My Bloody Valentine

Loveless

Creation Records

Rating: 4/5

Ok, so I was pretty close to knocking this down to 3/5. Why? Because yes, it's a landmark record: along with Psychocandy by the Jesus and Mary Chain it practically invented shoegazing proper, but the songs aren't always consistent, and let's be honest there are some shit tracks on there. In terms of influence, of course it's a five, and there are some incredible tracks there- 'When You Sleep', 'Come in Alone' and 'I Only Said' still to this day blow my mind when I listen to them. At the same time, however, there are a number of songs I don't care for, either because they strike me as unmelodic, or because they bring little new to the table.

Sonic Youth had already been prominently doing the unmelodic wall of noise for some time before Loveless, so tracks like 'What You Want' and 'Loomer' are uninspiring and a little underwhelming when compared with, say, the utter sonic annihilation that is 'Only Shallow', undoubtedly one of the best songs EVER written. 'Touched' is just frankly a crock of shit, and should not have made the album. 'Sometimes' meanwhile enjoys a frankly bizarre cult status, when to me it's winding, overly long and not that interesting.

So much has been said about this band over the years that I won't burden myself by writing at too great a length, suffice to say that they have become like Sonic Youth; a band that those not in the know namedrop to sound cool. Sad as that is, it necessitates a re-evaluation of this album on the merits of its individual songs. Luckily, between 'Only Shallow', 'To Here Knows When' and 'Blown a Wish' this album is still jaw-dropping enough to warrant its reputation. Turn up your stereo and play 'Only Shallow' and just try, no dare to tell me that shit isn't insane.

Because, as the singer/guitarist in my first band once said to a crowd at a gig, "what we lack in talent we make up for with volume and aggression". Clearly a lesson learned by MBV many years before I was even born.

P.S. Look at how many amps Kevin Shields is using!

Team Sleep

Team Sleep

Maverick Records

Rating: 4.5/5

I thought it was about time to include some trip-hop, so here we are: the loosely trip-hop dark electronic masterpiece that is the first Team Sleep album. From the opening drum loop on 'Ataraxia' you know this is going to be a sensational record, and save for the rap chorus of 'King Diamond' there isn't a bad song on here (although my friend who introduced me to this album swore by that as a great track, so).

After single 'Ever (Foreign Flag)', which showcases Chino Moreno's incredible voice, 'Princeton Review' and 'Our Ride to the Rectory', both suitably slow burning, steal the show; particularly the rhythmic breakdown at the end of 'Princeton', which is just downright cool. In 'Your Skull is Red' and 'Blvd. Nights', the band show their heavier side, and whilst great songs ('Blvd. Nights' in particular, which could very easily be a Vex Red b-side), you kind of feel like they are a little too similar to Saturday Night Wrist to really be the highlights of an album that is clearly about a different vibe to those of the Deftones.

For a combination of those amazing Chino vocals (see 'Ever Since WWI'), sparse electronica ('Tomb of Leigia') and the band's minimalist, left-field rock, look no further than 'Live from the Stage'. Years ago when I played this album to the girl I was with at the time, she pointed this out as the best song on the album, saying it sounded like the band "were playing on the surface of the moon". I can't help but agree. It's huge enough to suggest that the band are 238,000 miles from Earth and still counting. Let's hope that album two, slated for a 2010 release, takes them further into the void.

People in Planes

As Far as the Eye Can See

Wind-Up Records

Rating: 4/5

To begin writing about this record it seems important to point out something I say a lot: there is basically nothing truly original to be done in music these days. To steal from the script of Primer, it's now a case of "taking from your surroundings, and making of them more". At this, People in Planes are an exceptional case. Track for track, this album is of a startlingly high quality, and there is not one weak song on it. Critics of the band will point to their obvious influences, but this belies the fact that it's a great album anyway, and that the list of influences is just diverse enough to make a really great rock record.

