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albums - reviews ... page 4 |
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12 Pearls |
see previous reviews page (#3)
Cracker are fronted by David Lowery (ex Camper Van Beethoven) and this is the band’s fifth studio album. At the heart of the 5-piece is the longstanding writing partnership of Lowery and Johnny Hickman. They are joined by a host of guest musicians including Mark Linkous from Sparklehorse. The music is soft rock with lots of country and blues guitar, plus bits of soul, Indian music and gospel, and nods to Bob Dylan and the Beatles. After a couple of downbeat tracks the tempo picks up with the jaunty and scathing Don’t Bring Us Down (‘God gave you life, so get out of mine and take your sorry ass back to Florida...’). Guarded By Monkeys starts with a plaintive cello, then turns heavy. The object of desire in the song is ‘so beautiful you should be guarded by monkeys’. Who’s a lucky girl then. These guys have a thing for simians; monkeys crop up in several songs. Superfan, like Stan, explores the darker side of fandom (‘if I can’t have you no-one will’) and has more than a passing resemblance to Paperback Writer. Sweet Magdalena of My Misfortune is a contemplative ballad of lost love. Worst track is the tedious Shameless which couldn’t end soon enough. The final song, the gospel-tinged What You’re Missing, is about the members of the band themselves with each singing a self-penned verse. It’s not an awe-inspiring album, though it’s very musicianly with some intelligent lyrics. If you don’t mind American easy listening rock and you have an hour to spare you could do worse. Reviewed by Sleezy
Ms Sandoval is the former frontwoman for Mazzy Star and
just like them her new band produce sparse, low-key background numbers for people who like
their music quiet and a little melancholic. Her vocals are sad, reflective and
quite beautiful. Unfortunately the sparsity of the arrangements means that you
depend almost entirely on her voice, so little else is happening and when the song’s
not up to much you can easily become bored. It’s not all bad though. The
opener, Drop, is a beautiful slow country-ish ballad, Suzanne, has hints of
the Velvets, Feeling of Gaze, has a nice Michael Nyman-esq string accompaniment but
the rest cry out for a chorus or anything to distinguish themselves from each other. The title is the only kooky thing about this album and
thrill seekers and superficial frolicking oompah merchants had best seek their kicks
elsewhere. Reviewed by Mawders VARIOUS [Detroit] ARTISTS Pop
OD - The Songs of Iggy Pop (Static Records) A Detroit compilation featuring 23 artists performing
tunes from rock’s greatest Stooge. There have been a number of tribute albums before, but for
this LP the artists were asked to do specific songs in their own idiom. This seems
to me to be about the right approach. What’s the point of hearing bands doing,
basically, a karaoke? If you think the songs are sacrosanct then don’t touch
‘em. But if you’re gonna do them then don’t pussy about – do
something radical, do something different. Especially when the listener is going to
know the original back to front. As I would expect from a V/A package, it’s a mixed
bunch. There are some excellent versions which bear resemblance to the originals:
The Immortal Winos of Soul’s Five Foot One, Tars Tarkas’s Nightclubbing and The
Process’s Endless Sea. But those who push the envelope – or our patience -
a bit more prove interesting. The Impaler and Cindi St Germain get down to basics and
recite the lyrics as poetry with no instruments whatsoever. There’s a couple of solo
offerings, an acoustic I’m Bored from the Acoustic Terminator and a pedal steel Cock
in My Pocket from Passenger to Nowhere. There’s also some electronica and
dancey versions from Kristiva featuring Skinhorse who do Funtime and from Marooned who
programme a Night Theme. Elsewhere Down Boyz rap over a heavy guitar sample and
Princess Dragon-Mom (possibly the ignored offspring of Half-Japanese, Chrome and early
Jesus and Mary Chain) offer the best/worst track of all with a snippet of disconnected
noise that might or might not be Real Cool Time. It’s a curate’s eggy pop, but worth a
listen. Altogether now, “Here comes Johnny Yen again…” Reviewed by Kev
Ok, I’m a 100% long-term fan of this guy so impartial
I am not. He could release the sound of a kettle boiling and I’d find something
to appreciate in it. This 21 track compilation covers the best of his work, both
alone and with the Popes, and pulled from a mere two albums and a few b-sides. It is
less varied than the globe-trotting Hell’s Ditch era Pogues, relying totally on Irish
