Wilco will have learnt throughout their career that you can't please all of the people all of the time. Their more traditional alt.country fans were alienated by the experimental and noisy sound of 'Yankee Hotel Foxtrot' and 'A Ghost Is Born' (their two finest albums in my opinion) and 2007's 'Sky Blue Sky' with its smooth textures was a disappointment for followers looking more rattle and buzz. Here, Wilco will surely succeed in pleasing all of the people...some of the time, as anyone who has ever liked Wilco's music will surely find something to enjoy in this new record.
The first thing to say is that it all sounds terrific. Wilco use a style of production here that I particularly like, it sounds similar to the analogue recording on the Jenny Lewis LP last year. Each instrument is given so much space. This works particularly well for guitarist Nels Cline, who plays some stunningly dramatic electric guitar on this record, at times on extended solos, at other times just ripples in the background, but always brilliant. He is a truly innovative guitarist and perhaps the best we have at the moment.
'Wilco (The Album)' opens, appropriately, with 'Wilco (The Song)', a piano and guitar led old school rock song with just a hint of drone in the background. It does have some pretty cringeworthy lyrics which serve as a message to the band's fans that 'Wilco loves you'. It doesn't seem to be tongue in cheek. Tweedy's appalling lyrics do not detract from a great song though.
Things really kick off with track 4, 'Bull Black Nova', a terrifying kraut-rock workout that sounds like a shorter version of 'A Ghost Is Born' track 'Spiders'. Kline and Tweedy are superb here, Kline's solo is ear-splitting and abstract, Tweedy is on the edge vocally and the whole thing is a five minute blitz, perhaps their best ever recording.
A whole album like that would never work, marvellous as it may be. So, 'You and I' which follows is a whispered acoustic ballad and a duet with Feist. It is light and gentle, only spoilt slighly by a harsh fade out. In turn, 'You Never Know' which comes next is another departure, a feel-good rock song with some traditional rock guitar and a catchy chorus. It could be a hit!
The second half of the album is more straight-forward. 'Country Disappeared', however, is a thing of beauty. A piano led bruised ballad about watching a country deteriorate from the eyes of the TV news, Tweedy sings this so well, it is touching and affecting without ever being overblown. Same again with 'Solitaire', an acoustic number about the joys of selfless living with Tweedy's vocal like a whisper in the ear.
After a couple of fairly routine upbeat numbers, the closing track 'Everlasting Everything' sounds like Wilco's very own take on Bill Fay's 'Be Not So Fearful' a song they regularly cover live. Strings swoon in the background, a bell rings, but it never turns into the big epic that it always seems on the verge of being. It is all the better for it.
As I said at the start, anyone who has ever loved Wilco will like at least some of this album. In its own right though, it is perhaps the most assured release of their career. In many ways this sounds like a 'Best of Wilco'
9.4
['Wilco (the album)' is out now. TracksandGigs recommends the 180gram vinyl version with free cd]
Saturday, 27 June 2009
Friday, 26 June 2009
new Fleet Foxes song...
reviews of the new Wilco LP and Tindersticks live will appear here soon, but for now news that brand new Fleet Foxes material is starting to surface.
Robin Pecknold played 'Blue Spotted Tail', a sparse acoustic song, for BBC Radio 6 prior to Fleet Foxes' appearance at Glastonbury last night. Its gentle and pretty and can be heard and indeed downloaded here:
http://downloads.pitchforkmedia.com/Fleet%20Foxes%20-%20Blue%20Spotted%20Tail%20(Live%20On%20BBC6).mp3
Robin Pecknold played 'Blue Spotted Tail', a sparse acoustic song, for BBC Radio 6 prior to Fleet Foxes' appearance at Glastonbury last night. Its gentle and pretty and can be heard and indeed downloaded here:
http://downloads.pitchforkmedia.com/Fleet%20Foxes%20-%20Blue%20Spotted%20Tail%20(Live%20On%20BBC6).mp3
Tuesday, 23 June 2009
Foreign Born 'Person To Person'
Once again, I have no idea who Foreign Born are. They were a chance discovery and a risk purchase. I bought this album because they are on Secretly Canadian and I trust them and also because I felt like hearing some new music. Might be good, might be bad, might be neither. I really need to find a job that pays better than my current one if I am going to take risks like this but as Steve Jobs once said...er..."You are already naked. There is no reason not to follow your heart". So....there.
