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PLAYING OUT LOUD!
REVIEWS
Gig Reviews -
CD Reviews
Gig Reviews
(top)
ANGRY BADGER RECORDS PRESENTS….THE
VISITORS / PORCELAIN COINS / DOYLE & THE FOURFATHERS / LOST MORALS – Soul Cellar
– Saturday 3rd April
 The
Angry Badger Showcase Nights are a regular feature on the South’s musical
calendar these days with the quality of the line ups boasting a consistent
strength to them.
Tonight’s fun and games are opened in laid back style with an acoustic set by
Jono, frontman of Southampton indie band Lost Morals. It’s a ballsy set showing
Jono to have more than his fair share of charisma and an ear for a tune. It
certainly wets the appetite nicely for the band’s forthcoming set at The Talking
Heads on 30th May.
Doyle & The Fourfathers are next with their own unique and brilliant brand of
quintessentially English music. Having already been on the receiving end of this
website (and this writer!) waxing lyrical about them, the band far from
disappoint. In fact, midway through “Every Woman That You’ve Met” – with its
“Rio”-era Duran Duran-esque guitar riff and irresistible chorus – I find myself
asking “how can anyone NOT love this band??” Indeed that enthusiasm seems to be
shared as the number of people watching the band seems to increase after each
song. Will Doyle is reliably engaging as a frontman adding unpredictability and
edge to the likes of “Lonely In Our Glory” and “The Governor Of Giving Up”.
Porcelain Coins’ upbeat rock n roll comes across as perfect party music. With
likeable frontman Pablo frequently offering punters a sweaty hug, the band just
get on and have a good time. They boast a contagious energy. “Mouth Gets Wider”
has an irresistible guitar lick and “He’s Got A Gun” is an added extra, begging
the question as to why – in all its filthy bluesy harmonica driven glory – it
wasn’t included in the original set in the first place.
Headlining tonight, and treating us to a generous helping of new material, The
Visitors are as solid as ever. Simple songs and great harmonies are all the
ingredients needed here. “Another Day” is played at a more impatient pace than
the recording as the band boast a rougher edge to their sound on stage. The new
album promises to be a cracker, but did we really expect anything else?
Paul Lane.
BROKEN LINKS EP LAUNCH – The Joiners –
Saturday 24th April
 Swathed
in an eerie green glow, the Joiners tonight plays host to the ever rising star
that is Broken Links. Glynn Davis is providing the stadium lighting for a club
setting, the man is a legend and as he fiddles with an inordinate amount of
gadgets that look cool but are lost on me, you just know tonight will be
visually spectacular.
Ably filling out tonights EP launch party there are three supports, The
Missiles, Get The Tape and Karma Deva, all providing a different spin on the
rock template.
Kicking off proceedings in true rock and roll fashion The Missiles suffer a text
book amp blow out, sadly this is before the first power chord is played and
means their set is truncated to just four tunes, thankfully they are all rather
good. From the rousing ’Long Time Dead’ through to the garage rock of ’Caroline’
The Missiles embody the spirit of 70’s rock with a 00’s edge. Channelling the
fury of Dave Grohl, Tim Guille plays the drums like a man possessed, or at least
like it is someone else’s kit and I have to give a mention to the Gibson
Firebird bass, a true metal icon, I think I’m in love. Thunderous and tight, the
3 piece blend early metal (Sabbath/Purple) with classic rock (Free/Thin Lizzy)
and produce an adrenaline fuelled hard rock triumph, I look forward to catching
more of these guys sometime soon.
Taking the rock baton and treading a slightly different path are Get The Tape,
fusing Incubus rhythms with a Metallica growl, bassist Rob has a 5 string and
actually knows how to use it and drives many of the tracks with some inventive
lines. Progressive metal is usually a slightly taboo subject but this broadly
covers the Get The Tape sound, everything from Rush to Muse gets the nod in the
mix but when you think you have a handle on it suddenly you get a flash of Bloc
Party vocal (Clean Distortion, His Sixth Day) or a Sublime ska punk groove
(Seafood Man). An interesting and engaging band, if they keep developing and
honing their sound they could be ones to watch.
