkiss, tomorrow sees a Barney / Mel interview and photo shoot with another great band hailing from Warrington.
DON'T ADJUST YOUR SETS: MARCH SINGLES HAVE ARRIVED - REVIEWS BY ANDY BARNES
Exciting times at Mudkiss, as we welcome two new regular contributors, with Steve Perks (freelance photographer) covering live gigs in Scotland and Canadian Metal Monster Tim Verhaegen taking partial ownership on the recorded side. Look out for their reviews over the coming days and weeks, as they really are rather good.
Back to the March singles and EP’s and it’s a reversal to February as there’s some really exciting material out there, even from the most unlikely of genres. Spring must really be in the air.
Kindest of Thieves – The Kindest of Thieves EP
Although hailing from the North West of England, Warrington specifically, “Kindest of Thieves” disregard the more laddish, rebel rousing rock sound that has become apparent in the area over the last twenty years. Instead, they take their influences from across the water, in particular Akron and Detroit, playing psychedelic trash blues of the type favoured by White Stripes or Black Keys. The opening track from the EP “The Only Way”begins with a heavily distorted riff, but that doesn’t prepare you in any way for the voice that soon emanates from the speakers. The vocal starts from somewhere near the bowels of the earth, coursing through 19 year old Chris Fox’s body, before being projected like a screaming minion of Lucifer himself, onto the unsuspecting listener. Has Chris sold his soul to the devil already, in Robert Johnson style? Hopefully not, but that sound comes from somewhere ever so slightly unholy, and for someone so young, that just can’t be right, surely? Fox wails, hollers, screams, sings and produces a wonderfully raw guitar sound through this four track EP, ably supported by Joe Lockwood and James Ashwin on drums and bass. Although perhaps not the tightest of outfits just yet, there are definitely the signs of something special emerging from the Cheshire outfit and the EP is an excellent precursor to the album due out on May 1st.
Who knows, with Jack White having announced the demise of The White Stripes, perhaps he’s created an opening for a band such as Kindest of Thieves to exploit. They are off to a decent start anyway, as the drumming is certainly an improvement. (We should point out that this is not a new release but here are the boys at a recent show in London, with new material - the album to follow in May.)
It is a fact that there is very little completely original music around at present and to a certain extent that’s going to be inevitable. There aren’t an infinite amount of notes and chords etc, so at some stage, songs do and will continue to sound familiar. The older you become, the more music you listen too, the more you hear that resurrects a memory of yester year.
That isn’t an accusation that can be aimed at James Blake nonetheless, as he is an original, a true visionary and is producing some incredible sounds, both musically and vocally. With “The WilhelmScream” Blake is a dubstep balladeer, creating a bass heavy piece of atmospheric beauty. Opening in a very minimalist way, but growing in electronic depth and layers to a point where you feel a shiver running up your back from both the intensity and that gorgeous vocal. The track then drops away to completion and you are left open mouthed at an absolutely stunning composition.
I should have investigated James Blake well before now, but better late than never I suppose.
Both “The Wilhelm Scream” and self titled album are available in all formats now.
The Adjusters – Wrong Place, Wrong Time / You Gotta Say
The Adjusters on the other hand are not original or visionaries in any shape or form. Theirs is a path that has been trodden by many before, and while we do need the James Blake’s of this world to expose us to innovation and provide a listening experience for our darker moments, similarly we also need bands like The Adjusters. Bands who blast out punk ’n’ roll, as they like to call it, with gay abandon making music fun. It’s the type of music you play before heading into town on a Saturday night, songs that enhance your mood, preparing you for, hopefully, a great time ahead. “Wrong Place, Wrong Time” perhaps The Adjusters are, but do we really care...... no, just appreciate this for what it is, pure unadulterated entertainment.
Auction are also not particularly original, but unlike The Adjusters, this is a problem as they sound very much like Scouting For Girls. I have tried, listening to the track over and over noting some pleasant variation and a nice bouncy rhythm. I also like the fact the band write, rehearse and record in an old railway station that drummer Guy’s dad has converted into a successful auction house (hence the name.) Regrettably, I just can’t move past the simple fact that I really can’t abide Scouting For Girls.
