Showing posts with label Catherine Elliott. Show all posts
Showing posts with label Catherine Elliott. Show all posts

Wednesday, 4 November 2015

LIVE: Swim Deep @ The Roundhouse, Camden 22/10/15

Written for Gigwise: http://www.gigwise.com/reviews/103437/swim-deep-live-at-the-roundhouse-review



Brummy five-piece Swim Deep were born out of the B-Town wave that emerged in 2012, but were always slightly in the shadows of their contemporaries Peace. That being said, Swim Deep did form part of a bigger picture that, at that time, was hazy dream-pop at its best.
Two years on, Swim Deep are back, touring with new album Mothers, (an ode to, you didn't guess it, “the mother of the universe”). It's a startlingly different offering - less drizzly Brit-pop, more, in their words,”psychedelic sex music”.
Austin Williams and co emerged onstage to the Jurassic Park theme; a momentous entrance that reeked of confidence, albeit a necessity if they were to pull off this huge swerve in sound. The need to double-take was in order, it was Swim Deep... on acid, as it were, no more knock kneed indie sensibility, more space ships and holograms – an unbelievable transformation.
From the Human League frenzy of ‘Grand Affection’ to the sassy saxophone accompaniment on ‘One Great Song and I Could Change The World’, it was a bonanza, with a pirouetting dancer, no less, amid the stage for their epic new psychedelic trip of a song ‘Fueiho Boogie’, an eight minute long banger that has to be heard to be believed.

Swim Deep’s show was an absolute mashup of genres, managing to be ravey and retro all at once. With a few years on the scene and, (we could be forgiven for thinking) their fair share of opiates, it seems that Swim Deep have made a point of actively casting off the shackles of their B-Town routes, and in turn are shining in a way that we could never have anticipated.


Tuesday, 3 March 2015

ALBUM REVIEW: Moon Duo - Shadow of the Sun (Sacred Bones Records)

Written for Middle Boop Mag: http://www.middleboopmag.com/music/albums/moon-duo-shadow-sun-sacred-bones-records


Moon Duo is the side-project of guitarist Ripley Johnson from the band Wooden Shjips, he is joined by former school teacher Sanae Yamada on vocals and keyboard, both from Portland, Shadow of the Sun being their third LP.
The record is instantaneous, with just the right blend of psychedelic, bleeding guitar work and anolog electronics. Just as the album artwork depicts, it is a journey into their minds through compelling artistry, with many a nod to the past.
Their droning yet poignant vocal style and feverish beats are disarming - with acute sensation delivered in a tangible and infectious mode, especially on tracks ‘Free the Skull’ and ‘Zero’. ‘In a Cloud’ is psych rock precision - honeyed riffs set aside the playful hues of an intertwined male and female vocal, with the gentle background thud of the reverb.
However dream-like and accidental Shadow of the Sun may appear, their knowledge of music is clearly decipherable, each strung out-riff completely stylised and on purpose.
The nine tracks are a weird spell that keeps the listener enchanted, completely engaged and hypnotised without breaking focus. There is nothing sentimental about Moon Duo - their sound is without all of that peace and love narrative which can often come into play in this particular strain of rock, often diluting its wonderful trippy power. Interesting, spacey yet completely controlled, Shadow of the Sun is an instant pleaser.

Friday, 3 October 2014

LIVE REVIEW: Darlia @ Thekla, Bristol 26/09/14

Written for Middle Boop Mag: http://www.middleboopmag.com/music/live/live-review-darlia-thekla-bristol-260914



