Review. Letters - Flash! Lights

Letters have made quite an entrance in the Edinburgh music scene thus far in 2011 from the release of their double A side single 'The National/Pipe Dreams' in February to performing at Rockness and, presently, looking forward to the release of their new single, 'Flash! Lights', on the 4th July (although, thanks to some technological wizardry, it can be heard below). In their strong and accomplished debut, Letters established a unique sound which is deeply introspective and sincere, yet uplifting and anthemic, which has turned many heads, resulting in being played on Radio 1. Thus, it was with great interest and expectation I listened to the new track...

In Flash! Lights, Letters have developed their sound into a more complete affair with crisper riffs and the verve and swagger of a band at the top of their game, even at this early stage. The song echoes a post apocalyptic fear and worry, evoking the emptiness we feel when faced with a dilemma, where there is no right answer. Then, as if to compensate you for putting you in this state of fear, Letters knock your head off with a phenomenal close to the track. This climax is met with a gargantuan drum beat and a healthy dose of what I call 'epic noise' (definitely a good thing). If the hairs on the back of your neck don't stand to attention for this, then you probably aren't alive.

The band noted that Flash! Lights '[is] about trying to let go of your past and your vices in order that you embrace the things that truly inspire you and ultimately drive you forward, all the while recognising the complete hopelessness that neither of these aforementioned things can exist without the other.' It is refreshing to hear a band speak so intelligently and openly to articulate the motives behind a song which is not only a pleasure on the ears, but on the mind as well. Lets hope that this remarkable band continue to write letters, because right now, they're being posted first class.

LETTERS - Flash! Lights by Soundandvisionpr

Review. Mumford & Sons - Sigh No More

At first, I decided that I wasn't going to like Mumford & Sons. I don't know why, but I was minded that mainstream folk music was going to be pretty awful. I have since re-evaluated that opinion. Theirs is a sound which transcends folk, moving it onto a whole new plain. Opening track Sigh No More initially gives the impression that the song will tend towards being a little earnest and worthy for my liking, but then the captivating quality of Marcus Mumford's voice and then, as the song reaches its crescendo, the musicianship of the whole band which creates an incredible sound. Trumpets, banjos, strings, guitar and voice all combine to create an incredible sound.

The Cave is the song which really launched the band to the upper echelons of the charts. The phenomenal harmonies and quality of songwriting is as evident here as ever. The surest sign of the quality of this album is that, during each song, you don't want to stop early - you would stay in the car to hear the end of the track, as breaking the sound of this band in full flow would be something of a crime. Winter Winds is another song track, with a rousing chorus, which you will recognise from its playing ad nauseum on all forms of media. It is a slightly slower track, which is complimented nicely by a trumpet solo at the end. If this song was a film, it would be an epic: it has a monumental feel to it. Roll Away Your Stone begins with a lovely picked melody, before the muffled and purposeful strumming in the verse takes us into a fistfight between each instrument for a grab at the limelight, but in the end, as the cliche goes, they are all winners. A phenomenal track, not only because it is different to what we would expect from an album which reaches no. 2 in the UK charts, but also due to the fact that, when listening to it, you feel a part of something special. In a previous album review, I mentioned the phrase 'epic noise'. This song has it in spadefuls.

White Blank Page is a gentle track which cleanses the pallet from the previous tracks, before coming into its own, with a climax worthy of any of the songs on the album. It's not the best track on the album by any means, but it is still very strong, and tells a story in its own right. I Gave You All is a sober and sombre tale. It is soft and gentle for the most part, with Marcus Mumford's voice taking centre stage from his band mates, before a spine tingling harmony removes all notion of gentleness, translating it instead into frustration and anger at the lover to whom they 'gave all'. Little Lion Man's opening 10 seconds leave us in no doubt that we are in for a treat. It does not fail to disappoint. It features a sing-a-long chorus and a banjo riff which compliments the harried, yet complete sonic landscape of which Mumford & Sons are the budding architects. It is the only surviving track on the album from the band's debut EP, but it isn't half good. The harmony which captures the ear, and the heart, for the latter parts of the song is mind numbingly good.

Timshel is the tonic to the last track. It provides us with a chance to reflect, without it threatening to perform the runaway train impression which many of the other tracks perform when tending towards a fast paced climax. Instead, we are allowed to let the song wash gently over us. This provides the perfect point in the album to take a quick rest. Thistle & Weeds continues this easing of pace, but with a darker tone which tends towards a fearsome finish with a nigh on screaming Marcus informing us that he 'will hold on'. If there has to be a weakest track on the album, this is probably it. The last minute sounds like the soundtrack for a film including a big battle, which perhaps doesn't fit seamlessly within the context of the rest of the album. Awake My Soul is formed in the way which we may expect. Start soft, end epic. It's maybe their take on Westlife's 'stand up on key change' formula, which has brought them success. There is no denying that this is a tender and emotion packed track. Again, it is the harmonies which prove to be the highlight in a stomping finish to the track, which is upbeat and simply brilliant.

Dust Bowl Dance follows the 'gentlegentlegentlegentlegentlegentlegentleEPICBANG' formula just noted, this time with a finale and heaviness to the sound which might not be expected on a mostly folky record. It is the bit which might put some listeners with more frail musical tastes on hold with their appreciation of the song, but, for me, it feels right. After the Storm is a completely earnest affair, contemplating mortality and loneliness - 'I'm scared of what's behind and what's before.' The vocals take on the mantle of being a lecturer - 'There'll come a time, you'll see/ With no more tears/ and love will not break your heart.' This echoes of an old, wise, head passing on advice to future generations. This song is at its strongest for the melody and heart it provides. Given the rest of the album, I might have liked it to go out with a bang rather than being somewhat understated, but this is a minor mark against an incredible album. Sigh No More was rightfully nominated, and frankly robbed, of the 2010 Mercury Prize. It offers a sound that I have never found anywhere else, be it on my iTunes voyages or speculative purchases of albums, but one which, more importantly, has definitely been missing. The real measure of Mumford & Sons as a band will be whether they can follow up on this spectacular album. I hope they ace it.