 Filling
the ‘main support’ slot tonight are Karma Deva, hailing from Bath and looking
every bit the rock stars, JJ Stannes and Co take to the stage. From the opening
bars of the first track ‘Fall Out’ it is clear we are firmly based in New Wave
heaven, The Cure/Joy Division bass, Echo and The Bunnymen guitars and Siouxsie
Siuox meets Kate Bush vocals, atmospheric post punk fills the room. Announcing
they will be playing new tracks and then wryly pointing out that it doesn’t
matter as we don’t know the old ones, the epic ‘Save My Soul’ builds further on
the New Wave foundations. ‘Disgrace’ is a more frantic affair, Therapy? meets
Blondie and adds a nice change of pace to the set. With bands like Editors and
White Lies dominating the New Wave of New Wave bands it is refreshing to find
there is still a way of taking the formula and breathing new life into it. Watch
out for Karma Deva, on the strength of tonight’s showing this is a band worth
keeping tabs on.
Then this is it, Broken Links are an example to many ‘local’ bands on how great
music alone is not enough, you have to work bloody hard to get any rewards and
this is exactly what Broken Links do, tonight is testament to this. The lights
build the anticipation and to rapturous applause Mark, Lewis and Phil enter the
spotlight.
 Opening
with ’What Are You Addicted To?’ and followed swiftly by two tracks from the
brand new EP, Broken Links play like a band at the top of their game and the
crowd respond accordingly. Given that this is only marking their second release
it is remarkable that the introduction of ‘old’ track ‘Best Laid Plans Of Mice
And Men’ is received with the kind of reaction normally saved for veteran bands
trawling out the classics, the audience even sing along. This just enforces the
fact that Broken Links are something a little bit special, sticking their
collective heads above the parapet of local scene obscurity and breaking through
to the next level.
Showcasing their range of influences they do one cover tonight, ‘Destroy
Everything You Touch’ by Ladytron from their 2005 ‘Witching Hour’ album. The
electro sound of the original is put through the Nine Inch Nails filter and
comes out the other side as an industrial rock stormer that sits easily
alongside the rest of the Links catalogue.
They barely put a foot wrong tonight and whilst it is a close run thing, the new
tracks do shine marginally brighter than some of the older tunes but the encore
of new and old with ‘Choice/Decay’ and ‘Within Isolation’ is the perfect close
to a new chapter for the group.
I am sure it won’t be long before people will be able to say ‘remember the time
we saw Broken Links at the Joiners?’ as they make their way to a show at the
Brixton Academy. The big time awaits, Band Of Skulls, Delays please welcome the
next Southampton graduates.
Angry Badger Jules
(Photographs used with kind courtesy of Xan Phillips – www.xan.co.uk)
CD Reviews
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The Lucky Face – “Like Ronnie Said To
Phil”
 Tim
Mullineaux AKA The Lucky Face is always bringing out good quality pop singles.
“Underneath The City Lights” was a delightfully sunny pop song whilst most
recent EP “Lounge” showed he was a dab hand at the stripped back, lounge piano
and vocal approach too.
Latest offering “Like Ronnie Said To Phil” (presumably about the Spectors, not
the Mitchells) shows no sign of letting up on that quality. With typically
growly vocals and a summery feel, Mullineaux’s knack for writing a memorable
chorus is still very much in tact. It’s light, it’s very likeable and it could
be the soundtrack to many a summer afternoon spent in a pub garden or round the
barbecue.
Accompanying track “No Personality” recalls Glenn Tilbrook’s solo work and could
easily be sung by the man himself. Taken from the forthcoming “Breaking Rocks”
album – a charity album in aid of Billy Bragg’s Jail Guitar Doors initiative –
it is again very laid back and palatable.
The great thing about The Lucky Face is that this is not new or groundbreaking
music. Simply solid, honest and timeless pop music and there is always a place
for that.
Paul Lane.
Anais Mitchell - “Hades town - A Folk
Opera”
 There
are a certain combination of words that combined can send a slight chill down my
spine, McDonalds food, Britain’s Got Talent and adding “opera” to the end of any
genre of music is usually a sure way to bring me out in a cold sweat. Faced with
the prospect of a ‘Folk Opera‘ I could already feel myself reaching for the anti
perspirint but I am a professional (please stop laughing in the back) and I can
do this.
