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.

Top 10 Albums of 2012 - 7 & 6

7. Jake Bugg - Jake Bugg

Billy Bragg recently made Bugg the fulcrum point of his John Peel Lecture; something we at TT consider apt due to Bugg’s similarities with Uncle Bill, albeit not in style but definitely in approach to song writing. They both share a social awareness which their generation can rally behind and an ingenious ability to write a love song.

Former single ‘Lightning Bolt’ gets the ball rolling on the social observation front and attacks the apathetic nature of Britain’s karaoke-game-show-loving millions by saying:

“They say you gotta tow the line/ They want the water and not the wine / But when I see the signs I jump on the lightning bolt”

With the album reaching Number 1 in its first week of release, the tide may just be about to start turning back in the favour of people like Bugg and produce a  world where artists and musicians refuse the shortcuts and express themselves. In the words of Damon ‘It really really really could happen’.

Backing up ‘Lightning Bolt’ is a fine group of songs whose common denominator is escapism. In ‘Two Fingers’ he has the single of the year in our view. Every era of youth should have a song like ‘Two Fingers’ to unite behind. Many Arctic Monkeys comparisons have been made and far too many of the negative. This is not a rip off or rehash of an Alex Turner song but simply inspired by him, along with the Kinks, early Weller and early Townshend records.

‘Seen It All’ is another one of those songs which sees Bugg in an escapist mood. The intro fades in like Oasis b-side ‘Rockin’ Chair’ and shares similar narrative themes of looking back at a town which bears little relevance to the journey the writer wishes to be on. What separates the two is the perspective they were written from. Noel was writing in his late twenties about a life which seemed to be passing him by (he soon caught up, all back to Supernova Heights anyone?) whereas Bugg clearly has life by the scruff of the neck already and is reviewing the brutal nature of what stands in his way.

Then there is the other side to Bugg. The sweet sensitive side which will make the women fall in love with him and the men wish they could express themselves like him. ‘Simple As This’ will have Ryan Adams losing sleep for weeks wondering how he never wrote this song. On the surface, it is a beautiful Dylan-esque lullaby but scratch a little deeper and you realise Bugg is on the verge of discovering the key to happiness in this world. How the hell can someone so young be so wise? We recommend you don’t dwell on this question and just marvel at a young man who has the world at his feet.

Billy Bragg’s use of Bugg in his BBC6 lecture signifies a glorious handing of the baton (albeit an overdue one) from one generation to another. Bugg’s debut has TT bringing Bragg’s debut album ‘Life’s A Riot With Spy vs. Spy’ to mind with its triumphant displays of social observation and tales of love, often unrequited. The growth of Bugg as a songwriter has TT salivating but for now he is not looking for a new England, just looking for another girl. 

6. Moon Duo - Circles

Many of you may recognise Moon Duo’s vocals, and you would be right to as they are Ripley Johnson’s, the terrific singer from Wooden Shjips. He has teamed up Sanae Yamada to make Moon Duo’s second album ‘Circles’. If ‘Circles’ is as good as Moon Duo get they can grow old knowing they have created something magical.

The notion of a concept album often makes TT wince and cross the street immediately.  The Who’s ‘Tommy’ can still produce bile and a month of nightmares with just 3seconds of airtime. So, imagine our surprise at falling in love with an album which is based on a 19^th century essay. Thankfully though, the essay ‘Circles’ by Ralph Waldo Emmerson tackles the transcendental nature of the human condition and how many strive for greatness. As concepts go, attempting to become immortal via music is alright by TT.

Musically, ‘Circles’ is not a million miles away from their debut ‘Mazes’ but the production is a lot sharper and in sections Yamada’s guitar playing makes ‘Mazes’ look like he just wasn’t arsed . The closing guitar solo on ‘Dance Pt. 3’ is a prime example. If you imagine Black Rebel Motorcycle Club ditching their leathers and dropping acid then your half way there to knowing how mystical his guitar sound is.

‘I Been Gone’ on the other hand lends itself to the current crop of noise-rock bands of this world. It is more direct than Deerhunter’s ‘Desire Lines’ and far more accessible than Autolux’s ‘Audience No.2’ and as a result establishes a sound which begins to define those perfect moments on ecstasy or MDMA where the music aligns with your emotions.

