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By Mary Chang
on Tuesday, 4th February 2014 at 12:00 pm
Following on from their American label signing to Dualtone Records last summer, Little Comets have released new songs ahead of their February UK tour. The songs, which include this one, ‘Little Italy’, and ‘The Blur, the Line and the Thickest of Onions’, feature on their next release ‘The Gentle EP’, out the 24th of February that the band are self-releasing. Little Comets have never been ones to follow the pack, so it should come as no surprise whatsoever that ‘Little Italy’, the first of the songs to get a public airing, sounds off-kilter and terribly original as their previous offerings.
The meaning behind the song is described eloquently by Rob Coles himself here, so I’m not going to go into that. Instead, I’m going to focus on the sound of the song. What Rob does very well when he sings is use his voice as another instrument, which is as it should be. In ‘Little Italy’, his vocals are like an additional set of percussion, its staccato quality akin to a ballet dancer’s feet bouncing and pirouetting across the score. It’s nothing short of impressive. His brother Mickey’s guitar lines are in tandem with the vocals, sounding in my mind, mathematical in their precision. There are these weird buzzing, industrial notes that I’m guessing are either a guitar or bass with an effect placed on them, but I can’t be sure. I did say ‘original’, didn’t I?
After the first chorus and the song approaches the second verse, the guitar lines descend and what sound like bells going through another effect pass as the song turns poppier at Matt Hall’s bass comes in. The lyrics are a bit dense in content (the chorus goes, “Life don’t animate / just creeps up on you slowly / Surely holy water / flows as normal water does? / In Little Italy I re-adhere”) but somehow the musical treatment seems to suit them, even as those buzzing notes in the bridge sound somewhat ominous. Overall though, what’s most important is that the sound of ‘Little Italy’ is compelling, and that’s all that matters. Is it a song that can be replayed without one getting bored? And is it a song with a sound you will be remember? A resounding yes on both counts.
Little Comets’ ‘The Gentle EP’ will be released by the band themselves on the 24th of February.
By Mary Chang
on Monday, 13th January 2014 at 12:00 pm
It’s been a while since we’ve heard from North West band City Reign, so here’s a quick recap. After releasing their album ‘Another Step’ in early 2013, the group are still based in Manchester. Good. They’ll be playing a hometown show at the Castle Hotel on the 21st of March, which I’ve been advised is close to selling out (well done, guys), so if you’re keen on going, you best get on that right away. Why all the excitement? Because there is a new City Reign single out in March, that’s why. Judging from their Instagram, the boys have been very busy recording in the studio, and to whet your appetite until the release next month, they’ve sent over the single’s b-side ‘Package It Up’ for us to listen to.
‘Package It Up’ begins very simply with just guitar chords and Chris Bull’s forlorn vocals; the chords continue throughout the song, with the addition of mournful strings coming into the song later. When I read the song title by itself, I wondered what “it” was, and I don’t think it’s meant to be a specific thing. Like many songs, this “it” can be interpreted and mean different things to different people. “Package it up and we’ll see what we have to / like there’s nothing we can do / package it up so we can all sleep at night / package it up because is not our fight”: there is a sad acceptance in whatever this song is referring to, it’s something that has been recognised as a problem. It feels to me that it’s something that cannot be or has become something that cannot be talked about.
In his last sweeping vocal gesture in the song, Bull’s voice soars with, “there’s nothing we can do”. Is it a secret that is killing you because you can’t tell anyone else? Is it about a situation that someone finds him/herself in that is so desperate, but he/she can’t say anything, for the risk of losing face? The fact that this song leaves the door open to interpretation and can have such universal application to each and every one of us makes it very intriguing indeed.
Clocking in at barely 3 minutes, ‘Package It Up’ is winter melancholia at its best.
Watch for ‘Package It Up’ to be released on City Reign’s own Car Boot Records as the flipside to forthcoming live single ‘See What It’s Worth’ on the 24th of March.
About 2 weeks ago, we were treated to the anything but a ‘Sweet Sour’ follow-up to Band of Skulls’ aforementioned 2011 record, bonus single, ‘Be Mine’. It hardly starts in true, chug-a-lug-ing Band of Skulls format, with a lingering guitar solo from Russell Marsden building in to the twin harmonies of Marsden and bassist Emma Richardson, underscored by an old school piano melody. The song builds like the back drop to a love scene from a an old western, and I felt the first time that I was walking into an old saloon bar, as the two harmonised, “hit me with your love, be mine / all our future’s in the balance”.
