Adrian Sherwood - On-U Soundcrash

Adrian Sherwood - On-U Soundcrash

Originally published at http://www.disordermagazine.com/article.php?id=460

Bloody hell, where to begin? Ironically, this is probably what Adrian Sherwood thought as he stared at his files of mixes and records trying to figure out from which angle to tackle the construction of ‘On-U Soundcrash’. The main bulk of it is made up of dub/reggae beats, inter-spliced with ‘screeches and vocals’ (quote from the press release). As any sane person finds it literally impossible to stay still when a dub beat flows through them you would have thought Adrian was on to a winner, and initially he is. Like most things without variation however, this eventually gets fukcing boring. Yes, I use swear words to express strong feelings. I am both big AND clever.

There seems to be such a thin line between cool and uncool dub that I find it hard to distinguish between the bands featured here and UB40. Apologies if you like UB40 but let’s face it, if you’re of that persuasion you probably live in a travel tavern and walk to the petrol station for your groceries (spot the ‘clever’ cultural reference). I once bought an issue of Rhythm Drummers Magazine featuring the best of dub and reggae drummers. Worst £4 I ever spent.

As I allow this stuff to meander into my ears I can’t help but wonder what the hell this album is for. I mean, in what situation would this CD be comfortable? The one and only environment in which ‘On-U Soundcrash’ would fit snugly is in a dilapidated caravan carrying 4 stoned college students who can’t see each other through the thick clouds of smoke that surround them. Quite a small and specific target audience I feel.

Perhaps I’m missing the point, or perhaps it’s just repetitive and seemingly pointless. Either way, the people who love this sort of stuff probably already know all about it, and will buy it regardless. As for the rest of you, just buy the best of UB40; at least then you can sing along to ‘Red, Red, Wine’.

5 out of 10.

Released 13th November on On-U Sound

17 Nov 2006 by Matt S.

Brakes - The Beatific Visions LP

Originally published at http://www.the-mag.me.uk/?ArticleId=1369

Brakes - The Beatific Visions LP

(Rough Trade)


Just like anything else that brings pleasure, music is often listened to in order to separate one's self from reality; to get away from the rigmarole of daily working life. If that's your bag, then look no further than Brakes. It's been clear since the release of debut album "Give Blood" that Brakes are quite simply mad as hatters. Not in an 'old lady who likes cats a bit too much' way, but more in a Timmy Mallet fun and wacky way. It must be great being vocalist Eamon Hamilton, and here's why.

Songs like "Spring Chicken" and "Porcupine or Pineapple?" are just plain mental; you can't not have fun with these tracks. There is literally nothing in the lyrics to ponder, leaving you to flail your limbs about in your living room or, more fittingly, a field at a warm summer festival. Although there's nothing as short or to the point as 10 second wonder "Cheney" from the first record ("Cheney... stop being such a dick!), most tracks on The Beatific Visions stick around the 2 minute mark. Anything more than that would just be stretching the point unnecessarily, something that Brakes have never felt the need to do. The 11 tracks on here come to less than half an hour, which is a relief after having just put myself through the hour long bore-fest that is Beck's new album.

Like Beck, Hamilton does occasionally get a bit more serious, albeit in his own refreshing way. "Isabel" is a touching acoustic number and one that highlights the simplistic, truthful lyrics. Hamilton's lyrics are akin to the opinions of a young child; sweet, innocent and seemingly free from any kind of ulterior motive. "If I Should Die Tonight" details what to tell a loved one if he should die, but not in an impending death situation. He seems to be speaking from a paranoid, vulnerable state of mind; one that you cannot help but admire. With this kind of honest lyric on show it is extremely easy to feel at ease. Now I don't know about you, but complete honesty is not something I experience in my life all that much! Thank you, escapism!

