Single Reviews – Clash Music

Bon Iver - Blood Bank

Mike Diver — Thu, 15 Jan 2009 14:36:49 +0000

Recorded between December 2006 and the summer of 2008, the four tracks that make up the ‘Blood Bank’ EP don’t truly sit neatly together.

But that’s not necessarily a problem given the individual splendour of your average Bon Iver song. Essentially an off-cuts collection on paper, ‘Blood Bank’ proves to be much more than the sum of its parts.

Last year’s ‘For Emma, Forever Ago’ album transformed Justin Vernon from an underground artist with potential into a bona-fide international star, able to tour the world to packed theatres. And the man’s material is no less affecting live than it is on record – it resonates with a universally identifiable ache, with a tangible emotion each and every one of us can relate to. It’s this nakedness of soul that’s endeared the man to so many.

Self-produced, these EP tracks are intimate affairs, three of four nestling close to the listener and making an impressive immediate impression. The title track is the obvious lead, a powerful vocal from Vernon drawing potential parallels with Guy Garvey – a confident maturity evident where previously vulnerability pervaded. Throbbing percussion, the result of a full-band approach, drives the song along its course, positive lyrics declaring a love aloud; it’s the other side of the ‘For Emma, Forever Ago’ coin, the writing of a man whose heart’s not as broken as other songs would have you believe.

‘Beach Baby’ takes the atmosphere of Wisconsin wilderness and relocates it to a Hawaiian seafront, so Waikiki-coloured are the warm tones that rise from the track’s final minute. Throughout, Vernon’s vocals ride shotgun to the arrangement around him, drifting in and out of focus but never once gripping the wheel. Entirely different of mood is ‘Babys’, which rides a furious piano line for over two minutes, frantic of pace, before breaking its own mould by slipping into echoed notes and Vernon’s singular cries – reverential, but in blissful awe of whom remains uncertain.

Only ‘Woods’ really disappoints, Vernon’s toying with vocoder’d vocal stylings not hitting the sweet spot it was aiming for (and not sounding too unlike Kanye West on his last album). The layering of vocals is evidence of welcome experimentation, but rather than building to an enveloping whole the end product’s more annoying than absorbing.

Not that the many fans of this rightly celebrated artist are likely to mind one misstep, as combine this release with its preceding full-length and you’ve an early collection of work unmatched by any solo songwriter of Bon Iver’s modern ilk.

Operahouse - Change In Nature

Joe Zadeh — Thu, 06 Nov 2008 08:00:00 +0000

These five Londoners will restore your faith in music. Listening to ‘Change In Nature’ sparks that little twitch in your mind; you want to say they sound like a young Muse.

Operahouse don’t quite have the epic feel perfected, but they clash sci-fi synth with twisting vocals to produce a track which would not look lost on ‘Showbiz’. If these lads feel pressured by a Muse comparison, then an Arcade Fire one might instigate bouts of stress. But one cannot deny that the peak of ‘Change In Nature’ and the crashing crescendo of ‘Red Hats For The Masses’ reeks of the triumphant Canadians. These five Londoners will restore any faith in music that Iglu & Hartly stole.

Holy Fuck - Super Inuit

Colm Larkin — Mon, 27 Oct 2008 16:26:13 +0000

If previous single 'Lovely Allen' showed Canadian duo Holy Fuck’s sweet side then this is their demented alter-ego.

Recorded live, Super Inuit explodes from the start with crashing cymbals, pulsing beats and a frenetic stop-motion bass line erupting alongside a subtle electronic hook that bores its way into your skull along with the troubled shrieks of the sliced-up, madman vocals.

It’s enthralling, relentless stuff and as it builds to a uproarious climax so the crowd whoop and whistle and you can imagine yourself being up close and personal in a sweaty venue with such magnificent musical mayhem.

The Faint - The Geeks Were Right

Colm Larkin — Wed, 15 Oct 2008 08:20:44 +0000

Stalwarts of the electro pop scene The Faint return with a new single from their fifth album, Fasciination.

With sharp riffs and a buzzing bass putting the foot to the floor, the half-spoken, slightly snotty robotic vocals (think Blink 182 but way better) keeps pace with the rhythm, driving the song through the verse at top speed. But then it stalls through a couple of frustrating breakdowns and while there’s some more smooth cruising in between, it never feels like it is going anywhere. Sure journeys can be enjoyed on their own terms but sometimes having a destination can help.

