ALBUM REVIEW: Oberhofer: 'Time Capsules II'

Published at: http://www.middleboopmag.com/music/music-news/oberhofer-%E2%80%98time-capsules-ii-%E2%80%98-glassnote

Oberhofer is a band made up of four musicians, three of which are fundamentally minions (meant in the politest sense) to Brad Oberhofer,sole lyricist and clear victim of a severe case of teenage heartbreak. After their EP – ‘oOOoOOo’ was released back in 2010, they became one of The Hype Machines most blogged about artists, but remained puzzlingly unsigned until they were picked up by independent record label Glassnoteand this is their stunning debut.

Brad is sickeningly only 19 and originally from Tacoma, but is currently residing in Washington DC studying music! ‘HEART’ is titled aptly, it opens with a nostalgic classical piano piece that sounds like an intro to your favourite childhood film –each key tugging at those heartstrings. This is emotionally charged music - and not for anyone without romantic persuasion. There are hints of Animal Collective/Local Natives, a very promising beginning to the record.

‘Landline’ is another standout moment. It sounds like what the Drums always tried so hard to achieve, but never quite mastered. ‘Away Frm U’ is rich in heart on sleeves lyrics, but then so is the entire album. You wallow with Brad in his heartbreak, but it remains light and soothing. ‘Yr Face’ embodies his childlike innocence and susceptibility to angst only a nineteen year old can feel, “When I saw your face, I knew I was in love right away.”

‘Gold’ conjures up the image of driving down the freeway (let’s pretend were in California, it makes for better imagery than say – Slough) with the wind in your hair in an open top car, summer funnelled into 4.21 minutes. Brad and his love for elongated O’s and his strong vocal style are nothing other than dazzling throughout the album.

The other tracks do merge into each other, but this is not a criticism. It’s a hazy blur of sunny keys, riffs and tones, a melancholy but bright creation. This would make for the perfect ‘lie on your bed and listen to on a wet Sunday afternoon’ album. It’s an ode to a lost love and I hope it receives the kudos and recognition it so rightly deserves.

ALBUM REVIEW: Evans The Death - 'Evans The Death'

Published at: http://www.middleboopmag.com/music/albums/evans-death-evans-death-fortuna-pop

Evans The Death are a five-piece outfit from London have put together an impressive self-titled debut, here.  Dan (guitar and vocals), “We're very proud of it and glad we paid little or no attention to what is currently fashionable in music," this rings true as the record unfolds. It’s not Avant- garde by any means, but they’ve created music that they enjoy to perform. This element makes the record sound authentic, as if it’s come from somewhere real.

Opener ‘Bo Diddley’ shows off vocalist Katherine’s range beautifully; ‘Catch Your Cold’ opens with, “I’m afraid of getting a job, I’m afraid of next doors dog.” There are “twee” elements in her vocals, but in a nice way. There are similarities with Beth Constantino where her vocals compliment the angular guitars perfectly in a summery and warm way.

Single, ‘Telling Lies’ has a remarkable guitar solo in the middle of the song. ‘Morning Voice’ is melancholy and then transcends into a rocky domain. The lyrics remain intelligent and easy to empathise. I find it irritating when I love a song, but can’t really sing along as it’s hard to distinguish the lyrics.

‘Threads’ implicates a juxtaposition of noise and teenage-angst; an instant standout track.  ‘What’s in Your Pocket’ is another highlight. ‘Wet Blanket’, to me is reminiscent of The Stone Roses intro to ‘I Wanna Be Adored’ while ‘You’re joking’ has sixties sounding guitars, and is a mellow lid placed on an extraordinary debut.

Evans The Death is both lyrically and musically strong and a brilliant post-punk effort. The kind of abstract but everyday vocals that are present in early Maccabees, appear throughout. It’s imaginative, but still easily relatable. It is a concise record; no track more than three minutes long. There are no faux pas or boring moments; It’s a very pleasant and catchy effort from a band that I’m excited to hear more from. 

ALBUM REVIEW: The Futureheads - 'Rant'

Published at: http://www.middleboopmag.com/music/albums/futureheads-%E2%80%93-%E2%80%98rant%E2%80%99-nul-records

On the realisation that Rant, The Futureheads fifth album is a cappela - just four burley northern ‘blokes’ singing Barbershop style to The Black Eyed Pea’s ‘Meet Me Halfway’ amongst other covers, I was perplexed...but intrigued nonetheless.   