Thankfully Brakes' sound has not been altered at all from the first record, combining driving acoustic rhythms with simple, precise lead riffs. There's something earthy and rural about the chugging acoustic guitar that drives Brakes forward, as in future festival pleaser "Margherita". Elsewhere on the album we go slightly country on "Mobile Communication", a song about the frustrations of having to rely on mobile phones (something I can more than identify with). Different sorts for different cohorts.

In many ways The Beatific Visions has everything the first album had, which is a marvel really considering the apparent spontaneity of "Give Blood". Brakes are darn good fun and you will probably never hear a band that sounds like them anywhere else. They've been favourites of mine for a while and they're now officially favourites of The-Mag's too.

8 out of 10

Matt S.

Skindred - Live (Beat Takeshi / Instill / Amoki)

Skindred - Live (Beat Takeshi / Instill / Amoki)

The Joiners has long been established as the best venue Southampton has to offer, no questions asked. However, this may have been due to the fact that no decent touring bands have turned their attention to The Brook in recent years.

It's normally the home to such greats as Tony Cristie, Ron Sexsmith and Robbing Williams. Nothing against this lot, but such a great venue deserves more attention from the local 'young 'uns'. Having seen Skindred before at Truck Festival, it seemed a real possibility that they could break The Brook with their 'bully boy tic-tacs' etc.

Before this though there is the little issue of support acts. First up are Instill, whom I miss due to a very long queue to get in, where I meet the only bouncer I have ever encountered who is actually trying to make things easier for the punters. He sorted out tickets and got us all in quickly, without smashing a single skull on the curb. Nice one.

Beat Takeshi are the first band I see and, while they have some neat little hardcore riffs and as such it is generally epic emo, its same old, same old. The epitome of being average. Hey, I like that line! Any emo or post-hardcore bands need a title for a song or album feel free to steal that one. Just remember to big me up in your blurb type thing.

Next up are the ever-present Amoki who actually sound a lot better in the slightly larger space of The Brook than they do in their usual haunt of The Joiners.

Unfortunately the music is just as uninspired as it has been every other time I've sat through their set, despite the vocal harmonies coming through quite well tonight. It really makes me wonder just how much longer these guys will be willing to keep plugging on. Bring back Dilutral I say.

As Skindred emerge from the little door at the back of the stage it's clear tonight's audience see this lot as some sort of martyr to heavy music, and I'd have to say I concur. As rap metal goes, they are the kings; and they perform as if every song is an opportunity to put this beyond a doubt. Despite being over 4 years old, everything off debut album Babylon sounds as lively and hard-hitting as it ever did - mainly down to Benji's iconic voice that flips effortlessly between metal growl and playful reggae chat.

Skindred are masters of playing the crowd, teasing us with opening riffs of old favourites before starting a different tune, or telling us all a little story about the origin of pit fave "Pressure". There are new tunes, most of which a bare minority recognizes, but Skindred aren't ones to let that bother them. There is no 'listen to our new stuff' arrogance here, and when the band members clearly enjoy the old stuff just as much as the crowd do there's no need for it.
One of metal's seminal acts for sure. Long live Skindred, and all who follow them.

Reviewed Live By: Matt S on 23/10/2006 at Brook, Southampton

The Shakes @ Southampton Stags Head 30/10/06

The Shakes @ Southampton Stags Head 30/10/06

Having not stepped foot in a Student Union since my departure from formal education 17 months ago, tonight's visit should be an enjoyable one. Student Unions are places of wonder and beer, cute girls and music and fruit machines etc etc. However you have never experienced the true feeling of being a proper billy no-mates until you have visited a packed SU all on your lonesome.

Imagine walking into your SU with your mates for a few drinks and spotting the only person in there on his tod. You've noticed him because he's nursing the same pint he was 15 minutes ago and he keeps walking around to try and avoid being labelled as a lone barfly. He leans against the bar in cool pose after cool pose, adjusts his jacket, stares at the TV screen that has the same adverts for Uni events over and over, and then takes his seventh toilet trip in the last half hour.