9.0/10

******Special Recognition*******

This album makes banjos cool again. Something we can all be thankful for.

****************************

Review. Busted - A Present for Everyone

Busted pushed their way to the top of the British music industry with their self titled debut album, which featured a sound not able to be compared to any other, as no other band have ever reached such heights. From the emotional tale of a boy's desire for his teacher in 'What I Go to School For' to the heart wrenching tale of rejection in 'Crash and Burn'. Not forgetting the groundbreaking futuristic soothsaying, with some particularly spectacular evolutionary predictions, with the human race fleeing from our native land and establishing a community underwater, to be found in 'Year 3000'. While this debut set the stage for greater things, Busted needed to grow from school boys (they were 'Sleeping With the Light On' after all) into men. We must therefore look to see if this development is evidenced in 'A Present for Everyone'...

Air Hostess begins the album with a story of love at first sight. Our men catch sight of a member of cabin crew with desirable aesthetic qualities, which is evoked strongly in the line 'Walking through the terminal, I saw something beautiful', before commenting on her pristine attire 'I like the way you dress.' There is, further, a suggestion that the air hostess's presence is causing a rise in the temperature in her immediate vicinity, so much so that our heroes' 'coke has got no ice in now.' How is a man to recover from such periled desire? Of course, the answer is to inform the lady in question of your social status - 'don't you know I'm in a band?' The chorus reveals that the protagonist in this tale suffers from travel sickness, but uses the strength of his lust for his trolley-pushing princess to take his mind of his illness by writing her a love letter, the content of which was presumably too brilliant to include in this song. One has to question why Busted were not awarded an Ivor Novello award for this song, such is its depth, coupled with developing a thrashing, confident punk-pop performance.

Crashed the Wedding brings us another epic love story. At the beginning of the song, it appears that Busted are in something of a hurry 'I'm so rushed off my feet/ looking for Gordon Street.' Why the need for such an expedient excursion to Gordon Street? What is afoot in that realm? It seems that it is rather important - something concerning a former lady friend of Charlie, Matt and James and, more specifically, her impending wedding to someone who is not them! Obviously uneasy to let such a romantic crime proceed, despite the fine lady's father's concerns about these chaps, because they have yet to seek gainful employment, Busted, like power-pop superheroes, swoop down to save the day. Luckily, the lads arrive just in time to stop and 'crash' the wedding, to 'steal my girl away/ from everybody gathered there that day.' This might seem to be the end of that matter - however, Busted, being as caring as they are, take the time to console the jilted groom by informing him 'he might as well forget her/ and walk away'. After all, 'she didn't want to stay' and certainly harboured no desire to 'share his second name'. If anything, it seems the jilt-ee should be grateful, and rightly so, as Busted are 'glad' they proceeded with their last minute emotionally charged stunt. A phenomenal tale - a true modern romance.

Who's David contains a narrative which brings enough tears to the eye to cause some fairly serious water damage. It contains an accusation to a girlfriend of being unfaithful to the perpetual, unfaltering, unwavering, unmoving, unstoppable love which Busted hold for her. A glance at this promiscuous fool's mobile telephone reveals the treason which has so offended the emotions of Busted, confirming this by intimating that our man 'hated what I saw. This then leads to a heated and impassioned inquiry - 'You stupid lying bitch. Who's David? Some guy who lives next door?' This mocks David, who is clearly unaware of the severity of his relationship with this 'stupid bitch' - how could he be better than Busted? This question is not resolved explicitly, so it is submitted that Busted intended this to be a rhetorical question - it would be silly to even contemplate. 

One matter of concern, however, is Busted's lack of respect for the burden of proof which might lie on them in proving their allegations - 'Somebody saw you sleep around the town/ And I've got proof because word's going round.' The pressing matter here is their disregard for the requirement for corroboration, i.e. that the same account ought to be given by more than one person, which, frankly, makes me doubt the sincerity of the lyrics - if we are unable to trust Busted's grasp of basic legal principles, then what can we trust them to do? If you are able to get over this molehill of a trouble, then there will be very little stopping you from having the time of your life listening to this classic song.

She Wants to be Me is one of those occasions where Busted, instead of leaving us guessing as to the story which the track holds (who knew that Air Hostess would form the backdrop for one of the great love stories, for example), provides us with a rare 'ronseal' song title. In this instance, Busted are tortured by their girlfriend slowly morphing, by the means of stalking, into her own version of them. This was not necessarily an instant, epiphanic revelation - there had been indications from an early stage that there were perhaps some misgivings with the girl's developing sense of style - 'I notice little things - same t-shirt and sunglasses.' It becomes clear, when she begins chasing supermodels and memorising Busted's phonebook that there is something far wrong. Busted then plead, simply, for recognition that they exist - 'Somebody notice me, somebody notice/ I'm fading away here.' This is not an issue I have ever had to confront in my own life, but I can only imagine that it is an incredibly challenging one to be caught up in. I'm sure Busted, in this song and their pleading would still manage to hold a sense of decorum and effectively neutralise the problem so that their obsessive girlfriend might return to her normal ways. A cracking song.

3am, from the opening chord sequence and declaration - 'I don't give a damn about you' we can see that Busted have split up from their girlfriend, since they are simply 'happy to be alone'. This is Busted at their most tender. They display a strength of character in admitting their mistake here, and seek to remedy it by calling their, now ex, girlfriend and looking to spark a reunification at 3am, as they have realised that they wish it could be how it was before. One may question why they called their girlfriend while standing outside her front door, rather than simply ringing the doorbell, however, this further demonstrates the care which Busted show to others - if they rang the bell, then it might wake other residents of the house up, which would no doubt cause some disgruntlement. Regretfully, we are not informed of the success of this tactic, but we can still feel the raw emotion which is riddled at every strum and note, something for which we should be eternally grateful.