The Dears - Money Babies

Colm Larkin — Tue, 14 Oct 2008 08:35:47 +0000

The first single from The Dears’ new album 'Missiles' couldn’t have come at a more pertinent time.

On 'Money Babies' Murray Lightburn and Natalia Yanchak’s sweet voices sing “our money is elastic / hoping for disaster / setting off alarms”, as if recognizing the need for a good soundtrack to the global financial meltdown.

With handclaps, fuzzy drums, fizzing guitars and a hypnotic bass line, the Canadian group seem to be cynically chiding rampant capitalism. But then soaring strings and a choir of voices descend to raise the sweet cynics above such earthly matters but consequently lowering interest rates.

Errors - Pump

Colm Larkin — Mon, 13 Oct 2008 11:10:06 +0000

Away from the nu rave posturing of day glo acts from London and Paris, some bands are starting to really explore their acid house past.

Glasgow four-piece Errors get all Time Team on their second single, excavating piano loops and brushing off buzzing funk bass lines – genuine artefacts from a bygone era. These discoveries eventually lead to the unearthing of a snarling T-Rex in the form of rocking electro breaks and techno funk wibblings that stomp all the preening pretenders off the dance floor. The remix of Toe on the b-side is even more rampaging and just as much fun.

Antony And The Johnsons - Another World EP

Colm Larkin — Wed, 08 Oct 2008 11:57:39 +0000

After their stunning breakthrough song, 'Hope There's Someone', in 2005 only death seems a worthy enough subject for the poignant songs of Antony And The Johnsons.

Happily the title track of their first release since their Mercury Prize winning album 'I Am A Bird Now' dwells impressively on the topic with a contemplative, muffled piano accompanying Antony’s mellifluous, tender voice. Music this thoughtful doesn’t sound like it belongs in the 21st century so it all the more pleasurable that it is. This excellent EP also features the sinister and stunning blues lament 'Shake That Devil', just to show they can rock as well.

It Hugs Back - Work Day

Robin Murray — Tue, 07 Oct 2008 08:29:33 +0000

Having swung from indifference to admiration in the space of two singles, will the third release from It Hugs Back provide me with some degree of critical consistency?

Turns out Work Day has both the qualities and deficiencies of their previous records, having the hushed vocals and blissful West Coast melodies of Other Cars Go as well as the twee nature of Early Evening. At times the song threatens to be overcome by riffs seemingly lifted from an 80’s rock power rock ballad. Yet overall the evidence suggests that despite that awful name, It Hugs Back are a good band.

Kaiser Chiefs - Never Miss A Beat

Joe Zadeh — Mon, 06 Oct 2008 13:22:10 +0000

It is the Great British state of mind to reserve an untameable cynicism for the over-achievers of our nation.

So the announcement of a new Kaiser Chiefs album was rained with comments that their humour-pop had seen its day. On the contrary, 'Never Miss A Beat' has siphoned the roar energy from the engines of 'Employment' and doused it in the mature deliveries of their new album. The strumming and skin beating could not sound more 'Leeds' and the question-answer lyrical technique adds dynamism to its British pop-rock brio.

“What did you learn today?” bellows Ricky Wilson as the song opens. I learnt that prioritising the purchase 'Off With Their Heads' above the payment of bills, is foolishly impractical yet unequivocally necessary.

Hold Fire

Joe Zadeh — Mon, 06 Oct 2008 12:09:54 +0000

Hold Fire have finally hit the big stage following a year of accelerating popularity, playing out new track 'Power Cuts' at both The Great Escape and Latitude this year to an air punching reception.

Combining weighty beats with scraping guitar in perfect harmony, aided by lyrics of young romance and chasing love. Now isn't that nice? Thanks to Hold Fire I imagine Brighton to be home to hundreds of skinny jean equipped teens, all holding hands and looking into each others eyes adoringly. 'You'll Never Know' follows their energetic pop brand of rock with a little tinge of sadness and dashings of electronic influence. Much more to come from these young guns.

Mercury Rev - Sense On Fire

Colm Larkin — Mon, 06 Oct 2008 09:49:03 +0000

Mercury Rev have always blazed their own quietly unconventional trail across the indie landscape.

But on this first single release from their seventh album, they step away from traditional song structures altogether to create a pulsating ambient track. It builds from a swirling intro of shimmering electronics and beats, while distorted, reverberating vocals chant the stoned mantra of the title. Suddenly a voice cries “ready or not here I come” and the song explodes like a firework for a brief and sparkling blast of feedback soaked psychedelic rock. Like Spacemen 3 with better production though 15 years late.

