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PLAYING OUT LOUD!
REVIEWS
Gig Reviews -
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The
Vortex / The Rising / Moody Tuesday - Soul Cellar - Friday 20th August
Let's face it. No one is here tonight to see The Vortex as such. We're
all here to see former Oasis guitarist Paul Arthurs, the man affectionately
known as "Bonehead". The fact that he is the main attraction
is strange enough in itself. Let's face it, the guy was never a virtuoso
or a showman. However he will be forever linked with Oasis' glory days
and that's where the intrigue and appeal lies.
Angry Badger Records provide both support acts tonight. Having recently
undergone recent line up changes which have seen guitar player Dave Boyd
take on lead vocal duties, Moody Tuesday perform manfully. Giving us a
sneaky glimpse of material from their forthcoming debut album, the songs
have a nice energy to them musically. However the melodies do need a fair
bit of work. The lads are entitled to a bit of slack where this is concerned,
given that this is only Boyd's fourth gig as lead vocalist.
Fresh from selling out The Talking Heads, The Rising swagger on stage
with an intention to tear it up. However it takes the crowd a while to
warm to them, something which the band have perhaps not been used to in
their relatively short time playing live. So it is to their immense credit
that, by the time we get to "Hey You" and "Strangers In
The Night", the crowd are lapping it up. Mission accomplished.
The Vortex's frontman straight away gets the guard up when he appears
on stage wearing sunglasses. There are very few people who can pull off
wearing sunglasses indoors. He is not one of them. Blatantly. Their sound
dabbles with samples here and there but is not as fresh or different as
it thinks it is. Sure, there are one or two ear catching tunes along with
some pleasingly raw moments but overall there's nothing to get overly
excited about within their set. It's an enjoyable set without ever threatening
to be mindblowing. It's fair to say that any success that The Vortex may
enjoy in the future will probably be down to who is in the band rather
than the tunes.
Paul Lane.
Live
and direct from Mark Morriss
Equipped
with only his voice and guitar, Bluetones lead singer headlined the Soul
Celler last Friday with a special solo performance.
Courtesy
of local label Angry Badger Records, the night supplied the 90’s indie
legend to a packed out crowd, with two impressive support acts making
the night solid proof.
Newly
signed ‘Lost Morals’ represented fresh local talent for the night, whilst
Glaswegians ‘Mark Rooney and band’ thoroughly impressed on lookers as
they dispatched a set worthy of a headliner.
Expressing
early sounds of Razorlight and the Libertines but with a Scottish twang,
this band will certainly turn a few heads in the music industry.
As
the night reached its pinnacle, groups of fans who were eager for a glimpse
jeered as Mark Morriss stepped up onto the stage.
In
between delivering a range of new and old material which included the
bands biggest hit ‘Slight Return’, the front man achieved a personal touch
with his audience by nattering about everyday issues including his begrudged
world war one style haircut.
The
Bluetones who have recently released their latest album ‘A New Athens’
are often coined ‘Brit pop survivors’. Having achieved thirteen top 40
singles and three top 10 albums in the UK, this band certainly packs a
heavy punch on the scene.
A
performance that was primarily one for the fans also produced an engaging
show for all and exposed light into the midst of one the 90’s classic
Britpop bands.
Ewen
O’Brien 08/08/10
CD Reviews
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Paul Weller -
"Fast Car/Slow Traffic / Andromeda"
 Unfairly
known as "The One That Bruce Foxton Plays On" in some quarters,
"Fast Car/Slow Traffic" is one of the many highlights from Paul
Weller's latest album "Wake Up The Nation". As a body of work,
"Wake Up The Nation" sees Weller on the most vibrant, confident
and downright playful form he has enjoyed for a long, long time. If anything,
"Fast Car/Slow Traffic" sums up the spirit of the LP. Clocking
in at just over two minutes, it is a no-nonsense listen. The lyrics are
about London but let's not worry about the lyrics too much. It's all about
the energy of the tune itself. The upbeat verse gives way for the frenetic
chorus and there's even time for a delightfully messy piano interlude.
Phew!
"Andromeda" is the album's creepiest and most psychedlic moment,
almost nightmarish in its quality. It is a mini epic that leaves you wanting
more and personifies the experimentation that Weller so freely embraces
these days.