Although “Statues” isn’t released until the 18th of April, it is available as a free download on their website for a limited period.
Band of Holy Joy – On The Ground Were John Wesley Walked / Black Middens
You can’t beat a stirring piece of folk music with a big arrangement and passionate lyrics, which gives you that feeling of an emotionally swelling chest as it grows and grows. That just about describes “On The Ground Were John Wesley Walked” by Band of Holy Joy.A slow opening with just the electric guitar and vocal before a flute joins followed by the rhythms and then a beautifully mournful violin and we’re heading in to a beautifully constructed and played piece. It’s the voice and violin that really make this, and even though there sounds to be an element of the vocal drifting slightly off key in places that actually adds to, rather than hinders the whole piece.
Black Middens doesn’t have quite the same impact and the introduction does sound a touch too much like “Hallelujah” but it’s still a reasonable track. Disappointingly, it does drift rather than finish at the end and doesn’t really sound fully complete.
Who’d have suspected all those years ago when I spent much of my life at the Manchester Apollo watching heavy rock bands and Band of Holy Joy originally came together, I’d be promoting the virtues of their brand of folk. A musical genre I always considered to be defined by old men and Arran jumpers. How the times change.
After a good start, on paper it looks as though it’s all going to take a turn for the worse. There can’t be another genre of music that has been hammered to death over the last decade like indie, (whatever that actually means now.) Hundreds of bands have picked up guitars, trying to emulate the success of Oasis, The Libertines or the Arctic Monkeys. When I see yet another indie description attributed to an artist arrive at Mudkiss, there’s always an immediate sense of “here we go again.” The following four bands are all portrayed as Indie and it’s with very real sense of déjà vu that I gingerly approach them.
To the Chase – When You Believed / The Return
“When You Believed” by “To the Chase” however, has something that makes it stand out from what has become a very mediocre crowd. Great guitar work and vocal from Aaron Kravitz and there’s something really going on with those drums. The rhythms are complex and drummer Jim Rooney demonstrates some incredibly quick hands that wouldn’t be out of place in a top metal band. No surprise then, to discover To The Chase were a live drum and bass outfit in a previous life with Jim reaching 180bpm behind the kit. The track has another particularly redeeming feature in an ending that ensures you know that’s it, finished, move on to the next. No annoying studio fades here, that’s for certain.
“The Return” is another solid up tempo song with the addition of brass that gives a real Northern Soul feel. I believe there’s an album due around the end of June, so certainly one to watch out for.
When You Believed / The Return is released on April 17th through Listen Close Records but is available to stream now at http://www.soundcloud.com/to-the-chase
Thomas Tantrum – Sleep
Initially, I’m slightly concerned as it sounds as though Megan Thomas is revving up to launch herself into the old Lulu hit “Shout” but thankfully that proves not to be the case. Instead, this is a piece of jaunty, melodic, three minute pop from a band showing considerable restraint based on their more hyperactive debut album, which is a welcome departure. Megan retains a much more mature tone these days and sings rather than shouts, which sits ideally with the simplistic keyboard and unusual guitar sound. “Sleep” set’s everything up rather nicely for Thomas Tantrum’s second album which is due for release this Summer. Sleep is released on March 27th.
The Birdsong EP recorded last year is also still available free, from the Thomas Tantrum website.
The latest EP from Assembly has been on release since February, so I’m coming to this slightly after the fact, but genuinely pleased Tom took the time to contact us. The three tracks “Dance With The Devil,”” Lies” and“Melanie” remind me of Pete and the Pirates and offshoot Tap Tap for two reasons. Firstly it’s the chiming lead guitar, which is used to great effect by both those bands and secondly they produce perfect pop songs, which funnily enough, so do Assembly. The rhythms from the drums and second guitar are wonderfully understated, just trundling along, but completely underpinning everything. There’s skilful interplay between bass and lead guitar and it’s obvious, to me anyway, that this is a real band, not just a bunch of individual musicians. “Melanie” is the one that really grips, and that’s not suggesting any detriment to the other two tracks. The musical rest at 1m 06, even arriving so early injects fresh impetus and the inclusion of the harmonies just adds icing to the cake.
I know very little about “Assembly” but I aim to find out much more, like when are you heading to Manchester guys?
