The kind of release that brings fans of dirty rock’n’roll together and adds to that a potential for notoriety. This ballsy debut is elegant in its simplicity and does credit to a band of boys that have already established themselves as creatures of the local stages. There are no intricate compositions here just the kind of bluesy rock that inspires you to sink a brew or two.
No, it's not an album of baby noises, it's a quite grown-up band of Texans - Spoon - speaking of some very adult issues. That's not to say it doesn't contain its fair share of cries and wailing and even an ode to a young'un's choice tool of destruction - the Cherry Bomb. The album suits a child's attention span also, bounding through a range of styles from raspy rock to skiffle, ragga and soul.
It hurts me to say it, but this could really have been a collection of what didn't make it onto The In Sound From Way Out; the same instruments churning out the same rhythms. It's still a skilful album, but the problem with being a trio of geniuses is that each new album is expected to be revolutionary. We're never going to get another Ill Communication, but for fuck's sake, they're the Beastie Boys, they can do whatever the hell they want.
It seems some bands think that just because they are from Sweden they have a God-given right to create hot pop music. Who the hell do they think they are? Like the world needs more enjoyable albums – the kind that incites people to dance around behind couches like jacked-up retards and enjoy themselves. God forbid people should actually have some fun listening to music! For arguments sake it would be great to say that LoFi Funk's homosexually titled electro pop debut is total crap – unfortunately it's actually really enjoyable.
New Zealand’s answer to Architecture in Helsinki drop their third album: a healthy mix of delightful pop with enchanting melodic and synth tendencies. Jonathan and Heather’s duelling vocals create the 11th and 12th instruments in an impressive mix, from the traditional guitar to the more obscure glock and mobile phone. If this album doesn’t leave you feeling happy and content them you need to think about seeking some help.
New on the scene, Fields bring us their debut album featuring layered tracks with lots going on. Think dancing through the fields of Iceland to elfin melodies. But there is still a dark side to this album with tracks like ‘The Death’, where heavy guitars and drums bring it out to play. If you like music to move you to beautiful tears then this is the album for you. This is a debut album sure to impress.
Named after the boat that ferried the band to Toronto Islands in Canada, site of the albums creation, it is easy to see how their surroundings inspired this music. With a noticeable country essence each track creates an atmosphere of peace. This album conjures images of a youthful Neil Young after a few puffs of Mother Nature’s finest plant. Sit back and let the haunting music wash over you.
A debut release that is so exquisitely crafted and catchy its contents may necessitate an AVO. The songs are astute, mature and just brimming with trimmings ranging from sublime and subtle vocal melodies to chiming guitar hooks that just melt into your head. The songs crackle as warmly as an open fire and it’s no surprise to learn they received a nomination for the WAMi Pop Song of the Year with the title track ‘Beautiful Pantomime’.
Marland Starkie has injected some musical coherence into this his latest largely-solo project. From simple song to complex composition Starkie takes listeners on an adventure into the introspective, pouring so much of himself into the guitar and vocally driven release. There is a humble beauty that is conveyed elegantly in the translation. This is the kind of album that inspires that humble beauty in its listeners and reviewers. Thanks Sleeping States.
This ironically titled album has a distinctly juvenile feel. It’s Brit-pop in its best format; a bunch of likely lads pounding out boppy beats and contagiously repetitive riffs. The kind of lads whose hair you want to tussle, if you can ever pull them away from the football or the pub. There has been a fair amount of local hype surround this Leeds group in the UK so if you haven’t heard of them yet, chances are you will soon.
You could be forgiven for thinking you've stumbled into an early morning sermon on a Sunday's dawn: a scene awash with droning organ as a voice echoes words from the pulpit preceding an angelic choral chant. These words that speak beyond our own little cocoon we are all so wrapped within, words contemplating the notion of forever. You haven't. This is no place of worship; this is the opener to the new indie soundtrack to your life. This is The Kissaway Trail.
Joining the ranks of the many current darlings this is one for all those cool be-speckled indie-kids. With distinct traces of Modest Mouse and trails of Band of Horses, The Kissaway Trail sound a little like The Dears smouldering alongside pieces of The Arcade Fire. They are five Danish kids that dabble in saturated soaring strings and yelping vocals, unafraid to step outside the boundaries they are slotted within. Mariachi guitar work sits perfectly betwixt thumping beats in ‘Tracy’ whilst a banjo comfortably spearheads sweeping guitars in ‘It's Close Up, Far Away’. In other tracks the rhythm section hurtles full-throttle down an open highway backlighting intricate, sparkling guitar work.
At times atmospheric, this collection of broken-hearted, subtle songs divulges a gamut of influences, yet very rarely does it mimic any previously outed sound in particular. It's an album that immediately attaches itself to one's heart; a record that sounds at once so familiar yet completely fresh. The Kissaway Trail is blazing a path well worth walking.