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| singles - current and forthcoming releases... |
| Late January to early March 2003 |
KINGS OF LEON Molly’s
Chambers (Hand Me Down)
Reviewed
by Ged M WHITE STRIPES Seven
Nation Army (XL, promo 7”) The new White
Stripes record that it’s OK to own ahead of the new album release, this is a limited
edition promo 7” which is being sold legitimately in select shops. Seven Nation Army is the perfect choice for
the first single, with its seductive bass-effects and simple drumming underneath
Jack’s protesting vocals, making it a shoo-in for most danceable track since Fell
In Love With A Girl. On the flipside, In
The Cold, Cold Night is a second cousin, in mood at least, of songs like ‘Long
Black Veil’ and the type of odd, spooky song that Nick Cave or Bill ‘Smog’
Callaghan has produced in the past. When Meg
sings in her unaffected but effective way “I can’t stand it any longer/I need
the fuel to make my fire bright” you know she’s not waiting for the coalman. A perfect taster for ‘Elephant’. Reviewed by Ged M
Reviewed by Ged M DETROIT COBRAS 7 Easy Pieces (Rough Trade)
MILLION DEAD
Smiling At Strangers On Trains (Integrity Records 7”) This might be described as emo-core if it was as wussy as emo or as gratuitously ear-bashing as hardcore. In fact it’s conflicted; intelligent lyrics are spat out in a voice breaking with anger/frustration; drums beat as if they’ve run out of time; guitars scythe through the melody but never decapitate it. The end result is hard, loud and very listenable. Imagine Husker Du (for old-timers) and Desaparecidos (for new) and you’ve got an idea of these love songs for angry young men. Reviewed by Ged M TY COBB 7y Co66
(Abstract Dragon) This four track EP is released on Black Rebel Motorcycle Club’s Abstract Dragon imprint but Philadelphia’s Cobbs sound nothing like their mentors. On the one hand they have the melodic guitar pop of The Strokes or San Francisco’s wonderful The Pleased. On the other hand, they demonstrate the brooding intensity of the Jesus and Mary Chain, especially on Wondering and the final track. Then you can sling the classic pop sensibility of Guided By Voices into the mix. The opener, Wheels, is all angular, spiky guitar before it speeds up into a sparkling melody. When You Smile is almost a ballad, with a melancholy piano riff, Laurie Anderson-like heavy breathing and Beatles-ish sighs. The final track Lonely Girl (or is it two tracks?) starts like ‘I Feel Fine’ by Cream and turns into the best track on the EP: JAMC vocals and chiming guitars building up to a chorus that leaves your mouth hanging open in awe. There’s not a wasted moment on the EP, which is more wonderful with each listen. Hear! Reviewed
by Ged M THE
DELGADOS All You Need Is Hate (Mantra)
Reviewed
by Ged M THE FUTUREHEADS Carnival Kids (Fantastic Plastic) Sunderland’s Futureheads are one of the most
entertaining live acts on the circuit with their triple barrelled vocal delivery. This their second release on Fantastic Plastic can
only hint at that performance with four catchy powerpop tracks drawn from early XTC and
Wire; frantic vocals over quirky chunky chords. |
THE RAIN BAND Easy
Rider (Temptation Records)
RADIO
4 Eyes Wide Open (City Slang) The chunky funksters slip out the
highlight from their Gotham LP - fuzzy funk that indie wallflowers can re-enact the
Chicken Tonight ad to. It’s slapped bass in a Certain Raio/Gang of Four stylee and
very infectious. The B-sides are two mixes of Struggle by Adrian Sherwood; the first is
like a running battle with 7 year olds at Quasar whilst the second is more industrial,
like Front 242 but with a half decent tune. MEDIUM 21 Daybreak vs Pride
(Temptation Records) Northampton’s Medium 21 have
produced an oddball single that takes a few hearings to sink in. When it does it’s like being slapped in the
face with something super, something furry and something animal. Both B-sides owe dues to those influenced by Neil
Young; the Flaming Lips and Mercury Rev and are high pitched but charming. THE
WARLOCKS Hurricane Heart Attack/Cosmic Let Down (City Rockers) The limited
edition 12” single from San Francisco trance rockers is a game of two halves. Hurricane Heart Attack starts with a slowly
spiralling guitar figure coalescing into a stoned groove, part Spiritualised and part
Verve with a Black Grape flavoured vocal. Cosmic
Let Down is the band in a more San Franciscan psychedelic mood, all slowed down
guitars and drones, like a slow motion Black Rebel Motorcycle Club if they removed the
pickle from their collective arse and let themselves go.
