‘Listener friendly’ may be a cliché way of describing the homegrown songs by Fraser Gregory, folk-pop singer of London band Fraser. But it’s also one that certainly works. As a self-professed ponderer I think a lot of the themes are quite personal. The single, for example, talks about the need to be straight up in relationships, the times when you have to put your cards on the table and be upfront about things, even if it means losing the thing you love.

Gregory admits that a majority of the songs written for his band’s debut album, ‘A Garden At The Top Of The Tree’ are filled with a ’sense of contemplation’ – be it love, life and the universal mysteries that practically any human can relate to.

Perhaps that’s one of the best qualities about this 10-track album, the fact that anyone can understand it and come to love it. Pop fans will indulge its accessibility, indie fans will adore its originality, and folk fans will enjoy its melodies.

Let’s not forgot soul either. There’s plenty of that flowing throughout the album, too. For starters, the band’s first and radio-friendly single, ‘Lay It On The Line’, explores the importance of transparency – regardless of the outcome – when it comes to relationships.

If the electro-elements blended with the catchy melodies, don’t grab at you, then the following track, ‘Laughter’, definitely will. Another standout track, it’s is the type of song that stirs a double take, simply because it’s so good. Sure, that’s a pretty elementary way of describing it, but sometimes there are not enough adjectives to give a song the justice it deserves. Think of a less cheesy James Taylor on vocals, an infectious riff, layered on top of a glorious melody. See, I warned you it would be a lame description.

And just as in life, there are plenty of highs and lows echoing throughout the album, a teeter-tooter of emotion if you will. Songs like ‘Let It Rain’ and the string-laden, Snow Patrol-esque ‘Old Tree’ offer a sincere mellowness that is somber yet likeable.

The smoothness of the album continues with the rockier and edginess of ‘Bouboulina Sunshine’, which if you’re still living in the ‘60s, you may regard it as some obscure bside from the Liverpool Fab Four. Again, the recycled theme of ‘accessible’ is what highlights this track as an album standout.

Overall, Fraser is set to release a polished album that is filled with emotion and creativity that anyone with blood flowing in their veins will understand. Get ready, this band carries the goods to conquer the world.

I’ll admit it. I had never heard post-rock band Kyte before, but I’ll blame that on location more than anything else. Now that I’ve had the fine opportunity to review their upcoming album, Dead Waves, I’m just as curious to delve into their back catalog and discover even more of their ambiguous beauty. This four-piece band hailing from Leicestershire delivers an addictive dose of lush sounds and atmospheric pop that will leave you craving more.

Needless to say, Dead Waves isn’t the type of album you’d put on before hitting the town for a wild night out, although it certainly will come in handy if you’re feeling delicate the following the morning. Still, the album can also be enjoyed even if you’re not wallowing in post-hangover stooper.

The band have been compared to Sigur Ros and Snow Patrol for their sweeping, broad-ranging sounds and pure melodies, but there also tends to be a major parallel to fellow English band Athlete, especially with “You’re Alone Tonight” and “Designed For Damage”, which leans heavily on electro-pop and melodic bliss.

The twelve-song album may seem like a lengthy amount to the iTunes generation, yet the infectious pop and smooth mellowness ebbs and flows throughout the LP gives an impression you’re surfing upon an ocean with steady waves, rather than dead ones as the album title suggests.
As the album progresses, another striking aspect that the band does so seemingly well is balance earnest lyrics against a rising backdrop of percussion and building guitars. This kind of sober intensity is heard through standout tracks “Like She Said” and “Each Life Critical.”

Kyte is the type of band that can draw the most casual listener in with the first song and make them a mega fan by the end of the album. Or at least that’s what seems to have happened with me anyway. Immediately following the band’s 7 ½ minute closer and album title Dead Waves, I had the strong urge of listening to the album all over again. I have a feeling I’m not the only who will pine for another round of listening.

Kyte’s Dead Waves is released on KIDS on 19th April 2010 on CD and Download.

It’s been quite a while since the Temper Trap’s debut album ‘Conditions’ was released (June 2009 for the UK and October 2009 for America). But seeing that the Melbourne, Australia indie rockers will be headlining their first North American tour next week at the Henry Fonda Theatre in Los Angeles, I wanted to take a closer look at their first major release that made the top 25 in the UK albums chart.

