Lullaby Magazine

Top 21 Albums of 2008

2009-01-23T06:38:00.000-08:00

5. Cut Copy - In Ghost Colours

Wow, is mostly all I can muster up when I think of these guys. Four years later after a solid debut they drop this little sophomore album and bang, household name, and don't they just know it. Besides all the semantic bullshit and whatnot, what a fantastic record. I wonder if Bernard gets confused when he hears these guys on the radio.

Key Tracks - So Haunted, Feel the Love, Out there on the Ice

4. Stephen Malkmus & the Jicks - Real Emotional Tracks

Album number four, and easily Malkmus's most jamset record yet and everything you could ask for in a record.

Key Tracks - Gardenia, Dragonfly Pie, Hopscotch Willie

3. Deerhunter - Microcastle

Well hello again Bradford Cox. Following up on 07's masterpiece yes I said masterpiece Cryptograms, released only a few months after the Atlas Sound record, Microcastle not only arrived with a bang but expanded their fan base even further. This record is departure from the 07 release, focusing on a more poppier sound than noisy landscapes. While it doesnt touch on Cryptograms it was easily one of the best albums of 08.

Key Tracks - Agoraphobia, Nothings Ever Happens, Never Stops

2. Plants and Animals - Parc Avenue

In my opinion, these guys have crafted such a fine set of songs, a debut album putting most professionals to shame. The tracks seem so effortlessly put together and never get tired and are fresh everytime you listen to them. From chugging guitar lines to wonderful harmonies to laid back rhythms to choirs. Get ready 2009 these dudes are coming for you.

Key Tracks - 1 - 11

1. M83 - Saturdays=Youth

It took me awhile to figure out number one, but really after a short time of contemplating there really was no other answer. Anthony Gonzalez breaks through with a brilliant set of songs. Im still unsure whether this will be his masterpiece or not but it's definitely the album where everyone started noticed. Whether it's a nostalgic feel of the 80's or just the fine songcraft and electronic aspects combined with the gaze, the album works on so many levels and continues to astonish and impress listeners everywhere.

Key Tracks - Skin of the Night, Couleurs, Highway of Endless Dreams

Top 21 Albums of 2008

2009-01-23T06:10:00.000-08:00

10. Constantines - Kensington Heights

Rock and Roll is what these guys do best and they continue to do it well.

Key Tracks - Hard Feelings, Trans Canada, Life or Death

9. Thee Oh Sees - The Master's Bedroom Is Worth Spending A Night In

A really fine garage rock record with a bit of psych thrown in for good measure, I was immediately impressed with this record on first listen and continues to impress me over and over.

Key Tracks - Two Drummers Disappear, The Coconut, Graveyard Drug Party

8. Nick Cave & The Bad Seeds - Dig!!! Lazarus Dig!!!

In all honesty, I'd call this my first Nick Cave album, the first i've paid the most attention to and most i'm familiar with, but that will change soon enough. Keeping in toe with the sound from latest project Grinderman, Cave and the Seeds create a rock and roll ominous atmosphere as Cave snarls his way from start to finish.

Key Tracks - Albert Goes West, Night of the Lotus Eaters, We Call Upon the Author

7. Brightblack Morning Light - Motion to Rejoin

What a record, seemingly went a little under the radar. From beginning to end the album keeps itself swallowed in constant haze. Everytime I put this record on I get internally excited.

Key Tracks - Gathered Years, Hologram Buffalo, Oppressions Each

6. Hold Steady - Stay Positive

Rock and Roll mofo's! Four albums in and Mr Finn and the boys still have it. This album mixes it up a little with some new instrumentation and at first I couldn't see it working, but it does, from one enjoyable track to the next.

Key Tracks - Joke About Jamaica, Navy Sheets, Sequestered in Memphis

Top 21 Albums of 2008

2009-01-23T05:38:00.000-08:00

15. Shearwater - Rook

From beginning to end, this is one captivating record. Rook is Jonathan Meiburg coming into his own.

Key Tracks - Rook, Snow Leopard, Century Eyes

14. No Age - Nouns

Still raw but a vast upgrade in production since 07's Weirdo Rippers. From the beginning Randall and Spunt toss out energetic pieces of throw back punk and grunge, it shouldnt work but it does.

Key Tracks - Miner, Cappo, Sleeper Hold

13. British Sea Power - Do You Like Rock Music?

Rhetorical or not, I was compelled to listen to this album for title alone. Always a passing fan of the band - none of their material really ever stuck with me, but three albums in they create a career defining album. Magnum opus? maybe, hopefully. Rock and Roll is alive in 2008 with the likes of bands like this. So yet again the question posed, Do I like Rock Music? Silly question.

Key Tracks - Waving Flags, No Lucifer, A Trip Out

12. TV on the Radio - Dear Science

I still don't think this album is even close to any kind of masterpiece, but boy they are still in fine form. The album doesnt flow as great as it could of but there's quality strewn throughout. Doesnt impress me as much as their past two outings but still great stuff.

Key Tracks - Dancing Choose, Red Dress, Halfway Home

11. Atlas Sound - Let the Blind Lead Those Who Can See but Cannot Feel

Is there anyone making better music right now than this guy? I'm not exactly what you'd call a Bradford Cox fanboy, so I hardley ever check out all his random material available. BC calls this his solo project which is a slight departure from the Deerhunter sound. At first this album took it's time to show itself but after listen upon listen the magic began to reveal itself.

Key Tracks - Recent Bedroom, Quarantined, River Card

Top 21 Albums of 2008

2009-01-23T04:51:00.000-08:00

21. Blitzen Trapper - Furr

The quick follow up to 2007's Wild Mountain Nation, it may not surpass the quality of that record, but the band continue to write great quirky folk-rock songs.

Key Tracks - Gold For Bread, God & Suicide, Fire & Fast Bullets

20. Mogwai - Hawk is Howling

This album took awhile to sink in, but once it does, it is one fantastic record.

Key Tracks - Batcat, I'm Jim Morrison I'm Dead, Scotland's Shame

19. Thomas Function - Celebration

Whimsical rock record from a band that wear their influences upon their sleeves with plenty of hooks and plenty to get excited about, hopefully they get more noticed this year.

Key Tracks - Relentless Machines, 2012 Blues, Conspriacy of Praise

18. Crystal Stilts - Alight of Night

These dudes released an e.p early 08, showing alot of promise before releasing this bombshell. Call it the what, 4th? 5th? coming of Jesus and Mary chain, it doesnt matter - this is a fine collection of distortion filled pop tracks.

Key Tracks - Dazzled, SinKing, Departure

17. Cold War Kids - Loyalty to Loyalty

I never really got into their first record, but they seemed to have \ found a fair bit of success. I almost never checked out this record, but I thought why not. This time around vocalist Nathan Willett weilds a real Rufus Wainwright like vocal performance with some really great piano playing creating some really fine songs.

Key Tracks - Every Valley is Not a Lake, Golden Gate Jumpers, Against Privacy

16. Earlimart - Hymn and Her

These guys keep on keeping on in similar fashion, writing tremendous sweet pop songs. Yes, so what if Aaron Espinoza sounds like the late Elliott Smith, that's probably why I adore it so much.

Key Tracks - Cigarettes and Kerosene, Teeth, Song For

Part 3 - Pre-top 21 Propaganda

2009-01-17T07:41:00.000-08:00

This year was as someone elegantly pointed out was the best year in music since 2007, in which I fully agree with. The difference between 2008 and any other year to date was over exposure, which to an extent is a great thing, but really how well are we really getting to know our music? There's just so much out there at the moment and if you look easy or hard enough it'll end up in your hands. Blogs became more relevant than ever (for new discoveries) as well as other similar style blogs established themselves, thanks sordo. Already 2009 is shaping up handsomly, and we're all probably in for more of the same, so my goal is too try achieve more by listening to less, fingers crossed. Also for anyone who reads this blog i'd like to apologize for the lack of the updates for the past few months as both Simon and I are incredibly busy, but in 2009 I hope to get some more material out there for the very few who read, but thanks to anyone who is, much respect.

Before I announced the belated top albums of 08, here's just a few things I wanted to mention:

Disappointing Records of 08.

Here comes the bashing, where I rage upon the albums that didn't live up to expectations! No not really. People are always looking for new sounds and exciting bands to listen to and discuss amongst friends so really - even when coming to your favourite bands, it's not really much to push aside - pay respects to their magnum opuses and put on something better, here's a few I felt about this year, I could list quite a few but i'll keep it relatively short.

My Morning Jacket - Evil Urges

Still a good album - but I just don't think it works as an LP.

Ryan Adams - Cardinology

Easy Tiger part 2, in which that album really didn't need a second part.

Supergrass - Diamond Hoo Ha

As discussed in my earlier review and still yet to change my mind, this album purely blows just in context of following up what was Road to Rouen. I'm sure in years to come it'll be looked upon with more appreciation.

Dandy Warhols - Earth to the...

Just way too long and messy.

Surprise Albums of 2008!

Pretty much, albums that impressed me vigorously, as expectations were pretty low.

Oasis - Dig Out Your Soul

Call it what you will, a return to form or just a great set of tracks, I choose to go with the latter. Just a consistently decent record from a band everyone's kind of forgotten about.

Top Tracks - The Turning, (Get off Your) High Horse Lady, I'm Outta Time

Rem - Accelerate

This record, seemed to be as the press mostly called it the make of break album for the Athens, Georgia veterans as most people know their last few albums have been a tad unexciting and lack any commerical interest, but this time round, Buck gets his distortion on, the songs a little simpler but it's fine rocknroll, it's great to hear Mr Stipe voice swaggering again in such a manner.

Top Tracks - Living Well is the Best Revenge, I'm Gonna DJ, Man Sized Wreath

Wire - Object 47

Like, Mission of Burma who released a pretty good record a few years back, I wasnt expecting anything from this but after a few spins, I found their sound just as fresh as anything else this year, with great guitar hooks and atmosphere. Maybe Verlaine might get his band back together and release something, yeah? It's always great to see bands still in fine form after their master works.

Top Tracks - One of Us, Mekon Headman, Four Long Years

Special Mentions

Here's to a few records much enjoyed throughout the year that just missed out.

Death Cab for Cutie - Narrow Stairs
Brendan Canning - Something For All of Us
Drones - Havilah

Part 2 - Sean's 2008 Mixtape

2009-01-17T07:09:00.000-08:00

This post allows me to highlight on some tracks throughout the year that had some kind of effect on me.

and you will know us by the trail of dead - inland sea
apes and androids - riverside
beck - replica
black milk - the matrix
black mountain - wucan
chad vangaalen - bones of you
chris walla - two fifty
coldplay - yes
department of eagles - teenagers
destroyer - blue flower/blue flame

dodos - paint the rust

dungen - fredag

earth - rise to glory

elbow - mirrorball

fleet foxes - he doesn't know why

grand archives - sleepdriving

gutter twins - the body

helio sequence - can't say no

gza - 0% finance

high places - tree with the lights in it

hot chip - one pure thought/out at the pictures

islands - abominable snow

jenny lewis - next messiah

kanye west - paranoid

koushik - lying in the sun

ladyhawk - i don't always know what you're saying

ladytron - ghosts

last shadow puppets - only the truth

lil wayne - 3 peat/dr carter

my morning jacket - librarian

nas - can't stop us now/sly fox

of montreal - and i've seen a bloody shadow

perhapst - quote

portugal the man - lay me back down

primal scream - uptown
q-tip - gettin up

roots - criminal

ryan adams - natural ghost

scarlett johansson - fawn/falling down

she + him - this is not a test
secret machines - last believer, drop dead

sigur ros - fljotavik

supergrass - 345

tapes and tapes - blunt

titus andronicus - titus andronicus

wolf parade - california dreaming

Sean's 2008 wrap up

2009-01-14T08:02:00.000-08:00

To kick things off with recapping the year that was 2008 is listing my top 10 gigs of 08, here it is.

10. Arcade Fire - Jan 20 (Big Day Out, Gold Coast)

9. Spoon - Jan 21 (A&I Hall, Bangalow)

8. Broken Social Scene - Feb 29 - (Zoo, Brisbane)

7. Sigur Ros - August 3 (Splendour in the Grass, Byron Bay)

6. Okkervil River - March 1 (Zoo, Alleyway, Brisbane)

5. Caribou - Jan 18 (Goma, Brisbane)

4. Air - March 31 (Tivoli, Brisbane)

3. The National - Jan 17 (Zoo, Brisbane)

2. LCD Soundsystem - Jan 20 (Big Day Out, Gold Coast)

1. Sufjan Stevens - Jan 10 (Tivoli, Brisbane)

Simon's Top Albums of 2008

2008-12-16T09:28:00.000-08:00

Three words; hardest year ever. With downloading music (guilty as charged) at its optimum, this was the year that settling into anything became that much harder. Okay, so you get your main stayers, but even that becomes harder as you attempt to point your attention to as much material as humanly possible.

I usually only compile a list 25, but this year it's been stretched out to 30 plus honourable mentions. Not enough, you say? Well sorry, but that's all the heart can take. I thought a paid job was stressful?

Anyway. Enjoy, criticize, do what you like. I'm just glad the rigmarole is over...

1. The Constantines - Kensington Heights [Arts & Crafts]

2. TV On The Radio - Dear Science [4AD/Interscope]

3. The Gutter Twins - Saturnalia [Sub Pop]

4. Stephen Malkmus & The Jicks - Real Emotional Trash [Matador Records]

5. British Sea Power - Do You Like Rock Music? [Rough Trade]

6. Mercury Rev - Snowflake Midnight [V2/Yep Roc Records]

7. Dead Meadow - Old Growth [Matador Records]

8. Boris - Smile [Southern Lord]

9. Deerhunter - Microcastle/Weird Era. Cont [Kranky/4AD]

10. Mogwai - The Hawk Is Howling [Rock Action Records]

11. Atlas Sound - Let the Blind Lead Those That Can See But Cannot Feel [Kranky]

12. Nick Cave & The Bad Seeds - Dig, Lazarus, Dig!!! [Mute/ANTI-]

13. Destroyer - Trouble in Dreams [Merge/Rough Trade]

14. Portishead - Third [Island Records]

15. Bob Mould - District Line [ANTI-]

16. Okkervil River - The Stand-Ins [Jagjaguar]

17. Earth - The Bees Made Honey in the Lion's Skull [Southern Lord]

18. Silver Jews - Lookout Mountain, Lookout Sea [Drag City]

19. Tapes 'N Tapes - Walk it Off [XL Recordings]

20. Bon Iver - For Emma, Forever Ago [Jagjaguar]

21. Grouper - Dragging a Dead Deer Up a Hill [Type Records]

22. Cut Copy - Ghost Colours [Modular Recordings]

23. Blitzen Trapper - Furr [Sub Pop]

24. A Silver Mt. Zion – 13 Blues For Thirteen Moons [Constellation]

25. M83 – Saturdays = Youth [Mute]

26. The Cure – 4:13 Dream [I AM/ Geffen Records]

27. Daturah – Reverie [ Graveface Records]

28. Mudhoney – The Lucky Ones [ Sub Pop]

29. The Dears – Missiles [Dangerbird Records]

30 - Growing - All the Way [The Social Registry]

HONOURABLE MENTIONS:

The Grey Daturas – Return to Disruption [Neurot Recordings/Heathen Skulls]
Broken Social Scene Presents Brendan Canning - Something For All of Us [Arts & Crafts]
The Brian Jonestown Massacre – My Bloody Underground [A Records]
Tricky – West End Boys [Domino]
The Walkmen – You & Me [Gigantic]
Secret Machines – Secrer Machines [TSM Recordings]
My Morning Jacket – Evil Urges [ATO/Rough Trade]
Harvey Milk - “Life...The Best Game in Town" [Hydra Head Record]
The Dandy Warhols – Earth To Dandy Warhols [Beat the World Records]
Sigur Ros - Með Suð í Eyrum Við Spilum Endalaust [EMI/XL Recordings]
Spiritualized – Songs In A&E [Sanctuary/Universal]
Beck - Modern Guilt [Geffen Records]
Fuck Buttons – Street Horrrsing [ATP Recordings]
The Fall – Imperial Wax Solvent [Castle]
The Hold Steady – Stay Positive [Vagrant/Rough Trade]
High Places – 03/07 07/09 [Thrill Jockey]
The Drones – Havilah [In-Fidelity/ATP Recordings]
Vivian Girls - Vivian Girls [Mauled by Tigers]
Melvins – Nude with Boots [Ipecac]
Paul Westerberg - 49:00 [Self Released]

Simon's Top Songs of 2008

2008-12-16T09:06:00.000-08:00

These are in no paritucular order. My album list did enough in terms of frying the brain, so to even consider a numbering system for individual songs would be a nervous breakdown waiting to happen. Think of this more of a mixed tape. Anyway, here you are:

Cut Copy – Heart on Fire
Grouper – Heavy Water/I'd Rather be Sleeping
...And You Will Know Us By The Trail of Dead – Bells of Creation
Spiritualized – Soul on Fire
Mercury Rev – Dream of a Young Girl as a Flower
Atlas Sound – Bite Marks
Mogwai – Thank You Space Expert
Deerhunter – Never Stops
Boris – Next Saturn
The Gutter Twins – God's Children
Isobel Campbell & Mark Lanegan – Trouble
Weezer – Pork & Beans
TV On The Radio – Crying
Nick Cave & The Bad Seeds – More News From Nowhere
Growing – Innit
Bon Iver – Flume
Okkervil River - Bruce Wayne Campbell Interviewed On The Roof Of The Chelsea Hotel, 1979
Constantines – Trans Canada
Death Cab For Cutie – I Will Possess Your Heart
The Grey Daturus - Answered in Negative
Sigur Ros – Festival
The Drones - I Am the Supercargo
Broken Social Scene Presents Brendan Canning – Hit the Wall
Melvins – The Smiling Cobra
Stephen Malkmus & The Jicks - Baltimore
British Sea Power – No Lucifer
A Silver Mt. Zion & Tra La La Ban – 13 Blues For Thirteen Moons
Daturah – Vertex
Destroyer – Introducing Angels
M83 - Graveyard Girl
Tapes 'N Tapes - Conquest
Portishead – Ripchord
Blitzen Trapper - Black River Killer
Bob Mould – Very Temporary
The Kills – Hook and Line
Fuck Buttons – Sweet Love For Planet Earth
Beach House – Turtle Island
Shearwater – Century Eyes
Secret Machines - The Brian Jonestown Massacre
Ladyhawk – S.T.H.D.
Tricky – Council Estate
Red Sparrowes - We Left the Apes to Rot, But Find the Gang Grows Within
My Morning Jacket - Smokin' From Shootin'
Mudhoney – The Lucky Ones
No Age – Cappo
Animal Collective – Street Flash
The Walkmen – The New Year
Ryan Adams & The Cardinals – Cobwebs
Conor Oberst – Souled Out
The Fall – 50 Year Old Man
Earth – Rise to Glory
The Mars Volta – Metatron
Glasvegas – Ice Cream Van
The Helio Sequence – Halelujah
The Dandy Warhols – Do You Love Me?
Gregor Samsa - Jeroen Van Akon
The Hold Steady – Magazine
Harvey Milk - Decades
The Black Angels - Doves

Update

2008-09-15T10:23:00.000-07:00

Hey guys,

Really sorry for the lack of updates over the past couple of weeks. We're taking a bit of a breather at the moment. Should be back soon, we some different ideas so keep checking.

Simon K.

Album Review - Torche

2008-08-20T11:55:00.000-07:00

Torche – Meanderthal
[Hydra Head/Robotic Empire 08/04/2008]

Torche are yet another act that associate themselves with the alternative metal bunch kicking around these days. Although fishing in similar waters to their contemporaries, Torche seem to pilfer various parts from their metal cohorts, embedding these ideas into a fist full of sounds. Torche release Meanderthal; their second album, which once again to conveys a concept that the natives from Florida refuse to be pinned down or aligned to static a proportion.

The opening title track catches you completely off-guard, with it's dooming instrumental force posing the question of whether you're listening to the right band or not. 'Amnesian' is a little slow out of the box, with a bruising sludge vibe embellished through its core rather than the melodic seasoning one associates with this band.

We've established that Torche are at their best when they employ melody into their sound. 'Fat Waves','Across the Shields' and the album's highlight, 'Grenades', are true evidence to this notion. 'Sandstorm' draws from swelling riff-o-rama and space within the rhythm section presenting another strong trait for Torche.

Meanderthal zig-zags through various sub-genres, with metal the main aspect rooted down in Torche's resume of sound. Somewhat displaying an array the hard-nosed riffs, and melodic rhythms, had the band stuck to these basics from the outset instead of haphazardly experimenting with so many sub-genres in such a short space of time, things may have run more smoothly, resulting in one enjoying this album a little more.

By Simon K

Album Review - Bardo Pond

2008-08-17T09:00:00.000-07:00

Bardo Pond – Batholith
[Three Lobed/ATP Recordings; 01/03/2008]

Bardo Pond have been on the go since the early '90s, drawing influence from the 'earlier space rock and psychedelic movements which occurred around various continents prior to their own existence. Although Bardo Pond's influences can clearly be heard through their vast array of sounds, they do manage to convey a longevity that can be truly classed as their own. Modern artists such us Black Mountain have definitely taken a leaf out of the 'Ponds book, despite not sounding as fucked up as their older contemporaries.

Batholith is a bits-and-bobs release containing some of the bands live favourites that have never been conceived between the studio walls. Also containing some new cuts, the latest effort is a good indication of the band plying their trade. 'A Tune' (one of those old BP favourites) is full of druggy reverb through vocals and guitar while the wah-wah effect also plays its hand early in the piece.

Although one of the shorter listens on the album 'Push Your Head' signifies the Bardo Pond sound. With instrumentation that's slower than a snail's pace, vocalist, Isobel Sollenberger also struggles to deliver the vocals in a just-woke-up-can't-be-fucked kind of way, which typifies the Bardo Pond aesthetic.'Spint' is a correlation of guitar and effects pedals pounding strenuously to extrude a haze of noise. 'Slip Away' still renders a murky fuzz, but there's a soaring melodic quality to it that draws the listener in.

Batholith will please the long-standing followers of the band, who have been anxiously waiting to hear some of these tracks on disc as apposed to the sweaty walls of a dingy club. For those unfamiliar with Bardo Pond, this would be an adequate place to start within the band's catalogue of sounds.

By Simon K

Album Review - High Places

2008-08-15T03:48:00.000-07:00

High Places – 03/07- 09/07
[Thrill Jockey; 22/07/2008]

High Places are yet another bank spawning out of the creative woodwork otherwise known as Brooklyn, New York. Mary Pearson and Robert Barber front this duo with a coalesced ear for sound. 03/07- 09/07 is the pair's debut effort of tunes that bend with the breeze and run at a parallel to your stock standard pop outfit.