The time signature smacks of an old school waltz for the first 2 minutes, floating aimlessly around an empty saloon bar.
Then BOOM. “Hit me with your love babe!” And the Band of Skulls, we’ve grown to love over the past four and a half years pumps in to action, shredding an insatiable riff underneath the franticness of Marsden and Richardson’s vocals. Suddenly, it’s a jolt of life into the slow burning track, which will be appearing on the band’s next full-length album as an iTunes exclusive bonus track for the 31st of March release of ‘Himalaya’. As a taster of the alt-folky goodness we’re in store for, ‘Be Mine’ is a nice build up, as we see in the video a hint of the studio playfulness that has gone in to the new album.
I, for one, can’t wait.
Watch the video for ‘Be Mine’, the latest from Southampton band Band of Skulls, below.
By Mary Chang
on Wednesday, 11th December 2013 at 1:00 pm
In case you were keeping score, the last real studio album by Kaiser Chiefs was in 2011. Their choose-your-own-tracks-and-order LP ‘The Future is Medieval’ proved to be less of a commercial boon than expected. The following year say the release of ‘Souvenir: The Singles 2004-2012′, the kind of collection that nostalgia bands like New Order release for their obsessive fans. Frankly, I thought the Kaisers were toast. Interestingly enough, some 8 months after its release, I saw them play before Keane at a Filter / American Rag showcase at SXSW 2012, during which frontman Ricky Wilson’s magnetism and performance nearly left me verklempt and the band brought it. On the basis of this one live performance, I thought, hmm, maybe the group entity known as Kaiser Chiefs still had legs.
Monday afternoon, Wilson stopped in to visit his old pal Steve Lamacq at Western House. While I find it hard to believe that Wilson just happened to be in the neighbourhood and was begged by BBC staff for a chat, it did give him the opportunity to spill what beans he could about Kaiser Chiefs’ new album ‘Education, Education, Education & War’, to be released in the new year. This will be the Kaisers’ album without chief songwriter, founding member and drummer Nick Hodgson, who left the band to pursue other projects in December 2012. Wilson related a funny anecdote about Hodgson’s replacement, Vijay Mistry of Yorks electronic band Club Smith, saying Mistry reminds them of how good their lives are as rock stars, as everything is so exciting to him being suddenly thrust into the big band’s touring life.
But back to the new material. Wilson divulged the album required them to trek out to the States, Atlanta specifically, to work with producer Ben Allen, who also co-produced Bombay Bicycle Club‘s ‘A Different Kind of Fix’ and Delphic‘s panned 2013 album ‘Collections’. Neither band are of the same genre as Kaiser Chiefs, which begs the question, what exactly is this new album going to sound like? Wilson insists that both them and Allen were “hungry” in the process of making the album, which I guess means they had massive appetites for success when working on it together. Can you hear the early days that Nick “Peanut” Baines says it sounds more like than their more recent efforts? Have a listen to ‘Misery Company’, whose song title Wilson explained was given to them as a bit of a joke by Jack White backstage at a festival in 2008.
From start to finish, there is a thudding backbeat throughout the whole track. That, unfortunately, is its most noticeable feature. And not wholly unlike the punishing, entirely memorable one of Franz Ferdinand‘s ‘Take Me Out’. What’s missing from the proceedings? The singalong chorus that made ‘Ruby’ such a fun song live, the frantic pace of ‘Never Miss a Beat’ or even the oddly charming drawls of Wilson such as those found in ‘Every Day I Love You Less and Less’. What you do get instead is a strange cackling sort of laugh from Wilson during the chorus, which frankly sounds creepy on record, as so the . I’m wondering what he’s laughing at.
Lyrically too, the verses are tough: the term “misery company” is used in this tune to describe being a social pariah with few friends (“it’s hard to believe that I smile in my sleep / everyone leaves me, it’s so hard to keep company / I’m misery company”. Probably the best thing about this song are Andrew “Whitey” White’s two – yes, two! – guitar solos, which Wilson explains why this track is White’s favourite off the album. Below is a video of the band performing it at Portuguese music festival Super Bock Super Rock back in July 2012, when the song was reportedly given its first airing. Maybe it’ll work out better live, but I’m not sold on the Hodgson-less Kaiser Chiefs just yet.
