NEWS// Vitamins: Vimanas Video

Here's a pretty cool video from Vitamins right here. Taken from their upcoming lp, 'Vimanas' is shot almost entirely on a beach in Hawaii, which matches the dreamy pop sound they've crafted for themselves extremely well. Manipulated vocals and a gold-painted woman also feature, so check it out. Record dropping via Debade Records.

NEWS// Little Dragon: Little Man (Live) Video

Serious credit to the guys over at Yours Truly for shooting this video. It's interesting to watch Little Dragon perform and all the little 'moves' they come out with while doing so. I reviewed their latest lp, 'Ritual Union' a few weeks ago, and thoroughly enjoyed it, so this was bound to be a treat. The chat at the start feels a little awkward, but as soon as they start playing that melts away into the brilliant electronic groove that is 'Little Man'. /via/

NEWS// Radiohead Remix Collection?

We've already been treated to a couple of 12" remixes from Radiohead's latest album, 'The King of Limbs, and now we're being tantalised with thoughts of a double disc collection featuring plenty more. Names mentioned include Caribou and Four Tet, who have already released their contributions, as well as Jamie xx and SBTRKT. As a huge fan of Radiohead, I can't wait for September 16th, which has been dropped as the release date for 'TKOL RMX'. (News via fan site)

NEWS// Nicolas Jarr: What My Last Girl...

Lovely track here from the amazing Nicolas Jaar. It's actually from the collection of three songs that form Nico's Bluewave Edits, which can be heard over on the SoundCloud, but weirdly enough, this seems to be a b-side. I prefer this song over the other two, probably because it's the slowest. The vocals and bluesy melody dip in and out of muffled sound and the snare drums seem a little off in parts, but nevertheless I could listen to this for hours. It just grooves along amazingly well, with the smooth voice leading the way!

NEWS// Bjork: Virus MP3

Bjork's multimedia project 'Biophilia' is now well underway. After both 'Crystalline' and 'Cosmology', we've now been treated to the surreal and dreamy 'Virus'. The only other use of germs as a metaphor for love that I can think of is Nivana's 'Drain You', but Bjork's version is all the more sugary. The song wanders along a moonlit promenade as the Icelandic beauty's whimsical voice sings with a certain strength. Warm bass oozes under a tinkling percussion canopy and it all just sounds... rather wondrous indeed.

NEWS// Baskin's Wish: Dailyfun EP

May I advise heading over and downloading this EP? A reason? It's free, and why would you not want that album cover in your collection? You can stream all four tracks below straight from Bandcamp or click on the little 'i' to download them. Baskin's Wish are a trio from Newcastle Upon Tyne, according to their Facebook page, with Dailyfun being their fifth release, filled with powerpop tunes. So what are you waiting for!? Stream an' then grab guys! /via/

NEWS// Teebs: Moments Video

Happened upon this video for 'Moments' and thought it was pretty amazing. Apparently almost two hundred smoke bombs were used to create the transitions you can see above!
/via/

NEWS// Wooden Shjips: Black Smoke Rise Video

First off, I don't know if the image to our left is the official art for 'West', which is the upcoming album from which this track is taken. But hey, who cares!? Get down with the dirty guitars and post-punk vocals drenched in reverb. Directed by Miko Reverez, the vintage video certainly emulates the feel of the song, which is nice. Check out both that and the mp3 below. EDIT: Yes, that is the album cover to 'West', but I can't be bothered editing the text way up there so... yeah.

REVIEW// Slash: Slash

     I'm a bit late getting to this considering it was released last year, but a request's a request. Thanks to Matty over on Facebook for asking after this review. The review in question is on Slash's debut solo album. Saul Hudson. If you've never heard of him, you've been living under a sound-proof rock all your life. Slash is widely recognised as one of the greatest guitarists of all time, and this record only goes to reinforce his status as such. There isn't much to say about the guitarist that hasn't been said a million times before. He was the guitarist for Guns & Roses, a stint which brought him worldwide critical acclaim. Grasping for the crown in a new era, Slash became part of Velvet Revolver and once again firmly reasserted his position as a living music legend. His numerous guests spots are worth their weight in gold, and 'Slash' proves he is a timeless artist no matter the supporting cast. And that supporting cast is pretty impressive. You get this impression hundreds of rock stars lined up to contribute to this album, and only the best have got on. Ozzy Osbourne, Chris Cornell, Ian Astbury, Dave Grohl, Adam Levine, Myles Kennedy and Iggy Pop are a few of the big names that Slash contracted for this project. Now, what can possibly go wrong? One of, if not the best guitarist, paired with other rock legends?

     Nothing, that's what. Well, Iggy Pop's flat vocals don't end the album as well as I would have hoped, but no one can fault Slash himself. This album could have taken a turn for the worst and Slash could have made each and every one of the fourteen songs about him. Instead, he let the song and the influence take over, and in doing so we're treated to a different side to the guitarist's obvious talent. Unlike some of music's greatest rockers and their need for attention, 'Slash' sounds all together more glorifying and magnificent.

     The album opens with 'Ghost', which demonstrates my previous point perfectly. Ian Astubury (of The Cult) contributes with vocals, and I immediately notice that throughout this record Slash takes a back-seat of sorts and plays to the strength of the vocalist. There are a few solos here, but not too many to make Slash sound arrogant and selfish. It's the amazing balance of individuality in the limelight and presence behind the music that makes this album for me. Let's not forget the thundering and epic rock songs though. The third track 'Beautiful Dangerous' is sung by none other than Fergie (Black Eyed Peas). Slash and his passion plays through these four and a bit minutes, carrying Fergie's vocals to a level that surprised me. It's not that she can't sing, but I didn't expect the power with which she belted out the chorus. 'Crucify The Dead' is an anthemic number with a pretty neat hook, but the second single here, 'By The Sword' made my day. With vocals from Andrew Stockdale Of Wolfmother, this sounds decidedly 'classic rock', from the reverb to the undeniably brilliant guitar.'Nothing To Say' hits a harder, darker feel, and the lyricism and the roars get your adrenaline pumping. Myles Kennedy comes in with 'Starlight' nearer the end, after contributing to the fourth number, 'Back from Cali'.  The former song sounds more like Cornell that the actual Cornell song did, and hits a bluesier note. But don't ignore any track here, because they all work exceptionally well indeed.
     Overall, if you like air-guitaring to some epic anthemic rock, this is the place to come. The change in vocals and style and Slash's appreciation for such makes for a gripping and varied listen that's tied together nicely by his masterful playing. Just an outstanding record that will undoubtably stand the test of time. Check out 'Beautiful Dangerous' below.

