Album Review: Home Video - 'The Automatic Process'

RETURN: Home Video's second album comes after four year wait.

ELECTRONICA, synth and classical training aren’t exactly what you’d call a natural collection of musical terms but a pair of American high school chums fused those influences to create Home Video in 1997.

Classically inclined David Gross and New Orleans schoolmate Collin Ruffino have again teamed up to create their 11 track second album ‘The Automatic Process’ in a self released, produced and penned effort.

Coming after a four year wait, this album is aimed at more of the critical acclaim that its predecessor ‘No Certain Night or Morning’ got in being compared to Radiohead’s legendary ‘Kid A’ album.

This collection is somewhat difficult to categorise however, as it continues on the same electro influenced theme as their debut and again carries no real get up and dance element.

Instead it’s an atmospheric and quite arty outlook on the genre that is more to be listened to in admiration than to be raved to in a converted warehouse.

‘Smoke’ is a perfect example of this and how the duo use cloudy synth, wailing strings and echoed vocals to create mesmeric imagery around a steady bass line and a high pitched sparkling background piano.

Ruffino is then backed by harmonic synth when he sings: “The smoke billowing.”

The album opener ‘Accomplished But Dead’ also shares this textured almost visual aspect with wailing chords, eerie layered vocals and a recurring deep guitar strum that adds further drama to the track.

One standout and to a degree standalone track is ‘Beatrice’. This reflective love song has an acoustic guitar core backed by heavenly synth and floating percussion before an ‘In The Air Tonight’-style drum section introduces more dreamy instrumentation and a soft bass line.

Ruffino is irresistibly comparable to Thom Yorke’s yearning falsetto particularly in this heartfelt track when he sings: “I see her in my dreams.”

‘Every Love That Ever Was’ starts with a chilled out synth backing with tinkling piano excerpts before joining forces with a Meat Loaf-style piano rock chorus that is completely out of character for this album but it works. But that can’t be said for everything on this album.

Tracks like ‘No Relief’ and ‘I Can Make You Feel’, although different, do fall into the trap of becoming relentless and somewhat tiresome over five minutes, the former for its brash electro soundtrack and the latter for its uninspiring repetitive vocal.

But there’s such a wide range of influences on this album that other than being full of layers and texture, these tracks have no real consistency.

The piano laden ‘Business Transaction’, creepy interlude ‘Description of a Struggle’ and mix and match ‘You Will Know What To Do’, although having individual merits could all be from entirely different records.

In all this is a good follow up to ‘No Certain Night or Morning’ and continues in the same vein although some more forgettable tracks dampen its parade somewhat, there’s still plenty worth sitting back and taking in here.

7/10

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Album Review: Clare Maguire - 'Light After Dark'

DEBUT: Hype queen Clare Maguire is out to impress

AFTER coming fifth in the BBC Sound of 2011 list, Clare Maguire has been backed by TV appearances, celebrity meetings and supporting roles on tour with Hurts and Plan B.

So her debut album ‘Light After Dark’ has a lot of hype riding on it despite the fact that her first single to come off the album, ‘Aint Nobody’, only managed number 78 in the UK singles chart after its October release.

The album kicks off with a 58 second introduction called ‘Are You Ready’, which ultimately consists of her adlibbing sounds without actually saying any words in something more like a cry for attention than a teasing sign of things to come.

Despite this the music kicks in with the catchy ‘The Shield And The Sword’, which immediately reminds you of The Eurythmics and Annie Lennox with that earthy yet soothing vocal and some bright orchestral chords.

A lovely violin backing adds drama to a heartfelt piano and Maguire’s deep vocal that builds and builds to a crescendo as Maguire sings: “You have the shield, I have the sword, I no longer love you, no longer love you.”

‘Last Dance’ then follows, which is her recently released second single, and immediately brings in those Sharleen Spiteri-esque adlibs before her superb vocal range takes the song onwards and upwards.

Inspired and written the day after her hero Michael Jackson’s death and the public reaction that followed, this track has a synth undertone and powerful drumbeat to mark it out as a worthy second release.

After track three however this album begins to waiver in an attempted 80s throwback that has as much synth as it does violins.

Maguire’s website bio speaks of the fact that a lot of the tracks on this album were wrote in a day and the lyricism as a result here leaves a lot to be desired at times.

Take ‘Bullet’ as an example as she sings: “I was told a dead man was heavier than a broken heart, am I dead now, my heart sure feels heavy.” Maguire’s vocal is comparable to many an old powerhouse, Jennifer Rush comes to mind during this track, but the songs just don’t stack up.

In parts ‘Sweet Lie’ again is lovingly reminiscent of that Spiteri emotion as a soft drum beat, stripped back piano and harmonies follow her gently restrained voice before another limp, ordinary chorus, as she sings: “Out of sight out of mind, what a sweet lie.”

