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.