Wednesday, 16 July 2014

Interview - Glass Mazes

Along with reviews for Lana Del Ray and PS I Love You, this was coursework done for a music journalism training course I recently attended in London. The following is my first attempt at an NME 'Radar' style interview/feature piece on local band Glass Mazes. 

As the old saying goes, 'the world is your oyster'. A nice, albeit naïve sentiment; as whoever first coined it must have obviously never visited Basingstoke. A festival of grey, it’s not exactly rich in culture and musical prestige – the empty shell to the famous ‘oyster’ analogy. More importantly, it’s a line on which Glass Mazes guitarist and songwriter Tom Hill politely agrees; ‘The bigger bands from Basingstoke… I’m generally not a massive fan of’, is his more measured summary. ‘There’s a few around here I really like – Kurt (Tom’s Glass Mazes drummer + bandmate) plays in another band Artimus… there’s a band called Wreck, I saw them a few months ago, and they were really good – best band from around here I’ve seen in ages.’ Hill’s own band, the aforementioned Glass Mazes, form an altogether different prospect. Blending accessible pop melodies with intricate, technically accomplished musicianship and complex song structure, they identify themselves as a math-rock outfit – an underground movement Hill concedes is somewhat restrictively inward looking. ‘It’s stayed well outside the mainstream for enough years that it’s got a really strong cult following - but loads of bands sound exactly the same.’ While noting earlier influences Biffy Clyro and Foals, and subsequently early math-rock heroes Meet Me In St Louis and Blakfish, it’s a genre Hill believes is in need of a shake-up. ‘What would really help was if bands started incorporating other styles, or visa-versa - broaden it out a bit. At the moment it’s pretty standard; loads of two-pieces, loads of drum solos and fiddly guitars, loads of bands that love their pedals… but can’t write a good song to save their lives.’ Ultimately, that’s where Glass Mazes stand out from the bloated pretensions of their contemporaries; having grown up on a musical diet of prog and metal (and all the indulgent epics that entails), Hill instead aims to keep his band’s music in the vein of his later influences; ‘short and punchy - but technical, to keep ourselves interested’. On the strength of their excellent debut EP Everything You’ve Ever Wanted, it’s a mantra on which Glass Mazes undoubtedly succeed. Hill is similarly, justifiably confident about his bands future; with new material due for release in the August, he describes it as ‘Where the band starts again - where the quality of our work is gonna be ten times higher.’

THE DETAILS

Who?
Thomas Hill (guitar, vocals) Kurt Phillips (Drums, vocals) Ed Adams (Bass, backing vocals)
Based?
Basingstoke + Oxford
For Fans Of?
This Town Needs Guns, Colour, Blakfish, Meet Me In St Louis, Circle, Foals
Social?
www.glassmazes.bandcamp.com, www.facebook.com/glassmazes
New Releases?
New single and live-set staple ‘Swallow The Sun’ + B-Side ‘Bear Trap’ scheduled for release this August, followed by an EP in the Autumn.
Live Dates?
3 local live dates (including a set at Basingstoke favourite Sanctuary), followed by an October tour. Festival dates are out the question for now though – the band are busy with new material.

Review: Jamie T, 'Don't You Find'


Jamie T returns after a lengthy absence; and his audacious willingness to experiment is something to be admired 

Having been off the map for the best part of five years, Jamie T's uniquely urban mystique has only floundered in his as yet unexplained absence - something itself pretty remarkable in this 'insta-Orwellian' age of Twitter and social media. But he's sealed his drip-fed and suitably mysterious comeback with the melancholic creep of 'Don't You Find' - and it marks something of a change of direction for the previously anointed Burberry Shakespeare. Where his previously aggressive, low-fi sound was grounded in garage-rock and gritty Brit-hop aesthetic, 'Don't You Find' is a distinctly somber, brooding affair; built on a murky, slinking synth motif and simple, powerful lyrics; 'Don't you find/some of the time/there is always someone on your mind/who shouldn't be at all', it's unlikely to romantically soundtrack house parties and indie club-nights à la so much of his previous material. But that is not to its detriment; quite the opposite in fact. It's by no means immediate, but while it will undoubtedly prove divisive among his passionate cult fan-base (and all out offensive to the 'Sticks 'n' Stones' coat-tailers),  Treays' willingness to experiment and the effortlessness with which he pulls off a radically different style highlight him as a musician of genuine talent. In a mainstream climate where such a thing is so seemingly scarce, this excellent single and his long-awaited return is surely something to be celebrated.

Listen: Jamie T,' Don't You Find' 

Saturday, 12 July 2014

Glastonbury 2014 - Top 5

5. Elbow
You'd have to be either dead or in a vegetative state not to be
moved by Garvey and co. Or possibly just not an Elbow fan.
Hardly the most unpredictable choice, Elbow's reliably picturesque sunset performance was nonetheless awash with all the uplifting warmth, pondering melancholy and gorgeous melody that has become the band's signature - and all grounded in singer Guy Garvey's easy going, every-man charm. In fact, it was a performance rooted in familiarity; from the sunset that seemingly follows their every festival set, the effortlessness with which their four-strings strings pull your heartstrings, to Garvey's casual beer swigging and playful stage presence. So when they closed on the achingly beautiful bittersweet of 'Lippy Kids' and unofficial festival theme 'One Day Like This', it was hard to avoid the suspicion you'd felt those sweat-tinged goosebumps somewhere before.


4. Metallica 
Well if Mumford & Sons can do it we all might as well have a go
I have to admit, I never quite understood the controversy that shrouded Metallica's booking - and to some extent, the build up to the festival itself. Not to the discredit of the artists, but it always seemed strange that a festival traditionally built on rock music subsequently booked the likes of Beyonce, Kylie and Jay-Z as headliners, with very little controversy (a certain Gallagher aside) - then react with little short of abhorrence at the booking of one of the world biggest rock bands. But whether it was through James Hetfeild's beady-eyed grin or Robert Trufillo's bizarrely endearing hop-squat bass-playing, it didn't take long for the self-proclaimed 'reps of the heavier side of music' to win over their notably sizable crowd with a blistering 90 minutes of metal - played with eager, relentless enthusiasm and tongue placed firmly in cheek. Or perhaps between teeth would be more appropriate?