Another single that was released back in February and just missed last month’s round-up. Four strikes in a row on the indie front is almost unheard of, but Vinyl Jacket have also produced another piece of pure pop heaven. I wasn’t sure at the outset as the staccato vocal and busy opening hint at being a touch too much, but once everything settles down, it’s incredibly catchy with a chorus as infectious as conjunctivitis. The student population of Britain will love this.
“To The Chase,” “Thomas Tantrum,” “Assembly” and “Vinyl Jacket” all deserve a special mention, as whatever you want to call their style of music, ultimately it’s pop. Not pop in a bad way, but in a good way, a very British way. All four make you click your fingers, move your feet and play drums on the car steering wheel (well not To The Chase, as that would be suicidal) and that’s exactly what pop music should do, give you a sense of release and pure unadulterated enjoyment. If there was any justice in the musical world, you’d see all four in the UK charts, but I guess that’s just my pipe dream. Little recompense to the bands I’m sure, but my faith in “Indie” is restored and long may it continue.
In general, apart from Children of Bodom's tongue in cheek Skeletons in the Cupboard opus, I'm not a great fan of cover versions. So many seem completely pointless, just another band reproducing someone else's song in a similar way, so much so, I may as well have listened to the original in the first place.
It comes as a surprise therefore to be presented with a cover that's just fantastic as Lianne La Havas has recorded a version, while not exactly indistinguishable from Everything Everything's fourth single, definitely extenuates the beauty of the song.
Some great finger picking guitar opens before Lianne's sultry, sexy vocal appears. It's at the bridge and chorus however, that things really start to happen. Delay effects perfectly set the scene for some really heavyweight, reverberating dubstep bass to back La Havas as she extends her range, presenting more power and authority within her voice. It's hairs on the back of the neck time once again.
I've had "Final Form" on repeat for what seems like the last 24 hours and if you head to the Soundcloud link below,you'll find it available as a free download.
To compare and contrast, below is the link to Everything Everything's video for the original. If you aren't aware of the Manchester outfit, you really should invest in their spectacular "Man Alive" album, one of my top five from 2010.
The Deaf Institute is unquestionably my favourite gig venue. Originally a Victorian deaf and dumb school which now houses upstairs, the perfect location to watch and listen to live music. The high ceilinged room allows for a full rich sound and along with the standing area to the left of the bar, there are wooden benches at the back, again dating to the original use creating an auditorium ideal for viewing. If this wasn’t enough, there’s also an additional elevated, enclosed gallery with an excellent position overlooking the stage and on the wall behind the bar there are rows of old amps, surely making this the coolest place you can imagine.
There could be no better setting for tonight’s bands as there is a definite element of transportation back in time, perhaps even to the age of the retro wallpaper. Opening act, The Doozer is very hippy in appearance with long hair and beard, sat on a chair with a floral throw, slightly at odds with the garish track suit top and trainers. The 60’s influences are nonetheless apparent from the opening song, especially due to the Indian Terang being played, which presents a similar sound to a Sitar recalling the days of Ravi Shankar. The Doozer represents a period in history when people wore flowers in their hair and all roads led to San Francisco and Woodstock as he continued the set accompanied by just a bass player. While I liked the overall laid back vibe and the bass in particular, the vocal was a touch monotonic and the chord structures appeared relatively simple with the same shape being employed, moving up and down the neck giving a basic rhythmical sound. This seemed slightly strange after the skilful way in which The Doozer had played the Terang. An interesting, but not overly inspiring beginning to the night proceedings
The second act of the night contained a more familiar band structure, as Spectralstook to the stage. The five piece are the brainchild of “L” according to their Last FM page and obviously from the North West of England based on his accent. The sound is once more entrenched in the 60’s and it’s suggested they encompass a world of rat pack flair and punk rock eye!! We all see ourselves very differently to the outside world I suppose. Again, while inoffensive and being well received by the majority of the audience it just didn’t quite draw me in. After initially acquiring my attention with their brand of jangly retro pop, my mind started to wander to thoughts of whether the bass player and keyboardist are an item, as the knowing glances and smiles may have suggested.