Blackpool trio Darlia have been touted “The most exciting new guitar band in the UK” by various, high-profile media platforms. Trouble is, these grandiose statements are thrown around so loosely these days that they don’t carry nearly enough clout as they should. That said, Darlia are a very important band right now, their gig at Thekla provided an insight into why, and to the steady momentum that Darlia have built up nationwide.
Front man Nathan Day’s dead bleached hair could be spotted under his black fedora, his heavily charcoaled eyes oozing confidence and almost derisory nonchalance toward the on looking crowd - who in stark contrast were a sweaty mangled mass of anticipation, hysteria and post-teen angst.
It really is quite hard to find a new band to believe in, to invest in and to obsess over – a lot of us are left feeling quite un-stimulated by today’s guitar music. It seems that new bands are completely transient - as the underlying ‘money making’ aim from their labels seems to stifle and dilute, making sure that they don’t lean too far into a particular sound, as to not alienate anyone who might come under the ‘alternative music market’ umbrella that they're trying to engage. Darlia has somehow managed to cling onto a strong sense of identity, with their dark lyrics and 90’s grunge bravado.

What Darlia upheld throughout the gig was an unmistakable confidence in what they were doing. Storming through their string of absolute blinding tracks including ‘Dear Diary’, ‘Candyman’ and ‘Queen of Hearts’, drummer Jack Bentham was topless and gleaming with sweat, Day strutted around the stage with an air of pure arrogance whilst guitarist Dave Williams seemed almost turned on by the sound of his own guitar. It was dirty. It was conceited. It was absolutely perfect.

Tuesday, 23 September 2014

ALBUM REVIEW: The Growlers - Chinese Fountain (Everloving Records)

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/albums/growlers-chinese-fountain-everloving-records



The Growlers, now on their fourth album Chinese Fountain, have claimed this to be their ‘most polished’ release to date. They’re kind of like these grungy LA hipsters that constantly release a stream of sick music, host their own festival in LA each year, and just generally jam over at Venice Beach.
Their sound very much falls into the subgenre of ‘Beach Goth’ (which coincidentally is what their festival is called) – known for its country, surf, pop and rock strains. Their best attribute is vocalist Brooke Neilsen’s amazingly brilliant gravelly and unmistakable voice.
‘Black Memories’, is a nice little moment, sounding a little like the ‘funk’ (for lack of a better word) of the early Police records. ‘Dull Boy’ is another one worth a listen, with its bouncy, walking down the freeway vibes, ‘Good Advice’ follows in a similar fashion.

Their previous standout tracks like ‘One Million Lovers’, ‘Humdrum Blues’ and ‘Hiding Under Covers’ are actually all on a different level from all of the tracks on Chinese Fountain. The album does pick up near the middle though, but nothing quite beats those previous gems. The lyrics remain wise and insightful, telling real stories of their human endeavours with love, their own minds and the world in general.
That said, The Growlers are in short, everything that a band should be. Their music is flawlessly rough around the edges, incredibly melodic yet filled with hooks and spirit. There was quite literally no need to slather it in lack polish - a psychedelic infused slice of raw Americana that needn't have been tampered with.

ALBUM REVIEW: PAWWS - Sugar EP (Best Fit Recordings)



PAWWS, formally Lucy Taylor describes her music as, “upsetting disco”. Which to many probably sounds rather morose, but to fans of this sort of thing which there most certainly are (think Chvrches, or, in many respects Robyn) it does sound despondently appealing.
 
Who doesn’t love a new-wave vocal over a sugary, 80’s synth-pop background? This is what Lucy does so marvellously on new EP, Sugar. Signed to Best Fit Recordings and classically trained in both flute and piano, Lucy has been a session musician for both Bloc Party’s Kele Okereke and MGMT, which is pretty sweet exposure, giving her the platform and the hands on experience and drive to decide to create her own music.
 
Sugar is made up of four tracks – starting with the title track. ‘Sugar’ sounds almost like Kylie Minouge, a throwback to the 80’s for sure, with simple, glittering synth keys and her angelic, almost childlike voice.


 
‘Outside’  is again 80’s-centric, refined disco which is emotionally powerful.  “Will I ever get love, don’t know if I’ll ever have it in my heart, I feel like it has all run out”, she coos, Lucy has previously mentioned that she had found the writing process of the EP, “extremely cathartic on a personal level.”
 
‘Give Your Love’ is pop at its best, sleek and stylish all the while remaining poppy and fun. The EP ends with ‘Just Be Kind’, which was purposefully the last track, in line with the ending of a relationship.
 
