Randolph’s Leap - Real Anymore

Randolph’s Leap are an 8-piece from Glasgow who were previously part of the legendary Fence Records roster. The band has been quite prolific in recent years and they have compiled a mini album of their favourites. For a band so little known, this could be the way for many to discover Scotland’s finest exponents of indie-folk-pop since Belle & Sebastian. To help you on your bonnie adventure of discovery, here is our track by track review of ‘Real Anymore’.

1. Conversation - This is the most stripped back track on the album but is no worse off for it. It delivers an elegant slice of melancholy with the line ‘I act surprised when conversation stops /

Though I’m lazy when we talk’ and again when singer, Adam Ross, says ‘I’m slipping in and out / Of a crippling state of doubt / If only I could find the words to hide it’. Whilst most of this album floats along blissfully, ‘Conversation’ will stop you dead in your tracks for two sublime minutes!

2. Real Anymore – This will evoke memories of Belle & Sebastian at their spritely best. Well, it’s hard for any Scottish indie-pop band not to. Nevertheless, this is one of those songs which yearn to be loved. It is a tale which pits nature versus technology and in which, technology is definitely the enemy. This is not an argument about sustainable green energy, but a simple insight that nature and life are there to be enjoyed and when he puts it in the manner below, it’s hard not to laugh and agree:

‘I’ve been waiting for a video to buffer / This is a life I didn’t want to suffer / We were watching the progress bar / We should have been sleeping under the stars’.

As the brass comes in, memories of Stornoway’s fantastic single ‘Zorbing’ are brought into to play but the multiple backing vocals towards the end, coupled with the handclaps, give this an identity all of its own: one of pure class.

3. Psychic - A story of becoming a telephone psychic is not one you would think highlights the need for a living wage in the UK but this track does just that. Ross, desperate to get by (but cannot do so on minimum wage like many) takes the desperate step of answering an internet advert to supplement his day job. In true Ross style, the story becomes highly amusing, culminating in the line which Morrissey would have begged for, ‘I went for a pakora with Derek Acorah’.

4. Nature – This is another buoyant indie pop number. This does not hit the heights of the other upbeat numbers and feels like a lack lustre homage to King Creosote (former Fence

Records co-founder). However, the rhyming of ‘stature’ and ‘nature’ is the greatest since the

Pistols’ ‘antichrist’ and ‘anarchist’ on ‘Anarchy In The UK’.

5. Winceworthy – ‘Winceworthy’ witnesses a return to their more subdued song writing. Sitting in between the livelier songs, this is a welcome slower pace and it utilises the brass section to conjure up images of classic Hovis adverts. What’s not to like?

6. Technology – This is the standout track of the album and cannot fail to make you have a little jig at their gigs. Ross’ ability to write funny lyrics about a guy working in IT not willing to deal with stupid requests is priceless. It opens with ‘please just listen to what I say / You’re an idiot and you’re fool’ before delivering the sublime Microsoft related gag:

“windows seems somewhat prophetic / As it’s what you’re being thrown through”

7. Indie King – This contains a witty rebuttal to the indie kids who have maligned our beloved Randolph’s Leap for being twee. During the 2nd verse, the slagging match between the indie king and Ross becomes one big lol fest. The indie kids are accused of wearing trendy woolly jumpers whilst Ross, the folky, is labelled a herbal tea drinker. It is a sad to have such musical division but, alas, it prevails; the Mumford kids one side and the Arctic Monkeys the other. TT would urge those with negative attitudes towards either that perhaps they should be celebrating all things independent.

Broken Hands – Down By The Current EP

Broken Hands are a four piece from Cantebury who recently completed a cracking UK tour in September. TT has reviewed their current EP to nudge them towards the headline act status that surely awaits them.

Alarms
Making Biffy look soft, this is new way to make British rock music: powerful riffs and a vocal to die for. Dale Norton has a strong set of pipes for sure, but lurking in there is a fragility that makes him human, makes him seem vulnerable to the world. Nevertheless, as the music drives along through the chorus, it’s clear that this world has nothing that frightens him enough to ever crawl away and hide.

Curves

This is going to be a crowd favourite. Anything with a big visceral opening has to be, it’s the law right? In TT’s view, this is as classic as it gets. It has a bass line that marches you straight into the big riffed chorus, before a lowdown dirty guitar solo gives you something to lose yourself in. Reading and Leeds festival goers best be aware of this track because it screams to be adored by a crowd of thousand drunk music lovers . 

At Least I Let You Down

Norton’s vocals here have a subtle nod to My Morning Jacket’s Jim James which compliments the Black Keys’ pumped glam rock vibe going on here. The slow building stomp will have fingers tapping on many a steering wheel, but it is the subtle rock-pysch synths lingering in the background which give this tune real substance. For a debut EP, this shows they have a real musical knowledge; imagine what someone like Dave Zitek or Nigel Godrich could bring to the table for them.

Pulled Under

Saving the best till last, ‘Pulling Under’, is a five minute jaw-dropper. The riff will make any fans of QOTSA or Jack White sit up and take note. Big, bold and bloody beautiful! The dark psychedelic moments to this song will reel in fans of Kasabian’s masterpiece ‘West Pauper Lunatic Asylum’ as well. The combination of these two is a real winner. This is a track fit for any rock band to close a set or festival with in any era. Buy the EP, go see them live, make Broken Hands the enthralling headline act they deserve to be.

Public Service Broadcasting – Inform-Educate-Entertain

Public Service Broadcasting are a London based duo who have trawled the BBC archives to dub old public messages over their enthralling and evocative electro music. This, ladies and gentleman, is no flash in the pan gimmick. What we have is one of the finest albums of 2013 that you should all go and buy immediately.

If there was to be a blueprint for an album opener, Inform-Educate-Entertain would surely tick all the boxes. It is a rasping soaring piece of majesty worthy of Orbital at their finest. One of the broadcast splices states ‘a bright new era is dawning’ and when listening to this song, it certainly feels as though it might be. Despite being released before Royal Mail was decided to be sold off, it utilises excerpts in tandem with some great guitar licks which relay the fury many of us feel about yet another decision made in the name of greed.

This sense of loss is beautifully encapsulated by the track ‘Night Mail’. The old clips inevitably create a wave of nostalgia but it is the lush pianos and protracted synths that conjure the sense of something fading away never to return. And for what? To bump up the deficit reduction statistics so Messrs Cameron and Osborne can revel in yet more unfounded glory. If there was a song to sum the coalition’s lack of compassion and shortsightedness, this is most certainly it.

‘Spitfire’ will lead fans of Lemon Jelly to recall the ‘Shouty Track’ and ‘Staunton Lick’ on hearing this. However, like all quality music, they have borrowed from the past and added their own ambition to the mix. The combination of modern day Radiohead guitars with British Sea Power’s pop sensibilities gives this track an edge which their contemporaries simply do not have.

For all the brilliance of ‘Inform-Educate-Entertain’, it is occasionally guilty of filler. This is not because of a lack of imagination, more of a lack of originality in the execution. ‘Signal 30’ is a highly enjoyable track but if truth be told, it is something the Go! Team did with more flair. ‘The Now Generation’ meanwhile, feels like watered down version of Primal Scream’s ‘Swastika Eyes’. it is a real pity, an injection of something here could have made this song as strong as others on the album.

Perhaps the most interesting track on the album though is the stripped back ‘ROYGBIV’. Proclaiming ‘there is colour in the reach of everyone’, it is by far the most uplifting and optimistic track of the album. More importantly is hints that the duo could have a hit single hidden in their locker. This is not it, by any means, but the use of the banjo is incredibly infectious for the first two minutes and. the second half of the song has a brilliant funk riff reminiscent of A Certain Ratio. It also has the Beeb extract ‘I believe in this world to come / I think it’s going to be a pretty good one.’ A simple message but one this country is in dire need of as the Coalition’s divide and rule tactics run amok.