Up to two days ago, I had never heard of Woods, but after reading a press release stating, “They have established themselves as an anomaly in a world of freaks. They were an odd proposition even in the outré company of vocalist/ guitarist/ label owner Jeremy Earl’s Woodsist roster, perpetually out of time, committed to songsmanship in an age of noise, drone and improvisation, to extended soloing, oblique instrumentals and the usurping use of tapes and F/X in an age of dead-end singer- songwriters,” plus the fact they were recording a session with Marc Riley on 6 music just down the road tonight, how could I resist the relatively short drive into Manchester. Only having time for a quick run through of a couple of their albums on Spotify, when the band arrives on stage I am virtually oblivious to the delights ahead. Jeremy sports a lumberjack look, bearded with check shirt, although the comfortable shoes belie a more tender side. Jarvis on drums and guitar is unassuming in more straightforward casual dress, but it’s both the appearance of Lucas and his instrument of choice that initially make me realise there is something ever so slightly untoward about to take place. In front of Lucas is basically a box, which emerges as a double tape deck / mixer with guitar pedals on top, played (if that’s the correct word) by accessing the tapes manually creating soundscapes of noise. Now that’s peculiar enough, but further to the box, Lucas is also wearing a pair of headphones. That’s not strange I hear you cry...... and yes, generally the sight of someone wearing headphones in our ipod age is less than unusual, although for one headphone to be covering his mouth and the other resting at the back of his head, I would suggest is not particularly routine. It soon transpires that Lucas has the headphones plugged into the box as a makeshift microphone to provide backing vocals and otherworldly sounds.
Woods are far from novelty however and the whole set is absolutely enthralling. Jeremy provides strong acoustic rhythms and employs a high pitched tone to his drenched in reverb vocal. Jarvis imparts sterling support whether on drums or via his complex guitar work, which coupled with the weird and wonderful Lucas and his box of tricks bestows intriguing and compelling psychedelic folk upon the audience. There’s little interaction with the crowd or much in the way of song titles being announced, which coupled with the lack of a set list purports to the fact I can enlighten little on the material played. I did manage to recognise “Rain On” from “Songs of Shame,” and “Say Goodbye” from the earlier Marc Riley session.
If you do like a challenge musically and aren’t swayed by main stream, middle of the road fodder, I’d suggest you head to a Woods gig near you soon. It’s a truly unforgettable experience.
Just one personal point I would like to make, something that is a real bugbear for me at gigs, especially those of the quieter more introspective nature. I understand live music acts as a social occasion, but if you really want to talk all the way through, go and stand at the bar, don’t stand at the front where the vast majority, strangely enough, wish to hear the musicians. In the mosh pit at Bo Ningen it wouldn’t matter, at Woods it does. I don’t wear a t-shirt with “Won’t you shut the fuck up, I’m just trying to watch the band” for the hell of it.
OK – Lego
Love Inks – Blackeye
Nylo – Control
The Agitator – Say No!
Belleruche – 3 Amp Fuse
Paper Crows – Fingertips/Follow the Leader
Sharks & Ladders – Wild Containment EP
Liam Bailey – You Better Leave Me
Toy Horses – Interrupt
I've been looking for an excuse to write about the debut album from Kvelertak since the end of last year when the original discovery was made, and as it's just been released in the U.S, now seemed the perfect time.
http://www.theomegaorder.com/KVELERTAK-Kvelertak
This album was definitely in my top five of last year and is one of the most powerful collections of music I've ever come across. The tone is set immediately with "Ulvetid" a track of monstrous proportions. An almighty shout, heavyweight drumming and crashing guitar are followed by a throat ripping vocal (to coin a phrase from my good friend Tim Vee) and we are into heavy metal Valhalla as the Norwegian's pin you to the nearest wall. It's that vocal that will deter a number of listeners, as is the case with metal in general, but give this album a chance, as it has so much to offer. The influences are as much rooted in 60 and 70's heavy rock, as more current metal and the three guitar assault not only provides incredibly strong rhythms, but also some fantastic breaks and solos. There's also subtlety apparent here, which may at first go unnoticed. "Mjod" with it's sudden, although brief introduction of acoustic guitar, "Fossegrim" with it's strangely refreshing keyboards and in particular the outro to final track "Ytrydd Dei Svake" which again hosts acoustic guitars but they take on an almost country feel.
