Upcoming stuffs.

So not much in the way of news from me today, I was going to review the 'Women's Basketball' album, but looks like Alayerofchips got there first. Go have read.

Speaking of the aforementioned blog, Sam from Alayerofchips is putting on another gig soon, and it looks likely to be another great one. I know that most of the people who read this blog probably read that one too, but it's worth a re-post, and if you haven't heard about this yet then you really should read on.

Look at that poster to the left there, isn't it lovely? The bands playing are just as lovely. Withered hand have been garnering praise from all quarters of late, obstensibly one man from Edinburgh he creates beautiful folky music to die for. There's a nice video up on the website here. Go and listen.

Elsewhere on the bill, The Pete Green Corporate Juggernaut keep rolling on (see what I did there), they're always great value, songs with heart, played with joy and viveur and returned in kind from every audience I've seen them play too. Go here for loads more fun. The other band on the bill are Red Shoe Diaries, from right here in Notts. They sometimes sound like Hefner, they have the same soulful, emotional feel as Belle and Sebastian and they're playing all over the place at the moment.

So if you've not already seen or heard of the gig, are in Nottingham or the surrounding area and like what you hear/read, then definitely go to the show, you won't regret it.

If you again look to your left, you can see a poster for another gig. This time a tribute to the ever wonderful Darren Hayman and Hefner. This also promises to be another good one. We Show Up On Radar are just about to release a new single and know all about writing songs which are emotional and fragile yet witty and warm, much like Darren really. Elsewhere Vom Vorton, or Tom from Lardpony and latterly of Of Mice And Mental Arithmetic has previous form having contributed a fantastic version of 'The Sad Witch' to an 'Alayerofchips' compilation a fair old time ago.

Anyway it promises to be a good old night and it's on February 5th. Did I mention it's for charity, will it is, Battersea dogs and cats home and the DEC Haiti earthquake appeal to be precise. What more reason could you need?



I realise of course that these two events are both Nottingham based, but I'm local so perhaps it's to be expected. That said I want to do a weekly UK gig listing thing, hopefully starting this Friday. So keep a look out for that, and if you have a gig you'd like to be added onto it then let me know.

Make It Kinetic.

Morning! Yesterday morning I stupidly banged my little toe on a doorframe and managed to break it. As a result I'm currently in a painkiller induced fugue, and not up to concentrating too much on writing the blog. Hopefully then, you'll forgive me today for falling back on an old staple; the classic album. This may well be number 1 of an indefinite series.

Note I said classic album, not forgotten classic. Most albums that get classified as forgotten or 'lost' really aren't, they're just languishing outside of the mainstream. I mean if I was to mention 'Snowball' by The Field Mice to the majority of people on the street they'd not know what I was talking about (and their loss really) but if I talk about The Field Mice on anorak or any other indie pop type forum, then pretty much everyone will know what I mean. It's not a lost or forgotten record, it's found a niche. So yes, which pontification brings me nicely to my own little post on a classic album today. I've chosen Thunder Up, by The Sound.

The Sound were active between 1979 - 89 musically they're more often then not pegged as post-punk which in terms of when the band were active - if not completely in regards to their, ahem, sound - is pretty accurate. The band shared a record label with Echo and The Bunnymen and played with, Sheffield's mostly forgotten men, The Comsat Angels.

The Sound released 5 record between 1980 and 1987, most of which met with plaudits and wide critical acclaim, but the band never seemed to make the leap into the public conciousness, the way other bands of the time like Joy Division and The Bunnymen did. I mention those two in particular, because they were the most similar in musical style to The Sound yet managed to break out of the niche I mentioned earlier, whilst The Sound didn't. I don't know why.

There is much to The Sound's story I've not mentioned here but I would advise reading up on them if you listen to the record after I've yammered on about it and enjoy it. As I've mentioned The Sound released 5 records, they are all different. 'From The Lion's Mouth' is the best known one, it's the album that should have made them huge, and didn't. I've decided to focus on Thunder Up, because it's probably the most accessible. It's also my favourite.

It opens with 'Accleration Group' a rowdy, fast paced song which lives up to it's name and should grab you within seconds. Followed by torch aloft ballad, 'Hand Of Love' it's a sternum breaking one - two punch of an opener. Elsewhere the yell of "make it kinetic" on 'Kinetic' will worm it's way into the internal jukebox, as will the upbeat and lively horns of 'Iron Years'.

It is a really uplifting album, despite it's sometimes darker lyrics. It's got a nostalgic tinge to it, but the overall feel is one of searching for, and reaching for joy. Nowhere is this better exemplified then in lyric to Iron Years. "I'm on your side, a friend deep inside. Like the times we were so close to joy, we were so close....... I know you will be there soon"

I could go on and on about this record. But I think it's best to just leave you with a spotify link and the ability to make up your own minds. See you tomorrow.