A sincere lack of imagination and that fight and rawness that pours from her press interviews is distinctly lacking on tracks like ‘You’re Electric’.

Although it has shiny synth, thickset drums and a pretty harp it is just full of cliché, it’s crying out for direction in places rather than, “You’re electric, I know lightning won’t strike twice in the same place, so lets run away.”

Tracks like ‘Break These Chains’ and title track ‘Light After Dark’ again have that rangy potential but lack a cutting edge chorus or anything to set them apart from the ordinary.

‘Aint Nobody’ is a moody synth-clad bluesy affair that is more Mortal Kombat theme music than catchy synth-pop as the droaning chorus repeats, packing no real punch.

The album is rounded off by a strange sort of plea in the form of ‘This Is Not The End’, which has a deep orchestral backing, prayer-like sound and although sung pleasantly has no other function than to make you question why it is on the album at all.

At the end of the day Maguire has a magnificent voice and range but a lack of imagination and catchy hooks on ‘Light After Dark’ makes her debut somewhat hollow as it seems something to be bought more to marvel at her vocal than at her music itself.

3/10

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Album Review: The Shoes - 'Crack My Bones'

KICK OFF: The Shoes release their debut album

PARIS is the city of love but it’s not very often that the UK looks to the French for modern musical inspiration.

Parisian duo The Shoes are trying to buck that trend and ship their electronic Euro-beats over to British ears when their debut album ‘Crack My Bones’ is released on March 7^th 2011.

Their first single ‘Stay The Same’ is a dancy, cowbell-laden pop track with that Calvin Harris feel, particularly through the straight up vocal and high-pitched harmonies. It’s a great chirpy little dance-pop track that’s woody drum sections and catchy chorus are a great start to the album.

In the same vein ‘Cover Your Eyes’ delivers a dancy bass line and some nice touches, particularly the piano excerpts that brighten up the verses. A constantly pitched harmonised male vocal maintains that disco-pop theme, with some tinkly electronics added in that sound like they’re straight out of Streetfighter 2.

‘Hmmm’, your thinking, ‘sounds like a decent prospect’. Well I’m afraid to say from here on in The Shoes begin to lose their sole (apologies, it had to be done), especially as the first of three Bewitched Hands collaborations kicks in.

‘Time To Dance’ starts with some strange ABBA-inspired piano tinklings and a 70’s disco bass line that just doesn’t go away. Then it gets worse as the campness is accelerated by a Lazytown-style kids spell-along and a harmonised Eurovision vocal that grates straight from the off.

The other two of these collaborations aren’t much nicer with title track ‘Crack My Bones’, which sounds like a trippy Pet Shop Boys narration with unconvincing accents, and the Transylvania-inspired Cheeky Girls-fest that is ‘The Wolf Under The Moon’.

Featuring lyrics like, “Every night the clock stop in my room, it’s so far the wolf under the moon,” it’s hard to take seriously.

‘Wastin’ Time’, which is one of only three songs not to be a collaboration is a definite highlight however, with that Calvin Harris aspect returning, it’s chilled bass line, sleepy harmonies and pretty piano sections make it well worth a listen.

There is so much going on here however that it’s hard to tell if the tracks are from the same record.

‘Cliché’, which features CocknBullKid, is a great example of this with its weird bass line reminiscent of ‘Sweet Like Chocolate’ by Shanks & Bigfoot and a grating electro chorus.

Another oddball is the last track, ‘Investigator’, which is a near nine minute dance track with Empire of the Sun-like vocals but with drums straight out of ‘Wildboys’ by Duran Duran that are too much to bare.

Overall this debut is an odd mishmash of inspirations and collaborations that are often ordinary, although there are some redeeming features, but more often than not they are extraordinary for all the wrong reasons.

3/10

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Album Review: The Answering Machine - 'Lifeline'

LIFELINE: Second album finally released

AN UPBEAT, jumpy and utterly catchy debut for The Answering Machine, with their widely praised full on indie-pop delight of an album, ‘Another City, Another Sorry’, meant a lot was expected from the Mancunian quartet’s second record.

Often it is said that the first sequel is always the hardest to get right but the band’s second album, ‘Lifeline’, is a somewhat different animal to its predecessor, in part due to the fact that it was self produced.

Rather than those raucous guitar riffs leading a high tempo sound, this offering shows us a softer and mellower side to the group.

The first single to come from the album, ‘Animals’, is a great example of a slow roast guitar fest, with glittering strums mid-verse, before an upbeat riff and synth combination transform Martin Colclough’s clear vocals.