Falling for You indicates a major shift from the sombre tones of 3am, with Busted declaring, in a bop-punk way as only they can, how they are falling for a girl. Not wanting to be too forward, Busted are unsure about suggesting that the girl might desire space in their bed, especially now that their Mum is away next week, saying 'I'd ask to have you stay/ If I wasn't so frightened.' This uncertainty shows a vulnerable streak which is perhaps explained by Busted's admission that they are incontinent or, at least, less innocent than we might assume  - 'My bed is wet/ Don't know how'. Whatever is at issue here, one thing is certain; it's the girl's fault. 'I hate what you're putting me through!/ What have you done to me now?!' shows just how scared Busted are, having never felt such a warm fuzzy feeling before (it is probably best to consider this statement in isolation from the entirety of Busted's discography in order for it to have any standing).

That Thing You Do begins with a Hendrix-esque riff, which develops into a light verse and then to a stadium filling chorus. Here, we are encountered with a startling first lyric - 'When I woke up I was so proud to see/ You lying naked next to me.' At the beginning of this review, I suggested that we should be looking for signs of Busted's growing maturity. I think this is that moment. It speaks not only of love, we have heard that from them before, but also of pride, something which indicated the shift from boyhood to manhood. Then, shockingly, we find Busted lost for words - 'Baby, I don't know what to say', and, later, 'I don't know what to do'. This girl has had a profound effect on the lads - suddenly life is not the same without her and it's all because 'I love that thing you do'. What is this thing? Is it a magic trick? I suppose we'll never know. A cracking listen.

Over Now continues this trend for Busted to show their softer side, in the light of the break up of a relationship. This is especially poignant as it appears the love which Busted showed for their girl was not reciprocated to the same extent; 'I think I loved you more'. There also comes a startling admission from Busted that 'all the promises I made were so stupid' which references not only the ultimate fallibility of the human race, but also exposes the humility which Busted show when in pressured, emotional situations. The situation turns on its head during the second verse, as suddenly 'two days gone, I'm alright/ but you can't sleep at night'. Busted's ex girlfriend is only beginning to realise what it is she has lost, and it now coming out of the relationship in a worse state for it. There is a lesson for us all  to be found in this spine tingling sonic masterpiece.

Fake discusses a matter which is rather delicate - 'do I need to measure?' It concerns an inability to stand to attention, as it were and Busted's concerns about this, particularly as it may lead to a disintegration of the relationship they have with their lady (I've lost count of how many they've had now on this album). Busted's ability to 'tackle' such an issue in front of such a large audience takes both guts and stupidity, but likely more of the former. It does end with an optimistic tone, suggesting that when they do finally 'finish', that 'you're gonna wanna be with me'. At least we all know there is light at the end of the tunnel.

Meet You There, all sarcasm aside, is actually a really good song. It details a potential break up between a man and woman. It tells of regret at the demise of the situation and how Busted may have acted inappropriately, leading the other party to become angry with them. This may possibly be due to accusations of infidelity against Busted's girl, possibly in a newspaper or other form of printed media - 'When I heard the stories/ Said things I didn't mean/ Should have stayed calm.' It seems that this altercation is the final straw for their partner, with her suggesting that it has caused the termination of their union - 'It's written all over your face/ Such a painful thing to waste/ Tell me now where do we go?/ Now the future's not so clear/ I can't believe we've ended here.' It is also, possibly, an indictment of the media, with Busted asking 'Where's the world that doesn't care?', which suggests that the printing of the allegations regarding their lover is at the root of the issue here. Perhaps Busted were also at fault, in believing the stories before consulting their lover. Nonetheless this is a great song and tells a story which brings a tear to the eye.

Why also seems to speak of an unsatisfactory relationship. This time, it seems that it has simply become stagnant - 'Loving you could be so easy/ Loving you could be so great.'  The use of 'could' in this context tells us that it is not presently easy nor great to love the recipient of this monologue at present, but that it once was. This relationship seems to have lost itself from the one where they would 'joke about the things we used to see', this being replaced with a 'selfish compromise' and 'self indulgent, useless, bunch of lies'. The song ends with a delicate acoustic outro, which sees Charlie consider whether a change would be for the better, rather than have him continually lamenting the demise of the relationship he is currently in. Phenomenal stuff.

Loner in Love tells of a man who has a great friendship with a girl who has a 'current boyfriend', and perhaps has designs on something more. We are told of a perfect day which the pair spent together watching dolphins and then running 'in slow motion over the sand/ Into the ocean holding your hand.' The chorus tells of the ache which the man feels in somehow not being able to bring himself to phone the girl, and realising that his life sucks. To make matters worse, the man runs into the aforementioned 'current boyfriend' who proceeds to 'kick my teeth in', which leaves our man in an even worse predicament, for he is no longer able to smile, further reducing his chances of acquainting himself with a young lady, and maybe even courting her.

Better Than This finds Busted with a girl who is clearly further up the social ladder than them, with a far more advanced vocabulary. 'I'm uncultured but I'm not quite sure what that means' shows the extent to which this problem exists - this leads to Busted asking the girl just what exactly it is that she wants from them as, at the moment, it appears that they are irresolvably incompatible. The only way out of this is to end it all - 'I don't wanna leave you/ But baby I need to.' After all, there must be better than this - it suits both parties to conclude the relationship, so they might both seek to find one which satisfies them both absolutely. A haunting romantic song.

