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Review: Unwritten Pages – Pt 1

Omar Rodriguez-Lopez, of the Mars Volta, said of progressive rock: “We are really tired of those labels and questions. Concept album? How can any huge project that takes up most of your life for a year not have a concept?” and it’s fair to say that Unwritten Pages, too, is lifted straight out of the bedrock of conceptual progressive rock.

The conception of Frederic Epe, a vocalist and instrumentalist of seemingly boundless imagination, who has been able to group together some of the finest musicians working in Europe’s progressive rock scene to create debut album Noah, he has been living and breathing this project for the last 5 years, and true to progressive form, the album is dense, challenging and carries a tense conceptual sci-fi narrative.

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Review: Daft Punk – Discovery

Everybody has an album that reminds them of their youth; an album which, when played, never fails to bring them back to another point in their life.

For me, Daft Punk‘s 2001 release, Discovery, is the album of my youth. To this day, opening dance masterpiece ‘One More Time’ remains one of my favourite all time tracks, due entirely to it’s energy and the power screaming out from it’s anthemic refrain. Even when I re-visit the album now I still feel as moved as I did the first time I heard it. I suppose that’s the sign of a truly great album; it continues to educate and surprise.

Two years after the release of their hugely influential debut Homework, Daft Punk set to work on a new album which they hoped would sonically encapsulate the idea of discovering and exploring life as a child. The resulting 14 track collection has a playful and more gentle feel to it than some of the more raw moments on Homework. Although trademark Daft Punk traits can be clearly heard throughout, such as the crisp 4/4 rhythm on tracks like ‘Face To Face’ and ‘Verdis Quo’, a more synth-heavy approach allows the album to gracefully flow through a number of themes and styles.

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Review: Bob Dylan – The Witmark Demos 1962-1964

I want to admit from the start that I am a big Dylan fan and that he is one of my favourite artists of all time. I was already a devotee when I first got Spotify, but my love for him grew as I was able to listen to any and all of his huge back catalogue and wasn”™t restricted to the 7 or so albums I already owned. Then a terrible thing happened. He disappeared from Spotify. Possibly never to return.

This has led to my developing hatred of Bob. I still love the music, but the man seems ridiculous and irritating. I don”™t understand why he removed his music from Spotify and other similar services. How much is he worth? Does he really fear reduced album sales, as a result of music streaming, and therefore a reduced income? Apparently he doesn”™t like big screens at the sides of the stage at gigs because of the opportunity it gives people to record his concerts, which presumably would stop them buying DVDs or possibly even stop them from going to the concerts. Finally there is this Bootleg Series, which seems like a way to sell more albums without any more work. Maybe I”™m a cynic.

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Preview: RightClickSaveAs

The last decade has been pretty good for indie music. The Strokes quintessential Is This It, released in 2001, wrestled control of rock music from the excesses of nu metal in the 90s, providing a taught, stripped-back lo-fi sound that reinvigorated indie music and set the ball rolling for bands like Interpol, The National, Kings of Leon, Razorlight, Bloc Party and many others in the subsequent years.

In the middle of the decade, bands like Interpol and The Killers integrated influences from the 80s – the formative decade for many artists today. Combined with the flourishing electro scene under Justice, Erol Alkan, Simian Mobile Disco and others, indie’s final integration with dance music was completed with Hot Chip’s The Warning in 2006, and the Klaxons’ Myths of The Near Future in January 2007. Since then, electro has been king, with artists like Friendly Fires finding their electronic side the more fruitful of their parent influences. So, ever wondered what glitchy electro-pop would sound like if it was done by just one man and his acoustic guitar? The answer is RightClickSaveAs.

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Review: The Rural Alberta Advantage – Hometowns

With a name like The Rural Alberta Advantage and a début album called Hometowns you would be forgiven for expecting a folk/country band singing wistful indie folk tunes about where they grew up. However, although this Toronto-based three piece do sing songs about their home towns whilst playing acoustic instruments, this is not your typical country album.

Though there are some undeniably country influences on the album, what really makes it stand out are the drums. Paul Banwatt’s drumming is incessant and energetic and on many of the songs is at the centre of the mix, leading the songs in a way you don’t often hear.

But it’s not all about the drums, as they are wonderfully arranged alongside quirky synthesizers and twangy acoustic guitar, and these elements superbly accompany the rasping delivery of the heartfelt lyrics by Nils Edenloff.

There is an intensity and energy present throughout the album, whether it is in the fervent drumming on tracks like ‘The Dethbridge in Lethbridge‘ or in the absorbing, deeply personal, lyrics that regularly touch on the topics of love, loss and the feelings of broken-heartedness. Even when the tempo slows on tracks like ‘The Air‘ or ‘Sleep All Day‘ you can still feel the passion within the music, and in fact perhaps even more so.