This double A sided single acts as a thrilling teaser to what is argubly
the most exciting and intriguing period of Weller's entire career.
Paul Lane.
Paul
Liddell - "Help Yourself Float"
 With
a blend of acoustic rock, a strong narrative and a regional accent, Sunderland's
Paul Liddell has put together an EP that contains a distinctive individuality
and recognition. "Help Yourself Float" benefits from wearing
it's North East origins proudly on its sleeve. Liddell sings with his
Sunderland accent and he has a nice tone to his vocals, getting the point
across and managing to give his words meaning and soul without ever overdoing
it.
"Trouble In Hell" is poignant balladry at its most touching
whilst "Boots" proves that Liddell clearly has an ear for a
great chorus. "Ghost Car (The Caffeine Kicks)" is where the
money's at. It has got that sense of being driven, chanty backing vocals
and moral ambiguity.
Paul Lane.
("Ghost Car (The Caffeine Kicks)" was heard on Nick Tann's "Is
This Thing On?" podcast which can be heard here - http://isthisthingonpodcast.wordpress.com/
)
The Scottish
Enlightenment - "Little Sleep"
 The
Scottish Enlightenment provide the perfect soundtrack to those long winter
nights ahead. Their sound is clearly influenced by classic shoegazers
such as Ride but is nonetheless difficult to pigeonhole. It's subtle but
it's intense, it's melancholic but it's uplifting, it's clever and it's
moody. Their last EP "Pascal" was a heavy hearted listen but
new EP "Little Sleep" sees a wee bit of light at the end of
the tunnel.
The wall of noise guitars on the title track back up lyrics about pulling
together in the face of adversity. The song is a no-nonsense epic that
acts as a statement of intent if nothing else. "Get My Limousine"
is about as light-hearted as The Scottish Enlightenment are ever going
to get. A wry dig at The X Factor and all the other "talent"
shows that are out there. It's an untended reminder that shows like "The
X Factor" do in fact have their place, if only to provide the angst
and the drive for bands like TSE to write such gems. The music at the
end of "Get My Limousine" is on a slightly desperate sounding
and not a little unhinged, perhaps representing how the delusional "wannabes"
are feeling when Cowell smugly says "Not today".
"Drip Feed" is a neat centre piece to the EP built around a
charming piano tilt and soft sympathetic vocals. "When You Hate Me"
is the darkest moment here. However the production somewhat dampens the
vocals and this affects the potential drama of the song. This does not
take away from the fact that this is a suitably bleak and beautiful song.
"San Germain Is Thick Tonight" brings the curtain down on the
EP with glowing glockenspiel, marching drums and subtle acoustic strumming.
The epic closure to the song is a fitting end to an absorbing and rewarding
listen.
The Scottish Enlightenment have carried on from where "Pascal"
left off. They continue to enthral and intrigue. The forthcoming album
"St Thomas" is out in November and I, for one, can't wait.
Paul Lane.
Super Adventure
Club - "Chalk! Horror!"
 It
would be fair to say that Super Adventure Club have more than a sniff
of the "Marmite Effect" about them. Their crazed, unpredictable,
rabid, funny (depending on your humour, of course!), off-kilter brand
of indie guitar pop-noise will leave no one sitting on the fence. This
is truly a band you either love or hate. That scale of opinion has been
represented on these very pages no less! Me? I LOVE SUPER ADVENTURE CLUB!
"Chalk! Horror!" is the band's debut album and has been re-released
by Scottish label Armellodie following the success of the band's second
album "Avoid Zombies" earlier this year. The albums are very
much peas from the same pod. If you didn't like "Avoid Zombies",
you're not going to suddenly become a fan when you hear "Chalk! Horror!".
Opener "In The Wee Wee Hours" builds in a slow, menacing way
before bulldozing it's way through the speakers in a cacophony of manic
riffs and unstable guitar solos. "Math Rock" lyrically makes
no secret of SAC's views on the state of the music industry - "It's
a mess!" howls Bruce Wallace - and the casual jazz noodling of "Built
In Redundancy" is an exhausting listen in itself with constant tempo
changes and an underlying feel of angst ridden restlessness. "Tommy
Sheridan" ups the tempo change rate with its fuzztastic riffs and
"Sloths On TV" boasts a nice juxtaposition with Mandy Clarke's
oh-so-cute vocals backed by downright terrifying wall of guitar noise.