Can't Break Thru is another romantic song. Busted are in a relationship with a girl who says that they don't blow her away. Even their friends were sceptical that they would manage to stay together for longer than a week. The girl is always complaining about them and it is only natural that there comes a stage where Busted may question whether they ought to be in the relationship at all, after all 'You don't even know who I am.'
'I'm giving up and I'll never reminisce/ I've found a way, I'm getting over this/ I let go in every way/ Cos I don't need you' represents the final word on the matter - it has to end. This shows that Busted have a strong will and backbone and will not stand for any unjust criticism. Hopefully they won't find issue with this review!

Nerdy, track 15, closes the album. There is a girl at school who Busted have a crush on, but she doesn't know. She is a popular person at school, which appears to have resulted in her developing an ego, but Busted continue their unrequited love regardless. They even voted for her in the school elections, a clear sign of their commitment to her. It appears that one of the main hurdles facing Busted in attaining the affections of the fine lady is their reputation  - 'Just because I'm nerdy/ And my friends are thirty/ It doesn't mean that I swing that way.' Busted then follow their lady round to the 'store' and notice that her friends are smoking. This leads them to take a principled stance - 'I'd do anything to have you/ But I wouldn't take a toke.' This final matter on such a multi-layered album demonstrates that Busted are suitable, nay, perfect role models for their fans. They say no to smoking and, presumably, to excessive alcohol consumption and drugs too. A remarkable finish to a remarkable album.

There is always a risk that a band will suffer 'second album syndrome', but Busted's sophomore album does not fall into this trap. Indeed, such sophistication is demonstrated in the philanthropic sentiment suggested by the album title - Busted have a present for everyone; this album is the gift that keeps giving. Even if you have to pay for it, it will reward you far beyond the £9.99 you pay in a shop or even the 50p at a car boot sale. Highly recommended.

11/10

Review. Arctic Monkeys - Suck it and See

Arctic Monkeys came onto the British music scene as one of the most talked up bands I can remember in my time on this galactic debris we call Earth. Their debut 'Whatever People Say I am, That's What I'm Not' sold millions on the back of fast paced, quick witted songs about nights out and modern life (Bwit pop?). Their follow ups, 'Favourite Worst Nightmare' and 'Humbug' did not quite reach such dizzy heights, yet Alex Turner and co remain one of the most popular bands in the country. And so, Arctic Monkeys return with 'Suck it and See', a title which suggests a return to the sentiments of their angsty and fierce debut. Is this the case? There's only one way to find out...

She's Thunderstorms begins not with the pace which got the nation excited on 'Whatever People...', but with a rather more subdued and mature sound; a move towards a more guitar pop sound rather than the darker visions which we were presented with on 'Humbug'. Turner's voice rings out with a confidence which feels more one borne of comfort, than frustration, which might be observed in the Monkeys' early work. Black Treacle begins with a guitar riff not entirely dissimilar to the Libertines' 'Campaign of Hate', before a strong bass riff floats towards the chorus, with rasping guitars and a steady beat, which has a strangely nostalgic feel to it - I can't help bit imagine this being played as a soundtrack to a 1960s film for some reason. Come to think of it, the album artwork isn't a million miles away from that of the Beatles' White Album.

Brick by Brick is an incredibly radio friendly song, with the first notable crashing riff and real thunderous feel to it. It is no wonder that this was one of the lead singles from this album, as it is definitely one which encourages not just one listen, but many more to boot. This has the feeling of a 'proper' rock song. The Hellcat Spangled Shalalala is a gentler affair, starting with a jangly guitar and Turner and the bass coaxing us into a false sense of security before striking at us with a stadium chorus. 'Shalalala' is one of those choruses which might be yelled back by an audience of thousands. This is song is a joyous affair and will, in all likelihood, be coming to a radio near you soon.

Don't Sit Down 'Cause I've Moved Your Chair is the other track which the public have been exposed to up til now. The darker vocal from Turner juxtaposes the gloriously simple and effective 'ooooooooh yeah yeah yeah' chorus which is uplifting and powerful all at the same time. Library Pictures is a hark back to the olden days of stomping, thrashing and anger. It's brilliant. I'll go no further than that, because you should definitely have a listen yourself and be blown away by it.

All My Own Stunts is a perfect demonstration of the development of Arctic Monkeys' sonic offerings - it is undeniably dark and mystic in comparison to their first two albums, but yet signals an, at times, almost imperceptible uplift in tone. This is much more listenable than much of 'Humbug', with Turner and team having found a penchant for a simple guitar pop riff and embedding it within their music. This isn't a single, but is a fantastic wee album track. Reckless Serenade glides along with a contrast between bass and a summery electric guitar lick and a kick in the drums. This song echoes of sitting back and enjoying a barbeque with mates, this playing in the background and talking of times gone by. There's a real quality in this album, one which I haven't felt on quite the same level for what seems like an age.

Piledriver Waltz takes us to a post modern ballroom, with a jingle here and a jangle there, wallpaper worn by the dreams of a million dancers and spits of champagne falling from their tilted glasses. As with any waltz, there is a real rise and fall which captures us and sends us to this parallel world, as might have just happened when I got a wee bit carried away describing the ballroom there. It's a cracking slower paced track, one to rock you to sleep, or at least to encourage a daydream or two. Love is a Laserquest has a brilliant title. Any song which manages to talk about laserquest is a winner in my book. I love the drums in this track - simple, but effective.

Suck it and See, our title track, is another one which belies the recent image of the Monkeys, with a thoroughly positive tone. Here, Turner 'pours his heart into a pop song/ because I couldn't get a hang of poetry', and we can be glad that this is the case, for otherwise, this song, where the 60s feel is evoked again, would never have brought us a damn good, if not great, track. That's Where You're Wrong takes us to the finish line with a pounding bass harassing the ear, in some punishing duel with the drums and guitar, weaving in and out with one another as if engaged in battle, before resting in the bridge and resolving to work together and provide an end to this album which is utterly fantastic, with rolls and flicks which stroll and lick the floor and tick towards the conclusion of SIAS.