3. St. Vincent
Eclectic, chaotic, utterly bonkers... but above all, as talented
musician as any at Worthy Farm, with a performance to show it.
 
Playing a set heavily indebted to her latest, excellent release St. Vincent, Annie Clark (Aka. St. Vincent) brought her own unique brand of scatty art-rock to the Park stage, in an hour-long show that proved as much quirky performance piece as it did shredding art-rock. Indeed, it wasn't so much peppered with as much as it was soaked in bizarre, Byrne-influenced choreography and impervious dance routines; and as a result, Clarke seemingly spent a good third of the set writhing on the floor... whether intentionally or otherwise. However, whether it was spent tripping and falling or casting her piercing, aristocratic gaze over her audience, St. Vincent cut a consistently hypnotic figure across the duration of a genuinely superb set; and one that perfectly showcased her dedication to her craft, irresistible confidence and exceptional musicianship (and even more exceptional shredding...). As she sweetly-spits 'Dim dim and dimmer/succor for sinners, motherfuckers!' over 'Huey Newton's brutal, grungey refrain, it's easy to grasp just what a highlight this is - from an prodigiously gifted artist at the peak of her formidable powers.


2. Kasabian
The Beatles they ain't,  Kasabian nonetheless put on a show
 big, loud and fun enough to close Glastonbury. 
Yes, they are prone to schizophrenic-levels of delusion and self-estimation. Yes, their albums aren't exactly odds on to win any Ivor Novello's or Mercury Album prizes anytime soon. And yes, there is something of an air of naffness around one of the current biggest bands in Britain. But for all their detractors and admittedly glaring faults, Kasabian's headlining slot was an undeniably bombastic and flamboyant affair; and one that fully justified their booking as the biggest festival in the world's closing act. For a band so long pigeon-holed as a second-rate Oasis, it also boasted a diversity their Mancunian contemporaries never came close to achieving; whether it was curtain-raiser 'Bumblebee's Behemothic, sucker-punch riff, 'Vlad the Impaler's adrenaline shot of rave-rock, 'LSF's memorable chanted refrain or the Hispanic-flavored groove of 'Take Aim'. And just as the band's ringleader Sergio Pizzorno promised, it was packed with surprises; Noel Fielding's 'Vlad' cameo, 'Shoot The Runner's 'Black Skinhead' intro, and a cover of Gnarls Barkley's 'Crazy' among them. While on record they may not be the sophisticated, forward-looking innovators they perceive themselves to be, as a live act they are some beast; one that even their fiercest critic couldn't deny the sheer, expertly-crafted primal thrill of. In fact, some may even say that when all's said and done, those simple, primal kicks are what rock'n'rolls all about - and as the 100,000 strong crowd leap to 'Fire's Western-tinted chorus, it's clear Kasabian provide them in abundance. A masterclass. 


1. Pixies
A set as tight as a nun's downstairs mix-up; the legendary, utterly
incinerating Pixies. A peerless, aura-enhancing set.
 
Playing Worthy Farm for the first time since 1989, the reunited trailblazers Pixies brought their own twisted brand of surf-punk to Glastonbury's Other Stage - and proved themselves as good as they've ever been. However, it more importantly proved their comeback hasn't been a mere attempt to relive their 80's heyday; indeed, what was perhaps most comforting of all was how effortlessly the set elevated them above the cash-cow, bucket-list novelty act so many iconic band reunions inevitably amount to. It didn't just prove them as vital and deserving as any other act on the bill - it was a blistering performance as good as any across the farm's metropolis of stages. Perhaps most remarkably of all is the way it sustains and enhances the bands uniquely contorted mystique - with the new tracks in 'Bagboy' and 'Greens and Blues' slotting seamlessly in between the classic material; and the Biblically twisted songs on which they made their name ('Wave of Multilation', 'Caribou', 'Hey') never sounding so fresh, or so ferocious. It's admittedly not a performance awash with spotless musicianship or flamboyant stage presence - but for every third syllable in 'Debaser' that Lenchantin breathlessly struggles to hold, she plays Kim Deal's beloved bass lines to perfection; and makes for endearingly enthusiastic yet oddly mesmerising stage presence. Where Santiago slightly fumbles 'Wave of Mutilation's opening bars, his perfectly withheld note in the bridge of 'Isla De Encanta' is nothing short of exhilarating, as are 'Crackity Jones' twisting and turning leads. Then where the lyrics to 'Where Is My Mind' briefly, bafflingly evade Black during the song's haunting outro, he more than makes up for it with his infamously possessed, maniacal delivery. The static stage presence, minimal crowd interaction, occasional 'hiccups' from Santiago's guitar, Black's age-worn vocals... all of these were mere nitpicks in what was a sheer artillery of some of the finest, most important rock music ever written. Because warts an' all, you simply can't help but love this new invigorated incarnation of the Pixies - as for all its imperfections, it was a somehow perfect performance. For a band famed for their loud/quiet/loud dynamic, such an oxymoron seems a fitting tribute. 

And a special mention to some other highlights...

Arcade Fire - 'Reflektor'
Arcade Fire's enjoyable, if slightly bloated, Friday headlining set kicked off with the hypnotic, Bowie-tinted groove of 'Reflektor' - and perfectly set the tone for the kaleidoscopic indie-disco that followed.

Disclosure - 'Voices'
Is it true or authentic 'Deep House'? The hipsters may sneer - but when dance music sounds this good, who really cares? The dish-plate pupil masses of the West Holts Stage didn't, and at the end of the day that's all that really matters.

Robert Plant - 'Whole Lotta Love/Who Do You Love'
Drip-feeding the lyrics over a bluesy, stalking introduction, Plant sent his audience into a minor frenzy with one of the most iconic riffs in rock'n'roll - and perhaps the most impressive thing about Plant's performance was the ease and grace with which brought one of the most famed songs in rock to a Glastonbury 2014 audience. It still sounds like glorious, primal rock'n'roll over 40 years later, and not the artifact it should.    

