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Sunday 13 March 2011

Mudkiss March Album Reviews

After a patchy start to the year with the occasional great (Radiohead, Tom Williams and the Boat) very good (Little Comets, Teeth of the Sea) not so good (Grinspoon, Religious to Damn) and some dreadful (Flat Tires) albums, March gives us without doubt the best and largest selection of 2011 so far.  It’s not only Spring being in the air, that’s starting to lift the mood, but also the quality of music on offer. 
  
The No. 42 Records -  Yorkshire Sampler Vol.1

The No.42 records are a new record company from Huddersfield, set up as part of a university project, run by Adam West and Shaun Cole, who are supporting and raising awareness of the Anthony Nolan charity mainly through Shaun’s experience of personal loss. It is hoped to raise £500.00 through their first CD which amalgamates nine local artists.    The Charity itself currently runs the UK’s largest and most successful stem cell register, which is used to save lives by matching donors to patients who desperately need a stem cell transplant.   Anthony Nolan has over 400,000 people on their register but because they match people by tissue type rather than blood groups, they don’t always find a match. Simply, the more people on the register, the more matches they can find and the more lives saved.  

To run recruitment events and education programmes across the UK and carry out groundbreaking research obviously costs, so financial support is crucial.
  
The cause behind the CD is therefore an extremely worthy one but to anyone reviewing, it brings an initial fear that hopefully it’s also actually worth listening too.  I am aware of Ellen and the Escapades, which is encouraging but the other eight artists are brand new to me.

 Thankfully, this nine track sampler is much more than just worth a cursory listen, in fact if you’re a fan of guitar based music in particular, I’d urge you to part with £3.50 as soon as it becomes available, whether it was related to a great cause or not.  If you’re not a big fan of guitar music, just buy it anyway.   Opening with the stoner rock of “Imp” the tracks run through a myriad of styles including Indie Rock, Math, Emo, Folk and closing with the country tinges of Ellen and the Escapades.  It’s difficult to pick highlights, as there’s literally not a bad song in the collection, but probably “Ashe Vendetta,” “No Garden, One Dragon” and “Imp” stand out for me. 

Although these nine bands / artists don’t demonstrate a new innovative scene around the Yorkshire region, what they do reveal is God’s County, as the locals would have you believe, is thriving with fantastic young musical talent.  I’ll certainly be investing a paltry £3.50 in both them and the Anthony Nolan Charity.

The launch party for the CD will take place at The Other Rooms Huddersfield on the 1st April and will feature some of the bands and include an after party for everyone who attends.


Track Listing

Imp – 16 Years
Elmaroe – Gentle Charms
Ashe Vendetta – What’s On The Outside
WOT GORILLA? – Fear Of Flying
AuditControl – Reciprocation
Ben Marron – The Way We Were
No Garden, One Dragon – Can You Count To 32?
Feeds – Bloodstained Tears
Ellen And The Escapades – Praying On Your Mind (Acoustic)



 

Akron/ Family   S/T II : The Cosmic Birth and Journey of Shinju TNT – Released March 14th.

In the more normal chain of events surrounding a bands musical career, it’s likely if they are any good and desire commercial success, they will produce a really catchy first or even second album, which attracts the attention.  Third albums can be difficult as ideas and inspiration are harder to come by and four albums in, a band tends to be either really stretching out a familiar sound and they slowly start to fade away or if they are really brave (and probably made shed loads of money in the meantime) possibly experiment with new directions.
 
Akron / Family however don’t follow any rules.  There is no intention, I would suggest, of wanting to be commercially successful in the slightest, just an overwhelming urge to produce some of the most inventive, unclassifiable music known to man.  Formed in 2002, with their debut album released in 2005, their recordings have been a complete mishmash of styles, which although folk influenced, also encompass psychedelic rock, African chants, jazz, electronica, you name it, these guys play it.  What makes this band even more unique is the fact they are just a trio (unimaginable when listening to their albums) with all three being multi instrumentalists who also share the vocal duties.
 