The Sound – Thunder Up

Non-Atrocity Exhibition

One of the joys of being a blog writer, apart from the obvious one of pure narcissism, is that from time to time, people/bands/record labels will send you demos/tracks to listen to. This doesn't often happen to me so it's always a nice suprise when it does. Even more so when the tracks in question are really worth listening too.

One such arrived from Of National Importance Records recently in regards to a band called 'The Exhibition' and their new 4 track demo EP. I'm very pleased they asked me to review it, because it's really very good indeed.

The First Track is - 'The Boy And The Tearaway' The title has the slight ring of Morrissey about it, and so does the vocal on immediate listen, but once the pounding drums, swirling shoegazey guitar and impassioned vocals all start to gel, you get the sense that this isn't going to be a copy cat band, The Exhibition have a sound in their one right.

Second track - 'Things That Hide In The Dark' starts with a guitar line that reminds of 'The Rapture or maybe Factory records circa '81/82. It's tremendously catchy too, whilst retaining a dark sound that's pretty prevalent throughout the whole EP.

'Reaction' is the third track and to these ears sounds a bit like The Cribs. This is no bad thing in itself, but the band then take that as a starting point and dart off in entirely different directions. Again the strong drum sound propels this on to great things.

Final track - 'Bright New Worlds' is probably my pick of the bunch, mainly because it's anthemically catchy, a bit brighter, and perhaps slightly more rounded, but there's not much between the tracks to be honest.

All in all this is a really impressive release for a band who are still in the early days of their career, especially since it's tagged as a demo. The instrumention throughout is uniformly great as are the quality of the vocals. Yes it's possible to play spot the influence here and there, but what the band do and do well is to take those influences and mould them into something different and new. There's no reason why The Exhibition can't build on what they've done here and go onto even better things. Definitely a band to look out for in the future.

If you want to listen yourself, and you should, then you can find the EP on Last.FM here and on Myspace here

R.I.P Jay Reatard

I had my blog post all lined up for today, but I was having a gander over at Pitchfork and some messageboards and found the very sad news that Jay Reatard is dead at 29.

I only came to Jay Reatard last year, so I can't eulogise or wax lyrical about how much I knew him, or tell you anything about his personal life. Beyond the fact that he was known as a hell raiser I have no idea what he was like. It doesn't matter, what does matter is how great his music is or was, however you want to put it.

Just before we were due to travel down to the End Of The Road festival last year I put together a mix-tape. One of the songs on it was 'Screaming Hand'. The instant it came on I was tapping my foot and singing, me and Kerry just exchanging glances and clearly both thinking "wow this is amazing". Since then I've discovered that most of his music is like that; fast, frenetic, giddy and gloriously bright. He reminded me sometimes of Guided By Voices, they have that same way with a catchy melody and a short simple tune. Both were also massively prolific.

Actually that's the saddest thing for me, apart from how young Jay was; it's that he was so prolific. 'Blood Visions' in 2006, two singles collections spanning the years '06 - 08 and then 'Watch Me Fall' from last year. That he was so prolific whilst retaining musical quality only leads me to believe that there was a lot more to come.

It's always sad when a clearly great talent is cut short before reaching full potential, but he left some amazing music, (and mentioned above great memories with it) which I'll always be grateful for.

R.I.P Jay Reatard, you will be sadly missed.

I smell winter

Where does the time go? Despite my best intentions, my computer happily informs me that it's been 5 weeks since I last updated this blog. I blame christmas.

Anyway in the spirit of New Year's resolutions (and only about 12 days late on that, hurray!) I'm going to try and post something on here every single day. I can't promise it'll be anything special; maybe just a track I like, but at least it will be something.

From where I'm sitting I can see how cold it looks outside. I know that in other parts of the world it snows all the time, and it must seem odd to some just how much complaining England is doing about snow at the moment, but when it's like this all I want to do is curl up with a cup of tea and listen to something bright and happy. Thank goodness then for the new 'Ruby Suns' song.

I really like this band, I've got both of their previous records (presuming they have done two and I've not missed something), with 2008's 'Sea Lion' just shading it. I'm not necessarily sure how to describe the band, the last record had quite an african instrumental feel to it, but themed with electronica and symphonic pop. This new single, to these ears at least, sounds like Grizzly Bear or Animal Collective, and yet not quite. That's a terrible description isn't it? It's a great song though and everything I want this morning. It's over here on their myspace.

In a different but equally warming way, I've enjoyed the new 'Burning Hearts' single this morning too. It's called 'Night Animal' and it's being released by, the always excellent, Shelflife Records on 26th January. The song itself has a bit of a Saint Etienne feel to it, I think, which is obviously never a bad thing. You'd do well to hear it for yourself though, and you can do so by heading over to Shelflife now.

The 'C' word

Well, it's been quite some time since I've been around this manor, hasn't it? I've no real excuses, blame the new Xbox, a few trips to the pub or sheer laziness if you must. Me, I blame Thatcher.