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Review: 3 Daft Monkeys – The Antiquated & The Arcane

Tim Ashton, Athene Roberts and Jamie Waters, otherwise known as 3 Daft Monkeys, have been working on their blend of Balkan, Celtic, reggae, Spanish, punk-infused folk for more than a decade now. They are, in a sense, the UK’s answer to the also superb American folk trio Nickel Creek, but though equally adept at crafting a heady mix of influences into folk songs, the 3 Daft Monkeys are also known for their ferocious and uplifting live shows.

Neither is it a mean feat for a folk band to have been as successful, not least because they have insisted on doing it without ever signing to a label. They have avoided mainstream attention and have committed to extensive touring and the hard work that goes along with it. It’s no surprise, then, to see their music developing with a bredth and maturity not often allowed in an industry that has grown used to bands, at the pressure of their labels, pumping out albums every 18 months.

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Review: Ben Folds & Nick Hornby – Lonely Avenue

Back in 2002, English novelist Nick Hornby published a collection of 31 short essays documenting how different songs have influenced his life. 31 Songs is a fascinating read; very well written, offering the reader a unique insight into the mind of a music lover and how his love of music can carry him through any hardship. Amongst the tracks chosen by Hornby to describe his life was Smoke by the alternative indie rock trio Ben Folds Five, which held the most resonance in the collection due to the subtle lyrical connotations depicting the breakdown of marriage. This appreciation fused a friendship between Hornby and Folds, resulting finally in 2010 with their collaboration, Lonely Avenue.

The album contains eleven tracks with all lyrical content written by Nick Hornby and all music performed by Ben Folds. This inspired marriage instantly gives the collection an intelligent narrative, enforced with a strong piano-led musicality, turning each song into a beautifully crafted short story. This quality can be found throughout the album, especially in the bitter-sweet ‘Picture Window’, the soulful character portrait of ‘Practical Amanda’ and the tale of childhood innocence in ‘Claire’s Ninth’, which was actually Hornby’s first ever short story. The most striking track on the album is ‘Doc Pomus’; a driving melody and rhythm referencing the 1960s songwriter, whose story provides this collaboration’s namesake.

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Review: A Genuine Freakshow – Oftentimes

Every now and then you come across a band that you think is truly something special, and this is exactly what happened earlier this year when I saw A Genuine Freakshow at the Frog and Fiddle in Cheltenham. It was a quiet night and the small crowd didn’t do justice to the quality of music on offer that evening.

Since then I have managed to see A Genuine Freakshow live once more at 2000 Trees festival, where, for me, they were one of the best acts of the entire weekend. However, as brilliant as they are live, when it comes to studio versions of their music we’ve had to settle with repeatedly listening to the four tracks available from their website. And so it was with bated breath that I awaited the release of A Genuine Freakshow’s début album, Oftentimes.

This seven piece from Reading add cello, violin and trumpet to the more traditional rock four piece and have influences that include Mogwai, Mew and Sigur Ros, all of which could lead you to think that Oftentimes would be a pure post-rock offering. But while these influences do inspire some post-rock tendencies, A Genuine Freakshow have a lot more to offer.

Tim Sutcliffe’s falsetto vocals and melancholy lyrics complement the grandiose feeling to the songs. The inclusion of the ‘classical’ instruments adds layers to create an overall sound of almost epic proportions that is very much at home in the post-rock genre. However, these tendencies are tempered by more technical pop stylings to create some unpredictable song structures and a sound that is fairly unique.

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Review: The Twilight Sad, XOYO London

The Twilight Sad and Errors are worlds apart. One is exploring post-indie, wall-of-noise melancholy, while the other creates jaunty, kraftwerk-indie electro. They are, however, geographic clansmen, hailing from Glasgow (or, in The Twilight Sad’s case, from nearby Kilsyth, which is basically ‘oot in the sticks’). Their joint headline tour (they take it in turns to headline) ended in Edinburgh on Tuesday, and Spotisfaction were lucky enough to catch them in London’s new XOYO venue on 7 October.

XOYO is a very new venue in Old Street. You know, that part of East London with the tube station, within walking distance of Shoreditch, or Hoxton, or wherever it is the dickheads are hanging out this week. Personally, I don’t subscribe to this completely. Dickheads are everywhere, you don’t need to be in East London, or London at all, to qualify as a dickhead, but they have to go somewhere, and, traditionally, this area is where they tend to congregate. But there are lots of honest people here too, the people who just like music, like art, without all the pretense and pomp and ceremony. Scottishness dictates that the two bands on show tonight are the latter.