Tindersticks - Boobar Come Back To Me

Colm Larkin — Fri, 03 Oct 2008 12:01:04 +0000

All Tindersticks songs initially sound the same.

This is probably to do with singer Stuart Staples remarkable baritone, which is so comforting and reassuring, every song seems familiar even if you haven’t heard it before. This single is no exception as the gently strummed acoustic guitar and measured tambourine back Staples pleas to the eponymous Boobar. But then an all-encompassing organ raises the pace and call and response backing vocals give the song the feel of a Phil Spector girl group record. Ok, so generally about 50 octaves deeper but underneath their oft-classical style Tindersticks possess a keen pop sense.

Hot Club De Paris - My Little Haunting

Colm Larkin — Fri, 03 Oct 2008 11:54:11 +0000

The genre Math Rock should be uniquely reserved for American bands.

After all there is an S on the end of the word over here and Maths Rock doesn’t have the same ring. Nevertheless, plural suffix or no, Liverpool trio Hot Club De Paris find themselves falling into that category thanks to their off-kilter drums and stop-start guitars. Yet new single My Little Haunting is more Merseybeat than offbeat. Behind the irregular rhythms are pretty perky guitars and singer Paul Rafferty’s excellent lyrics and unshowy vocals. It’s method and melody in one simple package with no need for labels.

Times New Viking - Stay Awake EP

Mike Diver — Tue, 30 Sep 2008 12:55:39 +0000

Rambunctious to new standards of blessed impenetrability, Ohio trio Times New Viking’s simple-on-paper M.O. is to take the sweetest of super-sweet pop music, indiefied though it is, and strip it of its outer layers of glitz and gloss. The result is music that crackles and fuzzes, screams and roars; it’s an X-Factor audition in a spin-dryer, potential sing-alongs rendered riotously raw through purposeful deconstruction.

The five-track ‘Stay Awake’ EP, featuring no song by that name, works as something of a companion piece to this year’s Matador-released LP, ‘Rip It Off’. Adored by discerning critics though it was, TNV’s latest split its en-masse audience dead centre: but that’s what makes them such a thrilling proposition, their complete ignorance of what is and isn’t commercially acceptable or viable in a market sense. They’re not here to turn tides, to cross over, to adhere to stereotypes. They exist only to rock, harder than their forefathers and louder than all who come after them.

Definite pop sensibilities are evident beneath the fug of over-amped guitars and heavily-FXed keys: the one-minute blast of ‘Hate Hate Hate’, if slowed a fraction and afforded a little clarity, would pass for a Ramones-style bopper, and opener ‘Call & Respond’ comes on like a forgotten Sleater-Kinney classic buried beneath an ocean of noise. Vocalist Beth Murphy’s candied tones cut through the bluster, giving what to some is little more than a slab of distortion true depth and texture… if you listen hard enough for it.

While never likely to convert established haters, ‘Stay Awake’ is a must-have for ‘Rip It Off’ fans left wanting more. Because that’s precisely what TNV have to offer: more, more, MORE. See and hear for yourself when they tour the UK in October alongside Los Campesinos! and No Age – click HERE for tickets.

Look out for a Track of the Day featuring Times New Viking next week!

Dance Lazarus Dance - Lies

Joe Zadeh — Fri, 26 Sep 2008 16:06:11 +0000

Since I am not Glaswegian or Glasgow based, there will be a sense of bitterness throughout this article.

Scotland's largest city has churned out talent throughout 2008, like some sort of Taylorist factory for creativity. The newest product, 'Dance Lazarus Dance', are penetrating a genre littered with otiose fashionistas who seem to regard cutting edge clothing as musical ability. But their blistering electro punk that has cemented them as real conveyors of a corrupt sound.

Whether the mention of 'Lazarus' is of biblical, medical or scientific reference, the Lies EP confirms that they wrote 'Dance' twice for a reason. The Glasgow-tinged brogue on the vocals of 'Take That Jesus' adds authenticity to a track that sounds like the 'Foals' dipped in a cauldron of 90's dance. Where 'Faxing me, Faxing' you lacks the electro thrash of fellow tracks it promotes the punk qualities of DLD, and the title will no doubt crack a smile from closet 'Abba' fans.