So what does it sound like? The opener, 'Barracuda' is very QOTSA, or perhaps first-album Wolfmother; listen and decide for yourself. Track two sounds a lot like Effloresce-era Oceansize. Track three sounds like My Iron Lung EP-era Radiohead, but with a large pinch of some other that is entirely PiP's own. 'Moth' is more of their own style, with a small amount of '2+2=5' in the mix. 'Rush' with Damon Albarn singing could be a track from the tail end of the first Gorillaz album. 'My Black Widow' is almost like something off of A Crow Left of the Murder by Incubus; 'Leech', or any of the moments of heavy riffing that they do post-Morning View. In 'Token Trapped Woman', the album's best track PiP have no obvious comparison, as with 'Falling by the Wayside', 'Fire' and the wicked closer, 'Narcoleptic'. 'Light for the Deadvine' and 'Penny' both remind me of something that I can't place, so maybe it's more of a vibe than an actual direct comparison in my mind; they are great songs anyway.

At this point, I should mention that I once caught this band supporting The Crimea at the Camden Barfly. Opening with a shambolic 'Vader's March' the band played a chaotic set that whilst in terms of stage presence was, well, intimidating in its violence and energy, was musically unimpressive. As a result, I was surprised that when I picked up this album in the reduced section of Amoeba records SF I thought it was awesome. Also, their lead guitarist is really fucking talented, and I always have to give kudos for any guitar player that does something I can't instantly pin down. On this record are some neat sounds and effect tricks that I still haven't worked out how to do myself, and geeky as it is that really impresses me.

In short, like solid alternative rock? Look no further. Like early Oceansize borderline prog/alt rock? Look no further. Impressed by solid songwriting? Look no further. Prefer strong melodies and a more 'pop' sensibility? There's something for you here too. In short, it's a Smorgasbord. If you like any kind of alternative rock, I defy you, having set your prejudices about 'originality' aside, to dislike this record. It fucking rocks.

New Stuff

Live

Andy Needham

Briefcase of Fire

Battle for Prague

Night & Day: 19th January 2010

Right, so I'm ashamed to say I was around the corner in Spoons having a pint when Andy Needham played. I did hear them crack out a tune in soundcheck and what I gathered from that was pleasant piano-cum-acoustic fare, with competent vocals- exactly the sort of thing you'd expect to open a night at a quality venue like N&D.

So then, onto Briefcase of Fire. Taking the stage, it was promising that their guitarist was carrying a Flying V. As soon as they began however I realised that my optimism had been misplaced. Their singer insists on affecting a James Hetfield accent, and their chugging, power-chord driven songs all blended into one, with the possible exception of 'Hair of the Dog' that featured some more mid-career Soundgarden riffing. During their set, they kind of empty the venue, and although we all have to be in a band this bad at some point in our lives, for me it was at age 15, not 20. Bottom line here guys: you aren't very good, sorry. The doctor prescribes a strong dose of band practice and song writing before your next outing, and maybe then it'd actually sound coherent.

Battle for Prague should probably be the ones called Briefcase of Fire, for, good as they are, I can't really discern any obvious influences apart from different Kings of Leon albums. Their singer does do a very good Caleb Followhill, granted, but if this isn't deliberate, then it's surely unfortunate: for their songs are actually pretty good, and the standard of musicianship on display is exceptional (especially when contrasted with the band before. With their penultimate song they break their own rules, upping the the pace and leaving behind the flat Kings sound, managing to produce a quality alternative rock number that hopefully shows the future direction of this band. They've got the talent, all they need now are the songs to make them stand out.

But isn't that the problem that most unsigned bands have?

Better to burn out...

Heard that The Old Romantic Killer Band broke up the other day, gutted. Also, it means I'll definitely be wrong with my 'hot tip for 2010' in HV. Oh well. Is it too late to say that Delphic are going to be massive?

The Skinny Boys

Two Days Old

Self-Released

Rating: 3/5

Liverpool's Skinny Boys are a band I've been following for a while now after I accidentally caught them live in Manchester. On the strength of their early 'Holding On' and 'French Underwear' demos, which were both exceptional (indeed, if it were a single in its own right- A: Holding On/B: French Underwear, I'd give it 4.5/5), I was excited to hear that they were planning a new release. Now remember this: as a rule, I don't like indie rock, so it should show the quality of this band that I'm prepared to sit up and take notice.