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Review: Baba Brinkman – Rap Guide to Human Nature

Baba Brinkman is a former tree planter from Vancouver who managed, personally, to sow over 1 million seedlings by the age of 24. He also has a Masters in Medieval and Renaissance English Literature. And he”™s recently released his Rap Guide to Human Nature; a guide to many of the current theories of evolutionary psychology. This brief description wouldn”™t necessarily make you think that this should be an album worth a listen, but it is. I should point out that this is his seventh solo album and that he started in hip-hop after writing his thesis comparing Chaucer”™s storytelling with modern day rap freestyling. After the success of his theatre show, “The Rap Canterbury Tales”, Baba was approached by a microbiologist from the University of Birmingham and asked to “do for Darwin what he did for Chaucer”. This led to the Rap Guide to Evolution and it seems that he has wanted to stick with science.

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Review: Of Montreal – False Priest

Originally part of the Elephant 6 collective, Of Montreal have been around for many years and now, ten albums in, they still maintain a lot of Elephant 6”™s group style with their penchant for musical experimentation and mixing of styles.

False Priest is essentially a very odd album. Even without the heavy psychedelic and funk influences that are obvious on many of the tracks, the album can easily be described as weird, ostentatious and at times hard to listen to.

Recent Of Montreal albums seemed to have themes and concepts that were bubbling to the surface, whereas False Priest would appear to be more of a bizarre mishmash of thoughts and ideas. Because of this, the album, at times, lacks inspiration and is too unconventional for its own good. It”™s like lead singer and songwriter Kevin Barnes, and his transsexual alter-ego Georgie Fruit, are being off the wall for the sake of being off the wall. There is a heavy funk influence on this album, and that genre is known for its space imagery, but lyrics like ”˜Unicorns eating baby meat, There”™s dragon rape if you want one”™ on ‘Like A Tourist’ are a bit over the top.

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Review: The Spinto Band – Moonwink

Autumn has an image. The season is in full swing as the darkened leafs and conkers litter the ground, the nights creep in, and everyone starts wearing scarfs again. But rarely does Autumn have a signature sound. For me, the Delaware-based outfit The Spinto Band will always feature on my Autumn soundtrack. There’s something about their uniquely jerky yet enchantingly melodic character that fits perfectly with the withering scene outside.

Quality exudes out of the band’s 2006 debut album, Nice And Nicely Done; an album that flittered between styles and themes with a quaint elegance. With the release of Moonwink in 2008, it is clear that the group have tried to go further into solidifying their signature sound, but it seems as though they somehow fall short of the charm of their first effort.

Moonwink isn’t bad by any means. With upbeat tracks like ‘Vivian, Don’t’, ‘Pumpkins And Paisley’ and ‘The Carnival’, this sound bursts into life in a flurry of energy. There are also some slight nods back to the more soul-filled moments on their debut, as seen on the sullen ‘They All Laughed’ and the jaunty yet oddly delicate ‘Summer Grof’. One stand out gem, the anthemic ‘Needlepoint’, crystallises exactly what The Spinto Band do best, and that’s exciting the ears of the listener. However, despite these high points, the direction that the band have taken appears to have corrupted their former, rich character. It’s as if Moonwink is the band’s attempt at being younthful and exciting, as opposed to Nice And Nicely Done which now acts as the soulful maturing album. Whether or not this was intentional, Moonwink fails to deliver the same chills and goosebumps that were present in the debut, for example on tracks like ‘Oh Mandy’ and ‘Direct To Helmet’.

Having said all that, Moonwink still manages to impress and delight, and in turn leaves you longing for more material from the band – the hallmark of an engaging album. So, one question remains: what else would feature on the perfect Autumn soundtrack? Any suggestions?

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Review: This Town Needs Guns – Animals

Animals

This Town Needs Guns are an Oxford based outfit formed by Stuart Smith and Tim Collis in 2004. Several band members and a few moderately successful E.P.s later they are still touring the world over and in 2008 released their debut full album, Animals. This album brings you 13 (well 12½) tracks of their unashamedly experimental math rock. Not always an easy genre to listen to but interesting none the less. The album’s tracks are all named after different animals but this has very little bearing on the content of the lyrics. While they were writing the album they named all their tracks after animals as temporary placeholders with every intention of giving them real names before release but in the end they just did not bother. Anyway on to the album itself…

One of the first things you notice about this album is that the band appears to have mislaid their distortion pedals. This leaves the music very stripped back – you might even say pure – which is astonishing when you realise how much is actually going on with the guitars and the huge amount of notes that they cram into each track. The meandering guitar parts dance around the fretboards throughout the whole album, which is fine until it begins to feel that you have been just listening to one long track rather than 13 different ones.  The only let up in this never ending barrage is the final track, Zebra, which replaces the now tiresome guitar with what sounds like a Glockenspiel and some discordant strings. The string parts feel like they have been carried on from the previous track, Rabbit, as the guitar fades away towards the end of this track and leaves the strings alone – it has a definite reminiscence of Damien Rice. This is by no means a bad thing but is all unfortunately too little to late to rescue the album from becoming awfully samey.

