Music Reviews on Albums, Singles, Gigs, DVDs and Films – Clash Music

Biffy Clyro Live - Southampton

ClashMusic — Fri, 06 Nov 2009 12:15:36 +0000

It’s a shame that the Scottish three piece had to play Southampton so early on in the tour, not anything negative on their part, rather the fact that the tours main support, Canada’s much hyped Manchester Orchestra are currently completing a support slot in the USA and are unable to fill their early commitments.

In their place are Tellison, a West London based indie foursome who despite their best efforts just lack any kind of punch to wake up the early arrivals. If Tellison lacked a punch then Pulled Apart By Horses could give Mike Tyson a run for his money. What follows is a brash crescendo of organised chaos in danger of falling apart at any second. While not as radio friendly as their hosts, PABH put in a stellar shift that will have bought the boys from Leeds numerous new admirers.

The large curtain that had split the stage is now removed to reveal a lighting rig as epic as Biffy Clyro’s sound. The usual chants of “'mon the Biff” seem somewhat muted for a change before they strut out onstage to deliver a monstrous 23 song set, starting off with 'Only Revolutions' opener 'That Golden Rule'. A set that promises both old and new, is better defined as 'Puzzle' and new, with only 4 songs taken from the 3 albums that preceded their eponymous breakthrough to the mainstream. Not that there will be too many complaints from tonight's sold out crowd.

Each cut from Biffy Clyro’s 2007 release is warmly received by a crowd seemingly happy to just stand still and soak up the spectacle before them. It’s not until the set draws to a close with the aptly named 'Saturday Superhouse' and latest single 'The Captain' that really raises the intensity in the crowd. By the time the encore rolls around Simon Neil has removed his shirt to reveal the live look that has become a trademark for many a Biffy Clyro fan over the years, and even if the acoustic driven 'As Dust Dances' slows down the heartbeat of the audience, and makes me wish that people still swayed their lighters to slow songs, before 'Mountains' picks the audience back up and sends them off into the night.

Words and Photo by Benji Walker

Jay-Z Live

ClashMusic — Thu, 05 Nov 2009 12:52:11 +0000

Tickets for this one-off performance at London’s Alexandra Palace sold out in 15 seconds. Certainly the excitement is palpable amongst the 7000-strong crowd crushed into the grand Main Hall, the sense of anticipation heightened by the giant digital count-down on the enormous on-stage video screens.

On cue, Jay Z swaggers on stage wearing sunglasses and “all black everything”, and tears through a selection of cuts from latest album, 'The Blueprint 3', including ‘D.O.A’ and ‘Run This Town’. The full backing band adds some real percussive punch to ‘99 Problems’ and gets the crowd dancing to the futuristic funk of the Pharrell Williams' produced ‘I’m a Hustler, Baby’.

From such a promising opening, the set begins to fall a little flat. Jay-Z introduces Memphis Bleek to help hype the crowd but curiously Jay himself doesn’t seem to get out of second gear. There are pauses between songs, the ‘H-to-the-Izzo’ segue into Jackson 5’s ‘I Want you Back’ doesn’t quite work and the crowd seem unfamiliar with much of the slower material off the new album.

Jay Z’s ode to NY, the epic if somewhat cringe-worthy ‘Empire State of Mind’, gets the crowd singing along but they seem distracted, frustrated even, as Jay then auto-pilots through a medley of hits. Jay-Z’s flow and superlative word-play are what set him apart as the CEO of hip-hop but the crowd gets to enjoy little of this. It’s all chorus and bluster. He teases with the piano loop of ‘Lucifer’ but then cuts straight into the pomp of ‘Crazy in Love’. A couple of verses of ‘Big Pimpin’ enliven sections of the audience but as Jay-Z exits the stage, the crowd aren’t particularly vocal for his return.

