Wednesday, 15 September 2010

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

Also published on www.virgin.com

http://www.virgin.com/music/reviews/mt-desolation-album-review

Friday, 3 September 2010

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

Also published on www.virgin.com

http://www.virgin.com/music/reviews/chief-album-review-modern-rituals

Tuesday, 31 August 2010

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

Also published on www.virgin.com

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

Wednesday, 28 July 2010

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

Wednesday, 30 June 2010

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

Sunday, 6 June 2010

The Working Men’s Club- Friendly, Forthcoming but Falling Short

GOOD TIMES: Barrowford WMC in need of more glory days


FROM bingo and beers to pool and pies, the old fashioned working men’s club has been a fixture in towns and cities all over the UK for over a century but in recent years we’ve simply stopped going. Is the traditional club an outdated trend or an important part of British culture? Jonathan Brown investigates...

Having lived just 200 yards away from David Street Working Men’s Club in the small northern town of Barrowford for most of my adult life, it says a lot that I’ve never actually been in the place. It’s always seemed to me like a secret lair for the over 50s and to this day it’s a somewhat scary pebble-dashed fortress but at a time when it is believed around four working men’s clubs are closing every week, surely these perceptions need to change.

Approaching the dominating doorway I can’t help but feel a little nervous and as I walk through the entrance I’m met with a room full of speculative stares. Clearly the under 35 is a rare commodity at David Street. Taking a glance around it’s a surreal sight to behold, the atmosphere is sterile, it’s almost like being in a waiting room. There’s a redundant ‘stage’ with cringingly garish gold tinsel behind it, a derelict dartboard that looks as if it’s never been used despite the majority of the crowd of ten punters looking like retired darts players.

All you can hear is ‘Take Me Out’ on the TV and the odd outbreak of cackling from the hardcore members in the corner. It seems like I’m not the only one too scared to go in.
So maybe it’s just the look of the place and people’s pre-conceived ideas that have caused David Street and clubs like it to become decreasingly popular in recent years.

To my surprise the face behind David Street is not Brian Potter, of Phoenix Nights fame, but instead I am met with the embodiment of the pub land lady, Pam Black. She’s a short, stocky woman who could pass easily pass as the club's bouncer never mind stewardess. Yet despite appearances she is an immensely friendly and passionate lady, who wants nothing more than for David Street to re-live its prime.

“It’s a fact, WMC’s are definitely in trouble but we’re doing okay,” Pam says with a sigh. She continues, “The problem is getting people to come through the doors after you’ve paid artists to perform, it’s a risky game because if we mess up, the club will pay for it.”

In fact David Street pays for acts once every three weeks to come and perform and hopefully pack out the venue but picking the right acts is a challenge in itself. Unfortunately after seeing the far from blockbuster ‘Irish Battle of the Bands’ advertisement from the week before on the notice board I can see why the club wasn’t packed to the rafters that night. Thankfully for me the club won’t be featuring any Daniel O’Donnell tribute acts tonight however.


The club can actually hold up to 100 people but on a night like this, with a sparse crowd littering the function room that you could count on your fingers, you can infer that Pam is keeping her cards close to her chest. The clues as to how they are doing are there for all to see, most of the spotlights in the ceiling aren’t working and there is a plug-in heater in the middle of the room because the heating is ‘broken’.

The fact that people have many preconceptions about WMC’s surely can’t help but Pam is quite proud to say that David Street is traditional. “Yes we are old fashioned and we do still have bingo and cabaret artists but that is what people love about clubs like this one. We are very welcoming to younger people though, we even let people order in takeaways and eat in the function room, it’s like having an extended family,” she explains.

And I can sympathise with her, the atmosphere of a WMC is a lot quieter than that of a pub and seemingly more sociable, the characters you find in places like David Street are fantastic. Take Frank for example. The larger than life forty-something having seen me at the bar chatting to Pam is adamant that I’m Casanova in disguise, shouting, “Don’t give him your phone number Pam!” These people make the place what it is but after all the club itself is over a hundred years old and some of the punters aren’t far from that milestone themselves by the look of it. Glancing round some are even asleep.

Having never been in the club before, I have to admit that I was expecting a far icier reception. But if anything, a new person being there just intrigues the regulars and before you know it you’re bombarded with questions and you feel instantly welcome. Despite this the perception still remains amongst many that unless you’re called Trevor, Graham or Shirley and you’ve worked as some sort of engineer or you’re an expert bingo player, you’re likely to feel as welcome as a horse in a nightclub in a place like this. But during these difficult economic times clubs like David Street can’t afford to be selective.

The WMC in Britain is in crisis because of far more than the odd bad tribute act or because of the 80s decor however. In the past decade social change has simply left the old fashioned club behind and now it is struggling to pick up the pieces. The smoking ban, recession and cheapening supermarket prices have driven people away from traditions and into less communal, cheaper ways around these modern day hurdles, even pubs are feeling the pressure at present. The heyday of the WMC, it appears, has long gone judging by the fact that since the 1970s the number of registered working men’s clubs in the UK has been nearly halved and the number of clubs is continuing to drop, so are they really worth saving?

As I sit pouring the rest of my pint can into a glass in Barrowford’s very own version of the Phoenix club pondering the question, it dawns on me how important to some people the working men’s club really is. You just don’t get random people coming up and introducing themselves to you in even the most friendly pub. WMC’s are innocent, lessening communities of people who simply enjoy the familiarity and sociability that comes with a membership. These clubs are a glance into days when you left your front door ajar and if the neighbours walked in for a chat you’d welcome them with open arms.

Because of this it seems Pam is as determined as ever to revive the club’s fortunes and she is adamant that they are starting to reel in a new generation of customers of which Matt Burton is one. The 18 year-old student and his friends have only ventured into David Street a handful of times but it seems Pam and the club’s committee are pinning their hopes on youngsters like them.

“As much as this place is a dead most of the time, to be honest, the main reason we come is for a couple of cheap drinks and to play pool because there’s never a cue for the table,” he explains. “We do feel a little bit out of place when we’re in here and just go straight up to the pool room, they are so trusting that they even gave us the keys to upstairs the first night we ever came down,” he says.

So for the likes of Matt at least the appeal of being associated with a WMC is minimal which doesn’t bode well for the future and it has to be said that a lot of locals probably wouldn’t notice if the tinsel clad club called it a day. In contrast the regulars would certainly have a thing to say about that, as for many clubs such as David Street memberships go back generations.

But as Pam admits herself, the characters that have kept David Street alive in recent times are themselves becoming few and far between. “There’s a lot dying off and we are actively trying to get new people in, we’ve even bought a Nintendo Wii which will hopefully bring more customers in,” she optimistically explains.

Yet with all this in mind you can’t help but feel a little bit downbeat about the future of such clubs that have decades upon decades of history and tradition behind them. The youth seem disinterested and the nation is hardly calling out to see more cheesy variety acts at present, so this may well be a final farewell to the humble working men’s club.

However there is a glimmer of hope as far as Pam is concerned, as the club has started to go down the route of renting out the venue itself for private functions a lot more recently, such as for Christmas parties and birthday celebrations.

She asserts: “The future for us at the moment is in putting on private functions because we just don’t get enough punters on a regular night whether it be a weekend or midweek. If we attract enough functions we’ll do okay.”

As the night winds down and the punters clear their tables the community spirit of the good old fashioned working men’s club rears its head. The camaraderie of the place and willingness to support each other is a humbling flashback to a bygone era and despite it being left behind by social change I’m quite sure that the togetherness of the WMC is more than worthy of a place in modern society even if Daniel O’Donnell impressionists aren’t.