ALBUM REVIEW: Cold War Kids - Dear Miss Lonelyhearts

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/music-news/cold-war-kids-%E2%80%93-dear-miss-lonelyhearts-vertigo-records

Three years on and the almighty Cold War Kids are back once again, with new album Dear Miss Lonelyhearts, named after a classic Thin Lizzy track. The Californian foursome have also added in Modest Mouse’s guitarist Dan Gallucci, to which most will agree is something to be very excited about.  

Now, four albums into their career, have Cold War Kids managed to scrape back that poignancy and poeticism that their first two sublime records brought to the table, or will it suffer the same fate their past album Mine Is Yours did, disappointing fans and critics alike with its overall mundanity?

After first hearing lead single ‘Miracle Mile’, all seemed right with the CWK’s, and their brilliance seemed somewhat restored. With its thwacking piano and supercharged vocals, Dear Miss Lonelyhearts became unbearable to wait any longer for. They set the bar exceptionally high with this track, and one wonders if they might have shot themselves in the foot by putting it as the albums opener. We live and pray.

‘Lost This Easy’ is okay-ish , sounding moody and woeful with a playful experimentation of electronic backing beats. One of the best things about this band is the vocalist Nathan Willett voice, which remains as characterised and raw as it always did. However, on multiple listens (almost unrelenting, wanting the record to click to be able to dub it ‘a grower’) there is alas, no such response.

‘Fear And Trembling’ has echoed vocals and a retro saxophone element, but whilst listenable, doesn’t give you much of a knee-jerk response. There is however another flutter of brilliance towards the end of the record with ‘Jailbirds’ which is powerful and crisp, showcasing Gallucci’s musical input astutely.

Whilst the album is highly polished and heavy on production, it does lack the quintessential rawness and soul that made Cold War Kids initially so relevant and prominent amongst their peers. Better luck next time we hope.

ALBUM REVIEW: Hurts - Exile

Originally published at Gigwise: http://www.gigwise.com/news/80240/hurts---exile-sony

Hurts' debut album Happiness saw the Manchester duo experience reasonable success in the UK - but build a huge fanbase in Europe, where their slick image and ice-cold synth sounds hit home with continental music fans. With a cameo from Kylie Minogue and production expertise from the likes of The Nexus they fully deserved the success they achieved with Happiness. But does Exile live up to expectations?

Opener ‘Exile’ could be mistaken for a Muse track, while Lead single ‘Miracle’ is an instant anthem, with its lofty chorus and raw lyrics you can’t help but to click repeat.

‘Sandman’ is a tricky one, while the concept of the song (in which the sandman, y’know the man who comes in the night and sprinkles sand in your eyes) is threatened by Hutchcraft, “He will be sorry when he comes to my house, I’ll show no mercy till the lights go out”. It’s obviously a metaphor, or is it? Absurdity aside, the track unfolds into one of the best on the album.

Other highlights include ‘Only You’, ‘Cupid’ and the amazing ‘The Crow’. ‘Blind’ is another awkward one, where Hutchcraft begs an ex-girlfriend to cut out his eyes and leave him blind as he can’t stand to see her happy, be it alone or with someone else. Ex from hell? Yet again though, a mad notion that is somehow flipped on its head, and actually turns out to be startlingly good.

Exile remains powerful, polished and refined, but doesn’t quite reach the heights of their debut. Think back to ‘Wonderful Life’, ‘Stay’ and ‘Blood Tears and Gold’. Not one of Exile’s tracks is nearly to that standard. It’s certainly not dreadful, but it isn’t a progression, and if anything it’s a slight and disappointing dip in Hurts’ proceedings.