Band Of Skulls - 'Bruises'
Threading creeping riffs around a seriously hard-hitting, blues-tinted punch, Band Of Skulls proved why their relatively low stature in the alternative scene is a myth that continues to perplex. 

Jack White - 'Icky Thump'
Kicking off a set that was simultaneously indulgent and fan-pleasing, it makes perfect sense that Edward Shredderhands himself would begin his set with a riotous performance of White Stripes favourite 'Icky Thump'. 

Lana Del Ray - 'West Coast'
Borderline narcissistic but unashamedly, glamorously cinematic, Del Ray nonetheless poured scorn on the considerable criticism her singing has faced since her (admittedly suspicious) rise to prominence in 2011 with 'West Coast's sweeping, airy, utterly hypnotic vocals.    

James Blake - 'Overgrown'
Sat rigidly at a somewhat comically sized keyboard, Blake's performance of 'Overgrown' perfectly showcased his talent for uniquely atmospheric, soulful yet ambient electronica - and his eerily Jeff Buckley-esque vocals.

Foster The People - 'Best Friend' 
Led by the addictive groove of Jacob Fink's infectious bassline, Foster The People showcased their enviable knack for melodic indie-pop gems with an energetic performance of 'Best Friend'. A band it's simply impossible to dislike.

Wolf Alice - 'Moaning Lisa Smile'

Despite frontwoman Ellie Rowsell's endearingly awkward introduction, Wolf Alice played 'Moaning Lisa Smile' with similarly endearing assured confidence - disguising the sound and spirit of 90's grunge in a 21st Century indie band.

Royal Blood - 'Out Of The Black'
Recalling early Muse's bass-heavy bombast, it must be said Royal Blood aren't exactly subtle. But when you only have a bass guitar and a drum kit to play with, what else do you expect? Playing to their strengths, it's this penchant for grandiose that 2014's aristocrats of rock embraced with an extended, riotous performance of 'Out Of The Black'.   

Sunday, 6 July 2014

Glastonbury 2014: Pixies

A scintillating, career-spanning performance that doesn't just prove there's life in the old dog - in fact, this rabid mutt has never been better.

If it's sophisticated musicianship, seamless note-perfection and flamboyant stage charisma you're looking for, 9pm, Saturday evening on the Other Stage is probably not the musical Utopia you have in mind. The occasional bum-notes from the respective guitars of Frank Black and Joey Santiago are difficult to ignore, as is bassist Paz Lenchantin's sometimes grating inability to hold a note in tune. Then as frontman, Frank Black is sometimes guilty of forgetting seemingly unforgettable lyrics, and the interaction from stage to crowd is... minimal, at best.  
But ultimately, this is the Pixies; and the aforementioned attributes are not qualities on which the 80s forefathers of grunge built their mythical reputation. Instead, everything you love about the band was provided here in glorious, savage, indulgent abundance as the Saturday evening sun set on Glastonbury's Other Stage. Whether it was Santiago's paranoid, shredded guitar, Dave Lovering's manic drumming, complimented perfectly by Lenchantin's playfully menacing bass, or Black's deliciously twisted screech... simply put, as a live act the resurrected Pixies have never sounded so good, so brutal, or so vital. Indeed, as a performance it's most reassuring of all that it doesn't just justify their reunion - it sustains and enhances the bands uniquely contorted mystique, in spite of the sets flaws. The new songs in 'Bagboy' and 'Greens and Blues' slots seamlessly in between the classic material, and the Biblically twisted songs on which they made their esteemed name ('Wave of Multilation', 'Caribou', 'Hey') have never sounded so fresh, or so ferocious. As for every third syllable in 'Debaser' that Lenchantin breathlessly struggles to hold, she plays Kim Deal's beloved bass lines to perfection; and makes for endearingly enthusiastic yet oddly mesmerising stage presence (especially in contrast to otherwise static band mates). Then where Santiago slightly fumbles 'Wave of Mutilation's opening bars, his perfectly withheld note in the bridge of 'Isla De Encanta' is nothing short of exhilarating, as are the twisting and turning leads in 'Crackity Jones'. Then where the lyrics to 'Where Is My Mind' briefly, bafflingly evade Black during the song's haunting outro, he more than makes up for it with his infamously possessed, maniacal delivery. Ultimately, what's perhaps most comforting of all is how effortlessly it elevates them above the cash-cow, bucket-list novelty act so many iconic band reunions inevitably amount to - and doesn't so much prove them a rough diamond as it does slightly scratched sapphire. Because warts an' all, you simply can't help but admire this new invigorated incarnation of the Pixies. It's almost like they never went away. 

Thursday, 12 June 2014

Single Review: Jack White, 'Lazaretto' (2014)

The first official single from the album of the same name, 'Lazaretto' finds blues-rock's very own vampire once again indulging his hip-hop fantasies - and with sophisticated, brazen results. Following the same jam-session aesthetic of the Lazaretto reveal track 'High Ball Stepper', it's a stubbornly uncompromising affair; swaggering through effortlessly cool riffs and strutting tempos at its own leisurely pace, it simply demands your attention - and not the other way round. White's menacing vocals are similarly captivating; blending a mixture of singing, spitting and rapping, they sound at times strikingly, bizarrely similar to fellow Detroiter Eminem. Then threaded between the swaggering rhythm, Super Mario soundbites, impenetrable lyrics and bassline hook, it results in an inimitable mash-up of blues-rock and hip-hop influence White previously showcased on Blunderbuss' 'Freedom At 21'. And in truth, it's the kind of musical casserole only Jack White could have the audacity and talent to pull off - and the kind that reminds us why seven years after the White Stripes curtain-call Icky Thump, White stubbornly remains such a vital figure in alternative rock.

LISTEN: Jack White, 'Lazaretto'

Monday, 9 June 2014

Review: PS I Love You - 'FOR THOSE WHO STAY'

Fleetingly brilliant but all too often decidedly average, PS I Love You's third LP For Those Who Stay is a turgid and tiresome affair.