Well that person is me ladies and gents, because there happens to be an irritating 40 minute wait between the solo artist I caught the end of (but missed the name of), and the band I came to see. The worst thing is that I can't even get smashed and sleaze some people I've never met because I have to drive, and no matter how long I leave my drink unattended nobody has the decency to spike it and make my evening more interesting. The way I figure it, if I don't intentionally take anything then I'm not being irresponsible. That's what I keep telling myself anyway.

Finally finally finally The Shakes take to the stage. The singer is shorter with smaller hair than I thought he would be, but surprisingly this doesn't bother me too much, despite my slightly irritable mood. They start playing and immediately I realise they're ruddy bloody good, combining Strokes style riffs with structures that make you want to dance that robot dance that everyone seems to like so much at the moment.

If there must be one highlight to pick out then it has to be previous single 'Liberty Jones', a song about some girl who works in a shop and listens to music at work. Although I like the song I'm not sure if I can condone this sort of blatant disregard of workplace etiquette. Speaking of which, I'm pretty sure it's Kevin's turn to make the tea. Can anyone taste the irony of this situation? If not unlucky, 'cos I'm not spelling it out any more than I already have. So there.

Back to the case in point. Having played this place with my own band before I know how difficult it can be. It's a bar, and people are there to drink and talk, not stand in the far corner and watch a band go through their motions of varying quality. However the cheeky-chappyness of front man Ed and some catchy vocal lines afford them more attention than I ever got, and deservedly so.

On a final note, I saw more ginger beards tonight than every other time in my life combined. So if you like that, check out Southampton Union. Peace out.

3 Nov 2006 by Matt S.

Patrick Wolf- Accident & Emergency

Originally published at http://www.disordermagazine.com/article.php?id=404
Patrick Wolf- Accident & Emergency

Disappointingly, my most recent conversations with friendly musos concerning Patrick Wolf have been mainly on the topic of his ever-changing hair colour. Despite the ridiculousness of the topic, they have a point. The first album demanded a blonde mane in order to gain confidence, after which he went au natural (black) to execute the stunning Wind In The Wires album. Now, it's red. What could that possibly indicate?

Well, if this hair colour system means anything at all we can draw comparison from that loveable yet terrifying tomboy Pink. So he's a pop star now then. Whether Patrick has taken this change of direction off his own back or is being pushed by his new major record label remains to be seen, however he certainly has the credentials. He's not ugly, he dresses all crazy-like, plus he has the bonus of being a superb song-writer. A pop star who writes his own tunes? Imagine that!

'Accident and Emergency' seems to suggest that converting to pop music is as easy to Wolf as a visit to the salon for a touch-up to his roots. The bleeping effects mould with the driving drums to form a catchy tune that will suit rock clubs and the like down to the ground. The real star of the show though is Wolf's voice, which cuts through with such sincerity that you're hanging off his every word right up until the very last. Expect big things from the upcoming 'The Magic Position' album.

8 out of 10
Released Monday 23rd October on Polydor
23 Oct 2006 by Matt S.

Spektrum- Don’t Be Shy

Friday, October 20, 2006
Spektrum- Don’t Be Shy

Originally published at http://www.disordermagazine.com/article.php?id=390

What better way to ensure the consumer gets his/her money's worth than by remixing the shit out of a single multiple times and offering the resulting offal as 'b-sides'? Spektrum are fully aware of this little trick, however as someone once told me, you can't polish a turd. The 'Tugg Cold Turkey Remix' just takes the most irritating noise from the original track and plays it over and over, whilst the other two remixes are worth even less of your varyingly valuable time.

The title track itself is reminiscent of recent Basement Jaxx tracks 'Hush Boy' and 'Oh My Gosh', mainly because of the chaotic dual female vocals. Fans of Basement Jaxx should note that this isn't as good as your beloved, and those of us who hate the Jaxx should remember that this is even worse than their latest offerings.