Title track and second single, ‘Lifeline’, is another track that experiments with an electro undertone that underlines an ever-changing guitar riff before the mid-tempo chorus is let loose as Colclough sings: “throw me a lifeline, I know we’re going to work this out”.

‘So Alive’ is a delightful retrospective summer road trip of a song, taking you on the proverbial Answering Machine tour bus with Colclough’s innocent sounding narration covering a bright and bouncy guitar riff and tinkling electronic soundtrack.

Few lowlights attempt to blur this 11 track collection of upbeat, low tempo delights although ‘My Little Navy’ and ‘Romance and Square’ don’t deliver quite as much as personal highlight ‘3 Miles’.

The former is a sweet lullaby that can pass you by a little bit before a rockier guitar section takes precedence, whereas the latter’s chorus isn’t as strong as the title track for instance although its pacey beat rings of Two Door Cinema Club.

The four minute, love-laden ‘3 Miles’ combines emotive acoustic and electric guitars, stretched out harmonies from bassist Gemma Evans and some beautiful lyrics, none more so than, “the veins, the blood, the cracks in the street, my heart breaks a little more with every beat.”

It rings of self-production and that patience that is so evident in the charmingly raw ‘Rules’ that’s retro sounding instrumentation sounds more Simon & Garfunkel than fresh indie, but it just works.

One track that could easily fit in their first release is the surging ‘Hospital Lung’ that’s juggernaut of a guitar-riff powers throughout, barring some great tempo changes that serve just to reel you back in.

Overall The Answering Machine have delivered a follow-up befitting of their first album.

A change in direction that adds more depth without changing the band’s ethos as one that knows exactly how to deliver a catchy chorus has paid serious dividends here.

9/10

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Album Review: Alex Winston - 'Sister Wife'

SULTRY: Winston's debut EP looking to hit all the right notes.

THE sultry and often unconventional voices of 2010’s female solo artists relentlessly serenaded British ear drums with the likes of Ellie Goulding, Sky Ferreira and Adele taking centre stage.

And this barrage of sweet scented pop doesn’t look set to stop anytime soon with February 21^st set as the date for transatlantic songstress Alex Winston’s debut EP, ‘Sister Wife’.

This six song collection of self-penned and performed tracks, comes straight from the imagination of Detroit born Winston, with the added input of production duo, The Knocks, along with Charlie Hugall.

Having worked with Rihanna and Ellie Goulding, The Knocks’ latest collaboration was always going to get attention and the opener, ‘Locomotive’, grabs you from the off with an interesting mix of sounds.

Combining a heavy, unsubtle drum beat with Winston’s high-pitch vocal, an incessant tambourine and relentless acoustic guitar, this track is a pretty Kate Bush-style vocal with an at times grating accompaniment.

Winston’s best bits here come in the slower, stripped back moments, when her heavily echoed vocal is added to with that acoustic strum as she sings: “Come on call me sugar, call her honey, call me darling”.

Another song with a darker backing is title track, ‘Sister Wife’. After a tribal drum beat and soft string intro reminiscent of Lykke Li, Winston gets into her stride with a soft opening verse before the bouncy melody begins.

This time the mishmash of instruments comes together better in a full on, yet balanced, track with a darker undertone as she aggressively sings: “Hey there sister wife, get the hell out, it’s my life”.

The standout track however has to be the memorably bright and beautiful ‘Choice Notes’, starting off with a Lily Allen-esque piano and horn combo that tinkles its way through to a melodic, summery chorus.

Winston’s cute vocals work into an echoic lullaby before featuring heavily again in the harmonic 60’s throwback love song ‘Sweet James’.

The violin-clad ‘Don’t Care About Anything’ and closing track ‘Fingers and Toes’ again work around that high-pitched gift of a voice.

The former is a slow-paced, self-deprecating story of not feeling for others as she passionately sings: “Kick me, hit me, shake me, scare my ghost, I’m feeling comatose.”

Alex Winston’s beautiful and emotive vocals and evident song writing ability make her a star in the making, but the over-experimental leanings and at times grating arrangements are only small blots on a promising debut.

7/10

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Album Review: Stricken City - 'Losing Colour'

FAREWELL: Stricken City call it a day as they release second album

A SWAN song, by its definition, is a parting gift and final hoorah from a band who has reached that pivotal point in their existence.

Unfortunately however, the aspirational, pulsing guitars and poignant vocals that lay behind the sound of London-based four piece, Stricken City, have only got them to their second and final album.

Their brand of flashback indie with deep roots in the 80s and bands like Blondie and The Sugarcubes was cut short in December when a downbeat statement was released explaining their decision to part.

It read: “Thank you to anyone who helped in any way, bought a record and came to a show. We never stood a chance.”

A farewell gig at The Drop, in Stoke Newington, London, on February 10^th will come just three days after the release of second album, ‘Losing Colour’.