According to a recent press statement from the band, “A Futureheads fan who doesn’t get Rant, is not a Futureheads fan.” We all know to take comments like that with a generous pinch of salt, Oh yes of course the fault must lie with me, because I’m obviously not a real fan. Snore.

Nevertheless,... (long pause), why not? How inventive, having always been noted as forward thinkers as a band per se, what better way to shock and create hype than to deliver something completely unexpected, a concept that leads to curiosity- a stunt album.

What they have created is irritating in parts (Meet Me Halfway) and glorious in others (The No.1 Song In Heaven, cover of Sparks). The idea for a Barbershop style album came after they covered Kelis’s ‘Acappella’, for Radio Ones’ Live Lounge Sessions. This appears on the album. ‘Meantime’ is another highlight. 

‘Rant’ is not going to go down as a stone wall classic by any stretch, but nonetheless it’s a record worth having in the collection. I don’t foresee it reigning the album charts throughout the year, but it will serve as a reminder to those who have ever liked The Futureheads. I hope that their next album will be a little more refined.  To me it just seems quite clumsy, and like a bit of a joke, which after the full 35 minutes, gets rather tiresome. However, what you do have is a pleasant album, and definitely worth a spin.

ALBUM REVIEW: Miike Snow - 'Happy To You'

Miike Snow are back in our peripheral view with their greatly anticipated second album. Andrew, Christian and Pontus are the part American, part Swedish makeup that creates the trio. This album has been treated as more of a concept than its predecessor, their debut was just a bunch of songs that weren’t planned out as a package.  

‘Happy To You’ was recorded in Sweden, they jumped from three different studios, one of which Abba once used to record. The album opens with ‘Enter the Joker’s Lair’ which is an ambient, heaven like dream of arrangements and layers, it’s seamlessly produced. They used all sorts of weird and wonderful instruments including ‘The Blob’ (which looks like a mini Dalek) to create a unique sound that is carried across the record.

‘The Devils Work’ uses a marching brass band; their in-depth producing knowledge exuberates on this track, taking risks and really experimenting, but not for a second did they lose my attention.

 ‘Vase’ has trickles of House running through it, which taps into the Zeitgeist with acute precision, the genre is currently having a second wind with acts like Azari and III and Totally Enormous Extinct Dinosaurs. This track will make for some great remix parts for DJ’s to get their hands on, but the original is beautiful in its current entirety. That classic Miike Snow thwacking piano keys takes over on this track.

‘Bavarian #1 (Say You Will)’ is a complete mash up, the song twists and turns like a musical maze, but is delivered with such care and focus.  ‘Black Tin Box’ has distorted lyrics and is like a trip, its quavering synths make it sound like it could be the soundtrack to some insane off- the- wall indie film. The main elements of ‘Archipelago’ are its sprightly piano keys and twinkling synths, turn this one up loud. Paddling Out’ is a monster of a track, with hook after hook; it’s the obvious choice to release as a single.

‘This album is an enchanting and delightful musical journey; they are pioneers of experimental electro synth pop and ‘Happy To You’ was well worth the wait. The clear differences from their debut are the sheer amount of layers. The use of acoustic instruments keeps things interesting whilst they are careful to gloss over each song with expertise in the studio. 

ALBUM REVIEW: Speech Debelle - 'Freedom of Speech'

Published at:  http://sonarmagazine.co.uk/2012/03/review-speech-debelle-freedom-of-speech-big-dada/

It’s been three years since her debut, Speech Therapy, won the 29-year-old rapper the highly acclaimed Mercury Prize, beating off strong contenders like Florence + the Machine and Kasabian. Her new album is inspired by Tupac and has been produced by the same producer as Ghostpoet, Kwes. The happy go lucky tracks have gone and made way for political statements and earnest tales of lost love.

The record opens with ‘Studio Backpack Rap’ in which she samples Biggy, “it was all a dream, she used to read Smash Hits magazine”.  Backpack Rap by definition means a person that dislikes mainstream rap, “a person who raps about real life shit that matters and has experienced, rarely about pimping hoes/having millions/selling immense amounts of drugs/murdering random people for no apparent reason or motive.” This is exactly what this album personifies, and what a great note to start with.