See, I'd love to write this review without mentioning the fact that listening to this irritates the hell out of me, but I can't avoid something that may very well lead to the end of a life (mine or another at my hand). I mean Christ, where do I begin? All the vocals, the warped sound bytes, the horrific remixes, the apparent denial that this has been done better already (albeit not necessarily 'well'), the fact that I insist on listening to everything that I review from beginning to end several times over to form an honest opinion? It's times like these I wish I was deaf.

1 / 10.

Released October 16th 2006 on Nonstop Recordings
www.spektrum.co.uk
16 Oct 2006 by Matt S.

The Little Explorer - Chair Legs/ Air! Displace This Smoke

Friday, October 13, 2006
The Little Explorer - Chair Legs/ Air! Displace This Smoke

The riff that begins first track, "Chair Legs", is a bendy, calming thing that seems to transform into a hypnotic mantra upon repetition. It seems The Little Explorer's trick is to send the listener into a trance from the off, then mold the brain in whichever way they want like a large piece of pink play-dough. By the time the vocals come in it's all gone a bit more frantic, enough to wake anyone from a slumber. Then we're back to being all soothing again. This tune is a serious headf*ck my friends.

Perhaps I'm looking into things in a little too much detail. You have to understand however that a hangover has the strange power to make the person analyze things a mite too far, like some dope fiend on the tail end of an all night binge. At a guess.

It's odd how something so intricate can be so calming. Thanks to the immense tightness of the band's recording it sounds extremely organic and natural. There are no joins anywhere on this CD, just pure living, breathing Little Explorer. Thanks to the drummer's sterling performance and the clever song construction, neither of these tunes have any problem controlling you for the 8 minutes it takes to get through them.

Anyone used to hooks or stomping beats should look elsewhere, but for a technically impressive audio experience this is precisely where to find it.

Originally Published at http://www.the-mag.me.uk/?ArticleId=1321

Adequate 7 - Live (Lo*Chine / Splendid Eddie)

Adequate 7 - Live (Lo*Chine / Splendid Eddie)

Sometimes life is slow and boring and other times it's fast and tiring. When it's slow and boring you wish it was faster, and when it's faster you're so bloody knackered you wish it was slower so you could get some damn sleep. On this occasion however, I was glad to wear myself out on two consecutive nights at the Joiners in Southampton, which I will document for you here. You lucky sprites.

As Thursday is so close to the end of the week and nobody does any work on a Friday anyway, I made the wise decision to go and see the much hyped Adequate 7.

First up were Splendid Eddie, who I watched from the back of the venue and I wasn't that impressed to be fair. They have great parts, like the singer and the guitarist for instance, but the brass section just wasn't up to it and was a tad too loud for my liking. It often went a bit Incubus giving the singer a chance to shine, but this wasn't really enough. Beer time methinks.
Having got something to sup I returned to see a bit of Lo*Chine, a Southampton based band even more akin to Incubus than the previous band. The instrumental side of things was impressively tight, as all funk-based bands should be. The bassist and drummer made it look easy, whilst the guitarist grimaced and grooved in much the same way as I do whilst playing stupidly easy riffs on my mates bass guitar (it's all about the funk).

Although the singer was clearly a great talent, it seemed a tad out of place. The angelic vocals seemed more soul than funk, which didn't really make full use of the hooks and grooves being expertly provided. Definitely worth checking out though.

Having never heard a note of Adequate 7 before, I had absolutely no idea what to expect. So let me not beat around the bush when I say that they were one of the best bands I have ever seen perform at Southampton's humble Joiners. If I could type the unpronounceable voices I made whilst witnessing these guys rip it up I would, but being unpronounceable they're pretty much un-type-able too. I suppose the closest thing in audible English is 'pure sex'. Seriously, that good.

Anyone who has heard Adequate 7 before will know what they're like however, for the sake of all else I'll just list the elements that make them up. Funk, punk, rock, hip hop, ska, blah blah blah. It's the best of all of those, capped off with a vocalist who owns the damn stage from the minute he steps onto it.