With contributions from such folk rock luminaries as Ani DiFranco and Bon Iver
adding their considerable weight to the album, Hadestown is a rich, multilayered
story, ‘Opera’ afterall is just another way of saying concept album. Hardly a
new concept either, Hadestown is a modern inturpretation of the Greek myth about
Orpheus (no, not the one from The Matrix) descending into hell to rescue his
bride Eurydice through the power of music.
From the moment Hadestown creeps into life with the haunting prologue ’Wedding
Song’ I can feel all of my initial trepidation ebbing away, what at first felt
like a potentially draining experience is starting to feel like the start of
some intriguing journey.
With each member of the ensemble taking on the role of one of the characters,
each song not only has a personality of its own but a purpose, each one forming
part of the overall story. This is likely to be both the strength and indeed
weakness of the album, with the download culture ensuring the average attention
span is no longer than a few minutes, the commitment this album will take is
likely to repel and enthral in equal measure.
This is an album to enjoy as a whole, it is a linear story after all and
“cherry” picking tracks would be a little like starting a book at the end, fine
to know who did it, but you’d never know what they did in the first place.
Angry Badger Jules
The Lucinda Belle Orchestra - My Voice
& 45 strings
 For
those who haven’t yet heard the rags (you’ll see the pun in a minute) to riches
story of the 36 year old launderette owner (see, worth the wait!) then I’ll give
you the cliff notes. Having already lent her considerable talents to the likes
of the Pet Shop Boys and Annie Lennox as a session musician she was ‘spotted’ by
Fearne Cotton whilst playing the harp for Robbie Williams and subsequently
signed a reputed £1.25 million recording contract with Universal.
Given all that information it is tempting to jump to the conclusion that she
will be another Norah Jones/Katie Melua type, inoffensive and unexciting.
However with a couple of rather interesting collaborations on the album,
Roachford on ‘Keep On Looking’ and Ed Harcourt on the dream like ‘Northern
Lights’ there appears to be a little more on offer than the usual MOR radio
fodder. Sure there are the commercial radio filler tracks like ‘I‘ll Get By‘,
with it’s deliberately safe sound, but there are a few tracks on here that hint
at a sleazier, smoky jazz songstress beneath the polished mainstream veneer.
First single ‘My Voice & 45 Strings’ is a variation on the break up theme, “I
don’t need diamonds but I’ll keep your ring…. All I need is my voice and my 45
strings” in reference to her harp… or perhaps 22 ½ pairs of shoes. ‘Valentine’
feels like a blood relative of The Beatles’ ‘Michele’ and is probably one of my
favourite tracks on the album.
There is a lot to like with the 10 tracks on display here, most tracks are made
with commercial radio in mind and none would be out of place gracing the
airwaves of any mass appeal station. With the ‘In’ thing changing on a weekly
basis these days and styles coming in and out of vogue as quickly there are no
guarantees, but with the release scheduled for the 24th May, I would be very
surprised if this wasn’t selling bucket loads by the time the World Cup kicks
off.
Angry Badger Jules
Mark Rooney And The Band - Welcome To
Concrete
Being slightly geographically challenged as they are, Mark Rooney And The Band
find themselves spread between Southampton, Lincoln and Glasgow, band practice
must be a nightmare. Over coming the obvious location issues they have still
managed to produce a well rounded debut, 11 tracks of inner city indie.
The Libertines influence is immediate, both vocally and lyrically but this is
quickly joined by a myriad of other British indie touchstones. First track (and
album title) ‘Welcome To Concrete’ wears its Barat/Doherty influence proudly.
Running down the same well worn gritty city streets and rubbing shoulders with
the same drug dealers and multitude of shady characters, but it does have a
flair of its own and lyrical flourishes such as “how do you survive weighing 165
in the city where the skinny kids die” is a line Alex Turner would be proud of.
In fact this is one of the most promising things about the album, the
comparisons to Arctic Monkeys, Libertines et al are not derogatory as lyrically
the album holds its own alongside these indie heavyweights, no track sounds like
a carbon copy and there are many great turns of phrase throughout the CD.