Overall, TT would have to say this album is not a classic. Nonetheless, it feels like the start of something genuinely inspiring and life-changing. On reading about the duo, you could be forgiven this is a one off gimmick. We feel, however, that this is the beginning of a remarkable journey to be had, one which hopefully coincides with a brave and optimistic British government that speaks to its electorate with heart, rather than with one eye on big business’ profit margin.

Suede Live At Cliffs Pavilion, Southend

Recent reports from Fleetwood Mac's shows at the 02 were of a band keen to promote substandard new material and ignorant audiences who were there purely for nostalgic reasons. Tonight in Southend, the same cannot be said of Suede or Suede's fans.

When Suede returned to the aforementioned 02 in 2010, it was purely for a trip down memory lane. It was an amazing gig for all, but tonight trumped it hands down because of the great new material. After fading away in 2003 many held their breath for anything half decent when 'Bloodsports' came out earlier this year. What they actually got was an album on par with their self-titled début, sitting just behind the majestic 'Dog Man Star' and pop triumph of 'Coming Up' in the pecking order (for us anyway). If 2010 was a year for everyone to remember how good they were, 2013 is a year for everyone to be realise how great they are.

The first song is the beautiful 'Faultlines'. It is an odd choice to open with because of its slow, piano led tempo. Lyrically however, it is a notification to all that they are still the 'litter on the breeze':

'Is it birdsong or is it just the car alarms

Making me feel so young and savage like the dawn?

Celebrate the pale dawn, celebrate the birdsong

Celebrate, this is your time

Although we live in the wreckage and on the faultlines'

Following 'Faultlines' came 'Bloodsports' opening two tracks, 'Barriers' and 'Snowblinds'. If Anderson and Co were worried about the Essex crowd knowing the new tunes (which they most certainly did) they did not show it. Anderson was at his glam- rock best dancing on stage and swinging the microphone aloft as if it were an extension of himself. The band were playing far more aggressively than the reunion tour of 2010, maybe they saw this tour as a war of attrition to win over the loyal fans with their new material. What they didn't bargain for, was their loyal 30 plus fan base to behave like teenagers and to obsess over their new album and show their love for it so passionately.

Hits such as 'Trash', 'Animal Nitrate' and 'Beautiful Ones' succeeded this opening, along with the odd B-side and more new material, all of which went down a storm. Nevertheless, nothing seemed quite as poignant as the first 15mins of this set. Suede gave the alternative a voice in the 90s, particularly to those in the notoriously dull suburbs of Essex. In 2013, they are still carrying the torch, one where the flame burns as big and as bright as ever.

Camera Obscura – Desire Lines

After four years away, fans must have feared the worst when it came to Camera Obscura's future. But then, out of the blue, come s 'Desire Lines'. It is by no means the most striking album of the year, or the best of their career but is still a compelling and consistent effort.

One constant throughout the album, and Camera Obscura's lifespan is Tracyanne Campbell's beautiful vocals. On 'Desire Lines', Campbell utilises her unique yelps and gulps to lead the listener into tales of love and heartache. Being a thoughtful artist Campbell does not simply focus on the elation that comes with a new romance or the pain of a break up: she locks horns with the cloudier realms of relationships that are often indefinable leaving you murmuring under your breath 'that’s like me and (insert your own relationship role here…. This isn't Russia).

'Troublemaker' for instance, looks at the long term relationship where one half is settled and the other is itching to shake things up:

“Three years in and I call to crush what remains of this love
It's going to be one hell of a year.
Keeping secrets in water tight compartments, Dear
It's giving me the fear”

'Fifth In Line To The Throne' witnesses Campbell describing how the girlfriend/wife has been pushed down the pecking order of her partners affections for reasons unknown. The great thing about this song is how Campbell alludes to her female heroine not fully giving up on the relationship. It raises questions about the partner. Are they cheating? Have they just lost sight of what’s important? Are they an arsehole? Before you know it, you have become the storyteller and left the with doubt. 

Musically, the album treads very similar circles for the gang. There are nods to early Belle & Sebastian and Velvet Underground as usual but the quality is so high that the familiar Belle & Sebastian and Velvet Underground tones allows them to wander down pre-trodden paths and leave you feeling comforted rather than cheated. 'Do It Again' could have been part of Belle & Sebastian's classic 'Boy With The Arab Strap' with its upbeat jingle-jangle guitars and lyrics of a bygone era. Meanwhile, album closer and title-track 'Desire Lines' meanders beautifully like only the Underground could. Just when you think you have it pegged, in comes the slide guitar worthy of Emmylou Harris to take the song to another level.

Sadly, this album, as with Camera Obscura’s previous efforts, lacks the killer pop single to catapult them into the mind-sets of the mainstream. We at TT, feel this is a travesty as Campbell's vocals were made to be idolised by the masses. However, the freedom that they have been given on the indie circuit has produced some spellbinding song writing on 'Desire Lines'. You will go a long way to find an album that gets to the crux of a relationship that has nagging uncertainties and how people drift in and out of each other’s lives more than this one does. 'New Year's Resolution' and 'Desire Lines' are truly remarkable and we implore you all to invest in this album before the year is out.

Miles Kane – Don’t Forget Who You Are

We hope everyone enjoyed the festival season. Here at TT, we have been reviewing our favourite albums of the year so far and will be drip feeding these to you over the coming weeks. To kick things of here is our review of Miles Kane’s ‘Don’t Forget Who You Are’.

As a whole, the second helping from Kane has taken T-Rex’s ‘20^th Century Boy’ and ‘Children Of The Revolution’ and injected them with a huge dose of adrenaline worthy of Liam Gallagher and Richard Ashcroft in their pomp.

The current single and lead track ‘Taking Over’ is a fine example of this.  Co-written with Lightning Seeds’ frontman Ian Broudie, the track has catchy and punchy riffs coursing throughout which serve Kane’s new aggressive vocals perfectly.

The album has an undercurrent of glam rock running through it and is none more prevalent on the stomper ‘Give Up’. It has some great guitar hooks which are sure to have crowds strutting nationwide when he is on tour next month.

There are two tracks written with Weller on the album and ‘You’re Gonna Get It’ is the stand out. It seems to spring from Weller’s ‘From The Floorbards Up’ with a Sex Pistols ferocity and shows Kane has guitar showmanship of Mick Ronson.

Kane doesn’t always get the new blend of aggression right though. The title track, ‘Don’t’ Forget Who You Are’ feels tired and a bit of a substandard ‘Jitterbug Boogie’. It’s hard to criticise someone so passionate, but the naivety of youth is definitely at play here. A step back and a more subtle approach with his producer and we could witness magic Bolan produced in his heyday.

His ambition to be the next great rock star of a generation is coupled with a softer intention to pay homage to the grand productions of Scott Walker. ‘Out Of Control’ is the kind of 60s nostalgia that everyone should make time for. It sounds big and grandiose but remains heart-warming throughout. Without tracks like this, what will young lovers sway to? What would cretins film on their shitty phones instead of living for the moment at gigs? We simply don’t know.

What we do know is that Kane is on one hell of a roll. His early days with The Little Flames and The Rascals showed lots of promise but didn’t quite come off. Since the Last Shadow Puppets debut, Kane’s confidence has soared and he has knocked up two quality albums. This serving is not perfect and therein lays its greatest asset:  it is unhinged, raw and energetic. The nods to Northern Soul, Mod and Glam-Rock here are fresh and fiery and exactly what the UK music scene need.