Anyway, this isn't a disappointment or a waste of money. Foreign Born, it turns out, are a folk-rock band from California and they play suitably summery, shimmery guitar-led stuff that is just perfect for the first few weeks of summer when its nice and warm, but not hot enough to make you irritable.
'Vacationing People' is still my favourite. Fuzzy guitar, harmonies, nice chorus. Singer Matt Popieluch (obviously I had to look that up) sounds a little Dylan-esque on 'Winter Games' and on 'Early Warnings' they sound like Kings Of Leon used to sound before they turned into U2.
What I like about this album is that it is short, snappy and never less that interesting. There are some great arrangements, memorable basslines, some cowbells, even a bit of brass....for a debut album it is quite adventurous.
So, lots of hooks, some great guitar and a bundle of ambition. An enjoyable summer record.
7.8
['Person to Person' is out now on Secretly Canadian]
Anyway, this isn't a disappointment or a waste of money. Foreign Born, it turns out, are a folk-rock band from California and they play suitably summery, shimmery guitar-led stuff that is just perfect for the first few weeks of summer when its nice and warm, but not hot enough to make you irritable.
'Vacationing People' is still my favourite. Fuzzy guitar, harmonies, nice chorus. Singer Matt Popieluch (obviously I had to look that up) sounds a little Dylan-esque on 'Winter Games' and on 'Early Warnings' they sound like Kings Of Leon used to sound before they turned into U2.
What I like about this album is that it is short, snappy and never less that interesting. There are some great arrangements, memorable basslines, some cowbells, even a bit of brass....for a debut album it is quite adventurous.
So, lots of hooks, some great guitar and a bundle of ambition. An enjoyable summer record.
7.8
['Person to Person' is out now on Secretly Canadian]
Monday, 22 June 2009
Looking For Eric (directed by Ken Roach)
I did claim on here a while back that I would review some films, but I've never really got round to it despite seeing some absolute crackers ('Benjamin Button'...'In The Loop') recently. What better time to start with the film reviews than when there is a dearth of new music releases?
By some miracle, our local cinema are showing 'Looking For Eric', the new Ken Roach film feauturing Monsieur Cantona, so we went to see it yesterday as it will almost certainly be gone within a week. The cinema was disasspointingly empty, save for a few lads who I think expected 'Looking For Eric' to be some kind of updated version of 'Escape To Victory'.
Instead, it is a warm hearted comedy that follows 'flawed postman' Eric Bishop as he attempts to rebuild his life following a period of depression and a failed suicide attempt. Bishop still loves his ex-ex wife (Lily), who he walked out on after a panic attack thirty years ago and at his lowest point he starts to have visions of his hero Eric Cantona, who proceeds to give him life-lessons in the form of some cod-philosophy, helping him attempt to win back Lily and help his stepson escape some shady gangsters.
Bishop is played by Steve Evets, a bit-part actor previously, who once played guitar in The Fall. Evets is superb and makes Bishop entirely believable, giving the impression that he is not really acting. His shouts of "fuck, fuck...oh fucking hell" when things go wrong for him are full of realistic frustration and very empathy-evoking. Cantona, of course, plays himself too, although sometimes I thought he was playing the public's perception of himself, which must have been quite a challenge. He dominates the film really, you are always keen for him to return, simply because he is very cool and has some great lines ("I am not a man, I am Cantona"). He does sometimes mumble these lines and often it is difficult to tell if he is speaking in French or English but of course, this is simply because he is so enigmatic...
The film is really about friendship. Bishop has to call on his mates to help him out, just as Cantona needed his team-mates. Cantona spells this out for us, by explaining that his favourite moment in football was not a goal of his own, but a pass to create a goal for someone else (surely the only time un-sung Irish fullback Denis Irwin has been mentioned in a cinema film?).
Take out Cantona and you would have had a straightforward 'man seeks redemption and tries to win back lover' type film, but still a superior and very funny one. Cantona adds an extra dimension, but in many ways Evets is the star of this warm hearted and enjoyable film. Well worth a couple of hours of your time.