The live performances of DLD has resulted in a steadfast fan base including infamous producer Geoff Allan (Mogwai, Arab Strap, Belle & Sebastian). It was Allan himself who polished the tracks of Lies in the legendary Glasgow Cava Studios. His production expertise is prominent in 'Team Boombox' as he accentuates the energy of the track with the seemingly home-made intro and forefront impact of the guitars.

The Lies EP will be subject to an October 3rd launch party at Oran Mor, Glasgow. Then swiftly followed by the official release on October 6th via download and limited CD supply.

JMC featuring Cassidy

Joe Zadeh — Fri, 26 Sep 2008 12:29:21 +0000

There has been alot of fighting talk thrown across the pond between the leading exponents of UK grime and US rap.

Its this rivalry that makes a collaboration between two leaders of their style, a refreshing and exhilarating prospect. Londoner JMC has sought the talents of hip hop star Cassidy to feature in his new single 'They MC'. The third release from his critically acclaimed album, 'Safecracker'.

The beat of 'They MC' is infectious as our two urban bards arrogantly wax lyricals of their abilities compared to fellow rappers over a trademark r'n'b style sample. Both Hackney and Harlem will be moving to this merciless hit. The success of this record could see a future of anglo-american rap concoctions. Fingers crossed for a Goldie Lookin Chain/Jay Z combo!

Craze 24

Joe Zadeh — Fri, 26 Sep 2008 12:21:03 +0000

The explosion of the urban sub-genre scene this year has been highlighted by the successes of Wiley, Dizzee Rascal, Lethal Bizzle and Roots Manuva. 'You Don't Have To Be American' is a direct message to US rap. Grime is coming

Craze 24 delivers a patriotic ensemble of sharp succinct lyrics, riding on a heavy bass line. The 'Lord of the Mics' winner has been proving his credentials worldwide with supporting slots on the tours of Nas, The Game and Ghostface Killer. His debut five track promo, 'The Streets Are Talking' inflated his UK reputation, a reputation his new release aims to solidify.

'You Dont Have To Be American' is an insight into the ambition of the UK grime scene and a soundtrack to the future of sub-culture, underground productions.

Drums Of Death - Drums Of Death Steps Into The Ring EP

Colm Larkin — Fri, 26 Sep 2008 08:37:10 +0000

Having angered a Haitian warlord so his heart was ripped out and replaced with a broken drum machine, Drums Of Death – the alter ego of Glaswegian Colin Bailey – returns from the beyond to tell the lurid tale on his debut EP.

Opening track Breathe features a dirty breakbeat and pounding bass behind a hi-energy piano loop in an intense if short blast of glitchy electronica. The EP also features the wavering acid rap of Cursed By Magick, plus an ace remix of Breathe from New York’s Curses, but the highlight is the epic beeping, wailing house of Midnight Stalker.

The Streets - Everything Is Borrowed

Colm Larkin — Thu, 25 Sep 2008 08:17:38 +0000

The title track from Mike Skinner’s fourth album sees the everyman become a philosopher.

The gist is that everything in life is an accoutrement; a dazzling jewel to be return to the store once the ball is over. Not a bad sentiment but unfortunately one he chooses to relate in overused phrases and sweeping statements. True, he acknowledges this fault when he says “I wanna speak every cliché”, but compared to a track like Dry Your Eyes, which revelled in finer details and distinct observations from the world of the mundane, this ascension to profundity is musically and lyrically banal.

Oasis - The Shock of the Lightning

Nick Annan — Wed, 24 Sep 2008 12:33:16 +0000

Riding in on an opening reminiscent of 'Rock 'n' Roll Star' it's clear that Oasis have returned, and are on fighting form, on new single 'The Shock Of the Lightning'.

The future Clash cover stars (issue in the shops October 2nd kids) belts out of the gates with a punchy, mildly psychedelic tune that admirably manages to take in the riff from the Pistols' 'Pretty Vacant' as it's coda.

It's quite a combo, especially when bookending Liam's latest ruminations on life, spat out in his trademark eeelongaated delivery. But, hey, if you want weighty lyrical discourses go stick on your Smiths records! It's Oasis, and they deliver what they promise in spades, this time around with a slight hallucinogenic edge that bodes well for album number seven, 'Dig Out Your Soul', out in October.

Apparently written and recorded on the hoof, 'The Shock of the Lightning' retains that vital energy showcasing the band at their punky, throwaway best.