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CD Review: Lost Calm - Untitled

info@leedsmusicscene.net (Jessica Thornsby) — Sun, 12 Jul 2009 12:03:53 +0100

The debut EP from Salford five-piece Lost Calm gets the balance right between choruses that are big and brash enough to fill arenas, and the sharp, emotional edge that makes all that noise feel personal to you.

EP opener 'Clocks Scream' sets out its 'aspiring stadium rock' stall early on, with an introduction of beautifully moody guitar-plucking, and hypnotically undulating vocals from frontman Wayne Welch. When his voice veers suddenly into those big, ballad highs, drenched in echoing backing vocals, it's guaranteed to give you the shivers. And then, in a move that's been pulled a million times before but never gets old, in sweep the crashing guitars, drum rolls and "whooooa, ooooooh" backing vocals. You can easily imagine this racket smashing through an arena-sized speaker stack.

The chorus is where Lost Calm introduce us to their winning, stadium ballad formula. Churning out a storm of guitars and thumping drumbeats, shot through with a sharp, heart string-bothering riff, Lost Calm deliver both the big, stadium ballad sound, and the emotionally-charged hook, giving this arena-sized racket a poignant edge. The perfect antidote to all those soulless, paint-by-numbers, arena-rock songs.

Where 'Clocks Scream' goes wrong, is relying too heavily on the chorus. Together with a few instrumental passages and an extended bridge section, it makes up roughly ninety percent of the song. There aren't enough quieter, more lyrically-driven sections, to make 'Clocks Scream' feel like a fully-formed tearjerker. It makes all the right noises, but, in the end, there aren't enough words to back it up.

'Kill The Light' continues Lost Calm's apparent mission to be crowned kings of the intro, easing us in with some light, mournful guitars, before dragging in a storm of churning bass and foot-stamping drums. However, 'Kill The Light' is sprinkled with sharply-plucked chords, which turn it into big, brash, glittering stadium rock that makes a clear play for the heartstrings.

This time Lost Calm do offer some variation, in the form of sassy, drum-led verses, which keeps the spangly-edged choruses feeling like an emotional sucker punch, and less like more of the same. The only problem, is that Welch isn't the world's strongest vocalist, and his vocals are occasionally lost in 'Kill The Light's rowdier moments.

'Suicide Soul' is, thankfully, not a dodgy emo song, but another skyscraper of sound, and another intro that'll have you desperate to hear the rest of the song. The time, the introduction shows a more angular and innovatively catchy side to Lost Calm, as deep, glugging drumbeats rumble along to a stop-start rhythm that'll have you twitching along. Lost Calm seem to know when they're onto a winner, and those hitching drum-flourishes also form the base of the equally catchy verses.

The combination of pared-down, drum-led verses and blustering stadium rock choruses, is a formula that works for Lost Calm. However, in this instance, 'Suicide Soul' is lacking that all-important lamenting riff at the centre of the chorus' squall, meaning that is one Lost Calm song that's more about making noise, than moving the listener.

This three track EP is particularly promising, as it puts forward a winning formula of stormy verses that have, at their heart, one guitar line designed to wrench at your heart strings; and quirky, drum-led verses. While none of these songs have what it takes to become your next favourite tearjerker, you can imagine Lost Calm putting out something that's genuinely moving, if they carry on like this.

Read more about the featured bands: Lost Calm.

Read more from this author: Jessica Thornsby.

CD Review: We Were Promised Jetpacks - These Four Walls

info@leedsmusicscene.net (Sean Collison) — Sun, 12 Jul 2009 11:50:17 +0100

Being based in the same city, Glasgow four piece We Were Promised Jetpacks are guaranteed to draw comparison with label mates Frightened Rabbit. Indeed, they cite them as an influence, along with fellow Scots, The Twilight Sad and Biffy Clyro. From the outset of this, their debut album, it is clear they aren't quite as complex as Frightened Rabbit, yet they manage to retain the passion of their countrymen, without the use of horns or strings.

Opener 'It's Thunder And It's Lightening' manages to convey the energy that sets them, and this album, above many of their indie four piece contemporaries. Even the opening minute or so, where only a guitar and singer Adam Thompson can be heard, grabs the attention, and as it draws to its thundering conclusion you are left stunned that four guys can make quite so much noise.