'Two Days Old', unfortunately is a little underwhelming compared to their previous efforts; it lacks the staccato buzz of the chords in 'French Underwear' and the bass growl and crunchy, melodic early Radiohead/Pixies leads of 'Holding On'. The riff is a bit 'Banquet' by Bloc Party, but unlike the former, doesn't resolve into anything more interesting, but stays at the same hi-hat heavy disco pulse throughout.

There's been some development in the singing, but that doesn't make up for the fact that it's a less interesting song to listen to. That's no reason to write off this band, however; it's not a bad single by any means- it's just they can do better, and I hope with their next single that they do.


'Two Days Old' is out 12th of April, and the launch party is at the O2 Academy Liverpool on the 14th. On the 26th of February they play the Studio in Manchester.
For more info: http://www.myspace.com/theskinnyboysmusic

Amsterdam

or,

How Coldplay inadvertently defined rock n' roll

'Amsterdam', the last track off Coldplay's second album, Rush of Blood to the Head is still pretty much the yardstick by which I measure a truly timeless song. A lot of people are surprised that I like Coldplay's first two albums (they lost their way with X&Y, although the title track and a couple of others are pretty ace), but they really are pretty close to my heart. I only got into really experimental music long after I was playing it myself- in my teens, it was grunge rock, Radiohead, Muse R.E.M. and Rage all the way. To me, Coldplay, with its relative sparseness and simple, reverb-laden guitar melodies, was from another planet- it was the reason i first bought a delay pedal, in any case, and it's that path that eventually led me to Shoegazing as a genre.

But enough autobiographical babble. What's the deal with this song? From the first reverb-drenched burst of noise, it makes my blood run cold. Just the combination of Chris Martin (let's forget personalities here, and focus on the music) and a piano, simple, almost childish lyrics about losing the plot- "I swerve out of control" and being out of love "my star is fading/I see no chance of release/I know I'm dead on the surface/but I am screaming underneath" are universal enough that anybody at some time in their life can connect with them. We all feel completely shat on sometimes, and then, just when you're crushed by just how fucking depressing this song is, it all comes together.



At 3:58 the drums and guitar come in. Guitar chords with mild delay and overdrive, played Ramones-style, entirely in downstrokes; it's an aggression that absolutely breaks the bonds of what came before it. Most other bands I listened to at the time, or since, would have had to create a wall of distortion and start shouting to get the same impact, but with Coldplay it's something as subtle as playing in downstrokes; Chris Martin doesn't even alter his delivery one bit, knowing that the words will do the work for him:

Stuck on the end
Of this ball and chain
I'm on my way back down
Stood on the edge
Tied to the noose
Sick to the stomach
You can say what you mean
But it won't change the scene
I'm sick of the secrets
Stood on the edge
Tied to the noose
But you came along
And you cut me loose

Feel free to call me a schmaltz-loving freak with no taste, I don't care. If you can't lose yourself in that when it's on your stereo with the volume turned all the way up, then you'll never understand rock n' roll.

From the Vault....

The Aliens

Live at Barfly, Camden

2006
Rating: 5/5

The first gig I ever went to was The Beta Band at Shepherd's Bush Empire on their farewell tour, so having already seen Steve Mason's King Biscuit Time earlier in the year at Cargo (highlight: a crooner cover of 'Anarchy in the UK'), it seemed right to pay the other post-split musical project its due. Being underage and poor, a dumped refrigerator across the road neatly hid a bottle of vodka, and the evening was on track to be a good one.

What follows is rather a blur, but what I do remember was this: blissful psychedelic pop, an energetic audience and a band just finding their feet as a live entity. Gordon Anderson's vocals did not cut as well as when I saw them (years later) at Academy 3, but he was still ironing out the creases, so that's ok.

Highlights of the set were 'Setting Sun', 'Only Waiting', which descended into a huge jam session, and 'Robot Man', which had the whole crowd dancing. I, for my part, being underage decided play it inconspicuous and was robotting drunkenly on stage with the band. Whether or not they appreciated it, it's still the only stage invasion I've ever been a part of, and it seems fitting that it was in such a euphoric setting. I can honestly say that this was a gig I will remember for the rest of my life.