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Feature: Tomorrow’s Sounds Today

Hi everyone, and welcome to another addition of Tomorrow”™s Sounds Today where we at Spotisfaction Incorporated fire up the kettle and brew a hot steaming mug of the best music picked from the recent additions to the “What’s new” section on Spotify. This week I’ve come up with the provisional tagline “October 2010: So you can teach an old dog new tricks!” as it seems to be a significant number of the big releases this week are new works from artists of the past which in some cases we had feared were gone for good.

Robert Plant ”“ Band Of Joy – Earlier in the year we reviewed “Angel Dance”, a new single from Robert Plant, and it was well received. Fast forward a few months and we now have Band Of Joy which is thankfully as good as the single which preceded it. It”™s been some time since we”™ve seen some work from Plant, the last piece being a duet with Alison Krauss back in 2008. I am pleased to say this album ticks all the expected boxes and doesn”™t disappoint. It is clearly a solo effort but it does have that unmistakable Zeppelin flavour running throughout a number of tracks, and it manages to not sound like a weak, watered down solo Zepp or some sort of strange pastiche. Kudos.

Manic Street Preachers ”“ Postcards From A Young Man – A welcome return for Blackwood”™s favourite sons, and something strange seems to have happened… the Manics seem to be happy?  I”™m not saying every album of theirs is a wrist-slitting emo depress-fest, but there is an unmistakable positive energy to this work compared to some of the previous angst-writhen or politically charged pieces. It is not surprising, then, that in some of the music press both Mr. Wire and Bradfield have said they are shooting for this album to be more radio focused in order to gain airplay. With some heavyweight guests in the form of John Cale, Duff McKagan, and both Ian McCulloch and Tim Roth on the cover, the pieces are in the right place and the album doesn”™t disappoint.

Neil Young ”“ Le Noise – At a scant 8 tracks long I”™m not sure if this should be classified as an album or an EP.  With that in mind the tracks are a good length so overall there is meat on the bones. Whilst at its core the music is classic Young, the title of the piece is not just lip service – there is a definite “noise” element to the production without breaching into genres that his vocals are perhaps not suited to. At times the split between low tuned, distortion heavy, almost grungy guitar acts as a little too much of a difference to the high, soulful but almost reedy vocals, but thankfully this never ultimately detracts from the music.

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Feature: Classics Collected

Hi everyone and welcome to another edition of Classics Collected, where we at Spotisfaction continue our work as Music Time Lords going backwards this time instead of forwards. The SpoTardis this week has stopped on the year 1994 and all our albums (with 1 cheeky exception) were released in what turned out to be a very succesful year for those of you who love to rock, and love the sound of good guitar music!

Apologies to those looking for our usual mix of musical diversity – I’m afraid this list stems from a recent jump through old albums and a conversation with some colleagues. Originally this list was going to include the excellent Ten by Pearl Jam and following a chat with some friends (and some divided opinion on its greatness) I wanted to make a classic list that started with Ten and then had some other albums to compare it to in order to seal the deal once and for all. In searching for good albums of the age it quickly appeared that a number of truly great albums of the genre(s) were released in 1994 and in fact 1994 was a real golden age.

Weezer ”“ Weezer – aka The Blue Album. As debuts go this record really ticks all the boxes. At the time it was pretty original in terms of sound, and there certainly weren’t many similar acts. It spawned a couple of hit singles to get it into the mainstream consciousness, and in this writers opinion is still their finest work despite the many great albums which have followed it. If nothing else, this release should be remembered for the Happy Day’s inspired video for Buddy Holly and the Guitar Hero mainstay, My Name Is Jonas.

Green Day ”“ Dookie – Whilst not their first album, it was certainly the first album that gained them any serious attention and made them MTV darlings of the age thanks to the anthemic Basket Case (which also happened to have a great video). At the time I was very into the “extreme sports” scene and this record seemed to be on constant play at parks, tracks and events across the land. In many ways this was their peak, more refined than its excellent predecessor (Kerplunk) and the next couple of follow ups were strong but never quite as complete.

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