S/T II : The Cosmic Birth and Journey of Shinju TNT, (I’ll refer to it as S/T II from now on) was allegedly conceived in a cabin built into the side of Mount Meakan, an active volcano in Akan National Park, on the island of Hokkaido, Japan, before being recorded in an abandoned train station in Detroit.  From these most bizarre of locations comes possibly the most accessible piece of work the Akron/ Family have produced while still housing a myriad of musical genres within it’s thirteen songs.  In general, the overall structure is more along the lines of the traditional, guitar / bass / drums than previous outings, but Akron / Family still maintain the element of surprise.  The riff heavy distorted guitar introduction and subsequent rhythm in “So It Goes,” suddenly drops away to finish as a tender melodic folk passage.  Cast a Net” could be The Fleet Foxes with the tone and harmonies, but this is in complete contrast to “Silly Bears” with its chants and bagpipe like guitar drone. You never know what to expect next from Akron / Family, but that’s all part of the fun.
If you have never experienced their wonder before, S/T II is the perfect starting point from which to work backwards as compared to the earlier work, it’s a much easier listen.  That, be warned though, is quite a deceiving statement compared to 99.9% of other bands.  If you are the type of music fan who finds listening to the Stereophonics or Justin Bieber a challenge, I’d be tempted to give this a wide berth for the sake of your own sanity. 

Me, I can’t wait until the end of May when Akron / Family transport themselves to the U.K, (by teleportation surely?) as I really need to find out how they produce their sounds live.




Track Listing

Silly Bears
Island
A AAA O A WAY
So It Goes
Another Sky
Light Emerges
Cast a Net
Tatsuya Neon Purple Walkby
Fuji I (Global Dub)
Say What You Want
Fuji II (Single Pane)
Canopy
Creator


Joan as Policewoman – The Deep Field

I always find it of concern that when someone releases a covers album, that it could be the first indication of creativity and ideas starting to run out and they are retreating to the relative safety of someone else’s songs.  Although admittedly, only available from live shows or from Reveal Records,  Joan Wasser’s, (or Joan as Policewoman as she’s better known) last album was a collection of covers, so it was with some trepidation I approached her latest offering, concerned that an acclaimed artist might be at a stage of reverting to her own material on autopilot.  I shouldn’t have been worried, “The Deep Field” is an excellent album.  The initial intro to “Nervous” takes you completely by surprise, due to the African style chants, before that wonderful vocal and guitar arrive giving a more familiar air. 

The album is understated in many ways, no histrionics, just played wonderfully well, with everything fitting in perfectly around Wasser’s distinctive voice, especially the Hammond organ and electric piano.  A major element of the songs and one that can, on the majority of occasions pass by unnoticed, are the bass lines.  These are gorgeously rich sounding and add real depth and impetus, particularly when Wasser brings funk to the table in “The Magic” and “Chemmie.” The latter in particular finds me on each listen, undertaking some incredibly poor air bass playing and embarrassing Dad dancing, much to the chagrin of our teenage children on the occasions I’ve been caught out.
 
What stops this being a truly great collection are two tracks, “Forever and a Year” when Wasser’s vocal appears to be straining against the music, rather than flowing alongside and “Human Condition” which meanders rather than really going anywhere.   These are just minor criticisms however of a wonderful piece of work.

In a month when Mudkiss see’s the juxtaposition of England and Canada, through the medium of music review, is there a similar cross Atlantic reverence here, between Joan as Policewoman and The Jim Jones Revue?  Have a listen to the lyrics at the end of “Chemmie” and then swiftly switch to “Elemental” by J.J.R and compare.  Poles apart musically, but coincidence on a familiar lyrical theme or perhaps a tribute from one outstanding artist to another?






Track List

Nervous
The Magic
The Action Man
Run For Love
Human Condition
Kiss The Specifics
Chemmie
Forever and a Year
I Was Everyone
Say Yes

P.J HarveyLet England Shake

For the last twenty years, P.J Harvey has been arguably the most prolific and inventive female U.K artist around on the alternative scene, producing some of the most incredible music and for many years being almost completely ignored within more main stream sectors of industry.  Although nominated on a regular basis, I remember throughout the 90’s (before I realised I was completely wasting my time and stopped watching) ranting at the T.V during the Brit Awards as Annie Lennox, Kate Bush or someone of that ilk, collected the best British Female award, rather than P.J Harvey who so obviously deserved it far more.  I assume this was due to the fact she refused to play the game and with “Let England Shake” Harvey is hardly likely to endear herself to areas of society that don’t relish confrontation and prefer to hide their heads in the sand and block out anything unsavoury happening around them.
 
Polly Jean isn’t happy, in fact that’s a major understatement she’s downright angry.  Angry at the state of the country, of the world and particularly angry at the waste of young life, as soldiers are despatched to all corners, as far as she’s concerned unjustly to their death.  There’s no doubt that she views America as a major source of the problems, (that’s the Grammys down the pan then,) making the direct connection within “The Glorious Land,” “Oh America, Oh England” proclaiming later in the song “What is the glorious fruit of our land? Its fruit is deformed children. What is the glorious fruit of our land? Its fruit is orphaned children.” 