'Beautiful Dangerous'

NEWS// Magic Trick: Daylight Moon MP3

San Francisco’s Tim Cohen released this track just yesterday over on Soundcloud, and it's filled with folky guitars and pop sensibilities. It's the latest single from his upcoming album 'The Glad Birth of Love'. As you hit the two minute mark here, you get some brilliant sounds and wonderfully long notes. 'Daylight Moon' is around seven minutes long, and I absolutely love it. The record from which the song is taken is due to drop August 23rd, be it limited to one hundred copies!

Weekly Classics: Barry Manilow: Can't Smile...

     This week's classic is an absolute, undeniable, incontestable track from the brilliant Barry Manilow. It was actually my father who brought about my knowledge of Manilow (refering to himself as a loyal Barry Fanilow), but 'Can't Smile Without You' has also appeared in many films, namely 'Four Weddings and a Funeral', 'Hellboy II: The Golden Army', and 'Starsky & Hutch'. Manilow's recording is probably the most well known version, released on 'Even Now' in 1977, however the original track was recorded by The Carpenters a year earlier, on their album 'A Kind of Hush'. Either way, Barry Manilow's effort remains firmly lodged in my heart as my favourite translation of this timeless classic!

NEWS// Kid Smpl: Glow & The Love MP3s

So impressed by this guy and his work I couldn't decide which song to link. The solution? Link both! The top track, 'Glow' dropped yesterday and just floats along on a bed of synth, reverb and sonic detail. It's a fantastic atmosphere that's created, improving on the second and earlier number, 'The Love'. Water drips from the ceiling of a cavernous space, and the sound echoes off the walls. Check out Kid Smpl, a Seattle based producer over at SoundCloud here!

NEWS// TV Girl: Benny and the Jetts MP3

Here's a sweet little slice of nostalgia right here, from San Diego's TV Girl. Benny and the Jetts is the band's latest EP, filled with sugary pop tunes. This is my first exposure to TV Girl and I have to say I think I might have fallen for them. Album cover isn't the best, but for a free release (which you can pick up over here), I'm not that bothered. There is something about its vintage subtlety that feels undeniably charming. Listen to the opening/title track below and then download it!

NEWS// Krusht: Stay Video

This track was actually posted a couple of months ago, but seeing as the EP is apparently (check promotional image to your left) dropping this month, and because I only found out now, here it is. Featuring Deanna Neil, it sounds pretty psychedelic, what with it's deep vocals lathered in reverb. The melody bubbles along with an exotic beat, which is emulated in the neat video that goes along with it. I don't know if it's an official video, but check it out all the same. The mp3 is below too, if you don't want to watch said video.

REVIEW//Nasa: UncommonColorCombinations Vol2

     I'm lucky enough to have been emailed this album by Uncommon Records, the label behind producer Nasa Asan and his latest beat tape 'Uncommon Color Combinations Vol. 2'. I'm trying to resist putting a u into 'color', but seeing as these guys are American I guess it's okay! If the name Nasa seems strangely familiar, it's because he's contributed to many hip hop records, the latest of which being Adam Warlock's 'Dark Weapons (from Mars)', which I reviewed yesterday. There are literally only a couple of things I frowned at here, which is a great relief after hearing that Warlock album and not enjoying it all that much. I don't know if this is trademark Nasa, but the stuttering beat is very off-putting. I want a continuous beat, and when it stops and starts not only does it grate, but for me it takes away from the sound. Bearing in mind that this is only on a few tracks, I could pretty much tolerate it. Another little flaw is the way songs here end. Some end way too abruptly, and others lazily fade out. Other than that though, this is an outstanding collection of beat heavy instrumentals. Ten tracks running for half an hour, pick it up here.

     Kicking things off with 'Purple Suede Guitar Case Killer', a deep throbbing beat explodes with a wail before fading into the next track 'Transparency Personified with White Stripes'. The beat is similar, but snippets of vocals weave in and out throughout. Another fade-out (sigh) introduces 'Forest Greens', which would have been fantastic had the beat not stuttered. A folky, jazz infused sound at the very start smashes against a very nice little melody. High vocals are merged with the mixture of this track, but yeah, the strange and unnecessary stopping and starting feels forced and unnatural. I keep thinking, has my computer broken down or what!? Thinking about it, it is probably needed to break up the potentially repetitive track, but I personally could have done without it. 'Copper Blue' dives in and out of water, highlighted by tinkling wind-chimes and sampled female singing.

     'Flesh Colored Lobe' is intersected periodically by cool melodies, but is relatively lacking compared to the next track, which is my favourite out of these ten. 'Precise Red Lights' crackles with the dust of an ancient record, with a beat-less section at the beginning bringing a greater air of class to the album. It is played once, then mixed and remixed throughout the remainder of the song. Electronic scratches whizz against the beat before a disappointingly abrupt ending marks the start of 'Breathing into the Cold Blue'. Subtle ringing and sandpaper like sounds detail the beat, upon which electric guitars are layered. The high notes that are repeated in 'Brown Paper Bag' run throughout, but in the middle and near the end, that cuts out and we're dealt a brilliant melody. This track is the one that suffers the most from abruptness, in my opinion. The notes just stop before the melody starts and the end is, like most of the songs here, lacking a proper finish. The last two tracks finish the album well enough. 'Echoes Turning Red Orange Yellow' is aggressive in its shouting vocals and 'Sunlight Meeting the Blackness of a Cave' has the most noticeable melody and structure. Unfortunately this half an hour is finished with a fade-out. I was half-heartedly hoping for an epic finish but yeah, another fade-out for me.