The frantic pace is carried through 'Ships With Holes Will Sink' and into the insanely catchy 'Roll Up Your Sleeves,' which could easily do well if it got the airplay it deserves. Even the chilled out 'Conductor' and the beautiful 'This Is My House, This Is My Home' manage to keep you enthralled as the music builds up, until single 'Quiet Little Voices' throws the listener straight back in to the manically crashing guitars of the opening tracks. Perfectly frantic guitar pop.

'These Four Walls' doesn't hold the same ideals of lyrical focus as the likes of The Midnight Organ Fight. This isn't to say Thompson's lyrics are poor, in fact they're excellent, they suit the context of the music perfectly, tending to be blunt and to the point. "The chances of being born/are so slim/so keep warm, so keep warm" he calls on the epic, eight-minute guitar anthem that is 'Keeping Warm.' It's the one track that really shows the band recall the influence of the label mates previously mentioned - even along the lines of an indie Sigur RUs, who also once made camp with FatCat records.

Closing with the gorgeous 'An Almighty Thud,' 'These Four Walls' sets these four Scottish lads up as far more than the indie, simpler version of their label mates Frightened Rabbit, or the Arcade Fire-esque 'Broken Records.' A fantastically frantic, yet brilliantly heartfelt debut.

Read more about the featured bands: We Were Promised Jetpacks.

Read more from this author: Sean Collison.

CD Review: I Remember Tapes - C45

info@leedsmusicscene.net (Jessica Thornsby) — Sun, 12 Jul 2009 11:34:20 +0100

Winchester four-piece I Remember Tapes release three track EP 'C45,' a mix of spiky indie riffs, lo-fi fuzz, and rock guitars.

EP opener 'All I Know' is energetic indie-rock with an emphasis on the rock, and a handful of sharp hooks. One such hook, is a hitching guitar line that narrows to an impossible-to-ignore point, which will get lodged like shrapnel inside your head. Similarly, the lead-up to the chorus takes a backdrop of slick, rumbling drumbeats and cuts them up with wickedly sharp riffs, in an attention-grabbing contrast.

However, as soon as 'All I Know' hits the chorus, it all falls apart, as I Remember Tapes mistakenly think that layers of broken glass riffs, is dramatic. Actually, in this instance, all those harsh riffs bristling aggressively out of your speakers, is just uncomfortable to listen to. Scouring away a few layers, or taking off some of that abrasive edge, would have ensured the whole of 'All I Know' was an enjoyable, indie-rock helter-skelter, with riffs that claw for your attention, rather than make your ears hurt.

Thankfully, the other two tracks, 'Cold' and 'All I Know' both boast fantastic choruses. In the case of 'All I Know,' this takes the form of a blast of snarling guitars, that feel particularly invigorating after the stop-start verses. Frontman Tom Ferry ensures this riotous chorus makes an even stronger impression on the listener, by picking up the tempo during the pre-chorus build up, ensuring 'Indecisive' has your full attention ready for when the riffs kick in.

With the epic-tinged riffing of 'Cold,' I Remember Tapes prove that they can deliver choruses of crashing, multi-layered guitars, without any unpleasant edge, ala 'All I Know.' Tom Ferry's vocals are a perfect match for the soaring guitars, as he hollers out those big notes to his own, stylishly stomping rhythm, making 'Cold' one dramatic arc of sound that'll both sweep you along, and get stuck in your head.

The verses follow suit, and are catchy and urgent in equal measures. A skittering backing beat keeps the song hurrying along, while a perfectly formed guitar line of pulsing chords and hooky slide-guitar, shimmies through the verses. That slide-guitar note in particular, will be impossible to remove from your frontal lobe.

I Remember Tapes brings a splash of urgency to 'C45' with 'Cold,' and it's easily the best song on the EP.

'C45' has spiky indie guitars aplenty, but is actually more enjoyable when I Remember Tapes break out the noisier, rock and roll riffs. 'Cold' is a heady, indie-rock stomp that deserves to be heard and, together with the harder-rocking chorus of 'Indecisive' it just might convince you that I Remember Tapes have the makings of a great rock band.

Read more about the featured bands: I Remember Tapes.

Read more from this author: Jessica Thornsby.

