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CD Album Reviews
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CHRISTMAS ROUND OURS, STATE OF UNDRESS
ROSEBUD RECORDS 2007
First off, I have to admit I am not a big fan of Christmas music. But, strangely
enough, I quite enjoyed this offering from a Dorset 6-piece whose energetic gigs
have made them a lot of friends over the last few years. The EP contains the
title track and an extended mix of the same, plus 3 more tracks, all with a
Yuletide flavour. The title track is a fun party-style song, and although a bit
repetitious, it is great fun. State Of Undress then have an audacious stab at
probably my favourite Christmas song, “A Fair Tale of New York” by The Pogues
which is currently back in the charts. And I’m happy to say that it comes off,
thanks mainly to the spirited vocals of Charlie and Alan Rose. Charlie then
gives a sensitive rendition of the poem, “The Christmas Truce” which leads into
“Silent Night.” This is followed by a nice folk track, “Take Me To The Leader”
before an upbeat reprise of the title track. Overall, a very successful
Christmas record which really has that special seasonal feel – good vocals and
instrumentals, and an ideal party record. If you have any trouble obtaining the
CD, go to
www.stateofundress.com .
The Alternative by IAMX
 IAMX
are the brain child of Chris Corner, a man who has previously skirted around the
outer reaches of thecharts as a member of Sneaker Pimps. Corner has now
relocated to Berlin and these days specialises in a kind of gloomy electro-pop
that falls somewhere between seventies-era Bowie and some of Marc Almond’s solo
work. The early signs here are good as the opener, President, and the album’s
title track are both catchy and far more upbeat than one would imagine given
Corner’s credentials, while Nightlife is trance dance of most hypnotic variety
and a surefire bet for future single release. Unfortunately things go downhill
quickly after that, starting with the mournful Lulled By Numbers and by the time
we come to the oddly titled Bring Me Back A Dog, which sounds a little like
Bronski Beat after a few too many rum and cokes, any early promise has long
since departed. The album’s closing ballad This Will Make You Love Again
possesses more feeling than the rest of the album put together and simply makes
one imagine how good this all might have been, but sadly isn’t.
Review by Martin Sirl
Contact by Thirteen Senses
 This
is the second album by the highly-rated Cornish quartet and continues to suggest
that they are anything but overnight sensations. Contact is moody, atmospheric
and at times beautiful, with tracks like Spark and Spirals showing that, on
their day, these guys can knock up tunes that are every bit as clever as Keane,
a band to which Thirteen Senses bear more than a passing musical resemblance.
This album’s only failing, albeit a significant one, is that the melodies can at
times become buried under the weight of a sound which is sometimes just too darn
clever. Synthetic strings and lavish production are nice weapons to have in your
armoury, but ultimately it’s the strength of the song that makes or breaks a
track, and All The Love In Your Hands, the album’s first single, is simpler, has
a more downplayed feel and is much better for it. Yes, in many ways Contact is
almost a case of too much too soon, but still offers more than enough evidence
that Thirteen Senses will be around for some time to come.
Review by Martin Sirl
CD Single Reviews
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BY MARTIN SIRL
Blossoms In The Street by Wallis Bird
Learning to play guitar then forming a band after losing all the fingers on one
hand as a child is impressive form for sure. Sadly this song is less inspiring
than the story behind it. Little more than sub-KT Tunstall musical doodling from
a young Irish girl who has a fine voice but currently lacks the strength of
material to back it up. As ear candy this is nice, but has about as much staying
power as a terminally depressed mayfly.
Veni Vidi Vici by Black Lips
Reports of their live shows suggest that Black Lips are an outrageous bunch,
though apparently not too controversial to be selected as the soundtrack to a
Tesco commercial. I can believe this might work in a TV ad, but as pure audio
it’s all too lifeless and depressing. Lead singer Cole Alexander might sing of
coming, seeing and conquering but actually sounds like someone without the
stamina to conquer much more than a bottle of Aspirin. Add a backing that sounds
like garage band music played at half speed and the whole thing adds up to a
pretty depressing few minutes. All in all best avoided.
Two Eyes by Daler Mehudi (featuring The Wolfmen)
You might be surprised to hear that Daler Mehudi has already sold over 20
million albums worldwide, though perhaps not quite so astonished when you learn
that the man is a massive star in his home nation of India. Taken from the
hotly-tipped Thieves and Liars album, Two Eyes is produced by former Adam’s Ants
The Wolfmen and is an interesting punk-bhangra hybrid on which Mehudi half
sings, half chants over a driving guitar backing, infused with flutes for that
touch of Eastern charm. The whole things works perfectly and is the kind of
track you can play over and over again and still find something new: a rarity
indeed.
Oh My Gosh by Man Like Me
The music of 21-year old Londoner Jonny Langer is tricky, downmarket and
streetwise; a kind of synthed-up version of The Streets. And while Oh My Gosh is
different enough to raise an eyebrow or two it is ultimately found to be a
rather hollow offering. Langer’s lyrics are annoying more than they are engaging
and all the knob-twiddling in the world isn’t going to compensate for the
complete absence of a decent tune. Credit to the man for trying, but all in all
this falls desperately short of the mark on both content and charm.