Christopher Owens – Lysandre

Christopher Owens’ back story is enough for an article on its own. He was once part of a religious cult and is a recovering drug addict and in 2012, he announced he was leaving the critically acclaimed band Girls to pursue solo projects. Here is our lowdown of his first effort, ‘Lysandre’.

Owens’ opening tracks with Girls, ‘Lust For Life’ (Album – 2009) and ‘Honey Bunny’ (Father, Son, Holy Ghost – 2011), were both classic Beach Boys meet indie guitar affairs. Therefore, fans will be forgiven for being a little shocked when they hear ‘Lysandre’s Theme’ for the first time. It is only 39 seconds long and the dominant sound of the flute, signifies a change of path and new ambition. One TT is sure Girls fans will relish.

The beginning of the track ‘Love Is In Ear Of The Listener’, reveals Owens insecurities about his day job. The revelation is shocking considering the admiration he has worldwide ( sadly Stephen Fry can testify, it’s not everything):

“What if I’m just a bad songwriter / And everything I say has been said before.”

Well, on ‘Here We Go’, he’s topic of heartbreak has definitely been discussed before but few have tackled it with such poise. The whimsical nature of the male and female harmonies along with the flute draws you into a relationship that was obviously once beautiful and loving. However, the sporadic bursts of Flaming Lips guitars accentuate just how painful and desolate the end of a loving relationship can be. The emotion he evokes should allow Owens to rest easy in his quest to prove himself as a songwriter.

‘New York City’ and ‘Lysandre’ have a Belle and Sebastian warmth and spryness. The former, has melodic hints of Paul Simon circa ‘Still Crazy After All These Years’ and the saxophone work will gather memories of Van Morrison’s ‘Astral Weeks’ and ‘Moondance’ albums.

The qualities this album demonstrates more than most are growth and escapism. The title track ‘Lysandre’, for example, uses the flute to accompany his already well-honed ability to produce elegant harmonies. These subtle changes are from a man determined to test his artistic abilities at the highest level. Too few try to stretch themselves, and for TT’s mind, too many overreach and lose focus on connecting with audiences. Owens, on his first solo outing falls victim to this on ‘Riviera Rock’, an all instrumental affair which seems irrelevant in the middle of this sublime pop album. Nevertheless, the substantial use of the saxophone is one we may never have heard with the constraints of his former band and its high turnover of members.

Owens, as with his time with Girls, still has the prowess to cart listeners of to sunnier times. For the casual listener, or the listener not bothered by lyrics, this album will transport them off to the west coast of America. For those toiling with heartache however, this album will take on yet more fantastic dimensions.

Beady Eye: Live at the Camden Centre

Beady Eye played their finest London gig to date last night. They are band out to prove they have the chops to be in the game still and boy do they get their point across at the Camden Centre, aka the sauna.

When they toured ‘Different Gear, Still Speeding’, most fans, ourselves included, came away having had a decent night out but were left a touch underwhelmed. The swagger was there but the tunes were not. With the release of ‘BE’, their set is now full of mod-rock classics (‘Face In The Crowd’ & ‘I’m Just Saying’) and rock-psyche meets soul belters in ‘Flick Of The Finger’ and ‘Second Bite Of The Apple’.

‘Flick Of The V’s’ makes so much more sense live, as did many Oasis album tracks over the years (‘Hung In A Bad Place’ & ‘Meaning Of Soul’). Live, this song ceases to be just an interesting album opener and becomes a barnstorming epic which is so hypnotic it is irrelevant whether they play Wembley stadium, the Camden Centre or on a two bob Saturday night talent show because it’s a great song.

The themes of musical redemption and ‘let’s not waste our second chance’ run through Beady Eye’s second album. Human nature will inevitably find this heartrending, especially the lyrics from ‘I’m Just Saying’:

‘I’m feeling fine/ This is my time to shine / It’s nearly but it’s not too late / The Future’s getting underway’.

However, TT finds it odd that Beady Eye band feel this way. If they had made two shocking albums and faded away, they still would have been a part of Oasis, Ride, and Heavy Stereo. They would have played some of the most scintillating rock n roll gigs of all time.

So, this cannot be a case of trying to recapture past glories. Gallagher, Bell and Archer were born to be on stage showing no fear. They are the musical equivalent of Mickey Rourke in ‘The Wrestler’. This gig, the new album ‘BE’, they are their top turnbuckle moment amidst a heart attack. Everyone knows they don’t need to do it. They do it because it makes them feel alive and the other option is God’s waiting room. Fuck that!

PS: they played Rock n Roll Star and ‘Morning Glory’.

Jacco Gardner - Cabinet of Curiosities

One of the NME’s tips for 2013 comes from the unlikely source of Nwaag in the Netherlands and judging by Jacco Gardner’s debut album ‘Cabinet of Curiosities’ they have backed a winner.

Gardner maybe a child of the 80s but musically he personifies all the great things about the late 60’s boom in rock-psyche music. Former single ‘Clean The Air’ is a sumptuous Syd Barrett number which will have Tame Impala fans flocking to Gardner’s cause. The Barrett comparisons will undoubtedly come thick and fast as ‘Cabinet of Curiosities’ continues to grow in popularity. There are however, far more strings to his bow than just Barrett-esque numbers.

‘One Eyed King’ delves into the world of the Beta Band and Steve Mason to produce something of stunning beauty. ‘Where Will You Go’ is the kind of melodic psychadelia Oasis were after with ‘Who Feels Love?’ but never quite grasped on ‘Standing On The Shoulders Of Giants’. It has the big melodic chord and key changes which Noel Gallagher has become synonymous with. The vocals have a gorgeous swirling motion which will inevitably cause the head to nod from start to finish.

The final two tracks of the album, whilst on message with the rest of album, have an uninhibited feel which takes this fine debut to the next level.  ‘Chameleon’ soars to the pop-psyche heights only Pond and Toy have travailed in recent times. The final track ‘The Ballad Of Little Jane’ is given all of Gardner’s superb production skills to yield a modern take on The Beatles’ ‘For The Benefit Of Mr Kite’.

Barring the drums, Gardner plays every instrument heard and produces as well. Every synth you hear is used with clear precision and coated in emotion to give each track sense of narrative which is what sets this album apart from most.

Edwyn Collins - Understated

As many of you are aware, in 2005, Collins suffered a brain haemorrhage - so it is an inspiration that he is making music these days at all. The immediate aftermath of the haemorrhage left Collins able to utter just 4 phrases: 'yes', 'no', 'Grace Maxwell' and 'the possibilities are endless'. If this is sending shivers down your spine then his new album ‘Understated’ certainly will.

The song-writing largely centres on Collins' feelings about having a new lease of life and how he is not going to waste it. So, strap yourselves in, folks, because you will be left an emotional wreck, reviewing everything you are doing with your life by the end of listening.

'Baby Jean' is a cracking soul tune reminiscent of Johnnie Taylor in his pomp. Lyrically, it is very powerful, displaying how music has been a therapeutic and cathartic outlet since recovering from his illness. To hear Collins sing 'I got music to see me through / I got art to ease the pain / I got sunshine on a cloudy day / And I'm going to find a way to understand' is as uplifting as it gets.

Collins' spate of optimism is a constant throughout the album, both lyrically and musically. The Orange Juice number '21 Years' decrees 'What the heck I’m living now' as he questions what the point of his rock ‘n’ roll career has been.