     Overall, I love the experimentation and sounds Nasa incorporates within 'Uncommon Color Combinations Vol. 2', especially the compelling fusion of old and new on tracks like 'Precise Red Lights', which you can listen to below. Nasa has proven himself as one of the better beat masters out there recording music, but a few flaws hold this particular release back. Perhaps this is one of Nasa's traits, but I really don't enjoy the abrupt and lazy endings to his songs, or the pause and play effect he throws in once in a while. In the end though, this doesn't take away a great deal from the highly original and unique sound he's crafted for himself. Therefore I for one find this an album easy to recommend, especially for those wanting less vocal and more instrumentation from their hip hop. Check it out.

'Precise Red Lights'

NEWS// Bite Marks: Swarm MP3

Chanced upon this over at Soundcloud and thought I'd pass it onto you guys. It's a pretty neat little track for a group/artist with apparently only one song. The synth beat weaves and slides around the vocals, encasing them in a cocoon of reverb. It seems to be a string lead ballad of sorts, be it with an upbeat rhythm, if that makes sense. The reverb muffles the voice a lot here, but there's a certain surreal charm and hazy summer vibe that goes along with that. It's certainly a trip, but go ahead and take it for a ride on the player.

NEWS// SBTRKT: Up & Down MP3

I've really got to get round and review this album, especially since this track dropped a few days back. 'Up & Down' features Samba, who also contributed to the masked musician's eponymous debut. Hopefully this song shows that they aren't parting ways anytime soon, which is fantastic! SBTRKT has a magnificent way of backing Samba's soulful vocals with quirky bright synths. You can listen to 'Up & Down' below, which is a live version of the non-album song, and I look forward to reviewing the record as soon as I can!

NEWS// CymbalsEatGuitars: Definite Darkness MP3

New Jersey’s Cymbals Eat Guitars have a new album, 'Lense Alien' out August 30th, which I'll be checking out, but while we wait, here's another track to feast your ears upon. Having already been treated to the opening song 'Rifle Eyesight (Proper Name)' last month, 'Definite Darkness' sounds less epic, but will probably work within the record. Joseph D’Agostino’s nasally vocals strike a chord with the shoe-gaze production the group's got goin' on, relaying the abstract lyricism we're used to. Can't wait for the lp!

NEWS// Iamamiwhoami: Clump MP3

New track from the infamous Iamamiwhoami, and I have to say, it's one of their best. Continuing from the themes present in ‘; John’, Jona Lee and company deploy undeniably brilliant dance beats and terrific synthesisers to create something entirely unique. For me, this is possibly their most accessible work to date. It's the transition from ethereal beauty to human entity, with 'Clump' pulsing with the blood of full vocals and simply inspiring production. Although the mystery has been lost, this track is still stunningly beautiful.

REVIEW//Adam Warlock: Dark Weapons (from Mars)

     First up, the cover to Adam Warlock's album 'Dark Weapons (from Mars)'. Yeah. If you're a fan of great album art, this is probably not the best you've ever seen, but the sound in parts makes up for it. The story and feeling behind this six track record is a fundamental part of the sound. Warlock and his wife were victims of a burglary, and the pent up anger leading to him moving town gives these relatively short seventeen minutes a lot of passion and personal honesty. Producer Nasa worked with Warlock here and decided to use samples solely from outfit The Mars Volta and their discography. They've managed to steer that distinct sound around however, making it the perfect backdrop to this dramatic debut effort. Does it work though? The backstory is nice, but you can't support music on it. If you do, it's inevitably going to fall off. I think it teeters on this particular release. There are a couple of nice tracks, but the majority don't impress or get your adrenaline pumping as much as they're obviously supposed to. I'm not laughing at Warlock's distress, but I reckon it affected his music slightly more than I would have liked. In the end, this effort is free, so head over here and give it a listen for yourselves.

     I get that the beat is supposed to be crazy, in keeping with the inspiration for 'Dark Weapons (from Mars)', but I would have preferred one much more coherent in its delivery. The opening track 'Chain Lockin'' falls into this hole from the offset, with strange breakdowns and samples thrown in regularly not helping the situation at all. Lyrically, not much of a structure is kept to, but the words are pretty well written and engage to an extent. From the quieter moments to Warlock shouting "now I sleep with one eye open/ because the chain lock is broken", this track hits you as soon as you hit play, but like I said, the beat is pretty much a mess, and I think this stain seeps through to the other songs. 'Slugging Percentage' is better, even with the stupid humming that intersects the beat every so often. Said beat is more distinguishable under the lyrics, and the aggressive "violence" sounds great. The softer moment half way through is a stand-out point in the song as well. 'Serpentine Steak Knives' features both Subtitle and Elucid but doesn't improve on the flaws of the other songs. The different vocals add that variety to the album, but highlight a problem I can attribute to this effort as a whole. Nothing here makes me want to listen again. That's it. All I'm doing here is trying to vocalise why this is, but in the end there's nothing especially great about Adam Warlock's 'Dark Weapons'.

     'Drop the Hammer', with its unappealing stutter handicapping the beat, sounds just as bad as 'The Missing Amethyst'. The latter track (in the nicest possible way) starts to annoy. I get that Warlock has gone through an ordeal that he's putting into music, but on the fifth song we kinda understand and are just waiting for some lyrical variety. The last track, along with the second, are the best here, in my eyes at least. 'R.I.P. Port Richmond' has a quirky high voice that kicks off this number, pops its head up every so often, and eventually closes the record. The problem arises when you realise you don't want to head back to the beginning and listen though the whole six tracks for the second time.

     Overall, I'm less than impressed by Adam Warlock's debut album. The beats have no discernible rhythm most of the time, and although the lyrics are well-written, they become somewhat tiresome, even after just seventeen minutes. The concept and story behind 'Dark Weapons (from Mars)' makes the songs very passionate and easy to understand, which saves the album from being a utter waste of time. I sympathise with Warlock for what he's been though, and perhaps he's better when not emotionally stressed, but I don't reckon I'll be awaiting his next release. This effort is free however, so if you think you might enjoy it, check out a track below and head over to the link at the start of the review.

