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Leaping from a smattering of early season festival appearances, through the release of fourth studio album ‘Synthetica’ and on to their current UK tour, things have all of a sudden gotten hectic for Metric. It’s taken 3 years for this Canadian New Wave four-piece to follow on from the critically ambivalent ‘Fantasies’, leaving fans to question whether the turn of the Noughties had sounded their death knell. With ‘Synthetica’, a brooding and fathomless re-appraisal of band and self alike, that question no longer remains.
The opener, ‘Artificial Nocturne’, builds through a sinister synthscape, narrated by the ever present vocalist Emily Haines, into a rising cloud of static-like reverb, tied down by the driving crashes of drums and piano keys alone. The relentless industrial beat of lead single ‘Youth Without Youth’ (previous Video of the Moment here; live version from Montreal below) wouldn’t sound out of place on Nine Inch Nails 2005 release ‘With Teeth’, and the chorus lifts a key to create a blurry eyed energy that is enticingly danceable.
The ominous trill Spanish guitar trill on ‘Speed the Collapse’ opens in to a manic corridor of a prechorus, before being chased out in to the sanctuary of the choral hook. ‘Breathing Underwater’ has that mythical, triumphant sound of Angels and Airwaves or Take That’s comeback album; conjuring images of a band on a rooftop – hands aloft – bathed in an urban sunset. By ‘Dreams So Real’, this release hits an unfortunate mid-album lull, and the criticism of religiously repeated lyrics “aA scream becomes a yawn/I shut up and carry on” is one that was levelled, in part, to their 2009 album ‘Fantasies’. ‘Lost Kitten’ is bizarrely childish, while ‘The Void’ is a gratingly repetitive amalgam of their new wave roots.
Title track ‘Synthetica’ is an artsy, garage rock take on disenfranchisement and disillusion that sounds a little like an up tempo version of The Strokes’ ’12:51’, but with a bombastic finish that fires in to the sunny Californian r &b of ‘Clone’. ‘The Wanderlust’, with its cavernous call and response vocals (for some reason it’s Lou Reed responding), simple melody and tumultuous crescendo professes a level of vulnerability, really should be the last track of this album; the layered vocal and trance-like Arabic synth give closing track ‘Nothing But Time’ a sense of brevity that should really have been used to plug the gap earlier on.
What’s glaringly obvious from even the most fleeting of appraisals of ‘Synthetica’ is that it acts as an infinitely versatile scaffold from which to persuade fans of all eras back for a fresh take. There is a return to the originality of debut album ‘Old World Underground, Where Are You Now?’ – when Metric were almost as well known for being Yeah Yeah Yeah’s roomies – without in the commercial airs of ‘Fantasies’. It lands somewhere alongside the interstellar indie of the Big Pink, and goes far towards accomplishing Haines mission statement of representing “the original in a long line of reproductions”.
Metric’s fourth studio album ‘Synthetica’ is out now on the band’s own Metric Music International label.
It’s rare that experimental music, or at least guitar-led music with such an interesting style is taken in at such a level that Dirty Projectors experienced with ‘Bitte Orca’ over 3 years ago. With a Pitchfork rating of 9.2 and a general consensus little short of impeccable, the group rose out of relative obscurity to indie champions faster than you can say ‘Merriweather Post Pavilion’.
So now we’ve made it to 2012 and there’s a whole host of bands doing their best to be unique in the same way as the Brooklyn collective, which whilst in itself an ironically futile objective has produced some of the most interesting music of the last few years. Most recently for example, one of this year’s most critically acclaimed records is alt-J’s debut ‘An Awesome Wave’, which it could be argued takes plenty of influence from Dave Longstreth’s creations.
Of course, Dirty Projectors are hardly the forefathers of this sort of music, but there’s just something in the blend that makes the collective such an interesting listen time and time again. It’s within that niche that ‘Swing Lo Magellan’ falls into. From the off there’s instantly a quality in the sound that draws you in. It’s the opening page to what sounds like a story that unfolds via so many acts that have tread a similar path. In the calmer moments you could be listening to Elbow, in the frenzied sections you could easily be listening to The Flaming Lips or David Bowie. The craft that’s gone into the all round audible feel of this record feels like a conscious decision to ignore anyone that sounds similar and to just make something that can keep a Dirty Projectors name without any contamination.
Therein lays both the genius and the problem. Whilst tracks like ‘Gun Has No Trigger’ (I dare you not to enjoy the brilliance of the vocal lines in ‘About to Die’) push the vocal strengths of Longstreth, you drift away in the middle as if you’ve heard it before; and that’s because you have. You’ve heard previous Dirty Projectors and you’ve heard all of the other bands that push for a similar sound. It’s only in tracks like ‘Unto Caesar’ where you feel that they’re aware of this and whilst they remain in their comfort zone there’s the jesting of “that doesn’t even make any sense”. It doesn’t.
So what will you learn in the 42 minutes it takes to traverse ‘Swing Lo Magellan’? You’ll learn that they’re still the current daddies of this music and that their blend of measured insanity, expert harmonies and purely enjoyable songs that are both near impossible to recreate and simultaneously still easy to make noise along to, is still amongst the most infectious around.