This ten song collection of at times mesmeric alternative indie begins with opener, ‘Some Say’, which kicks off with a soft saxophone and chiming intro before summoning lead singer Rebekah Raa’s pure vocal that is reminiscent of the Cocteau Twins’ vocalist Elizabeth Fraser.

Mixed with yearning harmonies, this guitar-led track eventually gets into a trademark rhythm that pulses relentlessly, contrasting beautifully with Raa’s soft sound.

This is followed up by the band’s last single, ‘Animal Festival’, which uses the combination of a deep bass and powerful guitar to contrast against that infectious lead vocal culminating in a lovely layered sound.

Another highlight is the near seven minute marathon, ‘Pull The House Down Skellington Remix’.

A stripped back percussive start welcomes in layer upon layer of electronic wails, keyboard chords and echoed vocals as Raa sings: “We can talk it over, talk it over”.

More of a dance-based departure, this track echoes of New Order with a retro, almost Super Nintendo- style electronic beat taking the lead on what was already an impressive track.

For what is a farewell album, this collection pulls no punches as the band sticks to their C86 leanings, probably helped in part by the fact that ‘Losing Colour’ will be sold on a pay-as-you-want basis.

The group’s final single and title track, ‘Losing Colour’, is a xylophone-clad, earthy guitar-led dream song that encompasses the talent within this group and is a fitting goodbye single, summarised by Raa singing: “You open the cage and you let it out”.

But for all there is right with this album, there are some songs that bring little to the table. This is by no means an album to dance to, more one to reflect over but songs like ‘Office’ and ‘Corridors’ offer little in terms of catchiness.

The two almost personify their names, the former is a busy, whilst pretty, wall of sound and the latter is more of a thick-set juggernaut that endlessly powers straight on with another indulgent guitar at its core.

This throwback farewell is at times a powerful 80s revival with a vocal that is worthy of their predecessors, but the fact that Stricken City are splitting may in itself suggest that this brand of pulsing alternative music has had its day for better or for worse.

6/10

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Album Review: Little Comets - 'In Search of Little Comets'

DEBUT: Little Comets finally release first album

KNOWN as much for their impromptu lecture hall, bakery and metro gigs than for their music, self proclaimed “kitchen sink indie” band, Little Comets, have hooked up with independent label Dirty Hit to finally release their long awaited first album.

But despite their rocky break-up from Columbia Records, the quartet from Newcastle and Sunderland , have spawned a thoroughly catchy collection of harmonic indie ballads, hyperactive jumpy tunes and bouncy twisted love songs. And with tracks from as far back as early 2009, this mish-mash of the band’s first two years as a signed act is like a mini greatest hits.

Soon to be released single ‘Joanna’ is a definite highlight, with the cleverly ambiguous pronunciation of “Joanna” or “Do you wanna” adding yet more charm to this high tempo affair. With stripped back, guitar-strewn verses and an echoed winding guitar chorus matched with lead singer Robert Coles’, at times Johnny Borrell-like (Razorlight), vocal, this uplifting yet yearning love song is a true delight.

And this bouncy, upbeat, love-stained indie record isn’t short of foot-tapping songs, with older tracks like their first ever single ‘One Night in October’ and classy, issue-ridden second single ‘Adultery’ appearing on the album.

In fact Little Comets bounced their way into our musical consciousness through quirky cameos supporting the likes of The Twang, The Noisettes and Hockey. Here the group made a name for themselves by playing strung up makeshift instruments like saucepans in their live gigs.

But the poignant ‘Her Black Eyes’ introduces a softer side to Little Comets, with a gentle guitar setting the scene for Coles to tell the emotive tale of escaping domestic violence, or as the band more eloquently puts it, “where tension and silence can merge into violence”. A trademark echoic harmony and heavy drum beat follows Coles’ hopeful vocal before an acoustic strum saves the day and “her blue eyes, they depart from the story”.

A shimmering guitar opens the album’s latest single, ‘Isles’, with Coles sounding more like an edgier Dan Gillespie Sells (The Feeling) during the verses, in this downtrodden tale of British bleakness. Singing of working through a national lack of ambition, Coles sings: “Terribly bold they try so hard, to never look up to see the stars.” With a tangible frustration, this track has a sharp chorus and deliberate symphonic style which contrasts beautifully with the imagery of hopelessness.

Signing off with the uncharacteristic ‘Intelligent Animals’, Little Comets show yet another string to their charming indie bow with a dreamy, piano-laden reflection on society. Coles stretches his vocal range, expressing a kind of desperate undertone to an in part political message of how “we used to be such intelligent animals”, backed by a sleepy whining and even marked with a quote on the situation in Darfur.

