song of the week: public access tv // in the mirror

I've been keeping my eye on New York's latest and greatest, Public Access TV, for a little while now. They've not quite reached the realms of Radio 1 airplay (thankfully), but they're banging out a succession of cracking singles; In the Mirror being the most recent. 

I can't help but compare their evolution to Circa Waves, who've given us a hefty dose of indie-rock anthems in the past six months, and now it's Public Access TV's turn to put a Brooklyn spin on things. To date, the singles have followed a pattern of off-beat riffs, call-and-response choruses, with a sharp attitude laced through the vocals. Unsurprisingly, In the Mirror fits this brief too.

However, what caught my eye was the B-side Hangin' Around, which nods more to a classic rock sound than the early 2000s British indie scene; straying from the offbeat riffs and throwing in a nifty guitar solo or two. The vocals are still cynical as ever though, in the band's true fashion: "four years at college // and all for nothing" "you're never going to get things right". 

But could this be the band asserting themselves as far more than just another run-of-the-mill, indie-rock-anthem-making machine? Or are they simply trying harder to shake off the Strokes comparisons that they overtly despise? Who cares, because it sounds great either way. 


Written for Post Music Depression

review : beverly // honey do

Beverly is ex-Dum Dum Girls Frankie Rose’s latest venture. They formed in 2013, their debut album was released mid-2014; these guys aren’t hanging around.

Combining 60’s girl-group vocals with grungy melodies, they’d fit in amongst Summer Camp and Alvvays in your record collection. ‘Honey Do‘ is a prime example of this; its fuzzy looped guitars provide a heavy contrast from the immaculately polished female vocals.


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review : circa waves // so long

 

'So Long' is only the third single from Circa Waves, although it somehow feels as if we've heard enough to fill an album, but this one's not quite on par with their typical indie-pop anthems.

Fast paced? Yes. Guitars? Plenty. Upbeat? Check. But despite having most of these usual Circa Waves qualities, it doesn't feel quite right, having more football match chanting than catchy, can't-get-it-out-of-my-head choruses.

They may well have veered off course with the content, and in all fairness, there are only so many times you can bash out a melodic riff before it gets repetitive; but they're by no means short of energy.

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song of the week : craft spells // breaking the angle against the tide

‘Breaking the Angle Against the Tide‘ is a prime example of the more relaxed, less in-your-face approach Craft Spells have taken with their second album, Nausea. It’s refreshing for us as listeners, when Idle Labor felt as though frontman and founding member Justin Vallesteros had a sizeable amount of relationship-induced angst to get out of his system. The guitars aren’t weighed down by loss and longing and sadness on ‘Breaking the Angle Against the Tide‘. Instead, they’re shimmering and sun-soaked, and backed by dream-like string melodies.It’s the perfect first release from Nausea, as it really does feel like there’s a shift in perspective during the song – like a beam of sunlight breaking through the metaphorical clouds of sadness.

But sometimes the best music is made when people are in their most raw emotional state, and that would be true for Craft Spells, because despite their best intentions, Idle Labor will always come out on top.


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review : childhood // lacuna

photo: pitchfork

Waiting for Childhood’s debut album has felt like forever. But has it been worth waiting for?

Just falling short of an hour in length, its tracklisting won’t come as a surprise to anyone who’s seen the band live before, as it is not dissimilar from their setlist. 'Blue Velvet' is the opener, followed closely by 'You Could Be Different', and singles 'Falls Away' and 'Solemn Skies' are placed not too far behind, with their familiarity helping to bring the album to a close. The overall feel of the album is, vocally, much less distant than the singles felt. This again shows the band’s desire to let their live performance bleed into the record and give it a more personal touch, which is great for a band who may have previously been misinterpreted as impersonal due to their lack of interaction on stage.

Sonically, Lacuna combines hazy-Mac Demarco-style vibes, on 'Right Beneath Me' and 'Tides', with some more brash, grungey moments, such as 'When You Rise'. Of course the crashing, swirling outros of 'Falls Away' and 'Sweet Preacher' could only belong in the latter category too. It miraculously manages to flow well despite this ambitious combination of varying paces and rhythms throughout.