What Lucy has come up with on this EP is just consistently great music. The strength of her first single alone, ‘Time To Say Goodbye/Slow Love’ from last year grabbed the attention of and got her signed with Three Six Zero, who are affiliated with Roc Nation, with this in tow, Sugar will hopefully create the same catastrophic waves. 

Thursday, 4 September 2014

ALBUM REVIEW: James Yorkston - The Cellardyke Recording And Wassailing Society (Domino Records)

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/music-news/james-yorkston-cellardyke-recording-and-wassailing-society-domino-records




This release marks James Yorkston’s sixth full-length LP of original material, his last release was 2012’s I Was A Cat From A Book. With collaborations aplenty, nothing much has changed on first listen – the record seems to naturally follow suit in that dreamy, soothing way that we have grown to love.
Yorkston has consistently been able to create a very specific mood through his ability to storytell with the world that he draws the listener into - images of a gloomy, insignificant Scottish town dance around your subconscious, and the feeling of being trapped within the obsolete.  
 His relationship with his children is also touched upon, along with the everyday heartbreak of just being a human being, toiling with the push and pull of responsibility, whilst desperately still trying to hold onto the notion- only if for a second – of being free.
An appearance from Hot Chip’s Alexis Taylor on the production side is a wonderful interjection of something a little different to the record.  ‘Guy Fawkes Signature’ is a spoken word piece – with the gentle tones of fellow Scott KT Tunstall, Taylor’s Hot Chip-esq steel drums pirouetting in the background.  Other appearances include The Pictish Trail, Emma Smith and a little more from Tunstall.
CRAWS is 16 tracks long, a perfect treat for those music fans who enjoy to wallow and slowly digest in an album, returning again and again, whilst more and more of the essence of the record becomes clearer. It’s an incredibly comforting yet sombre creation, and is worth your full attention.  

Tuesday, 22 July 2014

LIVE REVIEW: Jagwar Ma @ Old Crown Courts, Bristol 12/06/14

Originally published at Gigwise: http://www.gigwise.com/reviews/91787/jagwar-ma-@-old-crown-court-bristol-12062014


Last night, Jagwar Ma played an old crown court in the backstreets of Bristol – and as you can imagine, it was unbelievably awesome. The gig was part of the Lumia Live Sessions, their concept – to showcase emerging artists in the most unusual of settings. Before this show, the sessions have hosted Ella Eyre in a fairground museum in Devon, and Years and Years in a disused tube station in London.
The abandoned courthouse still has its original courtrooms, holding cells, jury boxes and grizzly ageing decor. It made for an incredibly eerie setting, but highly complimented Jagwar Ma’s grungy, almost anarchic presence. A rave in a courtroom, made up of competition winners, who collectively seemed to be their most diehard of fans.
The band were situated in front of the judge’s bench, with fans surrounding them all the way round the courtroom. The room was darkly lit and the acoustics provided by the incredibly tall rustic ceilings were amazingly brilliant.

Jagwar Ma, made up of front man Gabriel Winterfield, guitarist Juno Ma and bassist Jack Freeman played with everything they’d got, opening with ‘What Love’, a ravey little number to get the crowds juices flowing. Gabriel bought his typical ragged, Stones Roses frontman attitude, wearing classic Adidas and leopard print socks.
They played all of their best-known tracks including ‘Uncertainty’, ‘Man I Need’, ‘Exercise’, ‘Let Her Go’, ‘Come Save Me’, and ‘Four’. It was incredible, made up of hit after hit, making for a neat little set, performed with passion, soul and irresistible beats. The volume was incredibly loud and the energy from both the band and energised fans was electric.

Finishing with ‘The Throw’ – their breakout single - the crowd completely lost it. There was one guy in particular, who was almost in tears at the pure elation at how good the whole thing was. Jagwar Ma had obviously clocked him, and noticing how passionate he was, signed his vinyl and gave him one of their plectrums. From a live show, there was nothing left to give. It was perfection, and pretty much iconic.