Prior to reviewing the album, I was aware of probably the same two songs everyone else is, if they’ve been listening to UK radio over the last 6 months or so. ‘Sweet Disposition’ is arguably the song that broke them first in the UK (thanks to radio airplay) and then America (thanks to the young person romance film ‘(500) Days of Summer.’ Featuring the smooth falsetto of lead singer Dougy Mandagi and bouncy guitar, it’s one of those songs that I initially lumped in with “infinite”-sounding tracks like Delphic’s ‘Counterpoint’, but then later realised they were completely different (the Temper Trap going for the indie rock sound vs. Delphic’s more electronic bent). The album’s opening track ‘Love Lost’ sounds like the younger brother of ‘Sweet Disposition’ – a bit more jazzier at times but falling short of its elder sibling.

‘Fader’, the other song in question, is completely different, and in my opinion, it’s one of the better tracks on the album. A very summery pop song, it’s got “ooh ooh oohs” that encourage the listener to join in (and don’t even try to tell me haven’t sung along or at least once played air guitar upon hearing it). Interestingly, Mandagi’s voice in this sounds like he’s from the Deep South (think of Caleb Followill’s drawl in Kings of Leon’s ‘Revelry’). Had I not known this band was from Oz, I’d probably made the completely incorrect assumption they were from Dixie.

Falsettos can certainly divide: some people love songs sung in a falsetto voice, and some don’t. I’m on the fence – I didn’t get the warblings of Hayden Thorpe (Wild Beasts) but now I’ve come to understand the appeal, and anything Muse’s Matt Bellamy sings in a high register is okay by me. And Mandagi’s voice is the problem I see with the Temper Trap achieving mass appeal. It’s certainly not in the instrumentation – the guitars and drumming are spot on, so I’m imagine they easily kill it live. But if you aren’t a fan of the falsetto, you probably won’t dig songs like ‘Soldier On’ and ‘Fools’.

Much better is ‘Science of Fear’, supposedly released as the second single from the album but I’d never heard previously because it didn’t do a thing in any of the major countries’ album charts. On this track, the falsetto is smartly reined in and set off by fine, swirly guitars and astronaut communications. This song easily beats out anything put out by more popular American rock bands like Paramore and Fall Out Boy.

The most unique track on here is the band’s final bow, with ‘Drum Song’. It’s entirely instrumental, and at least to me, it’s entirely unexpected, and the band get kudos from me for it. But it should be noted that even on the songs with lyrics, the Temper Trap sound a bit proggy, if that’s at all possible for the 21st century. Overall, it’s a good effort for a debut album but they haven’t hit it out of the park on their first go-around. I’d be interested to see where they go for album #2.

6/10

The Temper Trap’s ‘Conditions’ is available now in the UK on Infectious Records.

The release of the highly anticipated debut album from those lovable lads from Northern Ireland, Two Door Cinema Club, is nigh. Having previewed five of the tracks earlier this year, I was eager to hear the rest of ‘Tourist History’. Considering that I liked what I had already heard, I put myself in the position of devil’s advocate and wanted to pose the important question: will the album as one unit sink or swim? With the digitalism of music and the availability of single mp3 downloads, the album as a complete entity is no longer as important as it once was. Often I get disappointed that the singles, promoted heavily on radio and via promo video, are the only songs on an album worth my ears – and my time. I can say without a doubt that ‘Tourist History’ is definitely a keeper and worth the pounds necessary for its procurement. It’s akin to the swinging, swaggering hipster at the school dance: when he’s standing on the sidelines, you’re unsure what kind of shapes he’ll cut, but as soon as the music starts up, he’s not just the life of the party. He is the party. And this album is one party you don’t want to miss.

I sat in on a live Gigwise chat with the boys in London last week and found out their name comes from the Tudor Cinema, a real place in Comber, County Down, Northern Ireland. So it makes sense that their debut album would pay homage to its namesake right off the bat, with the jaunty, guitar-driven track ‘Cigarettes in the Theatre’. It comes complete with Alex Trimble’s now trademark manic vocals, the ones you sometimes wonder, how on earth does he get the words out? The next track, ‘Come Back Home’, is a bit slower, so it’s a good change of pace, with heavier drums and howling lead guitar. The song’s premise: a wistful wish for a mate to return home, and that there is no shame associated with such a move. During my schooling, I had to return home when my father became ill, so the sentiment resonated with me.