WOW

EP REVIEW: MMOTHS - Diaries

Originally published at Notion Magazine: http://www.planetnotion.com/2013/03/12/review-mmoths-diaries-ep/

Ireland’s MMOTHS, formally Jack Colleran, is an electronic musician who managed to bag a support slot on The xx’s most recent tour. This – without having anything but a single released – stands up as pretty good going for a virtually unknown, 19 year-old bedroom producer. His fans also include superstar DJ Annie Mac, who featured his track ‘Over You’ on her esteemed Annie Mac Presents compilation released late last year, and with a nod of approval from Flying Lotus too, his future is looking startlingly bright.

Diaries draws its title from a succession of photographs that Colleran (a keen photographer) took, one of which is the EP’s artwork. At six tracks long, it serves as a sumptuous spectrum of his multifaceted abilities, showcasing his alt-electronic dexterity flawlessly.

The EP’s debut single – and one of the two only vocally led tracks – ‘All These Things’ is rich in experimental technique and resonance, borrowing vocals from Brooklyn based singer-songwriter Holly Miranda; its clangs and echoed vocals resonate an acute sense of emotion. Meanwhile, opener ‘One’ sounds very much like the xx, constructing an entire atmosphere within a few seconds – and keys – of its introduction.

‘For Her’, which features Young & Sick, is a chillwave gem with a treated vocal; a technique employed again in the EP’s final track ‘Too Real’, which sounds like a throwback from the 80s, but maintains an incredibly fresh and crisp stance.

Colleran’s music finds itself in much the same vein as acts like Kodiak, Roosevelt and Aussie producer Flume: executing an infinite aptitude for creating multi-layered and interesting beats, but it’s art – and not just music – that resides in his mind’s eye.

BOOK REVIEW: Alex - Pierre Lemaitre

I was recently asked to write this book review for a French lifestyle magazine, to showcase my work.

Alex

Pierre Lemaitre

£12.99 Maclehose Press

Parisian screenwriter and author Pierre Lemaitre is no stranger to delivering dizzying plots with anxious thriller tendencies. His new novel Alex follows suit, with complex apologues running through its every vein. Lemaitre gave up a literary teaching career to pursue writing full time resulting in a string of successful novels. This is the first of his creations to be available in English, translated by the talented IFFP-shortlisted Frank Wynne.  Alex is a twist and turn novel with the intention of unapologetically gripping its reader and begging for complete attention. It starts with a kidnapping and the horrific treatment of the captive. However, the plot unfolds startlingly shocking and unanticipated details, leaving behind shattered expectations of its ending. Lemaitre has a highly accomplished writing style, small instances that initially appear minor are then divulged as crucial red herrings to the plot.  For crime and thriller lovers alike, Alex is certainly a contender for a future classic.

LIVE REVIEW: Of Monsters and Men – O2 Academy Bristol 27/02/13

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/live/live-monsters-and-men-%E2%80%93-o2-academy-bristol-270213

It’s not often that a band all the way from snowy Iceland grace the stage of The O2 Academy Bristol. The blissful Of Monsters and Men played this venue as part of their 10 date UK tour. Their debut album My Head Is An Animal was released last year and peaked at number three in the UK, number one in Ireland and Austria and a succession of other high positions across the globe.

The band, who have been together since 2010 were signed to Record Records after  playing a number of dates in their native Iceland and being invited to perform on the radio station Iceland Airwaves.

It was an opportune time to unleash their brand of thoughtful and beautiful folk music upon the world, in the wake of bands such as Mumford and Sons and The Lumineers, our ears were ripened to these dulcet and sensitive tones.Their singles ‘Mountain Sound’, ‘Little Talks’ and ‘Dirty Paws’ were received with a burst of adulation from the crowd. The six-piece frequently interacted with the audience in their very Icelandic manner, being softly spoken, thankful and humble.

Co-female vocalist Nanna Bryndís Hilmarsdóttir, sounding much like a softer Florence seemed almost startled by the crowd, but her rendition of ‘Skeletons’ by The Yeah Yeah Yeah’s was unexpected and chillingly superior. They had hired a young, blonder haired girl to tour with them, and every five minutes she would change instrument, from a big drum to an accordion to a trumpet.