High Places are a band that aren't adamant on cutting a single. This 28 minutes is a answers first, questions later stab in the dark that presents subtle undertones of cleverness. Barber's techniques of slicing up sounds and sparsely filling them through this effort is backed by Pearson's aloof vocal that has a firm grip on pop, despite burying itself into the shades of sound Barber distantly renders. Highlights include opening trend setter, 'Head Spins (Extended Version)', while 'Shared Islands' expresses a love for foreign beats, with a Caribbean undertone clearly taking a strangle hold of High Places' sound template.

O3/07-09/07 is the phantom of fellow crosstown rivals, Liars, while the nursery rhyme-esque weeps from Mary Pearson aren't too far away from Elanor Friedberger of The Fiery Furnaces, but delivered with a finesse that's a little easier to swallow. Although things culminate within the blink of an eye, High Places may have just made the ultimate pre-bedtime album. One thing's for certain; it sure beats a glass of milk.

Lullaby Recommended

By Simon K

Lullaby's Song Scrobble

2008-08-14T05:36:00.000-07:00

Song Selection #3

Melvins – The Smiling Cobra [Nude With Boots; Ipecac Recordings, 2008]

As statement in the recent rant regarding this fine band's new album, this is the pinnacle tune. Stoner rock defined, really. Screeching guitars that form into a stomping chord foray. When all is said and done, you only need to look at the song's title. The title, the song, the sound, it all points to an ear gouging mess.

Tom Waits – Clap Hands [Rain Dogs; Island Records, 1985]

A song that's a bit easier on the ear, Waits is arguably at his best when his songs flow, and 'Clap Hands' certainly rises to these attributes. That whiskey/cigar addled voice we've all come to love leads from the front, with the clanging of instruments and that out of tune bluesy guitar riff following closely behind. Add the trademark lyrics of the protagonist hanging around seedy spots in underground America and you have Waits seemingly in a nutshell.

The Hold Steady – Magazines [Stay Positive; Vagrant Records, 2008]

It borders on lameness, cheesiness and the rest of the things we throw in the basket and deem as mediocre, and let's be honest, it would be if The Hold Steady didn't deliver it. As I said in my latest assessment of Stay Positive they get away with murder and to be honest, good luck to them. It's good to see a band heaping praise for literal thinking. The tune itself is vintage Hold Steady.

Death Cab For Cutie – I Will Posses Your Heart [Narrow Stairs; Atlantic, 2008]

With a five minute instrumental that leads into the opening words from Ben Gibbard, it's an interesting selection for a lead single. The instrumental is an elusive bass line that glides in and out of a riff that symbolizes Death Cab's 'niche'. Those heart felt lyrics of love once again fail to escape the clutches of Gibbard's vocal chords, ending the song in fine fashion.

Bark Psychosis – Eyes & Smiles [Hex; Virgin Records, 1993]

Simon Reynolds was right when he coined this London collective as, “post-rock”. Although not in the modern conventional sense, Bark Psychosis are a brooding listen. The atmospherics in the vocals from Graham Sutton mess with your mind while the riff noodling evokes a quality deriving from funk and even the blues. This track is certainly the best the band have recorded.

Mercury Rev – Holes [Deserter's Songs; V2, 1998]

The rich vocal from Jonathon Donahue lays the platform for one of the 'Rev's finest songs. I guess with the anticipation of the band's forthcoming LP, that Mercury Rev have been getting some heavy play time around these parts. There's plenty of goodness within their catalogue of work, and this is somewhere near the top of it.

Tricky – Council Estate [Knowle West Boy; Domino 2008]

More high fives for literal thinking. Tricky delivers one of his latest album's finest cuts with rancour as he rants about his upbringing in the South of England. Not only an autobiographical insight into his childhood around the estate of Bristol, but perhaps his latest batch of sounds could form as an inspiration for others living a similar lifestyle to the boy once from the Knowle West.

By Simon K

Album Review - Tricky

2008-08-07T04:10:00.000-07:00

Tricky – Knowle West Boy
[Domino; 07/07/2008]

Tricky has been the subject of criticism ever since his 1996 landmark debut Maxinquaye. Many believe that he reached the height of his solo career in this period of time and everything else he has written pales in comparison. After a five year hiatus, the Bristol native returns with Knowle West Boy; a literal statement of lyrical venom that pays homage to the estate he grew up in.

Tricky's never been afraid to wear his heart on his sleeve and Knowle West Boy probably represents this in the best possible way, shape and form. Once again, the female vocalists (many of whom are on Tricky's Brown Punk label) take the lead and from the opener 'Puppy Toy', a narrative mingle between Tricky and Alex Mills takes place alongside a splashy piano line, setting the tone.

'C'mon Baby' is an upbeat number that possess those emphysematous vocals from Tricky, while lead single 'Council Estate' is a literal tirade of Tricky's adolescence, jam-packed into two minutes and 39 seconds of overloaded sound cuts and a bass fuzz. 'Coalition' continues the lyrical sparks of literal proportions while a cover of Kylie's 'Slow' is also met with a grinding sequence of mental instrumentation.

Tricky was soon becoming the forgotten man, but as always, the discarded always find a way of coming back into the limelight. Tricky is no different, establishing this with with Knowle West Boy. The boy from Bristol has always used different forms of shock tactics to draw attention from the masses to his music. The literal resemblance that his music presents in 2008 may turn certain listeners away, but the fact that they listened in the first place is a victory for the artist, as his point has seemingly being made.

By Simon K

Album Review - The Dandy Warhols

2008-08-06T06:40:00.000-07:00

The Dandy Warhols – Earth To The Dandy Warhols
[Beat the World Records; August 2008]

Despite the apparent disdain a lot of people associate with The Dandy Warhols, they've always struck a chord when it comes to not really giving a fuck about anything. Their music is a source of having a good time and that's never changed. Courtney Taylor-Taylor's attempt to draw out the process and get a little zany within the music his band create rubs people up the wrong way. However, in saying this, it's always been enjoyable, which is that the primary objective isn't it?

Earth to the Dandy Warhols is the first Dandy's record since their departure from major label, Capitol, and the results are misleading. Despite many probably not even bothering with this release, the classic saying of 'never say never' is embroiled all through this Earth.... Some bands work well when a gun isn't held to their head at point blank range and The Dandy Warhols quite aptly fall into this category.

'Mission Control' is overloaded with Zia McCabe's twirling keyboard clusters and Taylor-Taylor's baritone of hypnotic vocals. 'Welcome to The Third World' rolls around a bass groove and funky guitar lick for Taylor-Taylor to wax a narrative platitude around. 'Wasp in the Lotus' is that catchy tune of drug-induced guitars and sluggish vocal writhes that always seem to embellish themselves on a Dandy Warhols record. 'Do You Love Me' flows as good as any song on the record with the Dandy's still proving that they can pen a decent melody.

Like the majority of later Dandy's material Earth to the Dandy Warhols is pleasantly all of the the shop. From pop numbers that could form into hit singles, to poppy drugscapes that hold a bold exterior, it's all here greeting listeners with its heart-on-sleeve attitude. The title of this album speaks for itself, really. With the relaxed environment this album was conceived in, it seems to have brought out the best in Portland, Oregon's phantom outfit. It's still messed up, but in a more focused sense.

By Simon K

Book Review - Douglas Coupland: Generation-X: Tales For an Accelerated Culture

2008-08-06T06:22:00.000-07:00

Generation-X: Tales For an Accelerated Culture – Douglas Coupland
[St Martin's Press; 1991]

Yet another novel that finds itself on most bookstores recommended stands, Douglas Coupland's Generation-X: Tales For an Accelerated Culture kick started a new generation back in the early '90s where kids listening to Nirvana and Sonic Youth not only had modern musicians to look up to, but now one of their very own was tapping into a creative vein that was being lived at that particular time.

A lot of readers will see themselves through the characters Coupland shapes throughout this novel. A sense of 'getting away from it all' encapsulates everything people in “McJobs” (as Coupland describes a below-the-average wage earning job) feel and the Canadian born writer eludes to this through Andy, Dag and Claire; the three main characters who respectively find themselves in mind dulling jobs with the only way of feeling connected with the world is to retreat to the deserts of Western American, tapping into a sense of being without buildings and people hovering around them (well, in Dag's case, anyway).

Coupland's writing techniques and finger-on-pulse mentality certainly paves the way for writers like Irvine Welsh to seize the moment and expand upon the ideas that shaped this novel and for that Generation-X... will always been seen upon as a landmark novel. If anything, you should really keep this book at your side at all times just for the footnote definitions Coupland has constructed throughout the book's entirety. You'll more than likely be able to coin every single person you know with one of these definitions Coupland has constructed in extremely unique fashion.

By Simon K

EP Review - Red Sparowes

2008-08-05T07:23:00.000-07:00

Red Sparowes - Aphorisms
[01/08/2008; Sargent House]

Forming out of back alleys of the clubs Isis and Neurosis made themselves respectively comfortable in, Red Sparowes continue this slice of post-metal fever in a slightly lighter shade. Having already released two full-length albums to date, the Los-Angeles outfit return with a three song EP that still has all the long titles and riff-o-rama to go with it.

Aphorisms is a leap forward inside the band's progressive sound space. 'We Left the Apes to Rot, But Find the Fang Grows Within' holds the killing opener quality that we look for in all opening songs. The six minute and thirty seven second beast is clear evidence that this band is moving into territory of finer quality. Guitar jaunts bruise from head to toe, with heavy breakdown patterns and beautiful shifts in tempo ending the song, while the listener is left gasping for more breathing space. 'Error has Turned Animals Into Men, and To Each the Fold Repeats' spikes a similar vein, but in more ear-catching fashion, with steel pedal guitar sounds giving the themes Red Sparowes embark upon a melodic geometry.

Although many people will see this genre as somewhat formulated and contrived, like most genres, it will still evoke quality. Rather than a sequence of sounds paying homage to your favourite artists, Red Sparowes actually render their own soundscapes without pilfering bits and bobs from their contemporaries. Aphorisms shows the Red Sparowes in their finest light and if the future for this band weighs up to anything like this, then there's hope for us all yet.

Lullaby Recommended

By Simon K

Album Review - Primal Scream

2008-08-02T07:04:00.000-07:00

Primal Scream – Beautiful Future
[B-Unique Records; 22/07/2008]

Primal Scream are the ultimate fun-time collage band. Since their existence, every album they've cut has pointed towards one thing; good times. Whether it be popping acid to sounds of Screamadelica or vacuuming powder through your nose to the shear noise of Xtrmntr or Evil Heat, good times have always been at the helm.

Beautiful Future fails to get sidetracked from Primal Scream's artful concept, yet again engineering a different sound that still adds the uplifting vibe one feels when encountering an album from the Scream team. If anything, this album booms with a pop swagger. Gillespie rehashes lyrics through respective songs, with a looping combustion backed by an easy-on-the-ear instrumentation.

As lead single, 'The Glory of Love' is the pure representation of 'Future and of the above notion. 'Zombie Man' is a dance swoon with Gillespie's druggy rasps accompanied by a backing soul sprawl through the chorus of guest-vocals. 'Beautiful Summer' has a darker edge about it, being the opaque number out of the bunch, with zoned out keyboards and a slower riff spooling through its entirety. 'Over and Over' sounds like Screamdelica's 'Damaged', that's just come out of the 'other side'.

Beautiful Future contains the underpinning of the Scream's direction from earlier on in this era, with a pop glee sprawling through the middle of their canon. Songs seem to flow into one another, literally fading out and starting again like smooth waves rolling into the beach front from the ocean. The sounds vary, but the lyrics from Gillespie are very repetitious, much the same as a cracked record. The simplicity of the record could segregate followers, but it continues to reaffirm the stance of a band that will not be pigeonholed. It's not the best Primal Scream record, but it certainly isn't their worst.

By Simon K

Album Review - Broken Social Scene Presents Brendan Canning

2008-07-23T07:20:00.000-07:00

Broken Social Scene Presents Brendan Canning - Something For All Of Us...
[Arts & Crafts; 21/07/2008]

With their indie guitar-pop heroics, the Broken Social Scene – in the modern day - are one of the most innovative bands. Drafting in various musicians from album to album is one of the many pioneering facets the band has embarked upon during their existence, but when frontman Kevin Drew released the first album in the Broken Social Scene Presents series last year, the boundary of innovation expanded just that inch more.

Now it's take two; Something For All Of Us... is the second album in this current series and concept the Broken Social Scene have served up for its listeners, with co-founder of the band, Brendan Canning, taking the baton from his Canadian cohort, Drew.

Canning's vocals are a fresh outlook to the BBS arsenal. Although not as prominent as Drew's, the daze-laden vibe sprays off a flow of good pop music. The opening title track eases the listener into their lounge chair with nice melodic ease. 'Hit the Wall' gushes with neat chord progressions and noodling riffs that serge on the back of Canning's woozy vocal. 'Churches Under the Stairs' provides nice space where Canning can unleash his vocal foray, while the looping bass line pulls the song along nicely.

'Possible Grenade' is the strength at the foot of the album, with gliding undertones of guitar effect steaming above Canning's sleepy vocal. The final two tracks, 'Been at It So Long' and Take Care, Look Up' slow the pace down to an almost balladeering end, adding another string to the bow of Canning.

The BSS member that sports the finest growing beard out of the bunch plays to his strengths on SFAOU.... Even in the brief encounters when Brendan Canning's not at the forefront of the vocal duties, you soon come to realise the input he has in the writing process of a BSS record. Naturally, the song structures have the swirling aura a Broken Social Scene record possesses, but it's the voice of Canning that presents a slightly different landscape. Things are less bombastic and a little tighter, leaving this concept wide open for the next BSS artist to wield their Axe openly.

By Simon K

Lullaby Magazine on Last.FM

2008-07-22T08:58:00.000-07:00

Yes, we are moving with the times. We're now registered with last.fm. The link is below, so register and join the love!!!

http://www.last.fm/group/Lullaby+Magazine

Simon K

Album Review - Melvins

2008-07-21T11:19:00.000-07:00

Melvins – Nude With Boots
[Ipecac; 07/07/2008]

Where do you start with the Melvins? Bullhead or perhaps Stoner Witch. They say look to the future, so maybe that's all we've got time for today. That's right, the Melvins have another record out; the second with Big Business' Coady Willis (drums) and Jared Warren (bass); the latest duo to accompany avant-garde stoner warriors, Buzz Osbounre and Dale Crover. The double marriage seems to have payed off, as Nude With Boots measures up to the peak the Melvins' current crop of work.

'The Kicking Machine' and 'Billy Fish' could be mistaken for a backstage scuffle between Zeppelin and Sabbath, with Buzz Osbourne reveling in the peacemaking process. 'Dog Island' posses a murky sludge cloud, with spacey chord progressions featured low down in the mix, while Osbourne's transcending growl rises from the bellows.

'The Smiling Cobra' is the Melvins at the top of their game, with riffage that perpetually explodes and reaps assault to your ears. The title track shifts in abundance, with a platform that could be described as Dinosaur Jr jamming around after a hard session on the drink, realising their potential to be a stoner rock collective.

Nude With Boots takes some time to hit you with its full force. Crover's disjointed skin smashing is ever prominent while Willis fuses energy to the rhythm section along with his BB bandmate, Warren, refreshing the elements of the Melvins canon. Osbourne is the trump card, mixing his stoner riffola with that trademark haze of vocal gloom that make the Melvins what they truly are. We can coin them with various terms, but make no bones about it; at the end of the day rock 'n' roll prevails. It's just that the Melvins present it in its more fucked up entirety.

By Simon K

Album Review - Coldplay

2008-07-19T08:20:00.000-07:00

Coldplay - Viva La Vida or Death and All His Friends

[Parlophone; 12/06/08]

Coldplay arrive at album number four, and for those who aren't already aware, these guys are kind of a big deal. Already being appointed the "biggest" band this decade has to offer, a statement or an opinion I'm not that unhappy about, as we'd have to go find some other band to pin it on and that would no doubt be a controversial hot topic. Record shows that it takes Coldplay three years to produce something so within that time, you're always expecting some kind of brilliance. Firstly the thing that drew me to the album was the first time collaboration between them and Brian Eno and surprisingly the somewhat uncharacteristic album artwork and title (For those interested, the title was taken from a Frida Kahlo piece, a 20th century Mexican painter).

Curious as I was in lead up to the album release, I checked out both singles "Violet Hill" and "Viva La Vida" which gave a small taste of what the record would offer, while both these tracks leave alot to be desired they show the direction in which the band take this time around. In context of the album, "Cemeteries of London" takes Viva off in it's first stride with an eclectic array of goings on, from the eerie opening and the subtle piano to the thrashing of acoustic guitar to Buckland's Edge like predictable but sufficient guitar work, the song gets the album off to a decent start. Following is "Lost!" which is quite possibly my favourite, begins again in an eerie organ like fashion as the song hits the chorus in an anthemic like way, with Chris Martin wailing about fishes and ponds, it's quite good. "42" isn't far behind the previous track as it takes quite an interesting turn about midway through the song, as beginning as a ballad exploding into a raucous rock and roll experience until about three quarters way through, hits the pop side of things then finishes the way it starts.

"Lovers in Japan-Reign of Love", "Yes" and "Death and All His Friends" have something in common, apart from being the longest songs in the Coldplay canon they are all two songs within the one, which is kind of an interesting way to present your music. While Yes has an addictive chorus, Death and All His Friends displays Coldplay at their most rocking. As the band progresses it's good to see they are experimenting a little even if it's a little overwhelming when the most notable magazines throw statements on the front like "Coldplay go weird" or whatnot. While their first two records remain untouchable within context of their back catalogue I think it's safe to say this is more of a consistent effort than X & Y an effort that had some good songs but got a bit dry too soon after. The good thing about Viva, is that it's hard to guess which single they will release next (probably Lost!). Viva La Vida or Death and All His Friends is a solid record if not being entirely brilliant, Eno adds a nice touch even if the album doesn't stray from itself too much.

Sean

Lullaby Reviews the Dark Knight

2008-07-19T07:09:00.000-07:00

The Dark Knight - Directed by Christopher Nolan (Released 16/7/08)

Like many people, this film has been my most anticipated film in quite some time. Christopher Nolan is at the helm again and off the back of the outstanding first installment Batman Begins, the film sets itself not to only break box office records but to become the most superior superhero/comic book film to date. As I take A deep breath as I firmly planted myself in the cinema chair I couldn't really begin to fathom that in just less than 3 hours the 3 years of anticipation would be over, and the beginning of the next 3 would arrive with new questions of the next installment. The greatest thing Nolan has got going on with this franchise is it's free of superhero cliche boundaries, we've had a taste with BB but that was more so an origin story. I immediately think back to Sam Raimi's Spiderman franchise and how exciting the 2nd installment was to the first as Peter Parker had already obtained his responsibilities which takes the film to completely new level.

I had huge expectations with how The Dark Knight would begin, and after witnessing it I can safely say I was quite impressed as it was completely unconventional and not what I would of expected. Without the superfluous ins and outs of the slightly complex script developed by the Nolan brothers and David S Goyer. The Joker, Batman's most notable villain has arrived on the Gotham City scene and has set his sights on terrorizing the city as the Dark Knight, White Knight district attorney Harvey Dent and Lt James Gordon put a firm hold on the justice of Gotham City.

From here on in, we have a fast paced action film, cutting from scene to scene in less than a blink of the eye. Beginning with performances, the cast is dazzling. Christian Bale upholds his duty as both Batman and Bruce Wayne, Gary Oldman is satisfying as the newly appointed Commissioner. Aaron Eckhart glistens in his role as Two Face/Harvey Dent. From the start I was extremely interested to see how Nolan would transform his White Knight into the villainous Two Face, within the realms of a realistic world and script it works, even if half the internet disagree on that one.

This paragraph is dedicated to the late Heath Ledger, for starters I kind of feel sorry for anyone just wanting to see this film because of it being his last, without really having any kind of clue about what was involved in the development of this character. In my redundant opinion, Ledgers role as the Joker has to be one of the most impressive on screen character portrayals I've ever, ever witnessed. It's nothing short of (and I hate using this word) amazing. The scene in which he sits in the holding cell as Gordon is promoted, he totally taps into that Alex De Large mentality, body language wise he owned it. From a voice you can't even imagine Ledger being able to acquire, his mannerisms, the executions of his actions and lines it's simply magic. For fan boys like myself it's a good feeling that it can be realised that it doesn't matter that he is no longer among us, 3 years ago when he was cast (and when we learnt he was cast) for this role we could only dream of what he would bring to the character and he fucking delivered.

So, the Dark Knight a comic book film masterpiece? Probably not, but damn impressive. It met every expectation I had, without exceeding it. At the centre of the film something was absent. The film in my opinion could have been probably titled "The Joker". Maybe Nolan thought he had developed Bruce Wayne/Batman enough in BB, but I really thought there was an aspect of the character dynamic missing, Bruce Wayne pops up here and there but I didn't really ever care for him or his love for character Rachel Dawes (Maggie really wasnt that bad guys, what do you expect from such a character), as far as villains go, Ledger's Joker and Eckhart's Two Face have been the best any Batman franchise has yet seen. With trying to accomplish a well rounded complex script (engrossed in reality), with probably too many characters I think the task is a bit overwhelming for anyone at the end of the day while Nolan has saved Batman from both Schumacher failures I still have my issues with the current franchise, mainly the vehicles, costume, voice etc but at the end of the day all we really want is Batman defending Gotham City.

Film - 4/5
The Joker - 5/5

Sean

Book Review - Simon Reynolds: Rip It Up & Start Again...

2008-07-19T07:06:00.000-07:00

Simon Reynolds - Rip It Up & Start Again: Postpunk 1978-1984
[Faber and Faber Ltd; 2005]

The term post-punk seems to be severely overlooked around the world. Particularly where its origins lay; England. Believe it or not, some people have to name check John Lydon's Public image Limited; those who bang their heads to the jukebox blaring the sounds of 'God Save the Queen', anyway. Memo to these types; post punk isn't just Joy Division and if you care to take a couple of months out of your heavy schedule and read Simon Reynolds' Rip it Up and Start Again: Postpunk 1978-1984 you may just learn a thing or two.

A critic for a wide array of musical publications, Reynolds' works are about the “post” in punk and not always about the sound people associate with the term. A very heft catalogue of artists, people, and scenes zigzag through this book, that forms as the most insightful tale of music that stemmed in the late'70s/ early '80s.

From Sheffield, England where The Human League re-emerged to reach number throughout their career (1981's 'Don't You Want Me'), to Boston, America, where the likes of Mission of Burma were making listeners' ears bleed; the scope of coverage Reynolds gages with Rip it Up... is one of great feats. Maybe a little too insightful for one, who maybe prone to skipping a couple of chapters due to the heavy diversity this book contains.

Whatever you do, though, don't miss out on the chapter of The Fall. Reynolds encapsulates music journalism at its finest right here, integrating political notions with the music (as he does through large quantities of the book). A facet that clearly segregates the boys from the men, so to speak.

By Simon K

Album Review - The Hold Steady

2008-07-18T06:16:00.000-07:00

The Hold Steady - Stay Positive
[Vagrant Records; 14/07/2008]

The Hold Steady's music evolves in a genre that a lot of people would generally pass off. However, their music is so strong that it draws listeners from a wide array of communities. This is what all good music does and The Hold Steady are one of the few artists in the modern day to achieve this.