'Slugging Percentage'

NEWS// Four Tet: Locked MP3

Here is a new track from none other than Four Tet, whose album 'There is Love in You' was a highlight of last year. I can't find the mp3 to use with our flash player, but it's on Soundcloud, so I've just embedded that. I absolutely adore Kieran Hebden with this. I enjoyed Four Tet quite a bit before, but this is full-blown love. And with love comes the realisation that everything an artist touches transcends greatness and ascends into the realm of perfection. Scope the cover and have a listen to the song below.

NEWS// DUDES: Narcissists Anonymous EP

I think I'll conform to most other music sites now, and post reviews on albums, sure, but for EPs, singles and upcoming stuff, I'll do them under news. DUDES are a pretty recent outfit, having only formed properly in the last year or so. Narcissists Anonymous is a free hip hop/ R&B fusion lathered in reverb and electronic experimentation. Love the cover too, so if you're into pretty good grooves, check it out. Though listen to the finisher 'Relapse (Waitin' 4 Me)' below for a taster!

NEWS// Mastodon: Black Tongue MP3

'Black Tongue' is the lead teaser for Mastodon's upcoming album, 'The Hunter', and I'd just like to point out the awesomeness of this cover. “I burned out my eyes/I cut off my tongue.” goes the opening lines to this metal track, but the reverb on the vocals sounds great. This is some seriously dark material from a serious band, but for that art right there I think I'll just go with it! Dissect the song below and scope the official video over on Youtube here, if you so wish.

REVIEW// Nakagin: Elsewhere EP

     There is surprisingly little information that I can find on Nakagin. I gather that he's a nineteen year old Australian by the name of Hugh Luscombe, but the limits of Google are being deliberately, well, limiting. This review is on his free EP, which I've been eyeing up for a while now, 'Elsewhere'. And trust me, it's an EP. Weighing in at just over sixteen minutes, this is short and sweet electronica, composed of six tracks.  He has released another, eleven track compilation of rough, half finished numbers, but I'm taking this as his proper debut. Looking at the number of songs in 'Elsewhere', you'd be right in assuming the majority float under three minutes, but a couple manage to run to four. The sound hidden within such a sort time is creatively and sonically rich however, which adds to that twinge of disappointment when it ends. Being the length it is does allow its impact to stay intact throughout without losing it's edge, but yeah, it's a slight shame that it couldn't have run for longer. That being said, it's a wonderful experience while it lasts. The texture has been drawn from ambient music, creating soundscapes busy, brilliant and breath-taking.
     The title track doubles as the opener, and features Marcus Whale from similar Australian outfit Collarbones. It's the only song here with vocals (not counting sampled sounds), even if said words are barely distinguishable. As the longest number, I'm surprised Nakagin chose to use it as a means to kick the EP off, but then it does introduce the sound he's trying to emulate extremely well. There is a technique that Luscombe uses extremely well here, by turning the muffle on and off. Try putting a song on through your speakers, and then repeatedly covering and uncovering your ears. You'll get some idea of what this track sounds like. At first, I was cautious as to how well this would play out, but I was genuinely intrigued by the result. By keeping subtle sounds clear throughout, there is an anchor of sorts. Nakagin also, after a period of this fluctuating clarity, turns the muffle off. You're suddenly hit with this very tranquil atmosphere broken in part by sampled voices, and bizarrely, it remains enjoyable even on your third or fourth listen.
     'Raincoats' is similar, bar the vocals. A tinkling sound runs though the track, with again, very, very subtle talking audible in the distance. One part sounds like you're underwater, and another clear ending leads into 'Snow Statue'. Heavy breathing and claps make for a more solid and sturdy rhythm from which the surreal melody can be hung. 'Pachinko Slot Regret' is the most experimental track on 'Elsewhere', though it would probably be better to say most distinct, seeing as the whole six tracks are pretty avant-garde. A chiptune beeping flies above the shaking, clicking backing track, and an ending laden in 'ooh ooh cheeky cheeky's sounds unsurprisingly fresh. Coming to the last two numbers, I get the feeling that this review might lack in its usual length, but that can be expected when evaluating an EP, especially one merely sixteen minutes long. There's nothing in the last two tracks that stands out as being any different to the previous four, which is a shame.
     It highlights a major problem for me, in terms of how much original stuff Nakagin can put out, and keep putting out. At the moment, I get the impression that he found something undeniably great, and worked off that. By the end of the EP I was impressed by the production and skill of Luscombe, but came to the conclusion that perhaps the EP only being sixteen minutes wasn't a deliberate decision. Perhaps he ran out of ideas that would keep the listener interested for longer. Who know? I'll definitely check out his next release, and if it works for a longer time, you can all come back here and criticise my review! Until then, this is sweet, but a little too short to make it a good recommendation.

'Elsewhere Ft. Marcus Whale'

UPDATE: Segments

     Since the blog had a make-over of sorts, I haven't really talked about it properly, which I hope to do now. Firstly, I've shortened the strangely huge comments section, which is now a lot smaller and easier to navigate. Upon deliberation, I've also revealed the Blogger navbar, which you can see at the very top of the site. This means that if you're signed into your Google account, you can follow the blog! As well as that route, you can also follow Music Dissection on Twitter, like the page on Facebook, and subscribe to the rss feeds. All these are aimed to make keeping up with the site a lot easier for you lot. Instead of posting Youtube videos when I want you to hear a track, I've also incorporated a slick flash player, which will be present on most posts. Finally, I've decided to create a post template for each of the three segments, for continuities sake more than anything else!

     REVIEW//  (This will have album art to your left)

     NEWS//  (Wide image or album art to your left)

     WEEKLY CLASSIC// (Wide image at top of page)

     I hope to keep the titles as above too (e.g. REVIEW// Foo Fighters: ...), just to make it easier for people to find the blog while browsing Google or other web browsers. I hope this short post has cleared some things up if you've been confused over layout changes and such. As always, I'll keep you updated on changes if and when they occur. Thanks!

Weekly Classics: Tracy Chapman: Why?

