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Need something abrasive and thoroughly obnoxious to kick you out of that post-England-being-knocked-out-of-the-World-Cup stupor? In search of a wake-up track after those 11 o’clock kick-offs?
Well, prepare yourself for a 22-minute long aural assault of epic proportions. White Lung seem to only have one mode and on their new record ‘Deep Fantasy’, and that is full-on frenetic. Should we be surprised? Well, not really, since this is the Vancouver-based trio’s third full length album – and I use the term full-length with gusto – as at 22 minutes, this is their longest outing yet.
Frontwoman Mish Way on vocals is not shy to announce her credentials as a punked up mix between Blondie’s Debbie Harry and Joan Jett. Whilst Anne-Marie Vassiliou on drums will cast away any memories of lethargic female drummers (Meg White, we’re looking at you dear) – as she’s an absolute livewire on the kit – delving into the kind of tempo you’d expect on a thrash metal record. Kenneth William has the unenviable task of keeping up with these two pace-setters on guitar, and throughout the album he achieves a breakneck pace and new addition Hether Fortune rifles along frantically on the bass.
The record starts in ferocious form with the emotion and drama of ‘Drown with the Monster’ before we’re thrown into arguably the catchiest of this collection of 2 and a bit minute bangers, ‘Down It Goes’. The first two tracks are characteristic of the rest of the album. No time is wasted, there’s no mucking about with effects – it’s a sub-30-minute burst of feminist punk rock assaulting your ear drums in the most visceral of fashions.
Way isn’t afraid to go rampaging into – probably dropkicking them in the soft gooey parts in the process – some deep issues. ‘Snake Jaw’ is almost a lyrical assault on issues with the female body image – the stresses of matters like body dysmorphia and western obsessions with size 0 – all tuned to a thunderous mashing of power chords and heavy percussion.
The only things that trips me up on this album, is that upon each new listen, it occurs to me more and more that this record and the band in general is probably only going to be enjoyed by the journalistas of London and the hardcore punkers. It’s in vogue to be a bit edgy and crack along with the whole ‘90s women’s revolutionary rock scene, e.g., ala Hole and co. The band are obviously extremely merchandisable – this shouldn’t be viewed as a band thing – but it always makes me feel uneasy. Perhaps it’s just me being a cynical hack though? Throughout ‘Deep Fantasy’, from ‘Drown with the Monster’ to ‘In Your Home’, the album does seem incredibly genuine and heartfelt.
‘Deep Fantasy’ is a vital listen for anyone starving from a lack of primeval-punky goodness (just make sure you haven’t got weak eardrums) and with its feminist dusting, it could prove itself to be an even more vital listen.
‘Deep Fantasy’, White Lung’s third album for Domino Records, is out now.
Being miserable is the new cool, guys. Melancholy: the new hip. Dejected and depressed: the new rock ‘n’ roll.
The days of gloom-pop are upon us.
OK, so it’s not exactly a brand new concept, seeing as artists have been crooning about how wretched a life they have had. But we’ve hit a new twist – with a new indie-rock sense of pomp, we’ve got a group of doom mongers for the Game of Thrones-obsessed masses. (We’re past the Skins generation, right? That’s not a thing anymore, is it?) Recently, artists like The National, White Lies and Editors have cut a niche for themselves in this territory. Now, stepping up to have a crack at their own take on the movement is Chicago band Empires with their new EP ‘How Good Does It Feel’.
What you’ll find within is 13 minutes and 48 seconds of ’80s inspired indie rock that won’t have you reaching for the tissues, but instead have your head bobbing like a metronomic Churchill. Somehow though, any artist at the moment with a deep resonant tone to their voice, backed up by I suppose what you could call a thudding bass line reminds me of The Vaccines. Upsettingly on this EP, there are no tracks that live up to that kind of billing.
No ‘Wetsuit’s, or ‘Wrecking Ball’s.
The concept, as alluded to earlier isn’t exactly novel or ground-breaking either. But as an EP, it still manages to be rather entertaining throughout. It’s honest and doesn’t allude to being anything other than what it is, by removing all frills and not trying to experiment.
Band members Sean Van Vleet, Tom Conrad, Max Steger and Mike Robinson have stuck to their guns and have a sound which they are comfortable with. The next step is to find that hook, that one tune which breaks the mould – their ‘Wetsuit’. When they crack it, it won’t be long at all before everyone is raving about them.