Photo credit: Rebecca Cleal 

LIVE REVIEW: Angel Olsen @ The Lantern, Colston Hall, Bristol 10/06/14

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/live/live-angel-olsen-lantern-colston-hall-bristol-100614



Angel Olsen is a folk singer from St. Louis, Missouri. She and her band are currently touring her second studio album, Burn Your Fire For No Witness. It’s been two years since her critically acclaimed debut, Half Way Home, and there has been a slight switch up in style.
Her debut was a collection of wispy acoustic numbers that very much harked back to the 1940’s. Her new record has switched from acoustic to electric, gathering a greater deal of momentum and propelling the singer up even higher than before.

Burn Your Fire For No Witness on record, is completely commanding. It is almost hypnotizing, as the pain and passion bleeds through the speakers. But live, at Bristol’s Colston Hall, well it was a particularly special show, the audience entranced and completely silent, in awe of this amazing artist.
This Bristol date was the last stop on her seven-stop UK tour. Angel, throughout her performance, had her fans in the palm of her hand, singing straight into the crowd with a devout, almost unblinking stare. It was utterly mesmerising.

Between tracks, she would crack jokes, simply to lighten the mood, and they were actually really quite funny. Closing with ‘Sweet Dreams’, Angel and her band thanked the crowd profusely, and as they left the stage there was a common consensus that everyone wanted just a little bit more of the remarkable Angel Olsen. 

Photo credit: Rebecca Cleal 

Wednesday, 14 May 2014

PREVIEW: Bath In Fashion

Written for Shoon, appears on the company website. http://www.shoon.com/articles/this-weeks-bath-in-fashion.htm



Bath in Fashion is upon us once again, a glorious week of programming that celebrates the British fashion industry; its origins past and present. It’s a time when the picturesque city comes alive with street-style, fashion celebrities and a wealth of exciting events for everyone to get involved with. These include style debates, stage workshops, style counsel, exhibitions and installations.


This year, it’s the turn of fashion giant BIBA, marking their 50th anniversary. It’s a time for celebration, reflection and insider know-how. Starting life as a London fashion store in the 60’s and 70’s, BIBA had a humble beginning, stocking affordable fashion for its customers. BIBA is now housed by House Of Fraser, and its creator Barbara Hulanicki will be leading the talks, joined for a debate by former Fashion Director from The Telegraph, Hilary Alexander.
Other guests include Meadhame Kirchhoff – cited as the most creative duo at this years’ London Fashion Week, as she talks about her work with Sarah Mower, from Bath, who is currently the Contributing Editor of American Vogue. 
Other speakers include Mary Homer, MD of Topshop and Clarks’ creative designer Paolo Gabreilli as part of the Fashion As a Business segment of the week.

Bath in Fashion Pavillion is a main feature and will showcase a programme created in partnership with Selvedge Magazine, visualising the imagination and poignant skills of local craftsmen and women from the area and beyond. 
Nina Campbell, (below) will also be hosting a master class on interior design, which will explain how she uses colour, texture, lighting, art pieces and flowers to create the perfect indoor space.

Thursday, 8 May 2014

ALBUM REVIEW: Foster The People - Supermodel

Originally published at Gigwise: http://www.gigwise.com/reviews/89568/foster-the-people---supermodel-columbia




Californian three-piece Foster The People are best known for their breakthrough single ‘Pumped Up Kicks’, which was released in 2010. Front man and former jingle writer Mark Foster essentially dressed one of America’s historical tragedies (The Columbine High School massacre of 1999) in a happy hat, and a worldwide hit ensued. It was a good song, but the dark narrative was a strange juxtaposition against the cheerful whistles and happy-go-lucky beat.

A self-titled EP and their debut album Torches (which includes singles ‘Helena Beat’ and ‘Call It What You Want’) followed, and did do exceptionally well across the US, Australia and Britain. The following singles followed the same formula, and Foster’s jingle-writing background is very apparent, their music does lack a certain depth, but bloody hell it’s catchy.