  It’s not an encouraging sign for a band that three albums down the line, they still sound like they’re still finding their feet. However, it’s a suspicion simply you can’t shake listening to Canadian duo PS I Love You’s third LP, For Those Who Stay. While not without merit, it is rarely an engaging listen; and its simplistic, straightforward take on fuzzy indie-rock proves increasingly mundane as the record progresses.
  While there are sparks that break the monotony and boasting a relatively strong opening act, For Those Who Stay otherwise sounds like a continuation of the same mid-tempo, synth-sprinkled fuzzy indie anthem; and quickly becomes a tiresome listen. This isn’t helped by Saulnier’s yelping, Frank Black-cum-Robert Smith vocals; an overtly, artificially styled performance that is frequently grating – and on occasion unlistenable.
  That said, curtain-raiser ‘In My Mind At Least’, ‘Limetone Radio’ and the album’s centrepiece ‘For Those Who Stay’ are all captivating songs, and proof that when members Paul Saulnier and Benjamin Nelson stray from their epic indie anthem comfort-zone, they are indeed capable of moments of genuine inspiration. ‘Limestone Radio’s calculated yet maniacal riff proves For Those Who Stay’s most gripping moment, and the unsahekably Smithsesque ‘In My Mind At Least’ is an excellent start, subtly channelling ‘The Headmaster Ritual’ and anchored in Saulnier’s Marr-aping jangley, intricate guitar lead. Then the record’s title track is a similarly 80s tinged highlight, echoing both Joy Division and MGMT in a sprawling effects-pedal laden epic, and all grounded in a mesmerising, sombre piano hook. But it is also telling that For Those Who Stay’s best moments occur free from the yelping shackles of Saulnier’s draining vocals.
  If anything, the album is a lesson to its members to dip their toes in more expansive musical water. While it’s opening act provides some fleetingly brilliant highlights, as a whole For Those Who Stay is all too often decidedly average – and very much the turgid sum of its monotonous parts. Sure, there is enough on this record to assure us that when they set their minds to it, PS I Love You are indeed competent garage-rockers... but it’s just too indulgently bloated, too lackadaisical and simply too convinced of its own epic greatness to amount to anything more. Ultimately, it's a sad indictment of the record that such impassioned indie-rock should leave its audience so cold, but it’s a census that becomes increasingly painful the louder PS I Love You wail.
4/10

 @_jamesgale

Sunday, 8 June 2014

Single Review: Lana Del Ray - 'Shades Of Cool' (2014)

If the upcoming Bond 25 is lacking a signature theme, then MGM needn’t worry – Lana Del Ray’s new single ‘Shades of Cool’ is surely a worthy contender for the role. Underscored by a guitar coda unshakeably reminiscent of the franchise’s iconic theme, it’s awash with all the OTT drama and eerie passion of all the great Bond songs. But it’s Del Ray’s vocals that really steal the show (so long as they really are hers and not the result of an autotuning masterclass, as previous ‘questionable’ live shows have highlighted – see the infamous SNL performance of Video Games), sweeping between ethereal yet eerie, sweetly-sinister verses to the swooning, soaring passion of the chorus. With lyrics like ‘My baby lives in shades of blue/blue eyes and jazz and attitude/he lives in California too/he drives a chevy Malibu’ and drenched in production values probably not far off those of the next Bond flick, is it a style over substance affair? Of course. But then, what else do you expect from a Lana Del Ray record? While Nick Cave it ain’t, when the style is this stylish, its an engaging, irresistible listen. And for Lana Del Ray, it’s the sound of an artist playing to their strengths. 

@_jamesgale

Wednesday, 19 February 2014

REVIEW: Foals, Alexandra Palace

FOALS, ALEXANDRA PALACE
It's an undeniably energetic and impressive set, but there's a lingering feeling Foals still don't quite suit venues of this scope

2013 undoubtedly belonged to Foals - a number two album 'Holy Fire' and its subsequent Mercury Prize nomination, a mainstream radio hit in 'My Number', and a summer when they were seemingly inescapable on the festival circuit. These gigs at London's Alexandra Palace had the feel of a well-deserved victory lap after a breakout year, and they put together an undeniably impressive set; but despite what the elaborate light show and lasers may suggest, much of their sound seems slightly out of place in venues such as this - as does their relative lack of mainstream hits. It's an odd and arguably unfair slight on a band coming out of such a defining year, and don't let it detract from what was an excellent live performance; it just showed their recent crowning as 'Best Live Band In The World(™)' as a little premature. 
   If that sounds like odd or harsh criticism, then it’s only fair to pay them similarly odd compliments. Through 'Inhaler', 'My Number' 'Providence' and 'Prelude', much of 'Holy Fire' sounds like a 'live album'; or perhaps 'ready-made live album' is a more suitable description. It’s indie rock with build-ups and drops calculated to send their crowds batshit, and tonight on that basis Foals succeed with flying colours. Drummer Jack Bevan's exhilarating drop in 'Providence' splits the crowds for mosh pits like a hedonistic, clean-shaven Moses, and 2013's Radio 1-resident 'My Number' has the crowds bouncing and singing along like a true indie anthem. Older fan favourites 'Spanish Sahara' and 'Olympic Airways' were met with similar feverish adoration - with the former lowering the 7000-strong crowd down to floor before leaping back up at the song's soaring climax.
   However, as much as has been made about Foal's transition from indie-middleweights to arena rock heavyweights, there is something about the bands traditionally intricate sound that doesn't quite match up to arenas such as this. While you could argue the crowd's feverish reaction to every note, chorus and rhythm says otherwise, their muted performance at last summer's Reading Festival, a third from headliner slot in which they never quite won their crowd over with a similar set, backs up this hypothesis. It may seem a strange or harsh criticism, but in the exact same slot the year previously was The Vaccines; who while are a significantly inferior band played a set with both the sound and radio hits to inspire and engage their crowd in a way Foals failed to do so a year later. It is this failure to capture a broader festival crowd which highlights this criticism - that as yet Foals still fall somewhat short of true heavyweights in alternative rock.  
   The band, and thus the set, seemed at their formidable strongest when they abandoned their traditional spindly, high-fretting precision for more spaced out, grungier riffs - with the bombastic, grunge-groove of 'Inhaler' proving the highlight of the set, and the aforementioned 'Providence' a similarly intense shot of adrenaline. Set closer 'Two Steps, Twice' was also a stand-out moment, one that highlighted both the band's control of their audience (even more impressive given the limited communication between them) and drummer Jack Bevan's immense talent, as numerous circle pits formed across the closing chanted refrain. 
   Special mention should also go to Cage the Elephant here, who were seriously undersold as a major coup for a support act and left a lasting impression with a criminally short set. They played with relentless energy and infectious enthusiasm, and on both the strength of this set and their own standing in the current rock scene, deserved substantially longer than the seven songs they were granted. Curiously, it was also something of a 'greatest hits' performance as only two songs from their recently released third album made it into a set dominated by 'Sabertooth Tiger', 'Shake Me Down' and 'Ain't No Rest For The Wicked'. But based on this short support slot, they'll definitely be a band to look out for on the festival circuit this summer, and an intense live act in their own right. 
   This probably all sounds overly critical of Foals, who in-spite of their limitations, pulled out a riotous performance that justified the hype and ever-growing reputation they have generated over the last year. They are no doubt ambitious - and based on the strengths of this set and the promise of Holy Fire, there is no reason they can't fulfil that potential with future releases and performances. For now though, it was a suitably impressive gig to conclude a defining year for Foals, even if the prestigious 'Best Live Band In The World' crown doesn't quite fit them just yet.