The four songs that lie in the middle of this 10-track wonder are nothing short of stunning. With the exception of ‘This is the Life’, the other three have already been released by Kitsuné Maison as singles (‘Something Good Can Work’, ‘I Can Talk’ and ‘Undercover Martyn’). Make no mistake, they were obviously chosen because they’re infectious as hell and are sure to brighten your day. If there’s any doubt in your mind whether these are three blokes are having fun making music, consider those thoughts banished. ‘I Can Talk’, with its hard-hitting lyrics by a jilted lover, and the engaging, punchy ‘Undercover Martyn’ are probably the best of the bunch.

‘What You Know’ switches things up a bit, with different percussive elements and Sam Halliday’s melodic guitar. I can picture girls being spellbound by the lyrics, “I can tell what you want / you don’t want to be alone / you don’t want to be alone.” They certainly grabbed my attention and made me ache to see this band live as soon as possible. Kev Baird’s bass lines are the star of the closing track, ‘You’re Not Stubborn’.

The one minor fault I have with the album is ‘Do You Want It All’, sounding slightly spacey and with its slightly grating, repetitive chorus, but this is somewhat saved by Trimble’s yearning voice late in the song. Also, the freewheeling guitars make this song and the others on ‘Tourist History’ a joy.

Overall, this is one heck of a debut album. This is going to be the year of Two Door Cinema Club, I can feel it in my bones. Why? Because their tunes make me jump up and dance, and I’m sure you’ll feel the same. Announcing plans for their first-ever North American headlining tour even before their album is released in the UK? Surely it’s an excellent sign that people across the pond are taking notice of the buzz around this band.

9.5/10

Two Door Cinema Club’s debut album, ‘Tourist History’, will be released on 01 March in the UK on the Kitsuné Maison label. ‘Undercover Martyn’, the band’s latest single, was released on 22 February.

Talented Irish singer-songwriter Duke Special (real name Peter Wilson) has amassed quite a following with his previous albums ‘Songs from the Deep Forest’ and ‘I Never Thought This Day Would Come.’ In fact, when he created a Pledge Music account to raise money for his latest project, he far exceeded his goal. On 8th March 2010, Special will not only release a new album, he will release three! When combined together into a 3-CD set, they are referred to as ‘The Stage, A Book & the Silver Screen,’ but each of the 3 discs has a different purpose and a different sound. Writing and performing songs for musicals goes well with Special’s theatrical tendencies, so the result is something truly special (pardon the pun) that is well worth a listen.

The first disc, ‘Mother Courage and Her Children,’ contains studio versions of the songs Special wrote (with German dramatist Bertolt Brecht’s words) for the recent production of the famous anti-war play Mother Courage & Her Children at the National Theatre in London. Duke performed these songs on stage between September and December of last year. Not surprisingly, this album is the most theatrical of the three, with powerful vocals and dramatic music, complete with horns and strings. One of the highlights of the album is ‘Eilif (Song About the Soldier and His Wife),’ a song whose playful sound stands in stark contrast to it’s subject matter. Listening to the music alone, you wouldn’t expect to hear lyrics like “off goes her man / he will write when he can / and women have wept since the world first began” and “how quickly you’ll fall / oh God, help us all / a soldier should never get married.”

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There Goes The Fear have been avid supporters of Marina and the Diamonds ever since we first introduced her last February. Back then, Marina was pitched pretty low on musical radars. One year on, however, and Miss. Diamandis has signed to the big-wigs at Warner, and is releasing her debut album, ‘The Family Jewels‘, upon the country on Monday (22nd February). Not bad progress for 12 months, huh?

You only have to glaze your eyes over the numerous song titles on the back of the upcoming CD (‘Shampain’, ‘Hermit the Frog’, ‘Mowgli’s Road’, ‘Oh No!’), to realise that this is going to be a, well, quirky, journey of an album. So, cup of tea in hand, we all gathered around the record player to have a listen to this glittery serving from one of 2010’s biggest tipped artists.

One thing we love about Marina here at TGTF is her absolute brilliance when it comes to making quirky electro pop. This is reflected in a number of tracks on the album which you may have already heard floating around cyberspace. ‘Mowgli’s Road’ is a particularly colourful number, filled with animalistic “Coo coos!”, tribal percussion and cutlery-based lyrics (“Ten silver spoons coming after me!”). Yes, this terrifically catchy tune is exactly what Alice in Wonderland and Jungle Book would sound like if they were mixed into some amazing musical recipe. Similarly, ‘Hollywood’ – the song which has perhaps gained Marina the most radio-play – is destined for dancefloors. The sparkling synths and cliché American images provoked by the candy lyrics add to the pop monster that is the chorus of the track (believe me, you won’t be able to dislodge the hook that is “I’m obsessed with the mess that’s America!” once it’s in your brain).