All in all, this falls short of meeting our initial encounter with Arctic Monkeys, but it does signal a resurgence and a feeling that better things might well be on their way. The final track gives us great cause for optimism that, while SIAS is not a fantastic album as a whole, it is very good and offers some awesome flourishes and glimpses both to where we've been and what is to come.

8.0/10

Buy Suck it and See on Amazon here: Suck It and See
Buy Suck it and See on Amazon mp3 here: Suck It and See

Review. Wir Sind Helden - Von hier an blind

Wir Sind Helden (translates as 'We are heroes'), are German and I became aware of their work during a voyage on iTunes. I'm sure we've all been on one of them - we go to something we know we like, get distracted, click on a few random bands whose albums have covers which might suggest a musical as well as aesthetic quality and See what happens. In this case, I found Wir Sind Helden. This has to go down as one of my more successful iTunes adventures, as others have found me listening to German drinking songs, yodelling and, more often than ought to be possible, sensible or sane, Busted.

 

As the lyrics are all in German and I've more or less dispensed with the little German I did acquire at school, my usual analysis of what the songs try to tell us will be skipped, since it would take a little longer than forever to do this.

Wenn es passiert gets the album of to a rousing start in a song which rolls along in a familiar indie way, but casts this aside in a chorus which is of the sort Simon Cowell would want the song to have, albeit without a choir appearing and a key change for the last chorus - although these are obviously best avoided in any event. Echolot offers us a softer track, with a light, muffled strum allowing the vocal to guide us through to the chorus, which truly brings the song to life. This is a cracking track, the final chorus to close being one which, if I was Simon Cowell (I don't know what's coming over me here with this Simon Cowell business), I would want played in one of the epic moments in a talent show - maybe the person who wins' best bits.

Von hier an blind, the track to which the album lends it's name, it a much funkier affair, which, in parts, echoes of an early Franz Ferdinand track for the verse, before turning to a distinctively punchy guitar pop sound for the chorus. And, towards the end, I'm sure I can hear a banjo, which is brilliant! Zuhälter (which translates as 'pimp' for all you German fans) has a sound which may only be described using an onomatopoeic 'boing' throughout the song, which compliments a playful sounding thrashing guitar with a male vocal joining the fray too this time.

Ein Elephant für dich ('an elephant for you' - yes, I'm sure that's right) isn't the most brilliant song ever, but it does show the diversity which Wir Sind Helden possess, in delivering a song which comes in the same rough form as Echolot - an epic sounding indie song, with a foot-tapping beat and a chorus chord progression to make you stand up straight and send a shiver down your spine. Darf ich das behalten is a darker song, with only a blunt guitar present for the first half of song. It's perhaps, again, nothing extraordinary, but it is well executed, with a slight break from the bleak sound for a joyous acoustic-led bridge.

Wütend Genug feels like a song which Maroon 5 wrote, then translated into German for a laugh and then put in a safe place, only for it to resurface on this album. It's got a similar bass groove and feel to 'This Love' for the most part, with only the chorus diverting from this Maroon 5 themed track. It's a perfectly pleasant track nonetheless. Geht auseinander has a little bit more of a purposeful feel, driven forward by a powerful synth riff, leading to a power guitar pop chorus. The bridge into the chorus has a more optimistic and light feel compared to the rest of this track, which, I think, features a flute.

Zieh dir was an continues the 'lost songs of other bands' theme, with this having the feel of an Arctic Monkeys song which comes post Favourite Worst Nightmare. The riff is very AM, and the quick delivery of the vocal might suit Alex Turner's voice just as well as Judith Holofernes' tones. Gekommen um zu bleiben is another track which would fit seamlessly on a Franz Ferdinand album. This bass-led track has all that we would expect from FF, with a funk and fire and groove and swagger in a great wee track which demands a foot to start tapping and a hip to start twisting.

Nur ein Wort was the track which persuaded me to invest in this album - it has pace, delivery and is another one which might see the air guitar be given an airing, albeit for a strum rather than some gut busting solo. It might even get your hands clapping and feet stamping too in the bridge. Stranger things have happened after all. Leben lang üben is our first ballad, which offers a soft piano with a light strum and many a lighter being waved around too - this is a big fuzzy blanket to the ears - whatever it's about, I'm sure it's very powerful. Bist du nicht müde provides a soft close to the album, with Holofernes' vocals soothing us off towards a gentle end to a good, if not great album.

The album tends to reflect many influences, without Wir Sind Helden finding one definitive sound which they may call their own. Von hier an blind has its moments, but, while it satisfies, it does not exhilarate consistently enough to be considered a great album. I'm glad I found them on my iTunes excursion, but this album hasn't impacted on me the way others have. Well worth a listen, but it won't make my list for album of the year.

6.0/10

Buy Von hier an blind on Amazon here: Von Hier An Blind
Buy Von hier an blind on Amazon mp3: Von Hier An Blind

Review. Noah and the Whale - Last Night on Earth

When one thinks of Noah and the Whale, the song 5 Years Time springs to mind, it being the song which paved the way to the charts for the band, it reaching number 7 in the UK. The album this was from, Peaceful, the World Lays Me Down itself reached number 5. This was then followed up by The First Days of Spring, which was marginally less successful. NatW, however, have struck gold again (literally, having achieved 100,000 sales) with their latest release - Last Night on Earth.