Musically, it is an incredibly soulful record. The opener 'Dilemma' is a northern soul beauty ready to bring home the English summer. 'Carry On, Carry On' has some Elysian Frankie Valli-esque production. Meanwhile, 'In The Now' is the kind of fired up soul meets rock ‘n’ roll number Beady Eye would die to have in their repertoire.

Standing out amidst the Temptations upbeat soul numbers is the sombre 'Down The Line'. Collins reveals the darker sides of piecing his life back together with the jaw-aching lyrics 'I wasn't there to comfort you / I wasn’t there to hold your hand / I wasn’t there to do my thing / The best that I could do'. As a father and husband, Collins clearly felt as though he was a burden during his illness. Anyone who doesn’t gulp a lump down their throat to this song simply isn’t human (or is a Tory, take your pick).

This is a strong contender for album of the year, it’s littered with great soul music and incredible pop sensibilities. Ultimately though, the main triumph here is Collins' ability to reflect on the highs and lows of his remarkable journey from being critically ill back to an idolised musician.

Album Playback: Beady Eye – BE

TT was at the Soho Hotel last night for the Beady Eye album playback. The lavish setting is one you would expect new bands to be throwing money at to impress the music industry, not a group of legends who have nothing left to prove. Or so you would think, Liam is bouncing around the room, from group to group, before and after the playback. The enthusiasm on display seems hell bent banishing the critics of ‘Different Gear, Still Speeding’.

Here is our track by track review. We must point out all reviews are based on hearing each track only once so the ability to allow a song to grow on you has not yet been had:

1. Flick Of The Finger – The album opener appeared online recently and certainly made fans sit up and listen. The band along with TV On The Radio’s Dave Sitek producing have broadened their sound. There is still the same trippy ‘Revolver’ sonic to the tune which has been around forever it seems but the use of a brass band gives this a sense of enormity that Liam’s bravado deserves.

Billy Bragg - Tooth and Nail

Barking’s finest export returned earlier this year to deliver ‘Tooth and Nail’, his first studio album since 2008’s critically acclaimed ‘Mr Love and Justice’. Not that the old mongrel is slowing down, in 2011 he released and toured his compilation ‘Fight Songs’ and then in 2012 he celebrated Woody Guthrie’s 100^th birthday by releasing the brilliant 3disc boxset ‘Mermaid Avenue: The Complete Sessions’.

‘Tooth and Nail’ doesn’t boast the smut and wit of Woody Guthrie, however. In 2012, Bragg’s mother passed away and the tone here is one of grief, reflection and anger.

Opening the album and setting the tone perfectly is ‘January Song’. Lyrically, it’s business as usual for Bragg as he attacks the coalition for selling peoples freedom down the river. Musically though, you have never heard Bragg like this before. His instincts tell him to stand up and fight the wrongs he sees in society but the grief that consumes him is really weighing him down:

 “My journey has been so hard lately / Been having to get out and push / Left me standing on the sidewalk / Talking to a burning bush.”

‘I Ain’t Got No Home’ is a Guthrie cover which tells the tale of a farmer who’s heritage is crumbling as governments are leant on by the money men to ensure their projects are pushed through the red tape unscathed. The sullenness of this tune is genius. Whilst Bobby Gillespie is leading the fight against the political classes, Bragg offers up a downbeat affair for anyone who needs comforting. For those who have had their lives uprooted by the scandalous bedroom tax, we suggest you stick to Primal Scream and get angry because as Bragg will only break your heart with this stunning tune.

The writers of TT were deeply affected by ‘I Aint Got No Home’. We were left questioning if there was any point to what we’re doing? Surely the greedy will come along and prevent us doing what we love eventually anyway? Well, after the success of Record Store Day this year (and the previous 6years) we are not giving up on the independent music community just yet and nor should you. Berwick Street was awash with people and having a good time and investing money in shops that are run by people who care about their customers. Not supermarkets who undercut specialists so they can ramp the prices of bleach and toilet roll to make a profit.

The notion of living another way shines through in the former single ‘No One Knows Nothing’ Anymore’ when Bragg sings “break it down and start again” and to “stop pretending / We Can Manage our way out of here.”

Musically, it is a remarkable effort. As he enters his 56^th year, Bragg could be forgiven for not broadening his musical horizons anymore. Not a bit of it. This is a sumptuous ode to Emmylou Harris in her pomp with slide guitar parts sent from West Coast gods. ‘Do Unto Others’ also beholds spreading his wings further as well as he conjures a blues number reminiscent of Eric Clapton’s unplugged version of ‘Alberta’.

The reviews from the press have been mixed for ‘Tooth & Nail’ which we feel is unfair. There are a couple of filler tracks on this helping but, on the whole, this is as passionate and evocative as Bragg has ever been. Musically he has challenged himself once more, adopting an escapist West Coast country and Southern blues style to deal with his disaffection of the coalition and more importantly the heartbreak caused by the departure of his beloved mum. To produce such quality, in a time which must be so distressing and to maintain his dignity in the fight for a fair society, should have fans flocking to buy ‘Tooth and Nail’. Here’s to ya Bill!

British Sea Power – Machineries Of Joy

It seems insane to think British Sea Power’s debut ‘The Decline In British Sea Power’ was released ten years ago. A decade on, they have released their 5^th studio album: ‘Machineries Of Joy’. The punkier numbers have mellowed somewhat but their beauty and grandeur remain large on an album which celebrates the classic BSP sound fans have come to know and love.

However, ‘Hail Holy Queen’ is one of the few tracks which deviate from the classic BSP sound this album generates. The strings will drift you out to sea without a care in the world; meanwhile Hamilton’s vocals are gloriously sweet and reminiscent of Mercury Rev’s David Barker.

But back to basiscs: ‘Loving Animals’ takes BSP’s love of Bowie to his electro/Berlin phase. What is fantastic about this song reflects what is great about this entire album. You can hear BSP’s influences from start to finish but at no point is any track a pastiche or parody. The final minute exemplifies this with the trippy Neu-esque guitars which are accompanied by vocals worth of Mark E Smith at his insatiable best.

Quite often with British Sea Power records one or two numbers are up-tempo punk rock anthems and mark themselves out as instant classics. On ‘Machineries Of Joy’ however everything is far more tranquil. ‘When You Need It Most’ is a sumptuous ode to Richard Hawley’s ‘Coles Corner’ material and the great Walker Brothers singles of the late 60s. ‘A Light Descending Above’ recalls the rock prowess of ‘Open The Door’ but with a sombre Robert Wyatt circa ‘Shipbuilding’ approach.

Ultimately this is an album for the dedicated British Sea Power fans out there. It is as though the lads have hit the studio with the idea: ‘let’s make a British Sea Power record’. There’s no messing around with new formulas here, but it is not a step back by any means. The quality of every track - we repeat, every track - is so high it is impossible for it to be anything other than a triumph.

Finally, what really excites TT about this is album is the feeling that the next one will be like witnessing a fully charged BSP going into a glorious battle, armed only with electric guitars and massive amps.

Peace - In Love

Peace are a 4 piece from Worcester and have been taking the UK by storm on their recent headline NME Awards tour. TT just couldn’t resist the hype and had to check out their debut album ‘In Love’.

Whilst TT feels this is one hell of a debut, it would be foolish to ignore that this album is unblemished. ‘Lovesick’ is everything we despise here at TT: British bands singing in an New Found Glory style. It is enough to make you want to go ‘We Need To Talk About Kevin’ on anyone who likes it. There, now that’s been said, we can all forget about that and move on…

The opening track ‘Higher Than The Sun’ immediately brings to mind Primal Scream’s incredible Acid House tinged anthem not only because of the title but in relation to its escapist virtues. Whilst musically it is more akin to the Scream’s rock-cum bluesy numbers, it has a wonderful feeling of youth awakening and stretching for more. The timing couldn't be better suited with further cuts being made and the ridiculous “Bedroom Tax” coming in to play. Sometimes bands time their journey into cultural conscious of the public just right and Peace appear to be doing just this.