‘Death’s The Best’ channels Oasis rock and is followed by the made for radio
‘Losing My Mind’ with the simple strummed acoustic building to a suitably catchy
chorus, showcasing Mark’s strong vocals. ‘Jaxon’s House’ sounds like the kind of
tune that will get the crowd going, cut loose live I imagine this will
soundtrack many manly hugs after one too many sherbets.
This is a debut full of promise, solid if not always spectacular tunes but never
less than enjoyable and this certainly a band I will want to see live as I feel
many of the tracks on offer will really shine on the stage.
Angry Badger Jules
Ash - A -Z Vol. 1.
 When
you cast your eye over the Ash back catalogue and the singles they have released
since their debut ‘Jack Names The Planets’ back in 1994 you realise that they
have amassed an enviable collection of hits. From the youthful exuberance of
‘Girl From Mars’ and ‘Oh Yeah’ through to the Ivor Novello Award winning
‘Shining Light’ and Q Single Of The Year 2003 ‘Burn Baby Burn’ Tim Wheeler and
Co have made a lasting mark on music history….. But what of them now?
After the release of 2007 album ‘Twilight Of the Innocents’ and the rise of the
download culture they vowed to never release a traditional studio album again,
instead they would release stand alone singles and compilation albums. Now 13
singles into the project (14 if you count download only Return Of The White
Rabbit) the first compendium collects them all together.
Having issued a new single every fortnight on Limited Edition 7” and download
they are honouring their pledge, so was it worth it? Yes, quite simply. Freed
from any constraints of producing a coherent set of tracks for an album, Ash are
able to treat every tune as a one off and indulge themselves.
Bringing together a range of influences from electro pop that New Order would be
proud of (True Love 1980), punk rock simplicity (Pripyat) and the epic rock
balladry of (Tracers, War With Me) this is truly an ensemble piece, each song
with a personality different to its neighbours. The fuzz bass of ‘Return Of The
White Rabbit’ grabs you from the moment the album starts and there is barely a
dip from there on in, this truly is a ‘Singles Collection’ and boosts more
’Hits’ than many legitimate ’Greatest’ packages I could mention. If there were
any justice left in the world, this would be riding high at the top of the
charts and we would all be celebrating the deft song writing of a true talent…
but this is 2010 and it just doesn’t work like that anymore. Shame the masses
don’t know what they are missing.
Angry Badger Jules
Slaraffenland - We’re On Your Side
 There
must be something in the water, it seems Nordic heritage enables you to put
together a collection of beats, hand claps and vocal harmonies into a beautiful
pop whole. I will get the inevitable Sigur Ros comparisons out of the way,
whilst maybe not the most direct relative, the geographical locale will no doubt
see them thrown together on more than one occasion. They share a certain
ambience to their art, whilst Sigur Ros mine the cinematic, Slaraffenland take
things in a more chamber pop direction and unlike their Icelandic counterparts
their songs lyrical structure is more traditional and in English.
Dragging out the old cliché of “soundscapes” seems a little lazy, but in this
case it fits perfectly, the 10 tracks on ‘We’re On Your Side’ is exactly that,
an exquisite collection of experimental chamber pop.
Given that this is their 3rd album, only the second to feature vocals (but I
confess, the first I have heard) it is clear they have been developing their
signature sound over the last few years and overall the album creates a pleasing
whole.
There are no choruses to latch on to, no riffs to hum and therefore it is not an
album you would expect to be pillaged for radio singles and as such picking out
individual tracks for mention is difficult. Opener ‘Long Gone’ and follow up
‘Meet And Greet’ are the closest to conventional ‘pop’ with a certain 60’s/Beach
Boy harmony, even reminiscent of Doves in places, but never quite crossing the
conventional line.
Listening to ‘We’re On Your Side’ is a little like a full sensory experience,
the layers of vocal harmony and the percussion give it a musical 3-D effect,
feeling like you are submersed in the sounds and despite the lyrics dealing with
heartbreak and loss, the overall experience is still uplifting and relaxing. Not
an album for the mainstream for sure, but if you like left of centre,
experimental but never alienating alt-pop, you could do a lot worse.