Jay-Z comes back on stage to play, inevitably, ‘Encore’ and brings out... ahem... “protege” Mr Hudson for an ill-conceived rendition of ‘Young Forever’. As Jay Z bids the crowd goodnight with backing band playing “Smells Like Teen Spirit” (huh?), the lights go up and we head home, somewhat confused and ever-so-slightly disappointed.

Words by Steven Appleyard

Dubai Sound City - Thursday

ClashMusic — Thu, 05 Nov 2009 12:43:04 +0000

Thursday: Before...

It’s 35 degrees and blue skies in Dubai.

Probably the perfect place for a November music festival. But, strangely, it’s probably some of the headliners’ idea of hell. Strict laws on drugs mean you could land in prison if caught with a grain of anything even remotely illegal, booze is only sold in controlled areas and anything featuring tits or arse is definitely out of the question.

So, did I mention the Happy Mondays head the bill tomorrow night? It could be the blandest or the weirdest performance of their career.

But that’s tomorrow. Today we have their old mates The Farm kicking off the evening ahead of The Futureheads, Doves and Human League, as well as day time sessions from Bicycle Thieves, Sound of Guns, The Dirty Skins and Aslan. An odd combination for an odd festival setting I’m sure you’ll agree.

And when the bands finish and the sun sets, there’s plenty more fun to be had, including dancing til the wee hours on what was voted the 58th best club in the world in 2009 by DJ Mag – a disc of a club set out on a jetty with a rooftop dance floor boasting 360 degree vies of the city and sea.

Thursday: After...

This could be the strangest festival in the world. After almost ten hours on a plane, you’d expect a different culture, a different view or at least a feeling of being somewhere different. But Sound City is just a little bit of England transported to a place with better weather.

Almost all of the festival-goers supping £5 a pint beers in the Irish Village – a squeaky-clean sports venue with a capacity of 6,000 and the main site for the festival – are English. All the bands that are playing are English. Every one you meet speaks English. Oh, and the only food you can buy on site is pies!

Yet, because it’s mainly ex-pats here all working in high-flying jobs, it’s also the most conservative festival. Even when headliners Human League take to the stage, it’s easy to stroll straight to the front and get a glimpse of the 80’s wonders in their bright white suits and sparkly dresses.

But setting aside, it’s still a music festival.

Dubai is built on a working culture, so unfortunately for the opening bands, they are pretty much playing to the festival staff and a handful of journalists. I feel particularly sorry for Tim Hassall + August Company, a local band who have a few moments of loveliness, but only have an audience of eight watching them.

A few more people pour in by early evening to hear the poor man’s Cherry Ghost that is Aslan, voted best band in the Meteor Irish Music Awards 2008. A band with the same greatness as Narnia’s lion, the programme says, but the only big thing on stage here is the singer’s ego. They are hugely unoriginal and incredibly dull.

The Farm mark the beginning of the headline acts and, despite the vocals being way too loud, they don’t sound too bad (partly due to the backing track they use to beef up the sound a little). Even though the crowd is still thin on the ground, they have some die-hard fans shouting every word, especially during the better known singles of 'Stepping Stone', 'Groovy Train' and, of course, 'All Together Now'.

The rules of no drink on stage and definitely no drugs is a first for the band, but it doesn’t seem to quash their enthusiasm. ‘This is the first time you’d have seen The Farm on stage without alcohol. How are the Monday’s going to get on?’ says front man Peter Hooton, referring to what will inevitably be a very strange Happy Monday’s set on Friday.

The Futureheads follow with their now-stale sounding jagged pop and, while quite an exciting performance, it doesn’t set the world alight. 'These Are The Days and Nights' and 'Hounds of Love' goes down well, but it somehow seems more out of fashion than The Farm.

The Irish Village is pretty packed by the time Doves take to the stage and there’s a new vibe about the place. The buzz has finally arrived, the beer is flowing and it’s still gloriously warm.

'Cease The Day' gets a huge reaction, and one that’s deserved, as does 'Kingdom of Rust', played in front of a big screen showing images of London just to make everyone feel a little homesick. But it’s 'Black and White Town' and 'There Goes The Fear' that are the real highlights.