"17th Century Ambassador Of Strong Swimmers" (anyone who hates
SAC will also hate such oddball titles!) is almost like a rabid indie
disco. Imagine a "Tonight" era Franz Ferdinand if they let go
of all their inhibitions and were fed only on raw meat for a month and
you'd get somewhere near to what this chaotic stop/start ditty is like.
It's mad, it's bizarre, it's unique and is impossible to ignore. "Chalk!
Horror!" sums up what is great about SAC and does what all music
should do. It will provoke strong opinion! My opinion? "Chalk! Horror!"
is ace! More power to Super Adventure Club!
Paul Lane.
Dani
Wilde - "Shine"
 Young
Blues musician Dani Wilde's newest album pulsates with a warmth, energy
and maturity that belie her years. Following upon her breakthrough Heal
My Blues from 2008 and her eye-opening performances on that year’s Ruf
Records Blues Caravan tour, Wilde now proves she’s a true triple threat
as a singer, guitarist and songwriter. Having penned nine of the eleven
tracks herself, she uses them as a vehicle to tell stories that go far
beyond the tried-and-true blues formula.
The
finer examples include the darkness she inhabits on “Don’t Give Up On
Me,” the touching “Abandoned Child,” the defiant exuberance of “I Don’t
Even Care” and the exquisite drama of the “How Do You Do It.” Blues fans
will acknowledge a Howlin’ Wolf influence running through “Born to Love
Him” and shiver and shake as Wilde turns up the heat on “Red Blooded Woman.”
The Rolling Stones’ classic “Miss You” gets a very bluesy makeover with
Dani’s little brother Will ‘Harmonica’ Wilde handling the harp riff made
legendary by Sugar Blue over 30 years ago.
Wilde displays an uncanny knack for blending old-school Chicago blues
with contemporary soul sounds. Much like Oli Brown, it is clear that her
vision is to bring British blues back to the younger generation.
Paul Lane.
David
Gray - "Foundling"
 David
Gray is a master at his game. He's a folk/rock singer-songwriter who consistently
displays an ability to master language and melody within his music.
Opening
track “Only the Wine” is a beautiful sounding song, simplistic and stark.
The lyrics paint a number of vague images: a forest with leaves glistening
with dew, a drunken evening of love-making, an alcoholic asking for help.
But, as we've come to expect from Gray, this is not the only song on this
album with lyrics open to a wide variety of interpretation.
Title
track “Foundling" introduces itself with a thrumming organ and some
hand-slapped drum-skins. A sharp sounding guitar chimes in and it's then
that Gray's distinctive voice finds it's place. Again the lyrics are wide
open for intepretation, the delivery of them gives them meaning. Gray's
secret has almost always been within his delivery. He is a master at writing
nearly incomprehensible lyrics, and yet still making us feel like we're
getting it by way of his vocals and the songs arrangements.
“Forgetting” consists almost entirely of simple piano chords and whispery,
understated vocals. A crescendo builds at the end and emulates the feeling
of the song's apparent content; a failed or abusive marriage or relationship.
It's not the feelgood hit of the summer but it moves you and that again
is where Gray consistently succeeds.
“Gossamer Thread” picks up the pace, offering an upbeat antidote from
the woe of its preceding track. “The Old Chair” is a metaphor for yet
another broken relationship, we hear Gray toying with a strange electronic
distortion on his vocals in “What in God's Name,” which leads into “We
Could Fall in Love Again Tonight,” and it becomes more clear that this
album is taking us through a story arch of love gone wrong and the possibility
of rekindling the fire.
The album wraps up with “A New Day at Midnight,” a song title that shares
the same name as his 2002 album, and then closes with “Davey Jones' Locker.”
"Foundling" is a bittersweet journey of simple and subtle music
with unmistakably sad lyrics. That said, Gray is clearly having fun with
the more stripped down arrangements and this is perhaps his bravest album
since the breakthrough that was "White Ladder". It won't do
much to introduce him to a new audience or suddenly see him appear on
many radio playlists. Long term fans of Gray however will lap it up.
