Album Review | Sarah Class – A New Dawn
‘A New Dawn’ may be Sarah Class’ first solo album but don’t be fooled, this girl has a very impressive CV. Immediately after graduating, with honors, in music from Chichester University, Sarah went on to write extensively for a number of high profile TV and films including, most impressively, the score for ‘The Weekend’, a film starring Brooke Shields and Gena Rowlands. That’s right, Gena Rowlands. Naturally this caught the attention of the ‘fifth beatle’, producer Sir George Martin, who, after hearing Class’ work, took her under his wing. With that much support behind her it’s no wonder ‘A New Dawn’ sounds self-assured and professional.
The first song on the album, ‘Make Me Free’, should be on the soundtrack to a romance movie during the part when the love interests first get together. I think that’d definitely work. The song is ethereal and haunting but still upbeat enough to make even a casual listener feel that bit happier. ‘Northern Shore’ is also a cheerful song, Class sings about her love for the ocean and you can’t help but feel swept away by her passion for the subject. In fact, that’s something you could apply to every one of Class’ songs, she sings and writes with a passion that is rare in the X-factor age we live in. Class’ voice is vulnerable but strong and her lyrics are so real it makes her Emmy and Brit Award nominations seem very deserved – so deserved in fact that it makes me wonder why she didn’t win?
The point is, if you like classical or acoustic pop music, ‘A New Dawn’ is the album for you. If you’re very quick, you’ve probably got time to get it on your Christmas list.
Gig Review | Julian Casablancas at Manchester Ritz
I was talking to many people in the crowd last night and there was one thing I kept hearing, ‘Julian Casablancas is God’. I liked hearing it, if I’m honest, because all evidence points to it being a correct statement. Seriously, how many bands, having not released any new material for a couple of years, will have the NME dedicate an entire issue to them on the basis that it’s been ten years since they formed? Not many, but The Strokes did it. Everyone knows the story, when Is This It came out in 2001 the music world was turned on its head, the album was everything we wanted it to be and it went on to inspire too many bands to mention, The Libertines and Arctic Monkeys being two of the most obvious choices. The Strokes other two albums went on to win numerous awards and were a lesson in the mind of a genius vocalist and songwriter, a certain Julian Casablancas. So you’ll understand why everyone in the crowd was going crazy waiting for the elusive rock god to make his way onstage.
Casablancas isn’t one for a grand entrance but when he walked on even the manliest of men were screaming. He opened with ‘Ludlow Street’ a self-effacing track from his album ‘Phrazes for the Young’ that seemed to strike a chord with everyone in the audience, ‘Everything seems to go wrong when I start drinking’ he sang as the audience thought twice about getting a round in after the show. The biggest surprise was his rendition of ‘I’ll Try Anything Once’, a Strokes b-side that nonetheless had everyone in the audience singing along and, despite it being a fairly small venue, some getting their lighters out. ‘I Wish It Was Christmas Today’, Casablancas’ cover of the Saturday Night Live Christmas song, was also popular with the crowd. His growling, soulful vocals added to his indifferent onstage attitude can make anything cool and I mean anything – a Christmas song is no challenge for Casablancas.
As with all the best gigs, I’m sad it’s over. But I still have the crowd chants ringing in my ears, ‘Julian! Julian! Julian!’
Single Review | Mama’s Gun – You Are The Music
If I’m honest, Mama’s Gun sound a bit too much like they’re trying to be Stevie Wonder, or any other groundbreaking artist from the 70s. Unfortunately for them, there is nothing groundbreaking about their song, ‘You Are the Music’.
That’s not to say it’s bad though, it does have a little bit of the Marvin Gaye smooth, sexy soul sound about it. In fact, it’s like if Marvin got together with John Legend but the two didn’t really like each other and so didn’t put much effort into the music – it’d still sound pretty damn good but it wouldn’t have any soul behind it. A lot of people have made comparisons to Jamiroquai too and they probably wouldn’t say it’s a bad thing either.