‘Coming Of Age’, the bands lead single from new album Supermodel, is pleasant – an easy, universally identifiable narrative about (you guessed it) coming of age, set against sugary sweet, LA- centric indie/pop and syrupy guitars reverbs.



The album is said to be a comment on fame and how it can change people, and how those around you can also change as a product of the (what I imagine to be the most minimal amount of) fame. It’s a nice idea, but doesn’t carry much weight for the FTP guys, who are still relatively new on the scene, and haven’t really done that much yet, in the grand scheme of things.

The record on the whole is fine, but isn’t really anything to get too excited about, it’s pretty transparent, and different songs seem only to mimic their influences, take ‘Fire Escape’ which just screams Bon Iver, or ‘Ask Yourself’ which is essentially Talking Heads territory.

A second album from Foster The People is like being offered seconds of a meal that you didn’t really enjoy that much anyway, you’ll have a bit more, you suppose, you guess it would be rude not to, but you could really have done without that last slice. 


ALBUM REVIEW: Cheatahs -Cheatahs

Originally published at Gigwise: http://www.gigwise.com/reviews/88577/cheatahs---cheatahs-wichita




Cheetah’s self-titled debut was created in an old, stone-floored cottage in Devon - which is a strange setting to imagine a record like this to have been born in. Their self-titled album sounds as its cover connotes – fiery, decollate, hazy and slightly Americanised – a far cry from the chocolate-box, parochial setting in which it was indeed crafted.



The American sounding grunge hue clearly derives from the drummer and producer of the record, San Diego born Dean Reid. Vocalist and lead guitarist Nathan Hewitt , originally from Canada, and James Wignall (guitar, vocals) from Leister, met whilst working at a bar in Camden. The pair became great friends and eventually in 2010, after years spent messing around in numerous punk and rock bands, decided to form a band of their own. Cheatahs was born.

The four-piece went on to spend a couple of months touring the US with surf rock stoners Wavves and FIDLAR before completing the album, you’ll find many a nod to both bands mentioned on the record, which was finished off in an east London studio when the band returned home.

Cheatahs have managed to come up with an album that sounds so utterly nostalgic and familiar, whilst steering clear of those often copyright infringing tendencies that put other bands like this in the ground before they’ve even taken off. Think Nirvana, Interpol and even Tame Impala – the record is a haze of low-fuzz, moody rock homage, washed out and distorted down to a T with little room for complaint.

Wednesday, 19 March 2014

LIVE REVIEW: Bombay Bicycle Club - O2 Academy Bristol, 12th March 2014



Bombay Bicycle Club are our very own home grown, quintessential indie band. The fresh faced poster children of their generation – but can their fourth album in four years, a fast turnover for any band, do enough to keep us interested?
BBC dove in with their game changing debut record (I Had The Blues But I Shook Them Loose) back in 2010, followed it with a folk-acoustic offering (Flaws), dabbled in art-rock shoegaze (A Different Kind Of Fix) and have now added beats and loops on their current album So Long See You Tomorrow. They have fearlessly done the unthinkable – considerably reinventing their sound with each album, pleasing current fans and keeping them thoroughly refreshed, whilst attracting new ones in their droves.
Their fantastic new album has finally taken the idiosyncratic North London foursome to the lofty heights of the number one spot, which is surprisingly their first. What an achievement - the entire LP was also their first to have been entirely self-produced– promising wholly raw talent and hopeful longevity for this superb band, without needing to hide in the shadows of impressive producers.
Most bands are either loved for their ‘happy’ or ‘sad’ music, it’s not often that a band can receive equally strong reactions live to these opposite ends of the spectrum. Their live show did just that, sweeping us up in the dizzy euphoria of ‘Carry Me’, back down to the bashful heartache of‘What If’.