The band's fourth album, Stay Positive, is once again an affair of catchy rhythms and Craig Finn's straight-to-the-point lyrical topics. Unlike a lot of their contemporaries who have managed to cut the same amount of records, The Hold Steady continue to refine and not decline in the art of creating.

In terms of sound, The Hold Steady have pilfered strands of Husker Dü circa Candy Apple Gray, with Finn transforming something a little more direct and less vague lyrically, as apposed to Bob Mould and Grant Hart. 'Sequestered In Memphis' kick starts the sing-a-longs with glib fanfare and melodic chord progressions setting the tone. 'One for the Cutters' is Finn's baby, embarking on a narrative rant about the judicial system his country employs.

The pinnacle of 'Positive definitely lies within with the double-whammy of the fist-pumping aura that is the title track, outlining Ginn's position with his personal battles. 'Magazines' comes across with lyrics that would be deemed lame if any other band had rendered them, but somehow with The Hold Steady they get away with it just as good as O.J. Simpson did!

For every lad that slobbers over Oasis and various other bands that appeal to the herd-mentality, there's an aloof kid that sits in the corner of a pub with his head-phones and Ipod that dares to get up and shake his ass to the sounds of The Hold Steady. Finn's lyrics are once again the talking point, sharing nostalgic laments, which on the back of get-up-groove instrumentation, conform as athemic. Did we ever think that such confronting and literal lyricism could throw off such a liberating energy? It's always been the case when listening to The Hold Steady's music, but now the message is loud and clear; staying positive!

Lullaby Recommended

By Simon K

Album Review - Ladyhawk

2008-07-15T12:24:00.000-07:00

Ladyhawk – Shots
[Jagjaguwar;06/05/2008]

If you take away the over zealousness of Okkervil River and the grandeur from Wolf Parade then the sounds of Ladyhawk aren't too far away from the sound metres. Hailing from Vancouver, Canada, Ladyhawk are yet another Canadian collective that go about their everyday business, yet still receive the necessary plaudits from the small community that engages with their music. With the release of their second album, Shots, Ladyhawk continue to naturally progression within their landscape.

That progression consists of a mixed bag of tricks this time around. 'I Always Don't Know What You're Saying' – like all good openers - flows with an organic democratic steel, while the short clasps during 'S.T.H.D' are raucous rock at it's best, embellished with a murky aesthetic. Opening single 'You Ran' is without a doubt the catchiest thing to come off Jagjaguar in quite some time, almost ending before it even gets started. Closing affair, 'Ghost Blues', expands the band's sound, musically, rippling with highs and lows of your typical epic closer, naturally ending the album on a high.

Although Shots is admittedly an experience of peaks and troughs, the peaks witness a band at the top of their game. Ladyhawk's attitude impresses out of all of this. It's no-frills rock 'n' roll that impresses when at the top of its game. Add a raw country tinge to the mix and you have a band releasing music that's placed towards the top end of the spectrum.

By Simon K

Album Review - Harvey Milk

2008-07-14T09:49:00.000-07:00

Harvey Milk – Life...The Best Game in Town
[Hydra Head Records; 03/06/2008]

With so much music at our disposal there's bound to be times when you get knocked on your arse when in the pursuit of finding some new and ground breaking. This is one of those times. With their name deriving from the first San Franciscan gay politician, Harvey Milk (Creston Spiers; vocals, Stephen Turner; bass, Paul Tredeau; drums) are a wrecking ball that you dare to stand in front of. Forming in the early nineties, the band disbanded only to get back together in 2005. Life... The Best Game in Town is the band's second album after their re-form and their fifth overall to date.

The riff-o-rama gets your head spinning that much that it seems vertigo is on the way to cause some distress. 'Decades' is a vintage rock number that tumbles with a sludge aesthetic, with Spiers seemingly regurgitating fury and spitting it out like balls of fire. 'Motown' is a sheer stoner combat that would make Buzz Osbourne of the Melvins a proud man, while the sounds of the Jesus Lizard are only just a couple of streets away, too.

Although Harvey Milk seem to present their influences with a sense of boldness, the nature in which they expose extra facets of sound and ideas make this release all the more thrilling. 'Goodbye Blues' is a musical monolith, with top end snare smashing, sledge-hammer riffs and an overall wall of doom.

Yet another band that has fallen into the right hands. They've joined the ranks of fine modern alternative artists who dabble on the fringes of metal. Isis, Earth, Boris, Pelican and even Pissed Jeans. Harvey Milk can be added to this conclave of innovative music with Life...The Best Game in Town. One of the avant-garde metal releases of the year.

Lullaby Recommended

By Simon K

Album Review - Beck

2008-07-12T05:17:00.000-07:00

Beck – Modern Guilt
[Interscope; 08/07/2008]

You never swim in the same river twice. In Beck Hansen's case you don't, anyway. Working with more genres than you could poke a stick at, the American born artist has come a long way since the ironic statement of 'Loser'. This time the waves of diversity continue, this time with Beck drafting in producer Danger Mouse to form his latest offering, Modern Guilt.

Danger Mouse is the trump card during Modern Guilt despite Beck once again correlating a sound where boundaries simply don't apply. Although there's tinges of Mutations and Midnight Vultures simmering under Beck's latest creation ('Gamma Ray'), directly this album is miles apart from his previous works. Standout track, 'Chemtrails', is sparked with retro undertones as Beck's slow hippie-esque drawls transcend in a provocative manner.

Due to Beck's carefully chosen lyrical topics, his music continues to hold a currency. Normally, music with currency fails to present longevity, but with Beck this doesn't apply. A political undertone unravels during this 33 minute jaunt (Look no further than 'Youthless' and 'Walls'). Even the album's title speaks volume.

Apart from Sea Change (which is a personal all time favourite), Beck's music has failed to strike a chord with me. As is the case with most collage artists, sometimes you attempt to indulge but just don't 'feel it', so to speak. Modern Guilt is one of the nice surprises of 2008. The co-production with Danger Mouse has proved more than fruitful for Beck, whose ability to engage with an array of musical genres has always been undoubted. Now, though, it's not only a matter of respecting Beck as an artist but there's an added bonus of actually enjoying what he has created.

By Simon K

Live Review - Interpol

2008-07-11T05:36:00.001-07:00

Interpol
Sheffield Academy
09/07/2008
Sheffield, United Kingdom

Although success can be measured in many different shapes and forms, I guess it's fair to say that Interpol can be deemed as a successful act. Plying their trade for Matador Records in the early days with two landmark albums, New York's finest dressed band took the leap and signed for Capitol records for their third album, Our Love to Admire. It has to be said that their if-it's-not-broken-don't-fix-it ethos came off a treat with their first two outings. Turn on the Bright Lights is without doubt one of the highest points of this era when talking about 'good' music, while their second outing, Antics, followed in a similar vein with a little more vigour.

Live, the band have beefed up their sound (not surprising, since they now have Capitol in their corner) with the ethereal drones substituted for a gear-shifting and almost sweaty rock assault.

Sheffield were in the long line to witness this 'new sound' and along with it were treated with a slew of Interpol singles, not to mention a couple of old favourites thrown in for good measure. The new material – like on record – was presented in similar fashion, with 'Pioneer to the Falls' kicking off the night, followed by the larger sounding 'Slow Hands', which comprises of ricocheting guitars generating sound that bounces off the walls. An experience that is a first whilst in the hands of Interpol.

'PDA' and 'Obstacle 1' are also speedy renditions, while wall of sound that is 'Not Even Jail' is the night's evident stand out with its longevity unleashing a special aura, live. The drawn out rendition of 'Roland' sees Sam Fogarino's prominence on the drums, while the ethereal goodness of 'Obstacle 2' presents the vintage sounds we are accustom to hear from this band; a fitting way to close the night.

The older material has undergone an overhaul, with Interpol stepping up the pace and intensity, resulting in the band seemingly giving out an energy to its audience rather than draining it in from them, which is a compliment to their virtuosity. It was good to see the band throwing bits and bobs of material off OLTA into their set-list, rather than rendering large portions of it, despite album stand outs like 'No I in Threesome' and 'Pace is the Trick' left out in the cold. Still, it can't be argued that 'The Heinrich Maneuver' is a solid single and live the song remains to live up to quality.

It's no secret that Interpol's new album ranks as the weakest in their catalogue of work and with the abundance of old material the band perform live, maybe they're aware of this, despite their new demographic of fans thinking on the contrary to these beliefs.

By Simon K

Album Review - The Music

2008-07-11T05:13:00.000-07:00

The Music – Strength In Numbers
[EMI; 16/06/2008]

From seeing the video for this album's lead single (the title track), you could see what The Music were trying to do. 'Going big' could be said for most of Strength In Numbers that ends the debate in regards to deciphering whether The Music are contenders or indeed, pretenders.

The band's debut album held so much promise. From the opening freak-out that was 'The Dance' many felt an invigorated swagger from four kids from Leeds and their ability to pen a good tune.

2005's Welcome to the North held signs of solidarity, but failed to render the edge that its predecessor so willfully displayed, which leads us to now; the big down fall that is Strength in Numbers.

Numbers like 'Spike' and 'Drugs' are nothing more than in-your-face lyrical statements that cater for the wider audience, failing to hold any mystery or soul, instead substituted for glossy sounds and face value thoughts. Frontman, Robert Harvey was never the best lyricist going about in the early days, but his swagger and ability to swathe through the bold instrumentation his band delivered held enough mystery to keep one intrigued. That all seems to be at a loss now.

You never say never with art, but in many ways what the Music have created with Strength In Numbers can't be defined as artistic. It feels more like a 'product' that's been compromised by certain types; even the album's title brims with irony. The Music aren't the first to fall into this trap. Many other bands who formed around the same time have also been misguided down the familiar path and have equally suffered a similar fate.

By Simon K

Album Review - Kayo Dot

2008-07-10T04:38:00.000-07:00

Kayo Dot – Blue Lambency Downward
[06/05/2008; Hydra Head Records]

Kayo Dot are an interesting breed. Frontman, Toby Driver, spent the '90s in outfit, maudlin of the Well, who were essentially a metal band. After their disbandment, Driver went on to form Kay Dot, a project that saunters in the territory of the left field and in his former band's case, a parallel universe. Blue Lambency Downward is Kayo Dot's third album and their first for Hyrdra Head. Although the songs are in a slightly shorter form, things still remain ensconced in the avant-garde template Driver has drilled to the floor in previous releases.

The title track begins with Driver almost narrating, squeezing out the vocals before the primary elements of this album take shape. Driver's vocals still remain, but are buried deep within the mix of instrumental elements that breed from a classical nature. The dark undertones still flourish through the record, perceiving Driver's close relationship with metal, but these are sparsely filtered through the jazzy fuck wittery that takes place over the 36 minutes of this release. 'Symmetrical Arizona' stars off like a creepy jazz number, with brass meandering around the edges like something out of a Jim Jarmusch film. The guitars add to weight of this 10 minute aloofness of sound that closes the album in apt fashion.

For those who suffer from ups and down, violent mood swings and an addiction to some form of chemical substance, Blue Lambency Downward has your name written all over it. It's a little too mental and abstract to indulge in multiple listens, however it would be an essential for one of those 'off days' we all tend to have. Definitely an adequate addition to the record collection.

By Simon K

Lullaby's Song Scrobble

2008-07-08T12:16:00.001-07:00

Song Selection #2

Once again, Mr. Beardmore has come up large in the stakes of being innovative. To be honest, I'm more about the “album” or “record” as such, but here's some tracks that taken my fancy of the records I've been addicted to recently:

Guided By Voices – Tractor Rape Chain [Bee Thousand; Scat, 1994]

I've always preferred Guided By Voices in their slightly longer form (maybe that's missing their point?), but I've become more accustom to their lo-fi shorter vein of tunes and Bee Thousand leads from the front. There's so many great tracks off this album but the above stands out at this point of time. Frontman, Robert Pollard, at his lyrical best singing “parallel lines on a slow decline - tractor rape chain.”

My Morning Jacket – Gideon [Z; ATO, 2005]

Definitely my favourite MMJ song along with being the focal point in the shift of the band's musical direction with Z. Seeing the band live a couple of weeks ago, not to mention the blistering rendition of this song, really hit home in the realisation that not only is it an amazing song within the band's catalogue, but for me it's definitely one of the finest songs penned in this era. The riffola is a perfect example of action speaking louder than words!

The National – Abel [Alligator; Beggars Banquet 2005]

Simple but effective. 'Abel' is at the height of what The National really are all about. A love song in some form, but it's abrasive delivery and simple guitar lines give it an easiness to engage with. Frontman, Matt Berninger oozes with a simplistic touch, delivering word after word with such finesse.

The Stooges – Your Pretty Face Is Going to Hell [Raw Power; Columbia, 1973]

Listening to this song almost blows a gaping hold through your ear drums. The production of this track alone is so different to any of the other off Raw Power. Literally, an ear-splitting five minute jaunt of James Williamson's guitar binge and Iggy's venomous vocal. They say punk rock started in England? Yeah, right...

My Bloody Valentine – To Here Knows When [Loveless; Creation 1991]

This has always been at the top of my favourites list from one of my favourite all time bands. Seeing this particular song performed live literally made me a bit dewy eyed. The soundscapes glide with elegance, while Bilinda Butcher's vocal harmonies stew deep in the mix but still hold that evocative aura. Everything about the song defines beauty.

Constantines – Soon Enough [Tournament of Hearts; Sub Pop, 2005]

Probably the band's most out-on-a-limb track. In a nutshell, it probably doesn't define what the Constantines are about, however its alt-country tinge is rendered brilliantly and definitely acts as another string to the band's bow. It's a simple song, based around the pure honest lyrical topic from frontman, Bryan Webb, which presents a transcending effect.

Seefeel – Plainsong [Quieque; Too Pure/Astral Works, 1993]

The ambient loops of luscious sound; the haunting drums; the alluring melody. There's not much you can't like with this song. Seefeel's landmark album fails to have any downsides to it, but at the moment, this is the track that stands out. It's guaranteed that things will change next week.

By Simon K

Interview - Constantines

2008-07-08T07:33:00.000-07:00

Constantines are the most underrated band in the world. Is there a debate to this? Indeed so, but not in my eyes. Hailing from the Canadian town of Guelph (otherwise known as "The Royal City"), quintet (Bryan Webb; vocals/guitar, Steven Lambke; guitar/vocals; Doug MacGregor; drums, Dallas Wehrle; bass, Will Kidman; keyboards) have been apart of this jerky art-form since 1999, unleashing a democratic rock sensibility, which has resulted in four brilliant albums.

Their self-titled debut was the foundation of edgy no-holds-barred rock music, which saw many pin the band's influences to the likes of The Clash, Fugazi and Bruce Springsteen. 2003's Shine A Light was even more harder-nosed than its predecessor, despite album highlight 'Young Lions' portraying elegant melodies and clever writing techniques from Webb.

2005's Tournament of Hearts witnessed the band shift once again, creating more melodic and ear catching sounds, with Webb once again shining as the key figure, while the guitar harmonics seethed underneath with ferocity. 'Draw Us Lines' still extrudes that seamless abrasive sound that the band made inroads with from the beginning, but the roots were well and truly augmented with this affair (alt-country number 'Soon Enough' the reference point), which leads up to now; the band's pinnacle opus, Kensington Heights.

A splendid mixture of the swirling song-craft from Webb and his right-hand man Lambke (the latter during the brilliant 'Shower of Stones'), while the cinder blocks otherwise known as instrumentation well and truly gouge out of your stereo speakers with conviction. The slower moments are beautiful, too; 'Our Age' defines this to a tee. There's moments where the mixture of spacious beauty and neck-break rhythms coalesce, with the swooping din of 'Trans Canada' quite possibly measuring up to the best work the band has done to date.

Constantines are one hell of a force in the live arena, too. Cracking break downs make you sweat, while the energy this band renders while unleashing their brooding form of art makes your heart skip a beat. This is no biography; just words that an honest-to-goodness rock 'n' roll band truly deserve. Recently, I had the opportunity to ask Webb some questions about the existence of the Constantines. This is what was said:

Lullaby Magazine: Hey Bryan, how's things today?

Bryan Webb: Pretty good, thanks.

LM: You're just about to go on tour throughout America, do you enjoy touring and playing your songs live?

BW: I prefer playing live to recording. We're better live than recorded. We're out on my favorite route now, West in Canada, down the West Coast of the US, and up through the midwest. We're traveling with Ladyhawk, who are one of the best bands on Earth. It helps us to travel with friends like this. It'll be a recreational tour.

LM: I had the pleasure of seeing you guys at the All Tomorrow's Parties weekend curated by Explosions In The Sky. Did you guys have fun?'

BW: It was a very strange trip. We had a decent time playing, though, and enjoyed the landscape out there in Minehead. That resort could be the setting for a zombie movie. It was incredible to see Silver Jews and Animal Collective in such a strange place. Those were the highlights for me.

LM: It's like the ultimate summer camp. I lost count of how many times I saw various artists just walking around checking out bands. It's a festival that just has no egos. Very working class. Would you agree?

BW: I don't know if I could think of any rock festival as working class, though I really appreciate the structure of the ATP festivals. The town of Minehead is very pretty. It was nice to walk out on the beach at low tide. I saw a beached tugboat with the word 'Defiant' painted on its side.

LM: Speaking of working class, I've read many of your reviews and you've been described as a “working class band”. That's quite a compliment particularly with some of the music getting around these days. Do you see it this way?

BW: Not really. We have some songs about work, which came from an obsession with Studs Terkel's book Working. And we get compared to Springsteen and The Clash a fair bit, who are described as working class. But I think those people had more of an active political connection to the working class than we do. We're not political as a band. Our individual ideas vary a little too much to pursue a political band identity.

LM: Back to your performance at ATP. I have to ask, you were cutting clumps of your hair in the early stages of that performance. Do you do that during all your shows?

BW: I just needed a haircut, and in my jet-lagged state it seemed like a funny idea to give myself a haircut on stage. Seemed like a strange opening ceremony for the festival, though I'm sure it didn't translate very well. It would have been more satisfying to watch if I had done a worse job. There wasn't really a punchline to it.

LM: Onto your new album “Kensington Heights”. In my opinion it's the best you've done thus far. How have you been pleased with the reception it's received so far?

BW: Yeah, it's been pretty well received as far as I can tell. I like that the record sounds like a group of people who have been playing music together for a long time. We couldn't have made this album eight years ago. That's the most successful thing about it, I think. It has a good amount of personality.

LM: The album was dedicated to the late Gar Gillies. You used his amplifiers on the album, right?

BW: Not exclusively, but the Garnet amps we used were pretty key to the sound of the record. Gar Gillies passed away while we were making the record, and looking at his life, he was a pretty inspiring man. He had complete control over the products of his labour right up until he died. He was entirely dedicated to his craft. These things are important to me.

LM: There's a good mixture of slower and quicker tempo songs on this effort. Do you think this is the result of the band's maturity that has formed since the early days?

BW: Yeah, one thing that has come from playing together for a while is the willingness to leave open space in some of the songs. Everyone is willing to lay back a bit, and listen to the natural dynamics that come out of a song in the writing process.

LM: There's also various references to hospitals, like on 'Million Star Hotel', 'Brother Run Them Down' and 'Life or Death'. Are these references to experiences you endured prior to the making of the album?

BW: Most of the songs were written as tributes to friends and family. People who are surviving or navigating life in an interesting way. There were a few more hospitals in my life over the last few years than I would have liked. Nobody likes hospitals. But they're very resonant buildings in a person's daily impressions of their city.

LM: On “Tournament of Hearts” many people were surprised of the direction you'd taken, mainly with 'Soon Enough' and its alternative country sensibility. Would you ever consider doing an album that pushed towards an alt-country vibe seeming as though you do it very well?

BW: We just take it one song at a time. Tournament Of Hearts ended up being an album of simpler song structures, maybe because we were touring so much at the time, simpler was more practical. I don't see us consciously making an alt-country album, though.

LM: One thing that's changed since “Tournament of Hearts” is that you're now on Arts & Crafts, how exactly did that come about?

BW: We were essentially free agents after that record, with no management, and no record contract. Though we enjoyed being on Sub Pop, we wanted to bring the business back to Canada. It took us over a year to figure this out, 'cause Sub Pop was very good to us, and we had a lot of good friends there. Arts & Crafts expressed an interest, and they just had good answers to all of our questions. Plus they've obviously been very successful over the last six years, and their offices are about five minutes from our rehearsal space. And it's worked out very well so far.

LM: Constantines have made four albums now and I must say, they're four albums that have great qualities in their own way. These days not many bands can boast of making four solid albums. What have you guys learnt from being in a band for all this time?

BW: Music, at its best, is an expression of pure joy, and the interconnectedness of all people.

LM: Canada is a country that's spawned so many great bands during this era. Many of them are on Arts & Crafts. Surrounded by all this, has it inspired you guys in any way?

BW: Canada is full of great, unique creative communities, partly because there's so much space between populated areas. Toronto, Montreal and Vancouver are great music centers, but so is Guelph, Ontario and Sackville, New Brunswick, and Dawson City, in the Yukon. We're lucky to be able to connect with people in all of these places, and learn from them.

LM: Anything else you'd like to add before we finish?

BW: Ladyhawk rules.

For more information about the Constantines visit the following.

www.constantines.ca
www.myspace.com/constantines

The new album Kensington Heights is out now on Arts & Crafts.

Interview by Simon K

EP Review - Crystal Antlers

2008-07-04T08:21:00.000-07:00

Crystal Antlers – Crystal Antlers EP
[04/06/2008; Self Released]

Just like “Deer” last year and the year before that “Wolf” the new craze is to put “Crystal” in your band's name! Hailing from Long Beach, California, Crystal Antlers are sonic mess that like to fiddle around with effects pedals and various other tools that converge to form ear-splitting noise through an amplifier.

Their self-titled EP doesn't let up from start to finish, with walls of fuzz and untrained screams taking up most of the disc's space. 'Until the Sun Dies (Part 2) starts of with mental fuck wittery then takes a back seat with chilling keyboards and undulating bass lines kept at arms length only for the waves to come crashing once again that ends the track in stomping fashion. 'Vexation' and 'A Thousand Eyes' crash like successive concrete blocks, with psychedelic rawness. Closing track 'Parting Song For the Store Sky' is the EP's highlight, with towering crescendos and vocal wails any hippy from San Francisco would be proud of holding a pair of ears to.

It's good to see a band play with raw energy and Crystal Antlers obtain this and put it into practice well enough to warrant multiple listens. However, it's nothing we haven't already heard before, which begs the question; does the world really need another Comets On Fire? Well, there's near enough two of everything else, so why the fuck not?