8.5
['Looking For Eric' is showing at all decent cinemas now]
By some miracle, our local cinema are showing 'Looking For Eric', the new Ken Roach film feauturing Monsieur Cantona, so we went to see it yesterday as it will almost certainly be gone within a week. The cinema was disasspointingly empty, save for a few lads who I think expected 'Looking For Eric' to be some kind of updated version of 'Escape To Victory'.
Instead, it is a warm hearted comedy that follows 'flawed postman' Eric Bishop as he attempts to rebuild his life following a period of depression and a failed suicide attempt. Bishop still loves his ex-ex wife (Lily), who he walked out on after a panic attack thirty years ago and at his lowest point he starts to have visions of his hero Eric Cantona, who proceeds to give him life-lessons in the form of some cod-philosophy, helping him attempt to win back Lily and help his stepson escape some shady gangsters.
Bishop is played by Steve Evets, a bit-part actor previously, who once played guitar in The Fall. Evets is superb and makes Bishop entirely believable, giving the impression that he is not really acting. His shouts of "fuck, fuck...oh fucking hell" when things go wrong for him are full of realistic frustration and very empathy-evoking. Cantona, of course, plays himself too, although sometimes I thought he was playing the public's perception of himself, which must have been quite a challenge. He dominates the film really, you are always keen for him to return, simply because he is very cool and has some great lines ("I am not a man, I am Cantona"). He does sometimes mumble these lines and often it is difficult to tell if he is speaking in French or English but of course, this is simply because he is so enigmatic...
The film is really about friendship. Bishop has to call on his mates to help him out, just as Cantona needed his team-mates. Cantona spells this out for us, by explaining that his favourite moment in football was not a goal of his own, but a pass to create a goal for someone else (surely the only time un-sung Irish fullback Denis Irwin has been mentioned in a cinema film?).
Take out Cantona and you would have had a straightforward 'man seeks redemption and tries to win back lover' type film, but still a superior and very funny one. Cantona adds an extra dimension, but in many ways Evets is the star of this warm hearted and enjoyable film. Well worth a couple of hours of your time.
8.5
['Looking For Eric' is showing at all decent cinemas now]
Friday, 19 June 2009
Foreign Born
There are many things wrong with the Summer. The heat, for one. The number of 'fairweather swimmers' you find at swimming pools, for two. And the general lack of interesting new releases for three.
Nevermind, it'll be October soon and anyway there are some terrific gigs coming up (Tindersticks at Hyde Park in less than a fortnight!). In the meantime, there are a few odd, interesting records about. Secretly Canadian rarely release duds and it looks like their latest band, LA's 'Foreign Born' are another good discovery. Sounding like a meatier version of the Fleet Foxes, nice harmonies and soulful vocals but with more in the way of riffs and anthems, they release their debut album 'Person To Person' on Monday. There will be a review here next week, but for now, you can download a couple of tracks from it, from www.secretlycanadian.com for no cash at all. Bargain!
Nevermind, it'll be October soon and anyway there are some terrific gigs coming up (Tindersticks at Hyde Park in less than a fortnight!). In the meantime, there are a few odd, interesting records about. Secretly Canadian rarely release duds and it looks like their latest band, LA's 'Foreign Born' are another good discovery. Sounding like a meatier version of the Fleet Foxes, nice harmonies and soulful vocals but with more in the way of riffs and anthems, they release their debut album 'Person To Person' on Monday. There will be a review here next week, but for now, you can download a couple of tracks from it, from www.secretlycanadian.com for no cash at all. Bargain!
Wednesday, 17 June 2009
Sharon Van Etten 'Because I Was In Love'
I have no idea who Sharon Van Etten is and the only information that I have been able to glean from the interweb, is that she is a singer-songwriter from Brooklyn who is variously described as "the voice of New York", "the new Cat Power" and "the new alt.folk sensation"....and I'm the one writing the non-professional, just for fun, music-blog then? Hmm, OK. Well I shall do my best to not describe Van Etten as the 'new' anything.