melodies and lyrical themes. That’s not a problem in the hands of Shane, a poet
of extraordinary ability and a master of picking up old tunes from the bars he all too
often frequents and adapting them to suit his own style. Every track’s a golden
pratie, with plenty of drink fuelled stompers to jig to and the odd stunning love
song. If I ever a hear a song more beautiful than the true tale of lost love through
his own ignorant actions, that is The Song With No Name, it’ll be the work of
a genius, even greater than Shane himself. It’s unlikely to happen. This album would be a superb purchase for the many former-Pogues fans who gave up with him in the early 90s. For those of us who never left him it’s a sad reminder of what’s happened to him; no new product for over three years and by all accounts a shadow of his former self, permanently propping up bars and practically incomprehensible in conversation. The release of this and a live album with the Popes at the same time, tells a story, the tale of a record label becoming bored with the lack of productivity of its artist and cashing in before presumably dumping him. I hope I’m wrong. Reviewed by Mawders EGO LIKENESS Dragonfly (Angelfall Music) A real mix of styles, by turns Kraftwerkian electropop, Curve-like gothness, industrial soundscapes, trance, dance and a John Carpenter soundtrack. And the odd thing is that it blends together well. The principal artists are identified only as S Archer and D Lynch; he has a doomy Ian Curtis drawl while she makes an ethereal and operatic sound reminiscent of Bjork, a more butch Enya or even Ofra Haza. Shortest track is just over 4 minutes, longest 8 minutes, so they have time to build up elaborate soundscapes and create atmospheres. “Second Skin” has a metronymic beat, keening vocals and exciting electronic effects. “Drown Like You” is trancey, with squashy synths and ethereal vocals. It’s programmed but very melodic electropop. “The Explanation At The Center Of It All” is whispered, sad and trance-hoppy again, underpinned by a thumping bass sound. “Song to the Divine” starts with a sampled Islamic chant and goes straight into Sisters of Mercy territory, building to a yearning crescendo. If I had a criticism, it would be that the album strikes too happy a medium: a bit mannered for the industrial crowd, too doomy for the Depeche Moders but I don’t want to put you off; their success is that they manage to make electronic music where the human input is greater than Mr Roland or Mr Moog and they balance melody and moodiness; for that we should be grateful. (www.egolikeness.com) Reviewed by Ged |
| DRUGSTORE Tour 2001 CD A band produced 14 track CDR of demos, alternative
takes and live versions and only available at gigs. This is possibly for fans only but I’m a fan and am enjoying this collection of rarities. These include three radio sessions: Say Hello (slow, almost countryish), Wayward Daughter, and an early vocal/acoustic Accelerate, with Daron’s shy backing vocals adding to the fragile tender melancholy. Two demo versions: What Every Girl Should Know, a slow acoustic arpeggio accompanied by tambourine with Isabel’s husky vocal, and an acoustic El President with Isabel’s voice multi-tracked and which contains a lovely rawness lost in the single. Live gig versions of Gravity with Isabel vocal, Daron strumming electric guitar and which fades out before the elongated instrumental ending, and Devil, with its main riff allowing the Druggies to rock out. The only track which I think has been released before is here in edited form - Old Shoes appeared on the Step Right Up Tom Waits covers album. This wavers between sadness in the quieter verse before shrugging its shoulders with distorted guitars in the uptempo chorus and outro. Never heard the original but I want to. Like another cover, Tourniquet, which makes me fall in love with its easeful melancholy (and makes me want to go and check the Headswim original). Has an odd chord structure that sounds so unDrugstore but the chorus has a wonderful sad feel. There are also two teasing snapshots of new Daron songs, both gentle melodies with tender vulnerable vocals, one without a title and still an idea but shows great promise and one called 1,000 Blue Caribou, with an almost early Cowboy Junkies feel. Finally, two more demos of unreleased songs from Isabel’s 4 track: a country-folky When the Bottle is Dry, with sentiments that any drinker will drink to, and Xmas in the Artic Pole, the Drugstore Xmas song for 2001, a seemingly throwaway pop ditty with slight lyrics about the joys of Xmas day and singalongachorus. A joyous song that should have been released as a seasonal single. Ah well, I have this collection instead. And it will do nicely, thank you. Reviewed by Kev