James Gale

7.5/10

Tuesday, 11 February 2014

Review: NIRVANA - 'IN UTERO'

NIRVANA - IN UTERO 
Released: 1993 on DGC

  It's an easy observation to make, but Nirvana's third and final album is one that given its place in the bands mythical history, is today is hard to listen to as anything other than Kurt Cobain's suicide note; with many of its lyrics sounding more akin to eerie epitaphs and a haunting diary of Cobain's inner turmoil. In this sense, it's difficult to judge to the album on it's own merits; but make no mistake, this is a record more-than equal to its iconic predecessor 'Nevermind', and one that marks the fulfillment of Cobain's artistic vision. It's an unarguably immersive but draining listen, and not the sort of album written for casual, background enjoyment - but you'd imagine, that's exactly as Cobain intended it. If Nevermind catapulted Nirvana into the mainstream, In Utero is Cobain turning the slingshot back on his audience; testing and rewarding their most ardent fans, and alienating the parasites of their success simultaneously. 
  With all that said, In Utero is not the 48 minutes of unlistenable, left-field grunge its reputation may suggest - and if anything, Cobain occasionally overplays his hand, such as the effective middle-finger-to-the-mainstream but bordering on parody 'Radio Friendly Unied Shifter'. But through 'Heart-Shaped Box', 'Dumb', 'Serve The Servants' and 'Rape Me', sprinkled across the album are the familiar distortion-heavy pop-hooks Cobain was unashamedly fond of, of which the band perfected on Nevermind. Instead, I like to think this is the sound of Nirvana both going back to basics and the culmination of Cobain's influences and vision for the band's sound (if such a statement makes sense), and this rebirth philosophy stems right down from the album's title ('In Utero') through to its more stripped back, organic production. Indeed, immediately noticeable as a stark contrast to Nevermind's glossier, polished sound, cult anti-hero Steve Albini's production is substantially rawer, uncompromising and minimalistic for a substantially rawer, uncompromising and savage record, and really encapsulates the intense spirit of the album. 
  And intense it is; whether it's the melancholic longing of 'Frances Farmer', twisted stream-of-consciousness lyrics and colossal riff in 'Milk It', 'Heart-Shaped Box's hypnotic lure and sucker-punch chorus or the ferocious punk-rocker 'Tourettes', In Utero is frequently turbulent, often eerie, occasionally mesmerising - but consistently, utterly uncompromising. Special mention should go to Dave Grohl here - while Cobain was rumoured to be dissatisfied with Grohl's work on the album, his mercilessly fierce, pounding style forms the savage heartbeat of In Utero, demonstrated no better than on the heartbreaking closer 'No Apologies', and whose paying is complimented as ever by Krist Novaselic's understated but effective bass. 
  And as mentioned previously, it is the brilliant but ultimately soul-destroying finale 'All Apologies' on which Nirvana and In Utero truly, tragically and finally peak. Whether it was Cobain's intended 'artistic suicide note', it is hard to listen to it as anything but given its broken, haunting melody and disturbing, emotionally brutal lyrics.While its place as the album's finale no doubt has a part to play, it just sounds like the final effort of a crushed man with its melancholic string section, defeated melody and eerie lyrics and refrains; 'All in all is all we are', 'Married, buried' 'Everything's my fault' 'What else should I be? All apologies' that as both a fan and a listener, leaves you with an aching pit in your stomach. 
  And it is on that melancholic note that you inevitably come to remember the record; and to leave with such a devastating impact, is surely the mark of a truly brilliant album. It's debatable which of Nevermind and In Utero reigns superior, but I like to think of it like this: it was Nevermind that made the band and subsequently defined the era - but for better or worse, it was In Utero that defined the band and ultimately, defied the era. 

James Gale

IN UTERO: 9/10


TRACK LISTING
(BOLD AND * INDICATES ALBUM HIGHLIGHTS)
  1. "Serve the Servants" – 3:36
  2. "Scentless Apprentice" (Cobain, Dave Grohl, Krist Novoselic) – 3:48
  3. "Heart-Shaped Box" – 4:41 *
  4. "Rape Me" – 2:50
  5. "Frances Farmer Will Have Her Revenge on Seattle" – 4:09
  6. "Dumb" – 2:32 *
  7. "Very Ape" – 1:56
  8. "Milk It" – 3:55 *
  9. "Pennyroyal Tea" – 3:37
  10. "Radio Friendly Unit Shifter" – 4:51
  11. "tourette's" – 1:35
  12. "All Apologies" – 3:51 *


Wednesday, 5 February 2014

Single Review: Temples - 'Mesmerise' (2014)

Following Tame Impala's album 'Lonerism' breakthrough into the mainstream across the past year, the Australian's have been credited with reigniting interest in 1960s flavoured, Beatlesesque psychedelic rock; which for me at least, can only be a good thing (as is anything that stops Miles Kane's gimmick-ish claim to such a revivalist label). And like Tame Impala, Northampton-rockers Temples seem to sound oddly familiar yet ambitious and unique simultaneously. Taking the heavy, echoing drum rhythms, flowing, spaced-out melodies and 'chanting-atop-a-psychedelic-mountain' vocal style, 'Mesmerise' is the sound of messers Lennon, Harrison, Starr and McCartney giggling and stoned before their 'Tomorrow Never Knows' acid peak. Though to credit The Beatles with every such band would be grossly unfair, and there is enough in 'Mesmerise' to suggest Temples can stand on their own two feet as a band. And don't let support slots for The Rolling Stones at Hyde Park, or endorsements from the likes of Noel Gallagher and Paul Weller convince you otherwise; these guys are no mere 1960s fancy-dress throwback. 