What I will say is, don't listen to this album's first track 'I Wish I Knew' whilst driving a car, slicing bread or doing anything that requires concentration. It is a quite astonishing piece of work and will cause you to stop whatever you are doing and stand open-mouthed thinking "did I just hear that?". Van Etten strums an acoustic guitar and sings with a hauntingly beautiful (sorry) voice that twists, turns and wraps itself around words. It sounds like a ghost in the pipes, visceral white noise in its own quiet way, as she sings a song of confusion, uncertainty and fear. It continues like this until Van Etten reaches a comforting conclusion ("I don't know shit and neither do you...but thats ok as long as we can talk about it") and the song stops dead, like static fading out. It is supremely beautiful and otherwordly and one of the best things I have heard this year.
It is no criticism of Van Etten that the LP cannot continue at this hightened level. The sound from thereon is a more traditional folky sound, coming across a little like a mix of Cat Power and Beth Orton (but I'm not saying she is the 'new' either of them OK? Just to be clear), 'Consolation Prize' is catchy and light and 'I Fold' is downbeat and serene, it is never less than highly listenable. There is a bit of a departure on 'Tornados' where she goes crazy with the instrumentation....in the context of this record, that means an added tambourine and electric guitar... and it all sounds very bluesy and very, well, Mazzy Star.
This is a really fine debut record. You'll want to play it at home, when its nice and quiet, on a rainy day. It doesn't work so much on the train. Worth buying for the stunning opening song alone.
7.0
['Because I Was In Love' is out now on Drag City]
What I will say is, don't listen to this album's first track 'I Wish I Knew' whilst driving a car, slicing bread or doing anything that requires concentration. It is a quite astonishing piece of work and will cause you to stop whatever you are doing and stand open-mouthed thinking "did I just hear that?". Van Etten strums an acoustic guitar and sings with a hauntingly beautiful (sorry) voice that twists, turns and wraps itself around words. It sounds like a ghost in the pipes, visceral white noise in its own quiet way, as she sings a song of confusion, uncertainty and fear. It continues like this until Van Etten reaches a comforting conclusion ("I don't know shit and neither do you...but thats ok as long as we can talk about it") and the song stops dead, like static fading out. It is supremely beautiful and otherwordly and one of the best things I have heard this year.
It is no criticism of Van Etten that the LP cannot continue at this hightened level. The sound from thereon is a more traditional folky sound, coming across a little like a mix of Cat Power and Beth Orton (but I'm not saying she is the 'new' either of them OK? Just to be clear), 'Consolation Prize' is catchy and light and 'I Fold' is downbeat and serene, it is never less than highly listenable. There is a bit of a departure on 'Tornados' where she goes crazy with the instrumentation....in the context of this record, that means an added tambourine and electric guitar... and it all sounds very bluesy and very, well, Mazzy Star.
This is a really fine debut record. You'll want to play it at home, when its nice and quiet, on a rainy day. It doesn't work so much on the train. Worth buying for the stunning opening song alone.
7.0
['Because I Was In Love' is out now on Drag City]
Saturday, 13 June 2009
top 5 records of the year so far...
Its pretty much halfway through the year, so I though, in time honoured tradition, that I would list my 5 favourite records of the year so far. 2009 has been a 'steady' year so far, not quite the same excitement of the new (bon iver..fleet foxes..) as last year but some really good albums all the same. Lots still to come too with Wilco, Twilight Sad, Innocence Mission, MeCo and Mark Eitzel records on the horizon and the T&G diary positively full with gigs I'm attending in July/August. Anyway, the five best so far..
1. Bill Callahan 'Sometimes I Wish We Were An Eagle'
A clear winner thus far. A graceful set of songs from Mr Callahan, his finest for many a year. From the simple beauty of 'Jim Cain' to the quirky brilliance of 'My Friend' and 'All Thoughts Are Prey To Some Beast'. Best of the lot though, is the stunning 'Too Many Birds' with the stare-at-the-sky-beautiful unravelling of the line "if you could only stop your heartbeat for one heartbeat" being the musical highlight of the year so far.
2. M. Ward 'Hold Time'
Still not as magical as 'Transistor Radio' but 'Hold Time' is a retro feast for the years. Beautifully recorded and with some great tunes, Ward is the finest troubadour we have.
