ALBUM REVIEW: Patrick Watson - 'Adventures In Your Own Backyard

Published at: http://www.middleboopmag.com/music/music-news/patrick-watson-%E2%80%98adventures-your-own-backyard%E2%80%99-domino-records

Canadian singer songwriter Patrick Watson is back in business with his fourth studio album  ‘Adventures In Your Own Backyard.’ With this, his first release on Domino Records it has been three years in the making after the Polaris Prize winning Close to Paradise and its Polaris nominated followup Wooden Arms but is well worth the wait. Watson and is band's experimental nature has shone brightly on this record, using a whole host of influences to create a truly special and touching effort from the foursome.

This album is a deliberate attempt at a more “personal” aura than its predecessors’ With Watson and his band aiming to create music that 'we would want to listen to at home' which makes a whole lot of sense as it was recorded at his Montreal home and really does suit the 'home music' vibe very well. The leading track‘Lighthouse’ is stunning and ethereal. There are touches of R&B in ‘Morning Sheets’. ‘Step Out For a While’ starts with humming and transcends into Watson’s sumptuous vocals, which wash over your ears like a summer breeze with their seductive Spanish guitars riffs.

‘The Quiet Crowd’ incorporates some classical piano. “Would you rather be part of the crowd or just a single sound’ – it embodies the eeriness of Gary Jules’s ‘Mad World’ but much more lavish and dramatic.  For me personally, I like the whole ‘concept’ of the album - it is like an adventure, and the title connotes what you unveils throughout the album.

Their versatility is astounding and for an album that sounds so minimal, delicate and beautiful, there is a hell of a lot going on.

ALBUM REVIEW: Hot Chip - 'In Our Heads'

Published at: http://www.middleboopmag.com/music/albums/hot-chip-our-heads-domino-records

Very obviously one of the most greatly anticipated albums of 2012, Hot Chipare back with their fifth studio album, 'In Our Heads'. After finishing off their three album deal with EMI, the band have swapped labels to Domino which is made up of friends and supporters.

Those classic overtones of happiness that ring true in Hot Chips previous material are still apparent on their new album – but they have embodied a more expansive sound. Various members of  Hot Chip have been involved in a range of side projects over the past few years with Two Bears and Joe Goddard coming into his own recently with his solo material, receiving the band further notoriety and recognition.

Opener ‘Motion Sickness’ is happy and bouncy. Alexis Taylors illustrious vocal style provides that instantly recognisable Hot Chip sound, and the track sours into electro splendour with a simple four bar loop.  

According to Joe Goddard, “We’ve tried to make something joyful and alive.” They’ve cracked it. ‘How Do You Do’s’ layered vocals are uplifting and catchy and ‘Don’t Deny Your Heart’ highlights some wonderful falsetto vocals, continuing to keep the record on track for an enriching journey.

Touches of RnB trickle through ‘Look at Where You Are’, there is a rather comical part of the song with a collection of O’ing but it is undoubtedly very catchy.  ‘These Chains’ is an absolute highlight, and needs no more explanation than twinkling electronic brilliance.

  They have reached that comfortable stage in their careers where gimmicks and trends don’t even come into question; luckily what they create naturally is still incredibly relevant and sounds exceptionally good.  

The immense thing about Hot Chip is that they produce music that is emotive.   So often dance as a genre takes us to a catchy domain - but it lacks meaning and sometimes emotion.  Loop patterns and bass line hooks are albeit catchy, but Hot Chip manage to bring the whole shebang to everything they do - funk, emotion and bass. This for me, is enough to keep this album spinning on repeat for the foreseeable future.

ALBUM REVIEW: Alabama Shakes: 'Boys & Girls'

Make way for Alabama Shakes, with their harem of famous fans including Adele and Bon Iver and Russell Crowe. This album is pure neo soul with classicist influences. There are moments of Jack White, Al Green and Tina Turner. This album is a spectacle, and in my books –an instant classic.

They met at high school and have been a successful covers band for a few years – covering the likes of The Rolling Stones, Led Zeppelin and AC/DC to name but a few. So in essence, they have spent time imitating the greats, doing their homework and drawing inspiration from an array of iconic sounds. The studying has paid off, and this is only their debut album.

Every once in a while you hear a song and think you've heard before somewhere. Why is that? This rings true for ‘Hold On’, the album opener that is also their debut single. This has received loads of airplay and huge support from DJ’s.

Brittany Howard is lead vocalist –her androgynous voice is iconic in itself, similar to the strength of Amy Winehouse with the character of Jack White. ‘I Found Out’ is magnificent, and ‘Rise to the Sun’ is my favourite, sounds a little like Macy Gray, the spangled guitars twinned with her voice are a winner.

‘You Ain’t Alone’ is a ballad, it’s so delicate and emotional, “Are you scared to wear your heart on your sleeve, are you scared of me?” ‘Hearbreaker’ sounds enormous; it reminds me of Al Green’s ‘How Can You Mend a Broken Heart’.  ‘Be Mine’ is silky and smooth.

The album has the feeling of being at an intimate gig in a bar, sounding so raw and crisp. Her voice is spectacular; I do doubt without the unstoppable Brittany Howard, they would still be playing cover band slots. I foresee that this album will appeal to a wide range of demographics, and no doubt be the soundtrack to many a summer barbeque this year.

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?