Harvey has never been one to mince her words, and she certainly hasn’t decided to start now.
“Let England Shake” is obviously a protest album and whatever your political views, you have to admire P.J Harvey for having the sheer temerity to release a compilation of this nature.  I’m sure she will take criticism from many areas, but Polly Jean can fight her own battles and obviously relishes the challenge.
While lyrically this album is extremely explicit and confrontational, vocally and musically it’s the complete opposite and that makes it even more chilling.  At times Harvey’s voice takes on an almost childlike tone and the music is kept generally light and even jaunty and jolly.  This creates the bizarre situation of providing sing–a–long tunes to some of the hardest hitting words you’ll ever come across.  Altogether now “These, these, these are the words, the words that maketh murder.”

Let England Shake” is an incredibly brave and powerful piece of work, with P.J Harvey using her position as a revered artist in certain quarters to proclaim she’s pretty pissed off at the moment.  She obviously feels there’s nobody out there worth turning to in times of trouble as the desperate refrain at the end of “The Words That Maketh Murder” attests,  “What if I take my problems to the United Nations.”  Not very much it would seem, and would you argue against her?

Track List

Let England Shake
The Last Living Rose
The Glorious Land
The Words That Maketh Murder
All And Everyone
On Battle Ship Hill
England
In The Dark Places
Bitter Branches
Hanging In The Wire
Written On The Forehead
The Colour Of The Earth

The Joy Formidable – The Big Roar

There’s definitely an element of out and out power pop to The Joy Formidable, which especially as a three piece, can be a dangerous route to take. This is a line up much associated with a musical seam that has been mined fruitfully over the years.  Probably starting back in the 80’s with Husker Du, and since Green Day and Ash in particular, have also churned out numerous three to four minute power pop classics, so it’s a difficult field to participate within.  While the Welsh trio do prove they can hold their own however, as “The Magnifying Glass” and “Cradle” demonstrate, there is much more on offer within “The Big Roar.”  Along with the short punkier anthems, there are a number of lengthier tracks, which help to break up the album and provide a much more rounded experience.  I always feel that a band must be confident in themselves and their ability to hold the listener’s attention if they start a record with an ambitious, seven minute plus epic, which is exactly what they achieve with “The Everchanging Spectrum of a Lie”. 
As a trio, there’s nowhere for anyone to hide within the band and each instrument has to play it’s part, help to fill the sound and while it’s Ritzy Brian’s guitar and vocal that provide  the initial driving force, don’t underestimate the work going on behind her from Rhydian Dafydd on bass and Matt Thomas, drums and percussion.  They are just as integral a part to the whole Joy Formidable sound, particularly Thomas who drums up an absolute storm on “I Don’t Want To See You Like This” and “Whirring.”
We aren’t talking a major musical revolution here, but “The Big Roar” is an extremely good debut album and if Mel’s live review is anything to go by (and I’m sure it is,) The Joy Formidable are also a live band well worth missing Coronation Street or East Enders for.  On saying that, I’d rather go and see Justin Bieber than watch either of those programmes so perhaps that’s not a good analogy.   




Track List

The Ever Changing Spectrum Of A Lie
The Magnifying Glass
I Don’t Want To See You Like This
Austere
A Heavy Abacus
Whirring
Buoy
Maruyama
Cradle
Llaw = Wall
Chapter 2
The Greatest Light Is The Greatest Shade
         

Nicole Atkins – Mondo Amore

If you are drawn to particular albums or songs based purely on a voice, Nicole Atkins is very much for you.  There is no denying that she has a fantastic and extremely powerful vocal but I tend to require just a little more to fully grab my attention after the initial introduction.  Although vocals are obviously important, I don’t see them as the be all and end all, or we’d just survive on a musical diet of the X Factor and where would that leave us.
 
Take Bob Dylan, one of the all time greatest living songwriters undoubtedly, great singer? No. Certainly not the last time I saw him at the Birmingham NEC anyway.  What about Lemmy?  Would he make it past the cutting wit of slimy Simon Cowell in the auditions? Obviously not, (but what a great T.V that altercation would be, perhaps even worth missing The Joy Formidable live for,) but surely no one can deny the influence of Motorhead on heavy metal over the years.  The point is that vocals are just part of a larger experience and the best music comes as a complete package.
 
There are signs on “Mondo Amore” that Nicole Atkins does on occasions have that package available, and it’s when the band start really let go that her best is on show.  The Tower” has the usual authoritative performance from Atkins, but this is also backed by some fantastic guitar work. “Vultures” is darker in tone, both musically and lyrically, while incorporating tempo changes plus a slightly disjointed rhythm. “You Come To Me” also uses the guitar to the fore, but again by also mixing up the tempo’s, something different and more interesting is added to the track.
 