Having spent the last year travelling Turkey, India and Asia, Front man Jack Steadman is said to have drawn the exotic influences on the record from these travels, finding not only himself – but the true essence of the band, as trite as that sounds. ‘Feel’, another gem from their latest record was an amazing moment live, and gauging the crowds response to this unusual swerve in sound – it seems these risks have well and truly paid off.

Their performance was a whirlwind or colour and noise through their impressive back catalogue, mixing the old with the new, cherry picking from the best with no vanity filler ballads or boring, overly long instrumentals. The audience was excitable and completely consumed throughout. 
They have in the past, (and still to this day) been criticised for lacking an identity. But does having a number one album suddenly mean that they should start smashing up their guitars and making grandiose statements about the state of ‘modern music’ during their live shows now? They are a band of few words, with art and craft at the forefront of their imaginations.

LIVE REVIEW: Anna Calvi - Komedia, Bath - 12th February 2014


Armed with shimmering second album One Breath and her Fender Telecaster guitar, British singer/songwriter Anna Calvi is back on tour, playing a modicum of European and UK dates. Her self-titled debut album won the once-shrinking-violet countless awards and a 9/10 from NME, a modern day rarity. 
With a blue sunny sky graphic as her backdrop, Calvi looked every bit as stunning and intriguing as before. As a performer, Calvi is irresistibly alluring – effortlessly commanding the attention of everyone present with an entrancing yet humble stage presence.
The Domino Records protégé opened with ‘Suzanne and I’ - a firm fan favourite from her debut. ‘Sing To Me’ oozed confidence and unmistakable sincerity about her craft, and the stunning ‘Cry’ was every bit femme fatale as it needed to be when played live.

Her cover of Bruce Springsteen’s ’Fire’ was the moment of the night for most, and her version of ‘Desire’ was incredibly special. Calvi’s encore was a real chance for her free, less inhibited side to shine. She barely spoke throughout the performance, which added even more to that undeniable mystique that wasn’t compromised once throughout the evening.
Calvi has previously spoken about once having a phobia of singing, and called it a ‘block’ on wanting to hear her own voice, this is probably the driving force as to why her vocals and guitar are now so acutely in harmony, having learned both skills at different times. Tonight was an intense, un-punctured performance from an incredibly exciting artist.

Thursday, 28 November 2013

LIVE REVIEW: Kodaline @ O2 Academy Bristol 18/11/2013

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/live/live-kodaline-o2-academy-bristol-18112013


Radio friendly. Soft rock. One for the mums. These are some of the connotations that your mind may subconsciously throw up at the mention of Kodaline, and you could be forgiven for this for it’s certainly how they’ve been packaged. You’ll probably recognise them from tracks like ‘High Hopes’ and ‘Love Like This’, which are played religiously on the hour, every hour on Radio One.

Essentially, the Irish four-piece are all of these dreadful things, but (hang on in there) they were bloody good live, and their album In A Perfect World is bloody fantastic too, despite it all. They’ve been compared with Coldplay, Muse and The Script, so they really are a mixed bag of what some people might call 'easy listening'. 
The gig was comprised of 30 something’s and swooning teenage/a little older girls. Their album washed appreciatively over the crowd as they fiercely and some a little too intensely (listen to ‘High Hopes’ and imagine the person next to you wiping a tear from their eye and singing along in a rather wobbly voice)  lost their minds to their biggest hits.  

It was easy, it was pleasant, and for a gig on a Monday night after a rather messy weekend, they were just what the doctor would have prescribed, if doctors dabbled in events based remedies.  I entered the building jaded, over it before it had even begun. I left a fan, and listened to the album on repeat for upwards of a week. To all your high-brow muso's out there, initial thoughts deserve to be cast aside on this one. 

