The Maccabees - Feel To Follow

The New Year has seen the anticipated arrival of some new material from The Maccabees, and the verdict = totally and utterly priceless, worth the wait.  Don’t know about you, but I’m on my twenty something playing of “Feel to Follow”;  i'm not sure if that’s down to the overall simple easy listening melodies and soft vocal arrangement, or the roaring end passage and damn right fun looking video that accompanies the track. From pressing play I danced in excitement (yes I was literally jumping up and down), anxiously waiting for the raw upbeat, cinematic sounding style The Maccabees do best. And without a doubt they didn’t disappoint; opening with a pretty simplistic vocal, taking off to funky guitar solos and drum bursts, making the perfect ending.  'Feel to Follow' even has that potential spark to be 10x bigger live, There really is nothing to dislike. A track which sails The Maccabees back into their high status, which will without a doubt set them up off for an amazing year.

By Ailsa Morris

Xiu Xiu Hi

Hi by Xiu Xiu
“Hi” is the first song to be taken from the upcoming (eight) Xiu Xiu album “Always” to be released on February 28^th of this year. Judging by the single, the album is going to be excellent. “Hi”, despite being slightly more upbeat than most Xiu Xiu songs, still possesses Jamie Stewart’s morbid lyrics, sung in his unique, twisted voice “if you’re wasting your life say hi, if you’re alone tonight say hi”. The lyrics and the song couldn’t contrast more and you could almost go as far as to describe it as a happy- sad song - if you’ll pardon the oxymoron. With songs like this and the track listing of the album containing songs titles “I Luv Abortion”, Xiu Xiu will undoubtedly not let anybody down with their weirdness and controversial lyrics.


By Julia Christmas

There Will Be Fireworks - Because, Because EP

Anyone paying the vaguest amount of attention will have noticed that a lot of the music that has come out of Scotland in the last few years has been rather good, and There Will Be Fireworks’ self titled debut (released in 2009) was no exception. A combination of beautiful acoustic music and rousing post-rock, the self-released album was a triumph. Now, finally, the band are back with a new EP, which intends to set up the release of their second full-length later in 2012.

Because, Because sticks (for the most part) to their lighter side. Looped pianos coated with beautiful heartfelt vocals make up ‘Harmonium Song’, echoing The National at times, especially in the use of the drums. Acoustic guitars and building vocal harmonies are added for ‘This Feels Like’, and continue into the folksy ‘From ‘84’. Closing track ‘In Excelsis Deo’ has been around for a year or so, released December 2010 as the bands “Christmas song”, and is one of the most beautiful Christmas songs I’ve had the pleasure to hear.

It’s a promising release, lacking only in the rushes of noise that gave their debut the moments that really swept you away. Here, only the end of ‘In Excelsis Deo’ holds that kind of power but providing they return when the band release their second album, no harm done. It’s also slightly more accessible compared to large parts of the debut, whilst not compromising the bands sound, which can only be a good thing. Here’s hoping their sophomore effort gains them some of the attention their debut and this EP warrant.

8/10

By Sean Collison

Videosforpictures - 10 Minutes With...EP

 

V4P are a sound similar to that of a musician trying to grind a chainsaw into a piano. But then all of a sudden, finding a place of harmony and smoothly retiring to the piano stool and indulging into a bittersweet session of piano playing. Jay Lancaster (the one man band that is Videosforpictures) has a very unique and experimental quality to his music. Never lacking a second and neither underestimating the beauty of a held note, I'm not sure what you could call his sound specifically. Some may bandy 'Piano Rock', but I don't think that would do it justice in any way. There is too much of a delicate nature and thirst for experimentation for it to be considered anything too genre specific. In fact, there isn't an artist quite like Videosforpictures.

Opening with a clatter on '0VERTURE', it feels more like a transition than a song as such. Embracing dissonant and noise led influences here; the song tests the audience as the piano keys clatter and splatter, like the footfalls of a herd of wild animals in an echo chamber. Also played backwards, the song sets a very specific and uncertain mood for the EP, which is only distorted by the following track 'BUTCHERBIRD'. The first true song on the album, it introduces a lot of what Videosforpictures is. It is no one thing; in fact, it is very much anything it wants to be.

Said second track finds its way through the song quite neatly, and then builds to a climactic chorus and finds its end, quietly settling down after quite an abrasive conclusion. The torn and beautiful vocal stems of Jay himself are always gut wrenching and speak more than is quite describable. This follows into the third track, 'ISOLATION ANTHEMS'. This track is quite an interesting one, and not like one I've heard from V4P before. Although usually a piano and vocal led sound, this song is complimented by a very rusty, mildly lax and lo-fi drum beat that almost sounds sampled in the way it is spliced, adding to the track’s rawness. Both the beat and the melodies play off each other quite beautifully, beginning subtly. Neither seem to compete with each other beat-wise, but they quietly dance stunningly still. The ranging and passionate melody and dusty sound add a lot to the atmosphere, and although it only lasts just over two minutes, it progresses until the flow is punched out at the end, as if the temper in the song had peaked and the song needed to be struck dead with hard blows.