Ok so this is not really a new or forthcoming item but since it was originally released a few months ago they've been on tour with the White Stripes and therefore probably worthy of review. Loud debut, ranging
from pared down, Cramps-like bluesy tale of love and loss, full-on garage rock resembling
the Shadows of Knight or ‘Mr Pharmacist’, and the odd Sonic Youth moment. It’s not retro cos this lot were but little
seeds in those days but they’ve taken what are classic forms and recycled into
something grungier and more ‘now’. It’s all driven by a huge
beat – Don’s drums and Carrie’s bass give songs an awesome momentum, and on
top is a spiky, chainsaw guitar bending your ear with some bitter melodies. Loudest
track is ‘It Came From Japan’, almost Led Zep in intensity with ‘Silver
Machine’ flourishes and with a typical refrain “we all hail, hail from rock
& roll”. It’s an easy
comparison to make but some songs (‘Shallow Grave’) have a hint of White Stripes
in their cut down, angried up sound. In truth, more variety would have worked over
the course of the album. It’s a welcome change when Jason shares vocal duties,
like he does on ‘No Sugar Mama’, and the bonus track ‘Bring It On Home to
Me’ hints at some of the influences playing on the current crop of Detroit bands -
too good to be tucked away almost as an afterthought. Reviewed by Ged
Haven's vocalist Gary Briggs may not have a rock star name but he does have have a spectacular voice; a voice that swoops, rises and falls without the aid of effects like a voice box humming bird. The music is epic gentle rock, the kind that with a little bit of luck and a lot of hard work fills stadiums Stateside. Current comparisons would be Elbow and Starsailor, but much closer similarities lie with 80s band Talk Talk and fellow Manc based 90s outfit, Geneva. They are managed by Joe Moss (former manager of the Smiths) and this album is produced by Smiths' musical songwriter, Johnny Marr. Sadly not an ounce of the Smiths' great band's songwriting ability is evident here, as Briggs accompanies lumpen forgettable tunes, that provoke neither passion nor hatred in the listener, just varying degrees of boredom. A few years ago great things were expected of Geneva and their angelic lead singer. Ultimately they failed as the songs weren't up to his voice. On this showing, a similar fate surely awaits Haven and Briggs. Reviewed by Mawders Debut 12
track album from indie three piece. Contains the singles Na and Drinking for
Britain. Produced by Graham Coxon , and released on his Transcopic label. Better than your average young debut which can be one trick
ponies showing off their influences and little else. This a Paul Daniels’ herd
of frolicking foals who bear some indie suspects on their backs (eg Pavement) but are not
saddled by them. It has a spare sound of guitars, bass and drums which share equal
stage; Mat’s vocals range from the plain to the hysterical to suit the mood of the
songs (and within them); the songs are sufficiently varied and contain enough melodies and
hooks to keep you coming back. Some of my favourites are Yellowbelly, a quiet/rock
song (Nirvana meets Blur?); Na, an addictively melodic singalongsong
(“Dissatisfaction makes the world go ‘round”); Psycho Song, a sort of
Velvet’s The Gift with a funky jam against distorted narration; Remember Me, with its
Stranglers bass mangle meets Ashtype chorus; and Office Space, another melodic singalong
(“Mower’s gonna work it out” – watch out chem.
siblings!).” As you’d expect, it has limitations, it’s not
radical or startingly new (what is for santa’s sake?) but these don’t affect the
overall impact of the album. NME may hate it
– or rather Graham Coxon by the sound of it - but we hate the NME. This album
deserves better. Reviewed by Kev
Thanks to Bad Afro for sending this ‘cos it’s a joy. If this LP is anything to go by (and it probably isn’t) there’s something [johnny] rotten in the state of Denmark. You see, Copenhagen’s The Burnouts - JT, Lars Loco, Helle Hellcat and Bondo – have produced an LP (their second) of full-on punkpoprock. Like The Hives? You might like this too. Close to Breakevil is 12 tracks of garage
punk/Stooges (ok, Baby, Let’s Dance might be Cramps meets MC5). They are all sub 3 minute 3 chord spurts of
hyperactive energy and spat out lyrics, and riotously infectious they are too. Loads of overdriven rhythm guitar, crashing drums,
unrelenting bass: I especially like the way each track opens with the hum of a
guitar amp [ Little things...Ed ] which gives the impression it’s all being done live
in the studio, and it does have that live energetic feel.