     Sorry for not posting this yesterday, but I got a bit enveloped in the Hot Vestry review and forgot. This week's classic is a number from Tracy Chapman's 1988 debut album, the vinyl of which my mother is privileged enough to own. Instead of picking one of the more well known tracks however, cue 'Fast Car' and 'Talkin' Bout A Revolution', I've decided to share one of my favourite songs, 'Why?'. The energy matched with the timeless lyrics makes for some of the best female-lead rock and roll ever recorded. Chapman's voice has that fascinating groove within it that feels so effortless, an attribute to any classic artist. Other outstanding sections to this album are 'For My Lover', with its fantastic confidence, and 'Behind The Wall', a song undeniably brilliant in its stark a cappella, but really the whole record is one worth treasuring. Listen to 'Why?' below and enjoy it!

Hot Vestry: Dust EP

     Having listened over these six tracks for the third time, I'm still amazed by unsigned Mancunian band Hot Vestry. Having been sent a link to this EP's free download, and having promptly done so, I've come to the conclusion that we should all keep a very close eye on them. Composed of three guys, Harry Ward (bass guitar, synthesizer and vocals), Will Taylor (lead guitar, percussion and vocals) and Joe Ward (drums and percussion), 'Dust' is filled with simple alternative rock. It's brimming with a youthful passion, an element that can probably be attributed to the age of the band. Every member is sixteen, which, considering the maturity with which they play, is pretty impressive. They're not the best young rockers I've ever heard, but hell, if this is their output at sixteen, I can't wait to see what they imagine in a few years time. There is aggression. There are simple infectious choruses, but the lack of noticeable hooks make most of the tracks sluggish. Only one number here doesn't hit the four minute mark, which ends the EP nicely. The others though, tend to repeat certain sonic phrases a little often, which is starting to become a little tedious on fourth listen. A lack of pronounced scope and size here also causes a loss of power on repeated listen, but taking into account the age of the members, this can easily be righted as they mature. Like I said before though, it's going to be interesting to watch this incredibly skillful and enjoyable group change, evolve and develop with time.

     Opening with the title track, there is a subtler, softer restraint present in the beginning that breaks free half way through. From the half sung/half spoken vocals, relayed over harmonised notes, there comes an entirely different feel that contrasts with the opening perfectly. The passionate cries of “You’ve got to help me!” and  the intriguing repetition of "You’ve got suspicion in your eyes" break up the central riff well enough, but the whole song highlights another nagging problem. Too much instrumentation. With the energetic feel that the instrumentation suggests, I wanted more vocals and less filler sound, though this is probably more of a personal problem. In the end, I did enjoy the track immensely.
     'Turn On' basically does the same, be it slightly toned down, which leads unsurprisingly well into the slower number 'Snakes in the Grass'. A relatively stark intro leads the meandering guitar, but this less energetic effort highlights the vocals here. Especially on the lyric "This is the future not the past", you can hear the thick and characteristic accent, and the band's obvious desire to remain firmly planted in the 'alternative' genre. I absolutely love the vocals on 'Dust' come to mention it. They carry a certain relaxed element. Instead of appearing over-done and stressed, they sound decidedly uncaring in their delivery. I can listen to this EP and relate extremely well with the singing and the lyrics they relay. There is a definite grounded and honest emotion these guys emulate, and one I think they should try to maintain throughout their predictably long career!
      The baton of speed and energy is picked straight back up after being dropped by 'Snakes in the Grass'. 'Blood For Tears' is introduced through a fantastically confident drum beat and ends with shout-along vocals that hover above a backing track eerie in the image it conveys. A strange city void of people that, instead of appearing unnerving, transforms into the careless playground of our dreams. Outstanding. 'Be The Real Man' carries this soundscape, with similar backing vocals, but the real show-stealer is the finishing song, 'Commiserations'. All of the problems I mentioned before? They don't apply at all. Varied pitch from the singer and experimentation in sound all accumulate under the roof of the shortest track here. And by God it works. While the rest of the album is good, this closing track hits you with all the loudness and aggression that's needed in order to squeeze another listen from your ears. Hot Vestry are a band worth keeping an eye on. While all my qualms do come into play, it's the easiest thing in the world to forget them while you listen. You're way too busy rocking along to heed any attention to the length of the tracks, and that particular issue is only noticeable on repeated run-through. Considering the age of the band, I'm unashamedly impressed by what they've managed to achieve. Mark my words, this EP is the start of something huge. And as it's free, I plead you to support the band and give it a gander. To the group? Bravo! Bravo and well done!

'Commiserations'

They Might Be Giants: Join Us

     Despite the modern album art, which suggests to me a fun and youthful record, They Might Be Giants have been going for a long time. If you've never heard of the band, they formed way back in 1982, and have released fifteen albums, even if some of them are aimed at children. Yet the album cover stays true to their sound. They are arguably one of the most fun and quirky groups out there, but for me this effort doesn't carry the same strength or colour as in say, 'Lincoln', which remains one of their best releases. There are still the great hooks and melodies and lyricism that we're used to, and for one just coming into They Might Be Giants, my disappointment will probably go unnoticed. If you're familiar with their work however, the feel surrounding this album has, dare I say it, matured. A fair few individual tracks do hit the spot, but the overall sound is, in my opinion, lacking. That being said, the production is clean, and after four years of working with a child audience, I appreciate that even as it is, 'Join Us' is a huge accomplishment for the band. I guess I'm just underwhelmed, but at the end of the day, even when compared to their earlier output I can't deny that I did crack a smile more often than not. I've never been the strongest fan of They Might Be Giants though, I have to say. For me, the whole structure of their songs is very generic. The guitars and drums have all been heard before, and it's most definitely the lyricism and delivery that gives them their originality. But then, they're not serious are they. Their sound has, like I said before, matured, but they're still just trying to make people laugh and have a little fun.