3. Broken Records 'Until The Earth Begins To Part'
Not for everyone. Your love for this record will depend on how you feel about windswept Waterboys-esque epics...sung with a Scottish accent. For me though, this is a fiery, passionate delight and I can't wait to see them play live.
4. Camera Obscura 'My Maudlin Career'
More Scots! Sad, lovelorn songs but strangely uplifting due to a sprinkling of fine tunes and Tracey-Anne Campbell's warm vocals. Perfect pop as it should be.
5. Fanfarlo 'Reservoir'
Out of nowhere this London based band produced a fine record of pop masterpieces, mixing the multi-instrumental sound of Beirut with the passion and drive of Arcade Fire. Great stuff and 'Comets' is the ballad Chris Martin wishes he'd written.
There's the five. Yes I know Bonnie Prince Billy didn't make it...and nor did Morrissey.
stay tuned.
1. Bill Callahan 'Sometimes I Wish We Were An Eagle'
A clear winner thus far. A graceful set of songs from Mr Callahan, his finest for many a year. From the simple beauty of 'Jim Cain' to the quirky brilliance of 'My Friend' and 'All Thoughts Are Prey To Some Beast'. Best of the lot though, is the stunning 'Too Many Birds' with the stare-at-the-sky-beautiful unravelling of the line "if you could only stop your heartbeat for one heartbeat" being the musical highlight of the year so far.
2. M. Ward 'Hold Time'
Still not as magical as 'Transistor Radio' but 'Hold Time' is a retro feast for the years. Beautifully recorded and with some great tunes, Ward is the finest troubadour we have.
3. Broken Records 'Until The Earth Begins To Part'
Not for everyone. Your love for this record will depend on how you feel about windswept Waterboys-esque epics...sung with a Scottish accent. For me though, this is a fiery, passionate delight and I can't wait to see them play live.
4. Camera Obscura 'My Maudlin Career'
More Scots! Sad, lovelorn songs but strangely uplifting due to a sprinkling of fine tunes and Tracey-Anne Campbell's warm vocals. Perfect pop as it should be.
5. Fanfarlo 'Reservoir'
Out of nowhere this London based band produced a fine record of pop masterpieces, mixing the multi-instrumental sound of Beirut with the passion and drive of Arcade Fire. Great stuff and 'Comets' is the ballad Chris Martin wishes he'd written.
There's the five. Yes I know Bonnie Prince Billy didn't make it...and nor did Morrissey.
stay tuned.
Thursday, 11 June 2009
Radiohead 'Last Flowers'
Despite having 'In Rainbows' as one of the top 3 albums of the year in 2007, I never managed to (afford to) get one of the limited edition discboxes which featured a second cd of songs that didn't make the cut for the main album. Helpfully, if rather late, the band have now made disc 2 of 'In Rainbows' available to purchase in digital format from their website for a very reasonable £6.
It all sounds good, but in the main I am reminded of my thoughts when I heard the 'OK Computer' out-takes...."Good, but you can see why they didn't make the album". Here there are a couple of exceptions..
Most notably, 'Last Flowers', which is a fragile, plaintive ballad and honestly, one of the best things they have ever recorded. It is often pointless trying to fathom meanings behind Thom Yorke's lyrics, but often his unsettling words remind me of how I feel when I travel home from work after a really bad day. The sense of tension, anger and frustration, offset by a feeling of coming home and just the hint of warmth, of the sun coming out from behind a cloud.
Its all here in this startling little song. "Appliances have gone beserk/ I cannot keep up", he sings, alluding once again to the click and buzz of the modern world not sitting right with him. Later on there is the 100% Yorke-esque phrase "snot nosed little punk" and an acknowledgement that "I can't face the evening straight". He's on his way home but it is "too much, too bright, too powerful".
He sings it beautifully of course, his voice cracking at times. Musically, it is piano and acoustic guitar with the sense that more is lurking in the background, building silently.
Its the sort of song that reminds me that I love music.
It all sounds good, but in the main I am reminded of my thoughts when I heard the 'OK Computer' out-takes...."Good, but you can see why they didn't make the album". Here there are a couple of exceptions..