To be fair, you could do a lot worse than to have Stevie Wonder as an inspiration, a lot worse. If you do buy this single it might be nice to put it on when the other half comes over. Pour some wine, light some candles, put on ‘You Are the Music’… it’s all part of the seduction. Music is important and this song might just get you some lovin’. To be honest though, it’s no ‘Let’s Get It On’ is it?
Single Review| The Dykeenies – Stitches
The Dykeenies are a four-piece Scottish indie band, comprised of brothers Brian and Andrew Henderson, Steven Ramsay and John Kerr. The guys have been around since 2005, and are now releasing new material after their first album ‘Nothing Means Everything’ in the form of their single ‘Stitches’. The band have previously been compared to the likes of music moguls Bloc Party, The Cribs, and The Futureheads, leaving The Dykeenies with a lot to live up to. Does this single do it? ‘Stitches’ is a sensitive track, with the soft opening vocals leading to a passionate chorus, accompanied with hints of slightly dirty guitar riffs that could be made more of, and a perfectly catchy tune that makes you want to thrash your head around a little. However, their comparisons just don’t quite make sense to me – their sound, on this track anyway, seems to be much more pop influenced, like We Are Scientists mixed with a bit of Goo Goo Dolls and maybe a bit of Jimmy Eat World. They hark back to the sound of a few years ago, there’s no synthesizers or edgy beat like so many emerging bands nowadays seem to favour. This, however, does not work against them, and in fact the Dykeenies are a pleasure to listen to.
Single Review| Team Waterpolo – Room 44
Interestingly named Team Waterpolo have been together since 2007, and have earned critical acclaim since their single ‘Letting Go’ was given the coveted place of NME Record of the Week. The Prestonian fourpiece of Fred Davis, Nathan Standlee, Ruggero Lorenzini and Lex Dunn are released single ‘Room 44′ in May 2009. The track kicks off with a relentless beat and cosmic synth reminiscent of The Killers, while the group vocals are very Klaxonish with a pinch of MGMT, but sung at a slightly more masculine pitch. The strong beat gives the track a fun, dancey feel, and it would be a great song to display your favourite (if ever so slightly dodgy) robot dance moves while singing/shouting along with your friends. It might pack a bit more of a punch if it led to some kind of crescendo, but overall it is a very catchy tune that is sure to take grip of all who give it a listen.
Single Review| Royksopp – Happy Up Here
The Norwegian duo, Royksopp, are back with new single ‘Happy Up Here’ from forthcoming the album ‘Junior’. ‘Happy Up Here’ is Royksopp’s way of being part of the end of the depression, and Svein Berge describes it as having a ‘YEAH WOW’ factor, like Van Halen’s ‘Jump’, but with ‘less hair and spandex’. Sounds irresistible, right? Well, after having a listen you can concur that the guys have got that right – it makes you feel like you’ve woken up an hour before your alarm and get to go back to sleep, and later find a tenner in an old coat pocket. It’s a happy, happy song. But Van Halen? Not quite. Featuring samples from the ‘Space Invaders’ game (deliciously retro!), you may recognise the track from a certain car advert, it is instantly and is light and uplifting, with infectious plinky-plonky tones and soft, whispy vocals that will undoubtedly spawn several higher octane club mixes. The original track is great as it is, a little slice of shiny happiness.
Peggy Sue: Witchita Recordings & Debut Album
It’s just been announced that Katy, Rosa and Olly – a.k.a. indie nu folk band Peggy Sue – have signed to esteemed indie label Witchita Recordings and will be releasing their debut album ‘Fossils And Other Phantoms’ in April 2010. The label is already home to a myriad of impressive artists including The Cribs (see our review of their latest album here), Conor Oberst and Bloc Party.
The ladies will be releasing a brand new single from the album and announcing UK tour dates shortly, but until then, you can bag yourself a free download of ‘Lover Gone’ by clicking here, and an additional track called ‘Hatstand Blues’ by signing up to the Peggy Sue mailing list here.