Kaiser Chiefs’ fifth album ‘Education, Education, Education & War’ is scheduled to be released on the 31st of March 2014. If you’re quick, you can have a listen to Lammo’s chat with Ricky Wilson on the BBC iPlayer here before next Monday.
A moment of euphoria unfurled in 2010 as Broken Bells shifted 50,000 copies of their eponymous debut album within the first week alone. Brian Burton (aka Danger Mouse) and The Shins’ James Mercer – the songwriting duo behind such a well crafted and somewhat existential collection – toured successfully, supported by five cherry picked compatriots.
But, almost 2 years passed before Mercer spoke of future plans for the indie troupe (save the ‘Meyrin Fields’ EP in 2011), and it would take 2 years more for these plans to become tangible. So here we are; waiting with baited breath for the new year and the answer to whether follow-up LP ‘After the Disco’ can maintain pace, with only new single ‘Holding on to Life’ to dissect in search of clues.
Strip joint psychedelia is perhaps the most accurate summation of the first 45 seconds of the single, with heartbeat bass thud and eerie theremin-like fluctuations giving way to the first words of Mercer, here playing the role of an assured ‘80s new romantic come to rescue his own “waitress in a cocktail bar”. By the pre-chorus, he’s shifted up into a nasal falsetto and the song timewarps back 10 years; Barry Gibb emerges from a low mist of dry ice made turquoise in the glow of an underlit dancefloor somewhere on the disco nebula. The space/time defying detour travels furthest away from planet now during a curious middle eight that possesses an air of both The Beatles and The Kinks, whilst maintaining just enough of their signature sound to make sense. Recapturing the ‘70s buzz, Broken Bells close with a synth line that spins with a sporadic twinkle – a mirrorball mesmerizing in its stationary orbit. And, if this single is anything to go by, fans of their dreamy, multi-faceted sound are likely to get their indie dreamscape fix.
‘Holding on to Life’, the new single from Broken Bells, is now available from Columbia. Watch the song’s ‘pseudovideo’ below. Upcoming album ‘After the Disco’ will be released the 14th of January 2014.
Header photo by Jen Carey
New Zealand pop veteran Neil Finn has released the video for ‘Divebomber’, the lead single from his forthcoming solo album ‘Dizzy Heights’, following a live webcast of a rehearsal session for the new songs. The rehearsal featured Finn on piano and acoustic guitar, accompanied by a full orchestra, and also contained an audience participation element, with Finn answering questions submitted in real time via Twitter and Facebook. If you missed the live Webcast, it is now archived at Finn’s Web site and can be viewed here.
In the webcast, Finn remarked that several of the songs on ‘Dizzy Heights’ include large arrangements with either orchestra or full band, revealing the expansive direction of the new material. “I didn’t want to make it a solo record in a stripped back singer-songwriter sort of way,” he says, explaining his collaboration on the record with co-producer Dave Fridmann (Mercury Rev, The Flaming Lips, Tame Impala) and fellow New Zealand musicians Connan Mockasin and Sean Donnelly (SJD).
Though he is best known for the catchy pop tunes of Crowded House, Finn has always seemed to take inspiration for his songwriting from unexpected sources, particularly in his solo material. ‘Divebomber’ was inspired by a 1941 film of the same name, which received an Oscar nomination for its vibrant cinematography. Finn’s ‘Divebomber’ video is less boldly graphic, instead using video footage from a beach vacation in Greece overlaid by diffuse aerial cloud imagery to match the discordant, unsettled tone of the musical setting. But the track’s soaring strings, marching percussion and breathy vocals reflect the heroic and tragic nature of the film’s plot line, as well as the bravery and risk involved in Finn’s recent songwriting ventures. As the song’s lyrics state, ‘There’s only one way down’, and with ‘Divebomber’, Finn has taken a headlong plunge into uncharted territory.
‘Dizzy Heights’ will be released on 10 February 2014 via Lester Records / Kobalt Label Services. Watch the video for ‘Divebomber’ below. Finn will be playing a one-off show at St. James’ Church in London on 27 November but the gig is already sold out.
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