Marina is also pretty great at taking the speed down a little. ‘Obsessions’, for example, is a truly heartfelt number, the passion particularly reflected in Diamandis’ emotive voice. The delightful “ba ba ba” breakdown midway adds a further hint of glitter and the final harmonies awash over one another perfectly come the end. Likewise, ‘I Am Not a Robot’ tugs at the heartstrings with it’s hopscotch piano and wispy strings, and showcases some of the best lyrics on the album while it’s at it (“You’re vulnerable, you’re vulnerable. You are not a robot! You’re loveable, so loveable, but you’re just troubled”). ‘Rootless’, meanwhile, is another slower paced track amid the album. Despite the carousel synths tinkling away in the distance, this tune protrudes with a noticeably sinister sound, which is really rather enjoyable amid the sugary pop of the rest of the album. Certainly a highlight.

As you may have noticed, four out of five of those tracks I have just discussed have already been put out by Marina’s lot as singles. Sadly, they do turn out to be the highlights of the record – the rest of ‘The Family Jewels’ ultimately drags quite a bit, and is admittedly not up to scratch like I would have hoped.

‘The Outsider’ sticks out as being one of the worst tracks on the album. There’s nothing captivating about this track. It’s too cutty and ‘all over the place’ – the chorus proving particularly annoying with it’s repeating of “Inside the outsider (on my own again)”. Meanwhile, the unrelenting ‘Oh No!’ is a poppy mash of playground vocals – over-acted and too sickly to bear at points.

‘Hermit the Frog’ is evidence of how Marina’s voice can begin to grate. It’s around this point in the album you begin to realise that Diamandis uses the same vocal tricks (powerful and operatic, to comedic and characteristic, to light and fluffy) throughout the record. If you like your Mika, you’ll probably enjoy the magical instrumentals and “dum dum dums” of this track, but if you don’t, you might consider the song a little, well, childish. Meanwhile, despite it’s pleasantness, the string concoction of a ballad that is ‘Numb’ basically sounds like ‘I Am Not a Robot’ ripped up and stuck back together a little different.

And that is certainly one of the major criticisms I’d point out about this album. Marina doesn’t innovate much when it comes to her sound, which is why ‘The Family Jewels’ may prove a little hard going. Which is a shame, as when it comes to the sole singles, Marina is clearly a brilliant electro pop artist who’ll no doubt gain a huge following with her inescapable hooks. But to me, this Diamond is better listened to in short bursts, as a whole album risks ruining her quirky sound. Stretched over 13 tracks, the same techniques start to resonate throughout, and it can all begin to tire by the end, particularly her voice. But don’t get me wrong, I am quite bummed about this, as prior to hearing the album, I was really all out for Marina. And I still am, as I know she has the ability to be awesome. She already is! There are many great tracks among this album. There’s just another fair amount which let it down. But hey, I still think she’s a million times cooler than Florence (so pow!).

I know next to nothing about New Zealand, except that the ‘Lord of the Rings’ movies were filmed there. But if the Ruby Suns’s latest album ‘Fight Softly’ was the country’s guidebook, surely the sunniest skies are up ahead. (I say this sarcastically as I look out my window where foot upon foot of snow still sits unmelted by my door.) It’s summer in the Southern Hemisphere right now, don’t you know?

Perhaps an apéritif on the veranda is in order. Imagine pouring the synths and assorted electronics from Sam Eastgate’s best choones from Late of the Pier, the psychedelic licks of MGMT, and a few drops of sick beats from Simian Mobile Disco into a cocktail shaker. Shake the contents vigourously and pour into a tall, slinky, sexy glass and you have some idea of what ‘Fight Softly’ sounds like.

The album is filled with fun moments. As its title suggests, ‘Cinco’ is a Latin-infused dance-a-thon. According to a press release, the song is about singer/songwriter Ryan McPhun’s troubles with his studio’s landlord; perhaps the landlord is Latino? Tracks ‘Cranberry’, ‘How Kids Fail’ and ‘Dusty Fruit’ continue the joyous dance party with tribal beat, marching band, Carnival atmosphere. And I dare you not to moonwalk to the groove in ‘Haunted House.’

Swirling instrumentation and finger-snapping swagger provide a great backdrop to McPhun’s starry-eyed falsetto in ‘Closet Astrologer’, about a mate’s preoccupation with astrologic divination. The last track, the humourously named ‘Olympics on Pot’, closes out the album, the electrobeats in its middle section worthy of the hottest dancefloors. I hope this one gets put out as a single because it deserves the limelight.