‘In Search of Little Comets’ is a well written, emotively based, organic sounding record with that kind of basement charm and realism that makes the tracks somehow more relatable than your average indie band. Far more than a gimmicky uni fad, Little Comets should be considered more as an act that has the charm to pull you in and the tracks to make them real ones to watch in 2011.

9/10

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http://www.virgin.com/music/reviews/in-search-of-little-comets/

Album Review: Mt. Desolation - 'Mt. Desolation'

SUPER GROUP: Mt. Desolation try to live up to super tag

FOLLOWING the likes of Jack White’s Dead Weather and Josh Homme’s Them Crooked Vultures, Mt. Desolation are the newest so called super group, this time spawning from humble beginnings of synthesized piano lovers Keane.

Taking guest offerings from eleven other musicians from the likes of Mumford & Sons, Noah and the Whale and The Killers, this is anything but a piano rock mixtape. Keane’s Jesse Quin andTim Rice-Oxley have instead brought these bands together in a celebration of country music... yes, country music.

Nevertheless there are some beautiful tracks on this album like the mesmeric first single, ‘State of Affairs’, which combines Quin’s emotive vocal with a swirling violin and The Killer’s Ronnie Vannucci adding some sultry soft percussion to create this record’s delicate stand out track. The instruments build to a cinematic crescendo with an added almost medieval sounding guitar before Quin continues on his melancholic journey, singing: “When the weather turns and blue skies reappear when you’re pressed, fallin’ and you climb Mount Desolation yet again and you find we’re all just ordinary men.”

Another sure fire hit is the Springsteen inspired, ‘Annie Ford’. A story of love and loss that is wearing a metaphorical leather jacket and cowboy boots, this song has a tinkling piano adding to an ever-present rocky lead guitar and Quin’s gritty vocal.

‘Bridal Gown’ is the next of many quality bluesy love songs, chugging along with a slow, layered sound highlighted by Oxley’s strained lead vocal that rings of the Guillemots' Fyfe Dangerfieldduring the high notes. The song winds with the aid of a soft piano and enchanting violin as he emotionally sings: “Until the moment I saw you in your bridal gown, I just assumed that you would always be around.”

Unfortunately there are some cringingly clichéd fillers on this record, probably the most difficult to listen to is the line dancing juggernaut that is ‘Platform 7’, a track that single-handedly detracts from this album. Think of everything you don’t like about English country music and this song has it; a heavily strummed guitar and bouncy piano, an overblown American accent, and yes… a ‘yeehaa’.

‘Midnight Ghost’ is another typical country song that feels like it’s trying too hard. About lonesome travelling through American states, which are named one by one to a slow drum beat, strained piano and what sounds like an old church organ, you feel like your on the set of a strange British remake of the Dukes of Hazzard.

The idea for Mt. Desolation came over a quiet pint in a pub, purely fuelled by Oxley and Quin’s love for country music and in a way it’s as if the pair are playing musical dress up as they go from being Johnny Cash to Bruce Springsteen and back again.

But it must be said, Mt. Desolation’s self titled first album is a mixed bag of charming country inspired tunes and hard to take seriously line dancing tracks. And it is the self gratifying love for the music that has been created that makes this collaborative country collection well worth a listen despite the odd rogue.

6/ 10

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Album Review: Chief - 'Modern Rituals'

MODERN RITUALS: Debut album out to impress

WITH roots bedded deep in Santa Monica, California, as well as in New York City, Chief’s debut album is a bi-coastal, self proclaimed “traveller’s record”. Influenced by the likes of Neil Young and The Byrds, the quartet came out of nowhere to secure a high profile record deal with Domino before teaming up with Grammy Award-winning producer Emery Dobyns on their first record. So they must be good... right?

Well guitarist, Danny Fujikawa says that he naturally felt like driving down the Pacific Coast Highway when listening to 'Modern Rituals' and it’s not hard to see why, with expansive country sounding riffs in songs like ‘Wait For You’. A clever mixture of strummy acoustics and plucked electric guitar sounds along with a dominant drummer combine with Evan Koga’s fresh vocal to create the first of many dramatic tracks on this record.

The album’s highlight is the single ‘Night & Day’, a dramatic tale backed by driving drums and Koga’s soaring vocal. A soft instrumental start to the song is pierced by Koga’s echoed voice as he sings: “I see, see, see you about every night, but my heart don’t, it don’t feel right.” The song builds and builds behind a shimmering guitar before launching into an irresistible prayer-like chorus.

‘Breaking Walls’ is the second single to come from 'Modern Rituals' and is crammed with delicate tinkling guitars, Koga’s pure yet deep vocals and a rocky chorus reminiscent of aussie folk rockers, The Church. This is a cracking driving song, with a folky guitar solo, you can’t help but want to get in your car and join a long road to nowhere, as Koga sings, “now it will fall, it will fall, it will be falling if I’m breaking walls”.