CD Review: Josh Lees - Faith In A Box

info@leedsmusicscene.net (Jessica Thornsby) — Sun, 12 Jul 2009 10:59:14 +0100

The most impressive thing about Bradford-based Josh Lees' debut album, is his ability to tweak the usually restrictive acoustic pop formula, to give each song its own distinct character. Although this is more prominent in some songs than in others, this is overall one of the more varied and interesting acoustic-dominated albums. By the end of the eleven tracks, you won't be completely sick of the sound of an acoustic guitar clattering away, which is a definite achievement.

The sunny acoustic pop of album-opener 'Safe In The Harbour' is guaranteed to brighten your day. Josh Lees strums away enthusiastically, putting an infectious spring into this song's step. Lees' lyrics are a perfect blend of down-to-earth frankness and optimism, that'll lift your spirits, without making you feel nauseous.

There are a few minor missteps, though. Lees attempts a holler on the chorus that's audibly difficult for him to reach, and is consequently a little uncomfortable to hear. The other problem, is one that occurs throughout the album, and it's the questionable female backing vocals, which add absolutely nothing to three of the four songs they occupy. They're only taking up space on the funky 'My Mind,' and on both 'Power of a Moment' and 'Safe In The Harbour' the vocalist's attempts to sound ethereal and delicate, actually sound vaguely squeaky and annoying. In all three instances, they muddy the waters and distract from Lees' far superior lead performance.

Thankfully, the female vocals do contribute something, during their final appearance on breathy ballad 'I'll Be With You.' The opening duet of Lee and that delicately-voiced backing vocalist, played over crystal-clear guitar picking and shimmering riffs, is an album highlight. Once the drums are introduced, some of that hush-inducing atmosphere is lost, although, when the female backing vocalist makes her presence felt on the chorus, 'I'll Be With You' once again becomes hypnotically beautiful.

Beyond the dodgy female vocals, 'My Mind' doesn't feature any killer hooks or infectious moments. Instead, it relies on ingenious breaks and changes in tempo, to toy with listener expectations and keep them interested. At several points, the music breaks off for a blast of solo vocals, and you'll be convinced that 'My Mind' is about to kick into second gear. It isn't, it just wanted to get your attention. Similarly, the changes in tempo are all subtle enough to not upset 'My Mind's casual, summery swing, but, together with those breaks, they'll keep luring your attention back to the song. 'My Mind' will have you hooked.

Second track, 'Faith In A Box' is where it first becomes apparent that Lees is on a mission to make acoustic music interesting. It has such an infectiously springy beat, that you'll be torn between clapping and bouncing along - and will probably settle for doing both, simultaneously. The buoyant drums are given that extra boost, thanks to a perfectly-placed, twangy chord, which makes that bounce pretty much irresistible. Lees' vocals are the likeably casual foil to those rollicking drums, and hearing a young man singing openly about his faith, makes a refreshing change in today's music industry.

'Power Of A Moment' and 'Logo's Home' both have a fuller, more mature sound. In the case of 'Power Of A Moment' this is thanks to a cello that rumbles through the standard acoustic guitar clatter, and in 'Logo's Home' a few blasts from a trumpet help to keep things interesting. Both songs are a nice contrast to the one-man-and-his-guitar feel of tracks like 'Safe In The Harbour.'

The first minute of 'Take A Chance,' mixes up the traditional acoustic rattle with so much slide-guitar, that it has character to spare. However, eventually the guitars do slip into that standard clatter and, while there's nothing technically wrong with it, we've heard it all before on this album. The drums are also a problem, as the vigorous drum rolls work against the rest of the song, and in particular Lees' vocals. This is also a problem for the drum-led 'Burnt Out,' where the rolling and rumbling drumbeats and sudden, exaggerated flourishes, are in stark contrast to Lees' casually winding vocals. 'Burnt Out' is one of those songs where the different parts don't really fit together.

'Morning Blue Sky' features a very neat interplay between Lees' jazzy vocals, flicks of the acoustic guitar, and twitching drumbeats. It's an irresistibly well put-together song that'll have you coming back for more. 'Your Own Way' has the beginnings of an equally great hook, in the form of some extreme slide-guitar that bends back and forth across the chorus. It's so mind-numbingly repetitive, that it'll got lodged in your frontal lobe and hang around there for days, after the very first listen. However, it is placed slightly too high in the mix, meaning that it runs the risk of irritating the listener so much, they'll never, ever want to play 'You Own Way' again. Placing it beneath other elements of the song - in particular, Lees vocals - would make it less annoying, and more annoyingly catchy, and increase the chance of repeat listens.

