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.

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.

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)

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/albums/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. 

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.  

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 

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

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/live/live-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.

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: Mazzy Star - Seasons of Your Day (Rhymes of an Hour Records)

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/albums/mazzy-star-seasons-your-day-rhymes-hour-records

If you’re from my generation, you could probably be forgiven for not being too familiar with Mazzy Star. As you were probably about six, so unless you were very serious/withdrawn as a child, their blend of narcotic, minimalist blues would understandably have gone straight over your head. After a lofty seventeen-year-hiatus, their most commercially successful track ‘Fade into You’ will no doubt still ring many a bell. The 1990’s saw three very solid LP’s from the Santa Monica pair, and one can’t help but wonder what is it that’s driven the duo to record this album, it must be something pretty special.

Vocalist Hope Sandovol and guitarist David Rodback neatly carved out a unique sound those many years ago. They were special, and didn’t seem to conform or compromise with the times. 17 years since their last LP, they are back with Seasons Of Your Day. A couple of seconds into the album and it is crystal clear that surrealist, dream-pop isn’t going anywhere.

If you’re looking for some modern contemporaries think the vocals of Lana Del Rey, the emotion or Beach House or the stripped back wholeness of PJ Harvey. The record begins with ‘In The Kingdom’ a soft, delicate and extremely flowery opener. ‘California’ ekes of sadness, ‘I think I’m going back’ it swoons, in a defeatist, bittersweet tone.

There are moments where the record takes us to a very chilled, country and western infused space, (‘I’ve Gotta Stop’, ‘Does Someone Have Your Baby Now?’). A standout track would have to be ‘Common Burn’, which manages to sum up the full kaleidoscope of human emotion when it comes to love in a mere 5.10 minutes.

Seasons of Your Day is a delicious slice of bluesy Americana. Mazzy Star’s agenda was clearly not to run with the times and show us that they are Back and ‘Better Than Ever. They are back, sure, but in the same amazingly brilliant way that they first arrived. 

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: 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: Lord Huron - Lonesome Dreams (PIAS)

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/albums/lord-huron-%E2%80%93-%E2%80%98lonesome-dreams%E2%80%99-pias

Ben Schneider is the think tank behind his beautiful band Lord Huron. Lonesome Dreams is the title of their debut LP, and is much more than just music, with an accompanying artistic package comprised of ‘imagined novels’ by fictional author George Rayner Johnson and a number of short films. In Schneider’s own words he has used these extra components to create, “a world with its own mythology.”

The record pays loving homage to dusty deserts and cowboy melancholia. Each song unfolds into an almost screenplay type format, remaining retiring and ever so heartfelt throughout. ‘Ends of the Earth’ is a steadfast opener, overflowing with an innocent longing for life’s simple pleasures and rural reclusion accompanied with Technicolor harmonies. “To the ends to the ends, would you follow me?”

‘The Ghost On The Shore’ and ‘Lullaby’ swoon through with their sweeping Americana styled sound, and Schneider’ Michigan twang only compliments the overall package further. Lord Huron’s sound is very similar to that of Fleet Foxes, but overall with a bit more umph and is slightly more relatable lyrically. 

As the albums artwork denotes, what you see is very much what you get: a fleeting moment in time, where the very essence of a feeling is encapsulated from a very personal place. You can almost smell the heat, and feel the wind as you listen. Lonesome Dreams is a truly magical album from not just a musician or a band: but true artists in every sense of the word.

ALBUM REVIEW: Everything Everything - Arc (Geffen)

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/arc-album-review/everything-everything-arc-geffen

The northern dizziness of Everything Everything has at last returned with their greatly anticipated second album, Arc. With two standout singles including ‘Cough Cough’ and ‘Kemosabe’ already receiving critical acclaim and heaps of airplay, Arc already promises to be even more superior that their 2010 debut, Man Alive.

It seems the four piece has taken the best from their debut, refined and tuned, panned for gold if you will to which they have achieved astounding results. They have finally found their feet, binning the desperation to standout and constantly wow and concentrating on what they do best. Sonically and lyrically, Man Alive (bar the amazing Schoolin’, MY KZ, UR BF and Final Form) was a little overwhelming, with too much happening and far too much going on. Fortunately, the potency of the previously mentioned tracks has pulled the band through and given them the kudos they deserved.