Empires’ EP ‘How Good Does It Feel’ is out now in America on Chop-Shop/Island.
Singer/songwriter Martin Longstaff uses the plural stage moniker The Lake Poets, though his artistic efforts seem to be of the singular variety. Presumably taking his name from the group of 19th century English Romantic poets, Longstaff has written lyrics with a distinctly poetic bent on his debut EP ‘Honest Hearts’, where his beautiful singing and multi-instrumental talents serve to accentuate the reflective and delicate imagery.
The EP opens with darkly mysterious track ‘Windowsill’, an intimate entreaty to explore uncertain, even frightening possibilities. Longstaff’s light, lilting singing voice explores its full range of dynamics on the repeated refrain, “You’re watching the world from your windowsill / You’re trying to figure it out / There’s so much world past your windowsill / But you’ve got your fears and your doubts”.
Despite its description on The Lake Poets’ Soundcloud page as “a song about going through hell, and keeping going”, the title track ‘Honest Hearts’ is warmer and brighter, with the twang of pedal steel and dulcimer. The layered vocals on its chorus “You can take my body, but you will never get my soul” grow into an expansive bridge section before pulling back to a more introspective ending. ‘Dead Horses’ has a more bluesy country sound, with aching falsetto vocals and gritty electric guitars. Once again, Longstaff expands on his own haunting refrain, “How do you fix a lost and broken lonely life?”, his voice gentle at first, then building in strength leading into the dramatic instrumental section.
Longstaff’s exquisite vocals take center stage on ‘Husks’, arranged simply for piano and voice. The keyboard melody is elegantly poignant as Longstaff sings his Romantic analogy for a past relationship, “Is there a sadder sight than a dead tree in a field / A shadow of what it used to be / Like a husk it stands lifeless in the breeze surrounded by twisted dead debris”. His graceful and delicate vocals are perfectly executed here; my breath caught in my throat as I listened to him intone the final melancholy line.
The EP closes with a brief reprise of the main musical ideas from ‘Windowsill’, extending the overall lingering effect of this collection of songs. The simple and direct nature of Longstaff’s songwriting allows his lithely flowing vocals and instrumental interludes to echo in the dynamic space he creates. ‘Honest Hearts’ is a skillful and sensitive debut effort from a musician who clearly has a wealth of potential options for artistic growth.
‘Honest Hearts’ is out now via Generator. A stream of the EP can be found in our earlier feature here but only for a limited time. Also check out below this stunning video clip for the Lake Poets track ‘Edinburgh’.
By Mary Chang
on Tuesday, 17th June 2014 at 1:00 pm
The debut EP from The Lake Poets – confusingly, just multi-instrumentalist, singer and songwriter from Sunderland Martin Longstaff – was just released yesterday via Generator and is available for streaming for a short time. Have a listen below to Longstaff’s enchanting style and if you like it, buy the EP from iTunes here.
Swedish duo First Aid Kit open their third album with lyrics that include “I won’t take the easy road”, and I wondered if they really were brave enough to do just that. After a captivating debut album and a typical sophomore effort, this third outing had the band backed by a major label (Columbia) for the first time. Were they going to be brave enough to take the positives a major can offer them without falling prey to the encumbrances such a deal can demand? After a thoughtful listen or two, I think it is safe to say that Johanna and Klara Söderberg have a good grasp of what works for them, they took what they needed from the industry machine and managed to stay true to their original sound.
‘Stay Gold’ is an album full of beautiful sorrow and exhortations to stay true to oneself. The title track itself wistfully wonders at the hard work of life and the inevitable pitfalls that only make one wish for an easier path to love. With repeated allusions to having to move on, undoubtedly referencing their nomadic lifestyle as touring musicians, an overall theme of loss and transiency is woven into the album. This LP is darker than the albums that preceded it but still retains the brightness that comes with the gorgeous harmonies of the sisters. Staying very true to their ‘70s flavoured folk style, the songs ring with light and clarity despite the more meaningful lyrics that lurk within the tunes.
