indie
joe.muggs
There's no doubt about it, Hayden Thorpe has the most manly falsetto in modern music. It's not the wheedling whine of the post-Radiohead generation of indie sadsacks, nor the haunted and haunting quaver of an Anthony Hegarty, nor yet the introspective musing of a James Blake. Rather it's a completely assured and controlled instrument, comparable only to the intense wail of the late Billy McKenzie (The Associates). And it's just one of the entirely distinctive features of the sound of Wild Beasts – a band who seemingly operate unbound by scene or genre dictates and are, ironically, all the Read more ...
joe.muggs
While rumours of the album's demise may well have been premature, the digital age certainly does present increasing challenges when it comes to getting punters to keep and treasure music. Of course, really it all went wrong with the CD: those irritating plastic cases with hinges and catches guaranteed to snap off and get hoovered up, the booklets you have to squint to read, the discs that slide under car seats or behind radiators. Even “deluxe collectors' editions” were never going to be all that glorious compared to a big slab of vinyl or two and a lavish gatefold record sleeve. MP3s might Read more ...
Kieron Tyler
The self-titled debut album by London-based three-piece Rayographs is one of those surprises you hope for - a virtually unknown band referencing little that’s going on right now and capturing it in long-playing form with panache and a compelling vision. On this evidence, Rayographs are the spooked-out, somewhat cross third-generation offspring of early ballroom-era Jefferson Airplane.Opening cut “In Her Light” lays it out. The atmosphere is psychedelic, the mood vexed, the rhythm taught, the whole ragged. Throbbing out from under an oil-wheel light show, Rayographs would have inspired plenty Read more ...
Kieron Tyler
“I thought I was creating metaphysical history by running Creation,” says the label’s Alan McGee in Upside Down. Seconds later the meat-and-potatoes rock of Oasis blasts from the soundtrack. The drug-assisted disconnect between such lofty aspiration and the grounded music of Oasis was never going to be bridged. Even by the man billed as “the president of pop”.Creation Records was destined to go down the tubes at some point, and the success of Oasis hastened that fate (Noel Gallagher of Oasis, pictured below). Luckily, unlike great British failures like Eddie “The Eagle“ Edwards, Creation Read more ...
howard.male
Even the cover artwork refuses to conform, breaking the first rule of graphic design by utilising a dozen different typefaces and alternating upper and lower-case lettering for maximum optical anarchy. In fact, the inference is that we should play by Merril Garbus’s rules by typing “tUnE-YaRdS” rather than “Tune-Yards”. Such wilful solipsism could be interpreted as pretentiousness, but after several listens to this New England lass’s second album I’d be more than happy to write her band’s name in raspberry jam with my finger, if that was her wish.Once in a bright blue moon some new music Read more ...
Kieron Tyler
“I thought I was creating metaphysical history by running Creation” says the label’s Alan McGee in Upside Down. Seconds later the meat-and-potatoes rock of Oasis blasts from the soundtrack. The drug-assisted disconnect between such lofty aspiration and the grounded music of Oasis was never going to be bridged. Even by the man billed as “the president of pop”.Creation Records was destined to go down the tubes at some point, and the success of Oasis hastened that fate (Noel Gallagher of Oasis, pictured above). Luckily, unlike great British failures like Eddie “The Eagle“ Edwards, Creation Read more ...
Veronica Lee
To describe this movie as slow-burn would be like saying snails live in the fast lane. The latest work from indie auteur Aaron Katz (Dance Party USA and Quiet City) who wrote, directed and edited, is 97 minutes long, but nothing happens for its first third and then when things do start happening - as the lead characters investigate the disappearance of a friend - the film abruptly ends. It may be layered with all manner of subtexts but they pretty much passed me by.Doug (Cris Lankenau) has dropped out of college in Chicago and moved back to his home town of Portland in Oregon to share a flat Read more ...
Russ Coffey
For weeks there have been rumours that the new Metronomy release would be electronica that would appeal to people who don’t really listen to it. The last bit, at least, is true. I don’t listen to much of that genre and yet every time I get to the end of The English Riviera I can’t resist hitting repeat. But here’s the thing - it’s not really that electronic. It’s what Metronomy man main, Joseph Mount, describes as “electronic music played using as many real instruments as possible”. And what that adds up to is a glorious mix of lo-fi, indie, pop and dance, with a fair few synths thrown in. Read more ...
Kieron Tyler
Drummers that sing lead are rare. Ones that sing while pounding away like Keith Moon are even rarer. Denmark’s Treefight for Sunlight are a talented lot, a four-piece who all sing, with three taking the lead. These are the vocals that drive the band and their melodies. Chuck in a wodge of psychedelic nous and you have an art-pop combo that can raise smiles and even the odd scream in hyper-cool Shoreditch. There’s little back story. From Copenhagen, Treefight for Sunlight formed in 2007. Their first single "Facing the Sun" was issued last May by Tambourhinoceros, the label run by a couple Read more ...
Kieron Tyler
Post-rock shares more with prog rock than six letters. Both are rock music that doesn’t want to rock, be rock and are beyond quotidian rock. Of course, these labels are never self-defined. But post-rock is what Austin Texas’s Explosions in the Sky are lumped in with. Unlike prog rock, it’s not about flash technique. A guitars-and-drums four-piece, their instrumental music is about texture, rather than melody or verse-chorus-break structures. Sixth album Take Care Take Care Take Care doesn’t take them to new places though. It restates who and what they are.The last Explosions in the Sky album Read more ...
Russ Coffey
After a couple of false starts, former Beautiful South frontman Paul Heaton’s last solo album finally received the high critical praise of the old days. But at 49 you can’t imagine him really caring too much about anyone else’s approval. This is the ex-alcoholic, after all, whose last tour was conducted by bicycle around the pubs of the North of England, who unashamedly told the world he was once a football hooligan, and who once set up a community bike park in Hull. When they made Heaton, they sure as hell broke the mould.Stylistically, Acid Country, the new(ish) album, finally echoes much Read more ...
Kieron Tyler
Low undeniably create a music of rare beauty. Elegiac and affecting, their unhurried evocations of intimacy urge reflection. They've ploughed this furrow for a while though. C’mon is Low’s ninth album. Their first was issued in 1994. Things are refined and occasionally tinkered with – 2007’s Drums and Guns was fitted with some ill-suited glitchy beats. But the sonic core remains. Is this stasis enough to sustain 17-plus years?C’mon is hugely seductive, the slow, distant, Mogadoned power-chord squall of “Witches” pulling you into something like a half-asleep Crazy Horse. “All you guys over Read more ...