Laura Marling: Christmas Single & Indian Tour
The lovely Laura Marling is releasing a brand new Christmas single next week, entitled ‘Goodbye England (Covered In Snow)’. The single is taken from Laura’s highly anticipated new album, which is due out early in 2010. ‘Goodbye England (Covered In Snow)’ has already been named Zane Lowe’s Hottest Record this week and has been featured all over the rest of BBC Radio recently. You can listen to the beautiful new single by clicking here.
In addition to this, Laura is currently in India with close friends Mumford & Sons, as part of the British Music Council Soundpad project – a foreign exchange programme for musicians.
The tour dates are as follows:
10 Dec Ashoka Ampitheatre, New Delhi
11 Dec High Spirits, Pune
12 Dec Bandra Fort Amphitheatre, Mumbai
18 Dec Live, Hyderabad
19 Dec Someplace Else, Kolkata
Tickets for all of the Indian tour dates will be available from the venues on the day. No advance tickets will be available.
Single Review│Deastro – Toxic Crusaders
Deastro is the musical project of Detroit’s Randolph Chabot; ‘Toxic Crusaders’ is taken from his second album, Moondagger. I can honestly it’s not quite like anything else I’ve heard: a hefty electronic number that seemingly throws in everything but the kitchen sink (though it could be that I’ve overlooked the kitchen sink), yet somehow holds it all together, just about. The lyrics speak of a discontent with contemporary culture, but also an optimism at being able to move forward; and the music reflects this, bursting from the reined-in first verse into a glorious, glockenspiel-laden chorus.
The song isn’t perfect: Chabot’s vocals are buried a little too far down in the mix to really hold attention, yet not in a way that makes them feel like part of the fabric of the music. There’s also something about the phrasing or the rhythm of the lines that keeps them from really snagging in the memory, or so I found. Still, whilst it’s playing, it is hard not to get caught up in the musical maelstrom of ‘Toxic Crusaders’ – so what are you waiting for?
Live Review | Snow Patrol | Palace Theatre, Manchester | 29 November 2009
Of all the ways I might have expected my first Snow Patrol gig to begin, Gary Lightbody singing ‘The Finish Line’ backed by nothing but a harp would have been quite a long way down the list. But this was always going to be an unusual show. The whole idea behind the band’s ‘Reworked’ tour was to use different arrangements for the songs; so there were sixteen musicians on stage, including strings and brass – and no support act. Instead, we got a Snow Patrol gig of two halves, starting (relatively) quietly, and growing louder as the night progressed.
There were a very few of the new arrangements that didn’t quite work, most especially ‘Set The Fire To The Third Bar’, played here in a faster version which filled in all the space that (to my mind) gives the song its power. But most were fantastic, really casting new light on to the music. For example, ‘Set Down Your Glass’ has often struck me as being a little too delicate on record; but here, with the richer backing, it became properly majestic. ‘Spitting Games’ was transformed, slowed down and allowed to expand – a stunning rendition. Even the most ubiquitous Snow Patrol songs sounded fresh tonight: ‘Run’ was given a more mournful, orchestral arrangement; whilst ‘Chasing Cars’ was souped up, to the point where the audience could actually clap along to it. Those latter songs could have threatened to overshadow the rest of the set; instead, they became another two links in a very strong chain.
The moment that came closest to overshadowing the whole set was during the second half, when Lightbody introduced a cover of Elbow’s ‘One Day Like This’, acknowledging that it was going to be harder to perform with members of Elbow in the room (though I’d say the Patrol made a pretty good job of it). Halfway through the song, Pete Turner and Guy Garvey ran on stage, and Lightbody tried his best to finish the song whilst Garvey had an arm around his shoulders. Just a fabulous, unique moment.
The gig went on, and the band never flagged, not even after the best part of three hours, when they ended with a storming, almost Motown-sounding, version of ‘Shut Your Eyes’. Lightbody was in fine voice all evening, and a brilliantly engaging frontman; all the musicians were superb… Here was a fine band cutting loose with their music, and it was a joy to watch and hear.