Paul Lane
The
Winchell Riots - Red Square EP
As someone who often feels more than a little out of step with the rest
of the population, emotionally adrift at times, CDs like this only serve
to compound the issue.
Having listened to it several times now, I can feel the emotion is there,
it is positively dripping in the stuff, I however cannot engage.
Overwrought and more than a little pretentious ('Love, The Great Olympic
Sport', sorry but this is a terrible title) I just felt more alienated
the more I listened, damn my blackened heart.
Clearly influenced by the likes of Doves, Sigur Ros and even Bloc Party
for me it just not equal to the sum of its parts. Vocals are a little
too whiney, even needy and the whole thing feels a little too contrived.
An insipid Coldplay, bereft of the ideas or delivery.
I think that the final track is the great divide for me, hailed (in their
own press release of course) as the 'live favourite' and the 'size of
a city', well this may be the case but I would like some clarity on just
which city? New York? Hull? I know which I prefer to visit and I know
which I would compare this too.
Angry Badger Jules
Sand
River - Sand River EP
Based in the North East of the UK, Sand River EP marks the debut release
from the Durham duo. I am always interested at the prospect of a record
produced by just drums and guitar, the likes of The White Stripes and
The Old Romantic Killer Band have shown that a simple combination is still
capable of producing an engaging racket.
The Sand River EP represents a story of sorts, based around destructive
love and the lead up to and indeed fallout from the relationship. Opening
with 'The Reprisal (Kid Dust Pt. 3)' based around a dirty blues guitar
riff and lyrics soaked in venom, it ably demonstrates how the two piece
set up can make the most of their limited line up.
There can be a tendency with two/three pieces to feel that due to their
lack of numbers they need to make twice the noise to over compensate so
it is a pleasant surprise to find that Sand River are not afraid to keep
the music sparse and let Simon's vocals cast their spell. Both 'Love'
and 'Goodnight, Goodnight' benefit from this understanding with 'Love'
an undoubted highlight. With a palpable sense of despair contained within
the haunted walls of the song, the yearning of the 'we called that love'
refrain juxtaposed with the understanding it was not a healthy relationship
is incredibly effective.
It is clear from these 6 tracks that Simon and Guy share a musical vision
and they perfectly complement each other. A strong showing from a band
who are clearly capable of much more to come.
Angry Badger Jules
The
Cherry Bluestorms - Transit Of Venus
Now I do appreciate the postal system is not up to much these days, but
given this album was actually released in 2007 and despite the fact The
Cherry Bluestorms hail from LA it seems a little strange that I am reviewing
a 3 year old LP. No matter.
Bursting into life with an inspired cover of The Beatles' 'Baby, You're
A Rich Man' it is instantly apparent that this is all about bright, shiny,
well produced power pop. Taking a huge amount of influence from a set
of very British sources (Madchester/60's psychedelic rock) and with Deborah
Gee on lead vocals baring more than a passing resemblance to Chrissie
Hynde this at once sounds reassuringly familiar.
The remaining 9 tracks on offer are all originals and whilst all of them
are enjoyable, some inevitably fare better than others. 'Here' is fairly
pedestrian and The Beatles-lite harmonizing on 'Her Mirror Cracked' doesn't
quite work.
On the plus side however, 'Daisy Chain' and 'Just A Kiss Away' are bubblegum
pop and would happily grace the airwaves of any commercial radio station
on this side of the pond or the other.
Work apparently is still underway for their follow up and it will be interesting
to see if they have built upon the foundations laid here and developed
their sound or have just taken the safe route and rest on their laurels.
I am slightly on the fence with these guys, just shy of writing that classic
tune but displaying enough potential to make me want to hear more.
Angry Badger Jules
24
Pesos - Busted Broken And Blue
Based in London but clearly their hearts belong to America and more precisely,
New Orleans. 24 Pesos are Silas Maitland (bass/double bass), Moz Gamble
(Organ/BVs), Mike Connolly (drums) and Julian Burdock (guitar/vocals/songwriter)
who start with a blues rock basis and then meld a little hip-hop, funk
and soul to produce a pleasing whole.