But while Doves go down a storm, it’s the Human League that everyone is waiting for. It’s fair to say that a large proportion of the crowd is of a certain age and there is many a cry of ‘they’re my hero’. Really? Phil Oakey?

With two synths, electric drums and what can only be described as a Mac booth on stage, all brilliant white, it was the epitome of the 80s, especially as it is more of a Human League greatest hits than any new stuff. Thank God!

'Get Around Town', 'Being Boiled', 'Love Action', a reworked version of 'Lebanon' and 'Human' have everyone singing at the top of their lungs and, despite a few morons at the front being a bit too bolshy for their own good, the festival is on fine form.

The best is saved until last and the headliners end with 'Don’t You Want Me', 'Keep Feeling Fascination' and 'Electric Dreams'. It is enough to impress even a massive 80s hater like me, but I guess that like the rest of the crowd, it just makes you feel like a kid again with no worries and no responsibility. Isn’t that what a festival’s supposed to do?

Friday sees another odd mix of bands, from Gabriella Climi and The Automatic to The Courteeners and Ocean Colour Scene, ending with the sober sober Mondays. It’ll be…interesting!

Words by Gemma Hampson
Photo by Carly Crowder

U2 - The Unforgettable Fire: Deluxe Edition

ClashMusic — Wed, 04 Nov 2009 12:34:27 +0000

Remastered for it’s twenty-fifth anniversary, ‘The Unforgettable Fire’ is the pinnacle of U2’s first, irony free incarnation.

Available in a variety of formats, the ‘Deluxe Edition’ is bundled with a second disc of rarities, demos and live tracks including the ‘Wide Awake In America E.P.’ with its skin prickling version of ‘Bad’. Other songs are less essential but ‘The Unforgettable Fire’ single’s B-side ‘Bass Trap’ is a gem, sounding like a church going Verve.

Of course, ‘The Unforgettable Fire’ was the band’s first material produced under the tutelage of Brian Eno and Daniel Lanois and its atmospheric framing still entrances today, not without flaws but a classic none the less.

8/10

Words by Nick Annan

The Kabeedies - Rumpus

ClashMusic — Wed, 04 Nov 2009 12:30:05 +0000

Music can make people feel many different things, some makes you feel sad, some makes you think, The Kabeedies simply make you want to dance around the room, forget your troubles and have a bloody good time.

The band’s debut album ‘Rumpus’ is a frantically-paced slice of indie-pop full to the brim with pacey tunes and infectious choruses. Having played various radio sessions for the likes of Zane Lowe, Marc Riley and Huw Stephens the band seem set for great things and with such a strong debut album 2010 could be the year for The Kabeedies, they have all the ingredients to be true stars.

8/10

Words by Kevin Angel

Various Artists - 10 Years Of Technique

ClashMusic — Wed, 04 Nov 2009 12:24:20 +0000

‘10 Years Of Technique’ represents the jump-up, corrosive (or should that be contemporary?) end of the scene, consistently throwing grungy basslines and bullet train-breakbeats at turntables, skidding and slaloming as a thoroughly upfront D&B outfit without their dogfights ever threatening to derail.

Mixes include 2009 spruce-ups that wouldn’t sound out of place on national radio daytime playlists, Tantrum Desire’s crushing take on ‘Welcome To The Jungle’, and two liquid rolls from Technicolour - along with the good-natured run-out ‘Clap Ya Hands’; nice enough, but probably not what you’ve really come for.

Get your ears tested if they aren’t ringing after these fifteen tracks.

7/10

Words by Matt Oliver

The Tragically Hip - We Are The Same

ClashMusic — Tue, 03 Nov 2009 14:58:28 +0000

Let’s face it, the country that gave the world Celine Dion is not going to let the record-buying public down any time soon.