The indie/rock scene has been largely divided in to two realms in recent years. On one side you have rock-psyche with Tame Impala, Toy and Kasabian and on the other there are the softer and more pop friendly (but by no means less credible) bands such as Foals, Mystery Jets and Little Comets. Peace are exciting because they look like the first band to unite the two divisions. ‘Follow Baby’ has verses which sound like The Pixies but with Gruff Rhys pulling the production strings to create a uniquely trippy, yet punky, sound. When the track reaches the chorus, Harry Kossier’s vocals hit those lush tones that Friendly Fires did so well with on ‘Paris’ to provide an ecstatic moment to treasure.

The Foals references will be ringing loud and clear on ‘Wraith’. It is like an offspring of Foals hit ‘My Number’ whose riff may not be as catchy but as a single has so much more depth. There is also looping piano which fades in and out to signify that Happy Mondays’ ‘Step On’ was not in vain. The lyrics are spectacular within this setting too. The below chorus may read as childish but with the tune behind it, it feels like two young lovers grasping freedom by the horns with the intention of living forever:

‘You could be my ice age sugar / Lay me down and make me shiver / Blow me like a floating feather / We’ll be dark we’ll be dark we’ll be dark forever’.

Then comes the colossal ‘Sugarstone’. What a spectacular rock song. It has a beautiful haziness worthy of the Brian Jonestown Massacre and a swagger not too dissimilar to that off ‘Champagne Supernova’. Oasis seemingly play no part musically in the bands influences but the philosophy of Peace is something different altogether. What makes both bands great is that unseen spirit which allows you and your best mate to belong to something to cherish for all time. ‘Sugarstone’is one of the few tracks that manage to tap into this soul successfully with the lyrics: “It’s not about a generation / It’s not about our education / We don’t need to think today / Cos you and me can slip away”.

These lyrics are just another reason to why Peace are the best thing to happen to the UK music scene since the Libertines. They give a much needed voice to the indie/rock youth of today. TT can see Peace uniting the indie hipsters and math rock fans with Kasabian and Beady Eye lovers out there. ‘In Love’ is an album you must all invest in!

Veronica Falls - Waiting For Something To Happen

Veronica Falls returned earlier this year with ‘Waiting For Something To Happen’, the follow up to their self-titled debut. This week, TT decided to check out what the indie-surf lovelies had been up to. In short: - relationships. This album is a great collection of crisp pop songs, of which, the lyrical content delves into the two and fro of the everyday complexities of relationships.

‘Tell Me’ opens the album and really sets the tone for what is to follow. It is littered with pitch perfect vocal harmonies which fans of Camera Obscura will adore. The flawless nature of the vocals lends ‘Tell Me’ an eerie feeling. They are so perfect that it suggests the protagonist is damaged beneath the surface and if we scratch away at the lyrical fabric of ‘Tell Me’ it is clear to see that this is the case. The opening verse portrays the desperate half of a relationship trying to garner where they stand:

‘Tell me, tell me everything / Tell me if your boat is sinking / Tell me where you have been / Tell me, tell me everything’

‘Waiting For Something To Happen’ is another fine exponent of relationship woes, this time reflecting how sometimes, one member is the driving force behind everything the couple do, whilst the other needs to be shook into life:

‘If you don’t realise / There’s no sacrifice / If you feel the way I do / World won’t wait for you’

TT is struggling to remember if anyone has ever produced lyrics which really get at the average relationship so well. The British public love songs about the big gesture (Elbow – ‘One Day Like’ This or The Smiths – ‘There is a Light That Never Goes Out’). Well, now is the time for a healthy dose of the truth as banal but intricate power struggles between couples are brought to life.

Former single ‘Teenage’ witnesses the band going to the next level. It sounds a little bit like Slade’s ‘Cum On Feel The Noise’ being covered by The Pastels. As Spring is threatening to kick in, there is no better time to listen to this sun-drenched piece of majesty. The voice of lead vocalist, Roxanne Clifford, has such an innocence to it that the simple lyrics: ‘When are you gonna see / I carved your name in the cherry tree / From the window when you look outside / I’ll be there you know I wont hide’ gets across the uncontrollable intensity we all brought matters of the heart as teenagers.

As we have discussed, the discourse for a lot of the songs on ‘Waiting For Something to Happen’ is centred around love and what it actually does to people in relationships. Then comes ‘Buried Alive’. Never has song encapsulated the isolation and torment that heartbreak can bring to a teenager. This tune comes from deepest murkiest parts of the stomach that ache so much when you go through the pain of something you don’t understand.

This second helping from Veronica Falls is sublime success and deserves all the plaudits it receives. Much like the Maccabees, they have perfected the sound they set out to achieve on their debut by their second album. Here’s hoping for that big sounding record on album no. 3 which catapults them into the consciousness of bigger audiences.

Foxygen - We Are The 21st Century Ambassadors Of Peace and Magic

‘We Are The 21st Century Ambassadors Of Peace and Magic’ is the second full-length album from the Californian duo. It follows their debut ‘Take The Kids Off Broadway’ by churning out both sublime melodies and joyous experimentalism.

The current single ‘No Destruction’ is a dazzling display of the Velvet Underground’s ‘Rock and Roll’ combined with Dylan in his most loving mood. Uniting their favourite musical influences is something the duo does incredibly well on this album. Unsurprisingly, this is the most successful combo attempted as Reed and Dylan’s sing-talk styles are reasonably similar. TT will be amazed if we hear a cooler vocal in 2013.


‘Bowling Trophies’ witnesses yet more first rate genre amalgamations from the duo. Here they merge industrial electronic music with rasping gospel choirs. Honest! The song opens with a hook that is as catchy as Kraftwerk’s ‘The Model’ and will draw you in immediately. Then, as the verse ends, the listener is hit with an anthemic, almost gospel choir style in the chorus.

The references to the past give this album a sense of fun. The second verse of ‘San Francisco’ features a nod to the Scot Mackenzie classic ‘‘San Francisco (Be Sure To Wear Flowers In Your Hair’ whilst the brilliant change in tempo for the chorus of ‘On Blue Mountain’ mimic Elvis’ ‘Suspicious Minds’. The album is littered with various one-liners to show off the band’s influences but manages never to detract from what they are doing. The varied references should never be viewed as plagiarism as that is clearly not what they are about; they serve to become an in-joke with listener. It reminds TT of the same way that Simon Pegg and Jessica Hynes’ TV show ‘Spaced’ used pastiche to heighten their reality.


For an album with so much going on it is remarkably simple to enjoy. It revitalises 60s flower-power psychedelia  taking it away from die-hard Syd Barrett mods and propelling it into a space where lovers of pop music can enjoy it without fear of recrimination. With spring on its way, we can think of no better album to listen to as the circle of life begins once more.

Palma Violets - 180

‘Best Of Friends’ kicks off ‘180’ spectacular style, this is more than your average splice of indie-punk and has all the ingredients to go down in history as a classic album opener. It begins with a riff which could be from any classic Billy Bragg song and then launches into a sure-fire fan favourite sing-along. The guitar solo, seemingly lifted from the Mary Chain’s ‘Just Like Honey’, has a beautiful simplicity which will leave fans in a state of euphoria, and Sam Fryer’s vocals have a strained smoker’s gravel which lends the song a heightened sense of despair.