A highly sophisticated album for a band’s debut, but considering how much time they’ve spent working towards it - and playing live too - Childhood have proven that practise makes perfect, and that the best things come to those who wait.

Written for Post Music Depression

song of the week : palm honey // palace

We're well and truly in the midst of summer here in the UK, although you'd never have guessed, but Reading four piece Palm Honey's track 'Palace' makes up for the summer vibes that aren't being provided by our typically British weather.

The track sits comfortably between the hazy, fuzzy melodies of Tame Impala, and one of By the Sea's dream-pop/rock fantasies. It's early days for the band, who have only got four demos on their Soundcloud page - 'Palace' being the most popular by a long way - but with a bit more confidence and practise under their belts, they wouldn't sound out of place on a label like Captured Tracks.

NME have already cottoned on to their potential, so catch them while you can. 



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review : alt-j // left hand free

I felt quietly confident about my judgements of what Alt-J’s next moves would be after hearing ‘Hunger of the Pine‘, which featured a vocal sample of Miley Cyrus’ track ‘4×4‘. They wanted to keep their unique, albeit obscure sound, but update it slightly to make it more ‘current’. More 2014, where it’s the norm to mix together whichever genres you please, as shown by the likes of Arctic Monkeys, and listeners are far more open minded – pretty much anything goes these days. 

However ‘Left Hand Free‘ - the second song to be previewed from their upcoming album, This Is All Yours – has made me doubt those assumptions. It wouldn’t sound out of place sitting between any of the fourteen tracks on their debut, An Awesome Wave, and seems to follow that older Alt-J approach to songwriting, rather than the 2014 spin they put on things with ‘Hunger of the Pine‘.

Quite frankly, it’s left me stumped. I just don’t know what to expect now from the second album. Did they lure us in with ‘Hunger of the Pine’ to make us think they were slowly and subtly making changes to their sound, which would have been a healthy progression, only to fill the rest of the album with the brothers and sisters, possibly even twins, of the tracks on An Awesome Wave. 

Whatever happens, we'll still love them, because there really isn't anyone quite like Alt-J.

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review : lucy rose // cover up

If you first heard ‘Cover Up‘ played on the radio, not knowing who it belonged to, you’d think Jack Steadman and co. had roped in Lucy Rose to appear once more as a guest vocalist on a new song. But surprisingly this is purely her own creation, although it is very much in keeping with Bombay Bicycle Club’s recent work, and has that same oriental/electronic feel as the material on So Long, See You Tomorrow.

It’s a far cry from the singer/songwriter’s debut album Like I Used To; but two years down the line, it would seem that she’s eager to shake off the label of ‘singer/songwriter’ (and rightly so too, as they’re coming in by the dozen). Her soft vocals are still apparent – being the only feature of ‘Cover Up‘ that makes it recognisable as a Lucy Rose track - but the obvious message she wants to get across here is that she’s stepping out of her comfort zone, putting down her trusty guitar, and trying out a more grown up sound.

I can understand her reason for moving into a different genre entirely; there’s only so much you can do with a voice and a guitar, but it’s a bold move for a second album and certainly raises a few questions. Is she still living in the shadow of her older and wiser mates, Bombay Bicycle Club, and trying to keep up with their ever-changing sound? I’d previously got the impression she wanted to escape from all of that. She’ll have to be careful how she handles this change if she doesn’t want any more comparisons. 
There’s no denying that this girl has talent, let’s just hope she puts it to good use.

You can download ‘Cover Up‘ for free here.

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review : alvvays // adult diversion

It would be fairly easy to mistake this track for Best Coast initially, with the surf-rock-tainted melody, and fuzzy female vocals; which to most people is a sound made solely by the inhabitants of the Golden State. But if you listen closely, you'll realise that Alvvays' music is a far more complex affair than the Californian duo's simplistic, and - let's be honest - often dreary sound. 