‘I Can See’ is one of those tunes which makes you feel like you’re on tip toes at a precipice wanting to take flight but you never quite jump off. It holds you in a suspension which will have you scratching and clawing your way back to the start of this song to relive this intense pleasure.

No noise-rock/krautrock album would be complete without an 8minute epic and in ‘Rolling Out’ they have just that. ‘Rolling Out’, from start to finish captures the greatness they have striven for beautifully. The drums and bassline provide a platform for Yamada to take his guitar for a little walk, and on occasion end up in 17^th dimension causing havoc. It really is that good! The guitar parts are similar in sound to Richard Hawley’s on ‘She Brings The Sunglight’ but with one notable difference. Hawley used classic song structure to get to a guitar solo and as incredible as it is when you listen to ‘Rolling Out’ you might not bother with it anymore.

’Circles’ is a gem and will undoubtedly have given Kevin Shields wet dreams about this album and give McGee the knowledge that a return to the music industry is indeed the right move. These guys are exactly what the music scene needs, two insane visionaries who couldn't give a fuck!

Top 10 Albums of 2012 - 10 to 8

10. The Moons - Fables Of History

The Moons return with their second album 'Fables of History' and what a return it is. Their debut ‘Life on Earth’ was littered with potential but, at times, could be accused of being a bit “mod by numbers”. However, the follow up sees guitarist James Bagshaw help frontman Andy Crofts with the song-writing duties and the benefits are everywhere. All the love and warmth from the debut is still here but now a tinge of 60s psyche has been added to give the album far more depth.

‘Forever Came Today’ opens the album and immediately displays the progression the band has made with its Toy inspired synth intro. TT imagines that working with a soul powerhouse like Weller as your part-time job (Crofts is his keyboard player, btw) will teach you a thing or two about singing, and Crofts vocals are sublime. Many believe the mod genre is boxed up and ready for the archives but he manages beautifully to find a seat at the table between his mentor, Weller and the Coral’s James Skelly.

Previous singles 'Double Vision Love' and 'Jennifer (Sits Alone)' will leave you bewildered as to how daytime radio cannot find time to c-list them at the very least. ‘Double Vision Love’ has all the spaced out splendour of the Coral's debut album but with the added pop splice of The Kinks’ 'Dedicated Follower of Fashion'. Meanwhile, 'Jennifer' is this album’s 'Wondering'. Crofts’ vocals are delightful and carry such high levels of cordiality that this could easily work acappella.

'Can You See Me' is yet another fantastic pop song, a joyous mod lullaby which lends itself to Simon Fowler and Steve Craddock's writing peak on ‘Mosely Shoals’. The lyrical content here is the band’s sharpest on ‘Fables of History’ as it brilliantly chronicles the human struggle for appreciation amongst their peers. Ironically, this is a feeling the band probably know only to well with their lack of exposure.

Then there is ‘Revolutionary Lovers’. Oh how we love ‘Revolutionary Lovers’. It is the standout track on the album and one of the finest tracks of the year. It gives Lennon’s ‘Instant Karma’ a virulent dose of Syd Barrett, giving life to a simple yet adorable tune.

So, The Moons open our top albums of the year at TT and we defy anyone not to find something they can’t fall in love with on this album. Why so little success? Having two members who are part of Weller’s renaissance has hindered their touring significantly this year. Maybe it’s time for The Moons to step out from Weller’s shadow and become the main players they deserve to be.

9. Dingus Khan - Support Mistley Swans




Vitriolic, passionate and aggressive: this is what all debuts should sound like right? The combination of ‘My Body’ and ‘Mad As Hell’ is the most exciting opening to a British band’s album for many a year. It is a full on noise assault, caused by their 8 members, 3 of which are drummers and 3 others are bassists. However, they have this amazing knack to maintain catchy melodies and leave us wondering are we witnessing the birth of another Blur-esque band. Dingus Khan are far more untamed compared to Blur so it’s probably safe to say ‘Tender’ and ‘Universal’ are off the menu, but heavier modern day versions of ‘For Tomorrow’ and ‘Song 2’ are all in the realms of possibility.