‘Blaze up a Fire’ was written just before the London riots, and serves as prediction of anarchy. It was released just after, Debelle could obviously feel the unrest bubbling underneath the surface of society and that is something, I think, is quite extraordinary. It has appearances from fellow rappers Roots Manuva and Realism.

‘Elephant in the Living Room’ makes way for strings, and talks about a relationship that needs to end, because she doesn't feel the same about him anymore. There is a secret between them, and the elephant signifies that. She then flips the script on ‘X Marks the Spot’ where she angrily raps about a guy always talking about his ex. It’s angsty and hip hoppy.

‘Angel Wings’ is a little too sentimental for me. “I know these writers and bloggers want to hate on me.” It is very obviously an autobiographical song about her struggle to make it in the music business. It doesn’t really match up with the strong sentiments that are conveyed by the other tracks, it doesn’t resonate. ‘I’m With It’ gives us a taste of soul disco, its a nice blast of happiness onto the record.

So, Nicky Minaj has been given all this praise for being such a good female rapper? Minaj doesn’t have a patch on Speech Debelle. There is no need for gimmicks and fancy videos and a dressing up box; her music speaks enough power not to need them, It’s just stripped back talent. Thinking back to ‘Better Days’ and ‘Spinnin’ , which were two great tracks from her debut, Debelle has changed it up but kept her power, this album is surprisingly good.

LIVE REVIEW: The Big Pink - Wedgewood Rooms, Portsmouth

Published at: http://sonarmagazine.co.uk/2012/03/live-review-the-big-pink-wedgewood-rooms-portsmouth/

I have very mixed feelings on the Big Pink as I struggle to work out what their meant to be about. The fact that they have added elements of dubstep to their new album, if I’m honest is rather comical. It’s as if their chasing after a band wagon that left town two years ago.

 The sound was bad at their Portsmouth show, at times unbearable. I actually covered my ears at one point. I felt genuinely bad for them, as they had no idea. The sound trouble wasn’t strictly their fault, so someone really needs to have a chat with their technician, a serious one.  As singer, Robbie Furze ran up to enthusiastically turn the sound up, the crowd winced.

‘Stay Gold’ was a nice moment and they got the audiences interest back. ‘Hit the Ground’ was another moment where the crowd sang the lyrics back to them, along with ‘Dominoes’ and ‘Velvet’. Other than that it was just white noise and it was hard to differentiate between tracks as the sound was so terrible.

All in all I would hardly describe their gig as mind-blowing. I think the fact that they left it two years before releasing a new album lost their fans momentum. People like them, but I didn’t see anyone who looked like they loved them. That’s what a band need, passion and audience interaction. They didn’t seem to embody either qualities, and it was all just a little too stale.

It’s such a shame after such a great debut album, songs like ‘Velvet’ and ‘Dominoes’ which were moody dark and powerful, why did they not stick with their signature sound? It all just seemed a little wishy washy, and was very disappointing for an old fan like myself. I feel bad for them, but at the same time, there is footage of Robbie Furze smacking a kid in the face whilst at a show in Atlanta a few years back, so I think I can live with myself. 

ALBUM REVIEW: Gotye - 'Making Mirrors'

Published at: http://www.middleboopmag.com/music/albums/gotye-making-mirrors-eleven-records

Gotye – pronounced Go-ti-ay is a Belgian born, Melbourne dwelling, one man band who’s already made a couple of albums. He has finally grabbed the world’s attention with his single ‘Somebody That I Used to Know’ which peaked in the U.K charts at number one.

There is something magical about his voice and his musical arrangements which he creates with vintage instruments. He sounds like Sting mixed with Peter Gabriel. His cut and paste electronica is minimalistic and experimental but less ‘out there’ than his previous work, which has subsequently broadened his appeal. 

Gotye has really honed in on his sound and filled a void within the music industry; there are no current male soloists to speak of at the moment, none of this calibre anyway.

The title track ‘Making Mirrors’ is a beautiful intro which left me excited for the rest of the album. ‘Easy Way Out’ is feel- good poppy/electro track. ‘Somebody I Used to Know’ is beautiful in its simplicity, with vocals from Kimbra.

‘Eyes wide open’ is my favourite track, with its 80’s sounding, galloping drum beat and commanding chorus.  Each track sounds different from the last, and so the album never gets boring. ‘Smoke and Mirrors’ is moody and atmospheric.  ‘State Of the Art’ is a weird one but I admire his versatility.  ‘I Feel Better’ is a blast of Motown.