There are hints of post-punk in the guitars on 'Adult Diversion', but it's got beachy vibes through and through (despite being manufactured in Toronto). The vocals are more upbeat than those of the aforementioned band, whilst still retaining the raw and unrefined sound synonymous with surf-rock; well, apart from those Beach Boys, with their silky-smooth voices..damn.

Alvvays' debut album is due for release on 21st July, and I can tell already it's going to be a strong competitor for my favourite summer album.

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review : by the sea // i see a crystal sky

By The Sea are the quite possibly the most underrated band out there at the moment, or as Bill Ryder-Jones once put it: “the kind of band that in ten years everyone will pretend they loved in the early days”. Very true.

Their self-titled debut album was released back in 2012, and provided us with nine tracks of the most heavenly surf-rock/dream-pop goodness. But this summer brings album number two - Endless Days, Crystal Sky - and the band have given us a preview with 'I See A Crystal Sky'.

Unlike some bands who take a different route with every album and completely re-invent themselves, it would seem that By The Sea are simply letting their sound evolve naturally, which is how it should be done. On 'I See A Crystal Sky' any remnants of surf-rock from their debut have been washed over; the jangly guitars have been smoothed out to the point of being unrecognisable. Synths are brought to the forefront – being the overriding element on this track – and the vocals are far more prominent, having previously been merely a distant echo. The synth-led sound will hopefully gain them some well-deserved recognition, potentially appealing to the hoards of Horrors/Toy fans out there.

Whilst it’s quite an obvious transition sonically, it still works because these guys have the knack for making great music, the sort of music that would soundtrack your dreams, and that’s pretty hard to come by. Endless Days, Crystal Sky is set for release on August 18th.

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review : circa waves // young chasers

Circa Waves certainly are making a splash in the music world, and quickly too. Six months ago they were barely a band, and now they’re feeding hit singles to the masses via Transgressive. Young Chasers is the latest, and I personally think it's the best so far.

They're universally branded with The Strokes/every-other-remotely-catchy-indie-band-since-2000 comparisons. But Young Chasers is a sharp slap across the cheek for these people, and proves a point; they can put a gritty, post-punk spin on things if they want to, and pack it all into two minutes and eight seconds in true punk fashion. Just wait for the ‘ooohs’ to kick in, and the guitar feedback, and you’ll see what I mean.

It’s totally different to previous release Stuck In My Teeth, which is painfully catchy, yet admittedly a bit too poppy. Hopefully they will stay off the indie-pop bandwagon, and continue to experiment with sounds that are a bit more rough-and-ready, like they have done with Young Chasers. There’s no denying they’re obviously still very Strokes-influenced, and probably always will be. But hey, if that reunion never happens then at least we can bank on these guys to provide us with sufficient listening material for the foreseeable future.

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review : catfish and the bottlemen @ central station

Catfish and the Bottlemen are probably the most hard working band out there today. Hailing from a small, seaside town on the North Wales coast, where the only music you’ll find is that of an ice cream van, it’s incredibly satisfying to see their hard work finally paying off.

I saw them play Central Station around this time last year, after they had just released debut single ‘Homesick‘, and the crowd consisted of 30 people at the very most. But a year on, it’s a totally different story. Being the closest thing to a home show for them, it inevitably sold out.

Idle Frets opened the show with a short but sweet set, that included a cover of Taylor Swift’s 'Love Story', which was an interesting choice but tastefully done. They sound somewhere between The Kooks - or any of those other  early 2000s British indie rock bands - and Dog Is Dead, with upbeat, simplistic melodies.

Catfish and the Bottlemen came on promptly at 9pm to a very excitable crowd, and opened with 'Rango'. In fact most of their 40 minute set comprised of singles and b-sides, leaving room for just two new songs and two old songs. This made me wonder whether the album will be all new stuff, or a mixture of new and old like their set. Being due for release in September it’ll be a nice way for them to celebrate the end of festival season, as they are literally playing every UK festival this year.