Most notably, 'Last Flowers', which is a fragile, plaintive ballad and honestly, one of the best things they have ever recorded. It is often pointless trying to fathom meanings behind Thom Yorke's lyrics, but often his unsettling words remind me of how I feel when I travel home from work after a really bad day. The sense of tension, anger and frustration, offset by a feeling of coming home and just the hint of warmth, of the sun coming out from behind a cloud.
Its all here in this startling little song. "Appliances have gone beserk/ I cannot keep up", he sings, alluding once again to the click and buzz of the modern world not sitting right with him. Later on there is the 100% Yorke-esque phrase "snot nosed little punk" and an acknowledgement that "I can't face the evening straight". He's on his way home but it is "too much, too bright, too powerful".
He sings it beautifully of course, his voice cracking at times. Musically, it is piano and acoustic guitar with the sense that more is lurking in the background, building silently.
Its the sort of song that reminds me that I love music.
Tuesday, 9 June 2009
catching up
They don't allocate me time at work to write this blog, which seems a bit unfair really. Surely if I had time each day to catch up on new music and waffle on a bit about it, I'd be a far more relaxed member of staff. Never mind.
Anyway, I've got quite behind with stuff (both work and blog stuff as it goes!) and am just started to catch up. Have been listening to the new Manics and the new My Latest Novel via Spotify, not sure if either are worth a purchase yet. One album I am really liking is the new A Camp LP 'Colonia' which is Nina Persson from The Cardigan's new band. Lush sounding with loads of special guests and one starry-eyed duet, look out for a review soon.
In T&G bands related news...Mark Eitzel is releasing a solo LP and touring the UK this Autumn I hear. Dates when I have them. Eitzel is still responsible for 'The Greatest Gig I Have Ever Attended' so that will be a must go-to. Unlike the Broken Records ICA show tonight, which I now cannot attend due to the tube strike.
(loads) more soon. honestly...
Anyway, I've got quite behind with stuff (both work and blog stuff as it goes!) and am just started to catch up. Have been listening to the new Manics and the new My Latest Novel via Spotify, not sure if either are worth a purchase yet. One album I am really liking is the new A Camp LP 'Colonia' which is Nina Persson from The Cardigan's new band. Lush sounding with loads of special guests and one starry-eyed duet, look out for a review soon.
In T&G bands related news...Mark Eitzel is releasing a solo LP and touring the UK this Autumn I hear. Dates when I have them. Eitzel is still responsible for 'The Greatest Gig I Have Ever Attended' so that will be a must go-to. Unlike the Broken Records ICA show tonight, which I now cannot attend due to the tube strike.
(loads) more soon. honestly...
Friday, 5 June 2009
Broken Records 'Until The Earth Begins To Part'
Back in January I labelled Edinburgh's Broken Records as the band to watch this year. Between their early singles and the release of this debut LP, their sound has evolved a little from the Scottish Indie Arcade Fire of their early releases to the Big Music sound that you can hear on 'Until The Earth Begins To Part'. It takes some getting used to and it won't be to everyone's taste, but to my ears this is a wonderful, joyous record.
I can't imagine anyone reviewing this record will fail to mention The Waterboys, because the music is big, loud and epic and Jamie Sutherland's forceful, passionate vocals remind me of a young Mike Scott. The record is full of brush strokes.. piano, accordion, violins, cello, trumpet..all here. The music is dramatic, energetic and powerful.
But none of this would mean a thing if the songs didn't do the sound justice and in the main, they do. 'Nearly Home' is the perfect opener, building slowly and then crashing to a dramatic finale, Sutherland employing his falsetto vocal for the first time. The title track and 'If The News Makes You Sad, Don't Watch It' are anthemic stompers, 'Until The Earth...' in particular is a perfectly constructed feelgood folk-rock anthem, piano intro, slow build, big electric guitar chords in the background and then a huge, epic finish.
A whole record like this would be pretty exhausting though and luckily they don't attempt that. 'Wolves' and 'Ghosts' are the primary departures, both ballads and in the case of the former especially, really beautiful with some haunting piano and an effortless melody... they just about resist the temptation to turn it into 'November Rain'!