Co-male vocalist Raggi" Þórhallsson was also a pleasure to behold, a favourite moment was when he told the crowd, “This song is about a very tall man, a lake and a house, and it’s called... Lakehouse.” As a band, and their music says the same, they seem very innocent and unspoilt, possibly a product of their rural and simplistic upbringings in Iceland. It must have been a culture shock to tour the UK.

Of Monsters and Men were played absolutely blinding set, and there was a strong sense of pleasantry and peace amongst the crowd. On the way out, all that could be heard was how amazing they were live, and how it more that exceeded people’s expectations. 

ALBUM REVIEW: Post War Years - Galapagos

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/albums/post-war-years-%E2%80%93-%E2%80%98galapagos%E2%80%99-chess-club-records

18 months after their astounding debut LP The Greats and the Happenings,Post War Years have had a radical change in location, opened shows for Mumford and Sons (which yes, is a thing to be very proud of) and toured the album relentlessly.  After all that, the band have come up trumps with a sharp, clever and intelligent follow up LP – Galapagos.

The four-piece packed up and left the aristocratic and semi-rural town of Leamington Spa, for a dingy/squatty warehouse come living space in East London, where they recorded the album. It is rumoured to have been a fraught and at times difficult process for the band, who allegedly argued excessively whilst recording.  

Galapagos is still the same old synth and hook heavy sound that we loved from their debut and is rich in opulence and indulgence in that atypical 80’s manner. To define them by genre is tricky, while they look like your run- of-the-mill l indie band on the surface, they are very much a progressive rock synth band with lashings of personality and creativity.

The band have befriended Manchester quartet Everything Everything, an influence that can be heard in on the LP. Whilst they wear their inspirations on their sleeves, every track has its own stamp, and never drifts into the dangerous realms of imitation. It’s the kind of album where it is near impossible to choose a favourite track. Each has its own awkward charm and intense narrative, and sonically they are operating on a very sophisticated level. This will no doubt be the album that will make Post War Years, promising longevity and a full bank of creativity just waiting to be further unlocked. 

ALBUM REVIEW: Bastille - Bad Blood

Originally published at Gigwise: http://www.gigwise.com/reviews/79951/bastille---bad-blood-virgin

Having recently scored a huge hit single with 'Pompeii' and currently on a hugely succesful UK tour fans can breathe a sigh of relief - debut Bad Blood is every bit as thrilling and unique as everyone had hoped for.

For those who aren’t acquainted with the bands back-story, they haven’t miraculously appeared from nowhere as it may seem on the surface (having shot to mainstream fame in the past six months), having actually formed in 2010. Their sickly sweet (but loveable) tune ‘Flaws’ was born then but was only widely recognised after the music video went viral. (Over 1 million views on YouTube) resulting in it peaking at 21 in the UK last year.

Opener and second single ‘Pompeii’ closely lost out on this week’s number one spot to Justin Timberlake’s ‘Mirrors’ The track is hyper-infectious, energised and quite unusual with its choral opening, and let’s be honest, coming second to JT was inevitable and unavoidable.

Bastille are heart-on-sleeve, raw, and however much you try and resist them (and the cynic in you wants to wince at their twee romanticism that teeters on the edge of corny at times) you will no doubt succumb to their charm.

‘Things We Lost in The Fire’ is another emotionally charged, anthemic beauty, with bright metaphorical lyrics and swooping vocals. Title track ‘Bad Blood’ is crisp and lovingly constructed and is yet another residing sonnet to a lost love, a recurring theme throughout the album, with ‘These Streets’ also following suit.

What’s acutely refreshing about Bastille is that their brand of catchy, neo-synth pop is coming from somewhere real. The heartache and emotion Smith sings of are all his own. While the One Directions and Taylor Swifts of the pop world are mere puppets to a corporate machine, Bastille have bought something new to the table, managing to resuscitate the mainstream with some authenticity and creativity, and do so with the most catchy and experimental approach possible.