It also has the power to grab you by the unmentionables in a pleasing sort of way
– ooow! Watch me pogo! The lyrics are
sort of punkbubblegum and rock’n’roll
cliché, eg “sex and drugs and rock’n’roll will never let you down” on
Shake Your Butt. Of course, any of
these will let you down at times but for the time being The Burnouts’ brand of
‘reckless speed and balls out punk power’ (as the Bad Afro website offers) has
won me over. One, two, gob on you, and I
don’t care, I’m off to spike my hair. Find out more www.theburnouts.dk
or www.badafro.dk Reviewed by Kev |
| THE MAGGOTS This
Condition is Incurable (Bad Afro Records, Denmark) The
Scandinavians love their garage rock and you can understand why; on a snowy night in
Stockholm or Uppsala, wouldn’t you be dreaming of heading for the Texas border, your
baby at your side and the law on your tail? The
record company calls this punk ‘n’ roll and for once they’re right –
you can hear early Damned plus the Kinks, the Who and a side order of the Sonics in the
Maggots’ committed and powerful playing and singing. All 12 tracks are
played at high intensity, even on the slower songs like ‘Leave Me Alone’. You can’t fault their dedication for getting
these songs right – Northern Europe is pretty purist when it comes to its garage rock
and the Maggots are no shirkers. Songs like
‘It is Time’ are fast and melodic while their cover of the Flamin’
Groovies’ ‘Heading for the Texas Border’ is guitar mayhem par excellence
(the cover also copies the Groovies typography). This music obeys the conventions of
the genre: a guitar wig-out in most songs, lyrics about not playing by your rules, and
namechecking a dozen US cities (plus Stockholm and Uranus!). ‘Chicken Race With Satan’ even sounds
like ‘Brand New Cadillac’. The best song on the album, the Kinks-like ‘I Wanna Be Your Maggot’, has easily the worst title. The Stooges’ ‘I Wanna Be Your Dog’ sounds rebellious and sexual. The Maggots’ equivalent sounds as if they want to be shut in a Tupperware box and taken out to be fed to the fishes. That’s a mild moan about what is a loud and vital album. If you have an incurable hankering for Nuggets bands, check out The Maggots.Reviewed by Ged
Down to the Last Drop is the debut, self-released
album from 12 Pearls, a four piece from Oklahoma, who’ve been together for three
years gigging in and around their home state. Their music, as the press release
tells us, has a blues rock vibe, which makes them like sound like some Black Crowes-Weezer
franke’n’rollstein monster. Thankfully,
it is not as bad as that might suggest so there’s no need to rouse the villagers just
yet. What I hear is good musicianship and effectively played
melodic US rock, in an old fashioned way (whether this means ’traditional’ or
‘tired old rock’ is a matter of personal preference of course). For the most part I do hear the Crowes
connection - rock chords, lead guitar notes, bluesrock bass – but there’s a hint
of Guns’N’Roses there too, especially with the Axl Rose vocal mannerisms that
appear now and then. I’m not so sure about the Weezer reference although What
is True shows, with its simple three chord hook and rhythmic clapping, a rockpop
sensibility that could be Weezerish in spirit. There’s
variety in pace too, such as the uptempo almost garage rocking Truth, but mostly
the other nine tracks focus on well structured traditional rock patterns, such as Power
of One, a slow mini-epic rock ballad which displays stadium lighter wielding rock
aspirations. Want to know more? Try www.12pearls.net , www.mp3.com/twelvepearls , www.cdbaby.com/12pearls Reviewed by Kev
There’s a red double-decker bus speeding past on the
cover of 30, which is a seven track introduction to Cherry Lane who are, in fact, a
four guy rock outfit from Illinois, U S of A. The guitars are loud and distorted, the drums are loud and
clear, but the vocals – shouted and growled in a hardcore fashion – are at the
back of the room. It’s not clear what is being said but the music is loud and
furious stuff. It’s like a mix of US punk and grunge, with the Pixie
trick of having quiet breaks to throw the noise into focus, and with the odd thrashrock
ejaculation tossed in for good measure. There isn’t much room for development
here and with seven tracks on show perhaps that isn’t the point, although Mike’s
Big Day starts out against type as a gentle instrumental before going
thrashmental. In short, this is fine for its type but is like a fast food which is a
bit limited in flavour for my taste. For more information try www.30cl.com Reviewed by Kev |
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