But seriously folks, there are many great bands in Canada. No really. Country rockers The Tragically Hip have been going since 1987, but they remain relatively unknown outside their homeland. Singer Gordon Brownie leads from the front, like a more roots-focused Ben Gibbard, with some incredibly catchy choruses.

The Hip walk the tightrope between country and rock with a minimum of fuss. There’s no pretension or delusions of grandeur, just epic and accessible songs.

6/10

Words by Jamie Hailstone

Brazilian Groove Band - Anatomy Of Groove

ClashMusic — Tue, 03 Nov 2009 14:48:35 +0000

If ever there was a Latin funk supergroup, then it was the Brazillian Groove Band.

The band included heavyweights like Reuben Wilson and Grant Green Jnr. Those sort of musicians simply do not know how to drop the ball. The swinging Nuyorican soul that encapsulates the New York funk scene has not dated one little bit. The only question is why it took so long for this gem to be released? There’s no fat, just lean and mean groove.

It’s almost as if the 1980s never happened and the world just wants to dance to sexy Latin beats. Friday night records don’t get any funkier than this.

7/10

Words by Jamie Hailstone

Ola Podrida - Belly Of The Lion

ClashMusic — Tue, 03 Nov 2009 14:39:55 +0000

David Wingo’s sophomore release under the moniker Ola Podrida navigates a familiar path through the American folk of Iron And Wine or Sufjan Stevens, setting itself apart from these peers with understated poetical lyricism.

Hailing from Texas, Wingo evokes the torn emotions of a claustrophobic rural existence as seen through adolescent eyes, but without ever straying into sentimentalism. ‘Donkey’, the pick of the pride, is a triumph, its upwards melodic march to trumpet fanfares demonstrative of Wingo’s superlative ear for orchestration.

Though not consistent enough to dazzle, ‘Belly Of The Lion’ nonetheless enchants with subtle artistry.

6/10

Words by Hazel Sheffield

Dananananaykroyd Live

ClashMusic — Tue, 03 Nov 2009 14:15:27 +0000

Dananananaykroyd are perhaps Britain’s happiest band. With just enough obsessed fans to be able to proclaim themselves as a cult (a cult of happiness and rainbows and hugs, mind you), the Glaswegian Clash favourites tore through well-worn but well-loved debut album ‘Hey Everyone!’ and then some, proving, yet again, that they’re one of the most exciting live acts on planet Earth.

Demurely trotting out to the peculiar twinkle of Home Alone’s main theme tune, soon enough Danana rip into familiar fight-pop anthems ‘Some Dresses’, ‘Watch This’ and ‘Totally Bone’, amongst new material that – ya beauty! – promises another excellent album on the horizon. And kudos to the boys for turning the erstwhile dark and sticky-floored venue into an adult-sized bouncy-castle – yes, the Wall of Hugs is always a huge hit, and many of the fans can recite the familiar chant of “none of that macho moshing bullshit”. Unfortunately though, a couple of crowd members get a little too carried away, and the ordinarily love-sharing affair turns into something that can better be described as a ‘Wall of Flying Limbs’. Maybe, then, Dananananaykroyd’s danger is their ever-increasing level of success – the old fans know the rules, but perhaps the newer ones have yet to abide them.

Nevertheless, they’re still really bloody good. And they possess a stronghold on the audience that is truly awe-inspiring for still such a young act, deserving every ounce of exposure and new fans they get – because there aren’t enough good bands on the UK music scene with this amount of love to share, are there?

Words by Teri Williams

Adrian Crowley - Season Of The Sparks

ClashMusic — Mon, 02 Nov 2009 16:50:24 +0000

On his fifth album, this Irish folk singer, who remains relatively unknown outside Ireland (where The Irish Times recently placed him in their top ten list of Irish musicians), celebrates the power and tranquility of nature with a collection of slow moving, hazy, yet oddly enchanting tales about the inner peace of the natural world.