By Simon K

Album Review - Bonnie 'Prince' Billy

2008-07-03T05:10:00.000-07:00

Bonnie 'Prince' Billy – Lie Down in the Light
[Drag City; 20/05/2008]

Going under the above-mentioned moniker, Will Oldham has always been one of the most under-appreciated independent artists. For a start, I See a Darkness will go down as one of the finest singer-songwriter albums in '90s. Oldham has always been an artist who's provided quality to those who care to listen and its truly evident with the material he's released since the 1999 pinnacle.

Lie Down in the Light is Oldham in a different vein. With more of a folk trance, this album focus more on the singer-songwriter and not much else. Just toppling the 45 minute mark, the 12 tracks Oldham delivers undulate with folk swagger ('You Remind Me Of Something (the Glory Goes)' and 'For Every Field There's A Mole'). While Oldham's lyrical ambiguity still shines the songs he plays do sound very samey and hard to break down at times. With the exception of the two above-mentioned tracks, there's little else that make the ears prick with any eagerness.

An album more suited in the company of a beer and a leather couch as apposed to a candlelight dinner, Lie Down in the Light is one of the more opaque albums from Oldham's catalogue of work (in last 10 years, anyway). Its nostalgic shift in sound could fall under the “change is as good as holiday” banner, but on the other side of the coin the grass isn't always greener either.

By Simon K

Album Review - Sigur Rós

2008-07-03T04:39:00.000-07:00

Sigur Rós – Með Suð í Eyrum Við Spilum Endalaust
[EMI/XL Recordings; 24/06/2008]

The term unique and the band Sigur Rós fit like a glove. Maybe – just maybe - singing in your own language (Hopelandic) has a bit to do with it. When you wade through all the bullshit, though, Iceland's finest band are just that; a band. In fact, a “rock” band wouldn't even look out of place when weighing up a definition.

Með Suð í Eyrum Við Spilum Endalaust is Sigur Rós fifth album, which once again meanders through new stomping grounds. This time there's a swerve from their previous left-field sensibility to more of a left-of-centre chime. It's hardly surprising considering the number of people who listen to Sigur Rós' music has increased, particularly since the landmark ( ).

'Gobbledigook' is the perfect opener. With an organic strum of acoustic and the pitta-patter of the snare drum, an easy-listening quality looms, despite its raw edge. 'Inn Í Mér Syngur Vitleysingur' is laced with more familiar elements that we've come to appreciate from Sigur Rós, but this time glazed with more of an accessible taste. The epic 'Festival' builds up with octave shifts from Jónsi Birgisson's ranging falsetto right up until the melodic bind of bass and brass culminates the song in emphatic fashion. 'Ára Bátur' searches for its quarry, with its slowing pace capturing a form of beatification without the trademark melody; definitely a growing quality.

Með Suð í Eyrum Við Spilum Endalaust is Sigur Rós at their accessibly charged best. Although starting off as strong as any other recording from their fine back catalogue of work, Með' does fade into the shadows late on, giving you the impression that the hard work of transforming their sound may have taken its toll during the course of making this album. Ironically, rather than throwing a couple of the later tracks into the fray earlier on during the record, it seems a segregation from strong to weak has inadvertently taken place. In saying this, 'Gobbledigook' didn't grab a lot of people – including myself- on first listen, so maybe with a bit more time opinions could sway the other way. The door remains slightly ajar.

By Simon K

Lullaby's Song Scrobble

2008-07-02T05:57:00.000-07:00

At random either Lullaby contributers will post random songs that are currently being enjoyed and listened to way too much.

Song Selection #1

Jay Z - 99 Problems (The Black Album, 2003)

It hasnt even been a week since Jay Z's "controversial" headlining spot at Glastonbury festival but with the music world unwilling too forget the events, not only myself but I'm sure there's been a ton of people listening to his records in the past week, in the lead up and the aftermath of the festival. Everytime I throw on the Black Album I just can't skip 99 Problems, it's so rock and roll. The lyrical delivery is fire and each time the song closes I'm always tempted to skip right back to it. Be sure to check out the Glastonbury footage via youtube as Jay Z rocks straight into the track after his infamous parody intro. Golden.

Beck - Think I'm in Love (The Information, 2006)

Every time I hear the Music Max adverts wherever I am, there's always a snippet of the chorus of this song. Every time i hear it i just want to leave from wherever I am just to throw the track on. Apart from a sickly catchy chorus line. The bass lines forever keep the song chugging along with some enticing piano work strewn across the chorus. By the way I thought the album was really cool much to the dismay of a lot of Beck fans.

Spoon - The Two Sides of Monsieur Valentine (Gimme Fiction, 2005)

This is a song I really hoped Spoon would play in January this year. As my friends and I were driving to one of their gigs I asked one of them to throw this track on. One of them replied, what do you see in this track? To which I really couldn't answer, apart from being just a solid pop song. Short and Sweet, terrific chorus and verses that never let you down.

!!! - Yadnus (Myth Takes, 2007)

With a massive drumbeat coming in somewhere between Battles "Atlas" and Garry Glitters Rock and Roll parts 1 or 2, I'm not sure which it is. This is the kind of song you want to hear out at a club after your third drink. The track thumps along in all it's jiving and jaunting spirit.

Fleet Foxes - He Doesn't Know Why (Fleet Foxes, 2008)

There seems to be two sides of thought towards this band. People who think they sound like the latest bunch of southern styled rock bands without giving them much credit that they can pull off incredible melodies from nowhere, or you have the fans who lap up those sweet engrossing melodies (me), so i guess this is where this song comes in. This song stuck out like a sore thumb on my first listen, just incredible use of melody whichever way you look at it. Robin Pecknold's voice may be very similar to some modern rock singers out there but this is too good to really give a shit about that.

Grizzly Bear - While You Wait For the Others (Live, 2008)

Being heralded as one of the best tracks of the year, and I'm in agreeance, there's just something about the rawness and slight contrast to that of their work on Yellow House. This track seems a little more straight forward but in the best way possible. The song keeps at a steady pace throughout the duration with sincere organ bursts and a slightly more upbeat chorus backed by terrific and effective backing vocals. Hopefully this will appear on their forthcoming album, I'll just be curious to hear what the recorded version comes out like.

She & Him - Why Do You Let Me Stay Here? (Volume 1, 2008)

This was the first song I heard with Ms Deschanel in all her singing glory. Upon first listen I was mightily impressed as I still am today. I caught their performance on Conan O'Brien the other night with Yo La Tengo backing her and M Ward, which was something I was pretty excited about. The song came out just as well live as it does on record. I love its laid back but slightly southern country rocking acoustic feel.

Sufjan Stevens - The Predatory Wasp of the Palisades is Out to Get Us! (Illinoise, 2005)

With the music community still hugely anticipating his next effort I was lucky enough to catch one of his shows earlier this year, which was and is the best show I've been to in quite some time. At one stage in the night if I remember correctly Sufjan quietly approached his microphone and began this song. It was at that moment I kind of fell in love, I was only slightly familiar with this track but at that moment I and everyone else fell in love me for the first time yes everyone else probably not. The intro is simply majestic, you could probably listen to it over and over for the rest of your life just knowing how sweet his voice is and the subject of the song. I'll probably forever remember standing in that crowd and falling in love as he performed his heart away.

Sean

Live Review - My Bloody Valentine

2008-07-02T02:58:00.000-07:00

By now, many of you will be sick to death of reading about the comeback of My Bloody Valentine. The noise; just how loud just was it? Or perhaps the epic rendition of 'You Made Me Realise'? Over a week into the comeback tour it seems that all is smooth sailing, apart from a couple of intro takes from Colm O'ciosoig!

The mystery My Bloody Valentine possess has also brimmed prior to this comeback tour (again, what the hell do we call this tour?). This isn't your typical return to the fold that shadows the main objective of covering a couple of overdue re-mortgage payments. This is the real deal. The perfectionist attitude of Kevin Shields wouldn't have it any other way.

The MBV catalogue even shrouds itself in mystery. The eclectic aura of the material Loveless extrudes is a perfect example. It's trajectory is free as a bird, despite the emotion it evokes. Then there's Isn't Anything; an affair that feels like a heart wanting to explode from someones ribcage. The former poses as the baby of Shields and Bilinda Butcher that swathes with tremolo and beauty. The latter perceives Debbie Googe and O'ciosoig to hail one jaw breaking rhythm section, showing their hand with direct prominence. A band that is a tale of two halves; if people needed their arm twisting, then after witnessing this live equivalent to a mangled car wreck, the twisting had well and truly been performed. The two halves, you ask? Well, there's loud, and there's louder. Simple.

'(When You Wake) You're Still in a Dream' and 'Feed Me With Your Kiss' are both like a rootless sea of brutality. Shields's endless number of amplifiers cluttering the stage are put to perfect use during this assault, alongside the pounding snare work from O'ciosoig. 'To Here Knows When' is bliss redefined. Jangling nerves and tugging the heart strings of many, Butcher's cosmic whisper makes you feel like heaven actually beckons sooner rather than later. 'Soon' just may be 'it' and if he had the choice of only one, the song that Shields could well and truly take to his grave. The gliding force, the gut-wrenching moodscapes, the perpetuating shower of tremolo. If ever a track epitomises MBV then this is it.

Then there's 'You Made Me Realise'. Reading about it slightly reduces the expectation level, but reading about it and literally holding an ear to something as chaotic as this presents two totally different scenarios. The longevity of guitars act as lava walls against the World's most catastrophic natural disasters. Bystanders were left in awe. Some were using their paws to cove ears, others were shrouded with fear as eyes were wide as dinner plates. Trousers were shaking, teeth vibrating, with Shields once again conceiving a metal-on-bone feedback assault in terrorising fashion, clocking on 32 minutes. O'ciosoig doesn't let up on the drums, with hissing high-hats and kick drum hammering, while Googe's bass-line adds to the foundation shaking proportions. Then there's Butcher, whose cacophony on guitar could probably have been heard by housewives putting their kids to sleep down in Hazel Grove.

The brooding moments of 'You Made Me Realise' was far from a self-indulging pledge. A statement of sheer intent; a certainty. They're back and this was their message; don't fuck with us. The recent wave of bands knocking out re-hashed versions of the template Shields, Butcher, Googe and O'ciosoig essentially created with Isn't Anything and Loveless were put on notice and swept aside like a minnow. This message was to them. We do it louder; we do it better; we enthrall, you don't! It's as simple as that. My Bloody Valentine conquer on every level. They may not have only successfully pulled off one of the best series of comeback gigs in musical history, but they may have just created one of the biggest musical statements of our time, too.

Setlist:

I Only Said
When You Sleep
(When You Wake) You're Still In A Dream
You Never Should
Cigarette In Your Bed
Come In Alone
Only Shallow
Thorn
Nothing Much To Lose
To Here Knows When
Blown A Wish
Slow
Soon
Feed Me With Your Kiss
Sueisfine
You Made Me Realise

Video:

(When You Wake) You're Still In A Dream

Nothing Much to Lose

You Made Me Realise

Review & Video by Simon K

Album Review - Death Cab For Cutie

2008-06-27T05:49:00.000-07:00

Death Cab For Cutie - Narrow Stairs [Atlantic Records; 12/05/2008]

Depends on who you're talking to, Plans was a successful record, being that it won the band a ton of new fans and the music continued to be catchy. Long time fans have been sceptical of the band ever since selling their souls to the evil of a larger record company, that being Atlantic Records. Time has flown and it's time for the Cutie's second outing on Atlantic. In a quote that was posted on the Wikipedia late last year had me frothing at the mouth for the follow up as some of the quote mentioned a "10 minute long Can jam", anticipation ensured. Being excited as I was for the release of Narrow Stairs I was duped into a faux version of the record, some German band? Feeling the sting, finally a real version was released.

On first listen I was a little underwhelmed as i was wanting/expecting an album full of space flavoured jams but after a few more listens the songs really started to reveal themselves. For starters "I Will Possess Your Heart", (the first single and the song in which the quote came from) is song of the year material, strangely different from past material, smooth and excitingly creative. In fact the album sports a few song of the year candidates, as in opener "Bixby Canyon Bridge" Gibbard showcases his influences in beat poetry with his lyrics over an incredible slice of musical bliss. "Grapevine Fires" apparently written about the fires which spread across L.A last year is the Cutie at the top of their game. The album is certainly a mixed bag of sorts as "Long Division" is the upbeat rocker and "You Can Do Better Than Me" is the Death Cab trademark insecurity song, which carries over the similar themes from past albums and "Pity and Fear" could be that song to become your favourite song on the album after listening to the others too much. Guitarist/Producer Chris Walla is at the helm of the bands sixth effort and he does it justice.

Being a guy who hasnt been with them since the beginning (as I'm far too young) it's great to see a record of such quality even if there is no comparison to some of their Barsuk material, depending on the listener and when they started with the band I still really feel this is a really fine album. For those who haven't already dismissed the band for becoming to popular expect to see Narrow Stairs at the top of a few polls at the end of the year.

Sean.

Lullaby Recommended

Stay Tuned for Lullaby's Best Music of 2008 so far...

Live Review - My Morning Jacket

2008-06-27T01:35:00.000-07:00

My Morning Jacket
Date: 25/06/2008
Venue: The Leadmill
City: Sheffield, United Kingdom

Louisville, Kentucky's My Morning Jacket hold the reputation of unleashing one the best live shows around and despite the Sheffield's Leadmill only sparsely filled, those who attended the bash (MMJ's first on the current tour) left with the performance well and truly ensconced in their memory.

My Morning Jacket are a different proposition in the live arena. Their expansion in musicianship is undoubted, with bassist “Two Tone” Tony's bouncing bass throbs simmering underneath the guitar combustion of frontman Jim James and fellow axeman, Carl Broemel.

'Evil Urges and 'Highly Suspicious' are falsetto driven numbers that explore a new avenue for My Morning Jacket, even more so live, with a trajectory that doesn't compare between the respective mediums. The zenith of MMJ's catalogue is certainly 'Gideon'; jam packed with bass notes that make one numb, the turbulent spasms and guitar breakouts end with James, TTT and Broemel coalescing to the centre of stage for a rock 'n' roll conclave. The swelling grooves of 'Lay Low' and 'Anytime' follow in seismic waves where guitar freak-outs and swirling bass jams have bystanders glued to this assault.

The no-nonsense swathe that is 'Smokin from Shootin' and the reverberating trance of 'Touch Me I'm Going to Scream Pt.2' rank among the highlights off Evil Urges , while It Still Moves' country bumpkin stomp that is 'Golden' is a lush rendition of southern fried rock. 'One Big Holiday' closes the show with more of an epic vibe and rocking hybrid in comparison with the record cut.

Although Jim James is the obvious epicentre, each band member extrudes a unique virtuosity that almost appears to be purposely tucked away on record. Material off Z is expanded upon in ferocious fashion, appearing as the obvious yardstick in the 'Jacket's arsenal, despite the haphazard brilliance that material off Evil Urges possesses. There's no doubt whatsoever that My Morning Jacket immerse themselves when “playing” live, exceeding expectations and mesmerizing the masses along the way.

Setlist:

1. Evil Urges
2. Off The Record
3. Gideon
4. I'm Amazed
5. Highly Suspicious
6. Lay Low
7. Touch Me I'm Going To Scream Pt.1
8. What A Wonderful Man
9. Sec Walkin
10. Golden
11. Thank You Too!
12. The Way That He Sings
13. Remnants
14. Smokin From Shootin
15. Touch Me I'm Going To Scream Pt.2

Encore:

16. Wordless Chorus
17. It Beats 4 U
18. I Will Sing You Songs
19. Run Thru
20. Anytime
21. One Big Holiday

Photos:

Review & Photos by Simon K

Album Review - Errors

2008-06-24T23:31:00.000-07:00

Errors – It's Not Something But It Is Like Whatever
[Rock Action Records; 03/06/2008]

In many respects, Glasgow's Errors are a version of Mogwai that you could hit the dance-floor to. It's no coincidence that the latter have drafted this young trio in to releasing their debut album on Rock Action Records (the 'Gwai's own label). After all, RAR's roster of artists all claim to present one raging similarity; making noise and equally doing it in fine fashion.

Much like Errors' debut EP How Clean Is Your Acid House?, It's Not Something But It Is Like Whatever contains a fair underpinning. 'Dance Music' is a sardonic title that we've witnessed Mogwai using throughout their career. Errors portray this well enough, with flowing beats that are catchy and equally raw enough for the village idiot to shy away from.

'Salute! France' stands as the album's finest moment with it's melodic drive created by a gliding keyboard encapsulating what Errors set out to achieve on their debut, albeit if it's only momentarily. 'Still Game' provides the come down, with a more guitar orientated dirge, while closing track 'Alot of the Things You Don't Isn't' maybe just that, hauntingly closing the album with darkness and mystique.

Although the basis prevails with solidarity, at times, INSBIILW feels like a chore, with large pieces of deadwood floating in between the finer bits; most of which are mentioned above. If Mogwai made dance music then it would probably sound like this, but unlike Errors, when they lay foundations, you'd well and truly know about it. It's hard not to sit Errors next to their label mates, but as they say, when you've made your bed...

By Simon K

Album Review - The Fall

2008-06-24T23:15:00.000-07:00

The Fall – Imperial Wax Solvent
[Castle; 28/04/2008]

Mark E. Smith has recently come under scrutiny, being harshly scathed for his alleged self-parody and cynicism of certain quarters in England and for that matter, the World. However, as always, Smith will just fob this off and probably write about it for The Fall's next album. In fact, there's no “probably” about it. Imperial Wax Solvent is once again Smith throwing musicians on the conveyor belt to re-define the boundaries his band have disintegrated time and time again over the 30 plus years of The Fall's existence.

“I'm A 50 year old man, and I like it” spits Smith, during '50 Year Old Man', which entrenches us right into the now of The Fall. With bass rhythms undulating with a post-punk trademark during tracks like 'Strange Town' and 'Tommy Shooter' it's lyrics of Smith that once again steal the show. Still taking a swipe at the working class beer consumers and weekly bingo attenders of his nation (none better than 'Alton Towers' and 'Senior Twilight Stock Replacer') there's a seismic shift during this affair, with the mocking undertones of 'I've Been Duped' rendering a steely pop aesthetic.

The Fall have never been pinned down and taken hostage by anyone over their three decade life-span. Constantly transforming mutant soundscapes, altering tactics with personnel, and the perpetuating scathing lyrical barrages from album-to-album, it's no doubt The Fall continue to prosper. Imperial Wax Solvent might not rate as the best Fall album to hit the shelves, but it's far from the worst and as long as the platform is still there, Mark E. Smith will continue to rant and do it damn well.

By Simon K

Album Review - Martha Wainwright

2008-06-24T01:46:00.000-07:00

Martha Wainwright – I Know You're Married But I've Got Feelings Too
[Drowned In Sound; 10/05/2008]

The sibling of singer-songwriter, Rufus, Canadian born Martha Wainwright stole our hearts and trampled all over them in 2005 with her debut self-titled full-length. Full of vigorously written folk songs, a plethora of anger was let off the leash to cause havoc and distress, with the brashness MW employing clearly showing one message; this women could hold her own with anybody. Martha's second album, I Know You're Married But I've Got Feelings Too, follows a similar path in themes, but in the case of sound, there's a significant ushering.

With IKYMBIGFT, proceedings flow a little smoother, with turbulence at a premium. Pink Floyd's classic hit 'See Emily Play' is covered in more of a come-down/folk fashion, while earlier tracks on the album such 'Hearts Club Band' and 'The George Song' sight the scope to more of an undercurrent of angst, which essentially is what the the album is all about.

Although not as in-your-face with the cold harsh fists and gashing red hot blood like her predecessor, IKYMBIGFT still alludes to personal set-backs and heartbreak. It's just in more of a metaphorical sense this time, making the listener work a little harder (album title being the exception). It shows that Wainwright can vent her anger through various channels, which for the most part, is commendable. Still, it sounded better when the boldness and feisty interplay was at the table.

By Simon K

Album Review - Silver Jews

2008-06-19T04:01:00.000-07:00

Silver Jews – Lookout Mountain, Lookout Sea
[Drag City; 17/06/2008]

David Berman has always smashed boundaries in the aesthetic of your run-of-the-mill song-writer. Always in close company with the likes of Stephen Malkmus, the influences of the Pavement main main has always rubbed off on Berman, who has never called the proverbial spade a spade lyrically or musically.

Lookout Mountain, Lookout Sea is a Silver Jews album that many can relax and enjoy, posing as the most straight-forward of albums that Berman has penned since this project kicked started in the late '90s.

'What Is Not But Could Be If 'sounds like Johnny Cash's bastard son knocking out the land-locked blues. 'Suffering Jukebox' is a striking to-and-fro between Berman and his wife, Cassie, who adds a country twirl to the ditty. 'Strange Victory', 'Open Field' and 'Party Barge' are all in-you-face indie country numbers that are arguably the most accessible Berman has ever written.

Although the core base of Silver Jews' listeners maybe put off by the accessibility Lookout Mountain, Lookout Sea portrays, in truth this was an avenue that Berman was always capable of enduring upon. Now that he's actually taken this step, it may catch people a little off-guard. Rather than bending the listener's mind with ambiguity and instrumentation that's hard to pierce, his unearthed an album that one can indulge in with very little effort and for this it's just an extra string to bow of David Berman.

By Simon K

DVD Review - Gimme Shelter (Rolling Stones)

2008-06-18T08:14:00.000-07:00

Gimme Shelter is a documentary/concert film that was released in 1970 portraying the Stones on their 1969 US tour. The film begins with footage shown from their famous Madison Square Gardens concert with some takes featuring on their live album "Get Yer Ya-Ya's Out", and random shots of them hanging about in hotels and listening to fresh cuts of their songs, but at the centre of the film is the tragic events that took place at their free gig at the Altamont Speedway in San Francisco. On December 6, 1969, merely only a few months after Woodstock, the Stones were to perform alongside Jefferson Airplane, Ike and Tina Turner and the Flying Burrito Brothers for charity at Golden Gate Park, though they were denied as another event was already taking place so through much stress a decision was made that it would take place at the then currently unused Altamont Speedway.

Not long after the film starts rolling we see a very emotional Jagger and Watts as they are dealing with the aftermath of the murder of 18 year old man Meredith Hunter that took place as they played. We then hear from the most prominent member of the Hells Angels, Sonny Barger telling his side of the story via radio. What is so special about the footage captured is not only the events that take place but to witness what it was like back then to be a music fan. Seeing people on drugs, the violence, the love making, producing a very real and somewhat intense portrayal of a time not so innocent as we might have thought. The intensity builds up throughout the film as the crowd infiltrates the stage and at one stage an Angel punching out Marty Ballin from the Jefferson Airplane whilst they are performing. For what sparked the act of violence that ended in murder is still a little shady, but rest assured this event remains one of the most intriguing subjects in music history. To find someone to blame for the unfortunate event would be hard to get to the bottom of as the Hells Angels, what were they really doing there? The fans, drugged up and seemingly aggressive, what about the music? All of these elements combine to what is frequently called the event that closed up shop in the department of peace and love of the 60's. This is purely a must for anyone who calls themselves a music fan, this is an intense and exhilarating documentation and most definitely essential viewing.

Lullaby Recommended

Sean.