Probably, more than any other genre, the rhythm sections in metal are key to the overall experience and Kvelertak don't shirk their duties. Some solid bass riffs, with a deep reverberation that could remedy a chest infection from 20 metres and when it comes to the drums!!!!! I have a theory that somewhere in Norway, there's an academy along the lines of the X-Men, where mutant drummers gather, only to be let loose for periods of recording and tours. Mutants in that when placed behind kit, they become multi limbed, as surely someone with the standard provision of arms and legs can't play in that way. I'm well aware that there are various tricks that can be used to provide the sensation of inhumanly quick and powerful drumming, but I don't hear them on this album. Perhaps someone with a more trained ear could correct me, but this all sounds very human and the rhythms are extenuated throughout.
I'm sure you will have noted the song titles and the whole album is in the bands native language. This makes absolutely not one jot of difference as far as I'm concerned as who really cares what they are singing about when the music is so downright incredible.
Highlights....... all of it, but perhaps "Sultans of Satan" with it's melodic chorus really shines. This is the band showing real variation within a single song of epic proportions. The instrumental break in the middle is breathtaking. The ghost of Jimi Hendrix calls round to jam before near apocalypse takes place prior to the lone guitarist stepping from the ruins to crank out a riff before the band conjoin to bring everything to a meteoric conclusion. Heavy rock / metal, whatever the hell label you want to add, at it's absolute best.
Metal isn't for everyone, but it's from these ranks that some of the most inventive and truly inspirational music is being produced. Kvelertak are touring the U.K with Comeback Kid in April and I'll be there, down the front, at The Manchester Academy. Will I survive, who knows, I doubt my ear drums will, but let's hope the Norse Gods Kvelertak must surely worship, appreciate my devotion and allow me to return relatively unscathed. .
Double whammy, Mudkiss style today as my March singles round-up has now been posted on the site. There's some really great music out there at the moment, so well worth having a look.
The whole idea of this blog is to highlight new music and share with like minded people. Although it's always good to see your own words in print, to make people even more aware of what's going on, I'll also be posting reviews from other Mudkiss writers.
First up is the latest addition to the team, Mr Tim Verhaegen. Now I'm just a fan of music who wants as many other fans of similar intensity to hear what's available just under the radar. Tim is exactly the same, but with one additional, crucial element. He's a musician, a man that knows a bridge when he hears it, can pick a drum trigger at 10,000 paces and is well aware of exactly what's required to produce a great song. Below is a link to his March album reviews and as expected, they are in depth, informative, witty and ultimately an extremely entertaining read. Arise Sir Tim, of the House of Verhaegen.
Guillemots debut "Through The Windowpane" is quite simply one of my favourite albums of all time. It became a recording even closer to my heart after "Made Up Love Song #43" became the song my wife walked down the aisle too at our weddingthree and half years ago. I can't therefore describe the disappointment I felt on hearing second album "Red." That collection had a real air of a band desperate for a hit single and after the sheer brilliance of "Windowpane" it almost felt like a betrayal, a sell out. I saw the band in Sheffield a couple of years ago during a tour of extremely small venues and even they seemed to accept that "Red" wasn't really up to the mark as the set was heavily biased towards the debut.
When lead singer and multi instrumentalist, Fyfe Dangerfield recorded and toured solo material, I 'm sure I wasn't the only one who thought that probably sounded a death knell for Guillemots.
Fortunately, that's proved not to be the case as after a couple of secret gigs in London, another announced in the capitol during April and a further three scheduled in Manchester, Glasgow and Birmingham during the same month, Guillemots are back in the game. Tickets for the gigs are available through the website, http://www.guillemots.com/ with the venues not being announced until the very last minute.
Further to the shows, new material from the band has now appeared, with single "The Basket" and also a free download, again available from http://www.guillemots.com/ of the title track from the album "Walk The River.