Yes, that means we have songs about birds, rivers, horses, bees, and trees (“Where the black branches breech all covered in vines” Crowley hums in ‘Summer Haze Parade’). It works thanks to Crowley’s ability to craft a beautiful lullaby to the simplicity of the countryside. John Craven was never this poetic!

7/10

Words by Stephen Maughan

Edward Williams - Music From Life On Earth

ClashMusic — Mon, 02 Nov 2009 16:42:36 +0000

This long lost soundtrack to the pioneering BBC nature classic is another buried treasure unearthed by Jonny Trunk.

To hear a Trunk record is to take a trip to another world; a world of zombie bikers and topless go-go dancers, where everyone listens to underwater jazz. As ambitious as the series that spawned it, Edward Williams’ score attempts to sum up the development of life on the planet, from the first fossils all the way through to mankind’s dominance. It’s an eerily beautiful listen, lulling, yet full of violence and drama.

Sometimes classical, sometimes as alien as Delia Derbyshire’s work, this aural history is as vivid today as it was thirty years ago.

7/10

Words by Ed Salmon

Various Artists - Favourite Places Volume Two

ClashMusic — Mon, 02 Nov 2009 16:38:23 +0000

The second volume of Audiobulb’s ‘Favourite Places’ series won’t do much for fans of proper tunes what you can hum.

The concept is simple: artists (including Calika, Michael Trommer and Yannick Franck) create a field recording of their favourite place, then base a composition around it. Perhaps understandably this is largely ambient, though there’s room for a skittering beat on Calika’s track. Predictably, with a project like this, it has its longueurs.

But there are also moments of heart-soaring beauty, like Jeremy Bible’s ‘Behind The Concrete Factory’, and He Can Jog’s closing glitch-fest, which sounds not unlike a fragmented and digitally reconstructed Thom Yorke. Atmospheric and frequently lovely.

7/10

Words by Ed Salmon

Biffy Clyro Live

ClashMusic — Mon, 02 Nov 2009 11:27:15 +0000

Picture it. Rain coming down like the end of the world, the wind tearing the leaves from the trees and the faithful followers of Biffy Clyro out in this to see them perform. A suitably apocalyptic setting for the trio to showcase their new album, 'Only Revolutions'.

From the first strains of 'That Golden Rule' to the last chords of 'The Captain', Biffy performed their songs, past and present to a crowd that would not be silenced. Frontman Simon Neil, as always, gave his all and by the third song was drenched from head to toe. Ben Johnston was urrounded by a myriad of drums, and boy did they get a beating!, while his bass playing brother James looked as if he was possessed by the very soul of the music. As is their live reputation, all three did not disappoint. The stage show itself was simple but designed to give maximum impact to the huge guitar riffs and drum beats that just added to the frenzy of the crowd.

Not a single song could silence the crowd but with the opening strains of 'As Dust Dances', the crowd sang every word to joy of Mr Neil – the crowd's enthusiasm undampened by the weather, they returned the energy emanating from the stage in spades. What a night, what a performance and what a band!

Biffy Clyro certainly deserve all the adoration and support they received; they gave 100% on a night that would have put off even the most hardened of fans from venturing out. With that new album just around the corner, the trio are set to reap the rewards of their hard work. Read ClashMusic's review of 'Only Revolutions' HERE and read an interview with the band HERE .

Words by Helen Tweedlie

Asobi Seksu - Acoustic at Olympic Studios

ClashMusic — Fri, 30 Oct 2009 14:57:54 +0000

If you take out the multi-layered guitars and experimental soundscapes that New York band Asobi Seksu are famous for, place them in a renowned London studio during its last few weeks of its life, you end up with a crisp and gentle album of minimum recordings of Asobi Seksu tracks.

It comes together perfectly in tracks like ‘Familiar Light’ where Yuki’s haunting 3am vocals echo through the gentle acoustics. However, at other times it feels a little too mellow, and a touch repetitive. The stand out track is the Hope Sandoval cover ‘Suzanne’ that will soothe you with its beauty and gentle confidence.

