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Hackney five-piece The Wireless are back with a follow up to the sensational “He’s So Proud.” It would be hard, verging impossible to follow up the success of such a promising debut, but the latest installment “Been Here Before” hits the same standards, reaffirming the band’s potential. Combining blues inspired garage guitars with spontaneous lyrics; “If looks could kill then musics dying/These punks should care more about what they’re buying,” the band attack generic stereotypes emerging on to the music scene. This attack is not unfounded, the band themselves providing fresh air and the energy of youth in to the current London garage rock circuit.
B Side “Give In To Me” could have led the release on it’s own. It is both catchy and musically well done, the bass being a particular highlight on both tracks – commanding of the rhythm yet subtle and not overpowering – the bassist should feel proud of his contributions.
This follow up will please and surprise those who didn’t think it possible to follow up the massively impressive He’s So Proud. The band yet again deliver on both musical and commercial avenues, making catchy singles for the radio and keeping true to their garage rock roots simultaneously.
“I think the sound is never the same twice really,” says Felix of five-piece garage blues revivalists The Wireless. “We like to theme each song we right and give it the appropriate sound pallet. We really try to limit ourselves and not fuck around with too many effects. Its much more important for us to let the song stand up on its own without too much glossy nonsense. ”
It’s been a long journey for The Wireless, experimenting on their sound since 2001, until appointing Joe on keys last year. After shooting a feature for Dazed & Confused magazine the band released He’s So Proud and are set to release their follow up “Been Here Before” later this year.
The band are in “agreement with our blues roots,” drawing inspiration from “Screaming Jay Hawkins and John lee Hooker just for the raw sound they produced.” Vocally Felix admires crooners; “Sinatra, Waits, Nick Cave, Nick Drake, Lou Reed.” And as I question the influences further, Felix tells of the bands philosophy; “we take a lot of influence and ideas from our surroundings and experiences. Places we have been to places we are no longer aloud to go. Anything and everything can become meaningful given the right sort of approach.”
The band are undoubtedly moving to bigger things, already prominent on the live circuit, playing gigs for Artrocker and at the Islington and have launched their own club night with guests from Pete Doherty to Bloc Party. Upcoming gigs include a night at The Amersham Arms on the 16th November, and three days later on the 19th – at Jericho Tavern. Mainstream success should be the next stop on The Wireless tourbus, and plans for the future? – “an album that speaks for a generation and lives on past the sands of time.”
Written by Thom Morgan, all quotes taken from Felix (The Wireless) – Special thanks to Keir Mills (Bloody Awful Poetry PR)
By Jess Grant
on Friday, 7th November 2008 at 4:00 pm
Deep down, I had secretly hoped that Slipway Fires – Razorlight‘s third album, released this week – would prove to be a mighty comeback after the let-down that was the band’s self-titled second release 2 years ago.
Oh, how my hopes have been dashed.
The album kicks off with current single, ‘Wire to Wire’, an easy on the ears track which I’ve grown to like. “Love me, wherever you are”, Johnny Borrell cries. Sadly, this is quite a tough task when listening to cliché tracks such as Tabloid Lover and North London Trash, which, to put bluntly, are just awful. For starters, one only has to look at the terrible lyrics of the latter track – “I’ve got a hot bodied girlfriend, I’ve got a wallet full of cash”, Borrell boasts. I’m sure you’d agree such words are hardly worthy of Johnny’s claim that he’s better than Dylan. To make it all worse, I cannot help but notice how Tabloid Lover sounds like a complete rip-off of The B-52s, Love Shack. But then again, maybe that’s just me..
Another thing which strikes me about Slipway Fires is the sheer amount of dull, slow tempoed tracks scattered throughout the album – examples being Stinger, 60 Thompson and You and the Rest. After a short while, the album begins to sound like one uninteresting, unmemorable tune rolled into the other. Generally, it’s very hard to maintain interest in the CD, with only the odd track like terribly-titled Burberry Blue Eyes and Monster Boots picking Slipway Fires off the floor and injecting a bit of melodic life back into it. It’s hard to feel any emotional connection towards album closer, The House, after the disappointing ride of Slipway Fires.
All in all, the album is thoroughly unsatisfactory. It’s a shame that a band who created great tunes such as ‘Vice’, ‘Rip It Up’ and even ‘In The Morning’, are now releasing such lacklustre material as Slipway Fires.