The main driving force however, is the stunning brass section with the best trumpet player I have ever seen perform live. Everything about this band makes me want to tell you to go and see them. Oh yeah, there's a problem there.

This was their fare-f*cking-well tour, and to cap it off their tour manager was only the trumpet player from Lightyear, yet another great band whom I only discovered on their farewell tour this year (albeit in a stinking barn at Truck festival). When Mr Lightyear got onstage to sing a song I felt so bloody riled that my alcohol intake had convinced me that they were teasing me, waving both bands under my nose and making me realize just how much great live music I've missed from them over the last few years. Luckily I was a pint short of plucking up the courage to slap Mr Lightyear on the head for this, so I patted him on the back for a job well done instead.
An awesome performance.

See their last ever gig in Cardiff in December. You'll thank me for it.

Originally published at http://www.the-mag.me.uk/?ArticleId=1322

Die So Fluid Live (Plastic Toys)

Die So Fluid Live (Plastic Toys)

Waking up the next morning my ears were killing me. Mr sound engineer at the Joiners must have cranked it up louder than usual the night before. Oh well, at least it took my mind off the generally crippling hangover that tarred my 6 hours at work. I was right though, no-one concentrates on a Friday. Thank Christ.

So then off to the Joiners again to see a band a friend of mine photographed for their album artwork. At the risk of sounding like a winging old man, since when did the Joiners become a bloody crèche? Now I don't mean to alienate the younger members of The-Mag's audience, because I'm quite confident that the people I am specifically referring to aren't yet at the stage in their development at which they can read for themselves. Maybe their parents have pulled the laptop up to the bedside table for a pre-slumber story from our fair website's pages, and if that is the case it is your parental duty to not let them know they annoy me. Because they do. A lot.

However as David Brent says; "every cloud". There was no queue at the bar, I had no trouble muscling through the thin corridor from the bar to the band room and I've never had a view so completely unobstructed in this smashing venue before. So in return there's something for the rest of The-Mag's audience to relate to. It's funny 'cos it's true isn't it?!
Anyway. The bands.

Due to a bit of hob-nobbing and (more) drinking in the bar area I managed to miss the first three bands, and so I shall not do them a disservice by saying how they sounded from the bar room, because they might have sounded great closer up. Oh dear, I think I've let it slip.
Most people were there to see Plastic Toys anyway and most teenage boys were there to see the pretty darn sexy lady bass player. Nobody likes a critic so I knew I wouldn't stand a chance, thus I let the teenage boys have her. The photographer seemed to favour her side of the stage also. He's not stupid is he?!!

Musically they were extremely tight metal, heavily influenced by what I remember as 'nu-metal', with a large dose of electronica thrown in. Remember Spineshank? Well they reminded me a bit of them. The music was awesomely solid however, the vocals were lacking a bit of ingenuity and provided nothing in the way of hooks. Enjoyable set to watch however, probably for all the wrong reasons.

As if one stunningly hot female musician wasn't enough Die So Fluid also featured a female bassist dressed as something of a maid. As they walked on I was kind of expecting style over substance, with much of the focus (deservedly) on the bassist-singer. However I was soon to eat not my words, but my un-vocalized thoughts. The moment the singer opened her mouth I felt like throwing myself to the feminists. Just amazing.

Such power and attitude. Some of the heavy metal riffs kept me interested for a while, but the main reason why I didn't head off early was because of this angel's incredible voice. Once again I am unable to articulate just how strongly I feel about an aspect of music. Does this make me a bad journalist? No. It makes them too bloody good to write about.

However, don't get confused between my opinions on her voice and the band as a whole, because the total package was less than groundbreaking. That voice rescued otherwise dwindling songs on too many occasions, thus the only other thing that kept me entertained was the fact that the guitarist looked an awful lot like someone I used to go to school with. Boutwell? Is that you?