Album Review - Evangelista

2008-06-18T07:27:00.000-07:00

Evangelista – Hello, Voyager
[Constellation Records; 11/03/2008]

Despite being born in New York, in many respects Carla Bozulich (now residing in Los Angeles) is the West Coach equivalent to Lydia Lunch. Dabbling in various forms of art, creating in many shapes and forms, it was Bozulich's solo 2006 album Evangelista that gained a plethora of critical acclaim. Naming her latest project after her last album, along with some different musicians, Bozlulich unleashes Hello, Voyager.

'Lucky Lucky Luck' trickles with the sound of alternative country while her label mates, A Silver Mt Zion unleash some influences, with screeching instrumentation rumbling under the framework. 'The Blue Room' is a disjointed ballad with rigid guitars that are plucked out of time and Bozluich's unconventional vocal is shed for the whole world to hear. 'Truth Is Dark Like Outta Space' is a punk number inspired by the New York No Wave movement, but extruded with a little more accessibility, while 'Frozen Dress' establishes yet another example in genre hop-scotch with evocative sheets of noise peering through cracks of the wall.

Hello, Voyager is a release that genre-surfs from song to song, making it very unpredictable, which essentially is what art is all about. With the listener on the edge of their seat with ears pricked and eyes wide with intrigue, Bozulich's latest batch of songs certainly have the ability to unease. Depending on how one approaches their music will purely determine whether they strike a chord with this release or not.

By Simon K

DVD Review - Low: You May Need A Murderer

2008-06-17T05:13:00.000-07:00

Low – You May Need A Murderer
[Stemra; 03/06/2008]

Over 15 years of recording albums and touring on the back of them, Low have finally been paid homage, with a documentary filmed by Dutch filmmaker, David Kleijwegt.

You May Need A Murderer is a 72 minute documentary based around the natural habitat of Alan Sparhawk and Mimi Parker; two thirds of the seismic force that is Low. Filmed over 30 days throughout America, this documentary touches on the pair's family life in Duluth, Minnesota, which encompasses their dealings as parents, musicians, whilst also emphasising on the duo's religious involvement within the Mormon community.

Alan Sparhawk is the focal point of the film. With the epi-centre of the documentary touching on the precarious economic situation his country currently possesses, Sparhawk merely points out that America is nothing more than a third world country; a notion many people are finally starting to catch on to.

Kleijwegt, unafraid to ask the tough questions, refers to the situation of Sparhawk's illness three years ago, which Sparhawk himself and Mimi Parker go at some lengths to explain, embarking on yet another tangent that forms intrigue for the viewer.

The use of of songs from the band in the live arena is integrated perfectly within certain scenes throughout this documentary. None better than 'When I Go Deaf' that washes in the background while Sparhawk embarks on a run, sporting shorts and a t-shirt.

You May Need A Murderer is a story about two entities growing up together and forming a relationship that comprises of giving their life to religion, parenthood, and against the odds, being in a band. It's refreshing to see a documentary about an artist that doesn't exactly make music the focal point, while the nature of which Kleijwegt captures Sparhawk and Parker pinpoints towards a humanly organic texture.

By Simon K

Album Review - Elvis Costello & The Imposters

2008-06-17T04:55:00.000-07:00

Elvis Costello & The Imposters – Momofuku
[Lost Highway; 22/04/2008]

The beauty about Declan MacManus is that he's never fitted in. From the realms of London pub rock during the '70s, Elvis Costello has always delivered something that defies the odds. This time it's with his band, The Imposters, and in the shape and form of Momofuku.

Costello has swayed towards the angle of writing a love song with Momofuku. The lyrics he conjures swathe between a clear dabble with pop and it's evident, drafting in Rilo Kiley's Jenny Lewis to guest on vocals during the album.

Guitars merely progress past a couple of chords, while Costello unleashes lyrics that come across in light-hearted fashion, however - as always the case – things are never as they seem when relating to this artist. Even with the sound, opening track 'No Hiding Place' culminates with an alt-country stomp that hits you all the way from left field, which is what Costello has basically made a career out of doing.

'Flutter and Wow' is up there with the highlights of the album. A ballad in typical sense, this track wouldn't be out of place in your local boozer on a Sunday afternoon, with the local crooner doing his best to murder it. 'Go Away' closes the album, with a loose pop jangle and catchy melody making it the most straight-forward song on the album.

Many are saying that it's Costello's best album since the days of Brutal Youth. These mutterings could be somewhat off the mark, based on the fact that Costello is always striving for something different, making comparisons between his works an all but impossible task. The work Costello has released over the years may not always reap the rewards, and the same goes for Momofuku, where some listeners will evidently gain more fruition than others.

By Simon K

Album Review - Wolf Parade

2008-06-16T08:33:00.000-07:00

Wolf Parade – At Mount Zoomer
[Sub Pop; 17/06/2008]

Despite the slew of projects Dan Boeckner and Spencer Krug indulge in, people have still suffered from anxiety in the hope that a new Wolf Parade album would surface. So much so, that on the back of their genre defining debut, Apologies to Queen Mary, the band's sophomore effort, At Mount Zoomer is arguably one of the most anticipated releases of the year.

Although it was always going to be one hell of a battle to surpass the sounds of their first at-bat, after the dust settles, many would have thought that Wolf Parade could have done a little better with 'Zoomer.

'Soldier's Grin' picks up from where the band left off, displaying all the strong traits Wolf Parade had initially shown on Apologies'. The one two indie-punch combo of 'California Dreaming' and 'The Grey Estate' also demonstrate Wolf Parade expanding on their sound in catchy fashion, but sadly there's not too much else to elaborate on without wasting column space. The catchy indie pop songs that we fell in love with the first time around seem to be sparse and at a high premium, making this album very patchy and skip prone.

Wolf Parade have presented a different proposition with At Mount Zoomer. Despite the obvious Boeckner fans, who will judge the album with over zealous emotion based on the fact that this is new material - to put it bluntly - their first album was brilliant and this one isn't. There's a middle ground in the world of music and although there's some decent songs here, this time around Wolf Parade haven't found it in terms of producing a decent album. Sadly, there lies the problem.

By Simon K

Album Review - Pyramids

2008-06-13T05:45:00.000-07:00

Pyramids – Pyramids
[Hydra Head; 2008]

What happens when the metal dude sporting black cloths and corpse paint locks horns with the meek looking dude trying to emulate Kevin Shields circa 1990? Well, after the alcohol is exchanged and persona's loosen up, then your answer is the wicked sounds of Pyramids.

Pyramids' sound is defined by a bunch of friends getting together, exchanging record collections and pulling the best bits out and throwing them down in the studio (or basement, which is most often the case these days). The end result is the band's debut self-titled affair.

'Sleds' sounds like the Animal Collective trying to put their spin on Boris' 'Farewell' with moody layers of sound and wavy undercurrents at the helm. The proceedings move into a different direction from here, with 'Igloo', 'End Resolve' and 'Monks' soaring with layers of white noise while being backed by a rhythm section that wouldn't look out of place in the black metal community.

A Place To Bury Strangers created the sin of throwing their eggs into one basket. This is where Pyramids prevail. They've pilfered sounds from a wide array of influences and have conformed this with layered textures and evocative soundscapes, culminating in one big cluster-fuck. Listening to Pyramids is like getting taught by three different music teachers at once; you just don't know whether you're coming or going, which is the whole beauty of it.

By Simon K

Interview - The Forms

2008-06-12T04:41:00.000-07:00

The Forms are one of those bands that have ducked and weaved through the music scene over the past five years. In the heart of Brooklyn, where ground-making music is perpetually being made, it seems, The Forms (frontman/guitarist Alex Tweeen, guitarist Brendan Kenny, bassist Jackson Kenny and drummer Matt Walsh) continue to trudge along making a primitive rendition of indie rock, without stealing the headlines.

To simplify it, their second self-titled album is a great listen. An easy listen, but again, it's difficult to define. After their 2003 debut opus, Icarus, many knew we had a good indie band on our hands and this time around this notion still swirls with conviction.

I first came across The Forms back in the Anemic Magazine days. Since then, the band have evolved onto a wider scale, rubbing shoulders with the likes of Battles, The National, and Nick Cave at the recent New York Plug awards, while an appearance at South By Southwest shortly followed. A European tour is also being mooted for Brooklyn's best kept secret. Frontman, Tween, was kind enough to agree in answering some questions that centre around the band's latest album.

Lullaby Magazine: Hey Alex, it’s good to talk to you again?

Alex Tween: Likewise, Simon.

LM: It’s been a while, but I’m really glad it’s under the circumstances of a new album. Tell me, how’s life with The Forms?

AT: Very good. A lot of projects going on. It took a long time for us to put out new music, but that is going to change.

LM: A lot’s been happening, too. You just played The Plug Awards, playing along side the likes of Nick Cave, Battles, Dizzee Rascal. How was that experience?

AT: It's really strange to go from working on a song in your bedroom where you're just by yourself and no one's around, to suddenly playing the same song as part of a show such as that where you're in a massive venue all day with 100 crew and lights and camera people milling about, and then eventually thousands of people watching you. we've played a few shows like that and tend to feel a little like a fish out of water, but that said i think we all had a good time.

LM: Did you meet any of the bands afterwards?

AT: We met St. Vincent; they're super nice and a great band. Also The National, though we had known them from before. Nick Cave had an entourage and an entire floor of his own dressing rooms so we didn't meet him.

LM: You’re also off to South By Southwest. Is this your first time at the showcase event?

AT: It was our second time.

LM: What would you say an average day at SXSW involves?

AT: The first time I went, I had a list of five to six bands to see every day, and I think you get so caught up in seeing bands that it's difficult to actually have any fun. This past year, I just more or less did what I felt like doing at the moment. I ended up seeing fewer bands, but having more fun.

LM: The new album’s been out in the States for a while now, how’s the response been towards it, thus far?

AT: We felt we had a lot to live up to after our first album Icarus, and since our new record is pretty different, we didn't really know what people would think. But most people seem to like it better than our first one, which is cool.

LM: I see you’ve dropped the alias’ and now are using your real names. Any reason behind that?

AT: We did it because we wanted to de-emphasize our personalities and place the focus on the music. But we would do radio interviews and it was so awkward when we'd say our names using those names. It just works better on paper I guess. Also, I think our new record is more up front and in the light, so it fit in that respect, too.

LM: It’s longer than ‘Icarus’, it’s also self-titled. In terms of sound it’s a lot more straight forward then the first album. Do you ever get asked the question that this album is something that bands usually make first time around as apposed to the second, given the way your first record, Icarus, was recorded?

AT: Well I agree that bands usually make the self-titled earlier, with some exceptions (the Liars' last album, The Beatles' white album, etc.). In our case, anytime we tried to append some sort of concept to the album, it felt really contrived. It was best left open. As for getting more straightforward later, I think the new record is more straightforward in some ways (song structures, louder vocals) but less in others. For example, I felt a lot of people thought of our first record as emo, whereas i think the new one is a lot tougher to pin down.

LM: You recorded it Steven Albini again. He’s gone on record as saying he’s never seen a band take on a particular part so many times. It seems that you guys took a lot of time perfecting this effort?

AT: Yeah, and he said that about Icarus, which we spent significantly less time on. We spent about 50 days in the studio this time around. We worked from morning until night every day, with scarcely any time off. It was grueling and I nearly had a breakdown towards the end, but I think it was definitely worth it considering how everything turned out.

LM: On Steve Albini, he requested that artists acknowledge him as a “recorder” and not a “producer”. I guess that’s a case of you guys having free reign with no influence from him, would this be right in saying?

AT: I think so. Steve has the utmost respect for the artist, and would never try to impose his will on a band, as some producers do. That said, I think he does put his aesthetic stamp on recordings whether he wants to admit it or not, for it's always easy to tell when a recording is done by Steve. But that stamp happens to sound pretty damn good, which kind of makes it OK.

LM: Your music is so hard to pin point, it’s like you’re adding elements to what is deemed as “indie rock”. You must really find it fitting that people find it hard to pigeon hole your music?

AT: We aren't really a band that hears something and tries to emulate it. I think we probably do have "influences" but I'm not really sure what they are. They're probably as much life experiences, fiction, or whatever, as they are music. We don't really think about it, and I think because of that, the end result comes out sounding different from other things.

LM: I find the opening track, ‘Knowledge In Hand’ quite interesting. It’s like the band’s epic track, so to speak. Your vocals seem at the height of everything. Was it important to choose this track as the opener?

AT: At least for me personally, if a listener were to hear only one song from the album, I'd want it to be that one. It captures a lot of ideas that the the album has throughout well: the jarring transitions, the focus on melodies, the hard-to-pin-down emotion.

LM: How big an influence does living in Brooklyn have on the band?

AT: I'm reminded of Michelle Obama's statement "for the first time in my adult life I am proud of my country." I feel that way about Brooklyn right now. There are really some great great bands here at the moment: The National, Battles, Dirty Projectors, High Places, Apes and Androids, etc. It's inspiring and exciting to be around.

LM: Last time we chatted it was bands like Interpol and the Yeah Yeah Yeahs that were taking New York by storm. Now it’s transformed and things are a lot different. Do you see the kind of music that bands like Animal Collective and Battles make as the future of music itself?

AT: I'd say yes in both cases. Both of those bands are fusing technology and rock music in very progressive ways that will be influential. That said, I think Animal Collective takes a lot from the Beach Boys/60s and that Battles takes from 90s Chicago bands like Don Caballero (unsurprising since Battles' Ian Williams played guitar in Don Cab'). But then again, borrowing from the past will probably always be a part of the future of music as well.

LM: You run Threespheres (record label) while Matt plays in The Desert Fathers. How do you guys prioritize from different projects so things down run into each other?

AT: The Desert Fathers are on indefinite hiatus, though Matt is working on a new project called First Nature with Keith from Desert Fathers that should be out in a few months. Threespheres' label activity has lessened in recent years. Labels don't really make much money anymore. Just ask Clive Davis.

LM: Finally, do you guys plan to tour abroad anytime soon?

AT: There are tentative plans for a European tour in the fall.

LM: Thanks for your time, Alex. Good luck with The Forms for the rest of the year and beyond.

AT: Thank you, Simon. Take care.

For more information about the band please visit the following.

http://www.theforms.org/
www.myspace.com/forms

The new album The Forms is out now on Threespheres

Interview by Simon K

Album Review - Shearwater

2008-06-11T04:27:00.000-07:00

Shearwater – Rook
[Matador; 03/06/2008]

Without too much notice from music listeners around the world, Shearwater have been trekking around for the last five years. Up until now, frontman Jonathon Meiburg has kept busy with Okkervil River, but with his main band attracting more and more attention, he has now left Will Sheff and Okkervil' to concentrate more on this project (despite Sheff actually being a part-time member of Shearwater, too). Shearwater extract a more folk orientated form of music as apposed to Okkervil River and their fifth album, Rook, displays this trait quite contently.

The noise levels abrasively rise at times, with opening track 'On the Death of the Waters' portraying this nicely, but for the most part Meiburg croons to his listeners in an attempt to melt hearts ('The Snow Leopard' and 'Hunter's Star'). 'Rooks' moves in ebbs and flows with Meiburg's thick vocal the standout, while 'Century Eyes' is a more intense rocking affair that moves away from the rest of the album.

In a lot of ways Shearwater's music is very similar to Okkverill River's ('Leviathan Bound' and 'Home Life'), but with more of a gracious representation. Meiburg chooses to sooth his listeners with grandeur and lust, as apposed to jumping out of the speakers and shaking them like his Texan cohort, Sheff. At times this is commendable on Shearwater's behalf, but at others it can a little tedious and difficult to engage with, with the music sounding more like candle light dinner material as apposed to Gothic folk.

Rook is an album that needs your undivided attention, which makes it a tough journey if you're not in the mood. Along with a set of headphones - which are an essential if you're to fulfil the album's potential – patience is a virtue. There maybe something festering here and although things may not come to fruition from the outset, it's still worth sticking around, because like all good albums, things could just take a little longer to burn.

By Simon K

Album Review - My Morning Jacket

2008-06-11T04:03:00.000-07:00

My Morning Jacket – Evil Urges
[ATO Records; 10/06/2008]

My Morning Jacket is a band that attracts respect from all quarters. Not necessarily because they make amazing albums, but more so because of their diversity and their ability to immerse from static creativity, which a lot of their contemporaries fail to do. They've had their fair share of success in the past with album's such as At Dawn and Z topping many listeners' favourite polls, but the one thing MMJ have always lacked is quality control. They rectified this situation with the latter album, however there were still some weak tracks that lay within the release.

Z was a shift in gear, with a longevity of experimental guitar jams and stomping riffs two of the many great features MMJ decided to embark upon within their music. Smashing their boundaries, the band continues on underlining their intentions to move forward, with their latest album, Evil Urges.

Jim James mixes up his vocal range throughout this album, with more of a pop glee at the helm. 'Highly Suspicious' is the aptly titled track where James' falsetto does its best to unsettle the listener and is the high point of the band's change in musical climate.

'Librarian' is a cleverly worked lyrical parade which seems a lot easier on the ear than a lot of the band's previous works, while 'Looking at Working' flows in much the same vein. 'Touch Me I'm Going to Scream Pt. 2' is the epic closer that flows on the back of guitar reverb and James' beefy shrills, which never grow dull.

Many will disagree with me on this point, but Evil Urges is arguably the most enjoyable MMJ album that can be listened to from front to back. It's the band's ability to inter-surf within the genres of rock and alt-country making no one track sound alike, which is a complete contrast to the majority of work they've previously released. Much like the steps that Wilco took with A Ghost Is Born and even to a lesser degree with Ryan Adams on Rock N' Roll, MMJ don't care about pleasing; they care about moving forward within their own sound, creating something that makes the listeners brain tick just that tad faster. Evil Urges is definitely that something.

By Simon K

Album Review - Fleet Foxes

2008-06-06T06:53:00.000-07:00

Fleet Foxes – Fleet Foxes
[Sub Pop; 03/06/2008]

After the release of their Sun Giant EP earlier in the year, it seems the indie world went into an upward spiral for more sounds from Seattle outfit, Fleet Foxes. In the name of Internet leaks, the indie public's wishes were granted, with the band's self-titled debut album shortly following in “digital format” onto various music blogs for all to enjoy and seemingly wank over.

Fleet Foxes have been branded as the best thing since sliced bread and it's quite apparent, with their sound the equivalent to the summer sunshine. Unlike some bands who get crucified for pilfering sound templates from others, the Fleet Foxes seem to gain praise for it. Some are comparing their sound to the Animal Collective making pop music, but in my opinion this is quite a stretch off the mark.

If anything, it seems as though frontman Robin Pickenhold has sedated My Morning Jacket's Jim James and extracted his vocal chords from his throat with a scalpel. Yes, it's a more conventional sound than his American brother's, however it seems as though the market for these bands is becoming quite congested due to these types of scenarios occurring on a regular basis.

Yes, Fleet Foxes could have done a lot worse with their self-titled debut and despite the praise this album will receive from the masses, there's no escaping the fact that this is rehashed from their modern contemporaries, albeit delivered with a sweeter pop sensibility. The majority of music listeners will be swayed by critics' reaction to this album. Sorry, but I'm not one of them.

By Simon K

Album Review - Grey Daturas

2008-06-05T04:15:00.000-07:00

Grey Daturas – Return To Disruption
[Neurot Recordings; 22/04/2008]

Melbourne's Grey Daturas have been around since the commencement of this era's noise faze, with their debut album Dead in the Woods comprising of sounds that would aptly fit the aftermath of a car wreckage. The twisted grinding dins presented by the Grey Daturas were something new to the listener, despite sometimes veering off on a tangent and creating an easier listen, such as the elegant post-rock number, 'A Japanese Romance'.

Their second album falls somewhere in the middle of the two extremes created with their debut affair. With the results a little easier on the ear, but still managing to render a sound as vicious as ever, Return to Disruption is truly one of the great surprises this year will bring.

Despite the title track and 'Undisturbed' holding onto the unconventional spasms of noise the band's debut album presented, it's numbers such as 'Answered in the Negative' and 'Demarcations Disputes/ Unity' that embark on a journey of rolling feedback and washes of noise sending the band's music into overdrive.

Return to Disruption is the Grey Daturas unleashing their cacophony of freight train colliding noise, but in a more melodic fashion. You just feel the band was treading water with the ways of the world with debut opus, but this time an underpinning of sound has given the band more of a solid framework, resulting in one of the noise albums of the year.

By Simon K

Album Review - Weezer

2008-06-04T05:06:00.000-07:00

Weezer – Weezer (The Red Album)
[Geffen; 03/06/2008]

When Weezer told the World that their latest effort was going to be titled “The Red Album” many thought the band's music would dramatically coil back to the good old days where geeks felt truly liberated when hearing the guitar crunches of Rivers Cuomo and Co. Then this whole “this is out most experimental album” quote pushed the boat out even further with anticipation, which seemingly felt like it was the highest it's been for the band for quite some time. So, Weezer (The Red Album) is here and guess what? I think you know the result.

Just when a nice little rhythm sequences and those Weezer guitar chords get going, Cuomo comes out with some lame rant that brings the impotency to the table for all to hear. 'The Greatest Man That Ever Lived (Variations on a Shaker Hymn)' and lead single 'Pork and Beans' – musically – are Weezer showing signs of strength, but it's left to Cuomo to butcher proceedings with his lack of solidarity on the songwriting front. Let's be honest; who really gives a fuck about the fame of Timbaland?

'Dreamin'' is one of the higher points of the album, with Weezer expanding on their guitar pop sensibility, with that vintage melody making itself known. 'I Thought I Knew' has guitarist Brian Bell at the heart of the vocals, which results in a half decent pop number, while 'The Angel and the One' sees Weezer dropping gears in the tempo, resulting in one of Cuomo's finer constructed songs on the album.

With quality in very sparse amounts, it's evident that Weezer are running out of steam in the ranks of creating something fresh. Although The Red Album seems to be an improvement on the band's 2005 affair, Make Believe, this still doesn't touch the band's back catalogue of work, with 2002's Maladroit culminating in anything of true importance when associating with Weezer.

Simon K

Album Review - Spiritualized

2008-06-03T05:08:00.000-07:00

Spiritualized – Songs In A&E
[Universial Records; 25/05/2008]

It's been one tough ride for Spirtualized's Jason Pierce. Literally staring death in the face with bilateral pneumonia, the former Spaceman 3 member has lived to tell a story about the roller coaster ride he's entailed over the last three years and that story is behind the orchestrated soundscapes of his latest album, Songs In A&E.

'Sweet Talk' kicks off the doctrine of events in true Spiritualized fashion, slowly shifting into gear for 'Soul On Fire', which is undoubtedly one of the singles of the year. With its lyrics clearly alluding to Pierce's dabbles with certain substances barely extruding the words “there's a hurricane inside my veins and I want to stay forever”, it's nothing short of a renaissance.