‘Swing Lo Magellan’, the Dirty Projectors’ new album, is out today on Domino.
In anticipation of next year’s sophomore release from Oxford band A Silent Film, ‘This Stage is Your Life’ is being released later this month. The EP highlights the foursome’s broad musical landscape from high spirited rocking tunes to delicate angst ridden piano ballads. Made up of Rob Stevenson (vocals/piano), Karl Bareham (guitar), Ali Hussain (bass) and Spencer Walker (drums/backing vocals), the band have recently found quite a home in America.
After charting in the U.S. alternative Top 40 with the single ‘You Will Leave a Mark’ from their debut release ‘The City That Sleeps’, the band relocated to Phoenix, Arizona, for a good portion of 2011 to work on their next album. For once, being in America pays off for this American writer. Not only have they toured relentlessly in the States and I have had the privilege of seeing them play twice, but also because their album was released here at the beginning of June.
The title track ‘This Stage is Your Life’ opens the record with a clear piano and prominent fuzzy bass that builds the song. Despite the tendency to think that piano rock bands rely too heavily on said instrument (isn’t it usually the front man playing it?), this song is nicely balanced between piano interludes and skillful guitar work.
‘Echoes Across a Bowl of Tears’ is exclusive to this EP. The first 10 seconds of this song is reminiscent of the opening strains of Radiohead’s ‘Reckoner’. But the song takes a soaring upturn before unleashing deep Tom Smith-esque vocals from Stevenson. In fact the song echoes some of the best the Editor’s offered up in their third album with driving guitar lines, great atmosphere and vivid imagery: “Are the weeds underneath your window keeping you from singing, is the lock on the back of your door keeping you from leaving, are the hands on the back of your neck keeping you from screaming, are the words that you never meant becoming echoes across a bowl of tears.” This track is available as a free download below:
‘Danny, Dakota & the Wishing Well’ rounds out the EP. This is a longer, solo piano version of the lead single from the album. Already a poignant love story, it takes on an immense quality when stripped down to the melody line and simple piano. Having just played London’s Barfly on 28 June, A Silent Film as set to capture the attention of their homeland as they have America.
‘This Stage is Your Life’, the new EP from A Silent Film, will be released on 30 July through Creative Media.
By Mary Chang
on Monday, 2nd July 2012 at 12:00 pm
The other day, I was flipping through television stations and happened upon an old episode of Austin City Limits on American public television, watching Mumford and Sons play to a captive audience at the famed Moody Theatre. While time has marched on since the release of ‘Sigh No More’ in 2009, there seems to be no end to the trotting out of Mumford-like bands on the British music scene. Some have fared well: take, for example, previously profiled as a Bands to Watch Dry the River, who looks to be taking advantage of Mumford’s absence from the record racks. However, a new contender has appeared on the horizon, and with parentheses in their name to boot. Harry Oakwood (Millionaire) is a curious moniker; oddly, there is no-one in the band who is actually named Harry Oakwood, and further, their drummer is named Chopper. Hmmm. Going to their official Web site yields more questions than answers: the “Who is Harry?” link from the navigation bar leads you to a ‘bio’ that begins thusly:
The Millionaire, Harry Oakwood had a dream. He would build a band. A band of brothers who would serve him and act under his name. Harry Oakwood (Millionaire) are that band.
As Harry himself states, “Harry Oakwood (Millionaire) are a streamlined ocean liner of music, steering a true and steady path through an unpredictable sea of three part harmony and foot pounding beats which, combined with an ear for the alternative, enable this incredible ensemble to deliver consistently strong live performances and, most importantly, great songs.”
The ‘bio’ continues with a laudatory Tweet from comedian Tim Minchin (“If you have a chance to see @HarryOakwood play, take it. That is my directive for the day.”) and notable DJs like BBC Radio Merseyside’s Billy Butler and BBC London/Amazing Radio’s Gary Crowley stepping forward as fans of the new five piece band. But, as they like to say in many a business, the proof is in the pudding, and is this self-titled EP any good?
It begins with ‘Scared Crow’, and this song begins as a gentle, Fleet Foxes-esque number, echoing the folkier, more introspective bits of Lilac Time-era Stephen Duffy. As the song goes on, there’s a strange brass-heavy bridge, before it goes jauntier, ending with the words “I heed the call of the cruel moon rising / scared is the crow of the cruel moon rising” repeated to close the song on a joyful note. Not sure why a crow would be scared of a moonrise, but evidently, according to Harry Oakwood (Millionaire), this is something to celebrate. Second track ‘Brothers’ (performed for the Snug Sessions in the video below) has a feel like the Band’s ‘The Weight’, which probably should come as no surprise, given that the band cite Levon Helm’s band as their strongest influence, followed by Patrick Watson, Lowell George and Elliott Smith as other inspirations to their craft.