The opening track, Life is Life sets the tone for a modern, if laid back affair. This tells the story of a man who is born again - 'Well he used to be somebody/ And now he's someone else/ Took apart his old life/ Left it on the shelf'. This song encourages us to 'live like it's your life' which is all very well meaning. The track itself does not possess the empowering euphoric sounds which one might expect from a song which conveys such meaning, despite coming close. It does, however, tell a story, something I'm a fan of. The repetition of 'Your life is your life gotta live like it's your life' would fit perfectly in the narrative of many a Disney film, but it brings a certain urgency at the end of the track, which probably sounds cracking at concerts.

Tonight's The Kind of Night kicks off with a neat piano riff and continues the energy which was found at the end of the last track. Again, we are told a story. Musically, the song is soft, pleasant and pacy, but it is lyrically where NatW really show their strength. We take a journey with a man who is looking out the steamed up window of 'a bus heading out of town'. At this point, it becomes clear that our protagonist might be the one who resolved to live his life in the opening track, as we are told that 'tonight's the kind of night/ Where everything could change.' This optimistic tale of a boy leaving town on a grand adventure to change is life is fitting, and the quicker pace of the track fits, this being a moment of great significance in our protagonist's story.

L.I.F.E.G.O.E.S.O.N is that awfully nice song you've heard on the radio. It's quite the summery tune. Here we meet Lisa, who 'went down on almost anyone' and seems to embrace the 'live the life your own way' maxim which permeates the album. Then we are introduced to Joey, an artist whose best work are the 'extended works of fiction about imaginary success' he sends home. Again, however, this sense of not being a total success is countered by the sentiment that 'On my last night on Earth, I'll pay a high price to have no regrets and be done with my life', suggesting that perhaps there is merit in dying unsuccessful, but having followed your own path. Musically, the song is one that, for me, would begin to irritate after a few listens due to its obvious effort to sound entirely pleasant and optimistic and summery, but that may well just be me being a grumpy so and so.

 

Wild Thing had me very excited at first glance of the title, making me think of the fantastic song by The Troggs ('Wild thing, you make my heart sing' etc etc). Alas, NatW's effort will likely not overshadow it. This track and, specifically, the vocal, is reminiscent of a Lou Reed song (maybe in his 'Coney Island Baby' stage), with the vocal almost spoken for the majority of the track. Here, our protagonist meets a girl who has been 'living without wings'. We are told of her boredom - indeed this might be the state in which the character in Life is Life was in before he decided to change his life and move away. Boredom, in this case, appears to make the girl go mental, living rough for 9 days and, as a result, having blood on her shirt. In the end though, 'she's lying in the moonlight with her hands between my knees', so all's well that ends well it seems.

Give it all Back finds our protagonist in a reflective mood, in a track which sounds rather optimistic and cheery. This, musically, is probably my pick from the album and the lyrics also fail to disappoint. We are taken back to the summer of 1998 where our main man is 'living out in the suburbs/ planning my escape.' Then we are introduced to a band which was formed and played their debut gig at a school concert - 'we're making our own way out' further demonstrating a desire to overcome the hurdle which their predicament purportedly represents to them. The nostalgia comes back with a bite - 'Yeah I'd give it all back just to do it again/ Turn back time, be with my friends.'

Just Me Before We Met's intro sounds different, with some sort of strings and keyboard combo engaged with each other before the lyrics kick in and then we have the band complete the sound about halfway through the track. We are introduced to 'me before we met' with 'bad haircuts', 'cigarettes' all 'trying hard to impress'. This piece of introspection is one which we may all easily relate to - it is the feeling when we look into a drawer when tidying it out and finding an artifact of the person we used to be - David Hume used to speak of our mind being in a state of 'perpetual flux', and this is evidenced here. Our predecessor might have been obsessed with a band or an image which we grow out of - we change, but this doesn't necessarily mean it is unwise, nor even needless, to look back. It lets us see where we've been, which might better direct us where to go.

Paradise Stars weighs in at a mighty 1:30 and forms a soft piano melody in a musical interlude of sorts. This is a beautiful wee sound, which is disappointingly short - I could easily listen to an hour of a simple track like this, although it is of the ilk which might send you into a state of zen and, ultimately, sleep. So I wouldn't stick it on repeat until you're ready to call it a day.

Waiting for My Chance to Come comes with guitars, strings and a beat and a drive which is more prevalent here than in other points of the album. This is a love story. We are told 'it takes real guts to be alone/ Going head to head with the great unknown', and presented with two individuals, both 'waiting on their chance to come'. The feeling of two becoming one is described from the point of view of our narrator - 'When you're walking next to me, I can hear my body speak'. This, essentially, sends out a message that everything will turn out in the end, and that our chance will come in matters of the heart. It's a great track all round.

The Line combines the mix of electronica and acoustic, with the emphasis firmly on the former here. For me, this is probably the weakest song on the album - it's somewhat bland in comparison to the other tracks on the album with no real oomph or sentiment found in the sound as a whole. We are told of a girl who appears to be in a relationship with another who is a violent drunk, as she picks up glass and then tiptoes out of the door, and, seemingly, the man's life. However, we are brought back to the message which this album is clearly intended to convey - 'I've lived my life like a diamond/ Bright and hard like a diamond' ; no regrets.

Old Joy begins with a chord repeated on the piano echoing as if some funeral march. The choir coming in follows this theme. This feels like an ending. And it is - the final track. It confirms, repeats and affirms the message which the album seeks to resonate within the listener - to 'forget the things that get away' and 'Don't dream of yesterday'. To conclude, Last Night on Earth tells a story and conveys a message - something which is a rarity in the majority of mainstream music - to live life to the full. We are not to be put off by small hindrances, for our chance will come, life goes on. Follow this advice and we will live our lives like diamonds and undoubtedly sleep beneath a sky filled with paradise stars. Musically, NatW are pleasant without ever threatening to blow you away. Some tracks lack a little kick, whereas others are great. All round though, it is a good effort.