6/10

Words by Stephen Maughan

Krikor And The Dead Hillbillies - Land Of Truth

ClashMusic — Fri, 30 Oct 2009 14:45:39 +0000

Although the band name might bring to mind some nordic metal group with a grudge against sons of the soil, Krikor And The Dead Hillbillies is the chosen title of Frenchman Krikor Kouchian, a man with a history as a DJ and electronic musician.

This album, ‘Land Of Truth’, is not what you would expect from those snippets of information at all. Tracks vary from the gentle picking of ‘Wanton Boy’ to the cracked disco strut of ‘God Will Break It All’.

Yes, it does boast drum machines and electronic textures but it's heart seems to be in some derelict, burnt out club, ruing the misfortunes that delivered it to skid row.

6/10

Words by Nick Annan

Johnny Foreigner – Grace And The Bigger Picture

ClashMusic — Fri, 30 Oct 2009 14:23:18 +0000

The follow up to their much loved first album sees Johnny Foreigner eschewing the temptation to add a layer of gloss to their recordings in favour of lo-fi scratchiness.

Produced by Alex Newport (At The Drive In, Death Cab For Cutie) 'Grace And The Bigger Picture' is a snapshot of life for a small touring band on the toilet circuit as many of the song titles, ('Ghost The Festivals', 'I Woke Up On A Beach In Aberystwyth'), go to show.

This Birmingham trio have always taken a while to get used to but at times 'Grace...' is ruefully under cooked and whilst 'Criminals' and 'Feels Like Summer' show the band still know their way around a killer melody the big picture here is that JoFo have possibly missed their target.

6/10

Words by David Renshaw

Dam-Funk - Toeachizown

ClashMusic — Thu, 29 Oct 2009 17:14:41 +0000

Stone Throw’s fondness for the left of centre offers a synthesizer wet dream from LA.

With a dazed, faltering falsetto matched by standard talkbox manipulation, glitterbug Dâm-Funk and his world of computer love has an abundance of soft spots out of neo/robo-soul. Showing his seductions are in for the long haul with two discs, the suspicion of one track-minded sleaze is replaced by tantric, digitally spiritual enlightenment.

Though tracks become one long geometric blur of future R&B and wink to ’80s fashionistas, DF creates a chill-out fantazia from his space base, full of p-funk starbursts and mixtures of lounging persuasion and upbeat playfulness that plane down the straight lines.

7/10

Words by Matt Oliver

The Real Tuesday Weld - The End Of The World

ClashMusic — Thu, 29 Oct 2009 17:09:38 +0000

Let’s be clear about it, this is a bloody confusing record.

A make-believe live recording of a “performance from Valentine’s Eve 2012”, ‘The End Of The World’ may have seemed like a decent idea at some point, but the execution isn’t quite there. An ultimately patchy collection of vaudevillian pop, this is not the ideal entry point for those who are unfamiliar with the band.

It has its moments, but you are advised to pick up the rather wonderful 2007 outing, ‘The London Book Of The Dead’, before parting with any cash for this nevertheless charming novelty.

5/10

Words by Gareth James

The Clientele - Bonfires On The Heath

ClashMusic — Thu, 29 Oct 2009 17:05:15 +0000

Following some success with ‘God Save The Clientele’, particularly in America, The Clientele have returned to the mysterious dreamlike melancholy found on their early records.

‘Bonfires On The Heath’ adds to this with elements of experimentalism, such as the jazzy ‘Share The Night’ with its haunting trumpet, and ‘Sketch’, which features a rather cluttered spoken word piece over soaring grunge guitars.

Still, fans of this endearing band needn’t be alarmed, for there are plenty of typical catchy hooks, clever guitar playing, and the ever present rich and surreal vocals of Alasdair MacLean to keep the momentum going and deliver an introspective and moody record.

6/10

Words by Stephen Maughan