My only criticism here is that Sutherland has the 'passionometer' on his vocals turned up to 11 pretty much throughout, even when he is singing a quieter number with some restraint, you know he is just building up for a roll of the drums and a chance to cut loose again. Bruce Springsteen sounds subdued in comparison. It might not be to everyone's tastes.
You'd have to be pretty hard-hearted not to enjoy this though. Let's be honest, it sounds bloody good. Every instrument known to man is played here and while the lyrics break no new ground, all about love, unity etc (there are a few topical digs at politicians too, nothing more profound than "they don't speak for me"), you'll find yourself singing along. I have a strong suspicion that Broken Records would be completely awesome live and I will be testing this out on a couple of occasions in the near future.
Big, passionate, feel-good music. Nothing at all wrong with that.
9.2
['Until The Earth Begins To Part' is out now on cd/vinyl/dl on 4AD. Broken Records play the ICA on 9th June and support The National at RFH in August]
I can't imagine anyone reviewing this record will fail to mention The Waterboys, because the music is big, loud and epic and Jamie Sutherland's forceful, passionate vocals remind me of a young Mike Scott. The record is full of brush strokes.. piano, accordion, violins, cello, trumpet..all here. The music is dramatic, energetic and powerful.
But none of this would mean a thing if the songs didn't do the sound justice and in the main, they do. 'Nearly Home' is the perfect opener, building slowly and then crashing to a dramatic finale, Sutherland employing his falsetto vocal for the first time. The title track and 'If The News Makes You Sad, Don't Watch It' are anthemic stompers, 'Until The Earth...' in particular is a perfectly constructed feelgood folk-rock anthem, piano intro, slow build, big electric guitar chords in the background and then a huge, epic finish.
A whole record like this would be pretty exhausting though and luckily they don't attempt that. 'Wolves' and 'Ghosts' are the primary departures, both ballads and in the case of the former especially, really beautiful with some haunting piano and an effortless melody... they just about resist the temptation to turn it into 'November Rain'!
My only criticism here is that Sutherland has the 'passionometer' on his vocals turned up to 11 pretty much throughout, even when he is singing a quieter number with some restraint, you know he is just building up for a roll of the drums and a chance to cut loose again. Bruce Springsteen sounds subdued in comparison. It might not be to everyone's tastes.
You'd have to be pretty hard-hearted not to enjoy this though. Let's be honest, it sounds bloody good. Every instrument known to man is played here and while the lyrics break no new ground, all about love, unity etc (there are a few topical digs at politicians too, nothing more profound than "they don't speak for me"), you'll find yourself singing along. I have a strong suspicion that Broken Records would be completely awesome live and I will be testing this out on a couple of occasions in the near future.
Big, passionate, feel-good music. Nothing at all wrong with that.
9.2
['Until The Earth Begins To Part' is out now on cd/vinyl/dl on 4AD. Broken Records play the ICA on 9th June and support The National at RFH in August]
Monday, 1 June 2009
Magnolia Electric Co return with 'Josephine'
The Summer of 2003 was maybe the hottest I remember and as I'm someone who dislikes hot weather, I don't have too many good memories of it. One thing I do recall with fondness is the nights I spent listening to Songs:Ohia's 'Magnolia Electric Co' LP, probably the finest alt.country record there is.
I remember being so happy when I finally received the vinyl version and could follow the instructions of 'Old Black Hen' and "play that black record".
Jason Molina has struggled to better it since, but as it is one of the few records that I genuinely regard as perfection, that isn't surprising. Anyway, Molina returns in July with 'Josephine', recorded with Steve Albini. The title track is available to listen to here : http://www.magnoliaelectricco.com/media and whilst I am loath to get too excited by preview mp3s, I will say this... Promising, very promising.
'Josephine' is out on July 20th on Secretly Canadian, Magnolia Electric Co play the following UK/Ireland dates in September:
9/02 - London, UK - Bush Hall
9/03 - Brighton, UK - Duke of Yorkshire Picture House
9/04 - Leeds, UK - Brudenell Social Club
9/05 - Stradbally, Ireland - Electric Picnic 2009
9/06 - Porthcrawl, UK - Seascape Festival at The Grand Pavillion
9/07 - London, UK - Institute Of Contemporary Arts
I remember being so happy when I finally received the vinyl version and could follow the instructions of 'Old Black Hen' and "play that black record".