'Baby I'm Just A Fool' is yet again a number that Pierce establishes his near anti-metaphor beliefs, with his fragile vocal running at a parallel with a swathing riff, while 'Borrowed You Gun' is Pierce once again laying groundwork of his song-smith qualities with a symphonic twirl sifting below the vocal mix.

With the sequences of brass noise through Harmonies one to six, this breaks the album up at regular intervals, initially leaving it a little hard to break through. Despite this not really reflecting on the album's bona-fide song-craft, had these little noisy interludes been culled from the tracklist, the album itself would flow better, despite the adamant intention for their inclusion, it seems.

Like many of his previous releases, lyrical topics fail to take the exit route from the highway, and although people may see it as contrived or wish to brand Pierce as merely a one-trick pony, the solitary trick that the man himself performs is rendered in a way that's as good as any other in the business. How he can get away with this time and time again is one of music's great mysteries, but he still manages to come out smelling of roses time and time again. Songs In A&E is really no different.

By Simon K

Album Review - Earth

2008-06-02T06:33:00.002-07:00

Earth – The Bees Made Honey in the Lion's Skull
[Southern Lord; 26/02/2008]

It's hard to transform your feelings into words when encountering drone/experimental music. As one of the pioneers of the genre, Earth continue their journey in stripping down singularly notes and altering as much out of them as humanly possible on their sixth long player, The Bees Made Honey in the Lion's Skull.

On a personal note when it comes to listening to drone, Earth have always stood out. Barely shifting out of their comfort zone, they still manage to improvise with little margin for error within their music, yet still maintain maximum results.

'Rise to Glory' and 'Miami Morning Coming Down II (Shine)' are numbers that hit down the low end but keep the listener intrigued with the guitar twangs of frontman Dylan Carlson instilling a psychedelic aesthetic. 'Engine of Ruin' is more of a confined heat generating affair that moves towards more of a stoner jam frenzy that edges around guest guitarist Bill Frisell's chunky riff. 'Omens And Portents II_ Carrion Crow' also features Frisell and his sleepy riffs leading the line, this time, for more of a doom waltz, while 'Hung For the Moon' sees the band moving into more of a post-rock frame of sorts with higher pitches of piano replacing showers of low tuning bass.

The Bees Made Honey in the Lion's Skull is yet another string the bow for Earth. Although maybe not as dissonant as previous releases, you may find yourself listening to Earth before going to bed rather than using the band's music as a wake up mechanism, which - at the end of the day - is a progression of sorts.

By Simon K

Album Review - Bon Iver

2008-05-29T08:05:00.000-07:00

Bon Iver – For Emma, Forever Ago
[Jagjaguwar; 19/02/2008]

Although released independently last year, singer-songwriter, Justin Vernon's music was picked up by Jagjaguwar and released world-wide earlier this year. Quite frankly, it would be of criminal nature if we were to push this to the wayside, with its cinematic grandeur and organic nature basically falling into a position where everything good about music rests.

Let's cut to the “music” and “it”; under the moniker of Bon Iver, Vernon delivers his debut collective of heart melting folk songs; For Emma, Forever Ago. Vernon hits the nail on the head in every aspect. Spanning over eight tracks barley reaching the 30 minute mark, FMFA is a smash and grab affair that leaves its mark on the listener within the first few bars of opener, 'Flume'.

'Skinny Love' presents the heavy hearted wisps of Vernon along with his shadow-thin rhythm guitar that combine to produce one of the folk numbers of the year. 'The Wolves Act I and II' showcases Vernon's croons that slowly traipse into a build-up of syncopated drums that vanish within the blink of an eye, while the closing title track finishing the album off with a rich sounding brass section washing over the release with a sense of eclecticism.

There's really no other way to put it. Vernon's seamless aesthetic of delivering emotional ditties attacks the heart strings of a listener. As they say, a problem shared is a problem halved and Vernon seems to be getting things well and truly of his chest with For Emma, Forever Ago, which is a win-win situation for everyone involved.

By Simon K

Album Review - Titus Andronicus

2008-05-29T06:13:00.000-07:00

Titus Andronicus – The Airing Of Grievances
[Troubleman Limited; 22/04/2008]

Glen Rock, New Jersye's Titus Andronicus' name kicks off the long line of references through their music (album title, anybody?). If choosing mind-bending monikers isn't one of their finest points, then some of their ideas in the musical ranks could be, with their debut album The Airing of Grievances showcasing potential quality that could put their lo-fi contemporaries to shame.

Okay, so I realise the term “lo-fi” has been mentioned in abundance during the course of 2008, but it's starting to seem that the days of recording with minimal budgets and scuzzy soundscapes are back. 'Andronicus, despite their placing in this current trend, have the bit between their teeth, rendering something that makes the listeners thoughts tick just that little bit faster.

The distorted noise the band holds within the palms of their hands is just one of the many underlining qualities of this release. Unlike some of their contemporaries in this genre who choose to hide under the security blanket of fuzz, Titus Andronicus use the latter to extrude their emotion that can only be described as Conor Oberst on cranky pills, while this is backed up by howling instrumentation that does its best to make your bedroom walls sweat.

When frontman/guitarist Liam Betson screams the words “fuck you” during the opening barrage that is 'Fear and Loathing in Mahwah', the album rarely takes a backward step from here on. The combo knockout comes from 'No Future' and No Future Part Two; The Days After No Future'. The former is as close to ballad as this band will get to producing despite its comfort in this collection of tunes, while the swirling soundscapes that almost seem suffocated during the latter mentioned track also possess a diverse quality that the band presents on numerous occasions throughout.

Titus Andronicus dip their tows in the water of various genres without fully grabbing or rehashing any of them, with loudness and fuzz the only two traits that stamp their feet and beg to be counted. The Airing of Grievances hasn't hit with its full force just yet, but like the best albums, progression is all about time and once this release fulfills this requirement then a whole new outlook could be heard.

By Simon K

Album Review - The Black Angels

2008-05-28T07:06:00.000-07:00

The Black Angels – Directions to See a Ghost

[Light in the Attic; 15/04/2008]

The Black Angels are one of the many bands kicking around these days influenced by the likes of The Velvet Underground and various other art-rock psychedelic collectives from the 1960s and early '70s. Unlike many modern day artists who don't directly sight this period of music as influential, The Black Angels are the contrary to this belief, with their moniker deriving from a Velvet's song, while the band's trademark logo is a manipulated image of none other than Nico.

The band's sophomore album, Directions to See a Ghost has its strong points and weak ones, too. The strengths of this album rank among the best material the band has written so far, comprising of bohemian undertones that run at a nice parallel with the waves of drone and

slight tweaks of manipulated sounds washing over the mix in refreshing fashion.

Although the riff that swirls between the rhythms of 'Doves' is near identical to The Brian Jonestown Massacre's 'Here to Go', the remainder of the song is a well constructed menacing force that showcases what The Black Angels are all about. 'Never/Ever' is a heat generating jam-fest that breaks the mould of their psychedelic swoon, while 'You In Colour' draws upon a more expansive sound the band rips into throughout the stronger parts of the album.

The areas mentioned above are The Black Angels expanding on what was achieved during their debut album, Passover. Stretching their songs out as to flex a muscle, the results - at times - are good, while others remain a little stagnant. The extraction of ideas from their contemporaries as apposed to their influences can be heard from time to time on Directions to See a Ghost, which ranks as disappointing, as this band is much better than that.

By Simon K

Book Review - Jack Kerouac

2008-05-28T06:31:00.000-07:00

Jack Kerouac – The Subterraneans
Groove Press; 1958]

As one of the founders of the Beat Generation, author Jack Kerouac is now ironically reaping the rewards for his works back in the 1950s and early '60s, despite his unexpected death in 1969 at the ripe age of 47.

His 'innovative' use of spontaneous prose has been passed on as inspiration for many who dabble in the art of literature, while many modern musicians also stake claim in being influenced from the Lowell, Massachusetts born writer.

The Subterraneans - like many of Kerouac's novels - took little time to compile. Spanning over 93 pages, this form of writing - as a reader - is quite a hard concept to pierce, with pragmatic sentences and an abundance of block sequences making the novel extremely hard to engage with from the outset.

Leo Percipied (Jack Kerouac) tells a story - that in a nutshell - consists of jumping from bars around San Fransisco with his cliquey group, comprising of other aspiring writers of the time, Adam Moorad and Frank Carmody (Allan Ginsberg and William S. Burroughs), while meeting and falling in love with an African American women, Mardou Fox (Alene Lee) who by the end of a the novel “makes it” with one of the outsiders of The Subterraneans, Yuri Gligoric (Gregory Corso).

Given the time it was written and the social issues it entails within the relationships of certain characters, The Subterraneans can be seen upon as controversial, despite its intentions not to be. It still doesn't escape the fact that this is self-indulgence at its finest. Maybe that's the whole point of the exercise Kerouac was attempting to design, but there's a fine line in self-indulging and this book crosses it on a regular basis.

By Simon K

Album Review - Nine Inch Nails

2008-05-27T05:43:00.000-07:00

Nine Inch Nails – The Slip
[Self Released; 05/05/2008]

Due to the fact he no longer has to answer to record companies about the time frame of delivering music, Trent Reznor is finally starting to feel liberated. At the rate he's going, irony could play its part, with the Nine Inch Nails brainchild on a collision course to release more material these days than he ever did whilst tied to a major record label.

The Slip has been touted as a return to form for Reznor and the Nine Inch Nails. Already with a release under his belt in 2008 (the four disc instrumental album Ghosts), Reznor unleashes a collective of songs that lay somewhere between the patchy moments of Year Zero and the slightly-left-of-centre rock affair, With Teeth.

Seeing Nine Inch Nails live last year sparked a trigger for me, and really filled in the blanks that were seemingly awry on the With Teeth tour, with the words "jaded" and "uninspiring" springing to mind. This release stems upon the back of Reznor touring the World endlessly for the past four years, which has undoubtedly opened up a wider avenue to portray his art.

'1,000' is the perfect example of an artist digging himself out of a hole, with the track itself establishing a common ground by sitting somewhere in between the recent material Nine Inch Nails have released. 'Lights In The Sky' is a slow affair with Reznor's voice accompanied by a slow ringing piano line that casts our minds back to the days of 'Hurt'. 'Corona Radiata' and 'The Four of Us are Dying' are slow dark ambient affairs that give the album an extra angel and portray an important significance within the track list. The closing 'Demon Seed' ends the album off in tempo upping fashion, with distinctive drum clasps and industrious stabs at the forefront of the ditty.

Make no mistake about it; an artist that many had given up on could well be on his way back to creating something worthy of groundbreaking music. Opinions may become swayed and u-turns could be the call of the day and although The Slip may not leave those in complete awe, it'll definitely turn some heads, which is about exciting as its become for Nine Inch Nails for quite some time.

By Simon K

Album Review - Islands

2008-05-27T05:07:00.000-07:00

Islands – Arm's Way
[ANTI-Records; 20/05/08]

Island's are an enigmatic bunch. Brainchild, Nick Thornburn (recently of the now disbanded Unicorns), does his best to segregate himself from that trademark “indie” sound, by creating music that does its best to disengage with listeners. Arm's Way is the second album from the sextet from Montreal, which continues the quivering sounds.

I've always found myself jaded with The Unicorns and more recently, Islands, and Arm's Way fails to really alter the judgment. Quality control exorcises the the main demons towards what the band deliver upon their listeners. With a sound just a little too abnormal to render anything above 10 tracks, time and time again we see the band exceed this and once again, things are no different.

Despite trying to sound as a unique entity, Islands' sensibility is extremely reminiscent to the current wave coming out of Canada. It's just they tinker with the structure of the system and make things are little more quirky and disjointed than they really should be. Over-indulgence is not the easiest thing to engage with, but for those who have the time, the results could prove a little more fruitful. For those who are always in pursuit of something different, well, let's just say that you best stay on that train.

By Simon K

Album Review - Belong

2008-05-23T06:29:00.000-07:00

Belong – Colorloss Record
[19/02/2008; St Ives]

Belong are in the long line of ambient artists that have recently spawned out of the woodwork and remain to reap critical praise. Some brief insight; Belong are Turk Dietrich and Michael Jones and they hail from New Orleans, Louisiana. The pair come to our attention in 2006 with their debut album, October Language, which comprised of layered textures of melody and a moodiness that captured a cinematic feel so much so that you could found yourself drifting of into a peaceful slumber.

Colorloss Record is an EP that is a taste test for the duo's full length sophomore, which is set to drop later this year. The objective doesn't stray too far away from Belong's previous work, with more sleepy textures and arty undertones winding themselves around the listener for the 19 minute duration.

This release evokes a numb yet relaxing feeling, which is a trait that Belong achieved with their earlier work, as stated above. A nice taste of what's to come, despite really expanding on any boundaries they've already set in the past.

By Simon K

Album Review - The Breeders

2008-05-23T06:04:00.000-07:00

The Breeders – Mountain Battles
[4AD; 04/08/2008]

Pixies queen, Kim Deal, once again calls the shots as to when her side project, The Breeders, knock heads together and release some new material. Along with sister, Kelley, bassist Mando Lopez and drummer Jose Medeles, The Breeders enlist producer (or in his preferred role, “recorder”) Stephen Albini as nurse for their latest batch of ditties, Mountain Battles.

Albini's influences is apparent through this rigid affair of alternative pop music. His top heavy lo-fi recording techniques are embellished throughout the album's duration, that on the whole, seems to lack any sense of longevity. Opening track 'Overgrlazed' is by far the album's highlight, with a dreamy pop waltz that hints of shoegazing undertones starting the album off with promise. The only other track that shapes up to any form resemblance is 'It's The Love' that's a beat faster in tempo and a little fuzzier in context.

It's good to see Kim Deal recording something new, with any new Pixies material seemingly placed on the back burner. Mountain Battles is an album that many may fall in love with for nostalgic purposes, but in terms of quality, this falls quite short of the mark.

By Simon K

Album Review - Mudhoney

2008-05-22T07:15:00.000-07:00

Mudhoney – The Lucky Ones
[Sub Pop; 19/05/2008]

Seattle's favourite 'active' acid wash sporting rock 'n' roll band, Mudhoney, have gone full circle throughout their career of making music. Without really expanding a boundary as such, Mudhoney have always been a joy to hold an ear to. Mark Arm and his mates have dropped the brass section dabble that found itself embellished throughout their last affair Under A Billion Suns (arguably their most ambitious one) and have gone back to their stripped down dirty rock antics with The Lucky Ones.

The title track could well just be the album's highest point, with Stooges-esque chord progressions that are bound to make any '80s alt rocker on the verge of going grey and bald, jump up and down in nostalgic fashion.'Tales of Terror' ranks amongst the most aggressive thing Mark Arm has penned since Superfuzz Bigmuff with those dusty congealed vocal pipes unleashed into a cacophony that almost blows holes through the speaker monitors.

The Lucky Ones, in some instances, is Mudhoney taking their best bits of music created over their career and unifying them into one big gauging rendition of fuzzy rock 'n' roll. It could well possibly be the album that Iggy & The Stooges dreamt of making at the age they're at now, but instead we got The Weirdness. Thank God we still have Mudhoney showing their ability to reach the top of their game.

By Simon K

Live Review - All Tomorrow's Parties Curated by Explosions In The Sky

2008-05-20T11:00:00.000-07:00

Imagine living in a room at the top of your local pub, which is the bearer of live music every night; it's the closest equivalent to what an All Tomorrow's Parties weekend provides; music literally on your doorstep. Logistically a musical haven for the connoisseur of fine sounds.

Texan post-rock quartet Explosions In The Sky have the honour in curating the event that takes the sleepy English town of Minehead by storm twice a year. If not for their live performance over the weekend, then Explosions are to be commended on the choice of contemporaries they've hand picked to join them over the three day event, with quality control at its finest, spanning over three stages.

Guleph, Ontario's Constantines kick of the weekend with their abrasive bone grinding form of working class art-punk, with front man Bryan Webb ripping the lyrics of 'Draw Us Lines' and 'Young Lions' out of his stomach as though his life hinges on it. The set may just go down as one of the main highlights over the weekend. If ever there was a side note then Webb's continuous hacking of hair from his head with a pair of scissors may just go down as one of the more bizarre shticks from a rock 'n' roll front man.

Mono were also at the top of their game, with a beautiful cinematic light show that encapsulates their menacing build-ups of classic post-rock, just in time for Dinosaur Jr. to grab the mantle and keeping running, despite the trio of Marshall amplifiers bearing over J Mascis that almost make him look like the forgotten man. Still, the soaring sounds of 'Out There' and 'Tarpit' keep up the breakneck speed this festival has started at.

With Explosions headlining the event, they themselves would've gladly passed up on the option to play the Skyline Pavilion stage, with its attraction to the masses and potential other main stage demons a recipe for disaster for any post-rock band, and although the latter wasn't quite met, it wasn't too far off, either. The biggest event of their lives probably wasn't the most memorable in terms of stage performance, that seemed insipid and lackluster despite the back end of the set featuring post-rock's new king that is 'Your Hand In Mine' and an epic rendition of 'Memorial'.

Friday night was closed in the company of solo artist Matthew Houk otherwise known as Phosphorescent, who provides a solo disjointed southern deriving folk tune with adequate improvisation. Although a little too haphazard at times, the heartfelt rendition of 'Wolves' manages to cap off a blistering first day.

The sounds of Saul Williams are that of intrigue. Despite Trent Reznor's apparent dismissal amongst some, the Nine Inch Nails' main man has hit jackpot in knocking heads together with Williams' for his latest album, The Inevitable Rise and Liberation of Niggy Stardust, with industrious beats proving an evocative force under Williams' dexterity of unleashing various statements in poetic fashion. Highlights include the melodic free for all of 'Tr(n)igger' and the brooding sounds of 'Break'.

Ghostface Killah or Okkervil River. Yes, I know what many would've said, but as it happens the latter prevailed in front of my eyes and so did hindsight according to mutterings of Ghostface's performance, which by all reports was deemed “lazy”. Okkervil' have what it takes live. Will Sheff fails to disappoint, with his prominent vocal leading the front of his band's rich Gothic sound that weaves in and out of a rocking alt-country sensibility. The rendition of 'Westfall' the band provide ranks amongst one of the festival's highlights, while favourites 'For Real' and 'Our Life Is Not a Movie or Maybe' seem to have more pace and intensity live as apposed to on disc.

If there were points for highlights than ...And You Will Know Us By The Trail Of Dead win hands down. Their arrival at ATP is definitely made known with old favourites 'Relative Ways' and the lyrical head fucking twists of 'Totally Natural' (on top of several new tracks), but it's 'Caterwaul' that steals the headlines for not only the set, but the weekend. With Jason Reece sprawling from the stage to the front row of the crowd like the psychopath he truly is, Conrad Keely pounds at his guitar, extruding fist pumping chords, while his vocal - in tandem with Reece's - becomes the deliverance of rock 'n' roll genius. This, my friends, is cathartic indie rock n' roll at the top of its game.

Despite the heart rate boarding on abnormal and jaw inches from scraping the ground, things seem well enough to carry on and watch The National ooze their uber-cool aura. Front man Matt Berninger ambles around on stage like a half opened pocket knife in between his charismatic rasps during 'Apartment Story', 'All The Wine' and epic closer 'Mr. November', while his respective band mates follow, carrying out their respective tasks in water tight fashion.

While down time was had by many, Reds was once again the destination for fresh talent and Texas quintet The Western Keys took to the stage with their watered down alt-country ditties, which seems a nice substitute for Jeff Tweedy and Wilco. San Francisco's Lazarus spiked a similar vein in terms of wearing influences on sleeves, with brainchild Trevor Montgomery delivering his slurred poetic bravado in near sleepy fashion Ala Nick Cave circa 1990. Accompanied by haunting keyboards and eerie guitar, the pleasant surprise of the weekend may just have been found.

Unlike the hectic start of the first two days, Jens Lekman provides stability, with his lax Scandinavian mentality doubtlessly rearing its head through his music. 'Black Cab' is pop music brimming at its elegant best, while 'Post Card To Nina' is accompanied by the humorous story about how the track itself was conceived.

Polvo are seemingly back and so are their brain numbing sounds that fall somewhere in between, Slint, Sonic Youth on drugs and and the Indian Ocean. With a hefty back catalogue at their disposal, they make good use of it with their first show in almost ten years. Unlike Bradford Cox's Atlas Sound, who can't stop working, with more music than you could poke a stick at. His set consists of rolling experimental waves of crescendo and although delivered to a thin crowd, they had the pleasure of enduring the bass infused 'Quarantined' and moody cut of 'Cold As Ice' off his Let the Blind Lead Those Who Can See But Cannot Feel LP.

The obscurity of glib noise doesn't end there, with Animal Collective greeting the crowd with mind bending renditions of 'Peachbone' and 'Fireworks' while the new material Panda Bear, Avey Tare and Geologist share upon ATP continues the propulsive attitude the band have always applied to their art.

What the Broken Social Scene know how to do is please a crowd and it's hardly surprising that they continue to succeed, despite taking to the stage after De La Soul have the crowd in a frenzy with their vintage fashion of hip-hop.

If The National's Matt Berninger is the coolest front man on the bill than BBS's Kevin Drew is a close second, with in-between song banter one of the many highlights along with the tempo building 'KC Accidental' and “love song” extravaganza 'Superconnected'. The pinnacle of the set was the introduction of members from the Constantines, Explosions In The Sky and one J Mascis knocking out riffs during 'Back Out of the...' with the feel good factor shattering the mercury.

The Drift put their hat into the ring in the discovery for new music, with their jazz infused post-rock delivered with some of the finest virtuoso on display over the weekend. Each member conducts a pivotal role in delivering a sound that will be a far cry from a discovery in the not too distant future. 'If Wishes Were Like Horses' the main standout from the band's Memory Drawings album.

When iTunes lists an album's genre as “unclassifiable” then the band that would fit the bill is Battles. Arguably the band of the weekend (hence why they played two sets) their striving form of innovative music meets the expectations of many, with their seamless brand of sounds so incongruously fucked up that you just have to dance to it.

Rock stalwart, Jonathan Stanier, holds all the cards to this trick with his perpetuating pounding of the snare drum, while his band cohorts follow in this obscure stricken awe-inspiring experience that one must witness. The incredible beats of 'TIJ' are surpassed by 'Atlas' which is the perfect tune to walk away from to end the weekend.

Explosions state in the official ATP program that this is greatest music festival on earth. “Nothing comes close.” Well, having now been there, done that and bought the proverbial t-shirt (or in my case, four), there's nothing I'd agree with more. They also make a point of wishing these times rank amongst the finest memories one should encounter. That, too, is an objective well and truly met.

By Simon K

Photos from the event can be viewed on our facebook group page at http://www.facebook.com/group.php?gid=12957351817.

Album Review - Cog

2008-05-15T01:28:00.000-07:00

Cog – Sharing Space
[Difrnt Music; 12/04/2008]

Since releasing their Just Visiting EP series earlier in this era, Bondi mood rockers Cog have always gained a certain respect from me. With their ability to expand upon a few ideas, they've always made good use of their methods. They return with the follow-up to their impressive debut, The New Normal, with Sharing Space; the latest instalment of politically inspired ideas.