7/10

LISTEN: Temples - 'Mesmerise'

Tuesday, 4 February 2014

Review: PIXIES - 'DOOLITTLE'

PIXIES - DOOLITTLE 
Released: 1989 on Elektra Records

I can't think of a better testament to Doolittle and its legacy than this: in the aftermath of Nirvana's domination of the 90s and their iconic frontman's suicide, you couldn't swing a cat without hitting a band attempting to recreate the grunge legend's tortured, distortion porn, loud/quiet/loud dynamic. The grunge kids desperately wanted to be Cobain... but then Cobain desperately wanted to be the Pixies, the forefathers of such twisted, loud/quiet/loud punk. He acknowledged as much himself; "When I heard the Pixies for the first time, I connected with that band so heavily I should have been in that band - or at least in a Pixies cover band.". As such, you can consider Cobain a leading disciple of their 1989 album Doolittlethe undisputed Bible of such gloriously maniacal rock. 
And it is in this Bible frontman and principle songwriter Black Francis tells irresistibly twisted tales of death and mutilation, Gods and Devils, lust and whores, myths of the seas and (a personal favourite of mine) a simple story about a crazed roommate named Crackity Jones. 
One of the most striking things about Doolittle is the way it takes such dark and warped subjects and crafts them into upbeat, playful melodies; the majority of which rarely last longer than two and a half minutes. A perfect example of this is 'Here Comes Your Man'; easy to mistake for a 1960s-tinged jangling pop gem, lurking beneath in Francis' lyrics is a simple, sorrowful account of a hearse arriving for a funeral. Similarly, 'Wave Of Mutilation' is on the surface an indie rock anthem for the surfers, awash with laid back distortion and a carefree, coasting tune. But the borderline sadistic nature of the song quickly dawns on the listener, as Black sings breezily of driving his car off a cliff and into a wave of mutilation, so he can kiss mermaids and walk with the crustaceans below. 
For me however, the album is at its manic best when the band abandons such calculation in favour of outright deranged and thrashing punk-rock. Album openers 'Debaser' and 'Tame' are perfect examples of this, as is the warped religious tale 'Dead'. Then there's the utterly psychotic 'Crackity Jones'; a ferocious, minute-and-a-half deranged ode to a former roommate of Black's, in which he shrieks and yelps his way through paranoid lyrics of chasing voices and claustrophobic walls, backed by Kim Deal's twisting and turning bass, Joey Santiago's viscous, Spanish-flavoured guitar and David Lovering's relentlessly manic drumming rhythm - all of whom are on reliably top form on Doolittle. Particularly Deal, whose trademark sweetly sinister backing vocals are used to great effect across the album (particularly on 'Tame', 'Hey' and 'I Bleed'), and uses Doolittle to showcase some of her most memorable basslines; with 'Debaser', 'Gouge Away', 'Crackity Jones' and 'Wave of Mutilation' among the highlights. 
The only real "lowlights" includes the slightly indulgent and somewhat unnecessary 'La La Love You'; which while is clearly one of the albums weaker moments never impairs the quality or momentum of a truly stellar record - and even then, the song's sarcastic parody of OTT love ballads is still an amusing joke that never wears too thin on repeated listens. Then for such a short song, the penultimate Westernesque 'Silver' tends drag somewhat - and is one that does tend to grate on repeated listens. Again, it's by no means a bad song - it is simply one that does not live up to the sublime quality of the rest of the album. 
However, they are two mere blips on an otherwise remarkably consistent record; and one that every bit lives up to its formidable reputation and legacy. Doolittle is surreal yet accessible, melodic yet utterly insane, with pop hooks blended with their own inimitable brand of surf-metal - and as Cobain endeavored to emulate across his career, gloriously loud/quiet/loud. 


9/10
TRACKING LISTING 
(Bold and * indicates album highlights)
  1. "Debaser"  – 2:52 *
  2. "Tame"  – 1:55 *
  3. "Wave of Mutilation"  – 2:04 *
  4. "I Bleed"  – 2:34
  5. "Here Comes Your Man"  – 3:21
  6. "Dead"  – 2:21 *
  7. "Monkey Gone to Heaven"  – 2:56
  8. "Mr. Grieves"  – 2:05
  9. "Crackity Jones"  – 1:24 *
  10. "La La Love You"  – 2:43
  11. "No. 13 Baby"  – 3:51 *
  12. "There Goes My Gun"  – 1:49
  13. "Hey"  – 3:31 *
  14. "Silver" (Francis/Deal)  – 2:25
  15. "Gouge Away"  – 2:45 *

Monday, 3 February 2014

Single Review: Klaxons - 'No Other Time' (2014)

I have to admit; I have always enjoyed the unashamed nuttiness of the Klaxons. They seemed like your first college band, fed solely on a diet 90s rock and rave and MDMA, which they cleverly turned into their own unique brand of batshit neon rave-rock... from outer space. But, and its a big but, they have always been very, very of their time - January 2007 to be specific, and their music has dated as rapidly as the new rave fad came to prominence. For many, it seems the bands popularity has become like that pair of flares your Dad cherished in the 70s - great at the time, but now uncomfortably stuffed away and forgotten at the back of the wardrobe. And the first single from their upcoming third album (and first for four years) 'No Other Time' can't help but feel like opportunistic jump on the house bandwagon, a misjudged attempt to claw back both popularity and credibility. But in truth it just sounds like a bad, over-produced house record fused with a good Eurodance one (the latter not being a compliment) with its bouncing beat, hushed vocals and keyboard melody. Bands experimenting and trying to progress their sound is always something to be admired, whatever the outcome; but given this bands history with the fad of new rave, its hard not to be cynical about the Klaxon's latest, underwhelming release. Because if you listen really carefully, you can even hear the wheels of the bandwagon they've leapt on creaking under their weight.