If it’s something more upbeat, then look no further than ‘Journey Song’, complete with honky tonk piano and winsome vocals. I really like the beginning of ‘Empty Chair’, reminding me fondly of the start of the Beatles‘ ‘Blackbird’, the lead singer sounding like Macca, perfect with spare instrumentation of guitar and harmonica. It’s almost a shame when the rest of the parts come in. It’s a nice song nevertheless, but I would have preferred a stripped-back version. Perhaps this will happen live one day. I hear they’re a pretty good band live, but of course, right now their live appearances are restricted to London.
All the while when you’re listening to this pack of four songs, you get this unsettling feeling that it’s all been done before. And it has. The litmus test for listeners, I think, will be whether they think this nu-folk / nu-roots rock revival is equal or better to what they’ve listened to – and loved – before.
The eponymous ‘Harry Oakwood (Millionaire)’ EP is available digitally now from Old Money Records.
The Dig, out of Brooklyn, New York, follow up their 2010 release ‘Electric Toys’ with the slow burning ‘Midnight Flowers’. I saw the Dig support Editors in early 2010 just before their first album came out and while not blown away, I was impressed enough to remember their name. So when ‘Midnight Flowers’ popped up, I was happy to give it a spin. I feel rewarded at having remembered them, but was not blown away by them yet again. The album is a collection of songs that have nothing outstanding to recommend them but would be comfortable on many playlists as ambient filler.
A fairly low tempo album, ‘Midnight Flowers’ would find a great home on a late night uni radio station. I don’t see it starting any parties, but it’s definitely the kind of album that could be played long into the night, pleasing stoners and philosophers alike with its steady, droning pace. The musicianship seems up to par with some interesting bass lines and some noticeably good riffs. The lads have paid their dues honing their music by playing relentlessly on the NYC small club scene. The weakness I find in this album is in the vocals from David Baldwin. I feel they lack a forcefulness or individuality that is needed to elevate the low-key music to something really worth paying attention to. I am also a bit bored by Mark Demiglio’s drumming. The dreamy, atmospheric tracks could have been punched up some with interesting percussion, but I feel it falls short in what could have been done with the relatively simple arrangements.
Earlier this month we gave away the album’s first two singles, ‘Red Rose in the Cold Winter Ground’and ‘I Already Forgot Everything You Said’, in this MP3(s) of the Day post. The first of these grabbed me right away with its insistent metronome-like beat and fuzzy guitars. ‘I Already Forgot Everything You Said’ is a dreamy lament on things not working out. But sadly, I did “already forget” much of the song after listening to it. ‘Hole in my Heart’, however, is a great tune, with a steady intoned voice over a bright bouncy guitar line and catchy chorus.
This is a solid, albeit subdued album from a young band still working hard to find their success.
‘Midnight Flowers’, the new album from the Dig, is available now from Buffalo Jump Records.
Hot Chip aren’t your average band. Their members appear to be cropping up everywhere (2 Bears, New Build etc) but the band are consistently putting out a record every two years. They’ve been everywhere, with everyone and gained notoriety as both a good band and exciting live band, but they’ve never stepped out of everyone elses shadows for long enough to shine at their top billings (LCD Soundsystem immediately spring to mind). Furthermore they’ve had plenty of success without ever actually having released a great album (‘Over and Over ‘and ‘Ready For The Floor’ carrying them through.) So what does album five have to show?
“Remember when the people thought the world was round, the world was round” opens Alexis Taylor on ‘Motion Sickness’. It’s light, it draws you in and then it bursts into a chilled track that just oozes summer for a whole 5:21. Then comes what sounds like a 2 Bears single in the form of ‘How Do You Do?’. Alexis’ vocals are what turn it from the kind of thing that could be dropped in a club to something that could be played almost anywhere, and that’s what makes Hot Chip the band they are; they’re likeable and inoffensive.
This doesn’t make them a great band though. Inoffensive is the stuff of Train and Eliza Doolittle. Likeable is the kind of thing that got Gary Barlow and Will Young into the dreams of middle aged Britain. Herein lays the problem for Hot Chip. “Within In Our Heads”, there’s a lot of decent music. ‘Flutes’ for example, is enjoyable, but not speciall. Those aforementioned opening two tracks; great if you want to chill out in a field all summer but by the time you get down to ‘Now There Is Nothing’ though, you’ll be iPod scrolling as you finish off that bottle of Koppaberg.
There are of course exceptions on both ends of the scale. If you’ve seen the video for ‘Night and Day’ (below), you’ll know that its full of everything that could have made Hot Chip a big band for all the right reasons. It’s borderline bombastic, in your face and huge sounding, without crossing the line to being a Calvin Harris track (minus the Justin Timberlake style “You know I’m thinking about you”). On the other hand, you’ve got the tedious “Look at Where We Are” and ‘I Have Always Been Your Love’. They’re probably intended to show the deeper side of the band, but they come off as nothing short of mind-numbing.
Hot Chip are not an average band. But if they keep on like this, they’re in danger of sounding like one.
Hot Chip’s fifth album ‘In Our Heads’ is out now on Domino Records (their first for this label).