The great thing about that night at the Joiners was that I left having seen something that left me in awe, and although it was only one part of the total offering, at least it was something. I was certainly not this articulate after the Unit 22 after-party, but you don't need to hear about that. Great start to the weekend.

Originially published at http://www.the-mag.me.uk/?ArticleId=1317

My contribution to Disorder Magazine: September issue

Redmile- EP: September 14, 2006

Thursday, September 14, 2006
Redmile- EP
Originally published at http://www.the-mag.me.uk/?ArticleId=1270

I really shouldn't like Redmile, they have so much in common with so many bands I really dislike and yet it also seems to have some more over-riding properties that result in me not ripping off the headphones in disgust. They sound like Pearl Jam, Audioslave and various other moderate rock bands that I needn't mention. The relevance of this is only clear when you understand how much this reviewer dislikes Pearl Jam and how bored he has grown of Audioslave's recent mediocre offerings.

One thing you cannot deny about these two bands is that they have phenomenal vocalists, and Dave Salholm of Redmile is up there with Cornell and Vedder. Quite a statement I know, however I dare you to check out the vocals on "Stolen Car" and disagree with me. I know some of you will out of spite, but those of you who do will only be lying to yourselves. Shame on you!

Far as the tunes go, everything fits, and the recording is of reasonably high quality. You get the feeling that every musician in Redmile is more than competent in their respected discipline and, as with all the best musicians, only does what is necessary in order to enhance the song as a whole. These guys understand their genre and nail it with a huge industrial tent peg. I'm aware this is an awful metaphor, but I'm beyond caring. I'm too busy indulging in the guilty pleasures of "La La Rookh" and it's soaringly powerful chorus and verse riffs.

For me this CD completely contradicts what I previously thought about the whole moderate stadium rock genre. I seriously hated it and, whilst I'll never be turned on to the devil incarnate that is Bon Jovi, Redmile has made me realised that it's not all bad. Some of it is in fact good. Like this.

7 out of 10

Matt S.

The Singletons- Live 3 Track EP: Tuesday, September 12, 2006

Tuesday, September 12, 2006
The Singletons- Live 3 Track EP

Originally published at http://www.the-mag.me.uk/?ArticleId=1267

When I learned that this offering from the Singletons was a live recording I didn't expect much. My list of humorous derogatory comments was poised and I was ready to be hated by yet another up and coming band. Nothing to do with the band themselves, but more to do with the fact that even professional groups struggle to produce decent live recordings. The format just doesn't lend itself to recording.

But wait a darned cotton-picking second, something just ain't right about this. I can hear the vocals, the bass, the guitar, the drums; geez Louise it's all here! Some genius of a soundman has managed to capture The Singletons in all their live and dangerous glory (albeit with no crowd noise before or after songs, for reasons unknown).

They're tight like a tiger and their tunes are much more than the 'un-pretentious sing-a-longs' that they describe. Their sound is actually quite akin to the Coral, not in musicality but in terms of atmosphere. It's creepy in places, with vocals such as 'love everyone, now kiss my face' erring on the mental side of sanity, thus making for quite an uneasy feeling, capped off by the "Mary had a little lamb" ending to "Going La La".

The mis-hit guitar notes on "Burn All Your Money" are as important as the powerful chord-sequences, giving a sense of passion in the performance. Whether this is intentional I'm not sure, nor do I care. They should leave it in even if they didn't mean it. The male-female vocal combo is a fun, off-the-hook affair also reminiscent of The Pixies' demented wailings. There you go guys and girls, you sound like the Pixies, thus you're clearly much cooler than you think you are (in reference to denial of cool-ness in the press release).

The Singletons are a refreshing listen in a world of self-hyped average punky rock bands (see my recent review on In Darklight) and so are deserving of your attention. Unless of course you like your music to be nice and predictable, in which case look elsewhere.

Matt S.