Unfortunately, they don’t hit the heights of ‘Best Of Friends’ on the rest of the album. This is not to say the rest of the album is poor, but compared to the majesty of the first track, the rest feels a bit like the Queen’s 2^nd cousin trying to sneak into a family portrait.

‘Step Up For The Cool Cats’ is a prime example of this. It opens with the classic sounds of Echo & The Bunnymen, combining the Doors and Velvet Underground to create the ultimate cool reverberation. Sadly it just doesn't go anywhere as exciting as the Bunnymen’s ‘Rescue’ or ‘Crocodiles’.

Album closer ‘14’ is eight minutes long and is essentially two different songs: the first half is a decent tune and casually builds itself to a glorious drunken crescendo. Nevertheless, the imagination of The Who or Green Day to build a raucous rock opera is not present and when the song finally gets going again it feels too much like a laboured Libertines track.

‘Rattlesnake Highway’, however, is an admirable nod to the Ramones’ ‘Biltzkrieg Bop’. It may be a little too close the aforementioned song for die-hard Ramones fans but Sam Fryer’s gritty voice definitely gives the Ramones’ style a fresh impetus.

This may not be the most glowing of reviews but we definitely recommend this debut. It is full of promise and has a lot of good pop sensibilities which will inevitably be enjoyable to most. TT is looking forward to their second album already, where we hope their own sound, which has been developed on the cracking ‘Best Of Friends’, shines through more prominently.

Ocean Colour Scene Live At Electric Ballroom

Tonight is a rare chance for Ocean Colour Scene’s fans to see them in a more intimate setting and they do not disappoint. In recent years they have been playing bigger venues in London such as the Astoria (RIP) and Hammersmith Apollo in support of a new album release. Gigs of that stature must be tough for the band, as many turnout in hope of a trip down memory lane. Tonight in a 1000 only capacity is the perfect setting as a hard-core following sing-along to new numbers from the criminally underrated ‘Painting’ album.

The previous couple of OCS albums have been ok but Painting sees them back to their best with Fowler’s love of folk clashing with Craddock’s genius on the guitar to create their unique mod/folk sound. They open with ‘Painting’, a surprise too many but it grabs their attention and is met with ecstatic applause. ‘Weekend’ follows a few songs later and really strikes a chord with the crowd. With the ‘Mosely Shoals’ anniversary tour still fresh in the mind, the audience are left wondering is this new or a b-side from that era? It has a hypnotic quality not seen by the band since the ‘North Atlantic Drift’ album and the harmonies between Simon and Steve are a sight to behold.

Another treat for the loyal fans are rare outings of songs from the albums ‘One For Modern’ and ‘Mechanical Wonder’. ‘So Low’ is often a part of the setlist and is sung in full voice but ‘Emily Chambers’ and Jane She Got Excavated’ are seldom heard. They are met with rapturous applause and watched in stony silence as the Camden crowd marvel at the sweetness of Fowler’s vocals.

Of course all the big hits are in the set and they still garner a riotous response. Craddock’s guitars sound ready for Wembley Stadium rather than a small album launch gig. He makes ‘Travellers Tunes’, ‘Riverboat Song’ and ‘Hundred Mile High City’ sound like the biggest songs in the universe. Even as elder statesmen there is clearly ambition to be the best band possible, there is no second place mentality here which is clearly the reason for the high quality on ‘Painting’, an album you all should invest in.

Jake Bugg Live At Shepherds Bush

What a sensational night. Jake is 19 and his performance is electrifying, beautiful and one for the record books. So much so it will be very difficult to not use clichés about oysters, feet and the world to describe how much potential he has.

His self-titled debut was a solid effort which displayed a few moments of brilliance but live he is consistently on a higher level that will result in world domination. The audience is made up of scenesters, Dylan fans, skiffle fans, mods, hippies, and mums with their primary school sons. There is no passage for Bugg which will not lead to great things.

The variety his voice has is remarkable of someone so young. On ‘Simple As This’ he becomes an English Dylan lost in a world of self-realisation. It’s visible on the expression of many of those older than Bugg in the crowd that they wish they had known this at his age. On ‘Taste It’ and ‘Lightning Bolt’ however he becomes rock ‘n’roll star to revere. He has the bluesy punch of a young Jagger and often allows his voice to drift off into ether. It gives Bugg a vulnerability which will see teenage girls flock to him like they did for Marc Bolan and Liam Gallagher in years gone by.

There are two main highlights tonight. The first is ‘The Ballad Of Mr Jones’. It’s beefed up tonight and propels Bugg in to the realm of guitar hero. He manufactures twisted riffs and illumination solos to heighten this song that wouldn't look out place in a Hendrix or Oasis set.

The second highlight comes from the third song of the night ‘Kentucky’. Musically it doesn't compare to Bugg’s finest work but the symbolism it projects is colossal. The current government’s message is don’t worry about what you’re doing wrong, just blame who had the job before you and ignore your own failures. Well fuck that, Bugg has given the Shepherds Bush crowd the greatest thing music can offer, escapism. TT suggests the next time you here an unelected coalition say ‘the reason we have no growth is because of deficit left to us by Labour’ you think of Jake Bugg. An everyday kid from Nottingham who worked his socks off and is changing the world by doing what he loves.

The Crookes - Hold Fast

The Sheffield quartet returned in 2012 with a new line-up and a new album. Sadly both have been criminally underrated. They set off on tour supporting their Sheffield mentor Richard Hawley last week and we pray this is the beginning of a bigger following and increased successful record sales. They definitely garnered a fantastic response from the London crowd, so we thought it only right to revisit their 2012 album ‘Hold Fast’ for a review.

Their previous album, (former TT album of the year in 2011) ‘Chasing After Ghosts’ was a brilliantly expressive venture but paid the price commercially as lacked those big guitar hooks which grab the masses. However, the singles from ‘Hold Fast’ come with choruses and guitar licks that all great singles have. ‘Afterglow’ is a fabulous indie number which flows with the same unrestrained beauty as Stone Roses’ ‘She Bangs The Drums’ whilst ‘Stars’ is a powerful indie-number which would have filled many Inbetweener’s scene changes.

‘Maybe In The Dark’ acts as a bridge between the previous album and this one perfectly. It encapsulates Waits' ability to deliver vocals with eloquence worthy of Morrissey whilst the music fires along as if Johnny Marr became Richard Hawley’s lead guitarist.

‘American Girls’ demonstrates a real maturity in the band’s song writing. It begins with a slow morose vocal, reminiscent of the intro to Doves’ ‘Cedar Room’, before launching into a typically Crookes sounding 50s rock n roll number. The muffled nature of the guitars and distant sounding vocals witnesses the Sheffield boys taking chances with production which hopefully will initiate long overdue critical acclaim in the music rags.

There are so many cracking indie/pop/rockabilly/northern soul tunes on ‘Hold Fast’ its frustrating not to see them A-Listed on XFM and creeping onto Radio 1. George Waite’s vocals are so beautiful and radio friendly at times it really does beggar belief. 

Richard Hawley live at the Troxy

The Sheffield maestro takes to the East London stage tonight in fine form. Hawley is enjoying a run of well-deserved success after his current album 'Standing At The Sky's Edge' was nominated for a Mercury Music Award (his second in his solo career). The ascendancy he is in has evidently given Hawley a lot of confidence. His buoyant mood on stage creates the love and affection radio djs spend years trying to perfect with audiences.  

The set consists largely of tracks from the current album and the crowd are left staring on in awe as he’s fine band churn out the Bo Diddley and Duane Eddy meets Pink Floyd numbers. 'Don't Stare At the Sun' displays Hawley in all his glory tonight. His vocals lend themselves to something loving; here it is the simple story of flying a kite with his son. Meanwhile, the guitars get across the fact he was on acid during this story perfectly as they swirl from soaring highs to twisted lows.