Angry Badger Jules
Kill The Captains – “Fun Anxiety”
 If
you think your band works hard, sit back and take a tip from Sheffield’s Kill
The Captains. During the day, they run their own recording studio and rehearsal
facilities “Red Cloud” and when the day is done, they promote their own indie
club nights “Mutiny”. This begs the question – where do Kill The Captains find
the time to make their own infectious brand of quirky, slightly twisted, indie
guitar pop?
Let’s not worry too much about how they do what they do, let’s focus on the fact
that they are really rather good at they do. “Fun Anxiety” is a fine debut
album. The jingly jangly guitar hookage of “Spot The Leopard” is accompanied by
scathing lyrics such as “Just like before you’ve come unstuck/when all of your
stories don’t add up/suddenly no one give a fuck”. Yes, it’s fair to say KTC
aren’t overfussed about holding back.
The shoegaze inspired introduction to the epic “Yellow Brush” recalls early 90’s
heroes Ride, “Clovers” and “Lebanese” are as close as the band have got so far
to writing a heartbreaking ballad and they counteract nicely with the salivating
and restless insanity of “Rummy” and the suitably titled “House Band At The
Asylum.” There’s even time for “Dutch Rudder”, a plinky plonky piano
instrumental which could easily be the backing to the most twisted and
disturbing nursery rhyme imaginable.
It’s a restless, borderline exhausting, listen but “Fun Anxiety” adds much
needed colour to a fairly grey indie scene. We need more bands like Kill The
Captains. Fact.
Paul Lane.
The Scottish Enlightenment – “Pascal
EP”
 Having
announced their existence in 2007 with the single “Eyes” and having the promo
video of said single exposed to an unsuspecting world through VH1, MTV2 and MTV
Europe no less, The Scottish Enlightenment decided against striking whilst the
iron was hot and retreated. Shunning the limelight, they retreated to deepest
darkest Scottish town Dunfermline and only now, 3 years after the success of
“Eyes”, are they warming our hearts and our stereos again.
The Scottish Enlightenment – named so simply because lead singer David Moyes
thought ‘it sounded weird’ – are a totally different monster to their fellow
Armellodie stable mates. Their sound is a quiet, reflective one but is no less
intense than say Cuddly Shark, they just have a very different way of getting
their message across.
The title track “Pascal” is very simplistic with Moyes’ weary, tired vocals
adding the cherry on top of what is already a cake of achingly loveliness. The
downbeat “If You Would Just Try A Bit Harder” is equally gentle and hypnotic. It
takes you off into another world with the fascinating lyrics painting the
picture of an argument between two people being deliberately sloppy in their
thinking.
“All Homemade Things” offers an addictive guitar hook and is the most upbeat
moment on offer here. The band do save the best for last though. Closing track,
“To The Dogs” is an unpretentious opus. Once again, the lyrics explore human
behaviour with another argument seeming to be what is talked about here. However
it’s the song’s climax which leaves you begging for more with it’s crashing
drums and the added bonus of the sound of a Clarsach.
This is clever, understated guitar music that boasts a bruised, vulnerable
beauty to it. The Scottish Enlightenment are a joy to behold. Let’s hope it’s
not another 3 years before they make our ears smile again.
Paul Lane.
Will And The People - “Mr. Sketchy”
The last 12 months for Will And The People sounds like it has been both
turbulent and triumphant, having broken free of a contract with Sony (something
most bands would no doubt be striving for) main man Will Rendle has grabbed the
metaphorical bull by the horns and decided to take the band on without the major
league backing, brave move or career suicide? In these transitional times I
believe it is this kind of work ethic that will lead the music industry back out
of the doldrums….. But I digress.
On offer we have one track (well two if you count the dance floor remix), Mr.
Sketchy, on the surface the breezy reggae pop is pure Paolo Nutini vocals and
the bass line has a feel Love Cats by The Cure, but listen to the lyrics and the
sunshine beat hides the self conscious, angst ridden core beneath.
Destined to be a festival crowd pleaser this is an interesting and engaging
glimpse into the talent of a clearly self motivated and driven artist.
Angry Badger Jules
Therapy? - “Crooked Timber”
 Actually
released in 2009, Crooked Timber is the 10th full Album from Irish rockers
Therapy?