7.0/10

Buy Last Night on Earth on Amazon here: Last Night on Earth
Buy Last Night on Earth on Amazon mp3 here:  Last Night On Earth

Review. Broken Records - Let Me Come Home

My first experience of Broken Records was when they supported Idlewild at the Queens Hall in Edinburgh on 3rd November 2007. It was clear even then that there was something special about them, as I did something at that gig that I haven't done since - I went straight to the merchandise stall and bought their EP. Since then, Broken Records have signed a deal with 4AD records, released their debut album 'Until the Earth Begins to Part, and now have a great following. And so, 'Let Me Come Home' was born in late 2010.

The drums in the opening track 'A Leaving Song' are quite different to what any Broken records fan will have expected from this album, but it is a sign of their growing maturity. A leaving song looks to capture the emotion of a man needing to head to pastures new from a relationship which has ended, or is in the process of ending - 'All the ghosts in this town/are dragging us down/and I want to feel alive.' This is without a doubt one of Broken Records' strongest efforts to date - a song that may be held in such high esteem as Slow Parade.

'Modern Worksong' continues in the vein of the new sound which Broken Records have found, mixed with the instantly recognisable tones of Jamie Sutherland, with a purposeful sound. This is in great contrast to the next track - the positively haunting 'Dia dos Namarados!', a slow number, where Jamie duets with Sparrow and the Workshop's Jill O'Sullivan in a song which changes the tone of the album, and is truly magnificent. It provides the perfect mix between simplicity and depth.

'The Motorcycle Boy Reigns' is dominated by a simple electric guitar melody and Sutherland's falsetto in the verse with a classic Broken Records anthemic chorus. This is then followed by 'A Darkness Rises Up' which, when it was released as a single, I listened to on repeat for far too long. It's a fast paced track, which is exactly what Broken Records are brilliant at - there are few things which compare to a 7 piece band giving it everything.

'Ailene' falls into one of the Broken Records tracks which doesn't necessarily stand out compared to their upbeat efforts, but is, instead, guided by the ryhthm and the complete sound of piano, bass, drums, guitar, cello all overlapping to create this great musical synthesis which evades the charts these days in favour of a computer doing much of the work of the artist. 'I Used to Dream'  is a gentle, mournful track, speaking of 'a sack of empty promises' and 'selfish thoughts' which 'leave a a little room for someone else'.

'You Know You're Not Dead' is a fantastic track, which was released as a single in January. It is another quick tempoed tune which, as I have said, shows Broken Records doing exactly what they do best. This is not to say that the relentless pace is at the expense of evoking an emotion, as this is still, somehow, very much present throughout.

'The Cracks in the Wall' finds a simple beat allow the band the opportunity, not to show off, but to demonstrate the incredible sense of togetherness and unity that one feels when listening to Broken records - this record is not so much a collection of rock or pop songs - it is a symphony - such is the sense of harmony that may be felt from every second of every track. 

The title track, 'Let Me Come Home' closes the album with a futher gentle number, which adopts a tone in the opposite to that which was found in A Leaving Song - 'I don't know why I left/ so please let me come home.' This completes the journey from the man who wanted to leave home at the start of the album, to one who seeks to return, having realised his mistakes. This track represents a solemn and fundamentally beautiful end to a fantastic album. 'Let Me Come Home' provides warmth and beauty and power in quantities which few other bands are capable. To add to being such an accomplished recording band, that Broken Records are one of the best bands I have had the pleasure of seeing live adds to my bewilderment that they haven't achieved the recognition they deserve.

9.0/10

Buy Let Me Come Home at Amazon here: Let Me Come Home 

Buy Let Me Come Home at Amazon mp3 here: Let Me Come Home

Review. Roddy Woomble - The Impossible Song & Other Songs

For those who know me, the fact that I've taken the time to review the latest Idlewild related release will not even come close to being a surprise. I have been a fan of Idlewild as long as I have been a fan of 'proper' music. Indeed, 'The Remote Part' played a large part in my 'musical awakening', as it were. I'm, as will become clear, not one of the Idlewild fans who have maligned their move towards folkier climbs from Warnings/Promises to Post Electric Blues. Each of these albums are as cherished as the classic 100 Broken Windows and Hope is Important.

As part of this folk driven shift in the musical output of Woomble, Jones and co, we were firstly introduced to Woomble's initial solo album 'My Secret is My Silence', which, while different to the other music I was listening to at the time, formed a brilliant contrast to my library of rock and alternative music. The same applies for Drever, McCusker and Woomble's 'Before the Ruin' and, last year, Rod Jones's 'A Sentimental Education'.

It will come as no surprise, then, that, when I saw Roddy Woomble had a new solo record coming out, that I was rather looking forward to it. Having heard the lead single from the album, the incredibly catchy, upbeat, yet relaxed, 'Roll Along', I couldn't wait to hear what the rest of the album had to offer. I duly listened in to the EPK released on YouTube and also the 'Songs from the Shed' sessions of 'Roll Along' and 'Work Like You Can'.

There was a slight mishap with my pre-order being delayed, so I listened to the album on Spotify, so please be aware that my first impressions of the album have been littered with adverts for Alexis Jordan's new album and adverts encouraging me to give blood. And Jessie J. Happily, the album is great, so I can't use my Simon Cowell-esque 'listening to it was like trying to draw blood from a stone' line. Perhaps I'll save it for another day.

The opening, bass and banjo led sound of the album in 'A New Day has Begun' has a distinctly country feel to it. 'Abandon your traditions/watch them disappear one by one' hints at a new approach from Woomble. One can only speculate whether this may be related to his new life on Mull or the fact that Idlewild are now on hiatus, leaving Woomble free to pursue his own musical ideal. Each of these events may give way to the 'New Day' of which we are told here. Regardless of meaning, the opening track is a statement of intent, the bass contrasting with Woomble's thoroughly Scottish tones beautifully.