Gotye offers up a smorgasbord of sounds and genres and is what I would call a musical maverick, his love for music translates beautifully on this record and I believe there’s a track for everyone’s taste, what will yours be? 

ALBUM REVIEW: Bonobo: 'Black Sands Remixed' (Middle Boop Mag)

Published at:  http://www.middleboopmag.com/music/albums/bonobo-%E2%80%98black-sands-remixed%E2%80%99-ninja-tune

Bonobo is one of Ninja Tune’s most flourishing artists, ‘Black Sands’ was released back in 2010, receiving worldwide acclaim and being named as the album of his career. The remix album welcomes a number of likeminded musicians and producers to rework this ambient masterpiece.

Boasting appearances from Banks, Mark Pritchard and Machine Drum, some have spiced up the more chilled out, liquid tracks and transformed them into potential dance floor fillers; others have been stripped back and distorted to create a more experimental sound than their original.

 ‘Prelude’ (Lapulux Finger on the Tape remix) takes us to a more spacey, futuristic and strung out place, with hints of chill step.  ‘The Keeper’, remixed by Banks, sounds darker with heavier percussion, it works. He’s utilised one of the best tracks from ‘Black Sands’ and given it an electro spin, arguably one of the best remixes on the album.

‘Kiara’ has been mixed by Cosmin TRG – I really like this rework, its imaginative with a dirty sounding bass line. This would sound amazing live; it’s expansive and chaotic in parts, with a host of different elements skilfully woven together. I really didn’t think the original could get much better.

‘Eyes down’, perhaps the best track from ‘Black Sands’ appears four times, which is rather a lot. The first remix by Floating points stretches out the original and breaks the down the wispy voice of Andreya Triana, it’s a blessing to the ears. The ARP 101 remix gives us a drudgy baseline, sounding garage like in parts, there are also vague hints of trance.  Now this is an interesting one, ‘Eyes down’ feat Dels is really quite something, reminiscent of Ghostpoet, he gives the track an urban edge, it does seem ill placed on the album, but is welcomed.

‘All In Forms’ appears twice, its first appearance is the Falty DL Remix. He’s taken one of the more up-tempo tracks and distorted the lyrics. It’s very experimental and dream like in parts with powerful synths. ‘Ghostship’ is a track that didn’t make it onto the original album, and what a gem, trip hop at its finest. 

‘Stay The Same’ (Mark Pritchard Remix) is another highlight, it’s extremely emotive and atmospheric, he did add a weird riff which I’m not sure works, it feels as if it’s just been clumsily placed underneath the original track.  ‘Eyesdown’ (Machine Drum Remix) is a complete overhaul of the original, he’s made it his own, its trippy, a bit too trippy for most I think.

All In Forms (Mike Slott Remix) gives us a Brazilian sounding drum beat, but not much else has changed. ‘Stay The Same’ (Blue Daisy 'Not Quite the Same' Remix) is broken and echoey with a thudding bass line. ‘Brace Brace’ is a bonus track from ‘Black Sands’, more of that classic ambient sound, it lacks lyrics but each note instantly resonates with your soul, a skill that Bonobo has down to a T. The last track, Black Sands (Duke Dumont's 'Grains Of Sand' Reconstruction Edit) has been given an epic, almost finale sounding vibe, similar to some of the M83’s recent work.   

This album is varied, and interesting, a real treat for Bonobo fans.  It has been produced exceptionally well. There are moments of intricate delicacy and moments of complete chaos, it is a real grower, so give it a few listens, you will love it by the end. 

ALBUM REVIEW: Goldfrapp - 'The Singles' (Published at Sonar Magazine)

Published at:  http://sonarmagazine.co.uk/2012/02/711/

Goldfrapp starting making music just over a decade ago and is made up of Alison Goldfrapp and Will Gregory. They have attracted a huge cult following that has spanned their career, and what a great time to remind the world of just how good they really are.

The album highlights how musically skilled and versatile the pair are with a collection of their most successful tracks, and two additional ones; ‘Melancholy Sky’ and ‘Yellow Halo’. The album artwork is a collage of their previous album covers artistically placed over one another.