He barely visits his 3 previous crooner albums but gems such as 'Tonight The Streets Are Ours' and 'Open Up Your Doors' bring about slack jawed stares of worship from the sold out crowd tonight. The romantic element of these songs brings tenderness that cannot be seen but is undeniably felt by all. Some particular uninhibited couples even take to slow dancing which is particularly pertinent in this grand ballroom setting. 

Hawley and co played a new song only aired 3 times previous tonight and it was a perfect segue from the crooning brilliance of 'Coles Corner' and the rock-psyche of 'Standing At The Sky's Edge'. 'Standing At The Sky's Edge' was born out of grief of a departed friend and tinges the album with a melancholy that sums the up the helplessness of mourning. On this new track however, the ambiance is more optimistic and adopts a carefree rock n roll musicality which should have everyone so excited they misunderstand everything they hear whilst on jury service.

Matthew E. White - Live at the Lexington

Opening for Matthew E White tonight are the terrific London outfit Elephant. For the most part they are a gorgeous slice of whimsy that takes XX style tunes out of the doldrums and into a world of make believe.

Not content with producing just XX and Grimes-esque tunes, they stray into the world of disco and acid house giving a nod to 808 State and Sebastien Tellier’s ‘La Ritournelle’. Their debut album is not far away but with such creative diversity at their fingertips TT cannot help but imagine their polished 3^rd album becoming an indie/dance classic.

Matthew E. White

Before we write anything about his gig we need to make an important announcement. Matthew E. White and his band have amassed a dazzling collection of beards.

White released his debut solo effort ‘Big Inner’ on Monday via Domino and is playing to a sold out gig at the Lexington tonight. Notably tonight, the live set is quite distant to delivery of songs on ‘Big Inner’. The album is a subtle and mesmerizing John Martyn meets Bon Iver affair where as the live show is a raucous journey through US roots-rock.

On the more introspective numbers tonight, White sounds like Iron & Wine performing with The Band and when things get experiential it’s as though My Morning Jacket have crossed paths with Peter Gabriel’s Genesis.

‘Steady Pace’ is the highlight of the evening. Everybody in the Lexington is rocking out to White’s ‘groovier number’ as he puts it. It showcases the whole bands ability to play and proves that rock music is alive and still interesting.

Quite often when a group of musicians of this stature get together like White and his band, there is a loss of passion and the relationship with the audience breaks down. Not tonight! The appetite to put on a show that is meaningful is clearly at the forefront of what they are trying to achieve. 

Top 10 Albums of 2012: 5 to 1

5. Graham Coxon - A&E

 

In 2009, Graham Coxon produced a surprising yet brilliant stripped back folk album. Having displayed such a high pedigree in song writing, it had TT wondering if he could follow it with anything of equal merit. The answer is a resounding yes. A&E is a cathartic flurry of fuzzy guitars, nihilistic keyboards and post-apocalyptic synths.

 

Coxon’s previous outing on ‘Spinning Top’ was great but it’s incredibly refreshing to have the guitar hero plugged in once more. He’s return to the electric sphere produces a world of frenzied punk as only he can. Working with Ben Hillier (The Horrors, Elbow, Villagers), Coxon has fashioned very primal sounding synths and keys to add to his guitar brilliance. 'City Hall' is a prime example sounding as though The Ramones have been left stranded in a ‘Mad Max’ movie and ordered to soundtrack ‘Escape From New York’.

 

Former single 'What'll It Take' is vintage Coxon. It is a pop gem which lurks amongst all the morose paranoia Coxon readily delivers. Easily one of the year’s best single releases!! What is remarkable about his musicianship is the authenticity. Many would sound ironic utilising 80s keyboards but Coxon manages to make them work in his nod to Monochrome Set's 'He's Frank' and 'Eine Symphonie Des Grauens'.

 

On 'Meat and Drink and Pollinate' Coxon resumes his role as the outsider, casting a negative eye over the weekend culture that still remains prominent in Britain today. Modern life is still rubbish it seems. 'Running For Your Life' sees Coxon maintain his voice of the voiceless, highlighting how dangerous life can still be for anyone who dares to be different. A point no-one wants to talk about in music anymore. If you dress like a mod or you wear pastel coloured chinos from Topshop and make shit music your fine as well. For those who truly dare to be different life seems just as difficult as the tribal days of the 70s. Thankfully we have Coxon and more importantly The Horrors leading the outsider charge to acceptance.

'Bah Singer' is a chaotic rock n roll ride through the eyes of a ghastly protagonist who scores gear for him and his prostitute. This, the stand-out track on the album, is a post-punk version of a Who song. It has the grandiose drum thrashing of a young Keith Moon and big guitar hooks Pete Townshend would adore. Importantly though, it is not a polished sound like The Who and herein lies the beauty of this tune. We all know that Coxon is a master on the axe and can play whatever he likes. However, his genius lies in letting in his emotions and insecurities into his guitar playing. They allow his songs, 'Bah Singer' in particular, to take on a unique life of their own where every listener can relate their everyday struggles of love, loss and money worries to it. For any fan of metal or classical music, this is what personality sounds like in music. Stick technical proficiency up your arse!

4. Simon Fowler - Merrymouth

2012 saw the return of several Britpop heavyweights with solo albums. Tim Burgess recorded an astonishing album with Lambchop’s Kurt Wagner, Martin Rossiter produced a stunning solo debut and Graham Coxon came back with his 8^th and best studio album to date. Sitting head and shoulders above all these solo ventures though is Ocean Colour Scene’s singer-songwriter Simon Fowler. His solo debut ‘ Merrymouth’ is an English folk classic to rival any Fairport Convention, John Martyn and Richard Thompson solo album.

Fowler’s love affair with Sandy Denny was made pertinently clear on OCS’ 2004 album ‘North Atlantic Drift’ with his song about her life in Surrey ‘She’s Been Writing’. it is then, a huge shame we had to wait so long for this solo effort as it is a seminal piece of work. ‘Holy Day’ gets right to the heart of his Fairport Convention admiration with a nod to ‘Fotheringay’ and ‘Crazy Man Michael’.

‘The Trees Grow High’ is one of those glorious songs which can suck you in musically. It has a simplicity to it that could lead to reminiscing about a countryside holiday filled with cherished memories. Alas, Fowler is leading you up the garden path. He utilises the folk musicianship of Richard Thompson on  ‘1952 Vincent Black Lightning’ with traditional folk strings that Steeleye Span were famous for to produce a tale about a lad who has passed well before his time:

“At the age of 16 / He was a married man / At the age of 17 / A father to his son / At the age of 18 the moss on his grave was green.”

As the last weekend before Christmas passed, many of us were left listening to Joe Strummer tributes on the radio. On the 10^th anniversary of his passing many stories have been shared about his Clash days and his fantastic lyrics. However, listening to Fowler’s ‘Courthouse Blues’ and ‘In The Midst Of Summertime’ brings Strummer’s love of campfires to mind. In Julian Temple’s brilliant film ‘The Future Is Unwritten’ you can witness Strummer and friends at Glastonbury having the best of times. TT dedicates these two cracking folk tunes to Joe, keep looking out for us all.

The eerie nature ‘Prometheus’ is a subtle nod to another folk legend, John Martyn.  The myth of Prometheus ends horrifically with an eagle tearing his liver out of his chained up body. This song is not quite as sinister but is not far off. It has a haunting sense that the protagonist is playing God and will destroy all that is before him.