Now on DR2 they seem to have fallen in to the ever increasing group of acts that
enjoyed success and then through no real fault of their own, slip through the
cracks of the virtual music scene and where once the arrival of a new Therapy?
album would have caused a wave of expectation, ripples replace it.
Unfairly so in this humble reviewers opinion, it is fair to point out that I am
a Therapy? fan, ever since Teethgrinder I have found solace in the sinister and
slightly surreal world Andy Cairns inhabits.
Pulling in the expertise of former Gang Of Four man, Andy Gil, a man who has
worked on albums by everyone from Killing Joke to Red Hot Chili Peppers, you
feel they are in safe hands.
From the opening of ‘The Head That Tried To Strangle Itself‘ it is clear we have
gone back to the roots of what made Therapy? such an exciting band in the 90’s,
we are in Nausea/Troublegum territory once more, frantic drumming, grumbling
bass and the agitated growl that Cairns has honed so well, Therapy? are on form
once more.
‘Enjoy The Struggle‘ has the chugging refrain of Pantera’s Walk and as with all
the best Therapy? tracks, has a feel of unease coursing through it. The Nausea
theme underpins a lot of the album without ever feeling like plagiarising their
own work, these are claustrophobic, unsettling tunes, a soundtrack for the
madness in your head. The title track is the only single (limited edition at
that) to be lifted from the album, in truth this is the safest of them all, the
closest to a radio track they get apart from maybe ‘Somnambulist‘.
The final two tracks sum up the bloody mindedness the band still posses, ‘Black
Mountain‘ is a 10 minute instrumental (and accounting for 20% of the running
time!). Album closer ‘Bad Excuse For Daylight’ with it’s opening line ‘One of
these days when nature spring cleans, I’ll be part of the flotsam that goes’ and
bass downtuned so much you can practically hear the strings drag on the floor is
a fitting finale to an uncompromising record.
Where they fit in these days along side the glitz and shine of the big metal
bands or the radio friendly nature of the current rock alumni (Kings Of Leon et
al) who knows, but that was always the attraction of Therapy? the self loathing
fuelled ‘Screamager‘ was never a bright pop hit, the mainstream bent to
incorporate them and then kicked them back out when it was finished, Therapy?
remain the same and continue to forge their own punk rock path.
This is not an album that will necessarily win hordes of new friends and there
is no clean cut radio hit, this is an album for everyone who ever loved Therapy?
and for those who want to listen to some unpretentious alternative rock, long
live Therapy?, rock you monkeys!
Angry Badger Jules
The Croquet Field - “Brief Dalliance”
 From
the moment the CD starts it is clear the intention was to fuse the Velvet
Underground with The White Stripes, unfortunately ‘Brief Dalliance’ sounds like
Fred Schnieder took a wrong turn and ended up in a Jesus And Mary Chain B-side
recording session.
As ‘Umea’ begins, it feels like a warm inviting tune, brushed drums and gentle
plucked guitar, surely they can not be upholding at least one rock tradition and
performing a straight up ballad….. no, vocals kick in and they are in Swedish.
As with so many of the tracks on the album ‘Dry Times’ starts of promising and
quickly descends into a mire of half baked ideas, think The Pixies at their most
inaccessible and you will be in the right ball park.
The vocals are my main problem with this CD, a few too many songs feel like Vic
Reeves delivering a Joy Division tune in the style of a club singer, I half
expect George Dawes to tell us the scores at some point.
The main influences that come through seem to be The White Stripes with sub Ian
Curtis vocals, musically there are some interesting garage rock moments but all
too often it seems they are trying too hard to break new ground and subvert the
sound.
I have no doubt they will develop a strong ‘cult’ following, there will be those
who will be attracted to the wilfully pretentious sonic landscape they set out
to create, but not me.
Angry Badger Jules
The Glitterati - “Are You One Of Us?”
 Having
first arrived on the scene way back in 2004 with their debut single issued on
Alan McGee’s Poptone label and followed in 2005 by the debut, eponymous titled
album and heavy touring, the groundwork seemed to be being laid for the Leeds
rockers….. But then they appeared to vanish. Fast forward to 2009 and work began
with Matt Hyde (Slipknot, Bullet For My Valentine) on their sophomore effort and
now 2010 sees the imminent release of “Are You One Of Us?”.