It was clear just how humbled they are by the recent surge of support, as lead singer Van McCann continually showed his appreciation for every member of the crowd coming out to see them throughout their performance, and they made time to chat to people afterwards. It was a refreshing change from the arrogancy that seems to be the norm these days for frontmen.

Overall their performance was, of course, undeniably faultless. It’s obvious how much they’ve been gigging because it is so much more refined - less rough-around-the-edges - whilst still being adequately energetic and engaging, something some artists seem to lack the nearer they get to ending a tour. If you haven’t seen Catfish and the Bottlemen play live before, then I strongly advise you to do so sooner rather than later. They’re impossible not to like.

Written for Post Music Depression

review : metronomy // reservoir

photo: guardian.com

'Reservoir' opens with an alienated-electro sequence which is in keeping with past releases, such as 'Radio Ladio', rather than the rest of the motown-feeling tracks on Metronomy's latest offering 'Love Letters'.  It's also noticeable that Anna Prior has, sadly, been replaced by a barely-there drum machine. 

The intergalactic theme continues as a spiralling techno melody fires off into the distance, and bounces back again, creating a build up to the chorus. Here Joe Mount's voice lifts an octave or two, belting out "heartbeats, drifting together", and that's where you see that 'Reservoir' is different. It's the affectionate lyrics that have earned it a place on 'Love Letters'. 

There's an aquatic feel subtly encorporated with the album's sound - it reminds me of the soundtrack Wes Anderson's 'The Life Aquatic (with Steve Zissou)' - and 'Reservoir' is where this is most prominent. The lyrics are referencing a metaphorical boat, which represents a female, and the song's title is water-related too. 

So despite my initial thoughts that it was similar to past releases, I now see that it is in fact very different. It explores some unconventional themes - from outer space to under the sea - proving that Metronomy are becoming increasingly hard to pin down to a specific sound with every release.


Written for Post Music Depression

review : childhood @ leaf

Leaf is not your average venue. Decorated with candles, fairy lights and disco balls, it’s no student union or dingy club. The cosy, living room atmosphere was the perfect setting to watch three pretty exciting new bands on a rainy Friday evening.

First up were Hooton Tennis Club; who not only had an unusual name, but an unusual setup too. Their bassist was positioned centre stage, but didn’t say a word. Instead the role of lead singer alternated between the two guitarists on each song. It had a call-and-response effect, heightened by their sing-speak vocals. In terms of sound, it’s infused with surf rock, whilst being reminiscent of something like The Shins. 'Kathleen Sat On The Arm Of Her Favourite Chair' was definitely the highlight.

Next were Moats, another local band. The first thing to be noticed was their stage presence, which is always a good sign. They paired strong vocals with well constructed melodies. This stood out particularly on ‘Toothache‘, which also consisted of some Foals-esque guitars. The crowd were also treated to a cover of Grease’s, ‘You’re The One That I Want’, which could have been horrendous but these guys know what they’re doing.

Childhood got straight into it, opening with ‘Blue Velvet’. Compared to the two previous bands they lacked stage presence and looked a bit bored throughout, playing one song after another and barely pausing for a break. However, when new single ‘Falls Away‘ came along halfway through, followed by another newer track ‘Pinballs’, the previous haze of jangly guitar music was separated by some darker, slower melodies.

They played ten songs in total; a combination of upcoming album tracks with previous singles, ending on crowd pleaser ‘Solemn Skies’. Childhood are a band that are impossible not to like. Their music is well rounded and makes easy listening, it’s just a shame they didn't interact much.

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review : the 1975 // robbers

You’re either pro-1975 or anti-1975 – there are two clear parties when it comes to this band. Having admired their work for the past four years, it’s been incredible to watch them grow and succeed, albeit almost overnight. ‘Robbers‘ always held a firm place in their setlist despite their many name-changes, and throughout this time it has been a personal favourite of mine.

The video for ‘Robbers‘ landed in my inbox this morning, and is essentially acting out the story of recklessness and adventure that's told within the lyrics. It’s centered around frontman Matt Healy and his love interest; they do everything from drugs in the cinema, to conducting a gun robbery. 