The album kicks off with the huge glam rock sound of ‘Ooh La La’, which is a perfect opener, followed by ‘Number 1’ both taken from their ‘Supernature’ album and are a strong representation of their finest electro moments.

Swooping into the trashy techno sounding ‘Strict Machine’ this song showcases the beautiful union of Alison’s seductive husky vocals and Wills synths. Could music be anymore perfectly engineered? It’s eerie. ‘Lovely head’ is heart breaking sad, strange and was uber sophisticated for its time. ‘Utopia’ is another glowing moment and a reminder of how daring Goldfrapp were throughout their career, constantly changing their sound, but never losing their personality.

‘A & E’ is an absolute favourite of mine. ‘Happiness’ is a dreamy almost hypnotic in parts beauty of a song. ‘Train’ is the ultimate in electro-sexy. ‘Ride A White Horse’ is disco pop, and their most successful single to date. ‘Rocket’ is pure and flawless pop music. The euphoric ‘Believer’ is followed by ‘Black Cherry’ which is just mesmerizing. Words cannot describe how much I adore Goldfrapp.

‘Yellow Halo’ is just unbelievably emotive, and what a great way to finish off the album. It’s upbeat, but emotional like someone’s funnelled life into music. ‘Melancoly Sky’ is nice, but I’m not overly fond of it. All in all, thank you Goldfrapp, for reminding us just how wonderful and iconic you really are, and what a glimmering career you’ve had.

ALBUM REVIEW: Lana Del Rey - 'Born to Die' (Middle Boop Mag)

Published at: http://www.middleboopmag.com/music/albums/lana-del-rey-%E2%80%93-born-die-interscope

The hype, the hate, those lips, the self titled “Gangster Nancy Sinatra” had a lot live up with this debut album. After ‘Video Games’ became an unlikely viral success many greatly anticipated what this interesting character would do next.

She’s the daughter of a millionaire oil merchant from Lake Placid, New York.  The album (in its good parts) gives an insight into this world; its orchestral, atmospheric elements twinned with her descriptive lyrics conjure up stories in your mind’s eye. It’s like a soundtrack to a lavish but ever tragic 60’s gangster movie, starring Del Rey as the ultimate Femme Fatale. 

‘Born to Die’ is a grandeur track about her childhood realisation of mortality. When she initially approached record labels she was turned away and told that her music was creepy and weird. That’s what sets Del Ray apart, she is freakishly beautiful, but tells dark stories of sadness and insecurity; you wonder how someone this beautiful and privileged could be so desperately unhappy. Hold that thought.

‘Off to the Races’ tells the tale of a sugar daddy and their dysfunctional and toxic relationship, “He loves me with every beat of his cocaine heart.” It’s addictive. There are tinges of madness in each line, a clear highlight of the album.

 ‘Blue Jeans’ isn’t a favourite; the chorus bares strong resemblance to Kate Bush’s vocal style but overall it’s a little dull. The stunning ‘Video Games’ has twinkling harps and piano keys with heartbreaking lyrics, one of the best singles to come out of last year.  

‘Diet Mountain Dew’ takes us into a more poppy domain, but its upper class pop music, it’s trashy and classy all at once. “Let’s take Jesus of the dashboard; he’s got too much on his mind.” The chorus is infectious.

‘National Anthem’ is an obvious ploy at a political statement; it teases us with the idea of the American dream, and then rips it up in a sugar coated kind of way. “Money is the reason we exist, everybody knows it it’s a fact, kiss kiss.” It’s floaty and summery but is narrated with chilling lyrics. ‘Radio’ is nice, but is just more of the same formula.

The album peaks and troughs throughout, but crashes spectacularly at ‘Carmen’ and sadly doesn’t recover. I thought to myself, enough is enough now. This reverts back to my previous point, in reality could Del Rey really be this troubled, or is it all just manufactured?  It becomes rather self indulgent and unbelievable.

This is only her first album and do you know what, I don’t think it pretends to be anything other than a new take on pop music, it’s fresh and enthralling. Her authenticity is what has caused much the backlash but you wouldn’t see for instance, Flo Rida getting this much stick for not really be from Florida? You get my point.

Let’s just see what her second album has to offer, and then we can figure out if she is the ‘one trick pony’ her critics have labelled her. Five standout tracks and for many including myself, the perfect antidote to the soulless Katy Perry/ Rihanna- esque pop stars of our times is definitely something worth praising.