In the right mood (not sober) and right environment (a seedy bar, a dive of a club)
this will sound immense. Reviewed
by Ged M LONGWAVE Everywhere You Turn (East
West) Remember when U2 were cool? Remember when they were still playing tiny venues
churning out chilling gut pounding new wave rawk? Remember
those minutes just before Bono turned into a flag waving knobber? Well this New York band evoke memories of those
all too brief days with a great brooding drum pounding ditty that oozes sincerity and
heartfelt emotion. It’s lovely. Let's hope by this time next week they're not God
bothering pompous dorks who wear wraparound shades indoors. CLEARLAKE
Almost the Same (Domino)
MU-KAU Loose
Threads (Bubble Gum Recordings) Woah! This
has everything in its 3 minutes: a ghostly Scooby Doo cartoon feel, a clattering blast of
a Northern Soul sample, Clair Finglass’s sweet vocals and a relentless dance-pop
feel. It’s a ‘Groove Is In The House’ for this generation.
It’s more infectious than Ebola and you’d better clear your internal jukebox:
there’ll be nothing else playing once you hear this. Other tracks are the
cinematic country and western Angel Kiss and a Remes Brothers remix of the title
track. Mu-Kau is Japanese for “moving forward” and they’re going
places with this. It’s out on 3 March. More information from www.mu-kau.co.uk and www.fortuneandglory.co.uk Reviewed by Ged M DAN
BERN the Swastika EP (Cooking Vinyl) Dan Bern tweaks the noses of just about
everyone not called Dan Bern in this occasionally amusing folk EP. Whilst My Little
Swastika riskily tries to reclaim the Nazi’s symbol of hatred and division and return
it to its former association with peace, it’s Talkin Al Kida Blues that will raise
smiles and frowns in equal measure. Sung in a
Dylan-esq voice he belittles Bush and the state of his nation whilst at the same time
lamenting the predicament of a poor chap in Cleveland by the name of Al Kida (think about
it). It’s pretty controversial near the
knuckle stuff and very entertaining. RICKY
Sunset View (Bod the Mod Records) It may be brass monkeys outside but
it’s always sunny for Portsmouth’s Ricky and with this Byrds-ian slice of sugary
pop you’ll be down to your Bermudas too. It’s
timeless gorgeous harmonies accompanying the most simple but perfect melody. The B-side, Maybe Together, has hints of
Unchained Melody and is similarly gentle, stirring and warm. A truly wonderful record. HOT HOT
HEAT Bandages (Sub Pop) The land that brought you the awful
Nickelback and Celine Dion has finally produced something worth hearing. Canadian four piece Hot Hot Heat are the emo band
you will like and Bandages is a snotty, yelping powerpop gold nugget. The vocalist barely pauses for breath as his
wavering larynx covers every note from A to H and back again like Robert Smith in a
blender. There’s a slightly iffy slowed down reggae bit in the middle but that’s
presumably just to make you lust for the return of the chorus once more. Spiffing.
THE GREENHORNES I Won’t Take It Anymore (Shake It! Records 7”) Recorded live at the label HQ in Cincinnati, the A-side is a slice of perfect Nuggets 60s pop, a cousin of ‘I Can Only Give You Everything’ by Them. It’s simple and energy-crammed, with fuzzy guitars and slurred vocals, and demands to be played loud in a sleazy club. One to pick up if you can (Rough Trade, as usual, might have it). B-side Lost Woman is a Yardbirds cover, done in an authentic bluesy 60s style, with more fuzzy guitars and distorted vocals. Review by Ged M THE CASANOVAS Keep It Hot EP
(Rubber Records) If
The Datsuns, D4 and Jet are in the Premier League of Antipodean rock n roll, then based on
this release The Casanovas are probably fighting for the play-offs in Division 1.