LIVE REVIEW: Disclosure @ O2 Academy Bristol 16/11/2013

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/live/live-disclosure-o2-academy-bristol-17112013


The Disclosure brothers, Guy and Howard Lawrence kicked off their eight-date UK tour at Bristol’s O2 Academy on Saturday night. The pop/house duo have been extremely busy since the release of their debut album Settle (which reached number one in the UK back in June) and their smattering of top 10 singles including ‘Latch’, ‘You And Me’ and ‘F For You’. The pair also played just about every summer festival going, and have just finished off a string of US and European dates.
Support came from Aussie music whizz- kid producer Flume, could there have been a better warm-up? Flume set the tone of the evening with his experimental and avant-garde beats, and took it beyond a gig, coupled with the fact is was a Saturday night, his tracks ‘Sleepless’, ‘Insane’, ‘Holdin On’ and ‘On Top’ went off in a huge way.

Disclosure’s sound was crisp, their set flawless, yet there was noticeably a certain lack of atmosphere. The boys didn’t really talk much between tracks, and it felt as if they were hammering through their set in the same fashion a check-out operator might idly scan through someone’s grocery shopping. It lacked a certain something, and although a joy to hear all of their summer infused tracks in succession, it felt as if you may as well be hearing them in some club played out by the resident DJ.

The highlight of their set was on last track ‘Latch’, which debuted at number one in the UK back in spring. Vocalist Sam Smith came to join them on-stage and his silky smooth vocals echoed around the room. The Disclosure album seemed to divide opinions, some found it amazing, some even stated it the best thing to happen to current dance music, others found it monotonous and sterile. This difference in opinion may well be true of their live shows too, but coming from a huge fan of the album, it was overall rather disappointing.

ALBUM REVIEW: Pink Martini – Get Happy (Wrasse Records)

Originally published in the print edition of French Entrée: November/December 2013. 



Pink Martini, fronted by China Forbes, formed in 1994. Get Happy is the groups’ sixth album, and sees the self titled ‘little orchestra’ doing what they do best, playfully genre hopping from classical, latin, jazz and classic pop. 



‘What‘ll I Do?’ is a highlight, with its spine tingling romanticism. Legendary singer/composer Rufus Wainwright also lends his delectable vocals on tracks ‘Kitty Come Home’ and ‘Get Happy’. 

Their glamorous blend of cafe culture ambience is nothing short of remarkable, with lyrics in German, Spanish, Japanese and Turkish. Get Happy is eclecticism at its very finest, to be enjoyed with a crisp glass of white on many a dusky summers eve.  


BOOK REVIEW: Bon Courage! A French Renovation in Rural Limousin, By Richard Wiles

Originally published in the print edition of French Entrée: November/December 2013. 


Author and journalist Richard Wiles is famed for a succession of DIY books, and was previously Senior Editor of Ideal Home Magazine. After a failed marriage and the loss of said job, Wiles felt compelled to embark on an ultimate DIY adventure all of his own. He, along with new partner Al, decided to renovate an uninhabitable, rodent infested barn in the picture perfect Limousin region. 

This autobiographical account of their trials and tribulations, titled thoughtfully Bon Courage (which is a French tongue- in-cheek expression, nodding knowingly to the enormity of life’s necessary and unexpected renovations) is a charming, easygoing and insightful read, and serves as great inspiration to anyone who is contemplating their own similar project. 

Sunday, 20 October 2013

EP REVIEW: Best Coast - Fade Away

Originally published at Planet Notion: http://www.planetnotion.com/2013/10/18/ep-review-best-coast-fade-away/


It’s been a year since California’s favourite revivalist duo Best Coast released their second album, The Only Place.  Their new seven-track EP, Fade Away, featuring lead single ‘I Don’t Know’, shows Bethany Cosentino and multi-instrumentalist Bobb Bruno carrying on perfectly complimenting one another lyrically and sonically.
Opener ‘This Lonely Morning’ is a sunny grunge gem; Cosentino’s voice coming together with the track’s hazy guitars for a west coast gem. ‘I Wanna Know’, meanwhile, is a romantically yearning, girl-pop number, and in that classic Best Coast way, Cosentino’s self-deprecating charm is executed perfectly once again.