But in case you think this is only for the club-going public, ‘Fight Softly’ is also the kind of album that sounds especially good on headphones, because you can hear all the different layers of sounds McPhun has lovingly stacked one on top of another to create each sonic masterpiece. I have but two complaints with the album. One, McPhun’s vocals are made so ethereal with the production, they get lost in the mix. And two, to the casual listener who isn’t paying close enough attention, a couple of the songs sound too similar and have similar vibes.

But these are minor criticisms. While we on the East Coast of America wait impatiently for the spring thaw, tunes like these from the Ruby Suns are most welcome. Further, with these new songs now in their arsenal, I reckon this band’s live sets will be nothing short of searing. Do yourself a favour and check this album out when it’s released next month on Memphis Industries.

MP3: The Ruby Suns – Cranberry

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7.5/10

‘Fight Softly’, the Ruby Suns’s third album, will be released on 08 March by Memphis Industries. The single ‘Cranberry’ will be released on 01 March, ahead of the album.

Laura Marling is a 20-year old folk singer hailing from Hampshire. Admittedly, Marling is yet to have the full on mainstream success of other radio friendly indie-femme stars, but the pixie-like singer has never failed in being praised by underground fans, with her 2008 debut, ‘Alas I Cannot Swim’, even gaining a Mercury Prize nomination. This isn’t to say 2010 couldn’t be Marling’s year, especially when the likes of Mumford and Sons and Noah and the Whale are flinging folk back into people’s faces with renewed musical force (wow, alliteration!). So, equipped with a little more years to her name, and a new hair colour to boot, Laura makes her anticipated return this coming March with second album, ‘I Speak Because I Can’.

Laura has certainly grown with the follow up to her kooky but fragile debut. ‘I Speak Because I Can’ is a noticeably maturer, 10-track album full of country folk influenced tales – rich and touching in places, but lacking vitality in other areas.

Laura’s voice in particular showcases a newly rounded, strengthened tone throughout the record, which actually surprised me (in a good way!) upon first listen. The album kicks off with the bluesy ‘Devil’s Spoke’ (view the video below that includes hints of Marcus Mumford’s chin). A psychedelic build-up leads into excitable barn dance-esque instrumentals, stomping drums and Marling’s toasty vox. A perfectly thrilling opener, which walks into the contrastingly sombre ‘Made by Maid’. Here, Laura merely sings above a humble acoustic – yet the contrast with the previous hearty track means this mouse-like number floats along quite pleasantly.

Her country delivery continues to sway perfectly amid the banjo wails of the olde-worlde ‘Hope in the Air’, which projects an incredibly authentic, brooding folk sound. ‘Darkness Descends’’s layered vocals, meanwhile, add a chirpier scope to the album, with the song ultimately leading into an explosion of banjos and dancing percussion which is certainly appreciated amongst the melancholic speed of the rest of the album.

Two further favourites on the album include ‘Rambling Man’, which showcases Marling’s Dylan stylee wail along with her angelic harmonies with a female backing singer, and the beautiful ‘Alpha Shallows’, which has an intriguingly Egyptian-like recurring hook.

There are a few down-time tracks among the album, however. ‘What He Wrote’, for example, may be a purposefully quaint little number, but, despite its emotional charge, the acoustic plink-plonks and soft vocals risk failing in capturing the listeners’ heart and ears. ‘Blackberry Stone’ similarly may display Marling’s delicate vocals mixed with sublime strings, but the gentle voice and dainty acoustic combo does start to grow a little juiceless compared to the more eclectic, quirky tracks amid the record.

Not to conclude on a bad note, though. Marling has certainly come-of-age with ‘I Speak Because I Can’; you only have to listen to the lyrics to hear the mass of experience she’s had along the road of the past 2 years. The album is clearly influenced a great-deal by traditional country folk, and therefore possesses a particularly nostalgic sound at times that yes, some may put down as lack of innovation, but I put it down to embracing rich, musical brilliance. Of course, like most albums, there are a few number of tracks which may kick up a tiny yawn in the listener, but the majority of Marling’s upcoming record is a dalliance with ardently charming sounds.

‘I Speak Because I Can’, Laura Marling’s sophomore album-length offering, will be released in the UK on 22 March by EMI. Regular CD and special CD+DVD versions of the album can be preordered from Amazon.