It cannot be underestimated how much of a leap Fowler has taken making ‘Merrymouth’.  A Mercury nomination should have been on table. Who among us didn’t expect Alt-J or Django Django to be nominated this year? Any indie with synths and bleeps alongside decent melodies is a shoe in. surely it is far braver and more adventurous to shake off tired mod connections to produce a modern folk classic.

 

3. Darren Hayman & The Long Parliment - The Violence

In 2009 former Hefner singer Darren Hayman embarked on a musical journey to put Essex on the map for cultural reasons other than Towie. He may not have succeeded on a widespread scale but anyone who listens to his Essex trilogy will begin to rethink any preconceptions.

The Violence, the third instalment of this trilogy is the finest to date and is a seminal piece of art. Hayman has taken to 17^th century England for his subject matter on this indie-folk classic. As he regales stories of bigotry, religious zealousness and witch hunts you will be forgiven for relating his lyrics to today’s economic bleakness and the social inequality it breeds. ‘Desire Lines’ professes ‘England’s rotting away / Wasted / Riddled with hate’, whilst the spritely ‘Impossible Times’ states ‘We are alive / Through Impossible Times’. Like any classic Science Fiction film, Hayman’s writing has the knack of commenting on today without actually commenting on it.

The Aforementioned ‘Impossible Times’ deserves a lot of attention. It is a glorious splice of folk-pop told from the point of view of persecuted women in the 17^th century. Hayman’s vocals are the real star of this song, and the album in general. On this track he lends the music’s’ pop tones a fragility and vulnerability which sets the tone for the entire album. Unlike many young artists churning out folk music today, Hayman doesn’t give the impression of this being ‘a phase’ or playing dress up at the charity shop. In the inscribed words of the great Richey Edwards ‘ 4 REAL’.

‘The She Cavaliers’ is an all instrumental effort which could close out any poignant sequence of scenes from any great bleak British drama. It will tug on your heart strings and leave you feeling neglectful to those in need of help at this festive time of year.

‘Rebecca West’ is a magnificent bittersweet track. The enchanting backing vocals kick in immediately and will transport you away to wherever your dreams may lie. A track about a man in love with a prostitute from the middle-ages is not something you would expect to be left smiling at but hell, Hayman’s only gone and done it.

 


If Hayman’s sole intention was to prove Essex has lot of artistic merit to offer the world then he has gone above and beyond that. If this album was by Nick Cave, Tom Waits or Leonard Cohen the album the music press would have wet them self over it. It is about time Mojo, Uncut and Clash magazine woke up and took note of Hayman and his genius. There is a new generation out there of songwriters, whilst he may not be the youngest around, he is new in terms of publicity and quite frankly, more should be done.


2. Paul Weller - Sonik Kicks

Rock psyche has had a glorious renaissance via Tame Impala's 'Lonerism' and Pond's 'Beard Wives Denim' in 2012 but Weller’s ‘Sonik Kicks’ by some distance, the leader of the pack. He’s desire and ability to keep coming back with album after album with new and improved ideas is astonishing.                                                                                                                                                        

 

It is impossible not to love the bubblegum pop of 'Attic', mod by numbers this is not. The collaboration between Weller, Noel Gallagher and Graham Coxon was always going to produce the goods but this is as good as radio friendly pop music gets!

 

To further alienate those that regularly propelled him to number one 30 years ago is the centrepiece 'Study In Blue'. The stand out track of the album is a duet with his wife Hannah which takes classic Tommy McCook dub and Damon Albarn's 'Dr Dee' to create this melodic ganja tinged classic.

 

‘When Your Garden Is Overgrown’ is yet another great pop track. It details what might have happened to Weller’s hero Syd Barrett if he had ditched the callous music industry for travelling around Europe to indulge in his first passion, painting. For anyone who was a fan of Syd (and you all should be) there will be a hollow feeling at the end of this song as to ‘what might have been’. RIP Syd.

 

‘Around The Lake’ brings the darkness to this colourful display of rock-pysche. Whilst he has left his Jam social commentaries and Red Wedge days behind him, his history with politics brings ‘Around The Lake’ meaning far beyond its probable intent. His past lends the song the notion that all is dire and dark in the UK at present.

 

Then there are the tunes ‘Dragonfly’ and ‘Kling I Klang’ which have formed the staple part of the Weller renaissance on the past 3 albums. They are all tinged with the feeling they could go absolutely anywhere and do absolutely anything. Roll on 2013 and another new album from the Modfather.


 

1. Bo Ningen - Line The Wall

Bo Ningen are a Japanese four piece based In London who have been championed by Marc Riley on BBC6 – a public service for which Marc should receive a knighthood, in TT’s humble opinion. They released their self-titled debut album in 2010 and have returned in 2012 to produce what is easily one of the year’s finest albums‘Line The Wall’.

They open their 2^nd helping with rock n roll so desperate and so uncontrollable it won’t just escape into the ether it will lend you a magic carpet to transport you there. The drums on opener ‘Soko’ are pure punk rock to begin with, before cascading into a rock-cum-disco extravaganza not seen since The Music’s self-titled debut. Accompanying these exhilarating beats are the My Bloody Valentine on coke guitar parts which make this a truly barnstorming opener.

Hypnotic vocals and guitar licks are key to this album’s success. Bo Ningem have an ability to create a feeling of tension so daunting it is as though a decade of celibacy has been installed. Henkan and Daikaisei Part 1 are prime examples of this in subtle yet spectacular ways. Henkan utilises mesmerising vocals to lure you in before unleashing a ferocious frenzy of guitars reminiscent of Primal Scream’s paranoia classic ‘XTRMNTR’ album. Then there is the guitar solo. DAMN! It goes one way, then the other, twisting the listener inside out. It’s the kind of genius which we pray John Squire can produce on the Roses’ comeback album next year. Meanwhile Daikaisei Part 1 hooks you in with a nod to T-Rex’s ‘Get It On’before evolving into a synth laden Pink Floyd epic to take you into a state of euphoria.

‘Shin Ichi’is another track which resembles Primal Scream’s ‘XTRMNTR’ era. Couple this with a Yeah Yeah Yeahs ‘Date With Night’ sounding riff and Bo Ningen have conjured yet more magic. Only one word can aptly describe this tune: filth. It reeks of sex dugs and degradation without a hangover or the accompanying regrets in sight.

Rock pyschadelia has made welcome return in 2012 from various factions. Tame Imapla made it great and complex with ‘Lonerism’, Weller made it poptastic on ‘Sonik Kicks’this year and Richard Hawley made it harrowing on his bereavement based album‘Standing On The Sky’s Edge’. However, Daikessi Part 2 is rock psyche at its most potent. It sounds death defying and carefree like all good rock music should and puts the great James Dean imagery and symbolism back into rock music. It doesn’t feel like a career with regular 1-2-1 meetings with your supervisor, a feeling we are often left with by Coldplay and The Killers. In a week where Led Zeppelin have dominated the music press for the release of‘Celebration Day’ people should take heed of this ‘Whole Lotta Love’ inspired tune and recognise the future is still unwritten.

You may have noticed we haven’t commented on the lyrics in this review. This is a deliberately lazy ploy by TT. The feeling Bo Ningen gave us was so pure and primal on first listen and after 10 or 12 plays it was still having the same effect. It took us to levels of hysteria that had us all frantically re-writing our favourite albums of the year and decade alike. Due the powerful way in which the album moved us, we felt it best to leave their lyrics in the realm of the unknown to add to the mystique their music has built up. We do not implore anyone to do the same but we do urge you all to purchase this glorious demonstration of acid rock ‘n’ roll.