An entire album's worth of rather basic, acoustic-based material, may not sound particularly interesting, but Josh Lees puts several different and exciting twists on the classic, acoustic pop sound, and most of these songs have their own distinct character. Album highlights 'Safe In The Harbour' is a ray of cheery, poppy sunshine, and 'Faith In A Box' is a thought provoking song. One of the rare acoustic guitar albums you could perhaps listen to in its entirety, in one sitting.

Read more about the featured bands: Josh Lees.

Read more from this author: Jessica Thornsby.

CD Review: Valleys - Ghost

info@leedsmusicscene.net (Jessica Thornsby) — Sun, 12 Jul 2009 10:37:24 +0100

The debut EP from Leeds' Valleys, mixes indie and rock with prominent Euro-pop synths, to mixed results. The strongest track is EP opener, 'Ghost' which alternates between verses of standard indie cool, and shamelessly cheesy choruses that bristle with naff-but-enjoyable hooks.

The indie-centric verses bring together loose, winding guitars and languidly casual vocals, against a backdrop of skittering drumbeats. It's the sort of slick, mildly catchy indie-rock that's been done a million times before. Consequently, it won't make all that much of an impact on the listener. Thankfully, the chorus more than makes up for those technically pretty good, but unexciting, verses, as 'Ghost' comes over all Euro-pop. Buzzsaw synths trill away beneath Valleys' angular indie vocals in a very kooky combination, before that synth launches into a full-on Euro-pop assault that'll have you completely hooked. And Valleys seem to know when they're onto a good thing, cramming in the cheesy synths for an end-section that's a pure, synth-pop sugar-rush. The choruses and end-section aren't particularly cool, but they're what makes 'Ghost' such great fun.

The main problem with second track 'Rise Above,' is that the vocals are overpowered by the music. You'll be straining to hear them, particularly during the choruses and the bridge section. This wouldn't be such a problem, if this indie/synth-pop mash up was half as surprisingly addictive as 'Ghost.' Sadly, it's lacking that final, irresistible hook that'd draw you into 'Rise Above's bubbly, synth-pop depths. The choruses bounce enthusiastically along, and the whole thing is fizzing with cheerful synths, but the lack of a strong vocal presence means most of 'Rise Above' plays out at the same level.

Initially, you won't be sure what to make of 'To Be.' It lurches to life with a combination of Valleys' best Euro-pop synths, twinkling chords and knocking percussion. Chances are, you'll be waiting for the guitars to kick in and 'To Be' to begin in earnest. Instead, their frontman starts singing and, although Valleys bulk up their sound with a smattering of growling guitars halfway through the verses, that's pretty much your lot until the chorus. It's such an unexpected approach, and the synth that makes up the meat of the song is so unashamedly cheesy, that 'To Be' just about gets away with it. While it isn't a patch on 'Ghost,' it's strangely impressive how Valleys manage to make this song work.

The instrumental accompaniments may be bare minimum, but Valleys go one step further and relegate them to background noise for the vocally-driven, vaguely trippy choruses. Again, it shouldn't work, but Valleys manage to get away with it, before they launch into a short instrumental that's a sublime and understated swirl of synth-pop.

'To Be' isn't the strongest track on this EP, but it's so unusual, it just might be the one that sticks in your head.

EP closer 'Silver' takes growly indie-rock guitars and slaps some very retro gaming sounds over the top. It's guaranteed to secure your full attention and, like 'To Be,' it isn't a song you're likely to forget in a hurry. However, you'll wish Valleys had just taken the edge off those cheerfully in-your-face, SNES synths, because you'll struggle to hear anything else. Smoothing out the synth's harsh edges, would probably make 'Silver' feel more like a coherent whole, whilst still retaining the quirkiness the synths bring to the table. As it is, 'Silver' sounds like an indie-rock song with a retro computer game soundtrack played over the top.

The verses more effectively bring together the synth-pop and indie extremes of Valleys' sound, mixing shuffling guitars and drums with a faint whisper of cheesy synths in the background. 'Silver' has the makings of a great, quirky indie-pop song, with a little tweaking.