Almost immediately after their last album, ‘Tones of Town’ was released, Sunderland band Field Music put themselves on an indefinite hiatus, partly because they were skint, and partly because they wanted to get away from the pressure of trying to compete as an “indie” band. As they said in my interview with them, “The thing with the new record is we had an idea like, how can we redefine Field Music and still not feel like we’re in that competition. Because if we were in that competition we’d probably be sort of like in the 3rd division or something like that, 3rd rate. And we kinda thought, like, well, lets make a double album! An album that’s too long.”

At twenty songs, ‘Field Music (Measure)’ is certainly long, but it doesn’t feel too long and there are no “weak link” songs that could be taken from the album without depriving the listener of something really special. It often seems that the best music comes from a sense of freedom and experimentation, when bands really allow themselves to pursue their vision without worrying about anything else. Their press release for the album says “Unlike previous Field Music albums, characterised by their precision and conceptual and sonic coherence, this new record makes no attempt to present itself as a unified whole.” The songs don’t all go together, but they are unified by the fact that they are all distinctly Field Music songs. By not constraining themselves to as many self-imposed rules as in the past, the Brewis brothers have created an album of twenty individually genius songs.

Trying to condense all of these songs into one summarized review would do a disservice to the album, so instead I’m treating you to a track-by-track breakdown (below the cut).

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Having an older brother in the ’80s meant I was forced to listen to the Bangles – a lot – growing up. (It’s a bit unnerving to hear ‘If She Knew What She Wants’ and ‘Manic Monday’ come on the radio and realise I still know all the words.) Looking back, it was a good education: it proved a all-girl group could succeed in popular music on more than just good looks. So when French rock ‘n’ roll quartet Plastiscines showed up to perform in D.C. last June, fresh off of being signed by NYLON Records (related to American NYLON Magazine), I had high hopes. And from the first song played, I was so impressed with their collective sound, I knew they could be huge.

Being girls in the male-dominated music industry is tough. As a girl journo, I’ve personally been on the receiving end of comments like, “you’re just a girl. Are you for real?” and skeptical looks from bands and people associated with bands, always feeling a sense of victory after winning the skeptics over. So I can appreciate Plastiscines’ ’so what if we’re girls? We’re gonna rock and show ‘em what we’re made of!’ attitude.

Their second album ‘About Love’ is, what I hope, will help break them in the UK and the rest of Europe. It was produced by American musician Butch Walker, who worked his magic on Pink’s ‘Funhouse’ and Katy Perry’s ‘One of the Boys’ – excellent start so far, ladies. The strength of voice of lead singer Katty Besnard, along with backing vocals from the other three girls, are evident throughout the album. ‘I Could Rob You’, with its driving beats courtesy of drummer Anais Vandevyvere, begins the album off in a searing, rough and ready but engaging sort of way. I can see that this song, along with track number 5, ‘From Friends to Lovers’ (with prominent guitar work from lead guitarist Marine Neuilly), will become embedded in your brain pretty easily with its infectious chorus.

Being English, the Friendly Fires boys waxed poetic about the bright lights of Paris; alternatively, these Parisian girls have written a song that celebrates the party atmosphere of a city of their neighbours to their south (Spain) in ‘Barcelona.’ And considering its taboo title, ‘Bitch’ could have been a considerable misstep. Instead, with a heavy bass line from Louise Basilien, it’s a harder rock ‘n’ tour de force. Don’t believe me? Just watch out the video:

Halfway through the record and we get to a surprising standout: ‘I Am Down Tonight’, a gentle ballad. The girls don’t let you get too comfortable, thundering out another powerful track with ‘Another Kiss.’ And should you ever forget this is an album written and performed by French girls, ‘Camera’, ‘Pas Avec Toi’, and ‘Coney Island’ are sung in French. (I took German in high school, so should you need a translation, I’m definitely not your girl.) There’s even a nod to influential American singer Linda Ronstadt in their cover interpretation of ‘You’re No Good.’

I expected the detractors – the critics who wouldn’t ever take them seriously because let’s face it, they’re four gorgeous, fashionable girls from Paris. Who also happen to be musicians. But I hope these people take note of this band. The music world could use a kick in the pants from four girls with ‘tude. I think Plastiscines have come along at just the right time. Check them out and I promise you won’t be disappointed.

9/10

‘About Love’, Plastiscines’s second album, will be released in the UK on 15 February and can be preordered at Amazon. As previously reported on TGTF, the group will be playing four dates in UK next week with American band Cobra Starship.