Buy Razorlight’s new album, Slipway Fires from Amazon
By Jess Grant
on Friday, 7th November 2008 at 1:21 pm
I have been a fan of Florence and the Machine for quite a considerable amount of time now. Thing is, I didn’t actually realise it up until a few weeks ago. Basically, I kept hearing this super catchy tune on the tube about kisses and fists. Intriguing, I know. Anyhow, the other day, I decided to actually look into this track. I discovered the artist was indeed Miss. Florence (and her Machine).
Upon discovering the Machine, I realised this was not actually the first time I’d encountered Florence (who cites Celine Dion and Eva Cassidy as just two of her influences). Infact, Florence first caught my attention many months ago over at MySpace collaborating with her mate, Lightspeed Champion, on some retro Green Day covers. While Dev went on to achieve a considerable amount of success with his debut album, Falling Off the Lavender Bridge, Florence remained contrastingly unfamiliar.
Now, however, it would appear that the London lass is getting quite a name for herself thanks to her contagious indie folk blues – or ‘grindcore’ as her MySpace chooses to label it. Whatever the genre, one thing for sure is that Florence – who this week gained a place on NME’s Cool List – is tipped for big things in the coming months. She already has appearances at Reading, Glastonbury and Austin fest, SXSW, under her (presumably floral vintage) belt. Heck, she even played a gig in Lancaster library the other day!
Combining such antics with her heartfelt, soulful sounds, surely means Florence is imminently set to rival our current (and rather tedious) Lily, Kate and Amys.
Above: Kiss with a Fist video
If you liked that, why not pre-order Florence and the Machines’ upcoming single, Dog Days are Over from Moshi Moshi records.
on Thursday, 6th November 2008 at 3:35 pm
These lads from Dallas sound like the bee’s knees and that’s obviously what Universal Records thought who signed the band less than a year after the band formed. Forever The Sickest Kids (FTSK) have an early Good Charlotte feel to them and they’re unquestionably gifted, ambitious and hard working but that can’t explain how quickly this band have been able to break into the US charts.
Five days after their official formation, singer Jonathan Cook was flipping through the Pure Volume web site when, with a click of his mouse, he inadvertently spent $350 the band didn’t have on a front page song placement. Worse still, Forever the Sickest Kids didn’t have any songs written yet. So, over the next two days, the band members got together and banged out a track called “Hey Brittany,” then recorded it with their friend/producer Jeff Rockwell.
“Buying that Pure Volume spot was an amazingly great mistake,” laughs guitarist Caleb Turman, noting how “Hey Brittney” quickly became the band’s first big break. “The song just took off and after that everyone was suddenly interested in us.” Since it was first posted, “Hey Brittany” has garnered over 2.5 million Internet plays and triggered a bidding war between eight major labels.
The band’s sound can give something to please everyone’s ears and although many will say they are a guilty pleasure, there is nothing to regret when bellowing out an FTSK chorus. I dare you to visit their MySpace and leave without wanting to buy an album.
on Thursday, 6th November 2008 at 3:16 pm
With influeneces that span from hardcore originators Gorilla Biscuits, to Florida’s pop punks New Found Glory, this Massachusetts five-piece have taken thier favourite sounds from pop punk harmonies to hardcore riffing and melded them into one hell of a bruising music formula.
The band are definitely for fans of Fall Out Boy and in fact Four Year Strong are signed to Pete Wentz’s record label, Decaydance. The songs on the latest album are all worthy of high chart positions in my mind and the one that stands out has to be “Bada Bing Wit’ A Pipe”. Its catchy vocals are hard to dislike and the up tempo melodies add fantastic spice to the track.
It must be noted that the band members have a great range of talent with a tremendous range of sounds. Some of their tunes are poptastic while others like “Beatdown in the Key of Happy” thrive with heavy guitar riffs that could fit in with a Trivium track. The album never pauses, not even for a second. The slowest song is “Catastrophe,” and even on that song, the band has only taken the speed down about half a notch.
Listening to Four Year Strong makes me tired. You might think that’s a negative thing to say about a band. In this case however, it’s a compliment. I get tired because I imagine all the mosh pits, gang choruses, and synchronized handclaps that a Four Year Strong show must be full of.
Head over to thier myspace and have your ears perplexed!