'No Other Way' kick starts proceedings with its nine minutes 58 seconds build-ups and break downs while Flynn Gower's riled conspiracy rants don't hold back, which paves the way for the remainder of the album. Two singles, 'What If' and 'Bird Of A Feather' comprise of thick melody and a large guitar crunch that they've always been successful in constructing, while 'How Long' sees the band slowing the pace down for listeners to catch their breath momentarily.

Sharing Space really comes into its own during the back end, with 'The Town of Lincoln' and 'Four Walls' among the higher points of the album, as Cog stretch their limits of song craft all the way until the final note. Gower embarks upon a tirade of words towards various issues concerning the modern day and it's this that's the telling factor of the album, as his ability to extrude a shallow metaphor (most notably during 'Are You Interested?') is undoubted. With the band at their peak, it's time to cherish this release for listeners of Cog's music, because it could be debatable as to whether things will remain at the same level. Only time will tell.

By Simon K

Album Review - Isobel Campbell & Mark Lanegan

2008-05-14T03:24:00.000-07:00

Isobel Campbell & Mark Lanegan - Sunday at the Devil Dirt
[V2 Records; 06/05/2008]

Due to the fact Isobel Campbell and Mark Lanegan had fished in contrasting waters through their respective musical careers, there were many raised eyebrows when the pair collaborated two years ago. Like love, opposites attract, and in this case the same rules apply.

Sunday at the Devil Dirt is a sombre affair that walks down a path that rarely veers into an alternative direction. Like the duo's debut opus, Ballad of the Broken Seas, Lanegan takes the lead while the undertones of Campbells's luscious whisper is an unguarded formula of the folk genre that fails to grow dull when the pair take to the stage. 'Seafaring Song' sets the trend, with minimal instrumentation and the voices Lanagan and Campbell the main focal point of standings.

'Salvation' is a one horse town pub swoon with Lanagan bathed in bourbon, while the haunting shoot out during 'Backburner' holds minimal haunting sounds with Lanegan's Tom Waits esque vocal pipes once again the feature while Campbell wallows 'backburner, backburner'. However, no other rises to fame like the sombre undertones of stand out track, 'Trouble', which could be aptly played in your car stereo while you take the exit route out of your home town for good.

Despite SATDD failing to weigh up to the pair's debut outing, there's still enough quality for multiple listens. The blissfully gentle voice of Campbell and the whiskey and cigarette addled drawls of Lanegan have always been – if not surprising to some - a match made in heaven. It's the perfect comedown album after a hard day's slog, while a cigarette and short beverage shouldn't be too far out of arm's reach.

By Simon K

Album Review - The Charlatans

2008-05-14T02:11:00.000-07:00

The Charlatans – You Cross My Path
[XL Recordings; 12/05/2008]

The Charlatans have always possessed an edge. Love them or hate them, front man Tim Burgess has always wooed his followers with sophistication through his lyrical craft.
Despite The Charlatans’ cult following around the UK, the band is little known around other parts of the world; so much so that they fail to seize their own moniker in America (known as The Charlatans UK).

Although direct praise rarely goes their way, they hold a greater significance as apposed to a lot of their contemporaries who dabble in a similar vein, while their crowds vastly consist of people that have a bit more between the ears, as apposed to those who pamper fanatically to the beats of The Stone Roses or The Happy Mondays.

You Cross My Path is The Charlatans getting back to basics, but with the addition of a soundscape familiar to the modern day. ‘Oh Vanity’ possess the near exact rhythm section to that of Interpol’s ‘Not Even Jail’, while other parts of the album also hold questionable resemblance to bands The Charlatans have been listening to of late. 'The Misbegotten' the perfect evidence of this, despite its pulling power as a single.

After the 2006 reggae tinged Simpactio, it was always evident that The Charlatans would revert back to their old sounds with You Cross My Path. Still with the ability to pen a catchy single, and although many will be pleased that Tim Burgess and his mates are back rehashing old templates with the slight niggle of that 'modern' sound, it seems they've boarded along a near midlife crisis, which is binding evidence that their best work is a distance behind them.

By Simon K

Album Review - Russian Circles

2008-05-14T01:48:00.000-07:00

Russian Circles – Station
[Suicide Squeeze Records; 06/05/2008]

Not too far away from their crosstown rivals, Pelican, Chicago based Russian Circles sprawled to the attention of many avid post-rock lovers in 2006 with their debut outing, Enter. The album itself was a solid start from a band that had all the essentials to move down the path of a heavier sound, and with the anticipation of their sophomore, Station, some may be a little surprised with the results.

'Campaign' kicks things off with a build-up very reminiscent of fellow contemporaries Red Sparowes, but unlike the latter, this track fails to build up to a jaw breaking climax. Much of the album teases the listener in this fashion with a huff 'n'puff, piss 'n' wind mentality that really fails to capture the potential this band has. If anything, 'Versus' is a good rendition of how post-rock should be played out, but it slithers away from the point many thought Russian Circles could make through their music.

Station is an album that witnesses Russian Circles breaking down their sound into a more bona fide manner of post-rock, as apposed to the hammer and tong sounds they've previously threatened to embark upon.With a slew of bands portraying the genuine post-rock ethos, Russian Circles fail to board upon anything groundbreaking, which is disappointing as their potential hard nosed sounds would've been more welcoming at this point of time.

By Simon K

Album Review - Tall Firs

2008-05-09T07:12:00.000-07:00

Tall Firs – Too Old To Die Young
[Ecstatic Peace; 18/03/2008]

Hailing from Annapolis, Maryland, three piece, Tall Firs, have fallen into a nice pair of hands in Thurston Moore's Ecstatic Piece label for their sophomore album Too Old To Die Young. To say they wear their influences' heart on their sleeves could well just be one of the great understatements of the year, and maybe if every second band weren't trying to be The Jesus And Mary Chain then maybe they would take the cake rather than share a small quantity of it.

'So Messed' up has Sonic Youth circa 2004 written all over it with the guitar tunings all but the same not to mention those Thurston Moore drawls that ooze with coolness. 'Blue in the Dark' and album highlight 'Loveless' follow the same pattern as does majority of the remaining tracks. 'Good Intentions' slows the pace down, but still has a very SY quality about it.

A nice guitar twang carries on all the way through Too Old To Die Young, making the affair a nice mellow one. It's evident the sounds the Tall Firs deliver clearly derive from their label owner, and his recent adventures with Sonic Youth on Rather Ripped and Sonic Nurse. It just so happens that some people, like myself, fell totally in love with these two respective release and furthermore, don't mind others pilfering these sounds as long as the piss isn't taken too much. It may seem like the pot calling the kettle black, but let's get one thing straight; as rehashed as it sounds, TOTDY isn't a bad record to come back to every now and then even if it does pale in comparison with it's direct influences.

By Simon K

Album Review - The Brian Jonestown Massacre

2008-05-09T06:32:00.000-07:00

The Brian Jonestown Massacre – My Bloody Underground
[A Records; 01/04/2008]

Anton Newcombe has come in for some criticism after the controversial documentary that was Dig! Some say it's a man at his self-absorbed finest (and after some of his My Space rants and You Tube appearances this could be credible), while others claim it was shown in poor context and totally misrepresented the accused. Either way, Newcombe has established a love/hate relationship with critics, music listeners and anyone else that chooses to stand in his path.

My Bloody Underground is the aptly titled full-length that ranks as the first for The Brian Jonestown Massacre since the Dig! fiasco and also witnesses the band in an experimental shift of sound.

The album's strength are in the tracks that hold a repetitious formula. 'Monkey Power' portrays this, but the rhythm stands up as catchy outing, so although it seems like there's a vibe reminiscent to flogging a dead horse, its infectious nature of sound is enough to pull things through. 'Golden Frost also has a sampled loop with guitars strummed very much to the same effect of how Lou Reed undertook his duties when fronting The Velvet Underground. Opener 'Dropping Bombs on the White House' and 'Yeah-Yeah' are about as close as vintage BJM we've come to hear in previous affairs from the band, but this time around the strength fails to lay within these songs.

The two former pieces - although late in the album – encompass what the band have created as a whole and although at times things could be regarded as hit and miss, the band have made an attempt to refresh their sounds and expand on their own boundary.

The title of this album speaks volumes, but deep down, that's the whole point in a twisted sense of irony. With many bands these days paying tribute to My Bloody Valentine, The Velvet Underground and The Jesus And Mary Chain yet ignorantly failing to know it, at least The Brian Jones Town Massacre have unleashed it in a paradoxical sense. Okay, so at times it's a little meaningless (particularly the song titles) and at others something of a rehash of the past, but you can still do a good job when debating the latter antics, and The Brian Jonestown Massacre – dare I say it – may well have just done this.

By Simon K

Album Review - No Age

2008-05-08T03:16:00.000-07:00

No Age – Nouns
[Sub Pop; 05/05/2008]

No Age popped up on the radar last year with their debut album, Weirdo Rippers, which held recordings of singles and EPs the band slogged out during the embryonic stages of their existence. Like many other lo-fi American bands spawning out of the woodwork these days, I thought it was a self-indulgent piece of music from a couple of LA bums from an underground skater scene. However, their sophomore album Nouns is a totally different proposition and if ever there was statement in indie pop music to turn a head, then there's no need to look any further than here.

'Teen Creeps' is the first of many highlights that Nouns comprises of, with its severing guitars sounding like a piece of metal been put through a welder in a workshop, while the uneven melody makes the track and clearly shows the intent the band aim to make during this affair.

'Caven' follows in the same vein with lo-fi noise that would've been welcomed if Kevin Shields had taken a bit more acid and had a little less money at his disposal in the studio during the late '80s. 'Sleeperhold' has more guitar sounds seeping out of the amplifiers with an unrestricted viciousness that pisses all over what No Age have created in the past.

Nouns is what music is about today. Their use of melody on Nouns was the absent ingredient during their last at bat, which as stated above, proved a sketchy outcome indeed. People will say No Age brim upon innovative, but in actual fact, they would be getting caught up in a thing that is better known as hype. It's easily constructed music that gains plaudits due to the freshness and ferocity that it's delivered with, however the main achievement of Nouns is the timing of its attack and not so much the overall ability. Still, a plus is a plus.

By Simon K

Album Review - Retribution Gospel Choir

2008-05-07T08:44:00.000-07:00

Retribution Gosepl Choir – Restribution Gospel Choir
Caldo Verde Records; 18/03/2008]

With the help of long term friend and Sun Kil Moon brainchild, Mark Kozelek, Low frontman Alan Sparhawk has finally let his side-project, the Retribution Gospel Choir, see the light of day. With the album produced by the former, this project enables Sparkhawk to up the tempo just that little bit more than he usually would, and the self-titled debut is certainly a shift in gear from the slow sounds of Low.

'Take Your Time' and 'Breaker' are both re-recorded Low numbers with a little more edge and an in-your-face tempo, while album highlight 'Sombody's Someone' could have been a highlight on The Great Destroyer, with heavy bass lines and Sparhawk's trademark melodies the two highlights. Sadly, the latter is the only piece that could transcend above Low's work and although it's not a competition or comparison game between the two respective projects, as a listener, you find yourself in this telling predicament.

Although a little more vicious in sound, Retribution Gospel Choir is an adequate release that will please some, with Sparhawk finally getting to front a 'rock band', of sorts. Despite Sparhawk's voice been accompanied by a standard drumkit this time around, things still seem to fall short of those darker qualities of Sparkhawk's work on The Great Destroyer, that - in comparison - seem harsher in terms of sound and certainly more aloof underneath the surface.

By Simon K

Album Review - Animal Collective

2008-05-07T07:57:00.000-07:00

Animal Collective – Water Curses
[Domino Records; 05/05/2008]

With the slew of elements that the Animal Collective's music comprises of, it's difficult to gauge the ability of their albums in conjunction with the release dates of them. Previously, I've found myself still picking up different things 12 months after they've released an album and their new EP, Water Curses, isn't any different.

'Street Flash' is the pick of the bunch with everything on this release jammed into the song's entirety. Busy samples and manipulated vocals are just some of translucent waves that build up to Lennox delivering a murderous shriek above a sampled melody that reaches the climax of the track.

'Cobwebs' and 'Seal Eyeing' are numbers the Animal Collective have always felt comfortable in unleashing. Respectively, the two could quite easily fit into the calculations of what the band was doing during Feels, with slow velcro drawls that certainly don't weigh up short when comparing to material such as 'Daffy Duck'.

With various tracks recorded during the Strawberry Jam sessions, there's definitely a form of nexus between the two respective releases that would not surprise listeners had different tracks been shifted from one another. In Water Curses' case, the glib noise we've come to hear from Baltimore's finest continues, coming in luscious forms of melodic noise and chaotic crescendos, while the notions of a band that seemingly hold the future of music in their hands continues to fight fit.

By Simon K

Album Review - Dodos

2008-05-02T08:22:00.000-07:00

Dodos – The Visiter
[French Kiss; 10/03/2008]

With a moniker that could see many people snubbing this band, I would advise you not to do so. Okay, so the name “Dodos” is suspect at the very best, but surely the music is the main concern here? The San Fransico duo have the ability to write a nice ditty and their debut album, The Visiter, holds this evidence. As for the moniker; perhaps irony best sums it up?

'Joe's Walzt' is a drawn out affair of bluesy guitar noodlings and drumbeats that shift adeqautely in tempo throughout the duration. 'Paint the Rust' follows with a sequence of disjointed drumming and a folk tinge that manages to sound along the rhealms of unique. This is where the band is at its best, as apposed to the shorter songs, that really stem the flow the album's albility. 'Jodie' is another highlight and something that the Dodos - if only momontarily - may just have got the jump over The White Stripes on.

Although The Visiter comprises of interesting sounds, you feel that things become a little too calculated throughout the album, with the band a little apprehensive to broaden its horizons, despite their potential to do so. A band with undoubted promise, though in the case of this album, the quantity of the tracklist could have definitely been cut to maybe 10 songs as apposed to 14, with the shorter ditties the prime candidates for the axe.

By Simon K

Album Review - Malcolm Middleton

2008-05-01T07:40:00.000-07:00

Malcolm Middleton - Sleight of Heart
[Full Time Hobby; 03/03/2008]

Scottish accents. Don't you just love them? former Arab Strap member, Malcolm Middlton, has continued in his rich vein of songwriting that evokes a thick Scottish tinged folk sensibility along with acoustic guitars and subtle piano, drums and violin giving his music an emotion packed edge.

Middleton's latest affair, Sleight of Heart, is more of same from the boy from Fallkirk, who continues to choose metaphores that move in a shallower waters as apposed to his contemporaries. 'Blue Plastic Bags' leads this notion with a nice climatic end, with Middleton drawling “sing along to a sad song” while drums and piano work deep in the mix. Highlight of the album, 'Love Comes in Waves', encaptulates Middleton's songwriting prowess to a tee, with it's seven minute and five seconds of pure Scottish folk bliss in the darkest sense of the term.

Middleton not only releases material in a quick succession, but the quality control in the manner he releases it in is always commendable. Rarely does his albums exceed 10 tracks, which is very important for a solo artist in this day an age. Sleight Of Heart doesn't rank as his most difinitive work, but perhaps it's more of a welcoming addition to the fine catalouge he already boasts.

By Simon K

Album Review - Phantom Planet

2008-05-01T06:30:00.000-07:00

Phantom Planet – Raising the Dead
[Fueled By Ramen; 15/04/2008]

When bands release material that makes you realise that they actually haven't disappeared off the face of the earth, sometimes it can be a humbling experience for the listener. Other times, however, it can be dull and uninspiring, and in the case of Southern California outfit, Phantom Planet, the latter applies.

The momentum the band gained through their breezy self-titled third opus is all but lost with Raising the Dead, which comprises of a host of songs that lack edge, catchiness and anything else that associates with the term “pop”. The only bright spark during the 12 tracks comes when the band slow the pace down with 'I Don't Mind', which is about as close to a ballad as Phantom Planet would come to write, ironically moving away from their usual template of sounds.

Music in this day and age needs to be churned out at a rapid rate in order to gain success. Four years without a peep results in becoming the forgotten man, and despite the strengths Phantom Planet showed four years ago, it seems that they've retreated for too long, losing that spark and churning out insipid tunes on Raising the Dead, which is no doubt the lowest point for the band yet.

By Simon K

My Top 10

2008-04-30T08:26:00.000-07:00

Personally this year is already off to a flyer, posting this on the night entering into May, so much has been released, so much quality and so many albums i'm yet to even pay my attention to. With artists like Weezer, Death Cab for Cutie, Conor Oberst and the Hold Steady with follow up albums just around the corner, there's so much to look forward to. Here is my scathing list of songs i've paid a great deal of attention to thus far.

1. Stephen Malkmus and the Jicks - Hopscotch Willie

Throwing out his most jammiest set of songs yet, I can't go past HW, just bouncy and great throughout.

2. British Sea Power - No Lucifer

Simon summed it up well, brilliance. I'll be listening to this for the rest of the year no doubt.

3. Constantines - Million Star Hotel

Slow burning rock opus, the grunge guitar sound returns as does the enchanting gravely voice. No one seems to care much about these guys though I've noticed. The Feist song aint too bad either.

4. Destroyer - Plaza Trinidad

Dan Bejar will be rememberd for his songwriting no doubt, and this is no exception, terrifc melody and magical guitar work.

5. Hot Chip - Out at the Pictures

Great rocknroll electronic song, probably only rivaled by LCD. If you're not dancing by the 1st 30 seconds you have no soul.

6. Death Cab For Cutie - I Will Possess Your Heart

Delivering immensley on the long winded krautish style jam as promised this see's DCFC in a different light altogether and i've definitley eaten it up, have you? it'll be interesting to see how fans feel about the upcoming album I hope it follows in the same vein of this song. Consider me impressed.

7. Wolf Parade - Call it a Ritual

The album is out soon and this is the first snippet, and what a fine snippet it is. The pianos just bend. I wonder how many mobile phones Mr Krug has.

8. Cut Copy - Feel the Love

An opening track I just can't seem to skip. With a bunch of great Aussie albums still to be released this year, this will be hard to top.

9. Atlas Sound - Recent Bedroom

Can't get enough of that Deerhunter sound, this is the next best thing. Thanks Mr Cox

10. Tapes n Tapes - Blunt

Not a massive fan of this band but there's a few tracks on the new album "Walk it Off" that i really dig and this one has been of my most played of the year. Incoherent rock and roll, i dig.

Feature - Top 10 Songs Of 2008 So Far

2008-04-30T05:04:00.000-07:00

Due to the initiative shown by Mr. Beardmore, we’ve (or rather, he) decided to knock this little feature together so that things don’t get too stale from our end.

Thus far in 2008, there’s been a profusion of quality on the song front and with four months of the year almost passed, here are some of our respective favourite songs, thus far. Sean may number his top 10 beauties, however due to my mind changing like the English weather, I’ve decided just to give you 10 without any preference. Enjoy!

Stephen Malkmus & The Jicks – Baltimore

It seems Mr. Pavement has been hanging out with Sonic Youth’s Thurston Moore and he's used the time quite usefully, aspiring to the jam tendencies his alternative rocking hombre has made his own over the last 25 years. For six minutes and 37 seconds, this tracks has fuzzy guitar jams, lo-fi bass lines and those trademark vocals from Malkmus whose never called a spade a spade. Definitely the epicentre of what Real Emotional Trash is all about.

Nick Cave & The Bad Seeds – More News From Nowhere

Was Dig, Lazarus, Dig!!! a surprise to any of you? Probably not! Nick Cave has always been capable of closing albums in jaw-dropping fashion and he may have just reached the pinnacle of doing just that with this track. “And it’s getting strange in here, yeah it’s getting stranger every year”. I don’t want to reek with sentiments towards the man, but you know; some things just have to be done.

Constantines – Life Or Death

There’s so many highlights on the new Constantines album, so I thought I’d go for the most climatic song out of the bunch, which is what the above essentially is. Hospital beds and patients are often the topic throughout Kensington Heights, and with the intensity this track portrays, things do point to towards an autobiographical nature. Either way, this is a great track that needs more listeners holding an ear to it.

British Sea Power – No Lucifer

Single of the year (okay, I said I wasn’t doing the number thing, but you know). Whatever people begrudgingly say about British Sea Power’s new album trying to follow the shadows of The Arcade Fire, to me, they can use the highway. This song has the pulling power like a salesman who could sell ice to Eskimos. The melody is just something else and puts their UK contemporaries of today to absolute shame.

Atlas Sound - Bite Marks

With the production very reminiscent of My Bloody Valentine's Loveless, this song best represents what Bradford Cox has set out to achieve with Let The Blind Lead Those Who Can See But Cannot Feel. The bass line hides under a looped synth and Cox's slow vocal drawl that all comes out in the wash with a brooding effect, but indeed a catchy one at that.

A Silver Mt.Zion & Tra La La Band – 13 Blues for Thirteen Moons

“I just want some action” screams Efrim Menuck. Quite ambiguous in an unambiguous way, if that makes sense? Some people just can’t build a relationship with this band, due to Menuck’s highly unconventional vocal wails. But like I said in my review, there’s a nice bridging in gap between the music and vocals with this album, and the title track is the peak out of the bunch, which I believe is the band’s finest yet.

Cut Copy – Heart on Fire

The crowd this Melbourne trio caters for are one of my personal disdains of the modern music society. Scarves and t-shirts, anybody? However, fair's only fair and after all, you can't choose your fanbase; they do make a killer pop song, and this one is just that. The melody is pop redefined and is destined to reach a wider audience. For a band that has made music that’s always threatened to move down the more popular paths, the threat is no longer.

Daturah – Vertex

Germany’s finest post rock band may not be on many peoples radar, but as far as post rock goes, this tune is right up there. With swelling grooves and climatic guitars, this one is a must hear. Do yourself a favour, folks; if you don’t want to indulge in instrumental music for an hour, then at least do it for 15 minutes by listening to this track. You’ll not be disappointed!

Destroyer – Introducing Angels

Maybe the most simplistic track on Trouble In Dreams, but you know what they say; simple, but effective. The repeated lyrics delivered by Daniel Bejar and his nasal like vocal are met with a neat rhythm that gives a fitting outcome indeed. Not to mention that the track itself fits well around the others on the album.

Boris – Next Saturn

After seeing the Japanese rock ‘n’ roll extraordinaire live, my appreciation for Smile has grown immensely over the past couple of weeks. By saying that, this song has prevailed and made it to the list. The samples make this a brilliant listen, while Takeshi’s vocals follow the music, much like a lot of the vocal work on this album does. Like the Constantines record, I could pick various other tracks, but this is the one that’s pushing the right buttons at the moment.

By Simon K

Album Review - Portishead

2008-04-29T02:18:00.000-07:00

Portishead – Third
[Island; 28/04/2008]

To say it’s been a while between drinks for Portishead could be the understatement of the century (it’s up to you, Axl!). We all know the effect that Dummy had on the world all those years ago, while Portishead’s sophomore self-titled affair also left many of their contemporaries in a sense of awe. So, a new era, a new sound and it’s no better place to unleash the beast that is Third.