Valleys certainly have a unique formula, and 'Ghost' is a prime example of just how well it could work. One listen, and this is a song that'll be tormenting you for days. The other three tracks, hover around the indie/alt-pop mark, but never quite get it spot on, although 'Silver' and 'Rise Above' come close.

Valleys' blend of indie and cheesy pop occupies a niche, and EP opener 'Ghost' is the perfect introduction to their sound.

Read more about the featured bands: Valleys.

Read more from this author: Jessica Thornsby.

CD Review: Amadou & Mariam - Masiteladi

info@leedsmusicscene.net (Tom Keighley) — Sun, 12 Jul 2009 10:24:43 +0100

The majority of you will wince at the very mention of 'world music,' and I don't blame you one bit.

'Masiteladi' is the latest single from Amadou & Mariam, a blind couple from Mali who seem to have simmered away under the radar with two albums and the grace of Damon Alburn. This is far from your usual African roots fair, though. 'Masiteladi' is a striking blend of traditional African music and western pop essentials. The sound is a whole lot tougher than the tiresome djembe drumming affair with churning process beats and a fiercely dirty, treble guitar lick. Unable to understand the lyrics, you can still appreciate the sense of urgency in the vocal lines and a projection of deep, dark intensity is made. It's bluesy, but of a different kind. The Rob da Bank remix on the flipside isn't up to much, but the Mo Dj alternative is certainly more electrifying.

Read more about the featured bands: Amadou & Mariam.

Read more from this author: Tom Keighley.

CD Review: Bap Kennedy - Howl On

info@leedsmusicscene.net (Chris Audsley) — Wed, 08 Jul 2009 16:27:12 +0100

With friends like fellow Belfast born Van Morrison and over thirty years in the music industry, singer-songwriter Bap Kennedy has a sound musical pedigree, even if his name doesn't sound familiar.

'Howl On' is Bap Kennedy's fifth studio album and the first to be recorded in his native Northern Ireland, although the cool country feel is more Nashville than County Down. Opening track 'America' tells you everything you need to know.

The most famous song on the album is the superb cover of 'Hey Joe.' More upbeat than the Jimi Hendrix version, it's breathed new life into a song that's been around for nearly fifty years. Although it's a great track, it's not the best song on the album, that title goes to 'Cold War Country Blues.' The lyrics to the song are brilliant: "you better get it right John Kennedy \ 'Cause if you get it wrong they'll drop the atom bomb." The tempo is perfect. It's only using a standard country structure but it's just so enjoyable. Throw in 'One Of Those Days' and you end up with a good time country soundtrack.

The album also shows a softer side to Bap Kennedy's song writing, but with mixed effect. 'Right Stuff' and 'Ballad Of Neil Armstrong' are nice and relaxing. 'Irish Moon' is a tribute to life growing up in Northern Ireland, while the title track pulls on the old heart strings. Then there are a couple that don't quite catch one's attention; 'The Blue One' and 'The Heart Of Universal Love.'

On the whole the album has a great folk / country feel to it. It's very laid back and extremely enjoyable.

Read more about the featured bands: Bap Kennedy.

Read more from this author: Chris Audsley.

CD Review: The Maccabees - Wall of Arms

info@leedsmusicscene.net (Sean Collison) — Tue, 07 Jul 2009 16:00:08 +0100

In the indie explosion of 2006, The Maccabees' debut 'Colour It In' was a glorious highlight of intelligent, frantic guitar pop amongst a rabble of mundane albums. One of the few records that managed to retain attention beyond a month or two after its release among the critics, not just on Radio One. 'Wall Of Arms' marks a return for the Brighton/London five-piece, showing they have easily enough about them as a band, to rise from the ashes of the long gone scene they sprang from.

As opener and single 'Love You Better' kicks in, it's clear the band have evolved into something far beyond guitar pop. Riffs focused at the high end of the fret board remain, but they rumble along, unlike the frantic staccato found on the likes of 'X-Ray' or 'Lego' from the band's debut. It's more anthem-like than the catchy, energetic first record.