     Opening with 'Can't Keep Johnny Down', I wasn't taken aback when noticing it felt a bit short. Looking over the length of each of the eighteen songs, two of them run over three minutes. Two. Still, this isn't unusual for TMBG, and it does allow the album to change up and stay fresh. 'Can't Keep Johnny Down' kicks things off with an unsurprisingly generic sound, from the drums to the guitars, and like all the tracks could have done with a little originality. 'You Probably Get That A Lot' isn't memorable at all and merges with the previous track a little too much for my liking. 'Old Pine Box' is a lot better. Its cheery clapping beat and higher vocals work well together and contrast nicely with the deep grinding guitars at the beginning of 'Canajoharie'. The passionate vocals didn't strike me as immediately hilarious as on songs such as 'Cloisonné' either. On said number, the vocals are turned up to a (deliberately) laughable falsetto, in order to take on the voice of a raindrop. That's right. A song in which a raindrop talks, or rather sings to the listener. But rather than sounding decidedly immature, it's actually rather quaint and charming.
      The latter half of the album is better than the first, for sure. 'When Will You Die' marks the death of the first section with a fantastically dark song about rejoicing because of someone's passing, and another of the better numbers comes into play. 'Protagonist', with it's finger-snapping beat and chill melody feels very bar band, with a distinctive difference between singer and backing vocals. 'Judy Is Your Viet Nam' is a lot harder in it's delivery, but it's lyrics are once again, very unique to TMBG. After the wistfully soft 'Never Knew Love' comes 'The Lady And The Tiger', a song introduced by whistle-backed rap/talking? The atmosphere around this particular track is deep and moody, which contrasts nicely with the others. One of the best examples of the band's quirky lyricism is also here, with "Do you surmise it’s wise to have laser beams emitting from your eyes?". I know. But the weirdest is yet to come. For some, the vocals and electronic experimentation on 'Dog Walker' will be off-putting, but for me they're the most hilarious part of the record! They also highlight TMBG's ability to actually do something instrumentally that sounds somewhat unique, an element I long to see more of from the band in general.
      Overall, I'm not going to deny that I didn't enjoy this record, but there are a few things that didn't appeal to me. Firstly, the generic song structure. Sure, some songs threw in a bit of much-needed experimentation, but as a whole I wanted them to sound more unique, rather than simply replay unique lyricism. That's a problem I've always had with They Might Be Giants, but still, it's a qualm I had with 'Join Us'. Their sense of fun and colour and strength also faltered on this particular effort in my opinion, and if I could, I would try to steer the band clear of the path to maturity. I'll certainly check out their next release, but I won't be returning to this latest one very often. I guess it's just not my cup of tea.

'When Will You Die'

Little Dragon: Ritual Union

     If you'll care to remember back to my review of this band's debut album, you'll see that I enjoyed it immensely. I'm not going to go into the same amount of detail regarding these guy's background, but you'll find they've had a lot of publicity of late. Vocalist Yukimi Nagano collaborated with David Sitek (of TV on the Radio) for his solo effort, and all four members helped on Gorillaz record 'Plastic Beach'. Once again however, Swedish pop sensation Little Dragon have been revealed as a band confident in their own ability. 'Ritual Union' is their third full-length effort, and has changed up for the second time. From 'Machine Dreams' sonic shift into a more accessible realm, and one that succeeded their anonymous debut brilliantly, 'Ritual Union' surprised me. I was half expecting Little Dragon to play off that second lp and grow bigger and simpler, a move that would have probably attracted a fair few fans. Their dropping from independent record label Peacefrog certainly suggested such a thing, but then what did they do? They had to come right around and sucker punch me with a pillow. Instead of turning up the gas, they lower the heat to an enticing simmer. This isn't an elaborate effort. It's a summer evening meal, lit by candles and the setting sun. It combines both the dark and thoughtful lyricism of 'Little Dragon' with the more rhythm focused sound displayed on 'Machine Dreams'.

     A few qualms then. For me, this feels less instantaneous when compared to previous releases. After a while I accepted this though, but in looking for a more sensual and brooding sound, I wanted some tracks to run for longer. 'When I Go Out' is an absolute beauty, running for six minutes like the soundtrack to a short film. Others, while not immediately 'short', feel a little cut off when you're listening through the whole affair without pause. That being said, I most definitely found that sensual element. Yukumi’s vocals draw you in and weave their way through every song, luring you into a sense of uninterrupted relaxation. Rather than drawing you to a sunny field though, you're led into a moody, smoke-filled part of town. Dark moments intersect the lighters ones here, but it works. They flow together really well, and in the end, I honesty forgot those little quibbles.
      Kicking things off with the title track, 'Ritual Union', a repeated groove lays out the structure for the rest of the album. Through the backbone of every song here runs a simple sonic foundation, upon which melodies and sounds are layered. Not wanting to become repetitive however, these initially straight lines swirl and curl and progress along with the music. It's truly fascinating to listen to. A tinkling keyboard leads into the second number 'Little Man'. A quirky upbeat rhythm is highlighted by short catchy notes in a manner almost chiptune in its delivery. Once again, the vocals aren't forced, but carry a level of calm and subtle feeling that's hard not to love. The intriguing little 'la la la's of 'Brush The Heat' flit above a high pitched whine which deepens to introduce 'Shuffle A Dream'. One of the more accessible and catchy choruses on the album, the layered vocals work to add variety. 'Please Turn' marks the half way mark with it's startling booming notes and oppressive buzzes, but really, every song here is worthy of note.
     Other outstanding sections to 'Ritual Union' include 'Precious' and its organic drums. Said glitchy drum beat is jumped upon by higher vocals that somehow manage to feel decidedly darker. Effects-wide, whizzing noises and vibrating drones make this one of the more experimental tracks, in my eyes at least. 'Summertearz' feels barren, but the windy quietness at the beginning is soon infiltrated by playful humming and a simple drum pattern. Harmonious vocals come across as tribal as well, but this is played off extremely easily, and your ears have no trouble wandering around the noises. The finisher, 'Seconds' wallows in the swamp of nostalgia, which is an element attributed heavily to the reverb on the singing. The backing track is a quieter one, and the vocals float above it's repeated rhythm. It's a peaceful dream after a day filled with wondrous sights and sounds. Although not the strongest and boldest album I was expecting, this effort works just as well. Instead of progressing off the second record, Little Dragon tone things back down. This is relaxing electronic pop at its very best, in an album I whole-heartily recommend.