The lyrics are as clichéd as you’ll hear from a garage record (“Hey baby
you’re in for a treat…” is the first line of the EP opener Keep It Hot)
and musically it’s mainly fairly familiar AC/DC and 70s Stones cast-off riffs without
the bonus of a great screeching Bon Scott or cocky Jagger vocal. The exception
though is the frantic and raw Too Cool which couples a punk chorus with a frenetic
fretboard wank and knows that great records rarely exceed three minutes. THE BASEMENT Medicine Day
(Deltasonic) Imagine
a Northern Irish Bob Dylan singing Hotel Yorba and you have The Basement’s debut.
It’s catchy, frothy folk tinged skiffle pop; a Subterranean Homesick Blues
that you can dance to. Stuck on the Street at Minus 10 is bluesier but also fast
moving and still moulded from a lump of Bob Dylan’s old playdough. Both tracks tell
us that this band will be one of the brightest prospects for 2003. THE DIRTBOMBS Australian Singalong with the Dirtbomb Singers (Zerox Records, New Zealand, 7”) A tour single, with the Dirtbombs paying tribute to 60s Australian music (though a number of places could claim the Bee Gees). By My Side, originally by The Elois, is a great, grungy, garage-pop stomper with frequent changes of pace, tons of feedback and Mick Collins’ warm vocals. A corker. I Started A Joke was written by the Gibb Brothers. It starts with a scratchy acoustic guitar and is given the big ballad treatment by the Dirtbombs. The appeal of the Bee Gees’ 60s stuff still, I’m afraid, escapes me but the Dirtbombs have a blast with it. Review by Ged M Jacques is the
side product of Jack’s Anthony Reynolds. ‘Romantic’
is a new five-track EP, released on the Spanish label that released an EP of Jack demos
several years ago. It contains five tales,
all sung in Anthony’s euro-flavoured Scott Walkerisms, though one track features
Anthony in fine Lenny Cohen mode. The last
track Theme >From ‘Last Night In Tremorfa’ is a keyboards-based
instrumental suited to a horror film. As
always, everything is well delivered; the only things not so hot are some photos of
Anthony from 1987 to 2001! Reviewed by Tony S THE
PAYBACKS/THE HENTCHMEN Split single (Rex Records 7”) More gems from Detroit Rock City. The Paybacks offer up a bit of a guitar fest on their brace of tracks. While Scotch Love is hard and dirty, Lazy Things has more of a melodic glam-rock groove, at least until the guitarist bursts out of his straightjacket and ensures that the song ends on the brink of madness. The Hentchmen have a cleaner sound but are no less powerful. They sing “I don’t wanna be average, no, no, no” and they’re anything but. All About Girls is their gem, a sort of bluesish groove that gets louder and more unhinged as the song progresses. They add harmonica, sweet organ and handclaps to the standard rock framework and it turns into a great party tune, ending up a-whooping and a-hollering! Review by Ged M BLACK BOX
RECORDER These Are The Things (One Little Indian) Black Box Recorder
return on a new label after Nude went bust. Since
‘The Facts Of Life’ album, Luke has delivered two solo albums, one a film
soundtrack, and Sarah has become a mum. These
Are The Things, a song about how we keep in touch in 2003, has a commercial feel to
it, which is very now, though the synth feel is also very ‘80s. 17 And Deadly is a song about growing
up and how it fucks you up in the process. Land
of Our Fathers is about a young girl’s life and how boring it can be. All three songs are delivered with grace and style
and it’s good to have them back. Reviewed by Tony S |
A piece of major label
Dixie-chic that's in danger of falling flat on its dungareed arse in a blizzard of hype.
The
Cobras don’t just unearth obscure 60s RnB and garage b-sides and churn them out like
a cabaret covers band.
Almost
the Same is two thirds Doves (think Pounding) and one third Foo Fighters (think Learn to
Fly) and one third catchy radio indie pop.
Dirk
Dresselhaus sounds like a 70s porn star but under his alias, Schneider TM, he has produced
a warm gentle piece of folk with the added twist of robotic synthesised vocals and a
trippy skitting drum and bass accompaniment.