That's not to say it isn't full of rousing verses and massive sing-along choruses. Despite the apparent, if subtle, change of sound, the band retains the care they poured into their debut. Every track is so wonderfully and perfectly crafted, from the grand riffs of 'Can You Give It,' to the epic thundering drums rolls of 'No Kind Words' to gorgeous closer 'Bag Of Bones.' Combining the chaos of 'Colour It In' with maturity and genuine musical brilliance, they create some of the potential anthems of the year in 'Young Lions' and 'William Powers.'

In the same way, frontman Orlando Weeks has evolved his lyrical approach, retaining the heartfelt nature of his previous work and entwining it with the same maturity. Lyrically, it's darker and cleverer than many of the records that 'Wall Of Arms' is likely to be mentioned alongside of. From the insightful "So pride aside I clear the air / and sweet smells they followed there / that's compromise sweetheart," on 'Kiss & Resolve' to the desperately impassioned "When there's a devil in the doorway / Heaven in the hallway / say you still adore me" on the epic 'One Hand Holding,' Weeks proves his worth as one of the great young lyricist of recent times.

'Wall Of Arms' lifts The Maccabees head and shoulders above those they first surfaced with in late 2006. It's grand, it's beautiful, it's perceptive, and there's plenty of evidence to prove this is only the start.

Read more about the featured bands: The Maccabees.

Read more from this author: Sean Collison.

CD Review: Metric - Gimme Sympathy

info@leedsmusicscene.net (Jessica Thornsby) — Sun, 05 Jul 2009 10:33:14 +0100

Latest single from Toronto electro-pop outfit Metric, is pretty much exactly how The Birthday Massacre would sound, if they cheered the hell up. As always, charismatic frontwoman Emily Haines vocals are breathy and sweet, and it's impossible not to be drawn in by their charms.

'Gimme Sympathy' is a perfect, electro-pop gem that builds from shiny and subdued beginnings, to a trance-tinged chorus, without ever sacrificing that sense of sublime euphoria Metric do so well.

Blissful and gently uplifting electro-pop at its finest.

Read more about the featured bands: Metric.

Read more from this author: Jessica Thornsby.

CD Review: Future Of The Left - Travels With Myself And Another

info@leedsmusicscene.net (Sean Collison) — Fri, 03 Jul 2009 17:52:11 +0100

"C'mon Rick, I'm not a prize!" Andrew 'Falko' Falkous screams as the Welsh band's sophomore effort thunders into being, and the sound of a band keen to throw off labels harking back to previous groups (see Mclusky. Or rather, don't do anything until 'Travels...' finishes) simply doesn't stop. For the next half an hour or so of your life, Future Of The Left will force down your ears twelve of the most organised, chaotic, inspired, innovative and insightful tracks you will hear this year.

Between the end of opener 'Arming Eritrea,' and 'Chin Music,' there is time for two drumbeats before Kelson Mathais' thundering bass crashes back onto the record. Even the slower 'The Hope That House Built' and 'You Need Satan More Than He Needs You' are epically heavy, never mind the likes of the frantic 'Land Of My Formers' or 'I Am Civil Service.' Tracks that make you want to ring up ten of your friends, turn your stereo up as loud as it will go, and trash your house for the hell of it. Then go and start a revolution. Even closer 'Lapsed Catholics,' which begins with various loops of an acoustic (yes, acoustic) guitar, manages to evolve into possibly the heaviest riff on the record.

Then you listen again (and you will) and you begin to realise the exquisiteness of Falko's lyrics; they hold their own against the critically acclaimed of his generation. He is just as witty, just as insightful, and the fact that 'Travels...' doesn't even come close to focusing on them makes them, and the album as a whole, even more brilliant. From the pained "I only hit him 'cos he made me crazy/I only hit him 'cos he made me mad" in 'Chin Music' to the perceptive "rationalise your own revolution, it can be easily compressed, without the young and the desperate, there won't be anyone left" in 'That Damned Fly.'

It doesn't matter what you've heard before, 'Travels...' is cleverer, sharper and rocks harder. Issues surrounding African revolutions, Rupert Murdoch and Satan worship swirl through the air throughout the course of this stunningly astute record. Just over thirty minutes of pure brilliance that will undoubtedly be roundly ignored by the majority of those who get to voice their opinions. "Come join our lost cause" Future Of The Left chant on 'The Hope That House Built.' I'm there in an instant.

Read more about the featured bands: Future Of The Left.

Read more from this author: Sean Collison.