As major labels retreat further into conservative signings, a doff of the cap is in order to Fierce Panda. ‘Bag For Life’ is the kind of exciting and bedraggled genius the charts has been missing since the Libertines ‘Up The Bracket’. If someone ever asks you to describe how you felt at a Crowns or Pulled Apart By Horses gig then just play them this song. It gets across the drunken, penned in sweaty nature of those bands perfectly.

‘Knifey Spoony’ sums this album up with its compelling mix of raucous guitars and undeniable melodies. At the point when you think you can’t take any more of their 3 drummers smashing the skins to within an inch of their lives, their riffs will reel you in and the vocals will send you off into a state of bliss (albeit a slightly aggressive one).

Album closer ‘Ambulance’ has the kind of vocal brilliance we came to expect from Frank Black with The Pixies and has the youthful naivety of Frank Turner that we, at TT adore so much. However, what we really like about ‘Ambulance’ is something very tenuous indeed, its track placing. After the pasting Dingus Khan deliver to your senses in the previous 9 songs, medical attention will be required.

Then there is fierce uncontrollable beast ‘How Do You Like Me Now’. This is so intense that there are rumours (which we’re starting) that riot police sing this each other every morning as their national anthem. When Pulled Apart By Horses managed this level of viciousness with V.E.N.O.M in 2011, TT could envisage nothing as visceral emerging from the UK rock scene for a while but here we are, staring in awe once more.

Many argue that rock music has ceased to reinvent the wheel of late and they’d be within their rights to continue this argument when listening to ‘Support Mistley Swans’. Nevertheless, they cannot say it has not been reinvigorated by this release. The energy and passion on this debut can only be the start of great things.

8. Josephine Foster - Blood Rushing

Many may not know that Foster trained as an opera singer, but when you hear the diverse and unique delivery on ‘Blood Rushing’, you will not be surprised. Foster manages to create a chaotic sound that always seems to make sense. How? We’re not quite sure, and therein lies the beauty of this record. At times it will leave your brain frazzled but her ability to master classical US folk rock traditions always manages to keep the melody leading the narrative and as a result, enjoyment levels remain high.

Album opener ‘Waterfall’ is some of the most distinctive pop music heard in a long time. The combination of the long lost hippy tones of Linda Thompson with a 1930’s broadcast voice is inspiring and will hook you immediately. The accompanying guitars are reminiscent of Real Estate’s ‘Municipality’ but far more immediate, which adds to Foster’s unique intensity and oddness.

‘Panorama Wilde’ and ‘Sacred Is Star’ are two contrasting songs but both show the vastness of Foster’s songwriting ambition. PW will cart you off to the American wilderness, help you set up camp and leave you with the optimistic feeling that you can conquer it alone. Meanwhile ‘Sacred Is Star’ offers up a more twisted side to the image of the wilderness Foster previously created. The acoustic guitar plucking will leave you unsettled and wondering what lies beyond the darkness, as if the attempted conquering has gone horribly wrong and left you desolate and without hope. The orchestration which kicks in half way through has the feel of an evil Pagan ceremony, merely serving to heighten the sense of dereliction and isolation created in the opening verse. If Nick Cave had a time machine there is every chance he will be returning to 2005 to add these songs to ‘The Proposition’ official score.

After discussing the vast and the grand, it would be rude to not to mention the genius simplicity on ‘Child Of God’. ‘Child Of God’is a spectacular homage to Joni Mitchell, circa ‘Blue’. It is impossible not to visualise yourself in the summer sunshine of the Eastern Plains of Foster’s home state, Colorado, drinking a cold beer and watching the world go by.

‘Geyser’ is arguably the most interesting track on the album. As an opening 10 seconds go to a song, you’ll be hard pushed to find a more insane 10. We’re not even sure what is making the noises but if Hitchcock or Kubrick were alive today, they would be using this intro to psychologically disturb audiences. When the guitars kick in, you’ll be forgiven for thinking Mark E Smith is about to sing. What you get instead is Foster mashing up her opera singing and love of Northern US folk rock to splendid effect.