As a child of the 90's (alright, teenager) the first touchstones that
come to mind are Beck and the Fun Lovin' Criminals at their 'Kings Of
New York'/'Scooby Snacks' best, especially on the hip-hop/blues of 'In
the Summertime'
'Mean What I Say' has a more Northern Soul feel whilst 'Somebody Else'
is a mellow Black Crowes-esque acoustic track with double bass and soulful
vocals. 'Busted Broken And Blue' is new swing and would easily fit on
a Big Bad Voodoo Daddy album.
A slick, well produced collection of genre spanning tunes, plenty to enjoy
and with just enough of their own originality to give them a shot at breaking
through.
Angry Badger Jules
Lisa
De'Ville
Served up in a rather joyous envelope festooned with balloons, the Lisa
De'Ville CD is rather a wolf in sheep's clothing….. if you are looking
for sunshine pop and empty sentiments then look away now, if you have
never had your heart broken then this is a world you will not be expecting.
If on the other hand you are like me and quite prepared to stare the abyss
in the face, you are gonna love this!
Firstly, what a voice, soaring, grandiose, spine tingling, Lisa's range
is truly breath taking. However, as Peter Parker will concur, with great
power comes great responsibility. There is no point having such a vocal
range if you have no songs to hang it on.
Songs are thankfully not a problem, of the 5 tracks on offer there is
plenty to show off her undoubted vocal and song writing talents.
'Darkest Hours' is the central point of the EP and for me is the most
startling moment, surely this is destined to be on a thousand 'break up'
compilations. Slowing building around a faintly menacing acoustic guitar
and strings, 'in my darkest hours I call your name' echoes from the speakers
leaving you in no doubt that this is no made up sentiment, climaxing with
the 'you were my everything' refrain is delivered with increasing anguish,
a dangerous mix of longing and loathing. There is more emotion captured
in this one song than in whole EPs I have heard.
Ending on the slightly more optimistic 'A New Day', once more the majesty
of Lisa's voice is unleashed over a simple melody. Elegant and beautiful,
much like the EP itself.
It is refreshing to find a female vocalist with an indie spirit, like
Joan As Policewoman or PJ Harvey, Lisa De'Ville is a remarkable talent
and a gifted song writer.
Angry Badger Jules
Ten
Kens - For Posterity
First listen and the signs were not good, I confess it did not have my
full attention and like a petulant child, it droned and whined in the
background until I could take no more and I smothered it…..
Returning with a slightly more focused mind set, I was prepared to go
head to head with what is certainly a challenging record. Yes, I appreciate
it is a CD and most of you will no doubt download it, but I say record,
deal with it.
If your sonic pallet is partial to The Pixies, The Horrors or Joy Division
then I am sure you will find plenty here to 'enjoy', if you are looking
for a little more sunshine in your life then I would steer clear, this
is an album for a dark heart.
Opening with the aural assault of 'Johnny Ventura' the product of an ADD
afflicted mind, tempo changes and piercing cries, it is clear this is
not for everyone. 'Back To Benign' is The Pixies on lithium, Dan Workman's
voice tends to veer between Thom Yorke style falsetto and an Ian Curtis
drawl, this is squarely in the Curtis camp. Musically it swells and ebbs
along until it culminates in a pulsing noise…. I quite like it.
When they get the formula right, it is really good, 'Screaming Viking'
and 'Summer Camp' are dark pop songs, the perfect balance of edginess
and a tune.
The headache inducing 'Grassmaster' is somewhere between genius and insanity,
the sound of Therapy? being put through a blender, not musically, literally,
a musical snuff movie with ear shredding screams….
Ending with 'Yellow Peril' and the grammatically challenged 'Can't Not
Be Dark' perfectly sums up the album, at its best it is a thrill ride
but at times it aims a little too high and misses. 'Yellow Peril' begins
with slight guitar and dreamy vocals before experiencing some kind of
mental break down and being punctuated by pained yelps and stabbing guitars.
'Can't Not Be Dark' on the other hand never quite lives up to the potential,
the midway tribal drums feel like the song is about to leap into life
and yet somehow it never quite gets going.
Not one for your X-Factor generation, if Radiohead is a bit 'moody' for
you then leave this well alone, if however you think My Bloody Valentine
is a bit too upbeat, get yourself a copy.
Angry Badger Jules
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