5/10

LISTEN: Klaxons, 'No Other Time'

Beck and Foals join Outkast as Bestival 2014 headliners


BECK, FOALS + MORE ADDED TO BESTIVAL'S 2014 LINE-UP
Disclosure, Major Lazer and more also join bill 


Bestival
has confirmed Beck and Foals will join Outkast as the event's 2014 headliners, as part of an announcement that revealed 9 other new acts now set to play the festival.

The new wave of confirmed acts now due to play the event also includes Disclosure, Major Lazer, Wild Beasts, Chvrches, Laura Mvula, London Grammar, Sam Smith, Caribou and Clean Bandit. 

However, it is Beck and Foals who join reunited soul-funk due Outkast as headliners of the annual Isle of Wight festival, each headlining the Thursday, Saturday and Friday night slots respectively, and festival organiser and DJ Rob da Bank said in a statement; "Foals were voted best live act of last year and I’m delighted they’ll be headlining the Saturday night – there’s no better indie guitar band in the UK right now," the 40 year old Radio 1 DJ claimed. "Also donning a grass skirt and mirrorball is a total icon of popular music and one of my favourite songwriters, Beck, plus disco darlings Disclosure, Diplo and his Major Lazer crew and all the hottest new bands from London Grammar to Clean Bandit. So get out of your deckchair and get ready to disco, my friends!”

Taking place from 4th-7th of September at the Robin Hill Country Park, the festival also recently announced its fancy dress plans for 2014, and following last years 'HMS Bestival', 2014's event will play host to a 'Desert Island Disco' theme this September. With plenty of acts still yet to be announced, please visit the festival's official website here for more information and ticket details.

Friday, 31 January 2014

Single Review: Damon Albarn - 'Everyday Robots' (2014)

The first, highly anticipated release from jack-of-all-trades 90s icon and Gorillaz mastermind Damon Albarn's solo album is a distinctly underwhelming offering. The monotonous rhythm and melody is, in theory at least, a clever way to represent the songs subject matter - but in practise is morose and repetitive. Similarly, the songs message is (too) clearly intended as a satirical take on our reliance on technology and the 9-5 rat-race; but lacks the biting, insightful social commentary he demonstrated with 'The Universal', 'Coffee and TV' or 'Chemical World' back in his Blur days. This makes it an even more bewildering choice for a lead single, but given Albarn's fame, fanbase and the anticipation ahead of his debut album, this isn't an album that needs a particularly substantial marketing campaign. It's just a shame then, that Albarn's first offering as a solo performer is such a tired, uninspired, monotonous ode to monotony.

4/10

LISTEN: Damon Albarn, 'Everyday Robots'

Wednesday, 15 January 2014

Single Review: Beck - 'Gimme' (2013)

The final of 3 standalone singles released across 2013, 'Gimme' finds Beck in progressive, experimental form. Set to pulsating beats and a flowing, morphing rhythm, the song is layered with synthasised, looped vocals and playful xylophone melodies, which gradually build until the ambient crescendo of the closing 30 seconds. Together, it all combines to ghostly, ethereal effect, the chopped and sampled vocals swirling eerily around the progressive beats and the drifting, shifting rhythm. After previous offerings 'Defriended' and 'I Won't Be Long', it all makes for extremely promising stuff ahead of the upcoming rumored releases of two new, full-length LPs.

7/10

LISTEN: Beck, 'Gimme'

Tuesday, 7 January 2014

Good Times, Bad Times: How do you solve a problem like David Moyes?

Good Times, Bad Times: How do you solve a problem like David Moyes?



   When David Moyes was announced as Alex Ferguson's hand-picked successor back in July, it's fair to say no-one expected a seamless transition, with the passing of the baton from one Glaswegian to another. But it is also fair to say no-one quite expected the 'sinking ship' scenario Moyes and United now find themselves in, or to have seemingly declined so far, so quickly.
   However, the reality of the situation is a team who stormed to the league title by an 11 point margin find themselves adrift in 7th at the start of the new year (and ironically, behind leaders Arsenal by 11 points), out of the FA Cup at the first hurdle, and having endured their worst start to a season for quite some time. While there are positives in the team's surprisingly assured and comfortable progress in the Champions League and the upcoming League Cup semi-final against Sunderland, it is the latter that represents United's only real chance of major silverware this season - and in truth is a competition the countries bigger clubs generally regard with indifference at best.

For Moyes, United and their fans, it is a worrying predicament, and it is arguable that at a number of their rivals (Chelsea, Spurs spring to mind, and to a lesser extent City and Liverpool) David Moyes would now be at serious risk of losing his job. But under United's hierarchy, and Ferguson and Bobby Charlton in particular, it is generally assumed Moyes is at no such risk and will be given at least the season to turn things around. However, herein lies one of the many problems David Moyes faces so long as he manages United, and arguably one of his biggest - the ever looming shadow of Sir Alex Ferguson. Arriving at Old Trafford through Sir Alex Ferguson Way, past the proud, bronze statue that stands outside the stadium, and taking his seat in the dugout opposite 'The Alex Ferguson Stand', it is easy to sympathise with Moyes, and the relentless haunting he endures of his predecessors achievements and legacy. Then to top it all off, the icing on this unwanted cake comes in the form of the man himself: Sir Alex Ferguson.