While "The Basket" is a very upbeat keyboard heavy poppy number, it doesn't come across as forced as some of the songs from "Red" and provides an extremely catchy introduction to the new album. Lest we forget, "Windowpane" also had it's moments of pure pop magic with "Trains to Brazil" and "Annie Let's Not Wait." http://www.youtube.com/watch?v=LgUXb2RWsOs
"Walk The River" is a totally different (hunted) animal and this is the area where Guillemots really excel. Gorgeously moody as Fyfe keeps a tight rein on his vocal, with classically understated, but intricate backing from MC Lord Magrao on guitar, the queen of the bass Aristazabal Hawkes and drum maestro Greig Stewart.
It's with a genuine sense of relief I finish this blog, as Guillemots are a band that mean a great deal to me for all kinds of reasons. The band are back and on form.
Had my first exposure to James Blake yesterday. Better late than never I suppose, but at least I now know what all the fuss is about.
Single review of The Wilhelm Scream to follow soon on Mudkiss. There doesn't tend to be too much true originality around these days, but in this case, that description is well deserved.
Without a doubt, one of the most exciting aspects of being a part of the Mudkiss Team is being exposed to great new bands. Music I wouldn't otherwise hear, just drops into my in box for my delectation. Some admittedly aren't great, but "Assembly" certainly don't fall into that category
The band are an amalgamation of two Liverpool bands from the early 2000’s. After separating and leaving their home city to go to university, each pursued other musical projects, until paths crossed again in London during December 2009.
They released their first EP, ‘Drinking In The Poste House’ in April 2010, and followed it up with their second studio EP, "The Morning After" in February 2011.
Recently adding an extra guitarist to their ranks, and having played some of London’s most prestigious venues, they've built up a reputation of delivering high energy shows, combining folk melodies with an indie-rock drive. With an increasing fan base, some great press reviews, and an unquenchable thirst for playing live, Musicovered described them as “not being afraid to take risks. They know how to play up to the crowd and put on great shows! Their material is guaranteed to leave a lasting impression!"
The line-up of the band is:
DAVE MELIA - electric rhythm guitar/lead vocals, PETER PAGE - lead guitar/vocals, JOHN O'CONNOR - acoustic rhythm guitar/vocals, DECLAN MCALEESE - bass/vocals, TOM MELIA - drums/vocals
I haven't as yet had the privilege of seeing the band live, but I aim to put that right very soon. "The Morning After" EP is in my Mudkiss March singles round up, so watchout for that coming soonand in the meantime head over to this link for a sample of their infectious indie pop. http://www.myspace.com/assemblyuk
Having just started blogging, I thought I'd just remind you about my Mudkiss album of the month for February by the fantastic Tom Williams and the Boat.
Tom Williams and the Boat – “Too Slow”
Tom Williams and the Boat first floated across my view supporting Stornoway early last year and I’d also heard them played on Tom Robinson’s 6 music Introducing show. There was always something just a little bit special about the band, which I couldn’t quite put my finger on, but have been keeping a close eye on their progress via the mailing list. When the “See My Evil” EP was released last November, it became apparent that this wasn’t, as suspected, just another UK folk outfit, riding the resurgent wave, but a band with real depth and in particular, exceptional lyrical dexterity. “See My Evil’s” collection of songs portrayed some of the most wonderfully dark and twisted images I heard in quite some time and highlighted a talent for writing that appeared to be straight from the heart and lacked the ambiguity seen within the majority of artists. If pushed to name similar writers, perhaps Mike Skinner or Frank Turner who are also not averse to baring their souls and Tom Williams is definitely cut from the same fabric.
Three songs from the “See My Evil” EP also appear on this debut album, “See My Evil” itself, “Get Older,” and “Strong Wheels.” These all musically have a harder edge, strengthened with the use of more forceful electric guitar, which is best exemplified by the psychedelic squall in “See My Evil.” The darkest lyrics are particularly apparent in “Get Older” which deals with revenge against an ex lover with Williams proclaiming, hopefully metaphorically and not literally “You crucified my daughter, so I butchered your son.”
The songs across the whole album do suggest an extremely personal body of work, and there doesn’t appear much that Williams isn’t prepared to address. Relationship issues, both romantically and also within the family, feeling outcast from society and also bereavement in a particularly graphic way, “Have you ever seen a dead man, unzipped out of his bag, lying in an inch of chemical reserve, mouth froze open wide” from “90mph.” There’s also a real sense of insecurity apparent from the opening line of “24,” “It’s just I can’t imagine a woman being true, they all say they find it so insulting, something’s wrong with you,” followed later in the same song with “24 now and I’ve never been cool.”