The band also benefitted greatly from the add-ons a label can offer; their sound is a little richer, a little fuller than before. Indeed, full orchestration swells under a few songs such as ‘My Silver Lining’ and a perfectly understated flute captures the exact essence of ‘The Bell’. ‘Waitress Song’ soars through the middle of the album and even invokes a bit of Cyndi Lauper’s sentiment of having fun. The lyrics are a sad tale of trying to get over a bad break-up, but the story is told in a way that everyone can recognize. The Söderberg sisters still have a very clear preference for American country and folk; that style is now their style replete with pedal steel on ‘Master Pretender’ and the nearly two-step sound found on ‘Heaven Knows’. Fortunately, they carry it off well. The mournful piano ballad ‘A Long Time Ago’ closes out the experience with a soft letting go and leaves us quiet and contemplative.
Still exceedingly young (seriously, Klara is only 21 and has three full length releases and a major label deal under her belt!), the sisters have not only a lot of life left in their careers, but also a lot of life yet to live. If they can write songs with such depth and maturity at this point, it will be interesting to see what they develop as they experience life more fully.
First Aid Kit’s third album ‘Stay Gold’ is out now on Columbia Records. The sisters are scheduled to tour the UK in September. For more information on First Aid Kit, visit their official Web site.
It’s been 3 years since The Antlers released their highly acclaimed LP ‘Burst Apart’ (reviewed by TGTF here), and while that album cut a stark thematic contrast with its predecessor, 2009’s ‘Hospice’, the band’s latest release ‘Familiars’ is a slightly more subtle departure in sound. Rather than a complete change in direction, ‘Familiars’ is more of a refinement of the band’s musical intent. Lyrically solipsistic, the songs here have a distinctly existential feel, and their sonic ambience is stretched out over vast, exploratory instrumental soundscapes.
It’s always difficult to make assumptions about a songwriter’s intentions when he hasn’t specifically stated them, but these lyrics almost certainly center around some kind of major life change, whether real or fictional, personal or observed. Throughout ‘Familiars’, Peter Silberman’s characteristically introspective lyrics are sparse and impressionistic, nebulously evocative rather than emotionally explicit. Even the song titles are obliquely allusive, each consisting of just a single word. Their hazy minimalism is remarkably effective given that all of the tracks are over 5 minutes in length, with the exception of ‘Refuge’, which comes in just shy.
Musically, the songs have a dreamy, groove-based ambience, heavily flavored with artfully dynamic brass. The percussion is likewise sensitive throughout the album, never overwhelming the delicacy of Silberman’s soft falsetto vocals. However, Silberman extends his own dynamic range here with more full-voice singing here than he has done in the past. There are a lot of gloriously singable vocal lines to go along with the swelling instrumental interludes, and Silberman takes full advantage of them, especially on mid-album tracks ‘Director’ and ‘Parade’.
The album’s opening tracks are irresistibly hypnotic, drawing the listener into their lyrical self-examination. First single ‘Palace’ is an inviting opening track featuring lush keyboards and poignant brass melodies. Silberman’s falsetto vocals underscore the beauty of the poetic lyrics, “Now he hangs your mirrors separately / so one can’t see what the other reflects”.
The jazz harmonies and plaintive horns in ‘Doppelgänger’ reflect a sort of Jekyll and Hyde take on the hidden side of the self, while ‘Hotel’ examines the transient anonymity of travel and spending time alone with oneself. Its vocal line “In the hotel, I can’t remember how the past felt / But in a strange bed, I keep sleeping with my past self” cuts through the steamy ambient haze of the instrumental groove, highlighting the metaphorical moment of clarity in its lyrics. (Have a listen to ‘Hotel’ here, in Mary’s earlier Video of the Moment feature.)
Closing track ‘Refuge’ is the most positive and optimistic song on the album. Its brief, repeated lyrics and simplified song structure bring to rest the uncertainty and doubt of all the previous soul-searching. Its final lines “It’s not our house that we remember /
It’s a feeling outside it when everyone’s gone but we leave all the lights on anyway” are something of a comfort if not a complete resolution.
The expansive structures and impressionistic imagery on ‘Familiars’ create the kind of sonic mood that could easily fade into the background, but the harmonic variety and moments of clarity in the vocals save it from being bland. The songs do run together a bit toward the end of the album, but overall this works as a cohesive record, demonstrating the deliberate contemplation of Silberman’s songwriting and the refinement of The Antlers’ sound.
‘Familiars’, the fourth studio album from The Antlers, is out today on Transgressive Records.