When I Wake by The Changes
Fans of Aztec Camera will love this slice of indie pop from Chicago’s The
Changes for Darren Spitzer’s vocals are a dead ringer for Roddy Frame’s crystal
tones. Not that this is the only thing the two bands have in common: When I Wake
demonstrates a gift for spotting a good tune at twenty paces that’s sadly
lacking in many of today’s up and coming artists. Neatly produced and with a
chorus to die for this is much more than the eighties throwback it might first
appear and is bound to make many a critic sit up and take note.
Hey Now Now by The Cloud Room
If you think you’ve heard this before then you probably have. Hey Now Now has
already been used in a TV commercial for Pepsi (featuring no less than
Ronaldinho) and it’s easy to see why it was chosen for such an important
campaign. A pulsing bass line, Velvets-style guitars and J Stuart’s unique vocal
style merge to produce what could easily be one of the best singles of the year,
and one can’t help but suspect that there’s more to come from a band whose name
is rapidly becoming one of Brooklyn’s hottest buzzwords.
Open Your Eyes by U.S.E.
If Wikipedia is to be trusted then U.S.E. stands for United State of Electronica:
a Seattle-based dance/rock band formed in 2002. U.S.E. are actually the four
members of the group Wonderful (not that I’m any the wiser) augmented by a
bassist and a couple of singers. The sum of all the parts is a multi-textured
disco-rock act who make music that’s perfect for the party season. Owing more
than a little to Daft Punk’s One More Time, Open Your Eyes is joyful, camp and
pretty much guaranteed to get some part of you moving, whether it’s your
fingers, toes or, judging by some of U.S.E.’s live reviews, your whole darn
body.
Cecilie by The Wolfmen
For a band fronted by former Adam & The Ants members Marco Pirroni and Chris
Constantinou this is a surprisingly subtle effort. The song itself is moody and
cleverly crafted. Constantinou’s vocals possess a breathy European quality which
brings to mind the Berlin-influenced new romantics of the eighties, while the
introduction of flutes on the song’s chorus adds an unexpected air of sixties
psychedelia to proceedings. The overall effect is one of a dark but rather
beautiful love song which suggests that yes, there is life after being the podgy
one in a hit seventies punk band.
7 Years by The Departure
Northampton’s answer to Snow Patrol return with a beefier sound than before,
though one which remains unashamedly commercial and poppy. Lyrically this is
apparently some sort of indictment of the state of the world seven years into
the millennium and vocalist David Jones sings mournfully of ‘sad songs sung by
sad machines’. But any message here is pretty hard to make out and, frankly, not
worth worrying about anyway. All one really needs to do is sit back and enjoy
what is essentially a really damn good tune.
Bonafied Lovin’ by Chromeo
Statically charged electro funk from US-based Arab/Jewish dance combo (yes,
really) which, musically, is situated somewhere between Howard Jones and Kid
Creole but which also features the kind of streetwise humour that brings to mind
the wonderful Was Not Was. The six different mixes generously included here
feature various leading lights of the European dance scene, each of which bring
their own particular ingredient to the dance party. But the common factors
throughout are the outrageously catchy synth hooks which are consistently left
untouched and help make Bonafied Lovin’ a must-have for eighties revivalists and
modern club-goers alike.
Tokyo by Athlete
This is a mildly interesting track from Athlete’s big-selling Beyond The
Neighbourhood album. Despite it’s lyrical attack on the blandness of modern
society as seen from Tokyo’s Rainbow Bridge this is actually little more than
inoffensive pop, which is a pity as there are better and more interesting tracks
on the album that could have been offered up for single release. As it stands
this will only reinforce Athlete’s status as stadium rockers in waiting. They
can, and should do better.
Left, Left, Walk Forward, Get On The Dragon by Drive-By Argument
A limited edition EP which showcases the Scottish 5-piece in jolly good form.
Left, Left is a high-energy burst of dance inspired pop on which synth and
guitars collide in one glorious melee, the whole thing held tenuously together
by front man Stoke’s yearning vocals. The remaining tracks here, the aptly named
Calm and I Want To Know What Dub Is are much less manic and significantly less
fun but will still no doubt offer ample temptation for those fans who show up at
DBA gigs throughout the winter months, for it is at those gigs that this CD will
be offered for sale.
Local Hero by Look See Proof
The 4-piece from Hertfordshire follow up their minor hit Casualty with another
slice of angular indie pop. Local Hero is a wry parable on the dangers of
turning a blind eye to the habits of a cheating partner and has an unmistakable
punk feel to it, whilst simultaneously possessing all the noughties musical
nouse of a band like Orson. Local heroes for now, Look See Proof might soon be
more like national heroes if they continue to improve at the same encouraging
rate.
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THE POPES
TALKING HEADS, SOUTHAMPTON, FRIDAY DEC 21
THE MODS
THE BROOK, SOUTHAMPTON, FRIDAY, DEC 28
ROY AYERS
THE VENUE
RYDE THEATRE,
ISLE OF WIGHT, SUNDAY DEC 23
EMMA POLLOCK
THE JOINERS, SOUTHAMPTON, TUESDAY DEC 4
AYNSLEY LISTER FARNHAM MALTINGS, THURSDAY,
DEC 14 & THE LIGHTS, ANDOVER,
FRIDAY, DEC 14
MINUS THE BEAR WEDGEWOOD ROOMS, PORTSMOUTH,
MONDAY, DEC 17 |
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