Next up is 'Make Something out of What it's Worth'. This light, acoustic track is a soft, swinging, tune, which is undoubtedly pleasant on the ears without ever pushing the boundaries of music or threatening to excite. 'Work Like You Can', however, does offer something different. The accompanying vocals set the scene for a wistful, yet upbeat song which reaches into the reserves of overt optimism which have generally been absent in Idlewild records, with Woomble having historically preferred a cryptic lyrical style. It offers a simple way of life, accepting one's place in the world - the chorus line - 'Gather with others and work like you can/to live like you can' - hints at a simpler way of life, being glad for our friends and what we are able to do, rather than dwelling on the many things we can but dream to realise.

'Tangled Wire' reminds me of Fionn Regan's Mercury Prize nominated 'The End of History', with its simple picked guitar melody. Woomble's longing for a simpler way of life is again evident, speaking of 'living your life like a tangled wire' and 'trees lose their leaves like books full of words they don't need'. Being incredibly simple, this song did not have a profound effect on my first listen of the album, but it as, as the cliche goes, 'a grower'. The soft melody and profound lyrics make this one of my highlights of the album.

'Roll Along', being the single released in February in anticipation of the album, is a profoundly upbeat, almost jazzy number, with an upbeat verse which flows into a chorus which I hope to hear on the airwaves as much as it has dominated my iTunes use since its release. This song, as is the trend of the album, looks to disregard the complexity, pace and big questions which life throws at us - 'but you keep asking the same questions/about the nature of time/but they take far too long to answer/why don't we just go outside?' This album has the hint of a man who has grown to become comfortable in his skin - there is no need for confirmation of the 'great unknowns' in life; everything is fine just as it is.

'Hour After Hour', while having a hard track to follow, falls to be regarded, in my eyes, as one of the weaker tracks on the album. The series of 'oh oh oh' choruses towards the end hint at an experimentation with echoes of a more modern feel, with the bare essence of an electronic sound towards the end. I'm aware others may well disagree with this, but it's the feeling I get when hearing it. Having listened to the album a few times, it is one of the tracks that doesn't stick in the mind as readily as others.

'Leaving Without Gold', picks up the album by the scruff of the neck with the introduction of an electric guitar riff, along a sound which would not feel totally out of place on Idlewild's 'Post Electric Blues', or Rod Jones's solo effort. This track is pleasing on the ears, but once again without being anything spectacular. We are treated to a guitar solo, which is a surprise, but this brings a welcome contrast to the violin and clarinet solos elsewhere on the album. There is an incredible layered sound towards the climax of the song where the female backing vocals kick in on the final chorus, which redeems the song wholly from a lacklustre start. After a couple of listens, it becomes possible to credit the song with 'building to this climax' rather than the first half being in any way below par.

'New Frontier', from the title, looks, lyrically to echo the sentiments which we saw in 'A New Day'. 'This house will be a ruin before you know it/no matter how many times you wipe that table.' It begins in a style reminiscent of Norah Jones, with the vocals evoking a head much older and wiser than those Woomble has clocked up thus far. While this song isn't one which is groundbreaking, you get the sense that it isn't supposed to be. The piano lightly accentuates the shuffled rhythm of the track, making it a track to sit back and relax to, rather than one which will provide inspiration. It is a track, and album, for the contented.

'Old Town' opens with a sweet picked acoustic melody, before the deep, distorted bass comes in, which is then layered with vocals which are almost scrambled and are barely comprehensible. This seems a little unusual in the context of the rest of the song and album. The track then returns to the familiar soft picked melody before returning to the distorted sound, with an organ providing further depth to the track, which climaxes to an uptempo number, which might sit comfortably alongside 'A Pirate Song' from Rod Jones's solo album.

'Living as You Always Have' begins as if it was intended as a faster paced version of 'Act IV' from Woomble's first solo album. It flows slowly and evokes strongly the island way of life. 'I'll stay out til the sun goes down and play a trick on tomorrow' speaks of the simple delights that may be sought when living the simple life, as island life forgives those who tire of the hustle of cities, rewarding them with relaxation, where the rising and falling of the sun is something to be enjoyed, rather than serve as an inconvenience to commerce and busy lives.

'Gather the Day' is the track on this album which I have struggled to enjoy. While it displays perfectly competent musicianship, it begins in a monotonous fashion, and, when it reaches its climax, for me there is just something missing. It's not a bad song by any means, but it does strike as being slightly lacklustre in the context of the album as a whole. There is a romantic tone here, with boasts of 'I'll spend my money on you.', but I still can't quite connect with this song. Others will, as it clearly has something to offer, but it isn't the track I'll be coming back to this album for.

'Between the Old Moon', in its first 3 1/2 minute build-up to the climax of the album reminds me in places of the soundtrack to Sim City 4, a PC game I used to adore. The repetitive beat and pounding bass present us with a sonic landscape which, besides my budding town planner reminiscing, would be fitting as a soundtrack to a Brian Cox documentary. The beginning of this track feels like the album will close with a soft sound, but the progression of this song towards Woomble's cry at the end of 'Between the old moon/eyes like an alias', whilst I have yet to work out the motive behind the track, sounds mystic and leaves an eerie echo.

When the album loops back to 'A New Day...', it is hard to believe that both tracks are on the same album. What this reveals, though, is that this is an album that takes you on a journey and needs your attention. While 'The Impossible Song...' is unlikely to take the world by storm, it is an album which can provide a soundtrack to a spare hour. It is also an album which deserves to be listened to a few times before passing judgement upon it. On first impressions, I was disappointed, but now I am impressed by Woomble's new effort, if not blown away.

7.5/10

The album is available on Spotify here - Roddy Woomble – The Impossible Song & Other Songs

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