I believe from fans who know Nicole Atkins material much better than me, her debut album is the preferred option, so perhaps that should be the starting point rather than “Mondo Amore.”  
  
  


Mondo Amore” is released March 28th on Proper Records Limited.

Track List

Vultures
Cry Cry Cry
Hotel Plaster
You Come To Me
My Baby Don’t Lie
This Is For Love
You Were The Devil
War Is Hell
Heavy Boots
The Tower


Anna Calvi – Anna Calvi

There can’t be many female artists who’s debut solo recording starts with a guitar instrumental, but that’s mainly because there aren’t many female artists like Anna Calvi, full stop.  An exceptional guitarist, as aforementioned opener “Rider To The Sea” proves, you only need to glance at some of the artists she’s supported to know that there’s something not only special, but very dark going on here.  Interpol and Nick Cave aren’t known for their summery feel good tunes as we all know and label mates Arctic Monkeys also moved in a shadowy direction with “Humbug” so her appearance prior to them at The Royal Albert Hall was also suitably conceived.
  
Calvi’s voice is reminiscent of Siouxsie Sioux in places, particularly on “Suzanne and I” coincidently, and the overall sound on her eponymous album is richly deep and gothic. The musical influences tend towards folk and country, rather than punk and new wave however.  Along with the vocal, the other major aspect of her work is the sound and playing of that Fender Telecaster guitar, which resonates beautifully throughout this album.  The further use of choral arrangements, particularly in “First We Kiss” and “Blackout” also adds to an experience that has an almost religious feel periodically.
 
At a time when the majority of female artists seem to be at the acoustic end of the folk scene, or heavily dependent on electronica, it’s refreshing to see and hear a woman pick up a more traditional electric instrument and play in such an invigorating manner.




Track List

Rider To The Sea
No More Words
Desire
Suzanne And I
First We Kiss
The Devil
Blackout
I’ll Be Your Man
Morning Light
Love Won’t Be Leaving

The New York Dolls – Dancing Backwards in High Heels

When being presented with new material from a legendary band, it’s definitely fingers crossed that it’s going to be in any way worthwhile.  Generally, I prefer not to see bands reunite, which was the case with the The New York Dolls back in 2004, potentially besmirching their legacies with substandard work as I much prefer to remember them as they were during the glory days. I guess when you’ve been a musician for the majority of your years and lived the ultimate rock n roll lifestyle, which original members David Johansen and Sylvain Sylvain certainly have, opening a hardware shop probably isn’t that enticing an option.
 
With their third outing since reforming, have one of the most influential bands of the early 70’s, who were such an inspiration to so many punk bands and produced decadently dirty rock ‘n’ roll, tried to re-produce an album of that time? Or have they in turn taken influence from more modern musical genres?  In a word, neither.  Johansen and Sylvain have reverted even further back and looked possibly to the artists they first heard in their childhood so this album is based in the 50’s and 60’s.  Opening track “Streetcake” immediately references acts from the 60’s, namely Mitch Ryder and the Detroit Wheels and Tommy James and the Shondells.  The tracks generally run through the whole gamut of styles from those two decades, with rock n roll in the form of title track “Dancing in High Heels,” Soul “Funky But Chic” and even a Dion and the Belmonts style “I Sold My Heart To The Junkman .”  This isn’t a terrible album, but is this really what we want from The New York Dolls? I don’t think so.  

They have a great line up, as along with the Johansen and Sylvain you find Brian Delaney, Jason Hill (Louie XIV) and original Blondie guitarist Frank Infante, but it all comes across as too much of a 50’s / 60’s tribute band. A good one obviously, but surely this isn’t where a group who started life spitting out lyrics and riffs on the dark, uglier side of glam should finish up.  Even more incomprehensible are two of the last three tracks “Baby Tell Me What You Are On” and “End Of The Summer” where The Dolls go all UB40 cod reggae, and that’s just plain wrong. 
  
There really is a point where musicians need to look at themselves and ask the question, should we really being doing this, or should we just allow people to enjoy our back catalogue and their memories.  “Dancing Backwards In High Heels” would suggest, yes they should and here’s how I want to remember them, with swagger and tons of decadent cool.


Track Listing

Streetcake
Talk To Me Baby
Fabulous Rant
I’m So Fabulous
Fool For You Baby
Kids Like You
Round And Round She Goes
You Don’t Have To Cry
I Sold My Heart To The Junkman
Baby Tell Me What You Are On
Funky But Chic
End Of The Summer


Dancing Backwards in High Heels is released on March 14th through Blast Records.

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