'PEREPELKA' is an interlude, showing off Jay's thirst for experimenting with shrill sounds and percussion. Sounding like a beat played on a set of tight unheld strings, there is a slight oriental feeling to the sound, with occasional cacophonous notes flying here and there, filled out by echoed muffled moans in the background. As I alluded to briefly before, there is a definite double-sided nature to V4P, flicking for strikingly majestic piano chords to loud and abrasive sounds, sometimes per track, other times the songs will just take a route down that way, seeming to shape Jay as a very complicated and tortured character.

The final track of the EP 'OPTIC FLOW' is an unusual one, more so than most of the others. Where the two main tracks of the EP 'BUTCHERBIRD' and 'ISOLATION ANTHEMS' had dark, and melancholy elements, neither appear as lost this track does. For the first half of the songs, there is a steady atmosphere to the track, with quiet whispers and dank, yet pretty piano. However, as the track finds its final isle, it is beautifully complimented by bell-like notes, shimmering all around, as if a character is surrounded by beautiful lights and hopes for tomorrow. This is until the joy is sucked out, as the song starts to fade into a pitch bended whirl, climaxing in distorted hits, ending it all.

Videosforpictures is a very distinctive artist, flying the flag for solo pianists (with a bit of a rough edge). This EP is in fact up for free download on his bandcamp, along with the rest of his work. Which is also free, because it's totally rad. 

 

http://videosforpictures.bandcamp.com/

8/10

By Eliot Humphreys  (http://bl--dsp-rt.tumblr.com)

Tennis - Deep In The Woods

It may be winter, but summer is still alive. Alive and thriving in the form of ‘Deep In The Woods’ – the B-side to recent single ‘Origins’. Tennis are excellent at making you feel warm and nostalgic, and this song is no exception. ‘Deep In The Woods’ is the sort of thing that makes you want to spin around in a field, or go for a bike ride to the beach. They have the wonderful 60’s vibe off pact – the psychedelic waves of synth whirling in the background. The tinkling piano adds an airy beat which makes you want to tiptoe around.  The drums are chilled, and the vocals are sweet, although verging on the edge of sickly at points. It’s a song that doesn’t tire easily, as their charm tempts you into hitting replay. Long live summer, in the form of Tennis.  

By Hannah Bettey

Lana Del Rey - Off To The Races

In the lead up to Lana Del Rey’s debut full length ‘Born To Die’, she has released Off To The Races as a free single on iTunes. Following in the footsteps of the likes of Drake who released free tracks before the release of Take Care, it’s becoming clear that you can achieve success as an artist and in The Weeknd’s case, his whole career has been based upon the release of his trilogy of mixtapes that have set him up to be the next big thing.

With the huge success of ‘Video Games’, everyone’s breath is baited for each step Del Rey makes in her path to success. ‘Off To The Races’ is an entire world away from the aforementioned hit and takes a dominating role instead of commenting from a sulky corner of the room. As usual, she lets her male subjects take the spotlight as Del Rey quickly comments that ‘He has me by my heart’. But instead of indulging in 5 minutes of sad musings, she turns on a fiery edge as the vocals are harsh, a contrast to the doe-eyed innocence that she switches to for the chorus. ‘Off To The Races’ takes it up-tempo with a heavily produced drum machine beat but keeps the atmospheric orchestral undertones that have taken a more central role in previous songs. It’s beyond the stage of speculation on plastic surgery, her previous music venture and whether her career is PR fuelled and has turned into genuine adoration from fans and a heavy weight of expectation for her debut since there are many who would be happy to watch her fall flat. 

By Aurora Mitchell

Howler - America Give Up

It's become pretty common knowledge that beginning of year hype, particularly for guitar bands, can be a poisoned chalice. Just look at some of 2011's buzz proprietors, names like Mona and Viva Brother fading into obscurity quicker than past X factor winners.

Howler are a Minneapolis group, who following the praise lauded onto their debut EP 'This Ones Different', have been the recipient of many a tip from 2012's almighty taste makers. Thankfully though, Howler's debut full length lives up to the hype and indicates signs that Howler may be in this game for the long haul.

The album is concoction of heavily Strokes inspired quick-fix indie hits and more rock-centred romps, themed around typically teenage subjects (Girls & Drinking) but also with some slightly more unexpected twists. Opener 'Beach Sluts' is one of the aforementioned, classic indie tracks in waiting. The track's basic guitar model, accompanied by Jordan Gatesmith's tales of "drinking in the afternoon" and smoking cigarettes aren't exactly breaking new ground, but are delivered with enough urgency and cheeky rebellion to make even the most bitter cynic succumb to it's youthful charms. Notions from the first track, that the album will be more of the same are instantly shattered with the thrilling 'Back To the Grave'. Jordan's vocals sound more foreboding than moaning, as he creepily poses the rhetorical question "Where will you be in 2023? In someone else's arms and not with me" with knowing pessimism. With ghostly "woos" from his band mates echoing in the background over feedback heavy guitars, it's an absolute joy, in an album that could have been so formulaic.