The band also show their melancholic folk leniencies with the dreamy low tempo, violin clad, ‘Irish Song’ and the harmonic, ‘In The Valley’. ‘This Land’ is also a slower offering, this time with Fujikawa’s soft vocal combining beautifully with an Oasis-style rocky riff embedded in the verses.

This record is littered with soaring vocals and gleaming guitar melodies, but at times the hooks aren’t quite as catchy as you might hope. In many cases the choruses are quite long, almost tribal chants like on ‘Nothing’s Wrong’ where Koga sings, “when we go back alone, take me with you don’t be cold, you can call me on the phone and the weather gets dark you know”.

But this album is more than the odd catchy chorus. It’s a cohesive record brimming with beautifully layered instruments that take you on a journey, supported by classy harmonies that The Beach Boys would be proud of.

The new age folk rock success based around groups like Band of Horses could well see Chief hit the big time if this is anything to go by as their cross country influences make this the best of both emotional folk and feel good rock. A brilliant combination of layered guitar work, soft harmonies and dramatic song structure make this album a must listen.

9/10

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Album Review: Twin Sister - 'Vampires with Dreaming Kids'

HYPNOTIC: Long Island pop band unleash double EP

ANDREA Estella’s Long Island based, Twin Sister, have been branded as performing hypnotic pop with a shot of added weirdness after announcing the upcoming release of their debut double EP. But are this fresh five piece really that crackers?

Well this release is a collection of the band’s first two EPs and although made less than two years apart they show a definite evolution from finding their feet to creating a more rounded CD. The earlier 'Vampires with Dreaming Kids' is an unsure and at times wayward collection of tracks, beginning with the awkward mish mash ‘Dry Hump’. Combining Estella’s ultra soft voice and guitar chords that resemble whale song along with a hard on the ears, crackling guitar, this track creates an utterly awkward intro to the EP.

You cant help but think that the thinkers behind the, at times beautiful, Twin Sister sound are as eccentric as their critics suggest however. Take the second track on 'Vampires With Dreaming Kids', ‘Ginger’, which is half way between an attack on ginger kids and a reminiscent journey through New York. A slow, strained drum beat and blaring Stone Roses-style electric guitar add to the odd sounding lyrics as Estella sings “Ginger kids are nothing but violent”.

The latter half of the double EP, 'Color Your Life', is a much more refined and accessible collection of songs but the band are by no means past their eccentric best. Sandwiched between two classy tracks is the instrumental waste of time that is ‘Galaxy Plateau’. An unforgiving six minutes of wind, the odd chime and a bored sounding organist, this track is nothing more than a filler. In fact its only purpose appears to be that its last 25 seconds form part of the next song’s intro.

But the band may well lie on the border between madness and genius as songs like ‘All Around and Away We Go’ suggest. Backed by an electro beat that would fit perfectly in an episode of Knight Rider, sweet harmonies and a retro echoed guitar solo part way through, this is Twin Sister at their best. Some cute lyrics round off this quality alternative pop track, with Estella singing, “Sharing white bread, under purple-blue blossoms, I’m smiling for two.”

Despite offering a more rounded sound ‘Color Your Life’ is far from conventional with melodies such as in ‘Lady Daydream’ that echo of The Police and then fluffy pop tracks like ‘Phenomenon’ that are more cutesy than puppies at Christmas. But somehow both tracks just work.

On the whole it’s clear to see that Twin Sister have bags of talent but there is still work to do in terms of creating a definitive sound that can reach the heights of tracks like ‘All Around and Away We Go’ although there are glimpses of oddball genius throughout both CDs.

5/10

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http://www.virgin.com/music/reviews/twin-sister-vampires-with-dreaming-kids-and-color-your-life/

Album Review: Vandaveer - 'Divide & Conquer'

FOLLOW UP: Vandaveer return with 'Divide & Conquer'

THE brainchild of Kentucky born songwriter, Mark Charles Heidinger, Vandaveer have unleashed the follow up to 2007’s alternative folk debut ‘Grace & Speed’ with their multi-facetted new release ‘Divide & Conquer’. The band, now based in Washington DC, has evolved from a journeying folk machine into a more refined, harmonious group with this at times delicate second release.

The addition of heavenly harmonies courteous of Rose Guerin contrast beautifully with the straining gravel behind Heidinger’s sound and add another dimension to Vandaveer’s music. Welcome instrumental contributions by ‘These United States’ band mates, Justin Craig and Robby Cosenza, also make this record a much more layered offering from Heidinger and co.