Anyway enough of that, I've popped in firstly to draw your attention to a little Christmas Comp that's available, at the moment. I suspect anyone who actually reads this aware of it, but if not the link to read about it follows : -

here

I've not heard it, I will be honest, but I'm going to get it as soon as possible, as should you, especially since it's a run of 500 copies. Also it's going to be great, I can't think it would be anything but given the list of bands on there.

I should get a copy for my mum too, anything to avoid the waking terror of Cliff Richard this year.

Secondly, may I draw your attention to yet another new gem from MJ Hibbett. It's called 'I Got You What You Want For Christmas', it's has that classic opening christmas sound. Hard to explain but I think you'll understand when you hear it. It's also got two splendid videos. You can see the videos yourself over at the Hibbett and Validators website which you can find HERE. Enjoy, but be warned it's intensely catchy.

Something wicked this way comes.

The last time I mentioned the band Dead Man's Bones was in this post. I'd not really heard much news from them of late, but knew their album was coming out this month. Well, I was just skimming Spotify earlier this week and discovered that the album is up there already (it came out yesterday) so I listened and enjoyed it enough to want to blog about here.

If you want the short version, it's really a very good record and worth your pennies, or at least a listen on Spotify (you'll have to search for Dead Man Bones, since spotify seems to have a grammatical disaster on the name), or Myspace; it's streaming on their page I believe. If you want the long version, read on.

How best to describe what they do? Well I came to the album armed with the knowledge that there's is an oscar nominated actor in the band, that the songs were originally slated for a 'horror' musical and that there was fair amount of singing from a children's choir. Pleasingly all these elements are there and they all fit really nicely, if in a rather weird way.

The record starts quite slowly, it has to be said. There's an spoken word intro followed by first song proper 'Dead Hearts'. The first line of which is 'I woke up whistling by your grave'. That kind of sets the mood nicely for the record, we aren't looking at the giddy joy of 'I'm From Barcelona' here. Anyway 'Dead Hearts' is a good mood setter, the beat in the background sounding indeed like a pumping heart, there's odd percussive crashes like breaking glass and a sound not dissimilar to The Arcade Fire. It's a good start, if for me, it drags on a little too long.

The next song 'In The Room Where You Sleep' has been available on Myspace as a demo for quite a long time. Here it sounds fairly similar, the creepy organ sound intact, but it's more polished and all the better for it. The rhythmic organ line and the repeated downbeat 'you'd better run' makes the song.

After that there's 'Buried In Water'. A slow burner, which becomes something special in the last minute of the track, when the Silverlake Children's Community Choir join in and raise it into the realms of the euphoric. Actually the children's choir are a great addition to the record. It could easily have been gimmicky, or even worse like a horror version of the Saint Winifred's Children's choir (youtube at your peril) The next track, 'My Body's a Zombie For You' being a case in point. It is the epitome of what the band are about I think. A tune that sounds like it plays endlessly on the calliope at Dr Death's Circus Of Disaster, Ryan Gosling's odd 50's vocal, and some "ooh ooh ooh" backing vocals are made even better by the giddy children calling "I'm a Z.O.M.B.I.E, ZOMBIE" at the end. It's infectious.

'Pa, Pa, Power' follows, again made lovely by the harmonious calls of the children's promise that "We won't destroy you". 'Young and Tragic' follows that and is one of the definite high points of the record for me. The sole track powered only by the childrens' choir, a rolling drum and a lovely tune make it a deeper song then the young voices might have you believed. After this comes 'Paper Ships'.

'Paper Ships' sounds like it was played in a haunted cafe some 60 years ago to zombie greasers and vampirella prom queens. It's period apeing is spot on, but it creates a little bit of magic all of it's own. The 6 tracks from 3 - 8 are so strong that the rest of the record can't quite stand up to them, which stops it being an all out outstanding record. Of the final few tracks though, the title track comes close, channelling the same well of darkness that Nick Cave has mined so successfully for so long.

In closing then, as I said at the beginning it's a damn fine record. It's understandable if you've read through that review, and alarm bells are ringing in your head whilst your brain shouts "gimmick" but it's really not. Yeah, a children's choir and songs which were intended for some horroresque musical performed by an actor sounds like a gimmick, but the songs stand up for themselves. Is a gimmick needed when they could probably shift records on the strength of Ryan Gosling's name alone, I don't think so. It comes down to this. Fill a cauldron with some 50's doo wop, a pinch of Arcade Fire, a large dash of Langley Schools Music Project, elements of Beck, Beirut, and a whole dollop of weirdness, bring to the boil and then filter through a cone of evil and you might just get this record.

It's catchy, it's strange, it shouldn't really work, and yet somehow Dead Man's Bones have managed to make one of the best records I think I've heard this year. If it sounds like your kind of thing, you should definitely make time to hear it.