'America Give Up' also features the three best songs from the EP, most notable of the three being the newly titled 'Wailing (making out)' a slightly more literal title than the previous 'You Like White Women, I Like Cigarettes'. Again it's borderline impossible not to compare it to some of The Strokes earlier work as Jordan wails "I'm so tired of making out!" No doubt there'll be plenty more offers of making out for Jordan from female fans, as the lad pretty much embodies the stereotypical indie poster boy.

Another standout track is undoubtedly 'Back of Your Neck' a rockabilly explosion of fun, that along with 'Told You Once' give Howler two future anthems that are literally begging to be screamed back at them by adoring fans in whichever enormo-dome or major festival slot they could be inhabiting in years to come.


This said, the record isn't perfect though by any means, 'Too Much Blood' is a slow-burner that ends up chasing it's own tail, and detracts from the more boisterous cuts elsewhere. And the least said about the largely boring 'Free Drunk' the better. But these blips aside, Howler have crafted a very promising record, which will no doubt strike a chord with many due to it's undeniable sense of fun and Jordan's witty and wholly likeable lyrics and personality. Howler have dealt with the threat of hype impeccably and the Rough Trade signed band are certainly worth investigating.

7/10

By Toby McCarron

Kindness - SEOD

So, what does Kindness sound like today? Has he gone prog? Has he called up Skrillex and had the world’s premier bastardiser cover him in his filthy bass? Well, no. He’s made a song that layers up a load of styles and lets them duke it out for supremacy. So the resultant mess starts off sounding like a (very classy) offcut from the Blood Orange album before transforming into a psych-tinged house number that devolves into saxophone squawks and an icy 80’s piano riff. Whilst Kindness’ musical offerings so far have been episodic in their individuality, SEOD seems like a gaggle of great ideas that have been thrust together instead of being given space to evolve on their own accord. Couple this with then news that their forthcoming debut will contain tracks written over two years ago, maybe Kindness’ well of ideas is running a little dry.

By Ned Powley

The XX - Open Eyes (demo)

With the boundaries that The xx’s debut album set, being acclaimed one of the best albums of 2009 and it’s overwhelmingly positive reviews, it’s no wonder that they’ve shied away from the spotlight for the past year or so. Their disappearance off the musical radar left many an awestruck fan tossing two sides of the coin: had they already reached their peak and would another album taint the crystallised perfection of the first, or was that just the tip of the iceberg? Now they seem to have crept out the shadows again leaving behind the demo of “Open Eyes” before slinking back to record their new album which opens with a soft melancholy, humming resounding with tenderness and longing. At first, Romy Madley Croft’s crooning seems hesitant and self-conscious, as does the simple bass riff rising and dropping again as quick as it started like a hopeful heartbeat only echoed in the lyrics seeming to offer futile reassurance: “everything will be alright.”


Without the synths and beats that made up the bulk of the first album, this shows The xx stripped down, naked and at their most vulnerable, but still still retaining their underlying notion of sincerity that they do best. It only gets better with every listen, so convincing that once you’ve stopped listening you realise you’re so wrapped up in the tangible aching sense of longing that it it embodies, trying to remember why you feel this way until you realise that it’s just your empathy that you have with the “loss of faith” that ‘Open Eyes’ revolves around. Fortunately, this only instills faith in the fact that The xx really do have the midas touch and can push themselves in a very different direction whilst maintaining their recognisable sound and hopefully return from their absence to more well-deserved glory. 


By Bella Roach

Miike Snow - Devil's Work

Following their much-loved eponymous debut, Stockholm's favourite electro-pop pioneers Miike Snow are set to return on March 26th 2012 with a new album 'Happy To You'. Many will know Miike Snow from their signature hit 'Animal' a bouncy pop song at it's heart that managed to sneak its way into many people's heads, being appropriated from everything from Darwin Deez dance routines to episodes of Gossip Girl. So for anyone expecting more of the same, 'Devil's Work' may not entirely live up to hopes.

Instead of suave synths and catchy choruses, this new track deals in repeated piano loops and sweeping stabs of orchestration. It sounds rather a lot like Robbie Williams' Feel, but surprisingly doesn't carry as much of a tune compared to the aforementioned. However, lack of a good chorus aside, it's hard not to be swept away by the grand horn sections and the pomposity of Miike Snow's ambition, they're clearly aiming for a more advanced sound here and is perhaps an indication that the Animal is being tamed into a more assured beast.

By Toby McCarron