Due to the band’s idleness with the music world for so long, Third could be described as something that’s gone full-circle. With Beth Gibbons leading from the front with her moody vocal splendor, this is the only trait that – at times - seems familiar with previous sounds we associate with the band, as the instrumentation drastically takes a more upbeat shift from time to time. ‘Silence’ begins with subtle guitar work and syncopated beats that starts off this diverse trend, however in saying that, ‘Hunter’ is more of what we’d expected from the trip-hop pioneers, with somber ripples of sound dictating proceedings.

The guitar twang through ‘Nylon Smile’ is a nice undercurrent for Gibbons to shed her vocal grandeur, while ‘We Carry On’ could pose as the busiest track on the album, led by a guitar riff almost hand picked by Bernard Sumner of his Joy Division days.

If anyone doubted Portishead’s so called “return”, then ‘Machine Gun’ is to prove the doubters wrong. With Geoff Barrow producing a swelling industrious loop that overshadows Gibbons’ vocals, it could rank as one of the best tracks the band has penned yet.

Some artists just have an edge that will always be with them no matter what, and Portishead are undoubtedly one of those acts. 11 years is too long in anyone’s book and to be honest, no one is worth waiting for in this amount of time. However, Portishead weren’t asking to be waited on. They’ve seen various music scenes come and go over the past 11 years, equally brushing it all aside and creating their own thing, equating with something worthy and once again groundbreaking.

By Smon K

Album Review - Constantines

2008-04-28T02:21:00.001-07:00

Constantines – Kensington Heights
[Arts & Crafts; 28/04/2008]

The Constantines brim with solidarity and this has been the case since the opening note off their self-titled debut album. With a sound encapsulated with abrasive grooves, acutely wrangled guitar riffs, rumbling bass lines and a gravel throated delivery from front-man, Bryan Webb, their template manages to embed itself in the hearts of many music followers. Thankfully, their fourth opus, Kensington Heights continues the trend.

Due to the quality of these songs, it’s evident that natural progression has prevailed within the band. They’ve made so much awe-inspiring music that it’s hard to believe they’ve flown under the radar for so long. If they were the World’s best kept secret, then that could soon change.

‘Hard Feelings’ is a raucous opener and lead single, with a disjointed drum line and Webb’s uncanny way of just letting the words roll out of his mouth without even caring about the rhythms his band-mates knock out. ‘Trans Canada’ possesses a bass line that beings like a motor running, only to be cut off at the pass by those intricate guitar pieces this band has made a living off by delivering. The short and sweet flow of ‘Credit River’ is modern music delivered at its finest, while ‘Life or Death’ is an epic notion that’s almost too much to handle.

If you take the charisma of Bruce Springsteen and the crushing tempo shifts of Fugazi and throw them into a bull ring then you’d get the Constantines. Kensington Heights is arty so much that it’s poetic, while the raw edge of rock ‘n’ roll that gauges at your ears is about as working class as music in 2008 could possibly be.

By Simon K

NME FUTURE 50

2008-04-27T06:54:00.000-07:00

50. Nova Dando & Petra Storrs (Designers)
49. eMusic
48. Franki Chan (DJ)
47. Ian Rogers (Software developer)
46. Adem
45. Spank Rock
44. Owen Pallett (Producer)
43. James Rutledge (Remixer)
42. Strange Place Club (Promoters)
41. The Hype Machine
40. Honey Owens (Atlas Sound/Valet and Rad Summer)
39. The Horrors
38. David Brewis (Producer, Promoter, Field Music)
37. Mike Skinner
36. HeartsRevolution
35. NASA (Supergroup)
34. Tony Allen (Percussionist)
33. Ladyfest (Festival)
32. Diplo
31. Sam Kilcoyne (Founder Underage Festival)
30. Huw Stevens (DJ)
29. JME
28. The Futureheads
27. Bjork
26. Samuel Dust (Late of The Pier)
25. Tetonik Kids of France
24. Alex Hancock (Head of music for Skins)
23. Danja (Producer)
22. James Ford (Producer)
21. Santogold
20. Jonathon Ive (iPod designer)
19. The Canadian Government (Subsidies to bands)
18. Kate Moross (Designer)
17. Dirty Projectors
16. Last.fm
15. Geoff Barrow (Portishead)
14. Italians Do It Better (Label)
13. Wiley
12. Dev Hynes (Lightspeed Champion)
11. Club Smell
10. Crystal Castles
09. Alex Turner
08. Damon Albarn
07. Rick Rubin
06. Saam (Video director)
05. Burial
04. Fucked Up
03. Radiohead
02. MIA
01. David Sitek

In the latest issue, NME have concocted a list of sorts upon the future of music. Some I totally agree with, some are WTF? and then I think about all the possible artists they've deliberately missed. I'm not sure Dave Sitek deserves a number one slot but I'm pretty fine with that.

What do you think?

Album Review - Sleepercar

2008-04-25T11:15:00.001-07:00

Sleepercar – West Texas
[Doghouse Records; 22/04/08]

Jim Ward has always threatened to dabble into the World of alternative country music. Although releasing his debut solo EP last year, his Sleepercar project has been in the works since the days of At The Drive In. The results end in the band’s debut album, West Texas.

With the sounds of Wilco heavily in the mix, Sleepercar is Jim Ward’s way of an outlet from the rigours of his main priority these days that is Sparta. Jeff Tweedy is all over ‘Heavy Weights’ and ‘Wednesday Nights’, despite Ward delivering the respective tracks with gusto. His band mates get into the action throughout the album, too with ‘Wasting My Time’ and ‘Fences Down’ decreasing the tempo bringing more of a country feel towards things.

In terms of quantity, Jim Ward’s Quiet EP has more of an alt-country feel to it as apposed to Sleepercar’s West Texas, with the latter sounding like a Sparta off-cuts album from time to time. Opener, ‘A Broken Promise’ and ‘Sound the Alarm’ both lead this notion, with Ward’s vocals along with the top-heavy chord progressions rising to prominence.

Overall, there’s something in this for followers of Sparta and At The Drive, but personally, I’m much more intrigued in what Ward has to offer on a solo front as apposed to throwing a couple of various El Paso hombres into the studio like he has done to release this latest batch of songs.

By Simon K

Film Review

2008-04-24T19:06:00.000-07:00

Forgetting Sarah Marshall - 3/5 (Released 17th April 2008)

That's a solid 3 by the way. Another notch on the Apatow production belt continuing in the tradition of his latest "dramedy" films.

The film never reaches levels of massive awesome but it was great fun all the way through. Awesome TV Cast, Nick Andopolis (Segel, who also wrote it), Veronica Mars (Bell), Jackie Burkhart (Kunis), Kenneth Parcell (McBrayer) with the regular alum of Paul Rudd, Bill Hader, Jonah Hill and Carla Gallo etc with a special appearance by Jason Bateman. English comedian, Russell Brand was pure awesome.

It's kind of cool to see the Freaks and Geeks guys get some spotlight even if nobody really knows about it/or them. Basically a familiar plot filled out with good jokes, plausible characters and a predictable but somewhat sweet ending.

lol on the Segel nakedness.

Gone Baby Gone - 4.5/5 (Released 17th April 2008)

First I'll say how long i've anticipated this film but damn, it's a rare occasion I give films this score but I think this film earns it for many reasons. For one, Cudos for Affleck on a brilliant directorial debut.

The film never dull or lacking in intrigue, you can really feel the authentic Boston dialect, plus exceptional performances all round but mainly to Casey Affleck, dude is massively brilliant.

The end approaches and as the story untangles you may either be surprised or unphased by the twist but it's the ending that is heartbreaking. The last scene is one I'll remember for a long time.

Sean

Update

2008-04-24T08:37:00.001-07:00

Hey guys,

Just to let you know, we are now apart of the Facebook community. There's a link provided at the right hand side of your screen that will take you to our new group page. Feel free to add comments and join up as a member.

Thanks,

Simon K

Album Review - The Drift

2008-04-24T05:53:00.000-07:00

The Drift – Memory Drawings
[Temporary Residence; 08/04/2008]

San Francisco ensemble, The Drift, finally crack the proverbial nut in terms of depicting post-rock as a unique entity. With the typical instrumental elements shining through in the band’s music, a dub instilled jazz sensibility bathes itself upon what The Drift creates, and on their sophomore LP, Memory Drawings, the elements combine as supple brilliance.

‘If Wishes Were Like Horses’ is controlled by mental trumpets, simple chord sequences and a water tight rhythm section that lays the platform for Memory Drawings. ‘Golden Sands’ and ‘Lands End’ are climaxes of the album, with the dub bass lines disguised as undercurrents for wailing trumpets that bring a jazz accessibility to the table. The remaining tracks work around these three respective pieces of work, with a balanced tempo creating an atmospheric niche that The Drift has tellingly mastered.

Very few bands fail to capture the submergence of other genres to the essential post-rock cannon. However, The Drift have with Memory Drawings and with this, they’ve explored intently, infusing a jazz aesthetic to their manual transmission like sound of instrumental rock, with the outcome ending in innovative fashion.

By Simon K

Album Review - M83

2008-04-23T07:43:00.000-07:00

M83 – Saturdays = Youth
[Mute; 25/02/2008]

Unlike Anthony Gonzales’ looks, M83’s music has always stayed in ‘80s. Fortunately the Rod Stewart haircuts don’t evoke from the suspect days of hairdressing, however what Gonzales manages to construe with M83’s latest album, Saturdays = Youth is a refined catalogue of sounds that will make you avoid the skip button on your preferred choice of listening device.

‘You Appearing’ is held together by a perpetual piano line that brims with beauty and a vocal loop of “It’s Your Face”. ‘Kim & Jesse’ could lead a French contemporary soundtrack of music, with the instrumentation a near mirror of what Air have created over the last 10 years; all in a good way, though. ‘Skin of the Night’ and ‘We Own the Sky’ both rank as contenders for dream-pop tracks of the year, with a real Cocteau Twins aura about the respective tracks. Lead single, ‘Graveyard Girl’, sounds like Gonzales has taken the best part of a Killers single and transformed it into something worthy.

Apart from Dead Cities, Red Seas, & Lost Ghosts, M83 have shown an inconsistency, with solid singles covering the weaknesses of their ability to created solidarity in the ranks of a full-length album. Thankfully, Saturdays = Youth can match their previous yardstick, with Gonzales managing to unleash a consistent and cathartic form ‘80s keyboard esque shoegazing sounds.

By Simon K

Album Review - Clinic

2008-04-18T05:14:00.000-07:00

Clinic – Do It!
[Domino Records; 8/04/2008]

With the aftermath of the UK rock revival that was started by bands beginning with “the” Liverpool’s finest mask bearing rock quarter, Clinic, made their scouser traits very well known, holding two fingers up to the mediocrity that the NME continue to embellish upon.

The band’s fifth opus, Do It!, is the representation of a band getting back to basics (if you could describe their music as that), touching the nerves that made the embryonic stages of their career such an interesting one, with their landmark double-whammy of Internal Wrangler and Walking With Thee.

‘Memories’ is a speedy opener with the trademark disjointed chord progressions and squeamish vocals possessed by front man, Ade Blackburn. ‘Shopping Band’ is a cacophony of noise Clinic extrude with their vintage instruments while the slower haunting sounds of ‘Corpus Christi’ explore avenues where Clinic have achieved success in the past.

Do It! is somewhere in the middle of Clinic’s catalogue. It won’t show up on too many polls for album of the year, but the simple fact is that the World needs a band like Clinic. The band itself seems content on continuing to supply to a hardcore base of listeners, who in return, hold the band in high regard for their efforts. Along with this is the fact that Clinic presents a form of indie rock with a different spin. These two factors alone are ones that a lot of other bands fail to possess.

By Simon K

Album Review - Tapes 'n Tapes

2008-04-17T04:50:00.001-07:00

Tapes ‘n Tapes – Walk It Off
[XL Recordings; 8/04/2008]

Tapes ‘n Tapes caused quite a stir with their debut LP, The Loon. The minority (myself included) wondered what all the fuss was about and to be honest, I still do. However, the same can’t be said for their sophomore effort, with Walk It Off hitting home on what this band is all about, despite the masses choosing to think otherwise.

The low-fi sounds Tapes ‘n Tapes unleash are more of a cheaper recording outlet as apposed to a self-indulgent ethos that some other bands have chosen to embark upon this year when associating themselves with the “lo-fi” tag.

Unlike its older brother, Walk It Off brims with catchiness, melody and staying power. The fuzz overcoat during ‘Headshock’ is just a security blanket for a straight-up indie rock tune, while the rollicking beats during ‘Conquest’ make this period of the album a fine double-whammy assault. The top-heavy bass swoon during ‘Demon Apple’ and disjointed indie ruckus throughout album highlight ‘Blunt’ continue to put the album in good stead.

Tapes ‘n Tapes aren’t hell-bent of trying to fit into any scene, as such. This is a band that is all about the no frills in music, who are content to just get up and do their thing. It all seems to have come together with Walk It Off, which on the grand scheme of things is a blessing in disguise.

By Simon K

Album Review - Sun Kil Moon

2008-04-16T04:04:00.000-07:00

Sun Kil Moon – April
[Caldo Verde; 01/04/2008]

Mark Kozelek’s has always crept under the radar, whether it be with the Red House Painters, Great Lake Swimmers or more recently under the Sun Kil Moon moniker; the latter, a project which he conducts all the song-writing duties. After several fine releases, including a Modest Mouse covers album, Kozelek returns with arguably his most heartfelt release to date; the enchanting sounds of April.

Again, Kozelek attacks from a different angle with April; this time opting to delve a little deeper into issues he’s experienced on a personal level. Unlike your stock standard three minute singer-songwriter ditty, Kozelek once again draws his songsmith qualities out, which boarder along epic combustion.

The intertwining of Kozelek’s wistful drawls and the tweaking of guitar sounds are striking facets of what make Sun Kil Moon’s music such a captivating listen. ‘The Light’ and ‘Tonight in Bilbao’ portray these qualities and are two of the many highlights April possesses.

A rich autobiographical journey into Kozelek’s ups and downs in life; if ever there was an album that was heartbreakingly beautiful then April stands as tall as any candidate. The drawn out instrumentation and the subtle dabbles of reverb are a pleasant blend with his vocals, that not only tug at the heart strings, but rip them straight out of your chest.

Although an album that won’t feature on repeat, April maintains a quality that will be treasured and listened to at certain times by the listener. Thankfully, this is where the best albums are usually kept in one’s collection.

By Simon K

Album Review - Gregor Samsa

2008-04-15T08:42:00.000-07:00

Gregor Samsa – Rest
[Kora Records; 08/04/2008]

With their moniker deriving from Franz Kafka´s short story, The Metamorphosis, Gregor Samsa are yet another pleasant find amongst the ranks. Releasing their debut album, 55:12 in 2006, the seven-piece collective from Virginia continue to hunt for greener pastures with their dreamy sophomore, Rest.

Layered with elegant piano, spine-tingling vocals and an aloofness that could melt your heart, Gregor Samsa are a must listen. ‘The Adolescent’ is an opener that was made for headphones, with the striking vocal from Nikki King and haunting pianos setting the tone for what’s to come. ‘Abutting, Dismantling’ is also backed with desirable vocals along with a piano sequence that can only be described as darkly enchanting.

The epic emotional journey that is ‘Jeroen Van Akon’ is a gorgeous integrated vocal power-play between King and frontman Champ Bennett. The layered rhythm section that’s at the low end of the mix results in a rollercoaster of emotions for its eight minute and 22 second entirety.

If you take the bare bones of what Low have produced over the years and combine with the stage presence of what God Speed You! Black Emperor achieved during their tenure, then Gregor Samsa isn’t too far off being the bastard son. It’s hard to split Rest from its predecessor, but in terms of quality, nothing’s lost whatsoever. If anything, this time around things seem a little more opulent.

By Simon K

Album Review - The Raconteurs

2008-04-15T04:24:00.000-07:00

The Raconteurs – Consolers Of The Lonely
[XL Recordings; 24/03/2008]

March 17 and Jack White announces The Raconteurs will be releasing their second album in seven days times. Nice ploy, Mr. White. For a guy who unleashes material at least once every 12 months, I guess it’s refreshing for him not to tow the line with a record company for once.

Despite what Jack White has said in the past regarding the importance of this band, The White Stripes remains his number one baby. Anyone who works as hard and fast as White himself, deserves a little fun and that is what The Raconteurs essentially is. Like Broken Boy Soldiers, the band’s second album, Consolers of the Lonely has its moments, but as a whole package lacks a knock-out punch.

Things start of strong enough with the catchy title track, while ‘Salute Your Solution’ and ‘You Don’t Understand Me’ continue in much the same fashion. From here Consolers of the Lonely trudges on in fits and starts and really fails to gather any real momentum.

The concept Jack White and his compatriots have taken upon to release this album wasn’t the World’s best kept secret. However, you have to take your hat off to a guy whose hunger to create music is never satisfied, despite the events not always resulting in an earth shattering manner.

By Simon K

Album Review - This Will Destroy You

2008-04-14T05:42:00.000-07:00

This Will Destroy You – This Will Destroy You
[Magic Bullet Records; 29/01/2008]

Texan quartet, This Will Destroy You, are one of those bands who always appear on various internet blogs and message board mutterings, yet you always seem to turn a blind eye for some reason. Once you get around to checking the music out, it’s a pleasant surprise; the irony of life, again playing its part, perhaps.

Their self-titled debut full-length packs a fine punch that really defines the term “post-rock”. With brimming guitars, shifts in tempo and a water tight rhythm section, the band has lived up to their name, so to speak.

‘A Three Legged Workhorse’ is the perfect opener for a band who displays an instrumental ethos, with all the qualities mentioned above prevailing. ‘Threads’ is another highlight, and although shorter in length, brings the elements together a little more, which is contrasting to album highlight ‘The Mighty Rio Grande’, as ominous background effects and moody guitar soundscapes create a luscious cinematic touch.

This Will Destroy You isn’t the most original piece that will collide with your ears, but in the highs and lows of the post-rock landscape, the question has to be asked; what is? In general, it’s not re-defining, but for curious virgin ears to this particular genre, this would be as good a place to start as any.

By Simon K

Album Review - The Black Crowes

2008-04-04T08:13:00.000-07:00

The Black Crowes - Warpaint [Silver Arrow; 3/03/2008]

It's been seven years since we last heard from the 90's rock and roll collective. I guess the Robinson brothers got sick of releasing solo albums that close to no one heard so probably thought it was a good idea to get the band back together. Following up on 2001's Lions, the crowes deliver us Warpaint, a cruisy bluesy rock and roll affair with an almost even ratio of soft to hard tracks.

"Goodbye Daughters of the Revolution" gets their hiatus off to a good start (also the first single) with a laid back but rocking feel, make sure you keep an eye out for the background piano parts. Already the band makes their song craft seem effortless. "Evergreen" an early highlight displays the band at their catchy best. Stirring the track list up a bit, we get handed the grandiose of "Oh Josephine" the long and drawn out ballad that gets better after every listen and the southern twang of "Locust Street". "Movin On Down the Line" picks up where "Evergreen" left off with the hazy like guitar picking of Rich with Chris chanting "It's alright sister, It's alright brother" repeatedly over the top, delivering yet another comfortably catchy rock tune.

From then on we get a similar pattern, rock song then softer song. Apart from the very fun but odd "God's Got It" the 3 minute 12 bar blues ode to god? I don't know if I've been hanging out in the wrong circles but nobody seems to be talking about the band and their return whatsoever. Even though there is no real strong material present on disc number 7, there is still alot of great stuff to wade through, the record may lack cohesion through track list arrangment but it's great to see the band hasn't lost it even if it strays from keeping itself in focus from time to time. It's always exciting listening to this band as any other writer would say they are not of this time.

Sean

Album Review - Cut Copy

2008-04-03T02:26:00.000-07:00

Cut Copy – In Ghost Colours
[Modular; 22/03/2008]

It’s been a while between drinks, and despite some sharing the belief that Melbourne’s Cut Copy seemingly had fallen off the face of the earth, their sophomore album, In Ghosts Colours, proves otherwise.

Cut Copy have been a religious force for the uber-fashion poser-esque types, whose arsenal largely comprise of Ministry of Sound discs, tight v-necks, scarves and Presets badges. Maybe that’s why we associate the band and their contemporaries in the culture of what’s deemed as popular?

Despite the dubious masses Cut Copy’s music appeals to, the band can take pleasure of being the innovators of this current wave (or ‘scene’, if you will) and their latest affair will continue to push the fact. ‘Out there on the Ice’ is a dancey number that has a slew of catchy soundscapes while front man Dan Whitford delivers his thick innate vocal.

‘Lights and Music’ continues the latter quality that’s tangled up in a raw guitar sound that Cut Copy has integrated successfully into their repertoire. ‘Unforgettable Season’ is definitely the rockiest tune out of the bunch, with a top end guitar sound and a melody that any pop band would be proud of.

Without moving too much from the boundaries they set with Bright Like Neon Love, Cut Copy have refined their song-writing prowess with In Ghost Colours. Given the length of time between the two respective releases, it’s understandable that the band have penned a top heavy record, with things dipping somewhat after the brilliant lead single ‘Hearts on Fire’ and, overall, a barnstorming beginning. There’s no denying a catchy pop record that IGC is certainly that and some.

By Simon K

Album Review - Supergrass

2008-04-02T06:03:00.000-07:00

Supergrass - Diamond Hoo Ha [Parlophone; 24/3/2008]

Easily one of my most anticipated releases in recent times, I won't hide my subjectivity, the grasses fifth album blew me away, it came at a particular time just after I had gotten familiar with a fair amount of their material and it was just brilliance. It was a record that grasped a sound they hadn't fully ventured yet and between then and now my fingers were crossed in hoping Mr Coombes could follow up that sound and continue to blow me away. As cliched as it gets, all good things must come to an end.

I heard the single "Diamond Hoo Ha Man" and went numb, it's not that it wasn't cool it just wasn't what I was hoping for. Still then my fingers remained crossed for the arrival of the whole album. A few songs into album number six and it's becomes clear that not only have the boys bypassed the sounds of their previous effort but they have completely gone back to basics and kind of re-invented themselves, if you want to call it that. If anything Gaz had loaded up his record player with T Rex, Roxy Music and Bowie albums and that clearly shows, this album portrays a very glam like presence with a squeaky clean production to add.

"Diamond Hoo Ha Man", "Bad Blood", "345", "Outside" are the simple but fun glam rock and roll numbers. "Rebel in You" and "Ghost of a Friend" provide the pop flavour and the only real progression the album takes, is with the closer "Butterfly" and possibly "Whiskey and Green Tea" with its avant-garde like brass section roaming about the track. Don't get me wrong it's still a fun rock record and can be enjoyed on maximum volume of your surround sound system, but really at the end of the day it's a real slide in form from the trip they had taken us on with Road to Rouen.

Sean.