Tuesday, September 12, 2006

Tuesday, September 12, 2006
In Darklight- Foreground/Background EP

Originally published at http://www.the-mag.me.uk/?ArticleId=1261

From the look of the cover I expected In Darklight to sound like Razorlight. I'm fully aware looks should have nothing to do with a band's sound, but when the similarity is this close one can be excused for such a flippant remark. It is an impressively packaged product for a self-released band. Someone either in, or known, to the band is clearly proficient in Photoshop. So well done to them.

Whoever mixed Foreground/Background also deserves praise. Everything's as clear as glass, allowing the song writing to be judged purely on its own merit. Rarely are music journalists allowed this luxury with unsigned bands, so I should count myself lucky I suppose.

Or not, as the case may be. Yes, it all sounds and looks good and no, the songs aren't 'bad' by definition, but why oh why oh why, may I ask, must In Darklight go through the motions so unapologetically. It's like they're saying "yes we know it's nothing special, we know you've heard it before, but look at our sparkly packaging! Open it up! Look! Our lyrics in full!" I'd much rather get a shoddy CDR of pure quality than a tarted-up digipack of monotonous boredom.

And that's the bottom line people. In Darklight mean well I'm sure, but it drags so horribly, and the whiney Liam Gallagher inspired vocals do nothing to help it along. It literally sounds like the singer is doing his best not to emulate Liam, but to take the piss out of him. Just like Oasis the lyrics are clichéd and incoherent anyway, so we needn't worry about song meanings or anything like that. In fact there is nothing specific within these six tracks to get your teeth into. At all.

If you like your indie to plod along in a low-paced, unexciting way, then this is for you. Excellent value however, as this feels like the longest 6-track EP ever to be produced.

Matt S.

Shin Music- 5 tracl EP: September 05, 2006

Shin Music- 5 track EP

What a shame I've been a total slacker in regards to reviewing Chin Music's EP. I could line up all kinds of excuses as to why this CD got all lost in my house and I've only just found it, but instead I'll just leave it at that. It got lost, but now I'm listening to it, and by golly am I glad the Borrowers didn't 'borrow' (aka 'steal') this little gem.

You see I'm a bit of a metal-head at heart, and as a result I'm not into the whole emo scene. Each to their own and all that, but it just does nothing for me. The few exceptions are usually bands that take the prog aspects of emo and mix it together with some good old-fashioned rock and roll heaviness. Why am I banging on about this? Because this CD fits into this category. Duh!
There are catchy vocal hooks supported by the singer's (more often than not) powerful Reuben-esque voice and unpredictable arrangements that leave you unable to identify a simple song structure. This, my friends, is a good thing, such as in Tool, Opeth, or Mew songs. These songs drag you in trawl you around for a bit. There is one vital aspect that I haven't mentioned yet, but fear not, I will in the next paragraph.

It's the production, my friends. The vocals are arranged and layered in such a way that we can appreciate the singer's skill and also forget that there is only one singer. The guitars are also expertly balanced, weaving in and out of the forefront of the mix in perfect time to the meticulously crafted sections. It may sound like I know these guys personally, but I don't. I really don't.

If only everything that I found down the back of the sofa was this good. Unfortunately the press release is gone forever (where, I do not know), so all I can tell you is 'Chin Music'. There are five awesome tracks here, and I hope you can all check it out. I also hope my editor can fill you in on the details!

8 out of 10
Matt S.

Paramore - Emergency: August 30, 2006

Paramore - Emergency

If theres one thing that makes me enjoy a tune Ive never heard before its a high fist-clenchability factor. One of those choruses with a real Bon Jovi quality to it. Whether it be an honest, emotional raising of the fist or an ironic, over the top one the value of a good power grab should not be understated. Emergency, in case you hadnt already guessed, is a tune with this quality. Pure optimistic emotion pressed squeezed into digital music format.