R.E.M.

New Adventures in Hi-Fi

Warner Bros. Records

Rating: 4.5/5

From the beginning of the tom-dominated drum riff and percussive piano of the Dire Straits-esque 'How the West Was Won and Where it Got Us', it is evident that this album is going to bear a different feel to R.E.M's efforts up to this point. Written largely on the road, the album cover is a black and white picture showing nothing but barren desert as far as the horizon, the skyline neatly broken by an outcrop of rock in the centre. Indeed, this image both informs and frames the album; it is the context by which this expansive collection of songs can be understood.

The production of this album, along with the writing itself is a subtle departure from the radio-friendly of Monster and Automatic for the People. Whilst still being distinctly R.E.M.'s trademark jangle, somehow this is bigger, more substantial. The sound of a band lost in an empty landscape of nothingness and trying to occupy it with something of their own creation. In any case, it's a huge sound, more anthemic than before, and in an empirical sense at least measurably longer. The album is over sixty-five minutes long, and few of the songs clock in at less than five each. 'Leave', the album's highlight and centrepiece, is over seven minutes long alone. From 1:01 when the drums kick in it's an unstoppable landslide of a song, the incessant sample at its core keeping the mood tense while the music builds around it to a release that even today I feel in the same way that I did when I first heard it (as a hormonal fifteen-year old).

In 'E-Bow the Letter' and 'New Test Leper', Michael Stipe has two of his finest lyrical contributions to the band's repertoire- "when I tried to tell my story/they cut me off, took a break/I sat silent five commercials/I had nothing left to say", and in the more bluesy rock of 'So Fast, So Numb', 'Undertow', and 'Low Desert', Peter Buck manages three of the most confident guitar-led tracks as well. Between tracks like these and the more acoustic opener, 'How the West Was Won...', 'Bittersweet Me', and closer 'Electrolite' there's a lot of variation on offer, all held together by the overall vibe of the album. For a time as a teenager, this album sat next to Battle of Los Angeles by Rage, Metallica's Black Album, Radiohead's The Bends, Muse's Origin of Symmetry, Nevermind and Coldplay's Rush of Blood to the Head as how I defined rock music. Although my definition has changed since then, however I choose to define it this fantastic collection of songs still belongs there.

Exeter

Grey Noise, White Lies

Engineer Records

Rating: 3.5/5

Exeter are a very frustrating band. After their Intra Venus EP, and in particular the strength of the songs 'Pris' and 'Guerra' which spent literally months at the top of my iTunes most played, I was delighted to hear they had a full-length planned. After hearing a preview in the form of the excellent 'Red Dress' featured on Dan Goldin's Exploding in Sound: Bands You Need To Know 2009 compilation, all Exeter had to do was produce an average album and I would have gone apeshit for it. What they did was produce the most underwhelming record of my year.

This is doubly disappointing for two reasons: firstly, the fact that the best songs on the album are truly sensational, and suggest how incredible this record could have been if it were more consistent; secondly, because there are enough of these tracks to make up an EP worth of songs. An EP that, I daresay, would garner an easy 5/5 score from me.




So anyway, to those of you that haven't heard of Exeter, the lowdown is this: a self-branded 'space rock' band that actually play alternative rock somewhere between Deftones, Failure and Radiohead, with some art-rock and proto-shoegaze pretensions. When it works, it's spine-chillingly good. When it doesn't, it's just a set of guitar chords with more meat than melody that fail to capture the imagination.

The EP worth of top-drawer tracks runs thus: 'Bittersweet Vanity', 'The Romantic', which has a chorus that actually might reach escape velocity, 'Red Dress', 'Window' and 'Numb'. 'Everyday Parade' gets an honourable mention, as I like six-track EPs, and although a solid 4/5 it's just good enough to sit with the above tracks. Essential listening: 'The Romantic' and 'Red Dress'. Better luck next time, guys.