The title track is a sign of what’s to come as it’s a slow burning, acoustic sounding song to fall asleep to, as Heidinger slowly narrates to a soundtrack of soft percussion, a winding guitar and smooth bursts from a piano. This backs on to a bed of rhetorical lyrics that are phrased to perfection, as Heidinger questions, “when you gaze out your window does it phase or envelop you?”

Heidinger’s voice sounds like a grittier Paolo Nutini at times and on tracks like ‘Turpentine’ the band bears an uncanny resemblance to British Folkster, Scott Matthews, with a meandering acoustic guitar and resonant humming that again combine beautifully with Guerin’s mesmeric supporting vocals. ‘Turpentine’ is an encapsulating, bluesy tale of unhappiness and sin that is a sure fire highlight of ‘Divide & Conquer’ with playfully dower lyrics to boot like, “when you dance with the devil, you don’t waltz for free.”

Vandaveer are at their very best in this album during the slower tracks that make the most of Guerin’s harmonies such as in ‘Turpentine’, ‘Fistful of Swoon’ and ‘The Sound and the Fury’ as she brings an extra emphasis to Heidinger’s clever lyrics. But not all of the tracks make the most of the harmonies or the writing.

An example of this is the rhythmic but ultimately unexciting ‘Woolgathering’ which is as uninspiring as the name suggests. An uncharacteristically bouncy guitar, intermittent piano section and soft vocal from Heidinger is sweet but difficult to listen to, largely due to its lack of distinct chorus or change in tempo.

Another elephant in the room is the blaring folk anthem ‘Mighty Leviathan of Old’ which features a strong willed guitar strum, gutsy bass and drum backing. As Heidinger sings, “With torches in hand we surveyed the land,” it almost sounds like some sort of medieval throwback with littered old English and that strong melody, but it does grate as the song wears on.

All in all the vocal addition of Guerin was more than a master stroke as she balances Heidinger’s gritty voice to create a harmony that was destined to be. Despite some rogue tracks, ‘Divide & Conquer’ is for the most part a masterful, articulate and harmonious collection of tales of woe that are pleasing enough to the ears to make you feel as if you’re day dreaming, it’s definitely well worth a listen.

7/10

Also published on www.virgin.com

http://www.virgin.com/music/reviews/vandaveer-album-review-divide-amp-conquer

Album Review: Eliza Doolittle - 'Eliza Doolittle'

DEBUT: Self titled album all set to hit the shelves

LONDON born singer-songwriter, Eliza Doolittle’s self titled debut album is a baby-faced look into her world of bouncy, summer melodies that at times are irresistibly catchy. The 22-year-old songstress, who has supported the likes of Jamie Cullum and Alphabeat on recent tours, has left her musical theatre background in the past to release this fresh new record.

The album is filled with sweet, cutesy lyrics that only the most hard faced critic could fail to find amusing like in the reminiscent ‘Back to Front’, where Doolittle beautifully sings, “we’d be pulling down the daisies, drinking milk and feeling lazy.” In fact on this track Doolittle’s vocals are exemplary and uncannily like her pop predecessor Bailey Rae, with an innocently natural voice that captures the essence of the song.

The first single to come from the record, ‘Skinny Genes’, is a dreamy track that makes you want to skip your way to work, with infectious whistling that litters the chorus. This cheery track cant help but bring a spring to your step with Doolittle’s soon-to-be trademark bouncy guitar strumming and rhythmic drumming. The youngster also manages to mix in plenty of cheeky lines that are far from cutesy like, “I really don’t like your skinny genes, so take them off for me, show me what you’ve got underneath so we can do this properly.”

But at points you cant help but feel like Doolittle is trying a little bit hard to throw in puns and double meanings as the track ‘Mr Medicine’ shows. With a slower strum and softer vocal, Doolittle comes out with some cheesy lines about the man in her life (Mr Medicine) that are at times cringe-worthy such as, “Mr Medicine I need my vitamins, what do you recommend?”

And as much as this album demonstrates Doolittle’s strengths, it does begin to grate somewhat with some forgettable songs like ‘Smokey Room’ with its uncharacteristically harsh guitar and far from catchy chorus, “Yeah ‘cause that’s so original.”

The undoubted highlight of the record however is its second single ‘Pack Up’, which features a bouncy bassline, retro piano and sound bites from George Henry Powell’s 1930s marching song, ‘Pack Up Your Troubles in Your Old Kit Bag’ and even a strange “tweet tweet” solo by Doolittle. The song comes together to make a classy, feel good, pop track that is the album’s stand out song.

Eliza Doolittle’s first offering is relatively hit and miss but the hits, it must be said, are big hits. For a debut album this is an imaginative pop record that has a definitively soft and sweet style that fits the summer months down to a tee. With an emotive voice like that of Corinne Bailey Rae and some of the cheeky charisma of Lily Allen, the signs are there that sweet summer pop could have a new face given time.