'Shuffle A Dream'

Music Video// The Newds: Go Getter

     I've recently been sent this video from The Newds, of their first completed song, 'Go Getter', and in all honesty, there is something undeniably enjoyable about the incredibly cheesy track! From the charming self-shot video to the hilarious lyrics, there is a working man's honesty behind the music that is very easy to relate to. A Mancunian group, (I seem to be getting a lot of them recently!), influences cited include Pink Floyd, The Beatles and The Rolling Stones, to name but a few. So take a few minutes out of your busy schedule to listen through these humour-laden verses and tap along to the catchy chorus, all the while watching some grown men act silly. It's thoroughly enjoyable, and if you enjoy it as much as I did, drop them a comment over on Youtube or show your support via Facebook. Me? I'll certainly be keeping an eye out for their debut album when it drops!

Mutineers: Friends, Lovers, Rivals

     I'm not going to lie. As a Gronow, I'm probably biased towards Mutineers, seeing as their bass player is a fellow of the same name. However, putting that to one side, I've been requested to cast a glance over the Mancunian quartet's debut record, 'Friends, Lovers, Rivals'. A band formed back in 2009, and with this album released as last year drew to a close, the whole affair is a musical gem, be it one whose shine has been dulled by the untouched shelf of obscurity. In taking it down and dusting it off though, I hope this album will get the audience it deserves. It's a secret that needs to be shared and a well-kept promise that needs to be broken. The production is clean and the melodies conform to that invulnerable level of pop perfection. Unlike some indie pop outfits however, Mutineers manage to give their sound a grown-up maturity. These guys aren't kids, lamenting a regrettable fling. They're men whose hearts have been broken more than once. Their recollection of thought retains an honesty and passion and sadness that's both distinctive and rich, making for an effort crafted with emotion, and which evokes the same. Frankly? 'Friends, Lovers, Rivals' is the very definition of a hidden gem.

     That being said, no debut release comes without its downsides. By citing Echo and the Bunnymen and Suede as influences, a decidedly similar feel to some tracks becomes noticeable. A hint of Delays springs up in a few parts as well, and it's true that the vocalist Nicholas James Mallins holds a certain Smiths quality to both his voice and lyricism. Namely in 'My Words Desert You', a line from which reads, "Please don't take me home tonight". A nod back to 'There Is A Light That Never Goes Out', by fellow Mancunian band? Perhaps. I think I would have preferred a little more originality, but the charm here most definitely carries the flaw. A few songs blend into each other on repeated listen, and a couple of tracks feel a little manufactured as well, but in the end did I really mind?

     Opener 'Infidelity' feels very anthemic and cinematic in scope, with its harmonious guitars grooving over magnificent synths. It's one of the many bigger songs here, with the vocals light and poppy but still comfortingly strong. These contrast ever so nicely with the delicate tenderness of others, but like I mentioned before, melody tends to bleed into melody to the point of reminding yourself what track you're actually listening to. The next number 'Shadow Kisses' is one of my favourites. The thought-provoking chorus is brilliant; "In death, love and squalor the sordid details were removed, straight from the heart of a suicide girl". Straight after the strangely appealing note upon which 'girl' is sung however, comes a whole 'nother nostalgic melody that I'm not afraid to admit hit a heartstring or two.

     'The Landlord's Daughter' is another great track after the not so memorable 'You Used To Be Okay'. It's lyrics talk of a boy with braces, being bullied at school, but this still feels very mature in its delivery. 'Alone In Our Ideas' stumbles upon another noticeable influence, and one cited on their myspace page as such. These four-ish minutes sound unmistakably like the Cure, from the pop melody to the higher notes to the stadium-ready sound they're trying to emulate. That's not a bad thing, but it is noticeable throughout the album when you listen through for the second time. The finisher, 'Hyde Road' is arguably one of the most endearing to appear from pop even today. It's inspiring lyrics are desperately sang; "she said ‘you can’t see me without my make up on’, I thought you’d never looked better", and catchy wailing closes the album. In closing however, that undeniably great hook draws you back, and you can't help going back to the very start!

     In the end, this isn't the best pop record out there, but I thoroughly enjoyed it. Bassist Iwan Gronow, you've done the name proud, and I for one will be looking back through this album every so often. In eagerly awaiting the next release, I eagerly suggest you check these talented artists out. Because despite the strong influences, they've crafted a distinctive feel that's all their own. Nostalgic atmospheres fueled with passion and executed on a level of emotion that I've missed in modern pop. Don't let this musical gem get dulled by the dust of obscurity. Let it shine and proclaim the name! Mutineers!

'Shadow Kisses'

Miles Kane: Colour of the Trap

     This is rock and roll from an artist after the retro crown. Said crown is currently held by Beady Eye's 'Different Gear, Still Speeding', but Miles Kane is on the mission of the sixties revivalist. It's an unashamed effort from former frontman of The Last Shadow Puppets, who said about 'Colour of the Trap'; “it makes you feel like a real man”. You get the sense that this guys lives in times past. He's a rocker who likes a good suit, a good-looking girl and insists on the best wine from a restaurant. Why does he have to appear on the album cover, I hear you ask? "Because I just had to" comes the reply. Despite this confidence, some things stop this album soaring to the heights it was obviously meant to fly at. For starters, it seems Kane can't quite appear from former band-mate Alex Turner's shadow. It's true that he has crafted somewhat of an individual sound and style, but Turner's song-writing influence is blatantly apparent to those familiar with his work. Secondly, while there is a pleasant retro pop feel surrounding a handful of tracks, the record overall lacks the raucousness fans of The Last Shadow Puppets might have been expecting. Asking myself, 'when's it going to kick off?' throughout took away from the album on first listen, but there are still a few stand-out songs here that I enjoyed.

      One of my favourite tracks here is actually the opener, 'Come Closer', with it's foot-tapping drum beat and personality laden 'whoa's and 'ahh's. The tune is catchy enough to grab the listeners attention straight of the bat, which I liked. The next song, 'Rearrange' works well as the summer single it's supposed to be, but is immediately overshadowed by the pop ballad 'My Fantasy'. Soppy lyrics could do with some work, and personally, it does require something a tad more distinctive than it did, but in the end it adds a nice variety to the album as a whole. 'Counting Down The Days' is the track most lathered in nostalgia, but hardly anything, bar the melody, really works. Lyricism filled with clichés is loaded onto the back of a hippy van and by the end, you just want them to stop prancing about and get on with something else. Kane duets with Harry Potter star Clémence Poésy (Fleur Delacour) on the psychedelic 'Happenstance'. There is a build up later on in the track which doesn't really deliver. There was, like I mentioned before, the sudden anticipation for a great climax that well, didn't. 'Quicksand' is another upbeat effort that contrasts nicely with the sixties-esque duet, and it's catchy hook is noteworthy.