As Arc unfolds, it goes from strength to strength, with diverse and interesting influences, sounds and obscure lyrics. ‘Choice Mountain’ is a feast of imagery and emotion while ‘Torso of the Week’ has hints of northern humour and humility. ‘Feet For Hands’ showcases front man Jonathan Higgs’s ability to convey heart wrenching vocals in perfect harmony with their busy and almost avant-garde approach as musicians.

If Everything Everything hoped for an astounding comeback, they have more than reached that goal.  Their genre deifying experimentation and belief in what they are doing and their own unique style is sufficient to confidently hail them as one of Manchester’s finest exports, possibly one of the greatest compliments for any band to hear.

ALBUM REVIEW: Benjamin Gibbard - Former Lives (City Slang)

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/music-news/benjamin-gibbard-%E2%80%93-former-lives-city-slang

Benjamin Gibbard has been the lead singer of the American indie rock band Death Cab For Cutie for the past 15 years, as well as his part in his other band The Postal Service. He was also married to indie pinup Zooey Deschanel, but they have recently had an uncomfortably public breakup. Former Lives if his first album released under only his name.

Usually when someone decides to go solo, it carries separatist connotations. Be it breaking free of the restraints and inevitable negotiation of their band mates, a craving to create a sound or message that won’t sit well with said bands adjusted style or just plain boredom. Typically, the person in question mixes it up to some extent. Think Kele Okereke a la Bloc Party – he went from indie rock to house music, a complete u-turn.

Gibbard however seems content with releasing a full length solo homage to his days with Death Cab For Cutie and The Postal Service. On the surface, it sounds very similar. He has though stated that Former Lives is, “a side story, not a new chapter.”

For fans of Death Cab you will no doubt like what you hear. Inspirations include three relationships, living in two different places and drinking and then not drinking.  It is like his personal narration of his time in the bands, a place where he can execute something wholly personal – sadly it fails to connect.

A man famed and loved for his cutting and cruel lyrics, this is very safe. It sounds ‘nice’ and all that, but is rather uninteresting. ‘Teardrop Windows’, ‘Dream Song’ and ‘Bigger Than Love’ are worth adding to the record collection, but that’s really about it.

ALBUM REVIEW: Vitalic - Rave Age (Different Recordings)

Originally published at Middle Boop Mag:  http://www.middleboopmag.com/music/albums/vitalic-rage-age-different-recordings

This is the third LP from French musician Vitalic, titled rather awkwardly Rave Age. Now 37 years old, and 12 years on since his debut album Okay Cowboy – has much really changed? Each song thrown out over any dance floor would no doubt cause mayhem, but set aside one another in an album format it makes little sense. ‘Rave Kids Go’ is interesting, and perhaps the only glimmer of something new. ‘Fade Away’ is his finest hour, sounding slightly 80’s with a throwback vocal effect. 

The French are superior providers of dance floor bangers - think Daft Punk, Justice or more recently David Guetta (before he sold his soul to ‘the man’). Vitalic is no different; however, Rave Age is in no way daring, just more of the same formula repeated to a rather stale effect. 

ALBUM REVIEW: Chad Valley - Young Hunger (Blessing Force)

Orignally published at Middle Boop Mag: http://www.middleboopmag.com/music/albums/chad-valley-%E2%80%93-young-hunger-blessing-force

Chad Valley is an experimental bedroom musician, and is by far the brightest light from the Oxford based creative movement Blessing Force, which his band Jonquil is also a part of. His real name is Hugo Manuel and having released two EP’s, both of which were highly celebrated in the UK and the US amongst other places, it seems a logical progression for Hugo to bless our ears with a full-length album, that goes under the title Young Hunger.

Opener ‘I Owe You This’ lends vocals from American musician Twin Shadow, the track is bursting with emotion and longing, even sounding a little like Tears for Fears but an RnB twist. ‘Fall 4 U’ is very George Michael in his ‘Careless Whisper’ era. He teamed up with synth Siren Glasser on this track, her voice as soothing as his as they both fade in and out. Spotting a trend? Young Hunger is undeniably 80’s, but in the best kind of way.