Title track ‘Fade Away’ ironically features the couplet, “I won’t change/I’ll stay the same.” And, that’s exactly what they’ve done. A couple of tracks into the EP, it becomes clear that Best Coast don’t plan on changing a single thing about their direction. ‘Baby I’m Crying’ leans towards more of a classic, sixties pop hue, with Bobb expertly matching Cosentino’s sentiment with each chord wrung from his guitar.
At times Fade Away is very self-indulgent, but it’s real and is a much needed, sun-drenched dose for fans to enjoy; sticking to much the same formula as their previous material. So, as you prepare to delve into the next chapter of Cosentino’s indie rock diary, get set for more heart-on-sleeve lyrics, unrequited love and hating on boys.

Wednesday, 16 October 2013

ALBUM REVIEW: Cults - Static

Originally published at Notion Magazine: http://www.planetnotion.com/2013/10/15/album-review-cults-static/


New York-based Madeline Follin and Brian Oblivion aren’t just sugary pop duo Cults, they were also lovers, but this has recently changed. Static is not just a farewell record, it’s a break-up record: perfectly channelling both sides of their split, but sadly putting a hold on Cults for the foreseeable future.
The pair first brought us their debut self-titled album in 2011. Static however sees them leave behind the twinkling dream pop haze of tracks like ‘Go Outside’ and other xylophone-based gems in favour of darker, more serious coming-of-age tracks.
The fact that they are creatively and quite literally parting ways adds additional intrigue to the aura of the record, and has manifested itself into their sound, pushing starry-eyed optimism out of the door. Second track in ‘I Can Hardly Make You Mine’ flows with that particularly surf-oriented strain of classic-but-treated rock that Best Coast do so well. Paired with shimmering synths and the scrummy vocals of cutie pie vocalist Follin, it has hit written all over it.
‘Always Forever’ is soothing and raw: “We could stay alone//together.” ‘High Road’ follows on in much the same tone, but is laced with a stinging, bittersweet taste. ‘Were Before’ treats us to an intimate back-and-forth vocal arrangement from both Follin and Oblivion, sounding tender and heart-rending.

‘So Far’ and final track ‘No Hope’ are charged, powerful numbers and finish the record on a high. What Cults do best is to skilfully unionise and pay homage to the past while weaving in the best from the current zeitgeist. Every track here sounds familiar but incredibly fresh all at once as a result. Static is a natural progression for them, and they have lost none of their original charm. Get set to be wowed and moved by this incredible collection of raw and incredibly personal love songs.

Monday, 14 October 2013

MIXTAPE REVIEW: Bloc Party Tapes - Kele Okereke

Originally published at Gigwise: http://www.gigwise.com/reviews/85054/bloc-party-tapes---remixed-by-kele-okereke-ik7

In June, Bloc Party claimed they were on an ‘indefinite hiatus’, yet fans haven’t been left feeling too starved of the London foursome after the unexpected release of EP, The Nextwave Sessions back in August. Before we knew it, news of another project was already on the cards in the guise of Bloc Party Tapes, an eclectic mixtape produced by frontman Kele Okereke.

The release is part of Berlin based record label’s !k7’s tape series, which has previously featured mixtapes from the likes of Foals, the Rapture and The Big Pink. The mixtape will also be available in a limited-edition cassette format.

This incredibly fresh sounding collection of tracks is a real treat for fans of Bloc Party, and lovers of the more left-field side of dance in general. It’s no secret that Okereke is a bit of a ‘dance head’, the mixtape takes us through his intriguing mind, his love for beats and appreciation of post-rock, Afrobeat, dance, electro, house, and ambient.

The mixtape features a Sticky remix of Wiley’s ‘Numbers in Action’, French producer French Fries’ ‘Space Alarm’ and an offering of Bloc Party’s very own track ‘Obscene’, one of the ‘slow ones’ from The Nextwave Sessions mixed by Okereke himself.



We can rest assured and relax in the knowledge that this second solo venture of his isn’t the end for Bloc Party, but very much the opposite. When describing what it felt like to make the tape he compared it to, “having an affair”, and promised that it was for the, “betterment of Bloc Party”, who have always cited dance as their main influence from the very beginning.