This continues in “Too Slow” outlining a desire for both parental and also an ex partner’s acceptance during difficult times “Until I have a place that I can show my parents round, I can’t start picking up the phone again or stop hiding from you in town.” Family issues are to the fore again in “Train Station Car Park” with what initially appears to be an almost throw away tune relating to the slightly bizarre subject of the M25, highlighting within the chorus its position as “a ring road around London.” Listen slightly closer however and it transpires there’s a more insightful memory of a busy home life from the child’s perspective and the simple lyric of “My family’s all over the country, no pick-up for me” will I’m sure resonate with many. Ultimately, that’s the key to this whole album. I’m perfectly at home listening to a Norwegian metal band scream their way through songs about mythical Norse gods, but music with true longevity speaks directly to you and as an individual, you are able to identify fully with the subject matter through your own life experiences.
Musically there are folk elements within the melodies, but the influences, particularly from Springsteen, are also apparent, especially in “90 mph” where the saxophone and piano are pure E Street Band. The use of violin also adds to the overall sound, either to jolly along some of the more uptempo tunes or to add a melancholic air in “Wouldn’t Women Be Sweet.” Some of the rhythms may be a little basic, but in this case that really doesn’t matter as there is much more to draw the attention.
I’d love to sit down with Tom Williams, analyse this record and discover that everything is written autobiographically and relate how I can personally identify with many of his feelings, as that’s exactly the reason this is such a brilliant debut. Whether he would be prepared to do the same is another matter, but stranger things have happened.
I’d urge anyone on February 21st to go out, or in this digital age, stay in and buy “Too Slow” and in the meantime, download “Kick the Cat” and “In Love” from the “See My Evil” EP. One request though, please don’t give Tom Williams and the Boat a cursory listen. Take your time... relax... pour a beer, a glass of wine, a cup of tea, whatever suits and put on some headphones and drink in the whole experience. I can guarantee there will be an experience that virtually anyone can relate too directly within their own circumstances.
Just a final note to Tom and the band. I think anyone that can produce work this compelling and of such a high standard is undoubtedly cool and small things will definitely be picking up during 2011, as the continued and enhanced support from 6 music testifies.
Just one slight criticism, February 14th would have been a much more inspired and ironic release date as this album would have made the perfect anti Valentines gift.
This album was definitely in my top five of last year and is one of the most powerful collections of music I've ever come across. The tone is set immediately with "Ulvetid" a track of monstrous proportions. An almighty shout, heavyweight drumming and crashing guitar are followed by a throat ripping vocal (to coin a phrase from my good friend Tim Vee) and we are into heavy metal Valhalla as the Norwegian's pin you to the nearest wall. It's that vocal that will deter a number of listeners, as is the case with metal in general, but give this album a chance, as it has so much to offer. The influences are as much rooted in 60 and 70's heavy rock, as more current metal and the three guitar assault not only provides incredibly strong rhythms, but also some fantastic breaks and solos. There's also subtlety apparent here, which may at first go unnoticed. "Mjod" with it's sudden, although brief introduction of acoustic guitar, "Fossegrim" with it's strangely refreshing keyboards and in particular the outro to final track "Ytrydd Dei Svake" which again hosts acoustic guitars but they take on an almost country feel.
Tom Williams and the Boat first floated across my view supporting Stornoway early last year and I’d also heard them played on Tom Robinson’s 6 music Introducing show. There was always something just a little bit special about the band, which I couldn’t quite put my finger on, but have been keeping a close eye on their progress via the mailing list. When the “See My Evil” EP was released last November, it became apparent that this wasn’t, as suspected, just another UK folk outfit, riding the resurgent wave, but a band with real depth and in particular, exceptional lyrical dexterity. “See My Evil’s” collection of songs portrayed some of the most wonderfully dark and twisted images I heard in quite some time and highlighted a talent for writing that appeared to be straight from the heart and lacked the ambiguity seen within the majority of artists. If pushed to name similar writers, perhaps Mike Skinner or Frank Turner who are also not averse to baring their souls and Tom Williams is definitely cut from the same fabric.