Jason Molina has struggled to better it since, but as it is one of the few records that I genuinely regard as perfection, that isn't surprising. Anyway, Molina returns in July with 'Josephine', recorded with Steve Albini. The title track is available to listen to here : http://www.magnoliaelectricco.com/media and whilst I am loath to get too excited by preview mp3s, I will say this... Promising, very promising.
'Josephine' is out on July 20th on Secretly Canadian, Magnolia Electric Co play the following UK/Ireland dates in September:
9/02 - London, UK - Bush Hall
9/03 - Brighton, UK - Duke of Yorkshire Picture House
9/04 - Leeds, UK - Brudenell Social Club
9/05 - Stradbally, Ireland - Electric Picnic 2009
9/06 - Porthcrawl, UK - Seascape Festival at The Grand Pavillion
9/07 - London, UK - Institute Of Contemporary Arts
Fanfarlo 'Reservoir'
Right on the other side of the hype-scale to Grizzly Bear comes the debut album from Fanfarlo. This London based band with a Swedish born singer have hardly received any press attention so far, possibly due to the fact that they have yet to sign to a record label and this cd is only available through their website or as a gorgeous, deluxe, hand-made version through Rough Trade shops.
As for their music, Fanfarlo's debut is an entirely pleasant, polished and assured record. If that doesn't excite you, I'd advise you to still give it a try because there's plenty to love here. The arrangements are lush, with use of just about every instrument you can think of. Trumpet and accordion often take centre stage ahead of guitars, which at times make the musical landscape resemble Beirut, whilst singer Simon Balthazar sounds a little like Wim Butler.
...and if you're looking for comparisons, Fanfarlo do sometimes sound an awful lot like Arcade Fire. The opening song 'I'm A Pilot' with its marching drums and chanting is a dead ringer for 'Windowsill' from 'Neon Bible'. The faster songs all follow this anthemic template, 'Walls' and 'Fire Escape' being the pick. Perhaps the best song here though is 'Comets'. It starts off dark and mysterious with clicking and whirring like a faulty hard drive but builds into a beautiful, wistful ballad, emotion but without ever going all Coldplay. It is far more confident and effortless than any band have the right to sound on their debut record.
You need to give this record time. I've owned it since April (just got the special edition too, which was the trigger for this review) and to begin with, the songs blended into one another a little and it took time to really distinguish them, get a feel for the melodies and learn to love this record as much as it deserves. There is excellent musicianship here, the songs are well crafted and you'll be singing along too. Why they haven't had more attention I don't know, but this is one of the records of the year so far.
9.0
['Reservoir' is out now via www.fanfarlo.com. The band play the ICA tomorrow (June 2)]
As for their music, Fanfarlo's debut is an entirely pleasant, polished and assured record. If that doesn't excite you, I'd advise you to still give it a try because there's plenty to love here. The arrangements are lush, with use of just about every instrument you can think of. Trumpet and accordion often take centre stage ahead of guitars, which at times make the musical landscape resemble Beirut, whilst singer Simon Balthazar sounds a little like Wim Butler.
...and if you're looking for comparisons, Fanfarlo do sometimes sound an awful lot like Arcade Fire. The opening song 'I'm A Pilot' with its marching drums and chanting is a dead ringer for 'Windowsill' from 'Neon Bible'. The faster songs all follow this anthemic template, 'Walls' and 'Fire Escape' being the pick. Perhaps the best song here though is 'Comets'. It starts off dark and mysterious with clicking and whirring like a faulty hard drive but builds into a beautiful, wistful ballad, emotion but without ever going all Coldplay. It is far more confident and effortless than any band have the right to sound on their debut record.
You need to give this record time. I've owned it since April (just got the special edition too, which was the trigger for this review) and to begin with, the songs blended into one another a little and it took time to really distinguish them, get a feel for the melodies and learn to love this record as much as it deserves. There is excellent musicianship here, the songs are well crafted and you'll be singing along too. Why they haven't had more attention I don't know, but this is one of the records of the year so far.
9.0
['Reservoir' is out now via www.fanfarlo.com. The band play the ICA tomorrow (June 2)]
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