Meanwhile the track ‘Blood Rushing’ is yet another slice of progressive yet loving folk music. The violin solo conjures up a wrath of morbidity in this tale of embarrassment. Foster retreats to her operatic past in the climax of the song and the lyrics become indistinguishable except the line “I begin to begin again”. If you read up on the history of Foster, this lyric sums her up perfectly. She struggled when training as an opera singer, often unsure what type she was. Well, she has begun again and with glorious results we hasten to add. Blood Rushing is one of 2012’s must listens without a shadow of a doubt.

Coves - Cast A Shadow EP

Wondering what to get your music loving mate for Christmas? well look no further than Coves' debut EP 'Cast No Shadow'. Here is our track by track review.

1. Cast No Shadow – A fantastic blend of rock psyche and pop music opens this EP and sets the standard very high. The looping beats/keyboards coupled with the Pond-esque guitars lend the song a mature depth in the same mould as the early Belle & Sebastian albums and the Reverend & The Maker’s single ‘Silence Is Talking’.

2. No Ladder – This is the stand out track of the EP. It is a joyous psychedelic march through a Ennio Morricone’s vision of the wild west. Anyone who enjoyed Oasis’ ‘To Be Where There’s Life’ is going to immediately fall in love with this tune.

3. Run With Me – It seems almost everyone has had a favourite band from Brooklyn these days and Coves have lended their influences to theirs here with joyous nod to Here We Go Magic on 'How Do We Know' and Grizzly Bear's on 'Yet Again'.

4. Fall Out Of Love – This is the weakest of the four tracks but do not dismiss it lightly. It has some genuine moments of Mary Chain and pre-signed Glasvegas genius embedded. It feels a little confused when the Mary Chain fuzz crosses with electronica of Animal Collective but with the right producer honing Coves’ talent TT feels the two will merge push music forwards once more.

Dingus Khan – Support Mistley Swans

Vitriolic, passionate and aggressive: this is what all debuts should sound like right? The combination of ‘My Body’ and ‘Mad As Hell’ is the most exciting opening to a British band’s album for many a year. It is a full on noise assault, caused by their 8 members, 3 of which are drummers and 3 others are bassists. However, they have this amazing knack to maintain catchy melodies and leave us wondering are we witnessing the birth of another Blur-esque band. Dingus Khan are far more untamed compared to Blur so it’s probably safe to say ‘Tender’ and ‘Universal’ are off the menu, but heavier modern day versions of ‘For Tomorrow’ and ‘Song 2’ are all in the realms of possibility.

 As major labels retreat further into conservative signings, a doff of the cap is in order to Fierce Panda. ‘Bag For Life’ is the kind of exciting and bedraggled genius the charts has been missing since the Libertines ‘Up The Bracket’. If someone ever asks you to describe how you felt at a Crowns or Pulled Apart By Horses gig then just play them this song. It gets across the drunken, penned in sweaty nature of those bands perfectly.

‘Knifey Spoony’ sums this album up with its compelling mix of raucous guitars and undeniable melodies. At the point when you think you can’t take any more of their 3 drummers smashing the skins to within an inch of their lives, their riffs will reel you in and the vocals will send you off into a state of bliss (albeit a slightly aggressive one).

 Album closer ‘Ambulance’ has the kind of vocal brilliance we came to expect from Frank Black with The Pixies and has the youthful naivety of Frank Turner that we, at TT adore so much. However, what we really like about ‘Ambulance’ is something very tenuous indeed, its track placing. After the pasting Dingus Khan deliver to your senses in the previous 9 songs, medical attention will be required.

Then there is fierce uncontrollable beast ‘How Do You Like Me Now’. This is so intense that there are rumours (which we’re starting) that riot police sing this each other every morning as their national anthem. When Pulled Apart By Horses managed this level of viciousness with V.E.N.O.M in 2011, TT could envisage nothing as visceral emerging from the UK rock scene for a while but here we are, staring in awe once more.


 Many argue that rock music has ceased to reinvent the wheel of late and they’d be within their rights to continue this argument when listening to ‘Support Mistley Swans’. Nevertheless, they cannot say it has not been reinvigorated by this release. The energy and passion on this debut can only be the start of great things.

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.