7/10

Also published on www.virgin.com

http://www.virgin.com/music/reviews/eliza-doolittle-album-review-eliza-doolittle

Album Review: The Young Veins - 'Take A Vacation'

BACK TO BASICS: Reformed pop-punkers go all Beatles on us

PERENNIAL pop-punkers, Panic! at the Disco’s shock split in July 2009 left the band in pieces after Jon Walker and Ryan Ross left, citing creative differences, and it’s not hard to see why as the pair have gone back to basics with their new outfit, The Young Veins.

The California based band’s debut album, ‘Take a Vacation’, lures listeners into a time where mini skirt clad youngsters were bopping to the beats of the Beatles and free love was in full flow. This 60’s throwback hits you with simple guitar riffs, catchy chorus’ and jingling tambourines right from the start.

Walker and Ross have set out a smorgasbord of short, foot tapping, classically inspired melodies kicking off with their first single ‘Change’ which immediately sets the up tempo bar for the rest of the album. A stripped back, chorus-verse-chorus set up with guitar solo to boot, this track is a clear departure from any modern pop punk leniencies to say the least.

The title track is also a delight but this time with upbeat harmonies that are reminiscent of the Beach Boys and lyrics that make you feel like you’re in a VW camper van on the way to a California beach in mid summer. Playfully Ross sets the scene with a catchy hook and cute lines like “We’ll leave the waves at the ocean and keep them all in a picture.”

The Young Vein’s first outing is not all surfing and sun however as the album features some cleverly written and at times sleepy tracks. The dreamy ‘Everyone but You’ floats into your ears like a lullaby with chilled out strumming and gentle jingling that are as mesmerising as Walker lovingly singing, “I’m tired of counting sheep to see her, I sleep because I need her.”

Another love laden track comes in the form of the reflective, ‘Dangerous Blues’, where Ross talks about the realisation that “Love is a beautiful drug” among gentle harmonies and a welcoming piano. This leads on through softer songs like ‘Lie About the Truth’, which takes you through calming guitar strumming and ‘Heart of Mine’ which is made to sound almost as if it’s being sung around a camp fire with a sing-along atmosphere and informal laughter.

This album is more than a departure from Walker and Ross’ pop punk roots, it’s a real U-turn that is sure to meet both the needs of the new wave of Beatles and Kinks lovers as well as their parents. Crammed with bouncy riffs and melodies that take you to the beach, your dreams and the very best bits of your youth, this retro album takes you back to the care free 60’s and all they stood for.

In fact this finely tuned pop rock vortex is summed up by the anthemic ‘Young Veins (Die Tonight)’, where Ross sings: “We have the time of our lives every night, like it’s our job to lose our minds.”

9/10

Also published on www.virgin.com

http://www.virgin.com/music/reviews/the-young-veins-album-review-take-a-vacation

Album Review: Sonic Youth- 'The Eternal'

PIONEERS: New album signals new strength for alternative veterans

WAILING feedback and smatterings of screeching guitar solos made alternative pioneers Sonic Youth what they are today, but their sixteenth studio album aptly named 'The Eternal', signals a change in direction. The New York based quintet have embarked on their most accessible record yet after signing with independent label Matador Records.

But this is by no means a pipe and slippers album, despite being a band deep into its second decade of recording. Instead 'The Eternal' delivers mesmerising guitar riffs that overlap like cloud-cover. They glide effortlessly from intimidating anthems to soft melodies and back again, enough to make fans of all ages want to sit back in amazement.

After influencing bands like Nirvana in the early nineties, Sonic Youth hint back at their experimental past on the albums opener. ‘Sacred Trickster’ is a two minute throwback to grungy times gone by with Kim Gordon’s distinctive vocals sounding like Katie White from the Ting Tings in a mosh pit. Clearly this is no tame pre-retirement payday however as they shout “Anti-war is anti-orgasm!” in a later song. But it isn’t a head-banger, it’s a refined collection combining ever-changing guitar chords, sprinkles of Muse-esque feedback and spades of blissful vocals.

Gordon’s breathy, intimate voice is brought to the fore in the enchanting ‘Massage History’, a nine minute dream-like swansong masked with endless layers of key changes. The Eternal’s finest moment however is another cauldron of sound where Gordon again reigns supreme. ‘Malibu Gas Station’ is haunting and hypnotic with trademark vocals like “My mind is hazy, just a little crazy”, whilst intricate guitar chords from Lee Ranaldo run the show.

Sonic Youth have hit a high note with this one. But The Eternal is not a commercial record like its predecessor Rather Ripped nor is it experimental like 1983s Confusion is Sex, instead it’s the best possible compromise.

8/10