     'Inhaler' is one of the better tracks, simply because it makes me imagine how good the others could have been. Reverb on the vocals adds a sense of age to the song, and the vocals themselves are gruff and feel a lot more passionate than others, even with it's asthma-related title that immediately dismisses any sensual thoughts. Another psychedelic effort, 'Kingcrawler' doesn't work half as well as it should have. The power is there, but it's broken up with 'ay ay ay's that sound gimmicky and annoying. There's a pretty cutesy melody on 'Take The Night From Me' that's pleasant while it lasts but ultimately unoriginal to it's core. The long-awaited Puppets reunion on 'Telepathy' is only very nearly one of the better tracks here. It's one for the long-time fans, who are pretty much happy with anything. 'Better Left Invisible' is another favourite of mine, pretty much because of the unique beginning. From then on, it dissolves into lyrical rubbish, yet again. Closing on title track 'Colour of the Trap', it's another ballad. It finishes the album well enough, with it's subtle rock and roll softness backing the summery verses of a sixties ball. Before I get to the conclusion of the review, then, shout-out to Anton for requesting it.

     There is nothing revolutionary about this record. It's a simple twelve-track collection that harks back to the 'good ol' days' of rock and roll. The production here is excellent, and in that sense, considering the revivalist element to the music, I reckon a little grime and microphone reverb would have gone a long way. A little more well, 'oof', in terms of vocals and rhythm wouldn't have gone amiss either. As it is though, 'Colour of the Trap' is a solid solo debut from one ambitious fellow. Perfect? Not at all. Great? Undeniably so.

'Come Closer'

RIP: Amy Winehouse

14 September 1983 – 23 July 2011

     At 3:54 in the afternoon on Saturday 23rd, Amy Winehouse was pronounced dead at her home in London. Many people won't feel sorry for her death, considering her state of health and numerous drug related problems. Despite her issues however, you can't deny that her voice was a powerful one. It revived British soul and coaxed female musicians to appear from obscurity. It was a voice laden with personality in a modern pop era in which everyone sounds the same. Her songs were often heart-breakingly honest, an attribute to her work many people related to. One of her most well known lyrics: "They tried to make me go to rehab, but I said no, no, no..." was a denial by Winehouse to the world, and a denial that ultimately took her life. So, even after being a success at 24, she had so much more to offer, and despite the jokes anybody makes, didn't deserve to die aged 27. RIP.

Tim Hecker: Ravedeath, 1972

     Tim Hecker, a Canadian based musician, toured with Godspeed You! Black Emperor. That's all you need to know. If you remember back to my review of that band's album 'F♯ A♯ ∞', you'll find I was moved greatly, and still return to that magnificent record every few weeks. For me, Hecker's latest lp, released at the start of this year, embraces similar emotions and creates the same barren landscapes, be it with a different, more electronic-based sound that I both admire and adore. 'Ravedeath, 1972' is the ambient drone of a post-apocalyptic world. It's the overpowering silence and distorted emptiness of a land void of human touch. Hazy mirages flit back and forth through the unswept clouds of dust and dirtiness that clog the air. Breath and bodies gone, the city is cold. This soundtrack follows your wandering, directionless footsteps like death stalking the old. Far from being inhuman though, it lets you wander. Sympathy from death for the last soul standing, teary eyes bearing witness to the cleansing of Earth, and the fall of all mankind.

     Remnants of human interaction are here, from the piano to the guitar, but these sounds have run ragged, without structure or leadership. The noises have sprawled into a beautifully chaotic mess as our firm grasp on music loosens. Sound itself has evolved and taken over, flying high above the crumbled sin of man, the embodiment of feeling fleeing a futile planet. In contrast with 'F♯ A♯ ∞', you're alone. There is no-one to argue your fate and no arms to hug you close. Split into a more manageable twelve tracks, you soon lose all sense and despair begins to merge with despair. Throwing track-names aside, nothing matters while you listen through these fifty minutes. The sun is a murky brown, flickering and twisting in pain. It kept our world living, and as it watches life destroyed, it lets out a cry like nothing heard before. Every child shouts for their mother and every animal whines. Tsunamis of sand crash into buildings, but the din is muffled by your unheeding ears. Despite all this, Hecker manages to retain a serenity that broods life's mysteries.
     Melodies play second fiddle to texture and instruments are used expertly well. A solemnity ensues from the pipe organ on the rhythm-less opener 'The Piano Drop', and 'Analog Paralysis, 1978' amplifies the album's feeling of location. As sounds bounce off walls and the sonic image glitches, Hecker's work sounds decidedly progressive, especially when compared to his earlier work. That's the only real difference between his past albums and this though, because Hecker's changes from record to record are very subtle. That being said, every release from him has been of a standard head and shoulders above many modern post-rockers, and this album is no different. One of the qualms I had upon first listen however, was the length of some of the songs. I think the two tracks mentioned above could have been extended a little, to expand on that vast feeling of being forgotten, but the three epics here definitely make up for that. 'In The Fog' and 'In The Air' both have three acts, if you will, with 'Hatred Of Music' split into two sections.
     Overall then, this is a sonic path you can't stray from. There is nothing backwards, but there is nothing forwards either. Yet a surreal inkling of hope powers your tired legs to move and your broken heart to beat. This record is a thing of unimaginable beauty. It is the end of everything, but an end that reveals more than you can every hope to learn. An epiphany through sound as you wander. Like Noah astride the flood, the world is cleansed and you're chosen to witness it's dying breath. Your entire being is heightened through 'Ravedeath, 1972', which should be reason enough for you to lend it your attention. Like 'F♯ A♯ ∞', this is an epitaph of how sound can evoke the deepest emotion.

'The Piano Drop'