‘My Girl’ is rather cheesy , it goes: ‘If you wanna be my girl//you gotta get with my friends’, the Oxford based band Fixers’  front man features on this one, but the vocals are overly auto tuned and honestly, it’s  a little too silly. The album really does come into its own towards the end.  ‘Fathering Mothering’ features the delectable voice of Norwegian singer Anne Lise Frøkedal.  It’s perfect, delicate and encapsulating pop music.  Totally Enormous Extinct Dinosaurs (or for less of a mouth full – Orlando) is an old school friend of Hugo’s, adds a gloss of expertise on the track ‘My Life Is Complete’ makes for another standout moment.

In its most excellent parts, Young Hunger is delightful and interesting low-fi pop.  In others, it is a little too; ‘video gamey’ with too many odd little beeps and noises rattling on in the background. Chill wave seems to be the genre that Hugo has continuously had stamped onto his previous material. However, on Young Hunger he has ever so slightly curbed his infatuation with that surfer, west coast of America vibe, developing the best of that sound and melding it in with his love of 80’s synth pop.

ALBUM REVIEW: Tame Impala - Lonerism (Modular)

Originally published at: http://www.middleboopmag.com/music/music-news/tame-impala-%E2%80%93-%E2%80%98lonerism%E2%80%99-modular

Lazy and irritating Beatles/John Lennon comparisons swiftly pushed aside – ‘Lonerism,’ Perth quintet Tame Impala’s second LP, marks two very long years since their debut ‘InnerSpeaker’. 

Frontman  Kevin Parker’s inspiration for ‘Lonerism’ was his new found unease with being forced into an array of uncomfortable social situations whilst the band were touring their last album, something that is communicated persistently both lyrically and melodically with the  constant fading in and out and. 

Not many bands could get away with this sort of ‘vibe’ without seeming like absolute hacks.  If it weren’t for Tame Impala’s incredibly high standard of imaginative and interesting music, they wouldn’t either. 

Opener ‘Be Above It’ is their signature psychedelic- rock. ‘Apocalypse Dream’ which was the B-side to lead single ‘Elephants’ is remarkable, you can almost see the sun shining of the guitars in your mind’s eye, “Am I getting closer?/Will I ever get there? /Does it even matter? Do I really matter?”. It’s swooning dream pop in the fullest meaning of the phrase, a Kaleidoscope of sunshine.   

‘Why Won’t They Talk To Me?’ is a heavily layered, heart on sleeve beauty of a song, one that will remain in your head afterwards and makes you feel all warm inside.  The same can be said for ‘Feels Like We Only Go Backwards’ which takes you to incredibly spacey heights. 

‘Elephant’ is an obvious lead single. That riff sounds iconic and is even more crisp ecstasy added to an unfaultable album.  This record in its entirety transports you from the hustle and bustle of everyday life, to somewhere completely different. 

There seems to be no stopping Tame Impala, who just keep improving and getting more and more refined. One criticism of ‘Lonerism’? It is almost too good, too exciting, too enthralling. It makes you need to sit down with its giddy brilliance, and just take a breath. 

ALBUM REVIEW: Gallows - Gallows (PIAS)

Originally published at: http://www.middleboopmag.com/music/music-news/gallows-gallows-pias

The Watford punks are here once again, but are devoid of their iconic front man Frank Carter. He was controversially replaced after their previous album, with Wade MacNeil (from Alexisonfire) who is Canadian. The Gallows were frank (or should I say without Frank) and open when interviewed and made no apologies, stating that this chop and change was a vital milestone in their evolvement and an exciting challenge for the band.

Lead single ‘Last June’ whet the appetites of Gallows fans, and for the vast majority, was a promising sign from one of Britain’s most important bands. This album is in one word – noise.  Finely tuned, menacingly angry, noise... and it is glorious.

The opener ‘Victim Culture’  begins with some sinister sounding spoken word. The first half of the album is an explosion of anger paired with some indisputably catchy choruses. ‘Outsider Art’ and ‘Vapid Adolescent Blues’ are tracks that are the obvious choices to the cherry pickers amongst us.

‘Gallows’ is different from their previous albums, as that illustrious cockney bravado is gone and with it, so is Frank. All 11 tracks are outstandingly produced, and the record leaves you hungry for more. The Gallows may have morphed into something a little different, but it is hard to fault them. It could have gone so wrong, but they have kept the recipe just right, and with it, added in some new flavours for us to savour.