The opening two bars sound a bit like Mew, a fact that will excite some and dissuade others. For those who dislike Mew the similarity doesnt last long, as it soon goes all Boy Sets Fire-type hardcore. The great thing about Boy Sets Fires Tomorrow Come Today is that the fist-clenching chorus are accompanied by some catchy and original guitar riffs and vocal melodies, whereas Paramore sound like their contemporaries.

The vocalist, Hayley Williams, sounds like many of the Emo frontmen in the current scene, a fact that probably says more about the other guys than her. The mix doesnt really do her voice justice though, layering it so much in the chorus that she starts to sound a bit too much like Claudio Sanchez. The guitars all sound too neat too. Wheres the meat for us to get our teeth into?

The bottom line is that despite repeated plays there really is nothing else that can be said about Paramores Emergency. It simply walks into the room, hangs about for four minutes and then leaves quietly.

6/10

Out on August 21st on Fueled By Ramen Records
www.paramore.net
23 Aug 2006 by Matt Simpson

Russell Edmonds Band - Demo Disc: August 27, 2006

Sunday, August 27, 2006

Russell Edmonds Band - Demo Disc

Egads my friends! What have we here? An unsigned band CD with (could it possibly be?) GOOD SOUND?!! Yes indeed, if there is one thing to be said about Russell Edmond's Demo Disc (sounds like a TV show doesn't it?) it's that it has been extremely well mixed and recorded and all that jazz. The sound quality easily stands up next to the latest Oasis album and the second track in particular proves up to the Stereophonics' standards, to the extent of sounding just like "Mr. Writer" on various occasions.

Herein lies the main problem with Russell's music. Despite the sweet, crisp guitars and smooth-sounding voice it really does offer nothing new at all. It's like what Eddie Izzard says about how lots of different recycled things make up a fridge or a plane or another tin can. Edmonds' music just sounds too much like what was happening 8 years ago to be relevant in today's eclectic and vibrant musical context. In Britpop's heyday this would have been at number 1 for sure, but would it exist if Britpop had not already been there and done that? I doubt it.

Despite all this I know there is a big market for Oasis / Beatles / Ocean Colour Scene nostalgia and this certainly qualifies as that. "Dressed as the Enemy" is my personal favourite, mixing those same clichés with more current atmospheric touches such as haunting violin backing a la Decemberists that give Edmonds the extra dimension of interest that the other two tracks lack.

Once the immediate influences are exhausted Russell Edmonds has the potential to produce some really fantastic pop tunes. For now however, he seems to have settled for emulating his heroes.

6 out of 10

Matt S.

Lilys - A Dianas Diana/With Candy- August 16th, 2006

Originally published at http://www.disordermagazine.com/article.php?id=89

Lilys - A Dianas Diana/With Candy

Theres a real attitude in the press release that accompanies this Lilys release, with the general message of if you dont like it you can go fuck yourself, oh and in case you were wondering Kurt Heasley is a musical genius, has been since he was 15 and is now at the forefront of the single father pop star renaissance. Three kids is what hes got, and he loves them to bits Im sure. Why have I made this remark? None of my business? Precisely. Lets focus, people.

This Lilys single is like a long standing corn on the second-to-smallest toe that doesnt hurt much. You know you should really hate it and it shouldnt be there, but really you quite like it. Once you get used to the seemingly reversed vocal lines A Dianas Diana seeps in like sleazy coked-up funk, leaving you trapped inside an inverted disco ball of reflected light and relaxation. Seriously, thats as close as I can come to describing it. Much like a spun out Saturday night its never clear if or when it will stop or where its leading. Until it does stop, and With Candy starts.

The second track is just as meandering and demands to be swayed to. Who needs class As when youve got piercing, slightly off key chords jamming in your lughole? Tony Blair listened to Lilys once at a party, but he didnt inhale.

Its tough bringing up kids alone, so buy this for the children.

6/10

Released August 14th on Rocket Girl

http://www.myspace.com/thelilys

14 Aug 2006 by Matt S.