The aptly titled ‘Right from the start’ sets their stall up right from the
start… as it were, sitting prettily alongside the indie rock of The Wildhearts
or fellow McGee signings 3 Colours Red, this is radio rock, well produced with
big choruses and just enough attitude to stop them falling into the cliché
territory occupied by American “rock”, yes Nickleback and Creed, I’m looking at
you.
Equal parts Sebastian Bach and Whitfield Crane, Paul Gautrey has the perfect
rock voice, this is late 80’s rock music with a 2010 twist, hedonistic songs
about girls, fights and drinking, exactly what you want from a rock band, this
will sound perfect on the Donnington…. Sorry, Download stage.
Preceded by first single ‘Fight, Fight, Fight’ with it’s unashamed Motley Crue
vibe, the next single (released in May pop pickers) is the catchy ‘Overnight
Superstar’. ‘Too Many Girls’ is a fantastic sleazy change of pace, with it’s Van
Halen guitars and Vince Neil vocals it conjurs images of smoky pool halls with
Harley Davidsons parked outside.
Sure there are a couple of more standard album fillers like ‘Your Idea’ and
‘Keeping Me Down’ checks the obligatory “power ballad” box but overall this is a
good time, summer rock record, full of monster hooks and sing along choruses.
We have had the 80’s pop revival, let’s invite the 80’s rock to the party too….
For those about to rock, I salute you!
Angry Badger Jules
Songdog - “A Life Eroding”
 The
accompanying Press Release for this album boasts a number of “claim to fames”
about Songdog, most interesting for me is the fact that not only did they
support Joan As Policewoman but also The Go-Betweens (genius) so clearly mix in
the right circles, better still though Bruce Springsteen “walked on” to ‘Days Of
Armageddon’ during his last European tour….. So it is with much expectation that
I place the CD in the tray and press play.
The earnest and melancholic opener and title track is a gentle entry point and
whilst ‘Obediah’s Waltz’ is a more jaunty affair it is not until you get to
track 4, ‘3:30am (Small Talk)’ that the real beauty of this album starts to
reveal itself.
For what at first can seem a slightly cold, po-faced exercise in melancholy is
actually hiding a deep vein of jet black humour and once you realise it is
there, the album is suddenly lifted above the pleasant and becomes a joy.
‘Elaine’ feels like the British cousin of the Eels ‘Susan‘s House‘, in fact Mark
E Everett and Lyndon share a mutual poetic flourish for making the mundane seem
somehow far more exotic and at the same time, more than a little seedy.
Surely contender for the best title of the week “It’s raining on the old cat’s
grave” is a perfect example of the witticism on offer, lines like “Thought I’d
leave you a letter, write down all the good things that happened today, it would
use up hardly any paper at all” pepper this and many of the tracks on offer, all
delivered with a wry grin.
Both Dylan and Springsteen’s influence is clear on many tracks but whereas with
The Boss the downtrodden characters of his songs will often be offered some kind
of redemption, it feels Songdog will be offering little in the way of escape for
their protagonists, life is bleak may as well just grin and bear it.
This is an album that will reward the listener upon repeated plays, this is a
slow burn affair, Lyndon is already well versed in his dark, slightly unnerving
world, we are the guests and it takes a while to find your way around.
This is not to say the album is by any means a depressing chore, quite the
opposite, the lyrical twists and truly British cynicism coursing through the 11
tracks on offer feel somehow inviting rather than intimidating, when you’ve had
a bad day, put this on and realise it could be worse.
Angry Badger Jules
The Half Open Sky Gives Us Hope - “The
Explorer”
 The
Explorer is a soundtrack to a movie that hasn’t yet been made…. Or perhaps it
went straight to DVD. An all instrumental album is always going to be a
difficult sell and whilst it has a certain charm it is hard to listen to the
whole thing in one sitting.
Produced by Dan Oehlman under the guise of The Half Open Sky Gives Us Hope, no
doubt a talent but the overall sound is slightly clinical as technology rather
than people provide the instrumentation.
Influences listed include Radiohead and Sigur Ros and whilst there are shades of
these bands in the feel, more often than not it has the air of a Coldplay B-side
about it.