Attending almost every game, sat up in the Gods, watching over his title winning team dropping points like they were contagious, and remaining at the club working behind the scenes as a director. However unintentional this interference may be, the sheer presence of Ferguson in and around Old Trafford is problematic to the say the least and extremely undermining for Moyes, particularly in his attempts to stamp his authority and identity on what is still an almost entirely Ferguson-inherited team, and echoes the changeover from Sir Matt Busby to Wilf McGuinness back in the 60s, from Dalglish to Souness in the 90s, or more recently, every manager that followed Jose Mourinho's first spell at Chelsea after his 2007 departure. Moreover, Ferguson himself is also culpable in part for United's current decline. The latter years of his tenure were littered with significant mistakes - his stubborn refusal to permit youth product Paul Pogba playing time eventually led to the talented youngster quitting Old Trafford for Juventus, where he has since blossomed into one of the best young midfielders in Europe. Similarly his failure to strengthen the midfield, something the club has needed direly for some time, is a lapse of judgement that is proving more costly with each passing game. It could even be argued that despite the unquestionable position of power he held at Old Trafford, he should not have been allowed to make a decision as big as hand picking his own successor. But for many United fans, the sympathy for Moyes ends when you consider a number of his more self-inflicted problems - of which there are numerous.

One blueprint of Moyes reign has become very obvious and very quickly - his stubbornness as a manager. Whether it be his persistence with the rigid, 4-4-2 formation, continually playing players out of position such as Chris Smalling at right back, Phil Jones in centre midfield or again at right back, Danny Welbeck and Shinji Kagawa at left wing (or Ashley Young on a football pitch), frequently giving game time to players as hopelessly out of form as Antonio Valencia, Tom Cleverley or Ryan Giggs while leaving the likes of Javier Hernandez, Fabio and Wilfried Zaha to stagnate on the bench there is both a cautiousness and stubbornness that has become a trademark of Moyes time in charge. There are numerous examples this season of United taking a lead in games, but the relentless, predatory search for further goals to kill off the opposition that had become the norm of every United side for the past two decades has been replaced by a cautious need to protect any advantage through a defensive, pragmatic approach - where Wayne Rooney was once taken off and replaced by a Javier Hernandez, he is now replaced by a Phil Jones. Similarly, squad rotation had always been an important part of Ferguson's time at the helm, and fans took comfort knowing (or trusting he knew) his strongest 11 - seven months in charge and there is still no feeling Moyes has such trust in his own side, and by continuing to, at various extents, neglect talents such as Javier Hernandez, Shinji Kagawa and particularly Wilfried Zaha, it appears Moyes skills at squad rotation are similarly lacking. And there is another, perhaps less obvious decision and one of his first major calls as United boss, that appears more costly with each point lost.
Moyes decision to dispense with assistant Mike Phelan, first team coach Rene Meulensteen and goalkeeping coach Eric Steele, and then replace them with Steve Round, Jimmy Lumsden and Phil Neville appears a risky gamble that is currently backfiring, abandoning the continuity of seasoned winners for trusted but as yet unaccomplished replacements. The loss of Meulensteen and Steele is said to have hit United, or to be specific, United's players, particularly hard. Goalkeeping coach Steele was accredited with David de Gea's transformation from a mistake waiting to happen into arguably the league's best goalkeeper. Such was his commitment to the 23 year old that Steele is believed to have been learning Spanish in an effort to help ease de Gea's rumoured homesickness, and aid the inevitable communication problems. Meulensteen was thought to have been a popular figure among the players, particularly for United's talisman Robin van Persie, and is similarly highly rated among coaches and managers. But most important is the experience Ferguson's staff brought to the dressing room; and not to mention the numerous trophies they had played their part in winning under his mangement. Moyes' decision to release these coaches ties in with his stubbornness, and perhaps hints at naivety, as Steele revealed in an interview with fanzine United We Stand:
'He listened to the manager's [Ferguson] advice but he wanted to be his own man.
'I didn't want to leave. Why would I? ...'You had the United perspective - the manager saying: "Keep what we've got, keep the continuity, work with them and they'll guide you through".


   With all that said and done, it must be stressed that Moyes is not a bad manager - far from it. The progress he made during his 11 years on Merseyside cannot be so easily overlooked - he set the groundwork for Everton's current success, in spite of Roberto Martinez being flavour of the month among the media and fans, and his Everton team in particularly good form. He did an outstanding job in dragging the team he inherited, floundering at the bottom of the league, to the upper reaches of the table, and kept them there and punching above their weight for the entirety of his tenure. It should not be forgotten that it was this very job that saw him touted as Ferguson's successor well before his eventual appointment, and as such he deserves his chance at one of the world’s biggest clubs - and above all he deserves time.
   By that same token, this United team are not a bad side - but neither are they a great one. Moyes has inherited a talented squad with significant weaknesses to be addressed; weaknesses his legendary predecessor failed to do so. A side that can boast the names van Persie, Rooney, de Gea, Januzaj and Carrick (to name but a few) cannot be written off so easily. Under Moyes, Rafael has continued to grow into a reliable and talented right back, Adnan Januzaj has emerged as one of the most exciting and promising prospects since Cristiano Ronaldo, and Danny Welbeck is beginning to prove many of the clubs fans right in their beliefs that beneath the 'Bambi on ice' impressions and erratic, inconsistent finishing lurks a talented and technically gifted striker. And the clubs lone major signing of a disastrous summer transfer window Marouane Fellaini remains in spite of current, fickle opinion, a good player, and may yet prove to be the midfield powerhouse United need to challenge the likes of City's Yaya Toure - the kind they have lacked since the departure of Roy Keane. If Moyes can get the best out of this team like he has a revitalised Wayne Rooney, there is no reason his United side cannot challenge on the domestic front in the coming seasons.

   However, there is one point must be underlined above all others - if anything is to be salvaged from this season, and to protect the immediate future of the club, David Moyes needs significant backing in this months transfer window - and quickly. He also needs the support of the clubs staff, fans and crucially, its players. But while United's current faith in their manager is a refreshing change from the 'hire and fire' approach that is all too common among Premier League boardrooms, they cannot afford to stick and decline by Moyes through blind loyalty if the club's fortunes continue to fall so rapidly. The 6 years Ferguson spent in the wilderness before his maiden success is not a luxury Moyes or United have in the modern game, in spite of the length of the contract he was awarded.
Unfortunately for both Manchester United and David Moyes, the clock is ticking.