To accompany the video release, Matt revealed the meaning behind the song:
// Robbers is a love song, that was inspired by my love of the Quentin Tarantino film ‘True Romance’. The sentiment behind the film appeals to me – the hopelessly romantic notion that two people can meet and instantly fall in love. It’s the type of relationship where actions are fuelled by blind, unconditional love. //

It’s a song rife with emotion; the minimal melody allows Healy’s heart-wrenching vocals to stand out above all. It’s a real contrast from their other singles such as ‘Sex‘, ‘The City‘ and ‘Chocolate‘. 

So if you’re not in pro-1975 camp already, I suggest you listen to ‘Robbers‘ and it might just change your mind.

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interview : bill ryder-jones

Bill Ryder-Jones is possibly the most underrated man in the music world. Most people know him as lead guitarist of 00′s indie band The Coral – whom he left to pursue a solo career in 2008 – but his talents stretch so much further than that. He has produced and written music for short films, as well as working with a select few individuals on various projects, such as Alex Turner and Miles Kane. He also performed with Arctic Monkeys on their latest album ‘AM‘ and its respective tour. 

Both his solo albums are very different to his other projects, and show his ability to vary and develop his sound as he progresses as an artist. On his debut, ‘If…’, he explored a more orchestral approach to songwriting, whereas ‘A Bad Wind Blows in my Heart’ is much more refined sonically, stripped back to piano and guitar and has much more personal lyrics.

What’s your earliest musical memory, and what was it that made you want to be a musician yourself?

My earliest musical memory would be hearing my brother play his violin. I would have been around 6 I think. He was learning Dvorak’s New World Symphony actually.  I don’t think I ever had the thought ‘I want to be a musician’ – certainly not consciously at least. Having said that, it was a long time ago that I picked up my first instrument so I could be wrong. My impression has been that music was always something floating around at home and at school. I’d had bits of piano and violin tutoring, but it wasn’t until I was 13 that I became obsessed.

You’re from the small town of West Kirby on the Wirral. Do you think your material is more influenced by your coastal home town, or more by the city life in nearby Liverpool?

The short answer is: I don’t know. I guess West Kirby being my home has had the most direct influence.

You’re pretty comprehensive as a musician. You write it, play it, produce it. So what’s your favourite part?

That’s kind. Like most of the people I know who do what I do, it’s the addiction to creation that keeps you going. Writing something new and pure can give you a feeling that lasts for months, well it does for me anyway. The production is great too; it’s good for the soul to help someone achieve something. Playing live is fine but it’s weird and certainly not why I do it. That level of performance seems very odd to me. I don’t really trust people who are obsessed with performing in that way.

I’ve noticed that you tend to work with the same people – such as Alex Turner on his various projects – and local lads By the Sea, producing both their albums. It must be pretty rewarding to go back and work with these people and be a part of their evolution as musicians?

I guess so yeah. Like I said earlier, being part of anything that someone you respect or love does is incredibly rewarding. By The Sea are just wonderful. It’s silly that they aren’t massive. I think they’re the kind of band that in ten years time, everybody will pretend they loved them in the early days.

On the topic of collaborations – if you could collaborate with anyone, dead or alive, who would you choose and why?

I bang on about him all the time, but Euros Childs is still my favourite writer to this day. If he ever wanted me for any kind of work then I’d be there. The others I’m thinking of would be people whom I’d love to see work and to learn how they do things… Warren Ellis is an incredible musician, and someone I’d love to be able to watch work closely. Lou Reed – I’d have loved to have seen him live or in the studio, also Bowie too. Being able to see Nick McCabe in the early Verve days would’ve been quite something. There are some people whom I’d love to work with as a producer, like Mick Head (we’ve been trying to do something for a few years now), or Echo and the Bunnymen, who are one of my favourite bands ever – I think they’ve had some top records ruined by bad sound in the past. Tell you what actually, it’d have been fun to work on some kind of collaboration with Bukowski! Don’t know what it would be but I reckon he’d have liked West Kirby.

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