The Coldplay influence is evident in the Fix You-esque ‘Wisdom Comes With
Winters’, via a heavy nod to Procol Harum’s ‘A Whiter Shade Of Pale’ and it
never really goes anywhere.
This feels the same for tracks 3 & 4, early promise but never delivering any
surprises. ‘Searching Where The Sea Drowned The Sun’ is the pick of the bunch, a
slow build around warm strings, climatic middle before coming to rest at the
end, a well used formula but on this occasion it hits the mark.
It is by no means a bad album, there is clearly a very accomplished musician
behind it and if it were on a film/TV show/Advert it would no doubt blend in
perfectly, just on its own it is a little one dimensional, the overall sound of
the album is very similar throughout and the Edge/Coldplay inspired delayed
guitar sound is present on too many of the tracks.
Angry Badger Jules
Nick Tann – “Don’t Make Me Wait”
 As
a singer-songwriter, Nick Tann is old school. Old school in that he fashions the
kind of songs others may wish to use.
Released through his own Pure Acoustica label, “Don’t Make Me Wait” is a
collection of six stripped down songs showcasing just acoustic guitar and
vocals. We kick off with “How Do You Sleep?” where the song’s dynamic is built
around an edgy, slightly unhinged yet startlingly powerful vocal performance by
Tann. “The Day After The Night Before” and the title track recall classic
Squeeze melodically whilst the playfully bluesy “Glad You Came” gives Tann
another chance to show off his powerhouse voice. As the Pure Acoustica tagline
suggests, ‘the power is in the performance.’
Nick Tann has little to learn about the songwriting art. He’s done the rounds
over the years, working with various bands. His songs have a quality of being
both contemporary and timeless. Prepare to be impressed.
Paul Lane.
(“Don’t Make Me Wait” is available through Nick’s website –
www.nicktann.co.uk – or available
for download from
http://nicktann.bandcamp.com )
The Drums – “Forever & Ever Amen”
 This
year’s holders of the unenviable title of “The Next Big Thing”, The Drums
unleash their next single “Forever & Ever Amen” as the final taster to their
anticipated debut album in June.
The fuzzy bass gives off a surf-dude feel to proceedings before Jonathon Pierce
kicks into full lovelorn teenager mode. Lyrically, the band are as sugary as
ever, promising “All the flowers in the field could never take you from my
heart, it’s forever, baby, it’s forever!” making every boyband who ever lived
collectively sighing that they never sounded this cool. However, despite
originating from the same summertime textbook as “Best Friend” and “I Felt
Stupid”, this does lack sufficient punch and you do find your interest waning
towards the end.
Cool alone does not a great pop single make. The band have potential, the album
will be great. Sadly this does not wet the appetite perhaps as much as the final
pre-album release should.
Paul Lane.
Oli Brown – “Heads I Win, Tails You
Lose”
 Still
only 19, it is fair to say that Oli Brown is the great hope of English blues
right now. His short career has thundered along picking up accolade after
accolade with more widespread recognition surely set to arrive following this,
his second album. Indeed anyone with the talent to bring legendary producer Mike
Vernon out of retirement like an excitable school boy must have talent.
Believe the hype. Oli Brown is a cut above his contemporaries. Opener “Evil
Soul” gives the album a swashbuckling introduction, its riff sounding like a
faster, leaner version of Ian Parker’s “Where I Belong”. There are many
highlights here – the late night blues of “Not A Word I Say”, the Peter Green-esque
“Love’s Gone Cold” and the crisp funk of “Real Good Time”.
There’s also interesting choices of covers with “Fever” getting a Hammond
drenched outing here and perhaps most intriguingly, Blackstreet’s “No Diggity”
revealing itself to be the best blues song never written. Of course, in less
capable hands, this would have been a mess but this is Oli Brown we are talking
about. Let us not forget to mention Brown’s guitar playing either. There are
some stinging guitar solos here, especially on “Evil Soul” and “I Can Make Your
Day.”
If anyone can lead the long overdue Blues crossover into the mainstream, we need
look no further than Oli Brown. His show at The Brook on 20th May will be a
cracker!
Paul Lane.
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SOUTHAMPTON SUNDAY MAY 30
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